Online Music Games, Virtual Tours & Concerts

This week, my students and I are exploring various online music games and going on virtual tours. I figure we can all use a lighter load this week and some fun projects to “work” on over the Christmas Break. Here is a quick list of what we have been exploring:

Online Music Games

Orchestra from the Magic Flute: Students listen to a short clip, featuring an instrument in the orchestra. They have to correctly identify the instrument for it to take to the stage.

Channel Scramble: Test your ear to identify which channel has been assigned to a particular instrument.

Kandinsky: Create a painting and hear what it sounds like.

Rhythm: Can you click on the pattern of dots in time without missing a beat?

Spectogram: Check out spectograms created when instruments play a short clip. Create your own.

Name that Note: Personally, I like Note Rush more but for a Zoom lesson, this works.

MusicTheory.net Exercises: Good for note reading, ear training and theory tutorials

Virtual Tours

Located in Phoenix, Arizona, the Musical Instrument Museum boasts an extensive collection of instruments from every country in the world:

Check out Studio Bell’s Speak Up! online exhibition, featuring many talented Indigenous Canadian musicians.

Pianist, composer and history nerd Thomas Little takes us on a tour of the National Music Museum in Vermilion, South Dakota:

The final virtual tour offered during the 2020 Tiqets Culture Festival (showcasing virtual tours of museums around the world) was a virtual tour of the ABBA Museum. Catch the replay here:

Check out this virtual tour of The Beatles Museum in Liverpool:

Finally, the Morgan Library & Museum (NY) takes us on a virtual tour of Beethoven’s workshop:

Virtual Concerts

This fall, the Calgary Philharmonic Orchestra has been offering free live stream concerts on Fridays. Register in advance to watch live or the replay.

The Metropolitan Opera offers nightly streams of past performances. These are available for free and each production is available for a limited time.

The Berlin Philharmonic’s Digital Concert Hall offers free digital concerts. Register for access.

Do you have a favourite online music game, virtual tour or concert that isn’t on this list? Drop it down in the comments.

Music and Injuries, Budo and Injuries

It’s amazing what can happen in a split second. That’s all it took for me to back into a parked car in my 20s. I was distracted, talking with my friend sitting beside me. It was dark and I didn’t take that extra second to do one last shoulder check. Thankfully, the vehicle was unoccupied and my friend and I were able to locate the owner. Eleven years ago, a second was all it took to lose control of a knife while cutting a pot roast, watch it fly out of my hand, and cut my finger. I needed stitches and was unable to practice piano with my right hand for at least two weeks. That made preparing for Piano Camp rather interesting.

A split second was all it took for me to cut a nerve in another finger, six weeks ago. The Coles’ Notes version: Our order of new swords arrived at the dojo that evening and we were all excited. I was trying to get a new sword - a live blade - unstuck from its scabbard. When it became unstuck, I was not careful enough and LH2 got cut. The nerve was cut cleanly, so stitching it back together was a straightforward procedure. It was a stark reminder to be fully present whenever doing something that should have your complete attention.

It is healing well and my finger is expected to regain full sensation (if not, pretty darn close). For that, I am thankful to my quick thinking friends, the staff at the Sheldon M. Chumir Health Centre, my rockin’ surgical team, my physiotherapist, and God.

I was debating whether or not to write anything about it here. It was a careless moment that could have been much worse. Lesson learned. One of my dojo mates suggested that I share how playing and practising music didn’t stop because of my injury. Budo training didn’t stop because of my injury. If the desire and motivation are there, you can find ways to practice safely with an injury.

MIttori Keiko: Training by Watching

The accident happened just before Ka Muso Kai’s biennial seminar with Colin Hyakutake Watkin sensei, Menkyo Hyoho Niten Ichi Ryu and 12th Shihan, Choken Battojutsu Kagéryu. With my injured finger in a splint for three weeks, I became the official notetaker for the seminar.

Martial arts seminars are quite intense and sometimes, it is hard to remember the big revelation you had 30 minutes prior because you’re so focussed on trying to get the current technique right. Pen in hand, I was able to take copious notes and follow Watkin sensei around to catch additional tips and corrections.

As I had several students preparing for summer exams and piano camp, I still had to practice music. I dusted off the practice techniques I employ whenever I suffer an repetitive strain injury (or the aforementioned pot roast incident): scorestudy, rhythm work and studying videos of performances.

It was rinse and repeat on the budo side of things. Between notes, training manuals and videos, I had plenty to study.

One-Handed Piano and Sword Practice

Shortly after the accident, I contacted several colleagues for repertoire suggestions for the right-hand alone. I remembered that composer and pedagogue, Dennis Alexander, composed a piece for another colleague, Ingrid Clarfield (the first clinician we had at Piano Camp). Dennis sent me a list of all of his compositions for right-hand alone. Here’s Arioso:

I wound up with a sizeable list of repertoire for one hand. It’s a longer list than I actually needed, but I’ll hang onto it in case someone else suffers a hand injury. Another colleague reminded me to practice my blues licks. However, I found that hard to do without my left hand. I wound up playing a simple bass line with one or two fingers, being careful not to jostle my index finger.

I also used the opportunity to work on my ear training, by playing one hand’s piano part and trying to sing the other hand’s part. Let’s just say that needs more work.

My kouhai were surprised to see me at the dojo a week after the seminar. With their Jodo grading fast approaching, I wanted to be on hand to assist with preparations. When not coaching, I worked on my footwork and right-handed sword cuts.

Practising the Other Instruments

Brightly coloured wrap - because #YOLO.

Singing and conducting got plenty of practice time last month. I wound up filling in for our choir directors at church. It probably looked odd conducting with a finger in a splint, and wrapped in brightly coloured cohesive wrap but hey, it gave my finger something to do. I was allowed to do gentle flexing movements, so it could handle cues and cut-offs just fine. My morning routine of rolling small items around on my kitchen table with my injured index finger paid off.

My poor finger worked incredibly hard in those first three weeks to reconnect the affected nerves. The “Re-connection Parties” were quite intense whenever I practised or trained. The neurons fired madly, as if the finger knew that it should be playing or training.

Easing Back into Regular Practice and Training with a Hand Injury

The splint came off at the three week mark and I was cleared for physiotherapy. My surgeon also gave the green light to ease myself back into piano practice, but to hold off on the other instruments and putting a sword or jo in my left hand for a bit longer.

I had to train my brain to accept that LH2 feeling funny is normal - at least until the neuroregeneration process is complete. As my left hand was significantly weaker than my right, I pulled out several technical exercise books from my shelves: Schmitt, Jazz Hanon, Dozen a Day, etc. Even just practicing good ol’ scales, chords, and arpeggii, analyzing my fingers and hand position helped.

In fact, I learned that my injured finger really needs to practice daily as part of my hand rehabilitation. I didn’t practice piano for a day-and-a-half during the August long weekend. By 10 pm, my hand was screaming for the piano. Practising was the only thing that made the pain stop.

Week 6: On the Road to Being a Fully Functional Musician & Budoka Once Again

On the weekend, I eased myself back into regular training at the dojo. Remember in Harry Potter and the Deathly Hallows, when Harry and his newly repaired holly and phoenix feather wand had a joyful reunion? That’s what it felt like when my left hand was able to hold my iaito.

Left-hand and sword reunited. Photo: R-M Arca.

I started with two-handed sword cuts and working through the Seitei Iaido kata. Although I had to take frequent breaks to stretch my finger and massage scar tissue, my hand “felt” happy to be back at training.

Last night, I worked on Jodo kata in partners, as well as the majority of the Iaido kata I know. The scar tissue proved annoying more than anything else, but I managed to get some good training in. I should be able to handle this weekend’s Iaido and Jodo seminar, so long as I give my finger all the stretch and massage breaks it needs.

This week, the tenderness decreased enough for me to resume barehanded cajón playing. I can already tell that it will be a great way to break up the scar tissue.

Flexibility, dexterity, sensation, and strength are coming back steadily. Both my surgeon and physiotherapist are pleased with my finger’s progress. Based on their reactions, it seems like my finger is recovering faster than they anticipated.

Almost a fist. Steady progress.

Although I can’t handle playing advanced piano repertoire or technique up to speed, I’m getting pretty close. The new nerves are slowly making their way down to my hand. In the meantime, I am taking this opportunity to read through my student repertoire library, play through all the technical exercise books I own, and take a bunch of online piano pedagogy courses. Pretty productive despite a hand injury.

Check out my hand rehabilitation journey on the Studio’s Instagram feed:

Our 100 Days of Practice Challenge - in the Students' Words

Last time, I shared my takeaways from latest 100 Days of Practice Challenge. My students who have completed their first 100 Days of Practice Challenge have submitted their surveys. Here’s what they have to share on practising for 100 days in a row:

What was the easiest part for you about the challenge?

• The easiest part about the challenge is for when you don’t have time so you can do a very little practice or just listen to your music, also that other instruments that I have play [count].

• Doing finger practices or listening to my pieces on the days I was busy.

• Remembering to practice every day.

• I was allowed to play whatever I wanted.

• Finding something to practice every day.

• The easiest part of the challenge for me was finding a type of music to practice, whether that be theory, listening to pieces, marching band or piano.

• I started the challenge as I was preparing for my exam, so the motivation to practice daily was very strong.

What was the hardest part for you about the challenge?

• Trying to play the piano every day. Especially when you do not feel well.

• Having to practice every day.

• Playing without a break.

• Theory. Definitely.

• Finding different things to practice every day.

• The hardest part was practicing for long amounts of time.

• Sometimes just finding the time!

Has your playing changed since participating in this challenge. If so, how?

• Yes, I believe it has because I am getting things a lot faster.

• I don’t think so.

• Not since the 60 day challenge.

• No.

• Yes it has. It has improved technically.

• Yes, my practices schedule has become more consistent and regular.

• The approach to getting time to practice. It is less “Oh I have to practice,” and more part of the daily routine and have a set time rather than “Oh I should practice.” Also if it is late or I am tired I will still practice and often, “Oh I’ll just do 15 minutes,” becomes 30 - 45 minutes.”

Have you noticed or discovered anything interesting about your musical journey since starting this challenge? If so, what?

• I discovered that we are around music all the time from playing instruments to going outside and listening to the nature.

• No.

• Not since the last challenge.

• I improve best when I spread out the practice of that one thing.

• I have noticed that once I have gotten into a steady routine of practicing it is easier to make time for it.

• Practices are more relaxed but also more productive as I will stay longer on one thing and feel I have to log everything, as I know I will practice again the next day. If I don’t practice I feel I’ve missed something.

Any other comments, questions, or suggestions to make the practice challenge better next round? Or other practice challenges/projects?

• Maybe being able to take a break if they have something major like exams.

• Instead of practising continuously, maybe there can be 1 day of rest.

• Have break days.

• Nope

• I enjoyed the challenge. Even when the exam was over I kept it going. I feel it gives me time/permission to not only work on exam pieces but all other fun pieces. As of today,my 100 days has expanded to 130 days.

My students have decided to continue with either a 60 Days of Practice Challenge or a couple of 30 Days of Practice Challenges (with a break in between). They don’t want to lose their momentum now that they’ve got their practice groove on.

Thank you to my students Haley, Kateri, Henry, Claire, Erika, Edel, and P for sharing their feedback here. I should point out that Edel is an adult student, so it has been a delight to hear about her weekly discoveries in the practice room and with the music meetups she participates in.

100 Days of Practice Challenge 2019 Reflection

On Thursday, I celebrated the completion of both my Music 100 Days of Practice Challenge AND my Budo 100 Days of Practice Challenge. Neither went exactly as I had planned, but there were still some valuable lessons and takeaways from the experience.

Reviewing my 100 Days of Practice Challenge - Music

I didn’t do a good job at meeting any of my goals this round, as far as my featured trio of pieces are concerned. For those tuning in just now, they were Papillions by Robert Schumann, Danza del gaucho matrero by Alberto Ginastera, and Happy Together by The Turtles (originally, Somewhere Over the Rainbow). The reality of being a church choir musician - a multi-instrumentalist at that, and a piano teacher with mostly intermediate and advanced students preparing for festivals and exams - is that their repertoire took precedence over my featured trio because January to April was pretty hectic for both. I did hit some milestones though:

Papillions: I did learn the Introductzione, no. 2, no. 3, and #7. I determined early on that this was more a study piece than performance piece. I struggled with repetitive strain injury from the blocked octaves (Refer to my Day 30 & Day 70 Check-in). I struggled with trying to like the piece. I made my peace with that though. So long as I could play through those pieces slowly, remembering to relax my hands and arms between each blocked octave, I called it a success. Since Papillions didn’t spark joy for me, I was happy to “Konmari” it from my practice list.

Danza del gaucho matrero: I think I got about halfway through relearning it before Holy Week preparations took over my entire practice time. I have decided to continue working on it, with the endgame being to get the entire work, Danzas Argentinas, better than how I played it back in my ARCT days.

Happy Together: This was probably the one piece that got the closest to having a check mark on it. On Day 65, I recorded myself singing and playing the song on ukulele, and then practised on cajón whilst listening to the track.

Biggest takeaways? Balance. Having three pet projects during an incredibly busy time of the year was not a great life choice.

The second is that my singing-and-playing-at-the-same-time skills leveled up significantly this round. Funny what regular practice can accomplish, eh? Playing and singing at six out of seven of our Holy Week services was exhilarating and exhausting. I think this was perhaps the most I have done for Holy Week. Preparing for it was a test in endurance as well as adaptability, as things do change on the fly.

My brother and I played musical chairs in the rhythm section for the church choir throughout the Holy Week services. Photo credit: R-M Arca.

Perhaps the third takeaway was that if I’m going to choose a piece that has some connection with my late piano teacher, Irina Ginzburg, at least pick one of the pieces I actually love. There are several, but partway during this challenge, I gravitated towards Leyenda (Asturias) by Isaac Albéniz (the last piece we worked on together). The goal is to have it performance ready for my studio’s year-end recital.

Reviewing my 100 Days of Budo Practice Challenge

With the increased study and training time, I noticed that things have been sticking better in my brain and my muscles. There is less cross-contamination between the four martial arts I study. Oh, it’s still there, but just not as much.

Demonstrating Ukigumo from the Chuden Iaido set (Muso Shinden Ryu) at the 2019 Calgary Expo. Funny thing is, I was supposed to demonstrate Yamaoroshi, but hey - kigurai. Photo credit: Jonathon Wilkes.

The result is that I entered our martial arts demonstrations at the 2019 Calgary Comic & Entertainment Expo with more confidence than years past.

More importantly, I got small glimpses of kigurai. My sensei once described it as the confidence you have from doing something numerous times. Sang Kim of Byakkokan Dojo says, “…it translates roughly into pride in your technique and confidence,” while Francis Briers uses, “self-possession” and “subtle but powerful confidence” (Source: The Training Journal). It’s the type of quiet confidence that a visiting sensei or senpai exudes as they walk into a new dojo. Or a musician walking onto the stage of a new-to-them venue.

The other takeaway isn’t new. If I want to squeeze in more training time (versus book/video study time), I need to schedule it in, just like I do with music practice. It also needs to be done before I start teaching piano for the day. I will have to keep fiddling with that perfect balance between studying and physical training.

Beyond the #100DaysofPracticeChallenge

“I think you now need 100 days of rest and contemplation,” posted one friend after I shared my Day 100 post on Facebook. I chuckled upon reading it. After 100 consecutive days of practice, with only one sick day, music and budo practice are just part of my daily routine now. I took yesterday off and it felt weird.

My general guideline is to keep violinist Jascha Heifetz’ quote in mind as I move forward. It is, “If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it."

I will continue plugging away with the spirit of the 100 Days of Practice Challenge but without the hashtag or the daily log updates on Instagram. If I’m away on vacation or need a day off, I’ll take time off, but otherwise, I’ll strive to practice and train daily. I will maintain my practice logs in my Budo and Music practice journals. Occasionally, I’ll post some “work in progress” clips on IG, but otherwise, I will try to get my students to show off a bit more on the studio IG page for the next little while.

I liked the practice parameters I set out for both challenges at the beginning. They offered me flexibility to get in quality practices, whether I had two minutes or three hours.

Musically, I have decided that one “me project” during the busy periods is probably easier to balance along with choir repertoire, student repertoire, and keeping my musician survival skills up to snuff.

Budo-wise, I am leaning towards training/studying three to four times a week, one day being at the dojo (due to my work schedule). On the off days, I’m going to work on cardio and/or core strengthening. I suppose, it still falls under budo as it is conditioning the mind and body. My other goal is to strive towards having two longer training sessions per week (or more).

#100DaysofPractice - Student Update

Most of my students participated in the 100 Days of Practice Challenge. All who did have recently wrapped up their 100 days of practice. Some have opted to finish the year doing 30 Days of Practice Challenges, while others settled on doing one more 60 Days of Practice Challenge. Once all of their surveys have been turned in, I will share some of their takeaways from the experience.

100 Days of Practice - Closing Thoughts

One worry that I have is that by not tying my practice to an official #100daysofpractice challenge online, I will fall off the bandwagon. I have to have faith that after completing four of these practice challenges (one #30daysofpractice music challenge, two 100 days of practice music challenges, and one #100daysofmartialarts challenge), that I won’t.

I have several studio administrative projects and tasks that I am woefully behind on, so I need to spend more time on those overdue items. To be honest, reviewing the videos and photos to post daily did eat up a lot of time that could have been spent on those other tasks. I have a couple of ideas for future 100 days of practice challenges, which can wait till the summer or the fall.

Who else has completed their 100 Days of Practice Challenge? I’d be interested in hearing about you experiences.

100 Days of Practice Challenge 2019 - Day 70 Check-In

My practice trackers tell me that I hit Day 70 of my #100daysofpractice challenge yesterday. So much for doing a post at the midway point. All I can say is that spring is a busy time musically. Better late than never.

100 Day Music Practice Challenge (Round 2) So Far

Things are chugging along, but real-life musical commitments (along with just real life commitments) have been taking precedence over the trio of pieces that I wanted to highlight this challenge. Prior to Spring Break, I buckled down and recorded teacher demos of most of my Grade 1 - 6 students’ repertoire. With music festivals and exams coming up, getting clips up to help my students finetune and polish was more important than learning Papillons. I guess that’s just a reality I have to accept as a music teacher and choir musician.

I am now on the roster to play the piano at funeral services at three churches. On one hand, I feel sad, seeing that I started gigging by playing at weddings and banquets. You know, happy occasions. Now, I’m sending people off. However, there is honour in giving the departed a fine send off musically, so I’ll do the best I can.

Of the featured trio, Happy Together is furthest along. I have learned the song on voice, ukulele, and cajón. Although I am still tripping on a couple of chords and lyrics, I am getting close to being able to record a virtual performance.

Papillons? Ugh. I performed the Introductzione and No. 3 at last month’s studio piano party. It was OK. I am learning to relax my hands on those blocked octaves, but it’s nowhere near ready to be brought up to speed. Nor do I have any desire to. I am currently learning No. 7. It’s slow and that’s fine. Once I have learned it, I’ll call it a day and put it away.

I dusted off Leyenda (Asturias) from Isaac Albéniz’s Suite Espagñola. It’s the last piece that Mrs. Ginzburg taught me during our time together. Enough time has passed that I think I have something new to bring to it. Plus, I simply love the piece, whereas, I don’t like Papillons.

Danza del gaucho matrero has been placed on hold until I have finished Papillons. That should happen this week. I do want to have the entire Danzas Argentinas relearned by the end of this challenge.

With Easter fast approaching, my practising will be dominated by music for Easter Triduum (Holy Thursday, Good Friday, Easter Vigil) and Easter Sunday. Although my brother and I are splitting the bulk of the piano duties (the other pianist is taking the last service - yay! - because I plan on being home, fast asleep for that one), I will probably sing and/or play the cajón for the services I am not playing piano.

March 2019 Music Practice Tracker

Lots of dots = lots of progress, in some areas. Credit: R-M Arca.

Easter Triduum Prep

There’s a lot of music needed for the services on Holy Thursday, Good Friday, Easter Vigil, and Easter Sunday. Credit: R-M Arca

Singing Practice

My ear training drills have been paying off. My a capella singing is stronger than in years past. Credit: R-M Arca.

Happy Together

Singing and ukulele seem to go hand in hand. Well, until I trip on a chord or a word, that is. Credit: R-M Arca.

Cajón practice

I’m so glad I picked a percussion friendly piece for my non-dominant instruments. Credit: R-M Arca.

100 Days of Budo Practice Challenge So Far

I am facing the same challenge that my piano students face: how to fit enough physical practice time into the week. Although I do notice an improvement overall because of my increased budo study time, nothing really beats committing things to muscle memory through repetition.

Camera sensei continues to be my best friend during at-home practices. However, with weapons that range from 20 inches to six feet long, I am limited by ceiling clearance and space. If I break another light fixture or accidentally slice a plant, my kouhai (juniors) will never let me live it down. Thankfully, spring is here and I can go train at a nearby park. Just in time, really. We will be doing martial arts demonstrations at the Calgary Expo later this month, so I better kick things up a notch. Ka Muso Kai will be demonstrating all of the arts we practice: Iaido, Jodo, Hyoho Niten Ichi Ryu, and Choken Battojutsu Kagéryu.

March Budo Practice Tracker

More dots but the majority are in the “Study” column. Need to change that up this month. Credit: R-M Arca.

Checking Angles

There is so much math in Iaido that it’s not funny. Here, I’m checking my angle before completing the cut. Credit: R- Arca.

Mic Stand to the Rescue

Not only is my mic stand a camera stand, it also serves as my training partner in Jodo. It goes into Chudan very nicely. Credit: R-M Arca.

Lots of Swords

One of my kouhai got his iaito recently. That prompted this “dojo family photo” after training. Credit: R-M Arca.

Brain Dump Time

After a seminar or a really good class with sensei, writing down all the tips is critical. At least, it is for me. Credit: R-M Arca.

Looking Beyond the Practice Challenge

As I listen to my students and myself play, it is wonderful to see and hear how much progress we have made. However, as the year ramps up, physical, emotional, and mental fatigue will become a bigger challenge to face. We have all learned different ways to practice, but we are noticing the need for taking some time off. Rest gives us that time to reset, refresh, and come back to our work with a fresh perspective.

We will all have to figure out what that ideal balance is. For me, I think musically, it will be six days a week, with five days being on my instruments and one day dedicated to scorestudy and/or ear training. Budo-wise, I think it will shift to five days a week, with three days physical training and two days of study. The breakdown will vary depending upon what else is going on, but the main thing I will take moving forward is planning my practices so that everything gets worked on regularly.

Although having said this, I may just carry on with daily on both fronts but take a day off when I need a day off. I just need to make sure that I don’t go beyond three days off. Violinist Jascha Heifetz once said: “If I don't practice for one day, I'll know it. If I don't practice for two days, the critics will know it. If I don't practice for three days, the whole public will know it."

100 Day Music Practice Challenge - Students

Three of my students have completed their 100 Days of Practice Challenge, with a handful expected to wrap theirs up this week. The remainder are slated to complete their challenge around Easter. I will share their reflections once they have turned in their surveys.

Some of my students have opted to do another 30 Days of Practice Challenge, working in a break before doing another round. Others have decided to complete another 60 Days of Practice Challenge - with a little break before and after the challenge.

The general consensus for next year is that we will do a 100 Days of Practice Challenge but it won’t be consecutive days of practice. Obviously, if a student opts to make it 100 consecutive days of practice, they’ll reach their goal more quickly than someone who takes a few days off. I do hope that students do take a day off here and there though. Resting our minds and our bodies is just as important as practice frequency. It’s a fine balance.

To find out more about my 100 Days of Practice Challenge Rules, check out my Reflecting on My First 100 Days of Practice Challenge post.

To follow my 100 Days of Practice Challenge, head over to Musespeak Studio’s Instagram: