Mandi and I at the piano
Mrs. Guinn placed the clunky brown headphones snuggly over my head, the giant earpieces squeezed my temples. A long, coiled cord reached across the way to a stereo where she now stood, ready to drop the needle. I had no idea what I was in store for. Mrs. Guinn had never offered to play music for me at any of my other piano lessons. Mandi, my friend next door, and I took weekly lessons at Mrs. Guinn’s house. I loved going to Mrs. Guinn’s for my piano lessons and looked forward to them every week. She lived in a quiet neighborhood in Shady Grove and was probably 30-something in age. She was married to an officer in the Air Force and had a pretty face and gentle demeanor. She reminded me of Toni Tennille of Captain and Tenille. The front living room where Mrs. Guinn taught held an upright piano on one wall and an organ against another, a large window overlooked the street. Her house was always meticulously clean and inviting. “I have something I want you to listen to today,” she said as she guided me into the family room. The headphones felt heavy against my ears as she adjusted them. I sat silently and settled into Mrs. Guinn’s plush black couch, waiting for the music to begin playing.
“Da-da-da-DUM.” “Da-da-da-DUM!” Those first four minor pitches of Beethoven’s all too famous Fifth Symphony bellowed in my ears. The music escalated, and I became completely enraptured, magically swept away. With every pulse of the bass, my heart quickened. I was only 9-years old at the time, and yet that was such a defining moment in my life. The rest of the world fell away in those brief eight minutes or so of that first movement. I was an extremely shy, introverted kid, but at my lesson the following week, I mustered the courage to ask Mrs. Guinn if I could listen to that recording again. Of course, she obliged. Little did Mrs. Guinn know how much that recording influenced me musically. One of the other things I enjoyed while taking lessons from Mrs. Guin was the monthly gatherings she held at her home where all her students performed for each other. The best part was when she performed for us on her organ. I loved watching her feet fly across the pedals.
Mrs. Guinn was a member of the National Federation of Music and entered me into my first music festival where students performed and were adjudicated. I received a superior + and was selected to perform in the Honors Recital with many other students. Kabelevsky’s, The Clown, Op. 39, No. 2, was my first performance piece ever. As I climbed the stairs the night of the recital towards the concert grand piano, it felt as though I were having an out of body experience. Somehow, I got through my piece without any fumbles and took my bow to the applause of the audience. I would perform in many other recitals, each one causing more anxiety than the last. It was something I continuously struggled with.
Mrs. Guinn moved within a year or two. I was deeply saddened when she told me her husband had received a military transfer to Texas, as I had become quite attached to her. I eventually studied with Mr. Robert Buckner during my high school years. Mr. Buckner lived in Shreveport and was quite a character. He had a piano studio behind his house, and a dachsund named Angie. I began every lesson with major and/or minor scales as a warm-up, or Hanon exercises. I felt comfortable with his teaching style and sense of humor. I decided to major in music and attended Centenary College of Louisiana where I studied piano performance, primarily because it meant I didn’t have to take a single math class. I was beyond horrible in math or anything that had to do with numbers. Initially, I felt terribly inadequate compared to my peers who seemed to have much better training musically than I did. I struggled with ear training and theory, but loved composition and piano literature. I studied with Constance Knox Carroll and absolutely adored her. She was an inspiring teacher and incredible pianist. I’m sure, however, that I was one of her least favorite students, as I was not very disciplined and did not practice as I should have, especially during my senior year. I got distracted with theatre and dance and remember her scolding me at one particular lesson for my lack of practice. She had every right to because my senior recital loomed ahead, and I hadn’t memorized all of my pieces. She remarked that it seemed like I liked theatre and dance better, and she was right. What did I know at that age? Not a whole lot. I sat there silently, not knowing what to say.
I wasn’t exactly lazy, but discipline was not my strong suit. Practicing was such an isolating endeavor, and yet in those days, I didn’t always mind it. I typically hit the practice room for four hours a day, sometimes six on the rare occasion that I was super inspired. There were times when it was such a rewarding experience to sit at the keyboard and just play without anyone listening. Those were the times when I performed the best. But in front of an audience, I lost all sense of composure. Performance anxiety plagued me. I could not control my hands; they became leaden, nor the adrenaline racing through me, and memory slips haunted me. On one occasion, several students were to perform with the Shreveport Symphony in a special recital. I was going to perform the first movement of Mozart’s Piano Concerto in A, K414. I can’t describe how exhilarating it was to perform with an orchestra, with other musicians. It was like flying, but without the motion sickness. Unfortunately, performance anxiety got the best of me, and my memory lapsed somewhere during the development. The orchestra continued to play as if nothing happened while I sat frozen. Eventually, I wove my way back in, but the damage had been done. I barely made it through the cadenza.
After graduating college, I taught piano for a brief time at St. Mark’s Episcopal in Shreveport and another Christian school before moving to Florida. I didn’t touch a keyboard for nearly 20 years after that. One day, my mom asked if I wanted my baby grand piano, the one they bought me when I first started taking piano lessons. Of course I did, and a couple of months later, my baby grand arrived to our tiny condo in California. It took up an entire room. I started teaching piano thereafter at a Christian elementary school in Mission Viejo, CA, and eventually taught privately on and off until 2013. My piano skills were more than a little rusty, and I lamented the loss. I attempted to take piano lessons a couple of different times, but just didn’t have the time to commit to practicing with family responsibilities and work. I stopped teaching altogether in 2013 when I went back to school to pursue a Master’s degree in Social Work.
I’ve now had my baby grand since 1999. It has moved with us many different times in the last several years. It’s sitting in our family room in need of a little TLC – or a lot actually. Every once in awhile, I sit down to play, but most of my time is spent at work these days. Recently, I felt moved to find Mrs. Guinn and searched for her via Google. Amazingly, I found her, and she wrote back to me immediately. She continues to teach, perform at churches, and accompany choirs in Nebraska. Although she only vaguely remembered me, she said that she looked up old recital programs and located one dated May 23, 1976, that I performed in. She said I played a Schaum arrangement of Yankee Doodle as a solo and again in a trio performance with Mandi, my friend, and another student named Kelly Scott. I was so happy to hear from Mrs. Guinn and that she continues to teach and play.
I feel truly blessed to have been trained in piano for so many years. I wish that I’d held onto it, but I think there was a part of me that felt incredibly inadequate as a pianist, so I shut it out of my life for a spell. When I studied to become a board-certified music therapist in 2006, that passion for music came back to life. And now, I long for my piano to be more than just a pretty conversation piece in my living room. One of these days, and hopefully not too long from now, I will get back to playing, perhaps a little at a time. It’s hard to play as I compare my skills now to those days when I was playing everyday for long hours. People tend to tell me, “you should just play for yourself.” Well, it’s easier said than done. Nevertheless, music is truly part of my fabric. I can’t think of anything more powerful and transformative than music.
So, for your listening pleasure, here is one of my favorite pianists, Murrah Perahia, at the keyboard performing Mozart’s Piano Concerto No. 12 in A, K. 414. To Mrs. Carroll, who inspired me to be a better pianist: