I'm 15 or so, I've been playing a year or two. I "practice" in quotes all the time. She is cute, she sings, she needs an accompanist for the church strawberry social. I step up. I'm waaaaaay over my head. But keen to impress.

We practice, I survive. But I am about to learn the difference between the practice room and the stage. In hindsight I imagine it is like the difference between basic training and real combat.

It's a beautiful day, they haul a small piano outside on the grass. The back of the piano faces the singer and the audience. We step up. I am soooo nervous, so underprepared that my right leg starts to bounce uncontrollably, audibly, banging the underside of the piano. People are looking around for the source of the noise. I'm deadpan behind the piano.

It mercifully ends.

Lessons?

1. "Superbia et ante ruinam" Pride goes before the fall. But the show must go on.
2. Never underestimate the power of shameless audacity in a show biz career.
3. It's harder than it looks. The magic of the performing arts is the illusion it is easy.

David

Poland is a long way to travel to learn with American Jazz Masters Dena DeRose, Miguel Zenon, Aaron Goldberg, Mike Moreno, Ali Jackson, and Luques Curtis.

​It was worth every penny for such a transformational experience. Bonus, a beautiful country and people too.

Aaron Goldberg, pianist, was our ensemble leader for the week.

But first.

About seven years ago I first attended the Jamie Aebersold Jazz Workshop in Louisville Kentucky as a drummer. I was green but pumped. I was pulled out of the workshop on day one and sent to a room where two instructors waited. Bassist Bob Sinicrope started drilling me with questions. Who are you? Why are you here? Very direct.

I explained I was a piano teacher and musician from Toronto who now played the drums. I had attended Berklee College of Music back in the day… He cut me off. “Who did you study with?”

Ah, Ray Santisi.
“Ray Santisi, I’m his bass player!” We were instant friends.
Which brings me back to Poland and Aaron Goldberg.

After hearing us all play we were put into groups and assigned rooms to report to. A bunch of us showed up, nervously eying each other. Language was an issue. There were 5 Poles, 2 Russian teenager wunderkinds, 1 Chinese Rock Star, and 1 Canadian old guy. We all noticed the room was devoid of music stands.

Aaron walks in. He was a student of Bob Sinicrope! He calls the first tune: Body and Soul. No music. We sing as a group the bass line of the song after much discussion and negotiation. We get it. Then the singer, in halting English, explains it’s in the wrong key. Aaron gives us a new tonic note and low and behold we sing the bass line in a new key. He counts us in. Away we go. I’m glad I’m a drummer that day.

At the concerts during the week, we are the only group playing without music. We play with intensity and conviction born from pure terror. We nail it.

Aaron buys us a bottle of Bison Vodka at weeks end and salutes us all. 
​
Thank you Aaron for valuable insights and the vodka.

​David

If you are feeling stale, try the following exercises.

1. Transpose all or some of your repertoire into other keys. Which keys? The ones you will find on recordings. I recently learned to play Cherokee in 12 keys, no kidding.
2. Sing the roots for the chord progressions from your repertoire, then transpose the progressions into another key. Strive to be in time and on pitch.
3. Play transcriptions from YouTube of your current repertoire. Notice whether they are plays scales, broken chords, enclosures, or blues licks.
4. Play along with master jazz musicians on recordings.
5. Renew your knowledge of key signatures, the circle of 5ths and intervals from a theory textbook.

David

1. Having a concise well thought-out goal before you begin lessons is critical. The goal need not be lofty. Just clear.
2. There are no shortcuts. Some folks know this, others not so much. Those who methodically do the work over an extended period generally see the results they were seeking. They don't skip steps or areas of study. 
3. Some folks understand skill is earned not bought.
4. Focused students outperform the scattered every time.
5. It is easier for some.
6. Practice works, I am living proof of that. I just regret it took to age 43 to learn how to practice.
7. The 10,000-hour rule may be a myth. But it is a good place to start.
8. We can be inspired and sustain our long-term efforts from drawing on noble and ignoble reasons. For example, love and revenge seem to be equally effective to get and keep us moving forward in life and piano.
9. Learning is more fun on a great instrument.
10. Taking piano exams is difficult, thrilling, infuriating, and stressful. Costs lots of money too. I am grateful to have had the privilege to do it in my 40s. It transformed my life.

If I can help you, let's chat. 

Best, 

David

Meeting in person students you've only met online is always a thrill. 

Today I had coffee with a student from Northern BC who was passing through town. We recognized each other immediately, even in masks. 

We chatted about his hometown and the music making possibilities therein. For a town of 6 thousand there was a myriad of opportunities: 

1. Concert band
2. Folk bands
3. Electronica
4. Punk
5. Fiddle music and more

Four out of five of those present music making possibilities. For many students piano is a solitary activity enjoyed with a cup of tea or class of wine. Others? It's a party. More the merrier. I help students achieve both ambitions. 

Best, 

David

I've made mine. There are below. 

Time for yours. Here are some ideas to get you started. 

1. Have fun, lower the intensity. Except if you are a professional or preparing for post secondary music education. Time to ramp it up!
2. Now back to recreational players. Normally I would recommend some concert attendance, but alas, this is not currently possible. Maybe attend some online live events. The Village Vanguard in NYC is presenting some of New York's finest. 
3. If you can visit a music store with a large print section and ask the clerk for some recommendations on what is new and exciting for players at your level. 
4. Revisit and reflect on your goals for the fall. 

Best, 

David Story

My plans. As I'm a professional, I'm ramping up the intensity until Labour Day in September. 

90-day summer music plan 2020
 
Piano Coaching

1. Contemporary piano with Jacqueline
2. Bebop with Mark
3. Adult pedagogy Workshop in July
4. Some limited jamming

Drums Coaching

1. Lessons with Lowell
   1. Daily work of his notebook
2. Finish and master drum kit book
   1. 2 to 3 chapters a week
3. Jamming with friends
   1. Rory and Jim
   2. Andrew and Rory
   3. Rory
   4. Roland and Ed
4. Transcriptions continue

Synthesizer fun

1. William and Gordon
2. Learn to make multi screen videos

Before Covid 19 1/3 of my students were already online. Now it is everyone. How are folks dealing with it? Generally fine. One young man, 4 years old, had to take a breather. But another 4-year-old is thriving. Kids are still learning, maybe even better because of the extra practice time available. Several parents have taken up the piano again to assist their kids during lessons.

Parental involvement has been a revelation. What fun they are having! Duets are ringing out, lots of laughter and perspiration.

Older adults have really taken to the whole project. Many of them are not going back schlepping through the snow to the studio, they are staying online. Safe and sound in warm and familiar surroundings.

How is the teacher doing? I miss the travel and environmental novelty of travelling. When social distancing passes, I will enjoy the personal interaction I had before. But, I'm pleased as punch that we are all settling into the new normal. 

Call me now for the fall. Spots are filling up. 

Cheers,

​David
​

How does the teacher practice?

Good question. So, here goes.

I do the following things on a regular basis:

• I have piano coaches with whom I meet monthly for both classical and jazz piano pedagogy studies.
• I have a drum coach I see weekly.
• I listen to music podcasts about coaching, customer service, marketing, and music pedagogy.
• I participate in numerous online groups involved in professional music and pedagogy.
• I practice my instruments almost daily. I usually rest on Sunday.
• From time to time I play in a professional setting.
• I attend live music events most weeks.
• 
  

I do the following things on a yearly basis:

• I attend summer music workshops around the world: USA, Canada, Italy, and Poland so far.
• I take a music holiday and attend concerts around the world. Last trip over New Years was to New York City.
• I attend professional conferences in the USA and Canada.

How do I practice in my studio?

• I have overall lifetime goals in both the piano and drums.
• I have yearly goals which are posted in the studios.
• My studio spaces are well organized, it is easy to get started.
• I record much of my practice.
• I use a metronome.
• I rehearse with my peers weekly.
• I follow the direction of my coaches/mentors/teachers, but I also initiate things on my own.
• I work on the following areas:
  • Technique
  • Etudes
  • Sight reading
  • Repertoire
  • Ear training and Transcriptions
  • Score study
  • Metronome work
  • Theory
  • Student work
• I journal my progress in various ways

 
If I can help you, feel free to call me. 

Best regards,

David

What are the take aways for students?

1. Mindful practice is effective and rewarding. Just fooling around at the keyboard is just fooling yourself.
2. The power of association is key to maintaining enthusiasm. Who we hang with matters. Being around dedicated inspiring musicians, both students and professionals elevates our game.
3. Live music inspires and fuels your imagination: Randy Brecker, Brain Lynch, Victor Wooten, John Patitucci, Groove for Thought vocal group, Arturo O'Farrill, the list goes on and on.
4. Attending teaching workshops keeps the enthusiasm high and the knowledge up to date of yours truly. I'm looking forward to sharing with all my new knowledge and experiences with my students.

Cheers,

David Story

I'm off to Louisville. I'm quite excited about the trip. I expect it will be a great learning experience and hang.

I'm rooming with my former Berklee College of Music professor and adviser Andy Jaffe. I expect to meet lots of folks from my musical past there including Ed Soph, Bobby Shew, and lots of Berklee folks.

I will be posting details of the workshops and concerts here over the next couple of days. Drum workshops will be posted on my drum blog. Have a look here: Drum blog

Piano inspiration of the week is found here: Pianist magazine.
Ninety six instructional videos on the fine art of classical and jazz piano.

I have new recordings of myself playing drums in the Toronto band "Jakes not here" on the hear me button. Jazz and Blues fun, found at the bottom of the page.

Cheers,

​David Story

This past month I've had the privilege to adjudicate 2 festivals in Ontario. Here are some tips for preparing your children for competition.

1. Winners play everything in the score, as written. Very few competitors can really do this well. Champions take it even further.
2. Pick a musical piece. Many children perform unmusical selections. Or pieces they have no emotional connection to. It really makes a difference.
3. Winners have control of their instrument. Control comes from regular practice. Cramming rarely works. An analogy would be preparing for a running marathon one week in advance of the race. The muscles will never be ready.
4. Well prepared children have fun competing. It is a rewarding experience for them. They know they are ready, they present themselves well, and they bask in a job well done.

Cheers, 

David

On Sunday January 18 we had a lovely student recital at Port Nelson United Church. The kids played well, the piano was in tune, and the concert lasted just the right amount of time. A success.

Our next concert will be the annual duet concert. A heap of family fun. Parents and kids performing together!

I was reflecting on the joy that was on display. The students who played wanted to play; they were a happy group of keeners.

A good part of their success is a result of their preparations. They had practiced, they were ready, and they knew it. 

I was told, "piano is fun if you practice, drudgery if you don't?' So protect your practice time, it is the source of your musical joy.

Cheers,

David  

"Do I have enough years left to reach my goals?" This is a good question coming from a retirement age student. I said, “Maybe”. 

I practice the drums about 6+ hours a week. Studies say it takes 10,000 hours to reach mastery. I have already put in about 1200 hours, give or take. So, I‘ll be 82 years old. Will I make it? Maybe. If I do, I will be the swinging hard and grinning ear to ear. If I do not make it, at least I will die in the saddle somewhere along the trail to my dreams.

You will notice some real progress about every 300 hours of practice. You can do your own math on the mastery bit.

Here is to practice.

Now go saddle up.

David