Grant Billings with the legendary Wally Boot at the Steinway & Sons factory, June 29, 2010

It was a great honor (and a whole lot of fun) to spend a hot June day at the Steinway & Sons factory in Astoria with the selection committee from Sun Prairie High School and other special guests. The task: find the perfect piano for the new Sun Prairie High School and Performing Arts Center.

The Steinway Project, consisting of teachers, parents and other community members, raised $145,000 in only eight months to purchase a Steinway & Sons Model ‘D’ concert grand piano and establish a maintenance fund to keep it playing for generations.

Congratulations, everyone, on a job well done!

Stay tuned for the arrival of Steinway & Sons #586953 later this month.

Click on any photo to download the high resolution version

All photos by Grant Billings

Unlike the great Jimmy Stewart in the 1939 Frank Capra classic film, I went to Washington as an advocate instead of a senator.

Steinway Piano Gallery's Grant Billings

Including myself, more than 30 NAMM Members took time away from their businesses and day-to-day schedules May 10-13 to travel to Washington D.C. and engage lawmakers in discussions about funding music and arts programs in public schools as part of NAMM’s annual Member “Fly-In.” It was truly an experience of a lifetime.

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It is only when she lifts her body to punctuate the notes of the Steinway that one becomes aware that within Steinway Artist Xiayin (pronounced sha-EEN) Wang’s petite frame lies a source of seemingly endless energy and power. Her passion for the piano may only be rivaled by her passion for music education.

In between being interviewed by The Capital Times and her performance at Overture Center on February 25, 2010, Wang took the time to visit Steinway Piano Gallery where she played nearly every piano and discussed her love of music and desire to share it with others.

Wang auditions Roland digital pianos during her visit to Steinway Piano Gallery of Madison

SPG: You are incredibly active in promoting music education. What sparked that passion in you?

XW: There are a lot of younger people eager to know about and learn about music, to learn the beauty of being able to make music. Even if they do not choose to go the career path, knowing music will change their lives.

SPG: What can you tell us about the piano teachers you have studied with?

XW: I am lucky to still have all of my teachers in my life. Each taught me a different way. A lot of the technical part I learned from the Shanghai Conservatory of Music. The education system is very, very strict in China. My teacher was very firm with the training of technique, theory, (and) ear training. Like a tall building, you need a foundation.

When I came to the United States, it was a different system. At the Manhattan School of Music, they gave me much more opportunity to have my own style; create my own language. It was the right time to explore what I wanted to say with my music.

Xiayin Wang with Grant Billings

SPG: As a student, teacher and concert artist, what would you want to say to piano teachers?

XW: If you enjoy doing this there will be much to be learned from your students. Even my youngest students taught me something I did not know about myself. It’s fun.

SPG: And what advice would you offer students?

XW: You should practice, practice, practice, as much as you can, but I think that balance is very important. Have fun time, but get your fingers on the piano every day. You will not notice the difference until you get older, but now is when the foundation is built.

Keep in mind that learning the piano is supposed to be hard; there needs to be a sacrifice. I wanted to go to the movies with my friends when I was a kid, but my mother said, “piano bench, piano bench, go back..”

SPG: And now you thank her?

XW: Now I thank her, but not enough. I can thank her to the end of the world, absolutely.

Learn more about Xiayin Wang at her website

To help your child down the path of becoming a life-long music maker, simply think of a three-legged stool. Remove one leg from a three-legged stool and it tips over. And just like that stool, there are three things every student needs to be successful; committed parents, a good teacher, and a good piano.

Committed, Connected Parents

While their role is often underestimated, parents make or break the musical experience. There are a few simple things parents can do on a daily basis to promote the importance of piano lessons.

First, set a regular practice time. Just like dinner, homework, sports and baths, piano practice should happen around the same time every day. Child psychologists report that the happiest children are those who have a regular routine. Be firm about practicing from day one and your child will get used to the schedule after just a few weeks.

Second, practice times instead of time. Setting practice sessions based on “how many minutes” only gets students watching the clock; practicing repetitions gets them focused on their music. A realistic expectation is to practice each song 3-5 times every day. Just like dinner, homework and baths, practice is done when it’s done, regardless of time.

Third, encourage your child. Even today, parents remain their child’s main influence. A few words of praise after every practice session will increase your child’s desire to make music… and make you proud. Finally, have face time with the teacher every week. Spending two minutes talking with the teacher after each lesson reaps huge benefits. During these short conversations, you will find out how the lesson went and where help may be needed. This also sends a clear message to your child that you take their piano lessons seriously.

A Good Teacher

Your child’s first experience with music will likely be the most lasting. While referral services and suggestions from friends can point you toward people who teach, you will need to dig a little deeper to find the right teacher for your child. Just as you set high expectations for your children, you should set high expectations for their teachers. Find someone who demonstrates a commitment to teaching, is well organized and has a good piano.

While the approach to finding a good teacher is the same whether the teacher operates independently or as part of a larger lesson studio, your child should never take lessons at a store that sells pianos. Although they present themselves as studios, piano store lesson programs are overwhelmingly focused on selling pianos. In “The Teach-to-Sell Model” (Music Inc Magazine, November 2009) one owner even admitted that “the entire sales team… is trained to teach classes” and added that “teaching keeps her staff busy during slow times.” Your child deserves a teacher who’s top priority is music education.

A Good Piano

The piano is where the ‘rubber meets the road’ for a student. The abilities of the piano itself vary depending on how well it was built, how old it is and how it is maintained. The best piano will be one that your child will grow ‘into’ instead of ‘out of.’

The easiest and most cost-effective way to find a good piano is to visit your local piano dealer and work directly with the owner if possible. They will want to spend about ten minutes talking with you to get a good idea of your needs. With the help of this expert, you should be able to find a great piano in your price range in an hour or so.

A new, well-built piano is always the best option for any student, but if you can’t purchase one right away, consider renting a new piano. The store owner who really wants to see you and your children succeed will offer student rental programs that apply the first several rent payments toward purchase. This typically costs less than purchasing a portable keyboard or used piano and greatly enhances the value of lessons. If your student does stop playing, you’ll have peace of mind in knowing that it was not because they were practicing on a poor quality instrument.

Parents build the environment for practice, teachers provide the instruction and the piano rewards the player. By building a sturdy stool, you can make your child’s musical journey a fun, rewarding and lifelong experience.

Here are some questions that will help you learn more about potential teachers:

1. Why did you decide to become a teacher?

2. How long have you been teaching?

3. How do you go about setting goals and measuring progress?

4. How do you communicate with parents?

5. What can you tell me about your student recitals?

6. How old are the pianos in your studio?

7. How often do you have your pianos tuned?

On November 10th, the Wisconsin State Journal spotlighted the Steinway Piano Society’s new partnership with the UW School of Music Piano Pioneers.  

The response has been incredible and we have received several additional pianos for the Piano Bank. Our thanks to the WSJ for helping to get the word out.

Read the entire feature by clicking this link.

Having grown up in my father’s piano store, one of my first jobs was setting up chairs for piano recitals. Now, more than 30 years later, it’s still one of my jobs. During this time, I have had the privilege of attending hundreds of recitals and have learned that making them a positive experience for everyone takes planning, preparation and practice… just like playing the piano.

Nancy Wynn (lower left) guides students through a recital rehearsal

When it comes to running a smooth recital, Nancy Wynn in Fitchburg is one of the best. She says she started teaching piano to neighbor kids when she was ten-years-old because she wanted to be “just like my mom.” While many teachers say it’s difficult to schedule practice sessions, Nancy makes it her practice to have a group rehearsal just before each recital. She sums up her approach this way, “I think that making a big deal of the joy they give to their parents and others is important and dressing up makes them feel special and good about themselves.”

Jan Helwig performs a duet with a student during a recital at Steinway Piano Gallery

In addition to recitals with her full studio, Jan Helwig in Verona holds smaller book recitals through the year with fewer students playing more pieces. Before performing, her students are relaxed and the variety “allows the students to gain comfort at the piano, instead of a quick one or two pieces. They develop focus, get used to thinking about changing mood between pieces. They really look and feel much more comfortable about play for others this way.”

Jane LeCount in Middleton creates a variety of opportunities for her students to build performance skills. In addition to traditional recitals, her students can perform for other students one-on-one, attend student only “piano parties” and studio open houses and play at special events. She explains that this allows her students to “use that experience to take their musicianship to the next level.”

While each of these teachers takes a different approach to recitals, the smiling faces of their students are the common denominator; these kids are having fun! But they’re not alone…

When parents, grandparents and other adults hear children perform it confirms that the child is learning and growing. For many parents it may be the only time they hear their children play and enjoy the fruits of their labor. “It is amazing the difference between hearing my son practice at home and hearing him play in a recital,” one parent recently told me. “This brings everything, the whole year, together for us.” Witnessing your child performing in front of strangers adds legitimacy to taking lessons and increases the likelihood lessons will continue.

And timing is everything. “It’s important to keep recitals moving,” advises LeCount. “And end while the audience is still ready for more.” Wynn suggests that recitals for the youngest students should be no longer than thirty minutes. Helwig says, “I really like the 45-minute recital. This often means I have two recitals scheduled back to back with a small break in between.” She is definitely on to something. For several months, I tracked the length of recitals I attended and at what point something happened to disrupt the event. On average, younger sibling began to fuss right at the 44-minute mark. It is simply unreasonable to expect a two- or three-year-old to sit still quietly for much more than about 45 minutes.

Recitals should be held at locations with a good, well-maintained piano to insure a positive experience for students and parents.

Shorter recitals also offer more options for scheduling around other events and make it easier for every student to stay until the end. It would be hard to imagine a parent asking the coach to let their child start in a game so they could leave early to attend a piano recital, but the reverse happens quite often. By setting the expectation that “if you play, you stay,” the teacher sends the message that the recital is an important event; something greater than the sum of its parts. It also presents the studio as a community; one where everybody has an interest in supporting every child.

Helwig explained it well when she said “the piano teacher controls the thought process.” Teachers who approach recitals as they approach teaching – being professional and prepared – enjoy more committed students who see music as more than something they do; it is part of who they are. While the secret formula to getting students to practice regularly has yet to be revealed, setting the bar high for recitals seems to be a key ingredient.

Recital Tips:

• Plan an organized recital rehearsal.
  
• Choose an intimate, professional setting with a really good piano.
  
• Keep recitals shorter, especially for younger students. Having two or three short recitals takes about the same amount of time as one long one.
  
• Ask for volunteers and give them simple tasks such as handing out programs or arranging refreshments.
  
• Set the expectation that “If you play, you stay.”

We are often asked, “what makes the modern Steinway so special?”

As you might expect, the answer is complex… but not complicated. From the company’s humble beginning in New York City in 1853 to their survival through the Civil War and two World Wars, Steinway & Sons has remained the standard by which all others are judged.

Through October 30th, you can take an unprecedented look inside the Steinway, seeing the major parts that become something greater than the total. This is an exhibit like no other – just what you would expect from Steinway & Sons. (more…)

Volunteer Sarallen Schuh plays the Boston upright piano for residents of Attic Angel Place.

Toes tap. Melodies are hummed. Faces brighten as memories of happier days are recalled. It happens whenever the Boston piano is played at Attic Angel Place, a skilled nursing facility in Madison, Wis.

While Attic Angel Place – a not-for-profit retirement community – was built in 2000, the used grand piano in its health center’s dining room was showing and sounding its age. To make matters worse, the piano took up too much space and couldn’t be moved.

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