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.Read More »
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.Read More »
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.Read More »
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.Read More »
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.Read More »
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.Read More »
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:Read More »
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 »
When preparing students for a performance, the emphasis is understandably on playing the music to the highest level achievable. Our job is to teach music, so if our students are playing with proficiency and musicality, then we’ve checked all the boxes, right? Not so fast.
When teaching improvisation, so much of the focus goes into harmony. Which chord tones sound best? How can we connect one chord to the next? How many ii-V-I licks can you come up with? Can you learn those licks in all twelve keys? We can spend so much time and effort addressing harmonic approaches that we sometimes lose sight of other very important aspects of improvising, notably playing melodically and expressively.