It's June—Musical Report Cards and a Fond Farewell Darlene Irwin

Musical Report Cards

The musical year is almost over.....time to look back and see what has been accomplished. My students really look forward to receiving their Musical Report Cards. This has been a tradition in my studio for many years.

A musical report card is a great way to give students a summary of what they have accomplished over the past year. It's also good for the parents to see the progress that their child has made.

Here are some ideas for using Musical Report Cards in your studio:

• Try to make the report card as positive as possible. Encourage, encourage, encourage!! Every student can usually receive an excellent grade in at least one area i.e. attendance, cooperation etc.
• I find it best to grade as excellent, above average etc. rather than give actual marks or A's, B's etc.
• I have a place on the report card to check if the student is what I call a "Perfect Practicer". (I will talk more about this program in a future blog post).
• I always write a few comments at the bottom of the report card. I usually include one or two areas that the student could improve on next year.
• I list all recitals, exams, master classes, auditions etc that the student has been part of throughout the year. That way, the report card becomes a summary of their musical accomplishments for the entire year. Parents especially appreciate this.
• The report card also gives the teacher an opportunity to summarize and review the entire year with the student at their last lesson. You could review their goals for the past year to see if they have met them. It's also a great time to start planning goals for next year.
  

I have included the original file for the Musical Report Card. You can use my design or personalize it for your own studio. You can easily add your studio logo or header at the top of the report card.

 A Fond Farewell

June is also the time when we say goodbye to some of our students. I would like to recognize the accomplishments of two of my students. 

The first student has been with me since 2007. She was a transfer student at the Grade 5 level. She completed her RCM Grade 9 piano with me last year with First Class Honours. This year, she has also completed her Basic, Intermediate and Advanced Harmony and her Basic History with Joe Ringhofer (Phoenix Conservatory). I'm very pleased that she has been accepted into the music program as a piano major at a well-known University in Ontario. I wish her all the best in her future.

Here is a video of her performing a beautiful piece entitled Monarchs from the Isla Vista Suite by Canadian Composer Martha Duncan. A big thanks to Martha for permission to post this performance. This piece is on the Grade 9 RCM list.

The other student that I would like to recognize started with me as a beginner when he was 10 years old. He also completed his Grade 9 piano last year (First Class Honours with Distinction). He is pursuing a career in Music Ministry and has been accepted into the music program at a well-known Bible College in the US. 

I have included a video of him performing his amazing recital song—Prelude in c#- by Rachmaninoff.

Both of these students are amazing musicians and I will miss them.

Here is the latter student performing the closing number from my June recital with his brother. It was an entertaining and very funny performance of CS Theme and Variations by Randall Compton. (Published by Heritage Music Press).

♥︎ Remember - Great Music Comes From the Heart ♥︎

Organizing "The Perfect Recital" Darlene Irwin

It's May and many music teachers are busy planning for their year-end recital. It can be a very busy and stressful time of the year. Along with the recital planning, there are also student exams plus preparing for next fall. I would like to share some of the effective ideas that I have used for planning, organizing and preparing for "The Perfect Recital".

• Start planning early. Finding the best piece for each student takes time. They need time to prepare and hopefully, memorize their song. It's better to have the song up early and put it on a shelf for a few weeks then to be rushing at the last minute.
• Once a piece is picked, don't let anyone else play that song. Students love having their own 'special' song. Sometimes they even pick their song for the Christmas recital before the summer break!!
• Take care to choose pieces that showcase the student's strengths. Also keep in mind the level of difficulty. Try to encourage them to choose something that is a challenge but that they can reasonably perfect for the recital. It's so important that they feel good about their performance.
• Timing is essential for a successful recital. The perfect length for a 'father friendly' recital is about 60-75 minutes. As a rule of thumb, each performance should not exceed five minutes. Of course, this also depends upon how many students are performing. Longer songs can be performed in a master class setting. If students are doing a piece that can be modified (i.e. a popular piece), then help them come up with an arrangement of the piece that is not too long, but will still showcases their playing. This is also a valuable skill for them to work on!
• Make sure that the students are well prepared. That way, the program will flow well. I don't require that they play from memory unless they are preparing for an exam or audition. However they will play better and with more confidence if their song is memorized. We work at memorizing the pieces in small sections, preferably hands separately! Then they can chose to use the music or not, depending on their comfort level. Some take the book up with them and never look at it! This helps to take the stress out of performing.
• Try to have a variety of fast and slow songs. Make sure that there are not too many slow songs in a row. It's also good to have a mixture of musical styles including classical and popular pieces.
• Spice up the program with a few special numbers. These pieces should be spaced evenly throughout the program. It's a good idea to list the performers and the piece on the program, but I like to surprise the audience by not giving the details of the performance. There is no need to have them announce their pieces at the recital if there is a program. This also saves time. Make sure each student has a copy of the program.
• Pool your resources by involving musical parents or siblings. Maybe some of your students sing or play other instruments. A small choir or vocal ensemble is a fun addition. Try adding duets and trios. The special numbers for my upcoming June recital include two trios, two regular duets (one with a CD backtrack), one piano/harp duet and one piano/organ duet. We also have a student playing a harp solo and a parent playing accordion.
• It's important to keep parents in the loop when it comes to recital planning. I send reminders via e-mail at regular intervals. I also send an information sheet to each family about a week before the recital. This includes important information such as the student's seat number, the piece they are playing, any special numbers they are involved in and what snack the parent is bringing. There is also a map to the recital venue, what time they should arrive, what time the recital starts and any special instructions on dress code.
• My students always look forward to the social time after the recital. At Christmas, I make a special piano cake for the students (see picture at the end of the blog) and the parents help by bringing refreshments. We always take a class picture for the recital history book! The social time gives me an opportunity to visit with the families and friends of the students. (Note...my recital history book contains all the programs and class pictures from previous recitals. It's on display at every recital. Students love to look back and see the progress they have made. They also love to see how they have changed!)
• I find it works well to have the students sitting at the front of the hall. It helps to have numbers on the student's seats. That way, the students know where to sit and what order they play in. This facilitates the flow of the program. I used a free musical font called Onpu to print the numbers seen below. I'll include a link to this font. I downloaded the font and printed the numbers directly onto coloured card stock. Then I had the cards lamented. You can set custom margins to print onto 3x4" cards.
  
  

I've included a link for my Blueprint for a Perfect Recital planning sheet. I follow this blueprint every time I'm working on a recital. I've uploaded the Word version of my file so you can modify it for your particular circumstances.

I've also included a link for my Recital Planning Charts. This Excel file has 4 different charts (see the buttons across the bottom of the Excel screen). I've left some of my information on the files from my upcoming recital to show how I use the four different charts. This can be easily erased. Here are the charts that I use to organize my recital:

1. Initial Planning Chart: This chart is used for picking the pieces and planning the program. All the students are listed in the order that I teach them in the week. They are only allowed to play one regular piece each. I update the information on the computer and print a new sheet every week. I can keep track of progress, make necessary changes and work at timing the recital. The special numbers are listed at the end (orange). Seven to ten special numbers per recital works well. These numbers add interest to the program and give keen students a chance to do something else.
2. Program Planning Chart: This chart is used to place the pieces in order for the program. Special numbers are listed in dark print and are placed throughout the program as surprises! This chart has a place for seat numbers. I can also use this chart to take attendance on the day of the concert and there is a column for final timing of the program.
3. Final Program Planning Chart: Just before the recital, all the information from the 2nd sheet is copied onto the 3rd sheet. There are no lines on this chart, so you use it to generate the final program. You can then have the program printed on special paper.
4. Refreshment Sign-up Chart: This is a sign-up sheet for refreshments. It's posted on my board in the waiting room about 2 weeks before the recital.

Remember that the recital should be fun for both students and parents. Many students have told me that both the Christmas recital and the June recital are the highlights of the year. Very few students miss these events and I rarely have a problem with students leaving early. They look forward to sharing their music with their families and with each other in a relaxed and enjoyable environment. And they especially look forward to the treats afterwards!

Have fun planning "The Perfect Recital"!

                                       

Intervals Are Like Ice Cream.....They All Have Different Flavours Darlene Irwin

Intervals are like Ice Cream, they all have different flavours! I have said this many times to my students over the years.

Ear Training is an essential part of a music exam. And intervals (above and below a given note) are usually an important part of the entire ear training mark. But naming those intervals can be a daunting task for some students. I have found that, even if students have a good ear, they can have difficulty with this portion of the exam. The problem is that when a student is nervous or feeling stressed, they can leave their musical ears in the waiting room!

I would like to share with you some of the teaching strategies that I have used successfully in my own studio.

First: Play the notes of the various intervals together on the keyboard for your students. You can discuss the different flavours of each interval. Have them come up with ideas to describe the sounds as well.

• 2nds: (Steps). The -2nd sounds very close and very harsh (fighting notes). This is a semitone (the smallest distance on the piano). The +2nd sounds very close but not too harsh. It's also helpful to know that it is a whole tone or whole step on the piano.          
• 3rds: (Skips) The -3rd sounds sad and not too big. A -3rd contains the first 2 notes of a minor triad. The +3rd sounds happy but not too big. It contains the first 2 notes of a major triad. With either one, if you continue humming to the 5th, you will have a root position triad. It sometimes helps to relate the -3rd below to a doorbell (ding dong!)
• 4th: The Perfect 4th sounds different - it is not part of the root position triad. However, it is a pleasant sound and it is not too big. It also has kind of an open sound, but not as open as the P5th.
• The Tritone (aug 4th or dim 5th) is one of the most tension-filled intervals, but it is not as big as a +7th.
• 5th: The Perfect 5th sounds open, but not too big. It contains the outer notes of a triad.
• 6ths: The -6th sounds kind of sad but it is bigger than a -3rd. The +6th sounds happy but it is also bigger than a 3rd.
• 7ths: The -7th is not so harsh but it is large AND it contains the outer notes of a Dominant 7th chord. The +7th is a very harsh interval AND it is large. I tell my students that this interval should hit you across the face!!! Be careful not to confuse this interval with the tritone.
• 8th: The Perfect 8th is an octave, meaning that the notes sound similar and very big like a rainbow! It also sounds open and can easily be confused with the P5th.

Here are some other simple and effective ideas to help students with naming intervals:

• First and foremost, make sure that they know which intervals they have to know for their grade so they don't guess one they don't even have to know. Have them memorize this list. Review it every time you do intervals in the lesson and have them say it out loud as you play the notes together on the keyboard. One of my students is doing a Grade 5 exam in June. Here is her list: ABOVE +/- 3rds, +/- 6ths, P 4th, 5th and 8th. BELOW: -3 (this is a single....NO +3rd), P5th and P8th (no P4th). When reviewing their list, have them listen carefully as the notes are played together. Have them describe the flavour as you play each one. Review this list every time you do intervals and before you begin testing the student.
• Identify the 'singles' so that they don't guess the wrong one. For example, don't guess a +3rd below if you only have a -3rd!
• If they can, always have the students hum the notes softly immediately as they are being played. Their voice will help then to identify the sound as smaller or larger. They are hearing the interval inside their head and physically feeling the distance with their voice. Work with them so that they can tone match the notes. This doesn't work for every student, but it is helpful if they can do it.
• If a student is a good "hummer", then have them also try to hum the notes in between. But be careful. This is harder than it sounds. Some students can add or take away notes when doing this. Only use this strategy if they can consistently hum the notes in between correctly. I also find that generally, the boys have a harder time humming the notes. They sometimes feel self-conscious, especially if their voice is changing.
• Naming an interval below a given note seems to be more difficult than above. This is especially true for the 3rds. If students can't hear an interval below the given note, have them try humming it softly the other way (forwards). Sometimes that is all they need to identify it. Again, this only works if they are a good hummer.
• It is very helpful to have students associate songs with the intervals. This is especially useful when the student is under pressure or if they can't hum the notes. It's also a good back-up plan even if they can hum! However, the songs become absolutely essential for students who do not have a strong ear and cannot hum.
• I use the Small Interval Cards found on The Student Music Organizer Website. This reference card is so handy. There is a good variety of songs for all of the intervals above and below. They can pick the song that they know the best. Highlight the intervals on the card that they have to know for their exam. The Above intervals are on one side of the card and the Below intervals are on the other side. Turning the card over as they name the intervals is good because they really have to listen to know if the interval is above or below the given note. Having them flip the card is part of the training. If they aren't familiar with any of  the songs on the card for a particular interval, then have them learn the first couple of bars of that song. They can also try to come up with a song of their own and write them on the card.
• Make sure that they have the songs memorized for their required intervals. Review these songs every time you work on ear training. You don't want them to know the song and then guess the interval incorrectly!
• I put a pocket in the back of The Student Music Organizer for their Interval Card so that they know where it is!
• There is also a Large Teacher's Version of this card available. It's a great resource to keep by the piano in the studio.

Can you find the Music Hiding in the Notes? Darlene Irwin

I have told my students many times that lots of people can play the notes but it's much harder to play the music BEHIND the notes. And that's the question that I always ask them.....can you find the MUSIC hiding in the notes?

To explain, I want to tell the story of one of my students....I'll call her Kate. She is 10 years old and in Grade 2 piano. Last month, we were working on a piece called The Keepsake Mill from A Child's Garden of Verses by Chee-Hwa Tan. She was getting the notes, the counting, the fingering....all of the basic elements were there. But the music was missing! So I asked her the same question.....How can you find the music hiding in the notes?

I played it for her 2 ways. First, I played it with the correct notes and timing, but no feeling. Then I played it musically. "I can hear the difference", she said, "But I don't think I can do that!"

• Do you know what a phrase is? It's a musical sentence. Can you identify and play the phrases alone in the right hand? Can you think of words for the phrases? Can you sing the words as you play?
• Can you breathe after each sentence? Use your arms. Feel as if you are taking a breath with your arms.
• The left hand is in broken chords.....can you see that? Play the accompaniment alone. Now can you play the left hand in solid chords? Can you name the chords? Can you hear the different colours or harmonies?
• Can you play the melody alone in the right hand, phrase by phrase?
• Project the melody. I want beautiful, round, fat notes on top. Send those notes across the room. Ping the notes so that they travel out the window and across the road.
• Stroke those notes gently like you would stroke a little cat.
• Kate's idea was to gently roll a basketball over the notes....now she was thinking!
• Now....what is balance? Basically it means that you play the right hand phrases louder than the left hand accompaniment. The right hand is the star and the left hand is the orchestra.
• First try to shadow play....play the right hand projected melody and only pretend to play the accompaniment? Touch the notes in the left hand but don't depress the keys.
• Now try playing the accompaniment in the left hand as written along with the projected melody on top.
• Can you shape the melody (like a rainbow over the water) while projecting the melody over the accompaniment? (I know, I ask for a lot!)

I would play it for her so she could hear the music. Then she would try again. It took several tries and then she said excitedly....."I hear it!! I can hear the difference! I've found the MUSIC!" "That's after just a few minutes of trying". I said. "Imagine how much better it will be after you practice it that way that all week".

She came back for her next lesson and she was very proud of herself. The piece had improved dramatically!

"Now, let's take it a step farther." I said. "Here are some more ideas for finding the music hiding in the notes":

• What is a Keepsake Mill? Can we find a picture of the keepsake mill?
• What was the purpose of a mill? What was the purpose of the water wheel? (having a computer or iPad nearby is very handy because you can instantly look up what you need).
• What did the composer do in the music to paint a picture of the Keepsake Mill?
• Can you see the wheel turning round and round and round? It never stops....it's almost hypnotic. Can you hear it? Can you see the dark water swirling in the pond below? Can you hear it? Can you feel the spray of the water on your face? Can you smell the water and the wood?
• Now.....have that picture in your mind when you play this piece....make the music come alive....paint the picture with your notes and send it out to your listener.....send it to me and let me see it too!! Play it with balance and phrasing and shaping and FEELING!

There was such a difference. The song was totally different. "I LOVE this song", she said!

Music to my ears!! Kate was no longer just playing the notes. She had unlocked the magic and had found the music hiding in the notes!

 

Over the borders, a sin without pardon,
Breaking the branches and crawling below,
Out through the breach in the wall of the garden,
Down by the banks of the river we go.

Here is a mill with the humming of thunder,
Here is the weir with the wonder of foam,
Here is the sluice with the race running under –
Marvelous places, though handy to home!

Sounds of the village grow stiller and stiller,
Stiller the note of the birds on the hill;
Dusty and dim are the eyes of the miller,
Deaf are his ears with the moil of the mill.

Years may go by, and the wheel in the river
Wheel as it wheels for us, children, to-day,
Wheel and keep roaring and foaming for ever
Long after all of the boys are away.

Home for the Indies and home from the ocean,
Heroes and soldiers we all will come home;
Still we shall find the old mill wheel in motion,
Turning and churning that river to foam.

You with the bean that I gave when we quarreled,
I with your marble of Saturday last,
Honoured and old and all gaily appareled,
Here we shall meet and remember the past. 

The Cup Song - Unlocking the Magic of Chording and Rhythm Darlene Irwin

Last spring, I had an interesting experience with one of my students....I'll call him Lee. He came to his lesson one afternoon and he seemed very upset. He said "My teacher at school wants me to play The Cup Song for our class". I didn't think much of it. "Ask your teacher for the music. You can bring it next week and I'll help you learn it", I said and went on with his regular lesson.

The next week, Lee came for his lesson as usual. However, when he walked in the door, I knew something was wrong. "My teacher wants me to play The Cup Song", he said again. This time, he looked visibly upset. "OK" I said, "Did she give you the music?" I asked. He looked horrified!!! "That's the problem" he said, almost in tears. "She doesn't have any music. She told me to just figure it out!". More tears!

ABOUT FACE!! I quickly abandoned what I had planned to do for that lesson.

"OK" I said. "Where can we find this Cup Song?". I had never heard of it before! "It's from a movie." he said. "It's on Youtube. We sing it at school. My teacher said to say Pepsi instead of whiskey!". I had no idea what he was talking about but I was very interested to find out!!

"Well, let's look on YouTube and we'll see what we can do!"

I searched YouTube on the iPad and quickly found the song. I played it over several times and we listened to it together. Thankfully, it was in C+!!  (Yes, I thought. I don't have to transpose it!!)

I explained to him that you don't always have to have music to play a piece. What a revelation!! He looked shocked and surprised at the same time! "Wow, that's cool", he exclaimed!

We turned to the manuscript paper at the back of The Student Music Organizer and I started teaching him how to figure out a melody by ear. Then we had an impromptu lesson on how to transcribe it! I showed him how to figure out the time signature. The melody was simple enough but the rhythm was quite tricky. By the end of the lesson, we had written out the melody for the song and he had something to practice for his teacher! It had been a great lesson and Lee went home smiling!

I called his mother in the middle of the week to see how he was doing with the song! "It's all we've heard", said his Mom!! "He plays it over and over and over!".

At his next lesson, I said to him, "We figured out the melody last week and you can play that. Now let's see if we can add some chords". Again, he was intrigued. I proceeded to teach him the basic chords in C+ (I, IV, V and vi). Then I showed him how these chords can be added to the melody. I told him to listen carefully so that he could figure out which chord would work for which notes. We worked through the song and added the chord symbols over the appropriate notes. It was another great lesson and Lee went home, ready to try the next step.

When he returned the following week, he could play the whole song. He was thrilled. Best of all, his school teacher was thrilled!! He ended up playing "The Cup Song" while his whole class sang and did the rhythm with cups. Then the class performed it at the Spring Concert for the entire school! The most important thing was that Lee felt great about what he had done. He had fun playing music with his friends. He was the hero of the class. Mission accomplished!

Here are some fun ideas on teaching basic ear training in a lesson:

• Start with a familiar tune. Have the student figure out this tune by ear. Twinkle Twinkle Little Star works well.
• The student could transcribe the melody on manuscript or just learn it by ear.
• Then teach some basic chords (I, IV, V and VI).
• Have the student figure out which chords go with the melody and where they change.
• After that has been mastered, you could have them try some variations with the accompaniment.
• Try some other 2 and 3-chord melodies i.e. Amazing Grace, Happy Birthday or Silent Night.
• Have fun exploring with your students.

"The Cup Song" is also a great song for teaching rhythm. I found out that quite a few of my students knew this song AND they knew how to do the cup rhythm. I had another bright idea!!! Let's do this song for our final recital in June. The students worked well together and they came up with their own arrangement. The biggest challenge was keeping it in sync. They really had to learn to listen to each other and adjust. The above video was our final rehearsal before the recital .They did it perfectly for the concert AND Lee played it from memory! It was the highlight of the recital!!

The moral of this story: Always be ready to change a lesson plan to meet the needs of your students! 

My next post will be: Can You Find the Music Hiding in the Notes?

Special Note:

I have just discovered a cool book which helps to teach rhythms while taking advantage of the cup "craze". It is called "Rhythm Cup Explorations" and it is published by Wendy Stevens. Her Website is called Composecreate.com. It's a reproducible resource, so you only have to buy it once for your studio!

The Power of Positive Thinking Darlene Irwin

A couple of weeks ago, I shared this poster on the Student Music Organizer Facebook page. 

Clear your mind of CAN'T

It made me think of a story that I remember my mother reading to me when I was very young. I'm sure that everyone is familiar with the beloved children's book entitles "The Little Engine that Could" by Watty Piper (Published in 1954 by Platt & Monk. Illustrated by George & Doris Hauman). An early published version called, "The Story of the Engine that Thought it Could", appeared in the New York Tribune on April 8th, 1906, as part of a sermon by the Rev. Charles S. Wing.

Part of an early version goes as follows:

A little railroad engine was employed about a station yard for such work as it was built for, pulling a few cars on and off the switches. One morning it was waiting for the next call when a long train of freight-cars asked a large engine in the roundhouse to take it over the hill.

 "I think I can," puffed the little locomotive, and put itself in front of the great heavy train. As it went on the little engine kept bravely puffing faster and faster, "I think I can, I think I can, I think I can."

As it neared the top of the grade, which had so discouraged the larger engines, it went more slowly. However, it still kept saying, "I—think—I—can, I—think—I—can." It reached the top by drawing on bravery and then went on down the grade, congratulating itself by saying, "I thought I could, I thought I could."

(found on Wilkipedia).

Here are some positive ideas that have made a difference for me in my own studio:

• Always greet a student pleasantly at each lesson. It's important to be ready for them and to give them your undivided attention.
• Listen to them and make them feel that they are important. Everyone gets discouraged from time to time. Help them through that. Encourage, encourage, encourage! I always remember an old saying that my grandmother used to say to me: "You can catch more flies with honey than with vinegar"!! It's important to be positive at each and every lesson.
• Have a studio motto and post it where parents and students can see it! Your motto should reflect your teaching philosophy. My studio motto is "Great Music Comes from the Heart".
• New music helps! Talk to the parents, buy a new book with music that is at their level that they enjoy. Find out what moves them musically and let them play that as well as their other pieces.
• Work to each students strengths. If a student has a great sense of rhythm and absolutely loves jazzy pieces, then let them play jazz! When I am picking a new piece for a student, I make sure that they feel as if they are part of the process. I usually give them a choice of 2 or 3 pieces that I think they will like. I'm always looking for that sparkle in their eyes when they hear something that they like. I want them to come back the next week and say "I LOVED that song"!!
• If a piece is not working for a student after a few weeks, find something different that teaches the same concepts. They don't have to always play a minuet to learn balance, phrasing and tonal control. That's not to say that they shouldn't learn minuets!! However, lots of other pieces can also teach the same things. i.e. In Dreams (from Lord of the Rings) or Colors of the Wind (from Pocahontas).
• Many popular pieces have very tricky syncopated rhythms.These pieces are great at helping students with their counting. Students love to play the jazz pieces of Christopher Norton. A lot of these pieces have backtracks that you can download from his website. They love playing with a band behind them! It is also a great way to teach them how to play with the beat!
• Have them learn something different that no one else in the studio has played. That always makes them feel special. (see previous blog post entitled: "Spicing up your Studio with New Repertoire")
• Have your students try to figure out a simple melody from a familiar pieces by ear (Twinkle Twinkle Little Star works well). Teach them some basic chords (I, IV and V) and then show them how to turn these chords into a simple accompaniments that they can work out on their own.
• Teach them a 'new' scale like the Pentatonic or Whole Tone Scale. Then have them try composing a song of their own using one of these scales. You could also have them draw a picture or write a story for their piece. You could use the extra manuscript pages and extra notes pages in the back of The Student Music Organizer for this. They could then perform that piece at a recital or master class.
• I always encourage my students to memorize their piece for a performance. They will play it much better if it is memorized. However, I do allow them to take their music up with them until they feel ready to play without the score. They need to feel comfortable playing without the music and that takes time for some students. I want them to have a positive experience and sometimes all they need is to have the music in front of them as a security blanket. Lots of times they don't even look at it! When they are ready, then they can try to perform from memory.
• Each student handles the stress of performing in a different way. When I was young, I had the privilege of studying with an amazing teacher. Her name was Patricia Bloomfield Holt. She was a well-known Canadian composer and a respected Royal Conservatory of Music teacher and examiner for many years. However, at the time, I didn't know any of that. I knew her simply as Mrs. Holt. She was very strict, but I also knew that she cared about me and that she wanted the best for me. Most importantly, she didn't give up on me. And because of that, she changed the course of my life. I will always remember her saying that I was NEVER to say the word 'nervous" (she called it the 'N' word). Instead, we had to say that we were 'excited'. I remember lots of times being VERY excited!! But somehow, that change of mindset made it easier for me to perform.

This needlepoint hangs on the wall of my studio. It was a gift from a student.

My goal has always been to have my students learn to love music. Not all students will do exams or festivals. But all students can develop a love of music. When they have finished their formal lessons, I want them to be able to play this thing called the piano. I want them to have an appreciation for classical music, for pop and jazz and all kinds of music I want them to have something that they can enjoy and carry with them for the rest of their lives.

We, as music teachers, have the best job! We can introduce our students to the wonderful and amazing world of music. We can instill in our students a love of music that will last a lifetime. We can give them the gift of music. But to do this, it is important that we also have a positive attitude with our students. We need to patiently find ways to 'reach' them. Each student is different, with their own musical tastes and interests. We need to believe in them and teach each student at their own pace. We also need to give them opportunities to feel successful. As we approach each student in this way, we can help them to feel like that little engine....."I thought I could, I thought I could." or, even better: I knew I could, I knew I could!

Spicing up your Studio with New Repertoire Darlene Irwin

Have you ever fallen into the rut of teaching the same old songs to your students. I know that, on occasion, I have had that problem. Another common problem among teachers is that we tend to buy new music and then put it away in our library and forget about it!

This year, I have tried very hard to introduce new material in my teaching. I went through my library and picked out several collections that I thought might be appropriate for the students that I am teaching at this time. I played through these collections and then tagged pieces that I thought students might like. I kept that small pile of books by the piano in the studio. Then, when a student was ready to try a new piece, I tried to match that student with one of these new pieces. I found that when I showed that I was excited to try something different, then the students were willing to try it! Then, after discussing this with the parents, I went to my local music store and ordered several new books for students. They were so excited to get a new book! Several students have chosen some of these works for upcoming performances and exams.

Here are some points to keep in mind when choosing new repertoire for students:

• Try to avoid giving the same pieces to students in the same grade. Instead, make a point of trying something new and different with each student. It's great for the student but it's also wonderful and challenging for the teacher to try teaching something that you have never taught before. As teachers, we should never stop learning! My students love it when I tell them that I have NEVER taught this piece to any other student!
• Students feel special that they are playing something that no one else in the studio has played before. They can then share these pieces at upcoming master classes, festivals or recitals. My students love to hear new and different works. Many times I've had other students ask if they could try that song as well!
• Try some unusual works with a more modern notation. Students respond well to modern works if you, as a teacher, show enthusiasm for these pieces. Some examples would be Olie the Goalie by Stephen Chatman (Pre-Grade 1 level). The entire score is written on a drawing of a goalie with bits of the score under each hockey puck! Or how about trying Night Sounds by Stephen Chatman. Students actually get to meow like a cat, snort like a pig and hoot like an owl!! They even get to improvise one whole section. This piece was a huge hit at our last master class.
• Support local artists.There are many wonderful composers in Canada and in the United States who are continuing to provide us with interesting and varied works. You could have your student write to their special composer and let them know how much they enjoyed playing their piece. I'm sure that the composers would love to hear from them! The student could also do a little research to find out some information about their composer! Students are always amazed to find out that lots of composers are actually alive and still writing!!
• Examiners love to hear different pieces as well. Explore whatever syllabus you are using and choose something unusual and unique for their modern piece or for their study. (i.e. the Royal Conservatory of Music allows this as a Teacher's choice for a study). This makes for a much more interesting exam!
• Students love to play jazzy songs that have a great beat. My students have especially enjoyed pieces from the Connections for Piano by Christopher Norton. There are 8 books in total from Grades 1 to 8. Each song has a downloadable backtrack which makes it even more fun to play! Some suggestions might me Half a Chance (Grade 3), Nefertiti Blues (Grade 7) or Country Sentimental (Grade 8).
• Make the music come alive by having them write a story or draw a picture. Then have them try to tell their story musically. The younger students especially enjoy doing this. This works especially well for pieces like Starfish at night, Cobwebs, Summer Lightning, March of the Terrible Trolls or Icky Spider. There are extra pages in the back of the Student Music Organizer that could be used for this.

Here is a list of some of the varied and fun pieces that my students have tried over the past couple of years:

Early Elementary

• Sparklers by Linda Niamath (Celebrate Piano: Lessons & Musicianship 3) Pre-Grade 1 Level
• Tomato the Tomcat by Stephen Chatman (Escapades Book 1) Pre-Grade 1 Level
• Starfish at Night by Anne Crosby (Freddie the Frog) Pre-Grade 1 Level
• Olie the Goalie by Stephen Chatman (Sports) Pre-Grade 1 Level (clever use of graphic notation)
• Kites by Linda Niamath (All Year Round) Pre-Grade 1 Level
• Balloons by Linda Niamath (Marching Mice and Other Pieces) Pre-Grade 1 level

• Snake Charmer by Jon Paul George (Conservatory Canada "The New Millennium Series" Level 1) Grade 1
• March of the Terrible Trolls by Linda Niamath (Soda Pop and Other Delights) Grade 1
• Pirate Story by Chee-Hwa Tan (A Child's Garden of Verses) Grade 1
• Cobwebs by Clifford Poole (Legacy Collection Volume 1) Grade 1
• Icky Spider by Julianne Dick (Northern Lights Level 1B from CNCM) Grade 1
• At the Seaside by Chee-Hwa Tan (A Child's Garden of Verses) Grade 1/2
• Summer Lightning by Martha Duncan (Cottage Days) Grade 2
• Land of the Silver Birch by Nancy Telfer (Land of the Silver Birch) Grade 2

Late Elementary/ Early Intermediate

• The Milky Way by Nancy Telfer (Planets and Stars) Grade 3
• In My Dreams  by Anne Crosby (In My Dreams) Grade 3
• Blue Boogie by Dennis Alexander (A Splash of Color Book One) Grade 3
• Half a Chance by Christopher Norton (Connections for Piano: Repertoire 3) Grade 3
• The Stormy Sea by Anne Crosby (In My Dreams) Grade 3
• Wild Rose by Teresa Richert (Petals for Piano) Grade 4
• Petroglyphs (Rock) by Edwin McLean (Impressions on Rock Bone Wood Earth) Grade 3
• Lost in the Woods but Not Afraid by Sheila Wright (Northeren Lights Level 4A) Grade 4
• Muskoka Autumn by Frances Balodis (Northeren Lights Level 4A) Grade 4
• Dream Catcher by Anne Crosby (In the Mermaid's Garden) Grade 4
• Forest Green by Dennis Alexander (A Splash of Color Book One) Grade 4
• Moonless Night by Richard Faith (Finger Paintings for Piano) Grade 5

Intermediate/Early Advanced

• Winter Scene by Boris Berlin (Holiday in Canada) Grade 6
• Whirling Winds by Melody Bober (Cyclone!) Grade 6
• Night Sounds by Steven Chatman (Fantasies) Grade 7
• Arctic Moon by Wynn-Anne Rossi (An Alaskan Tour) Grade 7
• Nefertiti Blues by Christopher Norton (Connections for Piano: Repertoire 7) Grade 7
• Earthquake by Stephen Chatman (Amusements, Book 3) Grade 7
• Gnossienne #3 by Erik Satie (3 Gymnopedies & 3 Gnossiennes for the Piano - Alfred) Grade 8
• Country Sentimental by Christopher Norton (Connections for Piano: Repertoire 8) Grade 8
• Monarchs by Martha Duncan (Isla Vista Suite) Grade 9

Have fun teaching some different and interesting material. Your students will thank you and you will enjoy teaching something new and fresh.

Please feel free to share any new, interesting and different pieces that your students have enjoyed learning. We would love to hear from you.

Another Successful Master Class Darlene Irwin

Musical Update:

My students were so excited to perform in our Master Class this past Monday evening. Everyone agreed that this was the best one yet! They had fun sharing their music with each other. This class was our annual pajama party.

The students who performed were at many different levels. A few were beginners. Three had just finished their piano exams (two Grade 7's and one Grade 8) and quite a few participated in the O.R.M.T.A. evaluation day. One student is preparing for University auditions and another has just finished that process. Some performed from memory, especially those who have an upcoming performance. Others took the music up with them and then didn't even look at it. They just didn't feel comfortable performing without the score.

I asked some of my students what they liked about Master Classes. Here are some of their comments:

• The best thing about Master Classes is the food! I also like to listen to different songs. I guess you could say that I like everything about them! (10 year old girl, Pre-Grade 1 level)
• I love master classes because it makes performing fun. There is no stress at all. It's like Nike.....you just do it! (17 year old boy, Grade 10 level)
• I really like the food!! And I love when people play different and unusual pieces. I also really like the pajama parties because it makes music fun. (13 year old girl, Grade 5 level).
• I think that Master Classes are more fun than recitals. I like getting to know the other students. I also really like hearing what they are playing. (12 year old boy, Grade 8 level)
• I get to hear lots of different songs. I really like hearing the older kids play. I also like hearings songs that I've already done. That way, I know I'm getting better! (10 year old boy, Grade 1 level)

Remember, when planning a studio master class, less is more! In this class, the pieces were not too long, everyone had the opportunity to play something and the class ended on time. The class was about 60 minutes long, which left about 30 minutes for socializing, The students especially enjoyed the snacks! Parents take turns providing refreshments for each class.

A fun time was had by all and we're already starting to pick pieces for our next Master Class in May!