Based on a Novel Idea by Wendy Stevens.

In her recent website newsletter, Wendy Stevens described a holiday project she designed. She asked her piano students to learn the theme of the “Jingle Bell” chorus and create a variation. Each arranger was filmed debuting his/her arrangement and made into a lovely video.

Fortunately, Wendy shares her marvelous teaching ideas and inspirations on her unique website www.composecreate.com. Subscribing to her free newsletter provides me with numerous ideas and resources. I must give full credit to her for the subject of this blog and am so thankful to find her as a continual resource of inspiration.

The Plot

When preparing for the upcoming holiday recital, lesson time can be zapped by ironing out wrinkles in performance pieces or drilling the performance etiquette routine. Little time is left for covering new concepts or new pieces. This calls for an assignment that captures the students’ attention, challenges their creativity and that can be accomplished in a short amount of time.

 The Production

The following steps were taken to prepare students:

1) A lead sheet featuring the melody and chord symbols was reviewed. Early level students were provided with a simple LH version.

2)  For inspiration, students were asked to listen to Mozart’s Twelve Variations on “Ah, vous dirai-je, Maman” and follow along with the score. Next they watched the youtube video of Wendy’s students. (As I offer 30-minute lessons with a 30-minute lab time, this was assigned during the lab time and did not take away from lesson time.)

3) A checklist of composition devices was given to charge up the creative juices. About 5 minutes of lesson time was taken to prod students’ idea bank. We looked over a list of various moods that sparked the imagination engines. Most were inspired to borrow ideas from their current pieces which boosted their confidence as they were not starting with a blank slate. Additional ideas included varying the melody with neighbor tones, repeated notes, rhythmic changes and using standard LH patterns they encounter on a regular basis. Students were encouraged to keep it simple. However, they know I am a huge fan of intros and outros (codas), so most added them to please the teacher

4) Pianists (arrangers) were asked to return to the next lesson with a completed variation.

Action!

The following week was like Christmas as each student “unwrapped” his/her variation for me. Some were perfected and camera-ready, some even had more than one variation, while others needed last-minute tweaking to work out rhythm or harmony issues.

Recording each student usually took more than one “take” but they did seem relieved to know that only their hands would be filmed. They were all reminded to use their best hand position but  some were quite surprised with what they saw while watching their own video. (Note to self: pull out this camera more often–a picture can say so much more than words!)

Cut!

After accumulating the clips, they all headed to the editing table (iMovie). Every student who participated was included in the final cut, however there were so many that a ‘sequel’ was needed.

The Editor’s cut features the top twelve variations (yes, it was hard to choose!). It was just added to my Music Teachers Helper website, a great way to showcase the latest studio activities.

This is the first of MANY similar projects. It offered an opportunity to cover theory topics like the theme and variation form, primary chords, secondary chords, modality, composition techniques…the list goes on. The students enjoyed the creativity and seeing their names and hands “up in lights”–watch out Hollywood!

Let’s be honest–why do we work? Because we love it? Perhaps, but back in the fast-food-job days, I worked for that paycheck. With the demanding, repetitious practice required during the “transformation period” an incentive or a “paycheck” can prove helpful. Music Money, created by TCW Resources, sparked my curiosity years ago and I continue to see the benefits of paying students for practice and progress (and so do my students!)

 Ways to Pay that Can Make Huge Dividends

1. All students receive $20 each week IF all 5 bubbles in front of each assignment on the assignment sheet are colored in.  This shows me my instructions were followed and practiced 5 times since the last lesson.

2. If there is a new concept to master I like to challenge with cash. For example, when working with Kyle to make lovely shaped phrases, he was offered $5 for softening the end of each slur. After listening to my example, Kyle rose to the challenge, watched for the end of every slur, softened them with a gentle wrist lift and added $35 to his stash.

3. A favorite office supply product–post-it arrows–proves profitable for all. These are placed near a measure on the page that is tricky or error-prone and warrants discussion at the lesson. When the student returns for the next lesson, the pianist must remind me what the arrow signified and play the section/note correctly. Each arrow is worth $5 and sometimes a page can be plastered with arrows so the payout is big!

4. Once a piece is mastered and error-free, it needs to stay that way. To build reliability, students are asked to play a piece (or section) 20 times perfect. Students keep a tally on a post-it and if they return with 20 tallies, they earn $50.

5. Lessons are always filled with questions so if a question is answered correctly OR if the pianist speaks with particularly amazing intelligence (!) $5 is added to the stack of bills.

6. Each time a pianist participates in a studio performance opportunity or performs at school, church, etc, they receive $50-$100.

7. Group lessons are filled with games and opportunities to reward with cash and bonuses.

8. Each bill features a picture of a great composer providing opportunities to introduce great musicians of the past.

9. When drilling a tricky phrase it is fun to place a bet. Once students hear “Twenty bucks if you can play that phrase with zero errors” they eagerly rise to the challenge and drill the phrase until it is perfect.

10. Dynamic markings are often overlooked.  Offering $5 for each one I hear in a performance heightens awareness in the eyes and ears of the performer.

Meant to be Spent

If there’s money burning a hole in an assignment binder pocket, it must be spent. So, once a quarter I set up a store stocked with candy, toys, sheet music, jewelry, gadgets, etc. Students arrive unaware of market day and drop their music bags to eagerly count their money. A timer is set for 5 minutes to browse as the shopping experience for some can take a great deal of time. Some enjoy bargaining, others always seem to overspend (and ask for financing!) and the misers save their dough.

It Doesn’t Grow on Trees

Invest in Music Money and see long term results. You can find your cash at  TCW Resources, published by Neil A. Kjos Music Company.  The company crafts countless creative even “wacky” games and theory books that enage students in fun and theory! (FYI: You’ll get a kick out of the origin of the acronym “TCW“)

I use many TCW Resources materials and recommend them all. Their products are packed with a delightful sense of humor, dynamic illustrations and solid theory tools that are SOUND investments for your studio.

I downloaded the free version and found it to be very useful and not too limited, as many ‘lite’ versions can be. The lite version of the app covers Intervals, Major & Minor Triads, Cadences & Chord Progressions and Scale Recognition. The app contains information explaining each of the concepts that it covers, with links to websites more information if required. There is a section where students can track the statistics of their progress, which would be great for teachers to check in with how their students are doing as well. Exercises can also be slower down (a must for any ear training app I believe) and you can also limit the exercises to certain keys. A small keyboard can be activated for students to work on during the exercises also, although none of my students used this feature.

The Interval training is set up so that students choose between two intervals, which I think would be fantastic for beginner students, where you might only introduce one or two intervals at a time. There are options to play melodic intervals both ascending and descending, as well as playing them as harmonic intervals. The same options are given for major and minor triads.

I like the versatility of this app, the ability for it to be used by students of all levels, and of course, the price (free!). I think it will definitely be recommended to my students who haven’t already discovered it and exploring the full-priced version also. If you have a favorite ear training app I’d love to hear about it in the comments section below.

Image: digitalart / FreeDigitalPhotos.net

Reason #1 to Keep Believin’: Chords for Keeps

Most pop songs are really just “four-chord songs.” At least that is what “Axis of Awesome” (a comedic rock band) claim and explain in this PG-13 clip. They begin with Journey’s “Don’t’ Stop Believin” and continue with a medley of countless hits that feature the same four chords (in the same order, too!).  After watching this video I decided that my students must watch it as well (with parental consent), memorize those four chords and learn the opening line of Journey to play anywhere, anytime. Turns out,  they not only enjoy the fact that they can play the “Glee”-remake but also take pride in the fact that they now know the secret behind most of their favorite pop songs.  Bonus: their friends love to sing along and actually “believe” they can play the piano like the “pros”.

Teaching Hint: If your students know the Heart and Soul Pattern, they know the chords of most four-chord songs.

Reason #2: Trash to Treasure

Brian, a 29 year old general contractor, dragged a piano from a neighbor’s trash pile and began to teach himself piano by listening to songs off iTunes and YouTube. One of the first songs he learned by ear was “Don’t Stop Believin”. Since this past November, he comes for weekly lessons with me and even chose to plan his first “gig” at a local Whole Foods store that hosts a community piano. He requested that we play this favorite hit as a duet. After his debut, he has not stopped believin’ in what he can accomplish at the keys.

Note: the magnetic pop-hit-turned-piano-duet captivated many shoppers. They couldn’t leave until it was finished.

Reason #3:  Old and New

I do not claim to be current at all and I did not know that Journey was releasing a new album with a lead singer to replace Steve Perry. Recently, a friend told me of how moved she was by an interview with Arnel Pineda and the band members on “CBS This Morning“. After watching the clip, I was convinced yet again how this tune “Don’t Stop Believin” has power to equip, power to inspire and power to change lives forever.

Reason #4: Patterns and Passion

Even though some songs include only “four chords’ what a gift we can give our students.  When they have the power (and the patterns) to unlock the secret of the latest hits they will be hooked for a lifetime. Thank you Journey for keeping us belieivin!

As I continue on my path towards keeping myself and my students musically fit (see last month’s blog), I continue to seek out musicians/educators who inspire, train, and challenge me–one of them being Bradley Sowash. Inspired by his story above (see link below for entire article), my studio bulletin board exclaims “know your chords, kid”.  All students know we will be hitting chords hard over the next months to build some strong “chord” muscles. Sowash crafts inspiring articles, unprecedented books and videos that help me hone my skills as a musician, teacher AND a jazz player. Of course, many of them will be used this summer to develop students‘ chord playing skills and so much more.

Perhaps you’ve seen Sowash’ series entitled That’s Jazz (can’t help but love the illustrations)? The books provide a gym bag full of workouts for novice to serious jazz players. Sowash understands the need to explain jazz in basic terms and provides “safe” improvisation arenas for musicians who tend to favor the page.

Each piece–a solo gem on it’s own–includes an optional duet part and a swinging’ CD accompaniment. However, what attracted me to the books immediately were the pages entitled “Warm Up” and “Going Further”. The Warm Up page (found prior to an upcoming solo) breaks down an important element of  jazz in a pedagogically pleasing (yes!) format. The Going Further page (found after the solo) gives clear and basic suggestions for improvising like a true jazz player. The soloist is then challenged to play the solo again plugging in any/all suggestions. Sowash is an expert at keeping instructions simple and setting boundaries so that there is little fear of failure and a foundation for creativity to blossom. Students of mine who had never before stepped foot on a “jazz” court  found success unlocking and exploring creative skills fostered by this series. (Note: this series focuses on the jazz style, but instructions are useful to any style of improv.)

Below are links to various resources developed by Sowash so that you too, can make jazz and improvisation accessible to any student.

Bradley Sowash

Check out his wide selection of books, beyond those mentioned above, that should keep any wanna-be jazz pianist busy and satisfied.

http://www.bradleysowash.com/BookThatsJazz.htm

Read a terrific article (mentioned above) penned by Sowash providing ample ideas and basic scale and chord patterns required for building strong improv skills.

http://www.nxtbook.com/nxtbooks/clavier/companion_20110506/#/34

Watch him explain how to use his innovative method on video.

http://www.youtube.com/user/bradleysowash?feature=mhum#p/u/1/dpnxkuYNUIs

Find him on Facebook where you can view his work as an educator, composer and

Performer/Composer/Educator

performer.

https://www.facebook.com/BradleySowashMusic

Hopefully, you may find one or all of Bradley Sowash’s (http://www.bradleysowash.com/ ) resources valuable as you continue to train your students to stay musically fit OFF the page as well as on.

Some Observations…

1) As an organist and pianist with a master’s degree in piano performance and pedagogy, I met the challenges of memorizing Bach, executing the articulation of Mozart, the voicing of Brahms’ inner melodies, and the shimmering tones of Debussy and, succeeded, according to my professors. However, after the diploma was hung, it was quite clear to me that my sight reading skills needed attention AND chord charts for my church’s praise band seemed to be written in a secret code. I kept thinking, what kind of pianist was I? I felt lopsided–I was strong as a classical pianist but very weak as a functional musician.

2) Recently, a student of mine participated in a very unique Creative Pianist Contest and earned a $100 for the best performance of a Contemporary piece and another $100 prize for the most Versatile Pianist. Of course I was so proud of him and can take some credit for helping him to master Copland’s “Cat and Mouse”. However, I wish I could also take full credit for his versatility as well! In general, my “job” as his teacher has been to keep him staying ON the printed page because he has such exceptional skills living OFF the printed page. I can take credit for challenging those skills but the wiring between his hands and ears is an extraordinary gift and very atypical of what most of my present piano students possess.

Question…

If all students can learn to read and play music from the grand staff, should they not be able to learn how to play by ear, read chord charts and improvise as well? Can all students (not just those with a natural gift to play by ear) learn to be versatile, musically fit musicians?

Answer…

Yes! My teaching philosophy stems directly from reactions to my past and present experiences as a student and as a teacher. Although I use the typical piano methods, I interject various activities to develop functional keyboard skills for all students. During the summer months is a great time to focus on specific skills such as composition, improvising, creating with Garage Band, chord charts which all encourage the ability to play by ear.

How…

One online tool that is geared specifically to train the ear is Theta Music Trainer. I am happy to see that after my first review in a past blog, this website continues to evolve and improve its ear training course for ALL levels of musicians. The well organized format, the accessibility and affordability will make an excellent trainer for my “music skill builders”.

Highlights of Theta Music Trainer

A Well-Designed Course

This program was developed from the author’s own desire to play by ear. The site is designed around the four core areas of musicianship–melody, harmony, rhythm and sound. The system designs 30 daily workout sessions that last from 10-15 minutes.

Games that Motivate

According to the site, ” Basic musicianship skills are often best developed by working away from your instrument initially, in short bursts of concentrated practice.” The games found on the site aim to provide a total workout for the ear. The variety and design of the games are fun and in turn, boost motivation.

Highlights of Recent Upgrades

New Games

Knowing that new games have been added and some provide learning for those without prior knowledge of music theory, shows that investment in this site will prove valuable to any level of musician.  More games are coming, again, soon.

Personal Trainer

Feedback of progress is unique to this sight. Instead of bar graphs, percentages or grades, Theta Music Trainer provides each user with a personal trainer that analyzes performance of games played and recommends additional games to strengthen weaker skills. This automated “coach” adapts to individual needs and interests.

Assignment/Gradebook for  Teachers

This feature provides teachers with guidance in using Theta Music Trainer in conjunction with music lessons. Assignments  can be created, tracked, completed and graded online.  Plus, big educational discounts are now offered for teachers and their students.

Other Features

The site continues to be tweaked and improved, which means Theta Music Trainer listens to its customers just as well as it teaches listening.

The trainer is multilingual, currently offering games in English, Japanese, Spanish with more on the way.

Click on Resources for Play-by-Ear tips for insightful instructions on how to strengthen listening skills.

So…

As I teach out of reaction to my above observations, I will continue to accumulate tools like Theta Music Trainer to equip my students to become strong in EVERY music skill a musician needs to stay fit.

Looking forward to using the site and would love to see apps for the mobile phones and the iPad for students on the go!

The ABRSM is an organization set up to be able to establish a set of educational standards for instrumental and vocal performance. The Royal Schools consist of the Royal Academy of Music, the Royal College of Music, the Royal Northern College of Music and the Royal Scottish Academy of Music and Drama.  Each year over 620,000 people take its examinations in 90 countries.  The exams run from Grade 1 for those who have learned for a year or so, up to Grade 8 for advanced students. There is also a diploma exam for those who wish to take their playing even further. The exams can be taken at any age and are for any classical instrument or voice.

As an example, a Grade 1 piano candidate would be expected to play three pieces from a prescribed list:– a short Baroque piece, a Classical or Romantic piece, and a 20^th century piece. For example, to quote from this year’s syllabus, J. C. F. Bach: Schwaebisch in D., Schumann: Soldatenmarsch (Soldiers’ March) and Bartók: Quasi adagio: No. 3 from For Children, Vol. 1.  They would also be expected to play two-octave scales and broken chords in the simplest keys with separate hands, to sight-read a short phrase in a five-finger position and take part in basic aural tests.

On the other hand, a candidate for the Grade 8 piano exam would need to have prepared over 100 (mostly four-octave) staccato and legato scales and arpeggios, including scales in double thirds, a third or a sixth apart, chromatic scales, even the whole-tone scale, arpeggios, dominant and diminished sevenths. The pieces for this grade follow a similar pattern to that of Grade 1: three pieces from different periods taken from a prescribed list, examples here being J.S. Bach: Prelude and Fugue in Bb, # 21 from Book 1 of the Well-Tempered Clavier, Beethoven: Allegro , 4^th movement from Grand Sonata in Ab op 26, and Liszt: Au lac de Wallenstadt: No. 2 from Années de Pèlerinage: Première année – Suisse. Over thirty years ago, the second piece had to be an entire three-movement sonata, so I regard these candidates as having escaped lightly, but it’s still an impressive feat to pass this exam. Besides advanced sight-reading and aural tests, the candidates also must have passed the Grade 5 theory exam set by the same board before they are eligible to sit the practical exam.

So why bother? What are the advantages of putting your students through such a rigorous experience?

I have often pondered this question myself. It is certainly not necessary for all students to follow this path, and some certainly do not thrive when under such pressure. However, here are some of the benefits I’ve observed during my many years teaching piano in London.

Firstly, it is a way for teachers to ensure that their students get a good, methodical education, learning pieces of different styles and periods, memorizing all the scales and arpeggios they will ever need in a structured fashion, improving their sight reading, and their aural skills. It can be easy, without this kind of structure in place, to omit to teach a student a certain scale, or to work on their sight-reading regularly. It also obliges teachers to work on theory with their students as well as practical musicianship. The educational publications of the ABRSM are an invaluable asset in this regard, being consistently well thought-out, with high editorial standards. Although I now live in the United States, I have not found better theory workbooks anywhere and still use them with my students here.

Secondly, it gives students an opportunity to perform a mini recital in exam conditions, which is extremely useful for students who intend later to enter a conservatoire, and an achievement for any student, although admittedly a bit of an endurance test!  As I said earlier, not all students thrive in these conditions, and so it is up to the teacher and student to decide whether they wish to proceed. I did not oblige all students to take exams, and always organized student recitals in addition to examinations, so that performance was not inevitably linked in their minds with examination.

Thirdly, the exam structure and standards are extremely familiar to all teachers in the United Kingdom, and many other countries around the globe, so that it is easy to clarify what level a student has reached, and is a useful shorthand amongst teachers. Grade 8 has been considered a prerequisite to conservatoire entrance for many years, although as the standards continue to rise from one generation to the next, this may change. When I took Grade 8 at 15, back in the 1970’s, I was considered precocious. Now, children as young as ten years old are taking it.

And what about the disadvantages? Some teachers see the structure as restrictive, leading students to pick pieces within a narrower range than they might otherwise choose. Looking at this year’s syllabus, however, I already see a wider range than before, including pieces in a jazz or contemporary style. There is even a jazz syllabus now for certain instruments. Some teachers regard the system as potentially holding back gifted children. If they are busy learning pieces for each exam, they may not tackle more challenging works at a younger age. My teacher solved this dilemma by skipping many of the exams–I took grades 4, 7, and 8 only.

I do not regret the exams I took, or the exams my students have taken. I see it as having been a great educational opportunity. Yet having taught in the States now for nine years, I am not teaching using the exam structure, as it is so little known out here.  I’d love to hear of any experiences you have had with the ABRSM exam structure, or any other system of examinations, such as the Canadian system, and also invite your questions.

My top five hints for writing effective program notes are:

1. Program Notes should be concise.

There’s nothing worse than a program note that takes longer to read than the duration of the piece itself. A program note should be able to be scanned quickly in the change over time between performers and should not take your attention away from listening to the piece.

2. Program Notes should be able to be read and understood by everyone.

A bar-by-bar analysis of repertoire never makes for interesting reading, and often alienates the majority of the audience who have little or no musical training. A good writer should be able to articulate detailed concepts in general terms.

3. Explain the context of the work.

From what time, place, culture or trend did this piece emerge? Who were the precursors of the composer, who were their contemporaries, and who built on their traditions?

4. Provide a ‘hook’.

Give your audience one or two interesting facts about the work that gets their attention. This could be an anecdote from the premiere, or a quote from a review, or perhaps a story about the composer’s life.

5. What should I listen for?

Point the audience in the direction of one or two interesting parts of the piece that they can listen for. It might be a change of mood or the theme being passed from one instrument to another. This will instantly engage the listener in the performance, as they feel confident to navigate around the piece.

If you have hints for helping students to write effective program notes please leave a comment below.

A small picture frame stands by the candy dish and each week the frame features a new riddle or question of the week. In October, I enjoyed including jokes such as “What instrument does a skeleton play? A tromBONE”. During the holiday season as students were preparing solos and duets for the upcoming Christmas recital, students were required to name the composer, arranger, the key, the time signature, or the form of their pieces. These weekly questions helped all of us memorize essentials that are amazingly easy to forget when deadlines demand narrow-focused practice.

Since I offer a 30-minute lab with a 30-minute lesson, there is time for students to dedicate part of their lab time to learning the answer to the weekly question. Lately, I have asked students to read brief articles about the piano pedals, strings, it’s inventor, etc. The articles have been taken from Piano Explorer magazines. This is a wonderful resource for students around age 9 and older. The magazine has a website that features correlating videos of the composers, compositions or performers featured in each monthly issue.

Recently, students watched a clever and informative video providing details about the inventor of the piano. All students proudly earned a dip in the candy dish after correctly saying the name–Bartolemeo Cristofori –the designer of the pianoforte. In addition, the weekly question is included in the students’ lesson notes along with links to videos or websites providing information.

Ideas keep coming for future questions:

1. Feature a composer with a birthday during the week and include a listening assignment from  iTunes or youtube of a famous composition
2. Identify the time signature and clap and count aloud a given rhythm
3. Name the Music style period of 1675-1750, or the music style period of…
4. Name 4 composers of the Romantic Period (for Valentines day)
5. View the resident pianos of past presidents (for Presidents day)
6. …

My goal is to continually provide tidbits of learning that would

• not normally be part of the lesson plan
• reinforce what has been learned during a lesson
• transfer information in a way that helps students retain the information for a lifetime.

Even if you don’t have a lab with your lesson, most students have free time waiting for a lesson, or for a ride home–why not make that time a teachable moment? Would love to hear your ideas!

His website states: “One of our primary goals is to help prepare the next generation of composers, arrangers, musicians, music teachers and musicologists to use their music and their love of music to make a difference in their own lives, their community, and the world.”

From the extensive information Simon offers–motivational tips, published books featuring his organized methodology, free downloads, videos and more–he is well on his way to this respectable goal.

I have only perused some of the books in the series and have not used most with any students. However, just today an adult student of mine was thrilled with the visuals and charts found in the Introduction to Scales and Modes book (see below for more details).  Below are some of my early discoveries.

GENERALLY, what you will find in the Music Motivation Series®:

Exciting music which stimulates, motivates and inspires.

Original solos usually power-packed with large chords, demanding rhythmical variety, and uplifting patterns.

Books and the website include an encouraging tone which attracts musicians of all skills levels and their teachers to keep moving forward. A favorite tip for teachers to motivate students: “Ask your students what they want to learn and teach them what t they want to learn.”  I agree–I’ve noticed that customizing lessons attracts and retain students.

Theory explanations that are in-depth but not cumbersome.

Countless visuals of scale, chord and jazz patterns offering a huge resource for budding improvisers and composers.

Repeated instructions to transpose these patterns chromatically–a great reminder for any and all musicians hoping to build improv skills.

Piles of theory facts jam-packed on each page.

A wide variety of material for first-time jazz players to learn and master.

SPECIFICALLY, what you will find in…

Music Motivation®: Jazzed About Christmas

This book limits popular holiday tunes to the key of C “to help piano players learn and understand the concepts.” Simon then suggests moving these established tunes and patterns to new keys chromatically. This format to reinforce concepts in one “easy” key and then transfer to new keys builds secure patterns in eager hands.

The list of  common patterns on pages 8 and 9 provide potential jazz pianists a clear list of “must haves” for the improv back pocket.

Theory Therapy ™, The Building Blocks of Music Theory: Introduction to Scales and Modes

Clear but heavy information loads the front of this book. Perhaps too much to take in as a novice but a great resource when attempting to take improvisatory skills to a new level.

Two visuals or notation systems provide versatility:

1. Standard Music Notation–grand staff
2. Musical Building Blocks.–letters, rhythm but no staff

Organized charts display clear images for those right-brainers who desire letters only and those left-brainers who prefer grand staff notation. As I said earlier, an adult student with little experience with reading music or even playing the piano but, a great deal of passion to learn as much as possible, took to the charts immediately.

Explanation of modes not found in most theory books provides invaluable instruction on how to construct any mode on any  key.

Budding composers will appreciate Simon’s chart on how to modulate to a new key using the “Changing Key Signatures” chart.

The “Mode Application” section provides a clever twist–perhaps not discussed at most piano lessons — and encourages pianists to compare modes immediately and build them on any key.

Perhaps overwhelming for those not immersed with some theory knowledge already, this is an extremely powerful tool for wanna-be improvisers and composers and a “life-time” investment.

Music Motivation® Goal Book, Weekly Lesson Assignment Book

The preface of this student assignment book outlines the well-planned, sequential Music Motivation Methodology.

Checklists of scales, intervals, chords, etc, provide an easy way to track student progress.

Each assignment page includes a “Motivation in a Minute” box.

A favorite: “Do what must be done until you can do what you choose to do.”

Throughout the book, there are reminders of free, downloadable PDFs of essential patterns.

The appendix includes circle of key charts, and a large list of recommended resources.

Perhaps geared for intermediate students, the actual assignment sheet leaves little room for teacher notes. You would definitely need to rely on emailing detailed instructions in your Music Teacher’s Helper lesson notes.

Innovative Improvisation ™ Variations on Mary Had Little Lamb

This unique book takes the tune “Mary Had a Little Lamb” and provides lessons that help pianists play the OLD tune in many NEW styles–from swing to blues to a waltz…This creative and concise tool can help move any pianist out of the fake book “what-do-I-play-in- my-left-hand” syndrome.

There are ample examples of how to create each style notated in standard or “building block” notation.

To reinforce and spur further improvisation, students are asked to apply each style to a number of different tunes.

I could see myself using this for a piano summer camp theme–watch out Mary!

www.Music Motivation®.com

The colorful website is packed with, recommended music resources, motivational advice, books–published and PDF downloads–Simon’s own blog and an invitation to fans for requests, ideas…

Here you will find Jerald Simon’s first CD Hymns of Exultation. The familiar hymns are given a “twist of Simon” providing a fresh take of these timeless tunes. The piano solos are also in print in a book with the same title and include lesson notes prior to each piece.

GENERALLY, what you may miss:

Although inversions are explained and diatonic chords are covered, there seems to be only some attention to the basic terms of harmony (tonic, dominant, etc) and how chords move in common progressions.

There seems to be little attention to how melodies are constructed and developed in the books I overviewed. Jerald Simon’s arranged solos in “Hymns of Exaltation” display his knack for melodic manipulation. His original piano solos do not seem to focus on melody but more on chords and rhythm.

There are MP3′s of most pieces at the website, however, most books do not come with a CD.

On a number of pages, measures seem crowded to keep pieces down to one page. This may keep students from reading the patterns as easily as they may wish.

Although some of the books are written at the intermediate level, many of Simon’s compositions are quite advanced which demand strong rhythmic skills and include numerous 5-note chords which require large hands.

The improvisatory style of Simon’s music is always rhythmically uplifting. His original solo music includes heavy doses of large right-hand chord patterns and booming left-hand octaves which tends to leave little room for melodic content.

If you are looking for motivation to make music and music that motivates, visit Jerald Simon’s website.  His diligent efforts to share his teaching style, music, and motivation are admirable and worth your consideration.