Kathleen W  

5

  5.0 (2)

Instruments: Piano, Keyboard
Styles: Classical, Jazz, Pop, Rock, Blues, R&B, Electronic, New Age, Soul, Avant-garde

My teaching began at Music Makers of Western Springs, IL, whereupon I started tutoring young students before any graduate pedagogy studies.  I went by an intuitive understanding of that which I knew on the piano, emulating my former teacher's inimitable style.  It turned out that this experience was invaluable and taught me more than I could learn in a didactic setting, as it was experiencial and hands-on.  I applied this understanding in later years, having taught at two notable music conservatories, and at the University of Minnesota-Duluth, where I began as a Teaching Specialist for Preparatory students.  The success there was deemed 'exemplary' by the Chair, which advanced me to teaching collegiate students, all of them passing their respective Jury Exams with highest marks.  Many students went on as Music Majors and piano instructors in the field.  At the University and elsewhere, I've implemented multimedia programs involving electronic music, painting and the sysaesthetic arts. These were exhibited in Recitals at both the Tweed Museum of Art at the University, and the Marshall Performing Arts Center with strong reception. I've been told that my rapport with students is a very good and effective one, as I tend to be patient while instilling the importance of discipline.  I set forth this approach in much broader terms in my book, PlayWright! Piano, A Fun and Effective Beginning for the Young Child.  The book encapsulates the nuances I've come to employ under my studies with Dr. Wilhelmina Pouget. I love to work with students of all ages, especially those motivated to learn, whether it be in a classical genre or jazz improvisation. With that said, it seems that it is always the beginner I enjoy working with the most.  Welcome, all!    ~  Kathleen Wright

For the beginner, I am open to method books, however, one can't rest on the guidance they provide. For note reading, nuance of sound, rhythm and timing, method books are good. Yet, technique is so very important and cannot come simply from a method book. To boost the technique, I refer often to Hanon and Czerny studies, as they are very important to establishing a fine technique.  Each student, however,  is individual and learns at his or her own pace;  this is a determining factor when selecting method books.  For some more visual learners, The Music Tree is a very effective method.  I  feel the most important thing the teacher can do is to instill and effective technique, an appreciation for subtlety of phrasing, dynamics and interpretation. If this isn't done, and only an emphasis on reading occurs, the students is often left with a stiff hand and a subsequent poor ability to play well. In short, technique on the piano is very important, especially if the goal is for the student to play accurately, smoothly and expressively. This combination is the mark of a fine artist at the piano.