In early spring of 2011, I finally decided to take the plunge and go for my Master of Arts in Education degree. I had been looking at a program for a few years, dreaming about it, but I finally decided that the time was right. In any case, it wasn't going to get any better. So, starting in fall of 2011, I was once again a student.
I quickly remembered why I was so happy when I graduated with my Bachelor's. While I love learning, I hate being a student. I love reading, but hate reading assigned texts. They're long, often boring, and even if the subject fascinates me, they seldom fail to put me to sleep. And then there's all the assignments; reflections on the readings, comparing readings to my teaching, reflections on my teaching, devising new lesson plans (often for a subject, age group, or environment I'm not teaching in), and on and on and on. Almost all of my assignments were valuable and taught me a lot, but they were still hard to get through. Needless to say, when I graduated in spring of 2013, I was very relieved. For the first time in two years, I didn't have to plan my weekends around readings and assignments. I could stay up late reading novels for fun, or even go to bed early if I wanted. So, why on earth did I put myself through this?
1 A lot of what I learned reaffirmed the way I was already teaching. My gut instincts told me something I was doing was good, but now I have research to back it up. For example, the way I treat rewards. If you have attended very many lessons with me, you'll realize I don't give out physical rewards often, and I'm careful with praise. Rather than because I'm mean or stingy, it's because research has shown that external motivation (like prizes) can undermine internal motivation (the drive every child is born with to learn). Praise, too, can have unintended consequences and also undermine internal motivation, as well as make it more difficult for someone to learn.
2 Many of the assignments, requiring me as they did to work with students in a standard classroom experience, reaffirmed my belief that I am in the right line of work. I LOVE teaching. When I have to take time off teaching (like recently, with the birth of my son), I'm very excited to get back to teaching. But being self-employed can be very difficult, so I periodically entertain the thought of working in a school setting. Even just volunteering for a few hours, once a week, in a school setting made me realize how very much I do NOT want to work in a school. Those few hours were exhausting, draining, and very frustrating. I wanted to get to know each student, and be able to work with them individually because it was obvious they all had different needs, but that was impossible. Even when I could work with a student individually on something, it was something that student had no desire or interest in, which was why they were struggling. Teaching private music lessons has spoiled me. All of my students want to take lessons, and they want to play their instrument. I never have to work with an unwilling student. Yes, I am in the right career path for me.
3 Being back in school really made me appreciate NOT being in school. It always seems, that when I'm not in school I look back on that time period with rose colored glasses, and miss it. But as soon as I'm back, I remember why I was so eager to get out. Hopefully, this time I'll be able to remember.
I really did learn a LOT with my master's. If you're interested in more specifics, please do check out my portfolio. I have a page showcasing some of my favorite assignments, a page for each of the classes I took, and then a few essays I wrote about my experiences as a whole.
Wednesday, February 19, 2014
Monday, February 10, 2014
Changes!
The last time I posted was over two years ago. As can be expected, I've had a lot of changes in that time. For starters, I was in the middle of working on my master's in education. I graduated in May 2013, and you can see what I accomplished here. A few months earlier, in February of 2013, I moved my studio from the studio in Puyallup to my home in Buckley. And then I got pregnant, and I just gave birth in December to my baby boy, Logan. While working on my master's, I stopped accepting new students, as it was a LOT of work, both being in school, then being pregnant. I took about two months off of teaching entirely when Logan was born, and am now back teaching!
Recently, at my local music teacher's group, we had a very inspiring program about the MTNA certification process; so inspiring, we all decided to start working on it together. At first, my thought was that I would wait until Logan was older and I was teaching more, but then it occurred to me that this is the perfect time to work on it! I don't have many students, and since I'm breastfeeding my son, I have a lot of time on the couch that would be perfect for typing up the projects. So, I've started working on my certification, and you can see my progress here.
My goal for this blog is to post once a week. In coming weeks, you can look for posts on how these recent changes have effected my teaching.
Is there something you want to know about? Make a comment or send me an email!
Recently, at my local music teacher's group, we had a very inspiring program about the MTNA certification process; so inspiring, we all decided to start working on it together. At first, my thought was that I would wait until Logan was older and I was teaching more, but then it occurred to me that this is the perfect time to work on it! I don't have many students, and since I'm breastfeeding my son, I have a lot of time on the couch that would be perfect for typing up the projects. So, I've started working on my certification, and you can see my progress here.
My goal for this blog is to post once a week. In coming weeks, you can look for posts on how these recent changes have effected my teaching.
Is there something you want to know about? Make a comment or send me an email!
Thursday, December 1, 2011
A Musician's Wish List
Do you know what to get for that aspiring musician on your list? No? Well, here are some ideas:
Metronome: these annoying little gadgets should be every musician's best friend. Proper use will instill a sense of timing that will greatly help your musician's rhythm. Plus, their teacher will love you!
Tuner: another very useful little gadget, that you will also grow to love. Unless you like hearing "Jingle Bells" in a minor key, you'll want your musician to have one so every note can be pitch-perfect. As an added bonus, you can get clip-on tuners, or even metronome-tuners, that contain both functions.
Stand: another essential for every musician that uses music (yes, that's all of my students). Of course, if your musician plays entirely by ear, and has no desire or need to use music, then this is less helpful. They come in folding varieties that are easy to transport, nice sturdy black stands, even extra tall stands for the giants among my students!
Assorted music: if you know what kind of music your musician enjoys, and their approximate level, you can pick up some extra sheet music for them to enjoy.
Subscription to Strings: This is a great magazine with something for every string player! I'm a subscriber, so if you want to check it out first, I've got several copies at the studio. There is so much in every issue for such a low price; I'm still reading issues back at least 6 months!
Tickets to the Symphony: Every musician needs inspiration and motivation, and nothing is quite so inspiring and motivating as watching a really good symphony perform live. I have a whole list of local symphonies up on the website.
CD's of really good musicians: Not quite as good as watching live, but these you can listen to over and over again! Joshua Bell and Itzhak Perlman are my two favorite violinists. Or, get them a CD of some alternative music - jazz, fiddle, even rock can be great fun.
A new instrument. Yep, there's always room to upgrade. Investing in a really nice instrument that your musician can really shine on will really help them go far with their music. Plus, they might even want to practice!
An electric instrument. Do you and your musician have conflicting ideas of when a good time to practice is? Maybe they only like to play after 10pm, but you need to sleep because you have to get up at 5am? (this was the case when I was a teenager!) Well, an electric instrument can help calm the waters and make everyone happy. Just have your musician plug it into some headphones, and they'll be able to hear themselves play, and you'll be able to sleep.
A box of pencils. Great stocking-stuffers. Musicians can't get enough of them. That, and a good eraser.
A book about music. Music history, composers, history of stringed instruments, music dictionaries, famous musicians, music in film - there's tons of options. There's even book/CD combos out there that can allow your favorite musician to pop in the CD, and read about the composer they're listening to.
Specific upgrades to their current instrument. Whether it's a new case, a new/better bridge, a better chinrest, more effective shoulder rest, new strings, new/better pegs, or a new bow, upgrades can be made to their current instrument that can really make a world of difference in their playing.
Get their current instrument maintained. Yes, that's right, instruments require regular maintenance, and it really does make a big difference. A simple-seeming adjustment to their bridge or soundpost can make all the colors really blossom.
Nice headphones to help your musician listen to themselves or their favorite CD. This way, you won't have to get tired of Twinkle, Twinkle Little Star, or even the Vivaldi a minor.
Nice rosin. Rosin? Yes. A small cake that can really do wonders. While the cheap little $5 cakes work, mostly, some really nice rosin can really improve your musician's playing.
Instrument Stand. If your musician has a safe place they can display their instrument (out of the reach of pets and small children), these can really get a musician practicing! Ever hear the saying, "The hardest part about practicing is getting the instrument out of the case"? Well, it's true. If the instrument is hanging up, visible, your musician will practice a lot more.
Okay, I hope that gives you some ideas. If you're still stuck, there are any number of "Music Gifts" at both your local music stores and your favorite online music store.
Happy Playing!
Metronome: these annoying little gadgets should be every musician's best friend. Proper use will instill a sense of timing that will greatly help your musician's rhythm. Plus, their teacher will love you!
Tuner: another very useful little gadget, that you will also grow to love. Unless you like hearing "Jingle Bells" in a minor key, you'll want your musician to have one so every note can be pitch-perfect. As an added bonus, you can get clip-on tuners, or even metronome-tuners, that contain both functions.
Stand: another essential for every musician that uses music (yes, that's all of my students). Of course, if your musician plays entirely by ear, and has no desire or need to use music, then this is less helpful. They come in folding varieties that are easy to transport, nice sturdy black stands, even extra tall stands for the giants among my students!
Assorted music: if you know what kind of music your musician enjoys, and their approximate level, you can pick up some extra sheet music for them to enjoy.
Subscription to Strings: This is a great magazine with something for every string player! I'm a subscriber, so if you want to check it out first, I've got several copies at the studio. There is so much in every issue for such a low price; I'm still reading issues back at least 6 months!
Tickets to the Symphony: Every musician needs inspiration and motivation, and nothing is quite so inspiring and motivating as watching a really good symphony perform live. I have a whole list of local symphonies up on the website.
CD's of really good musicians: Not quite as good as watching live, but these you can listen to over and over again! Joshua Bell and Itzhak Perlman are my two favorite violinists. Or, get them a CD of some alternative music - jazz, fiddle, even rock can be great fun.
A new instrument. Yep, there's always room to upgrade. Investing in a really nice instrument that your musician can really shine on will really help them go far with their music. Plus, they might even want to practice!
An electric instrument. Do you and your musician have conflicting ideas of when a good time to practice is? Maybe they only like to play after 10pm, but you need to sleep because you have to get up at 5am? (this was the case when I was a teenager!) Well, an electric instrument can help calm the waters and make everyone happy. Just have your musician plug it into some headphones, and they'll be able to hear themselves play, and you'll be able to sleep.
A box of pencils. Great stocking-stuffers. Musicians can't get enough of them. That, and a good eraser.
A book about music. Music history, composers, history of stringed instruments, music dictionaries, famous musicians, music in film - there's tons of options. There's even book/CD combos out there that can allow your favorite musician to pop in the CD, and read about the composer they're listening to.
Specific upgrades to their current instrument. Whether it's a new case, a new/better bridge, a better chinrest, more effective shoulder rest, new strings, new/better pegs, or a new bow, upgrades can be made to their current instrument that can really make a world of difference in their playing.
Get their current instrument maintained. Yes, that's right, instruments require regular maintenance, and it really does make a big difference. A simple-seeming adjustment to their bridge or soundpost can make all the colors really blossom.
Nice headphones to help your musician listen to themselves or their favorite CD. This way, you won't have to get tired of Twinkle, Twinkle Little Star, or even the Vivaldi a minor.
Nice rosin. Rosin? Yes. A small cake that can really do wonders. While the cheap little $5 cakes work, mostly, some really nice rosin can really improve your musician's playing.
Instrument Stand. If your musician has a safe place they can display their instrument (out of the reach of pets and small children), these can really get a musician practicing! Ever hear the saying, "The hardest part about practicing is getting the instrument out of the case"? Well, it's true. If the instrument is hanging up, visible, your musician will practice a lot more.
Okay, I hope that gives you some ideas. If you're still stuck, there are any number of "Music Gifts" at both your local music stores and your favorite online music store.
Happy Playing!
Monday, August 15, 2011
Gearing up for Fall!!
What?!? That time already?!! Yep, it sure is! I've already started planning and scheduling, purchasing new music, new prizes, and new posters for the studio. It's so exciting!
Here's What's New This Year:
South Hill Chamber Orchestra
Our studio youth orchestra is returning for what is sure to be a fabulous year! As always, we start out the year with learning some fun holiday tunes, so be sure to jump in on all the fun! We'll be starting September 1st, and rehearse every Thursday from 5:30-6:30pm, right here in the studio. I can't wait to see everyone at rehearsal!
South Hill Fiddlers
This is our new fiddle group. Not only will we be able to learn some fun and exciting fiddle tunes, but we'll also learn a lot of new skills. After learning the melody, some of us will be able to improvise counter-melodies or harmonies, and someone will improvise a bass line. Improvisation is a fundamental skill that is missing from many classical curricula, so this is your chance to get your fill. I'm looking forward to taking this group up to Seattle to perform on street corners! We start September 1st, rehearsing every Thursday from 6:45-7:15.
Adults-Only Chamber Group
We had our trial run during the summer, and overall it was a success! This is your stress-free chance to play music with other adults, no matter your level. This is the perfect opportunity for those musicians that aren't yet ready for an ordinary community orchestra, but want to play with others. We start September 1st, rehearsing every Thursday from 7:30-8:15.
Early Childhood Music Class:
This fun class is returning for another great year. Not sure if your young student is ready for private lessons? This is the class for you! We listen to music, color, sing, dance, play little pianos and drums, and have an overall great time with music. This is also great for younger siblings of current students. Geared towards students ages 3-6. While we usually meet the second Saturday of the month, our next class is Saturday, September 17th, from 10:30-11am.
Group Classes:
This year, we're dividing up into 2 groups. The younger students, ages 7-11, will be from 11am-noon, and the older students, ages 12 and up, will be from noon-1pm. What we do depends largely on who shows up, but we often play games, work on some different techniques, theory, and instrument care. Our next class is Saturday, September 17th.
Music Achievement Program:
This is a great way for students to take advantage of as many opportunities as they can. Students get credit for every extra activity they participate in, such as group classes, group playing opportunities, recitals, concerts (to watch), and many more. Students that complete the program will be recognized at our studio recital at the end of the year.
Holiday Performances:
Yep, I'm already starting to think about these! So far, we have 2 scheduled (Dec 3rd and 10th), but we should be adding one more. To prepare for these performances, students will begin learning music from "Christmas Kaleidoscope". We always have a lot of fun performing as a group at retirement homes, and it's community service, too!
This is just a bit of what we have coming up this year; to find out more, log in to the website, check us out on Facebook, or even just send me a message!
Happy Playing!
Here's What's New This Year:
South Hill Chamber Orchestra
Our studio youth orchestra is returning for what is sure to be a fabulous year! As always, we start out the year with learning some fun holiday tunes, so be sure to jump in on all the fun! We'll be starting September 1st, and rehearse every Thursday from 5:30-6:30pm, right here in the studio. I can't wait to see everyone at rehearsal!
South Hill Fiddlers
This is our new fiddle group. Not only will we be able to learn some fun and exciting fiddle tunes, but we'll also learn a lot of new skills. After learning the melody, some of us will be able to improvise counter-melodies or harmonies, and someone will improvise a bass line. Improvisation is a fundamental skill that is missing from many classical curricula, so this is your chance to get your fill. I'm looking forward to taking this group up to Seattle to perform on street corners! We start September 1st, rehearsing every Thursday from 6:45-7:15.
Adults-Only Chamber Group
We had our trial run during the summer, and overall it was a success! This is your stress-free chance to play music with other adults, no matter your level. This is the perfect opportunity for those musicians that aren't yet ready for an ordinary community orchestra, but want to play with others. We start September 1st, rehearsing every Thursday from 7:30-8:15.
Early Childhood Music Class:
This fun class is returning for another great year. Not sure if your young student is ready for private lessons? This is the class for you! We listen to music, color, sing, dance, play little pianos and drums, and have an overall great time with music. This is also great for younger siblings of current students. Geared towards students ages 3-6. While we usually meet the second Saturday of the month, our next class is Saturday, September 17th, from 10:30-11am.
Group Classes:
This year, we're dividing up into 2 groups. The younger students, ages 7-11, will be from 11am-noon, and the older students, ages 12 and up, will be from noon-1pm. What we do depends largely on who shows up, but we often play games, work on some different techniques, theory, and instrument care. Our next class is Saturday, September 17th.
Music Achievement Program:
This is a great way for students to take advantage of as many opportunities as they can. Students get credit for every extra activity they participate in, such as group classes, group playing opportunities, recitals, concerts (to watch), and many more. Students that complete the program will be recognized at our studio recital at the end of the year.
Holiday Performances:
Yep, I'm already starting to think about these! So far, we have 2 scheduled (Dec 3rd and 10th), but we should be adding one more. To prepare for these performances, students will begin learning music from "Christmas Kaleidoscope". We always have a lot of fun performing as a group at retirement homes, and it's community service, too!
This is just a bit of what we have coming up this year; to find out more, log in to the website, check us out on Facebook, or even just send me a message!
Happy Playing!
Thursday, June 23, 2011
Student Accomplishments
As the school year comes to a close, and as I sit, recovering in the aftermath of our annual spring recital, I realize that my students have accomplished SO MUCH this year! Not only have they been awesome in their musical studies, passing books, participating in orchestras, winning competitions, but they have also done very well in other areas of their lives. Here’s to you, all my students, and all that you have accomplished in the last year!
Congratulations are in order to:
Kennedy Carrell, for doing so well in school, all by herself.
Taylor Davis, for mastering a few extra (outside of his lessons!) pieces of music
To Dawson Dalfrey, for receiving honor roll two times this year for all A’s and B’s!
To Kelsey Giosso, for learning the violin for her senior project!
To Sophia Judish, for reading the most out of all the second graders in her school (and 3rd and 4th)!
To Makenzie Forte, for making Chamber Orchestra at Ferruchi JH!
To Hannah Pena, for placing first in her division with Curtis HS at a competition in Gresham!
To Jennalise Tripplett, for receiving a $500 college scholarship with her violin!
Wow, my students are amazing! In addition, the following students passed books this year:
Twinkle:
Kelsey Giosso
Daley Schinnell
Kennedy Woodson
Hunter Evans
Steven Holland
Arianna Pernela
Allie Bilson
Gianna Palermo
Dawson Dalfrey
Suzuki Book 1:
Kelsey Giosso
David Douglass
Aaron Emerson
Samantha Oliver
Suzuki Book 2:
David Douglass
Aaron Emerson
Suzuki Book 3:
Kennedy Carrell
Master Theory Book 1:
Lyndse Miller
David Douglass
Kennedy Carrell
Sophia Judish
Aaron Emerson
Master Theory Book 2:
Hannah Pena
Samantha Oliver
The following students participated in these extra activities:
Music Olympics:
Jeremy Douglass
David Douglass (99% on your theory exam – way to go!)
Kennedy Carrell (95% on your theory exam – awesome!)
Aaron Emerson
Steven Holland
Daley Schinnell
South Hill Chamber Orchestra:
Lyndse Miller (fall quarter)
Hannah Pena
David Douglass
Aidan Ramsey
Sophia Judish
Aaron Emerson
Adults-Only Chamber Orchestra:
Karen Becker
Kim Roscoe
Robert Case
Dan Dunham
Sarah Harvey
Did I mention my students are amazing? Most of you are also involved in sports, other instruments, you’re all working hard in school (or work), many play in their school orchestras, and you’re just all-around involved, hard working people. Congrats to an awesome year!
Tuesday, May 31, 2011
Alternative Instruments
Violin is a great instrument. Versatile, adaptable, with a beautiful sound, you can play practically anything on it. But sometimes, it seems like everyone plays the violin. What are some alternatives you can add to your resume to help make you stand out from the crowd?
Viola
Yes, the viola is its own instrument in its own right. But it's very similar to the violin, and is grossly under-represented. If you do a search for players of a particular instrument, compositions for an instrument, look at surveys that different companies have done (Strings comes to mind), or look for products available for the instrument (like strings), you'll see this. There's the most for violin. Then cello. There's actually quite a lot on cello, and it seems to be quite the popular instrument lately. Viola comes in last.
If you can play viola as well as violin, you will be a much more sought-after player; opportunities abound for the musician that can play both instruments. So, in my opinion, it's worth acquiring a viola to broaden your experience and expertise.
Electric Violin
Ever wanted to play in a rock band? Or how about play fiddle with a country band? You'd probably be playing on an electric violin. Even with a microphone, most acoustic violins can't match the volume of the rest of the band. But an electric violin . . .
With an electric violin comes a whole new world. Pickups, preamps, amplifiers, PA systems . . . the list goes on and on. I have just begun my search through this world, but I've realized it's bigger than I've ever thought possible. Do your research, talk to others that play electric instruments, and be prepared to play around and have some fun! Just like with acoustic instruments, everyone is different, and what works for one person might not work for another. The good news is, you only have to learn the electronics, because playing the instrument is the same as your acoustic violin.
The Five-String
Violin? Viola? Can't decide which you'd rather play, but you're convinced you only want one instrument? Then the 5-string may be for you! It is the same size as the violin, and has the violin E, A, D, and G, but also has the viola C string. Of course, there are a variety of other options as well - 6 or 7 string instruments, 5 string violas . . .
Five String violins are becoming a lot more popular recently, particularly in the electric world. In fact, it may be easier to find an electric 5-string than an acoustic! I recently bought an acoustic 5-string, but I have plans to add the hardware to make it an electric/acoustic instrument. It'll be my "go anywhere, do anything" sort of instrument that I can take camping, fiddle playing on a street corner in Seattle, play at a wedding (don't want it to rain on my nice violin!), and then hook it up to an amp and rock out with a band. Of course, I could do all this with a 4 string acoustic/electric violin, but that extra C string gives me just that little bit of extra versatility.
Fiddles
Yes, a fiddle is the same as a violin, but often the two are set up a little differently. A fiddler likes their strings a bit lower, so they can play faster notes. However, it makes playing in the higher registers impossible, as a fiddle's strings will touch the fingerboard and cause a buzz if you play too high.
But I'm more interested in the fiddle style of playing. You can play fiddle music on your classically setup violin just fine, and then turn around and play Vivaldi. Have you ever tried fiddle music? Since it's based on an aural tradition (songs passed down generation by generation through learning the piece by ear, rather than written down), fiddle music gives you more wiggle room. You can alter bowings, fingerings, even notes or rhythms. There are a lot of fiddle pieces written out today, but if you look up "Whiskey Before Breakfast" you're liable to find half a dozen different ways of playing it. And this is just fine. Learn a fiddle tune, then change it and make it your own!
Alternative Styles
Yep, there's more you can play on your violin than just classical music. Rock, jazz, country (fiddle), pop, and many others all have a place for the violin. And the violin is getting to be more popular in these alternative styles, too. All you need is an appreciation for the style, and a willingness to experiment. There's lots of classically-trained violinists that have gone on to make careers for themselves in the alternative styles. In addition, alternative style music programs are popping up on college campuses all across America.
Why not try something different? Expand your horizons, and have some fun! Happy Playing!
Viola
Yes, the viola is its own instrument in its own right. But it's very similar to the violin, and is grossly under-represented. If you do a search for players of a particular instrument, compositions for an instrument, look at surveys that different companies have done (Strings comes to mind), or look for products available for the instrument (like strings), you'll see this. There's the most for violin. Then cello. There's actually quite a lot on cello, and it seems to be quite the popular instrument lately. Viola comes in last.
If you can play viola as well as violin, you will be a much more sought-after player; opportunities abound for the musician that can play both instruments. So, in my opinion, it's worth acquiring a viola to broaden your experience and expertise.
Electric Violin
Ever wanted to play in a rock band? Or how about play fiddle with a country band? You'd probably be playing on an electric violin. Even with a microphone, most acoustic violins can't match the volume of the rest of the band. But an electric violin . . .
With an electric violin comes a whole new world. Pickups, preamps, amplifiers, PA systems . . . the list goes on and on. I have just begun my search through this world, but I've realized it's bigger than I've ever thought possible. Do your research, talk to others that play electric instruments, and be prepared to play around and have some fun! Just like with acoustic instruments, everyone is different, and what works for one person might not work for another. The good news is, you only have to learn the electronics, because playing the instrument is the same as your acoustic violin.
The Five-String
Violin? Viola? Can't decide which you'd rather play, but you're convinced you only want one instrument? Then the 5-string may be for you! It is the same size as the violin, and has the violin E, A, D, and G, but also has the viola C string. Of course, there are a variety of other options as well - 6 or 7 string instruments, 5 string violas . . .
Five String violins are becoming a lot more popular recently, particularly in the electric world. In fact, it may be easier to find an electric 5-string than an acoustic! I recently bought an acoustic 5-string, but I have plans to add the hardware to make it an electric/acoustic instrument. It'll be my "go anywhere, do anything" sort of instrument that I can take camping, fiddle playing on a street corner in Seattle, play at a wedding (don't want it to rain on my nice violin!), and then hook it up to an amp and rock out with a band. Of course, I could do all this with a 4 string acoustic/electric violin, but that extra C string gives me just that little bit of extra versatility.
Fiddles
Yes, a fiddle is the same as a violin, but often the two are set up a little differently. A fiddler likes their strings a bit lower, so they can play faster notes. However, it makes playing in the higher registers impossible, as a fiddle's strings will touch the fingerboard and cause a buzz if you play too high.
But I'm more interested in the fiddle style of playing. You can play fiddle music on your classically setup violin just fine, and then turn around and play Vivaldi. Have you ever tried fiddle music? Since it's based on an aural tradition (songs passed down generation by generation through learning the piece by ear, rather than written down), fiddle music gives you more wiggle room. You can alter bowings, fingerings, even notes or rhythms. There are a lot of fiddle pieces written out today, but if you look up "Whiskey Before Breakfast" you're liable to find half a dozen different ways of playing it. And this is just fine. Learn a fiddle tune, then change it and make it your own!
Alternative Styles
Yep, there's more you can play on your violin than just classical music. Rock, jazz, country (fiddle), pop, and many others all have a place for the violin. And the violin is getting to be more popular in these alternative styles, too. All you need is an appreciation for the style, and a willingness to experiment. There's lots of classically-trained violinists that have gone on to make careers for themselves in the alternative styles. In addition, alternative style music programs are popping up on college campuses all across America.
Why not try something different? Expand your horizons, and have some fun! Happy Playing!
Wednesday, March 9, 2011
New Developements
As the year progresses, I'm starting to catch up with technology. Here are some new features of your lessons:
You can now login to the website with your username and password to view your calendar with all your upcoming events, students can log practice times, parents can view and pay their bill. Yes, you can pay for your lessons online now, through Paypal.
I just got a webcam! We can now record your lessons for you to watch at home. While I'm having some issues getting videos up on Youtube, if you bring a USB flashdrive and sign a permission slip, you can bring your lesson video home with you. This webcam also allows me to record additional songs for my students - very handy!
If you cannot make your lesson, we now have the option of having our lessons via Skype! While it's not ideal, it beats missing a lesson!
As a new member of the Mount Rainier Chapter of the Washington State Music Teacher's Association (affiliated with Music Teacher's National Association), I have all sorts of opportunities I can make available to my students!
More recitals: as a studio, we have one studio-wide recital every year. The chapter holds 4 more recitals that my students can participate in.
Music Olympics: This is the chapter's first year hosting this exciting event, and I'm on the planning committee! We'll have a morning of fun, games, and get a chance to evaluate our progress. I'm really excited about this event!
Adjudications: Beginning next year, my students will have the opportunity to participate in adjudications and get some feedback from a master teacher. This year, we're holding a master class to get used to the idea of adjudications.
Practice-A-Thon: This will be an exciting week-long practicing competition. Prizes will be awarded to biggest practicers, most money earned, as well as random drawings.
Senior Scholarships: My high school seniors now have the opportunity of applying for a college scholarship through the chapter.
I'm very excited for all the new opportunities we have as this year progresses. Happy Playing!
You can now login to the website with your username and password to view your calendar with all your upcoming events, students can log practice times, parents can view and pay their bill. Yes, you can pay for your lessons online now, through Paypal.
I just got a webcam! We can now record your lessons for you to watch at home. While I'm having some issues getting videos up on Youtube, if you bring a USB flashdrive and sign a permission slip, you can bring your lesson video home with you. This webcam also allows me to record additional songs for my students - very handy!
If you cannot make your lesson, we now have the option of having our lessons via Skype! While it's not ideal, it beats missing a lesson!
As a new member of the Mount Rainier Chapter of the Washington State Music Teacher's Association (affiliated with Music Teacher's National Association), I have all sorts of opportunities I can make available to my students!
More recitals: as a studio, we have one studio-wide recital every year. The chapter holds 4 more recitals that my students can participate in.
Music Olympics: This is the chapter's first year hosting this exciting event, and I'm on the planning committee! We'll have a morning of fun, games, and get a chance to evaluate our progress. I'm really excited about this event!
Adjudications: Beginning next year, my students will have the opportunity to participate in adjudications and get some feedback from a master teacher. This year, we're holding a master class to get used to the idea of adjudications.
Practice-A-Thon: This will be an exciting week-long practicing competition. Prizes will be awarded to biggest practicers, most money earned, as well as random drawings.
Senior Scholarships: My high school seniors now have the opportunity of applying for a college scholarship through the chapter.
I'm very excited for all the new opportunities we have as this year progresses. Happy Playing!
Wednesday, December 29, 2010
The Importance of Attending Performances
Two years ago, my boyfriend took me to see the Seattle Symphony perform Vivaldi's Four Seasons for my birthday. I still rave about it. It was an amazing experience that was inspirational, motivating, captivating . . . you get the idea. Part of the reason it was so cool was because as a violinist, I've played most of the violin parts in it. Solo parts, first violin parts, second violin parts, for all three movements of all four pieces. So it was like getting a lesson or master class.
Watching other people perform can be a great learning experience. You can see and hear different ways of playing and performing, see different techniques in action, and experience someone else's interpretation of a piece. So when you go home afterward, you can try some of these and see how you like them for your playing.
Attending performances is also very motivating. After seeing the Seattle Symphony, I went home with renewed motivation to practice. Two months later, I even managed to get myself a lesson with a local professional violinist in the hopes of auditioning for a professional orchestra. Talk about inspiration! I still draw on my experience at that performance to give myself a motivational boost when I'm feeling uninspired.
The more performances you experience, the more experiences you have to draw on for your own playing. In college, I got to see the Juliard String Quartet perform. I called home to my violin teachers, excitedly telling them about how those old men jumped out of their seats! They were pretty tickled, considering they'd spent my high school years yelling at my orchestra to move together. That was the first time I had been able to really see it in action, and man did it work!
So as you can see, attending a performance can also reinforce something you've been trying to learn in a lesson or orchestra rehearsal. It's the little details, that all added up, make a really fine performance. Being able to see and experience this live is priceless.
I encourage everyone to attend as many performances as they can. We are blessed to live in such a musically active area, and have tons of performance options. I have listed websites of the groups I know about to get you started in your search for your next performance, but I'd also like to invite you to try a free performance. I play with Tacoma Community College's Symphony Orchestra, and would love to see you in the audience! Performances are usually Wednesday evenings at 7:30pm.
Seattle Symphony
Tacoma Symphony Orchestra
Auburn Symphony Orchestra
Northwest Sinfonietta
Rainier Symphony
Federal Way Symphony
Seattle Baroque Orchestra
Orchestra Seattle Chamber Singers (orchestra with choral group)
Olympia Symphony Orchestra
Northwest Symphony Orchestra
Tacoma Philharmonic
Bellevue Philharmonic
Tacoma Youth Symphony Association
Tacoma Opera
Happy Playing!
Watching other people perform can be a great learning experience. You can see and hear different ways of playing and performing, see different techniques in action, and experience someone else's interpretation of a piece. So when you go home afterward, you can try some of these and see how you like them for your playing.
Attending performances is also very motivating. After seeing the Seattle Symphony, I went home with renewed motivation to practice. Two months later, I even managed to get myself a lesson with a local professional violinist in the hopes of auditioning for a professional orchestra. Talk about inspiration! I still draw on my experience at that performance to give myself a motivational boost when I'm feeling uninspired.
The more performances you experience, the more experiences you have to draw on for your own playing. In college, I got to see the Juliard String Quartet perform. I called home to my violin teachers, excitedly telling them about how those old men jumped out of their seats! They were pretty tickled, considering they'd spent my high school years yelling at my orchestra to move together. That was the first time I had been able to really see it in action, and man did it work!
So as you can see, attending a performance can also reinforce something you've been trying to learn in a lesson or orchestra rehearsal. It's the little details, that all added up, make a really fine performance. Being able to see and experience this live is priceless.
I encourage everyone to attend as many performances as they can. We are blessed to live in such a musically active area, and have tons of performance options. I have listed websites of the groups I know about to get you started in your search for your next performance, but I'd also like to invite you to try a free performance. I play with Tacoma Community College's Symphony Orchestra, and would love to see you in the audience! Performances are usually Wednesday evenings at 7:30pm.
Seattle Symphony
Tacoma Symphony Orchestra
Auburn Symphony Orchestra
Northwest Sinfonietta
Rainier Symphony
Federal Way Symphony
Seattle Baroque Orchestra
Orchestra Seattle Chamber Singers (orchestra with choral group)
Olympia Symphony Orchestra
Northwest Symphony Orchestra
Tacoma Philharmonic
Bellevue Philharmonic
Tacoma Youth Symphony Association
Tacoma Opera
Happy Playing!
Sunday, December 12, 2010
Travel Tips
Going to Grandma's house for the holidays? Are you taking your instrument? You know she'd love to hear you play. Well, here's some travel tips to make sure your instrument has as enjoyable a trip as you do.
If you're traveling by bus, train, or car, you only need to do the following:
1) Pack your instrument carefully. Your case should be able to withstand the weight of other bags and boxes on top of it, but you don't want your instrument to be knocked around. So place it in a secure location, where it won't get jostled so much.
2) Pack your instrument so it's accessible. Leaving an instrument in the car is not a good idea. So you want it to be easily accessible, so you can take it out if you stop at a hotel for the night. Don't put it on the bottom if you'll be stopping overnight without completely unpacking the car.
3) Keep track of your instrument at all times. This sounds like a no-brainer, but instruments are expensive and it bears repeating. Don't leave your instrument unattended. If traveling by bus or train, insist it goes with you, rather than the rest of your luggage.
4) Keep track of the weather. As I discussed in my last post, the weather can have adverse effects on your instrument. So try to keep it as stable as you can. Don't leave it in the cold, and make sure you have something to control the humidity inside your case. If you're traveling somewhere that has a dry winter from the Pacific NW, your instrument won't be happy in the drier environment.
5) As soon as possible, take your instrument out and inspect it. Check your bridge; it should be almost straight up and down. Look for cracks or open seams. If you're not sure what to look for, ask your teacher before you go. Finally, tune your instrument if you can. It may take a couple days for your instrument to adjust to the new environment, and during that time it will require frequent tuning.
If you're traveling by plane, you'll need to do all of the above, as well as:
6) Before boarding the plane, take your instrument out and look it over. Then tune each string down about a quarter step. If you loosen the strings too much, your bridge and soundpost could fall over. So just about a quarter step; if you're not sure how to do this, make sure you ask your teacher.
7) Insist that your instrument is a carry-on bag. Don't let them put it in as checked baggage. This may mean that it's your only carry-on, but it's necessary. Your instrument may not survive if you put it in checked baggage, despite your best precautions.
You know how your ears pop when you fly? That's because the pressure is changing, which is why you have to loosen your strings before you board. And you're in the pressure-controlled cabin; the change is much, much worse in the baggage cabin.
8) In between flights, take your instrument out and check it over. Check your bridge and soundpost, look for cracks and open seams, and check the tuning. It should still be about a quarter step flat.
9) After you arrive at your destination, take your instrument out again and recheck it. Now is the time to retune it, too. It may take a couple days for your instrument to adjust, so tune before each time you play, even if you wouldn't ordinarily. Also look over your instrument daily for your entire trip. You want to make sure seams or old cracks don't open up.
Don't let this list scare you out of taking your instrument with you. Grandma and Grandpa would really love to hear you play, and the precautions when traveling are really not much more than your daily precautions with your instrument. So pack along some fun music you can play for your family, and enjoy your trip!
Happy Playing!
If you're traveling by bus, train, or car, you only need to do the following:
1) Pack your instrument carefully. Your case should be able to withstand the weight of other bags and boxes on top of it, but you don't want your instrument to be knocked around. So place it in a secure location, where it won't get jostled so much.
2) Pack your instrument so it's accessible. Leaving an instrument in the car is not a good idea. So you want it to be easily accessible, so you can take it out if you stop at a hotel for the night. Don't put it on the bottom if you'll be stopping overnight without completely unpacking the car.
3) Keep track of your instrument at all times. This sounds like a no-brainer, but instruments are expensive and it bears repeating. Don't leave your instrument unattended. If traveling by bus or train, insist it goes with you, rather than the rest of your luggage.
4) Keep track of the weather. As I discussed in my last post, the weather can have adverse effects on your instrument. So try to keep it as stable as you can. Don't leave it in the cold, and make sure you have something to control the humidity inside your case. If you're traveling somewhere that has a dry winter from the Pacific NW, your instrument won't be happy in the drier environment.
5) As soon as possible, take your instrument out and inspect it. Check your bridge; it should be almost straight up and down. Look for cracks or open seams. If you're not sure what to look for, ask your teacher before you go. Finally, tune your instrument if you can. It may take a couple days for your instrument to adjust to the new environment, and during that time it will require frequent tuning.
If you're traveling by plane, you'll need to do all of the above, as well as:
6) Before boarding the plane, take your instrument out and look it over. Then tune each string down about a quarter step. If you loosen the strings too much, your bridge and soundpost could fall over. So just about a quarter step; if you're not sure how to do this, make sure you ask your teacher.
7) Insist that your instrument is a carry-on bag. Don't let them put it in as checked baggage. This may mean that it's your only carry-on, but it's necessary. Your instrument may not survive if you put it in checked baggage, despite your best precautions.
You know how your ears pop when you fly? That's because the pressure is changing, which is why you have to loosen your strings before you board. And you're in the pressure-controlled cabin; the change is much, much worse in the baggage cabin.
8) In between flights, take your instrument out and check it over. Check your bridge and soundpost, look for cracks and open seams, and check the tuning. It should still be about a quarter step flat.
9) After you arrive at your destination, take your instrument out again and recheck it. Now is the time to retune it, too. It may take a couple days for your instrument to adjust, so tune before each time you play, even if you wouldn't ordinarily. Also look over your instrument daily for your entire trip. You want to make sure seams or old cracks don't open up.
Don't let this list scare you out of taking your instrument with you. Grandma and Grandpa would really love to hear you play, and the precautions when traveling are really not much more than your daily precautions with your instrument. So pack along some fun music you can play for your family, and enjoy your trip!
Happy Playing!
Thursday, December 2, 2010
Weatherizing Your Instrument
Weatherize an instrument? You bet. Your instrument isn't just a box with a few strings, it's a living being. Okay, maybe not that dramatic, but the weather does affect it. Your instrument is made of wood. Wood responds to changes in humidity, temperature, and even air pressure. This is why your instrument will usually go out of tune every time the weather changes.
Here in the Pacific Northwest, we're blessed. We have mild winters, we're relatively humid year round, and even our summers aren't that hot. Perfect stringed instrument climate. However, there are some precautions you should take.
1) Most important is daily maintenance. Every day, before you start playing, check your instrument over. Check the bridge. Does it seem to be in the correct spot? If you look at your instrument from the side, your bridge should lean back ever so slightly. If it's leaning one way or another dramatically, contact your teacher or your luthier ASAP! It can break, but needs to be adjusted by someone who knows what they're doing.
Check for cracks or open seams. Is your fingerboard securely glued on? Not only does the wood respond to changes in weather, the glue does too.
Does your instrument look right? By checking it every day, you'll get used to what is normal and what's not. Then you'll be able to bring any problems to your luthier before they're big problems.
2) Humidity. If you are going to be moving your instrument around a lot, it might be worth it to get a humidity regulator for your case. They're available at most stringed instrument supply stores.
3) Temperature. NEVER leave your instrument in the car! Not only does the chance of theft skyrocket (and most companies don't insure instruments in your car), but changes in temperature can severely damage your instrument. Try to keep it relatively stable, around 60-70F (what most humans are comfortable in) is usually great.
Like I said, winter care for our instruments is pretty easy here in the NW. But a little preventive care can go a long way to extending the life of your instrument. Stay tuned next time for travel tips!
Happy Playing!
Here in the Pacific Northwest, we're blessed. We have mild winters, we're relatively humid year round, and even our summers aren't that hot. Perfect stringed instrument climate. However, there are some precautions you should take.
1) Most important is daily maintenance. Every day, before you start playing, check your instrument over. Check the bridge. Does it seem to be in the correct spot? If you look at your instrument from the side, your bridge should lean back ever so slightly. If it's leaning one way or another dramatically, contact your teacher or your luthier ASAP! It can break, but needs to be adjusted by someone who knows what they're doing.
Check for cracks or open seams. Is your fingerboard securely glued on? Not only does the wood respond to changes in weather, the glue does too.
Does your instrument look right? By checking it every day, you'll get used to what is normal and what's not. Then you'll be able to bring any problems to your luthier before they're big problems.
2) Humidity. If you are going to be moving your instrument around a lot, it might be worth it to get a humidity regulator for your case. They're available at most stringed instrument supply stores.
3) Temperature. NEVER leave your instrument in the car! Not only does the chance of theft skyrocket (and most companies don't insure instruments in your car), but changes in temperature can severely damage your instrument. Try to keep it relatively stable, around 60-70F (what most humans are comfortable in) is usually great.
Like I said, winter care for our instruments is pretty easy here in the NW. But a little preventive care can go a long way to extending the life of your instrument. Stay tuned next time for travel tips!
Happy Playing!
Thursday, November 11, 2010
Why I Teach Music . . . Part 2
So, last time I wrote about why I teach. Today's question is:
Why Music? (in no particular order)
1) Music is good for the soul. Stress relief 101.
2) Music is a great escape. When I play, I focus on the music. The rest of the world disappears, and it's just me, my instrument, and the music. I don't have to worry about bills, homework, deadlines, relationship problems, working, what to have for dinner. Sure, the problems are still there for me when I'm done, but I've had some time away from them. And music sure beats drugs!!
3) Music is a powerful communication tool. It can make you cry, laugh, dance, or snort as you try to do all three. Tapping into this communication ability makes it easier to tap into others, so you become a better communicator overall.
4) Music is great for the brain. Music helps us learn how to learn. I know how I can memorize music, so I know how to memorize other things, including grocery lists.
5) Anger management. I have one song I play when I'm angry, and no, it doesn't sound great, but I put all that angry energy into it, and when it's done, I'm better. Possibly still upset, but rational.
6) Playing with others. Playing in a group is perhaps my greatest joy in music. Coming together with other people, to create something wonderful for others to hear - that's special.
So, if you put these two posts together (why I teach, and why music), you begin to see. Being able to help someone achieve what I have with music, and find the joy in it that I have, well, that's really cool. So, go make my day and play some music!
Happy Playing!
Why Music? (in no particular order)
1) Music is good for the soul. Stress relief 101.
2) Music is a great escape. When I play, I focus on the music. The rest of the world disappears, and it's just me, my instrument, and the music. I don't have to worry about bills, homework, deadlines, relationship problems, working, what to have for dinner. Sure, the problems are still there for me when I'm done, but I've had some time away from them. And music sure beats drugs!!
3) Music is a powerful communication tool. It can make you cry, laugh, dance, or snort as you try to do all three. Tapping into this communication ability makes it easier to tap into others, so you become a better communicator overall.
4) Music is great for the brain. Music helps us learn how to learn. I know how I can memorize music, so I know how to memorize other things, including grocery lists.
5) Anger management. I have one song I play when I'm angry, and no, it doesn't sound great, but I put all that angry energy into it, and when it's done, I'm better. Possibly still upset, but rational.
6) Playing with others. Playing in a group is perhaps my greatest joy in music. Coming together with other people, to create something wonderful for others to hear - that's special.
So, if you put these two posts together (why I teach, and why music), you begin to see. Being able to help someone achieve what I have with music, and find the joy in it that I have, well, that's really cool. So, go make my day and play some music!
Happy Playing!
Thursday, November 4, 2010
Why I Teach Music . . .
You know, I grew up knowing for certain I wanted to work with animals. I spent nearly 10 years of my life preparing to be a zookeeper. And now what do I do? Teach private string lessons!! So, why stick with it?
There's really two parts to this question: Why Teach? and Why Music?
Why Teach? (no particular order):
1) Teaching something, no matter what it is, is a GREAT way to better learn it yourself. You have to come up with different ways of showing, telling, etc, because no two people are the same, so you end up knowing 20+ different ways of doing everything you're teaching!
2) It's great for my mind. I know that as long as I keep teaching, my mind will remain sharp until I die. That's a good thought.
3) It's great for my students! Every time you learn something, that's another connection that's been made in your brain. Connections are good things. So whether you're debating whether to learn to cross-stitch, the next level in math, a new game, or music, the question should really be: why not? Go for it!
4) I adore my students. Some people ask me why I don't have kids of my own. In a way, I do - 30 of them! I just don't have to be 100% responsible for them all the time. But I still get to take joy in their growth, both as musicians and as people, share their sorrows, delight in their successes, revel in their joys. I can honestly say that I love every single student of mine.
5) It's hard to beat that "ah hah!" moment. Helping someone come to greater understanding is immensely rewarding. At the end of the day, I know that I've made a difference. No, I don't reach hundreds of students. But I get to personally interact with and get to know each of my students, and personally help them become better musicians and people.
6) Who wouldn't want to buy a bunch of toys and prizes and be able to give them away when their students pass books or do something really amazing? I get to have fun shopping, guilt-free!
As I said, these were in no particular order. I'm sure there's more (gee, I'm still thinking of more to add), but these are the biggies. I'll talk about why I'm involved with music in the next post.
Happy Playing!
There's really two parts to this question: Why Teach? and Why Music?
Why Teach? (no particular order):
1) Teaching something, no matter what it is, is a GREAT way to better learn it yourself. You have to come up with different ways of showing, telling, etc, because no two people are the same, so you end up knowing 20+ different ways of doing everything you're teaching!
2) It's great for my mind. I know that as long as I keep teaching, my mind will remain sharp until I die. That's a good thought.
3) It's great for my students! Every time you learn something, that's another connection that's been made in your brain. Connections are good things. So whether you're debating whether to learn to cross-stitch, the next level in math, a new game, or music, the question should really be: why not? Go for it!
4) I adore my students. Some people ask me why I don't have kids of my own. In a way, I do - 30 of them! I just don't have to be 100% responsible for them all the time. But I still get to take joy in their growth, both as musicians and as people, share their sorrows, delight in their successes, revel in their joys. I can honestly say that I love every single student of mine.
5) It's hard to beat that "ah hah!" moment. Helping someone come to greater understanding is immensely rewarding. At the end of the day, I know that I've made a difference. No, I don't reach hundreds of students. But I get to personally interact with and get to know each of my students, and personally help them become better musicians and people.
6) Who wouldn't want to buy a bunch of toys and prizes and be able to give them away when their students pass books or do something really amazing? I get to have fun shopping, guilt-free!
As I said, these were in no particular order. I'm sure there's more (gee, I'm still thinking of more to add), but these are the biggies. I'll talk about why I'm involved with music in the next post.
Happy Playing!
Tuesday, October 26, 2010
Daily Instrument Care
About once a year you need to take your instrument in for regular maintenance. But what can you do, every day, at home?
1) Practice smart, safe instrument handling. This is especially important for young children. Parents, don't let your 6 year old son swing his instrument around; regularly remind him he's supposed to be in rest position if he's not playing.
2) Do you have pets? Don't leave them unsupervised with your instrument! While your cat may enjoy the feel of your instrument under her claws, I can guarantee you your instrument doesn't! If in doubt, take the extra moment and pack your instrument up.
3) When you're done playing: make sure you wipe the rosin off your instrument. Rosin isn't good for your varnish, so make sure you wipe it off. You can use any clean, dry terry cloth.
4) If you're playing outside, don't let your instrument get wet. Water also isn't good for your instrument.
5) While it may be pretty afterward, resist the temptation to polish your instrument. Many polishes are less than stellar quality, and a poor polish job can cause more harm than good. This is something best left to your luthier.
6) As soon as your teacher teaches you how to, practice tuning your instrument every day, making sure to follow your teacher's directions. Keeping your instrument in tune not only makes it easier to play well, it also keeps your instrument happier.
7) Ask your teacher to show you how to regularly check for cracks and open seams. While fixing them requires a luthier, anyone can find them, and fixing them sooner is often cheaper and easier, as well as less stressful on the instrument, then fixing them later.
Remember, prevention is always cheaper than a trip to your luthier for a major problem! So keep your eye on your instrument, and you'll both be happier for it.
Happy Playing!
1) Practice smart, safe instrument handling. This is especially important for young children. Parents, don't let your 6 year old son swing his instrument around; regularly remind him he's supposed to be in rest position if he's not playing.
2) Do you have pets? Don't leave them unsupervised with your instrument! While your cat may enjoy the feel of your instrument under her claws, I can guarantee you your instrument doesn't! If in doubt, take the extra moment and pack your instrument up.
3) When you're done playing: make sure you wipe the rosin off your instrument. Rosin isn't good for your varnish, so make sure you wipe it off. You can use any clean, dry terry cloth.
4) If you're playing outside, don't let your instrument get wet. Water also isn't good for your instrument.
5) While it may be pretty afterward, resist the temptation to polish your instrument. Many polishes are less than stellar quality, and a poor polish job can cause more harm than good. This is something best left to your luthier.
6) As soon as your teacher teaches you how to, practice tuning your instrument every day, making sure to follow your teacher's directions. Keeping your instrument in tune not only makes it easier to play well, it also keeps your instrument happier.
7) Ask your teacher to show you how to regularly check for cracks and open seams. While fixing them requires a luthier, anyone can find them, and fixing them sooner is often cheaper and easier, as well as less stressful on the instrument, then fixing them later.
Remember, prevention is always cheaper than a trip to your luthier for a major problem! So keep your eye on your instrument, and you'll both be happier for it.
Happy Playing!
Monday, October 18, 2010
Bow Care
In addition to your regular maintenance you need to take your instrument into a luthier (string repair person) to have done, there's certain things you should be doing every day. This first post is about your bow; next, we'll look at your instrument.
1) When you first get your bow out, but before you tighten it, take a moment to examine it. Look down the stick to check for warping, and carefully examine the head and stick for cracks. Hairline cracks can develop in a bow, especially if it's dropped, and then cause the bow to snap at inopportune times. Repairs are also easier and cheaper if the damage is caught early.
2) When you tighten your bow for playing, don't over-tighten it. The stick of your bow should NEVER be straight. If it is, it is too tight, for any kind of playing. Be nice to your bow and play with it looser than you think you should. Then, when you're playing, if your stick touches your strings, you know you need to tighten it a bit more.
3) When you're done playing, but before you loosen it, wipe the rosin off the stick. Rosin isn't good for varnish, and there's varnish on the wood part of our bows. So occasionally wipe the rosin off, and your bow will stay in better condition longer.
4) Loosen your bow after EVERY time you play. Do you know why? If you don't, your stick will start to warp, or the wood will bend in a bad way. You should never loosen it so much that the screw comes out, but the hair should be able to touch the stick. Keeping your bow tight will also cause your hair to stretch faster, which means it'll need a rehair sooner.
Keeping your bow tight all the time can also increase the chances of your bow breaking or otherwise being damaged while in the case. Your bow is under a lot of tension when tight, and even in your case, if your case gets knocked about, your bow could be damaged. Loosening your bow after playing helps minimize these risks.
Getting in the habit of just a few daily routines can help save you hundreds in repairs later.
Happy Playing!
1) When you first get your bow out, but before you tighten it, take a moment to examine it. Look down the stick to check for warping, and carefully examine the head and stick for cracks. Hairline cracks can develop in a bow, especially if it's dropped, and then cause the bow to snap at inopportune times. Repairs are also easier and cheaper if the damage is caught early.
2) When you tighten your bow for playing, don't over-tighten it. The stick of your bow should NEVER be straight. If it is, it is too tight, for any kind of playing. Be nice to your bow and play with it looser than you think you should. Then, when you're playing, if your stick touches your strings, you know you need to tighten it a bit more.
3) When you're done playing, but before you loosen it, wipe the rosin off the stick. Rosin isn't good for varnish, and there's varnish on the wood part of our bows. So occasionally wipe the rosin off, and your bow will stay in better condition longer.
4) Loosen your bow after EVERY time you play. Do you know why? If you don't, your stick will start to warp, or the wood will bend in a bad way. You should never loosen it so much that the screw comes out, but the hair should be able to touch the stick. Keeping your bow tight will also cause your hair to stretch faster, which means it'll need a rehair sooner.
Keeping your bow tight all the time can also increase the chances of your bow breaking or otherwise being damaged while in the case. Your bow is under a lot of tension when tight, and even in your case, if your case gets knocked about, your bow could be damaged. Loosening your bow after playing helps minimize these risks.
Getting in the habit of just a few daily routines can help save you hundreds in repairs later.
Happy Playing!
Thursday, October 14, 2010
Student Surveys
Last week, I did something new. I handed out student surveys, and I have to admit, I was quite nervous. But reading through them this evening, I really enjoyed it. Thanks to everyone that filled them out!
I handed out 16 student surveys, but only got 7 back. I really appreciate the input I did get; however, by not filling out your survey you're missing out on a vital part of your lessons. These are to help me be a better teacher for you, and allow me to see what my students like and dislike about their lessons. The goal is to make lessons more enjoyable for my students.
When creating the student surveys, I asked students not to put their names on them. I wanted the surveys to be anonymous, and I have to say, it worked. I couldn't tell whose was whose.
Even with only seven surveys returned, I noticed a few trends. A few students commented that we never talked about anything other than violin or music, or got to know each other. I have to admit, this is definitely a weak point of mine, and one I've worked long and hard to rectify - though obviously my work isn't done yet. I'm naturally not a very social person. But if there is something you want to talk about, I love listening. You may not realize it, but I care about each of my students as individuals, and want to be here for you.
Most of my students enjoy it when I play with them. I try to have a balance of playing with my students, so they can see and hear how it's supposed to be played, but also let them play by themselves. So if you notice that I'm not playing with you as much, it's because I want you to become comfortable playing by yourself. It also makes it easier for me to hear you.
There are many facets to music, and I saw that several students did not enjoy exercises and etudes as much as the pieces. I hope you know that all those exercises I make you do (scales, double stops, shifting, sight reading, etc) help you to become a better musician. I personally hate them too - I don't know anyone who doesn't. But they're good for us, like vitamins and broccoli. They help us focus on different aspects of our playing, so that when we encounter the same thing in our music, it's easier.
Another big facet to music is the social aspect. Not just socializing with me, but also with your fellow students and the other families in the studio. This is one reason I love teaching out of my studio - it gives my students a chance to see and hear the students before and after them. When students come early (notice how I encourage everyone to come in when they get here?), it also gives the student whose lesson it is a chance to perform, of a sort. We all play music for ourselves, but hopefully also for others, and that is what performing is about. So when the next student comes in at the end of your lesson, think of it as a chance to perform and get over some nerves.
Do you know why I make you memorize music? Mostly, because it helps develop your brain. If you can memorize music, then it will be easier for you to memorize other things, too. Like spelling words, names and dates for history, or the carbon cycle. Or even your grocery list. It's also just a good skill to have - have you ever seen a soloist perform with music? I haven't.
Overall, the student surveys were a huge success. I plan to revise them, and hand out new ones in a few months. They helped me see lessons through my students' eyes, and that's a good thing.
Is there something I can do to make your lessons better? Even if you didn't get a chance to fill in your survey, I hope you feel comfortable talking to me about it during your lesson. One of my favorite things about being a teacher is that I am constantly learning new things, and changing the way I do things. So please, let me know!
Happy Playing!
I handed out 16 student surveys, but only got 7 back. I really appreciate the input I did get; however, by not filling out your survey you're missing out on a vital part of your lessons. These are to help me be a better teacher for you, and allow me to see what my students like and dislike about their lessons. The goal is to make lessons more enjoyable for my students.
When creating the student surveys, I asked students not to put their names on them. I wanted the surveys to be anonymous, and I have to say, it worked. I couldn't tell whose was whose.
Even with only seven surveys returned, I noticed a few trends. A few students commented that we never talked about anything other than violin or music, or got to know each other. I have to admit, this is definitely a weak point of mine, and one I've worked long and hard to rectify - though obviously my work isn't done yet. I'm naturally not a very social person. But if there is something you want to talk about, I love listening. You may not realize it, but I care about each of my students as individuals, and want to be here for you.
Most of my students enjoy it when I play with them. I try to have a balance of playing with my students, so they can see and hear how it's supposed to be played, but also let them play by themselves. So if you notice that I'm not playing with you as much, it's because I want you to become comfortable playing by yourself. It also makes it easier for me to hear you.
There are many facets to music, and I saw that several students did not enjoy exercises and etudes as much as the pieces. I hope you know that all those exercises I make you do (scales, double stops, shifting, sight reading, etc) help you to become a better musician. I personally hate them too - I don't know anyone who doesn't. But they're good for us, like vitamins and broccoli. They help us focus on different aspects of our playing, so that when we encounter the same thing in our music, it's easier.
Another big facet to music is the social aspect. Not just socializing with me, but also with your fellow students and the other families in the studio. This is one reason I love teaching out of my studio - it gives my students a chance to see and hear the students before and after them. When students come early (notice how I encourage everyone to come in when they get here?), it also gives the student whose lesson it is a chance to perform, of a sort. We all play music for ourselves, but hopefully also for others, and that is what performing is about. So when the next student comes in at the end of your lesson, think of it as a chance to perform and get over some nerves.
Do you know why I make you memorize music? Mostly, because it helps develop your brain. If you can memorize music, then it will be easier for you to memorize other things, too. Like spelling words, names and dates for history, or the carbon cycle. Or even your grocery list. It's also just a good skill to have - have you ever seen a soloist perform with music? I haven't.
Overall, the student surveys were a huge success. I plan to revise them, and hand out new ones in a few months. They helped me see lessons through my students' eyes, and that's a good thing.
Is there something I can do to make your lessons better? Even if you didn't get a chance to fill in your survey, I hope you feel comfortable talking to me about it during your lesson. One of my favorite things about being a teacher is that I am constantly learning new things, and changing the way I do things. So please, let me know!
Happy Playing!
Thursday, October 7, 2010
How to Get Your Parents to Buy You a Better Instrument
You've been playing your instrument for five years now. Your teacher keeps saying you need a better one, and you're frustrated on your own. You don't like the way it sounds, responds, or feels. But your parents don't seem to understand that you really do need a new instrument. What to do?
First of all, practice your butt off. You need to show your parents that you're really serious about this. How do you expect them to believe you're serious if you only pick up your instrument a couple times a week? And I'm talking serious practice, and make sure you do it when they can hear you. Practice in different rooms of the house, so if they don't notice you in your bedroom, maybe they'll notice you in the living room.
Show you're committed to it by raising your own funds. Save your allowance, see if you can get some kind of a job, even mowing lawns or weeding. Ask your friends for help to throw a car wash. Hold a garage sale. Put up a lemonade stand. Take your instrument downtown and play on a street corner. (You may need a license for one or all of these. Do try to do things legally.)
Get your teacher to talk to your parents. Coming from a kid, "I need a new violin" doesn't usually have as much weight as your teacher discussing with your parents the advantages of a new instrument.
Ask your parents to take you to at least try out some different instruments. If they can hear the difference in sound as you play different instruments, that might be the deal-breaker.
Finally, talk to your parents about what a new instrument for you will do for them. Point out that college scholarships can be won on a nicer instrument, while you may not have a chance on your current one. Mention career possibilities; even if you don't want to play music professionally, you might just end up down that road.
If your parents still don't see the light, and you've done all the above, keep raising your own funds. You will eventually have enough on your own. And while you're at it, ask your teacher to keep his or her eyes and ears out for a bargain. They do come along occasionally.
Good luck, and happy playing!
First of all, practice your butt off. You need to show your parents that you're really serious about this. How do you expect them to believe you're serious if you only pick up your instrument a couple times a week? And I'm talking serious practice, and make sure you do it when they can hear you. Practice in different rooms of the house, so if they don't notice you in your bedroom, maybe they'll notice you in the living room.
Show you're committed to it by raising your own funds. Save your allowance, see if you can get some kind of a job, even mowing lawns or weeding. Ask your friends for help to throw a car wash. Hold a garage sale. Put up a lemonade stand. Take your instrument downtown and play on a street corner. (You may need a license for one or all of these. Do try to do things legally.)
Get your teacher to talk to your parents. Coming from a kid, "I need a new violin" doesn't usually have as much weight as your teacher discussing with your parents the advantages of a new instrument.
Ask your parents to take you to at least try out some different instruments. If they can hear the difference in sound as you play different instruments, that might be the deal-breaker.
Finally, talk to your parents about what a new instrument for you will do for them. Point out that college scholarships can be won on a nicer instrument, while you may not have a chance on your current one. Mention career possibilities; even if you don't want to play music professionally, you might just end up down that road.
If your parents still don't see the light, and you've done all the above, keep raising your own funds. You will eventually have enough on your own. And while you're at it, ask your teacher to keep his or her eyes and ears out for a bargain. They do come along occasionally.
Good luck, and happy playing!
Wednesday, September 29, 2010
What Makes a Good Orchestra Experience?
I've played in a fair number of groups over the years. Some were really awesome and motivated me to practice, increased my love of my instrument and music, and taught me a lot. Others were not so awesome and were more frustrating, making me want to walk away and never return. What were the differences?
A lot has to do with how the orchestra is run. Sure, it can be fun to be social and chat a lot, but I was trained by a couple of professional musicians who expected their students to act professionally too. So to me, a rehearsal should get down to business and rehearse. There's still time before and after rehearsal, and during any breaks, for socializing.
The conductor makes a big difference. A conductor who can constructively critique the group's playing, and pinpoint what needs to be corrected, is essential. Anything else is just a waste of time, because why else are you rehearsing?
What is the conductor's attitude? Does he or she show up early to answer questions and start rehearsal on time, or do they waltz in 15 minutes late and expect you to wait for them? Respect works both ways, so the conductor should respect the musicians and what they are contributing.
A lot has to do with the musicians themselves. Not just their playing ability, although it can be very pleasurable to be able to sight read through a major symphony with a modicum of competence. But what are the attitudes of the players? Do they respect each other and their conductor? Do they show up on time, with their parts prepared? Did they come to socialize, to have fun, to learn, to make music? Sure, this is all a part of orchestra, but finding a group that is in line with your own attitude can make or break the difference.
Finally, assess the overall feel of the group. Is this somewhere your contributions are valued? Do you go home feeling energized or drained? If one group leaves you feeling frustrated, don't despair! There are lots of community, student, and professional groups out there, so go try a different one.
A good place to start your search is on the Community Band and Orchestra Links page. You can also ask your private teacher, your school teacher, or even music stores about groups in your area.
Happy Playing!
A lot has to do with how the orchestra is run. Sure, it can be fun to be social and chat a lot, but I was trained by a couple of professional musicians who expected their students to act professionally too. So to me, a rehearsal should get down to business and rehearse. There's still time before and after rehearsal, and during any breaks, for socializing.
The conductor makes a big difference. A conductor who can constructively critique the group's playing, and pinpoint what needs to be corrected, is essential. Anything else is just a waste of time, because why else are you rehearsing?
What is the conductor's attitude? Does he or she show up early to answer questions and start rehearsal on time, or do they waltz in 15 minutes late and expect you to wait for them? Respect works both ways, so the conductor should respect the musicians and what they are contributing.
A lot has to do with the musicians themselves. Not just their playing ability, although it can be very pleasurable to be able to sight read through a major symphony with a modicum of competence. But what are the attitudes of the players? Do they respect each other and their conductor? Do they show up on time, with their parts prepared? Did they come to socialize, to have fun, to learn, to make music? Sure, this is all a part of orchestra, but finding a group that is in line with your own attitude can make or break the difference.
Finally, assess the overall feel of the group. Is this somewhere your contributions are valued? Do you go home feeling energized or drained? If one group leaves you feeling frustrated, don't despair! There are lots of community, student, and professional groups out there, so go try a different one.
A good place to start your search is on the Community Band and Orchestra Links page. You can also ask your private teacher, your school teacher, or even music stores about groups in your area.
Happy Playing!
Thursday, September 23, 2010
Sight Reading Tips
Here's some really great sight reading tips from STRINGS. But the most important one is to practice sight reading every day! Yup, that's right, sight reading needs practicing too, and the more you sight read, the better you'll do. Happy Practicing!
Saturday, September 11, 2010
Practice Tip #3 - The Four Practice Steps
Last time, I discussed the need to do more than just play through your piece during your practice sessions. The need to take your piece apart, perfect each piece individually, then put it back together. Well, how do we do that?
Several ways. One of which is the Four Practice Steps.
The first thing you need to do is divide up the part you're perfecting. Take it a measure, or even just a couple of beats, at a time.
1) Stopped Eighth Notes
Play the little itty bitty section you have (4-8 notes maximum) as all stopped eighth notes. The point of this first practice step is to get the notes figured out. Bowings don't matter, neither do rhythms. And certainly dynamics and other musical ideas aren't in play here. Just the notes. Place each note accurately, precisely, and perfectly. If you play a wrong note, now's the time to fix it. Mark your part as needed. You'll need to do this step a few times until you know where all the notes are. Use a piano to check your intonation if you need to.
2) Hiccups
Set the first note of your itty bitty section. Check your finger, check your bow. Then play that first note, twice. Very quickly. The rhythm should sound like the word, "hiccup". Again, bowings and rhythms that are marked in the piece don't matter. We're still after solidifying those notes. Then, once you've played your first hiccup, stop. Set your next note. Check your fingers, check your bow. Then play another hiccup. Keep going like this until you reach the end of your itty bitty section. This is supposed to be slow going - you're perfecting notes here! So make sure you stop in between each note so you can check the next one. You should never be playing any wrong notes here. Repeat this step a few times, until you don't have to stop for as long, BUT YOUR INTONATION IS STILL PERFECT. That's important. Never practice incorrect notes.
3) Doubles
This step is just like the hiccups, without any stops. Start slow, and each time you repeat this step go a bit faster. You should be playing this step very fast, PERFECTLY, before you go on.
4) Stopped Slurs
NOW is where bowings and rhythms finally start to matter. Play the bowings as marked, but instead of playing any smooth slurs, all slurs that are written in your part should be stopped. Yes, this means you actually stop the bow. This step is very important. It makes our body stop so our brain has time to direct the muscles to do the correct bowing. It also allows our brain and muscles to figure out how much bow to give each note. If you only have one note per bow, it's not hard. Go up to two notes per bow, not that difficult either. But what if you have eight, or sixteen, notes per bow? This is where stopped slurs come in very handy to quickly learn how to distribute our bow. This step should also be repeated, with the same passage, several times.
NOW you get to play it as written. If you followed the steps correctly, you should easily be able to play the passage correctly, as written, with correct bowings and intonation. Assign yourself a small section to learn each day, and you'll be amazed at how quickly you learn your piece! Once you have a few very small sections mastered, try going through the four practice steps with longer sections. This should not take as many repetitions, as you've already learned it. You're just putting it together now.
The four practice steps are just one method of learning difficult passages. More ideas to come soon!
Happy Practicing!
Several ways. One of which is the Four Practice Steps.
The first thing you need to do is divide up the part you're perfecting. Take it a measure, or even just a couple of beats, at a time.
1) Stopped Eighth Notes
Play the little itty bitty section you have (4-8 notes maximum) as all stopped eighth notes. The point of this first practice step is to get the notes figured out. Bowings don't matter, neither do rhythms. And certainly dynamics and other musical ideas aren't in play here. Just the notes. Place each note accurately, precisely, and perfectly. If you play a wrong note, now's the time to fix it. Mark your part as needed. You'll need to do this step a few times until you know where all the notes are. Use a piano to check your intonation if you need to.
2) Hiccups
Set the first note of your itty bitty section. Check your finger, check your bow. Then play that first note, twice. Very quickly. The rhythm should sound like the word, "hiccup". Again, bowings and rhythms that are marked in the piece don't matter. We're still after solidifying those notes. Then, once you've played your first hiccup, stop. Set your next note. Check your fingers, check your bow. Then play another hiccup. Keep going like this until you reach the end of your itty bitty section. This is supposed to be slow going - you're perfecting notes here! So make sure you stop in between each note so you can check the next one. You should never be playing any wrong notes here. Repeat this step a few times, until you don't have to stop for as long, BUT YOUR INTONATION IS STILL PERFECT. That's important. Never practice incorrect notes.
3) Doubles
This step is just like the hiccups, without any stops. Start slow, and each time you repeat this step go a bit faster. You should be playing this step very fast, PERFECTLY, before you go on.
4) Stopped Slurs
NOW is where bowings and rhythms finally start to matter. Play the bowings as marked, but instead of playing any smooth slurs, all slurs that are written in your part should be stopped. Yes, this means you actually stop the bow. This step is very important. It makes our body stop so our brain has time to direct the muscles to do the correct bowing. It also allows our brain and muscles to figure out how much bow to give each note. If you only have one note per bow, it's not hard. Go up to two notes per bow, not that difficult either. But what if you have eight, or sixteen, notes per bow? This is where stopped slurs come in very handy to quickly learn how to distribute our bow. This step should also be repeated, with the same passage, several times.
NOW you get to play it as written. If you followed the steps correctly, you should easily be able to play the passage correctly, as written, with correct bowings and intonation. Assign yourself a small section to learn each day, and you'll be amazed at how quickly you learn your piece! Once you have a few very small sections mastered, try going through the four practice steps with longer sections. This should not take as many repetitions, as you've already learned it. You're just putting it together now.
The four practice steps are just one method of learning difficult passages. More ideas to come soon!
Happy Practicing!
Saturday, August 28, 2010
Practice Tip #2
Don't just play through your piece.
What was that? You thought you were supposed to? Well, yes, you are supposed to play through your piece, and that's great. But that's not the ONLY part of practicing. You also need to actually practice.
What is practice? It's all the boring stuff that you really don't want to have to do at your lesson, or that you don't want everyone else to hear. It's going through your piece, measure by measure, and painstakingly taking it part. Perfecting notes. Then rhythms. Then bowings. Then starting to put them back together again. Measure by measure.
One good tool to use during this time is your metronome. Oh, you hate yours too? Yeah, me too. They're annoying. But GREAT little tools. Use yours. You'll thank me later. And guess what? Every time you use it, it gets easier. That's right.
As a matter of fact, every time you practice, it gets easier. As you get the hang of taking pieces apart and putting them back together, it gets easier. It also gets easier to learn a new piece when you're a better sight reader. If you can read through a piece, for the first time ever, and get 50% of everything perfect, that's only 50% left you have to learn. Well, if you can read it through and get 90% perfect, you only have to learn 10%! And that's a good thing.
So remember, when you are learning a new piece, before you play it through, take it apart, then put it back together. When you are reviewing an old piece, play it through, take apart the bits you need to relearn, put it back together, then play it through again.
Until next time. Happy Practicing!
What was that? You thought you were supposed to? Well, yes, you are supposed to play through your piece, and that's great. But that's not the ONLY part of practicing. You also need to actually practice.
What is practice? It's all the boring stuff that you really don't want to have to do at your lesson, or that you don't want everyone else to hear. It's going through your piece, measure by measure, and painstakingly taking it part. Perfecting notes. Then rhythms. Then bowings. Then starting to put them back together again. Measure by measure.
One good tool to use during this time is your metronome. Oh, you hate yours too? Yeah, me too. They're annoying. But GREAT little tools. Use yours. You'll thank me later. And guess what? Every time you use it, it gets easier. That's right.
As a matter of fact, every time you practice, it gets easier. As you get the hang of taking pieces apart and putting them back together, it gets easier. It also gets easier to learn a new piece when you're a better sight reader. If you can read through a piece, for the first time ever, and get 50% of everything perfect, that's only 50% left you have to learn. Well, if you can read it through and get 90% perfect, you only have to learn 10%! And that's a good thing.
So remember, when you are learning a new piece, before you play it through, take it apart, then put it back together. When you are reviewing an old piece, play it through, take apart the bits you need to relearn, put it back together, then play it through again.
Until next time. Happy Practicing!
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