Noteflight Provides New Approach to Music Notation

A while back I was alerted to the Noteflight website. Self-described as “Music notation for a connected world,” Noteflight provides an attractive alternative to traditional notation software. It is extremely intuitive and files can be easily shared with the click of a button. I think this provides a lot of possibilities for teachers, composers, bloggers, and students. For example, I can embed a score I’ve created right into this post for you to view, play, and print:

(Plus, I just discovered that if I make changes to the original score, it is automatically reflected in the embedded file!) I’m having fun experimenting with the possibilities and look forward to utilizing this resource more in the future. There’s also quite a collection of shared notation files from other users, but a limited search function makes it pretty difficult to find the useful or relevant files.

If you have any ideas for how you can utilize this site with students, please feel free to share!

Free Curriculum – Musical Travels for Children

I just downloaded a 161-page free curriculum called, “Musical Travels for Children“! The course was created by Catherine Schmidt Jones and includes units on Europe, Asia, Africa, Americas, and Australia. Each unit is comprised of practical teaching ideas, printed music from the various continents, and additional notes and resource links. This would be fabulous as the basis for a summer piano camp or as a collection of themed group classes throughout the year!

Six Ways to Enjoy Detailed Practice

Gerald Klickstein, author of The Musician’s Way, posted this excellent and practical list of six ways to enjoy detailed practice:

  1. Bring meaning to every gesture.
  2. Isolate problem spots in context.
  3. Take pleasure in excellence.
  4. Listen deeply.
  5. Seek variety.
  6. Shift perspectives.

Visit the original post for the expanded version with specific ideas on how to implement these six practice ideas. I am inspired to use them in both my teaching and in my own practicing!

New Finds for Graphics and Design

There are some real treasures on the internet for cool graphics and design elements. Some of them I just came across recently and wish I knew about years ago!

istockphoto.com – This is one I became familiar with when I was working with my designer for the cover of my book. The quality of the photos and graphics is impeccable! You have to buy credits to use toward purchase of images, but sometimes it’s definitely worth it to get high quality, high res, royalty-free images.

webtreats.mysitemyway.com – I haven’t used this one yet, but there are tons of great patterns, textures, themes, etc.

stock.xchng.com – the quality of most of these images isn’t quite up to par with istockphoto, but you can’t beat the price – free!

icons.mysitemyway.com – This is loaded with sets of free icons that you can use in an unending array of projects! I’ve downloaded and used numerous icons already – for cards, websites, newsletters, studio materials, and more.

ithemes.com – A friend I’ve been meeting with to work on business ideas alerted me to this site that is full of beautiful wordpress themes. I’m still trying to figure out the perfect design for my site revamp, and this is one site that I’m looking to for inspiration!

pluginbuddy.com – Another related site my friend told me about that I still have on my list to explore in more detail. I haven’t tapped into plugins much, but I know there are lots of possibilities out there!

Do you have any great sites that you frequent for graphics and design elements? I would LOVE to know about them!

Monday Mailbag – Age Appropriate Practice Incentives

I love your incentive ideas!  Just wondering if you use them with your entire studio, or only up to a certain age.
I have always felt uncertain about students perhaps outgrowing incentives, and have generally phased them out by high school.

Yes, I use my practice incentive themes with the whole studio. It’s definitely a challenge to develop them, but one of my goals is to design it in such a way that it is inclusive of all ages and levels. Each student is able to work within the framework of the theme toward specific goals that are appropriate to his/her age and level. The post titled 4 Components of a Good Practice Incentive will give you a better idea of how I develop the themes and specific examples of how I’ve incorporated various principles into each of my themes.

One of the things I try to avoid – above all else – is using only trinkets or external rewards (a.k.a. bribery) to get the student to practice or achieve certain goals. The reward, ultimately, should be the enjoyment of the music and the achievement of reaching new levels in their understanding and skills. The practice incentive just provides a creative theme that helps the student organize and track their progress. My desire is to build a culture in my studio of enthusiasm and diligence. Any reward I provide is my way of expressing appreciation to my students for the hard work they have put in throughout the year. And that’s something that can be done for students regardless of age or level!

One final thought to keep in mind is that the older students can be a powerful influence in the attitude of the rest of the studio. If you can tap into their excitement and expertise and give them a vision for what they can achieve and how they can be an example to the younger students, it will be contagious! Honestly, I’d rather lean toward something that appeals to the older students and adapt it significantly for the younger ones (or just let them “tag along for the ride”!), because the younger ones need to have more specific direction and input from week to week anyway.

Remember, if you have a question you’d like to contribute to next week’s Monday Mailbag, leave it in the comments below or send me an e-mail sometime this week with Monday Mailbag in the subject line!

Checking Your Pulse

One of the areas that I am constantly aware of need for improvement in my studio is playing with a sense of pulse. We’ve spent an entire month highlighting just this aspect of playing, but I realize that it needs to be a part of every lesson. Instrumental students definitely have an advantage in learning this since there is no forgiveness when playing with an orchestra or band. Even playing duets with students, it’s so easy to give a little extra time to help compensate for unevenness in pulse.

I recently came across this helpful post by Alex Thio called, “Pulse or Bust – The Importance of Pulse in the Collaborative Arts.” I especially appreciated this comment that he made: “It is one thing to FEEL a pulse within oneself: it is another to depend on the mechanical, stalwart beat of the metronome.” There’s also a free pdf file referenced at the bottom that has some helpful information and ideas. For example, did you know that “The word metronome is taken from two Greek words: “metron” meaning ‘a measure’ and “nomos” meaning ‘a law’”?

Students must learn to feel the pulse from the inside out. Whether it’s through using the metronome more, clapping and tapping, doing eurhythmic activities, learning to conduct, playing with CDs, or any number of approaches, I am convinced that this is something that really needs to be more of a priority in my teaching. Now if I can just figure out how to make that happen… :-)

Rethinking Competitions

I’ve never been a competition teacher. Whether it’s because I never participated in competitions growing up or because of some of the negative aspects I’ve observed in those who compete, I just haven’t seen them as having much value. But thanks, in part, to a workshop I attended this past summer at our state conference, I am warming up to the idea of having students participate in competitions. In fact, I had a student participate in our district auditions this past weekend and it was a fabulous experience! Here are a few random thoughts that I’ve been formulating about competitions.

Approach competitions with the attitude of a learner. I am not a good competition teacher. Therefore, that leaves lots of room for improvement! :-) My natural tendency is to focus more on functional skills and less on perfecting repertoire. Once a piece is “good enough” we just move on to the next thing and don’t spend great amounts of time honing in on the details. Of course we work on correct dynamics, articulations, stylistic playing, and so forth, but we don’t often work toward real mastery. I am inspired now to help students work toward a higher level of playing.

View competitions as an opportunity to increase overall musicianship. One of the reasons I’ve hesitated to get my students involved in competitions is because I’ve known students who spend months (years, in some cases!) exclusively preparing a couple of selections for a competition and yet hardly know how to sight-read or count rhythms or read from a chord chart, etc.  But it doesn’t have to be an either-or proposition. Both of these things can work in harmony to help students become better musicians if the student and teacher approach it with that perspective in mind. I think this would entail the teacher selecting appropriate repertoire that will highlight the student’s strengths and interests while also providing opportunity for them to improve weak areas. It would also mean making a pointed effort to teach conceptually from the particular pieces, rather than just demonstrating or teaching to the individual piece.

Competitions provide the opportunity for students who have a natural bent toward competition or the potential to become very advanced pianists to hone their playing and reach a higher level of excellence. As I served as a door monitor at the competition Saturday, I realized that a number of the students in my studio could play well enough to participate in a competition and would probably really enjoy it if I encouraged them in that direction. Just because I didn’t grow up competing is no reason to rob my students of at least having the opportunity to give it a try. Some of them may be especially gifted toward that aspect of musical study and I want to give them the freedom and encouragement to develop their skills to the fullest potential. As their teacher, I will readily acknowledge that I have a lot to learn in this area, but that I am willing to invest my time and energy to help them be successful.

Remember that it’s about the process, not the end result. Yes, I want to do everything I can to set my students up for success and give them the potential to win, but there are so many factors contributing to a winning performance that you can’t hinge the success of the experience on the day of the competition. Here are some of the benefits that I envision a student gaining: increased musicianship (as mentioned before), more confidence in performing (one thing I learned is the importance of providing numerous performance experiences with the same repertoire prior to the competition), exposure to other excellent pianists, the personally rewarding feeling of investing a lot of time and energy into a piece and being able to play it really well, character development due to the diligent effort required in preparation for a performance, and I’m sure there are many more benefits as well!

This is new territory for me, but I’m actually getting really excited about the possibilities! I would love to hear from some of you who have experience in this area! Do you find competitions valuable for your students? What things contribute most to a successful experience? What tips do you have for a teacher just launching into this world? Any and all advice would be most welcome!

New Suzuki Violin Recordings and Giveaway!

Early on in my teaching, I began hearing about the Suzuki method. I did some preliminary research and was fascinated by the concept and approach. So, I decided to go a step further and went to a Suzuki Institute. What an incredible experience! Even though I ultimately decided to adopt a more traditional approach for my studio, some of the principles I learned at the Institute have greatly influenced my teaching. The Suzuki teaching philosophy is named after its founder, Shinichi Suzuki, and has become the preferred method for most string students. I personally don’t think it is as effective for piano, but wow is it impressive to see the musicianship of those little string players on their tiny instruments!

All that to say, it’s exciting that Naxos has recently released a new series of Suzuki CDs. I gave the first one to one of my studio families whose children also take violin lessons to see what they thought about them. The Mom said, “The other CDs I tolerated; these I actually enjoyed listening to!”

Here’s what Naxos has to say about them: “Suzuki Evergreens is a 7 volume series of recordings that covers all 8 books of the Suzuki method for violin.  The violinist on the recordings, Takako Nishizaki, was a student of Shinichi Suzuki and she was the first child to complete the Suzuki course.  She was awarded a teacher’s diploma for the method at age nine. Ms. Nishizaki’s Father was very active in the early stages of the development of the Suzuki Method and for many years, taught at the Matsumoto summer school.”

You can find more information and listen to samples on the Naxos website page for them. And…Naxos has kindly offered to giveaway the first three volumes of this new series to three Music Matters Blog readers! Just leave a comment below to be entered in the drawing. For double entry, just post about the giveaway on your blog or Facebook with a link back to here and the n leave a second comment indicating you did so. (Since you already have three chances to win a CD, this will double your chance to six! :-) ) The drawing will be held Thursday, October 14, at noon (CST).