“I want to play the drums!”, “Piano is dumb!”, “Piano is for girls!”

We have all heard these comments from time to time, usually from early teens. What to do?


“I want to play the drums!”

Without blinking, I always start by asking a few friendly questions.

1. “What kind of music would you like to play on the drums?”
2. “Do you have friends who play the guitar?”

A statement “I want to play the drums!” often alerts us that the music we are teaching the student is becoming increasingly irrelevant or our approach needs a little rethink for this particular student. Remember they love music or they would simply quit. And, playing the drums really is fun.

“Piano is dumb!”

1. "What do you mean?"

Some possible causes of stress:

1. Overscheduled pressured student- hockey, band, piano, friends, homework, Facebook, etc. They love the piano; they just don't have time because of other commitments. Talk to the parents, quick.

2. Sitting still in a room by yourself, for extended periods of time, practicing music that you don’t understand when your friends are running around the mall, and having fun online is pretty hard to do when you are 13. Someone once told me that most kids quit piano when the music on their iPod doesn’t match what is sitting in front of them on the music stand.

“Piano is for girls!”

Believe it or not I’ve heard this.
My response, “I’m not a girl”.
He quit anyhow.

Cheers,

David Story

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

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

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.
　

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

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

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

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
　

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

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