This July I got turned on to a new way to record student lessons (by my continual inspiration for my studio, Cynthia Vaughn).  She recommended I use video when recording lessons, instead of recording & saving an mp3 sound file as I had previously been doing.  The camera she recommended is the Zoom Q3, by Samson (CNET review here).

The best thing about this camera is its ease of use.  I have had all my students purchase a 4GB minimum SDHC media card (they’re currently selling for $12-$20).  This allows for 1:23:37 of recording at 48 kHz, 24-bit audio.  At first use, I make sure the student knows that this card needs to be dedicated to voice lessons (warning: don’t let them give you the card out of their digital camera!), as I format the card, and then run the “New Card” program that comes with the camera.  This then places Samson’s “Handy Share” – a super basic video editing/playback program – onto the SD card.  After this one-time setup, all future lessons only require putting the card into the camera & then removing the card at the end of the lesson.  The time that I’ve been taking to save the lesson file onto a USB Flash Drive is completely gone.  My students all feel as if they’ve “gained” time in lessons.

Another completely easy part of the camera is the ease of switching between video and audio.  There is a switch on the side of the camera that toggles between video and solely audio.  There are times where I just want an audio file (such as when recording the notes of a new song), or very quickly video (for speaking a foreign language text where the student can really see what my mouth is doing for articulation).  This ease is AMAZING & well worth the purchase of the camera. Read more…

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Posted in Music & Technology, Product Reviews, Teaching Tips

Wendy Morgan Hunter

Hunting Wabbits

August 16th, 2010 by Wendy Morgan Hunter

Have you hunted any wabbits recently?

When we voice teacher’s hear a singer we immediately begin to process the voice – is the sound effortless, does it move you in some way, is their too much tongue involvement or jaw tension, etc. How often do you put your mind at rest and just listen?

As teachers of voice we spend our time living in the critique mode- seeking out the flaws and embarking upon repairing and reprogramming how those sounds are made to make them more effortless, powerful, efficient, expressive. We live in the “what is wrong” and “how do we fix it” mode.

I challenge you as you embark on your fall teaching to step out of that critique box and into the audience mode. Marvel that even your weakest singers have improved upon something. Hunt for the wabbit! Share that success with the singer! If they are family dependent share that with their families too! Drop them a note or send them an email or stop everything and run out to their car as they pick up their singer and tell them how excited you are about this progress! Read more…

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Posted in Music & Technology, Performing, Practicing, Professional Development, Promoting Your Studio, Studio Management, Teaching Tips

Online Tools to Increase Your Music Teaching BusinessFor some of us, organizing our music studios online takes us into the realm of interactive communications. Like me, many teachers are actively using the internet to teach lessons, seek out new students, and build and manage our reputations.

Using some of the tools from this blog along with the Music Teacher’s Helper program will help keep you organized, communicate with students around the globe, build your base, and make sure your online reputation is rock solid!

Skype and Dim Dim Web Meeting

Skype (www.skype.com) makes a huge difference in my teaching. With webcam, voice and chat all together in one application, you can make sure you’re getting an accurate idea of your student’s technique and how to improve their playing during a lesson. Many teachers shy away from doing Skype and long distance lessons because it is a little daunting to set up – but once you purchase a good camera, get a great picture of your keyboard, and do a few practice runs, you’ll see it can be a very efficient way to teach.

Dim Dim Web Meeting (www.dimdim.com) is another great tool you can use to assist students over the internet. Dim Dim is set up much like a traditional conference, but the screen share can be very effective for music teachers looking to teach online. You can help students trouble shoot applications, go along with them to effective websites that will help in their practice, and help them navigate through your own materials.

Best of all – both these programs are free when using the basic functions, and are very user-friendly.

Kompoz

Kompoz (www.kompoz.com) is a revolutionary way to play music with someone over the internet. Kompoz allows you to play and record sessions with a long-distance online. You can conduct the session privately, and lag time isn’t bad enough to hinder the recording session if both student and teacher have a good connection.

Playing music collaboratively is part of what makes advanced teaching work for many of us, so the ability to record and critique sessions, and share those with your student, can really be helpful. You can also use a simple, free recording program like Audacity  (audacity.sourceforge.net) to record voice notes over the tracks you work on with your student.

Stickam and Ustream

Looking to solicit more students online? With sites like Stickam (www.stickam.com) and Ustream (www.ustream.com), you can stream your own video or audio “show” that you can use to market your materials and get future and current students engaged in your teaching.

Many of us don’t utilize some of these free and easy tools to get new students. If you’re looking to get into music teaching globally, or you’d like to increase your arsenal of marketing materials, video streaming is a great way to do that.

Utilizing some of these tools will help increase your productivity with current students, your branding, and will help you get new students globally, if you’re looking to do so. Used alongside the Music Teacher’s Helper features, these tools could help you create a global reach with your teaching that increases revenue and efficiency for your studio. I am constantly working on new ways to expand my reach via my own website.

What other online tools do you like to use to increase your music teaching business?

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Posted in Music & Technology, Professional Development, Promoting Your Studio, Teaching Tips

A few weeks ago, I returned from a trip to Nashville, where I participated in Summer NAMM as an artist at the Better Audio Booth. This is my second trip to a NAMM show, and each time I find myself returning to the teaching studio with more to offer to my students. If you’ve never attended a NAMM show, I highly recommend going.

NAMM stands for National Association of Music Merchandisers. This group organizes one of the largest music trade shows in the world, called the NAMM show. There two NAMM shows per calendar year. Summer NAMM takes place in Nashville, Tennessee. Winter NAMM, which is the larger show, takes place in Anaheim, California. The Winter 2010 show had 1,373 exhibitors and 87,569 attendees.

NAMM is not open to the general public. NAMM shows are only open to members of the music trade and those who have been invited (visitor passes can be obtained for friends and families).

Most of the attendees fall into 4 categories:

1) an exhibitor (normally this is someone who manufactures or sells a product)
2) a retailer (a rep from a music store that sells new gear)
3) an artist (someone who endorses a product)
4) journalists (such as journalists from magazines that cover the NAMM show, such as Bass Player Magazine or NoTreble.com)

During this year’s summer NAMM, the show did open to the general public for the first time during the final day of the show. Summer NAMM had 12,463 registrants for the three day show.

Music educators can request passes quite easily, and are actually encouraged to do so. One of my peers teaches band at a private school. He emailed the folks at NAMM, told them his creds, and they promptly contacted him to see which NAMM show he wanted to attend. The pass was free. To get a pass, all you need to do is go to the NAMM website and fill out the email form:
www.namm.org/contact

So packing 12,000 to 87,000 people under one convention center roof can make NAMM a crowded, noisy three day experience. And really, NAMM is a place where folks in the music industry try to get business done. So why on earth would a music educator want to attend? There are actually many benefits to going.

Read more…

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Posted in Music & Technology, Music News, Professional Development, Teaching Tips

Apparently “Binaural Beats” are making headlines lately. I have never heard this term before today, but I have been listening to a type of therapeutic music just like this for several years now. I have been a fan of Kelly Howell, a pioneer in digital music therapy, for a couple years now.

Listen people. I am not an expert in this, but I have studied Sound Healing with leading Sound Healer, Wayne Perry, and I have been researching this subject on a weekly basis for over 2 years. Here is my humble take on the freak-out fest:

We all know that music changes the way you feel, right? What if you understood the brain and it’s reaction to music, and you could predict which frequencies and pitches made your brain feel “happy?”Ok, that is what Kelly Howell and many others in this growing field are doing. You put on stereo headphones, listen to this calming music, and if you focus on the music intensely enough, you can go into a deep meditative state. Or you can get “high.” It is all a matter of semantics. Which word do you prefer?

Read more…

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Posted in Music & Technology, Music History & Facts, Teaching Tips

nmurphy

Recording Made Easy

June 25th, 2010 by nmurphy

Have you ever wanted to record a student’s performance prior to a recital, or a difficult passage that the student needs to work on, but lacked the equipment or knowledge to do so? I would like to share the ways in which I use recordings in my studio, and the very accessible and simple equipment that I use to produce recordings. Read more…

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Posted in Composing & Arranging, Music & Technology, Performing, Teaching Tips, Using Music Teacher's Helper

Last month, I wrote an article titled “Looping as a Practice Tool”. I didn’t intend to write a second article on looping but after getting a few questions from students and other readers, it felt like a good idea to cover more about the topic.

First off…what is looping? “Looping is the recording and playback of looped audio samples in real-time.” (Thank you, Wikipedia.) This can be done through hardware (dedicated looping units or certain delay pedals) or software. As we saw last month, this ability can be exploited for a better practice experience.

So what options do I have available to get into looping?
Read more…

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Posted in Music & Technology

To start this off, I just wanted to say how much I have enjoyed being an author on this blog for the past year and a half and the wonderful people I have met, as well as the beneficial information I have learned as well. This will be my last article on Music Teacher’s Helper, as I’m getting ready to have my 2nd baby here quite soon, and am starting my hiatus.  

As I’ve been contemplating what topic to cover for this last article, it occurred to me while teaching, that it might be beneficial to talk about how I’ve integrated my home studio into my music lessons, and how it has affected my students for the better.

As well as being a music teacher, I’m also a composer/recording artist and so I have a studio in my home.  Many parents and students have asked me “Why do you need two keyboards?” or “How do you record all of that right here?”, as well as many other curious questions pertaining to what goes into recording music from a home studio. Read more…

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Posted in Composing & Arranging, Music & Technology, Teaching Tips

As an artist who sings in both fields, I treasure my classic technique along with my ability to crossover. What is the correct balance for a young singer? If a student wants to sing theatre or pop music, this question is much more vague than in the classical world.  And what about the ones who don’t know yet where they would like to end up?

There are set standards to sing opera and oratorio – the voice must be strong enough to be heard in the back of the house and over the orchestra.  Idiosyncrasies and character of the voice must be smoothed over and sanded down for beauty’s sake.  Accurate pitch is a necessity, and freedom from tension an absolute.  Line is a necessity.  Superb breath support and full body engagement and support are key, as is maximum relaxation and minimal involvement of any extraneous tension or small muscle groups.

Theatre, pop and rock have different requirements.   Popular music including country and rock music desire and even promote vocal idiosyncrasies whiled desiring great range and stamina.  Character voices and pop singers take Macy Gray for instance – an R&B singer with such great character to her voice who hardly sings on pitch – need to maintain their “character” and uniqueness.

Subsequently I opt for teaching “classic” technique to all of my singers unsure of the style they decide, to sing to a point.  There comes a “fork-in-the-road” moment when we are beginning the “point of no return” where I stop and reassess their new path.  I talk to my singers about how we can proceed, classical, character, theatre, pop, again ask them what there feelings desires, and dreams are, and then share with them which road I feel is more available to them, if I have an opinion at that point.  We then move forward based on the information gained at that discussion.

I will discuss several students I have had this discussion with next month.  Meanwhile, I believe a prime example of a good mix of “organic with technique” is seen in the vocal prowess of Kristen Chenowith.  She has great flexibility with her classic training yet her ability to also sing country, theatre, and pop sublimely.  Listen to her meld several styles on “This Moment” by John Buccioni – and follow it up with a gander of her singing Leonard Bernstein’s “Glitter and Be Gay” from Candide.  Zowee.

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Posted in Music & Technology, Performing, Practicing, Teaching Tips

Looping has become more prevalent in live performance over the last few years as the technology has become more popular, affordable, and accessible. It’s been used in group settings, and has been very well received by solo performers. Loopers are being used by classical musicians, rock musicians, hip hop musicians, Celtic musicians, jazz musicians, and solo artists from every genre. KT Tunstell uses a looping to create layers of percussion and vocals on her hit Black Horse and the Cherry Tree.

In my case, it has allowed me to perform solo with my bass. It also allows me to rehearse at any hour I desire. So if the muse strikes at 3 AM, I can work a tune out and record quickly…with a set of headphones on, of course! Another benefit; after years of playing in bands with various folks, I can choose to forgo the drama, irresponsible behavior, bad attitudes, and mood quirks that other band mates can potentially bring with them. Practice time is no longer chatter time, drama time, marriage counseling time, “let’s jam with all of our friends because practice is on a Friday night” time, or “screw this and let’s get a beer” time. I can spend practice time focusing deeply on my tunes and my craft. For me, the ability to be selective about potential bandmates, while maintaining my independence to perform gigs made owning a looper well worth the buy in.

I purchased my first looper, a Digitech JamMan, about 4 years ago. After a year practicing with the JamMan, I purchased the Boss RC-50.
Along the way, I’ve gotten a range of reactions to using the looper in live performance. When I first discovered looping, my performing partner at the time wrote off the JamMan after a 3 minute audition, saying he “didn’t trust it for live performance.” Fortunately, I was intrigued enough with the unit to keep working with it on my own. Reactions to the RC-50 included a playful, “It’s a Christmas tree” (spoken by co-worker, upon watching the RC-50 power up). The best reaction I’ve ever gotten to the looper was a couple who slow danced while I was soloing over my chord changes. I really enjoy when people simply forget the unit is there, and they are enjoying the fact I am making music.

The looper is great for live performance, but it has become an indispensible practice and teaching tool as well. Here are some uses for it in the teaching and practice studio:

Read more…

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Posted in Music & Technology