I’m always attempting to find a way to incorporate my favorite tool (the iPad) and prefer to remain a paper-free studio as much as possible. Therefore, I’ve created a tutorial on how your students can complete Kristin’s activity as a digitally handcrafted musical Mother’s Day card with just the iPad and the help of a terrific app, of course!
Take a Peek at a Completed Composition
Here’s a finished project. You’ll notice some slight variations in what was notated and how it was played and sung–creativity can’t be stopped!
Note: Before you begin this process make sure to download Notability developed by Ginger Labs at the App Store. Here’s the link. Read more…
We all know recitals can build excitement for our studios. Could we get even more creative with them? Give folks a performance to remember. Families will talk about it to friends, friends will see clips or photos on Facebook or in emails, and word will spread about the teacher whose students know how to put on a show. Students will be excited to have been a part of it. You’ll probably add to your waiting list as a result. Here are the first five buzz-making recital ideas:
The King’s trusted advisor came bursting through the door! “My Lord, we are being attacked!”
“Fear not,” said the wise old King. “We shall use my secret weapon, The Great Red Dragon!”
To cut the first of eleven fairy stories short, that appear in composer Nikolas Sideris’ brand new piano duet book, the King saves the day through clever trickery and wins the respect of his people!
After I finished reading this two paged story, one of eleven written especially by Nefeli Tsipouridi, I couldn’t wait to turn over the page and start playing the first composition in the book. I was inspired!
But oh no! I was alone at the piano and this is a duet book!
Fortunately, thanks to modern technology, each primo part has a QR code on the side of the title, so all I needed to do was hold my tablet up and the next moment a well-recorded performance of the composer playing the secondo part began to my delight. (There is a link in the introductory pages of the book that you can visit to download the mp3 files if you prefer)
And wow, what an adventure! With the words of the story I had just read still ringing in my ears, I was transported to the centre of the scene with composer, Nikolas Sideris’, evocative music. We battled evil forces with every twist and turn Read more…
After you received your undergrad music degree, performed a stellar recital of the classics, turned in that
lofty thesis, passed a professional accreditation exam or somehow earned shiny, new initials behind your name, you probably felt a great sense of achievement. Perhaps you felt like I did? After I received my Master of Arts in Piano Performance and Pedagogy, I felt my career was professionally wrapped up and ready to launch. Although my intent is not to discount the importance of the academic achievements listed above, I’m wondering if you–like me–had your bubble burst, your box tipped upside down and your bow unraveled when you entered the real world of piano teaching? Yes, I could play and teach Beethoven and Ravel, I could design a sequential curriculum for early learners but when asked to read from a lead sheet, my skills fell embarrassingly short. Read more…
Everything was conspiring against me. Especially my music teacher. Right then as he commanded me to “sing”, I was thinking unspeakable thoughts of hatred towards him.
Why did I need to sing in the school choir? After all I was an instrumentalist. I’d managed to survive all these years of mumbling at the back during class singing so why did everything need to get so ugly?
And there I stood! The whole choir of immature boys and girls just waiting to poke fun at me. Why couldn’t I just run around the corridors naked? Surely that would be less embarrassing?
But he made me do it! Oh how I seethed with anger at the time. But when I look back now, he probably gave me one of the greatest gifts to my musicianship!
So why sing?
Reason 1: Helps You Express Yourself Better
When you can’t articulate into words what you mean to another musician, singing simply fills in the gaps. The more frequently you sing to express musical ideas, the more relaxed and “normal” this method becomes. I love to promote a safe environment in my studio where everyone feels relaxed enough to communicate through singing their musical intentions without Read more…
Group classes are a great way to reach more students, multiply your time and promote your studio. I taught a group vocal class over the summer (Group Classes) and a group guitar class. Find the first two guitar class posts here (Group Guitar part 1 ) and here (Group Guitar part 2).
What I cover in weeks 5-8:
-how to tell the key of a song
-transposing, review how to make your own chord charts, and the 3/4 strum
-the “Happy Birthday” song. You’d be surprised how many accompanists I’ve met who can’t play it!
-another parody I wrote for this class, with only 2 chords, to the tune of “Clementine”. This one I personalized with their names and some positive traits:
1. In a church one sultry summer, round a table sat The Six: sore fingers, sore brains, but they strummed their acoustics.
2. Guitars ready, keep it steady, press your fingers till they bleed. Making music is so fun! What more in life could you need?
3. Play the 2/4, play it over and over again. “Almost got it,” says the teacher, “Take a little rest.” But then…
4. …comes another even harder, will we ever get it right? Now the strings are out of tune, but do I loosen or turn it tight?
5. There is Jerry, always ready, and Malea’s cheerful grin, Leslie’s great dry sense of humor; Robin says, “Play it again.”
6. Asia strums and Doris hums and Gavin, fearless, forward goes. By the end of this guitar class, every one of them will be pros!
What I choose to review and for how long depends on how they did at the last lesson, and what I think they need:
-the 4/4 strum and appropriate songs
-a demonstration that 2/4 and 4/4 strums can be interchangeable
Note: whenever I introduce new chords or strum, I choose songs with as few chord changes as possible. I aim for a good mix of musical styles and tempos.
I sing the melodies until they can. Sometimes I say the strum aloud: DOWN, downup downup downup—and we pause at the chord changes until they have their fingers in place. Once most have the hang of it, I make sure to do parts of the songs slowly and parts quickly to accommodate all class members. It’s equally frustrating whether you can’t keep up, or you’re being kept from going as fast as you are able, so I do some for both.
Last time, I gave you 2 simple tricks to read music notes. In many school districts, teachers are pressured into putting on concerts right away, and are told by administrators that the students have to read music right away. This goes totally against how we learn music, which is by using our ears to listen and our bodies to feel rhythms.
There are many systems that teachers use to count rhythms, with the most popular being the number counting of beats in every measure. I was trained that way myself, but noticed quickly that some of the same syllables for certain rhythms (i.e. 8th notes) were also used to count triplets (i.e. 1 + a). This would be confusing because triplets are felt differently than 8th notes. I somehow managed to learn how to feel the rhythms in those situations instead of relying on the counting.
The number counting system is good for determining where the beats fall in a measure, but there’s a simpler, well-researched system that is based upon rhythm function. Edwin Gordon’s system allows the student to recognize and feel the big and small beats in duple (based upon 2 small beats for every big beat) and triple (based upon 3 small beats for every big beat) meters.
Since most students are taught the number system, I will explain how this works, but I also want to compare that with Gordon’s syllables to give you a choice. Whatever works is what is best for you! Read more…
In an effort to journal my progress I usually record myself showing my best efforts AFTER I’ve practiced and perfected my improvisation assignment from Bradley. He continues to challenge me with his online, methodical and expert instruction. With limited time to practice, I decided I’d come clean and let you in on the somewhat messy process BEFORE “perfection” or let’s say “close to perfection” occurs.
What you’ll see in the video below shows how I tolerated cleaning my bathroom–not my favorite chore–by allowing myself periodic breaks to practice. Come to think of it, this would be a good way to encourage my students to practice. Parents could offer two options: practice or clean a bathroom! Read more…
Yes, Yiyi, is just as nice in person as she looks in a pic!
I’m still catching up on sleep after my return from the Music Teachers National Association Conference in Chicago. Attending dynamic sessions, and intense meetings, hanging with favorite peeps from around the nation, meeting Facebook friends in person and of course enjoying scrumptious meals took their toll on my sleep patterns. At the same time, what I absorbed will provide that much needed energy to reinvigorate my teaching.
Before I share more about my unique experience and the reason behind the title of this blog, here’s a couple of things I wish to mention.
Music Teachers Helper at MTNA
First, Music Teachers Helper should be proud and pleased with Yiyi Ku’s presentation on the terrific features of MusicTeachersHelper.com. This important tool has become irreplaceable to me. I’m sure those who attended Yiyi’s session learned what they were missing and signed up thanks to her comprehensive coverage of this online, savvy assistant.