Slightly annoyed

I don't usually teach on Fridays, but I figured that since I was meeting a friend earlier, I would already be out of the house, so I scheduled a lesson with a student whose email I missed and therefore didn't get her in earlier in the week. Then, since I had one student, I decided to let another come to do a makeup for one she forgot.

My friend had to cancel. The student I owed a lesson to because of my mistake cancelled.

Now I'm leaving the house for 1 lesson that technically I would get paid for even if I didn't allow the makeup.

I'm trying to change my attitude and look forward to this lesson. She's a good kid and rarely misses which is why I allowed the makeup in the first place.

I want to teach this lesson.
I want to teach this lesson.
I want to teach this lesson.
I want to teach this lesson.
I want to teach this lesson.
I want to teach this lesson.
I want to teach this lesson.

(It's not working.)

OK, let's try a new approach.

While at school I can do my own practicing and sing some amazing Poulenc and Mahler.
While at school, I will have a large quiet place to do some Tai Chi and Qigong.
If I get my butt out of the house I can stop for some yummy food on the way home.

Now I'm slightly more motivated, but still need to write a note reminding myself: DO NOT schedule lessons on your day off. You need the time to relax and recharge.

-- Posted from my iPhone

Dealing with music program cuts

Yesterday, MusicTeachersHelper tweeted this question:

With school #budgets being #reduced and schools #closing #music programs, what have your schools done to prevent this?

Using "schools" this way is like talking about what the "government" is or isn't doing. The government isn't some other group out there. It is us. The schools are us--parents, teachers, students, administrators, etc. With budget and program cuts, what are we doing to save music in the schools, and if it can't be saved, what are we doing to step in and fill the needs for those students that won't be getting music at school?

I can't tell you what our "schools" are doing, but I can tell you a little about one teacher that I know and his efforts. As someone who is genuinely concerned about the future of our program (and not just his job) he has gone out of his way to form relationships with other music teachers of all levels in our district. He understands that the sucess of our high school program depends on what happens in elementary and middle school classrooms. He supports them and that helps us.

He works closely with administors both in our building and in the district helping them to understand both the needs and the benefits of a strong music program.

And last, but certainly not least, he brings excellence to the classroom everyday, demonstrating to students and parents how important music is.

So that is what he is doing. What are you doing? What am I doing to make sure music education is available to anyone that wants it?

Last year, the community where one of my friends teaches held a huge fund-raiser to help keep their music program.

Parents and others from the community can let the school board know their feelings about music education.

When we can't save music programs, we can help provide other opportunities for those students. Allegro Choral Academy is expanding to help serve kids in a district where the choir program has been severely reduced. You can help them by donating. Your donation can help
them add programs and keep tuition low. Go to http://allegroca.org/donationinfo.html and donate.

Over the years, I've given private scholarships to a few students that wanted voice lessons but couldn't afford it. It is a way for me to give back and show appreciation for the people that helped me. But each year as we do registrations there are more students that want lessons but can't afford it. If I could, I would teach them all for free, but I am feeling the financial crunch of the times too. So, this is the year. I've talked about it forever and now it is time to do something. Keep checking back for info about my new voice lesson scholarship program. It will be small at first, starting with just a few kids that study with teachers associated with our school. I hope it will grow until any child in our district that wants lessons will be able to afford them. Big dream? Of course. Those are the only ones that count.

P.S. If you want to help with setting up the scholarship program, or if you want to donate, let me know.




-- Posted from my iPhone

It Takes Time

I am loving my new journey of learning Tai Chi. And I am amazed (though I probably shouldn't be) and how many similarities there are between this and studying/teaching voice. When I first began my Master's degree in vocal performance, my teacher had me read Brenda Ueland's book If You Want to Write. She said to just substitute sing whenever Ueland said write. The book is amazing and has influenced me both as a writer and a singer. In Dr. Paul Lam's latest newsletter, I found an article and a link to a video that once again reminded me how closely related the things that I love are.

The article is actually the text from Brenda Hum's talk that she gave at a Tai Chi Conference. "What does the Spirit of Tai Chi Mean?" is a beautiful exploration of what Tai Chi can do for us as individuals and as a group. If you substitute the word music, you could give this talk at a music educators' conference. Please read it. All I can add is AMEN!



The video of Marty Kidder's talk is hilarious, especially as he shares "code" phrases for how to encourage your students and what the teacher might really be thinking. Students--I just want you to know that I've been using these phrases for years, and not because you are clueless, but for the reasons he states at the end. The pursuit of any worthy goal takes time and discipline and a willingness to risk and even embrace failure in order to learn.

Someone recently asked me about my interests and activities and I mumbled a few things and then felt like I must live a pretty boring life. I think she just caught me at a bad time. The truth is, I live a pretty amazing life. I love to explore--places, ideas, feelings. I read a lot. Lately it's been more news and blogs than books, but I can't stop reading. I love watching plants and animals and people. You can learn so much from quiet observation. I love music, tai chi, and writing and those 3 interests alone could provide a lifetime of learning and challenges. I'm not perfect, and I don't have to be to really enjoy them. The mastering of any skill or art takes time, and even the greatest masters never stop learning and practicing.

I'm not sadistic

I'm not sadistic. Really I'm not. Maybe my students think so, but the pure joy I feel is not because of their suffering, but because I actually think that what we are doing is fun. (And no, I'm not masochistic either.)

Last week, each student got a new song. Because choir auditions for next year are just a few weeks away, we need to be working on music reading skills, so I've been having students learn their new music by count singing and singing on solfege. And I've been having a blast! Except of course when they have complete melt downs and I have to tell them that it will take time and work but they will get it eventually.

Why do I love count singing and solfege? Because I am a total geek. This is the logical, straight-forward, one-right-answer part of music. It's a game and I love a good challenge. In fact, a few years ago on a long road trip, I kept myself entertained by singing on solfege every folk song and hymn I could think of. It was awesome.

But solfege was not always my friend. I had had a very brief introduction to it in high school, and of course, I sang along with The Sound of Music, but I never really worked with solfege until I became a music major and skipped first semester theory and skills. I missed all of the first semester easy stuff and went right in to the tougher second semester. I did well enough to pass, but I would never have said that I loved sight-singing. In grad school I took a remedial class and got much better, but still no love. The love actually came from teaching it.

As a teacher, I learned to love solfege because I was doing it nearly every day and I saw how much the students improved over all as their reading skills increased. And that is what the students just don't get at this point. It's totally normal for it to be hard. (There are those freaks, and you know who you are, that get it immediately, but most of us have to work at it.) I love it because it is now familiar, an old friend. And like any friendship, there are still times that I am challenged, but that challenge is exciting rather than discouraging.

I keep thinking of the medical teaching model of see one, do one, teach one. For me, the see one step was easy. I understood it intellectually. The do one was trickier, but necessary. The teach one step is where you really learn. I need to find ways to have students teach each other or ask more questions and get them to "teach" me. Most of them get it, they just have not spent enough time applying it and teaching it.

I suppose that the same ideas apply to count singing, but to be honest, I don't remember my own learning process. I began piano lessons at 4 and I didn't just count out loud, I sang along, so I was count singing long before I knew what it was. I know a lot of people hate it, but I've had lots of light bulb moments with kids this week as they finally get the big picture of rhythm. And if it was good enough for Shaw and his choirs, it is good enough for my kids.

I am a firm believer in the fact that theory and music history knowledge makes you sing better. Yes, I teach better tone and proper use of the instrument, but I want my students to be musicians not just singers.

Long live sight-reading and count singing!


-- Posted from my iPhone

Goodbye Micheal

When I was a teenager in the 80's, I listened to a variety of music (classical, musical theatre, light pop/rock) but most of it was on the clean side--not too loud, obnoxious, or vulgar. My brother on the other hand, listened to heavy metal and a lot of stuff that I have trouble even calling music. One day, he brought his boombox upstairs and played us a song without telling us who the performer was. It was a beautiful ballad, and both my mother and I had to admit we liked it. Then he dropped the bomb and taught us the lesson. The performer was Ozzy Osbourne (or someone equally vile and disgusting) and I had admitted that I liked his work. It was a good lesson. We cannot make blanket judgements about a certain type of music or a certain performer or composer; we really have to look at each song individually to determine its value.

Micheal Larsen was just a little kid in a town far away when I learned this lesson. I don't know if he knew then the place that music would play in his life or if it was something that developed later. I know that when I met him, he was already a professional musician, touring and recording. He came to me for voice lessons, but I think I learned almost as much from him as he did from me.

I'm always a little hesitant when the first conversation I have with a student involves them telling me that they are in a band. Quite frankly, most of those people already on the professional track for this kind of music would be better helped by someone else, and I tell them that. I also tell them what I can and cannot do to help them. Rap is definitely not my thing, and there was nothing I could teach Micheal about it. But, there were other things that I could teach him and he wanted to learn.

Micheal wanted to broaden the scope of what he could do vocally. Our lessons were unique. I've never had another student that actually wanted to spend 30+ minutes of his 45 minute lesson singing solfege exercises to improve his music reading, tuning, and general vocal technique. We talked about how the concept of the vowel, its space and the sound you imagine, change the tone color. We talked about how different emotions and attitudes affect the sound. He sang solfege exercises like a lullaby or like a rant and felt how his production of the tone was changed by the meaning of what he sang. He had a huge range, both in terms of the high and low notes he could hit, and the diverse styles he could perform. All the news articles are using words like hip hop or rap when they discuss his work, but I heard so much more than that in his lessons. Had he chosen the classical music path, he would have been wonderfully successful in that area too.

Often, Micheal would bring in recordings for me to listen to. Sometimes they were examples of a tone color or vocal effect he wanted to learn. Sometimes he wanted me to hear the style of the songs and understand how they were influencing his compositions. Strangely, we didn't really listen to much rap. Most of the songs he played for me, like the one my brother played, I never would have found on my own, but I really liked them.

Micheal was a deep thinker. Our conversations were often about music related things, but occassionally we would get off on a tangent and explore something else entirely. I enjoyed the intellectual stimulation. I looked forward to lessons with a student that taught me and challenged me as a teacher to expand my views.

If you don't know Micheal, check out this story from MPR. It is one of the best I've found. This quote from the article really describes the Micheal I knew.

"I know it made me want to practice, want to get better, want to make this my
craft, and realizing that it is a craft, that it is something that needs time
and skill and growth and development to really become a good musician," he said.
Wanke says in his music Eyedea was almost like a teacher, determined to show
people it was okay for them to explore their brain and test ideas. To Wanke,
that made Eyedea's records less a collection of rap tunes and more a journey
toward enlightenment.

To be honest, I'm not sure I really knew the man that his fans and band mates knew. But I'm so glad that I had the opportunity to know this man and learn from him. I'm even developing an appreciation for rap--at least when it is done as artfully as Eyedea did it.

October voice lesson announcements

Dear students and parents,
We're off to a great start this year. I've enjoyed meeting the new students and getting to know their voices. And of course, I love jumping into a new year and new goals with the returning students.

Emails
As you've noticed, I will be emailing lesson notes and song melodies and accompaniments to help you practice better at home. Also, I will periodically send emails like this one with information about coming events. Please keep your contact information up to date on the website and remember to check your email at least once a week.

Lesson Schedule
Due to days off school, choir concerts, and our studio class, the remaining weeks of this quarter will not be regular weeks as far as lessons are concerned. At this point, the website is not completely accurate regarding the schedule. The schedules for the rest of this quarter on my bulletin board. The most up to date schedule will always be there. Please get in the habit of checking the board. I will also remind you each week when I will be seeing you next. If you have missed a lesson and would like to make it up, you are responsible for signing up for a makeup lesson time. See me if you have any questions about how to do that.

Forms and Tuition
Most of you have turned in your forms and tuition, but if you are among those that haven't, please do so immediately. Each student should have turned in the Voice Student Information Form, Performance Survey, and the Policy Signature form.
Seniors, you should also turn in the forms about college auditions ASAP so that we can begin working on that material.

Please plan ahead for the Nov. 12 due date for Quarter 2 tuition. I did not charge late fees this quarter, but those go into effect for Quarter 2. I will not charge a late fee if you work out a payment plan with me.

Auditions and Performance Opportunities

Hal Leonard is sponsoring a vocal competition involving YouTube. Go to this link for more information http://www.halleonard.com/vocalcomp/
If you are interested in this, I will help you choose and prepare the required repertoire, but I do not have the equipment to make the videos, so you will be responsible for that.

On Nov. 11 we will have our first studio class of the year. All students should plan to attend either during their EVHS choir class, or after school. The after school session officially starts at 2:30, but students coming from other schools can arrive later and we will work them in.

If you want to perform at studio class, you need to turn in a Performance Application (found on the website after you login) and the homework it lists by Oct. 28. If you have questions about the homework, ask them now, not on Oct. 27 at 10PM.

Thanks,
Jeannine Robinett








-- Posted from my iPhone

The illusion of perfection

In Amanda White's article in the September 2010 issue of Classical Singer she addresses some of the Internet and social media sources used by musicians in the popular music world and how they can, or should not be used by classical singers. The article is great and I agree with her assessments of these tools, but at the same time, I am disturbed by her general response that unless it shows you at your very best, you don't want it out there. To be fair, this is the prevailing attitude in the classical music world, so it is not Ms. White that I am arguing with.

I recently read Lynn Eustis' book The Singer's Ego. Loved it! It should be a "must read" for singers. My response to the book was this--I've thought that for years, but we're trained not to express doubts or fears, or let anyone know that we are anything but the very best at what we do.

Singers need to know that we all have doubts. We all have works-in-progress. We desperately need to discuss these things and know that we are not alone. What academia and the professional world does to singers in terms of mind games would be viewed as abuse in other disciplines.

I want students to talk about the reality of what it is we do without worrying about being viewed as a lesser musician because of our doubts or our less than polished performances.

But on the other hand, what does the nature of the art demand? What standards of excellence do we need to hold to in order to teach respect for the art?

In many ways, the explosion of Karaoke has been good. Otherwise shy people will get up and sing because they know that the expectation is not high. Karaoke gets the world singing. It has created a culture though, where my students feel entitled to the stage rather than earning their place on it. They think that knowing the right notes and words means that they are performance ready. But the music, the art, asks more of us.

So, I continue to struggle with how to teach artistry without creating head cases. How do you stretch them without making them feel inferior? I don't have all the answers, but I know that we can acknowledge and even value the struggles. We can show them the goal. We can teach excellence. And, we can love and nurture them. A dear friend of mine reminds me that although our titles say voice instructor, we are first and foremost teachers of people, not voices. Maybe that is where the answer lies-- in valuing both the art and the person.





-- Posted from my iPhone