Collaborations

Humor in Music

2012-01-31T17:17:00.001-06:00

Last night, I had the privilege to attend Carole Blankenship's faculty recital at Rhodes College in Memphis, Tennessee. I came to know Carole during my graduate work and have always respected her musicality and thorough attention to detail. This performance certainly met my expectations and provided an exhilerating evening of music.

I was intrigued by the program from the outset due to the inclusion of a work by Libby Larson that I was not familiar with. The cycle Me was conceived for soprano and piano based on the writings of Brenda Ueland. The cycle traces one woman's development from childhood, through her awkward teen years and the devastation of a failed marriage and the death of her parent. With lots of humor provided for both the soprano and pianist, the song cycle takes the audience on an emotional roller coaster ride until its final "goodbye".

Perhaps it is due to my personal mindset at the moment, but while I find the cycle as a whole to be quite successful, I think it is the humorous settings that hold the entire work together. As concert goers, we anticipate hearing music that is serious in nature at classical performances. However, when we attend, we are not always hoping to find deep answers to life's questions; we are hoping to be entertained. For me, humor is a key element to personal entertainment.

One of my most pleasing experiences as a soloist involved my discovery of music's humor. At Pepperdine University, I was assigned Haydn's Sonata in C Major, Hob. XVI/50. I vividly remember my struggles with the opening single-note staccato theme in my desperate attempt to "say" something with my music. I was especially perplexed when I began to work through the open pedal passages that occur later in the work.

After confirming that notes and rhythms were solidly under control, my professor wisely told me to simply have fun with the piece and to allow "Haydn to help me laugh." As I began to see the sonata's humor, I experienced success with the piece and learned a valuable lesson: in order to have merit, music does not have to be "serious" and "mature." Now I find myself returning over and over again to explore works filled with bubbling laughter and those that poke fun at the musical establishment.

What pieces do you go to when you need a good laugh? I'm ready to have my funny bone tickled again by the strains of beautiful music.

It's a Question of Interpretation

2012-01-23T22:03:00.000-06:00

Today was one of my favorite days to lecture in my music appreciation class. It's still very early in the semester and everyone is getting to know each other. As we continued our preliminary examination of music, we found ourselves face to face with melody.

The reason I love this lecture is because I finally get to let my sense of humor come through momentarily. You see, a few years ago some singers introduced me to Florence Foster Jenkins' recording of the Queen of the Night aria from Mozart's The Magic Flute. If you're not familiar with this historic recording, allow me to introduce it to you.

After playing this "wonderful" recording, I point out to the students that anyone can make a recording if they have enough money. It's important as audience members that we separate an individual performance from the composer's intentions. I am certain that Mozart rolls in his grave each time this recording is played! I'm always happy to see the proverbial light bulb above most of the students' heads while I must simply shake my head at the few who simply do not get it! Since I can't leave that sound in your ear, here's a much better recording of the aria by the amazing Rita Streich.

Techno Jeep!

2012-01-19T09:11:00.003-06:00

A new semester began yesterday with 21 students (mostly concurrent high school students) and everyone seems to be engaged and looking forward to a fun class together. That's definitely a change from the past few semesters I've taught!

As we discussed what constitutes music, I showed them an example of musique concrete. This morning this video was sitting in my inbox from one of my high school students. Isn't it amazing what these percussionists were able to accomplish with a jeep? Great video!

Sick of Cycles?

2012-01-09T21:23:00.001-06:00

Since I'm still enjoying a little down time before the new semester takes off next week, I've gotten to spend some quality time on various social media sites. I've been struck by the number of orchestras who are doing Mahler projects right now. The two most notable -- it seems -- are San Francisco's with Thomas and Los Angeles' with Dudamel. A company working through the symphonic cycles of a composer is nothing new and not surprising. Numerous orchestras have done the Beethoven cycle; not to be left out of the cycle frenzy, it seems that opera companies around the world are mounting Ring Cycles. This apparent trend raises a couple of questions in my mind.

While I was an undergraduate student in southern California, the Los Angeles Philharmonic played a lot of Stravinsky. For a while, it felt as though the orchestra was unable to perform a concert that DIDN'T include something by the composer. Early on, I was fascinated. I looked forward to being exposed to a wider gamut of Stravinsky works and went to the concerts expecting to learn more about the composer's harmonic language and style. As the seasons went on, I found myself treating the seemingly endless Stravinsky as something that had to be endured rather than treasured. My ears were under assault and my mind longed for something more -- something different.

This is the catch-22 of cyclical performances. It is inspiring to the academic mind to delve into the depths of a composer's work list and discover unknown treasures. On the flip side, it can be a death blow to attracting young audiences, many of whom know little about music and want to experience a wide gamut of styles as they discover what they like and don't like. For all music lovers, it is true that "variety is the spice of life."

Since it appears that these cyclical performances are here to stay (and I don't necessarily think that's an entirely bad thing), I find myself wondering which composer will have his moment in the limelight next? Amidst all the possibilities, my money is on Shostokovich. I have no basis for that guess tonight, just a gut feeling.

What do you think about the cycle frenzy? Who will be the next symphonic composer featured? Have you ever considered a piano recital series based on the same premise? Do you think it would work? I look forward to hearing from you all.

Single or Double?

2012-01-02T21:43:00.001-06:00

I am convinced that pianists are a breed all their own. As I have been preparing to play for a few lessons in Union's abbreviated winter term, I have begun to think about requests I want to make from my student singers. The biggest issue that I'm considering: single-sided or double-sided copies of their music. Feel free to laugh at me now, but it really makes a difference.....and I see many collaborative pianists in cyberspace nodding their heads in agreement.

I can't come to a personal preference and have been playing with it most of the day. Double-sided copies are easier to turn and more closely resemble the feeling of original scores, but inevitably, the light hits the page just right and the notes on the back are visible. Now THAT can cause some confusion.

Single-sided copies are easier to get from the student, but require hours of taping music together that could be spent practicing. The upside to this process, however, is that I have control over the location of page turns. Once the pages are taped together, everything becomes noticeably thick; I'm always fearful of turning two pages mistakenly in these situations.

The reality of the situation is that I'm generally happy if the copies I get include all the notes that are on the original page. Of course, if the singer isn't worried about missing notes on the page, I don't suppose I should worry about the missing notes from their performance!

Do you have a preference? Do you play from photocopies or do you demand original scores for performances? Your input will definitely make this post a real page turner!

Too Busy?

2011-12-26T21:08:00.001-06:00

I hope you all are enjoying a wonderfully relaxing holiday season with your family and friends. I think most of us use this time each year to reflect over the past 12 months, making observations about life and gleaning nuggets of wisdom.

In 2011, I encountered a situation I had never faced before. I found myself with so many opportunities to play, lecture, and teach private lessons that I simply could not do it all. What a wonderful situation to be in! On the other hand, it was also a distressing situation. You see, now I had to make some difficult choices and let some people down. So now I am asking myself these questions: How do you know when your performing schedule is too full? How do you decide what opportunities to let go and which to take?

This time, the answer to the first question was obvious. I knew that I had too many things on my plate because I could not figure out the logistics of being everywhere that I needed to be. It was simply impossible to drive the distances required and fulfill all of my duties in the available time. As I've continued to ponder this situation, I have asked myself if there were other signs signaling a problem -- if the scheduling had not been a problem. Here's what I've come up with.

I didn't feel overwhelmed by the music. I felt as though I could have played more music and done it excellently. A very wise friend, however, made a comment that struck a nerve. He said that no one else cares about your personal health and mental well-being, so sometimes you simply have to know when to say "no." While I could have easily played the music for these performances, I had to pay attention to some other things. With my current schedule, I was experiencing a lot of fatigue physically. I found myself relying on sodas, chocolate, and jumping jacks to get me through the day. There were stretches of 10 or 12 days where my only communication with my parents was by phone. (This is more alarming when you realize that I LIVE in their home to assist them.) I wasn't away from home; I was just coming in late at night and departing the next morning before they were awake. That was causing a certain amount of emotional stress as well since I felt that I was not honoring commitments that I had made to my family. While I am actively pursuing my career with all my might, I must insure that I am taking care of myself physically, emotionally, mentally, and spiritually. Musicians will always have times of extremely difficult schedules, but these are normally associated with the final preparations for an upcoming performance. I knew I was in trouble when there were no performances approaching and I was keeping this insane schedule. When my career begins to eat away at time devoted to other areas of my life for extended periods of time, it's time to re-evaluate the schedule.

Now the question was how to decide which opportunities to turn down. That was an easier problem to solve. I asked myself two simple questions. 1) Will this performance significantly advance my career goals? 2) Does this opportunity promise to bring me personal happiness? If the answer to neither of these questions was "yes", then I passed up the performance. It was difficult to back out of commitments I had made at an earlier date, but I had to come to the realization that my situation had changed since agreeing to the gig. I took comfort in backing out of these commitments, however, since I gave ample notice of my resignation and provided viable recommendations for accomplished replacement pianists.

It's never an easy thing to admit that your schedule is full and nothing else can be added to it, but I am thrilled with the decisions I made and know that I have learned a valuable lesson from this. Honestly I hope to face this problem many more times over the course of my career. It just means that I am active in my playing and being sought out because I'm doing a good job.

Lessons Learned at Union

2011-12-20T12:30:00.000-06:00

This fall, I had the privilege of beginning a new part time position at Union University in Jackson, Tennessee as staff pianist. While my responsibilities only had me joining the music department 2 to 3 days per week, I have learned some valuable lessons by surviving this first semester in the position.

Organization is Key! Because of my limited time on campus, I have to insure that I am completely organized in order to make the most of my time. My calendar became permanently attached to my right arm....most of the time. There was a period of approximately 2 weeks where I couldn't find my paper calendar and was relying exclusively on my iPhone. Amazingly, I didn't miss any major appointments thanks to iCloud technology. In addition to using an e-calendar, I also found email reminders imperative; nothing is worse than having blocks of time wasted due to students not showing up without advance notice. I am considering using a site like Music Teacher's Helper in the spring to provide additional assistance.
Commuting is not a dirty word! Union is roughly 85 miles from my home, so I find myself doing a lot of driving. Initially, I thought this was going to be a waste of time. I found that this round-trip drive became some of my most productive time of the week. The quiet time devoid of distractions allowed me to ponder issues, review upcoming lectures, and brainstorm about research projects and upcoming events. Additionally, it was a prime time to listen to repertoire that I was currently learning. I'm actually finding myself missing that time on the road now that I am on break.
Protect Practice Time! A new position meant that I had to push myself to perform at my best in all situations.......from the weekly lesson to the concert hall. Since I am not the only staff pianist at Union, I find that my colleagues push me to maintain a high level of excellence through their high standard of performance as well as their friendship. With all the driving and playing, practice time became a hot commodity and one that I had to protect at all cost. Though most of the music was not extremely difficult technically this semester, I wanted to make sure that I allowed ample time to shape pieces musically and continue to develop my personal skills as a soloist as well as collaborator. Pianists who lose the drive to continue developing and excelling are the ones who fall into the background as "accompanists" rather than maintaining their position as an equal partner in performance.

Have I learned everything? Certainly not. That's part of the excitement and fun of my position at Union. This semester will include balancing several student degree recitals with other responsibilities; these will bring a new set of challenges that I look forward to exploring and conquering.

Making a Lasting Impression

2011-08-16T10:00:00.000-05:00

For the past several days, Memphis has been abuzz with activities in celebration of the life of a musician: Elvis Presley. Like many cynics in the area, I poke fun at the fans who are crying their eyes out because of his death and the crazy costumes seen along the streets and at the candle-light vigil. Still, I must admit that there is something intriguing about the man who forever shaped American music. What lessons can we as musicians learn from his life and memory?

I have never been an Elvis fan, but have encountered many friends who would sooner have their teeth pulled than miss an opportunity to extol the virtues of the King of Rock and Roll. These individuals are not lunatics by any stretch of the imagination, but they continue to talk of Elvis' influence as though he is still alive. (Now THAT'S an entirely different source of contention among the Graceland faithful! I'm sorry, folks, but ELVIS HAS TRULY LEFT THE BUILDING!) Since my friends are not totally crazy, I decided to think about the life of this man and see what I can learn.

Elvis was aware of his environment. He knew what trends were on the rise and which were on the way out. He was not afraid of trying something new and welcomed the opportunity to re-interpret standards of the past. What a lesson we can learn! Classical music is largely about looking to the music of the past. In order to maintain a level of relevancy, generate interest from a new generation, and influence modern society with our music, it is essential that musicians be aware of society's trends and look for opportunities to link them to our own performances. This obviously involves looking to the works of contemporary composers -- those who are currently writing -- and performing their works alongside those of the establishment. Additionally, I think it is important to consider the possibilities technology makes available to our craft. Should we explore combining sight and sound into a single concert experience? Do we use social media to connect with our audience in informal settings such as house concerts? Thinking outside of the box made Elvis the center of attention and will do the same for any other musician who executes their unique plans effectively.

Elvis was not afraid of scrutiny. While many laughed and jeered as he introduced new sounds, Elvis continued with his plan with confidence. As any musician begins to depart from the status quo, there will certainly be nay-sayers who proclaim the certain failure to come. Having the fortitude to stand for personal convictions in the midst of criticism is quite possibly one of the most important -- and most difficult -- traits a successful performer must have. You may not agree with my choices or my execution, but please respect the choice I have made and allow me to pursue my plans; honest support and good wishes will generally result in the same being returned to you.

Finally, Elvis influenced his audiences. There was simply something about him that drew crowds to him. Never taking this for granted, Elvis kept his audiences as the central focus of each performance. We may not attract massive crowds to hear our performances, but the fact remains the same: every time we walk on stage, we have the opportunity to influence people with our music. It is not a responsibility to be taken lightly. Regardless of WHAT we are performing, the goal of music is to speak to the soul of the listener. To speak deeply to the inner being of another person requires great preparation on my part and a certainty of the message that I hope to convey. Music is language and language is powerful.

Even though I am not a fan of the music of the King, I admire his influence and acknowledge his continuing legacy. I hope someday that those who hear me play might express some of the same qualities about me as I see in the life of Elvis Presley.

Music in Translation

2011-08-04T14:00:00.000-05:00

There are some issues that I simply wish would just go away. One of these seems to have been a topic of discussion in my world for far too long: playing music composed for the harpsichord on modern instruments. While I respect the importance of historical performance, I feel that this is too limiting in the musical development of our students. Where do we draw the line? Works composed for harpsichord are off limits, but those for forte-piano are okay? Or is it a matter of the age of the performers: you can play all works on a modern instrument until you complete high school and then the rules change? Who gets to decide what is appropriate? Why does it really matter?

The topic came up again in a conversation with a friend who teaches English literature. She made a very powerful observation that essentially settled the issue in my mind. In other disciplines, it is admitted that the ideal situation is to read literature in the language that it was written; however, because the texts are so important to a thorough understanding of the discipline, they are often read, evaluated, and cited in translation. She went further to explain that sometimes works are "translated" when there are significant developments in a language. Works such as Canterbury Tales and Beowolf have been translated from Old English into modern English so we can read, comprehend, and experience the majesty of the texts. Thus, it follows that musicians may find themselves in situations where they need to "translate" the performance of some compositions to modern instruments in order to experience them firsthand.

As musicians, most of us will agree that it is ideal to perform Bach and Scarlatti on the harpsichord. When that option is not feasible for whatever reason, we study the literature on a modern instrument. Not only do we study it, but we also perform it. After all, the art of performance is not just about the musician's interest and pleasure; it is also a means of educating our audience and exposing them to music from all eras and of all styles.

New Blog: Music for the Master

2011-08-02T19:00:00.000-05:00

By now, most of you who read my blog on a semi-regular basis know that I have been active in church music for many years. My roles over the years have included pianist, conductor, and arranger. Now I serve a church in Collierville, Tennessee as Director of Music Ministries. As I thought about the content of this blog, I realized that the worship ministry discussions were getting lost in the mix and muddying the waters of our other discussions. Out of this realization, I have begun working on another blog -- Music for the Master -- where we will explore issues related to the music of the church. For those of you who serve a local congregation in any variety or are interested in the role of music in the church, I invite you to join the discussion. I plan to continue writing here as well, so stay tuned for more dialogue to come about my many piano collaborations.

Learning Literature Quickly

2011-08-01T20:29:00.001-05:00

On Saturday evening, I received a frantic text message that a performer scheduled for the following morning had backed out at the last minute. I was asked to cover the performance. With little advance notice and nothing in my arsenal at the moment, I was forced to pull something together very quickly. Fortunately the repertoire wasn't too difficult this time, but we have all faced those stressful situations where we have less than 24 hours to get a piece as polished as possible. Rarely is this skill taught to our advanced students. So I began to think.....how WOULD I teach this skill?

The first step is analyzing the harmonic structure. You can survive a difficult passage that you might fumble through IF you know where you are heading. This is especially important if there is an unexpected modulation that jumps out at you when you least expect it. The other culprit (especially in church choral music) is the unexpected shift to a minor mode.

Seek out patterns! Repetition is one of the foundational aspects of music and helps us learn music more quickly. Don't just look for exact repeats; sequences and partial repeats can save us a lot of time working out tough passages. Learn it the first time and see if you can continue to use the same fingering with minor adjustments.

Speaking of fingerings.....WRITE IN YOUR MUSIC! Mark your score up. Neatly inserted fingerings, chord symbols, and lines showing the rhythmic structure can be your best friends when you are basically sight-reading on stage. Depending upon the circumstance, I have used a different color for each type of mark.

What about you? What do you do right away when you're trying to learn a new piece in a short time frame? I am always looking for new hints that I can add to my bag of tricks. Please share your insight in the comments section below.

Compositions for Children

2011-07-29T10:12:00.001-05:00

I have been highly interested in putting together a program of music intended specifically for children. As I began the search, I found the common works we would expect - Debussy's Children's Corner and the Schubert and Schumann Albums for the Young. As I began to look deeper, I discovered a couple of additional works that I wasn't familiar with that are proving to be quite rewarding.

First on my list is Musiques d'Enfants (Op. 65) by Prokofieff. This set of 12 pieces are rather short and are trickier than they first appear. Not only am I finding them to be wonderfully rewarding to perform, several of the pieces are appropriate for intermediate students who are wanting to explore Russian music.

The other set that is on my plate at the moment is Children's Songs by Chick Corea. The first 15 songs were originally composed for the Fender Rhodes with the remaining songs intended for the acoustic piano. Corea states that any of the songs can be played on either instrument. These are proving to be a little more difficult to become intimate with at this point. While the Prokofieff grabbed my ear from the outset, Corea's works are less pleasant immediately. I anticipate that as I spend more time with them in the coming weeks these pieces will become just as appreciated and treasured as the others.

Do you have suggestions of pieces that I might consider adding to my program? I am thrilled that I have the opportunity to work with children in my church position as well as my teaching and thought it would be fun to present a program that reflects that aspect of my life.

Book Review: Why Mahler?

2011-07-27T14:30:00.000-05:00

Recently I came to realize that while I know quite a bitabout musical trends and movements from a historical perspective, my knowledgeof the biographies of many of the major composers is less than complete. As part of my personal goals, I am beginningto add biographies to my reading list. The first biography that I completed was Norman Lebrecht’s fascinatingbook Why Mahler? How One Man and Ten Symphonies Changed OurWorld.

Lebrecht paints a stunning portrait of a musical genius whofeels as though he belongs nowhere. Heis not accepted by his Viennese home, finds no relief in Judaism, and is nevercomfortable in the United States. Additionally, his works are often overlooked and considered inferior bymany of the critics of the day.

Lebrecht is also careful to present the love between Gustavand Alma with honesty and clarity. Alma’s penchant for exaggeration – or blatantly lying – to present herlife in a favorable light is addressed on numerous accounts. Their mythological love is handled withdignity and simple honesty.

One of my favorite scenes comes at the end of thebiography. Returning to Europe on boardthe SS Amerika, Alma is putting thecouple’s daughter Anna to bed. Mahlerknows that he is going to die soon, so “he gives final orders to Anna Moll [afamily friend]. He wants to be buriedbeside his daughter Maria in the Grinzing cemetery, without fuss, and just‘Mahler’ on his headstone. ‘Anyone whocomes to look for me will know who I was and the rest don’t need to know.’”(Lebrecht, 194) This Devil-may-careattitude is indicative of Mahler’s life and career. Such a fitting end for an interesting andpassionate man.

Why Mahler? iswritten in three major parts. Section Ideals with some frequently asked questions about the man and his music beforelaunching into a thorough biography in Section II. The final section examines issues ofinterpretation and will be a valuable resource to any student of Mahler’sorchestral works.

Lebrecht explains the need for this final section by tellingus about Mahler’s views as a composer and conductor.

Mahler was, on theone hand, a precisionist who tried to leave nothing to chance and, on theother, a dreamer in pursuit of an unattainable perfection. Recognizing these limitations, he licensedconductors to use their discretion when performing his works. “If after my death something doesn’t soundright,” he told Otto Klemperer, “then change it. You have not only the right but the duty todo so.” (Lebrecht, 212)

Lebrecht then launches into a detailed analysis of majorrecordings of each of the orchestral works, citing successes, failures, andmissteps by leading conductors. Lebrechtis quite thorough and provides both historical and contemporary examples. While this section is not a page-turner likethe biography, the extensiveness and breadth of the discussion makes it anenormously valuable resource.

Wonderfully written in a mostly flowing prose style, Why Mahler? is an excellent book to addto any music historian’s and performer’s library. Whether you are looking for a simpleintroduction to the life of this composer or intimate details, this book willcertainly have what you are looking for.

Teaching in Students’ Homes

2011-07-24T22:02:00.002-05:00

As the summer begins to wind down, I find myself finalizing plans for a new year in my piano studio. With the decision to move to a new location comes lots of excitement as new students are preparing to begin learning about piano playing. My former students are just beginning to contact me about their future plans. One option that is available to them is the possibility of continuing lessons in their homes. When I initially made the offer to these students, I honestly didn't expect that any of them would opt for that. I am happy to say that I have a student who plans to continue studying with me and I will teach her in her home. I feel perfectly comfortable with this family so I am not terribly worried about the process. However, now that I realize this is a valid option for many students, I have begun to consider the pros and cons of teaching private lessons in student homes.
Here are the positive aspects
that I have come up with so far.

Stable schedule.
If a cancellation is going to occur, there is a greater responsibility on the family to notify me so I don't arrive unexpectedly.
Fewer cases of forgotten music.
Although they may not be able to place their hands on the music immediately, there will be fewer opportunities for losing music by transporting it from piano to car to studio.
Community awareness.
I anticipate other families noticing that I am visiting at the same time each week and associating my presence with the sounds (hopefully pleasant) coming from the house. It's just another opportunity to publicize my studio and possibly secure additional lessons.
Teaching on the home instrument.
Students sometimes have difficulty transferring the concepts learned in the studio to their home practice environment. By teaching in the home environment, I anticipate that we can establish some routine to follow for the remainder of the week that we have demonstrated in the lesson.
Parental presence.
Parents are always welcome in my studio (as long as they are not distracting to the lesson), but few of them actually take the opportunity to observe. Teaching in the home creates a greater likelihood that the parent may be working in a nearby room, hearing the comments and instructions given to the student. This scenario offers increased inquiry from the parents about assignments and progress. It also insures that I will have solid face time with parents each week; no more drop offs of a student without at least seeing the adult.
Increased pay.
Let's face it – earning a higher rate for the lesson is one of the primary reasons any of us would consider teaching in the home. Parents are aware of the cost of gas and are willing to pay an additional fee since they do not have to travel. Additionally, they are thankful that you are fitting their home into your busy schedule.

There are a few negatives
that are a bit of a concern to me.

No control of the learning environment.
Since I will be teaching in a student's home, I will have little sway over the established environment of the home. Will the television be blaring in the next room? Will an older sibling be listening to an ear-piercing CD upstairs? There are additional concerns as well including traffic in the area, pets, and lighting.
Quality of the instrument.
It has been my experience that many parents of beginning students give significant consideration to the financial cost of an instrument with less emphasis placed on its quality. While I understand that some families are doing the best they can to simply have an instrument at all and pay for weekly lessons, a student can be significantly hampered if they never have the opportunity to play on an instrument of the highest quality.
Use of technology and manipulatives.
I am looking forward to adding computer-aided learning to my bag of tricks this year in my studio as well as recording students' lessons for their personal reference. In-home students will miss the benefits of these lesson aspects since I won't be packing up all the equipment to carry in for a single lesson.
Student isolation.
There is simply something to be said for watching students leaving the studio before your lesson time. It was always a thrill to me to catch the last few minutes of the lesson prior to mine and to compare myself to their performance. It's also a great way to be introduced to new repertoire. In the home, the student will miss out on that sense of camaraderie and community generated by being in the studio. I will attempt to alleviate the isolation by making personal invitations to participate in group classes and outings throughout the year.

Do you teach students in their homes? What bullet points would you add to my lists? Tell me about your experiences as well as the positives and negatives you see in the comment section below.

Video: Arnold Schoenberg

2011-07-11T19:14:00.000-05:00

We are down to the last few days of summer school, so I have begun an abbreviated look at the music of the early 20th century with the students. Today we spent a sizable portion of our time together looking at Arnold Schoenberg. My students were very impressed with Wagner's contributions at the end of the Romantic era, so they were fascinated with Schoenberg. It is always amazing to me that Schoenberg's advancements move so far forward that he has to abandon tonality entirely. I cannot begin to imagine the genius that would conceive of this possibility.

In my research for class, I ran across an interesting (and brief) video on YouTube about the composer's life and influences. Take a few minutes and appreciate the life and music of Arnold Schoenberg.

Adult Piano Lessons

2011-07-08T11:04:00.000-05:00

When some people think of piano lessons, their mind immediately imagines a child sitting quietly at a piano, mindlessly practicing dull finger exercises. Thankfully that is not an accurate image on several fronts! The aspect of piano lessons that is sometimes most surprising is that adults can enjoy lessons and experience success.

Why would an adult learner want to take piano lessons? The reasons are as diverse as the individuals. Some are returning to an instrument of their childhood; many express that they took lessons for a season and now regret leaving the study of music for other pursuits. On the flip side, some adults find themselves with more time and self-discipline to devote to a new hobby that has always intrigued them.

The benefits of adult piano lessons are both emotional and physical. My adult students report that they find the routine of a practice regime to be relaxing; they are further transported to a happy place as the sounds of the instrument wash over their ears, cleansing the cares of the day. Others treat playing the piano as physical therapy, especially those suffering with arthritis in their hands. The movement of the hands somehow seems to release some of the tension and restore mobility.

Adult learners experience success at the piano due to their increased mental capacity and hand-eye coordination. In certain cases, however, their increased ability to think logically can become a stumbling block. While a child simply accepts some musical facts, the adult learner wants to understand the "why" behind the principle. This deeper voyage into music theory can create temporary frustration for the adult learner, but ultimately leads to a fuller understanding and mastery of musical concepts.

Adult students are self-motivating and highly disciplined. They are aware that the practicing process brings gradual results and that consistency and perseverance are key. Because the adult is pursuing musical instruction without pressure from an authority figure such as a parent, the student relaxes more and enjoys the trip rather than focusing all their energies on reaching the final destination.

Is it ever too late to begin studying music? Not at all...especially when we realize that the joy is in the process as well as the final product.

How Young is Too Young?

2011-07-05T20:03:00.000-05:00

Like most piano teachers, I get asked a ton of questions about piano lessons over and over again. One question seems to come up more often than the others: what is the youngest student you are willing to teach? In other words, how young is too young?

I wish there was a simple answer to this question. No two children are exactly alike. A 4-year-old may be ready for lessons while a 6-year-old is not. Here are some of the questions I ask inquiring parents to help them determine if now is the time to begin lessons for their youngster.

Does the child have a firm grasp on the alphabet, counting, and sequencing? These skills are fundamental to some of the basic elements of playing the instrument.
Can the child remain focused on a single task for several minutes? While the lesson is broken up into various segments and activities are varied in order to keep young minds active, the student will still need to be able to remain on task for 5 minutes at a time.
Has the student shown interest in playing the piano? You would not believe the number of times that parents answer "no" to this question. While I firmly believe in musical education, it is not something to be forced upon a child. Placing them in lessons before they are emotionally, physically, and intellectually ready can result in a negative experience.

Once I have asked these simple questions, I begin to get a sense of who the child is - in the parent's mind, at least. If it seems that the child might be ready for lessons and is younger than 7, I advise the adult that young children sometimes progress slower than their older counter parts. I cannot predict where it will happen, but there often seems to be a single concept that becomes a roadblock to the young mind and takes a while to get past. Rather than focusing on what they cannot do, I choose to spend a lot of time re-enforcing what they have already learned in order to insure that they are still enjoying playing the piano. Generally, the student will let me know when they are ready to explore the new concept again through their questions and we normally have success.

If the parent is cool with a slower pace for the young child, I recommend having a few lessons together without making a long term commitment. This allows everyone involved -- teacher, parent, and student -- to see if the relationship will work and is worth the investment of time and finances at this time.

If pushed into a corner to give an age, I normally suggest that a child begin lessons no earlier than the spring semester of kindergarten. There's nothing scientific that I've found to support that....it's just been my experience. Let me hear from you. How young is too young to begin piano lessons in your studio?

Job Hunt: Telephone Interview Success

2011-06-10T10:23:00.000-05:00

Recently I have heard stories from more and more musicians about their experiences with telephone interviews. Whether you are auditioning for a performance gig or a teaching position, it is highly probable that you will need to discuss your skills, ideas, and experience with another person before meeting them in person. Successful telephone interviews are essential to getting to the next round of the interview and can be extremely daunting. Here are a few things I have learned from doing various phone interviews over the past few months.

Prepare your environment. Since no one will see us, it is easy to think that the physical surroundings are not important. Nothing can be further from the truth. Not only does a quiet setting allow one to maintain a level of professionalism and thoughtfulness, an appropriate situation provides the means to present yourself in the best light. Make sure to have a copy of your current resume and the job description close at hand. Material to make notes during your conversation may also be helpful to keep you focused and on task.
Anticipate standard questions and prepare responses. Phone interviews are stressful enough. You can alleviate unnecessary anxiety by preparing answers to questions that will arise in almost any interview situation. These questions may include a brief introduction of yourself, your strengths and weaknesses, and how you handle collaboration and/or conflict with colleagues. I have found it helpful to briefly outline my responses to these questions in order to refer to them during the dialogue. This advance preparation allows you to rest mentally while showing your interest in the position through your preparation.
Do a little research. Take the time to investigate the institution you are talking to and learn a little bit about them. An informed interviewee is able to answer questions in regards to the specific situation at the institution.
Have a glass of water. Nerves combined with lots of talking produce a dry mouth. Whether you drink it or not, you'll be glad to have the water close at hand.....just in case you need it.
Listen. Nothing is worse than answering a question that was not asked. Listen carefully to each question, make notes as necessary -- especially as interview questions can sometimes be quite involved -- and answer the question asked directly and succinctly. If you are not clear on the meaning of the question, feel free to ask for clarification before launching into a diatribe.
Ask questions. At the end of most interviews, you will be given the opportunity to ask questions of the interviewer. By asking questions, you signal that you have thought about the position and the process in advance and are genuinely interested in the possibility of joining the team. Questions might include a request for information about the music department's size, opportunities for private instruction in the community, community music organizations, and the anticipated timeline of the hiring process.

By no means am I an expert at phone interviews. I'm learning as I wind my way through the application/interview process. I'd love to hear your suggestions to add to my list of tips. Leave your ideas in the comments below.

Studio Issues - Redesign or Relocate?

2011-06-06T14:11:00.000-05:00

Summer is upon us and that means I will be traveling for much of the summer. As a result, I have cancelled piano lessons for the summer and using the time to reflect upon the past year while planning for the fall semester. At the top of my list is the question of redesigning my current studio situation or simply relocating.

The spring brought massive amounts of rainfall to the Memphis area. Many properties experienced significant water damage, including the Arts Annex of Delta Arts. The arts organization of Crittenden County, Arkansas has generously allowed me to use the annex for the past few years at no expense. The facilities have been convenient and the price was right. During the storms, the annex experienced some severe damage. Add to this the constant threat of losing the annex due to the financial constraints of the arts organization and you will understand why the thought of relocating is on my mind.

The instrument in the room is sufficient for teaching beginner students (yes, I hear your collective groans because of that statement), but most of my students are now reaching a level where a better instrument is no longer a luxury but a necessity. The space is not exclusively devoted to my teaching; other organizations benefit from the use of the annex. This is wonderful for public relations, but causes difficulties for me when it comes to scheduling and decorating.

I would generally grin and bear it, but another option is available at this time. The church that I work for has mentioned that it might be possible to begin teaching there with the idea of developing a music conservatory to serve the community. There are definite benefits to this scenario. The instrument is concert quality. The facility is already equipped with technology and sound equipment. Students would be able to present recitals on the same instrument they use weekly. Personally, it would eliminate an additional stop in my already over-scheduled life. The benefits are great.

The negative comes in relation to my current students. The church is approximately 30 miles away from my current studio location. While it is not unusual for families in eastern Arkansas to commute across the bridge into Tennessee, it may deter some of these students from continuing their studies with me. I have come to enjoy working with these young people and we are making strides together in their love of the piano.

The other negative relates to the process of recruiting new students. I consider this to be one of the greatest difficulties in establishing a piano studio. While I do not currently have students in the southeast Shelby County area, it is a larger market and one in which I regularly perform. I have a reputation in the area. When I consider the fact that there are only 7 students in my studio at this time, I feel confident that I will be able to find the same number of students across the river.

As you can see, I'm in the early stages of making a decision, so nothing is settled at all. What factors do you consider when thinking about relocating your studio? If you have already gone through the process of moving, what lessons have you learned from the experience? What would you do differently if you had it to do all over again?

Dinner Party

2011-06-02T22:43:00.000-05:00

A former student of mine conducted an interview with me today for an introductory speech. Nothing overly exciting about that.....I'm always happy to talk to my students and help them out when I can. There was a question that was thought-provoking and one I had never been asked quite this way.

The question was phrased something like this. Imagine that you were hosting a dinner party for two musicians -- a living performer and a dead composer. Who would you want to invite and what would you serve for dinner? I laughed about the last part of the question since I would probably end up ordering take out! I knew the student was needing answers, so I gave a valid response off the cuff. I have continued to think about the question and have really had some difficulty narrowing my response to just two people.

For the current performer, I'm leaning toward a conductor.....maybe Michael Tilson Thomas or Esa Pekka Salonen. Both of these men give such riveting interpretations and appear to be both highly intelligent and delightful conversationalists.

The composers have me in a pickle! I would love to sit with Copland to talk about his approach to American music, but I also think it would be absolutely amazing to listen to Mozart or Stravinsky talk about the art of composition. Wagner would be fascinating -- despite his personal philosophies about humanity, he certainly knew something about dramatic moments! That doesn't even begin to explore the wonderful possibilities.....Chopin, Rachmaninoff, Bach........the list could just go on and on.

Who would attend your dinner party? What's on the menu? I'm really anxious to hear your responses to this one!

Waking to a World of Music

2011-05-31T08:34:00.000-05:00

Today marks the beginning of a new semester of music appreciation classes at MSCC in West Memphis, Arkansas. I am really looking forward to this summer term as I am using it as an opportunity to try out some new approaches in a short-term setting. If things go well, I will implement them into the regular course this fall.

As I reviewed my opening lecture last night, I was reminded of the concept that music is all around us. I always look forward to showing the students a video recorded performance of 4'33". It breaks the ice a little bit in this "super serious" class, but it also serves as a reminder that sounds are all around us -- just waiting to have their beauty discovered.

I suppose that is why I was so receptive to being awakened by a morning serenade. Shortly after 6am this morning, work began outside my window. The rhythmic banging of machinery provided an interesting accompaniment to the songs of two competing birds who have set up nests just outside my bedroom window. Normally I would be horribly annoyed at such an early wake-up call, but this morning I found myself intrigued and strangely drawn to other musical sounds from my environment.

I honestly hope that this pseudo-aleatory performance is a sign of how things will go for the next few weeks. I really want to take a new look at music with fresh eyes and discover new treasures that had slipped into the background noise.

When was the last time you stopped long enough to listen to the symphony of sounds playing all around you? If you stop long enough, you just might be surprised at the masterpiece that will greet your spirit and your ears.

*Image by Vickie Warner - www.allaboutartgallery.com

I'm Still Here.....

2011-05-27T18:00:00.000-05:00

It's been way too long since I have found time to write. Tornadoes, historic floods, recitals, teaching, family weddings, travels and work have demanded my time. Despite my absence in the blogosphere, I have been a very busy pianist and look forward to sharing my thoughts with you once again.

Currently I am in the process of making a decision about my summer schedule. I can definitely use the extra income associated with private lessons, but the summer is an intense time for the other areas of my life as well. I am contemplating giving my students a "holiday" and returning to a regular teaching schedule in the fall. I know it's not the ideal situation for their musical development, but I also know that I am a better teacher when I am rested and excited to see them on a weekly basis. What are your personal experiences? I'd welcome your input.

Teaching Philosophy

2011-04-04T10:00:00.000-05:00

Once again, I find myself applying for jobs around the country in hopes of landing that first full time position. As I prepare for a new round of applications and interviews, I am reviewing my materials and have found that my philosophy of teaching needs a serious overhaul.

Of all the supporting documents that are requested, this one causes me the most difficulty. In my current situation, I am constantly changing hats. My morning begins as a lecturer before morphing into the role of private instructor and collaborative artist. The difficulty that I am having is developing a statement that reflects the principles I strive to adhere to in my teaching that are not exclusive to my role as either a classroom lecturer or private instructor.

Further, I am finding that my teaching philosophy is a work in progress. Each day brings new insights and revelations into the art of teaching students about music. The document, therefore, can be little more than a snapshot into my educational philosophy at that moment in time. A reflective instructor is constantly reviewing and evaluating their approach and making necessary modifications to their instructional methods. While I do find that my basic philosophy of education is established, it is my hope that my philosophy remains flexible and malleable -- constantly subject to revision as I have new insights and experiences.

What do you find to be the most important aspect of your teaching philosophy? What things do you wish you had considered early on that you overlooked? I'd love to hear from you.

Lessons Learned in the "Garden"

2011-03-18T14:00:00.001-05:00

This week I have been doing a lot of resting and reflecting on my recent experience with a local production of The Secret Garden with an area high school. Much of what I have realized is not a new revelation, but rather important reminders of lessons I have previously learned. Here are some of the highlights.

Theater is fun! Despite the long hours of rehearsal and the tired arms, I truly enjoyed being involved in the creative process of a musical again. Over the past few years, I have been working exclusively in youth theater with a troupe that doesn't push to do anything that will challenge or better the students. I had forgotten how fulfilling a meaningful and demanding score can be. Not only that, but the cast feels a sense of pride with each new accomplishment that pushes them to work harder. As their energy increases, the excitement is contagious.
Making connections....One of the most beneficial aspects of my time in the pit was meeting other musicians who are working in the area. For this production, I sat directly in front of the violins (odd location, but definitely a new sound experience!) so I got to talk to many of the string players. After a few days of playing together and getting to know each other, we began to exchange contact information and connect via Facebook and other social media. What will be the professional benefits? I don't know. Perhaps the most valuable part of the process was actually MAKING the contacts. Since I don't consider myself to be overly social, I often avoid situations that require me interacting with people I don't know personally. My time in The Garden provided me the opportunity to practice these important skills in a safe, non-threatening atmosphere.
Time is of the essence! Since the musical was not my only responsibility for the past 6 weeks, my time management skills were of paramount importance. I found myself looking for 15-minute segments throughout the day that could be used effectively to make sure that everything got done. Most surprisingly for me, I departed from using a traditional paper calendar and transferred my organization to Google calendar. Going electronic meant that I could access my schedule from my smart phone without having to manage another book. Task lists were permanent fixtures of this adventure; honestly, I have probably accomplished more in this incredibly busy season than any other time of the year. Now I'm just considering how to transfer the productivity into the times that are not so crazy.
Searching for down time. Over an extended run, my body and mind were put to the test. Fortunately, I planned periods of rest in my day and protected them from any interference. I also examined my daily routine to find what tasks were essential and which were not; non-essential tasks were put on hold for a while (including blogging). I believe that since I did find time to rest daily I have avoided major health issues now that the show is over; I also credit my new daily vitamin regimen. (Gotta love gummy vitamins.....no more trying to swallow huge pills for me!)

So there you have it -- a look into my mind over the past few days. Now it's time to move on to other exciting projects, including planning the music for my niece's wedding and rehearsing for an upcoming recital in Texas.

Long Distance Recitals

2011-01-11T22:06:00.000-06:00

One of the benefits of being a relative neophyte in the collaborative arts is the constant opportunity to encounter new challenges in my profession. I have been asked to collaborate with a close friend of mine who will be presenting his final graduate voice recital later this semester. Rehearsals will be limited due to geographical separation; he is working in Florida while I am currently in Arkansas.

Fortunately much of the program is comprised of chansons and American art songs that are familiar. Despite their familiarity, there are numerous options in regard to phrasing and tempi. In order to insure that our time together is as productive as possible, I am taking a few steps to make sure both performers are approaching the music from common ground.

First, I have asked for a CD containing performances that he is using in his own preparation. While I generally do not like to listen to recordings when preparing a performance, in this case I see how it can be a time saver and give us both a standard performance that we can discuss via email.

Secondly, I am taking the score's metronome markings literally. There may be some fluctuation of tempo when we rehearse, but the published markings will give us both a common starting point. For those pieces that include no metronome marking, I am listening to recordings online and sending him the metronome markings that I am rehearsing. In both situations, he can alert me in advance if he plans to sing the work significantly faster or slower.

Lastly, I am spending time in my practice time to sing the vocal lines. (Thankfully there are not many dogs around my piano; the howls of horror would be rather frightening!) This is not an attempt to achieve a high-level vocal performance on my part; rather, it is to become intimately aware of those places where additional time may be needed for breathing. While I may not catch them all, I will find the most obvious and be prepared to allow adequate time for the singer to reload.

How do you prepare for a recital when the soloist is not close enough to allow for rehearsals? Fortunately, I have worked with this musician for several years and am acquainted with his preferences and musical interpretations. I anticipate a successful recital -- and lots of fun -- as we return to the stage together.

Rediscovering Bach

2011-01-04T14:33:00.000-06:00

Like most pianists, I have spent many hours studying the works of Johann Sebastian Bach (1685-1750). From the simple works contained in Anna Magdalena's Notebook and the two-part inventions to the preludes and fugues in the Well Tempered Clavier, I have done my fair share of works by this Baroque master.

When I performed my last graduate recital, I played the Italian Concerto and swore that I would never play another Bach piece as long as I lived. It's not that I don't respect the composer. Neither do I adhere to the philosophy that Baroque music should only be played on period instruments. (In a perfect situation, period instruments are ideal, but we have to play on the instrument that is available.) I just simply did not enjoy the music. I'm speaking heresy to many of you now, I know. It's just a personal preference. I would much rather play a lovely melody of Beethoven or Faure than fight my way through the thick textures of Bach's polyphony.

This opinion was formed in childhood. A very well-meaning teacher had me plow through all the inventions despite my complaints that I "hated this dumb music." With a twinkle in her eye, she declared that when I got older I would finally understand just how beautiful this music is. (She then had a gleefully wicked grin as she told me that I WOULD play the inventions now and survive! Oh how I miss her sometimes!)

Now that I don't have a teacher sitting over my shoulder constantly lauding the glory of Bach, I am finding myself drawn to his brilliance again. As I teach my music appreciation students, we take a look at the fugue and begin to see how intelligent a composer had to be to conceive of a well-wrought composition in this form. So I decided that it was time to take a journey through the Well Tempered Clavier on my own and give this composer a fresh look.

I have decided to start at the very beginning (you know.....it's "a very good place to start"). The C major and C minor preludes and fugues were very familiar to me, so it didn't take very long to get through them. They aren't performance ready, but I was anxious to get to some material with which I wasn't familiar. Where did I find myself? You guessed it -- face to face with the third prelude in the volume -- in C# major! After a few deep breaths and talking myself out of quickly running away and finding another work in a more appropriate key, I dove in and began to learn this beautiful prelude. I grumbled for a few days as I continued to miss E#'s and B#'s, but the frustration quickly passed as I began to be swept away by the harmonic beauty. The progressions are not mind shattering on paper, but in Bach's hands the music moves to the next tonal center at the perfect moment, creating tension and release.

I'm finding myself anxious to spend some more time with Mr. Bach now. Will I get through all the preludes and fugues this year? I'm not sure about that......I don't want to be TOO radical.....but I do plan to spend some quality time with this composer and let the beauty of his sounds wash over my ears with a fresh attitude and approach.

Now, I really must get back to the piano......time to start learning some notes in the C# major fugue!
Kennith

A Change of Scenery

2011-01-03T22:06:00.000-06:00

The New Year is bringing about lots of change in my world. People have made resolutions that involve dieting, de-cluttering, and professional development. One such resolution is effecting my music these days in a very positive way.

Like many recent college graduates in this economy, work has been difficult to find. In an effort to eliminate some expense I am living in my parents' home. When I moved home, the only place for my piano was in the family room. Needless to say, this arrangement did not allow for much practice time when my father was anxious to watch his favorite television program in the same room.

Yesterday I rearranged things and placed the instrument in my bedroom. My hope was to move the piano into the dining room -- a room with less traffic that would permit me to move my piano studio into my home. Despite knowing that this is not necessarily the final arrangement, I found myself rather disappointed. In an effort to avoid some awkward situations that arose, I found myself practicing in my room. Surprisingly, the new location produced a very desirable sound quality from the instrument and has sparked my creativity. I have accomplished more quality rehearsal in the past two days than I have in the past two weeks!

Have you experienced a similar phenomenon? Has a rearranged room or change of physical location sparked a renewed motivation or varied your interpretation of a piece in some way?

I am enjoying my new scenery so much that I have seriously contemplated purchasing a second instrument for the dining room so I can continue to practice in the acoustical Heaven that is my bedroom.

A Hometown Recital

2010-12-29T10:40:00.000-06:00

Last night, I joined Marty Bishop, a trumpet DMA candidate at the University of North Texas, for a recital at the Valley View High School Fine Arts Center in Jonesboro, Arkansas. The program featured works by Henry Purcell, Joseph Haydn, Georges Enesco, Stanley Friedman, Gabriel Faure, and Jean-Baptiste Arban. The recital was a celebration of accomplishment and an opportunity to play for supportive friends and family who have not heard us play in several years. All in all, last night's performance was one of the most rewarding and enjoyable that I have recently played.

It was refreshing to work with a gifted musician who is confident in his abilities and does not need to come across as an ego maniac. Other performance experiences this year have not been as pleasant because of overly exalted pride on the part of other participants. It was refreshing to work with Marty, a musician who not only knows his strengths and weaknesses, but also recognizes that the ensemble playing is much better when kindness and laughter dominate the rehearsal and performance process.

Since this was not a recital that was high pressure, the approach to the program was much more relaxed. Obviously both Marty and I wanted to play our best; however, we were both realistic in our expectations as well. Because we were fitting the rehearsal and performance into our busy holiday plans, we rehearsed on Monday afternoon and presented the recital on the following evening. That meant that there were unresolved ensemble issues and some moments of uncertainty, but we both were confident enough as individuals that we pulled the performance off with aplomb.

As an ensemble, the highlight of the evening was the Haydn Concerto in Eb Major. I have always enjoyed this piece and look forward to the opportunity to play the work with a gifted musician. It was fun and effortless -- a high compliment when speaking of this early classical work.

Personally, the recital also marked a turning point for me personally. As a collaborative pianist, I rarely perform solo works. In addition to generally not enjoying solo playing as much as chamber work, I often shy away from programming a solo work on a chamber program as I feel it is difficult to change mindsets mid-stream. Last night, however, I played Faure's first nocturne in Eb minor as a solo. Not only was the playing good, it was quite enjoyable. Since I was already using scores in the collaborative works, I gave myself permission to present a solo composition with the printed music. I felt comfortable and was able to think about the music itself rather than fretting over when the inevitable memory slip would occur and if I would be able to recover. That is such a freeing experience! I won't say that every program will now contain a piano solo, but I won't be diametrically opposed to it now.

New Christmas Favorites - Day 5

2010-12-23T22:22:00.000-06:00

For my last installment in this series of Christmas favorites, I can think of nothing more fitting than the majestic "Hallelujah Chorus" from Handel's oratorio, The Messiah! The world forever changed with the coming of the Savior......and the only acceptable response is the exclamation "Hallelujah!"

Merry Christmas to all of you. I'll see you again next week.
Kennith

New Christmas Favorites - Day 4

2010-12-22T23:16:00.000-06:00

Today I spent some time surfing YouTube.com and accidentally stumbled across a series of videos known as the Forgotten Carols. I had a great time listening to these and getting to know some songs I had never heard before. I struggled to decide which to feature here, but finally settled upon Handel's Dream for my readers who are musicians. Technically, the piece is more melodrama than song, but stick with it.....I think you'll enjoy the story!

If you have a chance, take a look at some of the other videos in the series. I especially recommend I Cry When I Take the Tree Down and He's Not My Son.

How awesome would it have been to have auditioned for the angelic chorus as this young cherub did! I love this story....and hope you will too!
Kennith

New Christmas Favorites - Day 3

2010-12-21T14:55:00.001-06:00

Okay, I know this piece does not qualify as "new" by any stretch of the imagination. However, after a long absence, Gabrieli's O Magnum Mysterium has returned to my musical life and I am enjoying the beautiful harmonic progressions and excitement.

New Christmas Favorites - Day 2

2010-12-20T21:05:00.000-06:00

This year, the music ministry of the church that I serve decided to introduce Paul Baloche's worship song Offering during the Christmas season. The opening verse contained here was a special addition for the holiday. This month the song has found its way into all of our services and has become a bit of a personal anthem for me. Like the shepherds and wise men of long ago, may we each bring what we have to give and place it at the feet of the child in the manger who is now Lord of Lords and King of Kings.

Joy and Peace to you all!
Kennith

New Christmas Favorites - Day 1

2010-12-19T17:39:00.000-06:00

Believe it or not, I'm actually back to some writing. It feels good to be back among the land of the bloggers.....hopefully you noticed that I had disappeared for a while.

Much of my life recently has been devoted to Christmas music in all of its various guises. I have discovered some new music and became reacquainted with some forgotten treasures. This week, I would like to share some of my favorite Christmas songs. To get things started, here's Amy Grant's I Need a Silent Night. As you scramble to finish all of your holiday preparations, I pray that you will find some time to quietly reflect on the true reason we celebrate - the birth of our Saviour, Jesus Christ.

Merry Christmas!
Kennith

Repetition

2010-11-02T23:04:00.000-05:00

Sitting in the Memphis airport, my ears are currently assaulted by the barrage of public announcements. Given the fact that it's before sunrise, very few flights are leaving. In the quietness, I have now heard the same announcement for stand-by passengers (by the way, there's only one!) repeated seven times without interruption.

As I realized how annoying this mind-numbing repetition is to me, I considered the parallels to my own musical performances. Repetition is commonly used by composers; however, the intention is not to play the phrase exactly the same way each time. In order to provide interest and variety, the musician should consider making slight variations to dynamics, accents, or shape in recurrences of the line. Often the composer signals his intentions based upon the harmonic structure.

We expect the advanced pianist to make such decisions with ease. When do we begin training young musicians to address the issue of repetition in a thoughtful manner? As soon as possible! In my own teaching, I spend a considerable portion of each lesson asking the student questions about the piece's structure. Once repetition is identified, my immediate question relates to how the student will make the repeated phrases different. If multiple options are presented, we consider which we think will be most satisfying and play it first. Rarely do I encounter a student who does not naturally hear a plausible solution to the repetition issue; the difficulty sometimes occurs in the execution of the repeated phrase.

As a side note, I am traveling to southern California today for a week of performances, rehearsals, and fun. I hope to continue blogging throughout the week -- but just in case -- check back next week for more installments.

Musical Nightmares

2010-10-28T17:55:00.000-05:00

With Halloween just a few days away, we are surrounded with images of the terrifying and frightening. I tend to avoid focusing on the events of October 31 because the images have always frightened me. To be honest, I am easily scared. It would not be surprising to hear that there's a yellow streak running down my back.

As I think back over my years as a student, I realize that certain pieces have given me nightmares. A few served as soundtracks to my own horrific nighttime dreams, but the normal source of my musical nightmares were pieces that were too difficult for me at the time.

The piece that immediately comes to mind is Chopin's F minor Fantasy. I was first introduced to the piece as a college junior. The Fantasy was to serve as the closing piece of my senior recital. For various reasons, the piece continually got ignored during my lessons, but remained a major focus of my personal practice sessions. This represented my first journey into the world of Chopin's larger works and I was extremely excited.

My excitement turned into panic when my professor discovered that I had practiced key passages of the piece incorrectly. The resulting tension made it impossible to play the work in its entirety. Rather than scraping the piece entirely, my teacher and I foolishly concurred that it was imperative to work on the piece since so much time had already been invested.

As the semester progressed, I was finally able to stumble through the entire work. As I fretted over the technical demands, memorization became a new and seemingly insurmountable problem. The recital hearing was a disaster and resulted in my first failing score as a piano student.

As you have probably assumed, the recital was completely restructured the following year. Thankfully, the Chopin Fantasy was no longer part of the plan. Since that horrible experience, I have attempted to revisit the piece on numerous occasions. Sadly, the work is now firmly connected with feelings of apprehension and has yet to be successfully performed publicly. I have come to accept the fact that this masterpiece may never have a place in my repertoire.

So that's the story of my musical nightmare and it continues to haunt me. I don't think I'm the only one who has had one of these disasters, though. I would love to hear your horrifying stories as well. (What can I say? Misery loves company!)

Understanding Classical Music: Program Music

2010-10-27T13:09:00.000-05:00

In the Romantic era, a strong connection appeared between music and literature. These instrumental pieces that told a story because of their strong literary connection are commonly referred to as program music. Common forms of program music include incidental music, tone poem, and program symphony.

Incidental music was originally intended to be played between the acts of a play. Although its primary purpose was to cover scene changes occurring on stage, incidental music reminded the audience of the action that had already happened on stage while preparing them emotionally for action that will occur in the upcoming scene. One of the most famous examples of incidental music is A Midsummer Night's Dream by Felix Mendelssohn.

Tone poems and program symphonies were both introduced by Franz Liszt. A tone poem was a single-movement composition with a strong basis in literature. Works such as Liszt's Don Quixote are obvious examples, although modern audiences may be better acquainted with The Sorcerer's Apprentice by Paul Dukas since it was the basis of Walt Disney's famous animated vignette of the same name.

Similar to the tone poem, a program symphony was a multi-movement composition with a clear literary connection. Although developed at the hands of Liszt, the program symphony found perfection in the Symphonie Fantastique of Hector Berlioz. This exciting musical journey through the horrifying drug-induced dreams of the composer found its literary basis in the program notes Berlioz composed to be distributed at the Symphony's performance. Using the idee fixe, the symphony's movements were unified into a complex and complimentary whole that continues to excite audiences today.

Returning to Familiar Places

2010-10-26T17:38:00.000-05:00

Last week, I returned to southern California to visit friends and the school that I loved. Now I have decided it is also time to return to something else familiar: my blog.

In keeping with the idea of returning, I made the conscious decision to revisit some familiar solo repertoire in preparation for an upcoming recital. As I have begun to reacquaint myself with the C major and Bb minor Preludes and Fugues from Book I of Bach's Well-Tempered Clavier, my perspective on the composer's work has also changed.

During my formative years, I hated to be assigned anything by Bach - or any other Baroque composer for that matter. I found the counterpoint to be tedious, lacking melodic interest. What I once considered an exercise is now revealing itself to be profoundly deep and fulfilling music. I am now understanding why my teachers told me that I would find myself appreciating Bach's music more and more as I aged. I'm not so sure I like what that says about my fleeting youthfulness, but at least I am enjoying some wonderful music that lessens the blow. Okay, back to practicing again!

A New Challenge

2010-10-08T10:09:00.005-05:00

I start rehearsals for the Christmas cantata this weekend. While this will not be my first time on the podium, it does represent a new challenge for me as a conductor. This will be my first attempt at conducting from the piano.

In my previous stints conducting the church choir, I have always used tracks. It is not that I prefer pre-recorded music to live instruments; I have simply never had a good experience directing another pianist. Using a recorded soundtrack is not a possibility this year; the cantata chosen is thirty years old and no track is available.

I have never had the good fortune to hire a first-rate pianist. I think that would be an amazing experience that I hope to one day enjoy. I know how I want passages phrased and executed by the pianist and expect them to conform to the vision of the conductor. Those pianists I have conducted in the past refused to do so either in an effort to promote their own agenda or to camoflauge their lacking abilities.

In my current situation, most of the amateur pianists in the congregation are personal friends that I treasure. Rather than placing unnecessary strain on a relationship, I am opting to avoid the situation. Some question whether I will be able to effectively lead the choir. I admit that there will be challenges, but I also must admit that it is one of the few aspects about this year's cantata about which I am excited. I also think that executing my own vision for the accompaniment from the piano in each rehearsal may provide some additional security for the singers. If nothing else, the experience will give me some thought-provoking material for future blogs!

Rhythm, Rhythm, Rhythm

2010-10-07T17:52:00.000-05:00

On Sunday, my elementary bell team played "I Am a Friend of God" in the morning service. Things were not perfect, but the students enjoyed themselves and we received several compliments from members of the congregation. After the kids had this successful performance experience, I knew they were ready to work hard to continue to improve. I decided to begin introducing them to notation.

As a starting point, we began by learning about quarter notes, half notes, and whole notes. Students clapped, snapped, and tapped out rhythmic patterns written on the board. We actually had a lot of success and fun. I especially enjoyed watching adults learning alongside the kids!

To apply the rhythms to playing the bells, I had arranged a simple song using only these three note values. To overcome the students' issues with note recognition, I attached a card to each bell with its corresponding note. A problem arose that I didn't expect.

On the card, I notated the pitch with a quarter note. Students were unable to make the connection that the location of the note on the staff indicated pitch while the shape of the note (i.e. quarter or half) only referred to its duration.

This Sunday, I begin rehearsals for our Christmas musical which will become another arm of the church's music education program. Here's a synopsis of what I plan to do in the coming classes. After re-enforcing rhythmic values on Sunday, we will clap several rhythmic drills. To add to the fun and test students' understanding, different activities will correspond with each rhythmic value. Students will snap on quarter notes, clap half notes, and pat their knees for whole notes.

On Wednesday, we will introduce melodic notation, beginning with the spaces of the treble clef. The piece we are learning is in F major; the space notes comprise the majority of notes we will use. I am brainstorming activities now to drill the skills in class. The more fun I can make the learning, the more engaged the students will be. The more engaged they are, the greater their retention and THAT is the ultimate goal.

Improving Your Sight Reading

2010-10-06T13:26:00.000-05:00

Every collaborative artist recognizes the importance of sight reading in our profession. Throughout my piano study, most teachers claimed you either could sight read or you couldn't; they held there was little you could do to improve your skills in this area. Since that time, I have discovered through my personal experience and those of other piano students that sight reading CAN improve.

For the working collaborative pianist, my suggestion is to read new solo literature on a regular basis. The repertoire for solo piano is abundant and of varying technical demands. Personally, I begin with the sonatas of Haydn, Mozart, and Beethoven. There is no pressure to play the works at tempo; accuracy is the goal, so play at a tempo that you can handle. As a student, I was instructed to sight read daily for thirty minutes; now I simply strive to do some amount of reading each day. Of course, reading repertoire from the vocal and instrumental literature might be an option for some pianists. I avoid this music so I won't be tempted to feel the necessity of learning the works and because solo literature is more readily available to me.

When do I introduce sight reading to my own students? As early as possible! By having them reading new repertoire regularly and often, students are not aware that they are developing a desirable skill. Once a student begins sight reading well enough to be independent in the activity, I encourage them to explore all types of music: hymns, solo pieces, movie soundtracks, and pop songs. I basically make a game of it. I want to see how many songs they can play through before our next lesson (remembering that the goal is not learning it or having it ready for public performance). The student keeps a list of the songs they have read and brings some of their favorites the following week for us to look at together. This allows me to praise them for their hard work and applaud their willingness to challenge themselves with difficult music while providing insight into their interests. The results have been tremendous; surprisingly, many of the students ask to repeat the exercise again and I gladly oblige!

Musicianship and Theory Classes

2010-10-05T09:22:00.001-05:00

Currently, I am teaching at a junior college that offers very little musical training. Other than the music appreciation course I teach, our students have the opportunity to participate in the jazz ensemble and choir. Since private lessons and group piano class is a major step, I am in the process of discussing the possibility of adding two new courses to our curriculum: musicianship and music theory.

Musicianship is a class designed for students who have no formal training. The course will focus on melodic and rhythmic notation with some attention given to keyboard geography and sight singing. As music educators, it is important to provide solid musical training to young people who are interested in music, but don't necessarily want to enroll in lessons. Who would a musicianship class benefit? Not only would it be a service to our students, but also members of our community who sing in church choirs or participate in community theater productions and find themselves limited because they cannot read music. Additionally, the course could be a wonderful addition to the kids' college summer program, providing valuable training to students beginning their music studies at the junior high level.

As a junior college, many of our students plan to transfer to pursue a bachelor's degree. High school juniors and seniors enroll in courses that will prepare them for college coursework. These factors combined with the outstanding music programs available in the county point out a section of the student population that we can better serve: the rising music major. These students play their instruments well, but have no background in music theory. Regardless of where the student attends school, they will be required to complete the course; for many, this fast-faced, demanding class leads them to end their musical study. By providing an introductory theory class, we equip students with the basic tools they need to succeed as a music major.

Music theory begins where musicianship ends. The course examines key and scale construction before moving into the area of harmony and chord progression. By analyzing compositions and writing their own original works, the rising musician becomes more knowledgeable of the complex math and science at work in the music.

For both of these classes, little special equipment is required. As long as a dry erase board is available, we are good to go. In a best case scenario, an upright piano or synthesizer (full-sized) would be highly beneficial. It is my hope that the administration will see the benefits and possibilities provided by adding these two important classes to our course offerings. I'll keep you, my loyal readers, posted on how things progress.

Trying Out Wagner!

2010-10-04T09:10:00.001-05:00

The wait is finally over! On Saturday, I will have my first experience with a Wagnerian opera when I attend the Met HD broadcast of Robert Lepage's new production of Das Rheingold. This is no small feat for me as I am just beginning my personal journey into the world of opera; I decided if I was going to play these wonderful arias, I should probably know the stories they come from and begin experiencing the works as a whole.

If you are like me, you know that Rheingold is part of Wagner's Ring Cycle and that it makes use of the leitmotif. Beyond that, I am a little lost. Listening to excerpts of the opera is difficult. Getting the plot straight is a herculean effort. I'm really hoping that the costuming will help me separate the gods from the giants and Nibelung dwarfs!

As part of my preparation for Saturday's production, I am committing to doing some reading daily on Wagner and the opera. So far, the most valuable resources I have found are the program note and plot synopsis at the Metropolitan Opera's website. Do you have any suggestions for things I should take a look at before heading to the "opera" on Saturday? Please no negative comments.....I'm still gathering my courage to dive into the somewhat intimidating world of Wagner.

Music in Children's Ministry

2010-09-29T16:40:00.000-05:00

While sitting in the sanctuary of the church this afternoon, I realize that I've not written about training the children in our churches to participate in the musical arts. We have so little time with the kids each week and we have so many urgent things to teach them that are of eternal significance. Often, I feel guilty trying to fit in some musical education.

Recently, I came to understand that by training children to read simple rhythms and musical notation, I am actually equipping them to participate in the worship service for years to come. Traditionally this has been done in the form of a children's choir. Sadly, that tradition is quickly fading from congregations around the nation. How are we to teach children the basic elements of music in relation to the church service?

One method that I am currently using is hand bells. I'm not talking about a huge system that costs a ton of money....even though I do hope to get to that point eventually. I am using bells produced by Kidsplay at a fairly economical cost. (As I recall, each 8 note set cost less than $40. Extensions and chromatic add-on kits are available as well to get you out of the key of C major.) Here's how I'm using the bells.

I have taken a fairly simple song with which the children are familiar and written it out in notation. Students are given a picture of the note they are looking for and matching the picture on their bell with the notes on the music. Although I have not yet introduced rhythmic notation, the kids are learning to read from top to bottom, left to right.

Because I need to get this song ready for performance very quickly, I am modifying my approach tonight. The children have lyric sheets that have dots over the words where they are to play. It will not teach them more about music, but I am giving them the fun of making music together and allowing them to experience their first performance as an ensemble. I'll let you know how it goes!

What are you doing in your local congregation to teach your children about music? I'm always looking for fresh ideas, so please share in the comment section below.

The Most Important Critic

2010-09-28T14:45:00.002-05:00

As performers, we are constantly subjected to the harsh criticism of others. Some are well-meaning, offering advice meant to improve some aspect of our career. Some criticism is sparked by jealousy and insecurity on the part of the critic. Others are simply mean-spirited comments designed to tear us apart. I have had my fair share of all three categories of criticism recently. It is easy to fall into a state of depression as a result of the comments. After all, the performance that is being reviewed is not some laboratory experiment; it is an extension of me as a person – and intricately linked to my emotions and thoughts.

Finally, I have reached the point where I can say, “Enough is enough!” If you’re not happy with my interpretation of a piece, don’t listen. Don’t like my approach or my level of commitment? Find someone else to work with. You don’t like my teaching philosophy? Find another teacher. The single critic that can have a profound impact on my music is me….all the rest is just noise.

Do I think I have all the answers? Certainly not. As a musician, however, I have to make a decision that I am committed to and then run with it. I continue to listen to the advice of others – those I trust and respect, who have shown themselves to be genuine and courteous, wanting to see me succeed. When the curtain comes down, the one who must be able to defend the choices made is only me.

So, let the criticism come. These are the questions that I’m asking myself. Am I happy? Do I like the message my music is portraying? Am I being true to myself, my goals, and my dreams? As long as I can honestly say “yes” to all of these questions, my inner critic is pleased and I’ll happily follow the road ahead wherever it leads.

Finding Practice Time

2010-09-27T13:28:00.000-05:00

I'm still adjusting to the demands of a career in music. Now that my student days have passed, I find myself juggling responsibilities. Sometimes it is difficult to fit everything in. I'm finding it most difficult to schedule practice time.

Practicing is essential to the success of any musician. Since it only requires one person -- me -- and my instrument, I try to fit it in between other activities such as meetings, classes, and coachings. Here are a few of the things that I have found to be helpful in my own practicing.

1. Realize the value of working away from the instrument. Lots of musical decisions can be made without playing a note, including phrasing, articulation, and dynamics. Analyze the form of the piece and its harmonic structure. Study difficult rhythmic patterns. The more of this advance work that I do away from the piano, the easier the playing itself goes.

2. Listening is practicing, too. I have recently realized how valuable reviewing recordings can be. I am listening to not only professional recordings, but also to studio tracks of my own playing. These rehearsal recordings are invaluable in revealing rushed passages as well as sections that are not coming across as I imagine in my mind.

3. Small practice segments are perfectly acceptable! It's much easier to find 20 minutes throughout the day to practice than to set aside 2 hours for uninterrupted practice. The shorter sessions are also healthier! My body has a chance to recover, my mind analyzes my playing, and my energy is renewed. I find that several short sessions scattered throughout the day are much more productive than one long rehearsal that drains all my energy.

4. Schedule it! Whether I write it down or just plan it out in my head, I have a tentative schedule daily. While including other tasks, make sure to fit in time for practice. if I know where it's coming in the day, I find myself looking forward to it and fight to protect its appointment from being stolen by other activities.

I am certain that there are other tricks you have found to insure practicing fits into your busy life. I'd like to hear from you -- so share your experience in the comment section below.

Keeping Students Motivated

2010-09-22T21:46:00.002-05:00

Teachers spend many hours preparing lesson plans and assessing student learning and understanding. Sadly, all of this planning is worthless if we are unable to motivate our students. Whether we are considering private lessons or a traditional classroom setting, the dilemma is the same. Here are a few things I have found to be helpful in motivating students in their musical studies.

First, establish how the study of music is beneficial in other areas. A piano student may rebel against learning music theory until they realize that it will also pay dividends in their math classes. Recently, a student had a complete attitude change when she saw the effect her music appreciation class was having on her understanding of world history. All students can see the value of having a leg up on their colleagues in other classes, so play up these advantages.

Diversity is the spice of life, so look for opportunities to mix things up. My piano students enjoy stepping away from the instrument to watch a video occasionally. In history classes, I look for as many scandalous anecdotes about composers as I can find! The naughtier, the better -- students relax and the person leaps off the page and into their memory.

Keep it fun! Disguising learning into some form of entertainment is invaluable. Make your students laugh; never let them predict exactly what's coming next. Even when they are working hard, the possibility of silliness and fun keeps them coming back for more.

Praise success -- and demand even more! I am quick to celebrate the accomplishments of my students, but I am never satisfied. There will always be more to learn, more to explore, and more to achieve. Learning is a lifelong pursuit, not something we achieve at the end of the semester.

Often my students ask me to lower my standards. It's not going to happen. My job as an educator is to help them see all they can achieve and give them the necessary tools to do what they are capable of. That's why my piano students are constantly learning new music and why my exams are notoriously difficult.

Am I able to motivate all students? No, there are those who are not interested in learning. They are merely pursuing a diploma -- a piece of paper that has little significance when separated from true intellectual achievement. Those students who are pursuing an authentic learning experience find my classes challenging and demanding -- but ultimately a truly rewarding experience. Those are the students who motivate me to continue motivating new students year after year!

Music and Worship - Part III

2010-09-21T09:29:00.003-05:00

I am still thrilling from the beautiful worship time that I participated in on Sunday morning in my local fellowship. It is so thrilling to know that our praise has reached Heaven and that God has taken pleasure in our worship and honors us with His presence in such a special way.

In the final installment in this series on music and worship, I want to focus on the idea that music can often precede great victory. Clearly music is often our response to victories won as songs of celebration and rejoicing fill our mouths. What I have found in my own life is that as I worship in the midst of my struggles is when I prepare myself to receive the overcoming deliverance God desires to give.

This revelation first came to me many years ago as I studied the story of Jehoshaphat found in II Chronicles 20. The Moabites and Ammonites were coming against the people of God. Jehoshaphat and his army did not know what they were going to do. After receiving direction from the Lord, the King appointed singers to march in advance of Israel's army. They were to "sing to the Lord and to praise Him for the splendor of His holiness as they went out at the head of the army." (II Chronicles 20:21) As the worshippers began to sing, God began to fight on their behalf! Notice the description the writer provides of the victory: "When the men of Judah came to the place that overlooks the desert and looked toward the vast army, they saw only dead bodies lying on the ground; no one had escaped." (II Chronicles 20:24) That's what I call TOTAL victory!

I think the implications are clear. When we worship and place God in His rightful position in our lives, we allow Him to move in our circumstances and act on our behalf! Israel could have gone forward to face the battle on their own, but victory would have been doubtful. Rather, they offered their praise and God came on the scene. Isn't it comforting to realize that things and people are transformed in the presence of a Holy God?

Need some things to change? Invite God to come on the scene by praising Him for who He is! After all, "He inhabits the praise" of His people (Psalm 22:3).

The Beginning of a New Era

2010-09-20T19:46:00.004-05:00

On Saturday evening, I attended the opening concert of the 2010-2011 season of the Memphis Symphony Orchestra. This evening was made additionally more exciting given that it also marked the beginning of Maestro Mei-Ann Chen's tenure as music director. Given my personal feelings about the city of Memphis in general, I was pleasantly surprised to leave the concert with an optimistic view of the future of classical music in Memphis.

The program featured staples of the Russian repertoire: Shostakovich's Festive Overture, Op. 96; the well-known First Piano Concerto of Tchaikovsky; and the Scheherazade Symphonic Suite, Op. 35, by Rimsky-Korsakov. The music programmed was a fitting opening for what appears to be an exciting and well-rounded season of literature for the Symphony. Dr. Chen appears to be confident in the ability of our players, made evident by the demanding repertoire scheduled. In her introductory remarks, Chen stated that it was her goal to see MSO become the finest orchestra in the region during her tenure; based upon the musical sensitivity and excellent sounds she elicited from her players on Saturday, I believe she is just the woman for the job.

The entire program was glorious, but the Rimsky-Korsakov simply took my breath away. I especially enjoyed the exquisite solo passages played by Concertmaster Susanna Perry Gilmore as well as those from Jennifer Rhodes, principal bassoon, and Scott Moore, principal trumpet. The commitment to musical excellence demonstrated by these three players in these incredibly demanding passages renewed my hope and faith in our Memphis Symphony.

Rarely will one attend a performance where they enjoy everything. Saturday evening's concert was no exception. While I applaud MSO's commitment to developing young musicians, I hope that my ears are never again assaulted by the overpowering sounds of a high school marching band playing in the aisles of the Cannon Center. Don't misunderstand -- the sound was quite good and I would have appreciated it in a setting designed for such loud decibels. In the current setting, however, the playing was physically painful. Based upon the body language of others in the hall, I am not alone in this opinion. Many audience members -- both in the balconies and on the main floor -- and members of the orchestra could be seen with their hands covering their ears in a vain attempt to muffle the sound. There must be a compromise; as a patron, I want to be supportive of the arts in our area schools, but not at the detriment of my hearing.

As far as the Orchestra itself, my only complaint was with the woodwind section. Throughout the evening, I felt as though some members of the section were struggling to play at the new level that Ms. Chen is introducing. I realize that we all have performances when we are simply not at our best. In keeping with that maxim, I will reserve my judgment until I listen further to their performances in the future. I am certain of this one thing -- Mei-Ann Chen is a gifted woman with a clear goal in mind for the Memphis Symphony Orchestra. She will bring the best out of all of her musicians, but I have a feeling she will not hesitate to make personnel changes as she deems necessary.

I am looking forward to hearing about the next concert on October 16-17, 2010. I am thrilled that my dear friend and fellow Pepperdine alumnus, Jessica Rivera, will be the featured soloist on the Barber Knoxville: Summer of 1915. On the other hand, I am upset that I will miss the performance due to another engagement that weekend on the left coast.

My Continued Adventures in Teaching Note Reading

2010-09-16T16:00:00.001-05:00

Tuesday was another fun-filled afternoon of piano lessons in my studio. Recently, I have noticed two students that have struggled with note reading, so I decided to use some note-reading worksheets to see if I can determine the root cause.

The younger student is constantly second-guessing her playing and making mistakes. Her understanding of rhythm, however, is developing nicely. When given the treble clef worksheet, she would pause occasionally to check notes -- especially as they moved into the upper range of the staff where we have not yet done much playing. I didn't find this alarming. As I checked her work, I found that she was consistently correct in her responses. Now I'm completely puzzled.

The thought occured to me that I need to ask her to play the individual measures from the worksheet. The student played the correct letter names, but almost always in the wrong register of the instrument. There's the problem: there is a missed connection between the geography of the written score and that of the keyboard. I loved the sparkle in her eyes as we together figured out what the problem was and I assured her that it can be fixed.

Student #2 presented a slightly more difficult situation. This student is the same teen that I wrote about last week. We worked on a bass clef worksheet. I sat and watched as she tried to figure out the notes by using rudimentary memory aids for each of the lines and spaces. Although ultimately accurate for the most part, I must admit that it was a painful process to observe in a student who has studied music for over two years. When we went to the keyboard, we began to dialogue about how she approaches reading a piece. Her answer was that she is looking at the distance and direction the notes are moving and making an educated guess at the correct note. Her instincts are quite good, but her lack of reading skills and regular practice do not allow her musical ear to be the helpful tool that it can be.

With my beginning student, I think I have a clear plan of attack now that I have some insight into the underlying problem. My teen student is a different story. I'm trying to brainstorm how to teach this concept that was never a difficulty for me personally and not something I have encountered in another student before. Since she performs excellently in math and science, I am considering approaching the problem by intensifying the theory study during our weekly lessons, but I'm not sure that approach won't compound the problem rather than resolve it. I certainly have a lot to ponder this week.

Music and Worship - Part II

2010-09-14T23:16:00.001-05:00

Last week, I began writing a series of posts focusing on the role music plays in the spiritual life of the believer. We began by looking at music's ability to calm the human spirit. Let's continue this week by looking at what causes the calming influence: music connects man with the Divine.

Throughout history, music has played an integral role in the worship practices of all cultures and religions. In Daniel 3, we read that the Babylonians used musical instruments to signal the beginning of worship to Nebuchadnezzar's statue. Ancient hieroglyphics suggest that music played a vital role in Egyptian religious rites honoring their many gods. In Greece, a roofed concert hall, the Odeion, was built on the slope of the sacred acropolis site.

While these cultures all agreed upon the importance of music in connecting man to the Divine, we will now focus exclusively on music connecting the Christian to God. The process I am describing is one that many believers study throughout their lives. What a worthy pursuit -- studying how to worship God effectively through music. I pray that I will be a lifelong student of His worship! Instruments can be used in the worship of God in a very special way, but for the present discussion I want to focus on singing since it is a form of music making that is available to all people.

Take a look through the book of Psalms and you will repeatedly encounter the phrase "Sing to the Lord!" While there are instructions to "play skillfully" (see Psalm 33:3), we are also told to "Make a joyful noise unto God" (Psalm 66:1). That leaves us without excuse and essentially tells us that regardless of our skill level -- or the quality of our voice -- we are to SING! Take a look with me at a few of the things singing does for our spirit.

Psalm 66:2 instructs us to "Sing the glory of His name; make His praise glorious!" Let me be abundantly clear here; singing is NOT the only act of worship in which we can participate. However, I DO think it is held in high esteem by the Heavenly Father. Think about it...angels sang their celebratory praise song at the announcement of Christ's birth and they continue to sing praises around Heaven's throne! We as believers join our voices to the Heavenly chorus as we sing praises to the One who alone is worthy of our highest praise!

The New Testament provides some additional insight into the role of singing. While Ephesians 5:19 shares the evangelistic power of music, I have been drawn to I Corinthians 14:15 recently. In this verse, the Apostle Paul writes, ". . .I will sing with my spirit, but I will also sing with my mind." In the context of the chapter, Paul is speaking about the orderly use of the gift of tongues in the church. I think we can examine this single phrase out of context and discover a priceless gem of truth. Singing is identified as both a spiritual act and a mental act. It is possible to go through the physical motions of singing without engaging the spirit man; the opposite, however, is not true. Singing becomes an act of worship when our mind and spirit come in agreement and recognition of His absolute Lordship. When we finally reach this point, we are fully submitted to His will, enabling Him to transform us as He wills. It is then that we begin to experience the final role of music in the life of the believer -- that it often precedes major victories!

Stanley Drucker with the Eroica Ensemble

2010-09-13T23:59:00.001-05:00

On Saturday evening, I had the distinct pleasure of hearing clarinetist Stanley Drucker perform with the Eroica Ensemble under the baton of Michael Gilbert. Drucker's reputation as an exquisite musician with wonderful technique was obviously well-founded. While the music presented was a bit banal in my opinion, the performance as a whole was excellent. To improve future performances, some attention should be given to the running of the front of house.

The program opened with Mozart's overture to The Marriage of Figaro, K. 492. This delightful piece served as a fitting precursor to the centerpiece of the evening, Drucker's performance of the Clarinet Concerto in A Major, K. 622, also by Mozart. Drucker's athletic arpeggios and scales were dazzling, but most enjoyable was his attention to the long lyrical lines of the piece. This was especially evident in the slow middle movement.

Following intermission, Drucker returned to the stage with Weber's Concertino in E-flat Major, Op. 26. This through-composed work again displayed many of the same characteristics appreciated in the Mozart, only this time on a smaller scale. To close the evening's concert, the Eroica Ensemble played Haydn's "London" Symphony, No. 104 in D Major.

A few questions remain in my mind. One is a question of technique; the other addresses the issue of programming. Throughout the performances of both the Weber and Mozart Concerto, Mr. Drucker would flail his left hand into the air at the end of extended passages. When I first noticed it, I assumed it was a communicative device. As I continued to listen and observe, it became evident that the orchestra continued at each occurrence of the flailing hand without ritardando or accelerando, so it did not appear to be necessary. As I pondered the technical demands of the clarinet -- given my admittedly limited knowledge of the topic -- I could find no plausible technical reason for the movement. In fact, I tend to believe that the extraneous movement may have generated issues that would have been eliminated by maintaining a more stable posture. The only possible explanation I can arrive at is that the flourishes were included to provide visual stimulation for the audience. I found the dramatic inclusions to detract from the music rather than heightening its intensity.

The question of programming is more philosophical. Understand that I genuinely like each piece on the program individually. On Saturday, however, I found myself quite bored by the time the Haydn came around, given the evening's total devotion to music of the Classical era. I admit that this was my first experience with the Eroica, so I may be missing something about their programming practices and philosophies. Personally, I found it incredibly difficult to focus on the concert as a whole -- and Mr. Drucker's playing in particular -- given that everything on program was similar in form and harmonic structure. I don't discount that there are valid reasons for arranging a program in this manner, it is just not my personal preference.

Now to the issue of the house staff. I realize that the evening's ushers were probably volunteers given Eroica's status as a 501(c)(3) non-profit corporation. With this in mind, I commend the staff for their warmth and overall welcoming demeanor. Because of the excellent music coming from the orchestra, I do think there can be some improvements made that will result in a more pleasing experience for everyone. What I noticed is that two ladies in clicking high heels proceeded to cross behind patrons six times by my count during the middle movement of the Mozart Concerto. At no time were they approached by a member of the house staff. I understand that it is not the responsibility of the ushers to instruct obviously oblivious audience members in the finer points of concert etiquette, but I would think it acceptable to request late-comers wait until an acceptable time to locate a seat, especially given the extremely live acoustics of First Congregational Church.

I truly hope that this posting does not convey that I did not enjoy the Eroica concert. On the contrary, I thought the evening was magnificent and commend Eroica for their contribution to the Memphis music scene. As a performer, I take notice of many things when attending a concert. Raising questions does not imply that other wonderful aspects of the evening went unnoticed. The comments strictly are a representation of the issues on my mind as I left the recital hall on Saturday evening.

American Art Song Recital

2010-09-10T21:17:00.002-05:00

Last evening, I had the good pleasure of attending a recital presented by Diane Reich, soprano, and Scott Holden, piano, at Rhodes College in Memphis, Tennessee. The evening of American Art songs featured works by Amy Beach, Samuel Barber, Henry Mollicone, John Pickett, and Lori Laitman. It was nice to revisit some old friends while being introduced to some wonderful pieces with which I was not familiar.
Art song has always held a special place in my heart because it was where I first began my work as a collaborative artist and remained my specialty throughout my studies. In the past few years, my focus has shifted to instrumental chamber works and I am growing to enjoy that work more and more. Last night's recital was a refreshing bath of sound as Reich's luxurious sounds and impeccable diction washed over my ears and soul. It became evident to me while sitting in last night's audience that it has been far too long since I have collaborated with a singer in recital. That is something that must be rectified soon. I am planning a program with a dear friend for Spring, 2011 in New Mexico, but I truly hope I can find an interested singer in the Memphis area to perform with prior to that engagement.
For this musician, the highlight of the recital was the set of sacred songs composed by Samuel Barber. In addition to his familiar works "Crucifixion" and "A Slumber Song for the Madonna," I was introduced to two other Barber songs that I plan to add to my repertoire soon. "The Praises of God" was quite charming despite its unusual style. "The Monk and His Cat" stole my heart! The American jazz idiom heard in the piano is superbly scored while allowing the cat's wanderings up and down the keyboard to provide interjections of humor without disrupting the music's flow. I suppose it's just another example of Barber's mastery of the vocal form.
The last half of the program featured compositions by living American composers. While all three sets had notable qualities, the works of Henry Mollicone were most interesting to me. I am currently unfamiliar with the composer's work, but anticipate investigating his oeuvre in more detail in the near future. The excellence of the performance of these works can probably be attributed to the fact that Dr. Reich has completed extensive research on the composer's vocal music, making her a leading authority in the field. The first works of Henry Mollicone that I encountered were "The Frost Pane"; "If You Were Coming in Fall"; "I Never Saw a Moor"; and "May's Love." Not only were the vocal lines creative and interesting, but the piano was given exquisite melodies that were an outstanding compliment to the works as a whole.
Now I find myself realizing just how much I miss working with singers on a regular basis in their weekly lessons. The passion for the work went far beyond the people with whom I collaborated or the income earned; the aspect that brought me the most joy was regular interaction with the wonderful literature written for voice and piano. Regardless of what else I may play, my heart will always long to return to my first love of the collaborative piano literature.

Understanding Classical Music – The Mass

2010-09-08T22:58:00.002-05:00

In most survey courses of Western music, the earliest music studied is Gregorian Chant. These single-voiced compositions were the official music of the Roman Catholic Church during the Middle Ages and were grouped according to the season of the year that they would be sung. Chants were the basic elements of the musical portion of the mass – the church service.
When discussing the elements of the mass, the chants fall into one of two categories: the Mass Ordinary and the Mass Proper. The Mass Ordinary were those chants that consistently appeared daily as part of the mass, regardless of the church holiday that was being celebrated. Five chants made up the Mass Ordinary: Kyrie ("God have mercy"); Agnus Dei ("Lamb of God who takes away the sin of the world"); Sanctus ("Holy, Holy, Holy"); Gloria ("Glory to God in the highest"); and Credo ("Apostle's Creed"). Other chants that appeared in the mass varied daily and were determined by the Church calendar. These daily changing portions of the mass comprised the Mass Proper.
It was Guillaume de Machaut who first raised the standard of the Mass as a musical form. Machaut's Notre Dame Mass was the first polyphonic setting of the Mass Ordinary. In other words, Machaut composed music for all five sections of the Mass Ordinary to be sung by multiple voices of equal importance (polyphony). This first significant Mass setting, like most of the others composed during the Medieval and Renaissance periods, were written for a cappella voices.
What began with Machaut became a long standing tradition in Classical music. Many of the greatest composers of Western Music such as Palestrina, Bach, Mozart, Schubert, and Brahms would add their compositions to the opus of Mass settings. Over the centuries, the Mass became more complex, growing from its relatively simple a cappella beginnings to include the full power and grandeur of the symphony orchestra accompanying massive choirs.

Music and Worship – Part I

2010-09-07T21:49:00.002-05:00

Music communicates. This fact is rarely questioned. Music speaks to the heart, emotion, and intellect of mankind in a way that words alone cannot parallel. I think the power of music is most greatly seen in the realm of the spiritual. I feel obliged to pause briefly and clearly state for all my readers that this post will be the first in a series that will explore music from the perspective of a music minister and a Christian. If you are looking for theory or analysis of Classical music, come back tomorrow when I return to that topic. I ask you to bear with me for the next few Tuesdays as I devote some attention to the power of music and its role in our spiritual lives.
Let me share with you briefly what gave birth to this line of thought. Earlier today, I shared a CD recording of some hymn arrangements that I made a few years ago (Great is Thy Faithfulness: Hymns for the Heart of Worship c. 2005). I played well on the album – if I do say so – but more importantly, I felt as though that recording captured a very special time of worship in my personal life. After hearing the recording, the friend commented that he was greatly moved. He stated that the music reminded him of something that he had lost [my interpretation of his words] – something he had experienced years earlier in a small group gathering of Christian believers. As I reflected on his comments, I began to think about my personal experiences with music as they related to my walk of faith. I came to immediately recognize three facts about music's role in spiritual matters. There may be more that I may explore later, but for the next three weeks, I want to examine one of them each Tuesday. Consider these statements:

Music calms the spirit of man.
Music connects man with the Divine.
Music often precedes and/or accompanies great victories.

As I think of music's calming effects, my mind immediately races to the story of David playing his harp for a troubled King Saul. The Old Testament book of I Samuel tells that Saul was plagued by an evil spirit (I Samuel 16:14), but that the spirit would leave Saul when David would play skillfully upon his instrument.
Many find that music has a calming, soothing influence upon their minds. They identify music as a means that leads to relaxation. I think that there was more going on than just the plucking of harp strings calming the King's nerves. Rather, I hold that the young David not only played skillfully in the King's presence, but also with the anointing of God's Spirit. In my personal experience, not every skilled musician can speak to the deepest part of my soul with their music. I appreciate their talent and applaud their effort, but there is something lacking. However, when I hear a performance that is offered as a sacrifice of worship – regardless of the style of music being played – I often find myself summoned into the presence of the Most High God. That is where I begin to experience restoration, forgiveness, healing, and peace that I cannot find anywhere else. Do I think the music itself possesses the power? No, but I do believe it is an invaluable tool to take us to the Source of all power. That role of music will be examined next week.
Do I think my friend entered the presence of God while listening to my music today? I don't know for sure, but I suspect that he might have – even if he didn't totally recognize it as such. What I do know is that music can quiet our mind and spirit in such a way that we are finally able to clearly hear the voice of God speaking into our lives.
Tonight, my prayer for you is that in the midst of your personal chaos, music will transport you into the presence of a Holy God and that you will hear Him singing over you His perfect song of love.

Preparing to Attend Your First Concert

2010-09-04T22:46:00.002-05:00

As a follow up to yesterday's post, let me offer three practical pieces of advice that I find most helpful when preparing to attend a concert.
Prepare to fight the enemies! For most new concert goers, there are two common enemies that will attempt to make our adventure a bit uncomfortable: drowsiness and a nagging cough. With a bit of advance preparation, we can combat these villains of the concert hall. The lovely music you will hear can often be a sleep-inducer, especially after a long day at the office or in the classroom. Here are a few suggestions to help counter the inclination to sleep. Carry a small pad and pen to the concert with you and make a few notes throughout the performance. The note-taking process will help keep your mind alert and focused. It is also helpful to allow enough time to enjoy a caffeinated drink prior to the concert. Obviously this is not the optimal time to enjoy a Big Gulp, but a moderate-sized beverage can be helpful.
Coughing plagues audiences around the world, so come prepared to moisten your throat if necessary. If it's cold and flu season, having a few medicated cough drops in an easily accessible pocket is a great option. Otherwise, carry along a few peppermint disks. While it may be briefly irritating to those around you as you open the wrapper, it is much more desirable to the alternative of unending coughs during the performance. In the event that you find that the cough drop will not alleviate the problem, excuse yourself quickly to the lobby for some water. Although you will not be allowed to return to the auditorium until the end of the piece, most concert halls broadcast the performance to the lobby.
Purchase the best ticket available that is within your budget. Tickets to live performances can be quite costly. Most venues offer inexpensive seats beginning at $15 or $20 in price. The sound quality in these seats is perfectly fine; they will serve as an acceptable introduction to the world of concerts. However, if your budget allows, purchase tickets that are closer to the stage. By moving forward, you become a part of the energy of the concert, experiencing the event to its fullest. While searching for the best seat, keep your personal budget in mind. Nothing will insure a bad experience more than worrying about the amount of money you spent on the evening's ticket.
Know the program in advance. Most symphony orchestra websites are easy to find on the internet. With a little effort, you can discover exactly what is to be played on the evening's program that you will attend. Make note of the composers and titles of works. If possible, find recordings of the pieces that will be performed; search both the internet as well as your local library. Listen to some of the music that you will hear, but do not feel as though you must learn it. The goal is to acquaint your ear with some of the sounds. When we hear passages that we recognize, our minds are put at ease and we are able to simply enjoy the music and the experience. Familiarity breeds comfort and that is what we are hoping to obtain!
Now you have some tools in your arsenal to insure that your first visit to the concert hall is a great one! Above all, keep the primary purpose you are attending the program at the fore of your mind and simply enjoy the music!

First Concert Primer

2010-09-03T22:34:00.002-05:00

Have you ever thought you would like to attend a classical music concert but felt you lacked some secret knowledge necessary to fully appreciate the experience? For most people, what they are actually feeling is fear – fear of the unknown and fear of behaving inappropriately in an unfamiliar setting. I want to give you some basic information that will equip you to confidently attend a classical concert and make the experience more enjoyable.

Plan to be seated 15 minutes prior to the start of the performance. Attending a concert is not like going to the movies; previews for upcoming presentations won't appear before the start of the evening's show. If you arrive late, you will not be permitted to find your seat until there is a break in the concert. In many scenarios, this will mean that you will miss the first piece in its entirety.

Arriving early affords you many benefits. First, you are able to take notice of all the visual stimulation in the concert hall before the performance begins. Since musical performances require the audience to depend heavily upon their sense of hearing, previously unnoticed visual images can become a distraction during the performance. The second benefit of arriving early is that you will be able to read the program notes included in the recital's program. These notes are intended to provide you with biographical information about the artists as well as the composers whose works you will hear. Occasionally you will find historical background about the pieces performed as well. Don't feel pressured to remember everything the notes contain and don't feel inept if you don't understand everything you read. Understanding music is a life-long pursuit. The good news is that you don't have to necessarily UNDERSTAND it to ENJOY it.

Turn off your electronics. Nothing is more embarrassing or more frustrating than trying to find a ringing cell phone that is competing with the musical strains coming from the stage. That noisy phone will insure that you get nasty glares from the other audience members sitting near you. The best practice is to turn it off since the transmitted waves can interfere with the auditorium's sound system; if you MUST have it on, make sure that it is on silent.

Dress comfortably. Many times we see images of women wearing extravagant gowns and men in tuxedos going to the opera. While there are formal occasions in the musical world when such attire is appropriate, they are not the norm. Simply dress comfortably for the event – considering both fashion and physical comfort. In nearly every social situation, it is just as uncomfortable to be over-dressed as it is to be under-dressed. In American society, most audience members find that business casual attire is appropriate for their concert experience.

Physical comfort is also an important consideration. Temperature can often be difficult to predict. Performance halls may be considerably cooler than other public areas or you may find that the close proximity with other audience members results in a greater level of warmth than you expected. Dressing in layers – such as jackets or sweaters – is a great way to insure you are prepared for whatever temperature you encounter.

When a Student Hits a Proverbial Wall

2010-09-01T14:52:00.000-05:00

Piano lessons are up and running again and I am having so much fun! Students are excited about learning and about the new additions to our studio. Perhaps I should qualify that statement....everyone is excited about piano except one of my students. Let me paint the picture for you and share my dilemma with you.

This young lady is in 7th grade and has studied piano with several teachers already. She first transferred into my studio last fall. At her first lesson, I learned that she has been stuck in level 1 of her method book for several years. The problem? She simply cannot read bass clef! I have played games with her, assigned pieces that are exclusively in the bass clef, and even tried becoming the harsh teacher that I despised as a child to find what would motivate her. So far, nothing has worked.

As she returned to lessons this fall, I was told that she has now also enrolled in voice lessons with an overpriced, under-talented theater director (strictly my opinion of the teacher) and is now taking up French horn in the school band. Her opinion of her own talent is supported by her parents' numerous accolades. Sadly, her talent does not support such high praise.

Now I'm stuck trying to figure out how to proceed? At this point in her piano development, learning how to read bass clef is essential. When I pull her away from the instrument, she has the tools to figure out the note names, but it is definitely a struggle. When she searches for the notes at the keyboard, a short 8-measure piece takes nearly the entire 30-minute lesson to plow through.

Clearly, she is not practicing. I know that's the best solution to learning to read....just do it! In the light that I have already spoken with her parent about the situation and they do not seem to object to essentially wasting their money on lessons that are at a stand still, what is my next step? I don't mind taking the money (obviously), but even the most patient teacher in the world can only deal with the same issue for so long before going absolutely insane!

As an act of desperation, I finally moved her through the rest of book 1 and now we are working on the review material found in the next level of the method. At this point, I don't know who is beating their head against a brick wall -- her or me! I'm looking forward to your hearing your comments, experiences, and suggestions.

Following the Questions

2010-08-27T16:18:00.003-05:00

During my morning of lectures, I had one of those experiences for which every teacher hopes. At the back of the room, a student raised his hand and asked a question. This question was not one asking for a repetition of previously shared information or if this information was really important in relation to the exam. No, this question could only follow a precursory statement. The student began, "I know we don't have to know this for the test, but I've always wondered…." What a wonderfully challenging opportunity. In that moment, I was faced with the choice to take advantage of a teachable moment and veer away from my planned curriculum or squash the student's inquisitiveness. I answered his question thoroughly and hope that I made it clear to the other students present that my classroom is a place where inquiry is welcome – even when those questions take us slightly away from the planned discussion. In my personal experience, it has been those explorative discussions that have led to some of my greatest learning experiences, exposing me to new areas of learning that I did not realize were available to me.
I have spent much of the day thinking about that simple encounter. What would happen if I followed the questions in every class, regardless of the subject? Think about the implications. When is it better to explain the concept of the slur to the young piano student: when the published curriculum dictates or when the eight-year-old girl points to the musical marking and asks "What is THAT?" By following the questions, we are matching our teaching with the desired learning goals of the student. Aren't the best educational pursuits learner-centered? If students are not the center of our teaching goals, we are missing the point of WHY we teach as well as the importance of knowing WHO we are teaching.
I realize that a curriculum is necessary to guide our teaching. I do not recommend totally abandoning lesson plans. As music professionals, we have a clear understanding of the material we are teaching and must plan the best route to take our students from the "known" to the "unknown." However, in order to insure that our instruction does not become stale and ineffective, take a chance and look for opportunities to follow students down paths of learning that are initiated by their personal inquiries. I believe that both you and your students will find it a rewarding experience and one that has positive and lasting outcomes.

Piano Maintenance and Care

2010-08-26T22:07:00.002-05:00

As the new semester of piano lessons are beginning, several of my students have come to their first lessons with lots of excitement over getting their first piano. The questions quickly follow about piano care and maintenance. Rather than merely giving parents information from my personal knowledge, I point them to this very helpful page of information hosted by the Piano Technicians' Guild. PTG answers the basic questions of how often to schedule a tuning as well as how to take care of your instrument. My students find the cut away sketches of the piano mechanisms interesting while parents appreciate the wealth of information about their newest investment. Since we are living in the metro Memphis area and are forced to deal with the area's humidity changes, I advise them to pay special attention to the page on humidity's effects on the piano. That way they know exactly what to expect during the summer and winter months while having some information on how to avoid the most serious problems.

Why Concerts Matter – Take 2

2010-08-24T22:47:00.002-05:00

Yesterday, I began teaching a new semester of Music Appreciation at Mid-South Community College in West Memphis. The first day in each section of the class was filled with the thrilling excitement of reviewing the course syllabus so everyone would know what will be required of them this semester. As usual, I heard groans, grumblings, and sundry other sounds of disapproval when I explained to the students that they would be required to attend two classical concerts to fulfill the course's requirements. "But why?" was the repeated cry. Since the defense of concerts as part of the Music Appreciation curriculum has become a major point of discussion each semester, I thought it would be a good blog topic for this evening.
In order to understand more about music, a student must be exposed to it. Why this concept is so foreign to some students is beyond me! While students do not like the idea of spending time in labs for biology, math, or foreign language courses, they accept this additional time of observation as a necessary component of the course. In essence, attending concerts is a working music lab. In order to fully understand concepts presented in lectures, students must get away from the classroom and hear the theories presented in their natural habitat on stage.
Many students argue that they should be able to go to any concert they like since they are paying for the ticket. My response is simple; many of the concerts that you are invited to attend in fulfillment of the requirement have no admission charge. So the assertion that you are spending your hard-earned money on entertainment you don't enjoy is void. Furthermore, any student who claims to enjoy all their homework assignments in other classes is either a liar or delusional. I won't make that judgment, but I'll let you decide for yourself into which category I think most of them fall. This raises an additional issue in the mind of the student. Why am I required to take a course in music since I am not majoring in music? The arts were not created in a vacuum and were significantly impacted by the politics, literature, philosophy, scientific development, and religious views of the day. By examining the arts that were influenced by these fields, the student develops a deeper understanding of the historical progression of the Western World; such understanding and knowledge is an early essential step on the journey from student to scholar.
Lastly, students often ask why they are not merely permitted to listen to recordings or watch videotaped performances. While both of these Medias are valuable tools in the study of music, a few drawbacks must be considered. Firstly, recordings are often heavily edited in order to arrive at a "perfect" performance. While the pursuit of excellence is admirable, these edited performances can result in an unrealistic recording that lacks a certain amount of integrity of performance. Secondly – and in my opinion, most importantly – recorded performances can not accurately convey the vivacity and energy that an audience experiences in a live performance. While we are studying the music itself in this course, the listener's emotional response to the performance must be included in the discussion of the composition's greatness. Beethoven's Ninth Symphony would not be considered a masterpiece of the repertoire if its performance did not elicit a significant emotional response from those who have heard it over the centuries.
That's why I firmly believe in the value of concert attendance as part of the Music Appreciation curriculum. The goal is neither for a student to be able to eloquently discuss a piece's harmonic structure nor is it to convince them to become supporters of the local classical music radio station. Rather, my goal is to give the student enough tools to intelligently attend a previously unfamiliar artistic performance that allows them to experience the heightened emotional response that the greatest music of Western history can elicit.
Now it's time for me to find my next concert to attend. Hope to see you there!

The Importance of Concerts

2010-08-20T10:42:00.002-05:00

A sad day has finally arrived. Today is the last day of my summer break. The weekend is very full and a new semester of music classes begins on Monday. While I am enjoying this final day of vacation, I am also putting the finishing touches on courses and making plans for the new year in my piano studio. One of the most surprising decisions I have made is that I plan to have a studio recital this year. This is especially surprising considering the fact that I always DETESTED these forced performances during my early years of musical training.
As I was thinking about repertoire choices for my students, I began to realize how important it is to have them perform. Public performances allow the musician to experience the joy of sharing their art with an appreciative audience and take the pursuit of the instrument out of the practice room alone. The benefits of playing in a recital extend beyond the musical development of the child as well. Performing increases the student's confidence, self-image, and creativity while diminishing their fear of appearing before a large crowd and feelings of inferiority.
Given all of these benefits, why would I hesitate to prepare my students for a studio recital? Aside from the logistical difficulties of securing a convenient location and quality instrument, I also do not look forward to dealing with the pressure often applied to students by over-bearing parents. (I'm experiencing one case of this now – before the child's first piano lesson – and it will probably be the topic of a future post.) While well-intentioned, parents can do great damage to the blooming young musician by placing undue pressure and unrealistic performance expectations on the child rather than encouraging them to enjoy the experience of making music for their friends and family. My studio is still relatively small at this point, so the possibility of comparison between pianists is great. "Why didn't you work as hard as Jenna? Did you HEAR how beautifully she played?" Such comments detract from the individual accomplishments of the student and place the focus on their inferiority in comparison to other players. It is important to remember that no two musicians develop along the same tract and at the same rate. Rather than focusing on the negative, I encourage parents to find the points of growth in their child's playing and focus on the positive.
I'm in the process of selecting repertoire for my young pianists and have discovered a wonderful resource that I want to share with you. Lynn Freeman Olson has compiled and edited First Steps in Keyboard Literature: the Easiest Classics to Moderns in Original Forms. Distributed by Alfred Publishing, this collection is a perfect addition to the piano teacher's library if you are looking for repertoire to introduce your beginning students to Classical literature. The selected pieces are rarely longer than 1 page and many of them are composed in a basic 5-finger position. Rhythms are simple – nothing more difficult than some running eighth notes – and the scores are large and clearly arranged, making them perfect for young eyes. I anticipate purchasing several copies of First Steps in Keyboard Literature this semester as my students and I begin the journey towards our first recital together.
I would love to hear about your first experiences with a studio recital. Your success stories will encourage me to keep the faith. I'll also welcome any stories about mistakes you made that I might be able to avoid. On Monday, I will examine the concert from the other side of the flood lights and explore their importance in the development of the educated non-musician. Let the sharing begin!

Finding Chamber Partners

2010-08-13T23:08:00.002-05:00

It's the beginning of a new concert season and I am trying to line up chamber recitals for the coming year. The process is proving to be more difficult than I first anticipated. Despite the difficulties, I have high hopes that things will develop and I am certain that I will have several rewarding performance opportunities on my calendar.
The first problem I am encountering is that most of the serious musicians in my area are gainfully employed with one of the colleges in the area or they are so busy with their "regular jobs" –meaning non-musical jobs – that they simply are not interested in committing the time to preparing for a major performance. I completely understand both positions. For my colleagues at an institution of higher learning, it is much easier to schedule rehearsals with a pianist who is at the same school full time. For those employed outside of the music industry, Life often gets in the way of rehearsing and performing. After a long day in the office, there is little energy left to devote to the pursuit of public performance.
So what's a chamber pianist to do? Here are a few steps that I am currently taking personally. I don't know what the results will ultimately be, but it's what I'm trying at the moment.

Ask! This has been the most difficult hurdle for me to overcome. I never want to be a burden to anyone and tend to be rather shy, so I wait for musicians to approach me with performance ideas. I have come to the realization that the worst thing that can happen if I propose a concert idea is that they will say they are not interested. When this happens, focus on the positive aspect: you have planted the idea that you are interested in performing with the individual. It never hurts to ask. A great collaborative opportunity is often only an invitation away!
Perform! Pianists are very fortunate to have the opportunity to present pleasing programs as soloists, so plan to play a solo recital (or several) this season. With careful publicity and excellent musical preparation, you may attract the attention of an interested musician as a result of your solo performance. Never underestimate the power of word-of-mouth references as well. Someone in your audience may be so impressed by your recital that they simply must tell another musician how well you played and spark some interest. Make sure to include your contact information in the program!
Persistently communicate. It's easy to talk about a chamber program in theory, but it takes persistent communication for a group of musicians to set a date and choose appropriate repertoire. Rather than waiting on the other performers – this is probably a carry-over trait from our years of viewing ourselves as the subservient "accompanist" rather than an equal partner in the ensemble – take the proverbial bull by the horns and lead your fellow musicians in the task. While there is a fine line between annoyance and persistence, I'm finding that the benefits of walking as close to that line as possible are much greater than the perceived risks of crossing it.
Look beyond the norm. Currently, I perform with three chamber ensembles. It is very easy to get comfortable and see no other recital possibilities. Rather than relying solely on these comfortable performance situations, I am opting to look outside of the box for unexpected opportunities. There is a risk of rejection, but you may just be surprised by the positive responses you get. Consider approaching students at a local college (other than the one that knows you best) or inquire about the possibility of launching a chamber music series for a local church or synagogue.
Consider traveling. It's always exciting to have the opportunity to perform in your hometown with another musician with which your audience is not familiar. Just think of how fun it would be to be the traveling musician! This is the perfect opportunity to combine a passion for travel with your professional pursuits. If finances are an issue (and when are they not), start by looking for performance opportunities in cities where your friends or family reside; often these situations will result in economical lodging.
Remember the power of networking. The best way to find a chamber partner is to put yourself in situations with other musicians. Attend concerts, join the local music society, sing in the church choir, or provide accompaniment for a young artist competition. Social networking sites such as Facebook and Twitter are also a powerful resource to keep your name and face in front of those with which you want to perform.

What do you do to find new chamber opportunities? If you could play in any type of ensemble, what would it be? For me, I'm looking to form a piano trio at the moment. Any violinists and cellist reading Collaborations that might be interested?

You're Welcome!

2010-08-08T16:08:00.000-05:00

Catching up on some of my favorite blogs and ran across this wonderful entry by Billie Whittaker over on "Good Company." As soon as I read it, I knew that I simply had to share this post with my readers! Enjoy....and kudos to Billie for an insightful and honest look at the different types of "thank yous" we hear on a regular basis!

Thoughts from the Shanghai Circus

2010-08-03T23:09:00.000-05:00

Hello, my friends! I have missed sharing my thoughts with all of you recently, but felt I needed some time away from life in general, so I took a much needed mini-vacation at the end of last week. Now that I'm home again, I find myself trying to get back into the routine of writing.

I traveled to Branson, Missouri, a quaint little town in the Ozark Mountains that is known for its family-friendly stage shows. Since I was essentially taking a vacation from the life of a performing musician, I decided that I wanted to see a show that didn't have a strong musical theme. I chose to see the Chinese Acrobats of the New Shanghai Circus. I shouldn't have been surprised, but as soon as I set out to enjoy an evening without thinking about music, my mind was filled with the things I could take from the program and apply to my music.

On Friday evening, I was drawn into the performance by the beautiful colors, the variety of dances displayed, and the artistry of the overall performance. This program moved from the grace of the butterfly lovers soaring over the stage on their satin ribbon to masterful displays of technique using a child's toy before ending with the heart-pounding excitement of the acrobats with their see-saw. The connection to music is fairly clear. By programming recitals that include moments of sheer beauty in addition to moments of exhilarating spectacle, the audience is thoroughly engaged because of the diversity and variety of music presented.

As I left the auditorium, I continued to reflect on the Circus as a whole. I felt as though some of the routines were severely inferior to the others. This was made painfully clear because of the act's placement in the show. Following one of the most beautiful displays of dance I had ever seen came a second-rate attempt at illusion. The props did not support the intended illusion; the "magician" had little stage presence. Sadly, this act occurred half-way through the second act. Just as the ensemble should have been preparing the audience for a climatic finale, the show hit a major snag from which it never recovered.

It is essential as performers of any kind that we carefully plan our programs with the audience's emotional journey in mind. While there may be a piece that I would like to play early in the recital in order to navigate a difficult passage without fatigue beginning to set in, I must remember that the program's order is not exclusively about my comfort. Certainly I must consider what sequence will allow me to give my best performance. I must also make sure that my preferred order leads the listener from one piece to the next in order to insure that they have a satisfying musical experience.

Lastly, I noticed the audience's response. By nature, an acrobat's performance will contain amazing feats performed in rapid succession. While I do not claim to be either a dancer or acrobat, as a performer, I do understand that the most difficult routines also contain moments of simplicity to allow the audience and artist to prepare themselves for the climax to come. Friday evening's audience was what I consider to be a typical cross-section of the average American audience. It was amusing -- and actually frustrating -- to sit in the audience and listen to the "oohs" and "aahs" at the beginning of each new act that were accompanied by thunderous applause. As the routines proceeded, the spectacle became more exciting and impressive, but the audience had already lavished its highest praise and was ready for the next act to take the stage.

Most disheartening, however, was the realization that audiences enjoy thrilling moments because there is always the possibility of failure. During a wonderfully beautiful segment featuring a cast of young ladies who were balancing spinning plates high in the air while performing elegant gymnastic tricks, one member of the cast appeared to have lost focus momentarily, causing plates to noisily crash to the floor. These professionals continued to maintain their part in the scene while making every effort to discreetly clean up their mess in order to insure their colleagues continued success in the performance. While I was thrilled with their commitment to recovery, I was appalled by the audience's response.

A mature couple sat directly behind me and loudly commented on the accident. Not only did they point out the misstep and laugh, they made wagers with each other for the rest of the night regarding which performers would be the next to stumble. (Thankfully, this was the only catastrophe that we would observe on this night.) What I came to realize is that audiences are often thrilled by technical display not only because of the excitement they provide, but also because of the possibility that they may catch us in an obvious error. Am I being too pessimistic to think that a performer's mistake gives the audience an opportunity to lessen the talent of the individual and feel better about themselves? I hope I am only seeing the worst in people, but I fear that it may be all too true.

I do not intend to end this post with a negative impression. Facts are facts: planning is essential, artistry must be the centerpiece of our programs, and audiences can be mean. The good news is that I am only responsible for two of those aspects. If I plan effectively and relentlessly pursue artistic excellence in my concerts, I have done everything I can. While I want the audience to have a pleasing experience, I know that their responses -- whether positive or negative -- do not define my talent, my happiness, nor my success. That's the biggest lesson I walked away with after visiting the Shanghai Circus while on vacation.

Repertoire - Woodland Sketches by Edward MacDowell

2010-07-27T14:08:00.000-05:00

As my long time readers know, I am planning a solo recital for the fall season. It has been very nice to choose music of interest to me personally without having to bend to the demands of academia. I was settled on very little of the program in the early stages. The only thing that I knew was that I wanted to highlight American music in the second half since it is my favorite school of music.

While exploring the works of Copland and Barber, I encountered lots of familiar works, but nothing that felt right for the program. I didn't want anything overly dramatic. I wasn't looking for nationalistic music -- I've had my fill of patriotic music recently -- so I wasn't sure where I was headed.

After working through some of the rags and some small works by Ives, I recalled a couple of charming pieces from my early years of study: "To a Wild Rose" and "From Uncle Remus." Both short pieces by Edward MacDowell (1861-1908) are part of his larger work, Woodland Sketches, Op. 51. As I began to read the score, I expected to find simplistic ditties that would be of little interest; thankfully I lay aside my preconceived notions and discovered a wonderful example of American music.

Composed in 1896 in Peterborough, New Hampshire, Woodland Sketches is MacDowell's most famous composition. Peterborough, which later become the MacDowell Colony, was the site of the composer's family farm and was known for its peacefully serene woodland setting. The 10 miniature pieces of Woodland Sketches seem to take their inspiration from the natural beauty of the area.

While an example of early American music, the piano suite shows more influence of the French and German schools than of the American composers who were active at the same time. With luscious harmonic structures, the simple melodies are lovingly supported, transporting the listener to the beauty of the forest. MacDowell was not a musical lightweight, however; technical demands are made upon the soloist in several of the pieces, most notably "Will o' the Wisp" and "In Autumn."

Perhaps the closing paragraph of the Schirmer edition's introduction to the work provides the best synopsis of Woodland Sketches' place in history.

A bygone era, gracious and sensitive, has been captured and retained in a series of poetic miniatures, and its piquant perfection of feeling is the result of its clearly defined circumspection. MacDowell employs a limited harmonic range and a simple melodic line, but his originality and quiet virility has given us not a precious bouquet pressed in an album, but a suite of musical water colors, delectable and tensile, a work not of spurious sentimentality but of genuine sentiment. (Woodland Sketches, Schirmer's Library of Musical Classics, Vol. 1805)

Performance Injuries

2010-07-26T23:07:00.000-05:00

For the past few days, I have been following a very lively discussion on performance injuries (specific attention is given to repetitive motion injuries) on the blog of one of my colleagues, Gretchen Saathoff. Having recovered from her own repetitive motion injury, Gretchen and her readers have raised some interesting points that are thoughtful and informative, representing multiple (and I might add, well-informed) perspectives. Rather than summarizing the discussion, I encourage you to read the blog "Do You Need an Arm Massager?" and the published comments regarding this important topic.

While the discussion is approached from a pianist's slant, it offers insight that is applicable to other instruments as well as those who type for extended periods of time.

Timeless Musicals

2010-07-23T09:10:00.005-05:00

My nieces are visiting me this weekend. The girls, ages 10 and 11, are both musically inclined. While living with me last summer, they both began studying the piano. Since that time, they have left the instrument behind and pursued other endeavors. Kristian, the oldest, plays the trumpet while Sara, her sister, is a budding vocalist with quite a nice sound.

After a busy day of activity, we sat down to watch some television last evening. Kristian browsed the many music DVDs that are on top of the entertainment center that I use in my music appreciation class. One movie caught her eye, however; she and Sara wanted to watch Rodgers and Hammerstein's The Sound of Music.

I must admit that I was flabbergasted at the request. In my mind, I expected that they merely wanted to hear a couple of the more famous numbers and would quickly lose interest. To my surprise (and great pleasure), the girls quickly became enthralled in the plot and found themselves humming along with the memorable melodies.

I began to ponder the appeal of musical theater. When we first look at the form, it doesn't sound like something that should really work. How often do we find ourselves in conversation and then suddenly break into song? If you do break into song, people tend to look at you as though you are INSANE rather than as though they are falling in love with you! Even more rare is for the other person to enter into the conversation by joining you in a second verse of the song.

I think there are a few reasons that the American musical works and continues to be a thriving art form. First, the characters and themes are universal. Whether the story is set in Oklahoma, Siam, or a French barricade, we all understand what it is like to be in love, misunderstood, and unsure of ourselves. We can identify with Annie's longing to be a part of a family or Oliver's search for unconditional love.

Second, music can express emotions more effectively than words alone. The example that is currently on my mind is from The Sound of Music. The lyrics of "Somewhere in my youth or childhood, I must have done something good" are beautiful alone; once they are paired with a simple, yet passionate melody, however, they take on a life of their own and clearly express the growing love between Maria and Captain von Trapp. Need a few more examples? Think about "Memory" from Cats, Les Miserables' "Bring Him Home", and "He Had It Coming" from Chicago for more examples of emotionally explicit music.

Finally, the musical's power is found in its ability to transport us into the story in a way that movies cannot. While the musical uses the same ingredients as the modern movie -- specifically plot, scenery, and score -- the musical magically draws the audience deep into the action and makes them an active observer in the powerful drama. While I can't explain the "why" behind the phenomenon, I know it occurs based upon my personal experience. It is this quality that makes the American musical attractive to young and old alike, as demonstrated last night in my home.

I have had the joy of watching a classic movie musical with Kristian and Sara. Last summer, they had their first experience with a live show: the national touring production of Wicked. I think it's time to have a return visit to the theater with these girls and see if I can insure that they are bitten by the musical theater bug....it's an adventure that I hope they will continue to enjoy for the rest of their lives.

Beyond the Page

2010-07-22T06:43:00.005-05:00

Notes, rhythms, dynamics, phrase markings, tempi......all of these are clearly communicated to the performer on the page. Even when impeccable attention is given to the many details of the score, no two accomplished musicians will present the same piece in an identical manner. This truth speaks to the importance of the musical aspects which are not on the page -- those extra-musical ideas that we bring to the stage.

The importance of the unprinted musicality was made painfully obvious to my own ear recently. I am in the process of recording two CDs and have received an initial version of the Christmas album for preliminary review. As I prepared to listen, I was rather apprehensive because I recalled my emotional and physical state on that Thursday afternoon. My mind was filled with a laundry list of things that had to be completed in the closing days of the summer semester and my body was beginning to drag as a result of the many recent demands of church, home, and work. As I listened to the recording, my concerns were obviously justified; the playing was accurate for the most part, but it was flat, lifeless, and -- well, let's just cut to the chase -- quite BORING! This wasn't an issue associated with the recording technician or the quality of the instrument. The problem was that I was not in a place to communicate musically on the day of the recording.

Many musicians play their instruments with great technical facility and amaze us with their virtuoso displays. For me, such performances are thrilling in the moment, but their power is short-lived. I would rather listen to an interpretation that speaks to me at the deepest level -- one that expresses the unique ideas of the recitalist. In a perfect world, we never have to choose between artistry and technique. Sadly, I'm only human and sometimes find myself having to choose between technique and musicality-- we all do from time to time if we're willing to admit it. Without fail, I choose artistry. I choose to communicate with my audience through the music's voice rather than play merely the notes on the page. Without communication, my performance is nothing more than a metronomic regurgitation of the notes on the page that is no different from that of any second-rate pianist.

Needless to say, I'm arranging a date for another recording session. To get ready for this round of studio time, I am continuing to review notes and fix problematic passages, but more importantly, I am taking the time to rest so I am emotionally and spiritually prepared to musically communicate those messages that are most important to me.

Reflections on Recording

2010-07-19T21:51:00.003-05:00

Last week, I spent an afternoon at the piano in the sanctuary of my church to record two CDs. I have been through the process a few years ago, but this time it involved a different setting and a different production team. Here are a few things that I have learned about myself, recording, and music.

First, I am a huge critic of myself. Regardless of whether we are talking about my writing, playing, relationships, or leadership skills, I can always see where things could be improved drastically. On one hand, this is a great asset because I am constantly pushing myself to new levels of excellence in everything I do. On the other hand, my perfectionism can be crippling -- never allowing me to accept that anything is good enough. I cannot count the tasks that I have left undone because I couldn't execute them in the manner in which I wanted.

The recording session reminded me of the importance of practice. For various reasons, the repertoire selection process for these CDs was delayed a bit longer than I would have liked. This resulted in learning some of the passages rather quickly and figuring out how to navigate them musically. While the performances might be acceptable in a public performance, it drives me CRAZY to hear the errors----er, shortcuts---repeatedly on the recording.

I'm not going to continue blogging an evaluation of my playing right now. I have to do some more critical listening to the CDs and don't want to become overcritical of myself at this juncture. Once the entire process is complete, I will probably write a bit more about it.

Marketing Yourself

2010-07-13T22:18:00.003-05:00

After the many years of school to prepare for a career in the field of music, I have recently been confronted with a necessary responsibility for which my classes and hours in the practice rooms did not prepare me. In order to have a successful career as an independent musician, I must have a marketing plan in place. I have been blessed recently by two friends who are excellent marketers who have freely given of their time, talent, and insight. By no means do I want to suggest that I am now an authority on the subject. On the contrary, I know that I am student in personal marketing; my hope is that I can share a little of what I am learning to help others like me begin thinking about their marketing plan.

In my mind, marketing is basically equated with branding your name. My goal is that whenever someone is looking for a pianist, teacher, coach, or author, that my name will come to mind. In order to have people make that connection, I have to get my name highly visible and keep my name before my target audience.

Many piano teachers would begin the process with running an ad in the classified section of the local newspaper. I've been there and done that -- with very little success. After a 5 week run of a rather sizable ad for piano lessons at the beginning of the fall, I received 9 calls. Of those calls, 3 resulted in students. To put it bluntly, newspaper advertisements alone simply do not work. There must be more.

The current source of information in our society is the Internet. As daunting a task as it may be, a credible musician must have a web presence that is both informative and attractive. My website at the moment is a work-in-progress and should be ready for public consumption in the coming weeks. Did I build it myself? No way.....I'm not that technologically savvy. Website designers are readily available in most areas and can build a functional site for you at a fairly reasonable cost. (Or you can hope to be lucky like me and have a friend volunteer to build it.)

An additional Internet marketing prospect that I never considered is the social media sites, such as Facebook and Twitter. By setting up a Facebook fan page, I now have a central location (in addition to the coming website) to inform people of my performances, alert them to exciting news and connect with other musicians from around the country. I was intimidated by the fan page design at first and relied heavily on my Internet-marketing acquaintance, Michael. I must admit that as I work with the page more and more, Facebook has made the nuts and bolts of it all fairly user-friendly. I think most people can get a basic page going without too much difficulty.

Based upon the recommendation of a dear college friend, I began blogging. My first foray into the blogosphere was personal in nature. We quickly realized that writing was something I enjoyed and that I was fairly good at it. As conversations moved into my professional life, it became clear that I could also have a lot to say about music and its many avenues. That's when Collaborations was born. By simply writing quality posts on a regular basis, I am creating another web presence for myself and establishing myself as an authority in the field of music. With some slight edits and development, many of the blog posts I have already written have been submitted for publication -- yet another branch of the marketing plan.

Lastly, I'm working to make myself more visually recognizable in my community. Posters, programs, flyers, and newspaper reviews now all feature the same headshot in order to provide continuity to my marketing plan. Charitable donations of piano lessons and private performances are being made to arts organizations for upcoming auction fundraisers. I'm finding every opportunity to be an active participant in the arts scene of the community -- that means I'm attending shows and concerts of all types, volunteering in children's theater companies, and providing free lectures for parents on the benefits of arts education in the the lives of their children.

My marketing plan is definitely evolving and growing daily. It takes a serious commitment to keep everything going, but I'm certain that I'll begin to see the fruits of the labor sooner rather than later.

What is the one tool in your marketing plan that is unique to you? How has it been effective?

Musicals Galore

2010-07-12T21:51:00.006-05:00

My life of late has been filled with watching musicals. Last week, I reviewed a new video production of the classic Rodgers and Hammerstein musical, Oklahoma! I was considering showing this new production featuring Hugh Jackman to my music appreciation class. Instead, I opted to stay with the tried and true and showed Sondheim's Into the Woods. On Saturday evening, I headed over to Playhouse on the Square in Memphis to see their production of Hairspray. By the end of the week, you might have caught me humming "Agony" right after a rousing chorus of "Oh What a Beautiful Morning."

I began to think about my fondness for the American musical and tried to understand why they have such a firm grip on my heart. As a child, I had very little knowledge of musicals -- or of theater at all, for that matter. My first experience with the theater was with a community production of Carousel in 1988. I was cast as a member of the chorus, but quickly moved into the role of rehearsal pianist. As a teenager of 16, I had no idea that the score was rather difficult; I just knew that I had found an exciting role that allowed me to be a crucial part of every scene. That was how the musical theater bug first bit me.

I would continue to work with this community theater throughout my high school and undergraduate years. What I was considering a summer pasttime turned out to be a valuable investment in my future. During those summer vacations, I became familiar with the scores to Gypsy, The Sound of Music, The Pajama Game, Oliver!, and Camelot. Every fall semester at Pepperdine University brought a full scale musical. These gave me opportunities to play the scores to Oklahoma!, The Fantasticks, She Loves Me, and Into the Woods. The Fantasticks became my first performing job as I played the show for three different companies in the Los Angeles area in the following years. Finally, a new door opened to me -- musical director of the Santa Monica Civic Light Opera's production of My Fair Lady. Even though I was underprepared for the position, the lessons I learned on the podium were invaluable and have not been forgotten.

Perhaps my love for musical theater is associated with my familiarity with it. I think there is something more at work though. When I am involved with a musical production -- whether as part of the directorial team or as support staff -- I am intimately involved with the development of the show and have an opportunity to influence the audience's experience. Few things are as powerful to an musician than aiding an audience in exploring a character's emotional journey through song.

I suppose that explains my love for the theater better than anything else. I relish the rush that comes from adding music to powerful lyrics and setting the imagination free to explore new realms of human experience and emotion.

How about you? How did your relationship with musical theater begin? Feel free to share the gist of your story in the comment section below.

Selecting the Christmas Musical

2010-07-09T08:01:00.007-05:00

It's July, so that means it's time to begin the search for this year's Christmas musical for the church job. It is insanely early to begin thinking about Frosty and the gang, but I have learned from experience that a selection needs to be made by the end of August in order to keep stress levels to a minimum. With the selections that I have seen in the catalogs this year, I am not expecting great things and anticipate that the selection process will be more difficult than in years past.

What makes a good Christmas musical? The answer to that question can be as varied as the noses on all the music directors in the world! Since this is MY blog, I'll give you my ideas of what I'm looking for. Some of these will hopefully be common to most of us; the other ideas will at least get you thinking. So, in no particular order, here are my considerations for finding the perfect Christmas musical for kids.

1. Theologically sound. I do believe this is the most important issue in selecting any type of music for your children's program. While most of the musicals we will review appear to be rather basic in their presentation of Biblical truths, a thoughtful examination of the script and lyrics will normally reveal some theological stances in the background. It is important to make sure that these positions are in agreement with the statement of beliefs of your local congregation. For instance, if a musical builds on the assumption of eternal security and your congregation does not take this stance on salvation, this is probably not the selection for you. I make it a practice to have a team of teachers review the finalists in the selection process to make sure everything is sound before I make a final choice.

2. Casting requirements. This seems like an obvious consideration, but I cannot tell you the number of times that I have heard from music directors that they started rehearsals for a program only to find out that they didn't have enough participants to bring it to stage. If you have worked with the kids for any length of time, you have a good idea of whether a kid will "definitely" participate or whether you should classify him as a "maybe" or a "no way." I generally don't pre-cast my shows (selecting people for roles before all the commitments are made), but I do come up with a possible -- and realistic -- cast list based upon who participated in my last show. This doesn't mean that you won't run into trouble with casting (a fact that was obvious with the last musical I did), but it can help to rule out some shows simply on the basis that you can't cast it. I don't want to waste my time looking at a musical for 30 kids when I can only be assured of a cast of 15.

3. Musically interesting. The music needs to be interesting to me as well as to the children. If I'm bored with the show -- even on the first hearing -- I'll have problems during the creative process and the final production will be flat and unexciting. Similarly, if the kids don't find the music energizing, you are going to have a difficult time getting them to stick with you for the long haul of preparing the production.

4. Unit Set. A musical that changes scenes is a logistical nightmare unless you have a committed crew of stage hands. Even if you have the bodies who are willing to do this job, but have no experience with it, I still recommend moving to the next show! You will have enough on your hands preparing the children during production week; you don't want the added stress of trying to train stage hands on the intricate choreography of making scene transitions work smoothly. Look for musicals that use a single setting for the entire story. The best scenarios are those that are in "generic" spaces -- a choir room, gym, classroom -- since your stage can easily be decorated to suggest these places without having to bring in a lot of props.

There is an exception to the preference for unit sets. If a scene change can be suggested by bringing in a couple of small set pieces and changes to the lighting, I would be willing to do it. When in doubt, let your motto for set design always be K.I.S.S. (Keep it simple, Stupid!) In the end, you'll be glad that you did!

5. Applicable to modern society. While there are some wonderful musicals from the past that I greatly enjoyed as a child, many of them simply will not translate to today's kids. The music sounds dated, the topics are archaic, and they don't address issues in a kid's life. While we are looking to produce good theater, as a church director our first priority is (or at least SHOULD be) ministry to kids. If the story and the message aren't going to speak to kids, then it's not a show on which we need to invest our ministry time; leave that production for the Community Youth Theater down the road.

6. FUN! Even though this is the last thing on my list, it's importance is very high on the list. If the show is not FUN, kids aren't going to get excited about it and you'll spend the majority of your time trying to pump up the kids rather than working on making the show the best it can be.

There are some ways that you can increase the fun level for any show. Movement is an obvious choice. Start small and simple, but be ready to let it all out. My kids LOVE to dance while singing.....and it keeps the show's energy HIGH the whole way through. Don't forget about bringing in props or costumes that will make the kids laugh as well. The most important key to a FUN show, however, is YOU! Your advance preparation is crucial so you are confident and relaxed in the rehearsal process, allowing you to smile and play with the kids when things are getting tough for them.

This list is not intended to be all-inclusive. The fact of the matter is that my requirements will change depending upon the congregation with which I'm working. As you prayerfully review the options, you'll find the show that is right for you.

*If you are looking for a Christmas show, make sure you don't miss this budget helper! Lifeway Stores have an offer of 5 preview paks for $25. You'll want to take a look at the choral catalog in the store and find the full page ad before making your selections. Sadly, the offer is limited to titles that are on the shelves and doesn't apply to all the paks. My experience yesterday was that the associates were unaware of the offer, so take the choral catalog with you to the register; once you show it to them, they are happy to help.

Let the holidays begin!

Kennith

Christmas in July

2010-07-08T08:21:00.004-05:00

Silent Night.....Joy to the World......Carol of the Bells.....These are just a few of the pieces that are on my practice list at the moment. I find it so ironic that I'm playing Winter Wonderland in shorts with the air conditioning set at a cool 72. Why you may ask? Next week, I head into the recording studio to begin work on a Christmas CD.

Honestly, since I only play these arrangements for such a short period of time each year, I tend to forget that there are actually some tricky passages in the arrangements. It's surprisingly nice to have the luxury to actually work out some of the fingerings and rhythms that I just glossed over last Christmas.

As though that wasn't enough, it's also time to begin listening to Christmas musicals for the church and begin making selections about what we'll be doing this year. Rehearsals will start in October for the children, so I need to get a selection made this month in order to have two months of planning with my production team prior to rehearsals. I'm beginning to wonder how many different arrangements of Away in a Manger there can be for children's choir; sadly, I'm not running into very many of them that I actually like!

I'm ready to put up the tree and hang the garland as all this Christmas music is getting me in the mood for the holiday season. If only the summer weather would cooperate! Anyone want to join me for some egg nog and Christmas cookies?

Recital Planning

2010-07-06T22:03:00.004-05:00

Since summer tends to be a period of less performance opportunities for me, I have traditionally used this season as a time to plan recital programs for the upcoming season. Currently, I am selecting repertoire for a solo recital to be performed this fall in the Memphis area. This will be my first solo recital in nearly 6 years, but I am looking forward to it. As I was thinking through possible repertoire, I began to consider the various methods of building a program that I have used over the years as well as those that have been intriguing to me in their possibilities.

The standard method of putting together a classical recital is to present material in chronological order, making sure that each historical period is represented. This academic approach has a definite advantage. Since compositional techniques became more complex throughout the ages, such a method creates a diverse program that will keep the audience's attention. On the flip side, however, the recital can feel like an academic exercise in its rigidity. Additionally, performing works from every historical period on a single program can create difficult transitions and extremely differing technical requirements for the pianist.

Another common approach to planning a recital is the thematic approach. These recitals often come with catchy titles that put the audience at ease and make the performance a bit more accessible by a general audience. Some titles that I have performed or that I am currently developing with chamber ensembles include "Bodacious Bombshells" (works by female composers whose last names begin with the letter B); "Mixed Up Composers" (compositions that SHOULD have been written for the flute); and "It's Howdy Doody Time" (pieces for the child in all of us). Such programs can become very annoying if planned in close proximity to one another. My experience has been that many of these recitals require lots of research to find the music and often result in the selection of inferior repertoire that fits the prescribed parameters. While I DO enjoy thematic recitals, I recommend planning these over time in order to find the best repertoire rather than trying to force music to fit the theme.

The final two methods are similar to each other and ones that I have not yet used personally. The first is the common approach of presenting an entire program composed by a single composer. The difficulties arise from two contrasting scenarios -- either there is simply too much music to choose from or there's not enough. The other (and the one that I find most interesting) is based upon a single date. How interesting it would be to prepare a concert of works that were all published in the year 1901 (the one I'm currently exploring). This method allows for the continuity of period, but opens lots of variety by traveling around the world musically. I chose this year because of my love for Ravel's Jeux d'eau. Currently, I am examining works published in that year in the United States, England, and Germany. As my search continues, I'll expand to other countries.

How about you? What's your favorite method for planning a recital? Is there an approach you always thought would be interesting to try, but never had the opportunity? I'd love to hear about it!

Understanding Classical Music - Program Music

2010-07-05T21:50:00.004-05:00

The development and impact of program music in the Romantic period is actually quite interesting. Program music is instrumental music (generally orchestral in nature) that tells a story and has a strong literary connection. Let's take a closer look at some of the specific forms of program music and the music's development during the 19th century.

Incidental music is music that was to be inserted between the acts of a play originally. The most famous example of incidental music is Mendelssohn's A Midsummer Night's Dream. Its connection to Shakespeare's play of the same title is evident. At this early stage of program music, the composition was inseparable from the influencing literature as both the musical work and the literary work were performed together.

Moving ahead historically, we come to the works of Franz Liszt. Liszt brings the tone poem and the symphonic poem. The tone poem is a single-movement orchestral work that has a literary connection and tells a story; the symphonic poem is essentially the same thing except that it has multiple movements. Some of Liszt's tone poems include Don Quixote and Don Juan. It is interesting to note that Liszt's program pieces are no longer performed in conjunction with their inspirations. The assumption is that the audience is familiar with the story of these great works of literature.

The symphonic poem is extremely similar to the program symphony. The differences are so particular that we will consider them as the same thing for the purpose of this introductory discussion. The most famous example of a program symphony - and probably of program music period - is Hector Berlioz's Symphonie Fantastique. This monumental composition is interesting for two reasons. First, Berlioz produces his own literary inspiration for this work. The writing is the result of his opium-induced dreams and his infatuation with the actress Harriet Smithson. Since the audience will not be familiar with Berlioz's storyline, program notes are provided at each performance and serve as an explanation of the piece.

The second important aspect of the Symphonie Fantastique is the development of the idee fixe. This recurring musical theme will assist in developing the composition's story and will later serve as the impetus for Wagner's development of the leitmotif and its use in his musik drama, The Ring of the Neibelung.

Finally, our journey takes us to Czechoslovakia and the music of Bedrich Smetana. Smetana's symphonic poem Ma Vlast includes the world-renown composition The Moldau. Inspired by the geography of the Czech countryside, The Moldau is program music in variation. While no single literary work is alluded to as Smetana's inspiration, much of the native folklore is set on the river's banks. Smetana's composition allows program music to include inspiration from natural settings in addition to literary works.

Understanding Classical Music - Romantic Opera

2010-07-05T20:11:00.003-05:00

When examining opera of the Romantic era, three giants immediately come to mind: Verdi, Puccini, and Wagner. By examining each composer's melodic structures, literary sources, compositional techniques employed, and their philosophies on both music and society, one will begin to observe similarities and differences between each.

Verdi's melodies are marked by their long, flowing lines. It is clear that the Italian composer is more interested in the musical structure of his works than the poetic structure of his libretti. Verdi does not shy away from scandalous topics. During the 1850's, his operas address topics such as kidnapping, prostitution, and venereal diseases. Because of his taboo topics in addition to his political statements, Verdi had difficulty with the Italian censors throughout his career. The operatic master was in constant awe of the writings of William Shakespeare; Verdi would base three of his operas on Shakespeare's plays - MacBeth, Otello, and Falstaff - while drafting scenes for a setting of Hamlet throughout his career.

A strong nationalist, Verdi repeatedly expressed his belief that the government should have little involvement in the daily lives of its citizenry. The chorus of the Israelite captives from Verdi's early work, Nabucco, became a song of the Italian patriots and the cry in the streets became Viva VERDI! On a personal level, Verdi felt as though the strongest relationship a person had was with the family. Many of Verdi's strongest operas showcase strong father-daughter relationships, probably as a result of the loss of his young daughter early in his career.

Puccini continues the Italian opera tradition begun by Verdi. In contrast to Verdi, Puccini recognizes the beautiful musicality of the Italian language, resulting in his speech-inspired melodic lines. In an effort to be more realistic and true to actual conversations, Puccini's vocal lines are generally short and more conversational in style. Another effect of his efforts to be realistic - a movement known as verismo - Puccini focuses on historically accurate fiction for his libretti.

Although an Italian, Puccini was forever an exoticist; he was greatly interested in all things foreign. Many of his operas were set outside of the Italian countryside, in such exotic locations as Japan, the American west, and the bustling city of Paris. In order to be true to his verismo tendencies, Puccini traveled extensively in order to research the physical settings of his operas and their native sounds. Philosophically, Puccini believed that the arts could address pertinent issues in the lives of their patrons by dealing with modern issues in modern situations for a modern audience.

Richard Wagner was the most disparate of the three Romantic opera composers. Like his contemporary Verdi, Wagner was a nationalistic composer. His melodies are not tuneful or easy to sing; this can be largely attributed to his use of the leitmotif in his compositions. The leitmotif is a compositional technique that is closely akin to the concept of the idee fixe introduced by Berlioz earlier in the Symphonie Fantastique. The leitmotif served as a musical representation of a person, place, item, or concept throughout the duration of the opera. The technique was most effectively used in Wagner's masterpiece, The Ring of the Niebelung.

While many of Wagner's musikdrammas were based upon Nordic mythology, the literature we most commonly associate with the German composer is his anti-Semitic tract entitled "Judaism and Music." In this document, Wagner basically states that all the problems found in music are a result of the influence of the Jews.

Balance Issues

2010-07-03T10:03:00.003-05:00

Last night, the 3-D Trio presented our Patriotic program at Buntyn Presbyterian Church. The recital went well for the most part and everyone seemed to have enjoyed the music. The only frustration on the part of the performers were all related to issues of balance.

Buntyn is a beautiful facility with high ceilings and lots of exposed wood. The acoustics are wonderful. There is one major problem for me though: the piano (a 5'4" baby grand) is not located on the stage, but sits on the floor at the front of the congregation. My colleagues opt to stand on the stage above me while I'm on the floor. I understand the desire to utilize the stage as is, but also know that the arrangement is making balance issues extremely difficult.

In order to allow the flute to take full advantage of the piano's resonance, we always play with the lid on short stick (at least). In an effort to lessen the overpowering tendencies of the piano in this arrangement, we have turned the piano around so the sound is shooting upstage; the result is that there is a nice balance in the performing area, but that the sound is bouncing off the back wall and giving the audience a double dose of piano! Our dilemma was further compounded last night by the selection of repertoire that was not in an optimum range for our soprano, requiring that she use a microphone for the entire recital. Throw in a lot of piccolo (an instrument that I HATE trying to accompany because of the inherent balance issues) and you are beginning to understand my frustrations.

The obvious solution to my mind is to use a traditional standing arrangement. However, if my colleagues are not willing to make this concession, what options do you see other than playing the entire program una corda? This space is baffling to me at the moment. I'll try to post a video in the near future from this space so you can see and hear the issues.

What have been your worst arrangement issues that caused you balance issues? How did you combat it? Once I come up with a solution for this performance space that we will continue to use (since it is free and readily available to our ensemble upon request), I'll let you know what we're doing and how it's working for us.

Now I'm going to try to catch up on some rest and reading.....my arms and shoulders are killing me at the moment!

Kennith

The Power of Words

2010-07-01T07:59:00.002-05:00

While reading through the blogs I follow this morning, I came across this wonderful article by Valerie Kampmeier entitled "Talking to Your Students." It's has been a great reminder to me at the beginning of an extremely busy down how powerful my words can be. Not only will they shape the attitudes of my students, but the words I speak will also effect my experience throughout the day. Take a few minutes to read Valerie's post and think about the words you say....you may find yourself realizing that you need to change a few!

Honesty to the Score

2010-06-29T19:06:00.003-05:00

My chamber ensemble rehearsed yesterday for an upcoming patriotic recital. As we worked through the repertoire, I was asked to make some changes to the arrangements. While not an uncommon request, it got me thinking. How free are we to make changes to a composer's work? Just how honest does a musician need to be to the score?

As pianists we run into orchestral reductions on a regular basis. Generally, these scores result in one of two questions. The question we HOPE to ask is this: What voices do I double in order to flesh out the score? The dreaded question (and sadly, the more common one in my experience) is what notes am I leaving out in order to make the piece playable. Both of these modifications to scores are appropriate since the score was not originally conceived for the solo piano. The goal of any good reduction is to make the piano sound orchestral. Often this requires doublings--especially in the left hand. On the flip side, some publishers fail to consider the differences between study scores and performance scores. They simply put every single note onto a single staff; it sometimes feels as though the reduction should come with a note attached that reads "Good Luck!"

For this patriotic concert, we are performing several traditional songs that are set in moderate keys for the average singer. My vocalist is a coloratura soprano! The low settings have been causing lots of difficulty in programming and making sure she sounds her best. The request has been made to transpose the songs a third higher. Fortunately the parts are not difficult, so it's not an outlandish request. Intellectually, I don't have a problem transposing songs to better keys. The songs of many composers - Brahms, Wolf, and Schubert, for instance - have been published in various keys for differing vocal ranges. While the original key of the song may be more comfortable for the pianist, the transposed keys are also valid since the song's structure remains in tact. The principle is the same in my situation.

So far, everything seems to be kosher and unoffensive to my traditionalist mentality. There is one final request that has been made. The art song "Nancy Hanks" by Katherine Davis is clearly set in the key of E minor for the majority of the piece. At the final cadential point, the composer indicates a resolution to the parallel major - E major - followed by a series of melodic fifths in the keyboard. The effect is one of hope and honor. The open fifths provide some ambiguity as to the final tonal area of the piece; without the presence of the third, we cannot state with certainty that the work ends in major or minor. Personally, I think this final cadence serves as the climax of the entire song.

Herein lies the dilemma. I have been instructed to change the major chord to the minor. After reading Geraldine Boyer-Cussak's blog entitled "Who is Your Customer?" I am realizing that at times it becomes necessary to put your musical instincts aside in order to appease the customer. So, this weekend I will play the minor chord. I may be cringing, but I'll play it.

But the question of musical ethics still remains. Once we establish that the published score is reliable, do we have the right to make changes to the harmonic structure of a composer's work in order to suit our personal tastes and preferences? I feel as though it is the responsibility of the artist to perform the selected music as closely as possible to the composer's notated intentions. Once we begin to alter the composition itself, we cross the line from "interpreter" to "composer."

This is not the first time I've encountered this issue (not even in relation to this piece!) and it certainly will not be the last. It's just one of those things that makes you ask "What do I really think about this?" I'd love to hear your opinions about the performer's responsibility to remaining honest to the score.

Time to go back to my transposition work now!

Reflections on Music Camp 2010

2010-06-28T10:24:00.007-05:00

I survived! Music Camp is over and I'm back to the regular routine of writing. As I begin my recovery from the past 14 days, my thoughts are revisiting the experience and I am reminded of a few things about children and their abilities. While these concepts are true about music in the church, I believe the application reaches into our private studios and music classrooms.

Children are sponges! Kids absorb new material quickly and thoroughly. This fact becomes painfully obvious when it becomes necessary to reteach due to a misconception or poor planning. Once a child "learns" material, it is often extremely difficult to unlearn.
Instruct in multiple learning styles for maximum retention! As a church musician, my primary goal for Music Camp was to instill Biblical truths into the hearts of children while teaching them some introductory musical concepts. The primary method of instruction was singing. By adding visual cues, the learning was further enhanced. Movement activated the kinesthetic learning style while including drama appealed to the creative side of the child. By gradually adding new dimensions of instruction, the child was repeatedly instructed in the basic truth.
Repetition is key! Although adults often become frustrated with repeated presentations of material, children seem to thrive on it! While the repeated lesson may be identical, the child's interaction with the material is not. Each return to familiar material allows the child to explore the concept at a higher intellectual level. This, in turn, allows for further discovery and questioning.
Children can achieve! Let this be a constant reminder to you. Children can perform at high levels of excellence, so set the bar high, give them the necessary tools and support to succeed, and watch them soar!

Now, it's time to crawl back into my cave and recover a bit more; it's almost time to start planning for my next musical adventure with the children of my congregation.

Cliburn Competition Videos

2010-06-18T08:14:00.003-05:00

Happy Friday, everyone! I have been extremely busy with music camp this week and things are actually beginning to look and sound good. I couldn't bear the thought of not sharing something with you for an entire week, though! So, here's a brief entry on the final day of this week.

I recently stumbled across a series of video archives from the 2009 Cliburn competition. I've thoroughly enjoyed the playing I've heard and exploring some repertoire with which I was not completely familiar. I was inspired to find some time to hit the practice rooms after listening; here's hoping it has the same positive effect on you as well!

Have a wonderful weekend.

Understanding Classical Music - Chopin

2010-06-16T10:36:00.012-05:00

Recently I was asked to write a brief article aimed at non-musicians who are interested in exploring the works of major composers. The hope is that it will ultimately develop into a series of articles covering a wide gamut of styles, periods, and composers. Here is my first installment in the series, focusing on the works of Chopin.

Frederick Chopin (1810-1849) was a Romantic composer of Polish nationality. Chopin began studying piano at an early age, showing signs of great promise from his earliest performances. Chopin deeply loved his homeland, but found himself relocating to Paris due to the Russian suppression of the November 1830 Polish uprising. Chopin would spend the rest of his life in France. While in Paris, Chopin would engage in several relationships with various women--most notably his affair with Aurore Dupin, better known by her pseudonym George Sand. Despite his passion for life and his native Poland, Chopin was frail and ill throughout much of his adult life. His death in 1849 was due to complications with tuberculosis.

As a composer, Chopin wrote almost exclusively for the solo piano. His writings demand total mastery of the instrument technically while exploring emotional depths through the various sounds of the piano. Composers living at the height of the Romantic era (1820-1900) were attempting to express themselves in ways that had not been heard before, and Chopin was no exception. To begin understanding the works of this giant of Romantic music, let us consider three basic characteristics: Chopin's Polish pride, his short compositions, and his legendary technical abilities at the keyboard.

Many composers of the 19th century were nationalistic. Their pride in their native land was expressed in their music by using folk melodies and dance tunes of the people. Chopin's nationalism can be seen in his Polonaises and Mazurkas. The Polonaise was a slow dance of the Polish people in 3/4 time. Because of its characteristic sharp rhythms, the dance is militaristic in sound. In contrast, the Mazurka is a fast Polish dance, also in 3/4 time. The difference here is that an accent (playing a note louder than the others around) is placed on either beat 2 or 3. This is unusual because we expect the accent to appear on beat 1. By basing his compositions on the dances of Poland, Chopin was introducing all of Europe to the charm of his beloved Poland. As you listen to the dances, you cannot help but feel a sense of pride emanating from the piano. Personally, I adore both of these dance forms, but have a special place in my heart for the Polonaises. For an introduction, listen to the Polonaise in C minor (Opus 40, No. 2) or the amazing Polonaise in Ab major (Op. 53). (Opus numbers--abbreviated Op.--are given to pieces to help catalogue a composer's works. Often the numbers are assigned in the order the compositions were originally published. Don't worry if you don't remember all of them or completely understand how they work; many professional musicians have trouble remembering them as well.)

Most of Chopin's compositions were written for piano solo and are in miniature forms. This is great news for the neophyte to classical music. These pieces are often shorter than 5 minutes in duration and are very satisfying without the complexity of a long sonata movement. As we have already seen, Chopin composes multiple works within a single musical genre (like the polonaises above). Another dance that is popular with Chopin-lovers is the waltz--also in 3/4 time. To get a feeling for the light, lilting quality of the waltzes, listen to the Minute Waltz (Op. 64, No. 1). As another example of Chopin's miniatures, the Nocturnes are beautiful short pieces that evoke images of nighttime; you'll want to make sure you listen to the most famous Nocturne in Eb major (Op. 9, No.2). Continue by exploring others in this genre as most of them are easily approachable without any prior knowledge of the music.

Chopin was a virtuoso of the piano and respected by his peers. A virtuoso is a performer who has incredible technical skills at the instrument. You might think of a virtuoso as "the best of the best!" This level of skill is not something with which a person is innately born; years of preparation and devoted practice are required. Chopin composed a series of etudes, or technical studies, to continue to develop his own pianistic skills as well as those of his students. While we normally do not get excited about listening to piano exercises, the etudes are much more than mere finger exercises and something not to be missed. I recommend listening to at least two of the Chopin etudes: the majestic Revolutionary etude (Op. 10, No. 12) and the Black Key etude (Op. 10, No. 5).

Most of Chopin's music for piano is easily accessible by any audience and is readily available in most record stores. Enjoy the adventure and begin the exploration!

Where Did All The Time Go?

2010-06-10T19:02:00.003-05:00

Late last month, Chris Foley asked his readers at The Collaborative Pianist Blog which month was the busiest of the year for them. As I thought through my year, I answered that April was the most intense month for me. That time normally involves Easter activities and lots of recitals to play. Don't forget about preparations for studio recitals and wrapping things up for the end of the spring semester.

Now I am beginning to think that I was terribly mistaken. My life does not feel as though it belongs to me during the month of June. A few private lessons are continuing through the summer and I am teaching class daily at the college. A chamber recital is on the agenda for early July, so there are lots of notes to learn and rehearsals to attend. Somehow, my responsibilities at the church have snuck up on me. Next Monday, I will begin directing a two-week music camp for students ages 5-12 that will culminate in two performances of a children's musical. This annual event is always a lot of fun, but I am always very thankful when it comes to an end so I can finally get some rest. I have to remember that the weekend in the middle of it all (June 19-20) will be filled with Father's Day activities. I'm getting tired just thinking about it all!

Practice time is a prized commodity right now. What am I saying? Sitting still for a few minutes to catch my breath is priceless! For the next few weeks, I doubt you hear much from me here at Collaborations, but be assured I have not forgotten about you and will be back to a regular writing schedule in a couple of weeks.

I Am So Honored!

2010-06-08T21:06:00.003-05:00

I just saw that Chris Foley mentioned my Open Letter From Your Collaborative Pianist on his blog The Collaborative Piano Blog. If you are visiting here for the first time, thanks for joining me. I welcome your comments and look forward to getting to know all of you as we discuss music together.

Playhouse on the Square's Oliver!

2010-06-08T08:24:00.005-05:00

On Saturday evening, I finally got to see Playhouse on the Square's current production of Oliver! I went in with high expectations of this wonderful show by Lionel Bart based largely on the reputation of Memphis' professional theater troupe. Oliver! has fond memories for me as well; I have had the good fortune to be involved with two wonderful productions so far in my career. Saturday evening's performance had some surprises and some obvious downfalls. Here's my take on how things went.

First, let me acknowledge that I did see the production during its final weekend on stage. I know the stress that is placed upon the voice over the course of a show's run. I am also aware of the difficulty of keeping a role fresh night after night. Now that I've made the disclaimer, here's what I heard and saw.

This was my first visit to Playhouse's new home on the corner of Union and Madison. What an amazing space! Very intimate in feel, yet able to accommodate a sizable audience. My seat was near the back of the house, yet I felt as though the players were within reach; such a nice effect for the audience.

I expected a sterling performance by Dave Landis in the role of Fagin and anticipated that the youngster playing Oliver (Ty Lenderman) would be the best that Memphis had to offer. To say I was disappointed is a bit of an understatement. Landis' portrayal of Fagin was not bad, but flat. Many times, it felt as though Fagin was slipping into the background--too far for my taste--rather than providing the support the other members of the cast desperately needed. Musically, the character was unmoving. Landis' rendition of "Reviewing the Situation" was superb (not that the music director assisted him much), but by that late point in the show, I had already checked out and was ready for the final curtain.

Oliver himself was painful at moments. Lenderman was cute and looked the role. His dancing was quite good. While his acting was stilted at times, I can even forgive that transgression. But to mutilate beloved songs such as "Where is Love?" is unforgivable! Ty's voice had a gentle, pure quality at times and showed great promise. However, as he moved into the lower registers, he began to take on this pushed belting sound that was contrived and completely out of character. (Imagine a child trying to imitate an adult man's sound while throwing in a bit of Ethel Merman....that's what it sounded like!) Understand, I do not fault Ty for this; I hope to see him back on stage again with the support of a strong musical director that can help him produce the best performance possible. The issue here was the inexperience of the musical director of the show (making his debut with this production). All of the children were singing with a choral "hoot" common in elementary education but inappropriate for the stage. From the opening song, "Food, Glorious Food," I knew we were in for a long night.

Diction was another source of annoyance, but not in the singing where you would expect me to complain. The cast as a whole had been coached in an English dialect due to the setting of the show in Victorian London. While it was effective for the most part in the singing, the dialogue had so many variations of dialect and levels of enunciation that it was impossible at times to understand the actors' mumblings. The worst offender in this aspect was the actor portraying Mr. Bumble (Bryan Robinson). I could overlook singing all of the high A's in "Boy for Sale" in falsetto as well as the general buffoonery of his characterization. However, don't waste my time by attempting an accent that so totally distorts the language that I cannot understand your lines. There is something to be said for the willing suspension of disbelief! As an audience member, I can accept southern accents in London; just let me hear the story.

Despite the negative aspects of the show, there were some wonderful moments as well. First and foremost, the performance given by Stephen Andrew Parker as the Artful Dodger was tremendous! Parker is the all-around performer: beautiful voice, clean dancing, and solid acting. What more could a director ask for? Throughout the evening, I looked forward to Dodger's appearances on stage; Oliver! owes this talented performer for much of its success during this recent run.

The highlight of the evening for this musical director was the adult ensemble. Their gusto combined with fine individual voices created a moving experience into the Dickensian world. "Who Will Buy?" was a treat for the ears as the quartet of singers sang beautifully. An unexpected gift came at the end of this number; a young rose seller (Sydney Bell) sang the final appearance of the theme. The voice was amazing and worth the price of admission! Why Playhouse has not mounted a production of Annie or some similar show as a vehicle for this child actress is beyond me! Her performance as Lucy in The Lion, the Witch, and the Wardrobe received great reviews and this theater-goer is ready to see her on stage again.

Will I return to Playhouse on the Square? Certainly. It is one of the finest theaters we have in the area and they constantly produce high-quality work. I will just be a bit more reserved in my expectations, especially when attending a musical in the future.

The Importance of Reflection

2010-06-04T07:06:00.004-05:00

As musicians, many of us are reflective my nature. How did that performance really go? Is there a better practice technique to implement that will get the desired effect? Will an alternate fingering help facilitate that technical passage with increased accuracy?

For those of us who also teach, the reflections continue. How much of today's lesson did my student truly understand? What exercises will be beneficial to the student's development? How could I have better explained that concept? Is this better understood through explanation, demonstration, or self-exploration?

Summer's relaxed schedule is a perfect time for extended periods of reflection for me. This year, I am reflecting upon my own musical development. By taking a look at the experiences and repertoire my teachers' incorporated at various stages of my learning, I am observing how my musical path led to the collaborative arts that I now enjoy. Additionally, I am finding myself challenged to find ways to use some of these same techniques to pass on the gift of collaboration to a new generation of students.

By reflecting, I am learning more about myself, my philosophy of teaching, and my approach to training young pianists. These insights are turning my musical memories into a learning lab where I can observe master teachers and consider firsthand the effect the various approaches had upon the student.

Am I Really Considering a Solo Recital?

2010-06-02T22:16:00.005-05:00

After actually sitting down to read a recent issue of American Music Teacher, I found myself fondly remembering the joy of playing solo works by Chopin and Schumann. Now that I specialize in collaborative work, I generally use solo works as exercises and sight-reading projects rather than serious studies. I know.....many of my dear teachers are rolling their eyes.

I suppose my lack of interest in solo playing is most often associated with my utter hatred of memorization. Without fail, I experience a memory slip in every performance I give and have a terribly difficult time recovering. Today was an epiphany of sorts. I am no longer a student, so I don't have to conform to any standards other than those I set for myself. If I want to play a recital from score, that is my prerogative.

So I began thinking through solo rep and am seriously considering doing a solo recital this fall featuring music of Schumann in this anniversary year. I've not settled on a program obviously, but I must admit that immediately I was drawn to the Scenes from Childhood and the Album for the Young. Of course, there are other works that have been attractive to me over the years that might round out the program more.

Since it's also an anniversary year of Chopin, I have to consider his works as well. What pianist would ever consider NOT playing this master's compositions when afforded the chance?

I'm shaking my head in disbelief that I am even contemplating a solo recital. I guess the performance bug has bitten and I want to make music as a soloist in order to tell everyone (myself included) that I'm not an accompanist, but rather a pianist.

Summer Piano Lessons

2010-06-01T22:00:00.003-05:00

Summer is always a difficult time for the piano teacher. Lessons become difficult to schedule because of family vacations and other conflicts. Practicing becomes a chore as the heat rises and nature beckons children outside. Who can resist lazy days next to the pool or spending fun times exploring the neighborhood with friends?

This summer, I have opted to give my regular students the summer vacation off. I have several recitals planned that demand my attention in addition to commitments at the church and the junior college. While some pedagogues are appalled by my decision, the parents of my students are thrilled because they don't have to juggle their schedules all summer long. Happy parents ultimately lead to happy students and a happy teacher!

I do not want to neglect my piano studio this summer, so I've devised a plan. I'm not sure how it will work, but it is certainly worth a try. Tomorrow I will post several flyers around my small town announcing that I will be teaching a limited number of lessons in my home during the summer months. This is a change from the norm for me as I use a small studio space during the school year for my lessons. I am presenting the summer lessons as a shortened term that does not have any long term commitment. I am available for lessons later this week and will continue through the end of August.

Here's my thought process. If a parent is unsure about their child's interest in piano lessons, summer is the perfect time to give it a shot without feeling the necessity of making a long-term commitment. This point is re-enforced by the fact that I'm teaching in my home instead of the studio space. At the end of the summer session, any student that wants to continue with lessons will have that opportunity. I still have plenty of space in my studio.

Since I'm dealing with the summer time, I'll constantly be looking for ways to make the lesson as exciting as possible for all of the students. We may not progress musically as quickly as I might like, but there is a greater goal in sight. If the student enjoys the lessons this summer, they will tell their parents and I will have a good opportunity to add that student to my fall roster. How can it go wrong?

As I thought through this idea, I decided that it was actually a win-win situation. Worse case scenario--I don't get any students, but I get some publicity in a community that knows me well and that I have not targeted for potential students. Best case--I spend a few afternoons a week teaching in my home and pick up a few additional students for the long-term. Together, we will get to have fun while learning how to make music. The fact that I can make a little additional cash doesn't hurt either!

A Great Documentary

2010-05-31T22:25:00.003-05:00

This morning I watched a wonderful documentary that I wanted to share with all of you. Note by Note: The Making of Steinway L1037 follows this single concert grand from the earliest stages of shaping the frame to the final tuning. Along the way, master pianists from all genres discuss how each instrument has a personality of its own. I thought the film beautifully explained the distinction between instruments in a manner that a non-musician could understand and respect. By the end of the documentary, you will be reminded of the craftsmanship that is so highly prized in the Steinway and appreciate anew the personal attention that is given each instrument making each one unique and one of the finest instruments available.

Discoveries

2010-05-28T12:31:00.003-05:00

This week has been full of joy, excitement, frustration, and laughter--all rolled into one big roller coaster ride! Today is proving to be quite full as I am spending this last day before the holiday weekend putting the finishing touches on preparations for the course I will be teaching during the summer session that begins on Tuesday.

I wanted to share a couple of posts that I found extremely interesting myself written by colleagues in the field this week.

First is a look at the Brahms Sonata, Op. 120, No. 2 by Jere Douglas, the clarinetist that I had the privilege to work with in Houston last weekend. His commentary on metronome markings will give my readers another perspective after my earlier rants. Take the time to follow the links to learn more about the history of the metronome; the perspective they provide is valuable. I am honored and humbled by Jere's kind words. We both enjoyed our experience together so much so that we are already making plans for another program later this fall.

The other link is to a video of a lecture given by Benjamin Zander on music and passion. I stumbled upon this wonderful clip while reading Footprints in the Snow, a charming blog by a music education major in Ohio (I believe!) I have only followed Willow's blog for a few days now, but I have been very interested in her insightful commentary and fresh observations related to music education. You should definitely check her out.

Don't miss the Zander video! It is roughly 20 minutes long, but is amazingly practical to musicians and non-musicians alike. The role of passionate leadership presented by the Maestro here is one that many of us seem to forget as we go through the routine of our days.

Enjoy your holiday weekend.....be safe and happy.....and I'll see you again early next week.
Kennith

Variations on 'America' by Charles Ives (arr. Daniel Dorff)

2010-05-27T22:54:00.003-05:00

Over the years, I have often wished that other collaborative pianists would share their insights into the works they are currently learning in the thought that it might prove helpful (or at least, insightful) when I ultimately encounter that piece of the repertoire.

Currently, I am preparing for a July 2 recital that is scheduled to showcase patriotic music for flute, soprano, and piano. The first work that I will examine is Charles Ives' Variations on "America," arranged for flute and piano by Daniel Dorff. As an additional help, I have found a single recording of this arrangement by Pam Youngblood, flute, and Gabriel Bita, piano, that appears to have been released on May 25 of this year.

The Variations were composed in 1892 for organ solo. They were premiered that same year by Ives at the Methodist Church in Brewster, New York. It seems that many of the variations were improvised at that time (as opposed to being completed) and were subject to the approval of the young composer's father. At that first premiere, the polonaise--which was re-inserted as variation IV--was considered inappropriate. The Variations on "America" would ultimately be orchestrated by William Schuman.

The organ composition is interesting because it contains some of the earliest examples of Ives' use of bitonality. The brief forays into bitonality appear as interludes that separate variations II and III and the final two variations. These brief interludes were added to the composition in 1909-10.

The work maintains some of its viability in its original form because it is the only major work for organ by Ives. Despite its historical importance, the important sonorities of the organ's registrations are lost in Dorff's arrangement and make the work rather dull in my opinion.

Regardless of my feelings about the piece, I will be performing it in just over a month, so let's take a look at some of the challenges. First is the question of key. I have not yet obtained a score of the organ solo, so I cannot verify this statement at this time, but let me share with you what my research suggests thus far. Several examinations of the interludes have been located that discuss the use of the keys of F major and Db major in Interlude I followed by Ab major and F major in Interlude II. Dorff's arrangement places both interludes a whole step higher. I question the necessity of this, especially in consideration of the impact that the new tonal areas will have upon the technical aspects of the keyboard part. (As a side note, Dorff's instruments are saxophone and clarinet.)

Both of the bitonal interludes are presented by piano alone. In the original organ setting, the use of contrasting manual stops for each key area allows the passages to be played effectively without forcing the audience to question the performer's ability to play! Dorff's suggestion is to play the right hand fortissimo while playing the left hand pianissimo. While this does lessen the offensive sounds, it also makes the bitonality merely an academic endeavor rather than an aural experience.

Lastly, I take issue with Dorff's metronome markings. When compared to the Youngblood/Bita recording as well as recordings of the organ solo and orchestrated versions housed at youtube.com, Mr. Dorff's suggested tempi appear to be a bit extreme. For example, Dorff marks the allegro of variation V as dotted quarter note = 112 (noting that the allegro is in 3/4). Ives' marking at this point in the original composition suggests his intentions: "as fast as the pedals can go." Such comments clearly suggest that Ives preferred clarity over speed.

I am intrigued by the organ solo, but hope to never see the flute arrangement again after the July 2 recital. Based upon my time spent with the piece and listening to the available recording, I find it an ineffective arrangement with few redeeming qualities outside of variation IV (the polonaise).

If I come up with any new (and interesting) insights as I continue to work through it, I'll be sure to pass it on.

An Open Letter From Your Collaborative Pianist

2010-05-26T08:58:00.005-05:00

While in graduate school, I went through an extremely stressful semester as a collaborative assistant at the University of Memphis. At the height of my frustration, my mentor suggested that I journal a letter to the offending parties and address the major issues in general terms. She assured me that I would stumble across the letter later and it would bring a smile to my face. This week, I found the letter and had to laugh. It's ironic how some of the same issues continue to come up again and again. I thought I'd share the letter with you, my collaborative friends, without commentary. I hope it brings a smile to your face as it did to mine! KF

Dear musician,

We have been working together for some time, but I don't believe we have ever been formally introduced. I'm the one who sits behind the large black piano while you are playing your solos; I am your collaborative pianist.

I know that you don't always take notice of me since I generally sit behind you, but that does not mean that my participation in the recital is less important that yours. Realize that my colleagues and I no longer refer to ourselves by the condescending term of "accompanist"; instead, we refer to ourselves as "collaborative pianists" for two basic reasons. First and foremost, we are pianists. We are not defined by the vocalists and instrumentalists that we support in recital; we have spent countless hours developing our skills and mastering piano technique and deserve to be recognized as skilled performers. The adjective "collaborative" suggests that we are equal partners in the musical process. Without sounding overly arrogant, it is important that you realize that without our assistance, many of your most important works could not be performed. Since these master composers saw the inclusion of the piano as essential to the work they created, it is imperative that you also recognize our importance and stop treating us as a necessary evil.

Speaking of treatment, I don't ask for false praise. I DO, however, demand respect. This can be shown in a couple of basic ways. First, don't be so presumptuous to tell me how simple my part is to play. I am the authority on the piano in our ensemble. Since I would never venture to expound on the difficult technical issues you face in the work, please return the favor.

Secondly, please show respect for my time. When you arrange a rehearsal time, it is both unprofessional and insulting when you consistently arrive 15 minutes (not to mention 30 minutes) after the agreed time. Please do not feel insulted when I begin to leave at the end of our designated rehearsal time. While you arrived late and may have the flexibility of schedule to rearrange the rest of your day, that is not always an option for me. In addition to my commitment to you, I normally have other rehearsals following yours as well as responsibilities as a church musician, teacher, scholar, and family man.

To further show respect for my time, please provide music for upcoming recordings, performances, and masterclasses in a timely manner. You have devoted months--sometimes years--to your personal preparation of many of these masterpieces of the repertoire. While I am capable of learning a recital in a very short amount of time, it is neither desirable nor fair to me for you to continually put me in that precarious position, especially when the circumstances do not demand such action. I perform better when I have had the opportunity to become secure in my part over time--just as you do. Six to eight weeks of advance notice is not out of the question and is greatly appreciated.

Appreciation goes a long way in getting the best work out of anyone. My work as a pianist is not a hobby; instead, it is my career. Kindly submit your payment for services rendered in a timely manner and without complaint as fees were discussed and agreed upon prior to the beginning of the project. In the event that I have volunteered my services because of my general kindheartedness or our friendship, please be mindful of that fact. When you are not paying for my services, courtesy demands that you show some form of gratitude for my work (often a genuine "thank you" after a performance is sufficient and greatly appreciated) and have a level of flexibility and compromise in matters of repertoire and scheduling. After all, at any point that I feel under appreciated--or worse yet, insulted--I am within my rights to end our collaborative relationship.

In closing, let me gently remind you of a few facts that seem to have slipped your mind recently. Metronome markings are generally suggestions rather than law. It is much more desirable to play musically than to frantically scramble about our respective instruments simply to achieve some mandated speed. Neither you nor I are infallible; therefore, be willing to consider the possibility that problems of ensemble related to rhythm and phrasing may be generated from your errors just as easily as they can originate from me (despite your constant protestations of your constant work with the metronome). Above all, remember that you are not the only performer on the stage. Both of us want to present the best recital possible. The results will be much better when we are working as a team with unity of purpose rather than two opposing musicians who have been offended and insulted.

Always,

Your Collaborative Partner

Reflections on Mosaic

2010-05-25T09:52:00.009-05:00

Last Friday, I had the privilege of performing in the Mosaic recital held at St. Andrew's Presbyterian Church in Houston, Texas. The program was well received and all involved played exquisitely. The program consisted of two works for clarinet and piano (Brahms' Sonata Op. 120, No. 2 in Eb Major and Prelude #2 from Gershwin's Three Preludes), two for flute and piano ("Black Anemones" by Schwanter and Gary Shocker's Native American Suite), and trios by Sean Salamon and Mariano Oblios. To bring my recitals to a fitting closure, I like to reflect on the music performed as well as the performances themselves and see what I learned about myself, my playing, and music in general. Today, I'll share some of these thoughts with you.

Since most of my collaborative work has been with flute recently, it is not unusual that I have generally positive reactions to both pieces since I was heavily involved in their selection. While the Shocker was not a new piece for this program and is not extremely demanding technically, it is an audience pleaser and a charming work that I enjoy playing. Schwanter''s "Black Anemones" is a beautifully wrought work that is filled with challenges for the pianist. Much of the difficulty stems from the rhythmic precision required by both players. If either instrument stumbles in the slightest, there are few opportunities to find each other again due to the piano's perpetual motion and its repetitive figures. This is one of the most frustrating aspects of contemporary music in my opinion. The rhythmic complexity is unforgiving, but the sound often comes across as one that is without metrical structure. Sadly, many soloists approach these ethereal compositions without strict attention to the rhythms, pursuing their interpretation of the composer's desired effect instead. Such performances, often generated by repeatedly listening to a recording without thoroughly studying the score and its demands, can lead to shaky, unsatisfying performances. Fortunately, I was favored by the collaborative fairies on Friday night and everything of major importance lined up.

The two works with clarinet are among my favorites. The Gershwin is an adaptation of his solo composition for piano by the same name. While the Gershwin is charming, the sonata was the highlight of the program for me and the work that I invested the most time in. The Brahms sonatas are staples of the repertoire for both clarinet and piano and should not be missed by any collaborative artist. While the sonata has many opportunities for virtuosic display, the greatest challenge lies in matters of ensemble. Once again, attention to rhythmic precision is essential. This week, my partner and I struggled through some differences of interpretation as well. The basic issue was a question of how much rubato to employ in Brahms' composition. Obviously rubato will be present because of the period in which the piece was composed. Several times, each of us individually wanted to take liberties at the end of phrases that caused technical and/or musical issues for the other. Upon closer examination of the score, we realized that these points of difficulty were often not the actual end of the phrase, but rather a point of passing the theme to our musical partner. Once we carefully looked at the score (together and individually), it became clear that Brahms had often written his rubato into the score; we simply had to judiciously interpret what was clearly expressed on the page. It was a pleasure to work with an instrumentalist who was so passionate about the music and recognized that he was only one member of a three-person team in the music making process--comprised of the two performers and the composer. I look forward to future collaborations with this generous and intellectually stimulating musician.

The weakest aspect of the entire performance for me was the inclusion of the trios. I understand the logic behind presenting works for the three of us to perform together; they should have served as a unifying point of the concert. Personally, I felt as though they were poor selections that suffered additionally from our lack of rehearsal time as an ensemble. I realize that limited rehearsal time is often the norm for chamber ensembles and that we were dealing with schedules that could not be altered. Despite our situations (and excuses), the reality of the situation is that our limited rehearsals (roughly 1.5 hours on the day of the recital) resulted in unfamiliarity with the score, which further led to early entrances and sections that must be simply acknowledged as "poorly played."

While the Oblios was charming, it was clear that the keyboard part was written for a harpsichord or other early instrument which did not translate well to the modern piano. (No, I'm not a elitist who demands that compositions be played only on the historical instruments for which they were intended. I just think we have a responsibility as musicians to make sure that the compositions we perform translate effectively to our modern instruments.) The Salamon, on the other hand, was a work that I could have gone a lifetime without hearing. According to one of my collaborators, the trio has received wonderful reviews. I must admit that I have not searched out any of these statements online. Based upon my experience with the work, I found it to be a driveling piece of fluff that never actually went anywhere of interest musically. (Sorry for such a harsh review, but that's what I am known for--I am blunt to a fault.) Perhaps my poor response to Salamon's work is due to an uninformed performance on the ensemble's part. I don't think that is entirely the case, but I will at least concede the possibility respectfully to Salamon's status as a composer. Rather, I attribute much of the work's inadequacies to the fact that it is an early piece by the 16-year-old composer. The nocturne consisted of redundant harmonic progressions under an uninteresting melodic line. The repetitiveness of the trio continues into the closing variation set; supposedly written in the style of Bartok, I heard few similarities between the works of the 20th century master and Mr. Salamon.

With so many negative comments, it seems that I was unhappy with the performance. Nothing is further from the truth. In reality, the issues that I have raised in this blog are simply a reflection of my personal taste and address issues that comprised less than 5% of the total performance. The remaining 95% of the concert was of the highest quality and something about which I continue to be extremely proud. As a musician who is constantly pursuing new levels of excellence in my performances, however, I must thoroughly assess each public appearance in order to learn more about myself as a pianist so I can successfully chart my path on my continuing journey as a professional musician.

Reworking Hymn Settings

2010-05-24T09:05:00.013-05:00

The use of traditional hymns in conjunction with praise and worship songs is the mark of a blended worship service. The lyrics of the familiar hymns often add great depth and richness to the music's theology. Musically, the two styles often find themselves at opposite ends of the spectrum, never to meld together into an unified whole.

What is the pianist to do? One option is to completely rearrange the hymn setting, making a new composition that barely resembles the original in order to make it fit the more contemporary style of the service. Often this results in modified melodies and rhythms, creating confusion for the singers. Additionally, these significant changes eliminate the familiarity of the hymn and the sense of tradition for which the blended service is searching.

Many churches have found that only two options are possible. Some have separated their worship time in half, using only traditional hymn settings in one section followed by contemporary praise music in the other. Other congregations find the choice of music so divisive that the only way the issue can be resolved is by conducting two separate services, distinguished by the style of music used.

I find both of these options unacceptable. As a young person, I draw strength and increased faith from the heritage expressed in the great hymns of the church. The songs of today are giving new voice to these same concepts in a manner that speaks to our modern society. How sad that we sometimes feel as though we must choose one mode of worship over the other. The Psalmist recognized the importance of looking to the past when he stated "I was young and now I am old, yet I have never seen the righteous forsaken or their children begging bread" (Psalm 37:25). Earlier in the Psalms, David also instructs the people to "Sing to Him a new song; play skillfully, and shout for joy. For the Word of the Lord is right and true; He is faithful in all He does" (Psalm 33:3-4). By examining the worship of ancient Israel (especially in the Davidic era), the traditional Jewish music existed alongside the new songs of praise that flowed from the hearts of worshippers. Oh, that our times of worship would be unified expressions of adoration to God rather than statements of our musical preferences!

As a church pianist, it is our responsibility to work with the minister of music in order to explore ways that the hymn settings can be updated (when necessary) in order to allow them to fit seamlessly into the blended worship service. Here are two basic techniques to get you thinking - both having positive and negative aspects.

Option one is to alter the rhythmic structure of the hymn. This can be as simple as altering the speed of the song. Many times, I have found that singing a familiar hymn slower than normal forces our minds to focus on the lyrics and helps us discover truths expressed there that we have missed for years. Alternately, moving a slower hymn along a bit can have a similar effect; "Blessed Assurance" can be an anthem of security (sung at a stately tempo) or a personal statement of confidence (at the traditionally slower speed) - it all depends on the tempo.

Altering the rhythmic structure can be a bit more advanced as well. Consider the hymn "At the Cross." The traditional setting is in 4/4; with a little imagination, the hymn can easily be altered to 12/8, creating a lilting beat with only the slightest modification to the vocal line's rhythms.

Altering rhythms will sometimes meet with some opposition from the traditionalists of your congregation; they may say that the new rhythms throw off the hymn's structure. With a little time, the congregation will get used to the new rhythms and will even be able to move effortlessly between the traditional and the "new" version. I encourage you to explore your hymns; often you can change the rhythmic pattern of the accompaniment without altering the vocal lines at all. These can be especially exciting for the musicians and congregation alike. How neat would a jazz setting of "Victory in Jesus" be if included in next Sunday's worship set?

A second approach to reworking hymn settings involves re-harmonizing the hymn itself. Be warned....this will cause your praise team intense frustration unless you write new parts for them and allot ample time to learn the new progressions. While the harmonies work quite nicely, they often do not follow traditional voice leading techniques and do not go where your singers expect. If your congregation mainly sings in unison, however, this is a wonderful option to provide interest without creating too much stress for anyone involved. One of my favorite aspects of this technique is the freedom we have to emphasize certain words of the lyrics by grasping the listener's ear through the use of interesting chords within the progression. This gets easier with practice, but is definitely worth the time invested. Here's how I first began to explore re-harmonization in my personal church work.

For years, I had loved the "Doxology" because of its amazing lyrics as well as its use during my college days at Pepperdine. Nothing could match the beauty of a capella voices singing this hymn of the church....and such powerful lyrics! When I tried to transfer the hymn into my congregation, however, I found that the simple harmonies that were so effective a capella lost their beauty when instruments were added. Rather than tossing out the baby with the bath water, I went to the piano and began to play around with the harmonies. What I ended up with was a contemporary harmonic sound that remained true to the melodic line of the hymn. It has now become the standard setting of the hymn for my congregation and one that we use on a regular basis.

Here is a basic lead sheet for my harmonization of "Doxology." Feel free to use it (or modify it!) as you like.

Doxologoy

Can every hymn be re-harmonized or altered rhythmicly? Probably not. But I think with selective use of these (and other) techniques, our blended worship services can become more interesting and less divided along the lines of musical styles. Above all, remember that our efforts are not only to create something new or to show our skills on our instruments. As David reminds us in Psalm 29:2, our goal is to "Ascribe to the Lord the glory due His name; worship the Lord in the splendor of His holiness."

With a heart of praise!
Kennith

Dumky Trio

2010-05-20T08:37:00.004-05:00

I thought I would end each week together by giving you insight into some of my favorite chamber works for various ensembles and exploring some new works together. To kick things off, here's a recording of the Beaux Arts Trio playing the opening movement of Dvorak's Dumky Trio. Notice how effortless Menahem Pressler (b. 1923) makes the piano part look! You can learn more about this tremendous pianist and his career by visiting his website.

I've never played this piece but have always wanted to. Any takers?

Have a great weekend everyone! We'll start our next set of adventures on Monday.
Kennith

Music Appreciation: Why Do Students Struggle?

2010-05-19T07:40:00.015-05:00

I greatly love teaching music appreciation. It is a joy to expose novices to the great music of the Western world. Unfortunately, few of my students have a clear understanding of what the course will entail when they enroll.

As a professor at a community college, I hear the same expectations each semester. "My advisor told me that this course would involve sitting in class and listening to a little music." Sadly, these uninformed advisors give an uninformed synopsis of the class. The course opens with a cursory examination of the general characteristics of music. The majority of the semester is devoted to a historical overview of music history from the rise of Gregorian chant in 450 through the end of the 20th century.

Responses to the course vary, but mostly fall into one of two extremes. Most students admit that the course was more demanding than they expected, but that they have a greater understanding of how music developed over the centuries and became what we have today. Others, sadly, feel as though the course was too difficult and a waste of their time. All they hoped to do was find some music that they liked.

Generally, I find that the students with the negative responses share some common characteristics. Firstly, it seems as though most of these students come from backgrounds that include little (if any) exposure to cultural experiences. I do not expect students in my class to have any formal training in the arts, but I do find that those who have at least been to a concert, musical, play, or museum tend to do better. Often this lack of interaction with the arts is associated with the abject poverty from which many of my students come.

Secondly, connected to the first point, many of these students received their primary and secondary education in settings that did not include arts education in the curriculum. Because our nation's education system is dependant upon tests to verify student learning and instructor success, teachers find themselves seeking additional instructional time to prepare students for benchmark exams. Since there are few questions that relate to artistic concepts, exposure to the arts is one of the first things removed from public education.

Lastly, these students demonstrate remedial skills in reading and writing. Though some may argue that success in the arts is not dependent upon these rudimentary skills, I counter that argument by holding that learning of ANY type must involve interaction with a variety of ideas - ideas generated by others (discovered through reading) as well as the individual's response to these thoughts (worked out in the written word). The student's difficulties in the music classroom is another indicator of the failing status quo of the American educational system.

The question is not whether the content of the course is appropriate (that's another discussion entirely) but how we as musicians can help them succeed. First we must identify the problems and initiate an aggressive plan to overcome the difficulties. To address points one and two listed above, I use as many recordings (both audio and video) as possible during my lectures. Youtube.com has become an essential resource during my preparation. (Sadly, I must contend with the site being blocked by the administration of the school, limiting the interaction my students can have with the music videos while on campus.)

The final issue is much more difficult to address and one that cannot be overcome in a single semester. Because I recognize the importance of language skills in the educational process, I am adamant that my music appreciation class (a general education course!) will be writing intensive. I require students to explore their thoughts about music in several non-research based journal entries throughout the semester. These journals allow students to develop their writing skills while giving me insight into their understanding of the concepts presented in class in a non-threatening manner. Additionally, students attend recitals and compose reviews of their experience as well as the music encountered.

It is frustrating as a teacher when my students rail against the assignments they are given. While they assume that the tasks are intended to make the course more grueling, the reality of the situation is that they are meant to assist the student's understanding of the course content. Will I be able to help every student see the reasons for their struggles and that there is a way to overcome them? Probably not. If I reach one student, though, my efforts are not in vain. That is the hope that keeps me coming back semester after semester.

Teaching the Art of Practicing

2010-05-18T06:58:00.009-05:00

In cities all over the world, multitudes of piano students daily hear those familiar words that come from every teacher's mouth: "You really must practice." Most students and their parents have a vague idea of what it means to practice. Some of these misconceptions include long hours sitting mindlessly at the piano and repeating their assigned pieces ad nauseum.

Recently I was having lunch with a group of music teachers. As we reflected on our personal early music studies, the topic of practice arose. The general consensus was that teachers defined effective practicing as total time spent at the instrument and that few of us received any instruction in practice techniques and methods.

I don't know about you, but I would rather engage a student who has spent 20 minutes in quality practice than one who has played non-stop for 60 minutes but was unsure of the reason. I can't fault students for lack of proper practicing unless I give them instruction in HOW to practice.

I have found that at some point, every student (regardless of age or level) will present opportunities for instruction on practice techniques. Think about it: when was the last time one of your students arrived in your studio only to tell you how busy their week has been and they simply did not have time to practice? Immediately my eyes glaze over, I assure them that it is okay, and prepare myself for a monitored practice session (code-named the weekly lesson).

Rather than viewing the lesson as a waste of time, let's show the student HOW to practice, giving them tips that will lead to success - even when you only have limited rehearsal time available. Here are a few skills that can be learned by students of any ability level and will serve them for years to come.

Self-Evaluate your playing. One of the first obstacles to effective practice is the inability of students to effectively judge their own playing. Most of us try to incorporate this into every lesson by asking students what they thought of their playing. By allowing students to verbalize their evaluation, we validate the truth that they CAN make judgements about their playing. By using their evaluation as a guide for the lesson, we can also model how to generate a work list for their practice sessions.

Become the teacher! Combined with the self-evaluation, I encourage my students to ask themselves "What Would Mr. Kennith Say?" after ever piece they play at home. Then, students are to choose the most important improvement from their list and begin the process of fixing it.

While there are many ways to learn troublesome passages, one of my favorites to teach is playing the passage from the end to the beginning. Once a student identifies the troublesome passage, students begin playing the last half of the passage. (If this still gives them difficulty, shorten the passage until the student can play the passage successfully.) The process adds another note on each successive repeat. When a student isn't sure if they have conquered a passage or were just the recipient of good luck, I advise the child to not move on until they can play the passage 3 times successfully. (In the method's purest form, a mistake negates the success.....so you have to start again!) Continue until the entire passage has been conquered.

There are many other methods leading to effective practicing. I have a suggestion wall in my studio where students post their own ideas for practicing. Often, I'm surprised at the great ideas they come up with.

What's your favorite practice process to teach you students? I'd love to hear from you.

Happy practicing!

Kennith

A Minor Case of the Butterflies

2010-05-17T22:59:00.003-05:00

Today I traveled to Lake Conroe, Texas, in preparation for a recital that will be presented in Houston on Friday evening. I must admit that I am a little apprehensive at the moment. Is it common for professional players to still get nervous?

The past week has revealed some stressful facts about this program. I learned on Friday that I had not received two movements of the new trio that we are performing as well as working some of the kinks out of a new work that Sandra and I will present for the first time in this recital. These are minor details; I'm an experienced pianist and know that I can pull it off with grace.

The cause of my anxiety tonight is actually tomorrow's rehearsal. The featured performer at this week's recital is Jere Douglas, a clarinetist who is based out of Houston. He and I have corresponded online and became aware of each other through our mutual friend, Sandra. However, we have never spoken or met. Tomorrow morning, I will drive to a location I have never visited to meet a musician I only know as a persona in a social forum to begin rehearsing an extremely difficult work, Brahms Sonata in Eb Major, Op. 120, No. 2. I'm sure we'll be talking more about the rehearsals, the performance and the repertoire at a later date. For now, I'm going to try to use these butterflies as a springboard for an exciting rehearsal tomorrow as Jere and I begin the journey of making music together.

Offertory Success

2010-05-16T16:30:00.007-05:00

One of the first tasks that will be given to any church pianist is that of providing a weekly offertory. While some may consider the presentation of a solo one of the easier aspects of the position, I feel that the quality of the weekly offertory is one of the major factors that distinguishes a good church musician from a superb one.

Because of the role music plays in the church service, the offertory must be selected with care. Think about where the solo will occur in the order of worship. Are you following a lively choral anthem that will lead right into the congregational worship? Will the offering follow a generally somber prayer for the needs of the congregants? If you find yourself in a church without a strong liturgical tradition as I do, the positioning of the offertory may be altered weekly. There are few scenarios worse than a grandiose arrangement that follows a quiet time of meditation. Without advance thought and planning, you can sometimes find yourself in an awkward situation.

Additionally, it is important to think about your congregation. An uber-contemporary church may not respond to a classical setting of your favorite hymn. In contrast, the latest praise and worship chorus is probably not the best option for a high liturgical service. Most of us probably find ourselves somewhere in the middle of these two extremes - in what is commonly referred to as a blended service. In these settings, the choices become more difficult and more exciting as well. How often have you tried to find a great arrangement that blends a contemporary chorus with a traditional hymn without giving the impression that one of the pieces is more important or, worse still, more holy? There are a few arrangers today who are doing just these type of settings, but they are few and far between, generally demanding extreme technical facility as well.

More often, I find myself looking for arrangements of hymns that are approached with harmonic and rhythmic freshness. My current congregation is a multi-generational group with eclectic tastes in music. I have quickly accepted the fact that I will never please everyone present with my selections. Because I have so many preferences in my congregation, I get to explore some unusual settings. Some of our favorites are jazz settings of hymns such as Leaning on the Everlasting Arms and a complex harmonic treatment of Great is Thy Faithfulness. I didn't begin using these unusual arrangements immediately though; just as with all other areas of ministry, as the congregation develops trust in you as a music minister (for that is what every church pianist should strive to be), they will also extend that trust to your musical selectivity.

Here are a few closing thoughts on making your weekly offertory a highlight of the weekly service for those that you serve.

Select pieces weekly in an attitude of prayer. All too often we forget that our solo will be a part of the worship service. We can simply choose to provide pretty background music while the important activity of collecting the congregation's cash is performed. I think the better decision - and the one for which we strive - is to play music that is anointed by the Holy Spirit to aid those who are hearing as they worship in the act of giving.
Always have a few selections that you can fall back on. We've all been in the situation where the week got too hectic and our preparation time suffered. Perhaps the scheduled soloist became ill at the last minute, making the planned offertory less than desirable. Having a few selections in your back pocket gives you some flexibility whenever the need arises to make a last minute substitution. Use them sparingly though or they will become part of the normal rotation and you'll find yourself in need of some new fall-backs.
Don't sacrifice beauty for showmanship. Have you ever listened to a church pianist play a solo only to later ask "What WAS that song?" The arpeggios are beautiful and the tricky scale passages are impressive, but if they get in the way of the music's message, we're taking the focus off of the One we are to worship and shining the spotlight directly on ourselves. (Ouch...is anyone else feeling the sting of those toes that were just stepped on?)
NEVER attempt to play beyond your technical abilities!!! As a musician, I am all for stretching myself and continuously developing my technique. The worship service is not a practice hall, though. Just as bad as shining the spotlight on how beautifully we play is presenting a glaring example of an ill-prepared solo as part of a worship service. I am not in competition with the pianist at the church across the street, so I don't have to attempt to play as beautifully as she does. I just have to bring my musical offering to the Heavenly Father each week as a loving sacrifice that brings Him honor and my worship. When we try out that new arrangement that is just a bit too difficult (or - Heaven forbid - completely beyond our skills) we risk interrupting the flow of the service and distracting the congregation from their worship.
Always play for the Audience of One. This is the last point on my list because I believe it is the most important one. All that I am as a Christian, a musician, and a person is because of Jesus. It is a wonderful feeling to have an audience respond to beautiful playing with appreciative applause - and, let me add, there is nothing wrong with receiving these accolades! Scripture teaches us to give honor to whom it is due. More than anything though, I want the applause of Heaven that comes as I play for the audience of One - the One who gave His all that I might have life. He is the source of the music and our constant goal should be that our music bring attention only to His grace, mercy, and greatness.

Do I get tired of trying to find a new piece each week? Of course! Like everyone else, I have a core set of arrangements that I rotate through. But the blessing of sharing my gift with God's people outweighs the long rehearsals. Occasionally, God opens doors because of our obedience as well. A few years ago, the congregation provided an opportunity to professionally record some of my favorite arrangements. In July, I will have the chance to sit down in the studio again and record two new CDs - one for Christmas, the other songs of praise and thanks.

Happy playing!

Kennith

Collaborative Pianist in the Making

2010-05-15T17:33:00.004-05:00

Just over a year ago, I was awarded the Doctorate of Musical Arts from the University of Memphis in piano performance with an emphasis in collaborative arts. Since that time, my professional life has become one adventure after another - many of which my formal training little prepared me. That is what sparked my plan to write this blog; hopefully I can share some insight into the career of collaborative pianist (as well as its joys and frustrations), raise some questions about music in general, and give my readers cause to smile at some of my personal experiences.

While my formal training prepared me for working in chamber ensembles with other musicians, that has proven to be only one aspect of my musical career. In addition to my performing engagements, I currently maintain a small piano studio in West Memphis, Arkansas and direct the music and children ministries of a congregation in Collierville, Tennessee. As though that is not enough, I am on the faculty of Mid-South Community College in West Memphis and also actively participate in the efforts of the Crittenden Youth Theater and Delta Arts.

With so many hats, I sometimes feel more like a juggler in a three-ring circus rather than an established pianist. The sheer number of responsibilities I face in any given day can quickly become overwhelming. At times, I wonder which ball is going to drop first and what the fallout will be. Do I regret the career choice I have made? Not at all! Despite the occasional stressful situation, the variety of responsibilities keeps life interesting and allows me to be involved in many avenues of my passion for music.

In this blog, I plan to devote one day each week to the varied avenues of my current career. Discussions will vary from church music and ministry to music education and private instruction. Of course, I'll be including thoughts about pieces I am learning or rediscovering as a result of upcoming performances. Will everyone agree with my analysis? Certainly not! If we all agree, we will have little opportunity for discussion. Hopefully, my posts will spark your personal thoughts and be a stimulus for lively discussions among musicians in all areas of the field. Such discussion is one of the most important things (outside of practice!) that challenges members of the musical community to find new levels of excellence in their personal pursuits.

I look forward to getting to know you and hearing your thoughts as we explore our mutual love of music together.