Mobile tip of the day

Mobile Device tip of the day:

If you are using your iPad/iphone/tablet/etc a lot with young students, you might want a shatterproof case. I highly recommend the OTTERBOX DEFENDER SERIES cases for any mobile device. They are drop-proof up to something like thirty feet and can withstand all sorts of abuse while protecting the tablet or phone. They are also nearly waterproof, so the case will protect against unexpected spills, as well.

iPad tip: Need to move a lot of Garage Band files back to your Mac?

As a music teacher who records a LOT of lessons, sometimes I would like to move a huge amount of Garage Band files from the iPad to the iMac.  This is not possible in iTunes, as it requires that you click on each file separately in the Garage Band APP in the iPad and 'send to itunes' one at a time. It takes way too long. 

Here is the easiest solution I have found yet, courtesy of my tech guru friend, George Litterst:

Using DISK AID (software) on your MAC, navigate to STORAGE>APPS> GARAGE BAND>LIBRARY>APPLICATION SUPPORT>DOCUMENTS

There, you will see a complete list of all Garage Band files on your iPad.

NOTE: If you don't see all of these menu items, go to DISK AID PREFERENCES and check the box for SHOW ROOT PATHS FOR APPS

Once you see all of those files in a list, simply highlight all of them and click on COPY TO MAC, choose a destination folder and VOILA! They are moved to a folder within your mac or on an auxiliary drive.

Happy tech geek ;)

Exhibit Hall

On Tuesday afternoon, I visited a lot of the exhibits just before closing.  I was lucky enough to win the daily prize at the Alfred Booth - a set of Premier Piano Course books and a Mighty Bright light ;)  Thanks, ALFRED!  (Surprisingly, this is the 2nd time I have won a prize at MTNA! One year, I won a complete set of books from Ultimate Music Theory!)


I will be writing more about the exhibits and adding quite a few photos within the next day or so!

Tuesday evening concert: ANDERSON AND ROE

I was only able to stay for the first half of the concert, since I had to catch a redeye flight back to NYC, but what a treat it was to hear Anderson and Roe tonight! This duo pleases both the eye and ear, with beautiful sounds at the Steinways, as well as grand gestures throughout their performances. Those of you that have heard them know that they often perform their own arrangements of orchestral works. Tonight was no exception. The "treat" for the first half was an arrangement of Stravinsky's "Rite of Spring!" This is the 100th anniversary of the first performance of the original work in Paris, which caused riots among the audience members. Anderson and Roe's grand gestures came to life in this piece, with Ms Roe actually jumping OFF the bench with full force on several occasions. I had the fortune of sitting in between Bob and Karen Vandall during this concert, and got to hear a great story about how Bob, when he was young, used to play his LP record of Rite of Spring over and over and blast the speakers. When his mother came home, she made him turn it off! Anderson and Roe also delighted the audience with their stories in between the pieces. The rest of the first half consisted of a Mozart opera paraphrase from The Magic Flute, the complete Sonata in D for two pianos by Mozart and ended the first half with their now famous Ragtime Alla Turca, based on Mozart's Rondo Alla Turca. Oddly, the program said the piece was by Johann Sebastian Bach. One must wonder how that came to be printed next to "Alla Turca" and a Köchel number!

The duo was also selling their scores and recordings in the lobby at intermission. Some of the arrangements are available from Alfred and others from Anderson and Roe's own publishing company. I didn't get the name of it, but I am sure it's easy to google it.

If you happened to stay for the 2nd half of the concert, feel free to add your comments to this blog! I am sorry I missed it!

You all can check out ANDERSON AND ROE on YouTube, as well.  They have unstoppable energy!  Here is one video of the RAGTIME alla TURCA: https://www.youtube.com/watch?v=AYSNmMJHVqM

IMTF

I stopped in a bit late on the Independent Music Teachers Forum meeting this afternoon.

The group of teachers in attendance had already split into four different discussion groups, and I have jumped into the group that is discussing BUSINESS PRACTICES AND MARKETING.

The teachers in this group noted that students are coming mostly from parent referrals, not from web inquiries. A discussion ensued about SEO with websites and getting to the top of an internet search.

Debra Hatfield from TX talked about how important it is to get kids "talking" about what they are doing. Her studio does six recitals a year and all are different, including costumed recitals, etc. She also had a float in the city parade one year. They put eight keyboards on the float and had students playing on the float.

We switched groups after a few minutes and I jumped over to a group that was discussing MOTIVATION. One teacher said what motivates her students is having the younger students see the older students performing at the group classes and recitals. She has group classes once a month by grade level.

Another teacher: the key is to make it as social as possible. Pianists are used to being alone, so when they are matched with mentors for theory tests or competitions.

Another teacher: having kids perform a monster concert. 15-20 kids at once. It makes them practice. They have to be up to tempo before the rehearsal. Bribery: serve donuts. One teacher opens up her monster event to other teachers' studios.

In Hawaii, they have that monster festival at a shopping center.

I mentioned that I think the motivation comes from the music itself and from seeing the teacher's passion about music-making, as well. Perform for your students. Let them see your passion!

One teacher mentioned that a teacher lets the high school students be like kings and queens at the events, eat first at receptions, give them tapestry blankets, etc. That teacher lets the kids make the rule, even deciding where they perform on the recital. (First, last, etc)

Points and prizes offered by some teachers. Where do you order? Oriental Trading, Music in Motion, local music stores, etc.

You could give kids a studio shirt or piece of sheet music to hang on the Christmas tree.

Some teachers charge for recitals.

We had a talk about attitude. One teacher mentioned that the 'attitude' is creeping in at a younger age now. I recommended the book, The Narcissism Epidemic.

Off the bench activities... Push ups, jumping jacks, etc, then go back to playing. GOTB... Get off the bench... Any child under 10 should be off the bench twice in a lesson.

Pupil savers... Kathleen Theisen compiled a list if these on her Facebook page.

Showcase: Glenda Austin and Carolyn Miller for WILLIS MUSIC

Glenda and Carolyn open their session by performing SAMBA SENSATION. This is Glenda's newest duet, which was commissioned by a Phoenix Piano Ensemble. The performance was just last week.

Glenda shared some intermediate pieces by John Thompson that weren't familiar to me or to the people next to me, but are lovely pieces:

Scherzando in G Major by John Thompson... It lies well under fingers

Nocturne by Thompson...

Lofty Peaks by Thompson... Big, crashing chords. It's a bit like Schumann's "An Important Event."

Valse Burlesque by Thompson

Rhapsodie Hongroise by Thompson ... In style of Liszt.

A quote from someone near me: "I would have never dreamt he wrote these." These are not at all like what people usually think of when they hear the name John Thompson.

Elementary level book of pieces by John Thompson:
Forest Dawn...
Captain Kidd... G minor piece, has LH melody, allows kids to play in two flats at an elementary level, which doesn't happen very often in other rep.
Humoresque...6/8, a minor, like a tarantella

Edna Mae Burnam... 1907-2007... Probably best known for A DOZEN A DAY. Willis has published some collections of her other piano works, as well.

Butterfly Time: patterned LH quarters in two note slurs and RH sixteenth note patterns.
Jubilee!... This is coplandesque with open fifths in LH and a faster-moving RH part.

Echoes of Gypsies...big, showy piece with quiet moments, as well. The "vivo" section is like the Rondo Alla Turca.

The Singing Fountain... Has LH singing melody and RH has a repeated arpeggiated figure

Elementary book by Edna Mae Burnam...
Two Birds in a Tree.. Beginner piece that can be played on black or white keys. This could even be taught by rote. Glenda encouraged the teachers to improvise an accompaniment to this piece.
The Clock that Stopped...contrasting touch between legato and portato
The Singing Mermaid...piece with overlapping pedal, calm chord progressions, meditative style

WILLIAM GILLOCK
1917-1993
Grew up in an area near Joplin, MO, where Glenda currently lives.

Spooky Footsteps... Very cute elementary level in D Minor. For my friends in CT, this piece is at approx the level of Primary 2 in the YMF.

Rocking Chair Blues... In 2/4 with triplets and swing feel based on I IV V pattern

Stormy Weather...c minor...triplet rising arpeggios... Kids love this piece.

On a Paris Boulevard

Intermediate to advanced level pieces (CLASSIC PIANO REPERTOIRE)
*** these pieces are WONDERFUL!!!
Festive Piece... Nice intermediate-level piece. D minor, ends with Picardy third.
A Memory of Vienna... Lilting waltz
Valse Étude...this is a show stopper and is one of Glenda's top ten favorites. It has a beautiful middle section that is very lyrical.

Glenda reminded the teachers that if you don't have students who can play these pieces, YOU can play them! This is a great stress-busters, too.

Fountain in the Rain... One of the most famous of Gillock's pieces.
It's now available as a duet, arranged by Glenda Austin. This is late elementary/early intermediate level.
Glenda suggested that people program both the solo and duet version on the same recital.

COMPOSER'S CHOICE books by Glenda Austin and Eric Baumgartner (2 separate books)
Pieces from Glenda's book:
Midnight Caravan... Great fast piece at the intermediate level.
Reverie... Written on three staves..
Tangorific...this was written by Glenda for her teacher, Mrs Holden.
Chromatic Conversation...this piece is a blues that has a conversation between LH bass riff and RH melodic riffs

From Eric's books:
New Orleans Nocturne... Even eighth notes, lots of seventh chords.
Jackrabbit Ramble...
Aretta's Rumble... This was written for his wife, who is a puppeteer.
Beale Street Boogie...swung eighth note boogie pattern in the LH, off beat chords in RH

Carolyn C. Setliff:
Romantic Serenade...cut time, single note melody with arpeggiated figure in LH
Romantic Reflections...opens with big rhapsodic chords, then goes into a music box-like theme
Intermezzo in D Flat Major... Gorgeous tune

New piece:
Chop Suey... Piano solo by Glenda Austin. Early elementary solo.

Flight of Freedom ... Piano solo by Glenda Austin. This was inspired by watching a 24/7 eagle cam online. My note: This is a lot like a Gillock piece in Lyric Preludes, so if you have students who like that one, they will like this.

There is also a series of pieces for the sanctuary, gospel, etc.

Glenda ended the session with a performance of VALSE BELLE, a new composition which she dedicated to me. This was a very moving moment for me to get to hear her perform this piece "live."

Got Questions? We've got answers!!!

Session to answer any questions at all...

I arrived late to this session after checking out of my room and dropping off bags, so please forgive the short post.

Presenters in this sessions are Ingrid Clarfield, Pete Jutras, Randall Faber, & Scott McBride Smith.

Pete Jutras:
We can learn a lot from video game makers. Most games have a goal right in front of you. There is an intermediate goal that is right there, then an advanced goal that may take weeks or months. It's important to give kids a short- term goal so that they feel a sense of accomplishment as a step to the larger goal.

Randy Faber:
The problem of only focusing on competitions is that the students are only focusing on polish on those pieces. They need easier pieces to keep building skills at the same time, so that sight reading, theory, etc, aren't neglected.

Ingrid:
The assignment in the assignment book should look by different for the pieces that are being polished. Week before a competition: Clear ideas on dynamics, tempi, opening and closing gestures. If its a back-burner piece, there are diff tempo goals (1/2 tempo, for example) and goals to think about balance in certain sections, etc. Ingrid stressed that it is important to have different goals for pieces depending on what the goal is for each piece.

Randy:
Someone asked a question about licensing and copyright of arraignments. Randy suggested that he contact the copyright holder or the company that owns the exclusive contract to the work, and you might get rights, but it's not easy. Congress passed a bill for recording. They legislated that the publisher has the right to say who does the first recording, but then afterward, everyone can record it after that with payment of mechanical royalty, but there is not a similar l for print music.

Studio management:
A teacher asked a question about working with continual transfer families (military families).
Scott : you do what you always do; "teach away." Give them your best work, just like you would with any other students. Also explore Skype teaching!

Method books: a method book doesn't move. A student moves. A book is just a book.
You don't have to do unit 3 on Tuesday because it's Tuesday. You do unit three when the student is ready.

Early level study ... Keep the music and repertoire moving. When we hit the post intermediate level, the students hit a phenomena of playing only 3 or 4 pieces at a time, and that's where we run into the problem.

Double-jointed students: Randy: teach these kids the same way you teach others. Many teachers make a mistake of having kids over curl the fingers and that collapses the bridge. Think of playing a finger and the process of moving into the curl so that there is a balance. That handles the issue of the flat finger.

Method book: do you recommend that students stay in one method?
Randy: a student has to see a lot of the same thing to take in the perception. When you move from method to method, you jeopardize the sequence. You're introducing a liability instead of an asset. In the 60s, pedagogy programs pushed teachers to use mixed methods to build reading, but now, teachers are better off NOT jumping around bc you won't get the value of what was intended within the methods.

Scott encourages his students to write their own methods. He said he finds that American methods go too slow and feels we need the ear involved and we go quicker.

A student with nails that are cut every day but the nails are still in the way. Have the student keep cutting it back. You can adjust the angle slightly.

Wrap up: what advice from the panel to young students and teachers?

Scott: Passion and love of music will carry you over every difficulty

Ingrid: So excited to see teachers taking notes. Continue to think of yourselves as students for the rest of your lives. There is not one day of my life where I teach a lesson and where I don't do something wrong.

Pete: never stop learning. Never lose sight of WHY you went into music. We get stuck in details of teaching and don't always let the magic show through. If the students aren't getting the magic, then we are missing out. The kids should see the passion.

Randy: be yourself. The way you interact with a child is very unique. You'll have special gifts and loves and those will convey in special ways. You can make a difference with every student.