The 5 Elements of a Well-Rounded Piano Education

If you consider all the many things a piano teacher must teach their students, I believe that it all boils down to five areas. These are the main elements of a piano education, and a great way to structure a lesson and a curriculum. Using these as a basic structure has helped me become more organized as a teacher. As you’re planning lessons for students, choosing activities and concepts within each of these five areas will help your students to become well-rounded, good musicians!

Theory Instruction – How Music Works

Music is a language! We are teaching our students how to read and communicate in this language, and they must understand it. Everything from notes and rhythms to keys, chords and scales, inversions, chord functions in a key, and so much more, make up music theory. An understanding of how music works is imperative as we train great pianists!

Technical Instruction – How to Play

Understanding notes and keys and chords is important, but then we must take that knowledge and put it into action. Teaching our students how to play the piano includes teaching them how to play scales and chords, and the proper way to play physically with their fingers, hands, wrists, and arms. There should also always be a musical goal for every technique we teach them.

Repertoire – What to Play and How to Practice

We put theory understanding and technical skills into practice with the pieces that our students learn! Not only is it important to choose great repertoire to motivate and inspire our students and to help teach them technical and musical skills, but we must teach them how to practice well.

Creative Skills – Making Your Own Music

Though you could argue that you can stop after the first three elements (and many traditional piano lessons often did), I believe that to create great musicians we must teach our students how to synthesize all of the knowledge and skills they have learned and put that into creating their own music! It’s important to get off the written music sometimes and create. Whether this be through composition, improvisation, harmonization or arranging, this is such an important part of being a musician.

Listening – Ear Training, Appreciating & Loving Music

Lastly, but importantly, we are training musicians who make music – so of course we need to practice listening! This could include ear training, sound production, music appreciation and music history. Instilling a love of music is so important if we want our students to be lifelong musicians.

I encourage you to find ways to include all five of these areas into your lessons!

9 Reasons to Teach Music History

As piano teachers we have so many things we need to teach our students! Not only are we teaching them an entirely new language – how to understand it, how to read it, how to write it – but we are also teaching them how to play correctly, how to listen and create beautiful sounds, how to practice, how to memorize, how to perform, and much more! On top of all that, I believe we should be teaching music history to our piano students. I know, I know…there are only so many minutes in a lesson! It may be a challenge to fit it in, but I believe that it is worth it and it is important, for these 9 reasons:

1 – Music History Inspires Practice 

As students get to know new-to-them composers and pieces, they will find music that they absolutely love and want to learn! Teaching music history and listening/appreciation opens up new worlds of music to our students. As they discover pieces that they love, they will start to practice more because they are loving the music they are playing.

2 – Gives Musical Role Models

Learning about the lives of the composers can be super inspiring to young musicians. When students learn about a composer they can relate to on some level, they can see a little of themself in that composer and it can help them to feel that they can accomplish great things in music as well. For example, when I learned about the life of modernist composer Ruth Crawford Seeger I was so inspired by her life as a devoted mother, an inspiring piano teacher and as a person who was creative in so many aspects of her life. It made me want to be more like her!

3 – Gives Context to Pieces

Learning the back story of a piano piece you are learning makes that piece come alive in new ways. A great way to fit music history education into a piano lesson is to have students research the pieces they are playing and find out what was happening in the composer’s life when they wrote it. For example, in researching Florence Price’s beautiful piano piece “Clouds,” I learned that clouds are a symbol of freedom often used in African American art, literature and poetry. Price uses this symbol as the subject of her piece; she combines that with the element of traditional white classical music. This could be a reflection of her own life experiences, in which she experienced discrimination based on her race and sex. 

4 – Reveals Musical Preferences

A student is not going to have a favorite composer until they have listened and performed music by several different composers in different styles, genres and musical eras. It’s so important to listen!

5 – Understand and Appreciate Classical Music

It’s important for an aspiring pianists to be familiar with Bach preludes and fugues, Chopin preludes and mazurkas, and Beethoven sonatas. These works are an important legacy and part of being a pianist. Even if our students are not aspiring to be great classical pianists, these works are important in understanding the history and the possibilities of our wonderful instrument.

6 – Helps Fulfill Need for Relatedness

Scientists have found that in order to be self-motivated, a person needs three things: competence, autonomy and relatedness. As a piano student, relatedness has to do with how the things they are learning in lessons relate to other parts of their life. Not all students will come from homes where they hear classical music on a regular basis. As a student starts piano lessons, classical music may be a foreign thing to them. Finding ways to help students and parents be exposed to classical music can really help their success and motivation in the long-run as they get used to what classical piano music sounds like.

7 – Develops Ear and Listening Skills

Musicians create music, which is all about sound. In order to help our students create beautiful sounds at the piano, we need to help them develop and fine-tune their listening skills. What better way than to have them listen to music of different styles, moods, eras, and composers? Better yet, have them listen to several recordings of the same piece to hear different articulations and interpretations.

8 – Music Moves, Edifies, Enlightens

Why does anyone become a musician in the first place? Could it be because music has an inherent ability to inspire, to move you to feel emotions, to transport you and your thoughts and feelings to a different realm, to enlighten and edify? Think of a time when you heard a beautiful piece of music that was so gorgeous or surprising or amazing that you had to stop what you were doing to just listen. Or a time when you heard an amazing piece for the first time and had to put it on repeat and listen over and over again. We want these experiences for our students! We want them to discover beautiful music that their lives are incomplete without knowing. As they have wonderful experiences with music, they will be more likely to create beautiful experiences by sharing their music with others.

9 – Well-Rounded Musicians

A student who is well-versed in the important composers for our instrument, understanding what different eras and genres of piano music sound like and appreciating the beauty in each one, will be a more mature and well-rounded musician. Even if they don’t love every composer and every type of music, they will start to have an appreciation for them that will help them become more well-rounded in their musical abilities.

Looking for easy-to-implement music history resources? I’ve got you covered! Visit the Music History category in my shop for so many ideas and activities!

What I learned about Florence Price while recovering from foot surgery

Last week I had to get surgery on my foot. This has forced me to sit down (a lot) and has given me a chance to work on my next Shades of Sound listening and coloring book. Shades of Sound: Women Composers Volume 2 should be done soon and I can’t wait to get it out there and share it with you!

Did you know that Florence Price wrote her career-defining Symphony No. 1 in E minor while recovering from a broken foot? I just learned this fun fact this week while recovering from my own foot surgery. It made me feel a bit of a kinship with Florence, and I read up a bit more on her life at the time of writing her first symphony.

It was the middle of the Great Depression. Florence had recently left her abusive husband. She and her two young daughters were living with one of Price’s students – 18-year-old composer Margaret Bonds. Bonds sat at the kitchen table with Price for a month, helping her copy out the individual instrument parts for her symphony. Price apparently also wrote another symphony and two sonatas during this time. She wrote a letter to a friend and said, “Oh, dear me, when shall I ever be so fortunate again as to break a foot!”

She entered a music competition following this time, and her symphony and her piano sonata each won first prize in their categories, and another work won honorable mention. (The other first prize winner, coincidentally, was Margaret Bonds!)

Have you listened to Price’s first symphony? I think it is gorgeous and I have a whole new respect for it. I didn’t know until this week that it was inspired by Dvorák’s “New World” Symphony. Dvorák’s famous ninth symphony, which premiered in 1893, was composed while he was living in New York City, working as the director of the National Conservatory of Music. Dvorák was very interested in the African American spirituals and other music of the “New World,” and he infused the characteristics of these black plantation tunes into his symphony. It seems fitting, then, that an African American composer such as Florence Price would use his symphony as inspiration. 

I hope you will go listen to Florence Price’s Symphony No. 1! It is so beautiful, and it is so much easier to enjoy and appreciate it when you understand the world the composer was coming from. That is one reason that I feel so strongly that we need to teach our students music history. When we take some time to introduce them to composers and their works, we help their music understanding to increase, and we improve their motivation to practice.


Please be on the lookout for my new book! I have worked so hard on it and have really come to love and appreciate all of these great composers. In this book you and your students will learn about 31 female composers (the same who were highlighted in March for our Female Composers Challenge.) The book includes about 80 beautiful coloring pages that accompany so much wonderful music that you will get to listen to. If you participated in the challenge, please know that there is a lot more music included in this book than we listened to in March. It will really give you a good understanding of these composers and their musical style. And, it will be awesome to have all of that great information and stories about these composers in a book (either an actual physical book, or the studio-licensed version to share with your students).

Happy teaching!

These are two of the coloring pages included in my new book! The first is for Margaret Bonds’ piano piece “Troubled Water,” and the second is Zara Levina’s beautiful piano concerto.

Implementing Music History into Your Piano Lessons – the Easy Way!

“Building desirable attitudes toward music is the first aim of all music education.” – Mabelle Glenn, music educator

There are SO many reasons why we should teach our piano students to love and appreciate great music. They need to be LISTENING to piano music from all different eras, countries, styles and composers to help develop their ear, become well-rounded musicians, get inspired to practice, and so many more reasons. And learning the HISTORY behind the music is SO important to give them CONTEXT to what they are listening to. That is why it is so important to include music history/appreciation in our teaching!

There are so many great ways we can do this, and that is another post for another day – but I think that the important thing is to just get them LISTENING.

Have you tried out my Shades of Sound curriculum yet? This well-researched and engaging music history curriculum is so easy to implement. I have literally done ALL the work for you. You can use it with individual students by assigning them a page per week (which gets them listening at home and hopefully the whole family will get to listen to some great music – bonus!), you can use it during lessons if you have some sort of listening lab or partner lessons with time for listening or other work, or you can do it all together as a group during a group lesson or class.

The basic premise of the curriculum is that the students read a little bit about the composer, learn some background information about the piece, and then as they listen to the piece (using the accompanying playlist, accessed by QR code) they get to color a beautiful coloring page. This curriculum utilizes all four learning modes – reading/writing, visual, aural and kinesthetic. Try it out today! Shades of Sound: Summer is a great place to start during the summer break. Explore music by composers such as Vivaldi, Tchaikovsky, Mendelssohn, Debussy, Gershwin, Copland, Agathe Backer-Grøndahl, Elizabeth Maconchy, Judith Lang Zaimont and more!

Available for digital download in the shop, or paperback edition on Amazon.

Happy teaching!

Early Musical Literacy: 10 Recommended Resources

I’ve been thinking a lot about early music literacy, and the many ways in which we can help our young students learn to read music and become musically literate sight readers. Today I wanted to just share some of my favorite resources for creating great music-readers and sight readers!

Giant Floor Keyboard & Staff banners & beanbags

These are my favorite tools ever for getting kids off the bench and learning so many concepts in a fun way. They help you incorporate movement into musical concepts and are a great big visual for your visual learners. Want to make your own? Use my keyboard graphic and staff graphic to print a 3′ x 8′ banner at the copy store or website of your choice.

Steps & Skips Strips – included in my French Piano Pack & Sight Reading Tricks Pack

Best little flashcards for getting young students reading notes on the staff! See a video demonstration here.

Landmark Notes resources – included in my French Piano Pack

Once students are reading steps and skips, it’s a great time to start introducing some landmark notes. I have a cute landmark notes chart and some fun worksheets (featuring some Paris landmarks!) included in my French Piano Pack.

A Note in Time by Paula Manwaring

This is a GREAT resource for quick naming of notes and note-playing fluency. This resource makes sense to me because it mirrors my kids’ reading homework that they bring home from school – how many words can you read in one minute? How many notes can you name in one minute? It’s a fun challenge for my students to time themselves and see how many notes they can name in one minute.

Piano Safari Sight Reading Cards

This is my go-to for daily sight reading practice. These cards are so easy to implement and they have helped my students improve their sight reading so much!

Note Quest App

I love this app! It is similar in concept to the Piano Safari sight reading cards and is an AWESOME way to improve your students’ sight reading and fluency quickly. Highly recommended!

Notespeed Card Game

This fun card game is like flashcards, but way, way better! A great way to add games and fun to your studio while also adding engagement and learning.

Muscle Builder Books Series

My Muscle Builder Books take young students through all of the keys on the keyboard, teaching scales, chords, arpeggios and more starting from the first lesson. I love getting them familiar with chords and playing ALL over the keyboard, which grows their confidence and sets them up for all sorts of great things, like playing fakebooks and composing!

Easy Fakebooks

Once my students have learned all of the white-key major chords in the Muscle Builder Books series I love to get them started playing from a fakebook. This series of Easy Fakebooks by Hal Leonard is excellent! I didn’t realize until recently how many volumes they have….I kind of want to buy them ALL!! I have the Easy Disney Fake Book and the Easy Children’s Fake Book – both excellent! These are great because they are all in the key of C, giving your students TONS of songs to play in chords they are comfortable in and building their confidence. I start out with them playing the left hand chords all in root position with me playing the melody. We soon learn about chord inversions for playing the chords in easier positions, and then they start playing the melody as well.

Any easy C-position piano pieces for transposing practice

As soon as students know the white-key major chords and five-finger scales, they are ready to start transposing! This is a really fun lightbulb to see go off in your students, when they realize they can play their simple C-position pieces in ANY key!

I hope this gives you some great ideas of ways to improve your students’ musical literacy and sight reading skills! What are your favorite tools and resources for teaching these skills?

Teaching Note-Reading on the Staff Using Steps & Skips

Today I thought I would share a little demonstration of some ways I like teach my young students to start reading notes on the staff. I think it’s important to get out of the method books and off of the bench to make the musical concepts make sense and come alive.

My six-year-old daughter and I were reviewing steps and skips on the staff today, so I snapped a few pictures to show you my process:

My Giant Floor Staff Banner and my Giant Floor Keyboard Banner continue to be my favorite resources for little students! They are so much fun and are a great way to teach lots of concepts. First we reviewed steps and skips by walking up and down our staircase in steps and skips, then walked steps and skips on the Giant Floor Keyboard Banner (the banner pictured has the staff on one side and the keyboard on the other!). We played some steps and skips on the piano too!

Using the Giant Floor Staff Banner we counted the lines and spaces, and then practiced pointing and saying in order from bottom to top, “Line, Space, Line, Space…” We added some beanbags on each of the lines and spaces and played the pattern on the piano. My daughter was great at counting how many beanbags and playing that many notes, in steps, on the piano.

Then we took away the line notes and were left with notes in skips on all of the spaces! We played some of these on the piano as well.

Next we used my Steps & Skips Strips. These fun little flashcards can be found in either my French Piano Pack or my Sight Reading Tricks Pack. I love these little flashcards! They show a simplified staff with just 3 lines and 2 spaces, and 3 whole notes on each card in different patterns of steps, skips and repeats.

Students get to choose any starting note and then try to play the notes on the card. I think it’s helpful to sing along “starting note,” “step up,” “skip down,” “same,” etc. to help them. Some students like to sing along too! My daughter is on the timid side so she didn’t sing with me. Here is one of her first attempts:

After a couple of tries she started to get every single one right. It’s so exciting when little ones start to actually read music on the staff – and it can happen early if you teach these concepts in fun and engaging ways!

The fun thing about these cards is that once your students get the hang of them, you can line several up in a row for a bigger challenge! They also translate really well into playing on the actual staff.

I love teaching intervallic reading to my young students. It is just so much more intuitive than memorizing note names. Of course knowing the letter names can come later, but having a strong foundation of intervallic reading will translate to awesome sight readers later on!

Check out all of my great piano teaching resources in my Shop!

Female Composers: Recommended Reading & Resources

Read my other articles in this series: Why Learn About Female Composers? and Changing the Narrative: Awareness & Advocacy of Female Composers.

We have just concluded a month-long Female Composers Challenge to celebrate Women’s History Month. We learned about 31 female composers throughout history and listened to some of their music. We also took on the challenge of sight-reading one piece by a female composer each day of the month.

My hope for all who participated in this challenge, as well as for other music & piano teachers, is that you will continue to discover more female composers. I have discovered that once you start to learn about them it ignites a passion inside you on the subject! I am constantly discovering new female composers and putting their music in a playlist so that I can keep on listening and learning about talented composers.

Here is a recommended reading list of great resources that I have used to learn about female composers. I also think that one of the best things you can do is to simply start listening, and start playing. Just go to YouTube or your favorite music streaming app and type in the name of a female composer and start listening to their music. Hop onto imslp.org and download some music by women and start playing.

Recommended Reading & Other Female Composers Resources

Books About Female Composers

The Norton/Grove Dictionary of Women Composers

Sounds and Sweet Airs by Anna Beer

Women Composers: The Lost Tradition Found by Diane Peacock Jezic

From Spirituals to Symphonies: African-American Women Composers and Their Music by Helen Walker-Hill

Unsung: A History of Women in American Music by Christine Ammer

Stories of Women Composers for Young Musicians by Catherine Wolff Kendall

Shades of Sound: Women Composers – A Listening & Coloring Book for Pianists by Jennifer Boster (studio-licensed PDF)

Shades of Sound: Women Composers – A Listening & Coloring Book for Pianists by Jennifer Boster (paperback edition)

Other Resources

Women Composers Database by the Kapralova Society

Recommended Sheet Music by Female Composers

At the Piano with Women Composers, edited by Maurice Hinson

The Life and Music of Amy Beach: The First Woman Composer of America by Gail Smith

Fanny Mendelssohn Hensel Piano Music

Sonata in E Minor by Florence Price

Alma Deutscher: From My Book of Melodies

Piano Sonatas and Etudes by Hélène de Montgeroult on imslp.org (click on “Books” tab for Etudes)

Music by Fanny Mendelssohn Hensel on imslp.org (I recommend Piano Sonata in G minor and Das Jahr)

Central Star by Paula Dreyer

Piano Pieces by Judith Lang Zaimont on Sheet Music Plus

Piano Music of Zara Levina on Piano Rare Scores

Piano Sonata & Waltz by Dora Pejačević on Piano Rare Scores

Piano Works by Sophie Menter on Piano Rare Scores

30 Etudes by Louise Farrenc on imslp.org

3 Morceaux by Lili Boulanger on imslp.org

Reverie op. 2 no. 1 by Paula Szalit

4 Sketches by Amy Beach (I really recommend “Dreaming” and “Fireflies”)

Music by June Armstrong (I recommend “Safari,” “Six Little Preludes & Fugues” and “Enchanted World”)

Troubled Water by Margaret Bonds

Romancing in Style by Eugénie Rocherolle

Piano Music by Liz Story

4 Preludes by Maria Szymanowska

Keyboard Concerto by Maria Hester Park

Winter Illuminations by Wynn-Anne Rossi

Changing the Narrative: Awareness & Advocacy of Female Composers

Changing the Narrative

I recently wrote about why it is so important to learn about female composers. When I first started learning about female composers and listening to their music, I couldn’t believe how many there were and that I had never heard of them before!

The more I learn about women composers, the more passionate I feel about changing the narrative of music history that we are all taught. Amazingly there are still so many discrepancies between music by men and women even today. Pick up a book about music history, and chances are there are hardly any women mentioned within its pages. Visit your local music store and search for advanced piano literature by women – good luck finding more than one or two books. A lot of really great piano repertoire by women isn’t even available to purchase in a nicely-printed format, you can often only find hard-to-read, scanned-in manuscript scores on the internet. Attend your local symphony; you will be hard-pressed to hear more than a very, very small percentage of works by women performed on that stage. If you have followed along with the Female Composers Challenge all month, you have barely dipped your toes in to the available music by women throughout history, yet you probably have come away with a realization of just how much music by women is out there.

Awareness & Advocacy

Growing up being trained as classical musicians, most of us completed our music training blissfully unaware that there WERE women who composed, or that any works by women were important or beautiful or worthy of our study as pianists. Of course none of this is true, and the first step to changing that narrative is simply becoming aware of the discrepancy. Becoming aware of who the great female composers were/are and what their music is like is such an important step. I believe this awareness is crucial, particularly for music teachers, for I believe that it is us who will be able to help turn the tide and change the music history narrative. As soon as I realized that I didn’t know of many women composers, I started searching them out on the internet. I started pulling up their music on Apple Music or YouTube and listening. I started searching for scores to try and play their music. And I started looking for more information about these composers. I think that awareness will turn into searching and discovering, which will turn into advocacy for these amazing composers. I have loved seeing so many posts on social media all about female composers this past month as we celebrated Women’s History Month. What a great way to spread the word and advocate for these forgotten women.

Application & Student Education

As we start to advocate for music written by women, it is so important to also utilize it in our teaching. Find pieces by women that teach important techniques and use them instead of other traditionally-used pieces written by men. Offer repertoire written by women along with repertoire written by men. Teach your students about female composers along with the famous male composers. Offer listening assignments that will introduce students to both male and female composers and allow them to discover favorite composers of both genders.

I also urge you to ask your local music store, next time you are there, what music they have by female composers. Do they have any piano music by Fanny Mendelssohn Hensel, Amy Beach or Clara Schumann? My store only had one Amy Beach book. I wonder what would happen if music teachers all over started to ask their music stores to carry more music by women?

Why Learn About Female Composers?

We have just concluded our Female Composers Challenge in honor of Women’s History Month. It has been a fantastic experience learning about and listening to the music of 31 female composers. These composers come from many countries and many centuries throughout history. Each day of the challenge we learned about a composer, listened to one of her pieces and also sight-read one piece of music by any female composer.

As we wrap up this challenge I wanted to share some thoughts.

I believe that female composers are a vital part of music history, despite the fact that they have for the most part been omitted from the history books. I also believe that it is important to hear works composed by many types of people. When we limit our music history education to dead white males, we are missing out on the life work of so many who have a lot to say. I love the famous works by Beethoven, Bach, Chopin, Debussy and so many others who we have grown up learning about. But add in Smyth, Mayer, Beach, Schumann, Hensel and Price and your understanding of music history is enriched and enlarged. These women were incredible. They had so much working against them, and yet they contributed so much amazing music.

So, why should we learn about female composers? Well, because they were there. They lived and worked and composed at the same time and often in the same circles as men.

Many of these composers even taught those famous men that we all know. Carreño was one of Edward MacDowell’s first piano teachers. Nadia Boulanger taught many extremely famous and successful composers, including Aaron Copland, Philip Glass and Leonard Bernstein.

Many female composers were very successful students of famous male composers. Liszt taught Menter and Backer-Grøndahl. Clementi taught Montgeroult. Tailleferre was taught by Debussy, Ravel and Satie. Haydn taught Marianna von Martines, and Faure taught the Boulanger sisters.

Other female composers were friends and associates with famous male composers. Chaminade knew Bizet and Berlioz, who convinced her parents to get her the best music education possible. Clara Schumann of course was in the same circle as her famous husband Robert and was very close with Brahms as well. Zara Levina worked with Kabalevsky in children’s music education in the USSR. Ethel Smyth was acquainted with Brahms, Grieg, Dvorak and Tchaikovsky, and Agathe Backer-Grøndahl knew Grieg. Maria Hester Park was friends with Haydn, and they used to correspond through letters and send each other their works. Marie Bigot was friends with Haydn and Beethoven, who gave her the manuscript of his Appassionata Sonata. We could go on and on. But these female composers, who were in many cases very well-known in their lifetime, lived and worked and were well-acquainted with their male contemporaries.

We need to know these women because they made important contributions. They were trailblazers in their day, breaking out of genres traditionally reserved for women and writing beautiful and important works. Many of them, such as Hélène de Montgeroult, Louise Farrenc, Zara Levina and Nadia Boulanger made big contributions to piano pedagogy and music education. Many of them paved the way for other female composers.

It is important to know these women and to share them with our students, because all young musicians need role models. Of course girls can compose – but if they are not taught about any composers who look like them, it will be harder for them to realize that they can do it. I loved learning about these women and finding similarities in their lives with my life. I felt inspired when I learned about Florence Price supporting her daughters as a piano teacher and musician; I loved that Alice Mary Smith wrote some of her best work after becoming a mother. As we learn about these women and find something to relate to, their work helps to inspire us and our students.

Continue reading: Changing the Narrative

Take the Female Composers Challenge!

March is Women’s History Month, and I am excited to announce a month-long challenge encouraging you to get to know more female composers! The challenge has two components:

  1. Each day of the month of March, listen to one piece of music by a female composer.
  2. Each day of the month of March, sightread through one piece of music by a female composer.

That’s it! Simple right? As I have been reading and researching and listening, I have been amazed at how many amazingly talented female composers there have been throughout history. Why are we not taught about these women? How was it that I completed a four-year college degree in music and was hardly taught about any of these women? Many of them overcame extremely challenging social expectations and norms to even attempt to have careers as composers, and there is SO MUCH really amazing music that has been composed by women throughout history. We just need to find it, learn about it, and share it with our students.

I really feel that we as piano teachers can help to change the music history narrative as we include works by women in our teaching. As teachers, we need to discover repertoire by women that we can teach to our students. Our students will become familiar with the composers we present to them. All of our students need composers that they can look up to, and to realize that women can compose too.

Will you accept the challenge? Simply sign up here and I will send you a carefully-curated listening calendar that you can follow! I have done so much research and I am super excited to guide you as you learn about 31 amazing female composers. The earliest composer and musical work featured on the calendar is from the 9th century, and the most recent musical work included was just barely released on January 22 of this year!

Along with the free listening calendar, I will also send you a brief email each morning during the month of March telling you about the composer of the day. And there will also be several exclusive freebies throughout the month!

I am so excited! I hope you will join me!

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