THE CANADIAN MUSIC TEACHER LE PROFESSEUR DE MUSIQUE CANADIEN VOLUME 64 - NUMBER 2 - JANUARY 2014

Providing Leadership in Music Education across Canada Chef de file de l’éducation musicale au Canada y

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FB: Yamaha Piano Canada Twitter: @YamahaCanMusic WHAT’S INSIDE . . . PUBLICATION INFORMATION Official Journal of the CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS / FÉDÉRATION CANADIENNE 4 Greetings from CFMTA/FCAPM President DES ASSOCIATIONS DES PROFESSEURS DE MUSIQUE CIRCULATION approx. 3500 - FOUNDED IN 1935 6 Hello from the Editor UPCOMING EDITIONS OF 8 Mark your Calendar The Canadian Music Teacher/ Le professeur de musique canadien

11 The CFMTA/FCAPM Certificate of Recognition Spring (Printemps)Edition 2014 for Professional Achievement • Publication: May 2014 • Submission Deadline: April 1, 2014 12 William Andrews Canada Music Week® Awards Fall (Automne) - Canada Music Week® Edition 2014 North Shore - British Columbia • Publication: September 2014 Halifax - Nova Scotia • Submission Deadline: August 15, 2014

Canada Music Week - Coast to Coast Winter (Hiver) Edition 2015 16 ® • Publication: January 2015 • Submission Deadline: December 1, 2014 24 Strategies for Coping with Performance Anxiety SEND ALL MATERIALS FOR EDITIONS TO: 30 ABC's of Mobile Devices Dina Pollock Phone 604.614.3298 32 Jazzin' it Fax 604.859.9855 [email protected] Using Evernote to Track Students Progress 34 ADVERTISING and Send Lesson Notes Send all advertising inquiries and orders to: Dina Pollock 36 Exerpt from - The Middle Years: Phone 604.614.3298 Rebooting Student Progress and Interest Fax 604.859.9855 after 2 or 3 Years of Lessons [email protected] The official journal of the Canadian Federation of Music Teachers’ 39 4th North West International Piano Ensemble Associations/Fédération canadienne des associations des professeurs Competition de musique is published three times a year. Its purpose is to inform music teachers about the Association’s activities, provide a forum for 40 Goodbye to a Teacher, Performer and Friend discussion and supply information of topical interest. Andrew Markow Inclusion of items in this journal does not imply endorsement or approval by the CFMTA/FCAPM. 41 What's New at the Conservatories? All opinions are those of the authors and may differ from those of CFMTA/FCAPM. 44 Review of Publications SUBSCRIPTIONS 48 Delegates and Officers Directory Non-members may receive a subscription 50 Please Support our Advertisers by submitting an annual fee to: Bernadette Bullock, Secretary / Treasurer 302 - 550 Berkshire Dr. London, ON N6J 3S2

The fee for Canadian residents is $ 20.00 per year, and $ 30.00 for non-residents. Make cheque payable to CFMTA/FCAPM.

Hiver 2014 - Le professeur de musique canadien 3 GREETINGS FROM CFMTA/FCAPM PRESIDENT Charline Farrell

President’s Message..... Best wishes to each one of you for a How fortunate we are to be able to do We are members of a profession where happy, healthy 2014! We have come to something we love and be compensated we continue to learn throughout our accept that the year numbers that used for it! A career teaching music is an lives. We are usually able to teach until to sound like science fiction to us now honorable profession, and we should we choose to retire. We earn a living sound perfectly normal! all be proud that we have work that passing on all of our knowledge of It goes without saying that we have all touches so many lives, brings us feelings music to others, and we are able to share worked hard to attain high standards of accomplishment, and pays our bills! our love of music with many people, in our chosen fields of music. Our Let me be clear – we deserve to earn a young and old. qualifications allow us to be part of a living teaching music – and we deserve We are indeed lucky! National Association which promotes fair remuneration for our services. excellence in music education. We offer There is, however, another side to being our students the highest quality of an artist. All of the good teaching we Mot de la présidente..... music education in Canada. We have have received, and all of the practising Mes meilleurs vœux à chacun pour une the skills to offer beginning students we have done, would be to no avail if année 2014 remplie de bonheur et de a strong introduction to their vocal we had not been blessed with the gift of santé! N’est-ce pas qu’il est étonnant de or instrumental journey, and lead music. Thus we are called to share this constater que ces chiffres qui pour nous them well prepared to a level of senior gift generously with others. True music, appartenaient aux films de science-fic- competition, if that is the path they by its very nature, touches us in a deep tion sont maintenant réels? choose. place within that should remind us that This is our tradition: to be respected we have been blessed with this gift. Il va sans dire qu’à l’intérieur de nos teachers of music and to carve out The idea of sharing our gift brings me spécialités musicales respectives, nous careers for ourselves that provide us to Community Outreach. Outreach avons tous travaillé fort pour atteindre de hauts degrés de qualité. Grâce à with fair financial compensation and a may include friends and family, those in ce travail et à nos compétences, nous sense of satisfaction and success. towns, cities, and countryside, nursing pouvons faire partie d’une association homes, all children, the elderly, those Most of us will recall that as young nationale qui favorise l’excellence de musicians, we were often asked to who grieve, all those incapacitated by l’enseignement musical. Nous offrons ce play for events in our churches, our mental illness, physical challenges and qu’il y a de mieux au Canada. Grâce à schools, and our communities. We felt loneliness. Those of us with artistic gifts nos aptitudes, nous pouvons façonner le honoured and proud to play or sing for are called to share with others. It is a cheminement d’un étudiant depuis les church services, weddings, Christmas privilege, and we should feel honoured fondements solides de sa formation vo- concerts, opening exercises at school, to do so. cale ou instrumentale jusqu’aux niveaux friends’ weddings....the list goes on... Teachers in my local branch are taking supérieurs, et même le guider à travers We performed these services freely, a student recital to a nursing home l’exigeante préparation de concours willingly and generously, understanding this month. Another of my colleagues prestigieux, si c’est ce qu’il souhaite. instinctively that we were given gifts directs a choir of seniors, some in their Traditionnellement, nous désirons that were meant to be shared with nineties and still living on their own. être estimés en tant que professeurs de others. She has given freely of her gift of music musique et nous voulons nous bâtir une As young adults we had to face reality. to her community for many years, and carrière qui nous apporte du succès, tant We were expected to earn a living! I am honoured to work beside her by du point de vue personnel que financier. accompanying her choir.

4 The Canadian Music Teacher - Winter 2014 Plusieurs se rappelleront leurs débuts, D’autre part, nous sommes des artistes. années, dirige une chorale de personnes alors qu’ils étaient amenés à se produire Les heures passées à s’instruire et à répé- retraitées dont certaines ont passé le en diverses circonstances. Nous étions ter auraient été stériles sans un certain cap des quatre-vingts dix ans et sont tellement fiers de jouer ou de chanter talent musical sous-jacent. Par consé- toujours autonomes. C’est un privilège à l’église, à l’école, lors de concerts de quent, notre mission est de partager pour moi de travailler à leurs côtés en Noël, ou de mariages, par exemple. libéralement notre art avec les autres. tant qu’accompagnatrice. Ayant naturellement le désir de faire De par sa nature, la véritable musique connaître nos talents à notre commu- touche profondément nos cœurs nous Nous gagnons notre vie en transmettant nauté et de partager notre passion, nous rappelle que ce don est une bénédiction. notre savoir musical et notre passion à le faisions gracieusement et généreuse- des gens de tous les âges. Nous exerçons ment. Ces propos m’amènent à vous parler du une profession qui nous permet d’ap- programme “Community Outreach”. prendre continuellement, jusqu’à la À l’âge adulte, toutefois, il nous a fallu Celui-ci peut s’adresser à des amis, des retraite et même au-delà. Quelle chance faire face à la réalité et gagner notre parents, gens des villes et des cam- nous avons! vie. Quel privilège d’être rémunéré pagnes, tous les enfants, les aînés, les pour faire quelque chose que l’on aime! résidents des maisons de retraite, les Une carrière dans l’enseignement de la personnes aux prises avec des limitations musique est une profession honorable. physiques ou mentales, les gens seuls ou Nous pouvons tirer une grande fierté endeuillés. C’est avec eux en particulier de pouvoir accomplir un travail qui que nous avons l’honneur et le devoir de touche la vie des individus de façon si partager nos dons artistiques. particulière et qui nous procure un tel sentiment d’accomplissement… tout en Les professeurs de mon association payant nos factures! En clair, nous méri- provinciale ont eu l’idée de tenir un tons de gagner notre vie comme profes- récital d’élèves dans un centre d’héber- seur de musique et nous sommes dignes gement pour personnes âgées. Une de de recevoir une juste rémunération pour mes collègues, qui consacre du temps nos services. dans sa communauté depuis plusieurs

ANNOUNCEMENT OF ANNUAL GENERAL MEETING 2014 Take notice that the Annual General Meeting of the members of the Canadian Federation of Music Teachers’ Associations will be held in Toronto - Sunday July 6th, 2014 from 9:00 am to 12:00 pm Venue - TBA Business to be conducted includes: Complete the business of the current year Transact business as it is brought before the meeting Appoint Auditors.

The Annual Executive Committee Meeting will be held on Saturday July 5th , 2014 from 9:00 am to 5:00 pm Venue - TBA By order of Charline Farrell President - Bernadette Bullock, Secretary/Treasurer Dated at London, Ontario, this 15th day of August, 2013

Hiver 2014 - Le professeur de musique canadien 5 HELLO FROM THE EDITOR Dina Pollock

Hello Everyone, I hope you all had a great holiday season • All posters can be downloaded Thank you to Charline, Cindy and with family and friends. from the website - www.cfmta.org Bernadette for helping to get all the under programs and competitions information compiled to be included in When I read the Canada Music Week® events from all across Canada - Wow! All application forms can be this issue. What great ideas and impressive ways to downloaded from the website. Thank you to Dr. Julia Brook & Dr. keep our youth excited about Canadian If you have any issues with the posters Joseph Ferretti, Gail Berenson, Esther music - Congrats to all the branches or application forms, please let me know Bing, Dr. Christopher Foley, and and to the winners of the William and I will forward the files to you. Margaret Macpherson for allowing Andrews awards. me to print and reprint their articles. If you have any topics or ideas for A bit of housecleaning: I know all of our members will enjoy articles please email me and I will do them. • I have included the financial report my best to find these for us. from CFMTA/FCAPM for the year So, until next issue - enjoy ending May 31, 2013 on page 7 (this Dina was not included in the last issue)

FRONT COVER PHOTO INFORMATION

William Andrews Award Winner - North Shore - British Coloumbia (names listed on page 13)

Ontario - Newmarket Branch (more info on page 21)

Ontario - Owen Sound Branch (more info on page 20)

Prince Edward Island - names listed on page 23

William Andrews Award Winner - Halifax - Nova Scotia (more info on page 14)

Yukon - (more info on page 16)

Saskatchewan - Saskatoon Branch (more info on page 19)

Ontario - Thunder Bay Branch (more info on page 20)

6 The Canadian Music Teacher - Winter 2014 Statement 2 CANADIAN FEDERATION OF MUSIC TEACHERS' ASSOCIATIONS STATEMENT OF OPERATIONS AND CHANGES IN NET ASSETS FOR THE YEAR ENDED MAY 31, 2013 (with comparative balances for the year ended May 31, 2012)

2013 2012

Young Special Operating Artists Projects Trust Endowmen Fund Fund Fund Fund t Fund Total Total

Revenues Fees (schedule 1) $ 75,754 $ 75,754 $ 75,186 Canada Music Week (schedule 2) 5,240 5,240 7,412 Young Artists (schedule 3) $ 9,909 9,909 4,934 Special Projects (schedule 4) $ 8,931 8,931 11,139 Newsletter (schedule 5) 23,205 23,205 23,519 Trust (schedule 6) $ 21,687 21,687 12,295 Endowment $ 385 385 547 Convention 7,627 Interest and Other 2,965 2,965 2,617 107,164 9,909 8,931 21,687 385 148,076 145,276

Expenditures Program expenses Canada Music Week 4,510 4,510 5,508 Young Artists 7,384 7,384 3,281 Special Projects 3,460 3,460 14,972 Newsletter 39,905 39,905 38,918 Trust 19,292 19,292 12,295 44,415 7,384 3,460 19,292 74,551 74,974

General and administrative expenses Bank charges 120 120 170 Bonding and insurance 1,943 1,943 1,927 New intiatives 2,941 2,941 3,466 Office and telephone 2,376 2,376 2,420 Professional fees 5,969 5,969 7,292 Public relations 6,262 6,262 4,601 Travel and meetings 24,194 24,194 21,817 Website 1,071 1,071 1,196 44,876 44,876 42,889

Honoraria / Administration Secretary/Treasurer 17,980 17,980 14,580 President 900 Finance chairman 500 17,980 17,980 15,980

Total expenses 107,271 7,384 3,460 19,292 137,407 133,843

Excess of revenues over expenditures (107) 2,525 5471 2395 385 10,669 11,433

Net assets, beginning of year 198,729 46,011 7,023 40,855 292,618 281,185

Net assets, end of year (note 2) $ 198,622 $ 48,536 $ 12,494 $ 2395 $ 41,240 $ 303,287 $ 292,618

The accompanying notes are an integral part of these financial statements.

Hiver 2014 - Le professeur de musique canadien 7

Mark your Calendar Inscrivez à votre agenda

BRANCHING OUT TO OUR STUDENTS • February 2014

Submission deadline May 1, 2014 CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS FÉDÉRATION CANADIENNE DES ASSOCIATIONS DES PROFESSEURS DE MUSIQUE Send a photo of your event, along with a short FEBRUARY 2014 is Branching Out Month description for a cheque for $ 50.00 CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS FÉDÉRATION CANADIENNE DES ASSOCIATIONS DES PROFESSEURS DE MUSIQUE for more information check the website or contact On se rassemble [email protected] Février 2014

To make sure any photo prints clear in the magazine Providing leadership in music education across Canada try and take it at the highest resolution of your camera.

- Thanks Dina Chef de file de l’éducation musicale au Canada

CALL FOR COMPOSITIONS

CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS • deadline March 1, 2014 FÉDÉRATION CANADIENNE DES ASSOCIATIONS DE PROFESSEURS DE MUSIQUE CALL FOR COMPOSITIONS The Competition is open to any Canadian resident. For perFormance during canada music Week® Submissions must be new, unpublished pieces, not NOVEMBER 16-22 2014 previously recorded in any form. One Piano Solo: Grades 3 – 4 One Piano Solo: Grades 5 – 6 One Junior Choral Work French Poster Please direct submissions and questions to: Deadline Date: March 1, 2014 Entry fee: None The competition is open to any Canadian resident. Submissions must be new, unpublished pieces, not previously recorded in any form. One submission per composer per category. available for Po Yeh - [email protected] Piano Solos: For performance by students studying at the specified conservatory grade level. A Canadian topic or theme is suggested. Junior Choral Work: An original composition (no arrangements) for unison download on web treble chorus with occasional two part writing, suitable for elementary school chorus accompanied by acoustic piano (no electronics or pre-recorded tracks), 2 to 5 minutes in duration. Text with a Canadian connection is encouraged. The composition will be chosen by a selection committee from across Canada. An honorarium will be awarded to each successful composer. The chosen composition will be published on the CFMTA/FCAPM website until November 30, 2014. For information contact: [email protected]

Call for compositions-8.5x11_gray.indd 1 2013-12-05 9:51 AM

THE NATIONAL CFMTA/FCAPM ESSAY NATIONAL COMPETITION COMPETITION ESSAY

• deadline May 1, 2014 LE CONCOURS

CF DE DISSERTATION 2 FC The competition invites submissions of essays on 0 MA NATIONAL any topic related to music teaching, pedagogy or TP CF performance practice. There is no fee to enter. AM FC The National CFMTA Essay Competition invites submissions of essays on any topic related to music 2 teaching, pedagogy or performance practice. There is 0 LE CONCOURS 4 no fee to enter. This competition is open to all Canadian 1 residents currently attending high school, and studying NATIONAL DE MA at the undergraduate and graduate levels. for more information check the website DISSERTATION Lorna Wanzel Prizes GRADUATE STUDENTS First Prize $1,000 each TP Second Prize $500 each

UNDERGRADUATE STUDENTS www.cfmta.org or contact CANADIAN FEDERATION First Prize $1,000 each OF MUSIC TEACHERS’ Second Prize $500 each AM ASSOCIATIONS HIGH SCHOOL STUDENTS Dans le cadre du Concours national de rédaction de la FÉDÉRATION CANADIENNE FCAPM, vous êtes invités à soumettre une dissertation First Prize $500 DES PROFESSEURS sur un thème lié à l’enseignement de la musique, Second Prize $250 DE MUSIQUE 4 la pédagogie ou la préparation au spectacle. 1 Ce concours est gratuit et est ouvert à tous les Po Yeh - [email protected] Deadline: May 1, 2014 ESSAY résidents canadiens élèves d’écoles secondaires et aux For more information visit www.cfmta.org or contact [email protected] étudiants de premier et deuxième cycles. COMPETITION Prix commandités par Lorna Wanzel : Providing leadership in music education across Canada | Chef de file de l’éducation musicale au Canada PREMIER ET DEUXIÈME CYCLES 1er prix 1000$ chacun 2e Prix 500$ chacun

FÉDÉRATION CANADIENNE ÉCOLE SECONDAIRE DES PROFESSEURS DE MUSIQUE 1er prix 500$ PLEASE NOTE ALL POSTERS ARE AVAILABE CANADIAN FEDERATION 2e Prix 250$ OF MUSIC TEACHERS’ ASSOCIATIONS Date limite : 1er mai 2014 Pour obtenir de plus amples renseignements, consultez www.cfmta.org ou communiquez avec FOR DOWNLOAD ON THE WEBSITE [email protected] Chef de file de l’éducation musicale au Canada | Providing leadership in music education across Canada 8.5 x 11 AND IN FULL COLOUR. ThanksDina 8 The Canadian Music Teacher - Winter 2014

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Own the future today at alfred.com/finale THE CFMTA/FCAPM CERTIFICATE OF RECOGNTION FOR PROFESSIONAL ACHIEVEMENT

CFMTA/FCAPM is a professional The Canadian Federation of Music in advertising. Please note that this organization of music educators Teachers’ Associations has set up a is a voluntary program for individual throughout Canada. In order to program in which those who show members and is in no way part of the promote continued professional growth professional development/practice membership process, which is handled by our members, we are offering throughout the year be rewarded by our provincial organizations. For The CFMTA/FCAPM Certificate with a certificate. The certificate is more information, go to our website, of Recognition for Professional renewable every two years. A fee of www.cfmta.org, click on professional Achievement $10.00 to cover the administrative cost, development. Here you will find the certificate and postage must accompany form which can be downloaded and presented by CFMTA/FCAPM, the application form. These high completed electronically. Certificates to encourage members to grow as quality certificates could be displayed will be mailed once all the information musicians, educators and mentors. in studios and the recognition used is received via regular mail.

www.cfmta.org Professional Development CFMTA Certificate of Achievement Page down to Appication form

THE CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS We are a national organization that provides leadership in music education across Canada. We promote and support high standards of teaching among our provincial and territorial members.

But what does being a member of CFMTA/FCAPM really mean? • Communication with colleagues and a pedagogical network across the nation. • Local and provincial acknowledgement at the national level through provincial representation. • A unified body to support, promote and mentor music educators and music education at the provincial, national and international level. • Biennial conventions that create opportunities for learning, inspiration, competition and fellowship. • A national magazine published three times per year, including articles, reviews and new developments in our musical landscape. • Access to national scholarships for students in the areas of performance and composition. • Access to national awards for teachers and branches. • Liability insurance, optional home and auto insurance As independent music teachers our members have access to a national organization that provides an invaluable opportunity to impact, and be impacted by, the rest of the nation.

Hiver 2014 - Le professeur de musique canadien 11 WILLIAM ANDREWS CANADA MUSIC WEEK®AWARDS North Shore - British Columbia

North Shore Branch, BCRMTA Wins William Andrews Canada Music Week® Award for the Second Time

he North Shore Branch, Frank contributed two unpublished Jean COULTHARD (1908-2000) BCRMTA is the proud winner works for our students to premiere. Three Preludes: IX-Innocence; III- T of one of the two CFMTA/ Christmas Alone: Theme and Variations Pensive & XIII-Illumination FCAPM William Andrews Canada was premiered by North Shore student Francois MOREL (1926) Music Week® Awards for 2013. Our Annudesh Liyanage, and Levin’s Etude de sonorite, No. 2 Branch also won this Award in 2008. Romance in E Flat was performed for the first time by student Jesse Wang. Ann SOUTHAM (1937-2010) In November 2013, the North Shore Rivers, Set 1, No. 2 Branch, BCRMTA hosted its 9th In addition, Annudesh also performed annual Canada Music Week events. We Levin’s The Stately Victorians of Pacific Michael Conway BAKER (1937) introduced a new feature into our usual Heights, a previously published musical Four Piano Pieces, op. 22 format this year. tribute to the stately old Victorian Alexina LOUIE (1949) homes in San Francisco. For the previous eight years, our I leap through the sky with stars. This year our Canada Music Week® events have Anna’s performance gave our students, centred around our commissioning new CMW recital parents and teachers the unique works from BC-based composers, and also included a opportunity to hear part of the rich our CMW Recitals have consisted of new feature: we historical legacy of our Canadian music three elements: premiere performances invited pianist for piano, including works written by students of the new works written Anna Levy, a during the 19th century which most had by our guest composers; premiere specialist in never heard before. performances of student compositions; contemporary and of course student performances of music, to open Our CMW Workshop with Frank works from the Canadian repertoire. the CMW Levin was held on Sunday, November Recital with Anna Levy 3, 2013; six student composers ranging a 50-minute in age from 6 to 16 presented their own recital entitled “An Historical Overview compositions. Five of the six student of Canadian Music for Piano from composers subsequently performed their Calixa Lavallee to Michael Conway own works at the CMW Recital: Baker.” Believing that hearing works • Aditi Raiturkar - Ghosts Climbing of a professional and virtuosic level of Upstairs difficulty would inspire both teachers • Alora Bond - Breathe and students alike to further explore the • Serena Schimert - Affection more advanced Canadian repertoire, we • Julia Tancon - Land of the Rising Sun engaged Anna to perform the following • Martin Barne - Midnight. works. Notes about each of the composers represented were provided in Our CMW Recital was attended L to R: Anna Levy, Frank Levin, the printed programme: by a large and enthusiastic audience Dr. Carolyn R. Finlay who heard two premieres of works by Calixa LAVALLEE (1842-1891) composer Frank Levin, five student Our CMW Recital 2013 held Sunday, The Ellinger Polka, op. 8 and Le composers performing their own works November 17 in North Vancouver Papillon, op. 18 and thirty-four students performing once again consisted of the three R. Nathaniel DETT (1882-1943) Canadian repertoire ranging from above features. Our guest composer Juba Dance (from the Suite “In the preparatory to advanced levels. was Frank Levin who describes his Bottoms”) (1913) music as “classical crossover” in style.

12 The Canadian Music Teacher - Winter 2014 Music without

BACK ROW from L to R: Anna Levy (wearing the red gloves), Martin Barnes, Frank Levin, Serena Schimert, Alora Bond, Julia Tancon and Dr. Carolyn R. Finlay borders FRONT ROW L to R: Jesse Wang, Aditi Raiturkar, Annudesh Liyanage (looking back). CONSERVATORY CANADA™ has pushed the frontiers of innovation and is employing a unique technology that Frank LEVIN gave the students who had performed his enables us to reach out to music students works and each of the student composers a copy of his book “Complete Chord Classics”. all over Canada. Not only can we connect with students The event was publicized in the November newsletter in remote communities, but we are from the Canadian Music Centre, BC chapter, and was followed by our customary reception at which willing to connect with them ANYWHERE, ANYTIME! everyone had the opportunity to purchase copies of At CONSERVATORY CANADA™ we will enable students Frank Levin’s music and CDs, and to chat with our guest artists. to take exams whenever they are ready with our new Flex Exams. To find out more, contact our office. Submitted by Dr. Carolyn R. Finlay, Co-ordinator CMW, North Shore Branch, BCRMTA All photographs taken by Don Mowatt

We make learning music fun.

1-800-461-5367 | www.conservatorycanada.ca [email protected]

2012 FINAL e-exam + flex exam half page.indd 4 11/09/2012 9:57:59 AM WILLIAM ANDREWS CANADA MUSIC WEEK®AWARDS - cont. Halifax, Nova Scotia

he Halifax chapter celebrated to try and copy anyone else but you also Canada Music Week with don’t have to try to create something T special recitals at the Calvin totally new. All musicians should listen Presbyterian Church, on Saturday, as much as possible to all kinds of music November 23. The guest speaker from all over the world. Teachers can was Peter Togni, the well- known help young composers by sympathetic composer, performer, and CBC radio encouragement to improvise and find broadcaster. The afternoon featured two their own voice in their creativity. recitals of violin and piano students. The afternoon was inspiring to They all performed either original students, parents and teachers. Students compositions or pieces by Canadian performing were from the studios of composers. The recital opened with a Anna Lea Bartonova, Simon Docking, special arrangement of O Canada by Guest speaker Peter Togni with teachers Julie Post and Megan Henley Shahien Hamza, Megan Henley, Skippy Mardon for her violin and piano Skippy Mardon, Julie Post, Elizabeth students. Shearouse, Diana Torbert, and Lorna Peter Togni gave a presentation Wanzel, Thanks to Elizabeth Shearouse between the two recitals called, for organizing this wonderful event. “Why Compose?” Submitted by Diana Torbert He posed interesting questions such as “Why do we need music?” and “How long has music been in existence?” Mr. Togni talked about the earliest history of music and how it has always Violin & Piano students of Skippy Mardon been a part of the human experience. His advice to young composers was Another unique aspect of this afternoon to experiment and explore. He made included art works created by students the point that there is always room for that expressed something about the more music and new ideas – not all piece they were going to play. These the good music has been composed were displayed in the foyer of the yet! Creativity is ongoing – we all church for all to see and admire. have original ideas. It is important to Everyone seemed to appreciate these be true to yourself and express who visual expressions of the music they you are in your music. You don’t have heard.

14 The Canadian Music Teacher - Winter 2014 aways to... Collaboration - Performance - Wellness July 8 - 11, 2015 CFMTA/FCAPM Vancouver BC

Workshops Concerts Masterclasses Competition www.cfmtavancouver2015.com

INVITATION TO SUBMIT PROPOSALS WILL OPEN MAY 1, 2014 - NOVEMBER 1, 2014

Conferences are places where opportunities abound for professional and personal growth.

To that end, we will be looking for interesting ideas for workshops, research papers and posters to be presented at the conference.

As much as possible, subject matter should coincide with the main themes of Collaboration, Performance and Wellness.

Researchers submitting papers that desire peer review of their research should refer to the requirements detailed at www.cfmta.org using the research link.

Further information will be available in the Spring issue of the Canadian Music Teacher Magazine and on the website.

Hiver 2014 - Le professeur de musique canadien 15 CANADA MUSIC WEEK® - Coast to Coast

YUKON BRITISH COLUMBIA Canada Music Week® was celebrated Twelve of our Branches were happy to in the Yukon Territory with an all share their excitement and activities for Canadian student concert, featuring Canada Music Week® with me! It is students from seven to sixteen years wonderful to see so many composers, playing and singing a variety of colleagues, students, and parents selections that included works by James involved in the celebration of our Gayfor, Oscar Peterson, Rebekah Nation’s Composers and Works! Maxner, Donna Rhodenizer, Canadian Four of our Branches - Coquitlam/ Folk tunes, and even a composition by a Maple Ridge, Shuswap, Sunshine student. The effort made by teachers to Coast, and Vernon all held Concerts, expose their students and the public to some of which feature original Canadian composers and their music is compositions by students. These were greatly appreciated. followed by Award Ceremonies in honour of great student achievement. Abbotsford held a Concert where all of the Composers of the pieces performed were present in the audience! Mr. David Duke emceed the programme and commented on four original compositions presented by students. He made wonderful suggestions as well as encouraged these budding composers! Further, he discussed his ideas, technique, and style when composing. Submitted by Anne Avery Ten of his own pieces were performed throughout the concert. Awards were presented to students with the highest marks in both Practical and Theoretical Examinations. The Chilliwack Branch featured Mr. Bob Baker from the Canada Music Center, who spoke about the resources and programmes available through this agency. He also presented each performer at the Concert with a Canadian Music CD. A Reception followed the Concert and featured a large Canadian Flag Cake. In Nelson, a series of recitals showcased 51 performances played by students varying in ages from 7 to 70! At a separate time, six of our Colleagues

16 The Canadian Music Teacher - Winter 2014 CANADA MUSIC WEEK® - Coast to Coast met with Rick Lingard of the Kootnay A plaque and scholarship for one of the four pieces she composed Musical Academy for a hands-on Excellence in Music in memory of for a film score entitled Above the workshop on Pro-Logic. Madame Janisch were presented Clouds. As well, she presented several The North Island Branch hosted Ms to students Matthew Thomas and other excerpts from a CD produced Teresa Richert, a composer from the Jasper Meiklejohn. Not only do they by her group called Two Flutes and a Lower Mainland, who presented two demonstrate excellence in their personal Violin. As well as performing her own workshops for our enjoyment and musicality, but are also willing to share works, Ms Berry addressed the question edification. At the Teacher’s Workshop, their talent with the Community. “What makes a piece of music better”. she presented some of the works The Branch is very appreciative for On Saturday evening, she adjudicated available through the Red Leaf Piano the financial support it receives for the Murray Adaskin Composition Works group, of which she is a member. its Scholarship Fund from the IODE Competition. At the Canada Music Some of the works she presented were Diamond Jubilee Chapter as well as the Week® Recital, the winners were her own as well as those of J. Burge, M. family of Madame Janisch. announced. Henry Hagan-Braun Hill-Duncan, B. Porter , S. Griesdale, In Vancouver, Canada Music Week earned first place in the Junior and J. Bender, to name a few. In the was celebrated by hosting the Student Category, while Danae Kong placed afternoon, Ms. Richert encouraged the Performers` Guild Festival on the second in the same category. The senior students with many helpful ideas on second and third weeks of November. group saw Brian Fremlin place first, How to Get Started in Composition. Each A special Canadian Class is featured and Debbie Baynes second. Dianne participant received a small pamphlet to highlight Canadian Compositions. Berry then enchanted the audience containing some of these ideas. These Scholarships were generously provided with premiere performance of her first Workshops were followed by a Concert by Tom Lee Music to the best composition in an electroacoustic style: featuring 50 performances. A great day performances of these Canadian works. “Calling”. Of the fifteen performers was enjoyed by all! These awards were presented at an in the Concert, five of the works were Honours Concert on Dec 8 to Jayden un-published pieces made available by I am pleased to announce that the Ms. Berry. North Shore Branch is one of the proud Kung (Jr. Division), Anthony Han recipients of the William Andrews (Inter. Division) and Cindy Zhou ( Sen. It is lovely and encouraging to see so Division). many Branches getting into the spirit Canada Music Week® Award! • A full report is on page 12 Victoria Branch was very busy during of Canada Music Week with so many Canada Music Week. On Wednesday, varied projects! Keep-up the wonderful South Okanagan Branch has members work and tradition! from Osoyoos north to Summerland. Nov. 20, the Branch`s member and They held a recital featuring student composer Dianne Berry addressed her Submitted by Sonia Hauser performances as well as two original fellow members at the Royal Oak Golf compositions. Awards were presented Club. As well as being a teacher and to students for the highest marks in adjudicator, she also performs on the Practical and Theory Examinations. flute, piano, and guitar. She performed

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Hiver 2014 - Le professeur de musique canadien 17 CANADA MUSIC WEEK® - Coast to Coast - cont.

ALBERTA Joan Milton from Lethbridge Deer in November, but due to weather reports: A very successful Canada conditions neither Marilyn nor Linda Music Week and Awards recital was were able to attend. held on November 23 in McKillop Photos from the event were submitted United Church. The first portion of to the Lethbridge Herald. the recital was dedicated to Canadian compositions with other compositions Marie Gazzard from Fort McMurray reports: The Fort McMurray following. At the conclusion of the Fort McMurray Branch recital branch awards were presented to Music Teachers’ Association Annual students achieving high marks in their Awards and Scholarship Recital exams. was held on November 22, 2013 in celebration of Canada Music Week. At the ARMTA Provincial AGM, Our event celebrates all First Class small gifts are given to members who Honour students within the Regional reach Milestone Years. Marilyn Sinclair Municipality of Wood Buffalo over the reached the 50 year membership past year. We presented 82 Certificates milestone; Linda Dickey received of Excellence, and 31 scholarships Fort McMurray Branch the 40 year Milestone gift. These totalling $10,400 were given. 22 awards should have been presented students performed for the recital Submitted by Judith Ammann at the Provincial AGM held in Red portion, and a reception followed.

Music Teachers National Association

Featured Guest Piano Recital 2014 NATIONAL CONFERENCE March 22–26

Advanced Piano Master Classes Opening Session

Byron Janis Spencer Myer pianist John Perry Spencer Myer Jon Nakamatsu Jon Manasse piano clarinet

H NEW THIS YEAR H CFMTA members can attend the National Conference at the MTNA member rate. Enter CFMTA as the coupon code and select “Register as a non-member” on the online registration form at www.mtna.org.

18 The Canadian Music Teacher - Winter 2014 SASKATCHEWAN

The Saskatoon Branch put on a of her violin students from North contemporary showcase with Kathleen Battleford. It was a very enjoyable Gable adjudicating. Their event was afternoon for all who attended. held in Convocation Hall on the Swift Current put on an event each Bechstein piano. day of the week: student showcase, guitar concert and workshop by Michael Eckert-Lyngstad, African music and dance workshop with Celia Hammerston, piano concert by Andrea music of Penny Rosten of Saskatoon. Neustaeter, MYC workshop with Barb Levorson, Java and Jazz evening at On November 17th The Battlefords Urban Ground Café. Branch hosted a Canada Music Week® West Central Branch invited Dr. Student Recital. The recital was held at Submitted by Dorothy Hamm Christine Vaderkooy to adjudicate their the Battleford United Church. Posters contemporary showcase featuring the were printed and circulated in Unity, Spiritwood and the Battlefords. The title we used for the recital was 65 Years of Sound Advice as this years is the 65th anniversary of the Battlefords branch of SRMTA. Our students presented a nice variety of pieces from grades one through grade ten. The Canadian composers were highlighted. Our guest artists were Erin Foreman with a group

MANITOBA

On Sunday, November 24 the as adults. This recital showcased the performing their own astoundingly Manitoba Registered Music Teachers diverse styles of Canadian composers. beautiful pieces to a very welcoming hosted a recital held at Westworth We had a beautiful performance by our and appreciative audience. One of the United Church in Winnipeg. The very own Julianne Dick who has had student`s compositions sounded like recital was a celebration of Canadian much of her music published, which is Oscar Peterson, another like Chopin, Composers coinciding with Canada available in music stores. and yet another one very ethereal. One Music Week. There were 13 performers She spoke to the students about the very young student did a beautiful job including some of our own wonderful importance of Canadian music. We of her glissando! All students performed composers. There was a wide variety also had several young composers so well, it was a most enjoyable recital. of music played by children as well Submitted by Laureen Reeds

Hiver 2014 - Le professeur de musique canadien 19 CANADA MUSIC WEEK® - Coast to Coast - cont.

ONTARIO

THUNDER BAY BRANCH Pentland’s Studies in Line , No. 1 and 2. some well-deserved refreshments and Two teachers of the Thunder Bay Also, member, Linda Fletcher, goodies provided by the teachers. branch, Dianne Potts and Kathy accompanied two student singers Submitted by Shannon O’Rourke Schmidt hosted two composing performing her own compositions, Mr. workshops during Canada’s Music Nobody and Do Not Stand at My Grave NORTH BAY BRANCH The North Bay Branch held its annual Week® for children ages 8-14. Each and Weep, and she also sang in the group met for approximately one hour vocal ensemble performing her student, Honour Recital to celebrate both with eight students attending each Katerina Gimon’s, stunning original session. Students had fun with rhythm piece, called Boundless. and beat, call and Other original student works were response, exploring The Sun, composed and sung by Mira compositional Meikle, and a remarkable Prelude/ techniques and Allemande from Baroque Suite in D sharing their own Minor by student Theo Selemidis. It ideas on paper, was a truly enjoyable and fitting Canada computer and at the Music Week® Celebration. piano. Each workshop ended with Submitted by Janice Beninger Canada Music Week® and the students a Canadian cupcake. Two young who participated in Conservatory composers provided entry and exit BELLEVILLE BRANCH examinations during the previous music with their own compositions. year. Certificates were presented to Submitted by Kathy Schmidt those students who received the highest marks in each level of practical and HAMILTON-HALTON BRANCH theory exams. On Sunday 24th November 2013 the Additional cash awards were also Hamilton-Halton Branch of ORMTA given in memory of past teachers held a Canadian Composers Recital from our branch, Lynda Kennedy featuring thirty-three pieces performed and Evelyn Bourke as well as an by solo vocalists, pianists, a guitarist ORMTA Advanced Theory Award. and a vocal ensemble. Though The Belleville ORMTA branch hosted Our local Elk’s Lodge participated by presenting a generous award to our normally open to students only, for this its annual Canada Music Week® recital teachers were invited to perform Junior Recital on Sunday, November grade ten winning student. Students as well. 24th at Emmanuel United Church who played Canadian Compositions We had a wide variety of ages and in Foxboro. More than thirty young were highlighted and a special CMW levels of performers with 27 different piano students from beginner to grade Proclamation from the Mayor’s office Canadian composers represented, 4 Conservatory level entertained a was read. including some original student large audience of family and friends Submitted by Nancy Hughes and teacher works. Past-president, with their musical performances. The Warren Nicholson played the Prelude repertoire included piano solos, duets, OWEN SOUND BRANCH nd from Suite Pour Guitare, Op. 40 by and trios in a variety of musical On November 22 the Owen Sound Jacques Hétu. Member Philip Corke styles from classical to popular and Branch hosted a Canada Music Week® performed his own piano composition, featured many selections by Canadian student recital at the Owen Sound Goody’s Blues, and affiliate member, composers. The afternoon concluded Alliance Church. Keisha Bell-Kovacs, played Barbara with an informal social gathering and

20 The Canadian Music Teacher - Winter 2014 There were NEWMARKET & AREA BRANCH twenty-two On Sunday, November 24, 2013, the performers Newmarket & Area Branch celebrated Canada’s best ranging in age Canada Music Week with an afternoon online source for from 5 to adult, of Canadian music. printed music and the program featured works by Two recitals entitled Canadian Canadian composers such as Debra Composers And Their Music, • Royal Conservatory of Music® Wanless, Anne Crosby, Clifford Poole, featured the students of eleven teachers. - piano Violet Archer and Oscar Peterson. We Performances from our Piano, Violin, - vocal - theory also awarded three scholarships to the Flute, Voice, and Harp teachers made - violin - new! 2013 edition the afternoon so enjoyable! It was a students who had the highest practical • Hal Leonard Publishing and theoretical exam results in 2013. special treat to hear both harp and flute • Faber and Faber Piano Adventures All of the students did a wonderful compositions this year. • Alfred Basic Piano Library job playing and each went home with Our recitals also debuted the music of • Frederick Harris Music a small Canadian souvenir. After the two of our own branch teachers. The • Bastien Piano Library recital we continued our celebration by Plucky Snake, composed by Paulette • Faber and Faber Piano Adventures sharing a gigantic cake and having some Popp was performed on violin, while • Editions Henle of Mrs. H’s famous punch. Dianne Hughes’ composition Spanish • Ultimate Music Theory Submitted by Jennifer Lanth Fantasy was performed on piano. • The Full Voice Congratulations to you both! • Mayfair Music • Carl Fischer Music As teachers and students, we are so OXFORD/WOODSTOCK BRANCH • Waterloo Music Canada Music Week® was fortunate to be able to celebrate this • Jamey Aebersold celebrated this year with an amazing great week right across the country. It • Music Minus One recital, featuring Canadian is inspiring to know that Canada is not • Dover Publications composers. An arrangement of O just about hockey and Tim Horton’s. • Sher Music Canada was featured at the beginning, We have a wealth of great musicians • Beacon Music Company, Inc. a composition arranged by Karen and composers with whom we celebrate. • Bernard Stein Music Company Rowell, a native to Woodstock. This A special thank you to the Canadian • Schott Music arrangement was written for two Music Centre for their continued • Joel Rothman Publications • Koala/Learn To Play Music pianos and eight hands, played by four support in preserving and promoting teachers. Each student performer was the works of Canadian composers! With literally hundreds of thousands given a Canadian pin to commemorate www.musiccentre.ca of print music titles in every category, MusicTime.ca is Canada’s only com- their performance. The ORMTA prehensive online seller. Choose from teachers also recognized the students piano, guitar, vocal, choral, band, theory and more. Every major music publisher is represented in our vast catalogue:

And, since we’re a Canadian company, your music is priced in Canadian dol- lars, and shipped quickly and afford- Our festivities concluded with a short ably to every province and territory. reception after each recital. Everyone enjoyed Canadian cupcakes and punch! who received the highest mark in their Submitted by Sheila McLean music discipline for the 2012-2013 year. It was a great night of spectacular music. Submitted by Janna Baigent www.musictime.ca 1-888-706-7463

Hiver 2014 - Le professeur de musique canadien 21 CANADA MUSIC WEEK® - Coast to Coast - cont.

QUEBEC

La semaine de la musique canadienne également honorés d’avoir parmi nous la present, and they were touched to hear fut encore une fois un bel événement. présence de Mme Nina Valery, fille de their works so nicely performed. They Près de soixante dix jeunes âgés de 5 Rose Goldblatt qui fut l’instigatrice de congratulated the students and provided à 17 ans ont performé tout au long de cet événement. them with positive advice. Students la journée. En tout, trois récitals ont Le public était plus vivant et nombreux received special awards graciously permis à de jeunes musiciens de faire que l’année précédente. Nous avons pu offered by the Canadian Music rayonner la musique canadienne. Nous rencontrer des musiciens loyaux qui ne Center in Montreal and presented avons eu la chance d’entendre une rate pas une seule édition de ce festival by its director Mrs. Sonia Paquet. As large sélection d’œuvres pour piano ainsi que de nouveaux talents qui nous usual, they were also rewarded with ainsi qu’une œuvre pour la voix. Les l’espérons, seront des nôtres dans les nice certificates and well deserved musiciens motivés et brillants avaient années à venir ! scholarships. We were also privileged to été préparés par des professeurs de have among us the daughter of the late talent. Rose Goldblatt, Mrs. Nina Valery. De plus, ce fut une journée de The evening was a great success as the découvertes musicales. Nous avons pu audience was even more livelier and Canada Music Week® was once again entendre de nouvelles compositions held at St-Laurent’s College Hall this numerous than the previous years. The telles que: year. Nearly seventy young musicians, hall was filled with both familiar and L’ intrépide de Frédéric Issid aged between 5 and 17, performed loyal participants as well as with quite Fantaisies et fugues d’Alan Belkin during three recitals on November a few newcomers who will surely be A Happy Song de Judith Altman 17th. We heard a large variety of pieces back. Our goal is to keep this event very Le miroir magique d’Alexandra for piano and voice. Performers were much alive. We are hoping to be able Delgado enthusiastic and brilliant and, their to reach out to even more teachers who Dancing butterfly and Spring blossoms teachers were very proud! What a nice could join this event in a near future. de Mélina Claude. day! It was also a day of new discoveries. Submitted by Mélina Claude Étant donné le haut niveau de Among the new compositions played, performance, la sélection des lauréats there was: fut un défi de taille pour la juge L’ intrépide by Frédéric Issid, Marybelle Frappier qui était des nôtres Fantaisies et Fugues by Alan Belkin pour une deuxième année consécutive. A Happy Song by Judith Altman Le Miroir Magique by Alexandra Le concert gala, le 23 novembre, fut un Delgado grand succès. Plusieurs compositeurs Dancing Butterfly and Spring Blossoms et compositrices canadiens mentionnés by Mélina Claude. plus haut étaient présents. Ils furent touchés par l’interprétation des jeunes It was quite a challenge to choose only musiciens et les ont personnellement 35 performers for the Gala recital, as encouragés. Les étudiants ont reçu there were so many talented musicians. des certificats de participation, des However hard it was, choices had to be prix du centre de musique canadienne made by our judge Marybelle Frappier de Montréal, remis par Sonia Paquet who was among us once again this year. directrice du centre de musique The Gala recital took place the next canadienne à Montréal, ainsi que des Saturday on November 23rd. Some of bourses bien méritées. Nous étions the composers mentioned above were

22 The Canadian Music Teacher - Winter 2014 PRINCE EDWARD ISLAND

The main focus of Canada Music first performance of Memoria Prince Edward Island has a very active Week® celebrations in PEI this year Aeterna, by UPEI student and diverse musical scene. Canada was our student recital on November composer Nik Dragatakis. Nik Music Week® provides a wonderful 23, but our members were also studies composition with Dr. opportunity to celebrate our Canadian involved in creating, performing, and Richard Covey. composers through performance. conducting Canadian music during The PEIRMTA Canada Music Week® Submitted by Sue Irvine the eight days leading up to the recital. recital began with the singing of O Here are some of the highlights: Canada accompanied by a teacher/ • November 15 Kevin MacLean, student duo at the piano. Twenty-nine saxophone instructor at UPEI, students from six studios performed gave the World premiere of The piano, violin, and voice works from Moment When, a new work by six provinces. The string teachers were PEIRMTA member Dr. Richard pleased to have two new sources of Covey. The seven diverse Canadian repertoire this year, the movements were a wonderful new RCM Violin Series, and The showcase for Kevin’s skilled Scampering Scarecrow, a delightful and passionate playing, and the violin book by B.C. teacher and audience was enthusiastic in its composer Garth M. Williams. It was a response. special treat to have Garth’s daughter, and PEIRMTA member, Natalie • November 17 the PEI Symphony Some of the students who created Orchestra, which includes several Williams Calhoun, accompanying artworks for Canada Music Week®. PEIRMTA members and their some of the performances. Another Back row: Lahari Bandi, Cailyn MacAulay students, performed Canadian highlight of the recital was Chloe (The Scampering Scarecrow), Lily Rashed music in a more Roots/Traditional Dockendorff’s performance of her CFMTA prize-winning composition, Front row: Keili Johnston (The Old style with guest artist PEI singer/ Jalopy), Ria Johnston (Peek a Boo Ghost). songwriter Rose Cousins. The Lighthouse. Several students created artworks based on the • November 23 the UPEI Chamber Canadian piece that they were Choir, under the direction of studying, and these were displayed at Sung Ha Shin-Bouey, gave the the recital.

NOVA SCOTIA The Halifax branch is one of the Hello Everyone, branches receiving the William Thank you to all the Canada Music Week® co-ordinators Andrews award for their Canada Music for compilying these reports and sending them to me to be Week event and the report is on page 14 included in this issue. As volunteers you give up a lot of your time and effort to make this happen.  Thank you 

Hiver 2014 - Le professeur de musique canadien 23 STRATEGIES FOR COPING WITH PERFORMANCE ANXIETY * This article asw published in the January/February 1994 issue of Piano and Keyboard. by Gail Berenson

Anxiety is universal. Going on a job BREATHING: Under stress of interview, making an important phone performance our heart rates soar well call, taking an exam--all of these are beyond what the physical circumstances situations in which we want to excel demand. Heart rates of marathon and, for that reason, makes them stress- runners at the end of a race and provoking. It is the degree to which performers who have just walked out the apprehension exists and the extent on stage may be identical! “Pounding that it interferes with accomplishing hearts” is one of the most common our goals that determines if it is a symptoms affecting musicians, making problem. The object is not to eliminate them feel out of control. One goal is performance anxiety but to discover to reduce our heart rate. This can be ways to channel those feelings so accomplished two ways: they work for, not against us. Rather 1. Become more fit so that your than derailing a performance, the resting heart rate is lower to begin electricity of the moment can create a with. Achieve a minimum level spontaneous, thrilling and memorable of cardiovascular conditioning experience for the performer and the by doing some kind of aerobic audience. activity four times a week for Performance anxiety has always at least 20 minutes each time. been around, but acknowledging it is Any activity that is continuous, recent. It is our responsibility to help yet not so strenuous that you our students feel more comfortable in cannot carry on a conversation, the performance situations we decide is acceptable. Explore walking, don’t even remember her name is appropriate for them. Performing running, swimming, rowing, cross or what she looked like, but can constitute “playing for family ” to country skiing, bicycling, etc... I still vividly recall the pain “entering international competitions”, This will help lower your resting I with a multitude of diverse options heart rate, thereby beginning and embarrassment we felt when “Donna” fled the stage in tears, unable in between. Students who accept the your performance at a lower level. to complete her piece at our teacher’s challenge of placing themselves in a Although everyone’s heart rate will annual, spring recital. For several years suitable performance environment increase, fit individuals will recover in succession this became a predictable frequently feel an overwhelming faster. occurrence until she finally quit taking sense of accomplishment and boost to 2. Reduce your heart rate doing piano lessons. I sometimes wonder their self-esteem, as well as the joy of breathing exercises prior to or how this individual, now an adult, experiencing the music and synergistic during stressful times. Controlled feels about music today, and even more relationship with the audience. breathing is the quickest way importantly, about herself? Speculating Because finding a workable solution is to achieve control over the now, it may be this early experience that so personal, this article will focus on autonomic nervous system. peaked my interest in discovering better seven strategies, allowing individuals Reduce your heart rate just prior methods for handling performance to experiment, discovering what to performance by concentrating anxiety. combination of approaches works best. on breathing. Exercises that focus

24 The Canadian Music Teacher - Winter 2014 on diaphragmatic breathing can be threatening, the mind prepares our natural unfolding of the music, found in numerous books dealing body to flee the danger, even though isolating our focus onto a specific with relaxation. Some people use it is a recital, not a life-threatening note or physical gesture, or away meditation or yoga to slow their situation. For sufferers of performance from the music entirely. As a breathing and focus concentration. anxiety, this may be the most crucial pianist, I try to center my attention RELAXATION: It is difficult to area on which to focus. Being on my senses, concentrating on the separate physical and emotional adequately prepared is one of the best feel of my hands on the keyboard, tension; both can place performers at ways to reassure ourselves that “we can sinking into the key bed, hearing risk of injury and, at the very least, do it”. Other approaches to positive the melodic line unfold and noting impede their technique. One of thinking are: how it balances the other voices, many methods for relaxing consists 1. Set realistic goals. Pressured seeing my hands move effortlessly of tensing individual muscle groups, by unrealistic goals, we are less over the keys in fluid gestures. then releasing. Contrast creates a likely to do well because we are Think and hear the music as a greater awareness of those muscles. continuously judging ourselves, whole entity, allowing it to evolve For musicians, the shoulder area is striving to emulate a basically in a natural way. This is why I never especially vulnerable to excess tension. unachievable image. View a try thinking through a composition Here is an example of this technique: specific performance as one in while waiting backstage without Lift your shoulders up toward your a long string of performances. looking at the score. Without aural ears and hold for several seconds, then This takes the “everything hinges and kinesthetic cues prompting me release, perhaps doing this several times on what I do today” quality out from note to note, I am more likely to achieve relaxation. It is possible to of each performance. Believe to forget, especially when anxious. work systematically through the body, that “whatever happens in this 3. Assign positive attributes to the beginning with the forehead, working performance will make the next physical sensations that accompany toward the toes. This activity can be better”. There is always room performance anxiety. Many undertaken backstage while waiting to for improvement; think of each performers have cold hands, perform, providing a specific, calming performance as a vital link in the butterflies in the stomach or dry activity that can help the performer learning chain. mouth prior to an important relax. 2. Stay in the present. “What if I performance. Rather than worry COGNITIVE THINKING: Stage forget and have to stop? What if I about these symptoms, tell yourself fright is the natural human response look foolish?” Negative thinking these are signals from your brain to fear. If we perceive performance as diverts our concentration from the

Hiver 2014 - Le professeur de musique canadien 25 STRATEGIES FOR COPING WITH PERFORMANCE ANXIETY - cont.

to your body indicating that you IMAGERY: Athletes have been This technique can be used to build perceive this as an important using imagery for years, utilizing this a memory of positive experiences, occasion. Excitement will heighten technique to focus their attention making the real thing less foreign awareness and enable you to achieve in situations where they have one and threatening. Just before going to a more spontaneous, electrifying chance to accomplish their goals. bed, when relaxed, “play through” performance. Convert frightening Imagery permits them to rehearse your pieces away from the instrument, physical sensations into the belief their movements and insure a more looking at the score, without actually that they can assist rather than successful outcome. moving your fingers, hearing in your hinder your performance. head all of the musical nuances you wish to project. While doing this, think about how good you’ll feel during the performance, achieving your goals. (See Guided Imagery On The Day Of A Performance for a sample format. Use this as a guide to devise your own positive thoughts, suited to your individual circumstances.) Imagery can also serve the practical purpose of warming your hands. If you notice that your hands are cold while waiting backstage, imagine yourself sitting beside a warm, glowing fire, relaxing in the cozy environment of the room, allowing the warmth of the fire to raise the temperature of your hands. Many individuals locate biofeedback centers to learn how to control their blood pressure, muscle tension or hand temperature. This has proven to be quite effective in training people to make this body/mind connection. DESENSITIZATION: Frequently used in helping individuals overcome phobias, this technique is often associated with fear of flying. Individuals are taught relaxation techniques, then brought in contact with the feared activity in gradual stages. Musicians can devise their own hierarchy, listing their least stressful to most stressful performance situations. It is important that students create their

26 The Canadian Music Teacher - Winter 2014 own list, which will differ from other The most commonly prescribed beta There are many simple, practical things persons. As teachers we can provide blocker for performance anxiety is we can do to provide students successful students a variety of opportunities to propranolol or Inderal (brand name), performance experiences. explore the items on their lists. They otherwise prescribed for various heart TEACHER DO’S: can play for each other in group lessons conditions. In those instances, the or overlapping lessons or play duets medication is taken regularly in higher 1. Select appropriate repertoire that is with a friend.....how about performing doses. For performance anxiety it challenging, but within a student’s in a studio/performance class?.... is taken in a single, small dose (10- capabilities. higher on the scale might be a recital 20 mg) 60-90 minutes prior to the 2. Encourage thorough preparation, or competition. For some students, performance. Entering and exiting the beginning repertoire far enough in playing into a tape recorder might be a blood stream quickly, it is physically advance to allow for security and first step. I encourage students to play non-addictive, although some may mastery of material. in nursing homes where audiences are find them psychologically addictive. 3. Assist students in developing totally non-judgmental, thrilled to have There are major contraindications for self-confidence. A positive self- someone visit, bringing the added bonus taking beta blockers, so it is critical that image will transfer to performance of knowing you are giving something teachers not give out “a magic pill to situations. special to the nursing home residents. cure your performance anxiety”. If you Remember that before any major think a student might benefit from this 4. Provide a variety of performance performance, students need at least four medication, refer them to a physician. opportunities that build a dry runs in a performance setting that Several articles that provide information foundation of positive experiences, is less stressful than the “real” thing. on the types and uses of beta blockers including lots of early low-pressure This is the only way that the “bugs” can can be found in the March, 1990 issue of opportunities. be discovered and eliminated. Medical Problems of Performing Artists, 5. Encourage, but never force MEDICAL ADVANCES: Vol. 5, No. 1, (Hanley & Belfus, Inc.; performance. A teacher can also Historically, alcohol and tranquilizers Philadelphia, PA), that has devoted an serve as a role model as one who have been used by anxious performers, entire issue to “Psychological Issues in enjoys performance. often greatly impairing the quality Performing Arts Medicine”. 6. Assist students in working on of performance. Musicians should There is much controversy over the use concentration and relaxation skills. be aware of the existence of beta of beta blockers. I believe that we can Offer a bibliography of relevant blockers, sometimes prescribed as an overcome anxiety-using combinations books to those students who might adjunct treatment for performance of the other strategies listed earlier. If find this information useful. anxiety. This group of drugs, available someone performs often and feels it 7. Practice stage presence and provide by prescription, prevents adrenalin necessary to take medication prior to opportunities for dry runs. Try out from combining with specialized beta each performance, it would be advisable concert clothing, especially shoes receptors in the autonomic nervous to seek out a medical professional to for women. system, eliminating or alleviating the discover what is at the root of this anxiety responses that would ordinarily anxiety. Under special circumstances, 8. Focus on the naturalness of the occur. A violinist auditioning for a it might make good sense to take music unfolding and conveying position with a major orchestra, fearful advantage of a medication to control the the meaning of the music--less that his bow will shake on the string, physical manifestations of performance emphasis on mistakes or wrong might find beta blockers the solution. anxiety. Because each individual notes. This individual may be more nervous approaches performance in his/her own 9. Encourage students to take good about the possibility of the bow shaking unique fashion, the decision to take or care of themselves, emphasizing than the performance itself. For those not take medication must be made in healthy diet, exercise and adequate individuals who are caught in a vicious consultation with a physician and, in rest. Reduce caffeine and include cycle of being nervous because they are the case of a student, with a physician, more complex carbohydrates in the nervous, beta blockers can help. Beta the teacher and the parents. diet. blockers will not eliminate the negative PRACTICAL ADVICE: Teachers 10. Emphasize the joy of performing - thoughts that sometimes occur prior to play a major role in assisting their having fun! or in the midst of performance. students deal with performance anxiety.

Hiver 2014 - Le professeur de musique canadien 27 STRATEGIES FOR COPING WITH PERFORMANCE ANXIETY - cont.

TEACHER DON’TS: • I move at a relaxed pace all day. • I retire backstage and visit for a 1. Don’t force students to perform. After breakfast I spend some time while with a few close friends until warming up at the piano. they leave to find their seats. Now, 2. Don’t tell them they shouldn’t be while I’m alone is a good time to nervous. • As I begin to feel my muscles grow more supple, I start each take one last look at my music, and 3. Don’t criticize a student’s composition and then slowly play to rethink my first piece, focusing performance just prior to the recital through some of the more difficult on what I want to express in this when adequate time is unavailable spots. I will go through this process composition. All the little details for the student to act on the several times today. I will play just and decisions I made in my practice feedback. Comment only about enough to feel comfortable since I have become an integral part of what can be comfortably corrected want to save my energy for tonight, my conception of this piece. I have in the remaining time. not wishing to wear myself out in special feelings about this music 4. Immediately following a rehearsal. that have grown since selecting it, performance, don’t offer negative and I want to share these feelings • As the day progresses, I feel more with my audience. feedback, even though constructive. and more exhilarated. The day Allow the student to bask in the passes quickly, and soon I begin to • Five minutes to go, and then--- glory of the performance. dress for the performance. the door is opened for me, and Whatever the performance, the goal is I’m walking onto the stage. I • As I dress I feel a flutter of feel a charge of excitement and enjoyment, not fear or dread. Numerous nervousness. It is OK for me books, videotapes and workshops on anticipation. I move with ease and to be a little nervous---it is purpose toward the piano. All my the subject of performance anxiety are heightening my self-awareness, proliferating the marketplace, providing practice and hard work has brought and will allow me to present a me to this moment where I can useful information. Many physicians more sensitive performance. I have and psychologists are also specializing communicate my feelings about learned to relax---I can control this music. in this area, offering many musicians my nervousness and turn it into a significant help. Although there can positive factor. • As I acknowledge the applause of be much joy derived from playing or the audience, I am aware of their singing for ourselves, there is something • Warming up at the piano in the energy and support. The warmth very special and exciting about sharing recital hall, all dressed up, I am of the lights and the sound of the our music making with others. With very aware that my recital is merely applause make me feel welcomed to so many opportunities available, we minutes away. This is my night! the stage. need only to reach out to select the Having practiced for those short periods spaced throughout the day, • I feel comfortable as I sit down at performance experience that is right for the piano. I have spend so many us! I already feel warmed up. Now I begin to feel even more flexible and hours at the piano, it now feels very POSITIVE THOUGHT comfortable as I try out the piano much like “home”. I look out at GUIDED IMAGERY FOR THE DAY this last time. The sound of the the expanse of the instrument---the OF A PERFORMANCE piano in the empty hall resounds in bare strings, the open lid, and I feel a sense of power and mastery. • I look up at the clock---time to get my ears---a new sound, created by The keys feel warm from the lights. up. Then I remember what day it is- the excitement of this moment. The cone of light makes me feel as --today is my recital! It seems only • The microphones have been put in if I were ensconced in a cocoon--- yesterday that it was a month away. place, the lights adjusted, the piano warm, safe and secure. I feel excited and yet, ready, as I positioned. The stage manager has start this special day. just told me that he is ready to open the house. This is it!

28 The Canadian Music Teacher - Winter 2014 • I position my hands, take a deep it’s already intermission, with only breath and begin to play. Sinking half the program remaining. As deeply into the keys, I feel assured I wait backstage, I am eager to by the solidity of the bottom of get back on stage. My hands are the key bed. My arms feel relaxed, tingling---I can feel the blood Gail Berenson my hands steady. I know I am well surging through my hands---I is Professor Emeritus of Piano at Ohio prepared. feel hot and flushed. Turn off the University and was awarded the School • Although I feel a rapport with the houselights! Let’s start the second of Music’s "Distinguished Teacher of the audience, my concentration is on half! Year" Award in 2000. As a result of her my music---listening, allowing the • Back on stage, I realize that as I respected work as a piano pedagogue piece to unfold by itself, through complete each piece, I grow nearer and her reputation as a noted expert on musician wellness issues, she is much in me. Memory will remain intact and nearer the end of the recital. I demand as a performer, clinician, master since I will allow one musical idea wish it could go on forever. And class artist, adjudicator, author and to naturally follow another. Ideas then, it’s over! I hear a burst of reviewer. She has performed and lectured unfold like the telling of a musical applause, and it feels wonderful. in over thirty states and nine countries, story I know very well. The sound rolls toward me like a and is a Past President of Music Teachers • My hearing is sharper now than wave, enveloping me. It is as if the National Association, an association of over twenty-three thousand members. She it has been in my practice. The audience is reaching out to me. is also actively involved in the National presence of an audience creates • Very important to me is knowing Conference on Keyboard Pedagogy, the a heightened awareness and that I have played as well as I can International Society of Music Education, sensitivity toward my playing. at this moment. This was a good chairing its Musicians’ Health and As I respond to the sounds I performance! I greet my friends Wellness Special Interest Group, and the am creating, I feel as if I am and relive the excitement of the Performing Arts Medicine Association. An hearing the music in a new, fresh performance with them. I know active performer and passionate chamber light, stimulating a more intense why I play recitals---it’s because I music collaborator, she performs with interpretation of the music. My love to perform! Another reason flutist, Alison Brown Sincoff, as a member hands feel very supple. I play with is because I love the celebration of the Ohio University Lyric Duo. Ms. Berenson is one of the co-authors of A an ease and fluidity that makes me afterwards! Symposium for Pianists and Teachers: feel as if my hands are “dancing” Strategies to Develop Mind and Body for on the keys. Optimal Performance and a contributor • Each piece is over so soon! What of three chapters to the fourth edition of took so long to prepare is going the Lyke, Haydon, Rollin, book, Creative by so quickly---one piece, then Piano Teaching. another. I can hardly believe that

Hiver 2014 - Le professeur de musique canadien 29 ABCs of Mobile Devices Presented at the Canadian Federation of Music Teachers Association Conference by Dr. Julia Brook & Dr. Joseph Ferretti

Hello Everyone, Thank you to Julia and Joseph for letting me include this hand out in our magazine. I ran out of room in the last issue and as promised here is the complete list. Thanks, Dina

SELECTED ANDROID APPS App What it Does Price Pre--‐loaded Music Player Import and play your music. n/a Devices on your Android Camera This feature lets you take photos or shoot videos. n/a device Internet Browser Let’s you surf the Internet. n/a Composition/ EZ Beat Maker Layer the sounds to create some beats. $1.02 Improvisation Musicnotes Displays music and lets you annotate your music using free pens and highlighters. Mobilesheet Score reader with ability to annotate $8.99 Theory Circle of 5th/II V I Quizzes on the circle of fifths. $1.02 Red the Music Note reading skills game. $1.03 Reader Ear Training Ear Training 3 Identify intervals, chords, chord progressions. free Aural book for Provides excerpts for every ABRSM grade level. Built--‐in free ABRSM metronome, measures gradually disappear. Metronome Metronome Beats Set your tempi, or tap your tempo and let the free metronome find the tempo. Sight Reading Music Sight Reading Note reading flash cards and quizzes. free Music Tutor Sight Identify notes and key signatures. $2.39 Read Music Tutor Fret Identify notes on a fret. $1.98 Master History Classical Music 2 Excerpts from pieces by famous composers. free Tuner Pitch lab guitar Tuner. free tuner Recorder Digital Audio Recorder: you can organize your recordings into folders. $3.99 Recorder

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30 The Canadian Music Teacher - Winter 2014 SELECTED APPLE (iPAD, iPHONE, iPOD TOUCH) APPS

App What it Does Price Pre--‐loaded Memos This feature lets you write notes. n/a devices on Camera This feature lets you take photos or shoot videos. n/a your iPad Internet Browser This feature lets you go on the Internet to visit websites. n/a Score Reader PiaScore Reads scores; lets you write on the score, has a keyboard $2.99 for reference, recorder, tuner, link to YouTube, gesture page turning. forScore Reads scores, lets you write on the score, rearrange $6.99 pages, metronome, hand--‐swipe page turning, pitch pipe, memo page. The Gig Easy Reads scores, lets you write on the score, rearrange $3.99 pages, metronome, hand--‐swipe page turning, pitch pipe. Composition/ SoundMakers Created by Soundstreams Canada: create using recorded Free Improvisation excerpts from orchestral works by Canadian composers. Singing Fingers Run your finger over the screen to record the sounds that Free you are making. Colors are determined by pitch. Musyc Each shape has its own sound. Draw lines and place Free shapes on these lines to create a piece. Notion Create or import scores, edit scores, play scores. $14.99 Garage Band Create tracks of your music. Select from variety of $4.99 instruments, play the song, create several tracks. Sight Reading SightRead4Piano by Provides excerpts for every ABRSM grade level. Built--‐in Free lite Wessar metronome, measures gradually disappear. version, upgrade $ Ear Training Karajan Provides exercises asking you to identify intervals, chords, $9.99 scales, pitches, tempi or key signatures. Score and instrument display. Piano, organ, nylon and acoustic guitar sounds available. Do Re Mi Ear Identify notes and short melodies using sol--‐fa syllables. $6.99 Training Guitar or piano sounds available, shows progress over various time frames. Aural An individual module is available for each of the ABRSM Free (ABRSM) grades. Includes clap back, echo sing melodies, questions about dynamic and tempi changes for any of the excerpts. Record your own examples. Theory Music Theory Series of flash cards including music symbols, scale $2.99 degrees, key signatures, chords. Iharmony Lists various scales, chords, and harmonies, providing note $0.99 names and sounds. Mynotegame Write short melodies, tap buttons to name notes, play Free notes on your instrument. History Young Genius Sound bites of instrument sounds and clips from pieces by Free famous composers. Information and game phases. Metronome Super metronome Adjust tempi. Free Metronome light Adjust tempi. Free Tuner ProTuner Allows tuning via a built--‐in mic and a note--‐wheel interface Free in an iPhone or iPad, etc. Recorder Audio Rec Audio recorder can not only record and edit recordings, $1.99 but can export to sound cloud. Download and save tracks.

Hiver 2014 - Le professeur de musique canadien 31 JAZZIN' IT! by Esther Bing M.Mus, ARCT, RMT

I remember being on a Jazz Band trip, improvise at the keyboard. I just wanted in Toronto (Musicfest, I think), and to play the piano, it didn’t matter where seeing Oscar Peterson play. We were or what. Being a poor ex-student on in a stadium in the standing room only a very meager income, I began lesson section. One of my friends used the swapping with my boss, who graduated word “improvise” to describe what we from Berkeley College of Music with were hearing. This was the first time I’d a Masters in Jazz. Unfortunately, our ever heard the word applied to music. schedules only allowed for about 4 Realizing its meaning – that Mr. lessons in total to be swapped, however, Peterson was actually improvising, and I began to learn about the “guide tones” hadn’t just memorized a score - BLEW (the 3rd and 7th of a chord), which could MY MIND!!! It made me wonder, be played in the right hand, while the “how can anyone do that?” left hand played the bass notes. This Unfortunately, my efforts at the time to was interesting to me, but I still didn’t seek a teacher, or any kind of guidance feel any closer to being able to play Jazz. to explore Improvisation in the Jazz At 28, I moved to Calgary, where my realm, fell flat. I registered myself for parents were living at the time. I began Jazz piano lessons, however my teacher teaching piano and decided to look for a didn’t know how to teach what he did – Jazz Piano Teacher once again. One was I’d spend the lesson time sight reading recommended to me. Unfortunately, I written out scores in the Jazz style. All had only a few lessons before I had to I knew to do, was to read theory books stop due to an injury. It seemed like I on the subject – I think I went through would never even get to start what I about three of them before I quit Jazz had set out to do! Although, I did learn Band a couple years later, to focus on about root-less voicings for jazz chords, my Classical playing. and that I might want to start working was in Grade 9 at Campbell Fast forward to age 25… I graduated on ii-V-I’s in all the keys, using these Collegiate in Regina, when my with a Masters in Piano Performance voicings. I friends were trying to get me to from The Boston Conservatory. I About 5 years after that, I saw some join Jazz Band... “It’s really fun! We was teaching piano at the Steinway flyers for a Jazz camp, and decided that get to go on trips! You’ll love it!” they Dealer in Boston, overlooking Boston because I was around that summer, I told me. I said back, “I don’t even like Common – a very small version of should register. I had sciatic pain in Jazz music. It’s for old people!” Never- Central Park. For the first time in my hip/leg, which made it hard to sit. I the-less, I joined. my life, I no longer had the weekly thought, “Well, I’ll just stand and play I had already pledged my life to rigmarole of Piano Lessons. I was the keyboard!” I was so glad I registered Classical piano study, dreaming of FREE!!! Free to be an artist, free to for the camp. We learned a lot about continuing my education at University, have my own opinions – if I dare! Free, improvising and jazz in general, and and whatever opportunities followed is a very scary place to be! ; ) were encouraged to compose for the after that. Little did I know how much I began to think about Jazz again. Band we were placed in. I ended up I would love playing in Jazz Band, and Feeling annoyed that unless I was writing a song called Bad Cat (after that it would spark a life-long urge to actively practicing, I would never have my cat, Ziggy), which the band played learn, I mean REALLY learn, how to anything “ready” to play. It again at the final performance. It was fun to play the piano… started to appeal to me to learn how to get that feeling back of playing with a

32 The Canadian Music Teacher - Winter 2014 Jazz Band! I was lucky enough to be pianist, and even has her own Album I was sad that it was over. I felt a fire asked to play it again, this time with out! had been lit in me, knowing that I had a professional quartet, Verismo, for a On day one of the workshop, we gotten closer to my dream of becoming fundraiser that year. There I was, living learned the brief history of Jazz pianists. a Jazz pianist and improvising! I knew I out my dream, but just for a second… We got a list of suggested listening, and couldn’t let it go this time. I walked up Now, without giving away my actual we watched significant performances to the instructor, and asked him if he age, let’s just say, fast-forward through on YouTube. We also got to improvise had room for another student. He said, a divorce, a new marriage, a successful ourselves, which, with the guidance of “Sure, how are Tuesdays?” So now, I am piano studio, and recovery from a the instructors, got better as it went on;) taking my dream one week at a time, and enjoying every minute of it! repetitive-strain injury. The time seemed The next day, we got a crash course right this last summer 2013, to pick up in Jazz theory. I knew a lot of it from A couple of months later, I was asked to my dream of becoming a Jazz Pianist, before, but there are so many layers to perform my Crazy Cat at the ARMTA and learning to improvise. I registered music, and there were many things that General Meeting. It went really well, for a new Jazz Keyboard Workshop. I understood much better because of and it was more comfortable this time The title of this Workshop appealed to hearing it again. Our homework was to getting up in front of my colleagues and me – Jazz Keyboard Workshop! Yah! compose something! playing WAY outside my comfort zone. But I was glad to do it, because I know It was only a couple of days before the On day three, everyone came with their Workshop. I was so excited, I pulled out that every little step will bring me closer 12-32 bar compositions. We were all to my goal! my old ii-V-I progression book by Jamie asked to improvise (mostly using the Aebersold , and began to re-familiarize Blues Scale) on the chord changes of myself with the chords. The workshop our compositions (mostly the Blues!) was held for 4 days in August. The first We were divided into groups in order day, I met my classmates… a fellow to have more one-on-one time with piano teacher, a couple of school music the instructors. I learned a lot about teachers, a couple of teenage students, improvising through this process! a Dad who played for his church and Those who wanted could have someone a composer from the U of C. All of us else play their chord changes, while were there for different reasons, but we they focused on their right hand all wanted to learn the same thing. improvising. Because of my previous Esther Bing comes from The instructor introduced himself. I was training, I wanted to try to doing it a musical/ surprised to learn that he had a degree all on my own. I composed a sequel to artistic family, and has been teaching in Composition, and I bet it surprised Bad Cat, this time writing Crazy Cat! piano since she was 14yrs old. Her most to hear that his main instrument Because I wasn’t writing for horns, formal training was at the University is actually the bass because he is also an Crazy Cat was more idiomatic to the of British Columbia (Henri-Paul extremely talented Jazz pianist! It just piano and really fun for me to play! Sicsic & Jane Coop), and The Boston goes to show you that there is always Conservatory (Michael Lewin). She On the final day, a drummer came moved to Calgary in 2003, where more we can learn in music… to practice with each of us, while our she has maintained a private piano The assistant instructor introduced instructor played the bass. We had to studio ever since. In February 2014, herself next. Her story really spoke perform our pieces in the afternoon! she will be a Branch Instructor for to me… She, like many of us, had a It was interesting to hear all the the Conservatory at Mount Royal University. Classical piano upbringing through compositions. There was a Latin one her school-aged years. Afterwards, she with maracas, a lively country-type Ms. Bing is fluent in French, likes studied theology, moving towards a composition, and one with a sultry reading books, and watching reality TV. She also enjoys running, and non-music career, but took jazz piano James Bond-like feel! cooking Vegan & Vegetarian foods. lessons on the side. It took many years, A small group of relatives joined us She and her husband, Matt, live with but eventually, she came back to the that afternoon. It was an easy-going a large, white, dog-like cat, named piano, realizing that she wanted do it crowd to mark the end of the workshop. Ziggy. as a career. Now she is a wonderful Jazz

Hiver 2014 - Le professeur de musique canadien 33 USING EVERNOTE TO TRACK STUDENT PROGRESS and SEND LESSON NOTES by Dr. Christopher Foley

The traditional notebook has been a Over the years, I’ve developed a quick mainstay of piano lessons for decades. and streamlined approach to providing A teacher’s scrawled instructions form lesson notes that is inseparable from the basis for a student’s daily practice my teaching process, my weekly habits through the week - if they even preparation, and the experience of bother to look at it. Compounding the my students in the studio and in the problem is the hands-off approach of practice room. many parents these days, all too eager to I use a program called Evernote (www. leave Junior to his own musical devices. evernote.com) to collect, organize, and If he would be organized to actually send my lesson notes. Evernote works find his lesson notebook, that is. on nearly every type of desktop, laptop, To make matters worse, a teacher’s tablet, or mobile device whether it’s on lesson planning using paper notebooks the Windows, OSX, iOS, or Android requires writing a second set of notes platforms. Within Evernote, I create a compiled away from the lesson in order notebook exclusively for lesson notes, to be prepared for the next week. In which I call “Progress Reports”. Each my early years of teaching I found this student gets an individual note. Within duplication of student’s and teacher’s each note is the following: notes inefficient and difficult to manage 1. At the top of the note, a list with a large studio. of email addresses that I send Given the portability of laptops and the individual note to each tablets in the last few years as well as week. With younger students, the the ubiquity of internet connections in email goes out to as many people studio spaces, I’ve seized upon a quick as possible that need to be kept and easy solution to this problem: in the loop regarding a student›s emailing lesson notes every week. progress: both parents, the students themselves if they have an If you’re looking to make the big switch account, as well as older siblings or to emailed lesson notes, there are any of us have heard grandparents if they have practice several things you need to have in place the litany of complaints monitor responsibilities. in order that your use of technology regarding forgotten practice 2. A listing of major goals or M can be as smooth and transparent as assignments: milestones for the student possible: to achieve within a certain • What do you mean I was supposed to • a fast and reliable wired or wireless timeframe. These can be general, learn this study? internet connection (“this month we›ll be working on rhythmic accuracy”) or • I didn’t know you wanted me to play • an up-to-date laptop or tablet more specific (“memorize all the second half of the Minuet hands • a thorough enough knowledge repertoire by June 1”), as well together. of the program you’re using that as housekeeping items (“register you don’t need to spend any time for the Grade 5 exam by next • My notebook? I lost it somewhere figuring it out during lesson time Friday”). under a pile of stuff near my piano.

34 The Canadian Music Teacher - Winter 2014 3. A weekly listing of lesson notes When I’m teaching, I have either my that students receive from emailed with the most recent lesson laptop or iPad close at hand so that weekly lesson notes can make your coming at the top. This is the I can type items as they arise in the studio considerably more attractive beauty of the system. It›s easy to lesson. At the conclusion of every from a value and customer service track development through the lesson, it only takes a few minutes to point of view, and the commitment year because notes from multiple send the note to all the emails listed at to pedagogical process evident from lessons are listed vertically on the the top of the note. your work will help to increase the same document. Since parent, professionalism of your studio. student, and teachers are all Once the student and parent receive referring to the same document, the emailed note, they can utilize it in they can be on the same page several different ways, some of which regarding how things have been were unintended but fortuitous: going and what to work towards • print out the email and refer to it in next. When I’m planning lessons, practice sessions the information is right at hand so • refer to the lesson notes on a it’s much more efficient to plot the smartphone while practicing next step in a student’s direction. (teenaged students find this 4. With Evernote, multimedia particularly useful) Dr. Christopher Foley files can be attached based on • some parents copy and paste teaches at The Royal a student’s requirements. Conservatory and is a senior member For the current lesson’s notes onto a of The Royal Conservatory’s College of example, young students whose separate document, formatting parents don›t play an instrument Examiners. He was educated at the it for emphasis in order to make Eastman School of Music, where he may need audio recordings of their my weekly expectations as clear as pieces for the week. Evernote has received a Doctor of Music Degree in possible. Piano Accompanying and Chamber the functionality to make an audio I’ve found that using this system Music. Since 2005, his experience as recording within the note. If we’re creator of the Collaborative Piano Blog, working with a magnet board to has helped me to retain students for collaborativepiano.com, has informed review a theoretical concept, I can longer time frames and is a major his current interests in technology, take a picture of the student’s work marketing point when I interview pedagogy, marketing, and community and attach it to the note. new families. The personal guidance building.

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Hiver 2014 - Le professeur de musique canadien 35

EXCERPT FROM WORKSHOP PRESENTED IN HALIFAX 2013 THE MIDDLE YEARS: Rebooting Student Progress and Interest after 2 or 3 Years of Lessons by Margaret Macpherson

a) Tiger Parents on hours of focused practice from a “the Super Mentors” young age. This dad was definitely a “TIGER DAD” (borrowing and How important is practicing, and how altering that title from Amy Chua). important is parental input to this Definitely, “tiger parenting” can work? Recent studies and publications provoke power struggles, and damage would lead us to believe that absolutely the relationship between parents and nothing counts more than time spent children when music practice becomes at our instrument if we are looking for the focus of the power struggle. success in the outcome of our music Nevertheless, sometimes, as a teacher, education. The studies and books talk I love the tiger mom with all my heart. about talent, about inspired teaching, She can be a tough love version of a about desire to learn, but nothing supportive parent, in the most positive counts as much as hard work in the end. light. She, or her male version the “tiger n my experience, parents of music That means for musicians, practicing. father” often singlehandedly forestall students come in three varieties, Parents are our students’ mentors 7 the mid -years slowdown in their of which the first would be the days a week, and we as teachers, only I 1 children’s music education. tiger mom . This fierce parent, who once a week. A book which deals insists on hours of focused practice with the importance of mentoring b) Ho-Hum Parents every week, is at one extreme. At the at a crucial time is The Outliers, by Ho-hum parents are at the opposite other extreme we have the “ho hum” 2 Malcolm Gladwell . He believes than extreme. More relaxed, they ask, parents who are relatively inexperienced any successful person needs committed “When will my 7 year old go to the as music mentors. They think their mentors at crucial stages of their piano to practice willingly for hours?” seven to nine year old should go alone development. In his book he also I recommend that they read two articles to the piano willingly to play for half addresses the question of hard work by the experts on the subject of when an hour a day, for years, consistently versus natural talent. (His conclusion children will go to their instrument and because it is fun. In the middle willingly to practice. This first is are our parents with one foot in both is that work wins out.) His well-known Cynthia V Richards, How to get Your camps, beleaguered, suffering their opinion is that “ten thousand hours is 3 Child to Practice5. Richards has this kid’s complaints about practicing, the magic number of greatness.”(p.41) . to say: “There seems to be a turning but still willing to help. Parents of He is interested in what makes for point in motivation for most music music students have a rough time success in human endeavors, and students who pursue their study to usually. After the initial year or two actually discusses the path to becoming advanced levels. Some students have of beginner’s enthusiasm, they run up a professional musician in this context. the proficiency but not the maturity against resistance to practicing. Often A second book that describes this very to be self-motivated. Others have there is a rocky transition between path is concert pianist Lang Lang’s the maturity but not the proficiency parent supervised practice and self- fascinating, and sometimes horrifying, to experience this turning point. I motivated practice. And it is tricky for autobiographical novel Journey of a have observed that most successful parents to avoid the power struggles Thousand Miles4. Definitely an “outlier”, musicians have discovered the magic occasioned by this transition. Some pianist Lang Lang went from being of music enough to be willing to interesting books published recently a student in China, to the top ranks practice somewhere between the ages shed some light on the discussion. Here of an international concert career. of twelve and eighteen.”6 Another is what is to be read on this subject for Lang Lang’s childhood resembled resource on this subject is available on each of the three categories of music that of Mozart and Beethoven in his Martha Beth Lewis’s online teaching parent. relationship with a father who insisted

36 The Canadian Music Teacher - Winter 2014 Real Piano Action with the Innovation of Digital Technology

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Hiver 2014 - Le professeurContact de your musique local canadienYamaha dealer today or email [email protected]. 37 THE MIDDLE YEARS: Rebooting Student Progress and Interest after 2 or 3 Years of Lessons - cont.

question and answer blog. Holder of a interest, and diminishing parental PHD in piano pedagogy, Lewis writes, supervision. She describes our middle “Parents thinking a child can practice years’ period as “that protracted and Margaret alone is the main reason children stop tricky passage from novitiate to expert, Macpherson, piano study.”7She identifies 10 years where….Progress happens slowly here, (nee Turner), of age as the average age of transition often so slowly as to be undetectable was born in to unsupervised practice. Her advice for long stretches of time.”(p.90). Northwestern to parents is spot on when she writes: Particularly perceptive is her description Ontario and “Dealing with Rebellion about Piano of a student whose progress is not grew up in Playing Time…Short answer: Stay spectacular, but whose experience Winnipeg. She now works as a piano and music theory the Course!” Personally, I recommend of music is valuable personally. She teacher, and as an accompanist in an ongoing parental interest and writes of her student, who loves Ottawa , Ontario. She holds degrees in support from the sidelines, coupled mostly popular music, but is currently Music: ARCT, LMM,(performer and with occasional pep talks, well into the playing a part of the Shostakovich teacher), and holds a M.A. in English teenage years. piano concerto: “For her it is not a literature, (University of Manitoba.) c) Beleaguered but Willing to Help piece to master so much as a place to Margaret studied piano with Dorothy dwell.” This is only one example of Johnson, Alma Brock-Smith, and John Parents her many insights into teaching in the McKay, and violin with Vic Pomer and For parents in the “beleaguered but mid years, and the book is definitely John Gomez. From 2005 until 2010 willing to help” category, we turn to a worth consulting on this score. In my she was on the faculty of the Bermuda different book, Tricia Tunstall’s Note by School of Music, in Hamilton, Bermuda, experience, persistent, let’s say weekly teaching piano and music theory. She Note. This book is a valuable resource scoldings from the music teacher about has performed with chamber groups for these parents– whose style is practicing have minimal effect on the in Canada and Bermuda,, and works neither the tiger nor the “student do-it average music student. We have to hook currently as a ballet accompanist for yourself” variety. A chapter in Tunstall’s them with a carrot rather than a stick. The School of Dance, Ottawa. As a book is actually called “Emergence” And their parents have to support us violinist she is a member of the Strings and deals specifically with those crucial with all their might.8 of Saint John’s , Ottawa, and has played mid years where a lot of students are in their second violin section since the lost to burnout, lack of practice, waning founding of the orchestra.

1. The term has been recently coined by author Amy Chua (2011). 2. Gladwell, Malcolm (2008) The Outliers. Little, Brown and Company. 3. Also note Gladwell’s discussion of a study done in the early 1990’s by psychologist K. Anders Ericsson at Berlin’s elite Academy of Music. The study measured ability, natural talent and work hours of various music students. Gladwell concludes,” (musicians) at the very top don’t work just harder or even much harder than everyone else. They work much, much harder.” page 39. 4. Lang Lang (2008) Journey of a Thousand Miles, co-written with David Ritz, Spiegel & Grau, (Random House), New York. 5. Richards, Cynthia (1985) How to Get Your Child To Practice…Without Resorting to Violence, Advance publications. 6. Richards, quoted in: www.kenfoster.com/articles/practicing,htm page 3 7. Lewis, Martha Beth, Piano Pedagogy, http://www.marthabeth.com/pedagogy.html, 2006. See “How to help Your Child Practice at Home” 8. Occasionally parents can inadvertently sabotage what the teacher is trying to accomplish. I strongly believe for example that the sole focus on accuracy is deadly to making music. A student of mine played at her lesson with her mother present, an unusual occurrence, as the nanny usually attended lessons. The girl played with what I thought admirable dynamics, style, rhythm and tone, and personal commitment to the story in the music, and reasonably accurately. The mother remarked, “That was great, you only made one mistake! The look exchanged between mother and daughter after that told a story.

38 The Canadian Music Teacher - Winter 2014 4TH NORTH WEST INTERNATIONAL PIANO ENSEMBLE COMPETITION

4th North West International Piano Ensemble Competition November 14 and 15, 2014

Dear Teacher/Student/Administrator, I am taking this opportunity to make you aware of the only Canadian competition of this kind, that will feature duets and duos, that is piano four hands, either on one or two pianos, and asking you to circulate this information to all those the might be interested to compete. The success of this competition is due to the fact that piano ensemble (in our case, duo and duet) is becoming more and more a choice of pianists, it is a great opportunity to make music with a friend, and it is a discovery of musical repertoire that many did not realize existed. We are anxious to make all piano students who are serious about their training and success, who are advanced in their studies and who are excited about making music together. For this competition only original works for piano duo or duet are permitted – that is works written by the composer for this medium, not transcriptions or arrangements. Thank you for making this material available to your members or students. We appreciate any communication or questions which you might have following your visit to our website: www.nwpes.ca. Rules and regulations and application forms can be found on the website. With appreciation and respect, Winfried (Win) Rompf - President 10560 Gilmore Crescent Richmond, BC V6X 1X4

For Sale STEINWAY GRAND PIANO Built 1989 / 1990 Long Island, New York 6' 10" (AKA 7') W 1140 B 516 959 Serious Buyer Only Please call: Joan 1-306-692-4174

Hiver 2014 - Le professeur de musique canadien 39 GOODBYE TO A TEACHER, PERFORMER AND FRIEND - Andrew Markow

Andrew Michael Markow 1942 - 2013 After a lengthy battle with cancer, on Tuesday, July 2, 2013 Andrew passed away peacefully at home. Loving husband, friend and constant companion of Elena (Lena). Dear brother of Arlene and Adrienne, uncle of Nadya, great-uncle of Valya and her son Igor. He will be sadly missed by numerous students, friends and colleagues. Andrew will be remembered for his active participation as a leading contributor at the Royal Conservatory of Music and for his key role in designing the RCM piano curriculum used by thousands of students each year throughout Canada. He was also ad Ajdunct Professor at the Faculty of Music, University of Toronto. With the support of Andrew's spouse, Elena Markow, family and friends are making gifts to The Royal Conservatory of Music in Andrew's memory.

CFMTA/FCAPM MEMORIAL DONATIONS Donations to any CFMTA/FCAPM Project can give family, friends, students and colleagues an opportunity to express appreciation and to honour CFMTA/FCAPM members. Donor individuals and organizations will be listed in subsequent editions of The Canadian Music Teacher. Projects include Canada Music Week®, Young Artist, the National Piano Competition and the Memorial Pedagogy Award. Simply send your donation to CFMTA/FCAPM 302 - 550 Berkshire Dr. London ON N6J 3S2. Be sure to include the name of the Honoree, any special instructions, and the name of the project to direct your donation to. Income Tax Receipts will be issued for any donation of $ 25.00 or more. Cheques should be made payable to the CFMTA Trust.

40 The Canadian Music Teacher - Winter 2014 WHAT'S NEW AT THE CONSERVATORIES?

THE ROYAL CONSERVATORY CONSERVATORY CANADA The work of independent music The Royal Conservatory will continue Celebrating 2013 Convocation in teachers and the role of private music to focus our effort on advancing the style - This November, students, parents study are more important than ever. Canadian cultural tradition of private and teachers joined us at London, This academic year offers tremendous music study, expanding the number Ontario’s Best Western Lamplighter opportunities and new responsibilities of Canadians involved, and increasing Inn for the celebration of our 2013 for music teachers across Canada. their years of study. Convocation. “It was wonderful to Beginning in 2013-2014, The Royal For more information, please visit bring everyone together in one place,” Conservatory will introduce educational rcmusic.ca/LearnMore. says Conservatory Canada National tools designed to strengthen the impact Executive Director, Victoria Warwick. music teachers across the country have “The student master class recital was on the next generation of accomplished an inspiration, and everyone enjoyed young Canadians, including: the chance to socialize and make new • A National Awareness Campaign friends over dinner.” to publicize the scientific benefits and We salute all our 2013 medal winners importance of private music education, – and their teachers - for their through articles, social media, achievement and dedication. advertising, and lobbying with the Northern Lights Canadian provincial and federal governments. E-Sharp Club now has even more National Conservatory of Music resources for teachers • A searchable Online Teacher Directory to enable Canadians to find Northern Lights Canadian National We take suggestions and requests from a private music teacher within their Conservatory of Music is preparing for teachers seriously. That’s why we’ve area. Summer Sizzle: A Pedagogy Symposium added new materials to our E-Sharp and Keyboard Kamp in Yorkton, Club: • New Digital Products and th th Saskatchewan on August 18 and 19 . • Improvisation lessons & examples Support Tools to enhance theory Visit www.cncm.ca for updates and • and history teaching, as well as a suite guest lists – space is limited – register Lead sheet lessons & examples of other resources such as simulated early. • Technique lessons with info on examinations, parent brochures, modes presentations from conferences, and CNCM editorial committee is busy • Backing tracks for technique articles to support work with parents working on a second book of Northern steadiness and students. Lights Piano Duets (elementary level) • Work with idiomatic rhythms • More Teacher Professional and the re-release of the Making Tracks Development opportunities, including series. Both series are filled with a wide • Best solutions for aural training & webinars, summits, and teacher range of works by Canadian composers sight reading information sessions across Canada. - ‘must-haves’ for festivals, examinations • Christmas lead sheets and performance. • Engaging in better Dialogue Membership to our online E-Sharp and Research through a research Coming soon to www.cncm.ca are free Club is available now for only $50. community of over 200 music teachers downloads of all six CNCM Pedagogy New materials will be added throughout from across Canada to promote Diploma Programs. the year. To purchase, simply visit our ongoing dialogue about the future website at www.conservatorycanada. of the profession, new programs, For more information regarding ca and follow the links. advancements to academic standards, CNCM piano and pedagogy programs, and the evolving needs of music Composer & Kids, Summer Sizzle or teachers. Coaching Classes visit www.cncm.ca

Hiver 2014 - Le professeur de musique canadien 41 WHAT'S NEW AT THE CONSERVATORIES? - cont.

Christian Conservatory of Music - Setting the Standard in Christian Music Education

For more than a century, conservatories extending to society as a whole in Its comprehensive nature includes study of music from Britain and Canada have the Arts, Culture and Education. in areas of Applied Music (performance offered music examinations based on Christian music has served to and repertoire), Materials of Music carefully graded syllabus requirements. educate communities in musical (theory), Survey of Christian Music These examination systems, along with appreciation and skill development (history), and, Bible Basics. thousands of dedicated music teachers, while upholding a high standard of The CCMC offers three Diploma have helped to raise the standard of excellence in performance quality. levels suitable for post-secondary and classical music to the extremely high Through Christian music, the church graduate level education. The Associate level which Canadians now enjoy. has provided a venue for music (A.Mus.Min) and Fellowship (F.Mus. More recently, examinations in jazz, performance, employing music teachers, Min) Diplomas require a public Music popular, rock, Celtic and South Asian music directors, choristers, soloists, Ministry Performance which takes music have been established. However, instrumentalists, etc., and providing place in a congregational setting. Christian music, both traditional and opportunities for music composers and The Licentiate Diploma in Christian contemporary, has never been addressed songwriters. Music Education (L.Ch.Mus.Ed) is a in such a manner until now. The CCMC examination system pedagogical diploma designed for the Many private Christian music teachers addresses areas which are relevant to the Christian Music teacher. and Christian music schools do, in training and development of Christian The CCMC offer publications to assist fact, teach Christian music but with musicians of all ages and abilities. with teaching that are available on their no progressive curriculum to follow Presently, the nature of music in the website at www.ccmcexaminations.org and no convenient list of suitable church includes both traditional and and for purchase through Faith Family repertoire. After several years of contemporary styles spanning a variety Bookstores (www.faithfamilybooks. extensive planning, the Christian of genres. Musicians are required to ca). These include the CCMC Conservatory of Music, Canada (a read from both staff notation and chord Syllabus,Workbooks and Lesson federally incorporated, not for profit charts/lead sheets. They often play in Planners. Copies of the syllabus are organization founded in 2011) has ensemble settings and are expected to available free for download on their developed the first examination system develop improvisational skills. These website. and curriculum dedicated entirely components are integrated into the to the study and performance of all CCMC Syllabus from the earliest grade With a comprehensive musical aspects of Christian music. The mission levels. The CCMC hosts workshops curriculum and examination system, statement of the CCMC is to enable to provide strategies for teachers to the Christian Conservatory of Music, students to develop performance skills, implement these requirements. All Canada aims to set the highest standard musical understanding and Biblical members of the CCMC Board of in Christian Music Education. knowledge, which will equip students Examiners are required to attend Submitted by to contribute to musical life in the regular examiner workshops and their Dr. Gordon A. McKinnon Christian church locally, nationally and marks are closely monitored to ensure a ORMTA Scarborough Branch internationally. Currently, the CCMC consistent standard of assessment. has examinations in voice, piano, guitar, The CCMC Syllabus can be used as bass guitar and drums. They have plans a stand-alone examination system for in the works for other instruments private students, teachers, community including strings, woodwind, brass, and church music schools, college speech arts and drama. programs, etc. as the grade levels Historically, the music of the Christian progress from Primary to Fellowship church (often referred to as “Sacred (graduate). It can also serve as a Music”) has had a profound impact complement to existing music programs not only within the church but also and examination systems.

42 The Canadian Music Teacher - Winter 2014 Dennis Alexander • Gayle Kowalchyk • E. L. Lancaster • Victoria McArthur • Martha Mier TECHNIQUE BOOKS Now Complete from Level 1A through Level 6

The Technique Books for Premier Piano Course 3 Use with Alfred’s Premier Lesson Book are designed to help teachers teach technical Technique Tools Review Level 6, pages 2–3 skills systematically, while applying them to Demonstrate the following Technique Tools introduced in Technique 5. Technique Tip: Use more weight to play the Sustained Notes sustained half notes louder than the other notes . performance repertoire. Students will develop Moderato ‰ P j ‰ j ‰ œj œ Œ œ the physical skills needed to play artistically, 1. ?# 4 œ œ œ œ œ œ œ œ ˙5 1 3 ˙ 1 2 ˙ 1 2 ˙ 1 # 4 3 expressively, and effortlessly. F Technique Tip: Begin with an arm drop, then play with one arm motion . Building Scale Velocity

Allegro EACH LEVEL INCLUDES: œ œ œ œ œ 2. ?# # œ œ œ œ œ œ œ œ œ ˙ # # c œ1 œ3 œ 1 4 1 3 3 1 • Technique Tools to help students easily œ5 œ œ œ F

Technique Tip: Play the grace notes understand technical principles and practice Playing Grace Notes quickly, lightly, and before the louder Moderato note on the beat . 2 4 correct physical movements. 4 j 1 2 1 j j œ œ 3. # # 3 œ# œ œ# œ œ œ œ. . • Hands-Together Workshops to develop & # 4 . œ œ . œ œ œ ŒŒ P . . . . .

coordination skills. Technique Tip: As you cross finger 2 over 1, Over and Back listen for smooth, even sounds . • Patterned Exercises to provide the necessary Andantino œ œ œ 4. œ œ œ œ œ œ œ œ ?# # 4 œ œ œ œ œ œ œ œ œ œ œ ˙ repetitions to make technique feel natural. # # 4 1 2 1 1 2 1 5 1 2 1 • Artistic Etudes to apply technical skills to f Technique Tip: Silently say the words “keep it e-ven” Even Sixteenth Notes as you play each group of four sixteenth notes . expressive performance repertoire. Allegro 1 3 1 1 3 1 2 1 5. # # • Masterwork Etudes to prepare students to # 4 œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ play standard masterworks. F legatoœ œ œ œ œ œ œ œ œ œ œ œ Technique 6 Technique

NEW!

PremierPianoCourse.com REVIEW OF PUBLICATIONS CRITIQUE DE PUBLICATIONS

PIANO SUPPLEMENTAL

NEXT STEP PRE-READING International Christmas has seven facts as well as supporting the rhythm SERIES Christmas carols from around the world making it easier for the student to be by Joan Blench featuring Italian, French, German, successful. Both Beethoven’s Ode to Joy International Christmas and Spanish songs well known in and Haydn’s Capriccio in G are written Favorite Classical Composers their country. English lyrics provide with the student required to play hands It’s a Musical Day rhythmic translation. Different hand together. A quote from Ms. Blench’s Proud to be Canadian! positions and tonalities are encountered. website: Published by Joan Blench The music incorporates the keys of “Sing the songs first. Feel the rhythms. “The Next Step Pre-Reading Series gives C+, A+, F+, Bb+, Eb+, as well as the Move to the beat. The challenge of note- students the opportunity to play pieces Dorian and Mixolydian modes. The reading, whether on staff or off staff, in off-staff notation and then see the rhythms are more demanding than the is made simpler when students play same piece written on the grand staff. regular pre-reading because Ms. Blench something they already know.” The challenge of note-reading is made includes eighth notes, dotted quarter It’s a Musical Day has a page of Ten simpler when students play something plus eighth, and dotted eighth plus Smart Practice Tips to assist the student they already know.” sixteenth rhythms. Some pieces have in the journey of music making. All These books are designed to provide the hands alternating; others are written seven titles in this book are descriptive supplementary material for the with harmony between the hands. and written to represent various aspects beginning pianists. Ms. Blench has Favorite Classical Composers is a of daily life from a child’s perspective. set out to enable students to play more book with 2 themes from each of the Here the whole tone scale, B+, and the challenging music in the pre-reading classical masters: Haydn, Mozart, and use of damper pedal are introduced. format by exploring more of the Beethoven. Once again more complex The piece Waiting is an exercise in keyboard and rhythms that normally rhythms are explored including groups counting because many rests are used aren’t experienced until much later of sixteenth notes. The time signatures to support the title. Pet Store Cha Cha during the course of music study. On include 4/4, 3/4, and 6/8 time. The teaches syncopation and A Very Bad the top of each piece a small 2 octave themes are in the original key of the Day encourages self expression with keyboard is provided with the question: piece. Each theme has lyrics written the black key clusters played with both “Where do your fingers go?” by Ms. Blench providing historical arms.

44 The Canadian Music Teacher - Winter 2014 Proud to be Canadian! is a book Performance notes provide interesting MUSICAL PLANETS of six Canadian Folk songs. What a facts and performance hints for the Carolyn Miller great idea to include O Canada for all performers. Key signatures include C+, The Willis Music Company students to be able to learn at a pre- G+ and F+, which make these pieces Hal•Leonard Publishing reading level! Lyric sheets are presented very approachable for the spirited This delightful collection of 8 pieces at the end of the book to keep these players. properly ordered in sequence, one songs “alive”. Minor hand positions Because of their rousing styles, the piece per planet (excluding Pluto, are presented here. This book doesn’t pieces in this collection would make now not labelled as a planet), entices have complex rhythms and the time excellent year end recital selections. equally boy and girl pianists. From signatures are 4/4, 3/4, and 6/8. Laureen Kells - Saskatchewan the attractive cover to the remarkably In conclusion, my recommendation is fun pieces to play, Miller successfully to visit Ms. Blench’s website: www. uses creativity and imagination to primarychords.com. You will find emphasize fundamental technical background information on all the skills. The Performance Notes not only pieces, some playing suggestions, and RHYTHM PRACTICE give detailed helpful hints on how to duet accompaniments for the Favorite by Susan Griesdale perform each piece but they also give Classical Composers and Proud to be RedLeaf Pianoworks fun facts about each planet, keeping the Canadian books. I’ve never seen this Written by composer, teacher, creative juices flowing. Miller cleverly kind of approach of extending the pre- adjudicator and clinician Susan introduces the blues scale along with a reading experience before but definitely Griesdale of Redleaf Pianoworks, this standard 12-bar blues chord progression see the value in it! Interesting material! is a book of rhythm practice. Graded in in the piece Mercury Blues. The pianist Jean Ritter – British Columbia eight lessons, the rhythms move from confidently handles this challenge of quarter notes and half notes to more new sounds, by incorporating ones challenging concepts such as ties, eighth imagination of how to sound ‘like notes, rests, dotted notes and sixteenth you are on the blistering hot planet of FAVOURITE FESTIVAL AND notes. Rather than a comprehensive Mercury’. So much imagery to draw ENSEMBLES method, this is a practice book. Each upon makes you want to flip to the next Book 2 lesson contains two pages of basic piece with excitement and anticipation The Willis Company rhythm practice in 4/4 time, two pages as you soar in space to the next planet. Hal•Leonard Publishing of rhythm practice in varying time Vivid Venus has Miller instructing the pianist that this piece is easier than it Favourite Festival and Ensembles signatures, a page for the student to looks: don’t let the key signature scare is a collection of six duets and two draw barlines in time signatures, two you (Gb pentascale). The sound of this trios for the later elementary to early pages of two hand rhythm practice piece will have you wanting to master it. intermediate students. The pieces are all and finally, a test to be done at three Taking advantage of the metaphor even rhythmically strong and feature dances different tempi. Instructions are given further, there are even ‘shooting stars’ and character pieces from various on how to use the metronome with in this exceptional performance piece. countries. the rhythm practice. This alone will Miller uses a great deal of repeated From Israel we have Kibbutz Capers enhance a student’s ability to read and patterning in her compositions to aid by David Karp. From Spain we have reproduce rhythm. In early lessons, in the memorization, but brilliantly Petite Spanish Dance by Carolyn Miller. the notes are large and easy to read, in incorporates unique rhythms and lots of From the Orient is the Oriental Bazaar later lessons, with many more notes, the dynamics through-out. by William Gillock. From the USA print becomes much smaller. Students is Polka also by David Karp. From may find it necessary to place a blank Sarah Lawton - Ontario Spain and Cuba is Western Bolero by page above and below the example David Karp and William Gillock also they are reading to isolate the rhythm gives us Trepak, which is taken from from other exercises. Coil bound, these Tchaikovsky’s The Nutcracker. The duet seventy nine pages provide worthwhile The Chase by Carolyn Miller and David practice for students and an invaluable Engle and Pinwheels by Katherine resource for teachers. Beard serve to round out the collection. Joyce Janzen – British Columbia

Hiver 2014 - Le professeur de musique canadien 45 REVIEW OF PUBLICATIONS CRITIQUE DE PUBLICATIONS

FEDERATION FAVORITES PIANO POEMS Premier Piano Course Book 2 Susan Griesdale Masterworks Books 3 – 6 FJH Music RedLeaf Pianoworks Gayle Kowalchyk & E.L. Lancaster Alfred Publishing Many of the composers in this Piano Poems contains mildly edition have been included in other contemporary pieces in which talented Wow! What an awesome collection of publications and are quite popular Canadian Composer Susan Griesdale music in their orignal form! As I played with most teachers. The National invites the musician to “unwind and through the books I discovered not only Federation of Music Clubs has a long let the music soothe you”. These rich standard repertoire we’re accustomed and distinguished history in the US. hallow calm pieces create a nostalgic, to in the Royal Conservatory repertoire books but some wonderful The compositions share common “C peaceful mood, beautifully enhanced compositions from less well known major” signatures with two exceptions: with invaluable Program Notes. Each composers. These books contain music Ghost Waltz by Edwin McLean in e piece presents a variety of musical and from Baroque, Classical, Romantic, minor and Loco-Motive by Melody technical challenges and Griesdale and 20th century eras. The pieces in the Bober in c minor. Accidentals identifies strategies, to enhance the books correlate page by page with the are common to many of the other efficiency and accuracy of each piece. materials in their corresponding Lesson renditions. Time signatures are in Griesdale says she modeled the book books. I like the fact that terms or simple time; either three four or four after the Romantic need for long symbols students are not familiar with four. Rabbits in the Snow by Mary Sallee lines, careful balance and dynamics are defined in footnotes or parentheses. is the only composition asking for any to train the intermediate player for Of particular interest are the Premier reach or triad playing. The art work on the Romantic repertoire to come. Performer suggestions at the bottom of the cover will certainly appeal to your Griesdale shows a very sensitive style the pages to enhance performance skills students and the copy is beautifully of composition as she presents specific and musical understanding. A great clean and easy to read. Labeled for scenes or moods in our minds. With compliment to these books are the CDs Elementary/Late Elementary students, pieces entitled Remembering You and that feature 2 tracks of each selection. I believe most of our elementary Forgotten, Griesdale links sound with One at performance tempo and the Canadian students would find these expression. The third piece Lavender second at a slower practice tempo. very accessible and late elementary Dreams, in the tricky key of f minor, students could enjoy them as quick has the pianist enjoying the use of a The creators of the Premier Piano studies or sight reading challenges. seamless line between the hands. The Course have done such a superb job The style is varied throughout and the most challenging piece Forgotten has of covering every style of music and # titles descriptive and interesting. the pianist in g minor with an inner making the study of music interesting. First Light by Mary Leaf depicting a melodic line to contend with. After the Now with these Masterworks to Native American Flute and Thundering Rain is an improvisational opportunity support the program it makes it very Drums by Anita Brandon illustrate the with a given scale over a LH chordal well rounded. Because this is standard versatility of an acoustical piano. Our accompaniment. There are sound clips repertoire it would work well with piano can be a “magic box”, which can available at the composer’s wesite: www. any other piano method. These books transport our players to become story susangiesdale.com. The quiet pieces of could be used for review to add a little tellers. this collection contain extra ritardandi, more depth to the level or alongside softer dynamics, and are full of upper the Lesson book. These books were a Bettijo Smith - Alberta register ledger lines, adding to the pleasure to review! serenity of this musically rewarding Jean Ritter - British Columbia and expressive style. This is an ideal book for someone who plays piano for pleasure and enjoys peaceful sensitive playing. Sarah Lawton - Ontario 46 The Canadian Music Teacher - Winter 2014 DUETS VIOLIN

LULLABY FOR A BABY QUAIL Unfortunately, students often don’t read THE SCAMPERING SCARECROW by Ernst Schneider those chapters because their teachers AND OTHER PIECES Alberta Keys Publishing are presenting the same information For Violin and Piano At first glance this duet looks simple, in their own way. Students are going by Garth M. Williams but its sounds and interplay between to spend time in the assignment Copyright Kantata Studios 2013 the players makes it more complex. sections, and they may find them less This is a lovely collection of violin Sounds or harmonies are not so friendly - pages of blank staffs, with pieces with piano accompaniment discordant to be a problem for young the instructions on a previous page, geared to the young student at the early students or to detract from the gentle will confront them far too often. intermediate playing level. With titles theme. The interplay is excellent. Few of They will have to wait far too long for such as The Scampering Scarecrow, Peek us choose ensemble play that does not harmonic analysis passages to give them a Boo Ghost and The Rhino and the include musicality in all parts, so this something to listen to and to break the Chimp this collection will be a favourite is a good choice. Imagery involving the tedium of writing SATB. It is left to the for all young people. plump, tiny baby quail and the problem teacher to find passages illustrating the The pieces also serve to celebrate the the quail Mum has in getting it to settle use of the new chords being introduced. seasons with three pieces for Halloween, down and sleep so she can forage will When a full, and very good, chapter on two for Easter and one for Christmas. resonate with students. harmonic analysis makes its appearance These pieces will aid the learner in It starts quietly in the secondo, the near the end, it incorporates too many violin techniques such as right and tempo picks up as the little one rustles concepts to make it useful earlier. left hand pizzicatos, col legno, double in the primo. Tempo and conversation Minor keys and root-quality chord stopping, glissando, staccato and legato between the parts fluctuate until the symbols, melody writing and structural bowing. Some of the pieces also offer an meno mosso and double pp at the last analysis are also introduced near the introduction to minor scales. assure us it’s little head is tucked under end. For the teacher, on each page is the it’s wing and the lullaby has been Each chapter, or goal, refers to the corresponding scale and a rhythm successful. Absolutely charming. excellent reference pages, but because pattern to aid the student in learning Bettijo Smith - Alberta they are found at the end of a spiral the piece. bound book, they are hard to refer This repertoire would make lovely to. Other good features include lots festival entries in the Canadian class of practice adding two or three voices or would be great for a Canada Music to chorales, and extensive sections on Week recital. structural analysis and writing the Laureen Kells – Saskatchewan HARMONY sixteen bar melody. This book, with its “self checking” DISCOVERING HARMONY section at the end of each chapter, by Donna Goodwin-Wilson and instructions for making a “chord www.harmonyworkbook.com Hello Everyone, slide-rule”, would be an excellent choice Thank you to Bettijo, Jean, Joyce, Donna Goodwin-Wilson, the author for an adult or selfdirected learner, or Laureen, Sandy, and Sarah, in of a new basic harmony text and for somebody taking up the study of volunteered their time in doing these workbook, Discovering Harmony, is harmony again after a long absence. clearly a good and experienced teacher. reviews. We’ve come a long way since Frederick Her wise and comforting voice comes I know I enjoy reading them and J. Horwood’s little green book, The through clearly in her detailed and it was so nice having most of the Basis of Harmony. lengthy explanations at the beginning reviews in this issue from Canadian of each of the twenty-five chapters, Sandy Havelaar – British Columbia publishers and composers. or “Goals”. The material is presented Dina in a logical and pedagogically sound, although not visually very interesting, fashion.

Hiver 2014 - Le professeur de musique canadien 47 PROVINCIAL and TERRITORIAL DELEGATES & OFFICERS DÉLÉGUÉS et AGENTS PROVINCIAUX ET TERRITORIAUX British Columbia Alberta Saskatchewan Manitoba Ontario

1st Delegate 1st Delegate 1st Delegate - President 1st Delegate - President 1st Delegate - President Carol Schlosar Judith Ammann Laureen Kells Tiffany Wilson Sue Jones 250.836.4934 780.467.9529 306.272-4762 204.488.3325 613.523.5317 [email protected] [email protected] [email protected] [email protected] [email protected]

2nd Delegate - President 2nd Delegate - President 2nd Delegate 2nd Delegate 2nd Delegate Cynthia Taylor Karen MacDonald Lynn Ewing Eleanor Lwiwski Frank Horvat 250.923.3731 403.553.3365 306.652.2240 204.255.3403 416.354.2633 [email protected] [email protected] [email protected] [email protected] [email protected]

Secretary Provincial Administrator Registrar - Secretary Executive Director Secretary - Registrar Anita Perry Bev Moore Treasurer Alanna Courtney Ron Spadafore 250.494.0871 780.554.7682 Sandra Kerr 204.339.6768 Cell 705.267.1224 [email protected] armtapvl@telus.net 306.584.9547 204.479.9597 [email protected] [email protected] [email protected] Registrar Susan Olsen Editor - Tempo Editor - Opus Editor - Take Note Treasurer [email protected] Melissa Lacroix Catherine Moore Dina Pollock Nancy Dale 780.432.7754 306.533.6551 604.614.3298 905.468.5639 Treasurer [email protected] [email protected] [email protected] [email protected] Lois Kerr 604.274.1980 [email protected] Editor - Notes Patrick McCormick Editor - Progressions 416.554.3998 Dina Pollock [email protected] 604.614.3298 [email protected]

Quebec New Brunswick Nova Scotia Newfoundland Prince Edward Island 1st Delegate - President 1st Delegate - President 1st Delegate - President Delegate 1st Delegate - President Lynne Gagné Barbara Long Secretary Joan Woodrow Sue Irvine 450.763.0262 506.375.6752 Rémi Lefebvre 709.722.9376 902.892.3311 [email protected] [email protected] 902.233.6422 [email protected] [email protected] [email protected]

2nd Delegate 2nd Delegate 2nd Delegate President 2nd Delegate Hélène Lord Kilby Hume Marilyn Harrison Barbara Clarke Stephanie Cole 450.449.7580 506.847.3277 902.248.2226 709.579.1758 902.892.1189 [email protected] [email protected] [email protected] [email protected] [email protected]

Secretary Secretary Registrar Registrar, Treasurer Secretary Melissa Faustin Doris Sabean Kathryn Andrew Secretary Katherine Murley 514.993.2460 506.852.4980 902.435.5751 Cathy Cornick 902.892.9673 [email protected] [email protected] [email protected] 709.895.8141 [email protected] [email protected] Treasurer Treasurer, Registrar Treasurer Registrar Thérèse Marcy Megan Woodworth Leyi Jiang, CGA Dr. Frances Gray 450.655.8552 506.472.8707 [email protected] 902.566.0680 [email protected] [email protected] [email protected]

Registrar Editor -The Quarter Note Treasurer Editor - Musifax Barbara Long D. Melanie Walsh-Fraser Danielle Langevin 506.375.6752 902.569.1604 450.691.7800 [email protected] [email protected] [email protected]

48 The Canadian Music Teacher - Winter 2014 EXECUTIVE OFFICERS CO-ORDINATORS & CHAIRS CANADA MUSIC WEEK® DIRIGEANTS COORDONNATEURS ET CHAISES SEMAINE DE LA MUSIQUE DU CANADA®

Yukon President Finance Chair Provincial Co-ordinators Cynthia Taylor Charline Farrell 205.923.3731 Alberta st 519.354.4380 1 Delegate - President [email protected] [email protected] Michael Matas Annie Avery 403.837.8301 867.668.5102 [email protected] [email protected] Nominations & Elections Vice President Lorna Wanzel nd British Columbia 2 Delegate - Secretary 902.423.8908 Sonia Hauser Henry Klassen Cynthia Taylor 205.923.3731 [email protected] [email protected] 867.667.7294 250.923.2212 [email protected] [email protected] Policies & Procedures Manitoba Treasurer Past President Marilyn Harrison Jane Duerksen Jillian Durham 902.248.2226 204.326.4687 367.335.0983 Lorna Wanzel [email protected] [email protected] [email protected] 902.423.8908 [email protected] Professional Development & New Brunswick Research Irma Mulherin Secretary - Treasurer Pat Frehlich 506.473.6119 780.467.0779 [email protected] Bernadette Bullock [email protected] 302-550 Berkshire Dr Newfoundland London, ON N6J 3S2 Barbara Clarke 519.471.6051 Public Relations & Marketing 709.579.1758 [email protected] Pat Frehlich [email protected] 780.467.0779 [email protected] Nova Scotia Student Composer Competition Skippy Mardon YOUNG ARTIST CO-ORDINATORS & CHAIRS Strategic Planning [email protected] JEUNE ARTISTE COORDONNATEURS ET CHAISES Henry Klassen 902.477.4266 867.667.7294 Canada Music Week® [email protected] Diana Torbert National Co-ordinator Archives 902.429.7075 Lorna Wanzel Bernadette Bullock Translations Committee 902.423.8908 519.471.6051 Ontario Barbara Long [email protected] [email protected] Naomi Morrison 506.375.6752 519.448.1291 [email protected] Alberta Tour Awards & Competitions [email protected] Debbie Gallant Heather Blakley 780.459.4590 306.249.3717 Webmaster Prince Edward Island [email protected] [email protected] Bernadette Bullock Valerie MacKenzie 519.471.6051 902.894.7465 British Columbia Tour [email protected] [email protected] Susan Schleppe By-Laws & Standing Rules 250.756.0664 Marilyn Harrison Quebec [email protected] 902.248.2226 Student Composer Competition [email protected] David Cote Western Tour 450.963.0278 Cathy Donahue [email protected] 306.237.4790 Canada Music Week® [email protected] Po Yeh Canada Music Week® 403.246.3269 Melina Claude Ontario Tour [email protected] 514.388.0411 Audrey Jean Wells [email protected] 705.264.0066 [email protected] The Canadian Music Teacher Saskatchewan Editor - Advertising Manager Laureen Kells Quebec Tour Dina Pollock 306.272.4762 TBA 604.859.6333 [email protected] Fax 604.859.9855 Atlantic Tour 32908 Bevan Ave Lynn Johnson Abbotsford, BC V2S 1T3 506.756.2140 [email protected] [email protected]

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50 The Canadian Music Teacher - Winter 2014 ­v­v RCM­Canadian­Music­Teacher­Ad_Layout­1­­13-11-29­­2:01­PM­­Page­1 “Both music and sports provided limitless long-term long-term limitless “Both music and sports provided ATH Be An rcmusic.ca/LearnMore than an instrument. Learn giving them the skills required for success in school and the workplace, Private music instruction resources to help you prepare your students for success. as well as their personal and social lives. Visit our website for new Royal Conservatory 2012 Silver Medal Winner Olympic Rower JEREMIAH BROWN experience in really focusing on so muchwhat intrinsic, you meaningful enjoy there’s think I doing.” gravitating towardlife… somein core interests possibility. We all find ourselves development more alumnus LET plays a vital role in the development of students, E. DOCTOR. Be A ANNABEL LYON AUTHOR. Be An PIYA CHATTOPADHYAY JOURNALIS Be A DR. VINCENT LAM T. Publication Agreement # 40012455 Return undeliverable Canadian address to: The Canadian Music Teacher c/o Bernadette Bullock 302-550 Berkshire Drive London, ON N6J 3S2

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