Keyboard Technique: Deep Dive with Scarlette Kerr and Celeste Watson Part 1

After a summer off, we're back with a technical development deep dive. This episode, part 1 of 3, features a discussion centered around piano pedagogy, injury-preventative techniques, and Music Learning Theory (MLT). Hannah and Krista were delighted to speak with piano educators Scarlette Kerr and Celeste Watson, who share insights from their experiences and training in the Gordon Institute of Music Learning (GIML) and the Lister-Sink Injury Preventative Keyboard Technique program.


Scarlette's Webinars
The Embodiment of Rhythmic Audiation at the Piano
Technique and Young Beginners : Development of motor skills and application to Keyboard Games
The Technique Checklist: Sequencing Tips to Monitor and Guide Student Technical Development

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Introduction to Audiation-based Piano Instruction and Music Moves for Piano

Ready to learn more about audiation-based piano instruction and Music Moves for Piano? Visit Music Learning Academy for online courses, webinars, and resources.

Want to dive into audiation-based piano instruction? Check out Music Moves for Piano by Marilyn Lowe.

Transcript

Krista Jadro: [00:00:00] Hello, everyone. 

Hannah Mayo: Krista and Hannah here with a brief message before we start the episode. 

Krista Jadro: We are on the third season of Keys to Music Learning, and we have loved every second. Talking about audition based piano instruction is a passion of ours, if you couldn't tell, and we thank you for listening and keeping us going.

Hannah Mayo: We recently launched the Keys to Music Learning Community. Similar to Patreon, this is a way to support the podcast and access bonuses, such as opportunities to attend podcast recordings and monthly meetings so you can pick our brains with your questions, share your successes, and connect with other teachers.

Krista Jadro: Become a silent partner for only $3 a month or, to access the bonuses, a friend of the podcast for $5 a month. Join today at musiclearningacademy.com/keystomusiclearningcommunity. The link will be in our show notes. 

Hannah Mayo: Thank you all for listening and enjoy the podcast.[00:01:00] 

Krista Jadro: Welcome to Keys to Music Learning. I'm Krista Jadro of Music Learning Academy. 

Hannah Mayo: And I'm Hannah Mayo of Mayo Piano. 

Krista Jadro: Join us as we discuss common goals and challenges in the piano studio and offer research-based ideas and solutions to guide every one of your students to reach their full musical potential with audiation.

Hannah Mayo: If you are a regular listener of our podcast, you may remember our chat last season with Music Learning Academy team member Scarlette Kerr, and today we are delighted to have Scarlette here again, plus another wonderful person in our community, Celeste Watson. Scarlette and Celeste are both Gordon Institute members, and they have recently completed levels one and two these [00:02:00] last couple of years of the Piano Professional Development courses offered by GIML, and they are both graduates of Salem College's Injury Preventative Keyboard Technique program.

I hope I'm saying all that right. under the direction of Dr. Barbara Lister-Sink. And we are going to ask you lots of questions about all of those things. So welcome to Scarlette and Celeste. Thanks for having us. We're excited to be here. 

Celeste Watson: Yeah, it's great to be on. 

Thanks. 

Hannah Mayo: So we know a lot about Scarlette.

Celeste, could you give us your elevator speech about who you are, where you come from, and a little bit about your background in teaching piano? 

Celeste Watson: Yeah, I grew up in central Kansas, and I was a piano kid. I grew up playing and really enjoying it. And started teaching when I was somewhere around [00:03:00] 16. 

 Some church kids came into my studio and I still remember I was teaching for like $8 an hour back then, had no idea what I was doing, just sort of turned the page on the next page in the method book and didn't know what I was doing. About that time I started experiencing a playing related injury that really affected my ability to practice.

And it affected a lot of things with my college choice as well, because the injury was pretty extensive. And because I knew I couldn't fulfill a practice requirement, I didn't do an undergrad in music. And there was a gap of about 10 years where I taught on and off and worked outside of the music field, and then eventually moved to North Carolina and retrained with Dr. Lister-Sink. And at that point, I felt so much more confident to start teaching again, and started building a studio full time at that point. And then it was probably two or three years after that, that I bumped into MLT through Scarlette Kerr, actually. I had [00:04:00] realized that for my students, there was too much multitasking going on in the studio, asking them to learn to read, and use their body well, and play with artistry and musicianship.

It was too much all at one time, and I was looking for a way to separate those three components of being a pianist. And I was looking into, I did some Kodaly work, I did some adaptation of that and tried to figure out ways I could adapt that to the keyboard. And we went through this, you know, 18 month season where we just basically sang Kodaly songs and played them on the piano and harmonized them with chord roots.

And then eventually, took some MLT training and started using Music Moves, and I have a studio here in Winston Salem. We just really love teaching, and we're growing. We're really excited about that, and we have expanded to, along with Scarlette, adding in a Friday Musicianship, Aural Skills, and Choir component in addition to our weekly private lessons.

So, it's just been [00:05:00] a really exciting journey, and this teaching is so fulfilling and I love the students so much. 

Krista Jadro: I don't even know where to start, Hannah, with which questions to ask. So, Celeste, maybe you can tell us a little bit about you're studying with Barbara Lister-Sink, because I know that's a really important part of what you're doing, too.

Even though you're using the Music Moves for Piano curriculum, you're bringing a lot of that into your teaching. 

Celeste Watson: For someone who came to the retraining process as a musician who was injured, I think that is a very different experience than a child or a beginner who's trained up with well coordinated technique from the very beginning.

For me, that was a very wonderful process of retraining, but it was also a huge time of self reflection and just looking at every single part of myself as a musician and how I use my body in relationship to the keyboard. I think it was an incredibly rewarding experience. It was also an incredibly challenging [00:06:00] experience, but it was wonderful.

We, the first thing you do in the Lister-Sink intensive during the summer is developing kinesthetic awareness. Those are the three sort of hallmarks of the Lister-Sink method. Kinesthetic awareness, efficient muscle use, And now I don't remember the third one. Do you remember Scarlette? I can't remember the third one.

Scarlette Kerr: It'll come to me in the middle of the episode. I'll just blurt it out out of context. 

Celeste Watson: It was, it really helped me understand biomechanically what is going on in my body. How do the joints work? How do they relate to each other? And how can I have confidence in my technical decisions as a physical person. I think there's so much technique advice floating around in the musical world, and I was like, how do I determine what's right for me versus what's right for all these other people with different bodies than mine? And also, what is biomechanically based? and what is maybe less biomechanically based.

And I really wanted something that was [00:07:00] very based in the science of how the body works and the science of how the body moves. So it's a very rewarding experience, and it has continued to be something I really love to teach. 

Hannah Mayo: So my follow up question after that introduction is about your class, which I definitely want to come back to, please and thank you. But let's, let's keep diving in here to the Lister-Sink program and the injury preventative aspect of your teaching. And then let's come back to this class that sounds very exciting on Fridays. How did you become interested in using this approach for young beginners? And is it a little bit different than what you learned as adults?

Scarlette Kerr: I guess I can answer that first. So I'll never forget this studio class I had in my undergraduate degree with my piano professor, where she was talking about a pre college teacher coming up to her and saying, I am so happy that you college professors just have to deal with all the [00:08:00] problems that us pre college teachers don't have to deal with, like injuries or like good healthy habits.

And it didn't come out that way, but to me, essentially, it was like pre college teachers don't necessarily have the tools or understanding of how to teach kids how to use their bodies to play the piano. And that's not necessarily something that's really natural to us as teachers. We think about the music, we think about playing the notes.

We don't think about how we're using our playing apparatus healthfully. And so from then on, I was just really passionate about making sure that my students, present and future, would be able to play with a healthful technique that would suit them for the rest of their life, not just for a short period of time until they were in pain and couldn't play anymore.

And I've come across so many transfer students from other studios, both before grad school, post grad school, that would have wrist problems, that they would just have so much tension in their bodies, and they harbored so much anxiety. And I feel like if you're able to tackle that from the very beginning, [00:09:00] these students would be much more confident musicians.

They can be more creative, they would have this freedom that I felt like I had to discover a little bit longer. Because my teachers, as great as they were, didn't necessarily have that knowledge. So, I went to Salem hoping to not only improve myself, like my playing and my body movements at the piano, but also to have some type of knowledge that I can take away and use with children.

Celeste Watson: I think that old phrase about an ounce of prevention is worth a pound of cure is so true with technique, because oftentimes when we come to the instrument as children, the instrument isn't of an appropriate size to be matched well with a young child's body. And so the young child is compensating constantly, physically, for being on an instrument that is not a good size for them. I mean, you think about a young child in Suzuki violin, they play very tiny violins that are built for their [00:10:00] physiology. And then as they grow physically, their instrument grows and we don't have readily available solutions of that type for us as pianists. I mean, that's becoming a little bit more common, but it's still a real challenge culturally to get those accepted.

And so, every physical object the young student interacts with in the piano studio is not the right size for their body. And And so, in some sense, all of the technique work we do as adults is trying to fix those malcoordinations that were practiced in childhood, because nothing is the right size for your body.

Our good friend, Bethany Cothern, who did also the PDLC with us, she says the environment is the technique, for the young child, and that is so, so true. And I think Music Moves parallels a lot of things about teaching good technique that we see in the Lister-Sink method, because they both emphasize doing one thing at a time, and then the sequential [00:11:00] building of one thing on top of another thing, on top of another thing, so that we're not trying to do multiple new things at the same time.

And I just ran into that so much in my teaching, that the students would be overwhelmed and start shutting down. If we were really working for total mastery of all of these things, single things, simultaneously, it was better to work for mastery individually and then braid them together. And I think that's what Music Moves and the Lister-Sink Method share so much in common philosophically.

Hannah Mayo: Yeah, this is bringing me to another thought about technique and how, Scarlette, when you talk about the teachers who might not have the tools. I relate so much to that because for as wonderful as many of my teachers were, I did not get into the, the real how to, the mechanics of technique until I got to college and studied with an expert.

And [00:12:00] a lot of times I think teachers, when they hear technique, they just think, Oh, we're playing scales and arpeggios. We're learning our scales and arpeggios. And that is one tiny little sliver in the technique pie is like, yes, you have to learn your keyboard skills, but it's also about how are you actually physically approaching those keyboard skills and how do we get to the place where we can play octave scales and octave arpeggios.

And then to Celeste, what you said, I just want to provide like a concrete example of what you're talking about with the sequential step by step, one thing at a time. If you think about Music Moves and Keyboard Games, you're starting with the soft fist or the bear paw as it's sometimes referred to.

And then you're working with the middle finger for a long time and balancing the hand and learning to use the arm appropriately. And then you start to add fingers from the center of the hand outwardly to the pinky and the thumb. So yeah, I just wanted to [00:13:00] sort of highlight a concrete example about what you're talking about. All excellent points. 

Krista Jadro: And take us into your lessons. Maybe for a young beginner, what might look differently in your lesson with this approach than maybe a traditional lesson or maybe with what you were doing before? 

Celeste Watson: Yeah, so it changes a little bit based on, you know, from student to student. I'm thinking of a group class I'm teaching now that has some four year olds in it, so we'll maybe just start there because I feel like the little, the younger they are, the more complicated it is and the more sequential it is and the more you have to go back to things that are even more essential.

So usually we'll start out with singing a hello song and then I go straight into maybe two minutes of technique, and that just looks like joint awareness. You know, can you move like me? Shoulder movement. You can't see me. Can you move like me? [00:14:00] Elbow movement. Just copying and then later naming the joints, the four, five, and six year olds, they don't know how to move from the elbow. That's not a skill that they've developed. And so we just spend the first two minutes of class just moving and exploring and doing joint exploration and then giving labels to those different joints. And later on, the kids take turns. You know, maybe one of the older kids leads and the younger ones mirror them.

And then we go into a Keyboard Games lesson plan. And usually working with whatever the musical, the tonal content is, the rhythm content is, and the technique concept is, and I'm always thinking the rhythm and the technique are tied really closely together. And in the prep of the piece, what am I doing to address the motor movement?

What am I doing to prepare the rhythm content and then the tonal content? And that's, I almost always do that away from the keyboard, on their lap, usually on their lap, or sometimes on their own palm or on their own thigh, just depending on what is well [00:15:00] aligned for the student. But it's really thinking motor skills wise, and how are the motor skills connected to the rhythm? Because if there's a motor skill problem, it will distort the rhythm. And if there's a lack of rhythm understanding, it will impede the motor skill. So they're just really closely connected. 

Scarlette Kerr: Yeah, and essentially I do the same thing as Celeste. I do, maybe go into a little bit more when we do like a Keyboard Games piece.

When I introduce it, they hear it, they're moving to it, giving them different movement instructions, and then we airplay it to the rhythm with a folded fist. And then I have them play that rhythm at the keyboard with the folded hand without any particular keys for them to play, like, just play it on any keys you want.

They're creating with it, but they're also having that experience of feeling the keys go down as they move their arm down. That's a little bit different experience than doing it on their lap. So, this is an extra step that they can take so they understand that they're making sounds with their movement with their [00:16:00] arm without it being too formal.

We do that a couple times and then I say, okay, you did the movements. Look at the piano map, here are the keys you play, do the exact same thing you just did with these particular keys. And then, they can play it. It goes a lot faster than I expect. Because they've heard it so many times, they've moved to it so many times, they understand the rhythmic context, and then they understand, like, there's that geographical context of the keyboard, and then when they play that, they play the exact same thing I just did.

And then we can just play with it, and create it, and change it. and go from there. But yeah, like Celeste says, the rhythm, what I learned, the rhythm and the technique goes so well together because the rhythm informs the movement that you're about to do at the piano. 

Celeste Watson: I think another thing that's helpful in that keyboard preparation phase when you're working away from the keyboard with the gross motor movements is thinking of that spectrum of gross motor skill to fine motor skill, and also [00:17:00] fast to slow.

The less well coordinated students, well, all of us really, but you notice it the most in the less coordinated. They move fast and they move jerky, especially when they're away from the keyboard in the air or on their laps. And so I'm always trying to encourage them towards more slow movement and more gentle movement.

And even, you know, if we're, if we're moving in the air, like if we're prepping Whale Shark, they will do this. I guess you can't see this in audio. And how can you get the movement in the air to be slower and more gentle and in a smaller range of motion? And then alternating, okay, here it is with fast motion, here it is with slow motion of the arm through the air.

And encouraging them, because when they get to the keyboard, they need the ability to move slowly in a small range of motion. Because it's the large range of motion, [00:18:00] fast movement, that can produce that jerkiness.

Scarlette Kerr: It's such a Gordon concept. You know, something like what it is by what it's not. And so it's like all that same versus different. One of my favorite activities to do is to talk about the difference between a gradual lifting and lowering of your forearms on the piano versus like a thrust, where you can throw your hands on the piano, make a really loud sound versus a really, I guess this too.

So how slow can you move and make a sound? How fast can you move and make a sound? Do you hear the difference? Do you feel the difference? Can you make gradual differences between the really fast one and the really slow one? See how many different types of sounds you can produce. And that's just like their earliest lessons of tone production. And it's really approachable and easy to talk about and feel, and they can hear the difference. And they have a preference, which is the gentle sounds, the gentle approach to playing the piano. 

Hannah Mayo: It's making me think of how many times in a lesson with a young child I say [00:19:00] gently or gentle hands, or, I mean, you just say gentle so much in a lesson. It's so true. And little children, they want to move so fast and so vigorously, but they can get it. They absolutely can. And it is the I know what it is by what it is not, which is one of my favorite things about music learning theory. 

Krista Jadro: And Scarlette, you mentioned your students, they're learning the Keyboard Games pieces so quickly and it's because you're providing such readiness for them.

And I find that when I provide the readiness for my students, they learn quickly, and they learn successfully, and we're able to dive in deeper, and it just makes everything so much better. So, a kind of a follow up question, too, we're talking about movement and how this all feels in our body. And in Keyboard Games, we're also doing activity time, right, where we're doing all the Laban movement, moving our body with free flow and bound flow.

Do you ever take some of these activities to develop technique and bring them into your [00:20:00] activity time purposefully through the movements that the students are doing with the songs and chants? 

Scarlette Kerr: For like joint awareness, I like to use Astro, because I think one of the, there was one of the directions in the Keyboard Games book, or the teacher's guide, where it's like, move your shoulders to it, I think. So I like had them move with me while we're singing Astro, or I'm singing Astro, they're listening. And then, other than that, I don't really like have anything specific for the keyboard, away from the keyboard, it's just like free flowing movement, Slow motion movement, bound movement, sometimes I like to keep that a little bit separate just for their brains to just kind of be focused in the moment.

And then we're at the piano, we're at the piano, everything we do is for the piano. 

Celeste Watson: I think one of the things related to that, those Laban movements, flow, weight, space, and time, Using them in the activity time allows them to be musical concepts rather than physical concepts because ideally in well coordinated technique they're moving in a smooth and flowing and well coordinated way [00:21:00] even when the sound and the emotional and musical content that they're creating is maybe bound.

So helping them to understand over time that the physical body moves freely and in a well coordinated way even when the sound that you're creating may have sort of like the opposite Laban sound, but that the sound that you're trying to create emotionally and musically is not always the same physical state that you feel in the body.

I think for myself as a growing musician, that got really confused. I thought that in order to create something that sounded wonderfully musically rich and tense, that therefore my body had to sort of feel that way in order to stimulate that emotional and musical sound. And so actually separating that for students, that your your body is going to be active and moving, but always in a smooth, balanced, and coordinated way, which then frees you up to have a diverse emotional musical creative [00:22:00] experience with your listener.

Krista Jadro: I love that.

Scarlette Kerr: That's something I learned from Dr. Lister-Sink is that our movements are purposeful. We don't necessarily have to be doing choreographed movements at the piano of this stage for something to sound musical because you could be moving around looking as musical as possible but not actually producing any musical concept from what you're playing.

 So now like I like to just kind of really treasure a quiet movement with my students and make sure that what they are playing is purposeful without having to move so much. That also over simulates the brain when you're trying to move while also trying to remember what you're playing and create on all sorts of things.

And so now I, I personally just cannot necessarily watch pianists who are overly active at the keyboard because that takes away from the experience for me. My favorite pianists are always the quiet ones that just sit there, but whatever's coming out of their hands is just absolute magic, which tells me that they're feeling it internally, which I think is more important than showing it externally, as long as their [00:23:00] external movements are informed.

Celeste Watson: I think something that goes along with that, I think this is another strength of MLT because there's such an emphasis in MLT, also in other music ed philosophies, but I notice it a lot in MLT because that's where my training is, on understanding the harmonic structure and the harmonic progression.

Especially as you're getting into intermediate and advanced repertoire, and the student is trained to be able to pick up on that harmonic progression. To be able to hear the traveling to the dominant, the re arrival back at tonic, and then their musicianship and artistry is grounded in this sense of harmonic understanding, rather than the sort of this whim of musicianship that like, well, sometimes I feel musical and sometimes I don't.

And MLT really prepares them to feel the harmonic flow so that they can be musically expressive coming out of the harmony. I was just talking with someone I was retraining with yesterday and we were talking about being musical with good technique, because [00:24:00] the point of having good technique is to make fantastic music, not just to be moving in a well coordinated way.

And we were talking about listen to the harmonic structure and highlight the harmonic structure as a form of musicianship, rather than just like, Well, maybe I feel maybe it gets loud or soft. Well, that could be very legitimate, but there's probably a harmonic reason why you're feeling that. And can you find that harmonic reason and then let that be a jump start to your musical imagination rather than creating a height feeling or a bound feeling or something like that in your body?

Hannah Mayo: This conversation about the kind of excessive movement at the piano is making me think of so many different things. And one of those things, do you know that study about, performers and how they did a video only, and then they did audio only, and then they did both and all of the, the different results that came out of that. It [00:25:00] showed that when it was just the audio only, certain people would sort of rise to the top.

When it was video only, different people would rise to the top because they were moving so much. And so this kind of like over emphasis on the movement as we're playing, it serves a purpose. I do get that. And I think that for people who maybe are not as experienced musically or maybe have a lower music aptitude or just, you know, for whatever reason, they kind of need to see all that, for lack of a better word, I'm going to use the word sort of like performance grandstanding.

 There's that new Leonard Bernstein movie that just came out. And I think of how, like, he's such a grandstander when he's conducting and there's this wonderful scene where his wife's calling him out about it. Anyway, that's a whole other topic of conversation. 

Scarlette Kerr: I just watched it last night. I know exactly what you mean. 

Hannah Mayo: But then the second thing I thought of [00:26:00] was, in Music Moves, this really wonderful thing happens where when you're in the informal guidance and the Keyboard Games time of life, and even in book one, you're doing a lot of big physical movement, or you might be doing small movement too.

You're exploring a huge range of motion and movement in the body. But then as you start to progress through book two and beyond, Marilyn starts to use this instruction that says move inside. So we are taking all of that like external experience and we are putting it inside of ourselves and not doing all the big macrobeat microbeat movements, but just audiating that movement in a, What did you call it, Scarlette?

A quiet movement? 

Scarlette Kerr: Yeah, it's just a quiet sitting stance. I don't know if that's stance, but a quiet sit, but it's all coming out of here, I suppose. 

Hannah Mayo: It's all coming out beautifully. Yeah. Without all the excessive movement, for sure. 

Celeste Watson: I think it's an extension of [00:27:00] flow, like we talk about, we've talked so much in MLT circles about the importance of whole body flow and the student's ability to whole body flow, and I think that's the natural extension of that.

And I think it's not an accident that we use the word flow, and we also use it to describe the flow state, where you're completely engaged in an activity so that time stands still, and that's what's happening in really beautiful music making, regardless of how complicated it is. You are in such a state of listening to the music, and you're moving in such a functional way to communicate that, that it's really about you and the music and the audience, not about the visual side of it.

And that's a really beautiful thing to see in our students and in other professionals who are also playing that way, and I'm also, I think, in other studios too. But just that, that moment of connection with the instrument and connection with the audience, it's such a selfless act, I [00:28:00] think. And that's not to say anything negative about people who have a more flamboyant performance style, right?

But just that quietness of you and the instrument and the audience, and building that really important relationship. I always think of, Dr. Lister-Sink used to tell a story about a great pianist, and I can't remember who it was, or I would say their name, but she would always say that he said, I think it was a him, yeah, he said in performance the first thing he did was connect his sound with the audience.

And I've always thought about that really, really beautiful image. That's the first priority and that's the purpose of technique, that's the purpose of Laban movement. All of that boils down to connecting our sound with our audience. 

Scarlette Kerr: I remember when I was researching Marilyn, how she taught rhythm for the Rhythm and Technique webinar I did back in the spring.

Flow translates into rhythm. When you have that, like, a rhythm pattern that is all [00:29:00] one cohesive unit as opposed to small little parts, it's easier for your body to incorporate that one rhythmic unit and play it with natural phrasing than for your body to look at it as, like, four separate beats. When I have students that are playing in triple meter, I know that traditionally triple meter is hard to teach when you're trying to teach it through notation or trying to feel like 1, 2, 3, 1, 2, 3, but when you're thinking Du da di Du da di, there's a natural emphasis on Du, and then your body knows that there's a natural emphasis on that and then it carries that flow through the rest of that entire macrobeat, Du da di.

And so Music Moves students are naturally phrasing because they've been inculturated and bathed in all this rhythmic instruction where they're hearing entire phrases of chants, entire phrases of like four macrobeat patterns. And then when it comes to doing it at the piano, I think they're able to think of it as one unit and then once we teach them the mechanics of how to [00:30:00] start a sound and follow through a sound, they can transfer that in different contexts, and then they're able to just be musical naturally without having to think about it.

The Gordon/Froseth system was a game changer for me, like the concept of flow was a game changer for me. Just how that next step makes a huge difference. 

Hannah Mayo: And the macrobeat microbeat movement that accompanies it and feeling the weight shift from side to side. I think that is a huge part of it.

Oh, and it makes me think of this little Instagram reel I saw recently where someone was poking fun. She was like in a orchestral rehearsal and she was videoing herself getting frustrated. Some of the members of the orchestra couldn't count to three. And like, that was the joke is they can't count to three.

And I was thinking, Oh, they can count to three. They're just probably doing it like this. One, two, three, one, [00:31:00] two, three. And like, you could count to three a million different ways, but until you can feel the ratios of macrobeats and microbeats and the relationship, and you can feel that in your body.

It's not about being able to count to three, it's about feeling the difference between how two feels in your body and how three feels in your body. 

Scarlette Kerr: I think it was the arrangement of Jingle Bells in 3. Was that the video you're talking about? 

Hannah Mayo: Yeah, it was. 

Scarlette Kerr: I watched it maybe three times. I just could not stop laughing because it was so funny.

I was like, my students would be able to do that. No problem. 

Celeste Watson: In Keyboard Games, because we do it in Keyboard Games. We're changing meters constantly in Keyboard Games. 

Krista Jadro: That concludes part one of our interview with Celeste Watson and Scarlette Kerr. Part two will be out next week, but if you can't wait for more, check out Scarlette's webinars on the Music Learning Academy webinar [00:32:00] library.

She has three of them, Technique and Young Beginners: Development of Motor Skills and Application to Keyboard Games, The Embodiment of Rhythmic Audiation at the Piano, and the Technique Checklist: Sequencing Tips to Monitor and Guide Student Technical Developments. Thanks so much for listening, and we'll see you soon.