David Story, Online Piano Lessons from Toronto
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Tips, free lessons, and inspiration

Reflections on my 1st professional gig playing the malletkat

6/6/2025

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This is my account of how I brought my mallet abilities to a level where I could be paid to play. 

The question was this: do the practice techniques and curriculum I teach work?

It is important to stress that before I began working with the malletkat, I had taught myself elementary xylophone. You can hear my efforts here: Early Jazz. Furthermore, I know the music that I was hired to play as I’ve played and taught it for decades on the piano. So, I wasn’t starting from scratch.

Here is the process I followed.
  1. I took a few mallet lessons with Rick Dior. He showed me a grip, rootless voicings, and suggested graded repertoire, both jazz and classical. I sheaded it until I knew it inside and out. in other words, I did the work. He encouraged me to enlarge my harmonic and solo vocabulary. This will be in a future blog post.
  2. I researched jazz mallets players like David Pike, Gary Burton, Lionel Hampton, Milt Jackson, and others. I listened carefully to their phrasing, pedalling, and general approach.
  3. I work on the jazz mechanics as outlined in the 1-page jazz warmup. You can download the pdf here.
    1. 12 major scales and a few selected bebop scales. I worked tirelessly playing the broken chords and scales with expressive intention. Far from being a chore it was a thrill to hear my growing expressive abilities distract from my technical limitations.
    2. 60 jazz chords; solidly for comping, and broken for soloing.
    3. The 24 rootless ii V I chord progressions in major and minor keys.
    4. Minor Blues scales in the keys of a, d, c, f, bb, eb
    5. Playing the guide tones consisting of 3rds and 7ths through many chord progressions.
  4. I played a lot of technical exercises to develop my hand eye coordination.
  5. I watched YouTube videos playing the vibes. You can see which ones in previous blog posts.
  6. I practiced tunes primarily by playing along with professional performances. I call this the Bill McBirnie method. His method of practicing is to pick a tune, load up a number of YouTube recordings and spend the afternoon playing along and transposing as needed. I practiced the chord progression patterns in step 4 with software programs.
  7. I worked on phrasing and being expressive within the limitations of my mallet technique and agility. I credit this and knowing the tunes as the primary factor in the success of the evening.
 
My Future plans.
  1. Building and retaining repertoire.  
  2. Enlarging my harmonic vocabulary.
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An Adult Student's Preparations For His Grade 9 Piano Exam

5/26/2025

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He is keen and organized. There are spreadsheets, old school flashcards, and recordings to assess. 
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Jazz Piano Warmup Level 1

5/17/2025

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My jazz students have begun the following practice ritual. This one page sheet grew out my own quest to quickly play jazz vibraphone. For more information, please visit my practice blog. 
On page jazz piano warmup
Notes:
  1. These exercises are to be transposed through 12 keys. I practice them chromatically on the vibraphone in about 10 minutes or so. 
  2. Level 2? I practice the broken chords in different inversions. 
  3. Level 3? I practice the rootless voicings broken, similiar to measure 5 through9,  instead of in block chords. 
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Do I need to practice piano technique?

5/9/2025

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        One of my adult students recently entered art school. Today we were discussing what he learned this past year. He told me that he entered art school thinking he had a good grasp of painting. Afterall, he had been painting for years. What more would he learn? The foundation classes answered that question. I was pleased to learn that his experience with reality brought some humility and dogged determination to his project. With the 1st year now behind him, and his enthusiasm intact, he has organized summer projects to help sleigh the technical dragons standing in his way. (BTW, he is currently working on his Grade 9 RCM piano exam. He started many years ago from scratch and has stuck with it. I predict that he will succeed at art school too.)

       Learning a musical instrument is similar. It’s all about mastering technique, proper to your level, so that you play with confidence, skill, and panache. For example, back when I was a piano examiner for Conservatory Canada, I remember hearing a young child give a breath-taking performance of a Mozart minuet. This child had complete control of the instrument, herself, and the piece. And she knew it. I’ve never forgotten it.

If you would like me to help you refine your technique, call me. I’m booking spots for the fall now.
​
David
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Practicing away from the instrument

4/16/2025

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    Last week we were staging our home for sale. (Yes, we are moving to new area of Toronto and while the house was staged and sold, we stayed with my folks in Bracebridge.)

    I was able to practice the piano in Bracebridge, but I was unable to practice the drums, my primary hobby instrument. What did I do? I transcribed drum parts, starting with “Thumbs” by Sabrina Carpenter. The results are below. What fun that was. What did I learn? I was reminded that modern popular music has a very simple drum parts. And that the part was played or created by someone skilled in creating beats through the clever use of dynamics, articulations, and phrasing.  
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     What could you the piano student do away from the instrument?

​    Transcribe the dynamics, tempo changes, and articulations from a professional recording. If you are a classical student, mark up your score. If you are a jazz student mark up your fakebook. This is the "secret sauce" that makes musical magic. Listen to Valentina Lisitsa perform the Moonlight Sonata. I've marked up a 1st edition copy. The melody at B is marked pianissimo, she plays forte. Her use of ritardando is not marked either, nor is her addition of the occasional accent in the bass. 

Have fun.
David
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Practice Videos 2025

3/17/2025

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Two effective and humorous takes on practicing.
A cheerful suggestion on how to allocate or structure your practice time. The suggestions will surprise you. 
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Scale Books

1/30/2025

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Public domain scale books. Free download. No registration required. ​If I can help you learn to play these properly, call me.​
​David
imslp95651-pmlp196865-finale_2008a_-_-pentacordios_y_escalas-.pdf
File Size: 1046 kb
File Type: pdf
Download File

scales-zeckwer.pdf
File Size: 1030 kb
File Type: pdf
Download File

Scales, scales, scales
cooke-mastering_the_scales_and_arpeggios.pdf
File Size: 10907 kb
File Type: pdf
Download File

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First Jazz Lesson for An Intermediate Jazz Piano Student

1/30/2025

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This is a description of a 1st lesson for a new online student from the USA. He comes to lessons with a music degree under his belt. 

Exercise 1. Jazz is rhythm and rhythm is learned by ear. We discussed the “scat” syllables of Baa-ooo, and 8th note interpretation. I encouraged him to listen to the following tracks on YouTube at half speed and sing these syllables. (As you can see in the score below, the “baa” starts on the “and” of 4.)  He will discover how close the 8th note interpretations by these jazz artists maps on these syllables. 

Jordu by Clifford Brown
Now’s the time by Charlie Parker
Bessie’s Blues by John Coltrane
Autumn Leaves by Kenny Barron.
 
Exercise 2. Exploring swing rhythm. He learned to swing his major scales by starting on the leading tone, or a half step below the 1st note of a scale and playing and singing the scale below. Note the fingering!
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Exercise 3. Listening to Jazz by transcription, 1st steps” Road mapping. We explored how to draw a visual representation of a jazz recording by noting the instrumentation, solo order, number of choruses, etc. I directed him to this free online lesson: How to create a roadmap. Being able to hear the form is an important step to playing jazz and memorising music. 
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Exercise 4.  C jam blues and 1st step to playing by ear. C Jam Blues has 2 notes: G and C. D. was directed to another free lesson on this important tune. His task? Play the 1 note melody, by ear, along with the recordings and marvel at how many variations are possible. 

Exercise 4. P
lay the chords along with a recording or two and stay in place for the entire track. I encourage you to try this. Do be afraid to count aloud. I do it all the time in orchestra.

​The point of these exercises is two fold. One, to get the student out of their heads and into the music. Two, to learn to trust their ears because trusting your ears is an important step in memorisation, a concern of his. 

​If I can help you, call me.
 
David
 
Jazz Terms

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Is music making healthy for older adults?

1/30/2025

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Of course, music making is healthy for older adults because joy is good at any age. However, can music make any other claims?

The McMaster Optimal Aging Portal, October 2024 has an evidence-based article, with references, of the current state of knowledge on music making and its cognitive benefits. They offer some encouragement that we can take to heart. For example, active music making may, note the underlining, improve cognitive function in older adults with mild to moderate dementia. But it will not cure it. If this is a concern of yours, I invite you to explore their blog and look up the references and then talk to your doctor. 

However, if I can help you in the music making department, call me. 

​David
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My Student Roster 2025

1/23/2025

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People ask me, "who do you teach, what do they play, where do they live." Without naming names or revealing other identifying information here is the list. 

Classical
  • Nearly half of my adult students and all my teenagers are preparing for piano exams. This year I'm teaching levels A through 10 with the bulk around level 6-7. 
Jazz
  • Half of my adult students play jazz. Some of them are beginners while others play in bands. They live in North America and Europe. 
Blues
  • All the jazz students learn a bit of blues and boogie woogie. One adult is focusing exclusively on Blues. However, they are advancing  their technical skills by playing Bach and Chopin. 
iPad
  • 4 boys in Canada and France, ages 11-13, are learning piano with an iPad, the garage band app and a keyboard. I teach them to play and record video game music and modern dance music from The Fat Rat, Supermariowii,  and others. 
Theory
  • Everyone studies theory. 
Drums
  • The drummers are rocking out. 
Composition
  • In addition to theory, these students are learning to compose in various styles including UK folk music to Ambient piano. We use Dorico and other software programs like Cubase. 
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Practice notes for an intermediate jazz piano student

1/22/2025

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This is the homework assignment for a current student. She plays regularly with a bassist in the Toronto area. She is aiming to build her jazz chops and sophistication at the piano. I'm encouraging her to abandon the books and embrace the ear. 

Play list: 

Sweet Georgia Brown
Satin Doll
Mac the Knife
Rhythm Changes
All of Me
A Train

Ways to practice. Make a playlist of 3 to 5 versions of each song on YouTube. Then...
 
1. Play the melody with the track. Adjust the lead sheet to fit what is going on. 
2. Comp the chords along with the recording. 
3. Solo overtop of the recording. Copy short licks you hear. What you hear will grow with repeated listening. Famed jazz educator, Ed Soph recommended listening 100 times. A little excessive, but he did turn out a legendary list of great drummers from his Texan studio. 
4. Consider making roadmaps. See the roadmap lesson refresher here. How to create a roadmap - David Story, Online Piano Lessons from Toronto
5. Compare the chord progressions found on YouTube transcriptions. For example. Sweet Georgia Brown

​https://youtu.be/NFzHvuaAw8M?si=XEVCkZHksIsJeqZp 
https://youtu.be/rtol5kOngMI?si=dhvTfqPFWn3-sCwt 
https://youtu.be/R7cWDRrEgw0?si=K-qV36XRZ2LUk73A

 

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Honest communication = happy productive students

1/21/2025

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Honest communication = happy productive students

Here are some of the ways and reasons I encourage students to speak up.

1. For younger students, requesting pieces give them a sense of empowerment and confidence to request something from an entrusted adult.
2. Honest communication reduces guilt a student might feel after an unproductive week of practice. Remember, I give guilt free piano lessons. And I too take online classes, and like my students, some weeks are better than others.
​3. For teens and adults, honest communication keeps the lessons progressing in the direction of their aspirations. Furthermore, honest communication allows the student to change direction. For example, maybe you started out aspiring to earn your Grade 9 piano certificate and then realised that computer game music has more appeal.

If I can help you correct the direction of your musical progress, please reach out to me.
 
David

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Practice Regime of an advanced jazz student

1/20/2025

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This is a practice plan created for an advanced jazz piano student. (She earned her Royal Conservatory of Music ARCT as a teenager.)

Jazz warmups and technique

Over the course of a week, she will review the major and minor scales, modes, and left-hand voicing systems: Bebop shells, rootless chords, and occassionally modal or quartal voicings. The scales can be played straight or swung starting on the leading tone upbeat. (see below) She will play these etudes with the metronome playing on beats 2 and 4. This builds an acute sensitivity to the jazz pulse.​
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Repertoire retention and development
She reviews a piece or two to retain it. Furthermore, as she learns to techniques, she can apply them to her existing repertoire. 

Aural Training
Aural or "ear" training is the most important part of practice because jazz is an aural tradition. The training jazz musicians since 1917 has revolved around playing with recordings and "stealing" or lifting interesting ideas. One exercise it to play the melody, for example Satin doll, along with the recording and try to match the rhythm. This is trickier that it sounds.

Sightreading
Randomly open the fakebook and sight read along the chords and possibily the melody to a recording. Slow the recording down if it is tricky. 

Keeping the left hand alive
Jazz piano is not kind to the left hand because in most styles of mainstream jazz it doesn't get much of a workout. So, she keeps the left hand strong by returning regularly to some favourite classical piano tunes. In her case, Chopin. (For me it is Bach. )

If I can help you design a personalised curriculum call me. I will assess your skills, consider your goals, and plan a path forward for you too. 

​David
​

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How much should I practice?

12/27/2024

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A brief, humorous, and concise summary of the quantity and frequency of practice that keeps it fun. 
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Taking a piano exam at age 88

12/19/2024

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It's very satisfying', he said. "It was fun and it was hard work, because the older you get the more difficult it is to learn things.
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Watch the video here
This is a rare event, but it is possible for some folks. 
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Doors Roblox OST Piano lesson

12/12/2024

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Download the lesson
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Adventures in Rock and Roll, Peer Teaching, and Group Learning

11/25/2024

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The sociology of group learning and music making.

A short story.

Those of us of a certain age and gender remember that playing in a teenage rock band was a rite of passage. Fueled by macho TV images of rock gods playing to legions of screaming girls ignited our male imaginations. So, powered with visions of world dominance and female adoration we strapped on guitars, picked up drumsticks, and congregated in shag carpeted suburban rec rooms. The first few weeks were a bit tough because we had to weed out the hopeless, the nerds, and other misplaced uncool posers. Then we began our quest for social significance.  

Year one: We were gawd awful but enthusiastic. We began with Smoke on the Water. We argued and shared bits and pieces of the music that each of us knew and slowly stitched the thing together. (Good examples of peer-directed learning and group learning.) Now a funny downside. I remember bringing my little radio shack cassette recorder to practice and proudly recording our band. I thought that this would help us get better. Kirby, our drummer was so traumatised that he quit on the spot and was never known to have played drums again. Even worse it was his rec room, so we needed a new place to practice too.

Year two: The music started to come together. However, there were many more personnel changes over disputes around commitment to the band, artistic differences, and widening skill levels.

Year three: We played in public for the 1st time. Thankfully this was before social media and cell phone video. So, in my memory we had become formidable rock gods. I'm sure the reality was different. 

Year four: I’m at Berklee College of Music in Boston and the rest is history.

Postscript.

A few of us from North Bay made it in the end. One of us, the late John McGale, even became a certified rock star and guitar god. And yes, music did take me around the world though not as a rock star. 
 
If you would like to start your quest, call me, I'll teach you to play. When we started out we thought lessons we optional. Our 13 year old minds thought, "how hard can this really be when it looks so easy on TV?"

Reference
"How Popular Musicians Learn" by Lucy Green, Routledge Press, 2002
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Effective Practice Strategies 2024 For Teenagers

10/6/2024

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1. What is the difference between learning and practicing?
2. What claim does the writer make about the connection between happiness and growth? 
3. Make a list of his "how to get better by practicing less." tips. For example, how does he recommend structuring your time on the piano bench?

Note: I would take some time practicing sight reading; the skill that makes it possible to play easy pieces without practicing!
1. What is the purpose of practice?
2. What happens in our brain when we practice?
3. What is meant by the "edge of our abilities?"
4. What is visualisation in practice?
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Eudaimonia, Digital Distractions, and Practicing

9/19/2024

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​As adults we understand that digital distractions do not promote, support, or maintain eudaimonia or human flourishing. Prescriptions for promoting self-regulation are beyond the scope of this writer, however each of us, in our own ways, must consider this problem, if we are going to free up time to practice and reach our goals of learning the piano. Let me share some strategies I employ.  

I accept that to develop as a musician will require me to say no to many kinds of distractions, digital and otherwise.  Also, I have also come to peace with the fact that learning to play is a process that has peaks and valleys.  

With that out of the way here is my strategy. 

1. Each August I plan my year in advance. I block out family time, personal time, holiday time, and practice time on the calendar and then I book in my students. How many students I accept is constrained by these boundaries.  This is the major thing I do. I restrict the time available to be distracted. 
2. I try to keep my stress level at a manageable level. When my stress goes up distractions will rush in and swamp my best intentions. 

Happy Practicing.    

David 

References  Eudaimonia | Definition & Facts | Britannica 

Further reading and listening 

1. Newport, C. (2022, November 18). Deep questions podcast by Cal Newport. The Deep Life by Cal Newport. https://www.thedeeplife.com/listen/  Digital distractions Podcast. Newport is a professor of Computer Science at Georgetown University. He has chronicled his journey earning tenure, publishing academic papers, raising a family, staying married, and writing a string of best sellers on digital distraction.  

2. Yufei Qiu, Xueyang Zhao, Jiali Liu, Zhaoyang Li, Man Wu, Lixin Qiu, Zhenfang Xiong, Xiaopan Wang, Fen Yang, Understanding the relationship between smartphone distraction, social withdrawal, digital stress, and depression among college students: A cross-sectional study in Wuhan, China, Heliyon, Volume 10, Issue 15, 2024, e35465, ISSN 2405-8440,https://doi.org/10.1016/j.heliyon.2024.e35465.   (https://www.sciencedirect.com/science/article/pii/S240584402411496X) 

Abstract: Background 
Smartphone distraction considerably affects the depression level of college students. These two variables are highly associated with social withdrawal and digital distress. However, the underlying mechanisms of how social withdrawal and digital stress were involved in the relationship between smartphone distraction and depression remain unclear. 

Methods 
A cross-sectional survey was conducted in seven colleges of Wuhan, Hubei Province, from September to November 2021. Participants were selected using convenience sampling. Smartphone distraction, social withdrawal, digital stress, and depression level were assessed using the Smartphone Distraction Scale (SDS), 25-item Hikikomori Questionnaire (HQ-25), Multidimensional Digital Stress Scale (DSS), and the Patient Health Questionnaire-9 (PHQ-9), respectively. All scales demonstrated good reliability in this study, the reliability of each scale was 0.920, 0.884, 0.959, and 0.942. 

Results 
The final analysis included 1184 students (692 males and 492 females), aged between 17 and 37 years. Participants were from various academic disciplines, including medical and non-medical. The findings revealed that smartphone distraction had a significant direct effect on depression (c = 0.073, 95 % CI: 0.037 to 0.108, p < 0.001) and three significant indirect mediation effects: (1) social withdrawal (B = 0.083, 95 % CI: 0.066 to 0.101, p < 0.001), accounting for 27.76 % of the total effect; (2) digital stress (B = 0.109, 95 % CI: 0.088 to 0.132, p < 0.001), accounting for 36.45 % of the total effect; and (3) the chain mediating roles of social withdrawal and digital stress (B = 0.034, 95 % CI: 0.026 to 0.043, p < 0.001), accounting for 11.37 % of the total effect. The total mediating effect was 75.59 %. 

Limitations  This study is based on cross-sectional data, which limits the causality inference.  Conclusions  These findings suggest that educational institutions should identify college students with excessive smartphone use early and provide timely interventions to minimize negative outcomes. It is also significant to reduce the risk of social withdrawal and digital stress to maintain the physical and mental health development of college students. 

Keywords: Smartphone distraction; Depression; Social withdrawal; Digital stress; Chain mediating model  
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Free Piano Workshop 2024

9/19/2024

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Part One: The Creative Rewards of Teaching Adults

Teaching adults is incredibly rewarding because they have chosen to attend, are highly motivated, and are eager to engage with exciting music. Furthermore, they are willing to invest in an enriching hour of learning. And the best part, for us and them, is the camaraderie of this
shared experience.

In this workshop, we will delve into the motivations, fears, hopes, dreams, time constraints, repertoire goals, creative possibilities, physical limitations, illusions, and the unique motivations of young, middle-aged, mature, and retired adults.

Q&A Session

Part Two: Strategies for Maintaining Enthusiasm in Teaching

Teaching music is often described as a transference of enthusiasm. But how do veteran teachers keep their passion alive when the novelty has worn off? This workshop will explore strategies and experiences employed by the presenter and numerous colleagues from Canada
and the USA.

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Four reasons you might consider studying with me this year.

8/20/2024

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I use proven teaching methods, curricula, and UpToDate instruction materials.  
  • For beginners I primarily use Faber and Faber Adult piano adventures. This series teaches music that is attractive to adults, it covers all the important aspects of playing beautifully, and it progresses in a logical way. The Fabers also have a wide range of leveled supplementary repertoire books from classical to jazz and more.  
  • For classical music students I primarily draw from the teaching materials of The Royal Conservatory of Music, Toronto. (I graduated from this institution at age 47.)  The curriculum is organized, progresses logically, and when taken seriously, produces musicians who play beautifully from Grade One onwards.   
  • For jazz music students I draw primarily from my own experience performing on stage and my Berklee College of Music background that has been updated with 15 years of tutoring in jazz education from some of the most experienced and renowned jazz educators in the USA and Canada.  

    Proven experience.  
  • Many former students have gone on to careers in music as songwriters, performers, studio engineers, and educators. I’m proud I got them started on a solid footing which, of course, others finished at the college level.  
  • Each year I have several adult students complete piano exams, learn to play in jazz bands, and in general, have a great time playing a wide variety of music from Bach, through Gershwin, to video game music and more.  

    Cheerful service.  
  • I work hard to help students find joy on their piano journey. Learning to play the piano well is not easy, but a cheerful, well organized, and empathic piano teacher is a big help.  

    I have first hand experience in adult learning.  
  • Adult learning is an exciting journey which I understand because I’m on my third voyage. My first voyage, in my forties, was achieving my ARCT pedagogy degree from the Royal Conservatory of Music with multiple scholarships . My second voyage was taking up the drums at age 50. I now play in groups, like the Metropolitain Silver Band (an English brass band in Toronto) and various jazz big bands. And I still take lessons. My third voyage is ongoing. I study daily online at Athabasca University where I am chipping away on a humanities degree with an emphasis on philosophy.  
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What does it take to become proficient in music?

8/12/2024

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The loftier your goals, the more time you'll need to invest. However, learning effective practice techniques can speed up your progress. 

Your past musical experiences are also beneficial. For instance, if you've previously learned another instrument, you will find it easier to pick up piano. If it was a positive experience, especially if you have achieved a high level of ability in accomplishment, this is helpful too.  

The resources at your disposal, including financial ones, play a role as well. Both time and money are significant investments in learning the piano. Support and encouragement from family will also influence your journey.  
Understanding the learning process is essential. Familiarizing yourself with how piano lessons are structured will provide insight into the journey ahead and highlight the significance of various study areas, such as repertoire, aural skills, etudes, sight-reading, theory, history, and evaluations.  

Lastly, your eagerness to engage with music outside of lessons will enrich your learning experience. This includes taking part in workshops, attending concerts, exploring music online, and active listening. 

Here's a personal anecdote.

At 50, I began drumming, erroneously thinking this would be easy.  Quickly I discovered it was not. However, I was enamored and all in. Over the last fifteen years, I've studied in four countries with some of today's leading jazz drummers, performed with various community ensembles, took part in New Orleans' second-line parades, and played jazz clubs in Canada, the U.S., Poland, and Italy, as well as many outdoor festivals. Additionally, I now instruct my own students in percussion and study mallet percussion with a symphony musician. The investment of time and money? Large. Yet,
I've achieved my first drumming aspirations, playing in esteemed ensembles of retired professionals and talented hobbyists for audiences beyond just friends and family. Was the journey effortless? Far from it. But was it worthwhile? Absolutely. Would I undertake it again? Indeed, though I'd start at 40. 
 

Did I understand the process? Yes.
Did I practice? You bet.
Did I have moments of discourangment and failure? Yes.
What kept me going? Desire and devotion to the instrument. 
Was it fun? Most of the time.

If you would like help on your piano journey, call me. 

​David


You can read about my retired wife's inspiring violin journey on these blogs.  
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I Get Letters

8/9/2024

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I hope this note finds you in high spirits and with a tune in your heart! I just wanted to take a moment to express my deepest gratitude for the incredible journey of learning piano under your guidance. It's been an absolute pleasure to have you as my teacher, and I am truly grateful for the wisdom, patience, and passion you've shared with me over these last couple of years.

Your ability to break down complex concepts into simple, digestible pieces has made learning piano pure joy. I've always looked forward to our lessons, eager to discover something new.  Your encouragement and belief in my abilities have given me the confidence to tackle even the most challenging pieces.

Thank you, Prof., for being such an exceptional teacher and mentor. Your influence has not only shaped my musical abilities but has also enriched my life in countless ways. I am forever grateful for your time and for the beautiful music you’ve taught me!

Have yourself a lovely well deserved break, see you in September.

With heartfelt appreciation,
Merab
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Learning music with friends

8/8/2024

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The sociology of group learning and music making.

A short story.

Those of us of a certain age remember that playing in a teenage rock band was a rite of passage in the 1970s. Fueled by macho images, on TV, of rock gods playing to legions of screaming girls ignited our imaginations. With visions of world dominance and female adoration playing in our heads we strapped on guitars, picked up drumsticks, and congregated in shag carpeted suburban rec rooms and formed bands. After a few weeks we had weeded out the hopeless, the nerds, and other misplaced posers. This left the rest of us newly minted teenagers to begin our quest for social significance.  



Here is a timeline.

Year one: We were gawd awful but enthusiastic. We began with Smoke on the Water. We argued and shared bits and pieces of the thing, slowly stitching the thing together. Later, I remember bringing my little radio shack cassette recorder, and proudly recording our band, and listening to it back. Kirby, our drummer was so traumatised that he quit on the spot and was never known to have played again. Even worse it was his rec room, so we needed a new place to practice too.
Year two: The music started to come together. However, there were many more personnel changes over disputes around commitment to the band, artistic differences, and widening skill levels.
Year three: We played in public for the 1st time. Thankfully this was before social media and cell phone video. So, in my memory we were formidable rock gods. (However, I’ve heard some musicians of my early acquaintance play in the last few years, they were gawd awful, which tempers my memory.)
Year four: I’m at Berklee College of Music in Boston and the rest is history.

Postscript.
A few of us from North Bay made it in the end. One of us, the late John McGale, even became a certified rock star and guitar god. And yes, music did take me around the world though not as a rock star. 
 
If you would like to start your quest for music world dominiation, call me, I'll teach you to play. Music lessons were a crucial step we missed back then, we tried to teach ourselves because we were 13 years old and full of self assurance. 

David

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Mastering Jazz Piano: The Deliberate Practice Approach

8/7/2024

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Picture
Thankfully smokey clubs are a thing of the past. Notice what is missing in this Ai generated image of smokey jazz clubs: The lack of diversity. Thankfully the jazz world is no longer segragated.

“Practice makes perfect” if you practice correctly. This blog explores the concept of deliberate practice—a systematic focused and purposeful approach. Here are some ideas to make the most of your practice time. Parallel to the jazz piano suggestion I will illustrate how I use these ideas myself in my quest to master percussion instruments, including the vibraphone.  

1. Have Specific Goals
The first step in deliberate practice is setting clear, specific goals. Forget vague objective like "get better at jazz piano," that is too vague. Try to narrow it down to something tangible. For instance, aim to master a particular jazz standard, improve your improvisational skills, or work on a specific technique.

For example, here are my Jazz Vibraphone meta-goals, and a breakdown of the sub-goals.
I want to be able to jam around town on the vibes with my friends. BTW, my friends are mostly retired professional musicians, so the skill level is high. Skills I need to master.

The skills and tasks are:
a.4 mallet techniques
       i. Block chords
      ii. Hand independence
b. Playing a jazz solo with 2 mallets
      i. Developing my Bebop, swing, and modern vocabulary.
c. Mastering 4 mallet jazz chords
     i. Guide tones
     ii. Rootless 4 note chords
    iii. Idiomatic comping
d. Memorizing tunes on a new instrument

What are your meta goals for jazz piano? What are your immediate goals?
An example of an immediate Goal: Learn to play "Autumn Leaves" with a focus on incorporating ii-V-I progressions smoothly.

My weekly goals or practice regime is:  one transcription of a jazz “head.” Practice comping on tunes I already know. Playing melodies along with professional recordings. Practicing my “licks” in 12 keys, at half tempo.

2. Break It Down
Deliberate practice involves breaking down complex skills into smaller, manageable parts. For jazz piano, this means isolating specific elements of a piece or technique.

Techniques to Focus On:
Chords and Voicings: Practice different voicings for chords in the song. Guide tones, Sonny’s Thumbs (Bebop shells), or rootless voicings!
Scales and Modes: Work on the scales and modes relevant to the piece.
Rhythmic Patterns: Focus on swing feel and syncopation by playing along with recordings.

3. Focused Repetition

Repetition is crucial, but it needs to be mindful and focused. Rather than mindlessly playing through a piece, concentrate on one aspect, or section, at a time. Repeat challenging sections until you can play them effortlessly.

(In my snare drum work, I’ve been isolating a single measure for a few days.)

Practice Routine:
Spend 10 minutes practicing just the left-hand voicings. Devote another 10 minutes to right-hand scales. Combine both hands and play through the difficult measures slowly.

4. Feedback and Adjustment
Effective practice involves constant feedback and adjustments. Record your practice sessions or use a metronome to ensure you're staying in time.

Self-Assessment Tips:
Listen to your recordings and identify areas for improvement. Ask yourself the following question. How is my timing, articulation, and dynamics? Did I play the correct notes? Adjust your playing based on the feedback from the recording you receive. Rerecord and listen again. (There are recording devices on my electronic pianos and drum kits. Do you have one on yours?) I understand how difficult it can be to listen to yourself. But it is well worth the emotional  and psychological pressure to push through the resistance. Here is a suggestion, use headphones.

5. Challenge Your Comfort Zone
Deliberate practice pushes you beyond your comfort zone. If you always play familiar pieces, your progress will plateau. Tackle new and challenging material regularly to keep improving.

New Challenges:

Learn a new jazz standard every month. Experiment with different improvisation techniques. Try playing with backing tracks or in a jam session to apply what you've practiced in a real-world context. (I’m going to a jazz jam this afternoon with my vibraphone and later tonight to a big band practice with my drumkit. Playing with others, as soon as you are ready, is the quickest way to improve.)

6. Rest and Recovery
Finally, deliberate practice recognizes the importance of rest. Your brain needs time to consolidate new skills. Ensure you have breaks during practice sessions and allow yourself to rest between intensive practice days.

Rest Strategies:
Take short breaks every 25-30 minutes. Have at least one day a week without practice to rest your hands and mind. Conclusion

Practicing jazz piano using the deliberate practice model requires a focused and systematic approach. By setting specific goals, breaking down skills, engaging in focused repetition, seeking feedback, challenging yourself, and incorporating rest, you'll see significant improvements in your playing. Remember, the key is not just to practice, but to practice deliberately. Good luck.
 
If I can help you learn to practice, call me.

David

Further reading:
(PDF) How Popular Musicians Learn: A Way Ahead for Music Education (researchgate.net)
Is the Deliberate Practice View Defensible? A Review of Evidence and Discussion of Issues - PMC (nih.gov)

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    You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.
    Charlie Parker

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    I'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher. 

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