Lisa Donovan Lukas has been a teacher in the Los Angeles area for 15 years.
Tell us your personal piano story as well as how you chose piano teaching as a career.
I started formal piano lessons when I was about 5 ½, almost 6 years old, and studied classical music with the same teacher until I graduated from high school. His name was Ed Willumsen and he was an excellent pianist and teacher, and he was also a composer and played popular, contemporary music as well as classical repertoire. As I advanced through classical repertoire, he would also have me play a pop song or a show tune or a standard at the end of the lesson, and he taught me to compose my own original music as well.
We had a piano in our house when I was really little, because my grandfather (who lived nearby) was a self-taught pianist and lived in an apartment building – and he was getting complaints about the noise…so he moved his piano into my parent’s house. He would come over and play the piano and he also would make up little ballets that my sister and I would dance around the living room to, all dressed up in my grandmother’s petticoats. I fell in love with that piano immediately and I remember my mother telling me that when I learned to read books I would have piano lessons as well.
My mother was an elementary school teacher and taught 3rd and 4th grade, so she taught me to read before I went to kindergarten, and I remember I just couldn’t wait to learn how to play that piano. I was very extremely shy and all through my childhood I think I thought of that piano like a best friend. I just always loved it.
I was a music composition major and graduated with a degree in music composition from USC, and I also studied piano while I was there, throughout my college years, and afterward as well. After college, I continued to study composition and orchestration privately for another 4 years with a film composer and orchestrator named Albert Harris. And I studied songwriting with Lehman Engel in a workshop called the BMI Musical Theatre Workshop.
When I was a teenager, I dreamed of being like Joni Mitchell. I wanted to sing and write my own songs. And by the time I got to college, my goal was to be a composer. During college, I worked as a singing waitress and played the piano and sang in a restaurant, and I also played a lot of piano bar gigs, weddings, restaurants, hotels.
After college, I continued studying with my composition teacher, and worked in piano bars and restaurants until I finally got a job in the studios, working as a proofreader and a copyist for film composers. I loved that work because I had the chance to study musical scores all day long. I ended up doing that for about 20 years.
Even though piano study was such a huge part of my childhood, I never intended to teach piano. I always wanted to be a composer, and that was my total focus. Being around music preparation did give me opportunity to write music and have some pieces placed in a film or tv show every so often, so I was always on that path of music composition.
But, when my son was about 10, I decided to leave music preparation as my career. The job could be very intense, lots of deadlines, lots of long days and nights, unpredictable schedules, and I felt I was missing out on my son’s life. So, I thought to myself, well, if I teach piano and work as a piano teacher, I’ll be home more and that will be a better career for me, while my son is young. I loved music prep so much, and I fully expected to return to it once my son was done with high school. So, that was my plan!
I mistakenly thought that teaching piano would be something I could just do, right out of the gate. I was completely naïve about how much I needed to learn myself in order to be a piano teacher. That just being able to play the piano, doesn’t necessarily mean you know how to communicate to someone how to do it. I didn’t remember so many details with regard to how I had learned, and pedagogy wasn’t anything I had studied at school. I also did not anticipate how much I would love doing it, and how much I would learn, how inspiring it would be, and how much it meant that my life would be about continual learning, on-going musical education.
When my son graduated from high school, and it was a time when I could have gone back into music preparation for film, my life had changed. I was already in love with teaching piano. And the ironic thing was that because of my life in teaching, I had become much more of a composer, much more prolific and consistent, than I ever was when I was a music copyist and proofreader for film composers. So the life I was living was really the life I wanted. When I think of my first piano teacher, and how much those lessons meant to me, and are actually the main thing I think about to this day, when I remember my childhood, I think of my piano lessons – & my childhood and piano are completely intertwined, it feels more like the career I was meant to pursue all along. Anyway, I let go of that other career. And I really love teaching piano and composing music for piano students for all the levels, beginning to advanced.
Were you a good student?
I think I was a good student. I still think of myself as a student. I love life-long learning, I like to think I am never done with studying and that keeps me young and engaged, always working toward something, always creating something new. I loved school and I still love studying. I think I was just always in love with the piano, and I don’t remember locking antlers at all with my parents about practicing. I think I was lucky in that my mother was a teacher, and so, more than I realized at the time, and this is now in retrospect, I think she absolutely created an environment where there was a lot of passion and encouragement and enthusiasm surrounding music. I remember that when I played, she would be in the kitchen preparing dinner, and she would call out “Oh that was beautiful!” or, “play that again, remember what Eddie told you? Something isn’t right in there.” And then, I’d play again or work through it again, and she might call out “Yes!, That sounds better!” She was on top of it with me, like a partner, and she was an enthusiastic listener, without being over bearing or nagging. So even though there was effort involved, there was a lot of pleasure involved. It was not a chore. Although, it was expected that I would practice every day, it was not a chore.
Neither one of my parents played an instrument, but they were huge appreciators. I have wonderful memories of my father lying in the center of the living room floor on the weekends and playing records full blast, super loud. He played everything from Beethoven symphonies to Aaron Copland’s Billy the Kid and Appalachian Spring, to
Benny Goodman, Teddy Wilson, Sing-Sing-Sing at Carnegie Hall, Ella Fitzgerald, Billie Holiday, Frank Sinatra, Nelson Riddle arrangements, Nat King Cole. He’d sing along and yell things out like: “listen to this solo, here it comes!” And then there it would be. We used to dance a lot to the music too.
My mother loved ballet music, Tchaikovsky ballets, Swan Lake, Sleeping Beauty,
Prokofiev’s Romeo and Juliet, and she loved musicals, Broadway shows, Camelot, My Fair Lady, The King and I, Stephen Sondheim’s Company or A Little Night Music, and she loved folk music, Pete Seeger, Bob Dylan, Joan Baez, Peter Paul and Mary. Plus, they played a lot of Burt Bacharach, everything under the sun. There was always lot of music going.
What is one thing you often say to your piano students?
With regard to practice spots/tricky spots: If you play something & you have to pause frequently or make many mistakes, it is a sign that you need to slow down. This gives the brain a chance to take in all of the material. After you play something a few times slowly, you will eventually be able to speed up and play the music more quickly. It’s almost counter intuitive but playing slowly is one of the keys to mastering pieces quickly.
The other thing in terms of practice spots is: we don’t want to practice messing up. We want to find a version of that tricky spot that we really like, and then, practice it that way a number of times. We don’t want to simply repeat something over and over again. We have to practice with awareness. So, the goal is to find the success, and then repeat that. So, in the lessons, we practice together so that they can go home and know how to practice.
Also, when they are learning a new piece of music and maybe they are overwhelmed by what seems “too hard”: there’s a little cartoon that I like to show them, and I love it because it shows a really tough looking, impossibly difficult piece of music, just nothing but notes and crazy notation – and it says “this is what a new piece looks like;” then, after you learn it, it looks like this: and it shows a very simple notation of “twinkle, twinkle little star.” So, we laugh together about that, but it’s a nice way of showing students how effort, even when things seem daunting and tough, can pay off – and in the end, after the initial struggle, there is the ability to play something, and that actually ends up being completely do-able.”
So, through struggle and effort we have a sense of pride and love for ourselves – because you know, “we did it!” So, it’s not just about piano lessons, it’s a metaphor for life. Through the rocky road of persistence and effort, we emerge triumphant! The efforts and the endeavors, and the attempts and trials and tribulations, are everything! We have to keep working on our craft.
Is there a common struggle your piano parents deal with? How do you help them through it?
I think one of the common struggles starting out is the expectation that progress will happen much quicker than it does. The realization that it actually takes years and years to be able to play the piano is something that is many times not expected, or that comes as a little bit of a surprise. Especially in our culture where so much of life includes immediate gratification. Things like “Door Dash” delivers food, Amazon prime – where you can get something delivered that same day, we can “read” a book by having it read to us on Audible, we can download things right away, everything is so fast, so immediate. So that learning to play the piano is like watching paint dry by comparison, in terms of time, it just seems to take forever, and is a skill, an art, a craft, that develops over a lifetime of dedication. And because of that sense of immediate gratification we are exposed to in our current culture, I think parents and students sometimes think that there might be something amiss when after just a little bit of time, we don’t hear Fur Elise, or Moonlight Sonata being played.
So I think it’s something that I work to communicate with parents and students, so that they understand and accept that they are in it for the long term, and not getting discouraged. We have to plant the seeds, knowing that we don’t get instant lily. I want to create an environment that is process oriented, that is about curiosity and discovery, not solely about results. I don’t want the students to be straining to achieve, I want them to enjoy the process of the work they are doing. So that the results come independent of striving and so that progress and music and creativity is about the process or the journey, not about the outcome.
For instance, if they create a piece of music, it’s about the ideas they have and that they were able to create it. If they win an award or receive a compliment, that’s nice, but that’s icing on the cake. The significant thing is that they composed something, they created something out of thin air!
One of the ways that has helped me in conveying some of these ideas has been to engage and involve my families by having performance get togethers throughout the school year. Sometimes they are just for the students and sometimes the families come as well. Some are workshops are devoted to learning about composers and sharing works in progress, and others are casual music parties where the students play their pieces and then we have a little get together afterward. Lots of friendships between the students and between the families have been formed as a result, and some of my families now attend youth concerts together throughout the year. It’s nice because they can share their experiences with each other and the students grow up together and get some of that “team” spirit that arises when kids do sports activities together.
What keeps you motivated as a teacher?
There are a number of things I think of. I am truly motivated by composing piano music. I have learned a lot by composing for my own students over the years, and it is a real passion for me. Creating music for piano and for piano students of all levels is a really satisfying and motivating thing for me.
I also find including composition as part of the piano lesson curriculum extremely motivating and gratifying. I love to share my love of this process with students, and maybe it’s contagious? I hope so! I think when a student learns to compose, they become more aware of form, harmony, and all the details included in what another composer has notated in a particular piece: articulations, dynamics, expression and tempo, etc. because they have had to consider those questions for themselves in their own compositions. It brings new awareness and appreciation to the whole process of studying music. I was motivated to write my book called “The Young Musician’s Guide to Songwriting” as a result of working my students on music and lyrics, over the years. I don’t cover songwriting with every student, but when I have a student who is interested, we go through the songwriting exercises in that book and it’s a lot of fun, plus it’s a great way to cover chord progressions and theory, etc.
There is so much out there now that motivates me and that I am grateful for. The piano teacher’s forums online are a huge help to me, a huge influence. The experience and the knowledge of the teachers that we are able to interact with and learn from every day is mind boggling! The pedagogy knowledge, the amount of experience – is incredible! There isn’t a day that goes by that I don’t learn something new. And I appreciate having the opportunity to soak it up. It’s truly remarkable that the internet has allowed us all to connect, from all over the globe, and to learn from each other. The materials and the input and the questions answered for so many different issues – it’s such an incredibly motivating opportunity, every day.
The other thing that I find extremely motivating is having the chance to participate in music teacher conferences. The workshops and seminars are always so inspiring and motivating. I highly recommend them and have learned so much every time I’ve ever had the chance to go. I have been to NCKP once (not this last year, but the time before), and then I have been many times to the MTAC conventions here in California. I also enjoy being involved in our Composer Today programs that we have through MTAC, the evaluations and the state contests, with my own students and also as an evaluator. It’s very rewarding and gratifying to have the chance to be involved and to encourage creativity in our future composers.
A book that I read last year has stayed with me, and I want to re-read it again. It’s called “Playing the Piano for Pleasure” by Charles Cooke. He was a reporter for the New Yorker and he wrote this book as a guide to improving skills through practice and discipline. He talks about the pleasant necessity of practicing and his passion for learning to play the piano. I really enjoyed his writing a lot. Very motivating.
Do you have a favorite piece that you enjoy teaching your students?
This is such a great and inspiring question! I was thinking about this and trying to narrow things down, because there is just so much music out there that I love, and that’s an understatement! I immediately started free-associating and wrote down what popped into my mind – so I hope it’s okay that there are a few pieces that I think of right away. These are just such beloved favorites and they came into my head right away so I wanted to share.
I love (in no particular order):
Happy Time by Alexandre Tansman (especially: “Both Ways,” “Little Gavotte,” and “Common Tones.”).
End Game, Someday, and Shadowfall, by Jennifer Eklund.
Turquoise, and Glacier Majesty by Dennis Alexander
Dreamcatcher by Kevin Olsen
Daydreaming by Timothy Brown
Walk in a Rainbow by Nancy Faber
And I love teaching many of the pieces I remember being super excited about when I was really young:
I have to say I love when students get excited about learning Beethoven’s Fur Elise (it’s like having the chance to experience the holidays again for the first time – through a child’s eyes)
Sonatina in G – Beethoven
Spinning Song by Albert Ellmenreich
Arabesque and Ballade (op 100) by Friedrich Burgmuller
The Wild Horseman, The Merry Farmer, and Melody – Schumann
Sonatina in C, op 36, no 1 – Clementi
Waltz in A minor – Chopin
So much more, this is the tip of the iceberg! First Lessons in Bach (Alfred) and Journey through the Classics – Hal Leonard…I can’t stop! Oops! I know I’m leaving out so many pieces…
There are a couple of pieces that are on my current wishlist of music I want to teach because they are so incredibly beautiful. These pieces are: Valse Elegante (duet) by Glenda Austin and Forever Lasting by Alexander Peskanov. Incredible! This music is gorgeous. Both are definitely on my wishlist!
I do enjoy teaching my own pieces to my students, particularly:
- Pieces from my Sky Castles collection:
Sky Castles, Rain, and My Father’s Waltz
- My elementary pieces with teacher duets:
Dancing with My Shadow collection (especially Winter Sky and Windy Trees) c. Late elementary evenly-leveled duets are fun to teach:
Dynamic Duos (especially Haunted Hallway, Crickets, and Winter Waltz)
- At Christmas: My Nutcracker collection is a favorite of mine to teach. I am obsessed with the Nutcracker and I never, ever get tired of it!
- Duets a la Mode (late beginner/early intermediate; and late intermediate/advanced) – for teaching modes
Tell us about an app or technology that you find useful in your teaching.
The main program that I use as far as technology goes in my studio is the Sibelius music notation program. When they are first writing their pieces, we work with pencil and manuscript paper and I help them notate by hand. After their piece is completed, or nearly completed, we use the Sibelius program and they input all their notes and get everything into the program as they work to get their finalized composition notated.
With my songwriters, we have used Garageband to add drums, bass, piano and vocals.
I have experimented in the past with apps, but I have to admit, I am not super technically inclined when it comes to really delving in and including apps on a very regular basis during the lessons. I have enjoyed using Piano Maestro, Note Rush, Staff Wars, and DrumBeats in the past, but I wouldn’t say that I include them regularly. I think they’re wonderful and can be really helpful, I think I’m maybe not that focused right now on the apps, and the lesson time goes by so quickly that by the time we’ve done theory, scales/warms up, played pieces, done some sightreading and/or maybe some duets or improvisation, and gone over current compositions, I’ve run out of time for the apps.
Every once in awhile though, it is fun to do! I frequently use Rhythm Menagerie and Rhythm Cups by Wendy Stevens at ComposeCreate.
My students have also been having a lot of fun playing Note Speed.
Other favorites are: The one minute club materials from Susan Paradis
Composer Laptop materials from Joy Morin – fantastic for student workshops about composers!
My students are also currently enjoying the sight reading flashcards from Diane Hidy.
If you could visit with any composer or musician who would you choose and why?
Here is another great thought provoking question! I have narrowed it down to three and I am soooooo tempted to add more! I’m terrible at those “if you were on a deserted island, and could only bring one book” questions! Lol Anyway, I really would love to visit with Chopin. His music is so emotional and goes straight to the heart. I would love to time travel back to the 19th century and have a lesson with Chopin, including composition, and then go out to coffee at some little café in Paris! We would discuss his compositional process and then he would give me some helpful and inspiring pointers and feedback. That would be incredibly fascinating and inspiring. Maybe afterward he would play his Berceuse, op 57, Db major for me. Oh! That would be Heaven.
Then, I would time travel ahead just a little bit more and meet up with Ravel. I would love to have the opportunity to take an orchestration lesson with him, and get a bird’s eye view into his process as well. I love his Piano Concerto in G major, especially the 2nd movement. That is such an exquisite piece of music.
Then, I would time travel back up to the present day, and take a songwriting lesson with Joni Mitchell. She is such an iconic and inspiring influence in our own time, both with her words and her music ~ as a recording artist and songwriter. I might be a bit tongue-tied, but I’d love to sit with her and just talk about creativity, about lyrics, about songwriting. She is amazing. She’s done so much, it’s difficult to pick a favorite album or song, but I’d have to say my favorites have been: Clouds, Ladies of the Canyon, Blue, For the Roses, and Court and Spark. I think if I am going to pick one song that grabbed me and got me hooked from the very beginning, it would be: Both Sides Now. Life changing!
What parting words of wisdom or quote do you have for parents of new piano students?
Enjoy the ride!
Enjoy the process.
Have patience, patience, patience, and give out lots of positivity, lots of encouragement. Fan the flames, find encouraging things to say to your students who are learning to play, give positive feedback. Stick with it. Consistency is key.
Listen to a lot of music, go to concerts if you can, recitals, free concerts, appreciate great music. Come to your student’s recitals, participate, and place importance on it.
Try, if possible, not to over schedule activities. Students need time to practice consistently. Treat the practice time with the same priority as homework.
Music is magic. Tap into the magic and enjoy the journey with your child. This is something that s(he) has the potential to enjoy for the rest of his/her life. The energy you put into it, you will reap the rewards ten-fold and then some.
What is the best way for potential students to get in touch with you?
My website is lisadonovanlukas.com and my email address is there on the website.
I also have a facebook page: Lisa Donovan Lukas Music and you can go to Piano Pronto Publishing, Composers Community to hear my original piano music, and to Sheet Music Plus to hear my piano arrangements. My book on songwriting is available at Amazon and at Barnes & Noble.
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It was such a pleasure speaking with you, Shelly! Many thanks for having me!
The pleasure was all mine, Lisa! I can’t wait to have you back to talk more about your book for young songwriters!