Mark's pianistic bio
I was introduced to the piano at the age of five, during my first term as a boarder at Homai College for the Blind. Music-making and music tuition were both intregal and inseparable parts of Homai. Perhaps being immersed into such a musical environment heightened the likelihood that music was always going to be a huge part of my life.
During the following summer holidays, our family were visiting some friends close by, and the house had a piano. It must have been with just the thumb on my right hand, but the family obviously saw that there was something special there. A few weeks later, a second-hand piano was delivered to our house in Palmerston North. I was five and a half, and that piano still has pride of place in my house in Queenstown!
On my sixth birthday, I was given a record which was of long-lasting value. It was an album called "Piano for Pleasure". Classics such as the third movement of Mozart's "Rondo a la Turca" and Liszt's "Un Sospiro" still resonate with me and move me. At that stage I learnt entirely by ear: I didn't actually commence formal piano lessons until I was nearly eight. Up to then I was making up things and copying things I heard on the radio or on record. Little did I know then that I was improvising. And even when being formally taught by ear, I still liked to have a shot at playing the pop music of the day (often at the expense of formal practice...).
When ten years old, I began taking lessons from someone who specialised in teaching Braille music and in teaching the principles of print music. Her approach was to begin by teaching me the layout of a print stave, set out as a raised diagram. However, it made no sense to me at all. As far as I was concerned, I didn't understand the concept, and I opted to go back to my first piano teacher, whilst also learning the drums for a couple of years.
Slightly older and slightly wiser and now at the relatively late age of thirteen, I decided to go back to the Braille (and print) music specialist, and I had a bit more stickability this time around.
When fifteen, I commenced studying for both theory and practical piano exams. This led to a huge turning-point when I was 16. My teacher deemed that I was good enough to advance straight to Grade 3 of the Royal Schools of Music performance exams, and I surprised myself by gaining distinction!.
The second big turning-point was that I discovered jazz. My music teacher at Manurewa high School (where I was mainstreamed from the third form onwards) encouraged me to attend a big band weekend clinic. Sorry about the pun, but I guess she saw something in my playing that I hadn't noticed. This, subsequently, led to me being part of a big band for a year. This was very important in opening my ears to different styles, and to chords. Chords were very important to me. Later, at the age of 16 (going on 17), this fascination was confirmed and reinforced when I listened to gems such as Dire Straits' "Your Latest Trick" and Stevie Wonder's "Lately" over and over again, absorbing the chord progressions in the process.
The next turning-point occurred in my fourth form year. My music teacher at the High School (who I didn't always get on with) at least imparted to me a couple of priceless treasures, those being the discovery of some pieces from the classical canon. J.S. Bach's "Toccata and Fugue" in D Minor and Smetana's "The Moldau" really grabbed me.
I never really thought about making a career out of playing the piano. During my last year at High School, someone suggested to me that I should apply for an audition to get into the Performance degree at Auckland University. I didn't take it very seriously, but filled in a form anyway. I was very surprised when I received a letter for an audition. And I was ecstatic when, after being auditioned, I won a place on the course! Especially as they were taking me on as a braille music reader, something they had never done before.
My University piano tutor, Brian Sayer, was far and away the best piano teacher and mentor I had studied under. The work Brian did in working with me on my finger technique and posture, the importance of how to listen to and to really get inside a piece, the principles of how to make the piano sing and his work on phrasing was of immeasurable value.
So it is little wonder that I have both jazz and classical elements to my pianistic style. I have a fascination with different voicings in both jazz and in church organ playing, and I think of the piano as both a choir or an orchestra. My ongoing aim is to make the piano sing, in as many different ways as I can.
During the following summer holidays, our family were visiting some friends close by, and the house had a piano. It must have been with just the thumb on my right hand, but the family obviously saw that there was something special there. A few weeks later, a second-hand piano was delivered to our house in Palmerston North. I was five and a half, and that piano still has pride of place in my house in Queenstown!
On my sixth birthday, I was given a record which was of long-lasting value. It was an album called "Piano for Pleasure". Classics such as the third movement of Mozart's "Rondo a la Turca" and Liszt's "Un Sospiro" still resonate with me and move me. At that stage I learnt entirely by ear: I didn't actually commence formal piano lessons until I was nearly eight. Up to then I was making up things and copying things I heard on the radio or on record. Little did I know then that I was improvising. And even when being formally taught by ear, I still liked to have a shot at playing the pop music of the day (often at the expense of formal practice...).
When ten years old, I began taking lessons from someone who specialised in teaching Braille music and in teaching the principles of print music. Her approach was to begin by teaching me the layout of a print stave, set out as a raised diagram. However, it made no sense to me at all. As far as I was concerned, I didn't understand the concept, and I opted to go back to my first piano teacher, whilst also learning the drums for a couple of years.
Slightly older and slightly wiser and now at the relatively late age of thirteen, I decided to go back to the Braille (and print) music specialist, and I had a bit more stickability this time around.
When fifteen, I commenced studying for both theory and practical piano exams. This led to a huge turning-point when I was 16. My teacher deemed that I was good enough to advance straight to Grade 3 of the Royal Schools of Music performance exams, and I surprised myself by gaining distinction!.
The second big turning-point was that I discovered jazz. My music teacher at Manurewa high School (where I was mainstreamed from the third form onwards) encouraged me to attend a big band weekend clinic. Sorry about the pun, but I guess she saw something in my playing that I hadn't noticed. This, subsequently, led to me being part of a big band for a year. This was very important in opening my ears to different styles, and to chords. Chords were very important to me. Later, at the age of 16 (going on 17), this fascination was confirmed and reinforced when I listened to gems such as Dire Straits' "Your Latest Trick" and Stevie Wonder's "Lately" over and over again, absorbing the chord progressions in the process.
The next turning-point occurred in my fourth form year. My music teacher at the High School (who I didn't always get on with) at least imparted to me a couple of priceless treasures, those being the discovery of some pieces from the classical canon. J.S. Bach's "Toccata and Fugue" in D Minor and Smetana's "The Moldau" really grabbed me.
I never really thought about making a career out of playing the piano. During my last year at High School, someone suggested to me that I should apply for an audition to get into the Performance degree at Auckland University. I didn't take it very seriously, but filled in a form anyway. I was very surprised when I received a letter for an audition. And I was ecstatic when, after being auditioned, I won a place on the course! Especially as they were taking me on as a braille music reader, something they had never done before.
My University piano tutor, Brian Sayer, was far and away the best piano teacher and mentor I had studied under. The work Brian did in working with me on my finger technique and posture, the importance of how to listen to and to really get inside a piece, the principles of how to make the piano sing and his work on phrasing was of immeasurable value.
So it is little wonder that I have both jazz and classical elements to my pianistic style. I have a fascination with different voicings in both jazz and in church organ playing, and I think of the piano as both a choir or an orchestra. My ongoing aim is to make the piano sing, in as many different ways as I can.
The story continues:
By the time Mark was in his last year of University, he was bursting at the seams to cut his musical teeth in the professional scene. The move by the family down to the Central Otago town of Alexandra, just an hour's drive from Queenstown, was to provide the perfect opportunity for a musical livelihood to become established. Someone told him there was a keyboard shop in town, and he ventured down to play one of the keyboards there. The response was very positive, to the extent that the keyboard's amp was placed outside the shop to attract customers. This then led to a five-minute interview and live music demo on Alexandra's local radio station.
Fortuitously, Mark's move to Alexandra coincided with a wine bar opening there. This gave Mark the chance to play to diners and drinkers alike. Word spread, and Mark soon found himself playing there, as well as playing piano in another lounge bar every weekend.
Further afield: Mark was introduced to a very outgoing and creative director in Queenstown, who created shows and reviews. Katrina Kallil needed a keyboardist for her next show, and someone introduced her to Mark. A very successful artistic partnership was forged. Through Katrina, Mark was also introduced to Margaret O'Hanlon (vocals) and Nigel Hirst (saxophone). This led to Nigel starting up a band called the Jive Pranksters, later to be renamed the Master Blasters, and Mark was at the helm on the keys. Mark's flamboyant solo work, coupled by his sensitivity in accompanying singers, led to him being in great demand. More and more of his music work was now based in Queenstown, and in 1998, Mark moved from Alexandra to Queenstown entirely.
In 2002, Mark took up the Musical Director post for Showbiz Queenstown's production of "Joseph". This was a great success. Mark went on to be the Musical Director for three further shows, the highlight for him being Musical Director and keyboardist for the 2005 production of "Chess".
Mark's work now spans several genres, from jazz to Celtic, from dance music to weddings and conferences, all tinged with Mark's unique touch on the keyboard. His love of classical music has never waned, and now, a new chapter in his musical life has opened, enabling the synthesis of his love of jazz and his love of classical music.
He has found a new passion and outlet for his creativity in hymn writing, and released the first collection 'Seeds of Faith' late in 2014.
Hear this space for more wonderful worship music!
Fortuitously, Mark's move to Alexandra coincided with a wine bar opening there. This gave Mark the chance to play to diners and drinkers alike. Word spread, and Mark soon found himself playing there, as well as playing piano in another lounge bar every weekend.
Further afield: Mark was introduced to a very outgoing and creative director in Queenstown, who created shows and reviews. Katrina Kallil needed a keyboardist for her next show, and someone introduced her to Mark. A very successful artistic partnership was forged. Through Katrina, Mark was also introduced to Margaret O'Hanlon (vocals) and Nigel Hirst (saxophone). This led to Nigel starting up a band called the Jive Pranksters, later to be renamed the Master Blasters, and Mark was at the helm on the keys. Mark's flamboyant solo work, coupled by his sensitivity in accompanying singers, led to him being in great demand. More and more of his music work was now based in Queenstown, and in 1998, Mark moved from Alexandra to Queenstown entirely.
In 2002, Mark took up the Musical Director post for Showbiz Queenstown's production of "Joseph". This was a great success. Mark went on to be the Musical Director for three further shows, the highlight for him being Musical Director and keyboardist for the 2005 production of "Chess".
Mark's work now spans several genres, from jazz to Celtic, from dance music to weddings and conferences, all tinged with Mark's unique touch on the keyboard. His love of classical music has never waned, and now, a new chapter in his musical life has opened, enabling the synthesis of his love of jazz and his love of classical music.
He has found a new passion and outlet for his creativity in hymn writing, and released the first collection 'Seeds of Faith' late in 2014.
Hear this space for more wonderful worship music!