October 2018
SOUNDTEACHING NEWSLETTER FOR LESSON TEACHERS @ MUSIC & ARTS
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Shaping a Listening Ear
Balancing Private Lesson Studies with School Repertoire
3 Keys to Rely on as a Private Lesson Instructor
Inside the Lesson Studio
Shaping a Listening Ear BY C AT H E R I N E A L L E N , D M A , P I A N O / V O I C E I N S T R U C T O R I N T U C S O N , A Z
that they, too, seek to shape sound with
For singers, the art of listening is
sensitivity and artistry.
somewhat elusive. A singer is both artist and instrument. She cannot
Of the three learning modalities (visual,
play her instrument by touch, for it is
auditory, and kinesthetic), the auditory
largely within her. She cannot hear her
is the most essential to a musician. After
instrument as others hear it, because she
all, expressing the human experience
is within it. Breath flow and the shaping
through sound is the artistic goal.
of resonators take the place of touch. A
Ideally, all three modalities work in
singer listens to herself by interpreting
tandem toward that goal, with the ear
indirect sound and subtle sensations.
leading the way. Nature is a wonderful resource for
“Ear it!” my voice professor at The Boston Conservatory would exclaim
The auditory is not always the preferred
sensitizing the ear, with its complex
when a student was out of tune or
learning style, even for professional
palette of sounds (the delicate
otherwise committed a “sound”
musicians. Because of the musical
pointillism of falling snow, the mournful
transgression. With a turn of the head,
literacy required to interpret a score,
wail of a loon), and the way in which,
he would simultaneously bring his ear
the visual may take precedence. The
like music, it connects on a primal level
forward to illustrate. Through words
technical requirements of learning to
with the human spirit. While teaching
and gesture, he painted a vivid picture
play an instrument can also detract from
music at a school near the Jersey shore,
of an invisible art—the art of listening.
listening. Beginning and intermediate
I accompanied students (many of whom
Asking students to listen directs their
players are especially prone to these
studied with me privately) on field trips
attention to the qualities of their sound.
imbalances. The ears “tune out.” One
to the ocean to lead them in sound
At the same time, there is something
hears, but does not listen. Sound
activities. One of their favorites was
about pinpointing the ear as the locus
becomes a by-product of playing rather
to close their eyes, listen for the next
of hearing that awakens, expands and
than its ultimate aim. The foundation for
breaking wave and immediately point in
refines its musical sensibilities.
focused listening should begin early.
the direction of the crash. This lesson in focused listening was great fun for them,
Sound has the power to reach through
How, then, do we shape the ear of the
and demonstrated building to a musical
the listener’s ear to their heart. The
student? This depends to a large extent
climax.
invisible nature of sound may even
on the educator’s teaching philosophy
enhance its access to the unseen realm
as well as the student’s gifts and
Since living in Arizona, I have arranged
of the human soul. As musicians, we
learning style. Just as studying a piece
outings for my students with a local
are shapers of sound. We participate
of music is a cyclical process, from
organization. Activities vary from
with the composer in creating a musical
engaging with the material, to gaining
identifying animals from a recording
landscape that communicates with the
knowledge, to applying knowledge,
prior to a desert hike, to silently
listener. As music teachers, we are also
etc., learning to listen effectively is
watching and listening to nature—the
shapers of sound, for a major aspect
also cyclical. Creating experiences and
whir of an insect in flight, tall grasses
of our role is to shape the ears of our
offering feedback are ways in which
rustling in a gentle wind, etc. Each
students as well as their “hands”—to
teachers can support students during
student has a notebook in which to
cultivate the love and art of listening so
this process.
record their impressions. This living
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soundscape of micro-textures enriches
the trajectory of a six-year-old boy
primarily visual, however, ear training
the children’s aural sensibilities
who began studying with me at the
may be marginalized. One option is
and expands their understanding of
age of four. He loves to create music
to attach ear training to the concepts
instrumentation and timbre. Inspired by
at the piano, so that is how we begin
learned in the theory books of a given
natural sounds and settings, students
each lesson. Without my guidance,
method series. It can also be taught
compose thoughtful and creative works
these compositions have grown from
as a separate, sequential curriculum,
on their instruments.
short improvisations to wide-ranging
allowing the ear to develop more fully
explorations featuring complex textures
and at its own pace. The art of listening
Hearing is often defined as the ability
and colors, creative use of thematic
applies to many different facets of
to perceive sounds, and listening as the
material, expressive dynamics and
music—dynamics, articulation, style,
purposeful process of deriving meaning
an organic sense of flow—all ear-
color, balance (between the hands of a
from sound. Each is invaluable, and
driven. I mentioned to his mother that
pianist, for example, or when playing
the two share a symbiotic co-existence.
his improvisations were jazz-like in
in an ensemble), harmony, melody,
The subconscious gains information by
their evolution, and she replied that
expression, structure, acoustics,
hearing, making connections through
she often plays recordings of jazz
intonation, etc. Shaping the ears of
its developing vocabulary of sounds.
and classical music. Just as children
students deepens their musicality and
The conscious mind draws on this
develop linguistically by hearing spoken
sets the aural imagination free.
repository to create meaning, further
language in the home, hearing music
contextualizing sound and informing
in his home, coupled with his own
I recently watched the video of a mother
the subconscious, and on it goes.
creativity, has given my young student a
holding her infant son who, having been
sophisticated vocabulary of sounds and
born deaf, had just received implants
musical concepts from which to draw.
that would enable him to hear. The video
Parents and educators have great influence on the cultivation of the ear
captured his first sound experience—
of students. Parents influence them
While improvisation allows for
his mother’s voice. Overcome with
by providing music lessons, creating
immediacy in playing and creating,
emotion, his face curled and tears began
a supportive musical culture at home,
the language of music has its own
to flow as he gazed up at her. He clearly
and taking them to live, quality
grammar and syntax, which take time
grasped that it was her voice he was
performances. Educators influence
and effort to learn. Just as mastering
hearing for the first time. In a narrow
them by shaping the curriculum of the
a language involves speaking and
sense, perhaps this scene serves as a
student. For example, although I do
understanding the spoken word as
metaphor for our role as educators—to
not teach the Suzuki method per se, I
well as reading and writing, so too
connect with our students, seek ways to
have my students learn Suzuki pieces
should a music student learn fluency
open their ears to the world of sound,
sequentially by ear.
in hearing and reproducing the sounds
and create experiences that engage their
associated with the written music. The
imaginations and reveal the expressive
One example of the synergistic
education of the ear is a priority when
power of music.
dynamic that can exist between music
using the Suzuki method or learning
at home and music in the studio is
to play jazz. In methods that are
C A T H E R I N E A L L E N , D M A , is a piano and voice instructor at Music & Arts in Tucson, AZ. She received her Doctor of Musical Arts in Vocal Performance from the University of Arizona, her Masters from the New England Conservatory, and her Bachelor’s in French from Wellesley College. Her formal studies in voice and voice therapy began with noted singing teacher and voice therapist David Blair McClosky at The Boston Conservatory of Music, where she received a certificate in Voice Therapy. Upon completion of her doctorate, Catherine traveled to Paris on the Mary Elvira Stevens Travel Grant to study with a coach at the Paris Opera. While in Paris she also performed, taught voice and piano privately and at the American School of Paris, and gave seminars in speech and presentation. Catherine received first prize in the European Council of Toastmasters competition for speech evaluation.
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Balancing Private Lesson Studies with School Repertoire B Y PAT R I C I A S WA R T L E Y, C L A R I N E T I N S T R U C T O R I N W E B S T E R , T X
These students were choses based
Our job as teachers is to address issues
on ability, hard work and dedication.
that hinder progress, yet sometimes
They already had a good start on the
there are problems that cannot be
clarinet and all I had time to cover
corrected and we must make the best of
was preparation of their band music.
it. If a student can make the change and
I despaired at not being able to teach
then see the difference in their playing,
classic clarinet repertoire. Furthermore,
it makes a big impact. However, some
students who needed the most help were
students will not be able to make the
not placed on my schedule.
change. I used to be hard on myself if I could not correct a problem; experience
Private teachers at Music & Arts who
has taught me patience and acceptance.
have band students can probably relate Playing the clarinet, and later teaching
this type of teaching situation. At Music
The rewards of teaching is to hear the
it, has been an important part of my life
& Arts, I can spend time with a student
stories of your students who are making
since I was 13 years old. Despite taking
on their band music while also adding
progress in their school band, move
time off because of moves or giving
“real” instructional music. Additionally,
to first chair, or get a “most improved
birth, I always came back to playing and
I am able to spend time on teaching
player” award at their school. These
teaching the clarinet.
the student good playing habits and
moments make it worth the struggle. I
techniques.
have a teacher friend who just retired
Many of my teaching years were in
because she no longer enjoys teaching; I
public and private school systems
In the studio, a student who started
and am now teaching privately. This
poorly on the clarinet takes a delicate
experience helps me understand how
touch. It is the hardest part of teaching.
to help the private student who is also
The balance is to change the bad habit
playing under their band director.
and increase their successes without
am not there yet!
nagging. Keeping a relaxed, matter of As an in-school teacher, I was often
fact and positive attitude works best.
frustrated with band directors who set
Use phrases like, “let’s try it this way to
the tone and direction of my teaching.
reach the lowest note” instead of “If you
Lessons were taught in school buildings
keep holding the clarinet like that, you’ll
and I was often given a list of students
never be able to play the lowest notes!”
who would take lessons from me.
P A T R I C I A S W A R T L E Y has taught at Music & Arts since 2012. A graduate of Florida State University with a Bachelor degree in Music Education and a former Middle School band director; Pat settled on a career path of teaching clarinet privately for most of her adult life. However, in 2014 she accepted an invitation to conduct a homeschool band program for the Bay Area Performing Arts Co-op in the Houston, Texas area and has referred many of her band students to Music & Arts private teachers.
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M&A Now Sells Yamaha Clavinova Digital Pianos Music & Arts now offers the Yamaha Clavinova line of digital pianos! Yamaha Clavinova digital pianos feature everything we love about a grand piano in a digital piano perfect for the home. Yamaha’s unique “Damper Response Pedal” and “Virtual Resonance Modeling” reproduce the resonance characteristics and tonal quality of an acoustic piano. The keyboard escapement and counterweights provide the feel and playability of a grand piano. Lesson students could receive a maximum discount of 10% off. For Lesson teacher pricing, please speak with a store employee.
CLP625 Console Digital Piano with Bench (Rosewood) •
Item # 1333831
•
$1999.99 MAP
CLP635 Console Digital Piano with Bench (Rosewood) •
Item # 1333870
•
$2699.99 MAP
CLP645 Console Digital Piano with Bench (Matte Black) •
Item # 1333821
•
$3499.99 MAP
Clavinova pianos are currently sold online and in select stores (Hagerstown, MD, Charlottesville, VA, Cary, NC, and Durham, NC). We will be looking for new Clavinova retail locations as we expand in 2019. October 2018 | S O U N D T E A C H I N G | 5
3 Keys to Rely on as a Private Lesson Instructor BY TOM YOUNG, TRUMPET INSTRUCTOR IN REYNOLDSBURG, OH
support my students when they perform
the process to achieve this goal, with
with their school bands and at solo &
heavy emphasis on correct playing
ensemble contests. By doing this, I get
fundamentals. I promote taking the
to know the students and their families
student at their current level, with a non-
at a personal level.
judgmental attitude, stressing weekly improvement. Flexibility is important
Parent Involvement: I always take a
and if a student needs help with music
moment after the lesson to talk to the
from their school band, we may deviate
parents, keeping them informed as
from the current plan to help the student
to what we have worked on. This is
master this music.
Many musical and personal experiences,
especially crucial for beginners trying
through the years, shaped my role as
to establish good habits. I explain the
I ask myself before every lesson what I
a private lesson instructor. As a public
concepts to parents, and enlist their help
can do to help the student improve as a
high school band director for 35 years,
at home. I ask them to watch for things
musician and as a leader for their school
I was always very appreciative of the
like correct breathing, not puffing out
band. I feel it is necessary to accept the
private lesson teachers, who taught my
cheeks, etc. With the parents engaged,
differences in our students, and plan
students, giving them skills that helped
I see much more support at home and
for their musical growth. We all have
them in their school bands. Three keys
faster improvement from the students.
instances where a student’s progress
I rely on as a lesson instructor are a
As a band director, I felt badly when
may slip, but it is important to remain
caring attitude, parent involvement and
I had students with little parental
calm, keep focused, and work hard to
setting goals.
involvement. There were students who,
get back on track. My ultimate goal at
the only time I saw their parents was at
the end of the day is to foster a love for
Caring Attitude: “Students do not care
a football game where the students were
music and encourage students to stay
how much you know, until they know
honored as seniors. With private lesson
involved for a lifetime.
how much you care”. This quote comes
students, we have parents who are more
from Dr. Tim Lautzenheiser whom I had
invested with their kids, and I foster this
the opportunity to work with throughout
situation to the best of my abilities.
my career. This concept was my guiding principle as a band director, and now as
Setting Goals: All my new students
a private lesson instructor.
fill out a form discussing their musical experiences and goals. I customize
No matter how my day is going, I try to
instruction based on a blend of their
be upbeat when greeting each student
goals, playing fundamentals, and
and throughout their lesson. I believe
what they will need to be a well-
it is important to show a genuine
rounded musician. For instance, if a
interest in the students. Our topics of
student states that he wants to play
conversation will range from music,
the “screamer” trumpet parts in his
hobbies, sports, or school. I also like to
school marching band, we discuss
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T O M Y O U N G teaches trumpet at the Reynoldsburg, Ohio store. He has a BME from Bowling Green State University and a MM from VanderCook College of Music. He retired after 35 years of teaching in Ohio. In addition to teaching lessons, he performs in several big bands in Central and Eastern Ohio. He also judges marching band, solo & ensemble, and concert bands for the Ohio Music Education Association, and travels the US with high school music groups as a tour director for Music Travel Consultants.
Inside the Lesson Studio BY H A N N A H B E S T, M & A H U M A N R E S O U R C E S M A N A G E R - L E S S O N T E A C H E R S
Q: “I noticed that Music & Arts is
creating a profile so my bio will be
A: “Each time a customer leaves a
opening many new locations. What is
on the store’s website. I’ve never
review about any location (regarding
the best place to see the locations as
noticed anyone doing this before. Are
lessons or anything else), the District
they’re being added?”
we required to have our bio on the
Manager and Customer Service receives
website?”
an email. This means we’re able to see
A: “The best place to keep track of the
any feedback immediately. We then
added stores is on our website at www.
A: “We’re in the middle of auditing
follow up with the customer and ensure
musicarts.com. We often have press
the bios on our website so that we can
that their comments are reviewed for
releases for new locations that can be
ensure each teacher is represented
performance. For lesson reviews, the
found with a Google search too.”
online for the Lesson Studio at Music
lessons team also receives an email so
& Arts. Less than half of our teachers
we’re aware of the customer feedback by
Q: “How does Music & Arts let students
have a bio and that means that less than
location.
know about holidays that the store is
half of our teachers can be selected by
closed?”
excited students for lessons. The goal
The most positive reviews we’ve
here is to show all of the teacher options
received about lessons have been
A: “We put this information in a few
available to students. In other words,
teacher specific. Students write how
places so that we can ensure that
create more visibility. This will also help
much they love their lesson or their
students know what dates the store is
you to obtain more students on your
teacher.
closed.
schedule. The negative reviews we’ve received
The first place we notify the student
You’re not required to have a bio on our
about lessons typically happen if a
is on the customer’s receipt when the
website, but it’s highly encouraged to
teacher is late to their lesson. It’s the
student registers for lessons. Then, we
help students see that you’re a teacher at
number one item that is consistent from
put this information on a magnet inside
Music & Arts.”
customers about lessons when they’re
the New Student Welcome Kit, the
negative.
folder students are given at their first
Q: “When students leave reviews about
lesson.”
the stores on the internet, how is that
Overall, we’re committed to taking
feedback managed?”
student feedback seriously and
Q: “I recently received an email from
address every review both positive and
someone in your home office about
negative.”
Roland iPad Mini Offer Roland is offering a free (refurbished) iPad Mini with a purchase of either a Roland RP-102 or RP-501R digital piano! If you or one of your students is interested in this offer, please talk with a store associate. This offer ends on December 31, 2018.
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