Fall 2010 Publication Agreement Number 40016225
Progressions
B.C. Registered Music Teachers’ Association Provincial Magazine
Active sessions and learning to stimulate your mind Approachable clinicians and skills to inspire your creativity Applicable techniques and knowledge to revitalize your teaching
Masterclass with Kinza Tyrrell for Seniors or Intermediate Percussionist Sal Ferreras Pop and Jazz chording with Peter Friesen Dr. Cannon on injury prevention Last chance to register! inside this issue Be a Quay Player - more on page 14 20th Century - “The Sour Sweet Music” Teaching Contemporary Piano Repertoire New RCM Flute Series “Overtures”
News from CFMTA Study Music at Capilano University
I am so happy I chose Capilano University to begin my post-secondary music studies. Not only did I feel completely comfortable in the small classes, I was given countless opportunities that wouldn’t have been possible if I attended any larger institute. The music faculty is excellent, and I really love how they get to know everyone personally and offer one on one attention tailored to individual needs. Karen Nakajima — Graduate 2008 Recipient of the Governor General's Collegiate Bronze Medal
Diploma in Music Program The program integrates theoretical, historical and performance studies, offering concentrations in: • brass • composition • guitar • percussion • piano • strings • voice • woodwinds
This two-year diploma is transferable toward a Bachelor of Music Degree and also provides the foundation for further studies in Music Therapy, Music Education and the Liberal Arts. Note: For information regarding music scholarships and bursaries, please visit our web site.
Conducting Certificate in Music • Graduates of this program will be able to conduct choral and instrumental ensembles.
• The certificate is designed so that currently active teachers and musicians may take this program while continuing to work (TQS credits approved)
• Most classes will be offered in the evening over an 8-month period — part-time is possible. Small classes (max. 18) in a personalized learning environment.
For more information: Web: www.capilanou.ca/programs/music-transfer E-mail: [email protected] Call: 604.984.4951
Capilano University - Faculty of Fine and Applied Arts 2055 Purcell Way, North Vancouver, BC V7J 3H5 President Carol Schlosar Contents 509 Elliot Cres. 4 President’s Message Sicamous, BC V0E 2V1 5 Letter From the Editor Tel: 250.836.4934 [email protected] 7 Branch Reports Secretary 14 Be a Quay Player - 2010 Kevin Thompson 15042 Royal Ave 16 BCRMTA Music Writing Competition 2010 White Rock, BC V4B 1L9 16 Meet our new Canada Music Week Co-ordinator - Tracey Garvin Tel: 604.538.2919 Fax: 604.538.2968 17 Your Provincial Council at Work [email protected] 18 A “Register” for Adjudicators Registrar 19 BCRMTA Teacher on Call Susan Olsen 20 Community Service Awards PO Box 45537 Sunnyside RPO 22 CFMTA Convention 2011 Surrey, BC V4A 9N3 23 Sinfonia - North Shore Branch Combined Concert Tel: 604.531.9688 [email protected] 24 Workshops for Late Summer and Fall 27 20th Century - “The Sour Sweet Music” Treasurer Lois Kerr 29 “Sound Reflections - Teaching Contemporary Piano Repertoire” Unit 7 - 6179 No. 1 Rd 30 “Observing the Student-Teacher Relationship” Richmond, BC V7C 1T4 Tel: 604.274.1980 34 “Reversing the Pyramid” [email protected] 37 Reviews of Publications Editor 46 Musical Trivia Dina Pollock 32908 Bevan Ave STANDING COMMITTEES PUBLICATION INFORMATION Abbotsford, BC V2S 1T3 Tel: 604.859.6333 Board of Examiners Next Issue: WINTER 2010 Fax: 604.859.9855 Ildiko Skeldon-Huber Copy Deadline: DECEMBER 15, 2010 [email protected] [email protected] Advertising rates: Please go to our website for any Canada Music Week Back Cover $ 125.00 changes of address or contact Tracey Garvin information. www.bcrmta.bc.ca [email protected] Inside Cover $ 125.00 (Membership-update Member Full Page $ 100.00 Information) Archives Half Page $ 60.00 Pamela Smirl Quarter Page $ 35.00 Published by the Provincial Council of [email protected] Business Card $ 25.00 BCRMTA. Any material included with the magazine does not necessarily Professional Development have the endorsement of the Ildiko Skeldon-Huber Circulation: 1175 Provincial Council. It is included as a [email protected] courtesy to our members. The Editor reserves the Not one word of this newsletter may Young Artists’ Tour and be reproduced without the written right to edit submissions. consent of the Editor. BC Piano Competition Send all advertising inquiries We are perfectly happy to co-operate, Susan Schleppe and material to the editor: but we don’t want quotations to [email protected] [email protected] appear out of context.
Fall 2010 - Progressions 3 the President’s message
Carol Schlosar
Ah…September.
That glorious time of year when we Competition will delight you. The Congratulations to our very own buy new binders, shine our shoes, winner will go on to tour as our Young Dina Pollock (editor and volunteer pack up our “Beatles” lunch kit (does Artist and represent BCRMTA at the extraordinaire) who is now, also, the that date me?) and head off into a CFMTA Piano Competition in Regina editor of The Canadian Music Teacher new teaching year. The promise of in 2011. Don’t miss the opportunity magazine of the CFMTA. Chosen by better organization, renewed energy to share ideas and good times with the national delegates from a field of and enthusiastic students excites me colleagues from across the province in a five applicants, we know that she will every year. It offers the opportunity beautiful setting! do a wonderful job. to clean up and clean out old ideas in mind and attitude. Teachers must be The CFMTA meetings in Toronto in As promised at our April meeting, the only profession that make “New early July were an opportunity for 1st one of our new marketing initiatives, Year’s Resolutions” in September. Vice President Cindy Taylor and me the new downloadable BCRMTA One of my favourite teachers, Nancy to share ideas with colleagues who brochures: Leatherdale, used to say “Add at contribute their time and talents on least one new thing to your teaching a National level. The meetings were “Looking for a Qualified repertoire every year.” This generated highly productive with a number of Music Teacher?” a great deal of thought and always exciting new initiatives that you will resulted in trying more than one new hear about in the near future. Some of are now available for print from the thing. This year as well as new books the highlights from the meetings: website. Go to the Member Login- and new classes, I’m adding this self- user name “myrmta” – password reminder to spend “more time watering • Voluntary discounted Home and “1947a”. We’ve used our new website and less time weeding” my student’s Auto Insurance program with look and there is space on the back for musical gardens! Desjardins Insurance. branch or individual teacher contact • New marketing proposal for a information. Want to start your next teaching term cohesive “branding” campaign for in an inspirational way? “Be a Quay all promotional materials. May you embrace the upcoming Player”, our 2010 Convention hosted • CFMTA Award for Professional year with joy and enthusiasm. The by the hard working Coquitlam/ Achievement importance of our calling as musicians Maple Ridge Branch is the place to be. • Canada Music Week 50th and teachers cannot be underestimated. Workshops will inspire you, Master anniversary celebrations (I won’t Teaching is a living art! classes enthuse you, and the BC Piano spoil the surprises!)
♪ 4 Progressions - Fall 2010 From the Editor,
Hello Everyone, If you would like the files for these Another summer and has come and gone logos, please let me know. and hopefully you had time to rest and relax. Now is the time to think about the teaching year to come, with students to
inspire and to encourage.
I hope I have included some interesting
ideas for you in this issue. Not only do we
need to encourage and inspire our students
we need to do the same to ourselves.
Looking forward to seeing you at the convention in September “Be a Quay Player” Dina ♪
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To learn more, contact your local MYC coordinator: Wendy Guimont, BMus, ARCT, RMT, MYCC, Certied MYC® Coordinator [email protected] Tel: 1.800.828.4334
Fall 2010 - Progressions 5
Branch Reports
ABBOTSFORD COQUITLAM – MAPLE RIDGE No report submitted Greetings from the Coquitlam – Maple The East Kootenay Music Teachers’ Ridge Branch! Association this year presented its fifth annual ‘A Sonatina Sunday’ concert. CARIBOO We wrapped up our 2009 – 2010 Student performers from Cranbrook, No report submitted teaching year with several events. Creston, Kimberley, Nelson and The North Fraser Music Festival was Fernie participated in this event which held the week of April 19, 2010 with was enthusiastically embraced by the CHILLIWACK adjudicators Catherine Bundt, Rebecca public. Students wore formal attire Our year-end luncheon in June Kelly and Ellen Silverman. Our May and announced their pieces and gave included a workshop with Elsie Goerzen 12 meeting was followed by a workshop interesting facts about the composers, from MCC Abuse Response and with Rose Scott on games to enhance pieces and music style. They performed Prevention Program presenting session the teaching studio. Several students a wonderful selection of Sonatinas, two of “Professional Ethics in the Music performed at our Spring Recital at St. Sonatas and other Classical works, Studio.” Elsie reviewed important Lawrence Church in Coquitlam on May ranging in level from piano grades 3 issues which were presented in her first 18. The grand finale to our teaching to 10. Vocalists were also invited to session in 2009: the teacher/student/ year was our annual June luncheon perform and at this year’s concert, flute parent triangle, the power dynamics hosted by Gabrielle Sinclaire. and trumpet ensembles were presented we face as teachers and ways to deal as a special feature. Our program with conflicts. The focus for this Our first meeting of the 2010 – 2011 began with a three part welcome: session was on relationships within teaching year will be held on September an introduction by the President of the music community and the music 15. We’re happy to be hosting the the EKMTA, by a special guest from teachers’ association. Elsie led us in BCRMTA Convention, September 24 – Cranbrook’s City Hall Council who a discussion in which we agreed that 26, 2010 at the New Westminster Quay. was the MC, and by Garry Anderson, when conflicts arise “face-to-face” Look forward to seeing you there! Executive Director of the Museum. communication is crucial for mutual A double-sided leaflet, included with understanding. This is of value both the concert program, provided a in our relationships with our students description of the Sonatina as well as and their parents and with each other as EAST KOOTENAY interesting facts about the history of the teachers. A teacher is obligated to carry ‘A SONATINA SUNDAY’ Broadwood piano which was donated by out ethical responsibilities while being Presented by the East Kootenay Music Helmut Brauss from Victoria. Sponsors courteous, compassionate, professional Teachers’ Association June 6, 2010 and all those who coordinated this event and respectful. Student were acknowledged at the close transfers should be facilitated of the concert and the performers through conversation between each received a rose. A special the former teacher, the parent draw was then made for two of the and the new teacher. Creating performers who received a Sonatina an “open” situation this way gift book which was donated by stands to benefit everyone. We Note-able Music of Lethbridge discussed that it is usually most AB. The audience then enjoyed a comfortable if the new teacher reception in the adjacent Reception or prospective teacher initiates Hall and Palm Court where the conversation with the former cranberry punch and an array of teacher. The workshop was cookies were arranged on several packed with engaging responses tables covered with white table which unfortunately meant some cloths. Museum volunteers dressed areas we hoped would be covered were A Classical Experience with the Historic in tea gowns from the early 1900’s not. However, we were able to make 1864 ‘John Broadwood and Sons Concert added to the atmosphere and helped to a good start on developing a code of Grand Piano’, greet people, hand out programs and ethics and standard of conduct for in the Royal Alexandra Hall at the serve punch. The luxurious atmosphere our branch. Elsie Goerzen brought Canadian Museum of Rail Travel - of the Royal Alexandra Hall contributed sunshine to our branch! Cranbrook BC. to the feeling of being in a time capsule ► Fall 2010 - Progressions 7 Branch Reports
EAST KOOTENAY - cont. Elko, BC, who designs posters, tickets Congratulations to the students from which transported us back to the and handbills and donates several hours our Branch who were selected for the days of elegance, charm and beautiful of labor in producing these items. Provincial Music Festival. architecture. Our goal for holding ‘A Sonatina Every year, this concert is advertised in Sunday’ is to share with the community Cranbrook’s two newspapers and as a the Sonatina style and to promote the MISSION Shaw Cable TV listing. As well, many talents of our youth, while giving area No report submitted posters and handbills are distributed students a performing opportunity on to various locations in Cranbrook, the historic Broadwood piano. Many Kimberley, Fernie, Invermere and people have expressed their delight with Creston, and to numerous teacher’s the unique sound of the Broadwood NELSON studios. A follow up article is published piano and we continue to receive Six teachers met in May for a year-end with photo, often on the front page of numerous positive comments from lunch to elect the 2010-11 executive, the newspaper. Much organizing goes the public and from the performers to review the past year’s efforts (helping into this concert which is a fundraiser themselves who were very excited about host The Festival of the Arts) and to for EKMTA scholarships. Our performing on a historic piano in a discuss future events for students (a gracious president distributes letters historic setting. mini-festival of Canadian music ). to businesses, requesting sponsorship funds. Students are expected to participate in a rehearsal two weeks prior to the event. The EKMTA is KELOWNA very grateful for those who generously No report submitted support this endeavor. We especially thank the following for their continuing support: Garry Anderson, Executive Director of the Canadian Museum MID-ISLAND of Rail Travel who sells tickets at the Greetings from Mid-Island Museum, includes the event in the Branch Museum’s advertising listings, provides The highlight of the year was our cheerful volunteers and offers unlimited Annual Spring Recital in May. practice time on the Broadwood piano; Included in the recital original and Angela Poch of Sette Publishing, compositions were performed by winners of the Joan Gosselin Music Writing Composition Jane Ballantyne was nominated the new adjudicated by David McIntyre. treasurer. Alexis More will stay on as secretary and Anne Macdonald will stay In Memoriam In addition special Book Award’s on as president. were presented to 13 grade 8’s,2 grade 9’s and one ARCT Performer, to Also in May, Donna Goodwin Wilson acknowledge their achievements. hosted another adult student concert at Jean C. Grieve The following week the Annual General her home for students of RMT teachers. Meeting was held with a pot luck April 8, 1939 - July 8, 2010 Member of BCRMTA since 1977 dinner following. Provincial President 1997-2001 Each summer the Nanaimo Symphony NORTH ISLAND Orchestra does an outdoor performance No report submitted in the “Harbour”. Our branch will 1 again have a booth where members will hand out brochures and have activities for children. This event brings exposure NORTH SHORE to the Registered Music Teacher. No report submitted
► 8 Progressions - Fall 2010 Branch Reports
PRINCE GEORGE RICHMOND An event we held this year that I would The past year could be said to be an made out ahead of time, to avoid taking highly recommend to other branches is especially one. Because of the 2010 time away from the masterclass. The “Music, Munchies and More” with Arne Summer Olympics which was hosted by programme was emailed to all of our Sahlen. Held in a member’s studio, Arne Vancouver and Richmond, our students members. We purposely kept the fee played an inspiring 45 minute recital of participated in various cultural activities reasonable. We had planned to have romantic works. within the Olympics. our branch subsidize Dr. Schlosser’s fee. Although he lives in Camrose, Alberta, Many took part in the Honour Choir he had just finished adjudicating a which sang at the opening of the music festival in Vernon, 60 minutes Richmond Oval and others, such as the away by car, so we paid mileage to one Fraser R. Fiddlers gave performances at of our members to transport him to various events. Salmon Arm and back. The masterclass was held at the music studio of one Other than the Olympics our students of our members, saving us the cost of were also involved in a big presentation rental. Teachers were invited to attend at of WINTER WONDERLAND which no charge. Students were invited to stay for the whole masterclass if they wished. was held at the Richmond City Hall Arne also spoke briefly about each and sponsored by the Richmond Rotary Most came and went at their appointed work and the developments of the Club. The programme showcased our times. Dr. Schlosser made very efficient piano that influenced the piece. Then outstanding students playing violin, use of the time allotted and focused we had refreshments while Arne spoke flute, piano solos and ensemble. on giving valuable feedback in an to us about his amazing humanitarian encouraging way. He put everyone at work in Cambodia. Many musical, Next year will be a busy one for teachers ease with his warmth, humility, and artistic and social development projects and students as our Branch is holding sense of humour. He had a particularly are underway in Cambodia. Arne’s a Piano Masterclass on Feb 27th with engaging way in using metaphor to passion for the people and culture are Janet Scott Hoyt, who will be one of describe how to play a passage. For an inspiration for us all to do more with the adjudicators at the Pacific Piano one of the students, he suggested, our music to reach the lives of others. Competition at the Gateway Theatre in “Play it as if you are stroking a cat you Music can transform people Richmond on Feb 23rd - 26th 2011. love!” We considered the masterclass and break down boundaries, and our a great success, and we would highly students should be encouraged to think recommend Dr. Schlosser as a clinician. “outside of the box” with their musical He is also a fine performer and CD endeavors. If Bob Geldof, Bono and SHUSWAP artist. Check out his web site. Arne can do it, so can we! The Shuswap Branch of the BCRMTA Many thanks to our president, Jane presented a masterclass with Hein, who organized the masterclass, Milton Schlosser on March hosted it, acted as chauffeur and time 5, 2010. Each student who keeper, and fed our clinician! performed paid a fee based on the amount of time scheduled. We offered 15 minute, 20 minute and 30 minute options. SOUTH FRASER No report submitted Students chose 20 or 30 minutes. Our clinician stayed right on schedule, aided by a gentle reminder from one of the SOUTH OKANAGAN Lori Elder and Arne Sahlen standing at the back. (appointed) teachers when the time The project I will highlight from our Members of the Prince George RMT branch was almost up. Students registered branch began in May 2009. Our and guests at “Music, Munchies and More” in advance and paid their fee to members wanted to improve in our their teacher, so receipts could be teaching of jazz idioms and ► Fall 2010 - Progressions 9 COUPON Branch Reports for SOUTH OKANAGAN - cont. contemporary music. Hugh Parsons from Kelowna gave us our first The Piano installment of a workshop entitled Classically Trained Teachers Teaching Jazz. We requested an emphasis on improvisation, jazz chord progressions, fake Workbook book reading and the technical requirements in the Canada Conservatory A Resource and Guide for Contemporary Idioms Syllabus. This was a tall order for a two-hour workshop so our second installment was in February 2010. At this second workshop Students in Ten Levels Hugh‘s approach was similar to how he teaches students that come to him By Barbara M. Siemens with a minimum of Grade 6 Conservatory chord knowledge. He discussed basic jazz harmony; reading jazz transcriptions; interpreting a lead sheet. Hugh demonstrated each • RCMETM Requirements skill and then individual teachers were encouraged to follow his lead. We were given several resource suggestions and ample handout assignment exercises to • rhythmic drills work on at home. We had 80% attendance of our membership for both these sessions and we look forward to a third in 2011. • aural drills • sight reading exercises • improvisation ideas SUNSHINE COAST • assignment pages The Sunshine Coast branch recently had a very enjoyable and successful workshop, given by jazz pianist Ron Johnston. The topic was “Making • Teacher’s Manual the transition from classical to jazz” and was aimed both at teachers and at students. In addition to demonstrating various techniques, Ron fielded a wide • and more! variety of questions from the audience. Feedback to the branch executive has been most positive! Long & McQuade Fall Promotion* TRAIL – CASTLEGAR Greetings all, • Piano Workbook Our branch held 2 very well attended recitals this past spring. retail $13.95 ONLY $10.95! The Funtastic recital, which we hold every May and our Pre-Exam recital, • Teacher’s Manual which was held in June. The Funtastic recital is geared towards students who may not be taking exams and are playing contemporary pieces. Also included retail $24.95 ONLY $18.95! are exam students who wish to perform their modern pieces. The Pre-Exam recital offers an opportunity for the exam student to perform before their Bring this coupon to any B.C. practical exam. Both were great fun. Long & McQuade location We also had a lovely year-end dinner at a local restaurant after which most of to receive the discount. Offer us take the summer off to enjoy time with family and friends and to gear up for the fall teaching season. available until October 15, 2010. We hope that you are all enjoying a lovely summer! One coupon per customer. Valid on the purchase of any quantity of Piano Workbooks and Teacher’s Manuals, honoured VANCOUVER for orders of material not On Sunday, October 18, 2009 - the Vancouver branch and their Student currently in stock. Teacher’s Auxiliary co-presented “Beyond the Teaching Studio: Career Paths in Music”. A distinguished panel of guest speakers: www.pianoworkbook.com Composer, educator and writer, David Duke
► 10 Progressions - Fall 2010 Fall 2010 - Progressions 11 A well-serviced piano is a happy piano
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GRIEVE, Jean Catharine April 1939- July 2010 Jean died suddenly and peacefully from aggressive leukemia with her family at her side on Thursday, July 8, 2010. Born in New Westminster, BC, Jean taught elementary and secondary school in Creston, Delta, and Victoria until the birth of her first child, after which , she taught piano and music theory privately for 35 years, first in Kamloops and then in Port Moody. Jean also served as adjudicator of music festivals, and as an executive member and president of the Kamloops, and Coquitlam branches of the BC Registered Music Teachers’ Association. Jean served as on the Executive and as President of BCRMTA (1997- 2001). In addition, Jean conducted church and community choirs, and was replacement organist for North Lonsdale United Church and Kamloops United Church. Jean is survived by: husband, Tarry; two daughters Catharine Collier (Craig) and Heather Reibin (Aaron); her grandchildren: Carter, Quinn, and Shelby; her brother, Howard Barbaree (Lynn Lightfoot) and family; and her sister, Margo Fryer (Richard Piers). Jean will be remembered, with love, by her immediate and extended family, friends, colleagues and students.
12 Progressions - Fall 2010 Branch Reports
VANCOUVER - cont. President and Chief Executive Ophus 118 collection. Mr. Schlosser fortunate than the children playing Officer of the Vancouver Symphony provided informative explanations so they can feel that by playing in the Orchestra, Jeff Alexander during the concert, which increased concert they are helping others.... The Producer and Recording Engineer for understanding of selections performed. first year it went to children in New CBC Radio, Grant Rowledge. York who were affected by 9-11. This Facilitated by one of our members, Dr. The master class was excellent. Mr. year proceeds will go to the Queen Carla Dodek, each guest shared their Schlossser’s interpretive suggestions Alexandra Foundation for Children. career paths from private music lessons were innovative, and his ability to to their chosen professional career teach with humour made challenging After the Recital all the performers in music. A beneficial workshop for suggestions possible and memorable. receive delicious candies donated by teachers that are directing their students businesses who are glad to contribute in the many musical careers options Perhaps most interesting was Mr. and are mentioned in our program. that are possible aside from teaching. Schlosser’s description of a recording Another well received lecture was device he has invented, where musicians The church we use is decorated in a - Healthy Approaches to Piano can watch performances from directly spooky manner and horrible music is Technique Presented by David above the hands. These devices provide played as people enter...it is so much Vandereyk - Capilano University a personal visual perspective of a fun and raises a fair bit of money and The workshop discussed: How gaining performance. Mr. Schlosser advised that helps the Community and children to an awareness of our whole body in these digital video recorders are now enhance their performing skills!!!! daily activities can positively affect available at The Augustana University us when playing the piano or other Campus. ♪ instruments. An overview of the Alexander Technique principles and their application to performance was included. Gaining awareness of basic VICTORIA anatomy and physiology to play more “Costume Capers”.... a howling freely, understanding why we should success every year. avoid certain body use patterns which 1928 STEINWAY Grand may lead to fatigue, pain and injury and At Hallowee’en, the Victoria Model "L" 5'8" finally, techniques to reduce mental and RMTA holds a Hallowe’en Mahogany physical tension that can be done away Concert inviting students to Ivory Keys from the instrument. The benefit of play gruesome music and wear this lecture was for teachers preparing Hallowe’en costumes. It has EXCELLENT condition students for the RCM intermediate and been a real hit ...we have piano Piano humidifier installed - quilted cover advanced pedagogy exams. Knowledge duets, violin, voice, piano solos Special order tripod wheels of basic physiology as applied to piano and the costumes are a real treat. Priced at $30,000 OBO performance, to develop a healthy My favourite was a woman technique and to prevent injury is a singer with a shower curtain requirement for the Viva Voce portion around her that started falling EVERETT Concertmaster of the exam. off during her performance...it Walnut model 1152 created a lot of excitement and Upright grand thankfully made it to the end of One owner purchased new 1983 the performance with the shower EXCELLENT condition $4,000 OBO VERNON curtain on!!! In February 2010 the Vernon RMT Branch attended a recital by Milton The concept of “Children CONTACT: [email protected] Schlosser, followed by a master Helping Children” with the class. The recital program included proceeds from this concert is also Schumann’s Carnival, Ravel’s Le a great idea as the money raised tombeau de Couperin, and Brahms’ from the concert goes to children less
Fall 2010 - Progressions 13 Last chance to register!
Active: sessions and learning to stimulate your mind Approachable: clinicians and skills to inspire your creativity Applicable: techniques and knowledge to revitalize your teaching
Friday afternoon Piano Competition Semi-Finals with in/out privileges.
Friday evening has a meet and greet, wine and cheese and a fun informal singing session directed by Kinza Tyrrell
Saturday has a number of sessions.
You can choose a traditional masterclass with Kinza Tyrrell for seniors or intermediate piano students
a session with percussionist Sal Ferreras to unleash the inherent beat inside yourself on a variety of percussion instruments
a session with Peter Friesen on pop and jazz chording to unlock the mysteries of reading lead sheets
a session with Dr. Cannon on injury prevention to reduce the physical aches associated with teaching
The full registration package allows you to attend the sessions that most interest you! You can also sign up for individual classes or events.
Saturday evening attend the Happy ÒHourÓ and Gala Banquet in the luxury of the Inn at the Quay
Finish up the day listening to the three Þnalist from FridayÕs Piano Competition Semi-Þnals at Shadbolt Theatre
BC Piano Competition Semi-Final at Shadbolt Theatre Friday 2:30-5:30 with in/out privileges 1. Prince George- Indra Egan 6. Abbotsford - Josh Herrett 2. Mission- Johann Kuppers 7. Victoria - Clinton Denoni 3. North Island - Carter Johnson 8. North Shore - Tristan Teo 4. Chilliwack - Erica Gibson 9. Vancouver - Mi Ou Lee 5. Coq./Maple Ridge-Erina Nesbit
For more information on accommodation, clinicians, and events visit www.bcrmta.bc.ca Registration Form Convention 2010 September 24-25
Copy as needed. Please print clearly.
Last Name______First Name______
Address______
City______Prov.______PostalCode______
Branch Affiliation ______Telephone (_____)______
Email______
Registrations will be confirmed by email or telephone. All prices include HST.
Full Package ‘A’ – includes all events listed below under Package ‘B’ banquet is not included No. Total
Price $205 ______$______Subtotal Full Package ‘A” $ ______
Individual Tickets Package ‘B’ No. Total BC Piano Competition Semifinals (Student $20) $35 ______$______Choral Session and Reception with Kinza Tyrrell (Student $25) $40 ______$______Master Class (Senior) – Kinza Tyrrell (Student $40) $70 ______$______Master Class (Intermediate) – Kinza Tyrrell (Student $40) $70 ______$______Rhythm Workshop – Sal Ferreras (Student $40) $70 ______$______Injury Prevention Workshop – Dr. Robert Cannon (Student $20) $35 ______$______Jazz/Pop Chording Workshop – Peter Friesen (Student $20) $35 ______$______BC Piano Competition Finals (Student $20) $35 ______$______
Subtotal Individual Tickets Package ‘B’ $______
GRAND TOTAL include both ‘A’ and ‘B’ $______
The BC Piano Competition is held at Shadbolt Centre for the Arts. Travel time is approximately 15 minutes. If you require assistance in acquiring transportation to the BC Piano Competition Final (approximately $20) please check this box
Tickets to Banquet cannot be sold after August 15th, 2010
Please make cheque payable in Canadian funds to BCRMTA-BE A QUAY PLAYER and mail with registration form(s) to: Jenneka Moller, 1995 Elizabeth Drive, Coquitlam, BC V3E 1X5
Fall 2010 - Progressions 15 BCRMTA Music Writing Competition 2010 - Winners
Cynthia Taylor, CMW Coordinator Phone 250 - 923 - 3731 [email protected] Sharlie McCreadie, Composition Coordinator Phone 250 - 447 - 9130 [email protected]
Preparatory 1 : First Place: Satai Miller Victoria Preparatory 2 : First Place: Sarah Terlesky Victoria A Divisions: First Place: Carmyn Slater Victoria B Divisions: First Place: Andre Van den Berg Coldstream C Division: First Place: Grace Ma Victoria D Division: First Place: Kathleen R. Feenstra Abbotsford
Meet our new Canada Music Week Co-ordinator - Tracey Garvin
The BCRMTA and the Canada Music Week Committee would like to welcome Tracey Garvin as the New Provincial Canada Music Week Coordinator. Tracey’s vitality and vast knowledge of works by Canadian Composers will be a wonderful inspiration for all of us and our composing students as we plan our CMW Events.
Tracey studied piano/ composition at Western Washington University and is a former student (and lifelong friend) of Helen Dahlstrom. She continues her studies presently with Linda Sieverts of Spokane Washington. Her involvement in choral music for many years keeps her active as a member of her local Music Educators Association. Tracey is also a voting member of the Canadian Music Centre. She has received Provincial Recognition for her compositions and was a recipient of a Travel and Study Scholarship for her teaching. The Valhalla Summer School in the Slocan Valley has Tracey as a faculty member. She is a prominent piano teacher in her community of Grand Forks and is a piano adjudicator and Canadian Music Clinician. Enthusiasm and energy describes Tracey best. We are looking forward to the inspiration that she will bring to us with Canadian Music in our Province. Canada Music Week ♪ November 21 - 27
16 Progressions - Fall 2010 Your Provincial Council at Work Registrar’s Report it possible for delegates who arrive the same look as our website so that it Susan Olsen later than 2:30 to listen to some can be easily recognized. Much of the This year we are honouring 25 years of of the performers. All performers website information could be condensed membership for 16 of our members: are being asked to attend the finals into the brochure. ie:. so that pictures can be taken. All BCRMTA History, Purpose, Anne Macdonald...... Nelson awards are being presented after the Membership, Current Membership David Ashton...... North Island finals including an award sponsored Disciplines, Benefits and Opportunities Sherron Berge...... North Shore by Atkinson & Terry for the best of membership in BCRMTA and / or Vivian Chan...... Richmond performance of a composition by a Benefits of studying with a RMT. Sue Huang...... Richmond Canadian. Kitty Yeung...... Richmond Other information from the website Erika Bennedik...... South Fraser could be highlighted in the brochure such as: Provincial Council meetings, Catherine Bundt...... South Fraser Archives Pam Smirl Conventions, the BCRMTA/CFMTA Cynthia Goddard...... South Fraser Music Writing Competition, the B.C. Alice Enns...... Vancouver Pam has requested that all branches update the history of your branch, Piano Competition, The Young Artist Alice Koo...... Vancouver any photos or memorabilia from Tour. Steffany Lovick...... Vancouver conventions or other BCRMTA Resources - Clinicians List, Professional Wanda Schellenberg...... Vancouver activities be sent to me or brought to Development Bursary Stephanie Sepp...... Vancouver the next Provincial Council meeting. Programs - Secondary School Credits, Community Service Awards Ailsa Zaenker...... Vancouver 250-474-4455 Publications - “Progressions” BCRMTA Margaret Anderson...... Victoria [email protected] Provincial Magazine Congratulations to all! 2595 Affirmed Place Victoria, B.C. V9B 6W5
Heritage Fund Project 2010 Young Artist Tour Members update to Website information - Carol Schlosar Cindy Taylor Susan Schleppe The Finance Committee has been Our Young Artist Tour will be scheduled Please continue to remind branch members that changes or corrections exploring ways to use some of the in the Spring of 2011 in consultation “Surplus Funds” to provide money to with the Young Artist. We’re hoping to to their listed information can be sent through the website. The section the branches at the local level to create find Branches to sponsor 4 concerts, a larger profile in their community. perhaps including an Okanagan Tour “update membership info” appears under “Membership” and the form can This years’ project is: “Advertising this year. Susan is hoping to investigate Subsidy 2010”. We finalized details of the possibility of interesting a television be filled out and sent. The Registrar and the webmaster receive a copy of this guidelines for the application and set station in featuring something from a deadline date of Dec 31st 2010, so either the B.C. Piano Competition or information and changes are made on the 15th of each month. that the project can be completed in the Young Artist competition. this fiscal year (see Finance Committee Project 2010). We ask that branches submit a proper receipt showing what the subsidy would be used for and also BC Piano Competition BCRMTA Downloadable submit a report on outcome, stating Susan Schleppe Brochure whether or not this was a worthwhile This year the competition will take place The Finance Committee would like project. Information will be compiled in two rounds: the semi-finals Friday to create a brochure that could be from the reports to enable the Finance September 24th from 2:30 until 5:30 downloaded from the “Members Only” Committee to show the delegates the p.m. and the finals Saturday September section of our website. The idea would creative ways branches “created a larger 25th at 8:00 p.m. The format for the be to have information about BCRMTA profile in their communities”. semi-finals will be somewhat informal with a blank template for individual allowing people to enter and exit the teachers to fill in their own information. auditorium between performers making It was suggested that the brochure have ► Fall 2010 - Progressions 17 Your Provincial Council at Work - cont.
Guidelines: If there is interest - been attained. Amount of subsidy - up to $200.00 b) Please send the Financial Committee The Ministry of Education – External 1. BCRMTA Surplus Fund Subsidy information on the set up and Credits has agreed to look at a proposal must be used for “Branch” advertising maintenance cost if you already have a we have submitted, based on the only. website. This information will be helpful treatment of these externals credits in for the Finance Committee to make cost Ontario and Alberta which allow the 2. Application for the subsidy should be comparisons. granting of the lower credits when the made to the BCRMTA Treasurer: Send the information to Cindy Taylor higher level has been achieved. We Lois Kerr [email protected] should have information by September. #7 – 6179 No. 1 Road Richmond BC V7C 1T4 3. Include with your application a Tuition Tax Credit receipt for the advertising AND a RESP Many teachers asked us for some clarity copy of the: newspaper article, poster, According to the RCM, Continuing on this and unfortunately we have little. brochure, etc. Post Secondary school level music In April 2009, Conservatory Canada 4. Include a report on the outcome of lessons are eligible as a “qualifying and later RCM issued information your project with information whether educational program”. Should parents that implied that it was “tax law” that your branch would (or wouldn’t) do this be interested in using RESP monies parents could deduct post secondary project again. for this purpose, direct them to their level music lesson receipts as a tax credit. 5. If advertising is in a form other than RESP provider who should have the BCRMTA issued a statement which the newspaper then a receipt for the information regarding required teacher went to the delegates and is posted type of advertising must be included receipts. on the website under the “members” when applying for the subsidy. login. We were concerned that ruling 6. The Deadline for the Advertising was in regards to an “educational Subsidy is December 31st 2010. institution” and we queried whether a External Credits for private teacher falls under this heading. Music 10, 11 and 12 We suggested that our members issue These are given in Grades 10 thru 12 receipt, and include the Tax credit sheet Heritage Fund Project for 2011 for recognized Music Conservatory with more information. Apparently We are still interested in looking into standards achieved outside of school. some claims for this credit have been helping branches set up (or maintain) For example, Grade 10 school credit is denied. BCRMTA, of course, is not in a website. We will gather information given for Grade 6 RCM / CC, Grade a position to debate this with Canada on the possibility of setting up branch 11 credit for Grade 7 and Grade 12 Revenue but will pass on any further websites as a link to our Provincial credit for Grade 8. Currently there is information that we receive. website. great diversity in application of this The Finance Committee would like to policy. Some schools use a “by certificate know: presentation” only policy while others a) How many branches would be ♪ grant lower credits if the higher level has interested in this project? A “Register” for adjudicators
In the last issue of Progressions I suggested a ‘register’ for Lillian Chan teachers who would be available to adudicate. It is entirely [email protected] possible that we have members who really would like to try 778.288.1128 their hand at adjudicationg but are reluctant to just “hang - Digital Piano, Keyboard out a shingle” because they have no experience. - Junior, Senior Only one member has shown interest so far, is any other members interested?? I have adjudicated for the Tritone Music Festival Please let me know. (formally called Technics Music Festival) for the last 4 years. [email protected] 604.859.6333 ♪ Thanks
18 Progressions - Fall 2010 BCRMTA Teacher on Call Program ABBOTSFORD RICHMOND VANCOUVER Celeste-tina Hernadez Katharine Li Susan Edwards 604.556.3918 778.882.2131 604.734.8236 [email protected] [email protected] [email protected] Piano Piano (Beginner-Grade 9) Voice Available on Fridays Theory - Rudiments Piano Willing to travel within driving Harmony (Basic, Inter.) Theory - Rudiments distance. Willing to travel within Richmond. Probably not willing to travel as I use public transit. Caroline Simpson ARCT, RMT Martina Smazal 604.850.5531 604.207.9363 Josephine Leung [email protected] [email protected] 3663 West 19th Ave, Vancouver. Piano (Beginner to Grade 10) Violin and viola(all levels and ages) 604.222.2681 Theory - Rudiments Piano (up to RCM gr. 3) [email protected] Willing to travel within driving Not willing to travel. Piano (Beginner to Grade 10) distance. Teach at home. Theory - Rudiments Harmony (all levels) • • • • • • History (all levels) COQUITLAM SOUTH FRASER Couterpoint Rose Scott Analysis MAPLE RIDGE I teach at my home studio. Gabriole Sinclaire 604.882.3997 604.464.8180 [email protected] [email protected] Beginner through RCM Grade 6. • • • Piano (Beginner to Grade 10) Basic to Advanced Rudiments. Piano Jazz Studies Customized piano Master classes Theory - Rudiments Theory classes for your students. Harmony (Basic, Inter) Will travel in Surrey, Langley, Voice White Rock and to Pitt Meadows/ Hi Everyone, Tri-Cities Area Maple Ridge. Teach from my studio in PoCo. There are a few new names, • • • if you would like to have your Marian Van Hove VANCOUVER ARCT/ RMT /RCM Alumni Janet Corcoran name added to the list send your 604.522.9656 604.720.5500 contact information to the editor: [email protected] 604.739.0928 Piano [email protected] Dina Pollock Theory - Rudiments Piano (Beginner to Grade 10) [email protected] Willing to travel . Theory - Rudiments Would prefer not to travel, 604.859.6333 • • • but would consider it if the RICHMOND circumstances allowed. Teachers who wish to contact Lillian Chan a ‘Teacher on Call’ please contact 778.288.1128 (cell) Dr. Carla Dodek the teachers directly. 604.325.4376 (home) 604.879.2366 Thank you [email protected] [email protected] Piano Piano Theory - Rudiments Theory - Rudiments Harmony Chamber music coaching ♪ History to advanced levels Also do accompaniment I teach from my studio located Willing to travel to Richmond near Cambie and King Edward. and Vancouver. Fall 2010 - Progressions 19 Community Service Awards OCTOBER 2009 MAY 2010 - cont.
Abbotsford Richmond Cynthia Arnold Shauna Wang Vanessa Quon Bronze Connor Green Gold Sarah Yu Tao Bronze
North Shore South Fraser Kelly Nobles Harold Birston Kara Chan Gold Tom Ke-Jun Sung Bronze Catherine Bundt Richmond Dong Hun (Kevin) Suh Silver Lillian Chan Timothy Tsao Gold Cherie-Nicole Leo Gold Susan Olsen Emma Yang Kay Hung Gold Alisa Yao Silver Lisa Bouliane Silver Yvette Rowledge South Fraser Tristan Downing Gold Susan Olsen Miranda Robinson Gold Kevin Thompson Emma Attfield Gold Brian Shen Bronze Yvette Rowledge Andrew Chiang Silver Victoria Kon Bronze Elaine Lin Silver Kevin Thompson Andrew Chiang Gold Howard Chen Bronze Elliot Stewart Gold Paul Chen Bronze Howard Hsu Bronze Yiyi Hsu Bronze South Okanagan Rachel Chi-Yum Wang Bronze Janet Marcotte Kianna Carvalho Bronze Vancouver Natalia Ibanez-Richer Bronze Patty Wu Lumin Wright Bronze Monica Hsieh Gold Trail/Castlegar Tammy Francis Rebecca Benner Bronze • • • Kelsey Negreiff Bronze Lacy Pena Silver Samuel Kenna Gold 83 MAY 2010 Jonathan Smith Gold 63 Ryker Smith Gold 70 Richmond Lillian Chan Vernon Cheryl Yeung Bronze Lyn Taron Joy Zhang Bronze Brittany Baker Bronze Michael Tam Silver Rhyse Widing Bronze Cheryl Yeung Silver Phoebe Luk Gold ♪
20 Progressions - Fall 2010 Tonecrafter Music
Keith Burchnall, Piano Technician Now serving the Lower Mainland
Piano Tuning, Regulating, Voicing, Repairs, Refurbishment & Rebuilding 31 years professional service.
Some Clients: Angela Hewitt/ Anton Kuerti/ Supertramp Edmonton Symphony Orchestra/ C.B.C./I.T.V. Baldwin-Steinway-Yamaha-Kawai Dealers
“Great Tuning!!” -George Blondheim, composer/arranger
“Thank you for making the piano seem to breathe”. -Claudio Arrau, concert artist
“I just wanted you to know that I am very pleased with my piano. It is better than when it was new! I don’t feel like I have to fight with it any more to get it to project and to be able to play many dynamics with control. Thank you. I’m loving playing it -Peggy O’Brennan, BCRMTA Chilliwack ”. (after regulation, tuning & voicing) call for appointment: 604-996-6191 E-mail: [email protected] “One who works with their hands is a labourer; One who works with hands and mind is an artisan; One who works with hands, mind and heart is an artist”.
Fall 2010 - Progressions 21 Come for the concerts ... and much more!
July 6, 2011 The Gryphon Trio continues to delight audiences around the globe with their highly refined and dynamic performances. As the featured artists of the 2011 CFMTA Convention, the Gryphon Trio, (left) Roman Borys, Annalee Patipatanakoon, and Jamie Parker, will be per- forming a concert and giving master classes, clinics, and work- July 7, 2011 shops. The Canadian Composers’ Day recital will feature a variety of artists, includ- ing composers/pianists Heather July 8, 2011 Schmidt and David L. McIntyre. Stephen Runge and Thomas Yu, former They will be sharing their talents dur- CFMTA Piano Competition prize winners ing the convention giving work- will be giving a joint recital. They will also shops and working with student be sharing their knowledge, experience, composers. and passion for music in workshops.
July 9, 2011 CFMTA Piano Competition Finals featuring finalists performing David L. McIntyre’sPiano Trio with The Gryphon Trio. Adjudicators – Jamie Parker, Christine Vanderkooy, and Kathleen Lohrenz Gable.
See your Canadian Music Teacher for more info, or visit www.cfmta.org
2011 CFMTA Convention July 6-9, 2011 Regina, SK
22 Progressions - Fall 2010 SINFONIA - North Shore Branch Combined Concert
n the latter part of September students a chance to perform with pianist Ian Parker will be featured 2009, I received a very pleasant Sinfonia! Another meeting was held performing Chopin’s Piano Concerto phone call from Paige Freeborn, with Adrian Dyck (RMT teacher and #2. Ian Parker and Clyde Mitchell Ione of our RMT members and also the violinist with Sinfonia), Paige, Carolyn have generously offered to conduct a President of Sinfonia Orchestra, (our Cole (Concertmaster of Sinfonia), and Master Class on concerto playing on professional symphony orchestra based Clyde Mitchell to organize a plan of Wednesday, October 6th at the Kay on the North Shore). She asked if we action. It was suggested that students Meek Studio Theatre in West Vancouver could meet briefly and of course, I from Grades 1 to 8 be offered this with the 15 performing students. On agreed, looking forward to sharing some opportunity by auditioning selected Thursday, October 7th, the 15 students musical thoughts with a colleague and pieces from the Royal Conservatory playing with the orchestra will rehearse possibly the offer of discounted tickets Repertoire. Maestro Mitchell went with Sinfonia at Mulgrave School. for our members! I had no idea what through the Royal Conservatory books Friday, October 8th will be the recital she had in mind! and chose two pieces from each Grade for the auditioning students at the Kay level. These were presented to the Meek Studio Theatre, and on Saturday, As we chatted over coffee, Paige membership of the NSRMTA and the October 9th, will be the Sinfonia Concert informed me that Sinfonia Orchestra was teachers went to work. with our young students and Ian Parker hoping to reach out to the community at the Centennial Theatre in North with an educational focus and she The auditions were held at Mulgrave Vancouver. asked if I thought it was possible for School on May 16th, 2010, and the the North Shore Branch and Sinfonia jury consisted of Maestro Mitchell, We welcome everyone and hope you to combine their efforts in a project for Anita Coomba (pianist), and David will support this unique project by piano students. A very passionate and Boothroyd (pianist, arranger and attending the above master class, excited conversation began and by the composer). Approximately 45 students dress rehearsal, recital, and ultimately end of it, the seeds for a very wonderful auditioned and 15 were chosen to the opening concert for Sinfonia project were planted. We both agreed play with the orchestra and the other Orchestra’s 2010/2011 season! We would that the opportunity for intermediate auditioning students were invited to love for our young performers to be students to play with a symphony perform in a special recital dedicated treated to the exhilarating feeling of orchestra was currently non-existent just for them! The students had a performing for a “full house”! and would it be possible to offer these wonderful experience at the auditions students a chance to play with an – all coming out of the audition room Submitted by orchestra? with smiles and saying “That was fun!!”. Valerie Cook, President North Shore Branch Paige took these ideas to Maestro We would invite all branches to Paige Freeborn, President, Clyde Mitchell and he was very attend this exciting “first time” event! Sinfonia Orchestra enthusiastic about giving these young Along with our students, concert ♪
Fall 2010 - Progressions 23 Workshops for Late Summer and Fall
The FJH Music Company Presents FLUTE WORKSHOP!! Dr. Helen Marlais Frederick Harris Music Company Presents Succeeding at the Piano - A Method for Everyone! Leslie Newman Overtones™: A Comprehensive Flute Series What could be better than Dr. Helen Marlais' joy-filled and pedagogically sound approach to teaching the piano Unparalleled in scope, Overtones™ offers all the music combined with top Pedagogical composers and time-tested flutists want in one complete series! This progressive series classics? Come for yourself and experience this exceptional includes fundamental repertoire and supporting materials new piano method along with the newest publications from from preparatory to advanced levels. The richness of music Dr. Marlais’ award winning The FJH Pianist Curriculum® carefully selected for this compilation will resonate with series; including In Recital®, Sight Reading & Rhythm Every teachers and students at every level of study. Day® and Write, Play and Hear Your Theory Every Day®. Featuring music from the Baroque era to the present day, this series includes: This is truly an exciting new series so you should definitely • 9 progressive volumes of essential Flute Repertoire mark down this date and check it out! (Preparatory to Level 8) More about our clinician: • 2 comprehensive volumes of engaging Flute Studies Helen Marlais’ active performance schedule includes (Preparatory to Level 8) collaborative concerts in North America, Western Europe, • 11 quality Recordings packaged with each of the the Middle East, and Asia. She is one of the most prolific Repertoire and Studies books (Preparatory to Level 8) authors in the field of educational piano books. As well as • 1 cumulative volume of Flute Technique being the Director of Keyboard Publications for The FJH (Preparatory to Level 8) Music Company, she is also an Associate Professor of Music • 1 indispensable compilation of Orchestral Excerpts at Grand Valley State University in Grand Rapids, Michigan, (Level 2-ARCT where she teaches piano majors, directs the piano pedagogy Leslie Newman holds a Bachelor of Music degree from the program, and coordinates all of the group piano programs, University of Toronto, a Master of Music degree from Yale which includes the young beginner piano program. University, and an Advanced Certificate in performance Dr. Marlais performs and gives workshops throughout from Juilliard.. Her teachers have included Thomas Nyfenger the country and at all of the national music teachers’ and Julius Baker, among others. She has performed with conventions. Her articles can be read in Keyboard orchestras throughout Canada, the United States, and the Companion, The American Music Teacher, and Clavier U.K., and has toured through Brazil, Argentina, Japan, magazines. Her more than 60 educational piano CD’s are Europe, and the United States, presenting live broadcasts recorded on Stargrass® Records. from some of the world’s most renowned venues. Visit www.helenmarlais.com for more information. Leslie Newman is currently on the flute faculty at the University of Toronto and The Royal Conservatory of Music’s Glenn Gould School. In addition to teaching and Where: Long & McQuade performing, she is an active recording artist and clinician, and 368 Terminal Avenue Vancouver was the Artistic Consultant for the recordings of Overtones™: When: Friday, August 20th 2010 A Comprehensive Flute Series. Time: 9:30am-12:30pm To register contact: Where: Long & McQuade Christie Smith at [email protected] 368 Terminal Avenue Vancouver 604-734-4886 When: Thursday, September 30th 2010 Time: 9:30am-12:30pm To register contact: Christie Smith [email protected] or 604-734-4886 ♪
24 Progressions - Fall 2010 Langley Community Music School
Community Resource for Music Teachers
Masterclasses (Anton Kuerti—Sept 25) • Recital space Enrichment programs • Theory and history Classes • Orchestra Children’s choir • Percussion ensemble • Chamber music Morning and evening concert series
All music students welcome. Auditors welcome at masterclasses.
Discover - Great Artists. Great Music. Rose Gellert Hall Concert Season Sept 25 - Anton Kuerti, piano & Jacques Thibaud String Trio Oct 29 - Pacific Rim String Quartet & the Bergmann Piano Duo Concerts Café Classico Oct 1-Yuri Zaidenberg, violin & Amanda Chan, piano Nov 26 - Eckhardt-Gramatte 2010 Piano Competition Winner
Subscribe and save 15% on ticket prices. Visit our website for full concert details.
T: 604.534.2848 [email protected] 4899 207 Street, Langley BC V3A 2E4 www.langleymusic.com
We acknowledge the financial A non-profit charitable organization serving the community since 1969. assistance of the Province of BC.
www.langleymusic.com Play to learn! Pattern Play Inspiring Creativity at the Piano Akiko & Forrest Kinney Using this intuitive and fun series, teachers and students can improvise in classical and popular styles with ease!
This series is the solution for anyone looking to develop or discover their own musical creativity. Teachers and students of all ages and levels will find Pattern Play an exciting way to make music themselves, or collaboratively by playing duets, trios, or quartets. Four volumes provide an organized collection of patterns from which music can be created. By playing with these patterns, students will learn to improvise in a wide variety of styles.
Now available in stores. Call 1-800-387-4013 to receive a free sampler.
www.frederickharrismusic.com 20th Century - “The Sour Sweet Music”
by Winifred Scott Wood
From the Archives, This article appeared in the Spring 1994 edition of our BCRMTA Provincial Newsletter. It is written by well-known pedagogue and BCRMTA Honorary Life Member, Winifred Scott Wood. While some of the publications mentioned are no longer available, the ideas and advice still ring true. We thank Mrs. Wood for sharing her wealth of ideas and contributions to the art of teaching.
usic in the 20th century as in discords play in the music of the pre Kodaly preceding centuries reflects 20th century composers. Discords add 24 little Canon on Black Keys the events surrounding its strength and need to be emphasized Gyermektancock Mcomposers. The big difference is that and even lingered on before this (Children’s Pieces) this century saw more rapid upheaval tension is resolved in concords. The Lutoslawski and revolution than occurred in word Appoggiatura (a form of discord) Popular Melodies of Poland former times. Artists in all forms of means “to lean on”. Menotti expression seemed compelled to break Poemetti (Intermediate) the boundaries of their predecessors There is a wealth of music that Mompou in every way imaginable. This affects introduces pianists early in their Scenes d’Enfants harmony, form, rhythm notation musical journey to 20 century idioms Myezynski and idioms. The general public that is adventurous yet attractive. Fables always tends to lag behind its artist Russian composers such as Pinto in vision and is loath to give up what Prokofieff, Festa de Criancas (Children’s Festival) has become fondly familiar. Music Shostakovich, Soulima Stravinsky teachers therefore have even more Kabalevsky, Piano Music for Children difficulty in persuading students raised Khatchaturian, and are some attractive examples. America on the harmonious sounds, familiar Gretchaninoiff as can be expected has produced much rhythms and balance forms of pre 20th all wrote music especially suited to the 20th century music. century composers to venture to the young. Look for titles such as Bernstein strange seemingly discordant land of Albums for the Young or Birds contemporary composers. However, as Children’s Pieces. Dan Beaty Alan Fluck, author of “The Sour Sweet Many European composers wrote Woodsprite and Waterbug Music” (used as the title of this article) excellent music for children. Katherine Beard says, “the discords of one generation Bartok Echoes of America, are a few examples. become concords to the next, because For Children Volume I and II based when people get used to discords they as they are on folk tunes are easily Canada has produced many fine consider them concords”. assimilated composers of music for young students, Casella The Music of our Time series This is very true and gives us a hint as 11 Pieces Enfantine (of intermediate (Coulthard, Duke and Hansen) how to introduce students to “new” difficulty) is a good example but there are many music without too much “shock” Dello Joio others, a few of whom are Linda to their system. Students should be Suite for the Young and Lyric pieces for Niamath (many collections). made aware of the important role that the Young ► Fall 2010 - Progressions 27 20th Century - “The Sour Sweet Music” - cont.
Coulthard Some of the skills the student will • Intermediate Piano Repertoire by Pieces for the Present have to develop are an ability to play Albergo and Alexander (Frederick Chatman polyphonic writing, to be able to read Harris). Amusements Books 2 and 3 and learn tone clusters and dissonant Mychael Danna harmonies, wide leaps, rhythms that The latter also has a good list of albums Land of Narnia involve changing time signatures and of contemporary music. For a very Ecklardt-Gramatte unusual accentuations within the bar good overall view Avant-Garde Music From my Childhood Volume I and II (in this area counting while tapping from Debussy to Boulez by Paul Griffith (Intermediate) with both hand on the fall board is a (Oxford University Press) is very Wuensch great help). readable. Mood of the Modes Ernst Schneider The best way of introducing one’s As both teacher and student widen Five Moods of the Ogopogo students to this music, as it is to any their knowledge of contemporary Fiala music, is to learn it yourself and be works the unfamiliar becomes more Australia Suite. able to play it well so you can give an and more acceptable and initial interesting and attractive performance resistance is overcome by the genuine Participation in Canada Music Week of it. This produces better teaching also beauty and freshness of this music. has acted as a great stimulus to getting as you know the difficulties first hand Try it - you’ll like it! contemporary music into this year’s and how to overcome them. repertoire. Sometimes parents show greater resistance to unfamiliar sounds Some good sources of repertoire are to (c) Canada 1994 Winifred Scott Wood than do their offspring. My favourite be found in such publications as: story in this vein is of one of my students whose mother asked her to • Contemporary Showcase play to her guests but cautioned “Not a 1990-1995 graded syllabus available ♪ your Canadian piece”! Sometimes it is from the Canadian Music Centre in the teacher who is reluctant, such as Vancouver. (The CMC can also loan the one who firmly declared “I don’t music for perusal). like this new music and either do my • Various examination syllabi (look to students.”! see if the source book is mentioned) Catalogues from Music publishers
2010 Open to boys ages 7–24 more info www.bcboyschoir.org call toll-free 1.888.909.8282
28 Progressions - Fall 2010 “Sound Reflections: Teaching Contemporary Piano Repertoire”
by Sandra Joy Friesen
approach here is to assign each piece 1) the 12-tone system - 12 Twelve to a student, and when all are learned Tone Pieces for Children by Otto reasonably well, host an informal Joachim is comprised of charming, “compilation recital” for the students. colorful and melodic atonal pieces for The explanations serve as program junior to intermediate levels; 2) jazz- notes and can be read aloud. In this influenced styles in Ann Southam’s format, students are introduced to Three in Blue and 5 Shades of Blue, the various styles. Meet Canadian John Weinzweig’s three-movement Composers at the Piano I and II is Suite #2 (advanced) that is tinged with another compilation of mostly earlier blue notes and subtle syncopations, conventional style compositions. The Uptown Music (intermediate) by Jim compilation approach shows what a Hiscott, Two Sundances (intermediate) wonderful selection there is of our by Joan Hansen and Boogie Fugue recent century of music from which to (intermediate) by Judy Specht; choose. and 3) extended piano technique eachers begin the year with Another process for choosing repertoire repertoire such as Stephen Chatman’s a big responsibility to assign is creating a “composer” year and Amusements, Mary Gardiner’s Short the right repertoire for each assigning a selection from this specific Circuits (intermediate) and Hope Lee’s studentT and choosing contemporary Flake upon Flake upon…. (intermediate composer. If the composer has written repertoire can be a tricky task. There is predominantly for the junior levels, a to advanced). a vast collection of Canadian repertoire teacher might consider giving several Once repertoire is chosen, incorporate to be explored, taught and played, pieces to an advanced student as several practice strategies to keep and the desire or need for variety in an exercise in student teaching. For the imagination active. One creative selections for students can be achieved, example, the Amusements I, II, III by approach to learning new music but it can take some searching and Stephen Chatman are intended for involves musical graphing. This can experimenting. This article highlights juniors and intermediates, but a senior work well with music that does not three suggestions for choosing pianist can be equally challenged to readily appear to have a conventional repertoire as well as a few ideas for produce the percussive techniques melodic shape, as in several twelve- learning, practicing and teaching and special effects convincingly and tone pieces by Barbara Pentland (for new pieces. Although the repertoire comfortably. These selections can offer example, Hands Across the C), or for discussed in this article is for piano, the a fun and rewarding introduction to pieces that do not provide phrasing concepts can be applied to any other new sound concepts dreamed up by and dynamics markings. Graphing is instrument. composers. Another year could be done whereby a single solid horizontal Faced with the diverse range of styles dedicated “Violet Archer Year”, for line represents the middle range of the by Canadian composers, a teacher example, – whose Bagatelles, Preludes keyboard. The individual notes within can organize the process of repertoire and three-movement Sonatine could the texture are then graphed in curved selection to form an interesting and be divided among senior students. This or angular lines below and above the educational curriculum for their approach to learning about a composer solid line. A new solid line begins every studio – selection by compilation, could be connected with another four measures or so (no strict rule in by composer, or by style. Some teacher, and culminate in a “composer this exercise). Graphing allows the compilations combine varying styles recital” when each piece gets talked piece to be “viewed” in more than one into one volume. Horizons I and II: about, played and heard. way and the teacher and student can Music by Canadian Composers is a Finally, a teacher might choose a experiment together to create longer graded compilation inclusive of a particular style of composition as a or shorter groups of graphed phrases. wide variety of compositional styles theme for the month, the term, or What this exercise combines is the providing brief explanations for the year. There is no shortage of ideas visual sense with the aural. The graphs each piece and style. An educational for this approach. Three examples: activate the imagination in making ► Fall 2010 - Progressions 29 “Sound Reflections: Teaching Contemporary Piano Repertoire”- cont. decisions of phrasing and dynamic. A third strategy for practice is hopefully encourage the pianist to Connecting the visual and aural senses incorporating free improvisation. take part in composing, creating and also assists memory, and serves as a Use any musical idiom, aspect or most importantly, listening while reminder of how music and sound element from the selected composition developing strengths and strengthening move through time. (an arpeggio, a cluster chord, the weaknesses. Here’s to a creative year of Choosing a technical focus is a creative pedal, a glissando) and ask: “How music making! practice strategy. The pianist chooses many ways can I play this element?” Respond by practicing that element a technical pattern from the selected Ms. Sandra Joy Friesen promotes Canadian with as many different fingerings, composition and creates an “exercise music in performance and instructional articulations, rhythms, tonalities or of the week” or “of the month”, by workshops nationally and internationally. harmonies imaginable (for example, devising as many ways as possible to She is a former piano instructor R.H. plays B flat major, L.H. plays G play this pattern. For example, Steven (1996–2008) from Kwantlen Polytechnic minor for a modal mix). Improvise by Gellman’s Etude from Album for Piano University, Langley, BC; now completing creating four-measure phrases from contains various fast patterns between doctoral work in performance and these practice ideas and repeat several the hands, hand-crossing, broken pedagogy of extended piano techniques times. Change the articulation, range, chords, scalar passages between the and contemporary notation. dynamic, etc. and repeat several times. hands, and so on. Extract one of these A former member of BCRMTA, president Form is created in this manner and a patterns (the opening two measures, of Mission Branch, and manager of a freely improvised composition is born. or measures 5–6 for example) and private piano studio, she has extensive Improvisation is an act of freedom and keep the rhythm correct but alter the experience working with students of all exploration and by experimenting in keyboard range, change the accent ages. Please do not hesitate to contact these simple ways the ear, eye, body placements, and experiment with her through ARMTA directory, with and heart enjoy working and creating at least five different dynamic and repertoire questions, ideas or topic all together. shaping ideas. Playing music requires suggestions for future newsletter articles. an extraordinary amount of skill and In conclusion, I believe that practicing imagination – this exercise develops must be a continually renewed act of ♪ both. co-creation. These thoughts can
Observing the Student-Teacher Relationship by Valerie Kampmeier ave you ever noticed that you One of the most striking realizations to realize that I needed to sit back feel exhausted after teaching that I’ve had is that there is a in my seat, loosen my jaw, roll my some of your students and correlation between how much shoulders, breathe deeply, speak less Hexhilarated after others? With some, effort I put into a lesson and how and give the students more space. As you’re catching yourself frequently much effort the students make- and I began to become more aware of my glancing at the clock (which appears to sometimes it’s an inverse correlation! energy and body language, it was quite have stopped) and with others you are As a young, inexperienced teacher, it an adjustment for my students, and constantly surprised that the lesson is was as if the harder I tried, the more me, and it was also the beginning of a over already? I demonstrated, the more I spoke, wonderful journey of exploration for the less my students did any of those me, discovering what it really means to I used to attribute this phenomenon things. As if there were only a certain be a teacher. to working with talented students amount of oxygen in the room and the versus the not so talented ones. While As a result of gradual but substantial deeper and faster I breathed, the less air of course it can be more interesting to changes on my part, I began to notice remained for my student. teach students who find picking up other factors at work. When I sat back a musical instrument easy and make At one extreme, I remember lessons and gave eleven-year-old Rosie space speedy progress, I’ve found that there where I literally was left panting at at the piano, she shyly expressed an are other factors to consider too, and the end of the hour, and the student interest in composing her own pieces, they’re totally within your control. appeared cool and unmoved. I began and we took our lessons in a whole new ► 30 Progressions - Fall 2010 QuenMar Music presents 3 UNIQUE SERIES MELODY ADVENTURES (MA) This 6-book beginner series includes 2 PRIMERS, 2 BASICS; BOOKS 1 & 2. Notated in full, melodies and duet arrangements intentionally remain within the learned chord structure to ensure that the students’ harmonic understanding progresses concurrently with technical, sight reading, interpretive and performance skills. The duets are designed to be instructional for 2-hand accompaniment for a melody. KEYBOARD ACCOMPANIMENT (KA) BASICS This 4-book series teaches basic accompaniment. The OBJECTIVE of these books is to give students the same benefit as guitarists - mainly, learn chords; anticipate the chord changes until they can play them smoothly; explore styles, rhythms, patterns & progressions, until they become instinctive. Generally, only the melody is given. Chord symbols are with Letter and Roman numerals. Suggested rhythms/patterns are indicated above the melody. For a convenient reference and to ease the transition to one stave, many of the same melodies are in the Melody Adventures series - fully arranged. Review melodies at the end of each book (no chord indications) challenge students to create/improvise their own accompaniment applying two or three of the learned accompaniments. The KEYBOARD ACCOMPANIMENT COURSE (KAC) This 5-book course, which includes ELEMENTS & BOOKS 1 - 4, gives a solid foundation for improvising accompaniments - including 2-hand accompaniment without the melody. By preparing accompaniment for 2 or 3 new melodies per lesson, the ability to quickly sense a change of harmony is strengthened and the development of harmonic intuitiveness accelerates. Progressively including most chords with key-changing and transposition (while choosing from 45+ styles & rhythms), students create their own accompaniment - eventually in all keys. Over 125 original compositions (in a wide variety of styles) and 85 folksongs stimulate hearing skills with chord progressions, bass patterns, fills, arpeggios, intros & endings. Review melodies at the end of each book, without chord indications, present the previously performed melodies - but in another key.
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Fall 2010 - Progressions 31 2010 marks the bicentennial of the birth of Frederic Chopin, as well as Robert Schumann, one of Chopin’s admirers and friends. In May, the Vancouver Chopin Society celebrated this occasion by hosting a three-day festival showcasing Chopin’s piano works, chamber works and vocal compositions, together with a lecture by one of the world’s foremost Chopin scholars from Warsaw, and a dramatic dialogue depicting Chopin’s relationship with George Sand. Thanks to all of you, our subscribers, members and audience, the festival was a remarkable success.
Our upcoming 2010-2011 season also promises to be very exciting, starting with three wonderful interpreters of Chopin and Schumann’s music and ending with a final concert which will feature a laureate of the 2010 International Chopin Competition set to take place in Warsaw in October 2010.
We are looking forward to seeing all of you again this fall. Please bring your friends and other music lovers and please pass the word around regarding our Society’s concerts. Concert 1 – Alexander Gavrylyuk, Saturday, October 30, 2010 8 PM (Magee) "There probably hasn’t been a pianist like this on the scene since Vladimir Horowitz" - Lloyd Dykk, Georgia Straight 2009 Beethoven - Sonata in C minor Op.13 "A world class pianist performing at his absolute best" - New York Times, 2005 Pathetique The sensational young Ukrainian pianist Alexander Gavrylyuk will open the series enthralling the Chopin - Polonaise in A Major, Op.40 No.1 audience with his “thrilling pianism and astounding keyboard technique” which are universally admired Impromptu No.1, Op.29 by audiences and critics alike. It will be his first recital in Vancouver and we are sure it will be an Nocturne in D flat Major No.2 Op.27 unforgettable performance by one of the world’s top pianists. Liszt - Mephisto Waltz No.1 He won first prize at the third Horowitz International Piano Competition (in 1999), Hamamatsu Intermission International Piano Competition in Japan (2000), and Arthur Rubinstein International Piano Masters Stravinsky - Petroushka suite Competition (2005), which also awarded him honors for Best Performance of a Classical Concerto. Rachmaninov - Preludes No.1, 5, 2 Op.23 Concert 2 – Ingolf Wunder, Saturday, February 26, 2011 8 PM (Magee) Mr. Ingolf Wunder was born on September 8th 1985, in Austria. The first impressions one receives from his playing are the judgement and restraint with which he uses his prodigious technique and his W.A. Mozart - Sonata in B-flat major KV 333 exceptional ability to build a piece "so that it seems to lie before him like an immense landscape, F. Liszt - Soirees De Vienne revealed to the eye at a single glance". The dramatic sense of structure which underlies most of Mr. G. Wunder - Sonus Miraculi Wunder's performances may owe something to his early experiences in music school, where he was Intermission able to indulge not only in his love of music, generally, but also in his apparently insatiable musical F. Chopin - Waltz in A-flat major Op.34, No. 1 appetite. The seemingly unlimited range of his affinities is born from his earliest years of boundless Ballade No. 4 in F minor, Op.52 curiosity and an extraordinary memory. It is one of Mr. Wunder's most precious attributes as a performer, Andante spianato and and one shared by few front-rank virtuosos, that he focuses the attention of his audiences entirely on Grand Polonaise Op.22 whatever music he happens to be playing. Even at his performances of unfamiliar and sometimes inaccessible pieces, one can hear the proverbial pin drop.
Concert 3 – Elisso Wirsaladze, Sunday, April 10, 2011 7:30 PM (Playhouse) "Elisso is an unforgettable Schumannist. Elisso is an artist of great distinction, perhaps the greatest woman pianist of our time. She is a serious, deeply sincere and unpretentious musician…" - Sviatoslav Mozart - Fantasy in C minor KV 475 Richter Sonata in C minor KV 457 Elisso Virsaladze studied in Moscow with Heinrich Neuhaus and Yakov Zak, gifted teachers who had not Prokofiev - Sonata Nr. 2 only a deep influence on her artistic development, but also immersed her in the renowned tradition of Intermission Russian piano pedagogy. Elisso Virzaladze is now a professor at both the Moscow Conservatory and the Chopin - Polonaise Fantasie in Musikhochschule in Munich, where she is recognized as an exceptional teacher whose students have A flat Major, Op.61 won sensational distinction. She regularly serves as a judge for the most prestigious international Schumann - Fantasy in C Major, Op.17 competitions including the Santander, Geza Anda in Zurich, Rubinstein in Tel Aviv, the Tchaikovsky and Richter competitions in Moscow.
16th International Chopin Competition Laureate, Sunday, May 1, 2011 7:30 PM (Playhouse) The International Frederic Chopin Piano Competition began in 1927 in the Warsaw Philharmonic Hall under the instigation of Jerzy Zarawlaw, a distinguished pianist and academician. The Competition is held every five years to recognize the world-wide significance of Chopin’s music and the vital importance it plays in the repertoire of the piano. Since 1927, a steadily growing number of candidates from almost all countries of the world prove the importance of this great music event. And the number of laureates, first place and other prize winners, who have gone on to international careers, is unparalleled. They include: Lev Oborin, Dmitri Shostakovitch, Yakov Zak, Halina Czerny-Stefanska, Bella Davidovich, Adam Harasiewicz, Vladimir Ashkenazy, Fou Ts’Ong, Maurizio Pollini, Martha Argenich, GarricK Ohlsson, Mitsuko Uchida, Krystian Zimmerman, Dang Thai Son, and Rafal Blechacz among others. Many past winners and jury members have performed as part of the Vancouver Chopin Society’s concert series. The 16th edition in 2010 is being prepared by the Fryderyk Chopin Institute, which was established in 2001 on the basis of an act of the Polish Parliament. 2010 is a very special date to this year’s competition in Warsaw in October, as it is the bi-centennial of Chopin’s birth, and many distinguished international pianists and former prize-winners will be in attendance. Martha Argerich and Nelson Freire will perform a duo-recital at the beginning of the festivities, and advanced reports suggest that the competition this year will be the most exciting in decades, because of the exceptionally high calibre of the contestants. One of the winners will be the soloist in our final concert in 2011.
The Frederic Chopin International Piano Competition Laureate will be announced in late October 2010. Observing the Student-Teacher Relationship - cont. direction. On the other hand, when I did “because I gave up the piano as a all of whom practice diligently and the same with fourteen-year-old Natalie, teenager and regretted it” or “because energetically, focus enthusiastically she remained the taciturn, sulky teenager I never had the chance to play and during lessons, and perform with evident she had been all along, and it became always wanted to”. Worthy sentiments, love of music and their instrument. After clear that she would rather have been but when their children were fidgeting all, as one of my colleagues in London at home playing video games. She quit miserably or blankly gazing around said to me, “I don’t want to have to lessons shortly afterward, to our mutual the room, I discovered that I was well convince anyone that music is beautiful.” relief. advised to direct my questions to them personally, and ascertain whether they in One thing I’ve learned is that I don’t fact were interested in learning the piano, Valerie Kampmeier, M.A., brings decades need to be an entertainer. If the child or indeed music of any kind. of performance experience as a successful is really not interested in playing the classical pianist in Europe to her piano piano, I’m very happy for them to take Now I if I discover that the child is teaching and her life coaching practice for up electric guitar, horse-back riding or showing no interest, I immediately musicians. A gifted piano student from ballet. encourage them to try another activity the age of five, Valerie has spent more than rather than piano lessons, and if the child A big discovery for me, as a young twenty-five years working as a teacher, is ambivalent, we set up a trial period teacher, was that I needed to be more coach and conductor in Britain, Europe of four to six lessons, “to see if we are discerning about which students I and the U.S. with some of the world’s most compatible”, with no obligation on either accepted into my studio, not necessarily talented musicians. side to continue after that period. in terms of talent, but in terms of interest. I was keen to build my business, This system made me uncomfortable www.musicteachershelper.com/blog/ partly for financial reasons, and was initially, as I had to become more author/vkampmeir/ therefore susceptible to the enthusiasm- assertive, and risk parents’ displeasure. and sometimes cajoling- of the parents However, 25 years on, I am delighted ♪ who brought their students for lessons, with the students in my current studio,
SUBSCRIPTIONS Adults Seniors Students $125 $90 $90 INDIVIDUAL TICKETS Adults Seniors Students Each Concert $35 $25 $25
- Subscriptions include membership. - Group discount of 10% available for purchases of 10 or more tickets. - Reserved seating for all concerts.
Call: 604.871.4450 Email: [email protected] Website: www.chopinsociety.org
TICKETS - Single tickets on sale October 1, 2010. - Tickets for all Concerts may be purchased through all Ticketmaster outlets, charge-by-phone 604.280.3311 and on-line at www.ticketmaster.ca. VENUES Concert 1 and 2: Magee Theatre, 6360 Maple Street (at W 49th Ave), Vancouver Concert 3 and 4: Vancouver Playhouse, Hamilton at Dunsmuir, Vancouver Fall 2010 - Progressions 33 Reversing the Pyramid
by Alison S. Barr, NCTM
where a wide base of beginners decisions of their lives. Their needs supports a diminishing number of can no longer be painted with a broad more advanced students, until only brush. We have to let them in on our a few remain at the very point of the planning process and ask them which pyramid. Here are some strategies I opportunities they really think they can think may have helped reconfigure the benefit from. Some components that pyramid. can be included in our curriculum to encourage high school students are: Maintain musicianship as 1. Enter students in a high school broadly and deeply as possible. honours recital sponsored by your Our high school students want and local music teachers’ organization. deserve to know us as musicians, not 2. Teach music that students request only as piano teachers. If we bring for general enjoyment and school cross the country, the student exciting new ideas and experiences talent shows. body of a typical independent to each lesson, our students will feed 3. Encourage improvisation for studio looks something like on our energy. The more specific we students in high school jazz bands. this:A a majority of young beginners, a can be, the better––sharing a difficult 4. Explore advanced repertoire within fair number of middle-schoolers, and passage in a piece we’re practicing, its historical context and be ready a small percentage of dedicated high a quote from an amazing composer to cultivate the advanced technique school students. These older students biography, a brief report on a concert necessary for this repertoire. generally represent only a fraction of we heard, an update on our latest In my current class I have a senior the beginners who originally started in conference. All of these examples help preparing for a theory/ear training/ the studio eight or 10 years ago. What students understand what it means to sight singing and piano proficiency piano teacher doesn’t treasure and be a professional dedicating one’s life to audition at Berklee College of Music, take pride in these few more-advanced something with unquenchable passion a senior preparing for a music theatre students? They are positive proof that and commitment. Also, we can use the audition, a sophomore who plays in the perseverance and dedication can result wealth of resources available to us by jazz band and accompanies the high in a high level of musical achievement. scheduling master classes or lessons for school chorus, and a junior who wants High school students give us the our students with colleagues who have to enter competitions and prepare for opportunity to teach the advanced special areas of expertise. Our students a college piano performance audition. repertoire we love and they also serve will immediately see that we’re open to Responding to their individual needs is as shining examples to our younger growth and connected to a larger world the key factor for successfully teaching students. outside our studio. these students.
A few years ago, I recognized that my Incorporate curriculum, Build a distinct high school studio numbers had gradually been community within the studio. changing, and that, amazingly (because scheduling and opportunities There’s a place a few miles from my I hadn’t really planned it!), I now had specific to high school students. home called “Starland” with a rock as many or more high school students As we retain more high school students climbing wall, an arcade, bumper cars, as beginners. I was retaining higher in our programs, the demand for miniature golf, laser tag, batting cages percentages of the students I had versatility and responsiveness to and snack bar. In the late summer or started, and new high school students individual goals expands exponentially. early fall, I invite all my students from were attracted to my studio as transfers High school is characteristically a time seventh through 12th grade to assemble and beginners. As this trend continued, of intense personal growth; students at Starland. I contribute towards their I began to consider factors contributing move from youth to adulthood, laying admission fee and we stay for about to this reversal of the typical pyramid, the groundwork for many influential three hours. We have a blast and the ► 34 Progressions - Fall 2010 Reversing the Pyramid - cont. students talk about it all year long, strive to communicate honestly and of the piano and the humanity required begging for the next time they can go. openly about serious issues––the to connect heart and soul to this We take tons of pictures and put them college application process, career technical accomplishment. in an album (they laugh at the ones of decisions and work life, for example. me the most.) This trip has nothing to All communication must be on an Pay special attention to seventh do with music, but everything to do adult level–colourful, image-filled and and eighth grade students with forming a social, musical bond. relevant. And there is great benefit in a since these are the years when Through the Starland trip, my students small amount of self-disclosure, sharing have formed relationships that they that we have been there and truly attrition typically takes place. never would have formed in the studio, understand. Not even the most successful teacher being scheduled at disparate times can definitively say what keeps students and coming from different towns and Place high school students in engaged in lessons throughout their schools. I also get group tickets to a a mentoring role with younger middle school years. I maintain that it is during this time that they begin “Broadway in Boston” musical in the students. spring. This trip is open to all high to see their identity as musicians and This can be achieved simply by asking school students and their parents. They begin to “own” the experience––not a waiting student to accompany a pay a group ticket rate and we have a just as an activity they are signed up beginning student on the teacher fantastic time. We’ve seen Wicked and for, but as a pursuit of self-expression duet part or by preparing for an older Light in the Piazza. and deeply rewarding accomplishment. student to teach a group class on some The more we can nurture that reward Participate in area high school aspect of theory or technique. Students through the excitement of the music, love peer learning, and it’s difficult to music programs and seek the more meaningful the experience. say whether this aspect of our program I recently asked one of my high school collegial relationships with area holds more benefit for the older mentor students what she valued the most in school music faculty, as well or for the younger student. my studio and she said quite simply, as with independent teaching “Before I started with you, I wanted to colleagues. Support high school students know if you understood high school Though we know our students deeply through thick and thin, but do students and if other high school and have known them for many years, not compromise standards. students felt comfortable coming we don’t see them in the potent and Our society asks a lot of its high school here.” If we create this “comfortable” relevant setting of their high school, an students. They are expected to achieve environment, we have accomplished environment where peers and group in multiple areas, manage their time quite a lot indeed. And, the experiences dynamics strongly influence their like CEOs, contemplate their futures gained by our high school students future. The more effort we expend and maintain all the traditional aspects will endure and flourish far beyond on becoming a part of their musical of social and family life. Being on a the confines of our studio. As we help and extra-curricular lives, the more growth curve that is fast and furious shift our students’ identity from music connected they will feel to us. The time makes them, in many ways; more student to that of musician, we discover it takes to attend band concerts, to mature than previous generations, but the essence of successful teaching––we help students prepare for jazz band and sometimes exacts a price of serious create patterns of independent learning choral accompanying and to simply confusion and stress. We can bring and love of music which will last ask questions about what’s going on in humour–an essential factor in being forever. school really pays off! successful with this age group–– compassion and a certain steadfast Be attentive to the high school stability to our students just by being Alison S. Barr, NCTM, is an independent there and by being who we are. teacher in Hanover, Massachusetts. She “psyche” within society and has served as state president of both the be aware of the human factor. However, our relationship must have at its core musical growth and learning, Maine and Massachusetts MTS’s and High school students are hungry for the reason we are participating in national chair of MTNA’s Independent strong, positive role models and for students’ lives in the first place. We can Music Teachers Forum. interaction on an individual basis earn respect and shape behaviour by with a caring adult. While always helping our students achieve balance ♪ relating within appropriate professional between the difficult, technical mastery and personal boundaries, we must Fall 2010 - Progressions 35 2010 Workshop Tour Best Sellers Alfred’s Piano for Busy Teens Premier Melody Bober, Gayle Kowalchyk, and E. L. Lancaster Support The Piano for Busy Teens series was introduced to teachers and students during the summer of 2009 and it quickly became a top-seller. Teachers asked for more books at lower levels, so the authors created Books A and B, Value Pack $20.00 which precede Book 1. 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36 Progressions - Fall 2010 Review of Publications
SHEET MUSIC - PIANO SOLO
Rockin’ the Blues Late Elementary Piano Solo Antique Minuet by Catherine Rollin Level One - Early Alfred Publishing Co. Inc. Elementary Rockin’ the Blues is 24 by Keith Snell measures of fun! It would Natasha Foresi - Flute Neil A. Kjos Music Co. be difficult to find a late elementary Richmond Branch This simple melodic minuet student that would not want to play this! RMT member since 2008 is in G Major 5 finger position. The left Written in a- and with a steady rock beat, hand accompaniment is mostly single this music will be easy to memorize due note tonic-dominant harmonies. to the repeating patterns and students It is in AABA form with phrasing and will love to play this for their friends. staccatos, forte and piano. There are 3 basic rhythmic patterns for JM the student to learn in the RH. The LH has 22 measures of whole note chords of 5ths. This is a hit! JR
Joyce Janzen - Piano, Theory Pyramid Power Abbotsford Branch Elementary Piano Solo RMT member since 1983 with Optional Duet Starry Night Sonatina Accompaniment Early Intermediate Piano by Wynn-Anne Rossi Solo Alfred Publishing Co. Inc. by Martha Mier This energetic solo piece employs Alfred Publishing Co. Inc. alternating hands and chromatic scale Ms. Mier has written a passages. It is composed in C 5 finger lovely 6 page sonatina in 3 movements. position with a crossover to treble C She incorporates alberti bass, contrasting and 8va at the end. An optional duet articulations, scale passages, and balance st accompaniment is also provided. between the hands in the 1 movement. Janet Marcotte - Piano JM This movement is in G+. The contrasting South Okanagan Branch 2nd movement moves to e- and triple RMT member since 1992 meter. This slower movement includes the use of the damper pedal and hand Caprice a la carte by Dennis crossing. It also features broken chord Alexander passages. In keeping with the structure Late Elementary Piano Solo of sonatinas, the 3rd movement is “allegro – Signature Series giocoso”. The melody moves between Alfred Publishing Co. Inc. the hands and once again she utilizes Intervals of fifths, runs in articulation contrasting. This is a very 5-finger position, staccato solid triad pleasant piece for supplementary sonatina chords and changing hand positions are practice! JR Jean Ritter - Piano, Theory the major skills reinforced in this lively Abbotsford Branch piece. RMT member since 2006 JM
► Fall 2010 - Progressions 37 Review of Publications SHEET MUSIC - PIANO SOLO SHEET MUSIC - DUETS METHODS Wild Ride Midnight Sea Succeeding at the Piano Intermediate Piano Solo Intermediate Piano Duet by Helen Marlais by Judy East Wells (UK Exam Grades 3-4) A Method for Everyone Alfred Publishing Co. by Mike Springer The FJH Music Company Inc. Inc. Alfred Publishing Co. Inc. What an attractive 3 pages This slow and expressive of sheet music! duet is quite balanced between the The music is in ternary form and two pianists. The Primo and Secondo written in the key of a-. The energetic interact alternately with each other. allegro definitely makes the title Pedaling is well marked for the Preparatory Level appropriate. Some of the features are: Secondo. There are several tempo Lesson and Technique Book register changes, various articulations, changes which can be a challenge for Theory and Activity Book B section involves use of the damper the duet partners. Recital Book pedal, and note values including 16th JM notes. This music is alive and an “attention getter”! JR
Waltz for Two Suite in G Major Intermediate Piano Duet Early Intermediate/ (U.K. Grades 3 – 4) Grade 1 Intermediate Piano by Robert D. Vandall Lesson and Technique Book by Jason Sifford Alfred Publishing Co. Theory and Activity Book The FJH Music Co. Inc. Inc. Recital Book This suite is intended to I played this duet with a This is a series of method books with provide pianists with an couple of my students and they all had strengths in certain areas. Emphasis introduction to the baroque style. The complimentary comments in response is on incorporating body movement music fits comfortably under small to my questions about the piece. The when introducing rhythm so it is hands and is an opportunity to play duet is 10 pages with 5 pages per part. internalized. Memorized technique is a work that is great preparation for I like the way Mr. Vandall works with encouraged so students can focus on the advanced works of JS Bach and the rhythm by changing note groupings watching how their body works and other baroque composers. The suite so that the main beat doesn’t always on listening to the sound it creates. opens with a Prelude and is followed begin on beat 1. The melody moves Listening skills, practice habits and by 8 dances. I like the fact that Mr. between the parts. Secondo’s LH musicianship are developed with Sifford has given a brief explanation spends most of the time playing octave “Before playing” and “After Playing” of each dance directly under its title. chords. The duet opens in d- and points for every piece. The CD that The specific distinguishing features modulates to F+, D+, Bb+, and more. supports the Lesson Book has student of each dance are represented well. The 3rd page is “more intense” and the and teacher duet parts in a practice Articulations are clearly marked and music is exciting here and lends itself tempo and a performance tempo; helpful fingering is provided. well to the required intensity. all the technique exercises and one This 14 page booklet would be a great My students agreed that this was very piece in each unit from Unit 3 on treat for any intermediate student that lovely! with a string quartet accompaniment. enjoys the music of the baroque era. JR The Preparatory Level has almost JR half the book with music at the pre- reading level with intervals taught early combined with middle C and C position. These are reinforced in Grade 1 with multi-key reading introduced at this level. Six easy versions of the
► 38 Progressions - Fall 2010 Review of Publications classics by the masters can be found in student could perform the opening and rhapsody to theme and variations. this volume as well. and closing pieces of the suite. The Various meters are present including Using all three books in the series remaining 7 solos could be divided up hybrid time. Some works require pedal promotes a well-rounded approach to or a couple of students could play a while others like the Scherzino have learning music. A Christmas book, number of pieces. A single narrator, many different articulations. a sticker book and flashcards are also a student who enjoys acting can read This is a fun collection of music. There available for each level. the story with drama. At some places, is something that will appeal to all JM all the performers would perform intermediate level students! together. Props like stuffies, and art JR work on poster boards could make this an exciting adventure full of fun and SUPPLEMENTAL BOOKS learning. Canadian Pop & Rock Lovely - telling a story through music! Sheet Music PlayList JR Easy Piano BRAVISSIMO! arranged by Dan Coates A Winning collection of Alfred Publishing Co. Original Solos Inc. Book 1- Elementary Jazz in Focus - OLE! Here are 16 Canadian by Timothy Brown Original Latin American sheet music songs by world-renowned The FJH Music Co Inc. Dance Music artists made into a collection that This collection of ten solos Intermediate/Late captures the “soundtrack” of Canada. provides a wonderful supplement to Intermediate Artists represented include: Michael any curriculum. Some pieces include by Lee Evans Buble, Bryan Adams, Celine Dion, teacher accompaniment duets and The FJH Music Co Inc. Avril Lavigne, and Nickelback, to name one piece - Children At Play is written This volume of music celebrates a few. The CTV promotional theme in a three-movement format. Most the rich, rhythmic flavor of such for the winter Olympics 2010, Believe, pieces are written in middle C and D Latin American dances as the tango, is also in this collection. Dan Coates position or C, G, F Major and d minor rhumba, mambo, cha-cha, samba, does an excellent job of arranging the position. They would be ideal for conga and bossa nova. There is a music suitable for the intermediate recital solos at this level. comprehensive glossary detailing the student. Key signatures don’t go JM history and style of each dance in the beyond 2 sharps or flats. Syncopation book’s introduction. Students will love and arpeggiated chords are as expected playing these challenging solos! in arrangements of popular music. The Magical Forest JM Great book! A Narrative Suite for JR Piano Late Elementary/Early Intermediate FJH Solo Standouts SACRED MUSIC by Nancy Lau Book 3 The FJH Music Co. Inc. Intermediate/Late Favorite Hymns What an absolutely awesome idea! This Intermediate Book 1 Early Elementary combination of narrative, storytelling, The FJH Music Co. Inc. arranged by Deborah Brady drama, and music would be ideal for Melody Bober, Timothy The FJH Music Co. Inc. a group class and even for a recital. Brown, Martin Cuellar, This book is comprised of 8 Learning the piano is such a solitary Gretchen Heller, Kevin Olson, and arrangements of traditional hymns for task that having an opportunity to do John Burson have all contributed their any elementary level pianist regardless a project with some friends would be most popular and best-selling solo of age. None of the pieces have a key quite exciting! I know I have a group compositions to make this collection of signature and only 2 hymns contain of girls that would jump at the chance. 10 pieces an excellent supplementary accidentals. Hands do not change Students could take positions at each book. Musical styles range from a position within the piece and fit very post. For example: a higher level waltz to rock, berceuse to toccatina, comfortably under the hand. ► Fall 2010 - Progressions 39 Review of Publications
There is some harmony in each of the Best Loved Hymns I Creative Hymn hymns and an accompanying duet is FJH Sacred Piano/Organ Variations provided for each as well. At the top of Library Alfred Sacred Performer each illustration is a scripture verse to arranged by Lyndell Collections support the hymn it represents. Leatherman arranged by Craig Curry Very nice simple arrangements! The FJH Music Co. Inc. Alfred Publishing Co. JR This collection of 75 hymn tunes is a Inc. wonderfully well thought out resource In an abundance of collections of for intermediate pianists. The table of hymn arrangements, these ten hymn contents lists the hymns alphabetically, variations for early advanced pianists In the Light of His Glory by hymn tune, by author, translator are unique in that they have been Late Intermediate to and composer as well as by topic, written in the Classical theme and Early Advanced Piano season and occasion. Each of the variations genre. Each well-known arr. by Martha Mier hymns is on two facing pages written hymn is stated relatively simply and Alfred Publishing Co. with a large font making them easy followed with three to five variations. Inc. to read. Each song is prefaced by a The melodies are treated to rhythmic This book is a lovely collection of 12 paragraph of background information alteration including triplets, style hymns of faith and reflection to provide – something about the author or the variation such as march-like eighth hope, solace, and to draw one closer circumstances surrounding its writing. notes followed by sixteenth figuration, to God. Ms. Mier has written lovely An introduction is indicated from the Alberti bass, inner voicing, minor mode arrangements that modulate, change score or, more often, especially written. and octave patterns both alternating registers, and include lovely transitional Seven of these introductions use well and solid. This makes for interesting passages. Various technical skills, known classical themes. Often there playing whether for sight reading and such as alberti bass, arpeggiated runs, is an interlude at the end of the hymn quick study or for performance. melody moving between the hands, linking it to further verses. Most of JJ and rolled chords are included in these the pieces are suitable for organ and arrangements. These hymns would small notes are provided for pedal. The be excellent for offertories as well as first verse of each hymn text is written personal relaxation and reflection. This in the score and additional verses are It is Well book includes favorites like: Amazing provided. While written in a chordal Alfred Sacred Performer Grace, Joyful, Joyful, We Adore Thee, hymn style, each piece is an adaptation Collections Morning has Broken, and What a for piano, not simply a vocal rendition arr. by Robert Vandall Friend We Have in Jesus. Here is a from a hymn book. As a further aid, Alfred Publishing Co. book that will provide pleasure for the chord symbols are provided along with Inc. performer as well as the listener. a guitar chord chart. One can only It takes an imaginative and These arrangements have been a hope that the number one in the title gifted writer to take a beloved hymn pleasure to play! means that this is the first of a series. and to breathe new life into it with a JR JJ creative arrangement. ►
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HERR MOZART! THANK YOU SIR. ITÕS NOT HARD! I WORK MAESTRO CLEMENTI THROUGH STRUCTURED IMPROV WOLFGANG! COMPLIMENTED YOUR EXERCISES EVERYDAY. THEY REALLY IMPROVISATION DURING THE IMPROVE A WHOLE RANGE OF SKILLS: STEADY MOZART, SIR! COMPETITION. HOW DO YOU KEEP BEAT AND RHYTHM, MELODIC INVENTION, YOUR PLAYING SO FLUID AND UNDERSTANDING HARMONIES ... MUSICAL? IT HELPS EVERYTHING I DO! LETÕS SEE ... OVER HERE. WILHELM? É.
40 Progressions - Fall 2010 Review of Publications
Each of the ten pieces in this book of their group classes. THEORY - Elementry are inspiring in that the setting suits The materials required are the deck its mood and brings new insights to of cards and enough tablespoons or its character. Who knew that “Christ plastic spoons to equal one less that the Animato: Theory the Lord is Risen Today” sounds more number of players, anywhere from 3 – Gymnastics exciting with syncopated and hybrid 10. There are 3 types of cards in each by L. Zisette, C. Zundel, rhythms? “Come Christians Join to deck: note on the staff, letter name, K. Lloyd Sing” also benefits from syncopation and note on the keyboard. Each note is Neil A. Kjos Music Co. while “Jesus Loves Me” unfolds its represented eleven times in the deck in This theory book has 23 simplicity with scale like passages and different ways. Two cards representing units, each introducing and reinforcing alternating solid triads. A whimsical the same note names must be obtained one concept allowing the teacher setting of staccatos and widely spaced to make a match. complete freedom to choose the order broken chords enhances “Simple Gifts” What a fun way to reinforce note desired. Animato is marked as Level and the spiritual “Standing in the representations! A for ages 8 – 11. The series is created Need of Prayer” works nicely in swing JR for the total beginner to the very rhythm. Frequent chord changes to advanced with levels from A to H. both simple and challenging keys, wide The levels recommend the age range range and large chords make the pieces Musical Spoons – Triads so that concepts are presented with technically challenging. They are well by Three Cranky Women age appropriate artwork, verbiage, and worth the effort! (L. Zisette, C. Zundel, K. activities. JJ Lloyd) “Digby the Dog” is the host and helps Neil A. Kjos Music Co. guide the student through the concepts. This is a card game for Each unit has discovery pages, practice 3-10 players that also use pages, challenge pages, thinker pages, a set of spoons that number 1 less than review pages, as well as listening pages. MUSIC GAMES the number of players. The object of Teachers can tailor a program for each the game is to collect all the cards that student’s level and ability by selecting would create a match for a triad or a the pages in any given unit. Although Musical Spoons: Notes four-note chord as designated by the the book is shades of black and white, Card Game teacher. Grabbing a spoon before the the illustrations are creative and by Three Cranky Women other players increases the point count. imaginative and catch your attention. (L. Zisette, C. Zundel, K. A predetermined number of rounds or Some coloring is required in the Lloyd) a pre-set point count ends the game. activities. This book can be used with Neil A. Kjos Music Co. JJ I have used many of the theory games any method. The variety of activities these women have created with great requires students to repeatedly use and success. This game will be another one apply each concept in new that the students will enjoy during one ►
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and different ways. Unit 22 is this time by information about six instruments only – Bb and F, and from instruction on using the solfeggio instruments including the harpsichord. the instrument score to concert pitch. syllables and has students compose The Note Speller gives extra practice Sarnecki adds A instruments and has their own melodies with do, re, mi, in learning the lines, spaces and ledger exercises which require transposition fa, and sol. The last unit provides lines of bass, treble and grand staff. both to and from concert pitch. information and activities on Mozart. I highly recommend the careful Having said that, this series completely Great theory book! gradation of information and learning. covers the requirements for RCM JR This series is ideal for preparation for theory exams and the individual the new Preparatory Rudiments exam. teacher needs to be aware of the slight Students who have completed these variations with whatever exam system four books will have completed more they are following. than half of the material needed for the As might be expected, since the Basic Elementary Music Theory Basic Rudiments exam. Any younger course has only one minor change in Books 1, 2 and 3, Note student would benefit from this study the syllabus – that of identifying chords Speller of theory along with any teaching in both solid and broken positions - the by Mark Sarnecki method. Basic book has very few changes. There The Frederick Harris JJ is an expanded explanation of minor Music Co. Ltd. intervals, a change of intervals from This set of four books is a perfect place melodic to harmonic, the addition to start theory for young students aged of five new signs regarding octave six to eight. Large type, interesting displacement and pedal, exercises for format, fun activities, reviews and both writing and identifying chords in information about musical terms and THEORY - RUDIMENTS broken form, explanation of additional composers and carefully progressed terms as well as the inclusion of an learning makes this series very analysis question in the practice exam. attractive. Elementary Music The changes in the Intermediate Rudiments Book 1 covers basic material such Rudiments are minor as well (pardon Basic, Intermediate, as the keyboard, the staff, notes on the pun). Pentatonic scales are Advanced, and Answers treble, bass and grand staff, notes and expanded to both major and minor 2nd Edition rhythm from eighth notes to whole pentatonic, and cadences are reduced by Mark Sarnecki notes. In addition to writing and to identification only in keyboard style. The Frederick Harris Music Co. Ltd. identifying notes, there are spelling The Intermediate book has twelve In my opinion, Mark Sarnecki has drills, matching and word puzzles and additional pages in which chromatic one of the most comprehensive and six simple biographies from various eras scales receive more instruction, there and practical set of books suitable for interspersed throughout the book. is more attention given to whole preparing for the RCM Rudiments Book 2 begins with measures and stem tone, major and minor pentatonic exams. Each section of study is clearly rules and goes on to cover accidentals, as well as octatonic scales. Two explained with thorough exercises the concept of numbers in intervals and pages of scales in these categories to learn the concept. Each grade is four basic key signatures and scales. are presented for identification. Of covered in an individual coil bound Again, there are some fun activities and interest is the politically correct, but book. five biographies, all from the Romantic quite appropriate, change of title of a era. With the 2009 Theory Syllabus from supporting piece from ‘Gangster Blues’ RCM, the second edition of these Book 3 introduces ledger lines, to ‘Cool Blues’! More instruction is books have been tweaked to more chromatic and diatonic semitones given on writing intervals below a note clearly adhere to the new requirements. and whole tones, major and perfect and an additional page of exercises While the books are terrific, and intervals, simple time, one example of provided. Triads receive a minor the changes positive, it is a pity that compound time, key signatures up to update, and the additional requirement more time was not given for a more four flats and four sharps, and major of identifying key and degree as well complete overhaul. For instance, triads, both solid and broken. The as root, type and position. Close and RCM requirements for transposition activities and review tests are joined open position of triads is addressed. for orchestral instruments are for two ► 42 Progressions - Fall 2010 Review of Publications
Musical excerpts contain broken The Complete Triads receive a minor update, and the as well as solid chord patterns. The Elementary Music additional requirement of identifying cadence section has been largely Rudiments key and degree as well as root, type revised, adding V7 to perfect cadences, Basic, Intermediate, and position. Five pages have been deleting the section on chorale Advanced, and Answers. added in addressing broken chords style and limiting the exercises to 2nd Edition and their function in instrumental identification, not writing. A page of by Mark Sarnecki music. Diminished seventh chords analysis has been added to the practice The Frederick Harris Music Co. are more thoroughly explained as are exam. Ltd. various chord types – triadic, quartal, Advanced Rudiments received more All three levels of Rudiments are poly and cluster. The cadence section changes in the 2009 syllabus and covered in one large coil bound has received the largest face-lift, being corresponding changes appear in the volume in which each section of study almost entirely reworked. First there workbook. A review of chromatic is covered in consecutive difficulty. is a section on the identification of , whole tone, octatonic, pentatonic The grade level is indicated by B, I perfect, plagal and imperfect cadences, and blues scales with a page for or A on the page margin. This is a then a section on writing each of identification reflects the need to comprehensive and thorough course these types in both major and minor know material covered in previous study with clarity of instruction and keys as well as at the end of a melodic levels. Modes receive five more lines well planned exercises. fragment. Chorale style has been of exercises. The cadence section has The second edition of this book is omitted. Finding a scale from a given opportunity to write perfect and plagal, expanded by twenty six pages and group of chords receives instruction. but no writing of imperfect until reflects changes in the 2009 Theory In a lamented move, old vocal score the combined short melodic excerpt Syllabus. A more comprehensive has been removed from the syllabus option. Cadence writing at the end revision could have made some and also from this workbook. Melody of an entire phrase has been left to the welcome changes such as moving writing is marked as optional, which is melody writing section. Writing in an exercise in alto clef out of the somewhat confusing, as melody writing chorale style is omitted as per syllabus tenor section, removing the page on is required for the Advanced level, but changes. Diminished seventh chords syncopation and, more importantly, not to the degree taught in the book. are written in both close and open filling the occasional empty portion The section on analysis addresses m., position, and there is an expanded of a page with further practice mm., motive, sequence, imitation and definition of chord types with an opportunities. inversion . Each level has a practice example given for each one. Three An additional page of note naming is test with a section on analysis. pages of instruction and practice are balanced by the removal of two pages The answer book is a great resource devoted to finding a scale from a given on identification of degree and keys for teachers new to these levels as well group of chords. Old vocal score is of scales in major and minor. There as for streamlining the correction of eliminated – again reflecting a change is a slight revision of the section student work. in syllabus requirements. Melody of chromatic scales and a welcome JJ writing is marked as optional as it is addition of information regarding valuable information but expanded the writing of whole tone scales. far beyond the expectations of the Pentatonic includes major and minor Advanced Rudiments level. The and octatonic scales are addressed. section on musical analysis has been Four additional pages of identification revised to include m., mm., motive, of various types of scales is a fitting sequence, inversion, imitation and review of the section. tritone and the list of terms has been updated. Minor intervals are explained in greater detail and there is a chart of The answer book covers all three levels relationship between the various types and is a welcome time saver for the of intervals, augmented, perfect, major, busy teacher. minor and diminished. JJ Broken chords have been added both for identification as well as in writing. ► Fall 2010 - Progressions 43 Review of Publications
HISTORY The workbooks which support the to study. The syllabus requires preparation of each of these levels knowledge of four out of a possible of History have undergone a much fourteen representative performers on Explorations 1, 2, 3 more radical change than the syllabus. the world stage – the workbook gives A Music History They have occasional workbook information on five. Overview elements, such as a complete glossary A broader amount of information here by Lopinski, Ringhofer of terms required in a “write your own for both these categories would have and Zarins definition” format at the end of each been useful. The Frederick Harris book and questions on individual While the authors of this series Music Co. pieces in a listening guide. They are recommend that students attend The advent of a new syllabus is much more in the style of a textbook lectures or classes by a qualified teacher, always an adventure in new learning with historical and biographical the thorough nature of the information and expectations. The 2009 Theory information and detailed facts for given here means that students who Syllabus has made streamlining changes representative compositions. wish to study on their own have a to all three levels of History. It would History 1 workbook begins each era resource second to none to assist their appear that the changes are to facilitate with a definition of each term required. efforts. It is a huge asset and time saver the learning of this material. In general Individual composers are highlighted for both teachers and students to have there are fewer terms overall for eras with biographical facts, cultural such a complete body of information in History 1 and a few extra terms for references and musical style. Works gathered together and presented in individual pieces. Two optional pieces are given background information such an engaging and practical manner. are removed – a positive move in my and, often, a summary. Excerpts from JJ opinion, as optional usually requires representative works are often followed some knowledge of both works. with a few questions. Each era ends History 2 looks largely the same but with a Review and Reflection. There has been reworked to be more in line is additional information not required with the other two levels while still for the History exam in the form of approaching the material from the recommended listening, viewing or NEW FLUTE SERIES perspective of development of genre. reading, Webquest feature, quotes and One optional work has been changed, fascinating facts. two have been added, and one has been OVERTONES removed. Fewer overall terms makes Repertoire - CD this level more manageable. History History 2 workbook is Preparatory 3 has three optional works removed, much the same format Grade 1 - 8 one added, two works changed and with a greater emphasis Studies a composer and work added. The on, and information Orchestral Excerpts largest change is in the section which about, genres and their Flute Technique addressed Modern Era Canadian development. The Frederick Harris Music Co. composers and performers. This has The long awaited flute syllabus is finally been replaced with Representative here. With 4 more grades added to Composers and Works from North the examination system, students can History 3 America and Representative Performers workbook is now enjoy the full 12 grades step by on the World Stage: Past and Present. especially valuable for step curriculum. Not only we see more While one can see a valid rationale for the detailed and specific repertoire possibilities with the new such an approach, one can only lament information given for grades addition, but the already existing – in an old and respected Canadian contemporary composers grades were also supplemented with institution such as RCM – the loss of and performers. The additional repertoire. With the new emphasis on our distinctive Canadian section in the syllabus for Modern Era syllabus we see the birth of Overtones identity and contribution. Now we are – Representative Composers of North series, a compilation of pieces for each amalgamated into North America and America requires the student to know grade level. These include repertoire, the world stage. four composers and a representative technique, studies and orchestral work out of a list of a possible thirteen. books. The workbook chooses four composers ► 44 Progressions - Fall 2010 Review of Publications
What’s new in the 2010 flute Susan Hoeppner, syllabus? Nora Shulman, Doug Besides the added 4 grades to the Stewart and Jamie syllabus, starting grade 5 we have a Thompson and practice new list C (D for ARCT) which is along with piano dedicated to unaccompanied repertoire. accompaniment tracks To compensate for the new addition realized by Roberto students will need to prepare only three Kortgaard and Peter studies instead of four. Longworth. Teachers and students will also enjoy having one comprehensive The scale portion of the technique book for all grades. All Hello Everyone, exam was completely required scales arpeggios along with Hope you have enjoyed and been redesigned. Starting their tempos and articulations are inspired by these book reviews. grade 1 all versions included. The Overtones series also Thank you to the members that have of minor scales are include two Study books with CDs, given their time and effort to do introduced (natural, Preparatory – Grade 4 and Grade 5 - 8. harmonic and melodic) these. though for the exam All the flute and piccolo orchestral students will play only one version of excerpts required for the RCM I am looking for a member that their choice. Dominant 7th arpeggio examinations from Grade 2 up to would be interested in reviewing the is introduced already in Grade 4, ARCT are compiled in one book new Grace Vandendool Harmony major scales in 3rds in grade 6 and as well. Many teachers and student books, parents will find it very useful as the we have a new addition: overlapping I would prefer someone that uses arpeggios starting grade 7. All scales previously required 6 books to go through all the RCM curriculum were them and could describe the changes and arpeggios are not required until and improvements to the series for grade 7. Though dominant th7 and replaced by just one. the benefit our members. diminished 7th arpeggios and scales in 3rds are introduced much earlier than Please contact me if you are What will you miss from the old interested. in the previous syllabus students are syllabus? not required to play them in all the keys right away. The widely played Chopin Variations Thank you on theme by Rossini, Saint-Saens Dina Pollock Studies section of Romance. the examination now [email protected] offers a greater choice 604.859.6333 of technical repertoire. The new syllabus will take effect Great additions in starting January 2011 session, but PS: If you are interested in reviewing group 1 include K.J. candidates can still use the old syllabus new issues please let me know. I can until August 2011 session. During this Andersen Capricen ship the books to you. op.37 and studies op. transition period we might see a boom 21. Group 2 studies (modern style) list of grade 6 & 8 candidates, as there are was greatly expanded as well. quiet a few pieces that were moved down one grade. Good examples will ♪ The most useful addition in the new be W.A. Mozart Andante in C Major, program is the Overtones series. Other R. Schumann Three Romances, G. Faure instruments like piano and violin have Scilienne, E. Pessard Andalouse. enjoyed similar compilations for a There is no doubt that the new flute long time. The repertoire books exist syllabus is a welcomed change in the from preparatory level to grade 8. RCM flute examination curriculum They include several selections from and teachers will enjoy the Overtones every list as well as a CD. Students series in their work with students. can be inspired by the wonderful NF performances of Dianne Aitken, ► Fall 2010 - Progressions 45 Musical Trivia
The following I believe to be actual Johannes Brahms had an admirer in Louis Armstrong caused an incident events, but can’t cite particular Franz Liszt, who invited him to visit when he gave the King and Queen of sources. I give it to you for what I when he was concertmaster at Weimar. England powerful laxatives. They had paid for it. The night of his arrival, Brahms was asked him how he stayed so healthy regaled by Liszt playing his new Sonata and he attributed it to “Silver Bullets”. The letter C is the primary tone (the in B Minor. Alas, the trip had been He didn’t mention these foil-wrapped, Ionian mode of the diatonic scale and long and tiring and Brahms fell asleep, bullet-shaped tasties were laxatives. it’s chromatic derivatives) instead of A which Liszt realized when Brahms The royals were interested in having because the men of old regarded the started snoring. Liszt was cordial some, so Louis obliged them. The royal sphere and circle as the shapes closest to enough while his visitor was there, couple thought they were being given God (as in Music of the Spheres) and C but after he left Liszt was never heard chocolate and became quite indisposed. more closely resembles a circle. playing anything by Brahms again.
Giacomo Rossini said he cried three J.S. Bach once caught two of his sons Maurice Ravel, on his tour of the times in his life: when one of his operas burning his manuscripts to keep warm U.S., was asked by George Gershwin was a flop; when a turkey that was the one frosty night. Their nickname for for lessons in composition. Ravel asked centrepiece of a fancy dinner fell off a their father was “Old Wig”, as he’d how much Gershwin earned from his boat and sank into the river, and when worn the same wad of horsehair for music; when he said about $100,000 a he first heard Paganini play his violin. many years. year, Ravel said he should take lessons from Gershwin. Sent in by Keith Burchnall From Tonecrafter Music Maurice Ravel was an ambulance driver on the battlefield during WW1 Jim Hendrix used to tune his guitar ♪ he thought it was the time of his life. between E and Eb.
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