Teaching Reflections: Indespensible Listening

    What are your teaching goals for 2015? All teachers need yearly goals to further their art and students. For 2015 one of my pedagogical goals is listening. The more I teach, the more convinced I am that a student, parent, teacher, and /or artist will gain immeasurably by listening to the pieces that he or she is working on. You are never too young, too old, too inexperienced, or too experienced to listen to great performances. Dr. Suzuki is correct on this point, listening is indispensable to progress!

“It is of utmost importance that parents and children understand the value of listening to recordings at home. Listening is central to the development of musical sensitivity.” ~Shinichi Suzuki

Maybe Not

 Just like in any field of study, professional music educators have differing positions, even when it comes to the role of listening to recordings in the training of the musician. Sometimes music teachers are very passionate about their perspective on how to teach. 

Here are two main reasons that are given often why musicians should not listen to recordings: 

1. Creates Robots. There is the concern that listening to recordings will just turn a musician, especially a young student, into a little music robot, just copying what he hears. This leads to the ruin of a musician’s creativity.
2. Illiterate Musicians. By listening to recordings of the pieces that they are learning, it will also lead the musician to ignore note reading and play what he has heard. So, listening to recordings prevent musicians from learning to read music proficiently, which is very important.

Maybe Yes

 It is important to take these concerns seriously, because every musician desires to be creative and most musicians, especially classical musicians, find note reading essential. With that in mind, here are some reasons why listening to recordings is indispensable, not harmful:

1. It inspires. For many musicians hearing a great performer is what inspired them to learn an instrument or sing. Excellent performers move our emotions and excite us in ways other things cannot. After starting to study an instrument, great performances motivates the student to persevere when it seems like he will never improve. As the student progresses, great performances will inspire him to aim higher, to not be satisfied with his current level of playing. 
2. The foundation. Starting from day one a student listens to his teacher demonstrate how to do things. Students that listen at home build their sense of intonation, rhythm, tone, phrasing, expression, etc. For young students this is not necessarily something they are aware of, to them it is just to get to know “how a song goes.” This is exactly what happens in the lesson with the teacher. The teacher demonstrates how to play notes in tune, with the correct rhythm, beautiful tone, expressiveness, etc. It makes the process of learning easier and more enjoyable. Students that I teach learn this way from me, but I also have them learn to read the notes and understand the connection of what the hear with what they see. This is why students are also challenged to sight read a piece in lessons. They get a few seconds to figure out the song with my assistance and then play it all the way through without stopping. The aural and the visual are both stimulated to grow. If done wisely, listening to recordings can boost note reading along with many other foundational skills.
3. Gives possibilities. No teacher wants musical robots, so instead of giving up all the benefits of listening to great performers I talk to students about possibilities. After the notes and dynamics are learned, we are ready to make some real music. It is at this stage that the recordings are considered valid and good ways to perform the song. It is not the only way, but one good way of performing. Next, the student will try to imitate the master in the expressiveness of the piece. All of us imitate to learn; it happens in sports, public speaking, medicine, you name it, we all imitate, but we don’t stop there. After trying the way of one of these master musicians, I guide the student to try the piece in other ways. This is fun, not burdensome or dread. We enjoy trying things in different ways, that is why we have all kinds of cars, homes, clothes, and many other things. The same goes with music, we learn, imitate and then get personally creative with what we’ve done.

Using great performances this way is not easy, it takes patience, explaining, guiding, being comfortable to try new things and a love for the excellent. There is no need for a musician to forgo all the benefits of listening due to feeling he is cheating or feeling like he is taking the easy way out. Keep listening, it’s indispensable!

Practice Tips for Minuet No. 2 by J.S. Bach

    Now that we have grown more familiar with Johann Sebastian Bach's music through Minuet No. 1, we are ready for the 2nd of the 3 Minuets by J.S. Bach! Here are some tips to help you on the Bach journey:
   
Structure. 
The piece is organized in two main sections: section 1, lines 1-4 and section two, lines 5-10. It will be easier to think of the song in 4 parts, here’s what I mean: part 1, line 1-2; part 2, line 3-4; part 3, line 5-6; part 4, line 7-8; and part 2, line 9-10.

Skills. 
Hook Bows. In Minuet No. 1 we learned that hook bows are played up-up and indicated by a curved line over or under two notes with dots above or below them. In Minuet No. 1 the notes that are hooked are the same, but now in Minuet No. 2 we will not only play hook bows on the same note but also two different notes. We see this in measure 15, 22, 23, and 39.
  
Slurs. You have played two-note hook bows, not we are ready to play three notes in one bow smoothly. That is the main difference between hook bow and a slur, hook bows have stops between the notes while the notes in a slur are smoothly connected. The slur appears in measure 15, 23, 29, 30 and 39.

Tenuto. The first measure, which repeats a few times in the piece, has notes with dashes. This is the first we see these kind of notes in the book. The tenuto indicates that we use long, strong bows on these notes. The idea is to not allow the notes to be weak, but sustained.

Dotted-Half Note Decrescendo. At the end of part 2, both in the 1st section and the 2nd section, there is a decrescendo under the dotted-half note. So far we have done decrescendo over a few notes, but now we do it on one note. One way to make the decrescendo is by starting with fast bow and then slow down during the 3 beats.

High Three. Along with getting used to the low 2nd finger, now we are ready to try out the high third finger. To play a high third finger we need to stretch it a little further so that when you place the fourth finger they are next to each other (half step apart).

Finger Hopping. There is a hop from E 2nd finger to A 3rd finger in measure 5 into measure 6, then A 3rd finger to E 2nd finger measure 6, then E 2nd finger to A 2nd finger measure 6 into measure 7.

Artistry. We have already learned that the Minuet is a dance in 3/4 time, which means that we need to emphasize the first note of every measure with more bow. Now we are ready to make a difference between the mood of the 1st line and 2nd line. The 1st line is a little more aggressive, while line 2 play more legato and gentle. Then we can make this difference between lines 3 and 4.

Strategies.
1. Warm-up with the bow exercises, now with an emphasis on decrescendos on long notes.

2. Play the finger concerto with high 2nd and high 3rd finger with regular bows, hook bow, and try also slurs. 

3. Laying the bow aside for a minute, hop fingers E 2nd finger to A 3rd,
A 3rd finger to E 2nd, E 2nd finger to A 2nd finger each 5 times. Now do it playing with the bow. This will help your fingers used to the hops.

4. Play through the piece with no hook bows or slurs, just focusing on the fingering and rhythm.

5. Work on all the hook bow measures playing each one 3 times preparing the bow so there is no squeak or crunch. Do not be in a hurry because it will not sound nice, your arms need time to get ready. After you work on all the measures with the hook bows on their own it will be much easier to get the song to flow.

6.Play along with the Youtube video above and other recordings.

Annie (2014) - Opportunity (Quvenzhané Wallis Version)

Soo-Been Lee - Wieniawski - Variations on an Original Theme Op 15

Practice Strategies for Minuet No. 1 in Suzuki Book 1

     You are a 3/4 of the way through the book and are now going to embark on the 3 Minuets of J.S. Bach! You are now playing Bach, this a good step up! Bach wrote these minuets originally for his wife to play on the harpsichord. Here are some tips to get started:
   
Structure. The piece is organized in two main sections, but we can think of the song in 3 parts (more why below). Here’s how they are played: part 1 mezzo forte (line 1-2), part 2 piano then mezzo forte (line 3-4), part 3 piano then mezzo forte (line 5-6).

New Skills. 
1. Hook Bows. This bow stroke is also called portato and is played down-down or up-up. You will recognize this in the music where there is a curved line over two notes and dots above them in measures 1 and 3. The best way to work your hook bow for now it to play with a smooth bow and stopping between the two notes. Another way of saying this is don't play hook bows with crunches and squeezing, since it will not give you a good tone.
2. Low-High Two. In the previous piece, Etude, low 2 on A and E string was introduced. But now, in part 1 and 3 we have low 2 on the A string and high 2 in part 2. This is why I break the piece up in three parts, so that it is easier to remember where the high 2 is played.
3. Artistry. Since the Minuet is a dance in 3/4 time, once the song is flowing we can emphasize the first note of every measure with more bow. The emphasis of the first beat in a Minuet is a way to make it more professional and expressive. 

Strategies:
1. Warm-up with the bow exercises, now with an emphasis on hook bows.
2. Play the finger concerto with low 2 and high 2. Play on every string once with low 2 then with high 2 and that will make it easier to switch between them. 
3. Play through the piece with all low 2s then bring the high 2 back in part 2. You can also do it the other way, play everything high 2 and then add the low 2s where they belong. 
4. Play along with the Youtube video above and other recordings.
5. Be creative with your playing this week, add hook bows to all the songs you know.

What do you think? Do you have any tips? Any questions, suggestions or concerns? Let me hear from you. 

Pactice Tips for Allegro, No. 8 Suzuki Book 1

     Welcome to the 1st piece out of 5 that Dr. Suzuki composed for this book. Students typically enjoy Allegro because it’s fast and staccato, here are some tips to make it worthwhile:

  
Playing Position. Go to playing position a few times with your eyes closed. This will help challenge you to get ready to play.

Structure. The piece is laid out in 2 parts. Here’s how they are played: part 1 forte (first line), part 1 forte (second line), part 2 dolce (third line), part 1 forte  (fourth line).

New Skills.
1. Theory. Allegro means fast, live, with energy. Ritardando means to gradually slow down. A Tempo means play at the original speed. Fermata means to hold it out at least 2 times the worth of the note. Tenuto means to play the notes with big bow to have a sustained sound.
2. Speed. At the beginning of part 2 (the third line) you will notice that it has the word dolce, which means sweetly, underneath the notes. To play sweetly musicians usually play with a long and smooth bow at a slower tempo. That is why we see the dashes on top of the notes (tenuto). This is a great opportunity for us to try part 2 at different speeds. Not only that, but at the end of part 2 we have a rit. so we slow down in different ways. I challenge students to hold out the last note of part 2 as long as possible.
3. Always Down. If you look at the beginning of each line, it starts down. So, after the last note of line 1-3 you need to lift the bow and place it back at the middle.

Strategies:
1. Warm-up with the bow exercises, now with an emphasis on long and smooth bows.
2. Play and say the fingerings to focus your mind on the notes that you are playing.
3. Practice making the last note of each line very long and then pause to place the bow at the middle. This way, the bow will be silent as you prepare to start the next line. Over time you will be able to do it quicker and quicker, do not rush yourself because it will prevent you from playing your best.
4. Play along with the Youtube video above and other recordings.
5. Be creative with your playing this week, add dolce to all the songs you know.

What do you think? Do you have any tips? Any questions, suggestions or concerns? Let me hear from you.

Practice Tips for Long, Long Ago Suzuki Book 1

   Get ready for a dynamics roller-coaster in your new piece, Long, Long Ago. Here are some tips to go along on the ride with this folk song:
  
Playing Position. Go to playing position a few times with your eyes closed. This will help challenge you to get ready to play.

Structure. The piece is laid out in 3 parts. The order in the songs is the following: part 1 (first line) mf, part 2 (second line), part 3, and part 2 mf (third line).

New Skills.
1. Theory: Moderato means medium speed, decrescendo means get gradually quieter.
2. Rhythms: half rest equals 2 beats and looks like a small box sitting on the third line of the staff.
3. Dynamics: crescendo. The crescendo was introduced in O, Come Little Children, where in part 2 and 3 we get louder and louder. Towards the end of the song we have a decrescendo, which means to get softer and softer
4. Three Strings: We now have the opportunity to play a song that uses the E, A and D string. In part 3 we hop the first finger from the A to D string.
 
Strategies.
1. Warm-up with the bow exercises, now with an emphasis on crescendos and decrescendos.
2. After you listen to the song one time and follow the notes, listen again and clap the notes along with the song to starting learning the rhythm of the song.
3. Practice hopping each finger 3 times from the A to the D string.
4. Play along with the Youtube video above.
5. Add crescendos and decrescendos to numbers 1-6.

     If you want a quick way to boost the speed of your progress, challenge yourself to do a 2-minute Theory Flaschard Challenge. This means that you push yourself to see how many flashcards you can get in 2 minutes. Let me know how it went and were my tips helpful?

Prctice Tips for May Song, Suzuki Book 1

     You have started songs on the A string, on the E string, down bow, up bow, and with 2 fingers on the A string. So now you are ready for May Song, here are some tips:

• Playing Position: go to playing position a few times with your eyes closed. This will help challenge you to get ready to play.
• Structure: The order is part 1 (first line) f, part 2 mf, part 2 p (second line), and part 1 f (third line).
• New Skills: 
• rhythms - the dotted-half note. This note is worth 1.5 beats, it is easy to make it too short (1 beat) or too long (2 beats). Listen to how I play the first four notes on the video get an idea how to play it.
• dynamics - there is now forte, mezzo forte, and piano. May a distinct difference between these three levels of volume with the amount of bow that you use.
• Strategies:  
• Warm-up with the bow exercises, now with an emphasis on alternating between forte, mf, p and dotted-quarter notes.
• After you listen to the song one time and follow the notes, listen again and clap the notes along with the song to starting learning the rhythm of the song.
• Play along with the Youtube video above.
• Add f, mf and p to the songs you already know.

This week, practice songs and exercises in a different order than usual. Spend one minute on something then go to something else, do this until you practice 5 minutes more than usual. Parents, let your child choose what to switch to next and have fun with it. You can put a timer so that it is easily seen, enjoy!

When Should My Child Do Their First Recital?

     This week I am having each of my students do a recital during our lesson time. Students range from around 4 years old to high school at a variety of ability levels. Many teachers and parents wonder, "When should a student do their first recital?"

Short answer: In the first session of lessons, which for me is 10 weeks long. Every student first learns all the Twinkles and then we play them together for the family; that tends to be the first recital. Then every session students play a mini-recital of songs they have learned and are mastering.

     The recital usually consists of the student playing all the songs he or she has memorized for family and friends. This goes hand-in-hand with Dr. Suzuki's idea of home recitals being performed regularly for the family. This is an easy way to introduce students and parents to public performances. It also motivates students because they not only have a long-term goal, but also short-term goals in mind. It is very rewarding as a teacher to see students start to have the confidence to invite friends and others outside the family.

     For newer students, I have some surprised parents that I would do a recital in this way and so soon in part because they are used to recitals being once in a while, each student plays one piece and it is a very serious occasion. So I understand the reluctance to do a recital if all you've known is once in a while, serious and stressful. But I do not look at recitals in that way. I think of them as a time of fun and celebration; as a way to show others what you have learned. Students get to dress nice, bring snacks, take a picture together, and have a great time celebrating their progress and accomplishments along with their family. Plus, the family can record the recitals so they can go back to see where their child started. Parents do see the benefits of these recitals after the second and third recital, because they see the progress themselves and see how much their child has accomplished. 

    Yes, students do still get nervous and still make mistakes. But this is part of the process of becoming a musician and you can still have a nice recital. Some teachers, out of good intentions, push really hard that everything be done "perfect," so they wait and wait before having their students play. Some teachers have students play only once a semester, but students need to gain experience playing in front of people as much as gaining proficiency on their instrument. 

    What have you experienced in recitals? What do you think of doing mini-recitals for the family and friends? Any suggestions?

Practice Tips for Go Tell Aunt Rhody, Suzuki Book 1

Believe it or not, but you are 1/4th through the book, a few more songs and you are half way! I have posted some tips in a previous post (check them out), but there's more! Here are some more strategies to Go Tell Aunt Rhody:

• Playing Position: Prepare the playing position before starting the song, remember that these few seconds of preparation will make it so much easier to play the piece.
• Structure: The order is part 1 (first line) mf, part 2, part 2 piano (second line), part 1 mf (third line)
• New Skills: 
• rhythms - you now have a mix of quarter, eighth, and half notes in the song.
• dynamics - for the first time in the book you switch from mf (medium strong) to p (softly), so after you get comfortable with the notes and rhythms you can add this interesting aspect to the song. 

• Strategies:  
• Warm-up with the bow exercises, now with an emphasis on playing one string mf, the next p and so forth.
• After you listen to the song one time and follow the notes, say the notes in rhythm as best as you can (parents this is a good opportunity to sing along with your child).
• Learn part 2 first so that you can start trying out the dynamics.
• Play along with the Youtube video above.
• Add mf and p to the songs you already know.
• Perform a Quarter-Book Recital for family and friends.

      Parents and students alike are looking for getting everything right as quick as possible all the time. Take the time to focus on the progress that was made, point it out to yourself or parents make sure to point it out to your child. We all need encouragement, give it to yourself and to others throughout the week it will make a difference in your practicing and others aspects of your life.

Practice Tips for Song of the Wind in Suzuki Book 1

You now can play the Twinkles and Lightly Row. You have also been trying out some strategies to learn songs, keep thinking of new ways to approach new songs.  Always keep in mind that we want to make things effortless, so do not get discouraged if you cannot learn the song quickly because everyone makes mistakes. Here are some strategies to add to your arsenal as you learn Song of the Wind:      

• Playing Position: Prepare the playing position before starting the song.
• Structure: The order is part 1 (first line), part 2 (second line), part 2 (third line).
• New Skills: 
• staccato - which is indicated with dots on top or bottom of the note heads, play or sing choppy, crisp, separated, the opposite of legato (smooth and connected).
• bow circles (retakes) - as you do your bow circle in measure 4, 6 and at the end of part 2 take your time to place the bow gently and at the middle.
• Strategies:  
• Warm-up with the bow exercises, especially playing each string staccato and bow circles 4 times each string.
• Listen to the song and hum along one time before trying to play it. song, so pop in that c.d. or watch the video above!
• The song introduces more hoping E1 to A3 to E3 to E1 at the end of part 1 (line 1, measure 3). To make it easier, practice hoping from E1 to A3 a few times without the bow, then A3 to E3, then E1 to E1. Now engage the Twinkle rhythms, playing through the same combinations. Now, play the all those notes with one of the rythms and then the way it's in the book. 
• Play along with the Youtube video above.
• Play through all the Twinkles, Lightly Row and Song of the Wind.

     As a parent it will help you greatly to keep in mind what it would be like if your parent said the kind of things you say to your child as you practice together. Would you love it if your mother or father point out all the mistakes all the time every practice? Think back on how you did things with your parents, let those memories give you a new way to approach practicing with your child.

These are just a few ideas, get creative and try the song in different ways!

Posture Tips for the Violin, Cello, Piano

"We are conditioned to think that making music is a license for using our bodies in strange and uncomfortable ways, and for holding these posture for hours, days, and years on end.  We don't like to question or change our habits, for fear of losing our artistic powers. But these strenuous postures do not serve the best interests of either ourselves or the music. Good posture allows the limbs and breathing muscles to be free and flexible. . . 

In an effort to sit or stand up straight, some musicians go to an extreme and arch their backs, throwing their shoulders back. This posture over-tightens the lower back, making it an ineffective source of support and putting constant strain on a few muscles. 

In a more natural spinal alignment, the muscles in the torso don't have to work hard. The bones, together with the connective tissue, take on the load of the body and support you against the force of gravity."

                                                    ~The Art of Practicing by Madeline Bruser

     As a teacher and performer I never want to stop learning. Reading great books on practicing and other areas of music has been very rewarding and enjoyable. I figure if I study Science, Math, Literature, History, and even how to fix things, then why not learn for teachers and professionals in my field? You know what I mean?

I think I know some things about posture and its importance, but Bruser has definitely helped. I want the best posture possible because that is how the body is empowered to perform well, but as Bruser points out we need to be careful that we are not counterproductive. This is a point on which the Suzuki method agrees, since the emphasis is on learning things well in small steps so that they become effortless.

As you work on your posture, make sure your body is comfortable and that tension is released whenever you feel it. One way to work on posture plus comfort in the body is to stop playing for a few seconds when you feel too much tension somewhere. Stretch the tense area and massage it, then play that part of the piece again. Another way to practice staying relaxed is to play something you know well with your eyes closed. As you are singing or playing the piece, start noticing your head, relax it, then go down to your neck, relax your neck. Keep going down the body relaxing each part so that your whole body is tense-free. It takes time and concentration, but the pay-off is great!

What have you been learning about posture? What has helped you to keep a good posture and stay relaxed?

Practice Tips for Lightly Row in Suzuki Book 1

    Congratulations on learning the Twinkles, so let's get to Lightly Row. As a parent working with your child or as a student it is easy to feel like you do not know how to approach a new song. Whether you are a violinist, violist, cellist, or bassist, here are some tips to help you learn this song:

• Playing Position: Prepare the playing position before starting the song.
• Structure: The order is part 1 (first line), part 2 (second line), part 3 (third line), part 2 (fourth line).
• Strategies:  
• Warm-up with the bow exercises.
• Listen to the song one time before playing it. So pop in that c.d. or watch the video above!
• The song introduces more hops from string to string (called string crosses). Play the first measure (E, C#, C#) with the Twinkle rhythms, this will make playing the E and C# easier. Now, play the first measure the way it is written in the book. 
• Go through the same process for the second measure and any other notes that are tricky for you.
• Beware of just getting through the piece, the best way to learn a song is to master it in small chunks.
• Play along with the Youtube video above.
• Play through all the Twinkles and Lightly Row. 

     Over the years I have noticed the tendency of students and parents of approaching practicing as a chore to get through. Beware of this mindset, it will slow things down, limit how much you will learn and make playing the violin boring. It is better to think of it as an opportunity to grow, as an adventure of learning something new, and as a chance to calm yourself from all the other things going on in the world. 

These are just a few ideas, get creative and try the song in different ways!

Bow Exercises Suzuki Violin Book 1

Here is a partial list of the bow exercises I take students through to learn the bow skills in Suzuki Violin Book 1. I teach them one exercise at a time, then we play through them in lessons every week. When the list gets longer we choose a few of the exercises to master and take weeks off to do scales. The point is to make it enjoyable and beneficial, not to just get through it.

1. Rockets: make a nice bowhand; go up and down like a rocket slowly 4x.
2. Windshield Wipers: go back and forth turning your wrist and forearm like a wiper on a car 4x.
3. Cereal Bowls: make big circles like you are mixing a big bowl of your favorite cereal 4x.
4. Bow Taps: keep a relaxed bowhand, tap each finger 4x.
5. Regular (detache): play every string 4x keeping the bow straight.
6. Staccato (stop-bow): play every string 4x keeping the bow straight and stop between each bow stroke.
7. Bow Circles down bow: play every string 4x keeping the bow straight all down bow coming off the string and going back towards the frog.
8. Bow Circles up bow: Now, play every string 4x keeping the bow straight all up bow.
9. Crescendo: play each string 4x starting with small bow and then more and more each one.
10. Descrescendo: now play each string 4x starting with big bow and get smaller and smaller.

What are some exercises that you have been doing to learn the basics on the violin? Let me know if you have any questions about my list.

Pre-Twinkle Violin Camp August 25-29

Are you wondering if the violin is the way to go or if your child is ready to take some music lessons? Start right away with hands on playing by learning the parts of the violin, holding the violin, basic rhythms and songs, all through games. This class is good for students that just started or that have never played. This is why we are calling it the Pre-Twinkle Violin Camp, because it is for those that have never played and are interested, and because we will be using some of the Suzuki principles.

You will have a chance to make some friends, learn about composers and play in a concert at the end of the week. Parents are welcome to be involved in the class and learn right along with their child. This is a great way to get ready for private lessons in the fall!

Pre-Twinkle Violin Camp - One Week
All Ages
Dates: August 25-29, 
Time: 6-7:30pm
Cost: $95
Instructor: Mircea Ionescu

Where: Oldham County Schools Arts Center

Address: 7105 Floydsburg Rd, Crestwood, KY 40014

REGISTER HERE  or call (502) 241-6018

Etude, Suzuki Violin Book 1 No. 12 - Tips and Focus Points

You are now 3/4ths of the way through Book 1, keep going! Etude is Dr. Suzuki's fifth piece in the book. Here are some tips and focus points that will help you master this piece:

• There is one sharp in the key signature, so you will use a low 2nd finger on the A and E string.
• The piece breaks up in 3 parts, so look for where each section starts and keep in mind that part 1 repeats.
• Part 1, 2 and 3 have groups of notes that repeat and G scale runs.  
• Practice the song with legato, staccato and even bouncing the bow.
• Work on making the piece flow, the notes are all the same rhythm, except for the last note, so keep them all even.
• Play along with the video to understand how the songs is supposed to go.
• After you have piece learned, you will be ready to try the Variation, which is doubling each note like in Perpetual Motion.

What tips do you have for Etude? Feel free to ask questions, suggestions and concerns in the comment box. And if you want more help, try a free online lesson!

Bluegrass Music Camp Coming Up!

    Classical music is fun and so are Suzuki lessons, so you should definitely give Bluegrass music a chance. Join us if you have a guitar, mandolin, fiddle/violin, banjo, bass, or cello to learn the basics of Bluegrass and American/Irish folk music. Delve into this incredible summer experience working with experienced teachers and performers.

We will conclude the week with a performance. Students should have at least 6 months study on their instruments. For those of you who play in the Suzuki books, you should be in the second half of book 1 or higher.

It's going to be lots of fun, it will give you a chance to learn to play with a band, and what a way to get motivated to play your instrument this summer!

Where: Oldham County Arts Center 
Date: July 21-25
What Time: 1-4pm
How Much: $125 ($50 Deposit)
Ages: Ages 8-18  
Contact: 502.241.6018

 

The Summer Practice Challenge!

     Every summer, my students are encouraged to go for The Summer Practice Challenge. Why? I started it a few summers ago because I thought it would be a fun way for students to get a prize and it would encourage them to avoid being lazy with their instrument. Being lazy in the summer time is very tempting with no school, hot weather and other fun activities that they are doing. But The Summer Practice Challenge has been a success, more and more parents are telling me how it's motivating their children.

How does it work? The student needs to be able to play everything I give them on their practice chart 20 days in a row. If they do not skip a day and get 20 days they get their prize, or they may go for 40 days to get a bigger prize, or if they get 40 days, they can go for 60 days for the biggest prize!

The Good news: 1. the prize is something the student likes, 2. the student may start the challenge any time they want before the 1st day of school, and 3. they may re-start the challenge as many times as they want. As you can see the point is to motivate the student to keep trying.

The Benefits:
1. Motivates students to practice (they want to push for the prize).
2. Challenges the student's and the parent’s integrity to be honest (will they cheat?).
3. Teaches the student consistency and discipline to practice even when you do not feel like it.
4. It teaches students to set goals and have fun at the same time. 
5. The student will learn to take responsibility to complete his or her goal.
6. Parents will not have to push their child very hard to practice.

        In the end it is the attitude of the teacher and the parent that will influence the student on how to approach The Summer Practice Challenge.  Parents, out of good intentions, have pushed their child so hard that the student shuts down and they do not want to do the challenge.  I encourage teachers and parents, to make this optional to their students as it will "put the ball in their court." You might be surprised what happens when you give them the responsibility. Let the challenge begin!

Musette: Suzuki Violin Book 2 - Tips and Focus Points

     So you are now getting comfortable playing with the whole bow Chorus from Judas Maccabaeus and now we are ready for the next step: Musette by J.S. Bach. Here are some tips and focus points:

• Check the key signature: 2 sharps (F# and C#), which means 2nd and 3rd finger touch on A and D string; 1st and 2nd finger touch on the E string.
• Play at the tip of the bow as many notes as possible.
• Bring out the sudden changes in dynamics. Make a distinct difference between p, mf, f by the amount of bow you use.
• Take a small breath when you see the commas in the music.
• The last note in the piece you can play as a harmonic on the D string.
• One way to practice the 4-note slurs is to make them into hook bow, so that it is easier to distribute he amount of bow per note.
• Play scales and pieces from book 1 at the tip to make it easier playing at the tip.

Feel free to ask questions, suggestions and concerns. And if you want more help, try a free online lesson!

Summer Lessons, the Best Time to Start or Keep On

          

        Summer is here and many of us are going on vacation or are right now on vacation!  This does not mean that you have to go without lessons for the entire summer. I know that some of you are thinking whether or not to do them. Short answer: Do It!

If you are looking for a teacher or just want to try something out, take 2 free online lessons with me! And for those of you in the Louisville area, I teach at the Oldham County Arts Center and the University of Louisville Community Music Program. I teach the violin, viola, cello and piano. We can do Suzuki, fiddle, bluegrass, classical and/or church music. Send me an email at: privatelessonmatters@gmail.com for more info.

For those of you who have a teacher, here is what I recommend you keep in mind as you think it over:

1. Some teachers will be able to have lessons earlier in the day since there is no school, so just ask.

2. A few lessons will help keep students going so that they don't fall behind.  Students that do not take any summer lessons forget some of what they have learned. So guess what happens when Fall rolls around? The parents and student get frustrated when things have to be relearned.

3. Some children think they are done with music lessons, so by taking just a few lessons you can avoid misunderstandings.
4. If you take lessons in the summer you will have a spot for sure in the Fall with your teacher. 

5. Summer lessons are a great way to keep your child sharp and moving forward. What I have noticed, is that students have a harder time staying motivated to practice without the weekly lessons

6. Good opportunity to prepare for orchestra auditions.

7. Most importantly, quality time with your favorite teacher.