It is difficult to even begin to imagine how many times my mother said, “Practice makes perfect!” to me during my younger years.  Generally these words were said in relation to the development of my skills as I was learning to play the piano.

My association with the piano has included most of my life.  I was born in Bunch, Oklahoma in the parsonage next door to the white frame church where my grandparents served as Methodist missionaries for the surrounding community of Native Americans in the Cookson Hills along the banks of the Sallisaw Creek – where I was later baptized by my grandfather.  My mother played the piano for worship services and the congregation did not offer a nursery so very early in my life my seat in worship was beside my mother on the piano bench.  Legend reports that at some point I reached up and joined her in the playing.  I am told that it was during the playing of “Silent Night” although the only people who could verify the truth of that story have all already joined the heavenly chorus of saints gone before.

My “formal” music training began when i was five years old.  My mother, who taught many piano students over the years, always made certain that I had a teacher who was not my mother.  The first was Sister Gabriel, a diminutive Benedictine sister, who always rewarded me with treats she had saved for me from her dining room meals.  During the summer following my fifth grade year we moved to Augusta, Kansas where I continued my studies with Edwina Parker.  Her presence in our little town was clearly a loving act of God – a blessing beyond the comprehension of any of us.

Mrs. Parker was my primary teacher from the beginning of my sixth grade year until I began my undergraduate education.  It was very important to her that I learn the technical tools – scales, arpeggios, etc. – that were part of traditional training for the repertoire of the classical master composers.  However, it was equally important to her that I receive training to “play by ear” and learn to utilize chord symbols and the notation need to play in jazz and pop idioms.  I also was blessed by a wonderful band instructor as I also began my study of the trumpet.  Mr. Hendrickson also believed in a balanced education of preparation for both traditional and jazz pop styles.

My mother also continued to be a significant presence in my formative process as a pianist.  She contributed two significant practices to my training.

First, she made sure that daily practice was an important part of my life – often to my dismay at the time.  One afternoon when I arrived home after school I announced that it was my plan to be a professional tennis player. My mother, without any hesitation, responded that would be fine and that I could play as much tennis as my heart desired provided that I completed my daily piano practice first.

Her other plan made a very significant and meaningful contribution to my training and future success.  She realized the importance of having the ability to sight read music – especially for someone who would later be involved as an accompanist and an audition pianist.  So, at her direction, I began my daily practice by playing through ten musical selections that I had never studied – often had never seen.  The selections ranged from hymns to solo piano teaching repertoire to almost anything that might be available at the time.  This practice routine helped develop a sight reading foundation that was very beneficial to my later career in professional musical theatre and as an accompanist.  My ability to proficiently sight read provided numerous possibilities for career opportunities that otherwise would not have been available to me.

Practice – even not being aware of the potential benefits at the time – built a working knowledge that provided enormous benefits and opportunities for my career as an active musician.  My mother understood the good