Singing In Tune: Intonation Ideas for the Choir

Singing In Tune: Intonation Ideas for the Choir

Vocalists often struggle with singing in tune. How do we know if we are singing the right pitch? Training the ear is important, but we can use technology to give us some new perspectives and confidence that we are heading in the right direction.The viral video dominating my Facebook feed this week was Mandy Harvey’s

The viral video dominating my Facebook feed this week was Mandy Harvey’s audition for America’s Got Talent. https://youtu.be/ZKSWXzAnVe0

Her lovely high voice and passionate singing captivated me. But the most incredible part is that Mandy is deaf. In the audition, she mentions briefly that she re-learned to sing after losing her hearing by using visual tuners and muscle memory.

Hearing people can learn from Mandy.

Tuners are readily available and tuning apps for smartphones offer even more functionality.

tuner

TE Tuner for iPhone

At a recent Vocal Resistance rehearsal, I showed the choir a few exercises for singing in tune. For these exercises, you will need a tuner and something that generates a steady tone. The TE Tuner app on my iPhone does both of these things well. The following descriptions will show how to do this on the TonelEnergy Tuner app, but they can also be done using any device that creates a pure drone and tuner.

Exercise 1:
Hearing what “in tune” and “out of tune” sounds like.

Turn up the volume on the phone. Open the TE Tuner App and select “sound” from the menu at the bottom. Touch the box that allows you to choose the instrument and select “SineWave,” “SquareWave,” or “Organ.” In the circle of pitches, find a note that is in a comfortable register for your voice. While the note is playing, slide your voice up and down until it “clicks” with the drone. When you voice is matching the pitch, you may notice that the sound coming out of the phone seems suddenly softer. This is called auditory masking, and it’s a good indication that you are singing in tune.

Play with making your voice a little bit higher or a little bit lower than the steady pitch. You will hear “bubbles” or waves that will increase in speed the farther away you are from matching the pitch. Being out of tune sounds like a helicopter landing and it has an unpleasant physical effect inside the ear. When you sing too high, you are sharp. When you sing too low, you are flat. To sing in tune, we must hear these “bubbles” and quickly move the voice to be more in tune. With practice, you will be able to know which way to move the voice (sharper or flatter) to eliminate the waves. In the meantime, when you hear that you are out of tune, slide the voice higher or lower. If the waves become faster, switch direction.

Experiment and be curious

Practice holding the note in tune as long as you can. Notice what happens as you get out of breath. Usually, the pitch will go flat as the breath support wanes. Notice what happens if you raise your eyebrows or raise your chin. Be curious about how body position will change pitch.

Once you have the hang of singing the same note as the tuner, singing in unison, try singing intervals. You may notice that octaves and perfect 5ths are the easiest to tune by eliminating beats. Other intervals are more difficult and require a bit more study. For now, work to match pitch accurately.

Exercise 2: Using a tuner

In the TE Tuner app, choose “tuner” from the bottom menu. Check these settings:

  • microphone button: don’t select any of the intervals
  • mode and range: set to VOICE-MEDIUM-NORMAL
  • Temperament: EQUAL

Sing any note and try to get the green smiley to light up in the center. Slide your voice up and down until the green light appears then try to hold the note as long as you can. It’s more difficult than Exercise 1 because now there is no reference pitch.

tune with TE Tuner

singing in tune with the tuner

Try singing a scale, but go slowly to see if you can make each note in tune. For a recent performance of “Quiet,” I worked with the tuner in this way on the opening intervals. I noticed that my low voice is unstable and I had to add a lot of air to keep the pitches in tune. Note that you will want to use very little or no vibrato when practicing singing like this. The tuner has difficulty with vibrato, especially when the vibrato is strong. Vibrato, after all, is a quick modulation of the pitch.

Exercise 3: Resonance and Overtones

In the TE tuner app, select “Analysis” in the lower menu. Now you can practice singing in. tune and play around with a visual spectral analysis of the voice. Sing with different vowels, change the position of the tongue, open and close the mouth, place the sound in your nose or aim at the teeth. Notice how different vocal timbres are reflected in the graphs. Do you like a sound with more overtones? Can you still sing in tune but project more volume? This is a vocalist’s sandbox for playing with the sound.

voice tuner

spectral analysis

Have Fun and Share Your Ideas

For more ideas on how to use the TE Tuner, check out this video.

Be sure to close out of the TE Tuner app when you are finished by double clicking the home button and swiping up. The app will continue operating in the background, using battery power if you don’t close it completely.

What cool things did you discover about your voice? What other ways can we use technology (this app or something else) to improve vocal quality and intonation?

Note Reading: Following the Contours

Note Reading is one of the most fundamental, but difficult, skills for beginner musicians.

In this blog post, I will share with you one of the novel approaches invented by a student and her father for reading simple melodies.

Rachel* (not her real name) was having trouble with note reading. She is nine years old and began playing the flute about a month ago. At a previous lesson, I had worked with her on seeing how a melody walks up and down by steps. We drew lines over the notes indicating the rise and fall of the melody. Rachel is a beginning student and she has learned the notes B-A-G but has trouble identifying them on the staff.

Over the next week as he helped Rachel with her lesson assignment, Rachel’s dad came up with a great new way to think about reading the contours of the line. This is a page from Rachel’s book showing a simple melody with the notes B-A-G.

note reading ideas

BAG notes

 

Rachel’s dad asked her to draw dots in a line to represent the pitches. Then he asked her to connect the dots. The first four measures looked like this:

reading notes by contours

Reminding Rachel to begin on the note B, I asked her to play the melody while looking at the dots. When the dots went down, she added one finger. When they went up, she lifted a finger. Success!

After playing the melody this way a couple of times, we compared the dots on her paper with the dots (notes) in her lesson book. It was easy for her to see the contour. Rachel was able to play the entire exercise with few mistakes. She was happy and so was I.

I wish I could take credit for this innovative approach, but it was Rachel’s dad who came up with this solution. He understands better than anyone how Rachel thinks. He knows that she is a visual learner but needs to have the information simplified. The regular music staff in the book had too much distracting information for Rachel to process. She was confused about the stems on the notes and was having difficulty focusing on the five lines. This very simple method eliminated all the unimportant information and made the contour easy to see.

This trick worked great today with a simple stepwise melody on three notes. It’s a solution for today, not a panacea. Tomorrow, it will be another challenge and we’ll find new, innovative ways to learn together.

 

The Judges

Banishing Negative Self-Talkangry judges

For the first several years after I started my job as music director, I had a lot of anxiety about the job. I often came home on Sunday afternoons and cried. My husband will tell you that I would spend hours obsessing over something I said or something that I did in rehearsal that might not have come out right. My imaginary judges were constant companions.

Saturday nights were the worst. I would spend a lot of time preparing for the Sunday morning rehearsal, learning every single part. There were many sleepless Saturday nights and many anxious nightmares. The negative voices in my head were deafening. I told myself “You’re not good enough for this job. You don’t have the skills to lead a choir. The choir members don’t like you.” The judges in my head were loud and persistent.

Slowly, I came to realize that this kind of negative self talk was not making the music better. In fact, it was holding me back from joyful expression.

Now, 13 years into the job, I would like to say that the judges are completely gone, but they aren’t. I still have moments of self-doubt. But I’m learning to stare the judges in the eye, ask them to be kind, and listen to the constructive ideas they have for me.

I think most musicians are familiar with inner judges.

We must have a certain amount of self-reflection to correct mistakes during practice. Because music eaves us very vulnerable when performing or working with a teacher, negative self-talk can cause performance anxiety.

A loud inner dialog takes up a lot of space in the brain. We can only remember four to seven things at once. Playing a musical instrument or singing uses a lot of bandwidth as we shift from thinking about the body to the music to the instrument. If the brain is overloaded with inner conflict, the music will suffer. There is a limit to how many things we can be doing and remembering at once.

The first step in solving any problem is to recognize what the problem is.

Notice as you go through your music practice and your day what narrative is going on inside yourself. Listen to the voice within. Are there particular things that trigger negative self-talk?

A Soprano on Her Head

In her book A Soprano on Her Head, Eloise Ristad offers ways to confront the judges. She suggests an exercise, asking us to imagine the judges as people sitting around us.

If we stand in the center of our circle. We can look around at each judge with a sense of detachment and curiosity and find out what each one is telling us. We can also take the initiative and talk back to them; we can ask them to be more supportive and just stop tyrannizing us. We can let their cold imperiousness turn the judges into ice, then let a tiny warm glow at our center intensify little by little until our judges begin to melt away….

We can lessen the power of these nagging, bothers some judges that continually defeat us and stifle are spontaneity. We aren’t doomed to constant censorship from these commentators on our every act and thought. There’s even a chance that we can come to terms with them and find the good in them.

In her book, Eloise Ristad offers many exercises for diminishing the effect of these judges, including asking them to speak kindly or taking their power away. If your inner judges are loud, I urge you to read her book and work through the exercises Ristad suggests in Chapter 2.

When you hear your judges, counteract their negativity with affirmations.

“I am good enough; I am doing enough; I am loved.”kids playing music

Reflection can be a useful tool for growth, but it must be done with love and compassion.

Too much judgment holds us back from experiencing life in the moment. It keeps us frozen in the past because we are afraid of failure. Negative self-talk often causes performance anxiety for musicians and it prevents us from fully expressing ourselves artistically.

Finally, I believe that recognizing and counteracting judgmental self-talk is a kind of spiritual practice. It has helped me be happier in my career and in my personal life. But I have to keep practicing because the judges change form as I face new challenges. I try to stay aware of the voice within me, ever vigilant that my judges are fair and kind.

Five Things All Marching Band Flutists Should Know

Just in time for marching band season, I present you with these pearls of wisdom.

I have played in and coached marching bands for many years. The flute is a delicate instrument and if not cared for properly, can be destroyed by marching band. Band directors, students, and parents would be wise to heed these common pitfalls.

Five Rules To Help Your Flute Survive Marching Band

1. Never use a dollar bill to clean the pads.

Every flutist in the country seems to have heard the urban legend that the best way to clean a sticky pad is with a dollar bill. Don’t do it. Paper money is dirty. Really dirty, like 3,000 different types of bacteria and cocaine dirty. Prevent sticky pads by swabbing the inside of the flute  after every rehearsal, store the flute in its case in a dry place, and never expose the flute to extreme temperatures, like leaving it in the car.

marching band

cleaning papers

If the keys become unbearably sticky, use a product specifically designed to clean flute pads like these papers made by Yamaha. Tear off a small sheet and gently place it under the sticky pad. Gently close and open the key. If the pad is really sticky, you may need to softly close the key and slowly drag the paper out.

2. Protect the flute from rain and snow.

This may seem obvious, but sometimes band directors forget that there are flutes and clarinets in the band. While a little rain and snow might not hurt the brass instruments, the delicate mechanism and thin pads of flutes can be destroyed by the weather. Complete re-padding of the flute is costly and rust inside the rods can be impossible to repair. In an emergency, place your flute inside the jacket of your uniform. Back inside, make sure you swab it out and allow it to completely dry before closing the case.

flutes for marching band

plastic flutes

Guo and other manufacturers are now making plastic flutes and piccolos that are impervious to moisture. It’s my dream to have music boosters buy enough for the entire marching band flute section. They are available in a wide variety of colors too!

3. The flute is not a baton for twirling. 

I’d be rich if I had a nickel for every time I saw a flutist twirling a flute at a football game. Leave the baton twirling to the majorettes. Twirling quickly becomes dropping, which can cause irreparable harm to the flute if you bend a rod or break a key. Other damage can include scratches and huge dents in the tube. The flute is an expensive piece of equipment and repairing this kinds of damage is costly.

4. Do not put the flute on a music stand.

bad idea

bad idea

This happens all the time with flutists. It seems like such an easy, convenient place to rest the flute, but DO NOT put your flute on a music stand. Music stands are not strong enough to hold a flute and when the upper desk drops, you flute will fall to the floor with a clang and a gasp from the rest of the band. If you are lucky enough to have a strong stand, placing your flute on the ledge is still a bad idea. Because the end of the flute hangs over the side, it is easy to bump into it and knock it off. Dropping the flute from this height will likely cause a dent or bend.

5. There are no good lyres for a marching flip folder.

marching band lyre

forearm clamp

I have seen three different styles of flute lyres for marching band, but all of them are miserable. The “forearm clamp” is available in several styles. This torture device involves tightly attaching a strap to the arm to hold up the music. There are two significant problems with this tool. First, you must tighten the strap like a tourniquet. If your fingers don’t turn blue from lack of circulation, sweat will make the device slide right off.

marching band

arm clamp #2

Another equally bad option is a metal clamp that attaches to the flute. This will scratch your flute and is hard to position, if you are able to get it to stay on the flute at all. (Amazon reviews of this product are pitiful.) Many years ago, I saw a third option: a lyre that would extend from the armpit forward. It was strapped around the back and cradled in the armpit However, I am not able to find that product anymore. It must have been so user un-friendly that the manufacturer gave up.

marching band lyre #3

clamps onto the body of the flute

Bottom line: lyres do not work for flutes in marching band. MEMORIZE YOUR MUSIC!

If you are a marching band flutist (past or present), what knowledge would you like to pass on to the next generation?

Marking Rhythms (Miss It? Mark It! part 4)

Marking Rhythms (Miss It? Mark It! part 4)

This is the fourth article in a series about “marking music,” providing visual solutions to problems musicians encounter during practice. Our brains cannot remember everything. By carefully and consistently making marks in the music, musicians will learn music faster and with less frustration. This blog post will focus on how using pencil marks can aid in the learning of difficult rhythms.

Rhythms are the analytical, mathematical side of music making.

There is little grey area in interpreting rhythms. They are either right or wrong and learning them correctly from the beginning is critical.

My favorite way to mark rhythms involves drawing lines to represent the beats in a measure. I draw a short vertical line directly over the note that is to be played on the beat. The lines occur in the same place that my foot comes in contact with the floor when tapping the tempo.

rhythms visually organized - vertical lines show beats

Doppler’s Hungarian Pastoral Fantasy

In the above example, a have drawn vertical lines to represent where the beat falls in each measure. Notice that in the syncopations, the vertical line is drawn between the notes. When playing syncopated rhythms, it is important to feel the beat (or the foot hitting the floor) in the space between the notes. In this example, notes are played on beats 1 and 3 but not on beat 2.

Marking the beats can help with complicated rhythms. Consider this passage with a 9/8 time signature:

rhythms made easier by marking the music

from Danse de la Chèvre

This measure is made much more readable by adding in vertical marks over the large beats (dotted quarters). Visually, the organizes the measure into three distinct parts. By tapping my toe, I have kinesthetic feedback to tell me if my notes are starting on the right beat.

This is a simpler example from a student’s etude in 6/8 time:

rhythms

etude in 6/8

In this example, I wrote in the numbers 1-6 for each of the eighth notes within the measure. This makes it easy to see how the notes relate. We could re-write this measure in 6/4 time with quarter notes and eighth notes to achieve the same rhythm and the same counting.

For the final example, I offer this example from the opening passage of Doppler’s “Hungarian Pastoral Fantasy.” I have added vertical lines to represent where each of the six eighth note beats occur in the measure. You will notice that there are longer lines over the two larger beats – the dotted quarter notes.

wild rhythms, organized

Doppler’s Hungarian Pastoral Fantasy

I am a visual and kinesthetic learner so marking my music with vertical lines to represent beats is essential. It graphically organizes the music into discreet packages that I can see and feel easily. Of course, this is not a new idea, nor is it one I created. In fact, I see these kinds of marks all the time in orchestra music used by professionals. I have developed a system that works for me. Now, go find one that works for you and use it consistently!

More ideas for marking music:

 

New Ideas for Marking Music (part 5 of Miss It? Mark It!)

Miss It? Mark It! part 5

A new student arrived at her lesson this week with music beautifully colored. Last week I had encouraged Madeline* to write in her music. I suggested that if she missed something twice, she should mark it. (Miss It? Mark It! part 1) We have just started talking about how to practice, and marking the music seems like a good place to start.

Because she owns this book, I told her that it was OK to use color, not just pencil. (The book, my current favorite flute method, is Flute 101: Mastering the Basics by Phyllis Avidan Louke and Patricia George.)marking music

I was delighted to see that Madeline had created her own colorful system to help her with this week’s assignment. In blue, she had highlighted the pieces in the key of F major. The pink circles indicated exercises that were easier and the orange circles indicated more difficult exercises. She told me that it was an easy way to see which exercises needed extra practice (orange.)

Madline’s lesson was well prepared and her practice was focused. I told her that I would take a picture of her colorful music and share it here, on my blog. Perhaps it will inspire others to experiment with novel ways to mark music. There are many creative solutions for marking music, some of which I have talked about elsewhere on this blog. I invite you to find systems that make your practice productive.

Marking Music… again

Update… Madeline came to her lesson this week with an even more sophisticated system of marking the music with color:

marking

Now there are three levels of difficulty: pink, blue, and orange. Key signatures are highlighted in blue and time signatures are in orange. It goes without saying that Madeline was very well prepared for her lesson this week also. Bravo!

For more ideas about marking music, please check out my series “Miss It? Mark It!”

  • part 1 Practical Advice for Music Practice
  • part 2 How To Mark Music
  • part 3 Pencil Marks
  • part 4 Marking Rhythms

How do you like to mark your music? Do you use color? Do you have a system for showing which lines need extra work?

*names of students are changed

 

Choir Practice Ideas

Choir Practice.

Many of my blog posts have focused on practicing the flute, but today we will look at some special considerations for choir practice.

As a musician who wears many hats, in addition to teaching private flute students, I also direct an adult church choir.

choir practice

NUUC Choir – I’m on the left playing a drum

Choir practice is the focus of my weekend. At our church, choir rehearsal is before the worship service on Sunday mornings. Choir practice goes much more smoothly and we are able to achieve a higher level of performance when everyone comes to rehearsal prepared with their parts. Instrumentalists are used to learning their parts at home, but singers sometimes wait until rehearsal to learn the notes.

Vocalists in a choir will enjoy the music more by spending a little time each week practicing at home. Choir directors are grateful when singers come prepared with their parts. When we don’t have to teach notes, rhythms, and pronunciation, we can focus on musicianship and ensemble.

The following article has lots of good ideas for choir members. You don’t need to be able to play the piano to practice your part!

Practicing Choral Music: Ten Ideas for the Singer Who Doesn’t Think They Can Practice on Their Own

I completely agree with Doreen Fryling that silence is imperative for mentally working on parts, or “audiating.” Many people are surprised to learn that my husband and I don’t have music playing in the house most of the time. In fact, I never have background music playing when I am in the office. I may actively listen to the piece I am preparing, but I find other music to be very distracting. Background music further robs my brain of the blank space needed to work on music subconsciously. If I listen closely to my brain, there is almost always some music being tossed around up there. Right now, the house is completely silent, but our newest choir piece is “playing” in my head.

Utilize Online Resources

YouTube is one of the best resources for choirs. I use it a lot to discover new music, prepare my weekly rehearsals, and get performance ideas. When I find a particularly good video, I pass it on to my choir. Even a bad YouTube video is helpful. Recognizing what doesn’t work in music is an important step in developing good musical taste. Sometimes we even post a YouTube video of our performances. This is a video that we made for Kiya Heartwood, the composer of “Higher Ground,” when we rehearsed and performed the arrangement she made for us.

As for foreign language pronunciation, there are many good online resources. Here’s one for Ecclesiastical Latin, for example.

What are your practice routines? Are there any resources, online or otherwise, that are particularly helpful to you?

Flute Acoustics

Flute Acoustics: the mystery and the science

simple drum

Madinga slit drum – simple drum

The flute is the second oldest musical instrument in the world but flute acoustics are highly complicated. The drum is the oldest musical instrument in the world, and their acoustics are rather straightforward. A hand or mallet strikes the drum and it begins to vibrate. The air around the drum expands and compresses to create sound waves.

Completely unlike the drum, the flute produces a tone by splitting an airstream on an edge. There are many different kinds of flutes. For example, a recorder is a kind of flute. The recorder produces a sound when air blown through the mouthpiece is directed at the sharp edge of the whistle. Pan pipes are also a kind of flute, because air is blown over the opposite edge of an open tube. Instead of keys, each tube on the panpipe is a different length and creates a different pitch.

On all flutes, vibration is caused by the displacement of the jet of air and the pitch is formed by a resonating pipe. Changes in the pitch are produced by changing the pipe length. That’s the short explanation of flute acoustics.

flute acoustics

giant pan pipes

For a more technical explanation of flute acoustics, check out these websites:

Flute acoustics: and introduction

General info on acoustic physics of the flute: (also other instruments)

The modern flute is an acoustic wonder. The lip plate and tone hole are carefully crafted for the proper edge resistance. The Boehm System flute that most flutists play has 18-20 keys. The keys open and close tone holes to create approximately 40,000 fingering combinations. The flutist’s bible for fingerings is A Modern Guide To Fingerings for the Flute by James Pellerite. It contains page after page of standard fingerings, multi-phonics, trills, tremolos, and fingerings for special situations.

flute acoustics modern flute

A student recently told me about some online resources for fingerings. (Thanks, James, for the links!)

“The Virtual Flute” allows you to find fingerings using an algorithm. You can ask it to generate all tones that can theoretically be produced by a given fingering or you can ask it to find all the fingerings for a given pitch (or pitches). This is a fantastic resource for composers looking for new sound capabilities of the flute. It’s also a novel way to find new fingerings for difficult passages in flute music or to find fingerings that may be useful for correcting pitch problems.

Another website offers flute fingerings for a variety of flutes, including ones with different footjoints and Baroque flutes:

 Note-by-Note acoustic response data (experimental):
http://newt.phys.unsw.edu.au/music/flute/modernC/results.html

Opening and closing the tone holes isn’t the only thing that influences pitch. The angle of the air, speed of air, and temperature of the room will have an effect on the pitch. Manufactures have different “scales” they use to determine the size and placement of the tone holes. I am especially interested to know if there is an algorithm that understands the slight differences in a manufacturer’s scale. There are some trill fingerings that are radically different depending on which brand of flute is played. Some flutes will have extra tone holes, such as the C# key and this creates even more fingering possibilities. Because pitch and tone quality are inextricably linked on the flute, the player’s body will have some mysterious effects on the sound coming out of it. But that’s going down another rabbit hole…

Flute acoustics is a fascinating topic, one that is worthy of study. Save these links for a good reference and enjoy a bit of a left-brain workout when learning about the science of acoustics. Now, go practice!

 

Goal Setting for the Practice Room

Goal Setting should be part of every musician’s practice session.

There are many kids of goals in music. Some goals will be achieved within a single practice session, others will take longer to achieve. Regardless, simply writing down goals is a powerful first step in making your practice as effective and efficient as possible.

Today is the first day of lessons after the winter break, and I am talking with my students about their musical goals for the year. Together we are setting New Year’s Resolutions for music. The goals we are developing are mainly long-term goals, like improving tone, learning repertoire, winning first chair in the fall, or memorizing all the major/minor scales. Articulating these goals is good for the student and it’s good for me as a teacher. Once I know what a student’s goal is, I can create a plan and offer the right materials to assist that student’s progress. Goal setting is a positive experience for the student because it promotes motivation and focus,goals are dreams with deadlines

Students should develop the habit of setting goals as part of music practice. Ideally, goal setting should happen at the beginning (Practice Session: Part 1) because it’s easier to build an efficient practice session with and endpoint in mind. When creating practice goals, it’s a good idea to set some short-term goals that can be achieved during a single practice session because meeting those goals is very satisfying and builds confidence that other goals can be met also.

I have always encouraged my students to set goals because it has been a useful tool for me in my development as a musician. Many other music teachers also recommend goal setting so this isn’t something I’ve invented. However, I had no idea that researchers have been looking into the benefits of goal setting since the 1930s. Goal setting really works and there are many scientific studies to prove it! There’s even a codified theory, Goal-Setting Theory, to explain why goal setting is useful.

Goal-Setting Theory

Setting goals affects outcomes in four ways:

  1. Choice: goals narrow attention and direct efforts to goal-relevant activities, and away from perceived undesirable and goal-irrelevant actions.
  2. Effort: goals can lead to more effort; for example, if one typically produces 4 widgets an hour, and has the goal of producing 6, one may work more intensely towards the goal than one would otherwise.
  3. Persistence: someone becomes more likely to work through setbacks if pursuing a goal.
  4. Cognition: goals can lead individuals to develop and change their behavior.

from Latham, Gary P.; Budworth, Marie-Hélène (2007). “The study of work motivation in the 20th century”. In Koppes, Laura L.; Thayer, Paul W.; Vinchur, Andrew J.; Salas, Eduardo. Historical perspectives in industrial and organizational psychology. Series in applied psychology. Mahwah, NJ: Lawrence Erlbaum Associates. p. 353–382 (366). ISBN 0805844406. OCLC 71725282

Write Down Your Goals

A recent report on NPR (“How Writing Down Specific Goals Can Empower You”) discussed the role of goal-setting in achieving academic success. Schools around the world are trying one simple thing. They are asking students write down their goals. Teachers have found that their students have higher achievement after committing to the written goals.

goal setting imageIn my studio, I know that some students skip the goal-setting step in their practice. They believe they will remember their goals without writing them down, or they worry that it takes too much time, or they think it’s silly. However, this study from McGill University in Montreal suggests that putting pen to paper has a powerful effect on achievement.

Make Goal Setting a Habit

Goal Setting also improves non-academic skills like communication, resilience, creativity, and problem solving. The development of these “soft skills” may be more important than cognitive skills that can be measured by a standardized test. Employers are increasingly looking for people who are able to complete complex projects. Musicians are particularly good at this!

Adding goal setting to your daily music practice might make your entire life better.

Goal setting, like many other things, gets easier with practice. Once setting goals has become a habit in music, it’s easy to include it in other parts of your life.

Keep that pencil and notebook handy. You are going to need it.

whatever the mind can conceive, it can achieve

Recital Update

Recital Update.

The annual studio recital was this past weekend, and I am bursting with pride for all the students.

recital

Recital 2015

I’ve been teaching for 20 years, but this was one of the best recitals ever. Nobody cried… not before, not after, not even me!

The audience was treated to a wide variety of music from the beginner student belting out “Hot Cross Buns” to an advanced adult student whose refined performance of “Syrinx” was terrific. In addition to my flute and recorder students, there were two dads playing piano for two flutist daughters. I had the pleasure of coaching my son and his cellist friend on a big fireworks piece. They were the grand finale of the recital. After the recital, we shared delicious food and beverages.

At lessons this week, I listened with my students to digital recordings of their performances. It was a delight to hear one student say, “I wasn’t happy with my performance on Sunday, but after listening to the recording, I realize I played really well.”

In a previous post about recital preparation, I wrote about the importance of practicing like a performance. The students this year were all very well prepared and all performed better than I had ever heard them in a lesson. It’s great when a little recital magic pops the performance up a notch.

At the recital, I talked a bit about how musicians and magicians have a lot in common. In fact, when my kids were little, they had the two words confused. Both musicians and magicians have to cultivate unique skills, and we practice so the audience is unaware of all the difficult work that goes into the performance. For the musician, the art is almost entirely unseen as it is enjoyed by the ear and not the eyes. For the magician, the what the audience sees is carefully controlled. Both magicians and musicians practice their craft alone, but the thrill comes when performing in front of an audience. We know that the show takes genuine work, but we open our hearts to a bit of magic too. As a special recital gift this year, all of the performers received bags of magic tricks. I hope they read the directions carefully before testing the finger guillotine!

Some of the students have just begun their studies. Others I have known for many years. I am enjoying the time I have left with the graduating senior, and this past weekend I was glad to give her a job recommendation. It’s always sad when a student I have taught for a long time leaves the studio. But I am glad to be able to stay in touch through Facebook.

Of course we enjoyed some great food and conversation at the reception after the recital.

I am grateful for the support of the families whose commitment to music and their loved ones makes all this possible. Bravo!