Yes, the full assistantship with the tuition waiver and monthly stipend. I can afford to go to doctoral school now. I could have screamed that out on the sidewalk after I put down the phone.
I was practicing this morning when I received a call from the graduate coordinator. I met him but I can't remember his name. He called to offer me the full assistantship and asked if I was planning to come to school. I told him I had already made plans to move to Alabama and that I accept the assistantship. My contract is in the mail and now I guess I really have to start packing.
I'm very excited to study with Amanda Penick. I had no idea who this lady is, but she is so incredibly sweet. It'll be hard not to like her. I found out more about her in this article written by her daughter-in-law. Read all about her. I am sure I will benefit from her teaching very much. Hence, I'm still practicing and practicing.
Tuesday, May 31, 2005
Monday, May 30, 2005
Chinese Piano Music: a beginning post
I have been approached many times by people wanting to know more about Chinese music. I have to admit that my knowledge of this subject is limited and I am researching more into this genre. To save me from repeating myself too often, I am going to start posting on this subject and if applicable, post links as to where the information, scores, CDs can be found. Hopefully this will be of help to people researching orientalism or Chinese music.
Some good CDs to start off with are:
Chinoiserie, Jenny Lin performer. BIS #1110
This CD is a compilation of Western piano compositions influenced by the Orient. I found the two pieces that I performed on my graduate recital on this CD. Some of the pieces bear more similarities to Chinese music than others. Composers like Arensky, Grainger, Busoni, Cyril Scott, John Adams, Tcherepnin and Rossini are featured. I will discuss what I know about the pieces on other posts. Buy Chinoiserie CD
Three Chinese Piano Concertos, Eileen Huang. ASV 1031
This CD contains the Yellow River Concerto and the Chinese Youth Piano Concerto. The third concerto "The Moon's Reflection of the Second Springs" is not really a concerto but an ensemble of Chinese instruments with the piano. I performed the piano solo version of this piece on my graduate recital. Also found on this CD is the "Autumn Moon Mirrored in the Lake" which was programmed on my senior recital at Southwestern College. Buy Chinese Piano Concertos
Ancient & Modern Chinese Music, Eileen Huang. Appassionato #69306
A collection of piano works by 20th century Chinese composers. These pieces are a good sample of the compositional styles and are considered to be famous works. Most of the pieces are suitable for college or advanced pianists. There is a second volume but I have not been able to obtain it.
Some good CDs to start off with are:
Chinoiserie, Jenny Lin performer. BIS #1110
This CD is a compilation of Western piano compositions influenced by the Orient. I found the two pieces that I performed on my graduate recital on this CD. Some of the pieces bear more similarities to Chinese music than others. Composers like Arensky, Grainger, Busoni, Cyril Scott, John Adams, Tcherepnin and Rossini are featured. I will discuss what I know about the pieces on other posts. Buy Chinoiserie CD
Three Chinese Piano Concertos, Eileen Huang. ASV 1031
This CD contains the Yellow River Concerto and the Chinese Youth Piano Concerto. The third concerto "The Moon's Reflection of the Second Springs" is not really a concerto but an ensemble of Chinese instruments with the piano. I performed the piano solo version of this piece on my graduate recital. Also found on this CD is the "Autumn Moon Mirrored in the Lake" which was programmed on my senior recital at Southwestern College. Buy Chinese Piano Concertos
Ancient & Modern Chinese Music, Eileen Huang. Appassionato #69306
A collection of piano works by 20th century Chinese composers. These pieces are a good sample of the compositional styles and are considered to be famous works. Most of the pieces are suitable for college or advanced pianists. There is a second volume but I have not been able to obtain it.
Sunday, May 29, 2005
Performance Anxiety, Practice Tips (NGR) Part 4
"Notes from the Green Room" by Paul Salmon & Robert Meyer
Discomfort with Performance-Related Sensations
- Do a "cold" run-through with minimal warm-up.
Warm-up? What warm-up? This was what happened at almost every masterclass at WSU that I played in: tumble out of bed and get to WSU. Sorry Dr. T, it was just too early in the morning!
- Play immediately after physical exercise.
Play just after you run from the parking lot into the hall because you are running late again! Or like after you've been lost for an hour and pulled into the parking lot late to your doctoral school audition.
- Play just after drinking caffeinated coffee.
Only if you can take caffeine. Neither the authors nor I advocate the use of drugs to alter your physical state.
- Practice while playing a cassette tape of audience noises or other simulated background effects.
Umm screaming baby.. if one is not present, a yowling cat will do too. Burmese are great at that. Turn on the tv, those car salesmen will really test your concentration, if not make you wanna gag them. I would not ever buy a Ford from you-know-who for those of you that live in Wichita KS
- Make a video or audio cassette recording of preliminary performances.
This is a good one as knowing that you're being recorded always adds more pressure. Plus it is good to review your playing at home and see for yourself what you're doing on stage. You may be playing faster than you need to .. somehow I always find that out a little too late. Also, facial expressions can be pretty misleading as to what the music is actually portraying/presenting. No sticking out your tongue every time you make a mistake!
Buy Notes from the Green Room
Discomfort with Performance-Related Sensations
- Do a "cold" run-through with minimal warm-up.
Warm-up? What warm-up? This was what happened at almost every masterclass at WSU that I played in: tumble out of bed and get to WSU. Sorry Dr. T, it was just too early in the morning!
- Play immediately after physical exercise.
Play just after you run from the parking lot into the hall because you are running late again! Or like after you've been lost for an hour and pulled into the parking lot late to your doctoral school audition.
- Play just after drinking caffeinated coffee.
Only if you can take caffeine. Neither the authors nor I advocate the use of drugs to alter your physical state.
- Practice while playing a cassette tape of audience noises or other simulated background effects.
Umm screaming baby.. if one is not present, a yowling cat will do too. Burmese are great at that. Turn on the tv, those car salesmen will really test your concentration, if not make you wanna gag them. I would not ever buy a Ford from you-know-who for those of you that live in Wichita KS
- Make a video or audio cassette recording of preliminary performances.
This is a good one as knowing that you're being recorded always adds more pressure. Plus it is good to review your playing at home and see for yourself what you're doing on stage. You may be playing faster than you need to .. somehow I always find that out a little too late. Also, facial expressions can be pretty misleading as to what the music is actually portraying/presenting. No sticking out your tongue every time you make a mistake!
Buy Notes from the Green Room
Erratic Memory, Practice Tips (NGR) Part 3
"Notes from the Green Room" by Paul Salmon & Robert Meyer
Erratic Memory
- Use alternate measure (A/B) half scores.
The authors suggest covering every other measure of the score (1,3,5). After which, the performer should switch to the covering the opposite set (2,4,6). Post-it Notes may work very well for this. The score preparation may take a lot of time but this suggestion may be worthwhile experimenting with.
- Imagine playing a piece through in its entirety.
I tend to do this if I can't sleep or ... There was one night I had the 1st mvt of Beethoven's Pastorale Sonata replaying over and over again in my sleep. When I woke up, I knew I had the piece memorized! Didn't get much rest though.
- Practice with memory-enhancing sound cues.
When I understand this, I will try to explain.
- Transcribe challenging passages into a notebook or log.
This task may prove to be too challenging for me. I'll try the other three, thanks though.
Buy Notes from the Green Room
Erratic Memory
- Use alternate measure (A/B) half scores.
The authors suggest covering every other measure of the score (1,3,5). After which, the performer should switch to the covering the opposite set (2,4,6). Post-it Notes may work very well for this. The score preparation may take a lot of time but this suggestion may be worthwhile experimenting with.
- Imagine playing a piece through in its entirety.
I tend to do this if I can't sleep or ... There was one night I had the 1st mvt of Beethoven's Pastorale Sonata replaying over and over again in my sleep. When I woke up, I knew I had the piece memorized! Didn't get much rest though.
- Practice with memory-enhancing sound cues.
When I understand this, I will try to explain.
- Transcribe challenging passages into a notebook or log.
This task may prove to be too challenging for me. I'll try the other three, thanks though.
Buy Notes from the Green Room
Lack of Sensory Awareness, Practice Tips (NGR) Part 2
"Notes from the Green Room" by Paul Salmon & Robert Meyer
Lack of Sensory Awareness
- Practice in the dark.
The constant blackouts in my hometown, Kampar made me do this quite often.
- Practice silently.
Find an electric keyboard and practice with it turned off. Or practice with the volume off and hit the record button, for some auditory feedback after you finish the piece.
- Visualize hand and foot movements in detail.
I am a dancer but only at the piano, unless a barn dance counts.
- Make a slow-motion analysis of movement patterns.
Think nice fluid motions.. we're not talking jerky motions here.
Buy Notes from the Green Room
Lack of Sensory Awareness
- Practice in the dark.
The constant blackouts in my hometown, Kampar made me do this quite often.
- Practice silently.
Find an electric keyboard and practice with it turned off. Or practice with the volume off and hit the record button, for some auditory feedback after you finish the piece.
- Visualize hand and foot movements in detail.
I am a dancer but only at the piano, unless a barn dance counts.
- Make a slow-motion analysis of movement patterns.
Think nice fluid motions.. we're not talking jerky motions here.
Buy Notes from the Green Room
Practice Tips Part 1 from "Notes from the Green Room" by Paul Salmon & Robert Meyer
I have been reading this book just for leisure. It is a pretty interesting study of stress and anxiety in dealing with musical performance. The book delivers some insights into performance issues and I hope that helps me understand people who have a hard time being on stage. I have found the book to be a little more of a psychology study and at times just found it boring. Also reading about performance anxiety and stage fright just agitated me so I decided to just read what I wanted to read. Here's what I found most interesting:
Practice Tips or Problem-Oriented Experiments p. 39
Troublesome Learning
- Do competing tasks.
(eg. pedal while moving a pencil ...How am I supposed to do this exactly? Oh, this example is meant for an organist.)
- Vocalize polyphonic lines one by one.
May be a good sight singing exercise on its own. This would heighten awareness of the other parts in a piece and help the encoding or memorizing process.
- Learn a new piece from end to beginning.
Hmm do they mean by sections or measures. I think some pieces would be cool to put in retrograde motion although I would not like to sightread that way.
- Transpose challenging passages.
I think I'm going to try this one. The author suggests that this will help one achieve a stable cognitive representation that does not depend on a certain set of notes or fingerings.
Buy Notes from the Green Room
Practice Tips or Problem-Oriented Experiments p. 39
Troublesome Learning
- Do competing tasks.
(eg. pedal while moving a pencil ...How am I supposed to do this exactly? Oh, this example is meant for an organist.)
- Vocalize polyphonic lines one by one.
May be a good sight singing exercise on its own. This would heighten awareness of the other parts in a piece and help the encoding or memorizing process.
- Learn a new piece from end to beginning.
Hmm do they mean by sections or measures. I think some pieces would be cool to put in retrograde motion although I would not like to sightread that way.
- Transpose challenging passages.
I think I'm going to try this one. The author suggests that this will help one achieve a stable cognitive representation that does not depend on a certain set of notes or fingerings.
Buy Notes from the Green Room
"Commercial" Practice
In teaching music, a teacher always has to struggle with getting a student to practice. While most older students will practice on their own, (given their intrinsic motivations), the much younger ones need creative ways to get them practicing.
Even though it is not the best, my students are at the stage where external motivation is most suitable. My students get a sticker on the page they pass at each lesson. Some of them earn pieces of candy as the lesson progresses dependent on the completion of each task.
I have a 7-yr old who has the hardest time practicing any of her pieces. I was beginning to really lose interest in teaching and had a hard time getting through her lesson. I asked her how much she watched tv a day and she said, "quite a bit". I asked her to do a "game" for me. Each time a commercial break occured she was to run to the piano and play through her pieces. When the programme resumed, she could stop and go back to watching tv.
I had way more progress with her than I had in weeks. As a recital approached, I found she wasn't progressing as much as needed and I checked with her on how much she was practicing. She answered, "I'm doing the commercial practice." I was pretty amazed and told her that we had to suspend the "commercial practice" for a special practice that would get her in good shape for the recital.
She took to the "regular" practicing instructions very well:
1. Sing your piece.
2. Sing and play your piece.
3. Practice measure 4-5.
4. Play whole piece with score.
5. Try it by memory.
We tried it a couple times in her lesson and she was very happy at her own progress. We wrote down the instructions in color together. She was so excited to go try this "special" practice at home. I think she saw the rewards immediately.
I guess maybe she could be weaned slowly from the "commercial practice" a term she coined. I will keep my fingers crossed.
Even though it is not the best, my students are at the stage where external motivation is most suitable. My students get a sticker on the page they pass at each lesson. Some of them earn pieces of candy as the lesson progresses dependent on the completion of each task.
I have a 7-yr old who has the hardest time practicing any of her pieces. I was beginning to really lose interest in teaching and had a hard time getting through her lesson. I asked her how much she watched tv a day and she said, "quite a bit". I asked her to do a "game" for me. Each time a commercial break occured she was to run to the piano and play through her pieces. When the programme resumed, she could stop and go back to watching tv.
I had way more progress with her than I had in weeks. As a recital approached, I found she wasn't progressing as much as needed and I checked with her on how much she was practicing. She answered, "I'm doing the commercial practice." I was pretty amazed and told her that we had to suspend the "commercial practice" for a special practice that would get her in good shape for the recital.
She took to the "regular" practicing instructions very well:
1. Sing your piece.
2. Sing and play your piece.
3. Practice measure 4-5.
4. Play whole piece with score.
5. Try it by memory.
We tried it a couple times in her lesson and she was very happy at her own progress. We wrote down the instructions in color together. She was so excited to go try this "special" practice at home. I think she saw the rewards immediately.
I guess maybe she could be weaned slowly from the "commercial practice" a term she coined. I will keep my fingers crossed.
Friday, May 20, 2005
Alabama, Here I Come!!
Yes, it has finally happened. I guess all the practicing and hanging in there paid off finally. I played a decent audition for once. I was very comfortable and played the Italian Concerto really well. I didn't play as well on the Beethoven and Grieg cos I was so dehydrated that day. I had to leave out a few notes on the Chinese pieces too.
After I finished the Bach we had to switch gears and go into a accompanying audition. The voice faculty were present and some piano faculty were present, so there were about 6 people. I played the accompaniment to Gretchen Am Spinrade and sightread an aria from La Boheme while one of the profs sang. He was so loud I couldn't hear myself so I kept fumbling around. I guess I must have never established a key since after I finished the piano prof asked for a D-flat major chord.
Anyway, the piano area coordinator there has accepted me and wants me to study with her. She is a very nice lady and her credentials are awesome, but she was willing to put herself in a vulnerable position when she said, "I hope this professor (hand on her heart) would be loved as much as you do your current professor". She understands that it will be hard for me to leave my professor here.
I think I have all the answers about the university. Words I have been waiting to hear so that I know it is the right school. She did mention that the school strives to work with students individually and also is a nurturing school. She cares about her students very much and I can tell that. I think I will work well with this professor.
So now I will wait to hear news of the assistantship and the official acceptance letter from the graduate school.
After I finished the Bach we had to switch gears and go into a accompanying audition. The voice faculty were present and some piano faculty were present, so there were about 6 people. I played the accompaniment to Gretchen Am Spinrade and sightread an aria from La Boheme while one of the profs sang. He was so loud I couldn't hear myself so I kept fumbling around. I guess I must have never established a key since after I finished the piano prof asked for a D-flat major chord.
Anyway, the piano area coordinator there has accepted me and wants me to study with her. She is a very nice lady and her credentials are awesome, but she was willing to put herself in a vulnerable position when she said, "I hope this professor (hand on her heart) would be loved as much as you do your current professor". She understands that it will be hard for me to leave my professor here.
I think I have all the answers about the university. Words I have been waiting to hear so that I know it is the right school. She did mention that the school strives to work with students individually and also is a nurturing school. She cares about her students very much and I can tell that. I think I will work well with this professor.
So now I will wait to hear news of the assistantship and the official acceptance letter from the graduate school.
Thursday, May 12, 2005
One More Audition - Last Bus?
Before I lose the grin on my face, I should write about how I landed next week's audition opportunity. I am working for the Success For All Foundation as one of their contract test administrators. The job pays nicely and has alleviated a lot of my financial worries. I agreed to travel out-of-state for them since they would reimburse all my expenses including airfare, hotel, rental car and meals too.
I will be heading to Eutaw, AL next week, flying into Birmingham and staying in Tuscaloosa. I wanted to keep practicing even while I'm there since I really want to learn my Haydn and Bach pieces. As I was looking for a place to stay and possibly practice, I came across the University of Alabama. Upon searching their website, I found out that they have a DMA program in piano.
I wrote to the piano area coordinator and asked if I could meet with her and visit the school. She replied very quickly and said that if I was experienced with choral/vocal accompanying, they'd like to hear me play next week. Several emails later, I found out that someone who had originally accepted the assistantship in accompanying backed out on Friday. I had emailed her on Monday. I hope my accompanying experience and vocal diction background will help me get in. I think I'm playing well these few weeks so I'm in good shape to take on the challenge. I hope I am the person they are looking for and this is the school I'm looking for as well.
I guess I'll get a paycheck plus an all-expense paid audition in Alabama. I'm more than thrilled to say the least!
I will be heading to Eutaw, AL next week, flying into Birmingham and staying in Tuscaloosa. I wanted to keep practicing even while I'm there since I really want to learn my Haydn and Bach pieces. As I was looking for a place to stay and possibly practice, I came across the University of Alabama. Upon searching their website, I found out that they have a DMA program in piano.
I wrote to the piano area coordinator and asked if I could meet with her and visit the school. She replied very quickly and said that if I was experienced with choral/vocal accompanying, they'd like to hear me play next week. Several emails later, I found out that someone who had originally accepted the assistantship in accompanying backed out on Friday. I had emailed her on Monday. I hope my accompanying experience and vocal diction background will help me get in. I think I'm playing well these few weeks so I'm in good shape to take on the challenge. I hope I am the person they are looking for and this is the school I'm looking for as well.
I guess I'll get a paycheck plus an all-expense paid audition in Alabama. I'm more than thrilled to say the least!
Tuesday, May 10, 2005
Why I Like Practicing Hanon
Why I Find the "Mundane" Extremely Interesting
Yes, finally I am doing Hanon exercises. Some of you must be wondering why now, after all these years. I remember one summer a long time ago, I was so bored at home that I sat down and sightread most of the Book I & II. I felt indifferent about them then. I also remember watching my then would be professor burn the book at his Piano Magic event. I don't know whether I've ever shared that sentiment and I don't think he does.
I love geometry and jigsaw puzzles. Something in the exercises really appeal to me in the head. Playing the first half of each exercise just makes me try to figure out how the second half would be, as they are meant to be symmetrical. I find it pretty fascinating and I can just feel my mind working in a different way when I practice them. It is like I'm putting a jigsaw together in my head and I get to imagine the colors.
As for the "other" benefits of those exercises, I'm sure much has already been discussed by other pianists and pedagogues. It is almost a relief to practice repeated patterns and just concentrate on motifs after doing recital repertoire for a long time. It also got my sightreading back into shape very quickly since I had to accompany for a living lately. My prof did ask me to memorize each exercise and that is good advice, as I can focus on getting the coordination required. It does slow me down and makes me study them with more depth.
I play a whole bunch of them every day before I jump into my new literature. I work on memorizing some of them, giving the next set more detailed attention and just playing through the others at whatever speed is comfortable. The metronome is my friend. I keep Post-It flags at the piano and mark the ones that are tricky for me. When I come to a flagged page, I pay more attention to make sure I'm not hurting myself by going too fast or allowing weird movements. No pain is definitely more gain at the piano!
Yes, finally I am doing Hanon exercises. Some of you must be wondering why now, after all these years. I remember one summer a long time ago, I was so bored at home that I sat down and sightread most of the Book I & II. I felt indifferent about them then. I also remember watching my then would be professor burn the book at his Piano Magic event. I don't know whether I've ever shared that sentiment and I don't think he does.
I love geometry and jigsaw puzzles. Something in the exercises really appeal to me in the head. Playing the first half of each exercise just makes me try to figure out how the second half would be, as they are meant to be symmetrical. I find it pretty fascinating and I can just feel my mind working in a different way when I practice them. It is like I'm putting a jigsaw together in my head and I get to imagine the colors.
As for the "other" benefits of those exercises, I'm sure much has already been discussed by other pianists and pedagogues. It is almost a relief to practice repeated patterns and just concentrate on motifs after doing recital repertoire for a long time. It also got my sightreading back into shape very quickly since I had to accompany for a living lately. My prof did ask me to memorize each exercise and that is good advice, as I can focus on getting the coordination required. It does slow me down and makes me study them with more depth.
I play a whole bunch of them every day before I jump into my new literature. I work on memorizing some of them, giving the next set more detailed attention and just playing through the others at whatever speed is comfortable. The metronome is my friend. I keep Post-It flags at the piano and mark the ones that are tricky for me. When I come to a flagged page, I pay more attention to make sure I'm not hurting myself by going too fast or allowing weird movements. No pain is definitely more gain at the piano!
Monday, May 9, 2005
A Kite
I think life is sometimes like a kite. You need wind that's blowing against you and resistance to fly. The stronger the resistance the higher up you soar but first you have to be willing to run against the wind. Because God is the one holding the other end, I can afford to run against the wind. Isaiah 40:30-31
Sunday, May 8, 2005
"I Nailed That Stinker!!"
I think someone should record my first reactions after I finish performing. Today was the first time in a long while that I was truly happy with my playing. I finally played my heart out in the Beethoven Rondo as it is the last time I intend to play it for now. I gave all I had to give. I was very comfortable with the piece and did more with the expression, and pulled several surprises. The best thing is that I knew I had an audience even though there was a crying baby through the first part of the piece. I held them with me till the end.
I always enjoy playing in Winfield. I listened to two senior recitals on Saturday. After those two performances, I had to sit down and practice in Messenger. My usual SC habit was to practice late into the night and be the last to leave the building after security has locked it. Thursday this week was a significant day. Something just snapped and I got mad at my piano professor for the first time. A casual question became a catalyst. I cried for hours that afternoon and just poured out my frustrations and disappointments with not getting into doctoral school. So in Messenger, I played through all my pieces and was just so relieved to know that I can still play. It was all I needed and Sunday was great!!
Someone came up to me after the service and asked me a lot of questions. He finally said that his wife has a scholarship for Kansas graduates to attend the Aspen Music Festival and he wanted to know whether I would be interested. I left him my business card and I hope to hear from this person. We will see what happens.
I always enjoy playing in Winfield. I listened to two senior recitals on Saturday. After those two performances, I had to sit down and practice in Messenger. My usual SC habit was to practice late into the night and be the last to leave the building after security has locked it. Thursday this week was a significant day. Something just snapped and I got mad at my piano professor for the first time. A casual question became a catalyst. I cried for hours that afternoon and just poured out my frustrations and disappointments with not getting into doctoral school. So in Messenger, I played through all my pieces and was just so relieved to know that I can still play. It was all I needed and Sunday was great!!
Someone came up to me after the service and asked me a lot of questions. He finally said that his wife has a scholarship for Kansas graduates to attend the Aspen Music Festival and he wanted to know whether I would be interested. I left him my business card and I hope to hear from this person. We will see what happens.
Monday, May 2, 2005
Adjudicating Piano Festivals .. You are a candidate for "What Not to Wear"
I have just ventured into adjudicating piano festivals this year. I am glad that Winfield (Walnut Valley Music Teachers' Assoc) piano teachers remembered me and have graciously asked me to judge their students. I also adjudicated at the Ark City Middle School Festival.
I seem to have the reputation of being a nice person.. though I often feel I'm pretty hard on students. It is nerve racking at times what to say and what to write and what ratings to give. Of course in the mini masterclass settings, their parents and often very young siblings (I mean toddlers) could be in the room. I have heard of horror stories of a student not being able to take even the kindest critique and worse, having his/her parent/s jump on you.
Thankfully the comments I have received from the teachers about my rating sheets were complementary. I think after growing up in the Asian education system, I am much more careful not to attack the performer but just critic the performance. I remembered my ABRSM exams and the comments examiners gave me. They never attacked me, but they never really encouraged me either, mostly stated just as a matter of fact. I'm glad I took the time to carefully phrase my sentences and choose my words. I almost wanted copies of all my own rating sheets so I could see which words I overused (perhaps I still do). I hope I addressed the problem (if present) and offered enough comments/suggestions for the student & teacher to ponder. I dislike it when my students get comments that leave us nowhere to go.
I framed my comments in the context of whether the student displayed a basic understanding of the piece they were presenting. I didn't really care whether it was as fast as it should be (they were just in middle school) but I wanted to hear clear balance, some understanding of the technique required, some sense of phrasing and musical style. I found the most difficult task was giving an actual number rating. I hope my comments justified the rating I gave.
At times, I couldn't help but notice the stage etiquette. I think I lived with a theater costumer enough that I hope her great dress sense rubbed off on me. My favorite two comments that I wrote and may get me really famous in Winfield are:
"Your choice of footwear interferes with pedalling" She was wearing flipflops and there was little control of the damper pedal marring an otherwise decent rendering of an arrangement of Mozart's Turkish March.
"Remember every performance is a formal event and it is never too young to learn to dress professionally" This kid came in with uncombed hair (a huge unstyled afro), a t-shirt, ragged jeans and dirty sneakers. He looked like he rolled out of bed straight into the concert hall.
I will reserve the comment, "You are a candidate for "What Not to Wear" on TLC Fridays 7/8 Central" for the future. So until I judge more advanced students, I will continue to ponder all these and come up with more creative ways to critique but encourage.
I seem to have the reputation of being a nice person.. though I often feel I'm pretty hard on students. It is nerve racking at times what to say and what to write and what ratings to give. Of course in the mini masterclass settings, their parents and often very young siblings (I mean toddlers) could be in the room. I have heard of horror stories of a student not being able to take even the kindest critique and worse, having his/her parent/s jump on you.
Thankfully the comments I have received from the teachers about my rating sheets were complementary. I think after growing up in the Asian education system, I am much more careful not to attack the performer but just critic the performance. I remembered my ABRSM exams and the comments examiners gave me. They never attacked me, but they never really encouraged me either, mostly stated just as a matter of fact. I'm glad I took the time to carefully phrase my sentences and choose my words. I almost wanted copies of all my own rating sheets so I could see which words I overused (perhaps I still do). I hope I addressed the problem (if present) and offered enough comments/suggestions for the student & teacher to ponder. I dislike it when my students get comments that leave us nowhere to go.
I framed my comments in the context of whether the student displayed a basic understanding of the piece they were presenting. I didn't really care whether it was as fast as it should be (they were just in middle school) but I wanted to hear clear balance, some understanding of the technique required, some sense of phrasing and musical style. I found the most difficult task was giving an actual number rating. I hope my comments justified the rating I gave.
At times, I couldn't help but notice the stage etiquette. I think I lived with a theater costumer enough that I hope her great dress sense rubbed off on me. My favorite two comments that I wrote and may get me really famous in Winfield are:
"Your choice of footwear interferes with pedalling" She was wearing flipflops and there was little control of the damper pedal marring an otherwise decent rendering of an arrangement of Mozart's Turkish March.
"Remember every performance is a formal event and it is never too young to learn to dress professionally" This kid came in with uncombed hair (a huge unstyled afro), a t-shirt, ragged jeans and dirty sneakers. He looked like he rolled out of bed straight into the concert hall.
I will reserve the comment, "You are a candidate for "What Not to Wear" on TLC Fridays 7/8 Central" for the future. So until I judge more advanced students, I will continue to ponder all these and come up with more creative ways to critique but encourage.
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