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I've never given a masterclass before. Or attended one. I haven't taught piano for decades.

Do students play, then you offer your opinion, then they play again?

Anything else I should know?

P.S. Yes, I'm serious.

Interesting dilemma! If you've never taught a masterclass before nor ever attended one, how do you hope to be able to give one? It's also interesting that a performing musician has never attended a masterclass.

Did you just find out about this? If so, this raises lots of other questions:
- why have you never attended a masterclass?
- why do you "have to" give a masterclass?
- why have you been chosen?
- do you know the performers?
- have you been given a list of their repertoire?
- do you know the repertoire?
- do you know the repertoire well enough to demonstrate passages?
- etc ?

Regards,

Just yell at them for how bad they are.

Isn't that question a little like, "Help, I'm a doctor and I'm supposed to perform surgery - what do I do?"

Yeah, just insult them and explain to them how they must make the melody sing.

lol

OP- What I would do in your position is the following: Call them and explain that you have no idea how to give a masterclass and recommend they find someone more qualified.

Most of the master classes I've seen have been very similar to a private lessons.

The school assured me it will be fine. Though I voiced my concerns, the school is not worried. A rep list was provided and I know some, but not all, of it. I think the assumption is that someone at my level and overall experience is qualified.

Joseph,

Here's some ideas...

1. Try to guess who, amongst the students, is best qualified, or your chemistry fits his/hers, or somehow appears to be more communicative, and the start off with him/her, unless theer's a sequence list given to you.

2. Try to feed off what the students give you. Base your comments on what they play, what they say, how the seem to be acting and feeling.

3. Have a few ideas on what to say if something goes wrong, or if something goes right. Find ways to 'fill in the gap' in times when you're asking something to teh audience (should that happen) and nobody replies.

4. As you may have assumed thus far my experiences are mostly to lectures, rather than masterclasses, which are not the same. Masterclasses are basically open 1-1 lessons... However personally, I don't fancy that. I do feel that a masterclass could be the opportunity for an open source kind of thing lesson. Like the whole team commenting, and taking part, rather than sitting back waiting for their turn passively.

5. For whoevers shake do NOT yell to the students. Really...

6. But, is the masterclass geared towards contemporary music (since this is what you're focused, as far as I know)? If so, it's fine. If not by all means introduce them to some works, ideas, etc.

7. And I'm pretty certain that all the students would like to hear stories and comments about real life and the life of a true professiuonal pianist!

Don't be such wet blankets, folks!

I have no doubt this masterclass isn't for super-advanced students. I'm sure they've chosen RealPlayer because his/her level of experience is appropriate to the situation.

RP, you pretty much have it right. A masterclass is not all that different to giving a normal lesson. Your students will have prepared pieces for the class. Your job is to listen to their performance and think about what might be improved readily within the class. Then have them attempt to do what you are asking. Because it's a class, you also want to make your commentary applicable to everybody so don't refrain from making general observations as well as observations specifically for the player concerned.

Just have fun though. It's not as intimidating as it might seem. Remember, you are the master - you have to believe in your own thoughts and deliver them with authority. Keep an eye on the clock so you don't run out of time for each performer.

Good luck, let us know how it goes.

Thanks, Nikolas and Ando, for your thoughtful and helpful replies. I really appreciate that.

Yes, it's 20th - 21st century repertoire.

What brainiacs at the school eh? Apparently, you've not ENOUGH experience (none), which only makes me want to ask why you agreed to do this in the first place? I'll say no more, since it is probable that I'd more than likely rant a bit and I'm in no mood to ruin my day.

Your concern about "ruining your day" is selfish in the extreme.

Every master class giver had to give their first master class at one point in their life. It seems to me that RealPlayer's extensive experience performing and recording contemporary music is probably why the institution asked him and a very good reason to do so.

Perhaps you could cruise YouTube and find some examples just to give you an idea. There are lots of them on there (piano and other instruments as well).

You can shape a masterclass any way you wish. It's a performance, and it belongs to you. You can tell stories, you can play a little if you wish, and you do some seat-of-the-pants teaching. It's a stupid learning format, according to some of us, but you're still the master. However you handle it, you will be better than Mme Olga Kern (see my thread on her grim, autocratic approach).

If you get paid in cash, the experience will have been a success.

RealPlayer, I'm sure you will be fine! Sometimes I also have doubts when starting a new freelancing job (non-music related) which touch on some aspects that I have no experience in, but the employers hire me for a reason and that is because they see the specific skills needed from me that I tend to overlook or underestimate. Sometimes you are your own worst critic. Best of luck.

Have you read "The Perfect Wrong Note" by William Westney?
He discusses master classes and gives examples of his.

Go to youtube and search for "Piano Masterclass". Perhaps not the first match though:


Then again ...

Here's what works for me:

1. Pick your battles. If the student needs help with their sound quality, work on that. If they need help with their technique, work on that. Since you'll probably only have 30 minutes or so per student, don't fret over being able to fix everything. Help with the most pressing need.

2. Talk to the audience 50% and the student 50%. Keep everyone informed, engaged, and part of the learning process. NEVER turn your back to the audience.

3. Illustrate at the piano! If possible, get the rep ahead of time and read through it.

4. Ask the students lots of questions. It's often easier to identify problems this way.

5. For the love of God, don't humiliate anyone. No one likes those sorts of master classes. They aren't helpful and it only makes the clinician look like a jackass.