I’ve often said that if I were to compare myself to an animal it would be a bear. A Grizzly, to be more specific. Grizzlies eat half the year and sleep the remaining half. And they spend a lot of time in a cave. They are okay being alone. That describes the life of the composer/arranger in a lot of ways, actually.
I work in a cave – a very nice cave, mind you. I have high-speed internet, quality studio gear, central heat & air, and a bathroom and kitchen very nearby. But it’s still essentially a cave. And when I’m not working, all too often I am either eating or sleeping. Oh, and I growl a lot, but that’s more about my personality. All in all, I’m okay in my cave.
But for the past eighteen months or so, the whole world has been in a cave, isolated from our fellow bears (I mean human beings) except for Netflix, Prime Video, and Zoom. That is not normal for the vast majority of people. Now, we are slowly emerging to see if the world outside has changed much, and if so, how.
Guest post by composers Lee & Susan Dengler introducing Restore Our Song: A Resource for Restarting Your Choir, which includes an opening “kick-off” fellowship and service, devotions on the themes of deliverance and renewal, easy anthem suggestions to get the choir back in shape quickly, service ideas including a hymn sing, recruitment tips, a simple chorus for choir and congregation titled “Restore Our Song,” and more.
Finally, they were on their way! After years of exile in Babylon, God’s people were returning to Judah. Though some had decided to remain in Babylon, a contingent, led by the priest and scribe, Ezra, began the journey home. To them, Babylon was still a land where they simply could not sing the Lord’s song, even when coaxed by their captors. All they had been able to do was to hang their harps, the instruments that had once accompanied their voices, on the willow trees that stood guard by the river. The drooping branches of the trees had served as a visual reminder of their own weeping.
And then, they were home in their beloved native land! In the second chapter of the book of Ezra, we find the listing of folks who returned to Jerusalem and other Judean towns. There were the priests, the temple servants, the gatekeepers of the temple. And, there were the singers!
As the foundations of the new temple were laid, the singers began their song, as they praised and gave thanks to the Lord. For those who listened, there was a mixture of emotions. While some shouted for joy, others, who had remembered the former temple and all they had endured, wept with a loud voice. It was hard to distinguish the shouts of joy from the noise of their crying. Nevertheless, the combined sound of joyous shouts, sorrowful weeping and glorious singing could be heard for miles around.
We have thought about these people many times during the months of the COVID-19 pandemic, especially after we learned that singing in groups had the ability to spread the virus more virulently than almost anything else. How could we sing the Lord’s song in such a land? But now, it seems that we too are on our way home. Almost daily, we learn of positive indicators that tell us that choirs can safely return to in-person, close-up, full-choir singing. Thanks be to God! This is the news for which we have been waiting over these past, long months!
RSL Awards Academic Director Tim Bennett-Hart takes us through everything Rockschool
Rockschool is part of RSL Awards, an international awarding body based in London, UK. For the last 30 years we have been producing material to help people learn musical instruments and assess their progress.
What’s more it really works! Artists such as Ed Sheeran, Jess Glyn, and Wolf Alice have all taken RSL Awards qualifications and gone on to have incredible careers.
It’s not just for super stars. RSL Awards assess over 80,000 people each year across 50 countries – this is a world-wide community of creative people.
What’s in a Book
A typical book like Electric Guitar Level 3 contains – 6 full transcriptions of hit songs, 6 original songs, backing tracks and example audio to download, scales and technical exercises for the level.
Nirvana – Smells Like Teen Spirit Ike & Tina Turner – Proud Mary Taylor Swift – I Knew You Were Trouble Ed Sheeran – Thinking Out Loud Bryan Adams – Summer of ’69 Otis Redding – (Sittin’ On) The Dock Of The Bay
Guest post by Joseph M. Martin, Composer and Director of Sacred Publications for Shawnee Press
The quest to combine ministry with artistry has been a lifelong calling for me. I have always found my place and purpose in this pursuit. Composing animates me and breathes into my spirit an inner peace that is deeply sacred.
Reassuring rituals are part of my writing process—simple disciplines made special by repetition, reminding me to be grateful for the labor to which I have been called. With faithful regularity the process unfolds over and over, familiar yet surprising, comfortable yet challenging.
Guest post by Christian A. Pohl, Professor of Piano and Piano Methodology, Head of Piano Department, University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ Leipzig
The start of the nineteenth century saw a seismic shift in the world of domestic keyboard playing as the piano rapidly displaced the harpsichord and clavichord as the instrument of choice in homes across Europe. Seizing on this new opportunity, a series of piano instruction methods were swiftly published, followed by methods and studies over subsequent generations that covered the rudiments of piano playing, technique and performance practice. A huge number of these studies are represented in the Edition Peters Piano Catalogue.
Major names in the field of piano pedagogy were quickly established – including Beyer, Burgmüller, Hanon and Clementi – but it was one who followed behind them that arguably defined the shape of piano pedagogy for generations to come. Indeed, even today – nearly 200 years after this educational “meteorite” first struck the German-speaking piano world – the waves of his impact are still being felt. There is no getting around Carl Czerny when it comes to pianistic exercises or didactic approaches to building a virtuoso pianist.
Make your own virtual choir performance in just 8 steps. This guide includes tips for planning the project, recording participant tracks, and editing the submissions into a final performance ready to post and send. For related technology and tools, visit Sheet Music Plus.
You’ve seen them everywhere online: grids of iPhone videos of people singing together in chorus. From Broadway stars and professional choral groups to church and community choirs and even ad hoc regional and global networks of singers, the defining group music making moment of the decade so far is…
Here we’ll walk you through what a virtual choir is and give you a step-by-step guide to creating your own, whether for the choir you regularly sing with or direct, or for a new group of singers you’ve brought together for a specific project.
Playing guitar solos is one of the highest aspirations a guitar player can have. We’ve all heard amazing guitar solos that are so inspiring that they make us want to do whatever it takes to be able to play them, right?
You may be in a situation where you don’t know where to start or how to have a better understanding of how guitar solos work. Keep reading and you will find really cool concepts that will make a difference in how you approach them!
1. What are guitar solos anyway?
To begin with, we can say that guitar solos are instrumental parts, and as such they provide a great opportunity for the guitar to abandon the accompaniment role and be more of a leader.
Guitar solos fulfill a really important role in the song. (No… not to show off, man!) In any song with vocals, the song gets to certain points where a vocal break is needed, noot only from the singer/vocalist’s perspective (to rest), but also for the sake of song construction.
Imagine if you hear a song with no instrumental gaps: it would be terrible! But guitar solos can give those breaks, and keep the song interesting at the same time. That’s why we need to make sure they are well crafted.
There are a great number of different possibilities in solos, but something we know for sure is that guitar solos always need to be aligned with the style of the song.
What kinds of solos are there?
Melodies – Some solos are basically melodies: a melody already used in the song, or a new one, is presented in a highly expressive and embellished way.
Improvisation – There are cases where guitar solo sections are basically left to the interpretation of the player at a specific time. (This mostly happens in live situations.)
Between 1772 and 1795, the Russian Empire, the Kingdom of Prussia and the Habsburg Monarchy divided and annexed the Polish-Lithuanian Commonwealth amongst themselves in a series of three partitions.
Though one of the largest and most populous countries in 16th– and 17th-century Europe, decades of protracted political, military and economic decline led the country to the brink of civil war, made it vulnerable to foreign influences, and ultimately rendered it unable to withstand the onslaught brought by the encroaching powers, even in spite of a revolutionary new constitution, a war in its defense and an uprising led by Tadeusz Kosciuszko. (As a side note, Kosciuszko was also a decorated hero of the American Revolutionary War and an accomplished military architect who designed and oversaw the construction of state-of-the-art fortifications, including those at West Point.)
In this approximately hour-long express session, Mark and Lloyd tell stories, look ahead to our future opportunities for ministry and community as church singers, and preview new music perfect for distanced, streaming and virtual choirs from Mary McDonald, Lloyd Larson, Tom Fettke and more.
Here are just a few of the titles featured in StreamSing:
Guest post by Jacob Levine, the founder of Chorus Connection and a proud member of the NYC Gay Men’s Chorus. Article reposted with permission from Chorus Connection. See the original post here.
On December 27, 2020, after a tumultuous political rollercoaster, the President signed into law another COVID stimulus package as part of an omnibus spending bill, the Consolidated Appropriations Act 2021. The 5,600 page bill contains nearly $1 trillion in pandemic relief, including four funding opportunities for which your chorus may be eligible.
Note: This blog is only relevant for organizations based in the U.S.
You know him as one of the world’s preeminent choral composers and conductors, as well as a former member of the King’s Singers, but like so many of us, even Bob Chilcott was forced to put down his baton this year and find other ways to make music.
Chilcott focused his musical attention on teaching piano and theory to his eleven-year-old daughter, Becky, and her friend, and ended up also writing a set of three short jazz-style pieces for the piano to help show his students and other early intermediate learners explore the technical building blocks of music and develop their musical instincts in a way that would also be fun.
The results, A Little Jazz Piano, is a short piano suite featuring Chilcott’s celebrated jazz style in three movements: “Bobbing along,” “Becky’s Song” and “Walking with Ollie.”
Those of us who teach beginners have specific challenges. Not only do we have to acquaint our students with new instruments, but we also have to begin to acquaint them with musical notation and theory, help them develop good practice habits, and be on the lookout for improper techniques that can turn into major challenges in the years ahead. If our students are very young, we have extra work to help them develop their motor skills, and if we teach ensembles like bands and orchestras, we have the added challenge of attempting to do all of this for many students at the same time.
On Habits Universal, students can watch videos of professionals introduce and play each exercise on each instrument. This helps them learn how music notation translates to the sounds they make, exposes them to what their instruments can sound like with proper technique and tons of practice, and gives them models to strive toward. This is especially critical for students who don’t have access to private lessons, masterclasses or high-level live performances.
Habits of a Successful Beginner Band Musician also addresses individual instrument techniques that many other methods ignore entirely, which are especially helpful for instruments that a lot of band directors find a bit trickier. Among these topics are:
The oboe F dilemma: Did you know that the oboe has three different ways to play an F? Many directors don’t even realize that there are three options! Habits of a Successful Beginner Band Musician indicates which F an oboist should use throughout most of the book.
Bassoon flicking: The best way to initiate sound on the bassoon for an A, B-flat, B, C or D is to flick on the C key. Habits of a Successful Beginner Band Musician describes what this means and how to do it, and employs the degree sign, the universal sign for bassoonists to flick, throughout the book.
This level of detail extends to other instruments with such features as left and right indicators for clarinets, thorough sticking for mallets, and chromatic fingering indicators.
Teacher Tips & Resources
Each exercise in Habits of a Successful Beginner Band Musician comes with tips for the teacher: how to approach an exercise with their students, what to watch out for in various instrument sections, and suggestions for how to help students master it. Below is an example:
On Habits Universal Interactive, students can play along with backing tracks and listen to real audio models of their lines. They can also video record themselves playing their lines and get automatic graded feedback on their performance. While this feature is especially helpful for remote instruction, it’s also incredibly valuable for students who can be shy about playing in front of their peers.
Notably, the assessment software scores pitch, rhythm and length separately, and tracks errors alongside the notated line, so that a student can go note by note and see exactly where they need to improve. (The teacher still has the option to change final scores on assignments and to add comments.)
As a note, grades can be integrated with virtually any software (e.g., Schoology, Canvas, PowerSchool) that a school uses to report grades via a simple export.
Written by band directors with decades of experience under their belts, Habits of a Successful Beginner Band Musician confronts the classic difficulty of getting kids out of what author Scott Rush calls the “B-flat/E-flat/A-flat Club,” where kids are only comfortable playing in B-flat Major and E-flat Major with some momentary departures into F Major. Rather than, as in other methods, playing in the B-flat pentascale 95% of the time, Habits of a Successful Beginner Band Musician quickly moves up a step to the C pentascale to get kids used to reading and playing in keys with naturals and sharps, opening up a larger portion of the literature to them by the time they get to middle school and high school.
With so much focus on specific tactics and features, it’s crucial to mention that what is perhaps the most important part of Habits of a Successful Beginner Band Musician is that its primary goal is to help students fall in love with music. Habits of a Successful Beginner Band Musician offers teachers developmentally appropriate language for teaching musical concepts so that even beginner band students can start to build musicality into their playing from the early days.
Guest post by Linda Hawken, MD of Edition Peters Europe, and Kathryn Knight, President of C.F. Peters, USA
Being a music publisher in the 21st century presents many different challenges to those faced by publishers at the beginning of the industry 200 years ago. Nowhere is this better illustrated than at Edition Peters, founded in Leipzig in 1800 – a time when the idea of music copyright was only just starting to be thought about, with no laws in place to protect the composer. Instead, a successful publishing relationship depended solely on a close and ongoing collaboration with the composer.
Edition Peters’ unique history tells one of the most extraordinary stories of the music-publishing world. The roster of composers with whom Edition Peters worked directly across the 19th century is dizzying, from Beethoven to Grieg and Mahler.
Edition Peters created the first editions of some of the most famous compositions of all time, with those editions being proofread and corrected by the composers themselves long before the concept of “Urtext” was conceived. Yet despite the provenance of these important editions, it became fashionable in the later 20th century to disregard them – and the unique value of the composer’s direct input – in favor of Urtext “interpretations” by musicologists.
The concept of the Urtext only emerged in the early 1930s, devised by musicologists who aimed to get closer to “the composer’s intentions” by reviewing multiple sources. Indeed it was Edition Peters who released one of the very first Urtext editions with its 1933 edition of J. S. Bach’s Inventions and Sinfonias. After the Second World War, other publishers took on this concept, producing their own Urtext editions. However, this led to much confusion about the meaning and significance of the editions, and whether they reflected the composer’s true intentions.
“Now Winter Nights” by British composer and baritone Roderick Williams uses an evocative poem by Thomas Campion as its text, helping him to pinpoint the excitement of Christmas he felt as a child and still holds onto.
Ludwig van Beethoven’s ten violin sonatas are among the most famous works of chamber music history and represent, together with Mozart’s works for this instrument duo, the core of violin repertoire from the Viennese Classicist period.
Though composed in a short span in Beethoven’s creative life (nine of the ten were written between 1798 and 1803, with the final one appearing in 1812), these sonatas bear all the marks of Beethoven’s compositional innovation: the breaking of formal tradition, a vast emotional scope, skillful musical manipulation, and, of course, the trademark urgency and power.
The new Bärenreiter edition of the violin sonatas — or, as more appropriately titled by Beethoven himself, sonatas for the pianoforte and violin — offers a revolutionary editorial approach to the music that does more than simply hand down the text.
These new volumes, edited by historical performing practice expert Dr. Clive Brown, present an approach to performance that is quite different from what most of today’s musicians are accustomed to. This approach not only falls much more in line with what Beethoven would have expected, but also imbues the music with a renewed vigor and offers musicians an incredible array of opportunities for creativity.
Here violinist Viktoria Mullova and pianist Alasdair Beatson demonstrate some of their most illuminating discoveries from the “Spring” Sonata (Op. 24) and show us why they’re excited to work with these new editions:
The Editorial Approach
Dr. Brown’s new editions of the Beethoven violin sonatas combine a traditional scholarly Urtext approach with a wealth of information on historical performing practice informed by the thorough study of recordings and editions made by 19th-century musicians, many of whom had direct contact with Beethoven himself or with others that did.
These historical sources reveal a striking discrepancy between performance and notation. Composers in Beethoven’s era, including Beethoven himself, simply did not write down a large swath of the expressive gestures that they would have expected musicians to make, including rhythmic and tempo flexibility, piano arpeggiation and asynchrony, portamento, cadenzas, and ornamental, rather than continuous, vibrato effects.
By not including these details in the text, composers created a space bursting with potential for the creative performer to exploit in what could and, most importantly, would be wildly distinctive and thrillingly emotional performances. In many respects, it was a creative freedom much more akin to jazz than to today’s renditions of classical music.
Founded in 2012, SongwritingWith:Soldiers (SW:S) is a non-profit that transforms lives by using collaborative songwriting to expand creativity, connections, and strengths. SW:S holds three-day retreats and custom workshops that pair veterans, active-duty and military families with professional songwriters to turn their stories of service and returning home into song.
Many veterans return home from combat and do not seek services, avoiding therapy or military resources because of the stigma associated with PTSD and depression. The Veterans Administration estimates that approximately 20 veterans take their own lives each day, and of those, 14 have little to no contact with the Department.
During SongwritingWith:Soldiers retreats, veterans and active-duty service members are paired with professional songwriters to share stories and craft songs about their experiences, often about combat and the return home. Participants are registered with ASCAP as co-writers of their songs and have ownership.
Sometimes participants know exactly what they want to say in their songs, but most of the time it’s the community of others who know the same struggles that lets participants find their emotions. And it’s the genuinely interested, empathetic ear of the artist that invites participants to openly share very personal stories that they’ve never shared at all.
In 1997, John Sykes, one of the original MTV/VH1 executives, spent a day as principal at a school in Brooklyn. He was shocked to see that the school’s instruments were being held together with gaffer tape and that the entire music program was at risk. In response, he helped mobilize a pro-social initiative at VH1, which quickly gained steam as it became apparent that many more music programs across the country were being deprioritized with severe budget cuts or even eliminated.
Soon thereafter, Save The Music became its own independent 501c3 public charity. Since then, Save The Music has donated more than $60 million worth of new musical instruments, equipment and technology to 2201 schools in 277 school districts across 42 states, Puerto Rico and the District of Columbia, improving the lives of millions of children throughout the United States.
Here’s how Save The Music partners with local communities and school districts to build sustainable music programs:
Investing in schools:Save The Music donates instruments, music technology and other equipment to jumpstart public school music programs.
Supporting teachers:Save The Music supports music teachers with professional development, ongoing program support and other resources.
Advocating for music education:Save The Music advocates at the local, state and national levels to ensure music is part of a well-rounded education.
The Sphinx Organization is the social justice organization dedicated to transforming lives through the power of diversity in the arts. Sphinx’s four program areas – Education & Access, Artist Development, Performing Artists, and Arts Leadership – form a pipeline that develops and supports diversity and inclusion in classical music at every level:
Artists performing on stage
Repertoire and programming
Communities represented in audiences
Artistic and administrative leadership
Sphinx was founded in 1997 by violinist Aaron P. Dworkin with the goal of addressing the underrepresentation of people of color in classical music. The name Sphinx, inspired by the mythical creature and legendary statue, reflects the power, wisdom and persistence that characterize Sphinx’s participants, as well as the enigmatic and interpretive nature of music and art.
Now led by President and Artistic Director Afa S. Dworkin, Sphinx programs reach more than 100,000 students and artists as well as live and broadcast audiences of more than 2 million annually.
Here’s a brief overview of all the work the Sphinx Organization does. Click on each link to navigate through the article and learn more!
Understanding that teaching band is as much about teaching students to work together as it is about teaching them to learn musical skills individually, the team behind the much-loved Habits series, which includes such titles as Habits of a Successful Band Director, takes on the broader subject of leadership in Pathway to Success, which helps develop leadership skills in every student in a class and includes a focus on emotional health that has been especially helpful for teachers during COVID.
“To borrow a phrase: All children have talents, however, not all children have opportunity and encouragement. Pathway to Success by Tim Lautzenheiser and Scott Rush describes in detail the ‘how’ and provides that encouragement young people need to overcome any reservations and reluctance they may have to step forward and become a leader! History is full of examples of shy and timid youngsters who responded to a challenge and rose to greatness as a leader. This book is invaluable for any age! Leadership by example. Pathway to Success. I wish it was available when I was a student. Tim and Scott nailed it!”
– Richard Crain, President of The Midwest Band and Orchestra Clinic
This spring, Mark Burrows (a.k.a. “Mister Mark”) put together a few distance-learning resources called Classics Come Aliveto support music instruction while many school buildings were closed. This is one of our favorites!
We know how hard you’re working to stay connected with your students. And we have all discovered some of the benefits and limitations of technology and “virtual classrooms.” Heritage Music Press wanted to help. Classics Come Alive features some of the great stories from classical music. But they’re not “sit still ‘n’ listen” stories. Each short story invites students to be not just attentive listeners, but active participants. Even better, there are no materials needed, no props, no set-up, no prep-time. All that’s needed is you and your students!
Today’s story is Tchaikovsky Body Tag.
Heritage Music Press has provided the script and a video of Mark sharing the story. Use it as a model to make your own video, or if that seems like too much right now, let Mister Mark bring the story to life with your kiddos.
I picked up the guitar at 14, played in a band for 14 years, then quit.
Years later I picked it up again and have been going strong ever since. But the road to guitar greatness is littered with those who gave up.
Hopefully, my experience helps you avoid becoming a casualty on the guitar “battlefield.”
Let’s look at a four-pronged strategy to defeat the biggest causes of quitting — pain, boredom, and discouragement. We will exploit “beginner’s blush,” focus on the mission, explode plateaus, and “learn how to learn.”
How to Exploit “Beginner’s Blush”
The idea here is to harness the almost irrational, dopamine-induced optimism to push through the painful process of earning your “guitar fingers.”
We now have more than 2 MILLION titles for sale worldwide!
Focusing on our mission to make the world’s music more playable, we’ve doubled our catalog in the last five years by forging critical relationships with sheet music publishers, creating pathways to sell and ship editions worldwide and aggressively expanding into digital sheet music available for instant download and printing.
We started Sheet Music Plus in 1997 with a commitment to serve musicians like ourselves with a full spectrum of sheet music, fast delivery and music experts filling our ranks in every department.
We’d like to celebrate this milestone by introducing ourselves (in alphabetical order!) and sharing some of our favorite items with you.
AMY, General Manager
I have fond memories of playing through the duets in the Album of Flute Duets with my amazing flute teacher, Patty Lazzara. Making music together with others has brought me joy throughout my life.
While teaching at the University of Louisiana at Lafayette from 1991 to 2002, Ghanaian American pianist William Chapman Nyaho was struck by the utter lack of available piano scores by composers of African descent. To the extent that he could find any at all, they were mostly out of print or in manuscript form.
Shortly thereafter Nyaho found himself wandering the exhibition hall at an MTNA conference. He asked publisher after publisher for music by Florence Price. Publisher after publisher responded, “Who’s that?” Nyaho told them that she was an African-American composer and was told time and time again, “We only have Scott Joplin,” with the excuse being that there didn’t seem to be any demand for Price’s music. Nyaho replied, “The chicken or the egg: which comes first?”
While this coincidence might seem puzzling or even contradictory at first, it is exactly what lends Sikora’s approach the nuance and balance to successfully bridge the gap between theory and practice. InJazz Harmony: Think – Listen – Play – A Practical Approach, Sikora sets out to mold musicians who can adapt to anything, regardless of how novel and unexpected it may be. To achieve this, he establishes a close relationship between theory, the ear and our instrument, forging a dialogue between theory and spontaneity that helps musicians connect with music both intuitively and analytically.
Editions Marc Reift, founded in 1983 by noted trombonist and conductor Marc Reift and offering a wide selection of music for bands, orchestras and solo instrumentalists, has two series of repertoire books with accompaniment CDs that are designed for young musicians.
The new Melodies for Beginners collection from Editions Marc Reift allows young beginners to build up a small repertoire of short, simple pieces. Arranged into several volumes for both solo instrumentalists and small ensembles, these Level 1 books are useful for small concerts or auditions.
Have you noticed how grumpy many people are today? I sure have. I believe with all of my heart, that is in part because no one has been to the symphony, seen a broadway show, sang in their church choir or rang in a handbell festival in months and months. Our souls are crying out to be part of a musical experience again.
There are so many challenges facing us today. We need to keep the safety of our communities as our top priority. With that being said, I believe that we also need to consider our spiritual and emotional health as well. Where and when it is possible to do so safely, let’s begin to ring again. It may look different from what we “normally” do. But, what would it look like to ring today? Ringers wearing masks, each ringer at their own table or music stand at a safe distance from one another, no shared equipment. Perhaps ringing outside?? What are the possibilities?
Martha Lynn Thompson adds another set of six settings to her highly successful series of Ring with 6 collections. Each arrangement uses 14-22 bells and is easily playable by six ringers. Three pieces have optional handchimes. A “Bells Used Chart” for each piece provides suggested assignments. No four-in-hand ringing is required but, because some ringers have more than two bells, it is necessary to have a table or a place to put the additional bells. Three of the hymns are suitable for general occasions, one is appropriate for either Palm Sunday or Advent, and rounding out the collection is Natalie Sleeth’s beautiful “Were You There on That Christmas Night?”
I know that these days many of us are searching for ways to keep our singers engaged without gathering. Here we feature several of our most popular titles that have part-dominant rehearsal tracks available for soprano, alto, tenor, and bass, as well as stereo accompaniment tracks. Whether you’re doing a virtual choir or some sort of limited socially distant singing, these tools are a terrific way to help singers learn new music at home on their own.
Originally, this appeared in Joel Raney and Lloyd Larson’s best-selling Lenten cantata, Hope in the Shadows. This medley pairs the popular Keith Getty song with the praise chorus “Cornerstone” and “When I Survey the Wondrous Cross.”
Guest post by Morgan Roberts, Director of Production, Sales & Marketing for Jubilate Music Group
Jubilate Music Groupis the culmination of many years of various developments in the lives of several individuals and the music print industry. These developments led to the consolidation of three separate and distinct music publishing catalogs, each with its own individual history: Alfred Sacred, Jubilate Music, and H.W. Gray. The result is Jubilate Music Group, an eclectic stylistic blend of sacred and secular choral, vocal, handbell, and instrumental publications for adults and children.
Alfred Sacred – Jubilate Music – H.W. Gray
As a result of the consolidation and acquisitions described in this blog, Jubilate Music Group also contains the sacred compositions from the historic Belwin-Mills and Gordon V. Thompson catalogs plus the entire Brodt Music Publications and Good Life Publications catalogs. From Handel, Hopson, and Hayes to Puccini, Penderecki, and Purifoy…Jubilate Music Group catalogs contain a combined 150+ years of rich music publishing history. When considered retrospectively, the changes and developments that came together to ultimately create Jubilate Music Group make its birth true to the meaning of its name:
Music making is more accessible than it has ever been. In fact, there has been a significant rise in searches for music creation software and instrument sales in the last couple of months.
Anyone from beginners to virtuosos can now make a record of their own from the comfort of their homes. Now, what if you don’t know how to play an instrument? As we’ve already tackled in our article on learning how to play guitar, you can learn how to play all on your own through diligent practice.
If you’ve already read that article and are looking to add a little more oomph to your guitar playing, then you may want to consider the electric guitar. To help you out, we’ve put together a quick guide on how to play this instrument. Read on if you want to learn more about the basics, effects pedals, and easy songs you can start playing!
Guest post by Curran Mahowald, a choral singer who participated in Eric Whitacre’s Virtual Choir 6 in May 2020
In the spring of 2020, Eric Whitacre assembled his sixth global virtual choir to premiere his new piece, “Sing Gently.” Following a series of virtual rehearsals led by Whitacre himself, 17,572 singers from 129 countries submitted videos of themselves singing their individual lines.
From there, a team of film editors and audio engineers from 59 Productions and Floating Earth assembled the individual submissions into one final virtual performance:
Here is what it was like to contribute my voice to that video.
One of the most thrilling parts of working with music is discovering new works and budding composers who are changing not only the way we listen to music and perceive sound, but also how we conceive of the broader world around us and our place in it both today and into the future.
Edition Peters has consistently championed contemporary music throughout its storied history, and with its ever-expanding catalog, Peters continues to be one of the staunchest supporters of the artists who shape the future of our musical landscape. Here Kathryn Knight, President of C.F. Peters New York, illuminates the Peters commitment to new music:
Peters has been working with contemporary composers since its inception in Leipzig over two centuries ago, publishing new music by young and emerging composers such as Beethoven, Schumann, Mendelssohn and Grieg… Our commitment to bold new sounds has remained steadfast since that time, signing 20th-century iconoclasts such as John Cage and George Crumb. We know that some of today’s mavericks will be the composers of tomorrow’s classics.
– Kathryn Knight, President, C.F. Peters NY
A Short History of Edition Peters
Edition Peters was founded in 1800 in Leipzig, Germany, and quickly established itself as one of the 19th century’s leading German music publishing houses, building relationships with the most outstanding composers of the era. In the 20th century, Max and Walter Hinrichsen — surviving members of the German Jewish family that owned Edition Peters — fled the Nazi takeover of both their homeland and their family business and established new publishing houses in London and New York, respectively, that would carry on the Peters tradition.
Patti Drennan is an active composer and arranger with almost 700 piano books, piano/vocal books and choral octavos published with major publishers.
As a former 28-year high school choral director and then Director of Worship/Music Arts Director for almost 10 years, I have been seated at the piano creating music in so many venues. (Once a musician, always a musician, right?) In both the secular and sacred arenas, the pianist is often the glue that holds together a concert, worship service, wedding or memorial service. This is also the case when accompanying a soloist or small group. Because all music is not usually performed a cappella, a confident, quick-thinking accompanist must be ready to sense the soloist’s tempo and dynamics, phrasing and places for breathing, and the dreaded skipped-the-repeat-and-now-on-the-next-page moment! Fast thinking is a must for the church pianist and the goal is to play beautifully, giving not a hint of the soloist’s “mis-fire” to the congregation! When I was serving on staff, one of my duties as Director of Music was to create a meaningful worship service with inspiring scriptures, hymns, anthems (often two), prelude and postlude, and timing it all to when the pastor returned from a contemporary service a half-block away in another building. There were often times when he had yet to arrive and I needed to walk to the piano and extemporaneously play reflective music under a guided prayer time. For those who do not play by ear, this would be an important moment to have a secondary hymn or piano book in reach to provide that quiet music. more “Prelude, Postlude and All That’s In Between: A Guide for the Church Pianist”…
If you’re reading this, you certainly don’t need me to tell you that 2020 has been a heartbreaking year. Amid the closing of Broadway and theaters around the country, church choirs on indefinite hiatus, community bands not meeting, summer conferences cancelled, school choirs, bands, and orchestras scrambling to find ways to teach, and all manner of music-making ground to a halt, one thing stands: the desire of musicians to make music. We need it like we need air to breathe.
The ingenuity of those who have adapted online platforms to create virtual ensembles lifts my spirits, as do the rank and file people who have braved the technological hurdles to participate. It’s not quite the same as being in the same room, but it is fulfilling, nonetheless.
I am here to suggest that one way to keep your music-making alive is to take up handbell ringing, or resurrect it, or continue it, depending on your situation. The Handbell Industry Council, which includes manufacturers of handbells and peripheral equipment, publishers, and elite performing organizations, has guidelines for ringing safely on their web site:
Publishing over 1,000 new works every year, Lorenz offers an extensive catalog of choral, keyboard, and instrumental music to support the ministry of churches large and small. From traditional and liturgical to blended and contemporary, music for many styles of worship can be found across its imprints: Lorenz Publishing Company, Medallion Music, and The Sacred Music Press. Having been at the forefront of new church music for over a century, Lorenz is home to best-selling titles written by the most prominent names in church music today, and is committed to supporting the creative work of future generations of composers and arrangers.
O sing to the Lord a new song; for he has done marvelous things. Make a joyful noise to the Lord, all the Earth. (Psalm 98:1, 4 NRSV)
The Psalms tell us to sing new songs to the Lord. This biblical mandate inspires how we use our gifts. We compose, arrange, edit, and publish new music so that churches and individuals have the resources they need to praise the Lord with instruments and voices. As times change and fads come and go, and as one generation passes to the next, we will always need new music to keep our worship current and relevant.
Bryan Sharpe Director of Church Choral Publications, Lorenz
As Sheet Music Plus stands in solidarity with those around the world advocating for change, we’d like to ask you to join us today in listening to Black voices. Here we recognize organizations that support and promote Black musicians and music education:
National Association of Negro Musicians (NANM): www.nanm.org
National Association for the Study and Performance of African American Music (NASPAAM): www.naspaam.org
We also share, in addition to the legacies left by brilliant but underappreciated Black classical composers like Scott Joplin, William Grant Still, Florence Price, William Dawson, and Nathaniel Dett, a directory of living Black composers maintained by Music by Black Composers (MBC):
The 1999 recording The Melody at Night, with You is one of Keith Jarrett’s most popular records. Originally created as a gift to his wife, his versions of songs from the Great American Songbook plus the traditional “Shenandoah” are permeated by a special atmosphere that makes the recording one of his most personal audio documents. Jarrett dispenses with the jazz soloist’s conventional emphasis on dexterity, the “clever” phrase and the virtuosic sleight-of-hand, and instead strips these songs to their melodic essence to gently lay bare their emotional core.
After many years of preparation, the sheet music for The Melody at Night, with You has now been published by Schott Music with Jarrett’s approval and the support of Jarrett’s label, ECM.
Doug Hanvey studied piano and music composition at the Jacobs School of Music at Indiana University Bloomington and jazz piano with keyboard guru John Novello in Los Angeles. In addition to his musical training, Doug holds a master’s degree in adult education. He is the author of The Creative Keyboardist course and specializes in online piano lessons for creative adult beginners.
Music teachers are not obliged to be good writers, though it certainly comes in helpful when trying to communicate one’s services to potential students or parents. Fortunately, a few principles of clear, effective and persuasive writing can make all the difference to the success of your studio’s website.
This article will focus on how to write an effective headline for your studio website’s home page. Headlines are crucial because their major purpose is to get your website visitor’s attention. If you don’t get your visitor’s attention, you’ve already lost them.
Every headline for a web page should follow at least two (and possibly three) principles:
1. Get attention by grabbing the reader’s interest
2. Give them a reason to keep reading
If you are trying to get your website higher in the search engine rankings, your headline should also:
Debbie Cavalier of Debbie and Friends, a music educator and Sr. Vice President at Berklee College of Music/DEO Berklee Online and one of the top children’s music artists in the nation, published Learning To Play Pianofor the Very Young to provide a fun, engaging introduction to the keyboard. Cavalier created the book with her grandfather, noted arranger/composer Marty Gold.
With this fun, new pre-primer piano method, young children may:
learn to read the treble clef and note names using colorful pictures
get started playing familiar melodies with their right hand
learn to play seven well-loved songs including favorites such as “Twinkle, Twinkle” and “Jingle Bells”
enjoy family sing-alongs with the guitar chord chart and lyrics included
Guest post by Dan Leeman, a music educator and software consultant from Fargo, North Dakota. He taught middle school band and went on to found the Davies High School band program in 2011. Dan’s new site, notestem.com, combines his love of music, education, and technology. While the site is in its infancy, it will be home to music tools and resources that will be released in the coming months.
The impacts of Coronavirus and social distancing are being felt all around the world. Music teachers and students alike are wrestling with the effects on the music-making process, both logistically and emotionally.
So much of what makes music fun for us is sharing it with others: playing in ensembles, performing concerts, worshipping with our congregations, and teaching our craft. Unfortunately, many of us have found the usual ways we gather together to share music abruptly curtailed recently. With the help of technology, though, teachers and students alike can access a plethora of opportunities for distance learning through online lessons and rehearsals, practice aids, self-instruction and advancement, and sheer repertoire exploration.
Here’s our guide to navigating distance music learning and instruction. Let us know if you have any tips or pointers, and we’ll be happy to share them with our community! more “Guide to Remote Music Education”…
The postlude following a service makes creation resound with praise and allows the congregation to leave the church proclaiming God’s greatness. As the signal for the congregation to disperse, it should be a stirring exclamation point to the service that connects the worship experience to the secular world to which the crowd of people is about to return.
In a January 2019 survey, BPI (British Phonographic Industry) found that British state schools had seen a 21% decrease in music provision over the previous five years, with this decrease disproportionately affecting schools serving less affluent communities.
To address this situation, TV star and conductor Gareth Malone of BBC Two’s The Choir has joined forces with teacher Catherine de Sybel to create an exciting new music resource for schools, Bright Star: Inclusive Songs for Whole-Group Singing. Catchy, heartfelt, accessible and fun, the book includes a song co-written with Gary Barlow and Eliot Kennedy. Equally suitable for small groups, school choirs or the entire school, these engaging songs cover a wide range of themes including life choices, friendship and community, the environment, bereavement and growing up.
The songs are written to get the whole school singing confidently and are appropriate for all ages, with a particular focus on children aged 8–14, bridging the gap between Key Stages 2 and 3, when children are more likely to give up singing.
“We believe that singing has enormous benefits to children’s mental and physical well-being and that it should be an integral part of every child’s school day. The simple act of breathing and singing together can be so valuable in fostering a sense of community and shared values. We hope that the subject matter will resonate with pupils and their teachers and we have included some pointers for discussion in the introduction to each song. We want pupils of all faiths and none to experience the joy of singing and most importantly for every school to be a singing school!”
— Gareth & Catherine
Designed to be user-friendly for music teachers and particularly non-specialist teachers, the Bright Star pack includes full scores, demo and backing tracks to download, and photocopiable melody and lyric sheets. Introductory notes on the songs provide support in learning and performing, as well as discussion points for use in the classroom.
About Gareth Malone
Gareth Malone OBE, is well-known around the world as a broadcaster, composer and choral animateur. He has won two BAFTAs for his BBC Two series The Choir, and has been making programs for the BBC for over 14 years. Other achievements include working as an artistic director for a Royal Opera House community opera, and working with orchestra and opera education departments, including the LSO, Philharmonia, Glyndebourne and ENO Baylis.
Gareth has had two number-one singles in the UK, the first in 2011 with the Military Wives Choir, followed by the Gareth Malone All Star Choir for Children in Need three years later. He has also had two number one albums: In My Dreams with the Military Wives, and his latest, Music for Healing, which is currently at the top of the specialist classical charts. His 2014 series The Big Performance 3 won the Royal Television Society award for best children’s television, and Gareth Goes to Glyndebourne won an International Emmy in 2011. In 2012 he was honored with an OBE by Her Majesty the Queen for services to music.
Gareth continues to compose with young people and to work with emerging artists. He has recorded with some of the leading performers in the UK and has just released his third album, Music for Healing.
About Catherine de Sybel
Catherine de Sybel is a composer, pianist and music educator. She read music at the University of Cambridge and continued with postgraduate studies in composition at the École Normale de Musique in Paris, where she won the prestigious Premier Prix for her work for mezzo-soprano and piano, Imagination.
Her teaching career, spanning over twenty years, has encompassed work in mainstream, private and specialist schools, always driving inclusive music education to the forefront of the curriculum. As Head of Music at Elizabeth Garrett Anderson School, she facilitated outreach projects with the London Symphony Orchestra, London Sinfonietta and Orchestra of the Age of Enlightenment, as well as high profile performances for Her Majesty the Queen and Michelle Obama.
In addition to her work inside the classroom, she has led music composition workshops for trainee teachers at the University of Cambridge, mentored beginner teachers from the Institute of Education and worked as Schools Projects Manager at the London Symphony Orchestra.
Catherine believes passionately in the power of music to inspire and educate and has dedicated her career to enabling the finest musical opportunities for children from all backgrounds whilst encouraging young voices to be heard from every corner of her school.
Wolfgang Amadeus Mozart’sMass in C minor (K. 427) stands alongside the Requiem (K. 626) as his most remarkable church composition. Today it enjoys almost cult status, first because of its monumentality, which is unique in Mozart’s sacred vocal music, and second because, like the Requiem, it partakes of the aura of the unfinished and mysterious. The exact circumstances that gave rise to it as a votive mass have eluded explanation to the present day. The same applies to the reasons why it was left unfinished and to many details of its first performance, which, as far as we know, took place at St. Peter’s Church, Salzburg, on October 26, 1783. Finally, the transmission of the original sources also raises many questions. Indeed, it is astonishing that the Mass, although left as a torso, was performed at all during Mozart’s final visit to Salzburg. more “Revisiting Mozart’s Great Mass in C minor”…
Guest post by Darcy Stanley introducing her new collection of sacred piano music, Seasonal Settings for Worship. Stanley, a composer, arranger, lyricist and orchestrator, has published many choral works, solo and duet arrangements, piano arrangements and orchestrations. As a pianist, she has been designated Permanent Professional Certified Teacher of Music in Piano from Music Teachers National Association, and has served as adjudicator for various music festivals and piano competitions. Stanley worked as adjunct music professor at Faith Baptist Bible College for 15 years, teaching piano and Choral Writing and Arranging. She and her husband, Tim, live in Greenville, SC, where she is pianist and director of orchestra and instrumental ensembles at Cornerstone Baptist Church.
Let everything that has breath praise the Lord! (Psalm 150:6) I have had the joy of praising the Lord through music since I was a child. As a little girl, I found great joy in playing the piano and singing for anyone who would listen. My sweet grandfather was my favorite and most frequent audience!
Many years have passed since those early days, and I am thankful for the numerous opportunities I have had to serve the Lord and praise Him with music. Serving as church pianist for most of my adult life has given me an appreciation of the importance of music in worship services. Pianists need to be prepared with more than just a few of their favorite hymns. Special services and occasions require music that will specifically enhance the worship service with an intentional purpose. more “Darcy Stanley: Seasonal Settings for Worship”…
Guest post by Dr. Dominik Rahmer, editor at G. Henle Verlag.
The formal technique of “variations” played an important role in Beethoven’s work throughout his entire life. Critic Paul Bekker wrote in 1911, “Beethoven begins with variations,” and indeed this is true not only of the character of his oeuvre, but also of its chronological progression: Beethoven’s very first published work was his 9 Variations on a March by Dressler, WoO 63, which appeared in 1782.
Similarly, we could add that Beethoven also ends with variations. The Diabelli Variations, Op. 120, which are amongst his last piano works, not only crown his creativity, but also, in the history of piano variations, are probably equaled only by Bach’s Goldberg Variations.
The panoply of variations within his multi-movement works also indicates how fundamental this technique is in Beethoven’s musical thinking. Consider, for example, the profound closing movement of the last piano sonata, Op. 111, or the grand finale of the 3rd Symphony.
Though the themes of these movements were usually Beethoven’s own inventions, here we will focus on the pieces composed as independent variation sets on popular melodies. This vantage point reveals some interesting finds. more “A Short Foray into Beethoven’s Variations”…
The Sightreading Coach “listens” to the student play along with the score, and instantly grades rhythm and pitch by highlighting incorrect notes and rhythms. Students can practice the exercise as often as they wish, and upload their best performance to the teacher in between lessons. Teachers can monitor student progress without using valuable lesson time, making at-home practice more accurate and efficient.
Guest post by composer Pepper Choplinintroducing his new cantata, Once upon a Morning: From Resurrection to Pentecost. Choplin is known as one of the most creative writers in church music today. With a diverse musical background, Choplin incorporates varied styles such as folk, Gospel, classical, and jazz. His published works include over 300 anthems for church and school choir with 20 church cantatas and two books of piano arrangements, and over 120 groups have commissioned him to write original works for them. Since 1991, his choral music has sold several million copies. Choplin has conducted eight New York concerts of his music at Carnegie Hall and Lincoln Center with 250 voices and full orchestra. In his hometown of Raleigh, he has conducted eight mass performances of his cantatas at Meymandi Auditorium (home to the NC Symphony) with over two hundred voices and orchestra. In 2019, he conducted Handel’s Messiah (Christmas portion) with the 150-voice Cary Community Choir with orchestra. He also visits many schools, churches and conferences to conduct and to entertain.
I always wanted to write this cantata. Then a church in Pennsylvania commissioned me to write a spring cantata outside of the typical Easter work. For a year, I surveyed directors and singers about different potential subjects. This idea got them most excited.
I loved writing this cantata. These wonderful stories don’t receive much attention in church music. Yet, they contain so much drama and passion.
Our one-stream event setup means we all share two days together, and listen and learn from each other.
Also, the presentations will not be passive.
Learn by listeningand by doing. Experience workshops, live teaching, masterminds and implementation sessions.
Rub shoulders with some of the world’s most creative and innovative teachers.
Speakers and Presenters
As you might have guessed, I will be your host!
But I’ve also enlisted the help of some of the world’s brightest music minds to bring you the best in music pedagogy.
I have amazing keynote speakers in Samantha Coates, Carly McDonald, Philip Johnston and Anita Collins.
The wonderful Nicola Cantan, Joyce Ong, Paul Myatt and others will also be speaking and presenting at the event.
There are a few different types of presentations you can expect at Piano Pivot Live from these wonderful speakers.
Keynote presentations: You can’t have a conference without some keynote speakers sharing their wealth of knowledge with you.
Live teaching: Watch me teach a student live on stage! You will see exactly how I teach creatively on stage for 30 minutes.
Masterminds, Fireside Chats and Panel Events: Connect with other teachers and share your knowledge in our mastermind sessions, guided by a topic expert. Ask your questions to our panel of experts. We’re here to help you.
Practical workshops: Sometimes you just have to DO things. After learning a variety of pedagogy and business techniques, you will brainstorm ways to implement them so you can leave the conference with an action plan.
I’m so excited for you to share in what will be an incredible learning experience.
Tim Topham has one mission in life: to stem the tide of children quitting music lessons by helping teachers maximise student engagement through creativity, technology and innovation. Tim hosts the popular Creative Piano Teaching Podcast, blogs regularly at topmusic.co and speaks at local and international conferences on topics such as pedagogy, business, marketing and entrepreneurship. Tim has been featured in American Music Teacher, The Piano Teacher Magazine, Californian Music Teacher and EPTA Piano Professional. Tim holds an MBA in Educational Leadership, BMus, DipEd and AMusA.
Guest post by composers Lee & Susan Dengler introducing their new Holy Week cantata, When Darkness Comes. Lee and Susan are the authors of over 400 choral anthems, cantatas and vocal and piano solo collections that are used worldwide. They have served as music leaders in churches, and have taught music on the elementary, high school and college levels. Both are professional singers and have performed in recitals, operas, oratorios and musicals. They reside in Goshen, Indiana.
Lee Dengler & Susan Naus Dengler
Easter was in mid-April that year. We who work in church music are relieved when Easter comes that late in the season, allowing adequate time to prepare for the music of Lent and Easter.
However, there was a lot going on in our house back then. We were awaiting the birth of our second child. The due date was April 1. Because of church responsibilities, we hoped that this baby would arrive on time. Rebecca Joy only made us wait two extra days before she appeared on the scene. Even though Palm Sunday was only two days later, we could fulfill our Holy Week responsibilities without too much stress.
Over the summer we found some time to connect over Skype with composer, oboist, installation artist and professor Sky Macklay, who was in the middle of what sounded like a truly magnificent residency at Civitella Ranieri in Umbertide, Italy. Macklay’s work, especially her chamber music and intermedia pieces, has been receiving more and more attention recently, especially in light of her 2017 Grammy nomination for “Many Many Cadences,” a chamber piece written for Spektral Quartet and appearing on their 2016 album, Serious Business.
The measured but sincerely eager thoughtfulness that Macklay employs in conversation about her art is also a key component of her work, which simultaneously revels in playfulness and freedom. The themes and concepts covered by her oeuvre, whether sociopolitical or linguistic or purely sonic, are almost as expansive as the tools she employs to explore them and convey her perspective on them. Her curiosity seems to be matched only by her omnivorous gravitational pull on the world around her: everything is on the table to explore via every means she can get her hands on. And the results are surprising, head-turning, eye-opening — and continuously exciting.
1870 marked the 100th birthday of Ludwig van Beethoven. After denying the invitation from the “Beethoven Committee of Vienna” to appear onstage together with Liszt, Joachim and Clara Schumann to celebrate the event, Richard Wagner decided to write an essay instead. While this essay is notable as a broader investigation of Wagner’s aesthetic philosophy and ideals, it also remains an insightful exploration of both the artistic significance and enduring popularity of Beethoven’s music. For Wagner Beethoven’s music isn’t merely beautiful, a concept that is for him constrained by convention and subject to changing tastes and fashions, but sublime. Beethoven reveals a sort of Platonic ideal of melody, thereby liberating it from its historical moment, and connecting his listeners with a timeless, universal human truth. For Wagner it is Beethoven’s radical defiance against tradition and his intense emotional expressions that make his music a vehicle for revelation.
Though these strains are apparent across Beethoven’s entire oeuvre, it is in his piano sonatas that Beethoven’s boldest thoughts and gestures shine most brightly. Perhaps this is due to the fact that Beethoven was widely known as a brilliant pianist in his own right, giving him the natural freedom to stretch the boundaries of the instrument. Perhaps, though, it is also due to the nature of the piano itself: a solo instrument that lends itself to the realm of the personal and inward, even the diaristic, and one that, by allowing tones only to be struck and not sustained or driven forward, abstracts music into its most intellectually pure form, making it a prime medium for musical exploration and innovation.
To explore Beethoven’s piano sonatas is to explore Beethoven’s musical innovations. In these 32 pieces, we see the concentrated version of the familiar trajectory guiding us from the Classical era into the Romantic: the experimental mimicry of his early years, the ego-driven defiance of his middle years where, at the height of his compositional powers, he most fully challenges convention, and finally his late years where, fully deaf, he introspectively explores the mysteries of life and death. more “Beethoven’s Piano Sonatas: The New New Testament of Piano Repertoire”…
Sheet Music Plus has supported the fundraising efforts of each of these organizations in recent years, and today we’d like to once again bring to light the extraordinary work they do to connect children with music and bring these children the multitude of benefits that music can offer them.
We urge you to support them today and every day throughout the year to the extent that you are able, and if you or someone you know would benefit from their services, we encourage you to reach out to them for assistance.
Give A Note Foundation provides support to nurture, grow and strengthen music education opportunities. Founded in 2011 with an initial investment from 21st Century Fox and the TV show GLEE, Give A Note increases access to quality music education for more students, especially those in urban and rural communities where funding is scarce. Give A Note’s Music Education Innovator Award recognizes teachers who have developed creative, effective in-classroom programs and provides ongoing support to encourage lasting change within a school or district. Music Teacher Notes offers teachers an opportunity to apply for funds that will enable them to serve more students and significantly improve the music education experience in their classrooms.
Haydee Vazquez, a senior at Ramona High School in Riverside, CA, found a connection to her family’s culture and an environment for her to blossom as a musician, friend and well-rounded person in her school’s mariachi program, Mariachi Dinastía de Ramona. Give A Note invested in Mariachi Dinastía de Ramona during its first round of the Music Education Innovator Award, granting Director Brian Gallagher funds to add instruments to the program to increase student engagement in music. Here is Haydee’s story:
“Mariachi music has always been part of my family’s culture, but I was never a big fan of it until I joined the group. Previous to Mariachi Dinastía de Ramona, I had been a part of various musical groups, including Wind Ensemble and Dynasty Marching Band as a trumpet player, and Madrigals as an alto singer. These groups all gave me amazing experiences, but I wasn’t able to find a balance to do everything. During my junior year of high school, a friend of mine introduced me to the mariachi class…The environment was slightly altered but still familiar, but the experience was completely different. The mariachi group and class has taught me to appreciate music through a different perspective, learn from the experiences I had as a single individual and as part of the ensemble, as well as provide me with a safe haven from the outside world in which I can enjoy playing music with the wonderful people I’ve developed great friendships with.”
The Mr. Holland’s Opus Foundation was inspired by the acclaimed motion picture Mr. Holland’s Opus, the story of the profound effect a dedicated music teacher had on generations of students. The Foundation keeps music alive in our schools by
donating musical instruments to under-funded music programs, and providing vital services to school districts nationwide, giving economically disadvantaged youth access to the many benefits of music education, leading them to success in school, and inspiring creativity and expression through playing music. Over 23 years, more than 29,000 instruments have been donated to 1,560 schools across the United States through the Mr. Holland’s Opus Foundation.
Felice Mancini, President and CEO of the Mr. Holland’s Opus Foundation, reflects on her organization’s impact:
“We believe that kids thrive when given the chance to learn and play music. We regularly check in with teachers who receive instruments and it is very satisfying to know that they see dramatic improvement and accomplishment when students play great-sounding instruments. Schools are such an integral part of any community, and tools and activities that increase student success and get them through to graduation and college make communities stronger.”
The Mr. Holland’s Opus Foundation gave an instrument grant to Jeremy Diggs, Director of Bands at Fonville Middle School in Houston, TX, who described the effect that the foundation’s grant had on his students:
“The students all expressed that playing on the new instruments made them feel more confident in what they were doing. That boost of confidence came in handy because the 8th-grade band received straight 1st divisions at the district competition. All of the students were playing on donated instruments! We couldn’t have done it without the investment you made in our band program! Thanks again!”
Catherine S., a student at Key Middle School, also in Houston, TX, sent this thank-you note to the Mr. Holland’s Opus Foundation after receiving a new flute through an instrument grant provided by the foundation:
The Ukulele Kids Club (UKC) is an international nonprofit organization based in Plantation, FL. The UKC was founded in 2013 by Corey and Edda Bergman as a tribute to Jared Bergman, their son who died tragically at the age of 20 from a viral infection. In his bereavement, Corey, a lifelong musician, was inspired to begin volunteering his musical talents at local children’s hospitals in the Miami area, playing guitar for patients and their families. He let the children try out his guitar, but after finding it was too large for some of the younger patients, he realized that the instrument’s smaller cousin, the ukulele, might be a more approachable alternative. Corey began teaching these young patients the ukulele, and so was born the UKC.
Since its founding, the UKC has directly supported the health care of nearly 10,000 children through music, music therapy and donations of its signature instrument. The UKC works with more than 200 hospital-based music therapy programs in the U.S. and internationally, including Canada, France, Japan, Mexico, Puerto Rico, and the United Kingdom. A leading advocate of music therapy, the UKC also supports training and education through clinical fellowships. The UKC is a gold-level GuideStar participant.
The mother of a patient who received a ukulele through UKC remarks:
“Thank you, Ukulele Kids Club, for the ukulele (courtesy of Matt at Oakland Children’s Hospital). My 7-year-old daughter is fighting stage 3 Rhabdomyosarcoma, and while in Boston getting radiation therapy, she got a chance to take ukulele lessons. When returning to California, she told her music therapist all about it and how she didn’t have one at home, and he came back to her room with this [ukulele]. She loves to play.”
A patient who received a ukulele herself from UKC also shares the way that her ukulele and her music therapy helped her through her illness:
“I am a patient at the University of Michigan Mott Children’s Hospital receiving treatment for a struggle with anorexia. I was one of the lucky patients to be given a ukulele that was donated to the hospital by your organization, and I must express my profound thanks for this amazingly generous gift you gave. Playing and learning the ukulele with the music therapist was one of the few comforts during my stressful stay at the hospital. Therefore, I am very thankful for your generosity and the gift you have given me.”
So, you want to learn how to play the ukulele. Great! In this article, I’ll take a close look at 7 popular ways to begin your ukulele journey and explain who each of these methods is best for.
You, the learner, need a book that fits your learning style and background knowledge. You want a book that teaches you the ukulele skills you would like to know, such as singing and strumming chords, fingerpicking melodies, reading ukulele tablature, and/or learning to read standard music notation. You also want to find an approach you will enjoy.
In some ways learning music is like learning a whole new language. You also need to know what skills you must master in order to progress in music such as how to practice. Finally, you have to learn how to tune your instrument and take care of it. more “Beginning Ukulele Book Reviews for 7 Popular Methods”…
For a conductor music starts with Beethoven. And for the son of a conductor both can start very early, as they did for Jonathan Del Mar, Beethoven scholar and editor of the new edition of Beethoven’s nine symphonies for Bärenreiter.
In 1949 Del Mar’s father, conductor Norman Del Mar, purchased a copy of the 1924 facsimile of Beethoven’s Symphony No. 9, which he studied with Jonathan when he was still a child. The younger Del Mar, whose career also began as a conductor, remarks, “Had it not been for our possession of this endlessly fascinating document, it must remain doubtful whether my interest in Beethoven’s handwriting, and my work on his autographs, would ever have begun.”
Jonathan Del Mar’s edition of the nine symphonies for Bärenreiter, completed in 2000, has become the preferred edition for many renowned conductors worldwide.
“We all are amongst those of gratitude to Jonathan Del Mar who simply did the work to give us the first, really true edition of what this music was.”