Writing
Vignettes from a life lived in music:
Throwing Simultaneity to the Wind: Arpeggiation and Passive Release
The other night I performed in a concert at the Episcopal Cathedral in Louisville. They had acquired a ‘new’ harpsichord (a 1977 by David Sutherland) which was ... READ MORE
The Fingers Are the Last to Know – Hand Position Shifts, Rotation, and Borrowing from the Taubman Method
When I had birthed a child, my joints and ligaments had needed to alter themselves, becoming loose and flexible to make room for his passage into the ... READ MORE
Stepping into the Big Stately Pulse
Much of the thought, and sentiment, around which I have built my experience at the harpsichord flows out of the imagination of my teacher at the University of ... READ MORE
Singing in Your Head, Words Flowing from Your Hands
I had always sung, and words had always registered deeply with me. And it wasn’t just the songs that had been composed with words from the start, it was songs ... READ MORE
Scarlatti Sonatas – Channeling the Opera Composer Within
There are 555 sonatas for the harpsichord by Domenico Scarlatti. By my calculations, in my decade of teaching at CCM, I’ve taught around 180 harpsichord ... READ MORE
Finding the Space Between: A Decade of Unlikely Learning Through Harpsichord Teaching
For 10 years, I’ve been traveling back and forth between my home in Boston and the College-Conservatory of Music in Cincinnati in order to teach now hundreds of ... READ MORE
Detaching from Expertise
One of the odd benefits of having a really bad memory for terminology, dates, systems, and historical relationships is that I automatically stop expecting myself ... READ MORE
Breathing Memory: The Harpsichord and the Accordion
Until I was 19 and studying continuo at the University of Michigan, I had never improvised, in fact I had never played anything by ear. My father, who was the ... READ MORE
Articulation – A Good Place to Be From
When I was working on my doctorate, I was given an allowance for some lessons with whomever. I had developed some physical problems in my playing and had ... READ MORE
Vignettes from a life lived in music:
Throwing Simultaneity to the Wind: Arpeggiation and Passive Release
The other night I performed in a concert at the Episcopal Cathedral in Louisville. They had acquired a ‘new’ harpsichord (a 1977 by David Sutherland) which was ... READ MORE
The Fingers Are the Last to Know – Hand Position Shifts, Rotation, and Borrowing from the Taubman Method
When I had birthed a child, my joints and ligaments had needed to alter themselves, becoming loose and flexible to make room for his passage into the ... READ MORE
Stepping into the Big Stately Pulse
Much of the thought, and sentiment, around which I have built my experience at the harpsichord flows out of the imagination of my teacher at the University of ... READ MORE
Singing in Your Head, Words Flowing from Your Hands
I had always sung, and words had always registered deeply with me. And it wasn’t just the songs that had been composed with words from the start, it was songs ... READ MORE
Scarlatti Sonatas – Channeling the Opera Composer Within
There are 555 sonatas for the harpsichord by Domenico Scarlatti. By my calculations, in my decade of teaching at CCM, I’ve taught around 180 harpsichord ... READ MORE
Finding the Space Between: A Decade of Unlikely Learning Through Harpsichord Teaching
For 10 years, I’ve been traveling back and forth between my home in Boston and the College-Conservatory of Music in Cincinnati in order to teach now hundreds of ... READ MORE
Detaching from Expertise
One of the odd benefits of having a really bad memory for terminology, dates, systems, and historical relationships is that I automatically stop expecting myself ... READ MORE
Breathing Memory: The Harpsichord and the Accordion
Until I was 19 and studying continuo at the University of Michigan, I had never improvised, in fact I had never played anything by ear. My father, who was the ... READ MORE
Articulation – A Good Place to Be From
When I was working on my doctorate, I was given an allowance for some lessons with whomever. I had developed some physical problems in my playing and had ... READ MORE