What's a lesson like?

I had one teacher in Grad school who would sit back and just listen to my playing. He'd sip on his coffee, make few comments, and then I'd play the next piece. This went on for 2 semesters, which is why I switched teachers in mid-degree. it caused quite a stir.

I switched because his teaching style did NOT mesh with my learning style - I MUCH prefer a conversational hands-on approach- and that is exactly how I teach.

For me a piano lesson is more of a "rehearsal" - the student and I will work through the issues with the piece they are trying to learn. During that conversation we'll discuss the music theory aspects of the piece - form, chords, melodic phrase construction, for example - as well as technical issues (fingering...) and musicical aspects (articulations, phrase shaping).

I ask a lot of questions - intending for the student to discover the answer (I really like those "Oh, Yeah" moments when the light bulb goes off). It could be something as significant as noticing that the composer re-used melodic material later in the piece to as simple as starting on the correct note.

That's what I think a lesson should be like. Your opinion?

Making a CD: Graphics

Another entry in a continuing series discussing a custom Christmas present I produced for my piano students - a CD with their performance, recorded in a lesson.

To this point I've detailed how the MIDI data got recorded, how I transferred the MIDI data to my studio machine, recorded the audio, and exported the audio in a CD-friendly format.

But the CDs needed to have SOMETHING printed on them! I googled (at Google images) a piano keyboard, and selected a shot that was a closeup of a piano keyboard (AND that wasn't covered by copyright).

I did a mockup of the CD cover using Microsoft Publisher (a program I do not particularly like - but it was available). I used Publisher primarily because the studio I was sending the audio to also uses it. This allowed me to create a template, and all they had to do was open up the template and change the text to reflect each student's information.

Each CD had the student's name, what date it was recorded, the phrase "Merry Christmas", and the pieces on the CD (along with the track number).

Again, the idea was for the CD to provide a snapshot of the performance - a memory, if you will.

Making a CD: Recording the Audio

At this point I had good quality MIDI files ready, that sounded just like I wanted them to. They represented a fair picture of the student's performances, but were still listenable.

Getting the audio into the computer was actually fairly simple. Remember I have a G3 desktop for sequencing, and a Mac mini that I use for audio - but this can be done with a single computer running the appropriate software (anything that can do both MIDI and audio work, and there are tons of options out there for both Macs and Windows machines).

Essentially all I had to do was to start my audio software recording, switch to the Sequencer program, and hit play. It didn't take very long because all of the pieces were short (the longest was about 2 minutes, but the average was about 45 seconds. These ARE beginning piano students!)

Once the audio was captured, I made sure the audio was normalized (i.e. as loud as practical), and then exported it as an AIFF file.

Naming the resulting files was important, because I had over 2 dozen files to keep track. I used studentName_track number_songname.aif. For example, macmusicguy_1_twinkle.aif

Next time: Graphics. Coming soon: Using the 'net to transfer to a studio, and parent reactions.

Making a CD: Decisions - how much to edit?

So at this point it the process I had recorded all of the students who were going to be recorded, and I had a floppy disk with several sequence files on it. Several of the pieces had duet parts as well.

Each student had a separate file. Each file - because of how the program works - can contain up to 25 separate sequences. I put each piece into a different sequence. indeed, I put separate takes into separate sequences, except for the 5 year olds.

I transferred the files to the PowerMac in the outhouse, called up the files into Musicshop (an old, defunct sequencer by Opcode), and had some serious decisions to make.

1. How much editing should I do? I could go through and edit every note, put in place just so, and make the performance sound perfect. However, the idea behind this project was to give a positive snapshot of the student's performance - a substitute for a live performance. I decided on minimal editing - after all, I did want the tracks to be listenable!

2. What sounds to use? Piano, yes, for the student - but what about the duet parts? I wanted something that was piano-like, but that allowed the student's performance to be very easy to hear. I decided on an electric piano/Rhodes type sound. The Rhodes proved ideal - you can hear it, but it doesn't cover the piano part in any way.

Most parts were left mostly alone. I trimmed off silence at the start and selected the best "take". One student, who had recorded a longer piece, required me to create a comp (i.e. "composite take"). She had gotten a bit confused entering the B section, but the A section was fine. Due to time constraints I had her re-record the B section, and her second attempt was much better.

In the next entry I'll continue discussing the process and decisions that had to be made.

Making a CD: Recording in the Lesson - Adventures galore!

Looking back, it was interesting at the different approaches I had to take getting the recording done. All of my students had seen me use that old Mac Classic before, and they all knew it would "record" their performances - I use it fairly regularly to help them hear their mistakes. This took the novelty factor down a bit.

With 9 year olds and older I could treat the lesson as a regular recording session. I would start the recording, and they would start the take whenever they were ready (a serious advantage of using MIDI). If there was a false start, I just told them to try again, while letting the sequencer roll.

Duet parts I generally recorded right after their parts were recorded. This way I didn't have to try and recreate them later using music I didn't have. I didn't try for exact timing with their part - just tried to get the exact right notes, and get kinda close on timing. (I fixed the duet part timing later in the outhouse.)

My younger kids presented quite a challenge. In particular I have a pair of 5 year old twins who were real excited at recording, so getting them to focus and actually DO the recording took some doing. They finally did a good job, but the duet parts were real rushed, and took a bit of editing later to make functional.

With everyone recorded, it was time to put the files onto a floppy and transfer them down to the outhouse machine.....but that's a story for another entry.

Making a CD: Process Details

So I have a teaching studio at the music store with a very old Mac and a digital keyboard, a small recording setup in the outhouse, and a friend with some professional studio equipment. How do you use that kind of setup to create student CDs?

Step 1: Record the students Each student and I had obviously been working on several pieces for a couple of weeks. We had even done some "practice" recording, so the kids would realize that they often didn't hear their mistakes, so they needed to really focus when practicing, to quash the errors.

Because I was using MIDI, I didn't have to do the standard practice of pushing record, and then cueing the student to start. I pressed record whenever, and then let the student start when they were ready. If there was a false start, I just let the sequencer keep rolling.

The kids did NOT play to a metronome (or click) - there was no real need. When there was a teacher's accompaniment part to record, I played it on a second track, roughly trying to play in sync. I primarily was concerned with getting my timing close to theirs, and playing all the correct notes. Timing errors could be fixed later (again, becuase of using MIDI).

I had to record the accompaniment right then because of time constraints, and because I didn't necessarily have access to that music later.

Each student was placed in a separate file and saved to floppy (I did mention this was an old Mac, right?).

Step 2: Editing I transported the files down to the MaconOutHouse, where I loaded them into EzVision on my powerMac G3. I decided early on not to do much editing. I wanted to strike a balance between letting the recording be a snapshot of the student's performance, and making it listenable.

I did splice together one student's performance at a section break - i.e. I used Section A from Take 1, and Section B from Take 2, primarily because of time. (We didn't have time in the lesson for another take). The only other editing I did on the student's performacnes was to delete dead air at the beginning and ending of their performances.

The "teacher accompaniments", however, underwent some serious editing. I tried to get the accompaniment to line up as closely as possible with the kid's performances. In the case of my rambunctious 5-year-old twins, this was quite a challenge!

Step three: Drop the Audio! At this point, all the MIDI files were cleaned up, so it was time to get the audio onto a hard drive.

The G3 was used to drive my Roland RD-700sx, which provided the piano sounds. It is hooked up to a Mackie Micro1202VLZ, and then into the audio interface to my Mac Mini. I recorded the audio using Soundtrack Pro (but could have just as easily used Garageband, or even the freeware Audacity. )

To make it easier to tell which was the student part and which the teacher's, I used the "Superior Grand" sound for the kid's part, and usually an electric piano sound for the teacher's.

So basically: Start the audio recording. Play the midi file. Save the recording - making sure I named the file something appropriate.

Step four: collect the parts I had previously worked up a graphic for the CD - just a picture of a piano keyboard. I forwarded this on to my friends down at ShadowSound studio. I also zipped up each student's files, and used sendthisfile.com to transfer the files to them.

ShadowSound took the files and created the CDs using their CD burner/printer. They looked great!

I mailed them out the day after everything was complete. Coming

up in the series: Decision, Reactions, and other ways to do the same thing.

Making a CD: Technologies and Process

Another post in the continuing story of making a CD for my student. Today: a look at the technologies used. This is not the only process possible - indeed, there are easieer ways to do this. However, I decided to use what I had available. I should note that it wasn't one CD - it was 9 different CDs, each student received a CD with only their perofrmances on it, plus it had their name and song titles printed on them (along with a neat graphic of a piano keyboard). The first of the technologies used is actually fairly old: MIDI. [I remember when it first came out - I got married when MIDI was still in diapers]. MIDI is basically a "language" (the computer geeks call it a protocol) that allows a computer to memorize what notes were pressed when, and how hard. It also can keep track of things like sustain pedal presses, when the sound was changed on the keyboard, and more. So I had the computer "memorize" what keys the students played when. This allowed me to easily transfer the MIDI data down to the outhouse using - gasp! - a FLOPPY DISK. [the outhouse = my studio back at the house. It's the little house out back.......yes, my family enjoys puns.] MIDI files are ridiculously small - you could fit all the parts for all of Beethoven's symphonies on one 1.4 megabyte floppy. That same floppy will only hold something like 6 seconds of CD quality audio. The DISadvantage is that the quality of the "box" - synthesizer, soundcard, etc. - actually making the sound when "fed" the MIDI file is what determines how good the music sounds. Another technology: a sample playback keyboard - specifically, a Roland RD-700sx, with 88 weighted keys and a very nice sound. This was used to actually create the sound that was eventually recorded. The audio was recorded using a Mac Mini with an M-Audio Firewire audiophile box attached to it. I used Apple's SoundTrack Pro to record the audio, but there are other options available (for me, Traktion from Mackie, or the free Audacity software would have worked as well.) Other technologies used: the internet and email - used to transfer the audio files to a friend's commercial studio. He then used a CD burner and printer to actually make the CDs. Then, of course, there is the United States Postal Service, which took care of delivering the packages to my students. That's an overview of what was used. Next posting - details on how this project was accomplished.

Making a CD: My equipment

As a reminder, this series of posts is a review of a special project I did for my students - recording them in the studio and getting CDs made of their performances.

But first, an overview of what equipment I have available, which influenced the process I went through.

In the studio at the music store (Young America Music in Macon, GA) I have a positively ancient Mac Classic (it runs at a whopping 16 MHz processor speed) that dates from 1992. I run opcode EzVision on it for basic sequencing work - I use it fairly often to record the kids as they play - they are amazed at the technology ("It's HOW old?) and the fasct they can hear themselves.

I teach on a home digital piano from Casio - it's what the store has available. It isn't bad, but not the best in the world by any stretch. Keys ARE weighted, though, and the piano sound is pretty good.

In the outhouse studio (so named because it's the house out back) I have a small recording setup - a Mac mini, Soundtrack software, and an M-Audio Firewire Audiophile interface. My keyboard is a Roland RD700 - has an excellent piano. I also have a mac G3 desktop - running (yep, you guessed it) Opcode's EzVision.

The fundamental problem (challenge!) is that I don't have a direct way to record the audio that the kids produce in the studio. A cassette recording is out of the question - quality is too low (and would be a real pain to get done).

So there's the setup and the problem. The story continues in the next post with details on the technologies used and the process........ all to give my students and their parents something to listen to.

Piano Studio: An Experimental Christmas Present for my students

The situation: The store where I teach (Young America Music) has been doing construction for some time - adding on a new building - so we were not able to have a fall recital there. My schedule was so full I was not able to schedule a recital somewhere else, so I decided an experiment to give the kids something to work towards, and they would have something fo their own to give to their parents: A CD of themselves playing. Following episodes will detail the equipment I have available, what skill sets were required, other ways to accomplish the same thing, decisions that had to be made in the process, and the results. It was an interesting process - probably made more complicated than necessary because I'm fairly picky - but the end results were fairly satisfactory. Tune in as the story unfolds! You can set your RSS reader to subscribe to this blog, or add your email address in the feedblitz box over there on the side. You'll get an email when this blog is updated!

Improvisation on the Piano

I have been working - in my mind, at least - on an outline re: teaching improvisation. Usually my starting point is either a book of some sort, from which I pick up a pedagogical outline, or my own experience. In terms of improv, though, the books I've found seem insufficient. They are either way too theoretical, or way too tune-based. By the latter I am referring to the design where a book throws several tunes and basically says, "Here, play this".

There deosn't seem to be material which walks a student through the process of working on an improvisation, which has started me thinking about the process you go through when improvising. What musical skills and knowledge do you have to have in order to imrpvo successfully? What ear capabilities?

In this, also, my own experience is proving deficient. I don't remember how I started improvising - other than I began by adding in parts to the boring piano accompaniments I was playing for my high school choir.

So, my initial thoughts:

1. Scales and keys play a part. You need to know instinctively what notes fit a particular key.
2. Knowing chords is also a part. You could work off the notes in a particular chord.
3. Some Rhythmic capabilities is necessary - being able to play rhythmic patterns for comping work, for example.
4. A sense of form - you'd want to play differently between the verse and chorus.
5. There's also the non-note-based but oh-so-important performance aspects such as tempo, dynamics, expressions, and articulations. Intonation, too!

So in what order would you teach these concepts? Using what material? At this point I am certain you can't segment the areas listed, but how to mix them together into a cohesive whole is a fairly knotty problem - not to mention the problem of keeping things interesting!

More entries as the thinking warrants.

Acoustic versus Digital pianos

Heard mention the other day that a local piano tuner was recommending to some of his clients to switch to digital. He said he was tired of keeping all those acoustics in tune.

Sounds to me like he's ready to retire!

My views have changed on this subject over the years as technology has evolved on both the acoustic and digital fronts. While I do believe there is NOTHING like playing a quality grand (the expressiveness and sound is unbelievable), the digitals come out ahead when comparing a quality digital piano and the cheaper spinets and consoles.

The acoustics have the advantage of longevity - even a cheaper spinet will last for decades (IF taken care of). I don't believe the digital keyboards will last much longer than a decade, of that long (Depends on how much they are played, of course). The acoustics in general allow a bit more touch control, and especially pedalling nuance (things like half-pedalling, etc are just not possible with most of the digitals.)

On the other hand, digitals never go out of tune. You can use headphones. They generally have additional sounds, useful for keeping practice interesting (ever heard Bach played with a harpsichord sound? A vibe?). The MIDI capabilities, when used with a computer, open up a world of possibilities. Some are portable.

So what do I recommend when buying a digital? I look at three primary things: Key size, Keyboard feel, and Sound. The keys have to be full sized, and the feel needs to be as close to a grand as possible. (I currently really like the feel of the Casio Privia series, for example - especially in it's price range.) I tell my parents to sit down and really listen to a piano's sound for an extended period of time - if their ears aren't tired of hearing the sound, then it will probably work.

I wish all my students could use a quality grand piano in their practicing - but that's not going to happen in this lifetime. The digitals are a great alternative.

That;s my opinion. What do YOU think?

---------------------------------
http://www.tomrule.info/music
http://www.tom-and-co.com

Teaching Youngsters and Herding Cats

Some of the kids I teach are fascinating. Some days, they are all focused on playing the piano. Others, you might as well be at the zoo.

Now, some of my teachers growing up were, compared to the way I teach, very standoffish. I would play, they would make a comment or two, and we would move on. I remember having more conversations as I got into High School, and it became apparent I was going to major in music.

I would say I am an active teacher. I treat a lesson more like a rehearsal - the student and I are working together to improve their skill. I guess the best sports analogy is that I'm the coach (but a coach that can STILL play the sport!).

But some days - and with a couple of my students, it's every day - you have to go with the flow. I want them to remain excited about piano, but also to get something done (hey, that's what their parents are PAYING me for!). So I listen to the stories about their day at school - and indeed, ask them how things are...and we play.

Some days it's more playing. Some days it's more talking.

Some days I'm teaching piano. Some days I'm herding cats.

It is never boring, though.

--------------------------------------------------- The MacMusic Guy

Basic Info | www.tomrule.info/music The MacMusic Blog | macmusicguy.blogspot.com The Band | www.tom-and-co.com ---------------------------------------------------

Studio Setup: the next chapter

I am a firm believer in using things - especially technology - as long as it is practical. That's why I have been using a powerMac 8500 for my writing and transcription work for a good long while.

I bought it off of eBay for $150 to replace a Mac clone that got fried by lightning. I use it for digital audio work, sequencing, and Finale stuff.

I purchased my first ever new Mac in February - a Mini. For a long while it has stayed in the living room, perched on top of a 10 year old IBM 17 inch monitor that was absolutely huge - it was quite funny looking, but very functional.

I don¹t' want to lose what I have with the 8500, so today I moved the mini down to the "outhouse" (it's a 12x16 ft little house out back with my studio and workshop). I'm using a KVM switch (the 8500 has a usb/firewire card installed), and the 2 machines are networked together (with a crossover cable, of course. Why spend $ on a switch when I already have the cable?)

So I'm working with one machine running MacOs 8.6 - running Finale, EZ Vision, and assorted audio utilities (like Soundmaker from Micromat) - and the other running MacOs 10.3.

Gotta love it! A Very functional studio using a blend of the old and new.

Is this a good place to mention the Mac Classic running MacOs 7.1 that I use in the piano studio at the store? (I use it for basic sequencing in my piano lessons). It brings new depths of meaning to the word "slow"!

--------------------------------------

The MaconMacMusicGuy

http://www.tomrule.info/

http://www.tom-and-co.com

http://www.youngamericamusic.com --------------------------------------

Piano: Thoughts on Teaching

I've had my own piano/keyboard teaching studio for almost 2 years now. I've also taught piano at the college level for a total of 12 years (some of those years I was full-time faculty, others an adjunct). Today, I was thinking about some of the differences between teaching privately and on the college campus - it is interesting, to those of us who teach, anyway!

You have a certain stick hanging over a college student's head - the grade, but this may or may not be a motivator! I've had many college students start taking piano, and then never really practice. Many are actually surprised that I expect them to practice between lessons. My approach to this problem has mellowed out a bit over the years. I used to fret a bit over not being able to motivate the student. Now - and perhaps this is because my own two boys are in their teens or rapidly approaching - I realize that at some point I am not responsible for the choices the student makes. Nowadays, I lay it out flatly that it will require practice if they really want to get better - and that piano lessons are a lot more fun when they practice (because we can get beyond the notes and other basics).

For some, this is enough. Others, it doesn't seem to really matter - which is a shame, since they are paying extra to take private piano! For me, I will push the students who seem to want to make music. The others, I try to keep it interesting by throwing in stuff from outside the book, but i'm not going to worry about it. That is, unless they are music majors.

Music majors are in a whole 'nother ballgame. If a student truly wants to major in music - that is, have a prayer of a chance at making a living at this field, then they'd better be able to play or sing real well - and that takes extraordinary amounts of intelligent practice - 4 hours a day.

Yes, I push the music majors.......but my regular private students I have to treat differently. More on that next time. Leave some Comments!