Singer in a Band Workshop Musings

There is a proverb that says, "To teach is to learn." To grow, music teachers must find ways to further their own music education.

 There are several professional development opportunities for music teachers. By exploring these options for continuing education, music educators can rejuvenate and develop their own musicianship.

As some of you know, I took singing lessons as my learning project for 2009/10. I've sung for years in choirs, but last spring was the first time I have ever sung a solo in public. It's a completely different ballgame. With piano, the performer faces his or her instrument. However, when singing, looking at the audience (or towards the audience) is critical to engaging them. If you cringe because of a missed note or lyrics, not only is it visible, but cringing affects tone.

My vocal coach, Sherry Kennedy, convinced me to take the Singer in a Band workshop she ran last week. Shortly after the singing workshop began, I thought, "What on earth was I thinking? Why did I pick two songs I don't know very well? Why did I pick a song in Spanish?"

Over three days, Sherry, along with my piano teacher Derek Stoll, worked with us eight adults taking the workshop. We had a such a diverse group, including two professional "shampoo bottle" singers and one singer who's had an up and down relationship with singing for several years. There were two piano teachers, myself and my friend and colleague Melodie Archer.

We went through breathing and stance ad nauseum. Many of us needed to "open up", so Sherry stuck foam rollers under our arms (those quickly became light sabers).

As a pianist, nay, as a VRK pianist, I found it especially challenging to have Derek play an intro and for me to just know how the correct notes should sound without me playing the note on the piano was difficult. Another challenge I faced was how to make each song my own so that I didn't sound like Consuelo Velasquez or Stevie Wonder.

Memorizing lyrics was a challenge for all of us however, we all pulled through. The nice thing about singing jazz is that if you forget the lyrics, you can simply scat your way out of a potential mess.

 All things considering, it was a wonderful night. All eight of us delivered our best performances. Our success can be attributed to several factors:

1. supportive and encouraging instructors

2. the fact that we were all tired from running around from 9:30 AM until 10:00 PM that we were too mellow to be nervous and

3. the fantastic and supportive energy backstage

We cheered whenever the person performing cleared a "trouble spot" as if we were in a hockey game. You can check out my performances on my website.

Many thanks to Sherry and Derek for their hard work and guidance. Hats off as well to Dave Marshall, our serious-looking drummer and Dave Hamilton, our guitarist who can play many a cool lick.

So what lessons did I take away from this experience? Singing lessons and this workshop reinforced the importance of singing and sight singing to develop one's inner ear. You can't beat the rush from performing in an ensemble and singers take artistry onto a whole new level.

Would I do it again? Most definitely.

(c) 2010 by Musespeak(tm), Calgary, Alberta. All rights reserved.

Fun Music Recommendations for Summer

Hooray! It's the last week of lessons. My students and I are looking forward to some time off.This week, they've all heard me stress the importance of doing some music practice during the summer so they don't waste the time, effort and money that they, their parents and I as their teacher have invested throughout the year.

The following are some of the "fun music" suggestions I have given them to make their "Summer Learning Projects" as enjoyable as possible:

look inside

Star Wars - A Musical Journey (Music from Episodes I - VI) Composed by John Williams. Arranged by Tom Gerou. Piano - Five Finger Collection; Piano Supplemental. Five Finger Piano Songbook. Movies. Softcover. 52 pages. Alfred Music #34451. Published by Alfred Music (HL.322311).

look inside

Star Wars - A Musical Journey (Music from Episodes I - VI) Big-Note Piano. Composed by John Williams. Arranged by Tom Gerou. Piano - Big Note Collection; Piano Supplemental. Big Note Vocal Selections. Movies. Softcover. 48 pages. Alfred Music #34382. Published by Alfred Music (HL.322308).

look inside

Star Wars - A Musical Journey (Music from Episodes I - VI) Composed by John Williams. Arranged by Dan Coates. Piano - Easy Piano Collection; Piano Supplemental. Easy Piano Songbook. Movies. Softcover. 56 pages. Alfred Music #28304. Published by Alfred Music (HL.322093).

look inside

Star Wars: A Musical Journey Music from Episodes I - VI. Composed by John Williams. Shows & Movies. Piano Solo Songbook. Movies. Softcover. 86 pages. Alfred Music #28303. Published by Alfred Music (HL.322092).

look inside

The Twilight Saga - New Moon: The Score Easy Piano Solo. Composed by Alexandre Desplat (1961-). Easy Piano Songbook. Movies. Softcover. 48 pages. Published by Hal Leonard (HL.349015).

look inside

The Twilight Saga - New Moon The Score: Music by Alexandre Desplat. Composed by Alexandre Desplat (1961-). Piano Solo Songbook. Movies. Softcover. 56 pages. Published by Hal Leonard (HL.313487).

look inside

Harry Potter Magical Music From the First Five Years at Hogwarts (Five Finger Piano). Composed by John Williams, Patrick Doyle, and Nicholas Hooper. Arranged by Tom Gerou. This edition: Five Finger Piano. Piano - Five Finger Collection; Piano Supplemental. 5 Finger. Movie. Book. 60 pages. Alfred Music #00-32710. Published by Alfred Music (AP.32710).

look inside

Harry Potter -- Sheet Music from the Complete Film Series Easy Piano. Composed by John Williams, Patrick Doyle, Alexandre Desplat (1961-), and Nicholas Hooper. Arranged by Dan Coates. This edition: Easy Piano. Piano - Easy Piano Collection; Piano Supplemental. Movie. Book. 140 pages. Alfred Music #00-39075. Published by Alfred Music (AP.39075).

look inside

Harry Potter -- Sheet Music from the Complete Film Series Piano Solos. Composed by John Williams, Patrick Doyle, Alexandre Desplat (1961-), and Nicholas Hooper. This edition: Piano Solos. Piano Collection; Piano Supplemental. Movie. Book. 144 pages. Alfred Music #00-38970. Published by Alfred Music (AP.38970).

I also compiled a listing of websites in a recent article Where to Find Free Piano Music Online (new link to come). An honourable mention goes out to Piano Squall's website with loads of video game and anime theme songs. I wanted to put his site on the list but there are constraints on article length.

Students can also check out the RCM Popular Selection List and Conservatory Canada's Contemporary Idioms Syllabus online for suggestions of graded popular pieces.

(c) 2010 by Musespeak(tm), Calgary, AB, Canada.

Bringing the Groove Back into Music Studies with Pattern Play

Yesterday, ARMTA Calgary hosted a workshop on Pattern Play with piano pedagogue Forrest Kinney. He and his wife Akiko developed this extremely aural-kinesthetic approach to music playing. Seeing as I've been incorporating more of the VARK Learning Preferences into the music lessons I teach, I was looking really forward to this session.In a nutshell, students are taught two patterns. These are imparted in a "talking drum" fashion: the teacher improvises a short motif using one of the patterns (e.g. E, G, A, B). The student answers with their own improvised motif. With young students, perhaps that is all you want to give them for that lesson as their "pattern play project".

Once the student has gotten the hang of that, the teacher can show the student a simple accompaniment pattern and they switch roles at the keyboard (e.g., E, B). (BTW, the pattern I just described is called Japan).

The next step is to get students to jam hands together. Forrest advises to have them start by playing the same pattern in both hands. When one hand is bored, melodic and rhythmic variation start to creep in.

With this approach, the feeling drives and shapes the music (not the brain) just as equally as boredom does. Forrest said that "boredom makes us receptive to new ideas and to change."

That was an extremely condensed version. Check out Forrest and Akiko's website and their books for a more in-depth explanation.

Two very important points to keep in mind when working on Pattern Play - eyes closed and tap the heel. Yes, that's a very jazzy approach. When Forrest said that, it made me recall my jazz lessons last year when Derek Stoll said the exact same thing.

Pattern Play can be used to help develop students' inner ear, phrasing, and rhythm and flow. Wait a minute, didn't I write about rhythm and flow at some point?

Hiyoshi is a Japanese concept called "rhythm-timing". In his Book of Five Rings, 16th century samurai Miyamoto Musashi said, "In the field of martial arts, one finds rhythm-timing in the techniques of shooting an arrow, firing a gun and riding a horse. The concept of rythm-timing should not be ignored in any profession or art."

Forrest said that somewhere along the way, we lost our hiyoshi. We lost the groove. In the quest to reach a certain playing level by age X and our quest for perfection, we lost the tamashii (soul) and the kokoro (heart)of music. This isn't the first time I've heard this. I heard this during my jazz lessons too and variations of this in my Iaido training.

Pattern Play was developed as a way for musicians, music students and music teachers to get back their groove. To just close our eyes and feel the music. Feel the beat.

Now Kinney's approach won't work for all students or all teachers and Forrest is the first to admit that. However, there are many nuggets teachers and students of all walks can take and use form the Pattern Play approach.

For those of us teaching Royal Conservatory students, we have to follow the syllabus for technical requirements. As supplemental material for the traditional exam students - Pattern Play will be a life saver. Conservatory Canada students do get to improvise in their exams. Pattern Play is a great springboard. Pattern Play will inspire students of all levels who want to go home and be able to play something "cool" each week.

Final thoughts? I jammed on D Dorian last night (eyes closed). I selected one of the "golden chord progressions" and started with one octave arpeggios in my LH and single melody notes in my RH. I soon tired of that and remembered that Forrest jammed on doubled thirds. I hate doubled thirds and normally avoid practicing them. Jamming on double thirds? Much more do-able....and fun. Soon, I tired of that and tried parallel 6ths and the "Mozart trill". I haven't tried transposing the pattern yet into all the Dorian modes, but I know I'll get to it eventually.

When playing back the recording, I got the sense my "inner child" was having a blast. I was giddy in the recording and as I listened to it. I can't wait for my Pattern Play books to come in just so I can play.

Ditto for when I checked out the lesson videos I uploaded yesterday. The kids were pumped and they're stoked that we're going to jam "lots" this month. How apropos that this month's focus in our Musical Exploration is jazz, blues and ragtime.

September 3, 2020 update: The Pattern Play series is available at most local music stores. Online, you may find them at Sheetmusicplus (affiliate link)

Using the Camera During Music Lessons

As some of my readers know, I have been doing audio and visual recordings when I am teaching. At the end of the night, I upload the files to their special recordings page and fire off an email (Thank God for email templates), saying "Your Lesson Audio/Video Clip is up!"It's been working very well since moving to this format. All they have to do is click on the link and they can get a refresher anytime they want. They can even show off to family and friends, near and far.

This week, my students and I discovered something truly amazing. I was trying to figure out a better position for the tripod. Previously, it sat beside my desk with the camera catching a profile shot. That works well - most of the time.

However, this week, I wanted to capture a better view for my students struggling with hand position and keyboard topography.The amazing discovery? Turn the student into a roving camera person when I'm demonstrating (or I'm the roving camera person/interviewer as I get them to piece together a practice plan for the week). Then they can go all around me and zoom in on whatever they feel they need to capture as I explain and demonstrate a practice strategy to them.Now I admit, some videos don't offer the best view. There's a few moments, when the lens is panning the floor or the window but the twinkle in their eye just from being in charge of the camera is something to behold.They have also started to even take photos during the video to capture a hand position.

Some advice: make your students use the neck strap, use a camera that they can handle (and that you're comfortable using for recording lessons) and finally, for really young beginners, pass the camera to the child's parent. After all, it's for their benefit that you're doing the video.

(c) 2010 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Musical Breakthroughs with Read/Write Learners

As I mentioned in my Teaching Music Using VARK Learning Preferences (new link to comes soon) entry, I had all my students ages nine and up complete the VARK Learning Preferences questionnaire. One interesting finding was that five of my students are "pure" Read/Write learners. In many of the VARK articles on the web, Read/Write Learners are not addressed. Trying to teach this group how to work through musical trouble spots poses a challenge when there is nothing to glean pearls of wisdom from. Basically, a person needs to visit the VARK website, read the Read/Write study tips there and extrapolate on how the tips can be applied to music. At the suggestion of my brother (and colleague), I instructed one student who has been struggling with two-note slurs to transcribe her music. After months of struggles, I was running out of ideas. Transcription was my last hope for this piece.

In one week, the piece was transformed - ALL articulation and dynamics were observed when my student played her Scarlatti piece for me this week. As an aside, I found this exercise also worked for my sole VAK learner.

I also found that rhythmic dictation is working well for this group. Another Read/Write student and I were jumping for joy when the ta-ti-ti-ta rhythm she had been struggling with disappeared after doing some rhythmic dictation using rhythms from the piece in question.

I think it also helps that I'm making all my Read/Write students write out their homework in their own words.

(c) 2010 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.