Master Classes

[alessio]

A master class is generally taught by a recognized performer or music educator in connection with a visit to the area for some other purpose. The insights that these individuals can offer about performance, technique, and music in general can be invaluable, because the master is teaching from long experience of making music at a professional level. Most such master classes will involve piano students of all ages, although usually the more advanced students in a given age group will perform simply because they are in the best position to learn the most. However, such classes are often so stimulating that anyone with an interest in learning to play better can benefit enormously from just sitting in the audience. For this reason, you should try to attend master classes even if you are not playing yourself. Attendance at the class is usually free, although there is often a nominal charge for those actually performing for the master.

At a typical master class, the students perform from memory the music that they have prepared. The master teacher usually listens either on stage or seated in the audience following the score (music) while the student performs. It is customary after the student performs and before the teacher begins to work that the student takes a bow. After the student performs, the master teacher will either stand by the student or be at another piano and start to work with the student, basically giving them a lesson on the music while in front of an audience. Often the master teacher will ask questions about the music, and the student should be able to verbally communicate to the teacher. The master teacher has his/her choice of things to work with the student, perhaps technical suggestions, perhaps interpretive ideas. The teacher will most certainly always have the student play certain parts of the composition again, trying to incorporate the new ideas or suggestions. The student is expected to try to the best of their ability to digest and perform the music using the new ideas or suggestions. It is urged not to argue with the master teacher; as that is courting death! In the overwhelming majority of cases, the master will be gentle in offering constructive criticism and effusive in praise, so the experience of participating in a master class is not something to be feared but eagerly anticipated. We might not always agree with the master teacher, but getting another perspective and opinion of a work of music is always worth it. It is a good idea for the student to know all the written terminology in the music, as well as the key the music is in, as well as some biographical information about the composer and his music. This way, if the master teacher should ask questions about these subjects the student is prepared to answer the questions intelligently and coherently.

It is good protocol that, after the master class is finished, the performing student shake the hand of the master teacher and verbally express thanks and appreciation for the time spent. If the class is free for participants, chances are that the organization sponsoring the class has paid the teacher's fee. In that case, it is a good idea to thank the sponsor in writing so as to encourage more such classes.

[pianisten1989]

Uhm, Sorry if I'm rude but... what's your point? Was it tell everybody what a master class is? Cause that seem a bit... odd...

[alessio]

Yes my friend, this kind of classes should be better promoted. If you have your own think about the subject, please reply.

[point of grace]

i think they are not useful by any way... only for the pianist who makes money of it. But it is not worth taking them because that person will never listen to you again, so the person teaching you doest know if you are using his piece of advice or if you adquired what he said, and also you cant check it without him... so, a master class is a non class for me.
sorry for my english, it's my 3rd language

[pianisten1989]

I like master classes. I don't think the point is to do exactly what the teacher said, but more taking them as advices and get a different view on things.

But I still don't see the point of this topic.. Why explain what a master class is, if you don't have any to offer?

[alessio]

    Please tell me a pianist who makes Master Classes for money. What kind of artists do sell them secrets for just a few tens of dollars?
    Master Classes aren't singular classes, but periodical ones. Not as in the case we talk about a private teacher, but the study is done for a certain opera in as many sessions as it takes; concerning the 'classes', they are more  an interpretative training in order to give a concerto, they help you observe the fact that you have to know the opera from outside and to understand the author's style and the artistic curent, etc. So, the routine of an usual class is avoided, from the point of view of both an usual teacher and an usual student.
    The interpretative checking of the theme is made in real time, that leaves no homework; so the pianist can easily tell if you're applying what he's teaching you, through the "reproduction"? of the fragment imposed by the teacher, work on the gentle/tender passages or the understanding of the lyrical motives and of the sound and expression shades.
    There are many others advantages, but I've talked just about the aspects observed by you.

[prongated]

i think they are not useful by any way... only for the pianist who makes money of it. But it is not worth taking them because that person will never listen to you again, so the person teaching you doest know if you are using his piece of advice or if you adquired what he said, and also you cant check it without him... so, a master class is a non class for me.
sorry for my english, it's my 3rd language

Depends who you have masterclasses with. Many simply go out there to make a show, or just to completely change the way you play. If you play even a little too fast, they'll tell you to slow down. If it's a little too slow, they'll make you play it faster. If you don't play with any rubato they'll tell you to put in some. If you play with rubato they'll tell you it's too much etc. etc. This kind of teaching is obviously corrupted and, while interesting, may not be very helpful towards the style that the student is trying to develop with his/her teacher, and will mislead the masterclass participants.

How much one can take in from a masterclass also depends on one's musical knowledge. If you don't know a lot, obviously you won't understand a lot of what is said.

I myself have had the good fortune of playing in masterclasses for some of the absolute foremost piano teachers - namely Marc Durand, Leon Fleisher, John O'Conor, and John Perry (whom I presently study with). Each has their own approach in masterclasses. Marc's dedication to teaching is unquestionable, as he will not let you leave the masterclass without being able to play the piece at least better. John Perry works with the way the students play, and where appropriate suggests ways to improve it in a musically very tasteful way - and in retrospect, ways to avoid making a piece sound "cheap". Fleisher is just about the coolest dude one can play for today - his calm and aura of wisdom is only compunded by his humility as he helps impart the student with that apparent calm and wisdom. (John O'Conor I cannot say because I've only played for him and observed once).

I personally have learned incredibly a lot from these masterclasses, and can only imagine that those who don't learn anything are simply not listening, or do not know what to listen to (i.e. needs more musical knowledge).

    Master Classes aren't singular classes, but periodical ones.

Huh??? Only if you keep coming back to that person, or if that person keeps getting invited back to your music school...

    Please tell me a pianist who makes Master Classes for money. What kind of artists do sell them secrets for just a few tens of dollars?

What makes you think they're telling the students their "secrets"? And I'm sure there are people that don't care so much about the students. I've heard stories of Kammerling taking phone calls in the middle of a masterclass for like 15 minutes - and I believe it's a woman at the other end

[pianisten1989]

uhm.. No serious master class I've attended was for free. Then, ofc, there are always crappy teachers who doesn't know how to give a propper master class...

Oh, you think about those "shared lessons" at academies and stuff? Orelse I haven't seen a masterclass with more than maximum 2 lessons.

And it's not like all concert pianists has got big secrets about their playing, and if they do, I don't think they care that much about keeping it to themself...

[gyzzzmo]

Master classes are great for some extra bucks, and alot of students improve from attending them because of new insights (most students stick to the same teacher for a long time).

[alessio]

I personally have learned incredibly a lot from these masterclasses, and can only imagine that those who don't learn anything are simply not listening, or do not know what to listen to (i.e. needs more musical knowledge).

Thank you for sharing from your experience in master classes.

[alessio]

       Master Classes aren't singular classes, but periodical ones.

    "<= Only if you keep coming back to that person, or if that person keeps getting invited back to your music school..." (prongated)

     vs.

    "I haven't seen a masterclass with more than maximum 2 lessons." (pianisten1989)

     vs.

    "Most students stick to the same teacher for a long time." (gyzzzmo)

<Any common points of view?... Debates?>

[gyzzzmo]

You want us to debate or something, but for a debate you have to make some point where we can (dis)agree on. So, whats your point?

[alessio]

You want us to debate or something, but for a debate you have to make some point where we can (dis)agree on. So, whats your point?

    There is only one answer, and my question is simple; The critical spirit is good anytime, but in a debate you need vision and some experience to organize and build ideas, not to wait constantly for other opinions and crack them by ear. That's why, my point of view will remain unposted, for the moment. If you only have questions, don't reply answers. Take it friendly.

[gyzzzmo]

   There is only one answer, and my question is simple; The critical spirit is good anytime, but in a debate you need vision and some experience to organize and build ideas, not to wait constantly for other opinions and crack them by ear.

That is not a question, nor something to debate about.

[pianisten1989]

It's no use to debate if there's only one answer...

Anyhow, a master class can be very helpful. Though, many students (myself aswell, until only a few month ago) do the mistake to sight up for master classes, go and have the lesseon with the teacher, and then go practicing. One learn so much more just to look at the rest of the class, instead of practicing 14 hours on what the teacher said. Since you most of the times only get 1 hour, the teacher can't reveal all of his/her useful advices. But with 10 students, the teacher has loads of time to say many very useful things more than once.

[alessio]

That is not a question, nor something to debate about.

   "<= Only if you keep coming back to that person, or if that person keeps getting invited back to your music school..." (prongated)

     vs.

    "I haven't seen a masterclass with more than maximum 2 lessons." (pianisten1989)

     vs.

    "Most students stick to the same teacher for a long time." (gyzzzmo)

<Any common points of view?... Debates?>

    <=This is the question<=. Be watchful. Ok, especially for you: What do you know about Master Classes settle structure?

[pianisten1989]

ehh.. I just said that....

[alessio]

A master class can be very helpful. Though, many students (myself aswell, until only a few month ago) do the mistake to sight up for master classes, go and have the lesseon with the teacher, and then go practicing. One learn so much more just to look at the rest of the class, instead of practicing 14 hours on what the teacher said. Since you most of the times only get 1 hour, the teacher can't reveal all of his/her useful advices. But with 10 students, the teacher has loads of time to say many very useful things more than once.

   
    Nice answer, I love examples.
    About 'one answer', ok, it's a little bit forced.

ehh.. I just said that....

   Don't worry. My previous reply was not for you...   so, stay cool.
    Greetings.
    Anyone sharing more?
    

[prongated]

    "<= Only if you keep coming back to that person, or if that person keeps getting invited back to your music school..." (prongated)

     vs.

    "I haven't seen a masterclass with more than maximum 2 lessons." (pianisten1989)

     vs.

    "Most students stick to the same teacher for a long time." (gyzzzmo)

<Any common points of view?... Debates?>

...I noticed that vocal masterclasses do have quite a few students slotted in a 3-hour period...but piano masterclasses are indeed usually limited to 3 students per up to 3-hour sessions. 2 students are the most common scenario. And alessio, distinguish between regular lessons (which was what gyzzzmo was talking about specifically in that quote above) and masterclasses.

[alessio]

[...]Distinguish between regular lessons (which was what gyzzzmo was talking about specifically in that quote above) and masterclasses.

   
    Good point. It's easy to see that. I tryed to emphasize that Master Classes are completly different  from regular lessons. For example, you can have a personal teacher but with Master Classes you can avoid to remain "stick with the same teacher". Here, the advantege is that you can acces new approaches of technique, performance or practising (higher or not) then in a regular class. Maybe it's about 'levels' of performance and I know you are in theme with it.

[jinfiesto]

I love master classes. I think it's a great way to get interesting insight on other pieces that might be in your range.

Also, if you don't suck, it's a good way to cultivate relationships with pianists of the highest caliber. Because of some unique master class opportunities, I keep fairly regular correspondence with a couple of really fine pianists. Mostly Jon Nakamatsu and occasionally Daniel Pollack.

Also, Daniel Pollack was one of my teacher's teacher, so that kind of helps...

Also a good way to meet other really good students and teachers, especially at masterclasses by famous pianists.

[alessio]

    It's a good way to cultivate relationships with pianists of the highest caliber. Because of some unique master class opportunities, I keep fairly regular correspondence with a couple of really fine pianists. Mostly Jon Nakamatsu and occasionally Daniel Pollack.
    Daniel Pollack was one of my teacher's teacher, so that kind of helps...
    Also a good way to meet other really good students and teachers, especially at masterclasses by famous pianists.

Barenboim discusses with Lang Lang: