A. The onboard recording and sequencing capabilities are a tremendous advantage because they allow students to instantaneously record and playback their playing. Students can critically listen to and assess their performances, record improvisational sketches for compositions, and compile a portfolio of their progress. The diverse palette of sounds from the shakuhachi to a cyber pad to traditional orchestral sounds is a real plus, enabling students to explore different timbres and play in ensembles with realistic sounding instruments. Learning instrumentation, orchestration, and arranging is more engaging and relevant when students can easily experiment with sounds. In addition, the style features and automatic accompaniment allow students to "solo" with a virtual back-up band.

A. The on-board 16-track sequencer is most valuable because it enables students to:
1) record a melody on one track and create an accompaniment on another track to facilitate coordination of the hands;
2) record different parts of an ensemble on different tracks, simulating an ensemble experience;
3) record a choral or instrumental score for score study and rehearsal preparation.

A. Yes. Students record multiple tracks for classical repertoire, such as a Bach fugue, or to experiment with the way different timbres affect articulation, phrasing and the expressive qualities of the piece. This type of practice informs a student's listening, touch and technique, ultimately transforming the way they play an acoustic piano.

A. The keyboard laboratory at the University of Arizona has twenty-one Yamaha CVP 103 Clavinova digital pianos. The teacher console is equipped with a Yamaha CVP 107, a Yamaha MLC-100 lab controller, a document camera and a data projector that is used to demonstrate recording and multitrack sequencing.

A. For group piano, I use MIDI disks that accompany the Alfred Method for adults. For pedagogy, I use the software (MIDI disks) that accompanies every major piano method.

A. Students enjoy and always comment on the excellent quality of sounds, the multiple timbres, and the weighted keys. They also delight in being able to play with accompaniment disks and to immediately record and playback their performances. Once they develop skill in multitrack recording, students enjoy using the on-board sequencer for recording of ensembles, for score study, and to create compositions.

A. I do – I play it for fun, practice and instructional preparation. At home I have a Clavinova CVP 307 and a Yamaha S400 Grand.

A. I have worked with Yamaha products for over 20 years and I find them to be outstanding. They are user-friendly, dependable, and consistently evolving. Also, I value that Yamaha supports music education and is committed to going the extra mile in providing quality service and products to the educational community.

Lisa Zdechlik holds a D.M.A. in piano performance/pedagogy from the University of Oklahoma, a master's degree in piano performance from San Diego State University, and a bachelor's degree in piano performance and music education from the University of Northern Colorado. Her research involves the interaction between music analysis and performance and the applications of current technologies to music learning. Dr. Zdechlik has presented her research at international, national, and state conferences. She serves on the steering committee of the National Group Piano and Piano Pedagogy Forum, the Technology Committee for the National Conference on Keyboard Pedagogy and as College Faculty Chair for the Arizona State Music Teachers Association