Sources of Cookie-Cutter Performances

Last week, my thoughts were sparked by comments made by Dolly Parton and Seal about returning to "pure and simple" performances. I came to the conclusion that the trend toward multi-media enhanced Classical music performances may often be attributed to a poorly developed interpretation. This week, my mind has been asking a single follow-up question: "WHY?" Here are a few of the culprits that I think are contributing to these less-than-inspiring recitals.

Emphasis placed on technique over artistry. Much of our work in music education is devoted to helping young artists develop their technique. After all, without a solid technique it is impossible to effectively communicate with an audience. However, there comes a point in the preparation process where the performer's focus needs to shift from the mechanics of making music to artistry, communication, and personal interpretation. When the shift occurs, the student often discovers the necessary step of improving their technique in order to accomplish their goals. This can result in a renewed interest in technical study on the part of the student now that they see the purpose of the work in their own repertoire.

The prevalence of recordings. I am an advocate of listening to performers from all generations and schools of thought. However, recordings can be intimidating to a young artist. When listening to a recording that is considered the gold standard, it is possible for the student to become convinced that they will never be able to perform at an acceptable level. Additionally, students may begin to listen to one artist exclusively -- resulting in mimicry rather than using the album as inspiration. There is another danger for the student that listens widely and indiscriminately to recordings. When one encounters a large number of mediocre performances, it is easy to fall victim to the opinion that things are "good enough" in their current state, eliminating the pursuit of higher levels of artistry.

Necessity of quick preparation. Music is not ready for public performance when the notes and rhythms are accurately learned. Time is needed for the melodies and harmonies to marinate in the soul. Collaborative partnerships need time to develop a mutual sense of direction and interpretation. Quite simply, the music needs ample time to mature. Sadly, it has become a trend in many schools to prepare and present material as quickly as possible so we can move on to the next program. The resulting music can often leave the audience wanting more and the musicians not fully enjoying the experience of presenting a mature, well-prepared recital.

The lost arts of reflection, experimentation, and imagination. Because students are preparing performances so quickly for fast approaching deadlines, there is rarely an opportunity to experiment musically. I don't see many students reflecting on the music and developing their personal interpretation. I long to have a student enter a rehearsal and tell me about the idea they have regarding a turn of a specific phrase...and then we give it a try. I believe that it is in the reflection and experimentation process that performers develop their own voice and begin to become contributing members of the artistic community.

I'd love to hear your thoughts. Am I completely missing the point? Do you see additional sources of these cookie-cutter performances? Join the conversation by adding your comments below.

 

Stripped Down Performances

Earlier this month, country music legend Dolly Parton announced a major tour throughout the US and Canada later this year. The announcement was inspiring considering the singer's age as well as the fact that it has been more than 20 years since her last major tour. What I truly found remarkable and thought-provoking was Parton's description of the tour -- the concerts will be "stripped down" to reflect the promotion's Pure and Simple title.

In our technologically driven society, some observers attribute classical music's declining audiences in part to the genre's failure to entice patrons with the latest technology. This explains the appearance of light displays, intricate PowerPoint presentations, and movie clips in recital halls around the country in recent years. While I am all for using all forms of media when it enhances the overall experience, I also find that its inclusion is not always beneficial. I think it is time that we face the fact that all of the sparkle is sometimes included in an effort to disguise an inherent deficiency.

It seems that Dolly is on to something. During his March 18, 2016 interview on The Chew (ABC), Seal stated that the current plan for his upcoming European tour will feature him and one or two other musicians on stage. No light shows. No dancers. When asked why, Seal suggested that the audience wants to just focus on the message of the music. Is it possible that classical audiences are dwindling because we are no longer communicating relevant messages to them? Have we failed to present music that speaks to the heart? Do we as performers intentionally bring personal interpretations of the music to the recital stage that we have painstakingly developed in the practice room or are we simply regurgitating a soulless version of a favored recording?

That's the challenge facing musicians today. In the coming weeks, I'll explore what I believe to be some of the causes of our present cookie-cutter performances as well as steps today's teachers can take to break the cycle while training the next generation of musicians. I hope you'll join me for the conversation.

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Christmas Celebration 2015 - A Review

If you are one of my Facebook friends (and in some cases, just a friend of a friend), you have seen at least some of the videos of piano arrangements of favorite Christmas carols that I recorded this year and referred to as my Christmas Celebration. Now that the project is over, I thought I should share some of details about the process as well as some lessons I learned.

How it all began....

While with my family over Thanksgiving break, several comments were made around the dinner table about how family members were going to miss hearing me play Christmas music during the holidays. I decided it would be fun to record a carol arrangement for each day leading up to Christmas to share with them on Facebook. When I returned home on November 30, I began the recording process.

Making the videos....

This project was originally intended for my family, so production value was not a primary concern. The videos were recorded in my piano studio at Wayland Baptist University in Plainview, Texas using the Camera app in my iPad. I literally balanced the iPad on a music stand, punched the record button and sat down to play. After getting an acceptable performance -- a daunting task at times -- I used the video editing capabilities found in the Pictures app in order to clean up the beginnings and endings of videos.

The plan was to daily upload videos to both Facebook and my YouTube channel. All 25 videos currently reside on YouTube for easy retrieval in the future.

What happened next was surprising.....

On December 1, I uploaded the first video to my Facebook account and explained what my plan was for the month in this initial post. I expected this video (an arrangement of Hark! The Herald Angels Sing) would have 75 total views or so. As the day progressed, I watched the view count climb. By that evening, the video had been viewed over 1,600 times. Facebook friends were thrilled for me and expressed their excitement for this project. (When I compiled the final tally of total views on December 26, this initial video had over 2,600 views.....the highest viewed posting of the project!)

With so many views, I quickly realized that this project had the potential for reaching a large audience and I wanted to give the best performances I could. In order to use the best instrument available -- the Steinway grand in my office -- all recordings needed to be completed before leaving Plainview for the holidays on December 14.

The final results.....

On December 26, I revisited each video on Facebook and YouTube to determine the total number of views. During the 25 days of my Christmas Celebration, I had 14,956 views! (Incidentally, 1,347 of those views happened on December 24 and 25.)

Because I enjoy looking at statistics, I could not resist determining which videos were most popular. The top 5 videos of this year's project based on number of views were

1. Hark! The Herald Angels Sing (posted 12/1) - 2,626 views
2. Grown Up Christmas List (posted 12/4 in memory of victims of San Bernadino terrorist attack) - 1,066 views
3. Santa Claus is Comin' to Town (posted 12/3) - 1,021 views
4. Away in a Manger (posted 12/5) - 724 views
5. O Holy Night (posted 12/24) - 677 views

What I learned from the project....

• Recording and editing takes a lot of time! Even though I was just using apps on my iPad, the recording process ate up a lot of my spare time. I will definitely allow more time when planning future projects.
• Consistency is vital. While driving home to Arkansas, I experienced some technological difficulties that prohibited me from posting at my normal time. My Facebook account was flooded with questions about when the next post would appear. People had gotten used to a routine and noticed when things did not happen as scheduled. I quickly stopped at a rest area, cleaned up my profile of the questions, and posted a statement that the day's video would be delayed until I arrived at home.
• Sharing videos greatly expands the reach of social media. My profile is public, so anyone can see what I post there. However, as family and friends began to share the videos on their own timelines, my audience grew immensely. I began to receive friend requests from people who had seen the videos on a mutual friend's page and wanted to make sure they didn't miss any of the fun. I had not asked anyone to share the videos...but I'm certainly glad they did! The more people viewing the videos, the more fun the experience became.
• Comments and likes are very encouraging. As I reached the middle of the project, I began to get tired and wondered if people were beginning to get annoyed with the volume of posts I was making. It was great to hear encouraging comments from friends I haven't spoken with in years, letting me know how much they were enjoying the daily videos. I tried to reply to as many of these comments and messages as I could, but I quickly realized it would demand all of my time to do so.

Where do we go from here?

This has been the question I have been asked repeatedly in the days since the Christmas Celebration ended. Are you going to do this again next year? Will you post something throughout the year? Some of these are easier to answer than others. Let's see if I can provide some answers now.

• Will I do another Christmas Celebration? Plans are already underway for the Christmas Celebration 2016. I had a lot of fun recording the music and sharing the holiday spirit with friends near and far. The videos were repeatedly referred to as a Christmas gift and I want to give the gift again next year. My intention at this time is to offer 25 new arrangements (although you may hear some of the same carols) to keep things fresh.
• Will I continue to record throughout the year? This is still up in the air. Offering Christmas videos is possible because it comes during a slower time in my academic life. I'm not ready to hang up my video hat entirely though. I am considering posting videos -- featuring hymn arrangements as well as Classical repertoire -- each month. Bear with me as I figure out how (and if) this is a realistic goal.
• Do I take requests? Sure! I'll gladly take suggestions of carols or hymns you would like to hear recorded. I just don't promise that I'll necessarily do them. It depends if I can find a nice arrangement that speaks to me musically.

Beyond that, I don't know a lot more. I'm considering posting the videos on my blog site instead of to my personal Facebook account. I'm checking into obtaining microphones and cameras to improve the quality of the videos. An audio recording (that often-requested CD) is not entirely off the radar. At this point, I'm just enjoying the process of sharing my music with friends and family near and far. Thanks for being a part of the 2015 edition of the Christmas Celebration. If you have ideas that you think might be helpful for future projects, feel free to share them in the comments section below.

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Page Turning 101

Every collaborative pianist knows that some page turns can make our jobs very difficult. If technology is not being used, it is essential to find a good page turner that you trust. Turning pages in a recital is not for the faint of heart and can be incredibly stressful. Here are some of the pieces of advice I share with neophyte page turners that work with me.

• Preview the pieces before going on stage and ask questions.  There's nothing worse than trying to figure out exactly where the Da Capo goes back to while you are sitting under stage lights. Take the time necessary to familiarize yourself with repeats, first and second endings, and codas. If you are uncertain about anything, ask the pianist before the concert begins. It's also a good thing to make sure you are certain where each piece ends!
• Prepare the pages for smooth turns if necessary. The pianist has probably made most of the page turns in rehearsal using the bottom corner of the score. That means the upper corners that you are using are still in fairly good condition. You want to make sure that pages are not stuck together and that you are aware of the paper's thickness.
• Always stand to make the turn. Standing ensures that your arm will not inhibit the pianist's sight line and keeps your body out of the way of the physical activity.
• Watch out for leaping bass lines! Inevitably, the publisher will place busy passages in the lower registers of the piano at the page turn. This is where issues of the page turner's height and arm span come into play. If you are afraid you will get in the way of the player's left hand, consider standing at the very end of the piano and making the turn.
• When do I turn? The answer to this question will vary for every pianist and for every situation. When you are just beginning to turn pages, pianists will often give a nod at the time for the page turn. However, the ultimate goal is to develop enough of a relationship on stage that such cues are not necessary. When making the decision, it is important to consider the complexity of the passage, the tempo of the piece, the performer's body language, and any cues written in the score. These will generally give you an idea of just how comfortable the collaborator is with the material that is coming next.
• Turn the page! This is not the time to make a slow graceful turn of the page. Grab hold of the corner and TURN! (Just make sure you don't fling the entire score into the floor! That creates an entirely different problem....and, yes, it really did happen to me.)
• If a problem occurs, be proactive. Pages may blow in a breeze from the air conditioning unit. A page might have been inserted into the binder upside down. Maybe you turned too many pages. Don't just sit there.....react! You are an extension of the pianist and are allowing him to keep his hands on the keyboard. The more proactive you are, the more confident the performer is that everything is going to be just fine.

When playing in a college setting, I generally recruit a single page turner for the entire semester. Yes, it makes things easier to simply have to make one request and have all of my engagements staffed, but if I ask you to repeatedly turn pages for me, it is intended to be a compliment. I trust your musicianship as well as your comfort on stage. That trust means that I can breathe a little easier and keep my focus on the task at hand -- making beautiful music.

What advice would you give a new page turner? Have you had a page turning nightmare? Share your thoughts and experiences in the comments below.

Playing Through the Pain

The Spring 2014 semester at Union University has closed and it's time for some reflection. The term was filled with joy and sorrow for the entire campus, but was especially felt by the music department. In the midst of all of this, I struggled with severe headaches just as the bulk of my recitals came to the stage. For the first time in my career, I found myself needing to play through the pain.

As pianists, we are ever mindful of our hands and arms. Before proceeding, let me be perfectly clear: I DO NOT ADVOCATE PLAYING WHEN PAIN OCCURS IN THE HANDS OR MUSCLES ASSOCIATED WITH THE PHYSICAL MOVEMENT OF PLAYING. There are times, however, when we are dealing with pain in other areas -- physically or emotionally -- and do not have the luxury of canceling. These are the times that the show must simply go on. Here are a few things I learned that helped me play through the pain.

• Consult your doctor quickly. Pain is not normal and should not be ignored. A visit to the doctor can put your mind at ease, (hopefully) diagnose the problem, and provide information and relief from the pain. (At the time of this writing, my doctors and I have not determined the cause of my headaches. I'm taking comfort in the fact that some things have been ruled out and the pain is being effectively managed with medication.)
• Rely on your preparation. You learned the music when you were feeling better. You invested the necessary time to thoroughly prepare the repertoire for performance. Now is the time to have confidence in the process and allow some aspects of the music to happen automatically.
• Adjust your expectations. When feeling less than perfect, most musicians will not play as well as they normally would. Rather than becoming frustrated with the results, acknowledge the effect your health has on your playing and know that you will play as beautifully as you possibly can in the moment.
• Don't be afraid to ask for adjustments. Are the lights exasperating your ailment? Can an adjustment in the stage arrangement make movement less painful? You are an integral part of the performance, so ask for modifications. Those sharing the stage with you are probably aware of your health issues and want to be accommodating if at all possible for the benefit of the performance as a whole.
• Breathe! Now that the concert is under way, it's time to enjoy the music as much as you can. There's no harm in taking a cleansing breath on stage between movements or slightly extending your time off stage.  If an extra moment allows you to communicate more effectively, your audience will graciously wait.

I hope none of you ever find yourself needing to play while in pain. If you do, take comfort that many times your audience will never know if you take the necessary steps to relax and give the best performance you can in the given circumstances.

Goal Setting

As another year comes  to a close, people everywhere are beginning to set goals for 2014. Music educators are not immune to this process. Many of us are reflecting on the progress our students made in 2013 and considering the next goal to present to them. In all of the planning, it becomes easy to overlook the opportunity to set new goals for the most important musician in our studio:  OURSELVES! Few of us pursuing careers in music hold a single job title, so it may be important to set an obtainable (and valuable) goal for each part of our musical life.

I tend to devote the smallest amount of time to my personal development as a soloist. My piano students are all beginners and intermediates. I rarely have an opportunity to perform major solo works. Over the years, I have moved away from solo performance because I have not developed the ability to play securely from memory. Recognizing this weakness in my skill set has led to my first goal of 2014:  I will memorize two major works for solo piano. That's not an overwhelming project, I know. Because of my time limitations, I decided to keep the number small so I have plenty of time to explore methods of memorizing and try to discover what works best for me.  The two pieces I have chosen are Beethoven's Sonata, Op. 2, No. 1 and Chopin's Scherzo in Bb minor, Op. 31.

My major area of performance is as a collaborator with vocalist. My bread and butter comes from knowing the major song repertoire. I feel secure in my knowledge of the German, Italian, and English rep; French songs are another story. I haven't mapped out a plan yet, but my goal is to become more familiar with the songs of Debussy, Ravel, Faure, Poulenc, and Hahn. At this point, I anticipate intentionally listening to the songs and reading/learning through the complete works. It's a goal; now I simply have to solidify a plan and get to work.

Presenting informative and enjoyable lectures can be a challenge. The situation becomes more difficult when the audience is composed of college students you are desperately trying to engage with the material. Encouraging music students to strive for piano proficiency can be just as daunting. This year, I hope to add new technology to my classroom teaching. Right now, my lectures include slide shows and video clips. Now I'm looking for methods to supplement the content outside of the classroom while providing students opportunities to interact with the material in class without the fear of public failure. I'm a musician, not a technology geek. I have no idea what this is going to look like or how it will work, but I have read that many educators are finding success by incorporating technology in the classroom. It's time for me to get on board and learn some new techniques that will improve my teaching and increase my students' understanding.

There you have my professional goals for 2014. What's on the horizon for you in the new year? I would love to hear about your plans in the comment section below.

The Benefit of Preparation

Thorough preparation is essential for polished performances. Too often, young musicians assume that preparation ends when they have learned to play the notes and rhythms accurately and the piece has been memorized. While these are crucial steps in the preparation process, they are no more important than the shaping of the music that occurs through ensemble rehearsals.

Adequate ensemble preparation also prepares the team to face unexpected challenges that might arise during the performance. By working through the piece as a team, each member has a clearer expectation of what might occur if one member is having an "off" day. I was reminded of the importance of this aspect of preparation last week.

As we are approaching the Thanksgiving holiday, lots of performances are happening. The rehearsals and performances have led to some fatigue on my part; late last week, the fatigue turned into a nasty cold, complete with fever. Under normal situations, I would have put myself to bed to recover. This was not an option because I had performances on both Thursday and Friday. It was now time to see how my preparation would carry me through when I was feeling less than my best.

In both performances, all musicians were comfortable with their individual notes. Both ensembles had participated in coaching sessions to help shape the music. The difference came in the additional rehearsals; while one ensemble had rehearsed thoroughly outside of the coachings, the other was relying almost exclusively on the rehearsals that occurred in lessons.

What was the final result? To put it simply, I played both performances with less than my normal vigor. However, the ensemble that had rehearsed without a coach present had a much more fulfilling performance. We had experienced errors together without anyone else involved and had learned how to respond. The performance was not flawless, but it held together much more easily because of our mutual understanding of the music. The other ensemble's performance left much to be desired. As my performance suffered from illness, my partners had not been prepared to respond sufficiently and I didn't have enough private rehearsal experience with them to rely on my musical "auto-pilot."

Next time you find yourself wondering if you really need to schedule another ensemble rehearsal, hear this voice of experience. You might not realize how important the rehearsal is until you find yourself needing to rely upon the experience of collaborating together that is gained there.

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The "Joy" of Chamber Music

I love making music in ensembles. There's nothing quite like creating wonderful sounds with other musicians. It allows us to experience the process from a different perspective. Chamber music provides an opportunity for experiential learning with our peers. Collaborative work is a joy because we are enjoying a partnership with other people.

Where there is a group of people, there will be multiple opinions. Regardless of the number of opinions, differing opinions can lead to conflict. Chamber music is no different. Though we come together to make beautiful music, the rehearsal process can be a stressful experience fraught with conflict. Any musician who has participated in a chamber ensemble has experienced conflict (or else they are a saint). Here are some of the things I have found that greatly reduce conflict.

1. Every idea is worthy of consideration. Because everyone in the ensemble is coming at the music from a different perspective, differing ideas about interpretation are certain to arise. I try to make sure that rehearsals begin far enough in advance of the performance to allow us to explore ideas that come up. This insures that all members of the ensemble feel as though they are a contributing part of the team. As the ensemble continues to work together and gets to know each other as individuals and musicians, the ideas seem to gel between the members and reduces the number of times this "trial and error" approach will be used.
2. Establish what takes priority. There will be times when we come to an impasse between two opposing interpretations. That's when we have to determine what aspect (or which voice) has the ultimate decision. In a solo recital (with piano collaboration), the soloist will generally be the final authority. In a string quartet, the decision may ultimately be made by the first violinist. What I often find is that the impasse is associated with a issue related to phrasing (maybe a better way to say it is "melody") versus a technical difficulty or tempo. If a situation arises that demands a distinction, is the ensemble more interested in the musical effect or a technically clean performance? 
3. Commit to compromise. We all want to give the best performance possible. Sometimes I will concede to a differing opinion after I clearly express why I am so adamant in my position. By conceding, I am committing to diligently work in my personal practice time to make the approach work. When I display a willingness to bend, I help to create an environment of compromise. I also establish that I am thoroughly committed to the overall success of the performance. If issues related to ensemble, phrasing or technique continue to arise in the same passage, other players are often more willing to try to find another alternative that allows the music to work. (However, if a player consistently doesn't return to rehearsals with problematic passages resolved, compromise is not going to be at the forefront of everyone's mind!)
4. Remember it's not forever. This was the hardest lesson for me to learn over the years. As a student, it's sometimes easy to forget that I won't always have to work with these same musicians forever. There will be a number of opportunities available to make music in ensembles. For whatever reason, if your current chamber experience is not all that you had hoped, commit to doing your best work in order to maintain a good reputation. Once this performance is over, you are free to begin looking for other opportunities.
5. Attitude is everything. Other musicians are watching your interactions in chamber ensembles. Your peers know who plays the role of the diva and who is doing their best to maintain a positive attitude. Don't let what you perceive to be a negative situation drag you down. Keep your attitude positive and focus your attention on the beauty of the music itself.

Is Memorization Really Necessary?

I love to play the piano. I love the feeling of playing in front of an audience and communicating with them simply through the sounds I draw from the instrument. I HATE playing from memory. I've spent years avoiding public solo performances because I wanted to avoid the memory work. Now I'm asking myself (again) if it's really necessary.

I understand that there are some definite advantages to playing from memory. Memorization removes the necessity of turning pages. It suggests that we are intimately acquainted with the piece and have studied it thoroughly. We are able to lose ourselves in the music when playing from memory.

I am also well acquainted with the negatives of playing from memory. Memory slips are par for the course and can rattle the player's confidence. When that happens, I find myself only thinking about getting off the stage; the joy of sharing the music with an audience is gone! Just because I'm using a score doesn't mean that I am reading every note. It just means that I am more confident with the music in front of me and want to insure that I can play beautifully without stressing out about an unexpected memory slip.

I've planned recitals with the intention of using a score and learned the entire program before canceling at the last minute. I assumed that some in the audience would label me as an inferior musician because I didn't memorize every note. I allowed fear of others' opinions to keep me from doing something I enjoy. That's simply not acceptable.

Perhaps my fear of memorization comes from never developing a good approach. I've tried analyzing chord progressions, sequences, and melodies before memorizing. That is certainly helpful in getting to know the piece, but it doesn't help me with the memory work. I'm just really slow at memorization and get frustrated with myself as I struggle through the process.

I know that the only way to get better is to actually do it. So I've pulled out some scores that are completely new to me (and not terribly complex) and started to learn a couple of new pieces. Now I'm beginning the process of memorizing. I'm approaching the memory work differently with each one and will see which procedure seems to work best for me. At this stage, if I memorize a few measures each day I am considering it a successful session. As I stretch my memory muscles, I am confident that the process will become easier over time.

How do you memorize music? Do you feel it is necessary to memorize the repertoire for a solo recital? I welcome your comments.



PLEASE NOTE - I will not post next Thursday in observation of the July 4 holiday. I will resume blogging the following week.

Living the Life of a Pianist

Some days are tough as a musician. It's not that we don't love our work and the joy of making music. It has nothing to do with the hours of practice or the time spent explaining the same concept to a student. There are just days that a "traditional" job with the stability it provides is enticing.....and I find myself dreaming of how life could be very different. The dream quickly turns into a nightmare as I think of clocking hours at a desk job, completing the same mundane task over and over.

Like many musicians, I am continuing to search for the ever elusive full-time position in the field. That means that I freelance in order to make a living. What does that look like for me? My mornings and evenings (on alternating days) are spent teaching music appreciation courses at a local community college. I love introducing students to music that they have never explored before; I flinch at some of the administrative duties and sometimes frustrating colleagues, but the joy certainly outweighs the negative aspects of the job.

I get to feed the collaborative artist inside by driving to Union University in Jackson, Tennessee a couple of times each week to work there as one of their staff pianists. The students are great; the faculty are welcoming and fun. The 85-mile drive can be taxing, but it's a price I'm willing to pay to work as a professional musician. The time at Union has cut down on the amount of private collaborations I have been able to take on....and I miss making music with other professionals and sharing it with the public. Hopefully, I'll find myself in a situation in the near future where I'm not doing quite as much travel and can seek out more chamber opportunities.

The gift of music in my life has been a blessing from God for which I am extremely thankful. As an act of thanksgiving, I also serve a local church. (It's also a source of income, but I try to focus on the worship rather than the work.  I don't always succeed, though.) I wear many hats at the church. In addition to directing the music ministry efforts, I coordinate the teaching of children, have my hands in teen ministry, and provide some administrative support. It's nice to have a non-musical aspect to my weekly schedule (I especially enjoy working with the kiddos), but it can be overwhelming at times. I find it especially hard to switch approaches as I work with volunteers in the church. Students and professional colleagues are a bit more understanding (and appreciative) of clear, honest communication; volunteers require a more gentle approach. After spending years working to overcome my natural tendency to sugar-coat my musical opinions, I'm sometimes my own worst enemy in effective communication with volunteers.

Lastly, I maintain a very small private studio. I am intentionally keeping it small at the moment for a few reasons. Firstly, I simply don't have much more time. My target audience members are late elementary and middle school/junior high students. My available hours don't match theirs. Secondly, I don't have a convenient space for teaching. This is the larger issue at the moment. I share a home with my parents in a small community. My piano is located in the center of the house in a guest bedroom. I don't like teaching students in a bedroom (for obvious reasons) and I don't want to impose upon the schedules of my parents by having students traipse through the house during their primary rest times. I enjoy teaching piano lessons and think I'm good at it; when I find myself in the new situation that I alluded to above, I fully intend to market my teaching in a new city and build a solid studio.

It may look a little nontraditional to you. It is nontraditional. What you may be missing is that it is fulfilling, filled with joy, constant adventure, and lots of fun. Like every other career, there are times where I'm frustrated and overwhelmed. That doesn't mean I'm looking for a career change though; it simply means I'm having a tough day. I'll continue looking for a full-time job in the music field, but until I find it, I'll be content to freelance and pull it together one performance and lesson at a time.

Is It Live or Is It Memorex?

I always got a kick out of the commercials for Memorex audio tapes when I was growing up. Here's one of the ads that I clearly remember. It seemed so amazing that a recording could have the same acoustic effects as a live performance. While I still thrill at the technology, I find myself asking if it is live or is it lip-syncing?

As most of you know by now, Beyonce Knowles was accused of lip-syncing during President Obama's Inauguration earlier this week. I'm not here to debate whether or not Beyonce actually did use a prepared recording. Instead, I want to think about the question of integrity as it relates to the life of an artist.

My music appreciation students composed their first journal of the semester yesterday. Many of them were struggling to find a topic, so I provided some possible topics in class. One idea was the issue of lip-syncing. A large number of them chose to write on the subject; frankly, I was surprised at their views on the issue.

The overwhelming feeling by these students was that it was completely understandable that a professional artist would record their voice. Their acceptable reasons given for relying on a recording were cold temperatures, the possibility of not being able to hear clearly, and stage fright in front of millions of people. It was stated repeatedly that "everyone does it" and served as a moral imperative making it an acceptable action.

I don't want to make this into a bigger issue than it really is. Let's accept the fact that lip-syncing is not a matter of life or death. I must take exception with the issue though. Of the three reasons provided by my students (many of which I have also heard proclaimed by the media), I can accept the issue of the weather -- at least, to a degree. Any artist given the opportunity to sing at such a historic occasion is willing to risk a cold. I know that cold temperatures can reek havoc on the vocal cords; that risk is part of the excitement of watching a "live" event.

Many have compared singing in the open air of Washington with the acoustic issues one faces in a football stadium. Are you kidding me? I simply don't see the connection. Monday's setting was wide open with few objects around that would have caused the bounce-back that is the main reason cited. Stage fright? No way! These artists are touring all over the world, facing enormous audiences on a regular basis. It's part of the job and something performers learn to deal with.

As an educator, I am troubled that these accusations are not viewed as more seriously by some in society. Any student who falsely submits work that is not their own is charged with plagiarism. When an examination is administered, it is an opportunity to show the level of preparation and how well they perform under pressure. Yet we find it acceptable for a singer to pre-record and pass it off as live? Do you really think the recording wasn't doctored in the studio? Do we have any assurance that the first take was the only one?

It simply comes down to this for me: if I am going to hear you in person, I expect to hear you performing LIVE! Otherwise, I'll just stay home and let you send me the CD or I'll download the video on YouTube.

Looking for a Hero

Sometimes I forget that I am not Superman. It's easy to think I've got plenty of time to learn a demanding program when it's several months out. If you're like me, the repertoire can be so enticing that I commit without really considering everything else that will be on my plate at the time. Scheduling for the collaborative pianist is so important (and a topic for a later post). When you find yourself overloaded and the recital date is nearing, what's the appropriate thing to do?

I found myself asking this very question last week. Union University is celebrating Benjamin Britten's centennial next month. The weekend celebration includes performances of Noye's Fludde, a faculty recital featuring his chamber works, as well as masterclasses and a presentation of the composer's sacred works. I'm scheduled to play a main role in all of it....and I'm looking forward to it. As the date draws closer, I realized last week that there is one piece that is simply not where it should be at the moment. Given my rehearsal schedule and teaching load, I don't have confidence that I can be ready to give a solid performance by the festival. That's a stressful realization....and something that I had to do something about.

After considerable time at the piano identifying the issues and calmly and rationally thinking about them, I came to the conclusion that NOW was the time to speak with the program's director. The festival is still several weeks away and will provide another pianist (with less to learn) plenty of time to prepare the piece. In my email, I outlined my concerns regarding the piece technically as well as the rehearsal logistics. I pressed send and waited for the response....and kept practicing!

I have to admit that I was nervous sending the email. I am proud to be part of the team putting together the festival and want to do the best work I can. I didn't want it to appear that I was lazy or simply had waited too long to begin working on the piece. Still I knew that I had to give an honest evaluation of where things stood at the moment.

To my great relief, the response was very positive. Another pianist hasn't yet been secured, but we are looking. In the meantime, I continue rehearsing with a bit more calmness since I know that there are going to be no great surprises when our guest artist arrives in a month. I'm keeping my fingers crossed that I will be relieved of that piece in the next few days. Then I'll be able to concentrate on all of the OTHER music I have to learn!

Making a Lasting Impression

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

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.

Learning Literature Quickly

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

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.

Long Distance Recitals

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.

A Hometown Recital

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.

Musical Nightmares

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!)

The Most Important Critic

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.