“… When samurai warriors train to perfect a deadly technique with the sword, they come to understand the fleetingness of life. This is why master samurai speak of wielding a “life-giving sword…

Understand and respect the depth of your instrument’s power. The guitar has the capacity to save lives; it has given many a desperate person reason to go on. Use it’s power wisely.”

- Philip Toshio Sudo, “Zen Guitar”

We used to have a local monthly student open mic at a music store I teach at. Students were encouraged to form bands and perform in front of their peers and teachers. The open mic grew, and due to the event’s popularity, the students were limited to two or three songs.

As my students’ bands stayed together and continued practicing, their set lists grew. Several bands eventually had set lists that were 45 minutes or more. These bands needed to be challenged. I started taking a few select bands to a restaurant in Northern Virginia to play at open mic events, and mix with adults. This got me thinking about the kids playing shows in better venues. With those experiences in mind, I decided to create a “Kids Rock” program, a program to get youngsters gigging in better venues.

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As I ponder my blog entry today, I’m in the process of scheduling new monthly jam sessions for my students!

In the past, as a summer workshop, Keyboard Jam proved to be very successful in stretching the students abilities, as well as giving them experience and enthusiasm for playing with other musicians! Have you read Nate Shaw’s two most recent articles on this very blog site? (If not, I hope that you will! I have added the links at the bottom of this article!)  Nate has some great ideas that I am definitely going to implement into my studio jam sessions, private lessons and recitals!

All of my students will be invited (pianists, singer, other instrumentalists). As the jam sessions become a huge hit, I will use them as an incentive, and extend invitation first to top practicers, best scales for the month, etc. All of the students will have fun creating music together, and learning how musicians work and play together. It works best to have separate sessions if you have a  large variance in ages and level of students. We will use the grand piano, a few keyboards, hand drums, shakers, my electric bass, and any other instruments that show up with the students.  There are so many different directions a class like this can take, but here’s a session plan that I have found to work extremely well!  More…

Prepare Your Students For A Different Kind Of Recital

Working on 'groove' with my students

Last month I discussed a different kind of recital (I call it a gig) I have implemented for my students. It takes place at a jazz club. Uses professional musicians to back the students, young and old. And is very casual for both family and students. See the previous entry for more info on that. This month I wanted to discuss how I prepare my students for this type of show.

I teach from the very beginning a reverence for the groove. Whether it’s a classical piece or a blues or even just the simplest beginning 4 measure ‘song.,’ I approach all music with the idea that rhythm and pulse…ie. Groove..is essential. Way before I discuss any musical terms, note names, technique, etc. my students are playing rhythm games. My belief is that all music flows at its base level from a pulse and students need to be aware of this from the beginning. So, the gig creates a real opportunity for them to share that groove with other musicians. But in order for them to feel ready to play with other live musicians, I need to simulate the experience in the studio.

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Most all of us have been told, at some time or another, that ‘you’ve just got to feel the music.’  Now, I don’t know about you, but on the occasions I’ve had this said to me I felt more confused than enlightened.

You see, many teachers, who more likely than not possess a rather limited teaching vocabulary, resort to such statements when they run out of things to say.  In such cases a better alternative would be the more honest statement, ‘I don’t know what to tell you.’ More…

There’s a book I love to read and re-read every so often.  It’s called the Zen Guitar by Philip Toshio Sudo.  I find it helps me reflect on various aspects of playing. Really, the ideas in the book could be applied to any instrumentalist. The book helps me focus and identify stumbling blocks in my life and playing.

One part of the book has always stuck with me, the idea of the “life-giving sword”. To quote:

The holidays are almost over, you’ve finished debating the merits of “twenty-ten” vs. “two thousand and ten”, and you’re nearly ready to start your early January crash diet. But one thing seems to have slipped your mind completely over the holidays – your practicing. Yes, the spring semester is almost upon us, along with its juries, recitals, RCM exams, master classes, and festivals. And while you’re about to restart your daily practice sessions with a vengeance, here are ten things to keep in mind this year as your improve your musical skills in the coming year:

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‘Tis the season of winter holiday recitals. One more activity for the student stuffed in between a myriad of others that they are required to partake in. Some years back I decided I was tired of the traditional model of recital; ie. students and parents sit quietly in a recital hall while each student gets up and performs their solo piece, nervous and under a spot light,  lasting all of 2 minutes each before everyone claps politely. The beginning students and many of the intermediate and advanced as well look a bit shell shocked when they finish (regardless of how the performance went)  and it happens much too fast for them to truly digest the magnitude of the moment. I decided this model of recital was through. No fun for anyone involved (parents included) and it did not truly celebrate all of the hard work the students had completed. Time for a change!

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Need curriculum for teaching the creative stuff?       Have favorite resources to share?

• Over the next few months, I’d love your help in compiling a list of  resources for teaching music creativity. My own experience has been that it is difficult to find adequate materials in the areas of  improvisation and composition curricula, and I would love to know about  resources you use to inspire your students in their music creativity!  I will share some of my favorites. As you can see, many of them are my own, developed for use in my own teaching and then published for others. They have been successful!  But, I would really value your suggestions as well! Please add your favorites by comment, and I will amend the list as we go!

Here’s just a start…as I am on vacation as I write this, so I may be able to add more upon returning to my studio after the New Year!

Resources for Music Creativity –

Places to Start, and Were to Find Them

Imagery and Stories

Child’s Garden of Verses by Robert Louis Stevenson (all levels) – Amazon

Crazy Staves by C. Schumann (beg/int) – Piacere Music

Flip for Improvisation “Jr” and “Original” (beg/int) by C. Schumann – Piacere Music
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daily observations “classical music insights” Charles Noble is the Assistant principal violist of the Oregon Symphony.  He blogs about his experiences with the orchestra, as well as his deep love of good coffee.  Follow Charles on Twitter.

Dial “M” for Musicology “Music, Musicology, and Related Matters.”   “This is a musicology group blog that features the prose stylings of Jonathan Bellman (University of Northern Colorado) and Phil Ford (Indiana University Jacobs School of Music). It is a place for us to work ideas out publicly in what is still, for our field, a somewhat new medium. We are members of the American Musicological Society, but our views are entirely our own and should not be taken as representative of the AMS or any other academic organization. “Dial ‘M’ for Musicology” is an academic blog, but it wants to be friends with everyone. Welcome to all critics, musicians, bedroom air-guitarists, louche aesthetes, prickly autodidacts, and random passers-by!”  There are also several new contributors who have joined the fold.  Often thought-provoking and always interesting, this is a great place to find things to think about.  4-8 posts monthly.

dramma per musica “My name is Bob Kingston. I’m a librarian, free-lance musicologist, lapsed bass-baritone, and self-professed opera fanatic living in Portland, Oregon.  I give all of the pre-performance talks for the Portland Opera, and I also lead music history classes for the company’s Studio Artists. I love collecting historic vocal recordings, and I often use examples of these in my classes and presentations. So, don’t be surprised if I post a clip of some obscure Russian tenor or Italian baritone from time to time.”  4-12 posts monthly.  I enjoy Bob’s tweets immensely.  Follow Bob on Twitter. More…

After hearing Mannheim Steamroller’s first Christmas album (quite a while ago), I have been a huge fan of creative arrangements of holiday music. From “Jingle Bells”, to “Deck the Halls” to “Carol of the Bells”, most people from any religious preference recognize and seem to enjoy the tunes of the season. These familiar melodies attract students, and, when coupled with wonderful arrangements offered by current composers, the combination provides great tools for propelling budding pianists to new levels of playing.  Below is a list of ideas for utilizing the tunes and spirit of the season to enhance student’s learning experience and progress. Yes, I know a little late for this December–but now there is plenty of time to plan ahead for next year!

Shop Early
So many books/series include a CD that most students choose their holiday recital piece by listening to various options–usually in October (early, I know!) Every CD I own has been imported to iTunes and then moved to my iPod. Thanks to one cable, the iPod conveniently hooks to my Clavinova and high quality speakers allow students to select a favorite piece and begin to prepare early to guarantee a successful performance.

Make a List and Check it Twice
As students move closer to the performance date, they are welcomed to try out their pieces on “Bella”–my Yamaha C6 residing in my upstairs living room (instead of the piano in the studio). While there, we review the 5 p’s of performing: More…