5 minutes with ... Paul Sheftel.

Paul Sheftel is an extensively published editor, composer and pioneer in MIDI technology instructional materials. He has performed, lectured and conducted workshops throughout the country He serves on the Juilliard School faculty and maintains a private teaching studio in New York City.

I LOVE your clever compositions, such as Habluesinations and Blue Thousand and One (Also Sprach Zarabluestra). Have you always been a glutton for "pun"-ishment?

I enjoyed word play even as a child.

One favorite game is "if I were ...?"

If I were Jacques Ibert, I'd name my son Ted. If I were Ligeti, I'd write a piece called Ligeti's Split. Samuel Barber? I'd pen The Rossini of Seville. Phillip Roth? I'd have a vineyard so people could admire The Grapes of Roth.

My first encounter with your clever music was Not Fur Elise. How did that come about?

That's ... ah ... buried too deeply in the dark ....

Abscesses of your memory?

Exactly!

Were you taught jazz?

I'm an imposter, strictly classically trained. But I enjoy writing enticing jazzy pieces with immediate appeal.

Your website (www.paulsheftel.com) cites Charles Rosen's observation that Bach's music is "for instruction and amusement." Amusement?

"Amusement" seems trivializing, but I think Rosen meant it in a "joy of the muse" sense.

Do you overdot in Bach?

Generally I like the vitality it imparts, but each context is weighed on its own merits. I'm no slave to any theory.

Any advice regarding stagefright?

Performers should do what puts them at ease--for example, playing for friends in a living room. I used to suffer terribly from nerves, but now I relax by communicating with my audiences as a teacher (a role with which I am comfortable). We needn't be rigidly formal. I warn listeners they may hear wrong notes--they repeat after me, "It's no big deal!" A wonderful way to dispel tension....

When did your MIDI fascination begin?

Years ago, a young student offered to sell his Casio keyboard. I thought, "Why would I want this horrible thing?" Then I noticed it had a kind of primitive sequencer and recognized its fabulous potential.

Do you have a favorite Aesop fable?

"The Wind and the Sun." The Wind tries unsuccessfully to blow off a man's cloak. The Sun, however, shines brightly and presto!--the man happily removes his cloak. It's a great metaphor for humane piano teaching, achieving results through tenderness and consideration rather than authoritarianism and punishment.

If you were a character on Sesame Street, who would you be?

The Director.

Well, Mr. Director ... sequels are "in" today; what would Stravinsky's Agon inspire?

Son of Agon.

Oedipus Rex?

Nervous Rex.

Turandot ... by "Guacamole" Puccini?

Turandot Darn Radio Down!

And lastly, Les Noces?

Les Ear and Les Throat.

Thanks for graciously sharing your inimitable wit and wisdom.

My pleasure.

Arthur's Note:

After our lengthy phone conversation I needed ear, nose and throat surgery to remove the tongue from my cheek.

In closing, I assured Sheftel that the challenging task of editing our discussions would be in very "culpable" hands.

Arthur Houle is founder and director of the International Festival for Creative Pianists (www.pianofestival.org). Houle has taught at the New England and Boston Conservatories, the Universities of Iowa, North Dakota and Texas-Austin and, most recently, at Albertson College.