Chrissy's School of Piano

Lessons - A Classical Perspective

Piano lessons are taught from a Classical perspective. Piano teaching from a Classical perspective means the rules of music are not broken like in jazz, rock and blues. All rhythms and fingerings are the proper methods, a student could then choose to branch out into other forms of music.

Personal History in Piano Lessons

My very first piano lesson was when I was 7 years old. I have taken ten years of training since then. I was trained from a classical perspective. This included scales, chords, music theory, some classical pieces by various composers, and church hymn playing. My training in college also consisted of private piano lessons, and some vocal training in a traveling singing group.

I have also had over 25 years of experience playing piano in church; including congregational accompaniment, choirs, small groups and special functions.

Experience as a Piano Teacher

In college, I accumulated 13 piano students. Once college was over I moved to this area and accumulated 27 new piano students. I took a short break from piano teaching when my daughter was born, but have since returned to teaching piano and I am always looking for new students who have a thirst for good music and learning the piano.

I enjoy so much being able to serve in my church as it's pianist and have a number of my students who are now able to help their churches as well.

Lessons are available at $20 per 1/2 hour lesson in the privacy of my home in the South Attleboro, MA area, which is within driving distance of Northern Rhode Island and Southeastern Massachusetts. If you would like to discuss the possibilities further, please fill out my Inquiry Form and I will get in touch with you very soon.

Songs Played by Chrissy

  • Fur Elise
  • Largo

Picture Gallery

  • Chrissy teaching piano with Katelyn
    Chrissy teaching with Katelyn
  • Summer Piano Recital 2014
    Summer Recital 2014
  • Summer Piano Recital 2014
    Summer Recital 2014
  • Summer Piano Recital 2014
    Summer Recital 2014
  • Summer Piano Recital 2014
    Summer Recital 2014
  • Summer Piano Recital 2014
    Summer Recital 2014
  • Summer Piano Recital 2014
    Summer Recital 2014
  • Summer Piano Recital 2014
    Summer Recital 2014

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  • Why Take Piano Lessons?

    The question "Why take piano lessons?" can be answered in so many ways!

    • The Sense of Accomplishment Learning to play the piano requires some diligence, practice and most of all desire. All of these mixed together provide a sense of accomplishment when one has achieved the goal of their piano lessons. To press play on your iPod can allow you to enjoy music, but playing the music yourself on a piano gives a sense of accomplishment and satisfaction that an iPod just can't give.

    • Fun Entertainment The history of piano shows that people learned to play the piano so that they could entertain guests and family. Instead of turning on the TV, or having to go out and spend money to be entertained, playing the piano can provide hours of family fun. Guests will remember the times that they got together for an evening of enjoyable sing-a-long.

    • Simply Discipline As with any art or skill, discipline is required, but this is a good thing, especially for training younger people to exercise discipline to see a task through to completion. Piano lessons provide a solid start to a disciplined life-style that will affect so many other areas of life.

  • What Is the Right Age To Take Piano Lessons?

    What is the right age to start taking piano lessons? Well, simply answered - the age you are right now!

    Yes, there are certain advantages to taking piano lessons when you are young, but there are also advantages to starting when you have matured and know what you want. Many young people start learning the piano because their parents feel they need a sense of discipline and they possess an early interest. Both of these can motivate a young student onto greater things. Yet, older students typically have a more mature outlook. They want to take piano lessons, not on a whim, but because they enjoy it and they don't require an outside source to prod them along.

  • A Brief History of the Piano

    Victor Borge's "History of the Piano"

    A comedic look at the history of the piano.

    For more piano history visit: http://en.wikipedia.org/wiki/Piano

    The Social History of the Piano


    Early years

    At the time of its origin around the year 1700, the piano was a speculative invention, produced by the well-paid craftsman and inventor Bartolomeo Cristofori for his wealthy patron Ferdinando de Medici, Grand Prince of Florence. As such, it was an extremely expensive item. For some time after its invention, the piano was largely owned by royalty (e.g. the kings of Portugal and Prussia); see Fortepiano for details. Even later on, (i.e. throughout the 18th and early 19th centuries), pianos were financially beyond the reach of most families, and the pianos of those times were generally the property of the gentry and the aristocracy. Visiting music masters taught their children to play the piano.

    Pianos and women

    Both Parakilas and Loesser emphasize a connection during this period between pianos and the female sex. Piano study was apparently more common for girls than boys. It was also widely felt that ability to play the piano made young women more marriageable.
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    Emma Wedgwood Darwin

    Women who had learned to play as children often continued to play as adults, thus providing music in their households.[4] For instance, Emma Wedgwood (1808–1896), the granddaughter of the wealthy industrialist Josiah Wedgwood, took piano lessons from none other than Frédéric Chopin, and apparently achieved a fair level of proficiency. Following her marriage to Charles Darwin, Emma still played the piano daily, while her husband listened appreciatively.

    A number of female piano students became outright virtuose, and the skills of woman pianists inspired the work of Haydn, Mozart, and Beethoven, who dedicated difficult-to-play works to their woman friends. However, careers as concert musicians were typically open only to men (an important exception was Clara Schumann).

    The spread of the piano

    Over the course of the 19th and 20th centuries, the middle class of Europe and North America increased in both numbers and prosperity. This increase produced a corresponding rise in the domestic importance of the piano, as ever more families became able to afford pianos and piano instruction. The piano also became common in public institutions, such as schools, hotels, and public houses. As elements of the Western middle class lifestyle gradually spread to other nations, the piano became common in these nations as well, for example in Japan.

    To understand the rise of the piano among the middle class, it is helpful to remember that before mechanical and electronic reproduction, music was in fact performed on a daily basis by ordinary people. For instance, the working people of every nation generated a body of folk music, which was transmitted orally down through the generations and sung by all. The parents of Joseph Haydn (1732–1809) could not read music, yet Haydn’s father (who worked as a wheelwright) taught himself to play the harp, and the Haydn family frequently played and sang together. With rising prosperity, the many families that could now afford pianos and music adapted their home-grown musical abilities to the new instrument, and the piano became a major source of music in the home.

    Amateur pianists in the home often kept track of the doings of the leading pianists and composers of their day. Professional virtuosi wrote books and methods for the study of piano playing, which sold widely. The virtuosi also prepared their own editions of classical works, which included detailed marks of tempo and expression to guide the amateur who wanted to use their playing as a model. (Today, students are usually encouraged to work from an Urtext edition.) The piano compositions of the great composers often sold well among amateurs, despite the fact that, starting with Beethoven, they were often far too hard for anyone but a trained virtuoso to play perfectly. Evidently, the amateur pianists obtained satisfaction from coming to grips with the finest music, even if they could not perform it from start to finish.

    A favorite form of musical recreation in the home was playing works for four-hand piano, in which the two players sit side by side at a single piano. These were frequently arrangements of orchestral works, and in the days before recordings served to spread knowledge of new orchestral music to places lacking an orchestra. Sometimes members of the household would sing or play other instruments along with the piano. This practice was often a part of courtship, for performing music together--particularly in the presence or at least earshot of other members of the household--was one of the few 'respectable' ways for a young man and young woman from 'good' families to be together.

    Parents whose children showed unusual talent often pushed them toward professional careers, sometimes making great sacrifices to make this possible. Artur Schnabel’s book My Life and Music vividly depicts his own experience along this lines, which took place in the Austro-Hungarian Empire in the late 19th century.

    Read the entire article at: http://en.wikipedia.org/wiki/Social_history_of_the_piano