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Dear Friends,
First, a quick note: later this week I’m heading to the National Conference on Keyboard Pedagogy. If you'll be there, I’d love to see you!
I’ll be presenting a session on Saturday, July 26 from 10:30-10:55 a.m. in Grand Ballroom AB called So You Want to Be a Content Creator? Practical Tips for Piano Teachers. This will be followed by a Q&A Panel with other presenters from 12:00-12:25 pm.
I’ll also be at the Piano Pantry / Beyond Measure Podcast meetup with my friends Amy Chaplin and Christina Whitlock in the Westin lobby at 5:15 p.m. on Friday, July 25. I hope to see you there and have the chance to connect in person!
Anyway, lately I’ve found myself drawn into an exploration of the symphonies of Gustav Mahler. As I wrote a couple of weeks ago, I’ve been listening to a podcast called Embrace Everything: The World of Gustav Mahler, a beautifully produced series that explores each of Mahler’s symphonies in detail. (Here's a link to the website, but you can find it and listen on your podcast platform of choice.) Each season is dedicated to a single symphony, and every episode focuses on one movement, blending narrative, analysis, and historical context.
Yesterday I listened to the full season about his epic third symphony, where I heard this anecdote: One day in 1899, Gustav Mahler and his friend Natalie Bauer-Lechner took a hike up to the top of a mountain. They didn’t meet a soul on the way up, and once they reached the peak, they sat in silence for a while, gazing down at the scenery below. According to Bauer-Lechner, Mahler eventually said:
"Music must always contain a yearning, a yearning for what is beyond the things of this world. Even in my childhood, music for me was something mysterious that lifted me above the world."
What I find most meaningful about listening to this podcast, and listening to music in general, is how it nourishes my relationship to music, especially in ways that are not tied to utility or productivity. There is no direct connection between listening to a Mahler symphony and practicing for my upcoming concerts, and yet, when I spend time immersed in music, I find that my own practice becomes more meaningful.
I think we sometimes underestimate the value of listening as an active part of our musical growth. It may seem passive on the surface, but in truth it is one of the most vital ways we develop as musicians. Listening deepens our understanding of musical language, and gives us a syntax and historical context for the works we play.
Regardless of whether you're feeling motivated or uninspired in your practice these days, I encourage you to carve out time to listen to music that piques your curiosity. You may find, as I have, that this kind of listening brings you a deeper sense of purpose and reminds you of why you started playing music in the first place.
So, my question for you this week is: what have you been listening to lately that has inspired you?
Happy practicing! 👋
-Kate
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Practice TIP of the week:
Here are the most recent practice tips I have covered: 🎵 June 22: Create Your Pre-Performance Ritual 🎵 June 29: Practice Performing for an Imaginary Audience 🎵 July 6: Keep Your Eyes Moving Forward 🎵 July 13: Recognizing Landmarks and Patterns
Each month, I focus on a specific theme for practice tips. This month’s theme is Confident Sight Reading.
Today's Practice Tip: Don't Fix Mistakes
One of the most difficult habits to break in sight reading is the urge to stop and fix mistakes. In regular practice, that makes complete sense! You are working to refine, correct, and polish your playing, and so if you make a mistake you need to stop and fix it. But sight reading is not about that kind of careful practice. It is a performance skill, and in performance, stopping can be more disruptive than playing a wrong note.
Skilled sight readers are aiming for continuity. Their goal is to maintain a steady rhythm and preserve the basic harmony and musical contours, even when some notes go astray. Mistakes are not a crisis! What matters most is the ability to keep moving forward, despite making mistakes.
One of the most effective ways to develop this mindset is to dedicate a few minutes on a regular basis to a "no-fix" sight reading session. Choose a short, unfamiliar piece that is well within your technical comfort zone. Set a slow, steady tempo with the metronome and commit to playing from start to finish without stopping, no matter what happens. If you hit a wrong note, keep going. If your hands feel uncoordinated, keep going. Even if you have to drop out one hand for a few notes or beats, keep going and try to jump back in when you can. The only rule is forward motion.
Once you reach the end, take a moment to reflect. Where did you stumble? Did you hesitate or interrupt the rhythmic flow? What helped you stay on track? After you've played it once through without stopping, you can then go back and work more carefully through the trouble spots. But treat that as a separate step. The goal of the first run is not accuracy, it is fluency.
Sight reading improves most when we start treating it like what it is: a real-time skill that is more similar to performing than regular practicing.
If you’re looking for a great way to build this “keep going” mindset, I recommend trying Piano Marvel. Their SASR (Standard Assessment of Sight Reading) feature gives you instant feedback on your accuracy and fluency, and if you connect a MIDI keyboard, it even assesses your playing in real time, giving you a score from 1-100 after each piece you sight read. A built-in metronome and on-screen cursor help you keep up and see exactly where you are in the score. This is great practice for no-fix sight reading sessions.
If you sign up using my affiliate link (here), you will get $3 off per month if you decide to continue after your free trial.
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Quote of the Week
"I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world."
- Albert Einstein
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🎥 YouTube Update
My most recent video – Why Staccato Feels Hard on the Piano (And How to Make It Easy) – is a tutorial about the three types of staccato touch: Finger staccato, Wrist staccato, and Arm Staccato.
I demonstrate staccato technique using examples from the following pieces: - Beethoven, Sonata Op. 14 No. 1 - Rachmaninoff, Prelude in G Minor, Op. 23 No. 5 - Fanny Mendelssohn Hensel, “February” and “August” from "Das Jahr"
You can watch it here!
Want to be notified when a new video comes out? Click here and I will send you a quick email the day I publish a new video.
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💜 Some of My Favorite Things
- 🎹 Performance: Einojuhani Rautavaara – Piano Sonata No. 2 (“The Fire Sermon”)
Rautavaara’s “The Fire Sermon” is a bold, atmospheric journey for solo piano. Composed in 1970, this sonata channels the Finnish composer’s signature blend of lush harmonies and mystical intensity. The piece takes its name from a sermon by the Buddha, and you can feel that spiritual searching in the music, ranging from meditative to fiery and dramatic. It’s a mesmerizing, modern classic from one of Finland’s foremost composers. This is a wonderful recording with score, performed by Laura Mikkola.
- 🎙️ Interview: Einojuhani Rautavaara Reflects on Life and Music.
In this rare and thoughtful interview, the late Finnish composer Einojuhani Rautavaara looks back on his creative journey, describing how composing remained the heart of his life, even as he worked more slowly with age. He shares memories of finding his unique musical voice and discusses the recurring theme of angels in his music—an idea inspired by vivid childhood dreams. Rautavaara speaks candidly about unfinished projects, public scrutiny, and personal challenges, all with a sense of acceptance and perspective. It’s an inspiring glimpse into the mind of a major composer, full of wisdom, honesty, and humanity. View it here.
- 📚Book - Heinrich Neuhaus – The Art of Piano Playing.
Heinrich Neuhaus was one of the twentieth century’s legendary piano teachers, shaping a whole generation of artists at the Moscow Conservatory, including Emil Gilels, Sviatoslav Richter, and Radu Lupu. This book is widely regarded as a classic and remains an essential resource for pianists and teachers around the world. Neuhaus writes with in a conversational style, sharing nuggets of practical advice alongside reflections on musical interpretation, technique, and the life of a pianist. If you’re interested in the Russian piano tradition or looking for inspiration in your own playing, I recommend checking out this book. Buy it here.
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🎹 Stay Connected:
- 🎓 Reply to this email to learn about applying to study with me at Butler University at the undergraduate or master's level. Go Dawgs! 🐾
- 📚 Check out my Amazon page, where I share my recommended books, technical exercises, gear and more!
- 🎥 Subscribe to my YouTube channel!
- 📱Follow me on Instagram!
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Some links in this email are affiliate links. As an Amazon Associate, I earn from qualifying purchases at no additional cost to you. |
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🎹 Pianist | Educator | Creator Dr. Kate Boyd Professor of Piano, Butler University
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