Over Coffee With . . .
Getting to know members of our present and past board and receiving helpful tips from them that they've acquired along their journey
SANDRA STEWART, D.M.A.
Q: First, please tell us a little bit about yourself.
A: I was born in southern Indiana and lived in the same place until I went to college. I was involved in music with piano and clarinet since elementary school. I learned to be an accompanist, and by 10th grade, I was hooked on music. Since I was an Indiana girl, the best and most logical place to go to study music was the School of Music at Indiana University.
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: I actually did not want to play piano! But my mother insisted. It was a tradition in her family that the women all played piano for the church. So I wasn’t given a choice.
Q: Who was your favorite music teacher growing up, and why?
A: I struggled with piano through 8th grade. Then my mother took me to a retired professor who taught a lot of high school students. From the first lesson, he showed me more about playing musically than I had ever done before. He made all the difference in my music education. Without his influence, I’m not sure what I’d be doing now!
Q: Do you have any advice for someone setting up a private music studio in their home?
A: Just set boundaries and stick to them. Do you allow parents to sit in on lessons? Siblings? Is your fee due weekly or monthly? What policy do you want to have for makeup lessons? Know in advance what you want your schedule to look like. Don’t teach a student at 8:30 on Friday night if you don’t want to.
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: My biggest challenge these days are the sports activities that my students are involved in. It seems that they all have coaches who want them 5 days a week after school AND on Saturday! Making them understand that regular piano lessons are important too is challenging.
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: The funniest story is when I gave my Master’s recital. It was warm in the hall, and my face was perspiring. My glasses kept falling down my nose! Nothing to do but keep pushing them up! Embarrassing, but funny now.
Q: What advice would you give to help focus before a performance and curb nerves?
A: Take time to be focused and not in a rush. I honestly think the more you perform, the easier it gets. You learn a lot from the experience of performance and how to deal with it.
Q: What is one of the most interesting places you have visited or lived in, and why?
A: My husband’s job transferred us around a lot, so I have lived in St. Louis, Chicago, Reading PA, Buffalo, and Virginia Beach, to name a few. I always loved being in a new place and learning all about it. And it was fun discovering the music community in each new place.
Q: Is there any advice you might give to a teacher struggling to keep up with their bookkeeping?
A: I hate the bookkeeping aspect of piano lessons, but unfortunately we have to do it. The thing that helps me is doing an invoice for each student at the end of the month with dates and fees for lessons the next month. The fee is due at the first lesson. If they don’t pay, there is a $10 charge. If you do this consistently, the parents will pay attention. This also means I only have to sit down once a month and work on bookkeeping. I’d much rather be teaching!
JOAN CORDELL
Q: First, please tell us a little bit about yourself.
A: I was born and raised in Erie County, Pennsylvania by parents who were musical and surrounded by cousins who were very musical also.
We all attended a bilingual church, and although it was a small country church, it was filled with musicians (almost all related).
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: My father was an amateur musician and many older cousins already were taking piano lessons. They tell me (I don't remember this) that I was playing by ear at a very young age. I started lessons at age 8 and loved playing the piano, but disliked practicing. Fortunately, I had no problems with note-reading or counting, so whatever I could find, I tried to play. This certainly helped my sightreading! I started playing in church at age 9 and became the organist at age 12 with free organ lessons from the church. It was a given that I wanted a career in music and chose Sacred Music as my major. My father encouraged me to change to music education instead, so I earned a B.S. in Music Ed with the proficiency in piano at Bob Jones University in Greenville, South Carolina. I have come to appreciate how rigorous their music program was and is.
Q: Who was your favorite music teacher growing up, and why?
A: I had 3 teachers from age 8 through age 18 and I believe each of them contributed to my education in different ways.
The first one really taught reading and counting so well and so thoroughly.
The second one emphasized sightreading, so at every lesson, she pulled out duet music and we sightread through whatever music she chose.
The third teacher was more technical. I not only learned some good classics, but she also taught me how to arrange hymns and to do improvisation. This is when my ear kicked back in and I relearned how to play by ear (through theory, of course).
Q: Do you have any advice for someone setting up a private music studio in their home?
A: My private teaching has been mainly through schools. I have been employed by Trinity Christian Academy for decades as a private piano teacher. I have only taught a few lessons at my home. However, I do have an acoustical Yamaha, a Roland keyboard and an organ at home.
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: I believe now, that the biggest challenge is making sure parents understand what is needed for success in piano. They do not always understand that their child needs to have an instrument that is decent, and that daily practice is needed. Communication is key in helping parents and student understand the commitment.
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: I have no specific story of a performance, but have learned not to show that I just made a mistake--just keep going, and know what key I am in.
Q: What advice would you give to help focus before a performance and curb nerves?
A: My college teacher instilled in me about complete preparation before a performance. Before any of my recitals, on the day of, she insisted that I use my music and play everything slow motion. Of course, that took twice as long or longer, but it was well worth it.
So, I have told my students the same.
Something else that really helps (as weird as it seems) is to run in place for one minute. This literally helps the adrenaline to slow down. I have stood backstage with my students and had them do this. They giggle a little and it helps the nerves.
Breathe during your performance. Do not hold your breath!
Q: Is there any advice you might give to a teacher struggling to keep up with their bookkeeping?
A: As to bookkeeping, keep it up daily, and do not be afraid to send reminders about payment. Be proactive.
Q: What is one of the most interesting places you have visited or lived in, and why?
A: Since my older daughter went to school and lived in NYC, and now my son works in Manhattan, I find that city to be extremely interesting to visit. I especially like to walk down 5th Ave, duck into some of the famous churches and listen to the boy choir practice or to the organist practicing.
My husband is a band director, my older daughter is a professional musician and mom in Philadelphia, my son has 2 children and is a video editor in NYC, and my younger daughter is an internal auditor for the state in Tallahassee.
DENISE HOMSLEY
Q: First, please tell us a little bit about yourself.
A: I was born and raised in the Boise Valley of Idaho. Although neither of my parents had musical backgrounds, they felt it was important for my brother and me to take piano lessons. I am very grateful.
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: I began piano lessons at the age of 8, on the first Saturday of June. Practice was a part of my daily routine - after school everyday at 4:00 pm. My lessons were on Saturday mornings. My mother never sat in on lessons, instead she used that time to shop for groceries at the nearby Safeway store. After she picked me up from my lesson, we went to the A&W for root beers in frosted mugs. Quite a treat!
Q: Who was your favorite music teacher growing up, and why?
A: My favorite teacher growing up was Mrs. Yoshimura. She was my second piano teacher and I admired her so much! She introduced me to classical music. She also started me teaching beginners for which she had no room in her schedule. I loved teaching! Mrs. Yoshimura also arranged for me to play for several weddings.
Q: Do you have any advice for someone setting up a private music studio in their home?
A: Write a solid studio policy and adhere to it closely. Be consistent across the studio with tuition and make up lessons. Many families are acquainted with each other, and it is always best to have equal tuition and make up policies.
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: One of the biggest challenges is make up lessons. If you choose not to have them, that is fine. However, if you do have them, set a limit on the number you will give each quarter, semester, or year and stick with it. Personally, my limit is two per semester. When I am asked for more, I reply that the studio policy states a limit of two per semester. Setting this limit has made my teaching life incredibly better!
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: One of my high school girls sat down to perform her recital piece and could not even remember the first note. She got up and went back to her seat. We gave her an encouraging applause. After the recital, she apologized in tears. I assured her that things like that happen sometimes, and we were okay. At her next lesson, she asked if she could perform the same piece in the next recital. She did, and she played it well.
Q: What advice would you give to help focus before a performance and curb nerves?
A: I encourage my students to perform their recital pieces for family and friends before the recital date. On the day of the recital, I remind them that the audience will enjoy their music. The audience is not there to judge them; in fact, most do not even know how to read all those black dot (notes) on the page! To help them focus, I suggest they take a deep breath before leaving their seat, and once on stage, pretend they are playing in a bubble. Enjoy their music - tell a musical story with their piece!
Q: What is one of the most interesting places you have visited or lived in, and why?
A: Italy is one of the most interesting places I have visited. Being in the Coliseum and in Pompeii really caused the historical events of those days to be so much more real for me. Very interesting!
Q: Is there any advice you might give to a new music teacher starting out?
A: Other than writing a solid studio policy, I would encourage new music teachers to take a genuine interest in each student. We, hopefully, have these students for many years. The influence we have on them goes well beyond learning music and music theory. We develop a relationship, and through that relationship, we help them learn to love music for a lifetime.
SANDRA ROBERTS
Q: First, please tell us a little bit about yourself.
A: I was born and Q: First, please tell us a little bit about yourself.A: I was born in Jacksonville, Florida and have lived here my entire life. I even chose to stay in Jacksonville for college and earned my degree from Jacksonville University.
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: My brother who was 15 years older than me was a great influence on my career. He was a church organist, high school band director, and member of the symphony about the time I was entering junior high. I had been taking piano since 2nd grade and playing clarinet in the band since 7th grade. He often encouraged me to join him in performing piano and organ duets at his church. When he gave an organ recital, I would be his page turner. All of these little actions caused me to become more and more involved in music. Before long I was playing piano along with the organist at my own church on Sunday mornings. I began studying the organ the summer before college. As a sophomore I was asked to sub for a friend at his church for 2 weeks. The friend ended up not returning and I stayed there for 22 years as organist!
Q: Who was your favorite music teacher growing up, and why?
A: My first teacher was Elizabeth Merrick who was very involved in JMTA. She introduced me to the 40 Piano Duet Festival. Yes, 40 pianos (80 students) on stage! We had to audition at JU and be chosen to participate. I loved playing in those! By high school, I knew that I wanted to major in music and began studying piano with Helen Stanley Gatlin. She was a wonderful teacher who prepared me beautifully for the challenges ahead especially getting me ready for college theory!
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: One of the biggest challenges to me is all of the demands on a student’s time (sports, clubs, etc.). I have tried to learn to be patient, knowing that once the sports season is over the student will hopefully return to better practice habits for piano. I think this attitude helps me keep students in music who would otherwise have to give it up. It is not unusual for me to have high school seniors graduating who have studied with me since 2nd grade!
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: This happened to one of my students in the early days of my teaching. We were holding our recital in a hall that had absolutely no windows. All of a sudden the lights went out! It was pitch black! The student at the piano was an older elementary school child and she just kept playing. I don’t know how she could see at all. It was quite a long piece and just as she finished, the lights came on! She received thunderous applause from the audience and exited as if nothing had happened!
Q: What is one of the most interesting places you have visited or lived in, and why?
A: A few years ago I had the opportunity to visit England and France. I loved seeing the beautiful cathedrals and was fortunate to hear the choirs and organists perform at both Bath Abbey and Notre Dame. It was divine!
Q: Is there any advice you might give to a new music teacher starting out?
A: Never underestimate the importance of a good policy letter! in northwestern Pennsylvania in the Allegany Mountains, in the oil fields near Duke Center. There were times that our area had the distinction of being the coldest spot in the US. We lived on a dirt road on the oil lease where my father worked for the Quaker State Oil Company. I graduated as Valedictorian of my high school class, then earned my Bachelor of Music Education and my Master of Music Education at Mansfield State College (now Mansfield University), Mansfield, PA. I worked my way through college to pay the cost. Then I was accepted as a Graduate Assistant which paid the cost of my Masters Degree. In 2003 I earned my Doctor of Worship Studies from the Institute for Worship studies, Jacksonville, FL.
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: I started piano lessons while in first grade. My dad was a baritone and sang often in our little country church as well as in other local churches. He had much difficulty finding accompanists, so he suggested that it would be great if I learned to accompany his singing. I thought that idea was fantastic. So, every Saturday morning at 9:00, my dad took me to piano lesson. Sometimes he had to shovel snow out of the driveway to get the car and sometimes we would have snow up to the bottom of the car traveling to the lesson. Every week he would tell me, "Soon you will be playing the piano for your ole' dad." However, I had just reached the level where I could "sort of" play some of his music selections, when he was killed in an industrial accident on the oil lease. I was eleven years old and his passing changed my life forever. I never got to accompany him. My church was very encouraging, letting me play for the mid-week Bible Study and the Sunday evening Youth Fellowship meetings. By the eighth grade, my high school choral director asked me to be the senior-high choral accompanist. I felt so honored!
Q: Who was your favorite music teacher growing up, and why?
A: My favorite music teacher was not my piano teacher, but my high school choral director. I was not very good at reading music for the senior-high chorus. I did not know basic music theory: key signatures, time signatures, major/minor scales, etc., etc. My choral director called my mom and advised her that I needed a new piano teacher, one that would be sure that I learned the basics. That took a lot of courage on his part: He was the music director at the local Methodist Church and my current piano teacher was his friend and church musician. But she was not a trained music instructor. Instead, she had taken piano lessons and decided to teach to supplement her ceramics studio income. As a result of his intervention, I changed to the new band director's wife, who had a degree in music education. She became my music teacher and taught me the theory basics that I needed. At least, she tried. I was used to a teacher who said, "Play it like this." But my new teacher insisted on scales, arpeggios, cadences, sonatinas, etc., which I did not like. I grumbled and griped until my mom said, "Fine. Let's just quit lessons and sell the piano." Well, I wanted to continue playing in church and for the school choir, so I grudgingly continued the lessons. Because of my new teacher, I was able to pass the audition test to enter college as a music major (just barely). When I got into college theory classes, I said, "Why didn't someone teach me this a long time ago?" I love theory to this day. Understanding what I was playing made all the difference.
Many years later, I was able to visit my former choral director after he retired and thank him for what he did for me.
I never considered any college study other than music. It is my life, especially the music of the church. I have several previous piano students who are now church musicians (in various types of services). For that I am eternally grateful!
Q: What do you think is one of the most important things to have in a piano studio?
A: A PIANO! One in excellent shape and well-tuned. In my house, I have a mid-sized grand piano, a studio upright piano, and a digital piano. It is handy to have more than one keyboard so to play duo piano selections.
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: One challenge is motivating students. Some students are self-motivated. But beginners and the majority of students need continuous motivation. Piano practice is a lonely activity. I try to incorporate a lot of "duet" parts, whether written or improvised. I also have a "point" system where students earn points for practice and can then get awards for their points. I am generous with my praise, not praise that makes students think they are outstanding students if they aren't, but praise and encouragement for their efforts. I also keep before them goals of various sorts: JMTA recitals, multi-piano festival, studio recitals, and Federation Festival.
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: Many years ago, at a studio recital, one of my young students forgot her piece that she had memorized. I think nerves got the best of her. I tried to reassure her, but she was very embarrassed and her mother was livid! The little girl never resumed her lessons. The student forgot to bring her printed music to the recital. That taught me a lesson: Whenever students are to play from memory, I ALWAYS INSIST that they bring their music to the program. If their memory fails them, I will give them the printed music and tell them to play from the page. I want performances to be a positive experience.
On a lighter note, at another recital at the Friday Musicale, I was wearing sandal heels. All the straps broke on both sandals as I walked onstage to the piano (they were cheap shoes). I just stepped out of my shoes, played the programmed duet as though nothing happened. Fortunately, I don't embarrass easily. Another time, at one of the Multi-piano Festivals, somehow one piano had been taken off stage and there weren't enough pianos for the teacher selection. I was left with no piano. I just looked around, found a teacher playing the part opposite mine and slid onto her bench. Sandy Stewart looked very surprised, but we played together for that number.
Q: What advice would you give to help focus before a performance and curb nerves?
A: Before a performance I suggest focusing on the music, relax and don't try to play the selection over and over right up until the performance. If a student has practiced faithfully, they don't need "panic" practice right before a program.
Q: What is one of the most interesting places you have visited or lived in, and why?
A: I have visited so many interesting places that it is hard to decide. But I would say my favorite was the Holy Land. I was reminded of the song "I Walked Today Where Jesus Walked." Even though where he walked is underneath many layers of earth, it is still awesome to think of being in Bible Lands. Having Communion in the Garden of Gethsemane; riding in a boat on the Sea of Galilee; standing among the ruins of Masada; being near the Christian Temple; being baptized in the river Jordan. What a privilege!
Q: Is there any advice you might give to a new music teacher starting out?
A: Be unflappable. Stay on a steady course with students. Treat them fairly, but firmly. Enjoy the music!
LYNN FREEMAN
Q: First, please tell us a little bit about yourself.
A: I was born in Jacksonville, Florida and have lived here my entire life. I even chose to stay in Jacksonville for college and earned my degree from Jacksonville University.
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: My brother who was 15 years older than me was a great influence on my career. He was a church organist, high school band director, and member of the symphony about the time I was entering junior high. I had been taking piano since 2nd grade and playing clarinet in the band since 7th grade. He often encouraged me to join him in performing piano and organ duets at his church. When he gave an organ recital, I would be his page turner. All of these little actions caused me to become more and more involved in music. Before long I was playing piano along with the organist at my own church on Sunday mornings. I began studying the organ the summer before college. As a sophomore I was asked to sub for a friend at his church for 2 weeks. The friend ended up not returning and I stayed there for 22 years as organist!
Q: Who was your favorite music teacher growing up, and why?
A: My first teacher was Elizabeth Merrick who was very involved in JMTA. She introduced me to the 40 Piano Duet Festival. Yes, 40 pianos (80 students) on stage! We had to audition at JU and be chosen to participate. I loved playing in those! By high school, I knew that I wanted to major in music and began studying piano with Helen Stanley Gatlin. She was a wonderful teacher who prepared me beautifully for the challenges ahead especially getting me ready for college theory!
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: One of the biggest challenges to me is all of the demands on a student’s time (sports, clubs, etc.). I have tried to learn to be patient, knowing that once the sports season is over the student will hopefully return to better practice habits for piano. I think this attitude helps me keep students in music who would otherwise have to give it up. It is not unusual for me to have high school seniors graduating who have studied with me since 2nd grade!
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: This happened to one of my students in the early days of my teaching. We were holding our recital in a hall that had absolutely no windows. All of a sudden the lights went out! It was pitch black! The student at the piano was an older elementary school child and she just kept playing. I don’t know how she could see at all. It was quite a long piece and just as she finished, the lights came on! She received thunderous applause from the audience and exited as if nothing had happened!
Q: What is one of the most interesting places you have visited or lived in, and why?
A: A few years ago I had the opportunity to visit England and France. I loved seeing the beautiful cathedrals and was fortunate to hear the choirs and organists perform at both Bath Abbey and Notre Dame. It was divine!
Q: Is there any advice you might give to a new music teacher starting out?
A: Never underestimate the importance of a good policy letter!
Q: First, please tell us a little bit about yourself.
A: I was born in Jacksonville, Florida and have lived here my entire life. I even chose to stay in Jacksonville for college and earned my degree from Jacksonville University.
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: My brother who was 15 years older than me was a great influence on my career. He was a church organist, high school band director, and member of the symphony about the time I was entering junior high. I had been taking piano since 2nd grade and playing clarinet in the band since 7th grade. He often encouraged me to join him in performing piano and organ duets at his church. When he gave an organ recital, I would be his page turner. All of these little actions caused me to become more and more involved in music. Before long I was playing piano along with the organist at my own church on Sunday mornings. I began studying the organ the summer before college. As a sophomore I was asked to sub for a friend at his church for 2 weeks. The friend ended up not returning and I stayed there for 22 years as organist!
Q: Who was your favorite music teacher growing up, and why?
A: My first teacher was Elizabeth Merrick who was very involved in JMTA. She introduced me to the 40 Piano Duet Festival. Yes, 40 pianos (80 students) on stage! We had to audition at JU and be chosen to participate. I loved playing in those! By high school, I knew that I wanted to major in music and began studying piano with Helen Stanley Gatlin. She was a wonderful teacher who prepared me beautifully for the challenges ahead especially getting me ready for college theory!
Q: What do you find to be a challenge in teaching piano and how do you suggest meeting that challenge?
A: One of the biggest challenges to me is all of the demands on a student’s time (sports, clubs, etc.). I have tried to learn to be patient, knowing that once the sports season is over the student will hopefully return to better practice habits for piano. I think this attitude helps me keep students in music who would otherwise have to give it up. It is not unusual for me to have high school seniors graduating who have studied with me since 2nd grade!
Q: Do you have a story of something that happened during one of your performances and how you handled it?
A: This happened to one of my students in the early days of my teaching. We were holding our recital in a hall that had absolutely no windows. All of a sudden the lights went out! It was pitch black! The student at the piano was an older elementary school child and she just kept playing. I don’t know how she could see at all. It was quite a long piece and just as she finished, the lights came on! She received thunderous applause from the audience and exited as if nothing had happened!
Q: What is one of the most interesting places you have visited or lived in, and why?
A: A few years ago I had the opportunity to visit England and France. I loved seeing the beautiful cathedrals and was fortunate to hear the choirs and organists perform at both Bath Abbey and Notre Dame. It was divine!
Q: Is there any advice you might give to a new music teacher starting out?
A: Never underestimate the importance of a good policy letter!
ANITA RENFROE
Q: First, please tell us a little bit about yourself.
A: I was born in St. Vincent’s Hospital in Jacksonville. My father took my brother and I to live with my grandparents in Valdosta, Georgia when I was six weeks old. (My mother was quite ill for years and my father worked on the railroad so I was raised by my grandmother and aunts.)
Q: What made you want to start piano lessons as a child and what inspired you to make music your life-long career?
A: My grandfather was a butcher but his passion was opera. He was a fine tenor and went to Atlanta once a month to study voice with a pupil of Caruso’s. I remember sitting on his lap at the piano while he would practice his music. He died when I was in Kindergarten, but he made a lasting impression on me. My grandparents had nine children and none of them wanted to study music. I began lessons at age six and never stopped.
Q: Who was your favorite music teacher growing up, and why?
A: I had a mix of teachers in grades 1-6, but really got lucky when Dr. Webster Teague, who became Chair of the Music Dept. at Valdosta State moved to Valdosta. I studied piano, organ and theory with him from 7th grade through 12th. He was an excellent teacher, and mentor who was very active in MTNA and organized the Valdosta Chapter. He also started a junior affiliate for middle and high school students. He was always positive and ended each lesson with a smile. I had lessons three times a week (Monday, Tuesday and Thursday). Dr. Teague left the theory assignments on the board from his college classes and I would work on those, practice on the Steinway grand or listen to recordings of Wanda Landowska playing Bach until time for my lesson. Dr. Teague encouraged me to be independent not only in musical choices but also in life choices. After those years under his tutelage I felt like I could be successful in any music school.
Q: What advice would you give to help focus before a performance and curb nerves?
A: Deep breathing, relaxation techniques and gentle stretches really help me to focus. I never play the pieces I will perform from memory on the day of the performance. I play lots of scales and warmups and other things that relax me. I don’t like to chat while backstage – just focus.
When I was at FSU, I focused on a spot on the curtain across the stage; unfortunately, they replaced that curtain in between my dress rehearsal and the performance one year. I survived.
Q: What would you like to see accomplished during the next few years in JMTA?
A: Over the next two years I would like to see JMTA welcome new members from the universities here as well as newcomers to our area. We tend to lose young people after they graduate from college. We need to build a bridge there. As far as newcomers to our area, we need a way to find out about new folks. Perhaps realtors, the chamber of commerce or some other organization could assist with that.
I’d also like to see JMTA pursue grant money to support several different aspects of our organization. It takes some work, but the outcomes are worth it. If our community becomes aware of the talent in JMTA and the good things we are trying to accomplish, we may garner some matching funds from local businesses.