Will You Play for My Wedding?

It's a question that most pianists will hear repeatedly throughout their career. I've played for more than my fair share of wedding ceremonies. Family weddings. Weddings of college friends and fraternity brothers. Other friends, acquaintances, as well as random individuals have contracted my services for their special days. Now that I've played so many weddings, I can confidently say I have made some mistakes and learned a few lessons along the way. Here are some of the tips that I wish someone had told me when I first started this summer rite of passage for the pianist.

• Establish your base rate. Playing for weddings is part of the business of making a living as a pianist. It is important that you know your base rate as well as what services are included. Average rates for pianists vary by location, so begin by doing some research on the average cost of wedding musicians. Once you know the range, determine how busy you want to be and set your rate accordingly. As you set your rate, take into account your level of experience, availability, and professional credentials. At this point, it is also helpful to determine what basic services are included/available for every wedding you play. In my current situation, I don't want to play ceremonies very often, so I have a rate at the higher end of the spectrum that includes processional pieces for the bridal party, a standard recessional march, and the accompaniment of one vocal solo. If other services are needed (e.g. prelude, postlude, transposition), there will be additional charges.
• Have a list of suggested pieces available for the bride at your first consultation. When you speak with the bride, get a sense of what type of wedding she is looking for. Is she a traditional bride or is she looking for something "different" from the norm? Is there a strong religious component to the service that needs to be reflected in the music? As you define various wedding scenarios, you will be able to suggest appropriate pieces. If the bride has something specific in mind, be able to clearly state if you know the piece and have music in your library or if it's something you will need to obtain and learn. The latter situation will be reflected in your fees.
• Realize that most brides and wedding coordinators you work with are not musicians. This means that they can't always clearly tell you what they need. It is your job to read between the lines, offer ideas based on your expertise, and make the music work. (The same can be said of many of the "singers" that are asked to perform at the wedding. It's not unusual to find that they are a merely a friend who can carry a tune, but has no formal training.)
• Speaking of singers, carefully craft your policy on transposition and the use of lead sheets. Do you offer these services at all? How far in advance must transpositions be finalized and unchangeable? These skills are highly specialized and require more time than learning an arrangement from the page. Make sure that your comfort level with these skills are reflected in your rates. (If I'm going to transpose something with just a few days notice...that's fine, but YOU WILL PAY DEARLY!)
• Determine any exceptions to your established policy. Hopefully, every pianist has friends and family members that they will want to celebrate with as they prepare to marry. Most performers offer their services at a reduced rate or even offer them as their gift to the couple. Work through these exceptions in your own mind -- but don't advertise them to potential couples -- in advance so you can make sure that you are taking care of yourself in all circumstances. My personal policy is that I play for members of my immediate family for free; "immediate family" is based on my definition and no one else's. Additionally, I have made it a practice to offer my services as wedding gifts to a select group of fraternity brothers. I have identified the years included and have made very few exceptions based on personal relationship with men who fall outside of those specific years. Anyone else that falls into an "exception" category -- close family friend, extended family, other fraternity brothers -- are offered a reduced rate. I let them know what the ceremony would normally cost and then inform them of the discount. Sometimes these individuals are insulted that I don't offer to play for free; others insist on paying the full rate. I have found it important for me to remember that while this is a joyous celebration for the couple and that I want to celebrate with them, it is also a business endeavor for me that I have to be compensated for.

Let's end this post with a few HELPFUL TIPS I've learned over the years during wedding rehearsals and ceremonies.

• Meet vocal soloists 30 minutes prior to the beginning of the rehearsal. If you meet earlier, you will end up doing more playing and the bride inevitably becomes involved. Additionally, wedding rehearsals rarely begin on time, so you will have a little wiggle room. If everyone has learned their part, this should be more than enough time for the rehearsal. In the event that additional rehearsal is absolutely necessary, it is always possible to hang around in the sanctuary for a few minutes after the wedding rehearsal to fix problem areas.
• Processionals can be the most problematic portion of the rehearsal. Suggest to the coordinator that the party walk through the processional without music first so you can get an idea of how much music will be needed. Truthfully, you are just looking for cues to make transitions to the next piece of music (e.g. last member of the bridal party, movement of the mothers, etc.) and making sure everyone knows where they are going before adding music to the mix.
• Keep an eye out for sight line problems from the piano. If there is an issue, mention it to the coordinator quietly and together come up with a solution. In most cases, the last groomsman/bridesmaid is able to communicate with you without distracting the audience's focus from the center of the ceremony. 

Approaching Orchestral Reductions

One of the most challenging tasks the collaborative pianist faces is grappling with orchestral reductions. We do not have the same variety of timbres available that a full orchestra can produce. "Piano Reduction" often means the editor simply transposed all voices into a single key and tossed every note on the staff with no thought for what might be most pianistic. Voicing and registration must conform to the physical limit of hand span.

The challenges of orchestral scores are at the forefront of my thoughts at the moment. I am preparing a recital that will feature Mahler's massive Kindertotenlieder. Much of the work's appeal is found in the rich orchestration the composer provided to support the lush vocal lines. While dealing with this enormously challenging score, I'm finding a few things helpful as I prepare for the performance.

• Use the orchestral setting as a roadmap for your piano reduction. It seems obvious, but as pianists, we can sometimes get so wrapped up in the notes on the page that we forget about the sounds that the composer intended. Regularly returning to the orchestral score and recordings helps us make informed decisions about phrasing, color, and layering.
• Accept the piano's limitations. My instrument cannot warm a single tone by adding vibrato. The core of the sound of a sustained pitch quickly decays compared to one sustained by a wind instrument. Rather than fighting against the piano's limitations, focus on its unique qualities and look for opportunities to exploit them.
• Carefully decide what is most important and what can be simplified (or completely left out)! Orchestral reductions are notoriously difficult to play. Through carefully examining the score and critically listening to recordings, it is the pianist's responsibility to determine what is essential and what can be left out. Resist the pressure to play every note. In this situation, communicating the intent of the orchestral accompaniment is far more important than sacrifing musical line in the name of virtuosity.
• Decode the text! The composer carefully chose the text that he set as well as the performance directives included in the score. It is essential that the pianist translate each word included in the score. A marking of agitato combined with lyrics referencing a storm clearly suggests a violent mood. Return to the text throughout your preparation, constantly looking for new insights that will influence your interpretation.

What do you find to be essential steps in your preparation of orchestral reductions? Is there a certain edition or composer whose reductions cause you significant levels of stress? We'd love to hear your stories in the comments below.

Posted with Blogsy

Establishing a Daily Warm-Up Routine

Most people have a specific morning routine they use daily to get the day started. One of the first things in my daily routine is a trip to the refrigerator for the first Coca-Cola of the day. Afterwards, I'm ready to continue getting ready for the day ahead. Just as we establish a routine before venturing out the door, it is essential that we establish a daily routine to prepare our hands, ears, and mind for the day ahead at the piano. I firmly believe that the time we spend at the piano at the beginning of the day is among the most important -- and most commonly neglected -- part of our preparation as pianists.

Why is the warm-up session necessary?

• It activates muscles that have been at rest during the night. An athlete would never consider beginning intense training without first stretching the muscles that were going to be involved. For far too long, pianists have ignored the fact that our daily regime of practice and performance places a similar amount of strain on the hands, arms, fingers, shoulders, and back as the exercises of world-class athletes.
  
• Warm-ups provide an opportunity to have a heightened awareness about issues related to technique. In my present playing situation, much of my day is devoted to addressing issues of collaboration and musical shaping of the line. It is very easy in those times to shove thoughts of technique and facility to the back of my mind. The morning warm-up allows me to bring this important element of my playing to the forefront of my mind and make it my primary concern. This leads to my next point.....
• The warm-up is an opportunity to notice unusual sensations. Pianists sometimes find themselves keeping insane rehearsal and performance schedules. For many years, I viewed these busy seasons as times that I was consistently ready to play with very little stretching needed. While I am able to get things moving with very little effort on most mornings, I am learning more and more just how important the morning session is, especially in these busy times. The warm-up is a time to confirm that everything is moving efficiently and smoothly in my hands and arms. It is also a chance to take note of any soreness or pain that may be present. In the safety of the warm-up session, I can begin to assess the source of the discomfort and initiate the appropriate response -- whether it's cancelling rehearsals to rest, playing only certain repertoire, or making a visit to my doctor.
• The warm-up session also awakens the ears to quality sound production. Because much of the morning routine is played at a slow tempo (more on that later), it provides our ears a chance to intensely listen to the progressions we are creating as well as the quality of the tone we are producing. The best pianists realize that clean technical playing alone is not the goal of our labor; technique is a means to the end of producing the best sound possible.

How long should the warm-up be?

• The answer to this question varies greatly among pianists. It depends upon how much time is available, the demands of the day, and how much playing you have been doing recently. On a typical day, I like to allow at least 30 minutes of relaxed warm-up before beginning any substantial work. I refuse to play at all without a minimum of 15 minutes alone at the piano.
• Here are a few contributing factors that I have discovered in my personal playing that determine the length of my warm-up.

• The longer I can spend gradually warming up my hands, the better the day will go because my hands just seem to work better.
• However, I also find that less time is required to adequately warm-up if I have been playing daily in a healthy way. In other words, if I have rehearsed for no more than 3-5 hours the previous day (with adequate breaks), I find that my hands quickly return to a performance level. The same is not true the day after a performance!
• Different types of playing require different types of warm-ups. I approach my morning routine differently when I am performing a recital than I do when the day is devoted to practice and ensemble rehearsals. I'm simply aware of the physical demands of the various situations and adjust the degree of warm-up accordingly.

What does a typical warm-up session look like?

• The session as a whole progresses gradually from slow to fast movements. This ensures that muscles are appropriately stretched before demanding too much strain on them and greatly reduces the risk of injury.
• Rather than having a full routine that I complete each day, I have an arsenal of tools that I use. This keeps me from getting bored and I find that I actually look forward to this initial bit of playing each day.
• Regardless of what else is planned, every warm-up session begins with a series of scales. I normally play through most of the major scales -- 3 octaves ascending and descending -- just to get the fingers moving. When I feel that my fingers have begun to function, I move into some of the following areas.
• Exercises/etudes. Throughout my training, the works of Czerny and Hanon have been an integral part of my technical development. I find that I return to these works on a regular basis because of their familiarity and my awareness of how my hands should feel while playing them.
• Arpeggios. These exercises most commonly appear early in the week. Since I generally do limited playing on the weekend, I find that the long, sweeping gestures of arpeggios are a good way to get my shoulders and forearms moving as they should.
• Sight Reading. I find that sight reading can be a positive part of the warm-up process. I intentionally play repertoire under tempo and pay close attention to the gestures demanded and my approach to them. I especially enjoy playing intermediate pedagogical material as well as the early sonatas of Haydn, Clementi, and Mozart.
• Bach. Rarely do I program the works of J.S. Bach for public performance, but I tend to play at least one of his compositions each day. I find that his works are a wonderful way to start the day and awaken the hands, eyes, and ears. Right now, I am slowly working my way through the Preludes of the WTC. Other favorites are the Inventions and Notebooks as well as the Suites.

That's my daily routine. I would love to hear your thoughts about the importance of the warm-up session as well as what you typically play each day. I want to learn from your experiences as well, so share your thoughts in the comment section below.

Posted with Blogsy

Planning for a New Transfer Student

One of the most daunting situations I find myself in as a piano teacher is taking on a transfer student. Unlike students I have taught from the beginning, I have no idea of the student's skill set, goals, or work ethic. Sometimes the student has been convinced that she is a better player than she actually is. Other times, I find that a previous teacher has left the student with gaps in their training.

I have made my fair share of mistakes with transfer students over the years and have learned a few lessons that I would like to share with you now. Here are some of the things I do in the first few months of work with a transfer student.

• Build a list of repertoire studied. It's always interesting to look at the pieces that another teacher has assigned a student. This is helpful in establishing the student's comfort level, commitment to hard work, as well as their expectations. It can also provide valuable information about areas of study that have been neglected.
• Evaluate their skills thoroughly. Although a student may have "worked on" scales or Hanon exercises, their mastery of said skills may be lacking. I intentionally have my students demonstrate various technical skills -- either in repertoire or exercises -- during our early lessons to determine what they are capable of doing. Very often, these evaluations also reveal a lot about the student's understanding of music theory.
• Talk openly with the student about their previous teachers. This is not an opportunity to bash a colleague. Rather, it is a chance for your student to express their insight into their own development. If the teacher was seen as "too demanding", you might anticipate a low level of commitment to challenging repertoire or a student who become easily frustrated. If the teacher is described as "old-fashioned", your student may be looking for modern sounds. Listen for the cries for help your student is sharing rather than passing judgment on a colleague's abilities.
• Back up a few steps and have early successes together. Transferring teachers is tough for the student as well as the new teacher. It takes time to become familiar with how each other works and to develop the trust needed to continue making progress. I have found that it is nice to toss in a piece that is slightly below the student's ability level that can quickly be whipped into shape. Not only does it provide an early victory, but it also allows the student the opportunity to experience the teacher's approach from the introduction of the piece through the polishing process.
• Willingly leave the old material behind. Every teacher has been there at some point. The student is either playing repertoire selected by a previous teacher that you would NEVER have assigned or has developed bad habits that are going to be incredibly difficult to correct. I find that it is perfectly acceptable to honestly tell the student that we're going to leave the piece for now and return to it at a later time. Most of the time, my students appreciate the fresh start and find success with the piece when we return to it later.
• Find the music that they LOVE to play. Although it's not always the case, often times a transfer student comes to us with a certain amount of burnout. Take the time to find out what it is about the instrument that they first fell in love with and help them re-ignite their passion for making music. It may be a departure from your plan for their development for a while, but the detour will ultimately pay huge dividends.

 Now it's your turn. Share your tips for beginning work with a transfer student in the comments below. I still have a lot to learn and would love to grow from your experiences.

The Importance of Great Beginnings in Music Education

Beginnings are vitally important. A great novel often grabs the reader's attention with the opening sentence. Hollywood blockbusters ensure their success through lavishly staged opening segments. Educators emphasize the importance of the first years of life to a child's intellectual development. It should come as no surprise, therefore, that a solid early foundation in musical fundamentals is essential to a student's long term success.

The start of the new year is the perfect time for parents and teachers to evaluate the progress their beginning piano student has made thus far in their instruction. For many, the greatest problem is not determining whether or not progress is being made, but determining the cause when slow progress is observed. In my own teaching, I have discovered a few recurring issues that appear to contribute to the situation. I have listed them here in an order that I find helpful in discovering the underlying issue.

• Unrealistic expectations. Because beginning piano students often excel in other pursuits, it is sometimes difficult for parents to realize that progress in music may come at a significantly slower pace. Like the acquisition of a new language, it takes time to become fluent in music. While it is not likely that your student is a prodigy like Mozart, discernible progress should be expected at a regular and steady pace. A child may struggle for a few weeks to grasp an elementary concept; this should not cause extreme concern. If the child continues to struggle with the same issue for more than three or four weeks with no discernible progress (assuming lessons are occurring regularly), it is advisable to look for a deeper cause of the stalemate.

• Insufficient practice. "There are no shortcuts." I find this is often the cause of limited musical advancement that is overlooked by both parents and students. Regardless of how talented a pianist is, there is no substitute for practice. Consistent practice time at the piano is necessary to master new skills and to develop musicality. What should be practiced? Practicing is much more than just playing through the entirety of your repertoire. For starters, daily attention should be given to correcting errors, building technical skills, navigating challenging passages and shaping the melodic line. Instruction on how to practice and what to practice should be discussed in the piano lesson. How much practice is necessary? That's a common question that cannot be easily answered across the board. As a general rule, most beginning students should expect to invest at least 20 minutes in diligent practice each day. Rather than strictly focusing on the amount of time, however, I encourage students to use improvement as their motivation for daily practice.

• Lack of parent-teacher communication. An open line of communication between the adults involved in the student's musical development is always extremely beneficial. The parent can provide insight into what is happening between lessons while also sharing areas of student frustration and confusion. The teacher that values parental input will be certain to provide information about supplemental resources (e.g. flash cards, technology aids, and additional music) that can aid the student's development. The most common method of parent-teacher communication comes in the form of a lesson notebook; with the increased use of technology in music instruction, electronic methods of communication between the home and studio are becoming more common, too. Whatever the method, the home communication allows the teacher to clearly state the week's goals while sharing additional information with parents. If a formal system of weekly communication has not already been established in the lesson, the parent should feel free to inquire about its development.

• Misunderstood concepts. When a child is facing a road block in his musical development, a misunderstanding of an essential fact may be the root problem. A professional teacher should identify such circumstances quickly and develop a plan for correcting the error. If a parent observes a season of little progress, a gentle, non-threatening conversation with the student might reveal the misunderstanding that can then be communicated to the instructor. If the instructor becomes defensive when the issue is brought to their attention, it may be a signal that a more harmful problem exists.

• Insufficient instruction. Once we have eliminated the above issues as the source of minimal student development, it then becomes necessary to examine the quality of instruction. Not everyone who can play an instrument is qualified to teach. Questions about professional training and teaching experience can often be obtained from a studio website or casual conversation with the teacher. Parents may also seek out information about the teacher's reputation in the community. If the instruction is found to be inferior, it is imperative to the student's development that a thoroughly qualified teacher be found as quickly as possible.

• As a further note on the topic of instruction, it is also important to realize that no teacher is best in every situation. A pedagogue that specializes in adult beginners might not be the best fit for an adolescent student. A piano teacher with limited experience might not be a good fit for the student who is interested in the competitive circuit. Students with special needs will most greatly benefit from teachers who have specialized training and experience with similar students. Each situation is unique. The parent's best tools in making a decision about their child's study is information and personal intuition.

• Absence of talent. As a last possibility, we must state that in extremely rare circumstances, a student may simply not possess any musical talent. I have never encountered a student who could not achieve some level of musical advancement through private instruction. Before allowing your student to be lumped into this "no hope" category, I recommend speaking frankly with all music teachers the student has encountered (school and private teachers, past and present) as well as other respected music professionals. The last thing that should happen is to have a child's musical interests crushed because of a poor assessment of their musical potential.

The Importance of Duets

Last week I joined a dear friend and colleague, Ellen Patrick, to perform at the annual Christmas concert presented by her church. The event was a lot of fun and very relaxed. Ellen and I played Sleigh Ride Duet Fantasy arranged by Zach Heyde and Frank Tedesco. The arrangement was quite nice and rewarding to performers and audience alike. After playing, I began to think back on the role that duets have played in my own life and why I think they are so important.

From the very beginning, my teachers have always had me playing works for piano four-hands as well as works for two pianos. My first public performance was a two piano work -- a concerto that I played on the public school's Christmas recital in 1978. The situation was less than desirable, but the love of playing in ensemble was developed early on and has shaped me ever since.

Why are duets so important?  Here are just a few reasons that I have come up with this week.

• Duets serve as an introduction to other forms of collaboration. Duets present challenges of ensemble that are unique to themselves while also introducing students to universal issues of balance, communication, and blend. Playing with another piano student is not so intimidating since we are all familiar with the instrument's challenges. As pianists become confident in playing in piano ensembles, they are much more willing to venture into chamber ensembles with other instruments.
• Duets are a great way to introduce students to the style and literature of unfamiliar composers. My personal introduction to the works of Rachmaninoff, Poulenc, and Schubert began with the study of their works for four-hands. When I fell in love with Poulenc's music, it wasn't a stretch to look to the four-hand works of Milhaud and Tailleferre. Mozart's duet sonatas were an excellent way to learn about the necessary attention to phrase markings.
• Playing with friends is fun! As a teen, I found myself at a crucial point in my development. I was struggling with some technical issues and my frustration level with the instrument was on the rise. I was ready to walk away from private study for good. Wisely, my teacher recognized my frustration and added duets to my repertoire. Duets traded the grueling work of solitary practice for a social experience. I enjoyed getting to spend time at the piano with a friend while still growing as a musician. Quite simply, I learned to have fun with my instrument again! This fact is still true for me. When I find myself getting tired of working alone in a practice room, I begin to seek chamber opportunities. Sometimes there is nothing better than sight-reading some Schubert duets to fill your soul with laughter and great music!
• Duets expose strengths and weaknesses. While playing with a colleague, I immediately hear things from my partner's playing that I want to improve in my own. Can I play that phrase as lyrically as he does? What do I need to do physically to match the warmth of her tone? I really have to work on those scale passages to match the crispness of his sound! Because my playing will be directly compared to that of my duet partner, many students find themselves practicing more to make sure they are not seen as the weak player in the ensemble.

I love chamber work and have made a career out of it. Even though I love working with singers and instrumentalists, I still find myself longing for a regular diet of piano duets. I miss the joy of making wonderful sounds with a partner at a single piano.

What Does It Take to Teach?

Recently I had a conversation with one of my music students about becoming a private music teacher. As he asked about the requirements, I realized that there is little oversight in the field. Anyone can claim to be a qualified teacher. It's sad, isn't it! I'm sure many of us have worked with students who received poor instruction from a previous "teacher." The process of correcting, clarifying, and relearning can be difficult and frustrating for both the student and teacher. While speaking to this potential future teacher, I wanted to make sure that I was clear about the ethical requirements I would put on anyone considering teaching.

• Have a realistic understanding of your skill sets. It is imperative that you know what you are capable of doing as well as what you cannot do. In addition to knowing your skills, however, you must be honest about what you are capable of teaching! Not too long ago, I had a student that was wanting to learn to play "gospel" music -- a word that has several meanings in the deep South! After an introductory lesson and several discussions clarifying the student's goals, I realized I was not the best teacher for her. While I would have enjoyed working with this gifted student, I would not have been serving her needs in the best possible way and helping her find a more qualified teacher was the ethical decision. For many teachers, this issue arises more often as students progress into the intermediate and advanced levels. At what point do you need to admit that the student has gleaned everything you have to offer? (I've experienced this first-hand as a teenager and I plan to share my situation and experience in the coming weeks.)
• Have formal training. Having a degree in music is the best situation, but I'm not implying that only those with a degree should teach. I WILL say that only musicians with SIGNIFICANT amounts of training should venture into teaching students of any level......especially beginners! I have found that those considering teaching have convinced themselves that they are qualified as long as they know more than the student. That's simply not true! A qualified teacher is able to look far down the road and see the implications of each successive concept that is introduced. 
• Have a desire to help others make music. This should be obvious, but often it's not the case. If you are teaching music for the money or the flexible schedule, you are barking up the wrong tree! The driving force behind teaching must be the love of the music. This is the reason that I am very selective in the number of beginning students that I teach. Elementary music education is not my passion. While I could fill my schedule with beginning lessons and maintain a full studio, I know that the students deserve a teacher who finds tremendous fulfillment in teaching the basic concepts of music. When do I teach a beginner? Normally I tend to take on those students who have had a bad experience with another teacher as well as later beginners (8-12 year-olds). I find that I am able to connect with them more than their younger counterparts.

I find that these are some of the key aspects. Other things (like location, reputation, ability to instruct and share knowledge) can be developed over time. What would you add to my list? I'd love to hear from you!

Improvisation

Last weekend, I had the good fortune of hearing Gabriela Montero play the Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 with the Memphis Symphony Orchestra. Montero's playing was exquisite and exhilarating.  While I enjoyed the Rachmaninoff, what most caught my attention was what happened upon her return to the stage for bows.

Montero explained that improvisation had been a tradition of many great composers throughout history and was something that she had enjoyed since her childhood.  She then proceeded to improvise for the audience.  What I found most impressive was that she accepted a suggested theme from the audience;  the selected song was Elvis Presley's Hound Dog. This was certainly one of the last songs I would have thought to consider for improvisation. The resulting experience was phenomenal! As I left the auditorium, I began to consider the role of improvisation in my own music making and in the lives of my students.

Montero mentioned that she had always enjoyed improvising and seemed to imply that it was something she could simply do. Did she really have no one teach her about improvisation? Is improv something that you are simply born with or you don't have it? In my own musical life, I have never considered myself imaginative and thought that only composers can create new sounds. While I understand harmonic progressions, I find myself tied to the page when I play. When I attempt to improvise, I am afraid to depart from the sounds that are defined as safe and acceptable.

I have equated improvisation with a skill set needed in jazz performance only. Since I am not a jazzer and have no aspirations to become one, I have never seen a need to develop my inner ear. After witnessing Montero's performance, however, I realize that I have been shutting out an entire dimension of music making that can only enhance my own performance.

So the question becomes how do I begin to learn how to improvise? It certainly doesn't come naturally to me. I struggle to simply let go and follow the music wherever it may take me. Often I find that a figure reminds me of a melody I know and I begin to play that work. How do I get past the fear that I'll make a mistake that will simply not be acceptable? While I'm learning how to improvise myself, are their exercises I can introduce to my students so we can grow in this area side by side?

As you can see, I don't have any of the answers.....just lots of questions. I don't think I'm the only one out there that is petrified at the thought of improvising in front of an audience. I would love to hear from those of you who have explored the magical world of improv and found comfort, joy, and personal success. Where did you start? What tips are you willing to pass on as I begin my own journey into this foreign realm of music making?  Leave your experiences, stories and suggestions in the comment section below.

Teaching with a Hymnal

One of my late elementary students is also my niece.  She is showing lots of promise as a vocalist and intends to pursue music as a career. She is passionate about church music and enjoys playing it. So a few weeks ago, I decided to use her as my guinea pig and experiment with using the hymnal in my instruction to students actively involved in the church.

Let's begin by understanding a few things about Sara. Her innate musical abilities surpass her technical skills at the piano. Because the sounds of a traditional method book have not captured her interest, she has resisted practicing. That's when I decided I had nothing to lose with this experiment. Here's how things have progressed so far.

I found that the hymn Jesus Loves Me is in C Major in my congregation's hymnal (The Celebration Hymnal). We began with a simple sight-reading exercise of the soprano line and discussed how the pianist's eyes and ears work in union together to learn a familiar piece of music. Sara enjoyed playing a familiar piece, so I took things a step further and encouraged her to play the soprano and alto lines. This proved to be more challenging, but definitely possible. It was also an opportunity to further discuss thirds in preparation for our first introduction to chords and harmonic progression. Sara found the greatest challenge in overcoming the hand shifts required to play the piece. Since it was a familiar piece, however, she was willing to apply herself and work through the difficulty.

Today's lesson was a wonderful experience for both of us. Sara had put in the time to successfully get through the entire hymn. After her performance, she mentioned that she was still struggling to make things sound smooth -- a perfect segue way into my instruction on the importance of carefully chosen finger patterns. Rather than moving into her method book today (which I admit I use as a crutch since I'm still developing as a teacher), I thought this might be a good time to begin discussing chords. To my great surprise, Sara grasped the concept quickly and discovered the natural relationship between the dominant and tonic. This week, Sara is going to experiment with creating a chord chart for the hymn as well. I'm interested to see what she comes up with and which method she feels more comfortable working with.

I'm not certain how long we'll continue to use a hymnal in our study of music, but for the moment it is proving to be an invaluable tool. Are you using the hymnal or some similar tool in your studio? I'd love to hear the assignments you are using and the results that you're experiencing.

Teaching in Students’ Homes

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.

Adult Piano Lessons

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. 

Studio Issues - Redesign or Relocate?

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?

Rediscovering Bach

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

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.

Repetition

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.

Improving Your Sight Reading

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!

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.

Keeping Students Motivated

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!

My Continued Adventures in Teaching Note Reading

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.

When a Student Hits a Proverbial Wall

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.