Tag Archives: students

How to Behave at a Recital

Posted by MaryO on

recital

Student recitals can be lots of fun and create valuable experiences for pianists. Unfortunately, they can also be a source of anxiety or stress if students aren’t ready and/or guidelines aren’t followed.

There are guidelines and rules of behavior all performers and audience members should follow during recitals, concerts or other performances.

Audience members must remember the reason for their visit to the recital hall – to listen quietly, actively and appreciatively to the music being offered by the performers.

For the performer:

1.  Dress appropriately. Performers being nicely dressed (or following the recital theme) shows respect for the audience, the teacher and themselves!

Girls in knee-length or longer skirts/dresses or slacks.  No spaghetti straps, no platform shoes, flip-flops, bedroom slippers or athletic footwear.

Do not wear dangling, jingling jewelry – especially bracelets.  You may need to remove rings if they twist around easily.

Boys in dress pants and buttoned dress shirts with ties preferred, or suits.

IMPORTANT: Remember to practice several times in your outfit, shoes included.  You don’t want to get to the recital and find that you can’t use the pedal properly because of your shoes.

2. Clean hands!  Dirty, sticky, or oily fingers can hurt your performance and bother the next pianist. If you complete a long piece and notice some keys are slippery with sweat (a very common issue), notify your instructor so they can clean the keyboard before the next performer.

2. When it is your turn, stand quickly and walk up to the stage. Do not run!

Bow before you perform to acknowledge the applause. Audiences used to know that it was appropriate to clap for the musician who was entering the stage to perform. This now isn’t always the case (I will start clapping if it doesn’t happen automatically). Students should bow to their applauding audience before they sit down at the bench (not acknowledging applause is generally considered to be rude).

2.  Enter the bench from the side furthest from your audience. This was a biggie for my former piano teacher and I’m reminded of it every time I see a student slink in from the “front side”… or climb over the top. I used to think this was awfully stuffy – but when you see a student do it, it just looks right.

3.  Hands in your lap before you begin. I use this with my students to give them a moment to hear the first few measures in their mind before they begin.  Once fingers are on the keys it means you’re  ready to play. If the bench needs adjusting it should be done first… and then  hands should be placed in your lap before beginning to play.

Play the scale of the piece in your head and think over tempo, markings, etc. Then  arch your hands onto the piano and position  feet on the pedals or flat on the floor–NEVER under the stool. Proceed to play!

3. Should you make a mistake while performing, you should try to continue playing without starting over or repeating. This makes sufficient practice before the recital very Very VERY important!

If playing more than one piece, you should acknowledge applause in between with a nod or smile.

4.  Hands in lap after you finish. So many piano students are already lifting themselves off the bench as they play the final note (perhaps really eager to return to their seat in the audience!?) Learning to place your hands in your lap after finishing gives the audience a moment to truly relish what they just heard.

5.  Rise and stand at the edge of the piano (with left hand on the wood). Bow from the hips,  don’t curtsey. Bowing nicely takes practice!  In handbells, we bow towards the table and say silently “I love handbells”.  The same can be said in piano recitals – “I LOVE Piano”.

6.  Walk calmly off the stage or away from the piano.  No running… no matter how badly you want to get back to your seat!

For the audience:

Recitals are a special occasion and so it is customary to dress nicely.

• Please arrive a little early in order to find a comfortable place to sit.

• Make sure all your invited guests understand the importance of arriving on time. If they arrive late, it makes it difficult for those performing.

• Please invite as many friends and family members as you’d like. Our recital hall has lots of room, and can accomodate likely as many as you’d like to invite. And if not, then a standing room only crowd would be a fantastic crowd to have, and a wonderful problem to deal with!

• Turn off all cell phones and any electrical devices that may produce sound.

• Once the recital begins, please listen and be quiet. Crying babies should be taken out. They are not happy, and neither is the audience or the performer!

• If you arrive late, please wait to enter between pieces when you hear applause. Do not enter the recital hall or switch seats while someone is performing.

• The soloist will bow and your response is to applaud politely!

• No whistling, yelling, or other loud methods of congratulation. While boisterous congratulations are meant to show support for the performer, it may actually cause unintended problems instead. The best way to show appreciation for the performance is with thunderous applause, and an occasional “bravo” at the end of an especially great performance.

• Compositions that have movements or suites are, in general, performed without applause in the middle.

• Respect the performers. Unnecessary noise from whispering, talking, candy wrappers, etc. during a program is not acceptable. Reading, studying, and writing letters during a program are also inappropriate.

• Please stay until the performance or event is completely over. Attending a recital so that other families will serve as audience to your student, and then leaving before the other performers have finished is rude, inconsiderate and unacceptable. If you have other obligations or matters to attend to before the recital is over, please do not attend.

• Flash photography is not appropriate during a performance. The flash can disrupt the performer’s concentration.

• Enjoy! Your presence is the greatest affirmation!

For Everyone:

No Perfume!  Your perfume or cologne will linger around the piano after you leave the stage (especially under hot lights), and it might give the next pianist some sinus or eye irritation; or, at the very least, create a distraction that can prevent them from getting “in the zone.”

Parts of this article adapted from It’s The Little Things That Count… Piano Etiquette and Your Piano Students | Teach Piano Today

March 4 in Music History

Posted by MaryO on

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More about National Grammar Day.

. 1678 ~ Antonio Lucio Vivaldi, Italian baroque composer. The creator of hundreds of spirited, extroverted instrumental works, Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized perhaps more than any of his contemporaries. A group of four violin concerti from Vivaldi’s Op. 8, better known as “The Four Seasons”, may well be the most universally recognizable musical work from the Baroque period. Perhaps the most prolific of all the great European composers, he once boasted that he could compose a concerto faster than a copyist could ready the individual parts for the players in the orchestra.
More information about Vivaldi

(MaryO’Note:  Spring from The Four Seasons is available in the Piano Maestro App for piano students)

. 1801 ~ The U.S. Marine Band performed for the first time at a presidential nomination. That president was Thomas Jefferson.

. 1875 ~ Bizet’s Carmen premier, Paris

. 1877 ~ The ballet of Swan Lake, composed by Peter Ilyich Tchaikovsky, was performed for the first time in the famous Bolshoi Theatre in Moscow, Russia

and

. 1915 ~ Carlos Surinac, Catalan Spanish-born composer and conductor

. 1918 ~ Frank Wigglesworth, American composer

. 1925 ~ Enzo Stuarti, Opera singer

. 1928 ~ Samuel Adler, German-born American composer

. 1929 ~ Bernard Haitink, Dutch conductor

. 1932 ~ Miriam (Zensile) Makeba, South African born singer who was the first black South African to attain international stardom.

. 1934 ~ Barbara McNair, Singer, TV hostess of The Barbara McNair Show, actress

. 1942 ~ Dick Jurgen’s orchestra recorded One Dozen Roses on Okeh Records in Chicago.

. 1942 ~ The Stage Door Canteen opened on West 44th Street in New York City. The canteen became widely known as a service club for men in the armed forces and a much welcomed place to spend what would otherwise have been lonely hours. The USO, the United Service Organization, grew out of the ‘canteen’ operation, to provide entertainment for American troops around the world.

. 1943 ~ Irving Berlin picked up the Best Song Oscar for a little ditty he had written for the film, Holiday Inn: White Christmas at the 15th Academy Awards.

. 1944 ~ Bobby Womack, Songwriter, singer

. 1948 ~ Chris Squire, Bass with Yes

. 1948 ~ Shakin’ Stevens (Michael Barratt), Singer, actor

. 1951 ~ Chris Rea, Guitarist with these groups Chris Rea Band and Ambrosia; singer, songwriter

. 1969 ~ Chastity Bono, Singer, daughter of Sonny & Cher

. 1978 ~ Andy Gibb reached the top of the music charts as (Love is) Thicker ThanWater reached #1 for a two-week stay. The Bee Gees also set a record on this day as their single, How Deep Is Your Love, from the Saturday Night Fever soundtrack stayed in the top 10 for an unprecedented 17 weeks.

. 1981 ~ Lyricist E.Y. ‘Yip’ Harburg died in an auto accident in Hollywood, CA at the age of 82. Two of his most successful hits were Over the Rainbow from The Wizard of Oz and It’s Only a Paper Moon, popularized by Nat King Cole and many others.

. 2001 ~ Glenn Hughes, a singer who performed as the mustachioed, leather-clad biker in the disco band the Village People, died at the age of 50. The group, which was the brainchild of producer Jacques Morali, featured men dressed as an Indian, a soldier, a construction worker, a police officer, a cowboy and Hughes’ character, a biker. The band released its first single, San Francisco (You’ve Got Me), in 1977. It followed the next year with its first hit, Macho Man. The band then produced a string of hits, including Y.M.C.A., In the Navy and Go West. Collectively the Village People sold 65 million albums and singles. Although disco fell out of fashion in the 1980s, Hughes stayed with the band until 1996, when he left to sing in Manhattan cabarets.

. 2003 ~ Fedora Barbieri, a mezzo-soprano whose passionate singing sometimes stole the scene from opera diva Maria Callas, died. She was 82. Born in Trieste in 1920, Barbieri performed on stages ranging from Milan’s La Scala to New York’s Metropolitan Opera House to London’s Covent Garden. Barbieri’s career started in 1940 and for her 80th birthday, she sang the role of Mamma Lucia in Pietro Mascagni’s “Cavalleria Rusticana” in Florence. Her repertoire included roles in operas by Giuseppe Verdi and Giacomo Puccini. Barbieri died in Florence, which she had adopted as her home and where she gave many performances.

. 2003 ~ Emilio Estefan Sr., father of the Latin music mogul, died at the age of 83. Estefan Sr. played the plump and comical ambassador in a music video for the Miami Sound Machine’s hit song Conga, which featured singer Gloria Estefan, wife of Estefan Jr. The Miami Sound Machine’s office was once located in Estefan Sr.’s garage. His son later built a home for his parents on his Star Island compound. Estefan Sr. was born in Santiago de Cuba and moved to Spain with Estefan Jr. in 1966. His wife and another son stayed in Cuba because the boy was of military draft age and couldn’t leave until 1980. Estefan Sr. came to Miami in 1968, a year after Estefan Jr., and opened a clothing business in Hialeah.

Valentine Contest!

Posted by MaryO on

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Love is in the air!

To celebrate Valentine’s Day this year, students who play any version of John Legend’s “All of Me” using Piano Maestro and get 3 stars will have a chance to win an Amazon gift card!

The winner will be announced on February 15th!

NOTE: This is a contest through JoyTunes/Piano Maestro so the winner may not be from the O’Connor Music Studio.

MaryOOneRose

Vivaldi’s Spring ~ on Piano Maestro!

Posted by MaryO on

vivaldi

 

Vivaldi, one of the greatest baroque composers, has a very interesting story. He ran an orphanage in the 18th century in Italy that became famous all over the western world for its musically talented children. A lot of his pieces were written for specific children in his school. Vivaldi learned the violin from his father, and was trained as a priest. He was nicknamed “the red priest” for his red hair and was apparently somewhat sure of himself, having claimed once he can compose a concerto faster than it can be copied.

Vivaldi wrote over 500 pieces, most of which are lost today. He is considered one of the greatest musical landmarks in history, having inspired many composers that followed him, including J.S.Bach and others.

Other fun facts about Vivaldi can be found here.

Vivaldi’s Spring is available on Piano Maestro, which is available to my students free of charge.

The Evolution of Music Clefs

Posted by MaryO on

When my students are first working with the Grand Staff, they are often confused about the placement of the various clefs.

In piano music, we generally use only the G-clef (Treble clef – not “trouble clef” as some think!) and the F-clef (Bass clef)  I try to show students how the curvy part of the G-clef wraps around the G above middle C and the F-clef looks sort of like an F marking the F below middle C.  I draw out G and F on the staff to show how these could have looked.

Originally, instead of a special clef symbol, the reference line of the staff was simply labeled with the name of the note it was intended to bear: F and C and, more rarely, G. These were the most often-used ‘clefs’ in Gregorian chant notation.  Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions.

Over time the shapes of these letters became stylized, leading to their current versions.

 

Shocking News for Piano Students: Note Reading Not the Best Way to Learn Piano?

Posted by MaryO on

So many piano students would love to be able to just sit down at the piano and play without having to read sheet music. At least, that’s according to pianist/composer Edward Weiss.

Weiss, owner and webmaster of Quiescence Music’s online piano lessons believes anyone can play the piano. And he does it all without note reading.

Weiss explains…

“Most piano students assume they must learn how to read music before they attempt anything creative. Nothing could be further from the truth. In fact, I encourage students to speak the language of music first through chords before learning how to read it.”

This ‘backwards’ approach isn’t really backwards at all according to this teacher. When asked why he teaches piano this way, Weiss says:

“We learn our native language first by speaking it. This is a normal and natural thing. Why not music? Note reading should be the last thing taught. As students become more and more comfortable with ‘speaking the language’ of music, the need to play what other’s have written and produced decreases.”

via Shocking News for Piano Students: Note Reading Not the Best Way to Learn Piano? | PRLog.

Why Work on Music Theory?

Posted by MaryO on

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Students at the O’Connor Music Studio know that music theory is always a part of lessons.  I strongly believe that theory is needed so that students understand what they are playing and why.

To me, theory work is just as important as playing.  A firm knowledge of musical structure makes playing everything easier.

Music knowledge learned through piano lessons transfers easily to other  musical activities.  Students in Fairfax County Public Schools, students learn to play recorder.  Students are sometimes surprised to learn that they already know all the notes – from their piano lessons!

When you sing in a choir, harmonize with Sweet Adelines, play an instrument in your school or community band/orchestra, join your church’s handbell choir (note:  Pender UMC has an excellent Handbell program), teach yourself guitar – theory will help in every instance. By learning to read, write, and understand this musical language, many more musical opportunities will be made available the rest of your life.

Most piano methods come with a theory book that matches page by page what concepts are being learned in the lesson books.  I actually recommend that students do the theory first when they get home, while the concepts are still fresh in their minds.

If the student is not in a piano method, I’m starting to use the Theory Time series.  Book One covers music alphabet, introduction to keyboard and staff, stem rule, steps & skips on a keyboard and staff, repeated notes, dynamics, treble clef lines & spaces, bass clef lines & spaces, quarter note & rest, half note & rest, whole note & rest, dotted half note, bar lines, double bar line, measures, time signatures, rhythm drill, vocabulary, ear training and a review test. Free ear training videos for each ear training exercise are hosted on the Theory Time YouTube channel. The Grade One workbook is appropriate for beginning 1st, 2nd or 3rd grade students. This workbook includes 51 pages, 13 lessons and 8 Fun Sheets.

For adults and more advanced students, I have a copy of All About Music Theory: A Fun and Simple Guide to Understanding Music which can be used as a review or a “try before buy”.

Stop procrastinating and go do your theory!

What I’m Working on Now

Posted by MaryO on

People, especially students, are often surprised that I still take piano lessons.  There seems to be a consensus that adults, especially piano teachers, know everything already.  Well, no.  There is always more to learn.

Each pianist and teacher has different ideas and techniques to share.  Anyone who has seen my music library knows that I couldn’t possibly have played, let alone mastered, each piece of music I own.  One year, I had claimed so much music on my income taxes, that an IRS agent was dispatched to my studio to disclaim my claims in an audit.  I won!

 

I am reviving an older piece that I played sometime in the past.  I know that because of all the color coding!

Here,  Murray Perahia plays Mendelssohn’s Trois Fantaisies ou Caprices, Op. 16. Nr. 1: Andante con moto.

This piece can be downloaded from http://imslp.org/wiki/3_Fantaisies,_Op.16_%28Mendelssohn,_Felix%29

 

My son and I are working on Capriol by Peter Warlock, to be played June 7, 2015 at Steinway Hall.

I don’t know who is performing in this video but I hope to have a video of our performance to post later:

 

I’m also sightreading a variety of ragtime pieces and will choose one to work on in the next few days.  In the running are Zez Confrey and William Bolcom.  We’ll see!

 

maryOpianoplayer