Archive for the 'Practice & Performance' Category

Making Connections & Creating Community In an Overscheduled World

Guest post by Susan Eernisse, Children’s Music Editor for Jubilate Music Group

One of the things we as children’s choir directors deal with is the competition for a spot on the weekly family schedule. I believe there are some fantastic things going on every week in our choir rooms, yet how do we get the word out to families? And how do we get children there – and keep them coming back week after week?

I believe that making connections with the parents as well as the children is key. Here are a few things I have tried with some success.  

  1. Advertise choir through all ministries of the church – music ministry, children’s ministry, even senior adult ministry – often grandparents are the ones tasked with transporting the children. 
  2. Make regular contact: send weekly emails to the parents telling the important things happening in choir that week; provide a calendar with key dates before the beginning of each semester; follow up on absentees – first with a text or email to the parents, and then with a handwritten note to the child. It is amazing how appreciative parents are when you notice their child is missing from rehearsals! 
  3. Send purposeful greetings. Birthday cards are always a great touch. Send thank you notes, get-well cards, holiday cards – address them to the child, but the parents will notice and appreciate your time and attention. Last year I sent Thanksgiving cards to the children timed to arrive during the holiday break. I included a hymn story for the children to share with their families and tucked in a card listing all the remaining choir dates through December.        
  4. Involve children in worship leading in addition to singing in the choir. Children can pray, collect the offering, light candles, read scripture, and even serve on your worship team on occasion. Budding instrumentalists can play preludes or offertories. 
  5. Offer elective/auxiliary groups for your early arrivers. We began a handchime choir for our older children that meets between our family night supper and choir time because we noticed many finished eating quickly and had nothing to do until choir time. Consider Orff ensembles, drama groups, percussion ensembles – even bucket drumming!
  6. Create a social media page for your choir.  We have a separate page that is connected to our church account. You can make the page private to allay parent’s privacy concerns. Post video snippets of rehearsals, photos of activities and announcements regarding performances and special events. Enlist some parent volunteers to “market” your group, or have a rotation of parent helpers to attend choir, take pictures, write cards to absentees, etc. 
  7. Involve families in music making. Enlist parents or older siblings to play instrument parts, sing harmony parts, read narrations, or add percussion instruments. Think of your choir as a family activity, not just something else to fill the children’s weekly calendar. 
  8. Plan public performances each year. As an outreach of your children’s choir program, explore offering programs for service clubs, senior living facilities, non-profit agencies, and more. Even musicals can be mobile events if you plan with simple sets and portable props.

As your choir begins to transform from choral group to more of a family, consider the new musical, Family Tree by Ellen Woods Bryce from Jubilate Music Group.

It has simple casting, easy set, and important themes of concern for children and families in today’s world: how to become part of God’s Family Tree, communication, adoption, divorce, and forgiveness.  It teaches important lessons not only for children, but for their parents as well. As is so often the case, music is a means of ministry to and through the children you faithfully serve week after week.

Susan Eernisse is Children’s Music Editor for Jubilate Music Group. She serves as Associate Music Minister and Director of the Performing Arts Academy for First Baptist Church Gainesille (GA).  She is also a published writer.  

Great Editing: The Difference between Success & Frustration!

Guest post by Ingrid Jacobson Clarfield and Phyllis Alpert Lehrer, editors of Classics for the Developing Pianist and Study Guides for Preparation, Practice & Performance Books 1-5

Classics for the Developing Pianist and Study Guides for Preparation, Practice & Performance Books 1-5

Our 5 anthologies contain the 100 pieces that pianists should learn to play. In the 5 companion Study Guides for each piece. Problems are IDENTIFIED and problems are SOLVED.                                                             

Continue reading ‘Great Editing: The Difference between Success & Frustration!’

Vocal Warm-Up Cheat Sheet: An Easy Way to Improve the Sound of Your Choir

Composer Michael John Trotta has prepared a cheat sheet full of vocal warm-ups to help you get your choir back in the swing of things and sounding better than ever.

Download Michael John Trotta’s Vocal Warm-Up Cheat Sheet here:

Continue reading ‘Vocal Warm-Up Cheat Sheet: An Easy Way to Improve the Sound of Your Choir’

How to Start to Learn Guitar Solos

Guest post by Leo Nguyen, founder of Six String Tips

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.) 

Continue reading ‘How to Start to Learn Guitar Solos’

Beethoven’s Violin Sonatas: Setting the New Performance Standard

Ludwig van Beethoven

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.

“This is the highest quality of academic scholarship, but it is not only that: this edition has enabled me to bring these sonatas to life in a way that has not been possible before – this is historical research in the service of living and breathing music!”

Viktoria Mullova, Violinist

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.

Continue reading ‘Beethoven’s Violin Sonatas: Setting the New Performance Standard’

First Rule of Guitar: Never Give Up

Guest post by Michael Andros

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.” 

Continue reading ‘First Rule of Guitar: Never Give Up’

Frank Sikora’s Jazz Harmony: The Best-Selling Practical Approach to Jazz Now Available in English

“There is no truth in theory – only in music!”

Frank Sikora

That’s Frank Sikora‘s creed.

Frank Sikora is also in charge of the theory department and the Master’s program in Jazz Composition & Arrangement at the University of the Arts Bern and is the author of a best-selling and widely acclaimed jazz theory book, Neue Jazz-Harmonielehre, that is now available in English: Jazz Harmony: Think – Listen – Play – A Practical Approach.

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. In Jazz 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.

Continue reading ‘Frank Sikora’s Jazz Harmony: The Best-Selling Practical Approach to Jazz Now Available in English’

A Four-Part Journey through Eric Whitacre’s Virtual Choir

Guest post by Curran Mahowald, a choral singer who participated in Eric Whitacre’s Virtual Choir 6 in May 2020

Eric Whitacre

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.

Continue reading ‘A Four-Part Journey through Eric Whitacre’s Virtual Choir’

Tips on Practicing Music in the Time of COVID-19

dan-leeman-notestem

Dan Leeman

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.

One of the greatest opportunities during this phase of social distancing is to establish strong practice routines. Here are some tips to help make the most of your practice time. Continue reading ‘Tips on Practicing Music in the Time of COVID-19’

Sightreading. Solved.

FPALogo

Nancy and Randall Faber are pleased to announce the release of their newest digital support tool, the Piano Adventure Sightreading Coach. This innovative technology provides immediate feedback and assessment, making it the perfect companion to the Piano Adventures Sightreading books.

PianoAdventureSightreadingCoach

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.

Continue reading ‘Sightreading. Solved.’

About Take Note:

Thought-provoking articles by musicians for musicians

FREE Newsletter:

Get exclusive discounts and coupons
Sign Up Today →

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 460 other subscribers

%d bloggers like this: