Symphony No. 2 by Johannes Brahms

Here is the Wiener Philharmoniker in 1982 directed by Leonard Bernstein performing Symphony No. 2 by Johannes Brahms.

I am listening to it today to be motivated, refreshed with the way it goes, catch some tips on tempo, intonation, expressiveness, ensemble, and anything else that I can catch to get ready for the rehearsal Monday with the Louisville Philharmonia.

Brahms wrote his Second Symphony in D Major on his summer vacation of 1877 in the village of Portschach. just months after his celebrated First Symphony. On December 30, 1877 the Second Symphony was premiered by Hans Richter. Following in the footsteps of Beethoven, the symphony is about 40 minutes. Some call this the Pastoral Symphony in memory and comparison with Beethoven.

 You never get to old or too good to gain from others, especially master musicians. Bernstein is an especially good conductor so I am appreciate listening to this recording. Enjoy!

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 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?

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!

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!

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.

Teaching Reflections: Unique Moments

      Every profession, job, and career comes with good things and bad things. For many people in the United States it is easy to focus very much on the disadvantages, it is easy to complain, to be jealous, to just get through the day. Can you imagine how painful it is to go through life that way? We lose so much when we do that?

A little while ago I had the wonderful opportunity to play with one of my students at a private family occasion. The student and I played a song together. As I was there, I realized what rare privileges I have as a private music teacher. I get to see families have fun, celebrate and even grieve, all because of private music lessons. Who would have thought that teaching students can be more than a 30-minute lesson once a week? I am not sure how many other professions get a chance to experience these kinds of unique moments, but these kinds of moments in life encourage me and I praise God for them. 

These kinds of unique moments have also helped me remember that as much as musical excellence is important, sharing life with people is even more important.  This is especially important to remember in the American society that is always "on the go" with no time to breathe.  The priority of the relationship between the parent and child with the teacher is one aspect of the Suzuki method that I find so refreshing.  At times I get the impression that people think of teachers as waiters at the restaurant just giving people what they order.  But how much better to see a teacher, a student and their parents as more than just clients who give me something.

Prioritizing relationships with people makes it possible to have good unique moments. Are you looking for these moments? What do you live for? So, what are some great moments that you have experienced lately?