Post-Examination musings

I had a terrible dream the other night that I got an 83% on my Conservatory Canada Level 7 Contemporary Idioms examination. Normally, I'd be happy with an 83, which is First Class Honors. However, having turned music into a profession, I was aiming for higher. I also wanted to beat my highest exam mark from my youth, an 88% on my Grade 8 RCM practical, which I got on my second attempt.

[Note to students: Get a good night's rest the night before an exam and don't spend it staying up all night to read a juicy novel or else you wind up botching your exam and need to re-take it.]

I digress. I was therefore delighted to log into ConCan's site and find that I scored 88.7% (on my one and only attempt). Now I'm itching to see my exam comments.

So, how was it, you ask?

What a surreal experience. It didn't feel like an examination at all. It was far more relaxed than my RCMexaminations in my youth.I vacillated from feeling calm, almost lackadaisical to thinking, "Oh my God! This is my exam. For real. Eek." It felt more like a lesson with a very relaxed examiner. As for the improvising section, I was just jamming along with another teacher.

I felt pretty confident in my technical elements, although my hands weren't completely in sync on my first mode (B Aeolian). Growing up, this was one of my weakest areas so I was determined to show that I've matured.

The same goes for ear, rhythm, sight-reading and keyboard harmony. Gone are the days when I was a panicking mess over two lines of sight reading, stumbling and pausing all the way through. It's amazing what a difference a slow, steady tempo makes, as well as counting out loud!

The repertoire went generally well. A few tiny slips in Gershwin's I Got Rhythm and a few more oddities in Vince Guaraldi's What Child is This? Hey, I was just glad my tempo was there for both. Mantecawent quite well as did Thriller Rag.

The examiner stumped me on one of the Viva Voce questions. I didn't research jazz waltz enough so I was winging it with my answer. When he asked about Dizzy Gillespie and Manteca. I said the first thing that popped into my head, "He had big cheeks...I heard him play a while back."

It didn't help that the room had many hard surfaces. I should have compensated more for it but the excitement of the moment kicked in. So, the examiner said I was a little percussive and not melodic enough. Too technical. I've never considered myself a technical player. I've been called "expressive" and "analytical" but never "technical". Until now.

I thought I had dynamics but if anything, I suspect he'll say I needed more contrast and shaping (it's something we always say to our students, why should this time be any different?).

I had a mini-lesson afterwards which was basically like a master class. This added to the "non-exam" feel of the experience.

I felt all right about the exam. I didn't feel terrible either. I simply felt that I could have done better. That is probably what fuelled my dream the other night.

One colleague asked whether I'll prepare for the Level 8 exam. I'd have to think about it. I'm too busy trying to incorporate all these new tricks I learned into my gig repertoire.

(c) 2009 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

The Rules of Ensemble Playing (according to students)

Thanks to my Giggle Trio (AKA Tess, Gabriel & Danielle) for sharing these rules of ensemble playing and rehearsing. It's quite the work of art, which I think applies to ALL ensembles:

1. No knee pinching.

2. No story telling until the end of the rehearsal.

3. Try not to giggle so much.

4. Listen to everybody's ideas.

5. Pay attention.

6. Try new stuff.

7. If the group is getting too giggly, tell them to stop.

8. Listen/look for each other's cues.

9. No body checking.

10. Have a plan.

11. Have fun!!!!!

Personally, I think rule #9 is a classic!

(c) 2009 by The Giggle Trio, Calgary, AB, Canada. Posted with permission.

Online Music Games

If you're looking for something new to give your students (or if you, a student is looking for something new to play), try these online music games:

• Star Jam - Drop blocks into the space in front of the moving ball to create a musical guitar riff.

• Music Catch - Catch musical shapes that fly onto the screen in time to the music. Yellow is good. Purple is good but Red is BAD.

Enjoy!

(c) 2009 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Student Incentive Program Musings

It may seem odd that I'm thinking about next year's student incentive program. It all started with me revamping the Lesson Assignment/Practice Diary Sheet to incorporate things that needed either clarification, simplification or simply more room. Might as well tackle it now while it's fresh on my mind. On the other hand, you could accuse me of procrastinating from practicing, however, it's not altogether true. I just get distracted with all the other things I have to do. All right, I could have worked on it AFTER practicing. Yes, even teachers employ the same pitiful excuses we get from our own students.

Here are two informative sites on student incentive programs that I recently discovered: Music Teachers Helper Piano Teacher Resources

Enough webtime and back to that piano. There's nothing like wanting to do well on an exam to motivate one to go the extra mile. Must drill those trouble spots and work on transposing!

(c) 2009 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Keeping Ensembles in Sync

This year, my students are working on duets and trios. For most, it's their first experience in the collaborative arts. Some groups are finding it relatively easy to find the ensemble's pulse. These players have a fairly good internal pulse and have caught on to giving and receiving cues. Or in the case of those who aren't usually steady, they become steady because they are listening to their partners and to how everything fits together. And - they get along (always a bonus).

Then, there's the other extreme. One trio is comprised of a boy whose tempi vary widely (although he vehemently denies this), one girl who stops every time she plays a note that's not on the page and one girl who just doesn't care about getting the notes right, much less the tempo. I can only hope that the next trio class will go more smoothly. In another group, my "Giggle Trio" - two players were distracting each other, which drove the third partner crazy because she just wanted to get through the entire song.

Here are a few articles on ensemble playing:

The Ensemble that Plays Together - another great post from Chris Foley

Why Being a Great Ensemble Player May Require More than Just Our Ears

September 3, 2020: Updated some of the dead links.