‘Tis the season of preparing students for upcoming contests, festivals and recitals. Here are four performance-enhancing apps that promise to help you help your students to do their best.
The Camera simulates the presence of a real audience more than you, the teacher, can provide during a lesson. Once that camera starts rolling, students move into a performance zone and are forced to commit to seeing the piece through with musicality and as few errors as possible. The beauty of the camera is that musicians can see and hear the instant replay, make self-assessments and learn from their mistakes. It’s like a digital mirror that reflects EVERYTHING you may be trying to reinforce at lessons. Bonus? It comes free with any smart phone or tablet!
It will be hard to outdo the Christmas gift given to my student families last year. The savvy keepsake came to me when I saw that it was possible to link a video to a QR code and print the codes on stickers.
FYI: A QR code (short for Quick Response) is a specific matrix bar code (or two-dimensional code), readable by dedicated QR bar code readers and camera phones. The code consists of black modules arranged in a square pattern on a white background. The information encoded on a QR code can be text, a URL link or other data like a video.
I bribe my students with Music Money. (Read more about it here.) They are given the chance to shop and spend their hard-earned cash various times during the year at my studio store and as a result, they accumulate many trinkets and gifts. Because of this bribery system, it seemed appropriate to give the parents of my students a gift instead for the holiday season. A handmade item crafted by their adored, budding musician seemed appropriate and definitely more meaningful than any store-bought item. This line of thought triggered the idea of students designing cards with QR code stickers for their parents. more
With a recital looming on the horizon, some of my students asked how they could prepare to perform before an audience. So I made it the subject of a master class.
Snacks came first—the best-ever ice breaker. I found out some of their favorite cookies ahead of time, and did a little baking. It’s surprising how food warms the student heart and softens the attitude. Apple cider and some new flavors of candy corn brought a fall flavor to the table. Some gourds for décor, and we were all set.
I got out my white board and asked the group a few questions about how they would prepare to perform. They recorded their answers on the board in their favorite colors. Let me share some of them. It’s not an exhaustive list, but it’s this group’s list, and I applauded them for it:
Everything was conspiring against me. Especially my music teacher. Right then as he commanded me to “sing”, I was thinking unspeakable thoughts of hatred towards him.
Why did I need to sing in the school choir? After all I was an instrumentalist. I’d managed to survive all these years of mumbling at the back during class singing so why did everything need to get so ugly?
And there I stood! The whole choir of immature boys and girls just waiting to poke fun at me. Why couldn’t I just run around the corridors naked? Surely that would be less embarrassing?
But he made me do it! Oh how I seethed with anger at the time. But when I look back now, he probably gave me one of the greatest gifts to my musicianship!
So why sing?
Reason 1: Helps You Express Yourself Better
When you can’t articulate into words what you mean to another musician, singing simply fills in the gaps. The more frequently you sing to express musical ideas, the more relaxed and “normal” this method becomes. I love to promote a safe environment in my studio where everyone feels relaxed enough to communicate through singing their musical intentions without Read more…
With this post, I’m going to start a short series of blogs on the theme ‘An Invitation to Performance’. I will be exploring performance as an action, a skill, and as something that every teacher should consider offering as an integral part of his or her teaching studio. As my students and colleagues well know, I can get quite evangelical about the importance of providing access to performance – in particular experimental performance (about which more later) — to all students, whether aspiring professionals or dedicated amateurs.
Performance offers us commentary on and access to a part of our musical self that no other medium can: it is the window into our true, communicative, musical responses, while at the same time being in the only venue in which we can observe or consider those truths. Performance is a lot of other things as well, things that my friends well know that I take great pleasure in discussing far into the wee hours. It’s a space; it’s a shared arena for action; it’s the special place where only musical things happen; it’s our only access to the creativity of our audiences.
I’ll be saying more about these and other ideas surrounding performance in future blogs, but for now, let me me start the series by banging a favourite drum regarding an effective practical option available to all music teachers who wish to give their students more access to the joys and intrigue of performance: the institution of the studio masterclass.
Making masterclasses work
There can be few experiences more stimulating for both music teacher and student than witnessing an expert performer working with a student in a masterclass setting. Once the hard graft of technique, musicianship, and style have been addressed, and once the many long hours of practice have been clocked, the opportunity for students to step out into the light of the concert hall and begin to experiment with performance under the expert guidance of a professional is an invaluable one. It is the crucial step between practice and performance, in particular, professional performance – in my opinion, the crucial step.
And yet, not all teachers make the space for masterclasses as part of the regular studio activities. Read more…
One of the biggest challenges students face when playing guitar is learning how to strum correctly. They usually have a favorite song they’d love to learn how to play but when they sit down to try and figure it out it just doesn’t sound right. Every time they try it, the strum sounds all herky-jerky instead of smooth and flowing. Sound familiar?
Before we get started, be sure to open this PDF: Keys To Strumming, which I’ll be referring to throughout this post. If you’re wondering what chords to play during this lesson, click here to use any to use any of the common-tone chord shapes I wrote about.
THE QUARTER NOTE BOUNCE
It’s fairly easy to teach a student how to play the quarter-note strumming pattern in Fig. 1 (Keys To Strumming PDF). All you have to do is play a down-strum on every count (or beat). Every time you strum down, you count 1, 2, 3, 4, and so on. But there’s really more going on here. Once the down-strum is played, you have to lift your hand back up to prepare for the next down-strum, right? This down-up movement of the strumming hand is more accurately represented by eighth notes. Look at Fig. 1 again. The arrows above the staff, hovering over each down beat and up beat, represent those eighth notes. In other words, you should be counting “one and two and three and four and” as you strum down, up, down, up, etc. This steady down-up strumming movement is what I call The Quarter Note Bounce. Read more…
A friend recently offered to take me out to lunch if, in return, I would let him pick my brain about teaching guitar. He was feeling the tug to teach and wanted to explore how I got started. It was fun for me to recount my story – I’ll share some of that story here.
Growing up, music was the most important thing to me. I declared myself a music major when I entered a 2 year junior college in 1977. I loved every aspect of musical performance, however I was convinced that I did not want to pursue teaching. When the end of my 2 years at this school came, I was lost and confused. I didn’t know what to do. I was certain I would fail if I tried to continue school so I did a 180 and hit the road. Literally.
I started a career as an over-the-road bus driver. I traveled all over the U.S. and Canada taking senior citizens on vacations and driving regular routes. I borrowed a guitar from one of my brothers during this time and started teaching myself how to play. I loved playing that guitar, but I didn’t have any aspirations to do anything with it. I totally kept my playing on the down-low. Read more…
Group classes are a great way to reach more students, multiply your time and promote your studio. I taught a group vocal class over the summer (Group Classes) and a group guitar class. Find the first two guitar class posts here (Group Guitar part 1 ) and here (Group Guitar part 2).
What I cover in weeks 5-8:
-how to tell the key of a song
-transposing, review how to make your own chord charts, and the 3/4 strum
-the “Happy Birthday” song. You’d be surprised how many accompanists I’ve met who can’t play it!
-another parody I wrote for this class, with only 2 chords, to the tune of “Clementine”. This one I personalized with their names and some positive traits:
1. In a church one sultry summer, round a table sat The Six: sore fingers, sore brains, but they strummed their acoustics.
2. Guitars ready, keep it steady, press your fingers till they bleed. Making music is so fun! What more in life could you need?
3. Play the 2/4, play it over and over again. “Almost got it,” says the teacher, “Take a little rest.” But then…
4. …comes another even harder, will we ever get it right? Now the strings are out of tune, but do I loosen or turn it tight?
5. There is Jerry, always ready, and Malea’s cheerful grin, Leslie’s great dry sense of humor; Robin says, “Play it again.”
6. Asia strums and Doris hums and Gavin, fearless, forward goes. By the end of this guitar class, every one of them will be pros!
What I choose to review and for how long depends on how they did at the last lesson, and what I think they need:
-the 4/4 strum and appropriate songs
-a demonstration that 2/4 and 4/4 strums can be interchangeable
Note: whenever I introduce new chords or strum, I choose songs with as few chord changes as possible. I aim for a good mix of musical styles and tempos.
I sing the melodies until they can. Sometimes I say the strum aloud: DOWN, downup downup downup—and we pause at the chord changes until they have their fingers in place. Once most have the hang of it, I make sure to do parts of the songs slowly and parts quickly to accommodate all class members. It’s equally frustrating whether you can’t keep up, or you’re being kept from going as fast as you are able, so I do some for both.
Preparing solo music on your own can be a wonderful experience – it is a bit like meeting a new person and watching their personality and interests unfold over a long conversation and discovering you have just made an important new friend.
In the case of the really great pieces, feeling the layers of meaning reveal themselves to you as you get to know a new piece can be intoxicating; it has even been described as a bit like falling in love.
But how can we be sure we don’t learn mistakes as we prepare our pieces? And how can we learn a piece quickly without straining our voice?
Everyone will have his or her own answer to these questions. In my own work, I’ve found that keeping to a strict method – one that leaves actual singing to quite late in the learning process – makes all the difference. Here is a brief outline of the method I use to learn music quickly and without strain. I hope it will be of use to you too.
HOW TO LEARN YOUR MUSIC: a method for singers
1. Listen to a number of recordings to get a feel for the piece (never listen to just one recording!). Do not sing along.
2. Read the text aloud.
3. Ask yourself what the text means. Paraphrase the text and say your own version aloud to be sure you understand what you are singing about.
4. Read the text aloud again and again until you can say it without tripping up.
5. Working very slowly (nowhere near performance speed), add the rhythm to the text (you are still not singing!) phrase by phrase. I like to start at the back of the piece and work toward the beginning phrase by phrase. This way I am always working towards something I already know. This helps to make important links between sections, and avoids the ‘dropping off a cliff feeling’ when you’re not sure what comes next.
6. Say the text aloud in the correct rhythm over and over until you can do it without error. Do this at a medium tempo – speed is unimportant until much later in the learning process. Strongly resist the impulse to sing! Read more…