Music Camps, Music History

2015 Music History Camp

Summertime means…time for music camp!

Last week, I held my first music camp of the year: our annual Music History Blast From The Past camp using my composer lapbook curriculum. This year, I was able to re-use a few of the composers that we studied at camp three years ago, but I did create a new lapbook for Vivaldi.

Each day, we studied a period of music history and a composer from that time period.

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What kid doesn’t enjoy arts and crafts + music?! 🙂

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The four composers we studied this year were Antonio Vivaldi, Wolfgang Amadeus Mozart, Amy Beach, and John Cage.

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Here is a photo of this year’s camp T-shirt design. 🙂 I ordered my shirts from CustomInk.com.

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It was a fun week!

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Interested in holding your own music history camp using these composer lapbooks? Here is a blog post describing how to do just that!

Stay tuned — tomorrow I will share more about the new lapbooks now available in my digital shop: Vivaldi and Prokofiev.

Conferences

2015 Piano Pedagogy Seminar at Ohio University

Last weekend, I attended the 2015 Piano Pedagogy Seminar at Ohio University. It was a wonderful event that definitely helped recharge my teaching batteries! If you happen to live anywhere near Ohio University, I would encourage you to “like” their facebook page so you can receive information about this annual event.

This year, the featured artists and clinicians were Alan Chow and Dr. Robert Duke. Alan Chow gave a masterclass, an artist recital, and a lecture entitled, “It’s In The Score!” I really like Alan Chow’s playing — I must say his recital was among the best I’ve attended. His lecture the following day was enlightening as it gave us a glimpse into his mind as an artist interpreting the score, and also into his mind and method as a teacher.

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Robert Duke gave a two-part lecture entitled, “If We Learn Like That, Why Do We Teach Like This?” He is the author of the incredible book, Intelligent Music Teaching, which I reviewed in a previous post. His lecture was challenging, inspiring, and entertaining. If you ever have the opportunity to hear him speak, be sure to take advantage!

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cover170x170After his lecture, Robert Duke encouraged us to check out the U of Texas-Austin’s Center for Music Learning website. There are a variety of videos and other free resources available there. He also let us know that he is involved in an NPR podcast called Two Guys on Your Head. I’ve been greatly enjoying these podcasts, and I also discovered that there are a few lectures by Robert Duke available for viewing on YouTube if you search for his name.

Other sessions included a lecture entitled, “The Secret Ingredient to Piano Teaching Success: The Powerful Role of Parents” by husband and wife team Dr. Christopher Fisher (OU professor) and Katherine Fisher (co-author of the Piano Safari method). In their talk, they described the “Parent Practice Workshops” they like to organize to help inform and equip parents to support their students’ piano study. They also shared a huge variety of creative resources and ideas for making home practice interesting and effective. If this sounds interesting to you, you might enjoy listening to this podcast Chris Fisher gave for the TeachPianoToday.com folks.

We also enjoyed a session about the Royal Conservatory of Music exams, given by Dr. Andrew Hisey. He gave an overview of the program and also provided a great deal of helpful information about the changes that were made with the release of the new 2015 syllabus (revisions are made every seven years). P.S.: If you have ever used my free technique charts for RCM, please know that I do plan to release charts for the new 2015 syllabus–hopefully soon!

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For the OU seminar, I traveled and roomed with a seasoned piano teacher from my local MTNA chapter. We had such a great time together.

I’ve been saving up to attend a couple of other events at the end of this summer: the 2015 NCKP near Chicago and a workshop by Irina Gorin occurring in the Indianapolis area. What upcoming events are you planning to attend? I encourage every piano teacher to be committed to attending every professional development opportunity that you can!

Resources

Highlighter Tape Alternative for Marking Music

Just a quick, fun post today…

I’m sure many of you are familiar with and love using highlighter tape to add visual reminders to students’ sheet music. The “tape” is transparent yet colorful, and removes easily if you want to keep the student’s music clean. I’ve seen highlighter tape available at music stores, conferences, or online.

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Highlighter tape is a bit expensive (but worth it!), in my opinion. However, I recently discovered that these highlighter “tabs (pictured below) are just as good if not better!Hot-Sale-Paper-Sticky-Adhesive-Post-Highlighter-Index-Tab-Flags-It-Neon-Page-Marker-School-Memo.jpg_350x350

 

They are essentially pre-cut as opposed to the tape rolls. Only half of the strip is sticky, but that actually makes removal easier. Win-win.

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You can buy packages of highlighter tabs here on Amazon; however, you will find it to be much more affordable in the office supply aisle at your local store. You might even find them at your local dollar store.

Reviews

Book Review: Intelligent Music Teaching by Robert A. Duke

I am excited to post this book review because this is one of the best books I have read in a while. If you are looking for a practical yet research-based book about piano/music pedagogy, get your hands on this book. This is my best book recommendation for any music teacher looking to improve their teaching.

Intelligent Music Teaching: Essays on the Core Principles of Effective Instruction, by Robert A. Duke

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The author, Robert Duke, is currently Professor of Music and Human Learning at the University of Texas at Austin. According to his bio, his research on human learning and behavior includes studying motor skill learning, cognitive psychology, and neuroscience. He is also a former studio musician and public school music teacher.

Robert Duke’s book is organized into eight chapters or essays, with titles such as “Precision in Language and Thought,” “Sequencing Instruction,” “Feedback, and “Effecting Change.”

In the first chapter, the author makes a point about the ability to speak/write with precision of language being an important asset for any teacher. Based on the wonderfully clear writing is this book, I imagine that the author is an excellent teacher.

The book discusses how to think of the every day components of our teaching — instruction, assessment, evaluation, sequencing, etc. — with an awareness of how the human mind works and learns. Every page of this book contains a nugget of wisdom or practical tip for how to teach intelligently and meaningfully so that our students learn how to change and improve themselves.

Allow me to give you one quick example of a meaningful take-away from the book. During a section where the author makes a comparison to learning how to solve quadratic equations in math, he states: “The goal of instruction — the real goal, the long-term, far-reaching goal — is not to solve the equations, but to use what you know about solving equations to solve other problems that you may or may not have encountered before” (p. 29). Music teachers should have a similar instructional goal, as the author expounds throughout the book. The goal is for the student to gain intellectual, physical, or social skill rather than merely knowledge.

The writing is pleasant to read, being both intelligent and conversational. I think it is rare to find a book with such well-grounded information that is understandable by the layperson. The teaching/learning strategies and principles discussed in this book are backed by research. Yet, reading this book felt like having a thought-provoking conversation with the author over coffee. I could hardly put the book down until I finished reading it.

I highly recommend this book to any music teacher. It is a must-read for newbie and experienced teachers alike. My opinion is that it should be required reading in every piano pedagogy class. It will influence and change the way you teach. View it on Amazon here.

Edit: Ohio University sponsors a piano pedagogy seminar each summer in June and this year (2015), they have invited Robert Duke to be a speaker. I read Dr. Duke’s book in anticipation of attending this event. For more information about the event, visit oupianopedagogyseminar.com

Memorization

Music Mapping with Piano Students

With nearly every piece I teach, the student and I analyze and label the form: Q&A phrases, AB form, ABA form, sonata form, etc.. Understanding the structure of a piece helps the student learn the piece more thoroughly and make well-based decisions relating to the interpretation of a piece.

Back in early March, a student of mine demonstrated he had his piece memorized all the way through but found he was “fuzzy” on the details in certain places and could not always remember what came next between phrases without taking time for thought. In a moment of inspiration (or perhaps desperation!), we decided to construct a visual map of the piece — an activity I have found to be beneficial in the past with certain students. I took a blank sheet of paper from my printer and handed my student a few colored pencils. Taking a few minutes to turn our analysis into a simple, visual graphic proved to strengthen and clarify his memory of the piece.

During my college years, I was exposed to this kind of music mapping thanks to a book I found in the university library: Mapping Music: For Faster Learning and Secure Memory, by Rebecca Payne Shockley. She shares many examples in her book to learn from, but emphasizes that music mapping is a very personal thing: the map must primarily make sense to the person who makes it.

Music Mapping with Piano Students graphic

As you can see from the image above, we used boxes to represent the 4-bar phrases as well as the larger A and B sections. Within each box, my student drew lines or shapes to represent the melodic contour of the phrases. We also added a few chord symbols to help mentally clarify the B section and the ending.

As a final step, we added dynamic markings in pink and green shading to represent pedaling.

Screen Shot 2015-05-01 at 12.51.20 PMAfter completing the music map, I asked my student to play the piece by memory again. It was not a perfect performance, but it was definitely better because his memory of the piece’s structure was stronger and more clear.

After creating a map, it should not be necessary to have the student read from the music map while playing, although that is an option. The point of the exercise is to be able to rely on a strong, mental picture of the piece during performance. In my student’s own words: “It’s the process of creating the map that is beneficial; not the finished map itself.”

Have you ever created a music map with a student?

[Note: In case you are interested, the piece my student was learning is called “A Quiet Lagoon” by Dennis Alexander and Martha Mier. We were using a sampler piece of sheet music I received during a conference, but the piece is readily available in the Technique Book Level 2B of the Alfred Premier Piano Course.]

Piano Teacher Institute, Professional Development

Upcoming 2015 Sessions from Piano Teacher Institute

This information was just sent out to those on the email list for the Piano Teacher Institute with Joy Morin. I’m blogging it here as well, just for your interest!

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Greetings!

A year ago, I began writing the coursework for my online course, Introduction to Piano Teaching. I’ve now offered the course three times: Summer 2014, Fall 2014, and Winter 2015. I can’t tell you how much I’ve enjoyed designing the course and interacting with the teachers who have enrolled each time! I believe this course fills an important need for teachers who have a desire to increase or refresh their current knowledge to gain further education in piano pedagogy, i.e., the art of teaching piano.

I’m preparing to offer two more sessions this year, so I asked the most recent registrants if they would be willing to write testimonials to help others decide if my online course is right for them. Here is what they had to say:

“This course was excellent!  For several months, I had been looking for some kind of training for piano teachers.  There are many university level, longer term programs available, but I needed something I could do from home.  This course was exactly what I needed.  I am a new teacher, and this course really helped steer my efforts toward the most important things that I should be focusing on–including the business side of teaching and the actual teaching.  Ms. Morin was prompt about both responding to my questions and leaving feedback for my assignments.  I also appreciated being able to interact with the other members of the class.  Their ideas and experience were wonderful!  I feel I am more organized and have clearer direction as a teacher because of this course.” 
          — Michelle Marchant, piano teacher in Utah

HIGHLY (*****) recommend Piano Teacher Institute by Joy Morin.  This class was fantastic for me!  My formal education came many years ago and I have taught many students over the years.  But with a relocation of my studio to another state, I felt it was a great time to update my piano pedagogy skills and to enroll in the course.   Ms. Morin did an EXCELLENT job with the design of the course as well as conducting the one hour weekly chat sessions with the other enrolled students. … She is a very professional instructor but at the same time is very personal and insightful in helping each student in their piano teaching journey.  The materials from the course will be an excellent resource for future usage.  If you are looking for a great piano teacher class, I would encourage you to enroll in Piano Teacher Institute.   
          — Phyllis Bowers, piano teacher in Alabama

Dear Joy, Observing the way you take such pride in your role as an educator has made a huge impact on me. You have truly helped me to look at what I do in a dramatically different way. You have helped me to treat my job more like a career. The changes I have made in my business approach have been exciting, but I’m even more enthusiastic about the way I FEEL about the piano. Watching you love music has helped me rekindle my love of the piano! I’m playing again and actually enjoying it! Thank you for being a great mentor and for being a new friend! 
          —Susan Honey, teacher in North Carolina

You can read the rest of the testimonials here. Introduction to Piano Teaching is an intensive course that lasts for six weeks, with each week dedicated to a certain topic (business topics, piano methods, technique, etc.). The ideal registrant is an individual with a passion for learning, a dedication to teaching, and the time and energy to spend 10-15 hours each week reading and completing the assignments.

Here are the dates for the two upcoming sessions:

  1. Summer 2015: May 25 through July 12. (I’ve allowed seven weeks instead of the usual six, to help both you and I accommodate any summer travel plans.) 
  2. Fall 2015: August 25 through October 4. 

Registration for the Summer 2015 session will open at 9AM EST on Tuesday, May 5 and will appear on this page of the website. Registration will automatically close after the first 10 teachers have registered. Last time, registration filled within two hours — so if you are interested in taking the course, I recommend that you mark your calendar!

Read more about the course or sign up for the email list (I promise to send no more than 10 email updates each year) on the website here.  If you still have questions, please feel free to send me a message.

 

Games, Group Classes

Easter Egg Matching Music Game

Earlier this week, I blogged about my April 2015 studio class “Piano Party.” We concluded our Piano Party with a new game, which I created based on a teacher’s idea posted in the Piano Teacher FunMakers group on facebook.

The game is simple: buy a package of plastic easter eggs and draw music symbols and terms on each half with a paint pen (permanent marker will rub off over time). Students are supposed to mix up and then match together the halves.

I did not have any plastic easter eggs in the house, so I asked my husband to buy some on clearance when he went to the grocery store. He came home with these really interesting ones from Meijer that break into three sections…!

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At first, I wasn’t sure if they were going to work well for my game, but then I realized that having three separate parts for each egg could work out to my advantage. On each part of the egg, I wrote a music symbol, the meaning, and the Italian music term.

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Having three parts to match into an egg makes the game more challenging. My students enjoyed working together for this game at my Piano Party.

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I’m going to leave this game out in my waiting room for awhile. When students arrive, they will enjoy matching a few eggs before their lessons.

Performances

2015 Spring Recital Photos

My studio’s annual Spring Recital was on Sunday. So proud of how my students played!

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We held it at a local church that has a nice Yamaha. Even my youngest students participated, even if only with a simple duet.

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My husband was kind enough to take a photo of each student, which I emailed to parents afterwards.

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As is our tradition, I gave each student a rose for their performance at the end of the recital.

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I’m sure many of you are preparing students for your own spring recitals. I wish you all the best in your preparations!

Just a reminder: The last day to receive 20% off anything in my digital shop ends tomorrow, Friday, March 20, 2015! You must enter the promo code in the shopping cart to receive the discount: 20OFF2015. If you want to plan summer camps this year using my curriculum or get your hands on the Ice Cream Intervals game, be sure to take advantage of this sale because it only happens once each year!

Performances

Sending Students to Outside Events

On Saturday, seven of my students played their recital pieces for a local Ribbon Festival held by my local MTNA/OhioMTA chapter. So proud of them!

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I’ve been sending students to this festival since I moved to Ohio three years ago. This is a non-competitive event — meaning, there are no winners. Students perform one piece by memory and are given a ribbon, a certificate, and a comment sheet from an adjudicator. The comments are always written in a positive, encouraging way, even if there are many suggestions for improvement. At this particular festival, students are awarded a certain color ribbon according to how many years they have participated in the festival. This certainly motivates students to come back each year!

I find it so valuable for students to participate in community events outside of my studio. It is good for students to have a goal to prepare for and become accustomed to performing in various settings. And it is always beneficial for students to hear other students play and get exposed to more music. When we prepare for outside events, we talk about hearing the performance through the ears of the audience/judges.

I always look forward to reading what the adjudicators write on the comment sheets. Usually, the comments either (1) confirm my thoughts about the piece or the student’s playing, or (2) give me ideas that I hadn’t considered before (which is great!). When the judges’ comments reinforce what I am trying to develop in my student, this is helpful to both of us!

Other benefits: It is good for students to learn to be open to feedback coming from sources other than the teacher. And when students receive positive feedback from an outside source, they are assured that the teacher is providing good instruction.

To sum it up: Sending my students to outside events has helped me become a better teacher.

There are many different types of community events and as I mentioned earlier, they are not necessarily competitive. If you do not currently send your students to outside events, I would encourage you to research what might be happening right in your own town!  I recommend checking if there is a local MTNA chapter in your area.  Other options in the U.S. include: National Federation of Music Clubs (NFMC), Piano Guild, and the Royal Conservatory of Music testing. Each of these programs offer unique benefits, so there is bound to be something that is right for you and your students!

repertoire / methods

Video: Elena Cobb’s Higgledy Piggledy Jazz

Isn’t it great when you find just the right music, for just the right student, at just the right time?

Back when I first reviewed Elena Cobb’s music in 2012, I had mostly beginner students in my studio having recently relocated to Ohio. Recently, I was pleased to have the opportunity to give Elena’s book of jazz-inspired early intermediate pieces, called Higgledy Piggledy Jazz, to my student, Emma.  Emma has really gone to town with this book — she loves the pieces and loves playing along with the backing tracks on the accompanying CD.

I asked Emma if she would like to take a video to share with the composer and she was thrilled with the idea.  I hope you enjoy Emma’s little wink at the beginning of the video…it pretty well shows her personality!

Check out the rest of the Higgledy Piggledy Jazz book at Elena’s website.

[Note: Emma and I are still working on being able to play those fast triplets loosely and easily. It’s a work in progress!]

Piano Teacher Institute, repertoire / methods

Tracking Progress of Piano Students

tracking student progress in piano studyI received an email from a reader over the weekend, asking: “I would love to know your general process/techniques for keeping record of work done with a student.”

Although piano methods already provide structure for study and the student’s assignment notebook does serve as a log of the student’s progress, I personally find it very helpful to keep my own records and notes about each student.  As a colleague of mine recently said, the idea is to have a plan or record of the past, the present, and the future.

Here are some of the things I like to keep notes about:

  • The student’s current level.
  • When the student began lessons.
  • Curriculum. Meaning, the books we are using, when books/pieces are completed, a repertoire list, etc..
  • Pieces/books I think would be appropriate for the student in the future.
  • Events the student has participated in (recitals, festivals, exams, etc.).
  • And any other accomplishments or miscellaneous notes.

evernoteI currently use Evernote to store my notes, but any program or platform would work. (Evernote is an online-based note-taking service that offers syncing across their apps for smartphone, tablet, and computer.) In Evernote, I have a notebook for “Active Students” and “Inactive Students.” Each notebook contains a series of notes titled by student name.

I do not necessarily pull up these notes during the lesson time, unless I need them for some reason. I find myself referring to my notes before I begin teaching for the day or when I’m brainstorming about a student’s needs.

Below is an example of what my teacher notes look like for a hypothetical elementary-level student and intermediate-level student, covering September 2012 through August 2014. [Note: The repertoire list for the intermediate student be much longer in reality, but I’ve kept it short for this example.]


JANE DOE

Current Level: Mid Elementary
Joined Studio: September 2012
Began Lessons: September 2012
Notes: Began as a 6-year-old. Very enthusiastic beginner with an excellent natural sense of rhythm. Continue reading “Tracking Progress of Piano Students”