Adventures in Live Streaming & Streaming

My foray into live streaming and streaming began on Palm Sunday weekend, my designated weekend to play at church. All in-person church services were cancelled at the point due to the COVID-19 pandemic.

Holy Week is huge for Catholics, so I am sure I wasn’t alone in feeling gutted and a little lost that this most vital celebration of our faith and Jesus’ sacrifice was relegated to worshipping alone in isolation, together yet apart, rather than celebrating together as a faith community at church. So, I kept practicing because I needed to do something that felt normal for that time of year. A small part of me practiced in the off-chance that we’d get the green light to have music at our Easter Sunday Mass that was live streamed (we did and it was glorious).

Jumping into Live Streaming

I think it was around 9:00 PM that Saturday night when I concluded that if I was feeling depressed about the music ministry not being able to contribute to Holy Week services, the rest of the choir probably felt the same. Perhaps they would like to sing along with me while I practiced?

That led to a quick search on live streaming options. I must admit, I didn’t know much about live streaming or streaming, other than the fact that sometimes my gamer friends and favourite YouTubers did live streams (live broadcasts online). Sometimes, they upload prepared content (streaming).

OBS popped up at the top of my search. Impressive, but the learning curve seemed too high for my mental state that weekend. Having made the decision, I just wanted to start streaming right away. I considered Facebook Live and Instagram Live briefly. A small part of my mind was already thinking ahead to multi-streaming - broadcasting to multiple places, like Facebook and YouTube simultaneously. So, Facebook Live and Instagram Live were ruled out immediately.

That’s when I found StreamYard. It’s a web-based livestreaming service, which allows you to stream to YouTube, LinkedIn, Twitch, Facebook, Periscope and Custom RMTP. Upon a quick skim, StreamYard seemed to have the lowest learning curve so I plunged in. A few quick sound tests and within 10 minutes, I was live streaming a practice session - and people listened and interacted throughout.

Music Ministry Hour

I was soon joined by my friends and fellow liturgical musicians Lisa Kiernan (St. Gabriel the Archangel) and Kay Alexander (St. Mark’s). Our impromptu live streams morphed into a weekly worship sing-a-long throughout the Easter season. Sometimes, we were joined by my brother Jay (St. Francis de Sales) and the Wourms family from St. Gabriel’s. We all studied the Scripture readings for the upcoming week and selected songs that we would typically do if we celebrated Mass. We multi-streamed - live - to Facebook and YouTube (A.K.A. “simulcasting”).

Sound check in StreamYard’s virtual Broadcast Studio.

Each week, we learned a little bit more about audio levels, equipment, and mic positioning. One weekend, I played around with custom overlays in Figma and banners in StreamYard, so things looked pretty darn slick by the last session:

Designing video thumbnails and overlays in Figma has been a lot of fun.

Live Streaming Recitals

After Spring Break, my students and I discussed options for the June 2020 recital: to live stream or pre-record. I was already experimenting with live streaming. My students, being the tech savvy folks they are, knew just as well as I that editing videos usually takes longer than you think it will. Perhaps that’s why even they were curious about live streaming a recital.

We needed to do a test. I contacted our local nursing home to see if they’d like us to perform for the residents in a virtual recital. Six students signed up to be guinea pigs. Here’s a clip of my live stream preparations for the recital:

The residents watched the live stream or the replay. We also invited family and friends to watch the recital as an unlisted YouTube live broadcast. It went well. Afterwards, my students said that it felt similar to a normal recital. The excitement level was the same. Everyone liked the idea that we could chat backstage, while parents were pleased with the sound quality and overall experience.

We decided to move forward with a live stream recital in June. My students took full advantage of the backstage chat window during the recital, cheering each other on. Family and friends utilized the live chat on YouTube. Thanks to StreamYard’s user interface, I inserted some of the comments directly into the live stream and responded to comments and questions in real time.

I don’t think anyone noticed that I accidentally left the broadcast. Thankfully, with StreamYard doing all the heavy lifting, the show went on. I quickly slipped back in before the next performer needed to take the stage.

It wasn’t the same as being in a church and having the Snack & Chat afterwards, but at least there was that real-time interaction with family and friends both near and far.

Live Streaming 101 Webinars

In May, both the Alberta Registered Music Teachers’ Association and Alberta Piano Teachers’ Association asked me to do a webinar on Live Streaming and Streaming Recitals and other studio events. From the sounds of it, it was well received and convinced a handful of teachers to give live streaming or streaming a shot.

The webinar and reference materials are currently only available to APTA and ARMTA members. I am in the process of re-jigging the material into an online course that will be available for purchase on the Studio website next month.

Live Streaming & Streaming - The Adventure Continues

Throughout the spring and summer, I played around with streaming and live streaming. The bulk of my content creation so far has been teacher demos of student repertoire and RCM and Conservatory Canada technical requirements, which are available on the Studio’s YouTube Channel. I record in StreamYard to toggle between multiple camera angles while recording and use Davinci Resolve to edit the videos.

What “So…um…” looks like.

In the fall, my impromptu Practice Clips & Tips Instagram and Facebook series levelled up to the Practice Time with Ms. Rhona weekly series on YouTube:

I picked up a new toy to improve my audio quality. I’m still playing around with both the mixer board and the microphones to find the ideal setup. It’s a work in progress:

Check out my studio tech setup here.

I also decided to commit more time to creste content for my two other channels. There’s The Musical Muse - my musician/freelance writer channel, where I upload performances, unboxing videos and reviews, as well as Budo No Tabi - my budo & Japanese culture related channel, uploading sword care tutorials, unboxing, and fun videos of my exploration of Japanese culture. I have a few more content ideas but that’ll be a surprise.

This is not easy by any stretch of the means. The biggest challenges for me right now are balancing my workload, prioritizing tasks better, and managing my time and energy. It has been a fun adventure, learning how to use Davinci Resolve and exploring different setups, content ideas, and so on.

My students and I held the first piano party of the year in StreamYard and Steam. We used the “Record Only” option in StreamYard for the performances. We kept the Broadcast Room open while we played Skribbl.io and Among Us. Naturally, we muted our mics and turned off our cameras while playing Among Us so as to not give away who was a Crewmate and who was an Impostor.

Afterwards, I shared the video with studio family and friends as an unlisted video. However, I can share these highlights with you:

Next month, we will be performing our annual Christmas recital for the nursing home residents online. It will be live streamed privately to the residents as well as to studio family and friends. My returning students are pros at setting up their mics and cameras now, so I don’t think the sound check period prior to the recital will need to be as long as it was in June. I think Sound Check began one or 1.5 hours before we went live. The newbies will just need a little bit of coaching, but thankfully, most of them attended the piano party, so they got a little taste of what’s to come.

***

Fellow teachers, with stricter gathering restrictions in place once again, what are you doing this year for recitals?

DISCLAIMER: This post contains a referral link to StreamYard. If you get a Basic or Pro subscription, you will get a discount and I’ll get a little referral bonus.

20 Piece Polishing Challenge Video #2: Bourée in F Major

For the second piece in my challenge, I chose a piece that would juggle nicely with Easter Triduum music and getting speed and memory secure in Typhoon. I picked Telemann's Bourée in F Major.

ABOUT BOUREE IN F

Composer: Georg Philipp Telemann (1681 - 1767), Germany

Source: RCM Level 7 Repertoire

Notable Score Markings: M.M. = 88 - 100 to the half note, devoid of expression and dynamic markings

Prior Experience with the Piece: I've taught this lively piece many times as it is a favourite choice amongst my Royal Conservatory students. 

Learning Challenges: Jumps, voice balance, fingering, speed

My Practice Log

Day 1: Ran through the entire piece. Reviewed patterns and structure. Identified fingering and coordination trouble spots. Did a bunch of blocked chord drills while yelling out the chords. Remembered to record practice videos to show how I drilled the trouble spots.

Day 2: Did a full run-through - cold. Tempo was just a few notches below the recommended tempo but wasn't able to maintain it during the trouble spots. Played around with ornaments and terraced dynamics. Will try a couple of different coordination and flow drills next practice.

Day 3: During my student's lesson, I showed her how I worked on her trouble spot in bars 10 - 12 using the Twice as Hard Drill. We dissected the harmonic structure in the B section.

Day 4: Did some slow run-throughs with and without the metronome, using the Every Other Bar Drill to work on flow. Decided to record a snippet of running through the second page for Instagram account. Naturally, I picked a spot where I wasn't swearing at myself for messing up.

Day 5: Did a full run-through of the piece at around while stopping to drill spots where I stumbled. Tried playing through again at a slower tempo (approximately 70 beats per minute). It was flowing fairly well. Dynamics and shaping is all there, if I can get the flow more consistently, then we're good enough to perform. 

Day 6: Played with the metronome set at 66 beats per minute to start. Got up to approximately the 76 bpm range sounding confident and fluent. Piece felt rushed and wobbly at a faster tempo.

It is important to note that most Baroque music is devoid of markings. That leaves tempo, dynamics, and expression up to the musician, based upon their knowledge of Baroque music and performance practices. Although the RCM book does specify a tempo marking, note that it's only a recommendation. 

Bourée the piece is based on bourée, the old Baroque dance. The important things to convey are the characteristics of the dance - upbeat and bouncy - along with the period characteristics of terraced dynamics and ornamentation. If that can be conveyed at a slightly slower or faster tempo than what RCM recommends, that's perfectly fine.

Having said that, I felt comfortable and confident enough with my Bourée in the the mid 70s range and decided to record. I wound up with a strong run-through on the first take. I did try for a second take in hopes of getting a cleaner performance but the magic was gone. This is still a fluent performance, so I'll take it.

Piece number #3 is in the works. I tried recording a practice video today but my camera batteries died and I wasn't too happy with my webcam and mic either. A clear sign that it's time for me to move on to practising music for this weekend's Easter services.

You can follow my progress with this challenge by checking out these two playlists:

• My 20 Piece Polishing Challenge Playlist - contains the video performances

• My Practice Videos - show how I work through some of the common trouble spots

The practice drills I have referenced are part of Maestro's Music Tricks - a deck of cards with practice drills that I have put together with my students' help. It's going to be getting a reboot later this year. Stay tuned for details.

Check back here for my thoughts and musings as I work through the pieces.

Repertoire Exploration Project: Conservatory Canada Pre-Grade 1 Repertoire

When I was growing up, we had to go to the library to hear various recordings of our pieces. With technology, it is much easier to access various performances of pieces - but only some pieces. I have decided to record my exploration through student repertoire that hasn't received as much screen time (or any at all). It will take a while, but I hope to playing everything in the Royal Conservatory of Music and Conservatory Canada syllabi.

My students have generally been excited to hear that I'm taking their pieces to the next level by polishing them as well. One of my adult students was so happy to hear the news as it is somewhat disheartening to only see performances of half-pint prodigies playing your piece.

First up: Conservatory Canada's Pre-Grade 1 Repertoire. This was a lot of fun to do, mainly because I didn't have to think too hard about these pieces. I simply had to concentrate on enjoying the music.

There's nothing like playing pieces that show you just how far you've come in your musical journey. And if they help a few piano students and teachers along the way - great.  

The playlist is still a work in progress. I've recruited several of my senior students to help me record the duets. I also need to record the songs that were added to the second edition of the Pre-Grade 1 book.

The Conservatory Canada Pre-Grade 1 Book is available at most local music stores. Alternatively, you may order it at Sheetmusicplus via my affiliate link below:

look inside

New Millennium Pre Grade 1 Piano Conservatory Canada NOVUS VIA MUSIC GROUP. 32 pages. Published by Hal Leonard (HL.139032).

I'll be hopping around in my repertoire review, prioritizing the pieces that my students are currently working on over the rest. Visit the studio's YouTube Channel for updates.

My 20 Piece Polishing Challenge

While updating my student repertoire playlist on YouTube, I noticed that one of the videos that I selected was tied to a 40 Piece Challenge. Curious, I did a little digging.

It turns out that piano teacher Elena Fortin has been participating in these 40 piece challenges with other colleagues in the Art of Piano Pedagogy Facebook group for several years. They learn one piece a week and upload a performance of it at the end of the week. 

What a great idea for us music teachers to keep our chops up. Learning pieces in a short amount of time really forces a musician to practice efficiently. 

Lately, I've been working more on collaborative music. My brother and I have had fun working on music by Pia no Jac. I played and sung at a friend's wedding recently and have been doing more of that in church choir. Then, there are the various VGM and J-Pop projects that I have been doing with my buddy, the Animal Alchemist. In most of these cases, I utilize my technical, improvisational and sight-reading skills more than anything else. As much as I hate to admit it, I'm getting a little rusty at taking a solo piece - especially a classical one - and polishing it up to performance standard.

With more of my students moving up to the upper intermediate and advanced grades, I myself need to get back into shape. Sure, I know their pieces well enough to teach them, but they are by no means polished. Nor do they need to be, but what better way to get my solo piano polishing skills back up than by starting with my students' pieces?

Setting up my 20 Piece Polishing Challenge

I set up the parameters for my 20 piece challenge as follows:

• Polish 20 student pieces between now and August 31, 2018.

• Record polished performances of the challenge pieces and upload them onto the Studio's YouTube Channel.

• Pieces must not be ones I have previously learned and polished up to performance standard (that will be another self-imposed challenge).

• Pieces must be between Grade 7 - 10 level in the Royal Conservatory or Conservatory Canada (Traditional or Contemporary Idioms) syllabi.

• Repertoire must be for solo piano.

• Memorization is optional.

As I have to juggle this project with the rest of the repertoire I'm working on, I'm not going to pin myself down to spitting out a piece a week. I have had plenty of practice speed learning pieces and getting them to "good enough." I need more practice getting things to a much higher level. Some pieces will take me just a few days to polish while others will take several weeks.

Perhaps I'll participate in the 40 Piece Challenge next fall but for now, this seems like a good way to get back into shape while being able to help my students with their repertoire even more.

20 Piece Challenge Video #1: Disco Visit

About Disco Visit

Composer: Mike Schoenmehl (b. 1957), Germany

Source: RCM Level 8 Etudes

Notable Score Markings: Einleitung, MM ♩ = 84 - 92, straight eighths at the start. "With a heavy groove!" at bar 5.

Prior Experience with the Piece: Minimal. I sight-read it when I first bought the Etudes book at the beginning of the school year and immediately thought it would be a perfect fit for one of my students. I was right and she's going to start working on it later this year.

Learning Challenges: syncopated rhythm, leaping bass, repeated large chords and octaves, hand coordination, speed

My Disco Visit Journey (AKA, "Practice Log")

Day 1: Ran through the entire piece. Reviewed patterns and structure. Identified rhythm and coordination trouble spots (bars 9 - 12 and bars 17 - 19). Drilled them by tapping and counting out the rhythms, playing hands separately and then hands together several times. Got the first spot clean and consistent. The second? Still working on it. #awkwardchords #syncopationproblems

Day 2: Checked to see if I could get the easier bits up to 84 beats per minute before drilling the fingering fingering on bars 17 - 19 and 21 - 24 until I had better consistency than the previous practice. Drilled the trouble spots at the piano with and without the metronome. Did full run-throughs with and without metronome at 60 - 69 beats per minute. Holding steady.

Realized how easy the patterns were to memorize and began to memorize the music in four-bar chunks. Tempo shot up to 72 - 80 beats per minute as the memory improved. Did periodic memory and speed drills in between bookkeeping and errands, getting obsessed with the idea of reaching 84 beats per minute by the end of the day. Stopped after realizing that trying to get two pieces with large chords up to speed was beginning to take its toll on my right hand and arm. Will need to rest my arm and break things down slowly to memorize "release all tension" spots. So much for practising the big chordal section in Typhoon today.

Day 3: Rested the piece. Worked on Typhoon instead as I performed it later in the day at the studio piano party.

Day 4: It was a light practice day as I wound up suffering from a bad case of eye strain from using the wrong glasses at work the night before. I simply ran through the trouble spot between bar 17 - 19 by memory slowly, and in a darkened studio (which really forces your aural and tactile memory to kick in). I made a point of really relaxing my forearm during those eighth rests. I even tried with my eyes closed.

Day 5: It's my lesson prep/housecleaning day, so I alternated between drilling my memory stations and cleaning my house. I recorded my final round of memory and tempo drills to show how I worked on the hardest part of the piece (click here for the practice video).

Then, it was time to record. Here's my video performance of Disco Visit:

I've got Easter Triduum music to focus on and Typhoon to finish learning this week, so it may be a couple of weeks before I get another challenge piece up to snuff. You can follow my progress on by checking out these two playlists:

• My 20 Piece Polishing Challenge Playlist - contains the video performances

• My Practice Videos - show how I work through some of the common trouble spots

Check back here for my thoughts and musings as I work through the pieces.

Preparing My Students for Christmas Parties

This year, I decided to bring back Group Class Week at my piano studio. My reasoning was three-fold: First, my students love getting together. Second, there are also concepts that are best taught in a group class setting. Finally, with juggling multiple jobs as well as my studio, I needed to build in some time to catch up on studio administration and planning. Replacing regular lessons with one group class per teaching night gave me that much needed time to work and/or rest.

The focus for this month's group class was Bulletproofing Your Christmas Music. We explored likely scenarios one could face at a Christmas party, social or community setting, such as:

1. You have been asked to perform and you need to play for a longer amount of time than you are prepared for.

2. You have been asked to play something that you don't know (well).

3. You have been roped into playing during a Christmas Carol sing-along and the singers ask for a different key.

4. You get tossed in with other musicians and are asked to play as a group.

5. You want to show off something really cool.

Making Your Music Longer

Haley and Grayson brainstorming on ways to vary their Christmas music. Photo credit: Rhona-Mae Arca.

Anyone who has performed at church or a gig knows that sometimes, you need to adjust your playing time on the fly. If the piece is too long, you find a logical place to cut it. But what if you only have a handful of pieces prepared and you are "asked" to play for twice as long as you have pieces?

My students did some brainstorming and experimenting. Everything came down to the same theme: repeat the song and vary it somehow. Here's what they came up with:

• Move the piece up or down an octave when you repeat it.

• Add embellishments (ornaments) to the melody.

• Improvise for a verse and then play it "normally" once again.

• Alter the rhythm, articulation, dynamics, or tempo.

• Vary the accompaniment.

Playing a Song that You Don't Know (Well)

My students have heard the story of when I was visiting relatives in California. We visited one house with a grand piano. Sure enough, I was asked to play a few songs. I went through my playlist and improvised, but they still wanted me to play. Reluctantly, I opened up the piano bench and began to sight-read kundiman (classic Filipino love songs), while my aunts and uncles sang along. I say "reluctantly" because I disliked sight-reading at the time.

Dragged to the piano to play and not allowed off until the aunts and uncles are happy - if it can happen to me, it can happen to you! Photo: Jun Ancheta.

Then, I had my students work on a Christmas song they weren't familiar with and we discussed different ways to cheat and fake their way through such a performance, based upon their current playing level. These are some of the ideas they came up with:

• Play block chords instead of the scored accompaniment.

• Play the melody only (for beginners).

• Recruit someone else to play through the bass clef notes while you play the treble clef part.

• Only play an excerpt of the piece.

Transposing Music on the Fly

Most classically trained music students are taught transposing in music theory. However, they are usually taught how to write out a transposed melody. In the real world, we should be able to transpose on sight at our instrument. Sure, we may be lucky enough to play on a digital piano with a transpose function, but what if there's only an acoustic piano? What if you're playing along with someone whose music is not in concert pitch?

We just glossed through this area as this is best taught one-on-one. However, we did discuss intervallic reading and chording.

Jamming on Christmas Music with Family and Friends

This was perhaps the hardest challenge for most of my students, depending upon what they were playing.  The kids on hand percussion and the cajón were fine once I showed them a few rhythms to try.  But most had a challenge splitting the piano part up. If someone is playing the melody on flute and the chords on guitar, then as the pianist, you get to explore playing off the page - which is not the norm for today's classical musician.

My beginners were fine with just playing with one hand. Most of my intermediate and advanced students fought with themselves a bit. The desire to play what's on the page was strong. As for my Conservatory Canada Contemporary Idioms students? Generally, it was a piece of cake for them.

Showing off at the Piano

 The first thing that comes to mind when I think about showing off at the piano is the Video Game Pianist, Martin Leung, AKA the Blindfolded Pianist:

Other ways of showing off that my students and I discussed included: playing with our hands crossed, playing upside down, and kicking each other off the piano - without missing a beat.

We explored what I called the Jingle Bells Relay. One person began to play this popular Christmas song. Then, one by one, another student would come up to the piano and cut in. The transition had to be sorted out and completed without missing a beat. The ones who successfully did this communicated clearly when and where they would be cutting in. They also kept things consistent by cutting in from one side the piano and exiting off the other.

Oh, there were some fumbles, but hey! They're all learning experiences.

Carly, Claire, and Tanya show off the Jingle Bells Relay in action. Photo by Rhona-Mae Arca.

Over the next few lessons, I will reinforce the one or two group class activities that piqued their interest. I don't expect them to like everything they tried at last week's music group class. However, I do hope that the class opened their ears and minds up to new possibilities. And if they are dragged onto the piano this Christmas Break, at least they aren't going in blind. Forewarned is forearmed.