Music Recitals: What are the Options?

Until the early 2000s, like many private music teachers, I held an annual Christmas Recital with a large food spread. I could usually count on one or more adult students, and a parent, to help with the kitchen end of setting up the food and drink tables and monitoring the food until after the performances had ended. Every studio member attended and brought extended family. We never had less than a feast with families bringing meat trays, casseroles, ice cream punch mixes, cookies, cakes, and more. The students had fun and there was a real sense of community. How times have changed. 

Event spaces and churches were always happy to extend free, or reduced fee, recital space to private music teachers in their communities. However, since the pandemic, and along with event rental inflation in our area specifically, it is close to impossible to find a place to hold recitals. Event space rental here in Charleston is now priced beginning at $5,000.00, per portion of a day (not even a full day), for most of the locations we have researched. Churches, that would donate space for a contribution or smaller rental amount, no longer offer use of their buildings saying they are concerned about covid, and other safety, liability. Church music directors - who also teach privately - have also told us that they are no longer able to use the facilities, in the churches where they serve, for student recitals. 

For those lucky enough to find a space for a studio recital, the expenses can include: rental, cleaning fee, insurance costs, key holder fee, security fee, video-photographer, parking lot fee, recital programs, certificates, and gifts for the participants. If there is an afterglow reception those costs also must be considered. After this preparation, teachers may experience last minute surprises from students who have to cancel the day of the event due to sports, family outings, or other last minute conflicts.

I recently heard from an elderly colleague who told me she has held her last recital and isn't even going to try for options in the future. For decades she held an end-of-the-year holiday recital at her local methodist church. But her church no longer allowed use of the space because of the pandemic. The instructor put together a large recital event for her studio last year. She and her husband invested in reserving a pizzeria in their town for the recital. Cheese, and cheese and pepperoni, pizzas along with all beverages, were complementary for students and attendees and were purchased in advance along with the space. The date was scheduled four(4) months ahead of the recital and families were notified of the recital date and location as soon as it was scheduled. The students had all prepared their musical selections, the restaurant had been paid, gift bags were prepared, and programs were printed. This teacher has a large student base and when the recital date came, only nine of her students and their families attended. She said the families who didn't show did not notify her that they decided not to come - even having confirmed the week before.  She  had purchased food, as part of the rental contract, for over 30 students and their families. Can you imagine? Fortunately her husband was able to contact a person from the local Salvation Army who arranged for distribution of the surplus pizzas that were already purchased.  This is not an isolated "Recitals Gone Wrong"  story in our current day. Families are simply over-scheduled. Even teachers who charge a "pay-to-perform" fee tell me students often don't attend when the family has purchased tickets, or paid, to be in an event. So, with the cost of event space, and over extended families, what other options are there to provide for important performance opportunities?

A number of my colleagues have opted out of any type of student events and gatherings. However, there are still those of us who are focused on finding a way to offer opportunities for students to get performance practice, and believe, like me, that even if a few families are interested, it is well worth the effort and investment. 

Here are some ideas teachers are coming up with:

• One teacher I spoke with over social media was able to use her community HOA room by offering any other music teacher's students or piano players, within that HOA community, the opportunity to perform on the recital. 
• A Florida teacher is nervously preparing for a backyard recital, and praying for no rain and a happy septic tank, for next Saturday.  
• I have one colleague who has been able to purchase a large home this year, with her family's help, that will accommodate the recital space she needs; This is the ideal, but quite a financial leap. 
• A Michigan teacher has persuaded her husband to clean out the garage and purchase portable heaters so they can use their garage and driveway for a true winter recital.
• Some private teachers, like me, are experimenting with virtual gatherings, and others are still searching to find an answer to keep the recital tradition alive. 

Inflation in rentals and recital costs, along with families that are over-extended in commitments, are all challenges for teachers who need new performance platform ideas. I am curious to see what the future holds for small studio recitals, especially in tourist areas and towns that are seeing large increases in event space rentals. 

QUESTION

As a private music teacher, how has your outlook on recitals changed over the years? Do you think they are still important for music students? If you schedule recitals for your students, what platform are you using now to provide studio recital opportunities? I would love to read your responses. Please feel free to email your thoughts, or respond on this blog. Musically, Miss Dolly.

Women in Jazz Piano Listening List for a Gloomy Monday Morning

Here is a brief post to brighten up this very gloomy and rainy Monday morning in Charleston, South Carolina.  It is a short list and it comes with apologies to the many amazing female jazz artists around the globe whose names I have not included. 

Toshiko Akiyoshi

Geri Allen

Lil Hardin Armstrong

Carla Bley

Barbara Carroll

Alice Coltrane

Eliane Elias

Marian McPartland

Terry Pollard

Zoe Rahman

Diane Schuur

Helen Sung

Kate Williams

Mary Lou Williams

Katherine Windfield

In the above list you will find, not only fine pianists, but composers, arrangers and ensemble leaders. Enjoy finding their recordings, and listening to their styles. And, please leave names of your favorite female jazz pianists, that I have not listed, in the comments.  

A Closer Look at Major and Minor Scale Finger Patterns for Piano

A Closer Look at Major and Minor Scale Finger Patterns for the Piano by Dolly L Paul _MA

 

Piano finger patterns used in major and minor scales are patterns that have been chosen because of their contribution to optimal playing. While playing scales, the hand needs to flow as smoothly and effortlessly as possible. 

 

The ideal pattern for any scale is, what I call, standard fingering. This pattern allows the player to use adjacent fingers, one through five, in a continuous flow with only one turn after the third finger of each hand in the span of an octave. We know this pattern as the 1-2-3-1-2-3-4-5 finger pattern ascending in the right hand, and the 5-4-3-2-1-3-2-1 pattern ascending in the left hand. However, when black keys need to be accessed, the flow of this pattern may not be optimal. Therefore, we must use alternate finger patterns for some piano scales. 

 

One of the rules we want to consider, when playing a scale, is to avoid playing a black key with the thumb. Using the thumb on a black key alters the weight and balance as the hand plays through adjacent keys. This does not support fluid scale passage playing.

 

A second rule we want to consider is using the same finger pattern in the minor key scales (natural, harmonic, and melodic) as we have used in that key’s relative major key. However, again we must keep in mind that a thumb does play on a black key, and this is the area where many novice players struggle with patterns.

 

The last, or third, finger pattern consideration comes into play when we have scales that contain many black keys. When the area of the keyboard where two black keys are positioned between C-D-E, the flow of the pattern favors fingers two and three for the black keys on both hands. And the area of the keyboard where three black keys are grouped together between notes F-G-A-B, favors fingers two, three, and four on the black keys. 

 

Scales that use standard fingering in both hands are:

 

            C major and its relative a minor forms 

            G major and its relative e minor forms

            D major

            A major

            E major

            c minor forms

            g minor forms

            d minor forms

 

b minor, D major’s relative minor key, uses standard fingering in the right hand, but must shift the left-hand fingering to the pattern 4-3-2-1-4-3-2-1 in all forms (harmonic, melodic, and natural.)

 

f# minor, A major’s relative minor key, offers a confusing finger pattern. Logically the left hand would follow the same finger pattern as the A major scale. This would allow us to use the same pattern for all three forms of the minor scale in the left hand 3-2-1-4-3-2-1-3. Instead, the third rule is used: L.H. 4-3-2-1-3-2-1-4 all f# minor forms.

 

In the right hand of the f# minor scales, the fingering that would follow the A major pattern looks logical for the natural and harmonic forms and that fingering is used in those forms. However, in the f# melodic pattern ascending in the right hand, we would end up with a thumb on D#. To remedy this the fingering is altered from traditional patterns and the fourth finger is substituted to play the D# on the ascension of the scale with the thumb playing the E#. Then the third finger plays the top F# and the original pattern used in the natural and harmonic forms (which aligns with A major) returns on the descending scale pattern.

R.H. 3-4-1-2-3-1-2-3 harmonic and natural R.H. 3-4-1-2-3-4-1-3 melodic ascending 

 

c# minor, E major’s relative key, follows the same trail as F# minor. 

L.H. 3-2-1-4-3-2-1-3 for all C# minor forms (this follows the E major finger pattern)

R.H. 3-4-1-2-3-1-2-3 harmonic and natural R.H. 3-4-1-2-3-4-1-3 melodic ascending

 

B major uses standard fingering for the right hand. The left-hand pattern for B major must shift to 4-3-2-1-4-3-2-1 to avoid a thumb on a black key. (You may notice that B major and b minor keys use the same finger patterns in both hands. These keys are not relative to one another, they are parallel to one another.)

 

The g# minor right-hand pattern follows B major fingering for all forms starting on G#, 3-4-1-2-3-1-2-3. The left-hand pattern for the harmonic form and the ascending melodic form is 3-2-1-4-3-2-1-3 which differs from B major’s pattern. The natural pattern aligns with the B major finger pattern. Melodic ascending, natural descending:   L.H. 3-2-1-4-3-2-1-3-4-1-2-3-1-2-3  

 

Gb major follows the third rule for both hands (the key of F# is enharmonic to Gb)

R.H. 2-3-4-1-2-3-1-2    L.H. 4-3-2-1-3-2-1-4

 

eb minor, Gb major’s relative key, follows Gb major’s pattern in the right and the left hands:

R.H. 3-1-2-3-4-1-2-3   L.H. 2-1-4-3-2-1-3-2  

 

Db major also follows the third rule in its scale finger pattern.

R.H. 2-3-1-2-3-4-1-2    L.H. 4-3-2-1-3-2-1-4

 

bb minor, Db major’s relative key, follow Db major’s finger pattern in all its minor forms starting on the Bb note:

R.H. 4-1-2-3-1-2-3-4    L.H.  2-1-3-2-1-4-3-2

 

Ab Major follows the third rule in the fingering pattern of the right hand. However, in the left hand the fingering pattern is shifted which offers more flow to the left-hand pattern. 

R.H.  3-4-1-2-3-1-2-3    L.H. 3-2-1-4-3-2-1-3

 

f minor, Ab major’s relative key, uses the right-hand Ab scale pattern for all three minor forms: R.H. 1-2-3-4-1-2-3-4. The left hand of f minor uses the standard finger pattern for all three forms.

 

Eb major uses an unfamiliar pattern in the right 3-1-2-3-4-1-2-3 and the left 3-2-1-4-3-2-1-3. The bright spot with this scale pattern is when played in contrary motion (hands together) the finger patterns are symmetrical.

 

Bb major is another unfamiliar finger pattern in both hands. The right-hand finger pattern is 4-1-2-3-1-2-3-4. The left-hand finger pattern 3-2-1-4-3-2-1-3. For some students it helps to remember that when the hands play in parallel motion, the R.H. finger 3 is on the note Bb, your left-hand finger 4 will be on Bb as well. Likewise, when your L.H. finger 4 is on Eb your R.H. finger 3 will be on Eb. Focusing on the finger 3-4 combinations can help you remember the finger patterns for this scale.

 

F major uses the standard finger pattern in the left hand. In the right hand the pattern shifts to 1-2-3-4-1-2-3-4 to avoid using a thumb on the scale tone Bb. (Although unrelated, some like to compare F major’s finger patterns to the B major patterns because they are opposites. In B major the right hand has standard fingering, and the left hand uses the 4-3-2-1-4-3-2-1.) 

 

All Rights Reserved by Dolly Paul and Low Country Studios, Ltd. Co. (c) June 2022

 

 

 

 

Incorporating Theory at All Levels Provides for Lifelong Playing

As a child I remember a classroom music teacher telling us that the musician's work was studying, practicing, performing, and sharing music. I heard that statement again in my undergraduate and graduate music education. The first part of that statement, studying, is the reason I have always made written music theory assignments a part of my students' lessons. Reading about music, thinking about what you just read, and understanding that element of music enough to be able to write it down, takes the application of music (playing on the instrument) to a higher level. 

I love the "aha moments" when students make the connection between what they have learned in a theory assignment to what they are playing on their instrument. It always leads to them being a better and more confident player.

I was surprised when I met private music instructors who did not include music theory, technic, and/or scales in their students' music lessons. And they were just as surprised that I chose to include these elements. 

The oddest parent to teacher experience I have ever had was with a child who came to me from a teacher who had moved on to another field. The parent was very upset that I gave homework to her daughter. She did not understand why the daughter had to do written work and practice on an instrument between lessons. The woman was well educated - but could not comprehend the need to do anything outside of the private music lesson time. She withdrew from my studio and found another teacher that would serve her request. The daughter was not challenged in any way, mentally or emotionally, and was a teenager who had been with the previous private music teacher for a number of years. Sadly, I found that students who had worked with this teacher played everything through rote learning: they could not read music at any level. Many had no knowledge of the key names on the instrument. It really blew my mind that parents had accepted this.

The revelation for me was the fact that there are teachers who charge more than the average fee for private lessons, yet don't provide a full music education...and people accept that. I discovered later on that this approach has actually become a standard method of teaching commercially. Because this method never gives the student reading skills, in order to play even the simplest music score on their instrument would require complete dependence on that teacher showing them how to play by rote. Then, unless the student had an above average memory, they would never be able to play this song again after moving on to a new piece. I see this as a cruel marketing angle - it is not giving a person a music education - and I was shocked to learn it is very common.

When we are young we learn how to spell words, the function of words in a sentence, and how to begin a sentence with a capitalized word and end a sentence with a period, etc. If we did not learn how to read and write, would our conversations be as rich? If we did not know how to put thoughts down on paper, what would life be like? Music is a language, and learning how to use that language from a written function in addition to a kinetic and applied function makes it a full rich skill and language that any private student should be able to access beyond their years of education and training.

An education in music theory needs to start at the first lesson. It can be approached simply and in small bites for the young or challenged learner. And it will allow the student to play independently years after ending their lessons, which is the hope for every student that comes to this studio.

Composers for Piano of Asian Heritage

Happy day 9 of the Chinese Lunar New Year!

The Francis Clark Center presented Piano Music by Composers of Asian Heritage this morning. Each composer shared their process and their music that is suitable for early to advanced levels. Here is a brief look at each composer along with information on how to access their music. 

Naoko Ikeda, lives in Sapporo Japan. Her music is published through Willis Music Company. Her complete catalogue is available at the Hal Leonard website. Naoko incorporates the Japanese Scale in her compositions. The melodies are lovely and captivating. One piece I will be ordering for my studio is "Shooting Stars in Summer" from Celestial Dreams. This piece is also available in the RCM (Royal Academy of Music) Level 8 Piano Repertoire. It is a mid-intermediate selection.

Li-ly Chang grew up in Taiwan and now resides in the U.S. Li-ly uses mixed styles of pentatonic, quartile, quintal chords, some jazz and blues flavors, and paints a story with her music. A complete list of Li-Ly Chang's music can be found at Lily Chang Piano. Her late beginner-early intermediate level pieces "Snow Play" and "Grasshopper's Waltz" are fun pieces I hope to incorporate in my studio. 

Chee-Hwa Tan is Malaysian Chinese and now resides in Colorado. Many of her works can be found on Piano Safari. Chee-Hwa's pieces have a strong pedagogical focus and will be fun to learn. Her pieces start from Early Elementary.

Alexina Louie is Canadian Chinese. She uses contemporary composition styles and experiments with pedal resonance in her works. These pieces are wonderful choices for students who are interested in learning about, and performing in, contemporary styles. Alexina's music is available at the Canadian Music Center and Alfred Music. You can visit her personal website Alexina Louie

Learning to Improvise with Basic Jazz Chords and their Scales

One of the first questions students ask me is, "How do I know what notes to use for improvising?" 

Every chord that you see on your lead sheet has come from a scale. We are going to start today by looking at five basic scales you can use to improvise within chord areas on your lead sheets. These five scales are a good start for beginners. As you gain experience you will learn more chords, and more scale choices for each chord. Your teacher has probably started you on a lead sheet that contains the following basic chord forms. We will use the key of C as our example.

Now that you know each chord's name, let's look at the spelling of each of the above chords:

Now refer back to the chord name in the first chart, this is also the scale name we will use. Here is the pattern for each scale in whole steps (W) and half steps (H):

Now we will use those patterns in the key of C so you can see how to use the patterns with any other key:

Within the rhythm of the chord on your lead sheet, you can practice playing the solid chord, in any inversion in your left hand, and improvising over that chord using the corresponding scale notes in your right hand. Take your time. Enjoy the process. 

How Long Should It Take To Get Through A Method Book?

A question I am often asked by young teachers is, "How long should it take my students to get through each method book?" The short answer is 3 - 9 months. The long answer is, it depends on the family. (You thought I was going to say it depends on the student.)

The average student needs parental help to schedule, maintain, and support  their music practice and scholastic homework through the age of eleven years. This is the same for after school athletic activities. 

It is interesting to note that athletic coaches realized (about 35 years ago) that parents were no longer encouraging dance and sports routine practice between lessons. Dance studios and soccer coaches took the lead in restructuring private coaching sessions and team classes as a requirement on more than one day a week to be accepted as a student. 

Private Music Studios in Today's Climate

The daily email blasts from professional music organizations and music teaching studio employers, regarding the pandemic, is enough to keep any instructor scratching their head.

Everyone wants to know when in-person lessons will truly be safe again. Teachers are doing their best to make informed choices with guidelines set forth by the organizations that insure them and/or, the businesses that employ them. It can be overwhelming - especially for beginning teachers. Fortunately, there are a number of private music teacher boards that have popped up during the pandemic and have been a welcome help in sorting out the guidelines and regulations. The biggest message to teachers from all of the organizations around the World is this, "Don't let business owners, students, or parents bully you." Parents are beyond stressed and businesses want people coming through their doors. You have to remember that they are under a lot of pressure, too. 

You are responsible to all of your students, their families, yourself, and your family: Keep that in mind when deciding what the best choice is for your studio size and student load.

I have put all of the information that is current to me into bullet points for my colleagues. Keep in mind that all of this can change tomorrow. Keep in mind that there are teachers who flirt with regulations and will not be following the guidelines. And, keep in mind that it is wise to do your own research to decide what is comfortable for your studio's wellness. 

Guidelines and regulations for going back to in-person lessons in a public studio (This is for a multi-room facility where you may work for another party as an employee, or on a teaching commission):

• The teacher will be in a studio large enough to accommodate two people (student and teacher), and two separate instruments, with a distance of 7 feet between the student and teacher. 
• The scheduling gap time between students, for air circulation and disinfecting of common surfaces, is now 15 minutes. You will need to re-arrange your students' lesson times if you were on a 30 minute block schedule.
• In the case of smaller instruments, teachers may alternate between two studios to avoid the 15 minute gap. When doing this, the studio that is empty needs to remain empty with the door open for circulation. 
• Each studio room should have a filtration or air flow system out of the room.
• The choice to wear, or not wear, a mask is under the supervision of the local government: Where there is no local government mandate, the business owner, and the private instructor, will set the guideline. 
• The choice to request proof of vaccination for students 12 years of age and older is at the discretion of the public business owner and/or the instructor. Students younger than 12 years of age may be asked to present a negative covid test before each lesson.
• Wind, Brass, and Voice instruments are heavily cautioned. Voice is completely restricted by the National Association of Teachers of Singing, and the American Choral Directors Society. Wind and Brass may continue with full instrument coverage and plexiglas separation between teacher and student. Again keeping the 7 feet separation.
• No other siblings, students, or guardians should be in the room. The space is limited to two persons.
• If a student becomes ill and tests positive within two days following a lesson, all students with following lesson times on that same day need to be contacted for testing and possible quarantine. Individuals can spread the infection up to two days before showing symptoms. The teacher will need to be tested and quarantine. (This may be problematic if the parent does not consider contacting the business or the instructor.)

Single, In Home, Teaching Studios:

All of the Comments and Guidelines for public studios apply.

• Only the student should enter the home of the instructor. Siblings and parents/guardians are expected to wait outside, or in their vehicle.
• Students are not allowed early entry. Instruct parents to park and wait with their child in their vehicle if they arrive early. (Texting the student when you are prepared for them is recommended.)
• If the student appears ill or feverish they must not be admitted. Teachers  may need to meet students outside to assess each student before bringing the student inside. (For homes with a covered porch, a waiting area can be set up outside of the home on the porch.)
• When a student's time is complete the student leaves the instructor's residence and waits outside for their parent/guardian to pick them up. 
• The instructor will schedule a 15 minute block between students to clean common surfaces and air out the studio room. 
• In transferring back to in person sessions it will become evident that there is less time for in person lessons than online lessons. Most 30 minute in-person lessons average 20 minutes of work. The remaining time is used for removing shoes and jackets, arranging books and supplies, washing hands, using the restroom, settling in, etc.  
• You will need to close the student's lesson up to 5 minutes earlier to allow them to gather their belongings, put on shoes or jackets, etc., for timely exit so preparations can be made for the next student.
• Remind parents to have their children use the restroom before arriving at your home studio to avoid extra time in disinfecting the restroom between students.
• Payments should be taken through electronic means. Encourage parents to speak with you through emails or texts to allow for as much lesson time as possible for their child.  

Private music teachers in the U.S. appear to be the most unsure of the regulations that guide their profession at this time. Private music teachers from other countries are showing a more clear and more unified understanding of what their countries have directed. (This may also be due to the fact that other countries have heavier licensing and education requirements for private music teachers than the U.S.)

Everyone's decision process will be different. I am online to stay for a few reasons; 

• I have had at least one student every month who has been exposed or has been ill. (If I had been teaching in-person I would have had to go through a number of quarantines myself and all of my local  students would have been exposed.) 
• I have students that live too far outside of the area for in-person lessons. 
• Expanding 30-6o minute blocks to teaching blocks with an additional 15 minute "clearing block", just won't work for many of my students who already have to shuffle times between extra curricular activities. 

Having said why I am staying online, and knowing that I will always have online students, I still really miss seeing my younger students in person. Like most of you, I keep watching the information that is coming out from specialists that our professional organizations consult, every day. And I know that tomorrow everything can change again. 

                                                        *  *  *

Stay centered and keep in touch. I would be interested in knowing if you have; discontinued teaching and are considering returning at a later time, are staying online, or have found a safe way to return to in person teaching. Send your comments and questions to: LowCountryStudios@yahoo.com.

Here is more info from Guitar Center and Music & Arts:

At the Guitar Center Company, we are learning and doing our part together to protect our Associates, customers, and communities from the spread of COVID-19.

 

If you have felt scared, angry, overwhelmed, confused, or all of the above as a result of the virus, you are not alone. Your health and safety are our top priority, and we want to equip you with tools and resources to help keep you informed.

 

How Do Viruses Spread Between People?

 

Viruses rely on living things to survive, and their goal is to spread. While they can live a very brief time on surfaces without living cells, they will die quickly if they do not have a live host to latch onto.

 

Imagine a house guest that comes over uninvited, never leaves, dirties up your house, and gets really comfy on your clean furniture. That is what the virus does to your cells.

Once a virus is in a host cell, its mission is to reproduce as much as possible until the living host’s immune system kicks in and stops it. When you are sick, your body goes through a cycle of symptoms that get progressively worse before (hopefully) getting better. That is because when a virus invades, it easily spreads, causing anything from minor colds to serious diseases. When finally stopped, it—along with its copies—packs its bags and moves to attack another unsuspecting host.

 

Viruses travel from one live host cell to another through infectious droplets (from sneezing, coughing, or talking) on surfaces or in the air. When someone encounters the droplets, they can get infected. If that happens, the virus can easily pass from one person to the next through close proximity or being indoors with other people.

 

After the first sign of symptoms, viruses can be contagious for up to two weeks. They can also start to spread before people realize they are sick. For those who are asymptomatic, they never develop any symptoms of illness and are often unaware that they are carrying a contagious virus. And, for those with weakened immune systems, they can spread viruses for even longer because they may not have the capacity to fight the virus in the same way as someone with a stronger immune system.

What is a Variant?

 

Delta or Lambda – what does it mean? There are times during virus reproduction when the copy made is not a perfect replicate. This is normal and expected virus behavior. What happens, though, is that the virus changes and then proceeds to make additional copies of this now “new” virus. The changed virus is what is referred to as a variant, and in the case of the Delta variant, it is more infectious than other coronavirus strains, spreading faster with the potential for differing symptoms.

 

6 Ways to Protect Your Loved Ones from Viruses

 

Viruses can be devastating for communities, and deadly. It is up to us to do what we can to protect those around us and prevent viruses from creating a destructive, domino effect or outbreak, as in the case of COVID-19.

 

Here are a few measures that each of us can start or continue doing:

 

1. Get vaccinated – Get a COVID-19 vaccine to help protect you and others.
2. Wash your hands – Throughout the day, frequently wash your hands with soap and water – 20 seconds is the magic number. If soap and water is not available, hand sanitizer that contains at least 60% alcohol is the next best option.
3. Don’t touch your face – Avoid touching your eyes, nose, or mouth, especially with unwashed hands or after touching surfaces.
4. Clean and disinfect – Using a disinfectant, clean high traffic surfaces such as countertops, doorknobs, tables or desks, faucets, handles, etc.
5. Keep a distance – Maintain social distancing while in public and avoid close contact with those who are sick.
6. Wear a mask – It is the easiest thing we can do to ensure that our communities are safe.

Why Are Vaccines Important?

 

In a vaccinated community, a virus has little to no chance of survival. Vaccines have played a significant role in eliminating deadly and highly contagious viral infections, such as measles and polio. They not only stop them from spreading but can prevent the replication that causes variants. When you get vaccinated, you are protecting yourself, your family, and everyone else.

*Not everyone can be vaccinated, age, and medical history, may prohibit vaccination. If you are well and can vaccinate but still have questions, talk with your physician about your concerns. 

 

Keeping A Rehearsal Journal : Journaling for Music Progress

 

How Organized Am I?

If I compare how organized I am in my mind to how organized I am in daily life there is a pretty big chasm. As music instructors, coaches, and performers our work can overwhelm us at times, and we often put more effort into progressing others musically through teaching, while making our rehearsal time an afterthought. I have found that consistent journal entries have improved the quality of my rehearsal time and I want to encourage you to do the same to help you see improvement, too. 

As instructors, we start each student with an assignment book, or email assignments to students/parents at each lesson, to inspire them to a daily  practice habit. But when it comes to our own time with our instruments some of us are not as consistent for ourselves. Studio teaching schedules, family obligations, and day to day survival itself is difficult for adult musicians because our schedules are rarely consistent. And not keeping a daily music journal for ourselves can result in; loss of time in performance preparation, forgotten scores, loss of technical agility, anxiety, and other stumbling blocks to continued growth. 

When Do We Start Using Practice Journals? 

By the time we are in college we are expected to keep our own music journals - but I think it is safe to say that not all college students maintain this practice. And once we are out on our own we forget all about rehearsal journals because we mistakenly relate them with lesson assignments from instructors and not with professional growth. We start relying on coaches, conductors, producers, and others to keep us on task with professional rehearsals. And, if we are soloists, we often fool ourselves into believing that we can remember what we accomplished in our last practice session. But, how many times have you found a selection that you started working on months ago, in a stack of books, and wondered how you forgot about that sheet music when it is one of your favorites that you have always wanted in your repertoire? Am I right?

The item we ask all new students to bring to their first lesson is a blank notebook, binder with paper, or commercial assignment book. It is the place to hold goals, it helps them and their teacher to assess where weaknesses may be, provides a path to follow, and is a clear history to look back on so the teacher and the student can visually follow their progress. We are training our students in how to stay the path with a practice journal. But how many of our students read and follow their assignment sheets? How many of them have parents that help them fulfill their assignments? And how many students "lose" their assignments? As much as we might try to stress the importance of this practice log for future reference, its importance is not well received by professional or amateur musicians.

When we are young we need to exercise a task, over and over, on our musical instrument until it becomes easier. We are learning new movements, in playing a musical instrument, that are not typical daily motions for the non-musician. Some of my students who take part in sports or dance have sessions with their coaches and teams 4-5 mornings, or nights, every week throughout the year. Because athletes are seeing their coaches on such a frequent basis, the need for a practice journal is not necessary. However, a young musician will only see their instructor once a week. And children need help in repetitive practice. I recently started a child in lessons. Neither parent had  purchased an assignment book for the child, so I asked the child to write the date on each page so they knew what to practice for the next week and emailed the family an assignment. You probably guessed that the books were not opened over the week.  Making practice a daily habit is one of the biggest hurdles for teachers to instill. An appropriately used assignment book, or rehearsal journal, can help establish a habit that will help move the beginner and the professional musician forward at a faster pace.

How Can Professionals Use A Rehearsal Journal?

How can we best make use of a rehearsal journal when we are at the professional level? First determine what type of rehearsal journal would be best for you. I use art journals because I buy them in bulk for sketching and always have extras on hand. I have colleagues that maintain a file for themselves on Excel, Word, or other computer platforms. Others like to use something like a Franklin Planner. You can also use inexpensive composition books from the Dollar Store. Cut out photos of your favorite composers or performers and paste them to the front of your journal. Whatever makes you smile when you look at the cover will help you remember to use your journal.

How you enter your daily schedule is also a personal preference. You can write your notes as a dated paragraph entry, subdivide your pages into warm-ups, repertoire pieces, research pieces, ensemble work, solo work, etc. Making notes that are clear, easy, and logical to you, is the important factor. Make sketches or paste articles about the pieces you are working on in your journal. I like to make notes about favorite performances of a piece. For example, next to Chopin's Waltz in a minor, B. 150 Op. posthumous I would write Grigory Sokolov because his performance of this piece is the one that inspires me.  This is a tool that should enrich your relationship with the pieces you are rehearsing.

Because I perform on more than one instrument I also use a highlighter over the instrument name so I can quickly see my rehearsal flow for that instrument. Here are some details that I personally find helpful on entries:

• Date, Time, Instrument 
• Selection(s)/Final tempo(s) (BPM used during rehearsal session)
• Goals (Along with how I would categorize each piece: jazz ensemble, folk, church, personal project, genre building, etc.)
• Insight (How I felt about the work - do I like this arrangement or need to look for one I feel more connected to - do I want to work it into my repertoire - is it a piece that I should retire for now and return to at a later date - do I want to use this for an ensemble performance only or do I want it as a solo piece - am I making reasonable progress on the piece - do I need to do isolation work and if so which measures need more work - do I need to research a passage for correct ornamentation...)
• Other (Did I use a different pick that works better for this style - Did I use a capo - Do I need a different chair - Did I change the height of any stand - Did I change to a music stand that I like better - Did I use any percussive additions that I want to remember and add here  - What was my amplification setup - Does anything need to be repaired or looked at by a technician...)
• In the back of the book I enter new repertoire that I feel I have completed so I can continually review those pieces. 

It may seem like a lot of writing but I can often sum up everything in just a few lines and it keeps me on track. I keep the journal open in my rehearsal space as well so I can easily reach it when I want to make a note. 

Do you use a practice journal for yourself? What type of entries might be helpful for your rehearsal entries? What system have you used to help you have productive times with your instruments? I would love to hear your thoughts on journaling as a musician for yourself and for your students. 

Happy practicing! Miss Dolly 🎵