Children Today

I remember a time before computer games, cell phones, instant messaging, IPads, iPhones, Internet surfing, Youtube.com, inflated school grades, unlimited free downloadable musical files, and instant communications.

Instead, we had: wall-to-wall television, radio, telephones nailed to the wall, bootleg cassettes, top 40 charts, hippies with guitars.

Okay, we still have hippies with guitars, except we now call them singer songwriters. Same chords, same banal sincerity.

And, old folks still worry about young folks.

Teaching young folk when you are an old folk has always presented a few challenges. But, the basics remain. Teaching, inspiring, and succeeding with still children requires:


Confidence
Competence
Enthusiasm
Experience
Knowledge
Trust
Faith

Cheers,
David Story

Upcoming: more book reports on teaching

“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

Selecting their next teacher

I can think of a few situations this may be necessary.


■They’re moving
■You’re moving
■You’ve taught them all you can
■It’s not a good fit
■They’re off to music school
■You are downsizing
■They want to learn something you don’t teach

Whatever the reason, the next teacher will assess their ability, progress, and potential and our teaching effectiveness. Possibly an embarrassing prospect. The next teacher will be impressed with our work if the student has learned the basics, has mastered the technique at their level, has learned how to practice and they still possess the joy to play that attracted them to music in the first place.

When I interview a prospective transfer student or I’m evaluating a student in a professional situation some of the things I’m looking for are:

■Enthusiastic attitude
■Good hands (technique)
■The student can clap accurately the rhythm in the music I give them (shows me they’ve worked on the basics)
■They are clear on their objectives (clarity of purpose)
■They can play a few favourite pieces (indicates their musical preferences)
■They have a few favourite pieces (an excellent indicator of enthusiasm)
■They listen to the music they want to study. (If they want to study classical music they enjoy actively listening to it. Ditto for jazz, pop, whatever.)

In the book “Practicing, A musician’s returned to music” by Glenn Kurtz, Kurtz muses with regret the technical deficiencies he brought to music school.

Wynton Marsalis in all his writings stresses the work ethic, a good heart, and mastering the basics. His books “To a young musician” and his latest, which I finished recently, “Moving to higher ground” harps constantly on these themes.

So, I suggest they interview teachers and select the one who stresses the basics, is student focused, and has a history of success in the area the student wants to work. Find a teacher who will stretch them, challenge them, and encourage them. Seek one who is creative, enthusiastic and knowledgeable.

Cheers
David Story

Assessing talent

It came up again this week, talent.


We have all heard it from time to time, “does my kid have talent?” or its variation, “Do I have talent?"

Do you mean, I respond, “Can you/they win American Idol, become a pop culture commodity and benefit financially from excessive adulation, and live the life of rich and famous?” Probably not.

Or do you mean, “Do you/they have the ambition, desire, patience, focus, clarity of purpose, time, money, access to resources, and family support to realize your/their potential?” I don’t know.

Or, do I respond, “After you/they have put in 10,000 hours of focused practice lets revisit the question.”

Or, do I respond, “How big is your/their desire?”

Others have stated: “talent is ability“, let’s keep practicing!

Cheers,

David Story

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

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
　

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