Instrumental teachers and their students - a love story

As I prepare to leave the US in less than 5 days, I have had to say good bye to the students I have taught here. It has been much tougher on me than I somehow expected.

I have farewelled hundreds of students in my time, but it is different this time. My students in the past often still live in the area. They graduate or leave for high school, and I am just a part of their journey, a part that just moves through life along with everything else. I still see 'old' students at the shops, attending concerts of younger siblings, on Facebook (once they have graduated high school, of course) and in community ensembles (which is fantastic to see!)

I am leaving the US in this capacity. I don't doubt that I will be back, but it certainly won't be with the same intent. There is a good chance I will never see these students again. I was the one who started them on their musical journey, or was a helping hand when school band got too much, or provided support when they made the decision as an adult to once again learn the instrument they played in school. They aren't leaving or going anywhere, they haven't reached a transitional phase. It's me who is moving on from them, not the other way around, and I come to love my students so strongly that I feel as though I am abandoning them.

Instrumental music tuition is what I do and love, and it creates such a special bond with a student. I have taught in many different arenas and circumstances, and the bond you create with your instrumental teacher is not one you can replicate in any other area. It is not better or worse, it's just different.

I have taught classes of students - I have taught dance (both to dancers and beginner high school students), I have taught class music. I have even taught sport (if you know me, you will know that this is the most hilarious and ironic thing I could have taught. My high school Phys Ed teachers would die of laughter if they knew what my country posting consisted of). You can develop beautiful relationships in these classes - you can encourage teamwork, you observe progression, you watch friendships develop, you gain trust and respect.

What makes instrumental music instruction different?

• We work one-on-one with a student (or sometimes in small groups). We learn all about that one student, and apply what we know to the context of a lesson. The lesson and the progress is tailored to the student. If the student is having an off day, we can change direction that day and come back the next week refreshed. If there is a concept that is proving more challenging than usual, we can spend more time with it, or come back to it later. Most importantly, when you work one-on-one with a student, you learn the whole student, not just what they are working on.
• We work in an area that is passionate, creative and cognitive. Music fits into every learning area - it is artistic, linguistic, cultural and scientific. We help students across so many areas, and it isn't uncommon to see changes in other areas of life when music becomes involved. Music is a way of baring the soul. You are learning a new skill that only you have control of, and we love the fact that students can be comfortable enough with us that this can happen.
• We are a constant in an ever-changing world. In private instruction, we continue to give lessons whether the student is moving from primary to high school, having relationship breakdowns, changing jobs, welcoming a new sibling or moving house. Being a point of stability inspires us to keep our teaching relevant and reliable. It is also wonderful being able to observe the growth of a student through life's challenges as an outsider - as a person and as a musician.

One of the most wonderful parts of the job, for me, is watching a student become as passionate as I am about music. This can take so many forms. One that always stands out is seeing students graduate high school (or start an instrument as an adult), and then play next to you in a community band. Music hasn't necessarily become a career, as it won't for many instrumentalists. But it is a passion that will continue to be explored. At this point, I realise that I have fulfilled my job as a teacher - I have instilled passion in my students.

Oboe reed cases

A shameless plug for my wares...

I leave the US in 10 days...and I'd love to sell my current inventory of oboe reed cases before I leave!

I have:

Case for 6 reeds

4 cases for 20 reeds           $35
1 case for 14 reeds            $30
1 case for 6 reeds              $20

I can ship (standard shipping prices will apply) if needed. PayPal available!

Cases for 20 reeds

If you are in Australia, I will have other designs available (and may have some of these left) after June, or I can hold one of these designs for you.

Case for 14 reeds

Contact me here at the blog, on the WindWorks Facebook page (link to the right of this post), or at rachel.found@gmail.com.

If the shoe fits...How to choose the right wind instrument

Perhaps your child has shown an interest in learning an instrument, or a teacher has identified musical promise. Maybe you want to start learning as an adult because you didn't get the chance as a youngster. Quite often, if you haven't had much exposure to music (and even if you have!), it is easy to be attracted to the look and sound of an instrument, but it may turn out that actually playing the instrument is not a good fit. Here's a quick guide to instruments, their use and their ups-and-downs to help you decide which way to go.

Caveat: It is possible for one's 'musical' personality to be vastly different to their 'person' personality. Someone who is passionate about an instrument that may not look to be a good fit on paper is still likely to do well with the correct training and attitude. But if you are undecided, these are merely some associations that can be made with each instrument.

Flute

• It is hard to be a shy flute player if you like to hide! If you do like a bit of attention, there is also the option to play piccolo in bands and orchestras (i.e. you can be heard over the whole ensemble).
• Student flutes are relatively affordable, but professional flutes are significantly more expensive than other 'common' instruments such as clarinets and saxophones.
• One of the benefits of flute is that it does not use a reed, eliminating the ongoing cost and maintenance associated with reeds.
• One of its downfalls is that lots of people play flute, so competition and space is at a premium.

Oboe

• The oboe is a double reed instrument.
• It is a beautiful orchestral staple instrument. Like flute, it is hard to hide on the oboe. Oboists often get slow (and often famous) solos in orchestra.
• Not many students take up oboe, especially compared to flute and clarinet, and this means that for the student who likes opportunities, oboe can be a licence to print money.
• Which is just as well, because oboes can be expensive. So can reeds (which should come from a handmade/handfinished source, not a factory). Students who continue on oboe will learn how to make their own reeds, which is a great idea because they can take control of their playing more, and reeds are much cheaper in the long run.

Clarinet

• Clarinet is one of the 'common' instruments, often taught in primary schools along with flute and trumpet.
• Student clarinets are fairly affordable, and professional clarinets are often cheaper than student oboes. 
• The clarinet uses a single reed, which is an ongoing expense, but they come in boxes of 10, and if looked after, a box can last a young student up to a year.
• Clarinets are needed in large numbers in bands, so even though a lot of students play clarinet, they are still able to play in more groups.
• Clarinets have 'ring keys', which are holes surrounded by rings, and the student needs to have large enough fingers to cover these holes, and have hands big enough to reach to the lowest keys. It is best to seek the advice of a teacher if you are not sure about size vs instrument. The average 10 year old can cope with the clarinet, and there are smaller clarinets available for students as young as 5.
• I consider clarinet to be a bit of a 'herd' instrument - in schools, the students will play in large sections in the band and may participate in clarinet 'choirs', and is a great choice for the student who likes to be part of a team.

Saxophone

• Student models are not as cheap as flutes and clarinets, but are cheaper than oboes and bassoons. 
• Typically, the saxophone is started later than the above instruments because of the weight (the average 11-12 year old can cope with the weight of the saxophone). Students will generally start on alto saxophone, the second smallest in the family of four (standard use - there are many more!)
• Saxophone is a loud instrument, so be prepared for the practice sessions!
• It is an instrument that is easy to progress quickly on, and has a fairly simple fingering system.
• It also uses a single reed, so the same rules as clarinet apply.
• Saxophones are not used in the orchestra, so the choices of ensembles later in learning are limited to concert and jazz bands, but the saxophone is used in jazz and rock, if you would like to go that way. It is often used as a blending instrument, and despite it being loud, can be a good instrument for a less confident student, or one who likes to work in a team (there is a lot of saxophone ensemble music available).

Bassoon

• The roads ahead are paved with gold if you play the bassoon!
• Bassoons are expensive (I recommend renting one initially, or use a school instrument in the case of a high school student).
• They are a double reed instrument, like oboe, and reeds can be expensive, until you learn to make your own.
• Bassoon is relatively easy to make a nice sound on. The instrument itself has a LOT of keys, and students who are interested in 'how things work' tend to do quite well on it, though the fingering system itself is still logical.
• Not many people take up the bassoon. Bassoonists won't need to look for opportunities to play; instead, they have to turn offers down! Bassoon is the instrument for the student who likes to be different and relishes a variety of opportunities. The bassoon is a little heavy and it is usually best to wait until 11-12 years of age to start playing, depending on the size of the child.

My child is too young/small to start on their instrument of choice...what do we do?
There are a number of options if your child shows an interest in music or a particular instrument. Probably the most important step is to get them reading music and understanding things such as pitch and rhythm. For this, piano is a great starting point, because it is visual as well as aural. If your child is very keen to start on a wind instrument, the options are:

• Recorder. Fingering systems on wind instruments are very similar to recorder, and if taught properly, there are techniques which are transferrable.
• Fife. Students as young as 3-4 can start their flute lessons on a fife, which will give them a chance to learn how to produce a sound without the size and weight of a flute.
• Jupiter Prodigy flute.This model can be played by students from about 5 years old who don't have long enough fingers to stretch across the keys of a standard flute. The fingerings are the same, but a clever system of extension keys has reduced the distance between the keys.
• KinderKlari. This is a small clarinet with a reduced number of keys for students around 5-8 years old. It is pitched in Eb, unlike the standard clarinet, which is pitched in Bb, which is the reason it can be smaller. KinderKlari needs to be taught by a teacher who either has an Eb clarinet or is comfortable transposing on their own instrument - check with your local clarinet teachers.
• Guntram Wolf produces instruments such as the Mini-Bassoon and simple-system oboe. These are designed for young students, and if you have a child who is begging to pick up either of these instruments, this might be a way to start. Renowned oboe maker Howarth has released a Junior Oboe, which has a reduced number of keys and is much lighter.

If you still have questions, it is best to find a good wind teacher in your area, chat to them about you/your child and get to know the instruments up close. YouTube is a great source for being able to hear and see the instruments as well.

Have fun choosing your instrument!

Apps for Musicians - Part Two

Welcome to Part Two of the Apps for Musicians posts! Part One focused more on apps that replaced devices that you may have once carried separately, so consider the following as bonus resources, rather than device replacements.

Fingering charts
Fingering (Patrick Q. Kelly - AppStore) - $7.99
If you take band or orchestra, have to deal with teaching other instruments or simply have an interest in learning other instruments (guilty as charged), this is a brilliant app. While not 100% accurate, it offers fingerings for woodwind and brass instruments, including alternatives and trills. If you have time and access to a computer, I highly recommend  http://www.wfg.woodwind.org/, but in lessons/rehearsals/on the run, this is ideal. It is sometimes awkward to make the note slide to the chromatic pitches (it's a sensitive sideways motion), but you get better at it the more you use the app. I believe the app is also available in reduced form for a lower price, by separating out the woodwind and brass fingerings into different apps if you only need one or the other, and he also has a string fingering app.


                                                 
Woodwind Fingering Chart (Adam Foster - Google Play Store) - FREE
This is not nearly as pretty as the AppStore app, and still appears to be in the developmental stages, but if it's free, it's hard to complain. It only includes flute and clarinet fingerings at this stage. It is not explicitly clear where each of the keys are unless you are familiar with the instrument in question (and the app got poor reviews from beginner instrumentalists for this reason).
There are also numerous free apps in the Google Play Store from Joseph Pavlick, and in the AppStore by Obie Leff. They are available on a per instrument basis, and look fairly clearly formatted. I haven't tried them for accuracy myself, but feel free to check them out!                                        



Music terms
Music Dictionary (Tomsoft - AppStore) - $4.99
I am yet to find a music term that has been discovered in a piece of music that hasn't been listed here. Easy to use scrolling interface. There are a couple of music dictionary apps for Android, but this one is so good I haven't worried about trying them yet. When I do, I'll let you know!


IMSLP/Petrucci Music Library
iClassical Scores (AppStore) - $1.99
IMSLPDroid (Google Play Store) - FREE
IMSLP is one of the most amazing resources for classical musicians on the interwebs at the moment. It is an insanely huge database of public domain music which has been scanned and uploaded to the website. You can search for works and download the PDF to the app for future reference. This app is best suited to a tablet due to the need to read music from it, but if you interested in searching on the run, it is still a valuable resource. I have used the Android version of this app, but my best guess is that the Apple version works in much the same way. You may find it useful to get yourself acquainted with the website itself, if you haven't already, before using the app, but it isn't necessary. You will need data access (3G/4G or WiFi) for this app.

Listening
Spotify (Spotify Ltd - AppStore and Google Play Store) - FREE+
Spotify is an amazing resource for recordings of all genres. The app itself is free, but unless you have access to a computer, you will need to sign up for a membership (monthly fee). The reason for this is that Spotify does not offer selective streaming to mobile devices, so unless you create playlists from your computer and listen to those on your mobile device (which you can do with a free membership) you will need to subscribe. Spotify is basically a database of albums, and there is a ton of classical music on there, usually several (or hundreds, if we are talking Beethoven symphonies) recordings of a single work. You can create playlists, which you can download to a mobile device for offline listening, and you can share with friends and through Facebook. If you are at the stage of analysing the nuances between different interpretations of a work, this is one way to access them without having to pay for them individually. You will need data access (3G/4G or WiFi) for this app.

Cloud storage
Google Drive (Google - AppStore and Google Play Store) - FREE
If you are already a cloud storage user, insert your preferred provider above. If not, and you already have a Google account (which you need to set up an Android device), Google Drive is easy to use and accessible from a range of sources. The app is available for both Apple and Android users. You will need data access (3G/4G or WiFi) for this app.

'Er, what does this have to do with music?' you may ask. Directly, nothing. But I use my Drive for many music and teaching related purposes. If you don't know what cloud storage is, the short answer is that it is data storage available to you that lives in cyberspace instead of taking up physical memory on your computer. Google Drive is also a word processor and spreadsheet creator, which was actually its function before it expanded to become general storage. Cool, huh?

I use my Drive to:
*Store worksheets for students (in PDF format)
*Store scanned sheet music so I don't have to carry books
*Store mp3s so they don't take up physical room on my device
*Share the above with students and teachers
*Keep teaching records (for students, Drive is great for keeping practice records)
*Keep lists of repertoire
*Maintain collaborative documents with teachers and students
*Back up resources I keep on my computer (such as student records, PDFs and Sibelius files)

Google gives you 5GB of storage for nothing, and you can upgrade for a fee if you need more.

There are many more examples of all of these apps, but these are the ones I have used successfully in my teaching and my own practice. If you know of others that are as valuable as these or you'd like to see apps from a category I may have missed, let me know, and there may be a sequel!

Apps for Musicians - Part One

Being a musician became a little easier with the rise of mobile devices. It is no longer necessary to carry separate devices (metronome, tuner, tuning fork/pitch pipe, notation, etc) in addition to your instrument. I have both an Apple device (iPhone) and an Android device (Galaxy Tab) so I have experienced a little from both sides of the fence. And a lot of them are free!

Metronome
Metronome (marketwall.com - AppStore) - FREE
This is really basic metronome. It can only go in 2/4, 3/4 or 4/4 time. But I love it because for young students, it is really simple to use, and they rarely need anything but the above time signatures. The interface looks like a mechanical metronome, so there is a visual as well as an audible cue. The tempo is changed by sliding the weight up and down the needle, as you would on a manual metronome. The sound is a decent volume on my iPhone at top volume. If you need it louder (and this applies to any metronome app) try using headphones. It is not uncommon for this to be the case with a dedicated digital metronome anyway!

A similar app is available on Google Play (FREE), which is the Classic Metronome Free (Saicheems).

Mobile Metronome (Gabriel Simoes - Google Play Store) - FREE+
I haven't used this one a lot, but it looks like it has promise. The interface is more complicated than the iPhone one above, and is more of a digital input. You can change most elements, such as the sound, tempo and number of beats per bar, plus there is the handy ability to tap a tempo in. It is my understanding that the paid version of this app, Mobile Metronome Pro ($1.50), has the ability to subdivide complex meters. You can also save presets within it, and the number of beats per bar is available from 2-20. This is best reserved for those who need it and have well outgrown apps such as the iPhone app above.

Similar apps on Google Play which might be worth investigating are Metronome
                                     Beats and Slick Metronome, both free.

Tuner
Cleartune (Bitcount ltd - AppStore and Google Play Store) - $3.99
I see this app getting used on music stands everywhere. It is easy to use with students. $3.99 is nothing when you think of what you would pay for a tuner in store! One of the handy-dandy things about this app is that it is available on both Apple and Android. The interface looks much like a digital needle-style tuner. There is an option to lock to a specific pitch or to allow the tuner to find your pitch (great for practicing passages of changing notes). You can change between equal temperament and any number of mean/string/random temperaments. The needle remains yellow until you hit the pitch, and it then turns green. It also displays the exact hertz you are playing at.


Tuner - DaTuner (Lite!) (Applaud Apps - Google Play Store) - FREE
I have used this app a few times (I was too cheap to spend $3.99 from both the AppStore AND Google Play). I am not sure I like it, personally, but if you want a free app on your Android, it comes highly rated. It is extremely sensitive, which means there is distracting motion within the app constantly. (Right now, it is picking up both the bird calls outside the window and the taps on the keyboard). It displays the note and octave in the centre of the screen, the hertz down the left hand side and the tendency across the bottom. It all turns green when it is in tune, and is orange the rest of the time.


Apps that play pitches
I will just say now that I am not a vocal/choral director and have no real need for a pitch pipe or tuning fork, but these apps will more than suffice for the same job, even if they are strictly piano interfaces.

Virtuoso Piano (Peter Nagy Music - AppStore) - FREE+
Since I first downloaded this app (about 4 years ago) it has come a long way. The interface is a simple
keyboard, and it has a range from C0 to C6. Once upon a time, you could only see one octave from C to C at a time, but now you can see octaves between any note, depending on where you scroll to. It only has a piano sound, which may be limiting to some. There is a Pro version ($0.99) but I have not looked into it, seeing as I have no real need for it! It appears that the keyboard size is adjustable and there are some features for iPad. There also appears to be a recording and metronome app built in.


Piano Perfect (Revontulet Studio - Google Play Store) - FREE
I have only experienced this one on a tablet, so it may work differently on an Android phone. The biggest differences between this one and the AppStore one are the ability to change sounds, the option to display two keyboards at the same time and a record function. It has ad banners across the top which you can remove for $0.99.


Stay tuned for Part Two, which will feature fingering charts and music databases!

Practice makes perfect!*

*Actually...it doesn't. Practice makes permanent. Practice creates habits. If you practice badly, you create bad habits. Therefore, if you practice well, you create good habits.

Easy, right?

Well, not if you don't have good practice routines already in place. Here are some practice tips:

• What are you practicing for? Knowing what your goal is will alter the way you practice.

I was practicing at the music school I teach at last week, and the vocal teacher asked if there was something I was practicing for. I told her I was doing 'maintenance practice' and re-familiarising myself with old repertoire. My current goal is to not lose chops and dexterity, and to make sure I am completely comfortable with repertoire that I may do with my upper high school students. Therefore, I was playing through (without working on) Koehler book 2 and Flute Music by French Composers. Both of these books I started in high school and used in my first couple of years of my bachelor, so they are old hat now. But by just playing through them, I am re-acquainting myself in order to be able to teach them. If I was doing a recital, however, my approach would be much more structured - identifying key areas of weakness and hitting them at a variety of angles until they became less fumbly under the fingers.

• Structure and routine - create your own!

I endorse the 'restaurant' approach with my younger students, and there is no reason why this can't be used throughout your practice life. The 'entree/appetiser' prepares you for your practice. It should consist of things that warm up your fingers, your lips and lungs (if you are a wind player), your coordination (between hands/arms/feet) and your brain. This is typically where scales come into play. The 'main course' is your core repertoire or your assigned work for the week. Then, the 'dessert' course - a way to finish up your practice session with something you really enjoy. Within a lesson, I like to use this time to play duets or a play-along CD. There are many variations on this theme, but like an athlete, it is always best to warm up first!

• Develop a warm-up

I am one of those weird people who like scales. When I did my Bachelor degree, my daily practice was three hours long - the first hour consisted solely of scales and whatever the assigned study was for that week. The other two hours was repertoire and excerpts, and the proportion depended on what was required at the time. I always had a set formula of how I did my scales. But that's just me!

The key to developing your warm-up is to identify what your instrument's weaknesses are, what your weaknesses are, and what your current repertoire requires of you. Flute players will always be required in their repertoire to be able to rip off ridiculously fast scales in any key, and especially chromatics. Oboists always have long and beautiful solos - sustained long note and breathing practice will help here! Brass players need lip slurs and extreme register practice.

• Don't keep bashing your head against a brick wall

My husband describes students who keep playing the same thing wrong over and over again without altering the way they practice it as follows:

*bashes head against wall* "Hmm, that hurt...I think I'll do it again!" *bashes head against wall* "Hmm, that hurt...I think I'll do it again!" *bashes head against wall*

Seeing a pattern here?

The funny thing is, most of us are guilty of this at some point. Do you always miss the Bb in that run? Why are you still missing it? Probably because you've played it wrong so many times, it is now a habit! (See paragraph 1). I refer to it as 'getting over the hump' - once you have got it right once, you are more likely to get it right again. Isolate the bit that is going wrong - even down to three notes. Add another note either side. Keep doing this until the whole phrase is back together.

This also applies to speed. If I had a dollar for every time a student said to me, "I've been practicing it fast. I can't play it slow," I would never need to work again. Metronomes are your best friend - and there are fantastic apps, even free ones, available on most mobile devices now. Play the passage slowly - slower than you think you need to to get it right. Bump it up 5-10bpm depending on the difficulty and initial speed. Get it perfect at that speed. Bump it up the same amount again. Get it perfect at that speed. It is tedious, but when you can play it perfectly fast and slow, it is totally worth it in the end.

• Practice doesn't just have to be about playing

John Dee, my wonderful oboe professor at UIUC tells the story of a clarinet player he studied with. He would rarely hear him play when he was in the practice room, yet he won every audition he took. He asked him what the deal was. The clarinetist would record all of his audition material, and spend the majority of his allocated practice time analysing his playing, down to minute details, then target just those places. Self analysis and reflection are valuable learning tools. Recording and listening to yourself is hard, but it is the best way to be honest with yourself. When you are playing, your ear sometimes hears what you want to sound like, not what you actually do sound like! Sometimes it is a pleasant surprise.

Also, spend time listening to others. Don't get stuck on one recording of anything - it is possible that you may get attached to a way of playing a piece which is not de rigeur. Or unachievable! Humans are wonderful at mimicry, especially as children. This is why I always play for and with my students - if you can hear how something is supposed to sound, it makes it much easier to find ways to achieve it.

• Once you have a routine, break it

Rules were made to be broken. So were routines, in my book. A change is as good as a holiday. It is easy to get stuck in a rut, and then it is a little too much like the 'bashing head against brick wall' analogy. Watch a YouTube concert instead of practicing one day. Play along with an entire CD of jazz and blues. Find a friend and play duets. Write your own piece and practice that. Just don't forget to start the real work again!

In short, practice is an art in itself. It doesn't just have to be about scales or stuff that just isn't fun. Music is fun, and social, and intellectual. Find the methods and routines that suit your needs and help you progress the way you want, and keep them!