Artistry at the Piano
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What the press writes about Artistry at the Piano
“Artisry at the Piano is the most important contribution to music pedagogy since 1950.”
~ Florida Music Director

“Success with Artistry at the Piano will guarantee success with the piano literature.”
~ Piano and Keyboard

“Artistry at the Piano is beautifully organized with unusual attention to details and the development of musicianship…very informative…constantly varied and refreshing.”
~ Clavier

“The thinking behind these books is first rate and the music quality high.”
~ Piano Quarterly

“From the first, students should experience music with characteristics from different stylistic periods. The Georges’ Artistry at the Piano series presents all styles. I cannot imagine teaching style without these books.”
~ Dr. Max Camp
What teachers say about Artistry at the Piano
“After having taught from Artistry at the Piano, I find it hard to think of teaching from anything else as it stands head and shoulders above any series I have ever encountered—and I do have a very avid interest in elementary piano methodology.”
~ Greta Hansen-Carballo, Alberta, Canada

“I am a devoted fan of Mary Gae and Jon George’s Artistry materials. With many years experience as a private teacher and a pedagogy teacher at several universities I feel strongly about the timeless and intrinsic value of this music. It is reassuring to have the course in the hands of Artistry Press International, for they keep the books in print at all times.”
~ Dr. Dianne Garvin

“Artistry at the Piano has revolutionized my piano teaching. Jon and Mary Gae have elevated elementary and intermediate piano teaching to a new plane, enabling students to realize dramatic results in a much shorter time than ever thought possible. Introduction to Music is the key to unleashing the student’s future musical growth. It gives the student the necessary music reading skills up front that enable him or her to focus full attention on music and artistry thereafter. If you ever teach this amazing course, you will never go back to your old ways again!”
~ Kevin M. Coan

“I have begun my new student in the Introduction to Music and have been looking at your DVD, [Teaching] Music not Notes. I am challenged by it in lots of very, very good ways. It will change my teaching astronomically for the better. Thank you so much.”
~ Colleen Katsuki

“Mary Gae, your sensitivity to the nuances of piano teaching is prodigious, and your generosity in sharing seems to know no limits.”
~ Linda Harrison

“I’ ve been conflicted about how to teach rotation, but your free online video gave me some great ideas. I love the flicking idea because freedom in execution is a worthy goal indeed.”
~ Annie Hudnut

“Mary Gae’s download Pedagogy Guide is a gold mine! I wish I had something like this Introduction to Music, Part III, when I started out! Even now I am finding and using many excellent ways to improve my teaching.”
~ Karen Foster
“Teaching Artistry for the first time,” by Valerie Tedrow

I unreservedly endorse Mary Gae George’s 2-DVD set “Teaching MUSICnot Notes!” In preparation for teaching my first student in Artistry at the Piano I watched the DVDs very carefully while working my way through “Introduction to Music.” My experience was enhanced by having the Introduction book before me, working in it along with the DVDs.

Mary Gae has made this impressive amount and variety of activities so discoverable and attainable that I have never witnessed such understanding by a beginning student. To achieve this level of knowledge and skill, most beginning students using standard method books would require an extensive period of study. My student and I accomplished it in a matter of weeks.

I want to emphasize the value of first working through the “Introduction to Music” and the DVDs. I’ve never experienced such joy at the achievement of a beginning student, and I’ve never seen a beginning student accomplish this much so soon and so well.

“What I Think Makes Artistry at the Piano Fantastic,” by Kevin Coan
  1. Students begin with rhythm and incorporate rhythmic skills into everything else they do. Hence, they learn to perform rhythmically and musically from the very beginning.
  2. Students begin by learning all the reading skills they will ever need in the beginning of the course. As a result, the remainder of the course does not have to focus on reading skills, but rather on music and artistry development.
  3. Students make incredible progress in this course due to the skills developed in the beginning. Students using this course will be prepared in every way to play the works of the master composers sooner and better than students using any other method.
  4. Students learn to play in the styles of the master composers from the very beginning. They do not have to wade through years of childish music until they get to experience “real music.”
  5. Students will learn a sizable amount of music theory through an approach that streamlines the time needed to develop a mastery of these subjects. The topics are studied in their complete form each time they are presented. This is in contrast to other approaches that present bits and pieces spread out over long periods of time.
  6. Students will receive an effective program of technical development that enables them to perform all music confidently and proficiently.
  7. Students will always be properly prepared for every task they are asked to do, and will therefore be successful in performing each task.
  8. Students will always perform exciting music that rewards the efforts they put forth to learn it.
  9. Students will be ready to perform any music the teacher chooses, because the pedagogy enables it rather than hindering it.
  10. Students will learn to play musically and artistically sooner than with any other method. The focus of the entire course is on music, not just on reading notes.
Kevin M. Coan teaches in Vernon, Connecticut
He is also a trusted advisor on the Yahoo Piano-Teachers Forum

“Jon George got into the heart and soul of Bach, Beethoven, Chopin, Brahms, and Debussy when writing the literature for the course. As a result, one would never guess that these pieces are from a piano course and written by one composer. Teachers of elementary students who want to develop excellence in the masterworks can find no better path to follow than Artistry at the Piano.

“Furthermore, Artistry teachers find that their students can easily learn accompaniments for school, church, and to play with their friends without needing to take any lesson time to accomplish these important uses of their musical abilities. This is equally true of music in the popular idioms that students may want to play for their friends. These independent and versatile projects are exactly what music education should provide; Artistry students have the reading, listening, technical, and interpretive skills to play all kinds of music. They also have a trained ear that can seek out the best of what is available.”

“Other Points of Importance,” by Louise Kienast

“I would feel such a tremendous loss if I did not have daily encounters with Artistry at the Piano. Our nation is suffering from a lack of powerful spokesmen in the arts who speak directly to our young citizens, leaders like Leonard Bernstein and Aaron Copland who were nationally recognized and valued. During the time when I was growing up, President John F. Kennedy did support the arts from the White House. As a nation, we not only heard the music of the classical composers, but we were invited to explore this music. Remember when we were treated to the Young People’s Concerts conducted and vividly explored as only Leonard Bernstein could? Today, there is much available to us, but we must search for it, often alone. I am certainly not saying that art music isn’t there to be found, but as a nation, we have more often been led down the wrong path by those who only want to make a profit and who do not care at all what the end results are. The depth of the discussion in all of the Artistry materials, especially in introducing each piece in all of the Ensemble and Repertoire books, provides this same level of exploration I experienced while listening to the Young People's Concerts. I have not found any materials that consistently provide this kind of approach in guiding the student towards artistry from beginning to end.”