Common Pitfalls of Beginning Improvisers (and how to avoid them)

In my work with new improvisers, I have found a handful of traits that many students have in common. The sum of these traits, I believe, combine to create a sound that defines the beginning improviser. Many new improvisers will exhibit one or more of these characteristics. Being able to identify these pitfalls in students’ playing and then guide them in a different direction will help put students on the path to playing more mature sounding solos.

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Using Visualization to Achieve Quality Airflow

The most consistent issue I’ve come across in young trumpeters is insufficient use of air. It takes many students years to understand how much air is necessary to play the instrument well and then how to appropriately utilize it. It’s easy to tell students they need more air, but “more” is a subjective idea. In contrast to open ended statements like “more,” providing descriptive ways to visualize and assess air usage can give students tools that are both more specific and more effective. A few such ideas can help students engage their air correctly without having to overthink the mechanics of it. Below are four concepts which I have consistently found useful in both my teaching and playing.

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How Loud Is Too Loud?

There is a temptation, particularly in ensemble situations, for young trumpeters to play too loudly. A student might feel they need to play loudly to hear themselves well, to stand out amongst their peers, or to help lead the group. Sometimes ensemble directors demand large volumes as well, especially in jazz band or marching band settings. Volume is a slippery slope for young trumpeters. Consistently playing at loud volumes before one’s embouchure is ready to handle it can easily lead to developing an overspread aperture, which comes with a host of issues. By keeping volumes in check, educators can help their trumpet players achieve better endurance, facility, and tone while avoiding some common pitfalls related to overplaying.

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Fostering Intrinsic Motivation in Students

As a teacher, one of my goals is that my students find joy and engagement in the process of learning music. The process of learning an instrument is a lengthy one, and finding ways to keep students motivated is one of teaching’s many challenges. When discussing motivation, two main styles or approaches are usually considered: intrinsic and extrinsic. As author Daniel Pink details in his book Drive, environments dependent on if/then rewards reinforce extrinsic motivation and are effective in the short-term. Environments which value autonomy, mastery, and purpose can lead to students developing a sense of intrinsic motivation and finding long-term success. As learning music is a long-term endeavor, it’s important to consider how the learning environment influences student motivation, and actively structure student learning to help promote long-term, intrinsic motivation.

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Creating Successful Solos with Beginning Improvisers

Improvising can be an intimidating task for students, especially when they’re new to the process. The idea of having unlimited options of what to play can be overwhelming. It’s like going to a restaurant and being handed a large menu in a language you don’t speak. How do you even begin to choose? By placing purposefully chosen limits and guidelines on students, teachers can make the process more approachable and give students the direction they need to start building successful improvised solos.

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Museum Music

In the US, jazz is revered for its rich past and its great early innovators and personalities. These iconic musicians, mostly active from the 1920s-60s, are still the face of jazz today. Our jazz education system devotes great effort to teaching the music of these greats, but in doing so often neglects the music and contributions of the musicians, composers, and innovators of the more recent past and today. Combine this with jazz radio’s similar focus on the music’s early greats and the songbook of jazz standards, and jazz unsurprisingly declines in popularity with younger demographics. By overfocusing on the music’s early years and neglecting the present, educators are failing students by presenting jazz as museum music, something curious from the past to admire but which has little relevance to our lives today.

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What to Do When It’s Not Working

As a teacher and musician, one of my beliefs is that there should be a balance between developing technique and finding joy in playing. I had a recent experience in which my teaching failed to align with this philosophy, necessitating a change in my current trajectory with a student. Upon this realization, I knew it was important to realign my teaching practice with my teaching values.

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Overcoming Performance Anxiety, Pt. 2: Developing Growth Mindset

Performance anxiety in students isn’t simply restricted to recitals and other performances, but shows itself in lessons, too. If you’re a private teacher, think of how many times you’ve heard students claim they play better in their practice than they do in lessons. Students feel the pressure to “perform” for their teachers. If we can foster a growth mindset in our studios, we can create an environment where students understand their performance at that moment isn’t a judgement on their abilities, but a step in the process of improving their musicianship.

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Overcoming Performance Anxiety, Pt. 1: The True Purpose of Performing

It was late 2018 and I was driving to go teach a piano lesson. On the radio was On Being with Krista Tippett, and she was interviewing the great cellist, Yo-Yo Ma. At the time, I was helping my students prepare for a recital, which was just a week or so away. In the interview, Ma said something that really hit home and was so relevant to the mental preparations my students were making heading into their recital. In regards to performing, Ma stated:

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6 Simple Tips for Teaching Effective Online Music Lessons

With the spread of COVID-19, many private music teachers are turning to teaching online lessons for the first time. Teaching online presents new challenges and forces us to adapt some of our methods in order to maintain effective teaching. The good news is that it’s really not that much different than teaching in person. Good teaching is still good teaching no matter where it takes place. By thinking ahead and making minor adjustments, we can continue to provide high quality lessons online. Read More »