Dreaming about music . . .

Last night I had a dream which was like the recurrent nightmare I used to have during the days when I taught music full-time. In last night's dream, a whole group of older students unexpectedly came into the music room. I was surprised and flustered because I didn't know how I should proceed. As I looked more closely at the students, who were all wearing dark red coats, I noticed a few that I recognized. So, these must be junior high students. I think I may have woken up to a half-sleeping state because the next thing I knew, I was creating a lesson plan for these students. But, in the dream, it was too late, because they stayed one hour and then it was time to go. I had done nothing for them. But in my half-awake state I created a plan for the next time this should happen. This is a plan which I did many times throughout my teaching career: I composed an A section of simple yet jazzy rhythms, to be played by all on congas. We have 8 to 10 conga drums in the music room. The A section was 8 beats long. The plan is to have different solos for the intervening sections. I even imagined hearing what solos people might improvise. The final form is ABACADAEAFA, etc.

Got to get it down (cold)!!

Oh, I got to get it down -- the piano accompaniment for the musical, Once on This Island. I love these tunes by Steven Flaherty. The score is very Carribean-rhythmic and it's a bit tricky. That's why I have pledged to practice every day. The show is in March but I need to know it well so I can play well during rehearsals and teach the kids all the songs. Whew! It's kind of a challenge. Slowly, day by day, I am getting it down. Can't give up now.

Exploring New Things

Just had to share this photo with you! It's my granddaughter and me. We are playing a celeste together on the stage after my orchestra concert was over.

Improvising Again!

At my Tai Chi class a few days ago, the teacher whispered in my ear, "When we do the Form, please feel free to improvise for us on the piano, as you have done before." So, I did that. Again, I used only the black keys to create a soundscape that would be appropriate to the slow, controlled movements of Tai Chi and also would have a slightly "Asian" cast to the whole. I find that I feel very free and comfortable doing this, probably after my many years of improvising wildly in the classroom, at the piano, as an encouragement to my children to move in various ways. I played a variety of styles and ranges: large crashing chords for "giant steps", flittering little melodies for lightly running, etc. I really enjoyed it! When I asked my student teachers to try that, they never did. They were much too inhibited to try.

And, yesterday, at the first general rehearsal for the elementary school musical, which I have been asked to perform as accompanist and vocal teacher, the director had the children play various "theater games" to warm up. One of them was "The Mirror Game". In groups of two, the students took turns leading slow motions, in a seated position, facing their partners. Again, I suggested that I could play on the keyboard for this activity. The director agreed and I felt my slow, controlled improvs helped to create a good atmosphere for the Mirror Game, again using only black keys. Anyone can improvise on the black keys! Just become less inhibited and try it!

Groovy and Wild!!!

A friend told me about an amazing gospel style pianist who played with Elvis Presley for awhile. It's Per-Erik Hallin!!

From "MySpace.com":
Per-Erik Hallin was born January 7 1950. He moved to the US in the 70's, and played with Elivs for about 1 year. For the last 30 years he's lived in Sweden. He's recorded 2 solo albums (Better late than never, Morgonluft), and a 3rd album was scheduled for 2007, but has been delayed due to problems with tinnitus. He's worked with many swedish artists, such as Carola, Cyndee Peters, Ulf Lundell, Ted Gärdestad, Magnus Uggla, Mikael Rickfors, Ola Magnell, Ingemar Olsson.

For more info and 2 video clips, click here.

Here is his song, Nothing to Fear! It's totally wild. He even plays something that sounds like tone clusters with his right hand. The rhythm is so infectious, it just makes you want to dance down the street! See if you don't agree!!

Teaching About The Blues

Recently, I subbed in my old music room for three days. It was so much fun!! It got my juices flowing to be in the midst of all that again -- connecting with children, eliciting their interest, moving the class along from moment to moment -- it's really a rush!

The fifth graders were to study The Blues. We began by listening to Huddie Ledbetter, "Leadbelly" singing his song, "Good Morning Blues". The song is in the music text book and the accompanying CD has Leadbelly singing in a very old recording. (He died in 1949.) Then, the children tried singing the song from their music books. We discussed "blues" -- what does it mean to "feel blue", etc. First, I wanted them to understand the emotional content of the Blues.

The next day, we reviewed "Good Morning Blues" by singing it along with the CD, then I moved the balance switch on the stereo so they were the only ones singing the melody. (These CDs have that special characteristic -- very useful function for the music teacher.) Then, I asked the students to form three lines, like three sides of square, with one side missing. I stood on the missing line. Everyone was standing. I assigned each line of the song to a line of students:

Good morning, blues, blues how do you do?
Good morning, blues, blues how do you do?
I'm doin' all right, good morning, how are you?

I had to work intensely with the students, encouraging them to sing, for many were shy and unsure about singing. Finally, we got a good spirit going!

I taught them the second verse:

I lay in bed last night, turning from side to side,
Yes, I was turning from side to side,
I was not asleep, but I was dissatisfied.

They sang along with the CD, accompaniment only.

My goal in this activity was to let them see the formal structure of Blues lyrics. I asked them to tell me the form, using "A" and "B". The answer: AAB

My next goal was to help the whole class create another verse for this song. First, we got the beginning line, which we repeated, of course. All you have to do next is to find a rhyme for the last word of the first line. Each class accomplished this! It was so much fun, but scary to create something from nothing like this.

Next, I wanted to teach them about the 12 Bar Blues form. On the board I had written the numbers:
1234 2234 3234 4234
5234 6234 7234 8234
9234 10-234 11-234 12-234

We just practiced counting that out, no music, so they could get used to that pattern. Next, I played the Leadbelly recording of Good Morning Blues and we counted through the whole song! I think it's great to get really familiar with the length of a blues verse (12 bars!). After awhile, you get a feel for it.

Over the numbers on the board, I had written:
Do Do Do Do
Fa Fa Do Do
Sol Fa Do Do

We practiced singing those tones (the chord roots) alone and then along with the Leadbelly recording. Hear the song on this player. However, this is not the exact same version of the song we used.



Aha! I really felt that the students had a handle on:

• The form of the words for a Blues verse and how to create your own.
• The chord roots for the 12 Bar Blues

The teacher will probably go on to do more things. For example, she might have small groups create their own Blues verses and share them with the class. Also, she could have them use the Orff instruments to play the chord roots. They can learn and listen to many other Blues songs, too. Finally, in February, these lucky children will be able to visit The House of Blues in Chicago where they will watch a special show for students about the Blues, the history and so on.

Learning about The Blues is essential for American children -- to learn about their musical heritage and the world's musical heritage, for the Blues lead to jazz, ragtime, rhythm and blues, rock and roll and all the developments since that time!

Our Lives Are Poorer Now

It used to be that every major city had at least two classical music stations and, many times, there were more than two classical stations. In the last 10-15 years, these stations have disappeared. As you know, gentle reader, I adore rock music, but, come on! Chicago has only one classical station and if you don't happen to like what they are playing, you are out of luck. We just don't have the kinds of choices we used to have.

More about practicing

Here's another tip:
Instead of always playing from the beginning of the piece, sometimes you should work backward from the end!! Hey, it just makes sense, doesn't it?

Orff Schulwerk

During the last half of my music teaching career, I became acquainted with Orff Schulwerk. I was immediately attracted to this kind of study, which was introduced to the music teachers in my town by a dynamic and accomplished musician -- Lillian Yaross, who quickly became my idol.

Orff Schulwerk is “Music for Children”, a way to teach and learn music using poems, rhymes, games, songs, and dances as basic materials. The Schulwerk was created by composers Carl Orff and Gunild Keetman in Europe. The emphasis is on students as improvisers and performers. It is the most exciting way to teach and learn music.

I became trained in this method by taking Level I at DePaul University and Level II at the University of Illinois at Champaign, Illinois. These were each two week courses and covered everything from the "Orff method" to "Movement" and "Recorder". There is Level III, but I never took it. Also, every year there are huge Orff conventions in a U.S. city. I have been to three of those: in Chicago, in Minneappolis and in Memphis. And, the Greater Chicago Chapter has monthly workshops, featuring nationally known clinicians who work music teachers for four hours on Saturday mornings.

With the Orff method, the students learn to play a variety of small percussion instruments, such as hand drums. They learn to combine rhythms and they learn to use rhythms from speech as musical elements. The learn to improvise, as well. Each school must provide a wide ranged of "barred" instruments, especially designed by Orff for use by elementary students.


There are several kinds of Orff instruments: xylophones (made of wood -- bass, alto and soprano), metallophones (bass, alto and soprano) and glockenspiel (alto and soprano). Combining these instruments creates a magical sound. Especially effective is the use of the pentatonic scale which allows the students to improvise their own melodies! The bars are removable.



Here is an example of an actual ensemble from an elementary school.

The odd thing is that it seems very few schools in Europe use this method, whereas it is used widely throughout the U.S.

My New Fav

I can't seem to get enough of "Crush" by the Dave Matthews Band. I have heard "about" this band for several years, but didn't know their music until I heard this one on the radio and fell in love with it. I like the words, his voice and especially the flute and violin solos. I like the way the song builds, too. (Sorry -- at the end of the song, I accidentally recorded the beginning of another tune -- The Witch's Ride from Hansel and Gretel -- enjoy!!)

Theories of Practicing Music

Ok, it's the New Year. Among my many resolutions is this one: to practice the violin and the piano every day. I will accept a minimum of 30 minutes per day per instrument, but, of course, more time would be preferable, if possible.

I became convinced of the importance of practicing every day after I interviewed Adolph Herseth, who, during his long career as first trumpet of the Chicago Symphony Orchestra, and who was known as "The World's Greatest Living Trumpeter". He told me that he practiced every day, without fail, no matter where he was and no matter what the season. He carried his mouthpiece in his pocket. After that, I began to practice every day and I noticed the vast improvement in my playing. In recent years I would say that I was able to practice for an hour on about 3 or 4 days out of 7. That worked pretty well, but this year I want to do even better. For example, my string quartet wants to do some ambitious music so I want to get into shape and learn the music, as well! At my age, my muscles can become sore (from disuse? or some other reason?) so that's another reason I want to keep my muscles toned.

I'd like to mention two other theories of practicing music. First of all there is a great rule: if you come across a difficult passage, play it very slowly and perfectly. Then work the speed up. I got another tip from YoYo Ma, in an article about him in Time magazine some years ago: when you make a mistake you must play it perfectly three times in a row. If you play it two times and make a mistake, you must start over on number 1! This is a great method because it trains you to repeat the perfect playings, not the mistakes.

Of course, there are many other tricks about practicing, such as repeating a group of notes over and over, then going on to the next pattern.

Listening to Music With Another Person

On New Year's Eve, a musician friend came to join us. I told my friend how thrilling it was to play Scheherazade with the orchestra. So we played the music as we were drinking. My friend said, "How wonderful it is to listen to music with someone else who understands and enjoys the music as much as I do!" It's true! As you listen with your friend, your eyes and gestures capture and anticipate the music. It's a whole new level to listening -- being able to share it with someone else.

A Day Full of Music!

On Sunday, December 30, a friend and I went to hear the taiko drummers in a free performance. It was totally awesome! We had to sit on the side because the place was packed. Oh, the thrill of hearing those drums! Your whole body throbs!



It was surprising and wonderful to see the young women playing drums, dressed in kimono. Two samisen players from Japan accompanied the drumming at times.



Two young men, naked to the waist, came out to play the suspended drums!



To see more pictures, go here:

Finally, as if that weren't enough, on the way home I heard an amazing street musician in the subway station!! It was "Shannon vs. the Stranger". He sings his own songs. His lyrics and chord changes were amazing!

Here's a little video clip. I accidentally stopped filming before the last line, which was, "My life is full of disappointment, but I'm so full of life."

I bought his CD for $5. Here is the song I heard him sing in the subway, "Full of Life". You can hear the whole song here on this player.