is one of Kemal Gekic’s longest-standing students, who moved to Yugoslavia from Montreal, Canada in 1990 to work under the maestro’s tutelage. He has written several books on piano technique devoted to illustrating Gekic’s technical and musical approach to the piano, and disseminates these teachings in the Alan Fraser Piano Institute

Fraser’s approach benefits pianists of all levels - we all share similar skeletal structure, similar muscles, similar nerves, and similar brains. Students, teachers, professionals and amateurs both young and old are welcome.

The master-class teacher imparts an interpretation, leaving the matters of technique to the regular teacher. By contrast, Fraser empowers you to express your own musical ideas at the piano by focusing on the technique – always, of course, linking it to musical structure.

Pieces brought for study need not be totally polished. Working in the early stages of preparation can lead to better learning: old habits are not yet ingrained, new habits are more easily acquired.

Honing the physical relationship to the instrument makes playing easier and more masterful. Increased skill improves musical expression and reduces strain - addressing both performance anxiety and injury issues as well as basic ability.

In the late 1980's Fraser's teacher, Phil Cohen discovered one common factor uniting the greatest artists: they don't play as they were taught. The technique of a great performer transcends the approaches of standard pedagogy and even can radically oppose them. The project also found that qualities of transcendent performance can be analyzed, codified, and taught. Standard pedagogical regimes are a necessary preparation, but Cohen's life work has been to cultivate that 'something more' needed to reach transcendence.

After a decade with Cohen, Fraser moved to Yugoslavia to collaborate with a transcendent artist in the flesh, Kemal Gekić. Here Fraser could observe transcendent technique first-hand and understand its workings from inside out. The transcendent artist uses his body differently: his subtler, more complex relationship to his physical self fosters a deeper expression of his artistic soul.