Waking to a World of Music

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

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

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

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

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

*Image by Vickie Warner - www.allaboutartgallery.com

I'm Still Here.....

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

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

Teaching Philosophy

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

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

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

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

Lessons Learned in the "Garden"

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

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

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

Long Distance Recitals

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

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

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

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

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

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

Rediscovering Bach

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.