Elizabeth's piano has been loved by three generations of women
Teaching
Elizabeth Alexander has a private composition and piano lesson studio in St. Paul's LexHam neighborhood. There are currently no more openings for Fall 2011, but please call with questions, to arrange for a complimentary "get to know you" lesson, or to have your name added to Elizabeth's waiting list.
Bachelor of Music in Composition, The College of Wooster
Masters and Doctorate in Composition, Cornell University
Principal Teachers:
Steven Stucky, Karel Husa, Yehudi Wyner, Jack Gallagher
Teaching Experience:
Over a dozen Composer Residencies in schools and arts programs in Minnesota, Wisconsin, New York, Connecticut, New Jersey and Maine
4 years - Music Theory Teaching Assistant (Cornell University, The College of Wooster)
6 years - Private Composition Lessons in Madison, WI and St Paul, MN
Can you really teach someone to compose music?
Like all lessons, composition lessons are really about nurturing ideas and focusing creativity. I've found that composers never have a shortage of ideas — but aren't always sure what to do next. Often, direction is found through both analysis and intuition, using the skills of both the brain and heart.
How old should a student be to take composition lessons?
Most students who take composition lessons are teens or adults, although I've had some rather successful middle school students — one is now a professional jazz pianist, and another makes a living as a computer programmer and writes music for his band on the side.
That said, I believe it's never too early to start inventing music! All of my piano students improvise and compose (even the beginners!), as part of learning basic musicianship. For more about my piano teaching philosophy, see Piano Lessons
What specific composition skills do you teach?
What we cover in a given composition lesson depends on the student and the individual project, and can be wide ranging. Likely suspects include:
Form (This means breaking music down into small units — gestures, phrases and sections — and seeing how the parts relate to the whole.)
Analysis (This means looking quite closely at what makes a piece of music cohesive and compelling.)
Instrumentation (What properties and idiosyncracies do individual instruments have?)
Orchestration (How does it work when multiple instruments play together?)
Text Setting (How do music and words fit together? How can music reflect or comment on the text?)
Purely Practical Questions: (Preparing musical scores, letting people know about your music, finding performers, "business" aspects of music, etc.)
What musical styles do you teach?
When I compose my own music, I draw from many different musical styles, creating a musical language which suits each individual piece. I see my job as helping students clarify what sound they're after — the type of energy, the underlying story, the "big picture" — and what they need to do to make that sound happen.
There are some aspects of music composition that I don't have expertise in — such as electronic music and film music. In those cases, I do my best to help students find local resources that can better serve them.
How extensive a musical background do composition students need to have?
It's good to have some basic knowledge of music theory, performance on an instrument, and familiarity with the piano keyboard. But it certainly isn't necessary to know everything about music in order to compose music! (If it were, I wouldn't be able to write music, myself!)
The important thing is not to have one's expressiveness limited by a lack of knowledge and facility. So whenever it becomes clear that a student needs more expertise in a particular area, we endeavor to fill in those gaps. As with all builders, the more tools we have in our toolboxes, the better prepared we'll be to create a wide variety of things!
Do you find performance opportunities for your students' compositions?
Sometimes composers write with specific performers in mind; other times, they compose the music first and then look for a way to hear it performed. I work with students to figure out the best way to have their music performed, and I've had pretty good luck steering them towards appropriate performers and opportunities. My students have had their music performed by concert band, choirs, chamber ensembles, and professional singers, as well as by the new music ensemble, Zeitgeist. This is one of the most fun parts of my job!
Piano Lessons(Including Theory, Improvisation and Composition)
Education:
Bachelors of Music in Piano, The College of Wooster
Minor in Piano on the Masters Level, Cornell University
Principal Teachers:
Classical: Daniel Winter, Malcolm Bilson (piano and fortepiano), George Barth (fortepiano)
Jazz Piano: Molly MacMillan
Teaching Experience:
10 years - Private Piano Lessons in Madison, WI and Ithaca, NY
Do you use a particular piano method or curriculum, like Suzuki or Bastien?
I'll occasionally find a piano pedagogy book which works well in a particular circumstance, but I generally tailor each student's repertoire to his/her own needs and personality. There is such a wealth of piano repertoire to choose from that there is no reason for all of my students to play the same pieces!
My primary focus is on classical music, including music by contemporary composers. Some students also enjoy working on high-quality arrangements of traditional songs, ragtime and jazz, which can compliment this classical repertoire. While I often give students choices between two or three pieces of music, I generally don't teach popular music which students bring into their lessons. I see my job as giving students the skills they need to learn a wide variety of music, both in the studio and at home.
How much music theory do your piano students have to learn?
People often grimace when they hear the word "music theory," and for good reason. Out of context, music theory can be pretty dry. But for me, as a composer, music theory is not boring at all, because it's not theoretical! Music theory is what makes music tick, and I use it in a hands-on way every day to create new music!
Yes, I do include some formal "nuts and bolts" music theory, but my main focus is the "real world" application of theory. When learning a new scale, students might compose small pieces using that scale. When learning about the structure of phrases, students might write their own melodies having that phrase structure.
Why do you include improvisation and composition with your piano lessons? What does that have to do with learning to play the piano?
I can't imagine teaching piano lessons without also teaching improvisation and composition. To me, that would be like teaching language arts, but omitting creative writing!
Improvisation and composition reinforce everything else students are learning about music, helping them understand their basic repertoire more deeply, and play more expressively. In a world obsessed with "not making any mistakes" and "playing all the right notes," this creative act can bring more joy and freedom into making music, an activity which is all too often full of fear and stress.
When do your piano students start improvising and composing?
My students improvise from the first lesson, using whatever musical tools they're currently learning — even if that's just one note! Any time they write that music down, that "improvised idea" becomes a "composed idea." From the start, they are not limited to "re-creating" music that someone else wrote; they are empowered to become creators themselves.
Are you saying that all musicians can improvise and compose?
Yes.
What about jazz improvisation?
Jazz improvisation is one specific type of improvisation, with its own guidelines and conventions. Some of the improvisation that I introduce to my piano students is rooted in jazz, but by no means all. After receiving a strong foundation in classical piano and harmony, some students might want to study specific jazz improvisation styles, which I'm glad to teach.
What about recitals and performance opportunities?
Part of the joy of making music is sharing it. I generally have two recitals each year, at which students share the music about which they're most excited. The emphasis at these events is on communication. Students introduce their pieces to the audience, sharing why they chose to play each piece and what the audience might want to listen for. Some students may also choose to play original compositions! While I do encourage memorization because of the freedom and independence it can offer, students may either play from memory or with music.
Miscellaneous — Check-ins and Choices:
Parents of young students should plan on stopping in during the first lesson of the month, both to pay for lessons and to have an informal "check-in." These check-ins are perfect times to touch base about the challenges and successes of the past month, plan future goals, and share any concerns.
If a student decides to discontinue lessons, it's easiest on everyone if it's not a surprise. Please let me know if interest seems to be waning; I know some approaches which can sometimes help students (and parents) decide whether it's best to continue piano lessons.
All Piano Students (and some Composition Students) register for lessons by the semester, with payments made at the beginning of each month.
Some Composition Students may find that occasional lessons better suit their needs. Occasional lessons are scheduled on a case-by-case basis, at a higher rate per lesson.
Beginning in September 2010, there will be a $25 registration/recital fee, which helps cover the costs of recitals.
My Very Cool Policy about Missed Lessons:
1) Students pay for all missed lessons, no matter what the reason — illness, weather, schedule conflicts, etc. — with no need to give me an excuse. I don't reschedule make-up lessons for these absences unless there is a specific need, such as an upcoming recital or competition. I do ask that students give as much notice as possible about lessons they won't be able to attend.
2) (Here's the very cool part!) The final lesson week of the year is an absolutely free "make-up week," during which students receive their lessons free of charge. If you've missed a lesson earlier in the year, for any reason, this is when you'll receive your make-up lesson. If you've had perfect attendance, congratulations: the lesson's on me!
3) I have found this Missed Lesson Policy to be good for everyone! There is never any concern over whether an absence is "excused" or "unexcused." In addition, each month's payment amount is consistant and predictable, which helps both the students and the teacher.
