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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.
My Future plans.
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He is keen and organized. There are spreadsheets, old school flashcards, and recordings to assess. 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. Notes:
  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 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.  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  Two effective and humorous takes on practicing.
Public domain scale books. Free download. No registration required. If I can help you learn to play these properly, call me. David
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!  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.   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. Play 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 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 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
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. Honest communication = happy productive students
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.  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
A brief, humorous, and concise summary of the quantity and frequency of practice that keeps it fun.
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.  This is a rare event, but it is possible for some folks.
 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 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? 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  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. I use proven teaching methods, curricula, and UpToDate instruction materials.
  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. 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  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  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.
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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. AuthorI'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher. Categories
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