What can a musician learn from a mime’s art and training? We were speaking the other day with Valérie Aimard, cellist with Cello Kids and learned that some 15 years ago, she’d taken up another discipline: Mime. As she said

The Complete Pianist is exactly that: a comprehensive, generous guide to playing and teaching the piano, and one of the most significant volumes on piano technique to appear in recent decades, written by renowned pedagogue and British concert pianist Penelope

We recently explored how to learn to read the notes of a piece of music. But that’s only half the battle! We can’t read music until we learn the rhythms too. Counting involves mathematics…not always everyone’s favorite subject. As a

Joseph Bologne, Chevalier de Saint-Georges (1748-1799) was the darling of French Society, and he was one of the most accomplished men of his age. Born in St. Dominique—now Haiti—to a wealthy plantation owner and his black Senegalese slave Nanon, “said

If you’re a cellist, and particularly if you’re early in your cello education, the thing you need most is an example. Actually seeing how a cellist plays the instrument, how she moves her bow, and what her fingers do is

I am not always convinced about soundtracks. On the one hand, I regret music being composed, recorded and produced for the sole purpose of being an accompanying sound to a busy image. On the other hand, when developed rightly there

I started the piano when I was five. My parents, both musicians, sensed I had talent because after my mother taught a piano lesson I would pick out the tunes with my pudgy little hands. But my first lessons were

They sit in rows, earphones on, doll in hand, and hand poised. A sound emerges, as much like singing as you can imagine. It’s a matryomin ensemble. Invented in 2003 by Japanese theremin player Masami Takeuchi, the matryomin combines two