Teaching the YouTube musician

A recent phenomenon that we should be cognizant of is YouTube.com. This free video service is quickly revolutionizing music teaching. It is already created an enormously motivated pool of potential new students. A new class of students, which has been flying under the radar for years and a group poorly served by the professional teaching profession I say.

Here’s a typical profile from my studio:

• 10 to 12 years old, oldest is 23
• Male
• An enthusiastic user of the computer, computer games, and the internet
• Loves music, and pop culture
• Has an impatient character
• Possesses high energy
• Self-motivated
• Have definite musical tastes
• The predominant learning style is visual and auditory. In other words, they don’t like to read music.
• They are unresponsive to traditional teaching methods, aims, and processes.
• They fit the classic definition of amateur: for the love of music.

The big question, of course is” how do we serve this group”, or maybe the question is,” Do we want to serve this group?”

 There are few strategies I’ve successfully used:

• I review the instructional video on YouTube with the student. I help correct their technical approach to the piece, typically we redo the fingering.
• I take their musical interests seriously.
• I help them explore other music related to their interests.
• To help their reading, I often write out a phrase of the piece for them to learn.
• I teach them how to assemble the music on the computer using sequencing software.
• I encourage them to think about joining a band or jamming with their friends.

Here are a few outcomes

•  Because they play primarily by ear, love to practice and are highly motivated they typically play with the best groove and feel of all my students.
• Because I take their musical interests seriously, none of them have quit.
• I learned some exciting new music from enthusiastic self-motivated students.

Cheers,

David Story

How to teach listening skills

I have collection of old piano pedagogy books, one dating around 1900. A common thread throughout these books is the observation that many students can’t hear themselves, or others.

 

It is my contention that a student can’t play what they can’t hear. A teacher can’t teach what they can’t hear either. So, I’ve collected up a series of ideas from various sources.

• Have a listening practice. Play a recording, or demonstrate yourself. Afterwards ask the student questions on tempi, dynamics, articulations, etc. Compare different recordings of the same piece. Teach the student to hear the difference. The depth of inquiry depends on the development of the student
• Give out the list of genres given a few weeks ago and invite the older students to youtube.com the list. A wonderful discovery.
• Give a mock student demonstration and ask the student to critique the performance. This is particularly fun for younger students.
• Record and playback a student performance in your studio.
• Teach them to play with a metronome. Start easy, on scales: one note per click.
• Teach them some of the lessons outlined in the book, “The music lesson”by Victor L. Wooten. A priceless gem @$12.00
• Improvise together
• Teach them to pick out tunes by ear. Start with Jingle Bells
• Organise a jazz, new music, Renaissance music field trip. Meet the musicians afterwards.
• Introduce the kids to composition through Frances Balodis Young composer books.
• Teach ear training from the get-go: intervals, chords, dynamics, articulations, etc.

 All the best to everyone in 2010

 

David

Marketing Music Lessons Seth Godin

Seth Godin, marketing guru, predicts that over the next two years there will be a seismic shift in the marketplace. And, it’s likely to come out of left field.

For instance, hundreds of thousands of young people are learning to play musical instruments on http://www.youtube.com/. They may or may not be taking formal music lessons. I guess they’re not. Why is this method of learning become so popular?

• They learn at their own pace
• They can pick their own material
• They can learn only the good parts
• They can connect with others who have a similar interest
• They can fantasize that they’re part of something bigger, i.e. pop superstardom
• Nobody is standing over them correcting them
• Nobody is insisting they get it right
• Generally the parents like the same music, so give positive feedback

They just get to play, have fun and then do it all over it.

I currently have five http://www.youtube.com/ kids. Last year I had none.

Seth Godin has a new e-book for free. I encourage everyone to download this.
http://sethgodin.typepad.com/files/what-matters-now-1.pdf

David Story

Holiday Recital 2009

Christmas Recital was initiated last (2008) year, it replaced previously existed General recital.


We thought that the idea of Holiday recital will be more attractive for the teachers/students. It also would allow non-discriminative entries to all students, who would like to participate and enrich their experience in public performance; proved to be very successful.

This year we had more than 50 entries and decided to divide recital in two parts: Junior- Early Intermediate group at 4pm and Late Intermediate- Senior Group at 5pm. Dr. Tiiu Haamer – Recital coordinator required a dress code for this recital – kids were beautifully dressed, which added to the festive spirit.

It was a full house at RBG – very well attended. Everyone loved the new venue - RBG Auditorium. Very “intimate and inviting” in Dr. Joan Heels words. We had a privilege to use 7”grand piano for free – courtesy of YPC.

Many participants took pictures around RBG which was beautifully decorated for the holiday season.

Wonderful experience for our students and truly enjoyable for parents.

Olga Tcherniak

Musical Genres: How many do we know?

With the internet information explosion and the fracturing of musical preferences in our culture, I thought it would be fun to explore some of the musical genres competing for our students' attention. The following list was culled from http://www.live365.com/listen/browse.live,  an internet radio service.

Grab a cup of tea, fire up the site or visit http://www.youtube.com/.

David Story

here we go!

30s

40s
50s
60s
70s
80s
90s
Acid House
Acid Jazz
Acoustic Blues
Adult Album Alternative
Adult Contemporary
African
Alt-Country
Alternative
Alternative Folk
Alternative Rap
Ambient
Americana
Anime
Anniversary
Arabic
Asian
Avant Garde
Bachata
Banda
Barbershop
Baroque
Big Band
Big Beat
Birthday
Bluegrass
Blues
Bop
Bossa Nova
Brazilian
Breakbeat
British Invasion
Britpop
Bubblegum Pop
Cajun/Zydeco
Caribbean
Celtic
Chamber
Chicago Blues
Children's/Family
Chill
Choral
Christian
Christian Metal
Christian Rap
Christian Rock
Christmas
Classic Alternative
Classic Christian
Classic Country
Classic Jazz
Classic R&B
Classic Rock
Classical
Classical Period
College
Comedy
Community
Contemporary Bluegrass
Contemporary Blues
Contemporary Country
Contemporary Folk
Contemporary Gospel
Contemporary R&B
Contemporary Reggae
Cool Jazz
Country
Country Blues
Cumbia
Dance Pop
Dancehall
Dancepunk
Delta Blues
Dirty South
Disco
Doo Wop
Downtempo
Dream Pop
Drum 'n' Bass
Dub
Early Classical
East Coast Rap
Easy Listening
Electric Blues
Electro
Electronic/Dance
Emo
Environmental
Ethnic Fusion
European
Exotica
Experimental
Extreme Metal
Filipino
Folk
Folk Rock
Freeform
Freestyle
Funk
Fusion
Gangsta Rap
Garage
Garage Rock
Glam
Gospel
Goth
Government
Greek
Grunge
Halloween
Hanukkah
Hard Bop
Hard House
Hard Rock
Hawaiian/Pacific
Healing
Heartache
Heavy Metal
Hindi
Hip-Hop/Rap
Honeymoon
Honky Tonk
Hot Country Hits
House
IDM
Impressionist
Indian
Indie Pop
Indie Rock
Industrial
Industrial Metal
Inspirational
International
JPOP
Jam Bands
Japanese
Jazz
Jewish
Jungle
Latin
Latin Dance
Latin Jazz
Latin Pop
Latin Rap/Hip-Hop
Latin Rock
Lo-Fi
Lounge
Love/Romance
Mariachi
Meditation
Mediterranean
Merengue
Metal
Middle Eastern
Modern
Modern Rock
Motown
Neo-Soul
New Acoustic
New Age
New Wave
Noise Pop
Old School
Oldies
Opera
Orchestral Pop
Original Score
Party Mix
Patriotic
Piano
Polka
Pop
Pop Metal/Hair
Pop-Reggae
Post-Punk
Power Pop
Praise/Worship
Prog/Art Rock
Progressive
Psychedelic
Punk
Quiet Storm
R&B/Urban
Ragga
Rainy Day Mix
Ranchera
Rap Metal
Reality
Reggae
Reggaeton
Rock
Rock & Roll
Rock Steady
Rockabilly
Romantic
Roots Reggae
Salsa
Scanner
Seasonal/Holiday
Sermons/Services
Showtunes
Shuffle/Random
Singer/Songwriter
Ska
Smooth Jazz
Soca
Soft Rock
Soul
Soundtracks
South American
Southern Gospel
Space Age Pop
Spiritual
Spoken Word
Surf
Swing
Symphony
Tamil
Tango
Techno
Teen Pop
Tejano
Top 40
Traditional Folk
Traditional Gospel
Trance
Travel Mix
Tribal
Trip Hop
Trippy
Tropicalia
Turntablism
Underground Hip-Hop
Urban Contemporary
Valentine
Vocal Jazz
Wedding
West Coast Rap
Western
Women
Work Mix
World Folk
World Fusion
World Pop
Worldbeat
Zouk

Teaching Excellence

These are some of the topics I will be exploring over the next year or two on the subject of teaching excellence. Feel free to submit your thoughts prior to publication.


Cheers, David Story


Lifelong learning

Studio layout

Responsiveness

Recitals

Bookkeeping

Workshop attendance

Conventions

Forming discussion groups

Marketing

The Internet

Children today

Technology

Emotional wellness: ours and theirs

Teaching adults

Exam preparation

Exam follow-up

Creativity

Improvisation

Concerts

Master classes

Selecting their next teacher

College and university preparation

Assessing talent

Perfect students

Imperfect students

Parents

School band

“I want to play the drums!”

Pop music in the age of the iPod

Teaching seniors

Attracting new teachers to the profession

Keeping fit

Keeping up-to-date

Keeping our performing skills sharp when we teach all day

Technique

Posture

Deportment and etiquette

Great teaching books

Competing with the Internet

Outlook for the profession

Teaching the YouTuber

Why kids want to play

Why adults want to play

Why teens want to play

Staying motivated as a teacher

Dealing with stress: ours and theirs

Meditation for students

Musical genres: how many do we know?

How to teach listening skills

Book Review: The Talent Code by Doyle

Introduction: the girl who did a month’s worth of practice in six minutes

1. Clarissa had an internal blueprint of the piece before she begun. (She knew what the piece was supposed to sound like)
2. Clarissa liked the piece
3. Clarissa chunked the piece. (She practiced in small sections)
4. Clarissa mastered each chunk before proceeding to the next one.

She’s got a blueprint in her mind she’s constantly comparing herself to. She’s working in phrases, complete thoughts, she’s not ignoring errors, she’s hearing them, fixing them. She’s hitting small parts into the hole, drawing a lens in and out all the time, scaffolding herself to a higher level.

(We tried this with my students, they were intriged by the idea, thrilled by the results. David)

This book is about the neurological mechanism of targeted practice to build skill. It is about accelerated learning and Myelin.

This book is divided into three parts: deep practice, ignition and master coaching. This corresponds to the three basic elements of the talent code. Convergence is the key to creating skill.

Deep Practice

Main points
Screwing up, purposely operate at the edges of your ability is making them better. Deep practice is built on a paradox: struggling in certain targeted ways--- operating at the edges of your ability, making mistakes-- makes you smarter. Or to put it in a slightly different way, when you are forced to slow down, make errors, and correct them, you end up becoming graceful without you realizing it.

Excellence is a habit. Aristotle

The unskilled quality of a beginner isn’t a contradiction of where they may eventually end up it’s a prerequisite to it. A beginner becomes great not in spite of the fact that they started out immature and imitative but because they were willing to spend vast amounts of time and energy being immature and imitative, building myelin. Rules must be formed and obeyed

Inspiring beginners will help ignite their passion.

Environmental factors and mental inputs of the correct kind are imperative. Think teenage rock musicians who take on the mannerisms dress and speech patterns of their favourite musicians.

Commitment

Commitment: the commitment, whether short-term, medium-term, or long-term is a high predictor of success. But it makes progress a powerful idea: a vision of their ideal future selves, a vision that is oriented energized and accelerates progress, and that originated in the outside world. They need a signal from somewhere or someone, a set of images and experiences that ignite an intense in the unconscious response that is manifested in the idea: I want to be like them.

The most important teacher: Our First, Part 2

1. Name of the teacher and your age when you began working with this teacher.

I began working with Jean Broadfoot in Winnipeg when I was 5 years old and studied with her until I was 22.

2. Subject(s) taught:

Jean was my piano teacher.

3. What were the one or two major qualities that inspired you most as a young person?

Jean was extremely disciplined and logical in her approach and she encouraged me to perform frequently. She never talked down to me and always treated me with respect.

4. Can you briefly describe their teaching method? For example, how did they introduce a subject, plan their lessons, and follow-up?

I began lessons 55 years ago, so teaching was different then. Jean taught me every major and minor scale by showing me how each was related to the other and by having me listen and figure out how to find them myself. She had a series of technique books that I used for many years which introduced wrist rotation, phrasing, pedalling etc. so that these ideas were easy to assimilate into the repertoire. I never worked on a piece for very long unless it was for a special competition. She would drop and bring back out pieces after a few months to polish and rework. This approach always gave me perspective and fresh ideas.

5. How did they respond to special requests?

If I was asked to perform somewhere, she would give advice as to what to play and she would help me with it.

6. Where they a permissive teacher or more focused?

Jean was a focussed teacher without being rigid. I knew a lot was expected of me and I behaved accordingly.

7. How has they’re example continued to inspire you in adulthood?

Jean taught me to have high standards of performance, to feel every phrase, to love the intricate nuances of good piano playing and helped me with repertoire selection for my students. She treated each student individually and talked to us all differently depending on our interests. I try to do the same with my students.


Andrea Battista, ORMTA Piano and Violin Teacher
Artistic Director Rotary Burlington Music Festival

The most important teacher: Our First

This begins a series of blogs on our early teachers who inspired us. It is my hope this will encourage our prospective students and parents to choose carefully, looking carefully at the professional and personal qualities of ORMTA teachers.

From: Jacqueline J.Huffman-Krisza ARCT, B. Mus., M. Ed., RMT

1. Name of the teacher and your age when you began working with this teacher.

Name: Mrs. Myers at age 5. She died suddenly during the first year I was with her. I still treasure a couple of pictures I received from her estate.
Name: Louis Murch at age 10. My sister was allowed to start lessons with him, courtesy of Reginald Godden so I was very honoured to take lessons with him. My Mother always made going for our lessons a special event at the old Conservatory in Hamilton.

2. Subject(s) taught:

Piano ... Mr. Murch tried to teach me theory but that was a horror story…the poor gentleman endured those lessons!

3. What were the one or two major qualities that inspired you most as a young person?

Mrs. Myers - her kindness and genuine caring quality
Mr. Murch - Wow! To me he was a magical musician. He was an amazing concert pianist.

4. Can you briefly describe their teaching method? For example, how did they introduce a subject, plan their lessons, and follow-up?

Introduction - he played the piece flawlessly; in fact, when we started a new grade he would play several of the pieces and encourage me to choose pieces. He always had the final choice. He gave me an interesting historical fact/hook about each piece, and challenged me to present a designated section from memory the following week. There really was not a "plan" that I remember except, minimal directions in my dictation book. Hanon was a must! Czerny sight reading books were encouraged.

5. How did they respond to special requests?

I can't remember ever making requests as I was so busy trying to keep up with assignments plus always trying to avoid scales.
　
7. Where they a permissive teacher or more focused?

Mr. Murch was focused, a gentleman who I respected, yet a friend who I shall always admire.

8. How has they’re example continued to inspire you in adulthood?

He has encouraged me to take the time to listen to my students, encourage them and focus on them as the most important person in the world.

------------------------------------------------

Postscript: I encourage other teachers to send in their memories, based on the eight questions.
Cheers,
David

sharing ideas with each other

Dear Hamilton- Halton ORMTA members, Our ORMTA Fundraising

Committee is embarking on a new venture, and we are asking for your help. We feel that all of our members have teaching ideas that every member can benefit from knowing, and we ask you to request at your first branch meeting that everyone in your group sit down and record all the teaching tips they use in their studios to help their students progress in their musical studies.

We have the following categories in mind, and are also open to all other suggestions for topics: Rudiments, Theory, Technique, Practice Tips, Musical Games, Vocal, Piano, Other Instruments, Time Management, Visual Aids, Motivational Tools, Memorization, Exam, Festival and Recital Preparation, Composing Ideas

One of the MANY reasons that ORMTA membership is so important to all of us is sharing ideas with each other, and supporting each other, so we will all be better teachers. Each of us has many gifts to share, and to that end, we ask you to share your ideas with all of us, so we can help our students to reach their goals.

The completed "OPUS" will be for sale at the Convention in London next July, and we will be taking orders as soon as the book is completed. Please watch for more information about this fundraising project in the next issue of NOTES. We thank you very much for your support. Lorrie Tennant and Charline Farrell ORMTA Fundraising Committee send your tips to lorrietennant@sympatico.ca

my response

Here are five tips I've given to students:

1. Listen to the music, professionally and competently played, with the score in hand. Concentrate listening to one element at a time: Dynamics, phrasing, articulations, etc. Mark up your score with what you hear. Try it out. Keep what you like.

2. Go to concerts letting your teacher know what you like. Too many students like one type of music and dutifully and reluctantly study another type.

3. Exercise before practicing. The release of endorphins will help you focus and inspire you. For kids I've recommended running around for 10 minutes, or playing street hockey, throw some hoops etc. For adults practice try practicing after returning from the gym.

4. Learning to play well is very difficult, which is why it is so satisfying. :-)

5. Try to breathe slowly while practicing, it will help the body relax, the keep the mind focused.

Cheers, David

Free Mozart Scores for Study and Performance

Mozart Scores On-line
Free and available to students and teachers

http://dme.mozarteum.at/DME/main/index.php?l=2

Available now:

“The first step in the digitalization of the New Mozart Edition has taken place and includes the digitalization of 126 volumes and some 26,000 pages of music, as well as, the critical reports which add an additional 8,500 pages to the total. Access to any specific work has been made easy via the database.”

Scores: http://dme.mozarteum.at/nma.

Upcoming in 2010:

"The web premier of the first interactive, online works is planned for summer 2010. Intensive preparation for this release is underway in Salzburg with special attention given to the following areas
Libretti (complete text editions, catalogues)
Opera archive (expansion of the source collection)
Digitalization (online publication of all original sources found in the ISM collection)"

Have fun
David

Upcoming: More free music and profiles of “our” favourite music teachers.
　

The Mental Game

Below are a few principles of self-management for music success. This was taken from an article by Henry Brunton. www.henrybrunton.com I’ve adapted it for music.

Performance, expectations, reinforcement, motivation, energy, effort, self confidence, commitment, decision.

1. Performance and execution is of course the key. Consider yourself accountable for your results and your performance.
2. Your expectations dictate your performance. You get what you expect.
3. Establish and keep good habits.
4. Motivation is 90% pull and 10% push.
5. Maximize your return on energy by establishing your commitments, setting priorities, and managing your energy within these commitment areas.
6. Manage your efforts. As Henry says “there is only one way to get from objectives to results-Effort”
7. Manage your self-confidence. Because expectations determine performance managing your self-confidence determines your expectations.
8. Commitment: changing “I should” to “I will”, and set a timetable.
9. Get busy. Put your energy into doing it, not thinking about doing it.

Cheers,

David

Artistry in piano teaching by William Brown

Artistry in piano teaching by William Brown

Menahem Pressler, the renowned pianist and teacher is lovingly profiled in the book “Menahem Pressler artistry and piano
teaching “by William Brown from Indiana University press 2009

The biography traces the early years and development of this fine pianist, teacher, and musician. A couple of points stand out:

1. The importance of receiving correct and enthusiastic instruction from the earliest years.

2. The power of the human spirit to overcome seemingly insurmountable problems and threats.

3. I was inspired to read of Mr. Pressler’s passion for lifelong learning. Where ever he was, Pressler would seek out instruction from the finest teacher in the area. His continued seeking guidance well after he had established himself as a professional pianist. His search for excellent teachers and new influences for his life led him to seek the best he could find, both in Europe and in America. The lineage of these various teachers reaches into the history to Bach, Beethoven, Haydn, Mozart, Liszt, and Chopin and includes the Germanic, French, and Russian traditions. He became carefully schooled in the details of form, musical theory, and style. He learned to incorporate the relaxed approach into his own playing and his teaching. His desire for perfection came from being highly demanding both of himself and his students. His amazing love for practicing as well as performing lends a quality of delight to his music making and teaching.

4. As a teacher he sought the following qualities and prospective students: “I look for character, attitude, a sense of inner discipline, a force that would help the students succeed. You have to come with everything, with a love for it, with the desire to really devote your life to it.” He says he looks for coordination… that the hands are good. “And I look for intelligence, so that I know they will understand what I have to say to them. We must do anything to help a person find his maximum, how few do find it. I want them to be motivated and to continue after the decree, after getting a job, and so forth I wanted to keep the desire, no matter where they end up because that place where they are is the musical center for them. If you continue to live that way, you will make yourself happy and will make others around you happy. You will not feel that you are just a poor pianist who makes a poor salary, but that you are rich man."


Cheers


David
　

Private Music Teaching: Core Competencies

1. Helping students to connect emotionally to music study. (Desire)
2. Expanding their repertoire. (The Pay-off)
3. Teaching the student to enjoy practicing. (The Process)
4. Technical development. (The Tools)
5. Nuturing and developing their desire to succeed. (Primary Life-skill)

Madame Boulanger: "without desire you have nothing".

Cheers,
David

CFMTA Convention Report and Analysis 2009

CFMTA Convention Report and Analysis 2009
Sackville, New Brunswick

Arriving in Sackville is like arriving on a movie set of the Dick van Dyke show, or Leave it to Beaver. Lovely and quaint, with not a mall in sight is how the locals describe it. I agree.
The convention was off to a great start with a lobster cruise and dinner on a boat in the beautiful harbour of Sediac. Eighty teachers, presenters, and vendors had a delightful time learning the fine art of cooking and eating a lobster. Hint, after cooking in boiling water, immediately plunge into ice water for 10 minutes and then serve on its back.

The following day the workshops begun with my presentation “Riffs, Rags and Rumbas: Intro to Contemporary Idioms Piano Syllabus” to an enthusiastic audience. Teachers want to improvise they just don’t think they can, a pity everyone can. A person just needs help and permission to do it better. I will be presenting a three hour version of this workshop across Canada at the end of summer, including Toronto. Contact me if you would like to attend. Other centres include St. John’s, Moncton, Halifax, and Ottawa and points west.

The next highlight for me was the CFMTA National Piano Competition. One student per province competed. I’m pleased to announce that Eric Tan from Ontario made the finals. It was very instructive to listen carefully to the young musicians play with grace under fire.

Convention attendance is a highly recommended activity for all of us teachers: lots of learning, sharing, and professional growth.

Cheers,
David

How to develop musical creativity

A student asked me this question the other day, some of my thoughts:

1. Develop, maintain, and nurture your technical skills
2. Become physically fit
3. Practice being creative
4. Go to library and pick 10 cds at random, listen and ask yourself, “What is going on here?”
5. Keep practicing
6. Go to the art gallery, look and ask yourself, “What is going on here?”
7. If you are a jazz musician go to a country and western concert, if you are a classical musician go to a rap concert.
8. Balance your life, free up some mental space
9. Keep practicing
10. Play with others
11. Learn to improvise
12. If you are a jazz musician take some classical lessons, if you are a classical musician take some jazz lessons.
13. Carry a note book and pen with you, jot down your ideas
14. Take a walk in nature
15. Keep practicing
16. Hang out with creative people
17. Turn off the electronics
18. Read books on creativity
19. Find a mentor
20. Keep practicing
In short, creativity is a function of technical skill meeting a balanced and fertile mind.
http://www.chapters.indigo.ca/books/Improvisation-Its-Nature-Practice-Music-Derek-Bailey/9780306805288-item.html?ref=Search+Books%3a+%2527music+practice%2527

Motivation

Adults/Parents often asked me how do I motivate my child/myself. The short answer: I can’t, but I may be able to inspire them with your help.
1. Why do you value music study?
2. Do the musical preferences and the content of the lessons match? Remember exposure = preference.
3. Does the student have time in their schedule to succeed?
4. Do you like music? Do they like music?
5. What was the last live concert you attended with the student?
6. What music does the student hear at home?
7. Has the student learned to expect immediate gratification of every desire?
8. Is their instrument in good condition?
9. Do you attend lessons with the student?
10. Do you know how to help your child/yourself master the fine art of practicing?

Parent's guide to music lessons
http://cnx.org/content/m11640/latest/

Cheers,
David

The Examining Experience

I’ve just returned from a week in Saskatchewan examining for Conservatory Canada, an inspiring experience as always. Listening to other teachers’ students perform the same music you teach is an educational experience.

Below are some observations of interest to parents and students.

-Proper preparations help to reduce anxieties
-Everyone makes mistakes, remembering not to crumble when you do is a skill to develop
-Children are capable of artistry
-Children take pride in genuine success

Cheers,
David

Music Lesson Marketing

Recently I’ve had questions about the marketing of music lessons, “how do you have so many students?”

Here are some ideas that work for me

-I give more value than the student pays for
-I’m responsive to the needs of my students
-I communicate weekly with parents
-I run it like a business
-I’m always learning new things, which I share with my students
-I’m upbeat and enthusiastic, no matter what

Here are some resources:
1. Promoting your teaching studio, by Philip Johnston
http://howtopractise.com/?q=node/1627
2. 77 ways to build your private music practice by Milana Leshinksy
http://www.musicstaff.com/lounge/article64.asp
Other resources:
Success magazine
http://www.successmagazine.com/ I read it every month. It is full of good ideas for business and teaching.
Cheers,
David

Practicing styles

Book Review: “The Practice Revolution” by Philip Johnston, Practice Spot Press
An informative and often humorous look at practicing between lessons.

Common practice flaws, a selection

Chopping wood with a spoon: applying inappropriate practice techniques. Solution: “Have we as teachers clearly spelled out what, where, and how to practice?”

Shiny object polishers spend there time playing what they already play well, avoiding entirely that which needs their attention. Solution: have the students keep a practice log this week.

Sheep counters play the thing over and over and over and over and… you get the picture. The following week they present their work with all the problems now firmly and perfectly entrenched. Solution: Have the student describe how they plan to fix a problem before they leave.

Speed demons, too fast, to often. Why? They want to hear it like we presented it to them. Impatience prevents them from practicing slowly because of their enthusiasm to enjoy the speed rush. Solution: Have them practice it at an appropriate tempo in class.

Clock-watchers practice the required time so they can stay out of trouble. Ouch! Solution: We need to help them regain their enthusiasm.
　
The book goes on and on for 320 pages of helpful techniques and strategies to make the life of ourselves and our students easier and more effective.

http://www.chapters.indigo.ca/books/The-Practice-Revolution-Philip-Johnston/9780958190503-item.html?ref=Search+Books%3a+%2527the+practice+revolution%2527
　
Cheers,
David

Grade ten exam preparation

"I'm curious as to what you expect of students who want to go on and take Grade 10. What are your expectations of the student, e.g. amount of time to practise, where they should be musically, work ethics that you expect of the student and so on." Greg

Successful students at this level exhibit many qualities including:

1. They love to practice, lots of practice. They don't need to be nagged.
2. If they want to go on to the associate level, they practice a lot. (One adult of our acquaintance practiced and studied about 5000 hours in 4 years. Two year for grade 10, two years for ARCT.)
3. They love theory, history, and harmony.
4. They have support of their family and or spouses as the case may be.
5. They go to concerts.
6. They have classical music preferences.
7. They are competitive.

Cheers,

David

5 Benefits of Music Lessons

By Mrs. Treasures Takeaways

First benefit is the ability to handle pressures in life. Music students become proficient in handling stress as a natural part of learning.

Second benefit is the ability to respond to criticism. Music students learn to work under the close scrutiny of a mentor, in this case, their music teacher.

Third benefit is the ability to cope with victory as well as setbacks.

Fourth benefit is the value of hard work and perseverance in long term goals. Music study is incremental learning as student goes from primer level books to book 1, 2, 3, 4 and so forth. Students recognize that as they advance from one level to the next level, they are not only getting better but enjoying playing as well.

Fifth benefit is to get accustomed to the feeling of achievement. Studying a musical instrument is about learning how to become good at something.

New York Philharmonic Orchestra and the importance of student attendance of concerts.

I took a student group to NYC this past week for a musical festival competition. As part of the trip we attended a performance at Lincoln Center of “The Great Symphony” of Schubert.

All of us were in awe.

Musical vision: check
Phrasing: check
Articulations: check
Dynamics: check
Balance: check
Tempi: check
Note releases: check
It was a revelation to the students.

From the New York Times review
“Mr. Muti’s conception of Schubert’s Ninth Symphony was grand but never ponderous or overinflated. The performance was almost surprisingly propulsive; jollity outweighed pensiveness by a considerable margin…”
http://www.nytimes.com/2009/04/17/arts/music/17muti.html?_r=1&ref=music

Cheers
David
　

Resources for Teachers and Music Students

Classical music for study

The following site has thousands of scores for all instruments and combinations; 1000 years of European “Classical” history. Perfect for the curious and intrigued.

From the home page:

Welcome to the Petrucci Music Library! Our goal is to create a virtual library containing all public domain scores and/or sheet music, as well as scores from composers who are willing to share their music with the world without charge.
　
http://imslp.org/wiki/Main_Page
　
Cheers,
David
　

Music Study and Adolescent Maturation

I heard on the new today that 55% of first university students are ill prepared for university. Professors feel that this large group are immature, rely too much on internet sources such as Wikipedia, and expect success without effort.

Well…

I’d hazard to guess that music students who have completed exams, competed in festivals, and attended concerts will not fall into this group.

Music students learn first hand the relationship between preparation and success early. Putting together a polished performance requires real effort and commitment. It can’t be delegated, faked, plagiarized, or rushed. Success is genuine.

In a microwave world, music study is a truly authentic experience which helps Adolescents along the road to adult maturity.

Cheers,
David
　
　
　
　
　

Joy

http://www.ted.com/index.php/talks/benjamin_zander_on_music_and_passion.html

Benjamin Zander has two infectious passions: classical music, and helping us all realize our untapped love for it -- and by extension, our untapped love for all new possibilities, new experiences, new connections.

About Benjamin Zander
A leading interpreter of Mahler and Beethoven, Benjamin Zander is known for his charisma and unyielding energy -- and for his brilliant pre-concert talks.

His video presentation is one of the most charming and articulate presentations on the joy of classical music. A treasure for music teachers, students, and parents.

Cheers,
David

Inspiration for a slow day

http://www.ted.com/

Inspired talks by the world's leading thinkers and doers

I thoroughly enjoyed listening to Sir Ken Robinson speak of creativity in education. He quotes Picasso “we are all born artists, the trick is to stay an artist”

How about this from Ted

The 8 key words of success
-passion
-hard work
-good
-focus
-push
-serve
-ideas
-persist
　
The two videos I watched were funny, very funny, informative and well produced. Neither were hustling products either.

Cheers,
David

Piano Technique for Dummies Book Review

Piano Exexcises for Dummies Book Review.
I'm happily working through this book, the chapter on warm-ups is worth the price alone. Included are scale fingerings for all blues scales and more. It is a large format book which will lie flat on the music stand or desk. Excellant exercies for piano teachers to assign their students.

The following ISBNs are associated with this title:

http://www.chapters.indigo.ca/books/Piano-Exercises-For-Dummies-David-Pearl/9780470387658-item.html?ref=Search+Books%3a+%2527piano+exercises+for+dummies%2527ISBN - 10:0470387653ISBN - 13:9780470387658


The fun and easy way to tune up your technique and improve your playing
Is the piano your passion? This easy-to-read guide is bursting with fun exercises designed to hone your piano-playing technique, from warm-ups and major and minor scales to octaves, chord cadences, and more. You''ll play challenging rhythms, practice with different tempos, play a performance piece at the end of each chapter, and find inspiration for performing music your way.
Warm up away from the piano; release tension in your hands, wrists, and arms and go to the piano feeling loose and comfortable
Wake up those fingers; perfect your hand position and develop left and right hand finger independence. Develop greater control practice smoother finger crossovers and pass-unders for speedier scales and arpeggios
Incorporate greater movement; play chords without tension, jump across the keyboard, and move with ease in parallel and contrary motion
Ramp up your skills; perfect your pedaling, play grace notes, trills, and other fancy ornaments.

Open the book and find:

More than 150 exercises that vary in style, key, and tempo
Major and minor scales
Blues, diminished and chromatic scales
Finger, rhythm, and chord progression exercises
Left-hand accompanimentpatterns
Performance pieces with every chapter
Ten one-page dance pieces
Bonus CD Includes
More than 70 tracks all played by the author
Selected exercises from each chapter
Every performance piece
Ten dance pieces from the book

Cheers,
David

Unlocking piano technique: Video Guides

Unlocking piano technique

http://www.premierpianocourse.com/technique1a_1.htm Alfred Premier Piano Course

http://www.pianoteaching.com/guide/ Piano Adventures

Two excellant sites with video.

Cheers,
David

What makes a great Teacher

What makes a great teacher?

Great teachers ...

make you feel special.
teach you how to learn.
inspire you with their passion.
engage your whole being.
keep you focused.
open you up to new experiences.
have no agenda.
make the complicated simple.
give clear explanations.
show you how everything ties together.

from:
http://encarta.msn.com/encnet/features/columns/default.aspx?Article=greatteachersmain&page=tamimhome

To this I would add

Great teachers ...

Have a track record
Are passionate about the job
Know what they are doing
Like teaching
Listen to you
Are open to new experiences

Cheers,

David

Expectations

Expectations

With every new year comes a set of expectations and hope for what we can accomplish in the future. As a student, or the parent of a student, you too have expectations for the new year. Expectations motivate us. They drive us and cause us to invest time and money into the dream of being able to perform at a high level. This is a good thing. As music teachers, we’re thankful for expectations. They keep us in business.

The expectations are not fruitless. Many of our students excel and go on to become professional musicians, church musicians, teachers and choristers. Many more maintain their skills throughout life and play “for their own amazement.” However, there are a few who fall off the wagon prematurely and fail to achieve the expectations they once had. While there may be a variety of reasons for these students wandering away, more often than not, it is a failure to understand or meet the expectations of their teacher. Below is a partial list of expectations that professional music teachers have of their students and/or parents.

Practice

There was a time when this was a given. Music lessons meant practicing. But with so many different activities eating up our lives (soccer, swimming, dance, drama, etc.), music lessons are sometimes lumped together with the other weekly activities as if they are just another time slot in the calendar. Soccer practice is a time for practising soccer skills. Swimmers improve their stroke and endurance during swimming lessons. Students of dance progress during their dance class. Musical progress, however, cannot take place exclusively during a 30 or 45-minute lesson. Music lessons are a time for evaluation, correction, instruction, and planning. The majority of the learning takes place in regular practice sessions at home. When a student comes to the lesson ready and eager to display to the teacher what they have accomplished, the lesson is exceedingly valuable. The teacher can help the student take the next step in perfecting their performance, or push on to new repertoire. Lessons are not intended to be practice sessions. If they are, progress occurs at a snail’s pace and lesson fees are often wasted.

Perform

Music is a performing art. As teachers, we expect our students to perform. Some teachers have studio recitals, master classes, and group lessons. ORMTA sponsors many recitals and competitions throughout the year. The Burlington Rotary Music Festival is held each November, providing an opportunity to showcase the efforts of students. Though some students will experience some initial nervousness about performing, this can be overcome or controlled over time. Don’t hide your accomplishments. We want to hear you perform!

Follow policy

As professionals, we each have a set of guidelines that enables us to operate an efficient and fair studio. In order to maintain an effective relationship between teacher, student and/or parents, we expect you to pay for lessons and classes on time, according to the terms of our policies. We expect you to be familiar with and abide by our policy for missed lessons. Please contact your teacher if you do not have a copy of their policies. Remember that communication prevents many misunderstandings.

Individual teachers may have other specific expectations for students. While we will likely not discuss our differences in a public forum such as this, I have tried to represent (unofficially) what we as a professional music organization think is essential to a student’s success. All the best as you strive to achieve your expectations in 2009!


Scott Ashby
Ashby Musical Enterprises
2397 Sutton Drive, Burlington, ON L7L 7N2
Ph.: 905-963-1268 Fax: 905-592-2077
Cell: 905-630-2179 Email: scott@ashbyme.com
Web: http://www.ashbyme.com
Blog: http://musicteachercafe.viviti.com