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

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

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

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