Year End Awards Ceremony and Piano Recital

For the conclusion of our C2 practice incentive theme this year, we had a special awards ceremony in conjunction with a studio recital this Monday evening. We began the evening with a couple rounds of Musical Wheel of Fortune, then moved into student performances.


Levi performs “Little Robot”


Daniel performs his own arrangement of Viva La Vida”


Heidi performs the theme from Beauty and the Beast

After each of the students performed, I recognized them for their growth in character and competence throughout the year, identifying a particular power card from our theme that I thought best represented each student. After sharing a little about their growth they got to select their choice of an award: a selection of mugs filled with various goodies.

Mercy is the top point scorer for the year and receives “The Battery Award” for the way she energizes others with her enthusiasm and hard work!

After they selected their awards I asked them what made them choose the award they did. Interestingly (thankfully!) each of them chose based on the content in the mug. I asked them how that content got there. They quickly replied that I put it there.


Levi is given “The Engine Award” for his demonstration of steady, dependable character throughout the year.

So I made the point that just like they chose the mug they wanted based on the content they wanted from it and that content was placed there intentionally, they will only be able to get out of life what is placed into it. In other words, if they want to be a responsible, dependable, trustworthy person, they have to put those qualities into their lives. And if they want to be an excellent, artistic pianist, they have to put those skills into their lives. And then I reminded them of our theme verse for this year:

“Now to him who is able to do far more abundantly than all that we ask or think according to the power at work within us, to him be glory in the church and in Christ Jesus throughout all generations.” Ephesians 3:20-21

There is a power greater than any power in the world that will enable them to accomplish even more than what their minds can imagine right now! I can’t wait to see how that plays out in each of their lives as they seek God and let Him grow them in character and competence in music and every other area of life!

And of course we ended the evening with a time of snacks and fellowship!

I’m so grateful for an awesome group of students and families!

2014 Christmas Piano Recital and Dinner

Last night was an evening of tradition and new beginnings. It was our 17th annual studio Christmas recital, but it was also our 1st annual Christmas dinner! Thanks to the vision of my creative husband, we decided to combine our studio recital with a special Christmas gift to our studio families – an evening of dinner, fellowship, and inspiration. Here are a few snapshots from the occasion:

Our theme was based on Matthew 1:23, ““Behold, the virgin shall conceive and bear a son, and they shall call his name Immanuel” (which means, God with us).

We used the Fireside room in our church building – a warm, cozy escape from the blistering winds and snow flurries that started falling in the afternoon!

Once all the families arrived, they were directed to their tables and offered hot drinks. My four kids were each assigned to serve a table, and did a fabulous job keeping drinks filled, serving each course, and making everyone feel welcome! You can see my husband attired in his kitchen apron also checking in on guests – he and my mom manned the kitchen and dished up plates of food to be served to the guests.

The courses were interspersed with musical selections – a variety of solos, duets, and ensembles – and a time of sharing testimonies of how we have experienced “God with us” throughout this year. I was so encouraged and blessed by all that was shared!

All of the students collaborated on a “God Rest Ye Merry, Gentlemen” ensemble (from A Christmas Gathering by Lynn Freeman Olson). Fun!

A group shot of all the students, plus a few guest artists (a.k.a former students) who contributed to the musical program.

I wasn’t sure how everything would work out, but thanks to the help and participation of each person, it proved to be a wonderful success! We look forward to many more years of Christmas recitals and dinners!

Musings for the New Year

After a long hiatus, I’m excited to be back to posting on Music Matters Blog (though I anticipate it will be much more sporadic than before!). The New Year is in full swing, and I’m thrilled to be entering it with an incredible husband, four wonderful children, a studio full of amazing families, and an awesome support network of family, friends, and colleagues! I have lots of ideas and thoughts to post in the coming days, but for now, I thought I’d share a few videos with you:

Christmas Recital 2013 – There is a Redeemer

Julian’s and My Wedding Video

Julian and Natalie-Wedding Ceremony from IanGVideo on Vimeo.

A Shorter Version with the Highlights from Our Wedding

Julian and Natalie’s Wedding (Short Version) from IanGVideo on Vimeo.

Our Story (the video that we showed at the beginning of our wedding)

Julian and Natalie from Positive Motion Studios on Vimeo.

Happy New Year to all of you! I’d love to hear about your plans for the year and any special new things you are doing in your studios!

Monday Mailbag – Favorite Christmas Arrangements

I have so appreciated your ideas and was wondering, if you find any great Christmas arrangements that you just love, will you let us know?

With our Christmas Recital coming up later this week, Christmas music is definitely on my mind! Here are some of the favorites on our program this year:

It Came Upon the Midnight Clear by Melody Bober – a gorgeous intermediate level arrangement!

Christmas Traditions by Phillip Keveren – this whole book is a gem! This is a great collection of musical arrangements at an elementary level, and many of them are perfect rote teaching pieces. One of my favorites for this is the Go, Tell it On the Mountain arrangement.

Dance of the Sugar Plum Fairy by Andy Fling – a fun, simple arrangement of this favorite Christmas classic.

In Christ Alone by Natalie Wickham – :-) A couple of my students requested a duet for the recital, and after considerable searching I thought it would be fun to see if they could pull together this duet that I arranged several years ago for another student.

Several of my students have written their own arrangements this year, and they are absolutely amazing! I’m so excited to share them with you all sometime after Thursday. :-) I won’t be able to live stream the Christmas recital this year, but I’m hoping to get it posted to YouTube like we did with last year’s.

If you have any favorite Christmas selections in your studio, please share! It’s always fun to find out about other great arrangements to add to the list of possibilities.

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!

It’s Beginning to Sound a Lot Like Christmas

It’s that time of year again when I empty my Christmas music file drawer and spend hours trying to find just the right piece of repertoire for every student. I really enjoy the challenge of considering what each student will enjoy the most and trying to create an interesting program for all those attending.

The only downside is that my studio looks like a disaster area for a couple of weeks…

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Five Ways to Introduce Concert Music to Children By Robert Greenberg

Robert Greenberg, author of How to Listen to Great Music: A Guide to Its History, Culture, and Heart, has written a humorous and helpful article for those looking for ways to introduce children to concert music. I’m looking forward to reading his book and gleaning new ideas for myself and my students! Enjoy the following guest post: Five Ways to Introduce Concert Music to Children by Robert Greenberg:

“Concert Music” is music written by primarily dead Euro-males between roughly 1650 and 1900, music typically heard in the rather formal environs of a concert hall. Yes, this music is often referred to as “classical music”, which is as useless and misleading a phrase as “real imitation margarine!” When we call something “classic”, we are identifying it with the ideals and restraint of ancient Greek art, which immediately rules out the great bulk of concert music, which as often as not is filled with       schmerz und schmutz, sturm und drang, angst and exaltation. Even if we use the word “classic” in its loosest permutation — to indicate something exemplary — who’s to say there isn’t such a thing as “Classic Jazz”, “Classic Rock” — and even, painful though it may be to contemplate, “Classic Death Metal/Grindcore”. So: a pox on the phrase “classical music”. Concert music it is.

And why, pray tell, should we want to introduce our children to concert music? Because it constitutes some of the greatest art our species has ever cooked up, musical art that informs, educates, entertains, inspires, and ultimately packs a toy shop’s worth of joy that will stick with them for the rest of their lives.

1. It is a truism that children will read if they are read to and if they see their parents read. It is incumbent upon parents to set an example by listening to concert music at home and in the car (the latter might require some negotiation, but it CAN BE DONE). Don’t be afraid of playing the same piece over and over again; familiarity breeds affection.

(Having said all this, don’t play one type of music to the exclusion of all others. The distinctions we have created between “concert music” and “rock ‘n’ roll”, and “jazz” and so forth are generally meaningless to children. They tend to just like music — all music — which is how it should be.)

2. Invest in some decent percussion toys and encourage your kids to “play along” with recordings and videos. Yes, I’m aware that this can drive an adult up a wall, which is why we should do it with them. This makes us active, not passive participants in the musical process, and it’s more fun than you might think. As for “insulting” Bach or Mozart or Beethoven by doing this; my friends, they’re dead and beyond insult. Besides, do you really think playing along with a recording is more insulting than the disco arrangement of Beethoven’s Fifth Symphony that was featured in the movie Saturday Night Fever? I rest my case.

3. Rent/buy/download and play cool movies like “Beethoven Lives Upstairs”, “Mr. Bach Comes to Call”, Disney’s “Peter and the Wolf” and “Fantasia 2000″. Each episode of Disney Junior’s “Little Einsteins” series focuses on a different piece of concert music and teaches all sorts of musical terminology as well. My three year-old son and five year-old daughter love them.

4. Go to local orchestral concerts TOGETHER, in particular children’s/family concerts. Outdoor festival concerts are even better, because the kids can run around and move to the music. Try to listen to the pieces on the program before hand. Music literacy is akin to written literacy, and a little (even a tiny!) bit of preparation pays off big time in terms of intensifying the experience.

5. Get a piano. It doesn’t have to be a 8’11¾” Steinway “D” (list price around 130k); a little spinet will do. Put it in a place where the kids can bang on it without making the rest of the family crazy. When it’s time for piano lessons (at age 6 or 7; no need to rush) the piano will thus be an old friend and not a new torture device. (A “piano” is made out of wood, medal, leather and felt. It breathes. It is real. Its mechanism follows the will of the player’s body. An electric keyboard is made out of plastic and circuitry. It is not real. It does not breath. It has no place in your house or apartment. “But it makes so many different sounds!” So does a cat in a microwave: does sonic variety justify putting little Boots in the micro? “But we don’t have room for a piano.” Yes you do. “But my child can practice a keyboard wearing earphones, so we don’t have to listen”. Oh, that’s a GREAT message to send your child: go practice, but don’t make us listen to you.)

Recording starter kit. Here are some great works wonderfully performed to start out with.

  • Johann Sebastian Bach, Brandenburg Concertos; Trevor Pinnock conducting, on Archiv
  • Wolfgang Mozart, Symphonies Nos. 39, 40, & 41; Neville Marriner conducting, on EMI
  • Ludwig (“my friends call me Louis) van Beethoven, Nine Symphonies; John Eliot Gardiner conducting, on Archiv
  • Camille Saint-Saens, Carnival of the Animals; Charles Dutoit conducting, on London
  • Sergei Prokofiev, Peter and the Wolf; Carlo Rossi conducting, narrated by Boris Karloff, Vanguard

© 2012 Robert Greenberg, author of How to Listen to Great Music: A Guide to Its History, Culture, and Heart

Author Bio
Robert Greenberg, 
author of How to Listen to Great Music: A Guide to Its History, Culture, and Heart, is a speaker, pianist, and music historian. He has served on the faculties of UC Berkeley, California State University East Bay, and the San Francisco Conservatory of Music, where he was chairman of the Department of Music History and Literature and director of the Adult Extension Division. He is currently music historian-in-residence with San Francisco Performances and also serves as the resident composer and music historian to NPR’s Weekend All Things Considered. Since 1993, he has recorded over 550 lectures for The Great Courses.

Founded in 1990, The Great Courses produces DVD and audio recordings of courses by top university professors in the country, which are sold through direct marketing. It is a nine-figure-a-year business and they distribute forty-eight million catalogs annually. They offer more than four hundred courses on topics including business and economics; fine arts and music; ancient, medieval, and modern history; literature and English language; philosophy and intellectual history; religion; social sciences; and science and mathematics.

For more information please visit http://www.robertgreenbergmusic.com and http://www.thegreatcourses.com and follow the author on Facebook.


Monday Mailbag – Recital Programs Designed by Students

I think you posted the idea once to have your students design the end of the year recital program covers.  If so, did you judge as a studio which one would be chosen?  I’m concerned about the ramifications of best friends choosing each other or if I choose there might be hurt feelings. Any suggestions?

Yes, you are remembering correctly! You can see examples of the student-designed programs on A Peek Into My Christmas Recital and Inspiration From a Home Magazine. I just collect all the artwork submissions ahead of time, then the night of the rehearsal, I display them all on a pew with a small Dixie cup in front of each one. Each student is given a penny and looks over the submissions, then places their penny in the one they want to vote for. I’m sure some students vote for their own or a friends (I tell them they’re allowed to if their conscience will allow it! :-)), but this process has always worked really well and we end up with a great-looking cover!

Does anyone else do artwork contests with students for their recital programs? Any tips on how to handle the process?

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!

Monday Mailbag – Year End Achievement Awards

“I am curious about student achievement awards.  I am wondering what you and other teachers do.  Do you give out awards based on years in lessons (i.e. 3 year award) or perhaps awards based on level of achievement (i.e. completed Faber level 2A etc.)?  Maybe some teachers simply give out a participation certificate. This will be the first time I am doing a recital and I want to give the students some kind of year end award.  I don’t do an incentive program (yet) and I want to make sure if I start something, it is something that the students will feel a sense of pride and achievement for receiving.”

This is actually a pretty thought-provoking question for me! I’ve never given achievement awards based on years of study or completion of levels, but I can see how something like that might be a good motivator for a student. Some of my students participate in a yearly Music Progressions evaluation program that is comprised of 10 levels. Those who participate receive a certificate each year, but I can’t remember a student ever caring about the certificate (I often find these crumpled in the bag months later). I think it would be kind of cool to have an award of some sort that was progressive from year to year. Extra incentive to stick with piano study through the hard times!

My year-end rewards are almost always tied to our practice incentive theme. And they are usually completely different from year to year. For example, this year the students who earned the specified number of Complication Coins can use them to purchase a custom-designed studio t-shirt. :-) You can see a list of other year-end rewards I’ve used on this post about Practice Incentives and Rewards.

My mental wheels are really spinning now, though, and I’m curious to know if other teachers give some sort of progressive award based on years of study or level completion. What do you do in your studio? I’d love to get some new ideas!

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!