Back to School for Clarinet Students

GETTING AN INSTRUMENT

A Student Yamaha clarinet costs around $700. This is not wood, but plastic, and this is just fine for a beginner.  Here in Austin, you should rent the clarinet for about $45 a month at your local music store, with the rental being applicable to the purchase price.  A professional clarinet will be handmade out of wood, and the best kind is a Buffet brand, but Yamaha makes good professional clarinets also. Strait Music: Austin, Texas Full Line Music Store

REEDS

The beginning student should use reeds that are 2.0/2.5 and 3.0 in hardness and these should be rotated during practice so there is always a good reed on hand.  These can be purchased on Amazon in a 10 pack. always HAVE A SPARE BOX ON HAND.  I recommend Rico reeds for the beginner. These cost $2 per reed as opposed to the VanDoren brand which are $4 or more per reed. A beginner will constantly be breaking reeds.  Professionals use Van Doren reeds or make their own because the quality of the cane does affect the sound.  However, a beginner will not notice this until they are more experienced.

CORK GREASE

Get this in a “lipstick” form. It is needed to keep the joints sliding together easily.

CLEANING SUPPLIES

Be sure you get a clarinet swab to soak up moisture.  This should be included in your rental.

BOOKS

Essential Elements Book 1 for Clarinet  – this has recorded tracks found online that will help make practicing more interesting.

The Essential Elements books also come in Christmas Favorites and Broadway Favorites and Film Favorites.  I highly recommend these for extra FUN practice!

For additional material, get the Rubank Method for Clarinet Book 1

MUSIC STAND

A regular folding stand with a case,  or a more sturdy version – still portable, or a very sturdy stand for use just at home . . . any of these will work fine.

Back to School for Flute Students

GETTING AN INSTRUMENT

A Student flute can cost from $650 upwards to $1600. These are silver plated or with a silver head joint. Just fine for a beginner. Even though open holes {also called a French Model} are NOT necessary for a beginning student; the band directors push the more expensive open-holed flute.  There is ABSOLUTELY NO reason to have an open-holed flute unless you are an advanced player or a professional. A closed-hole flute for a beginner is easier to play.  A beginner will bang the flute around; it will fall off the chair; fall off the stand, and get dented.  The embouchure hole should be rectangular in shape and not oval.  Here in Austin, you should be able to rent a Yamaha flute for about $45 a month at your local music store, with the rental being applicable to the purchase price.   A professional flute will be handmade, with a silver/ gold or platinum head joint, drawn tone holes, a low B foot, split E Mechanism and a C# Trill key if possible. Some of the top brands are Yamaha {Professional}, Haynes, Powell, Muramatsu, and Pearl. Strait Music: Austin, Texas Full Line Music Store

CLEANING SUPPLIES

Be sure you get a FLUTE CLEANING AND TUNING STICK with a soft cloth, swab and a “fluffy” stick to soak up moisture.  The “fluffy” stick will help save the pads on the flute. This should be included in your rental.

BOOKS

Essential Elements Book 1 for Flute –  This has recorded tracks found online that will help make practicing more interesting.

The Essential Elements books also come in Christmas Favorites ; Broadway Favorites ; Movie Favorites.  I highly recommend for these for extra FUN practice!

For additional material, get:

The Rubank Elementary Method for Flute

or

The Rubank Methods for Flute 5 Book set

The Progressive Flute Method Book 1  by Andrew Scott

MUSIC STAND

A regular folding stand with a case,  or a more sturdy version – still portable, or a very sturdy stand for use just at home . . . any of these will work fine.

Back to School for Guitar Students

Look for an acoustic guitar, as opposed to electric or classical. What is the difference? Basically, it is the width of the neck. Acoustic guitars are sort of in the middle as far as neck size. Get a guitar that is as close to full size as possible. Less than full-size will not have the same great sound. Classical guitars have nylon strings, which are easier on the fingers, but the wide neck does not make it as easy to play chords. Electric guitars are very fun, but you need an amp and electricity. An acoustic guitar will travel everywhere with you.

The first thing you need is a good-sounding instrument. If your guitar has a thin sound or a twangy sound, you probably are not going to practice it as much. Look for a guitar with a warm, pleasing sound. Try MANY guitars! If you don’t feel confident in trying them, ask the sales associate to demonstrate them for you. Austin has a couple of locations:
Guitar Center: Music Instruments, Accessories and Equipment

A nice-sounding guitar can cost as little as $100 or as much as $10,000 {or more}. Companies such as the Guitar Center often have packages that include a music stand, guitar strap, picks, etc. I tried nine guitars before choosing my Martin DR16. The determining factors besides the beautiful sound were the rosewood scent and the strong vibrations that I could feel while playing.

Guitar shopping list:

A regular folding stand with a case or a more sturdy version – still portable, or a very sturdy stand for use just at home . . . any of these will work fine.

Tuner/Metronome combo* (eg., Korg or Seiko). You can get the Tuner/Metronome combo right away (eg.,Korg or Seiko). But for young children, I recommend this tuner COMBO after 6 months or a year because it is just one more thing for them to have to listen to.  However, once you have it, you can apply it to voice and all other instruments.

  • a method book, songbook, and chord finder book.

Recommended books for Beginners:

Also try:

*NOTE-- Get the combination Tuner/Metronome, you will have one less item to tote around, but also this Tuner is good for voice and any other instrument that has pitch; dedicated guitar tuners are not as versatile. The Metronome will help you keep a steady beat.

Back to School for Piano Students

GETTING AN INSTRUMENT

Just because you choose piano, that does not mean that you actually have to buy an acoustic piano for your living room.  In the beginning (approximately the first 9 months of study), a digital keyboard works fine.  If you are not sure your child is going to commit to learning an instrument in the long term, then minimum investment with a keyboard is the way to go.

    How do you select a keyboard or digital piano?  First of all, it must have touch-sensitive or weighted keys.  This means that the weight of your fingers, soft or hard, determines whether the sound is loud or soft. For example, the harder the strike, the louder the volume of the sound.  This is essential!

     Second, the keyboard needs to have at least 61 full-size keys; 78 are better.  Digital pianos come with two pedals which will become necessary after about 9 months of study.  (A full keyboard on an acoustic piano will have 88 keys and three pedals.)

     Full-size keys, number of keys and touch-sensitive keys are a minimum requirement; and will get you through the first few months of study with little initial investment.  All the other “bells and whistles” are fun but not important.  The digital advantage is that you do not have to call the piano tuner.  The disadvantage is that the touch is not as responsive as on an acoustic piano.

    Some reliable names in keyboards or digital pianos are Casio, Yamaha, Alesis, Roland and Kurtzweil.  You can also find good prices at Costco, Walmart and Sam’s Club.  Other places in Austin, TX are Capital Music and Guitar Center.

    Often, your local music store will match a price you find online.  I have had a long-standing relationship with Capital Music here in Austin, TX.  They go out of their way to see that my students are satisfied and get what they need.  This is something to consider when shopping for a piano teacher.

Capital Music offers digital and acoustic piano rentals with exceptional prices and terms.

CHILDREN -- PIANO SHOPPING LIST*

Exercise Book – such as A Dozen A Day Preparatory Book by Edna Burnam or A Dozen A Day Anthology.  Short easy exercises that teach a new technique with each exercise.

Method Book – The Progressive Piano Method Book for Young Beginners by Andrew Scott and Gary Turner.  A very colorful and imaginative book that makes practicing easy.

Solo Books – Any two of the Pretime level, Faber and Faber Playtime Books such as Favorites, Popular, Classics, or Disney (the Disney book is the most difficult of the PreTime Level. I do not recommend starting with it).  These books reinforce what is presented in the exercise and method books.

OR Faber and Faber Playtime Level 1 Books such as Popular, Classics, or Disney and Rock ‘n Roll.  These books reinforce what is presented in the exercise and method books.

*You could get the Tuner/Metronome combo right away (eg.,Korg or Seiko). But for young children, I recommend this tuner COMBO after 6 months or a year because it is just one more thing for them to have to listen to.  However, you can apply it to voice and all other instruments.

Back to School for Flute Students

GETTING AN INSTRUMENT

A Student flute can cost from $650 upwards to $1600. These are silver plated or with a silver head joint. Just fine for a beginner. Even though open holes {also called a French Model} are NOT necessary for a beginning student; the band directors push the more expensive open-holed flute.  There is ABSOLUTELY NO reason to have an open-holed flute unless you are an advanced player or a professional. A closed-hole flute for a beginner is easier to play.  A beginner will bang the flute around; it will fall off the chair; fall off the stand, and get dented.  The embouchure hole should be rectangular in shape and not oval.  Here in Austin, you should be able to rent a Yamaha flute  for about $45 a month at your local music store, with the rental being applicable to the purchase price.  A professional flute will be handmade, with a silver/ gold or platinum head joint, drawn tone holes, a low B foot, split E Mechanism and a C# Trill key if possible. Some of the top brands are Yamaha {Professional}, Haynes, Powell, Muramatsu, and Pearl.

CLEANING SUPPLIES

Be sure you get a FLUTE CLEANING AND TUNING STICK with a soft cloth, swab and a “fluffy” stick to soak up moisture.  The “fluffy” stick will help save the pads on the flute. This should be included in your rental.

BOOKS

  • Essential Elements Book 1 for Flute – this has recorded tracks found online that will help make practicing more interesting.

  • The Essential Elements books also come in Christmas Favorites and Broadway Favorites.  I highly recommend for these for extra FUN practice!

For additional material, get:

  • The Rubank Method for Flute Book 1.

  • The Progressive Flute Method Book 1 by Andrew Scott

MUSIC STAND

A regular folding stand with a case, or a more sturdy version – still portable, or a very sturdy stand for use just at home . . . any of these will work fine.

Performance Nerves? Make them go away!

Nerves are an unavoidable part of a performer’s life. Every professional has his or her own way of dealing with that butterfly feeling!

  1. The week before--Maximum preparation of your performance pieces. Plan ahead, so your pieces are the best they can be and you are not trying to fix mistakes at the last minute.

  2. Eliminate every stress factor that you can, leading up to your performance on that day—that means during getting ready at home, getting to the venue, and waiting to perform.

  3. Breathing exercises. Slowly breathe in through your nose, hold for 5 seconds and then exhale slowly through your mouth. Do this several times.

  4. Take bottled water with you.

  5. Don’t rush around getting ready, or trying to get to the performance. Allow A LOT of time!

  6. Distract yourself! Do an activity you enjoy. Relax.

  7. Be sure you are rested.

  8. Project confidence. Acting as if you are the best musician around will help you convince yourself that you will achieve your goal.

  9. Have a light meal about three hours before you play. Going in on and empty stomach won’t help.

  10. Think positively. What is the worst that can happen? So . . . it doesn’t go well. OR YOU WERE AWESOME, preparing all you could! Use this experience to anticipate problems you might have the next time.

Preparing for a Competition - Part 3

There are several actions you can take to prepare yourself for the BIG MOMENT. Being prepared will help you do your best and feel less nervous.

  1. Have your performance pieces in PEAK musical condition for the week prior to your performance day. Practicing at the last minute should not even be considered.

  2. Have a nice relaxing dinner and get a good night’s sleep—at least 8 hours.

  3. Plan to be at your performance EARLY, at least an hour.

  4. Pianists, warm-up at home. Play your usual scale routine and another piece you like to play BUT NOT your pieces to be performed that day.

  5. Wind players, do not drink caffeine or anything that might cause your mouth to dry up—only water. Have a light meal no later than three hours before the performance. Warm up at home for 30 minutes and then try to find a warm-up room at the performance venue. Play only your scale routine. NOT your performance pieces.

  6. Dress “professionally”. LOOK LIKE A STAR! That usually means a Concert Black suit or dress. However, vocalists and soloists should wear comfortable but elegant clothes. Look and act confident, even if that is not how you feel.

  7. When it comes time for your performance, acknowledge the judge (Say, “Hello” or smile and nod.) and introduce your accompanist, if you have one.

  8. DO NOT RUSH to start performing. Take a couple breaths. Make certain you are ready to start. Since you have practiced, and feel prepared, you will do well, even if you do feel nervous. Nerves are a natural reaction. Just do your best! When you are finished playing, leave your flute up for just a second and take a breath; pianists should gracefully lift hands away from the piano and place them in your lap. Then turn and smile at the judge and stand, and bow. This shows you are confident about how you played. Stage presence can be a subtle influence on judging.

What if you mess up your audition or performance? Well . . . IT HAPPENS! Even to professionals. When performing, do not start your pieces over; if you make a mistake, continue on as if nothing has happened. The more experience you have in performing situations, the better you will be at handling nerves. Sometimes performances do not go as planned, no matter how well you have prepared! Learn from this experience to prepare for the next time!

Preparing for a Competition - Part 2

What is the best way to begin learning your competition entry? Here is a guide to follow:

  • Go slowly. When you can play the difficult passages perfectly 3 times in a row at a slow speed, then you are ready to move up in tempo.

  • Try not to make any mistakes. Mistakes are difficult to UNDO! They get in your ear and your fingers, and then you need to try to fix them. It is better to never make them to begin with.

  • Correct any mistakes with pencil THE VERY FIRST TIME! If you missed a flat or sharp, mark it in. Use arrows as a warning to look ahead, circle difficult passages.

  • Use the metronome. Very few students have a steady beat in the beginning. Check to see what the recommended metronome marking is, and then start practicing about 40 clicks below that.

  • Make sure you know all the notes. Do not guess at the notes if you have never seen them before! Stop and figure them out!

  • Look up any musical terms you do not recognize. How can you properly interpret the musicality of the piece, if you do not know that it gradually slowed down in the middle (Ritardando), or became sweet (Dolce) instead of agitated (Agitato)?

  • Read more about the composer and the history of the piece. What do you think the composer was like? How does the music reflect the goal of the composer? How can you transform what is on the page, to a performance that is enjoyable for your audience?

  • Find a professional recording to listen to. Back in the “Dark Ages” when I was learning, we did not have YouTube or Spotify. Imagine that! In fact, there were barely vinyl record recordings of most standard repertoire. Take advantage of being able to see and hear the best musicians in the world.

  • READ your music. DO NOT MEMORIZE the music until you are certain you are playing it correctly! Tisk. . . tisk. . . This is a common problem. Think about it. . . if you memorize mistakes, you have been making in your preparations, HOW are you going to convince your memory that they are wrong?

  • Be prepared to perform at least ONE WEEK in advance of the deadline! The night before your competition is NOT the time to be fixing mistakes! This undermines your confidence.

Preparing for a Competition - Part 1

How to win a Competition is not a mystery. There is an old saying: “Practice! Practice! Practice! That is how you get to Carnegie Hall!” in addition to practice though, you simply must be the best!

Having not only played in Carnegie Hall, myself, and in other international venues, competitions, exams and juries; but also having been a judge and university professor for 17 years; AND having prepared students for these same situations for over 40 years, I am going to share with you some effective ways TO WIN!

First. . . WHAT IS WINNING? Winning is about being the best, or at least convincing the “higher powers that be”, that you are the best candidate in the situation. In music, it means playing EVERYTHING written on the page, and then some! It means being OUTSTANDING and being a STAR!

Without question, you must play all the correct notes and rhythms! Even one wrong note can be a disqualifying factor. Demonstrate ALL the dynamics with great contrast, so there is no ambiguity in their representation. The listener must be able to say,” that was a crescendo. . . or that was a subito piano.” PUT YOUR HEART INTO IT!

Find out who is the greatest, most recognized, performer of your piece, and listen to it being performed a few “million zillion” times! Get it in your ear correctly—that means played by a professional. Recently, one of my young flute students performed Allegretto by Godard. We found a gorgeous flawless interpretation on YouTube for him to hear.

Having said that, how do you know what to listen for? Keep your music in front of you when you are listening. If it has a piano part, watch that as well. See how the parts fit together. Listen to the beginning and ending of notes; the phrasing; the ornaments; how the

dynamics are demonstrated. PRACTICE until YOU sound like THAT!!!

The BEST means a flawless performance. While many professionals play almost perfect performances; the key word here is “almost”. Ask any outstanding musician, and he/she will tell you that the performance was not perfect… it isn’t ever PERFECT; but when you practice, you try to come as close as possible. If you do happen to make a mistake, keep playing; continue as if nothing has happened.

One of the greatest piano accompanists in the world, Phillip Moll, told me that that repeats were in the music so you could get it right the second time! Ha! Ha! Phillip very rarely made mistakes, BECAUSE he practiced almost 8 hours a day, memorizing, thinking, and making the music beautiful and meaningful. One of my teachers, Julius Baker, principal flutist in the New York Philharmonic, said that EACH NOTE had meaning, and it is the performer’s duty to interpret and bring that meaning of music to the audience. Bring BEAUTY and PERFECTION of your piece to your listener and CONVINCE them you are the BEST!

Preparing for a Performance

Performance coming up? If you have never played in public before, then here are some tips.

Make sure your instrument is in peak condition; if you play something other than piano. Guitars should have new strings and be tuned. Check all the screws and springs on your flute; and double check the position of the tuning cork in the headjoint. Flute players with accompanist will need to tune to the piano.

If you perform on piano, you may want to go on a different day prior to the performance; or go early enough on the day of the performance to try the instrument you will be playing. Get a sense of the touch and of the room acoustics. All pianos react in a different manner. Do not play your entire program. Just start each piece and play enough to get the feel of the piano.

Know your performance piece(s) backwards and forwards, and inside and out! This means you have practiced them enough that you can play without mistakes, or at the very least, one or two mistakes.

Record yourself one week before your performance date. Hearing the music will help you determine the work that remains to be done!

The day of the performance is NOT the time to be fixing mistakes. If you do not know the music perfectly by the day before, then you are in trouble.

Spot check troublesome areas. Always practice the most difficult places first.

There are two kinds of performers. Those that play perfectly (or better) the very first time through; and those who do better after having warmed up by playing through the songs. Know which kind of person you are; and prepare accordingly.

Remember to breathe. If you have memorized your piece, get settled on the stage. ACT CONFIDENT. THEN, take a good breath and begin. If you happen to make a mistake, don’t stop. Continue on, as if nothing has happened. ABSOLUTELY DO NOT go back to the beginning and start over. When you come to the end of your piece, take a breath, and then bow, regardless of how you think the performance went.

Poise, and acting skills are just as important as the actual musical performance.

Every bit of work you have invested in your practice preparation will pay off. Performing is a skill. Professionals still get nervous when performing, but they have developed their own coping techniques. (Addressed in a different Blog).

BE PREPARED AND GIVE IT YOUR BEST TRY!

Learning Music – Starting on Guitar?

Well… you didn’t take my advice about starting on piano, but chose another instrument such as guitar, instead… LOL.

How do you get started? Let’s assume you chose guitar. Go with acoustic guitar, as opposed to electric or classical. What is the difference? Basically, it is the width of the neck. Acoustic guitars are sort of in the middle as far as neck size. Get a guitar that is as close to full size as possible. Less than full-size will not have the same great sound. Classical guitars have nylon strings, which are easier on the fingers, but the wide neck does not make it as easy to play chords. Electric guitars are very fun, but you need an amp and electricity. An acoustic guitar will travel everywhere with you.

The first thing you need is a good-sounding instrument. If your guitar has a thin sound or a twangy sound, you probably are not going to practice it as much. Look for a guitar with a warm, pleasing sound. Try MANY guitars! If you don’t feel confident in trying them, ask the sales associate to demonstrate for you.

A nice-sounding guitar can cost as little as $100 or as much as $10,000. Companies such as the Guitar Center often have packages that include a music stand, guitar strap, picks, etc. I tried nine guitars before choosing my Martin DR16. The determining factors besides the beautiful sound was the rosewood scent and the strong vibrations that I could feel while playing.

Guitar shopping list: Guitar, Gig bag or case, MEDIUM picks, Music stand, Tuner/Metronome combo* (eg.,Korg or Seiko), a method book, songbook, and chord finder book.

Recommended books for Beginners:

Hal Leonard GUITAR METHOD (Complete Edition)

Hal Leonard EASY POP MELODIES

Hal Leonard INCREDIBLE CHORD FINDER

Also try:

Mel Bay YOUNG BEGINNER’S FIRST REPERTOIRE FOR CLASSIC GUITAR by Sonia Michelson

Hal Leonard CLASSICAL GUITAR METHOD (A BEGINNER’S GUIDE)

*NOTE-- Get the combination Tuner/Metronome, you will have one less item to tote around, but also this Tuner is good for voice and any other instrument that has pitch; dedicated guitar tuners are not as versatile. The Metronome will help you keep a steady beat.

Learning Music -- Where to Start?

So . . . You have read the literature and heard other parents talk about how studying music helps their children. Now what?

The first instrument you consider studying should be the piano. WHY? The piano provides immediate gratification. You do not have to worry about producing the sound as you do with other instruments such as the flute or violin. Children age 3 and older can start with piano.

Piano demonstrates the BASIS of all music. Whatever you learn during piano study is immediately applicable to voice and all other instruments. Even if your child is not enthusiastic about the piano; it is never a waste of time. I recommend at least one year of piano; perhaps with a parental promise of learning guitar or another instrument at the end of that time.

Just because you choose piano does not mean that you actually have to buy an acoustic piano for your living room. In the beginning (approximately the first 9 months of study), a digital keyboard works fine. If you are not sure your child is going to commit to learning an instrument in the long term, then minimum investment with a keyboard is the way to go.

How do you select a keyboard or digital piano? First of all, it must have touch-sensitive or weighted keys. This means that the weight of your fingers, soft or hard, determines whether the sound is loud or soft. For example, the harder the strike, the louder the volume of the sound. This is essential!

Second, the keyboard needs to have at least 61 full-size keys; 78 are better. Digital pianos come with two pedals which will become necessary after about 9 months of study. (A full keyboard on an acoustic piano will have 88 keys and three pedals.)

Full-size keys, number of keys and touch-sensitive keys are a minimum requirement; and will get you through the first few months of study with little initial investment. All the other “bells and whistles” are fun but not important. The digital advantage is that you do not have to call the piano tuner. The disadvantage is that the touch is not as responsive as on an acoustic piano.

Some reliable names in keyboards or digital pianos are Casio, Yamaha, Alesis, Roland and Kurtzweil. You can also find good prices at Costco, Walmart and Sam’s Club. Other places in Austin, TX are Capital Music and Guitar Center.

Often, your local music store will match a price you find online. I have had a long-standing relationship with Capital Music here in Austin, TX. They go out of their way to see that my students are satisfied and get what they need. This is something to consider when shopping for a piano teacher.

Capital Music offers digital and acoustic piano rentals with exceptional prices and term

Making the Most of your Practice Time

How much time should you or your child expect to spend practicing the material from your lesson?

Generally, allocate 10 to 15 minutes to Basics. These are very important—Yes. . . and mostly boring. Do them first; and get them out of the way. Why so important? ALL of the music you play includes scales and exercises.

Basic techniques are crucial to making progress; both in reading music and physically producing it. However, your assignment in the Method Book should only take about 10 minutes of your practice.

The bulk of your practice time should be on Performance pieces or songs. At least one of them should be a song you recognize and enjoy playing. I usually assign 3 pieces of various degrees of difficulty.

Expect to go over everything in your assignment at least a minimum of two times (FIVE times is much better). In your mind, make a note of the places that did not play smoothly or where you made mistakes. The second time through should be used for corrections. If you are still making the same mistakes the second and third time, then you need to stop and pencil in a written note, the note name, and the finger number. Just the very action of making a notation in the music helps you to make a note of it in your mind. I make pencil corrections the very first time I make an error. This saves me a lot of time and helps me move on to other aspects of the piece.

The more time you spend playing; the better you get. Nothing happens overnight! If you put in the effort, you will be well rewarded with excellent progress! For example, one of my young students (age 6), practices his assignments in FOURTEEN books for 20 times EACH practice. . . He received the highest score on his Associated Board of Royal Music

School Exams this year, out of all my students. On the other hand, I also had a student who, one week before, had not finished learning the notes of his exam pieces. Even though he was aware from prior experience what is required to prepare. Needless to say, he received a low score and did not pass.

Usually, there are three parts of practice responsibility.

  1. The instructor needs to be sure the assignment is clearly understood and easy to execute. The material should be appropriate to the level of the student.

  2. The parent has the job of helping the student develop regular practice habits so it becomes routine. The same time of day, if possible; and without distractions. Also, practices can be divided into smaller portions of 10 to 15 minutes morning and evening. Even with a few minutes a day, progress is possible.

  3. At the end of the practice week, ask to hear what has been achieved during the practices.

  4. The child must be held accountable for completing the assignments. Parents, please do not make excuses for your child. Write down any questions that arise during practicing so you can discuss the problem with your teacher. Yes, sometimes there are busy weeks, or an illness. These interfere with regular practice. Be sure to inform your teacher at the BEGINNING of the lesson, what you did not complete.

Work on building an efficient practice session. Be sure to ask your teacher about practice habits and expectations. Progress is determined more by HOW you practice, rather than HOW MUCH time you spend

Making the Most of your Music Lesson

A music lesson, no matter which instrument, should include the following:

PENCIL AND PAPER!!!!

Basics – exercises, technique. Learning how to improve physical dexterity and hand/eye coordination. For most instruments, this means learning scales at various speeds and articulations, short progressive exercises, and patterned exercises.

Methodology – Introduction of new techniques. Then applying them in a song format.

Music Theory – should be included in the Method Book and Basics

Performance Material – One or more pieces that require the application of techniques learned up to the current lesson.

KNOW WHAT ALL THE TERMS AND MARKINGS MEAN!

Your teacher is there to answer questions. Be sure to use your pencil to write down information you might not remember. If you do not understand a musical marking or term, ask your teacher. . . IF YOU FORGET, look it up! Do not ask the teacher the same question repeatedly. After the 1st time, you should have written it down and remembered it! Get it accurately the first time; a seriously important habit to develop, as it is essential in college and job skills. The more times a concept must be explained after two or three times, is a waste of your time and your instructor’s talent. If you do not know the meaning of everything in your music, you will only be able to perform part of what the composer wanted.

There is nothing wrong with reviewing. . . if you have learned a piece completely, when you come back to it, you should be able to play it without difficulty and without many mistakes. If you can’t, then you know you needed to do more work on it the first time. Pieces that are difficult for you, you may not master the first time working on them. That doesn’t mean you can’t continue practicing. However, sometimes, more progress is made if you take a break and groom your other skills, and then come back months or years later—earlier problems can then be solved more readily.

Give your undivided attention to what your instructor is saying. He/she is giving you valuable knowledge it has taken a lifetime to accumulate and apply.

Finding the Right Teacher, Part 2

And why you should care….

Experience, intelligence, personality, education, organization, and a positive track record of student accomplishments are worth their weight in gold. A teacher who has studied with other well-known teachers is obviously among the “best and the brightest”. That teacher will take his/her experience and condense it into the teaching curriculum; presenting it to your child. Is your child ready for this kind of experience? Does your child have enough motivation to understand and apply the knowledge the teacher passes down in the lessons?

In your search for that terrific teacher, bear in mind that these are some of the lifetime skills, attributes and abilities that music and an awesome experienced teacher can help give your child. . .

  • Responsibility and accountability 

  • Developing a Work ethic 

  • Exposure to foreign languages such as Italian, French, and German 

  • Appreciation of art, music, and dance 

  • Setting and completing goals 

  • Correcting errors the first time 

  • Bringing a project to fruition 

  • Performing for an audience 

  • Public speaking 

  • Hand-eye coordination 

  • Accuracy 

  • Listening extremely carefully 

  • Hand and arm strength 

  • Finger dexterity 

  • Creativity 

  • Critical Thinking 

  • Resilience 

  • Motivation 

  • Curiosity 

  • Question Asking 

  • Humor 

  • Endurance  

  • Reliability 

  • Enthusiasm 

  • Civic Mindedness 

  • Self-awareness 

  • Self-discipline 

  • Empathy 

  • Leadership 

  • Compassion 

  • Courage 

  • Sense of Beauty 

  • Resourcefulness 

  • Spontaneity 

  • Historical knowledge 

  • Humility 

  • Sense of Wonder 

  • Problem solving 

Finding the Right Music Teacher

So. . . your child wants to try piano lessons and you really don’t have a clue about how to start! First, ask friends or relatives for recommendations. Neighborhood online bulletin boards are also an excellent source, such as NextDoor.com . Once you have a couple of candidates, here are the questions you want to ask:

  1. How much teaching experience do you have?

  2. Do you specialize in a certain age group or level?

  3. Where did you study?

  4. Do you have recitals for your students? If so, how often?

  5. How is Music Theory incorporated into your instruction?

  6. Where have your students gone to college?

  7. How do your students fair in auditions and competitions?

  8. Do your students participate in any festivals, or competitions such as the Piano Guild, The Royal Schools of Music, Trinity College Exams or National Federation of Music Clubs?

  9. What is your philosophy about practicing, and your expectations of the student?

  10. What are your goals for your students?

Here are examples of two very different teachers.

INSTRUCTOR 1 has a Bachelor of Music Degree from the local university and studied with some fairly well-known teachers. She has 10 years of teaching experience and participates in the Piano Guild Competitions. Recitals are once a year. INSTRUCTOR 1 also plays for events such as weddings.

INSTRUCTOR 1 charges $120 a month for 4—1 hr. lessons

INSTRUCTOR 2 has a Ph.D. from an Ivy league university. He has studied with world famous teachers and performers from Juilliard, the Berlin Philharmonic, Boston Symphony, etc. He has 35 years of teaching experience at all levels, including graduate school. INSTRUCTOR 2 has many students who placed well in Competitions, have won awards and who have gone on to colleges and universities. Recitals are once or twice a year, as time permits. Students are encouraged to write their own music and to participate in the Royal School of Music Exams, but not required.

INSTRUCTOR 2 charges $100 per hour, but is willing to take younger students for 30 minute lessons.

WHICH TEACHER IS RIGHT FOR YOU?

INSTRUCTOR 1 may be a pretty good teacher. If your child is not able to focus for 30 minutes or is not motivated with goals. Do you know what your end goal is for your child? Are you looking for just a beginning exposure to piano and to learning music? Is learning one or two songs a month an acceptable pace for you? Do you feel that fun is equal or more important to the amount of material that is covered?

If this sounds like your goal for your child. . . then INSTRUCTOR 1 is probably a good fit for you.

INSTRUCTOR 2 has serious goals for your child. His students work hard and achieve progress rapidly. Work ethic is developed along with high expectations of accuracy and completion of goals. If this is in line with your thinking, you should go with INSTRUCTOR 2. However, even though this may be a more serious and progressive course of study, this does not mean that there won’t be smiles and fun during lessons and enjoyment through learning, accomplishment and goal achievement.