At home you learn your part. At rehearshal you learn how your prepared part fits with the other parts. Nothing is worse than showing up prepared and having to suffer through someone's else’s poor sight reading. If this situation becomes a habit someone is going to quit or get fired.
​
Food for thought.
 
David

I teach folks how to use garage band in piano lessons and occasionally help them understand some new synthesizer they’ve bought. As we know most modern technology has a labyrinth menu architecture and often difficult to understand manuals, or worse no manuals. A first step is to understand what is "under the hood."
​
So, I’ve created a prompt to untangle your synthesizer’s menu. I suppose, with a few tweaks this would work with software, like Cubase or Ableton live, as well. 

A note on downloading xlsx files. If you are nervous about it you can generate your own using prompt similiar to this: "  Build me a complete, practical menu map, in google sheets, of a Behringer Crave Analog Synthesizer." I used CoPilot Ai. 

David

We don't waste time because we are busy people.

1. Have an artistic impression of the piece before you start.
   1. I listen to the greats play my pieces because I know that the music is not in the black dots on the page.
2. Never play through a mistake because mistakes are difficult to correct.
3. Fingering counts, therefore, try to practice slow enough to minimise mistakes.
4. Practice dynamically on the first reading to avoid having to relearn the piece later.
5. Practice articulations on the first reading to avoid having to relearn the piece later.
6. Practice in small musically significant chunks. Stitch it together later.
   1. Some days practice will be restricted to one or two tricky bits.
7. Pros practice the difficult parts bits first because ready or not the performance is in 3 days.
8. I never practice what I can sight read, period.
9. Finally slow practice = faster progress

This weekend I have the opportunity to play a paid rehearsal with a Tony Bennett Tribute Show. The main drummer is away, and I’ve been asked to step in. What an opportunity. The singer sent professional charts along with matching YouTube recordings, and here’s how I’m preparing for Sunday:

1. Listening deeply. I went through the full set. It helps that I already know this repertoire well from my work as a professional pianist.
2. Marking the scores. I added vocal cues and pencilled in the signature drum licks that aren’t written in the parts. I’m assuming the singer knows these recordings inside out, so matching those details is an easy way to show I take the gig seriously.
3. Playing along with recordings. I practiced with the tracks, focusing on matching the drummer’s bounce and feel.
4. Dialing in the specialty grooves and solos. I spent extra time on the trickier sections—slow practice, relistening, and isolating the drum solos. I’ll revisit those again tomorrow, but otherwise I’m feeling solid.
5. Preparing gear. I’ve made a list of what I need and packed my metronomes.

What gives me confidence

1. I know the music.
2. I trust that my skills are up to the task.
3. I’ve put in the practice. The singer won’t know that, so the impression of my musicianship will likely exceed what they expect.
4. I’m not shy. Hutzpah matters. Onstage, confidence often precedes skill — and it certainly precedes experience.

This is a comprehensive introduction to jazz for serious students who is at the beginning of their jazz journey. 

Order Here. 

BTW. I have no financial interest in the sale of this book. 

Please buy and read the book. 

Here is my 1st take away and commentary on practicing.  

Start with the tricky bits. But before diving in, try to figure out what the problem is. Don’t just start playing. If the passage is long, break it up in small manageable chunks. As you repeat these chunks consider all the markings in the score, especially fingerings and dynamics.

How many times should one repeat the corrected passage? Five if you have time, ten if you are in a hurry.

Things that hold you back? Irrgeluar fingering is perhaps the greatest obstacle to playing with ease. Second is practicing without dynamics, with the idea, “I’ll add those later after I’ve got the notes,” means you must learn the darn piece twice. In performance I’ll bet you’ll play version 1.

“Which pathway am I reinforcing by how I’m practicing?” Molly Gebrian, Learn Faster, Perform Better. Good question. For example, do you skip over the “boring bits” to get to the good bits? This is self defeating. I’ve learned that the “boring bits” are the essential bits. So, I dive in with gusto.

Question to consider. How is your posture? Are you sitting up or slouching?

​Best, 
David Story
Piano teacher and professional nag.

The Royal Conservatory of Music has a record of all the examinations your students have completed. My students have successfully completed 821 music exams since 1994. 821 wow!!!! They should send me and my wife on a nice cruise in recognition of services rendered.

Obviously, I feel exams are valuable, I have my ARCT. Here are few reasons in no particular order. 

​1. If you master the skills required to suceed, you will improve as a pianist. What skills? 1) performance skills, 2)aural skills, 3)sight reading, 4)theory.
2. Developing the skill or trait of perserverance in the face of difficulities or in the parlance of today, grit.
3. The music is varied and appropriate for each level. As a teacher, it is wonderful to see the students recognise their growing skills and authentic achievements because sitting for a piano exam, like sports, is the real deal. No electronic distractions, just you and the task before you. If it works, you did it. If it fails, you own it. Either way valuable life skills are developed or reinforced. 
4. Personal note. When I completed my Grade 10 and ARCT I felt like superman. 

I won't promise you will feel like superman or superwoman, but I do promise you will have an authentic experience. 

Cheers, 
David 

My practice time is limited. Why? I'm 66 years old. My runway is short. So, because I'm in a hurry, I practice new material slowly. And I use a metronome to keep me honest. Otherwise, I forget and off I go wasting my precious practice time zipping along playing through mistakes, missing nuances in the score, etc. Final thought. I've learned a few things teaching all these years, including the sad fact that there are no shortcuts, but there are lots of do overs.  ​
Best, 
​David Story

Posted on Facebook today by Eli Baumgarten.

My responce. 

“Yes, I personally practice and prioritize ear training. I transcribe licks, chord progressions, the works. Not practicing ear training is analogous to learning a new language through reading alone. How would you ever be able to hear and respond to the nuances of tone and accent, idioms, or pacing? That would make no sense if your goal is to converse, at some level, with a native speaker.”

Currently, my ear training, at the keyboard, encompasses blues tunes, (see my previous blog), big band drumming, and listening and analysis of Classical string quartets performances. 

Blues:
I figure out the form, chord progressions, the keyboard groove, and important keyboard licks. I may or may not write them down.

Big band drumming:
I'm transcribing drum fills and set ups, as well as orchestration on the drum kit. 

Classical string quartets performances:
I'm listening and noting how the music is phrased. For example, the relationship between melodic direction and dynamics. I'm particularly interested in phrase ending and tempo fluctuations. 

For beginners, where would you start?
If you are a classical piano student, start practising the ear training and completing the theory assigned to your level. 

If you are a jazz student?
Copy the melodies of jazz standards. Master musicians modify what you see in the fakebook. You want to internalise their interpreations. How does one do this if it is not immediately or intuitively easy? Listen to the track repeatedly. Renowned teacher Ed Soph said, "one hundred times." Herbie Hancock recounts that as a kid he listened to an Oscar Peterson track 100 times before he was able to work it out. He also said that the next transcription only took 99 times. In my experience, students give up too soon or attempt melodies that are too difficult. 

Starter tunes:
1. Killer Joe
2. Satin Doll
3. Summertime

Cheers,
 
David Story

1. I’ve set July 2026 as my completion date. At my current skill level, that gives me plenty of time.
2. I’m learning the tunes by ear. Of the 50 on my list, I’ve already learned about 30.
3. I’m focusing only on the keyboard parts.
4. I’ve scored 30 pieces because it helps me remember them—I have a strong ear and visual memory. However, at a blues jam, like in jazz, reading music is verbatim.
5. Starting this month, I’ll begin attending blues jams to explore the scene, learn who I’d like to play with, and who to avoid.
6. I practice piano separately to maintain and restore my keyboard skills. Teaching piano all day isn’t conducive to keeping professional-level chops.
7. I’m watching YouTube videos on blues organ technique to learn about drawbars, the volume pedal, and Leslie speaker effects. Blues piano and I are old friends; authentic blues organ playing, not so much.
8. I listen to a lot of blues recordings.
9. I focus on learning “feel” before virtuosity—feel wins every time.
10. I’m learning Green Onions using a combination of score and ear. So far, it’s the only piece I’m reading.
11. I’m doing this for fun.
12. I bought a portable keyboard that (1) fits in a backpack and (2) has the necessary sounds for this project.

​If I were a jazz student, I’d follow the same method—with one caveat: I’d make sure my piano skills were up to the task. If not, I’d get some lessons.
​
Cheers,
David

(BTW, I asked Chat GPT for a list of tunes to go with a list I have from a friend.) 

Here’s a practical, gig-tested list of 50 blues standards that are most commonly played by bands in blues clubs today. This is based on modern blues jam sessions, club gigs, and working-band repertoires rather than historical importance alone. I’ve grouped them so you can quickly see why they’re so common—and this should be especially useful given your background as a music teacher (great material for ensemble classes, jams, and stylistic study).

🔹 Core 12-Bar Blues Standards (Absolute Essentials)These are called constantly at jams and gigs.

1. Sweet Home Chicago – Robert Johnson
2. Stormy Monday – T-Bone Walker / Al
   
3. lmand Brothers
4. Hoochie Coochie Man – Muddy Waters
5. Got My Mojo Working – Muddy Waters
6. Boom Boom – John Lee Hooker
7. Pride and Joy – Stevie Ray Vaughan
8. Crossroads – Robert Johnson / Cream /Eric Clapton
9. Messin’ with the Kid – Junior Wells
10. I’m Tore Down – Freddie King
11. Everyday I Have the Blues – B.B. King

🔹 Shuffle & Swing Blues (Very Common Club Tempos)Great for teaching groove, feel, and swing articulation.

1. The Thrill Is Gone – B.B. King
2. Further On Up the Road – Bobby “Blue” Bland
3. Key to the Highway – Big Bill Broonzy
4. Caldonia – Louis Jordan
5. Let the Good Times Roll – Louis Jordan / B.B. King
6. Baby Please Don’t Go – Muddy Waters
7. Shake, Rattle and Roll – Big Joe Turner
8. Kansas City – Wilbert Harrison
9. Ain’t No Sunshine (blues reharmonized) – Bill Withers
10. Route 66 – Bobby Troup

🔹 Slow Blues (Called Every Night)These are mandatory for any blues band.

1. Stormy Monday Blues – Allman Brothers version
2. Since I’ve Been Loving You – Led Zeppelin
3. I’d Rather Go Blind – Etta James
4. Red House – Jimi Hendrix
5. Tin Pan Alley – Stevie Ray Vaughan
6. It Hurts Me Too – Elmore James
7. Black Magic Woman – Fleetwood Mac
8. As the Years Go Passing By – Albert King
9. Nobody Knows You When You’re Down and Out
10. Have You Ever Loved a Woman – Freddie King

🔹 Texas / Chicago Blues Club StaplesModern blues bands love these.

1. Mary Had a Little Lamb – Stevie Ray Vaughan
2. Texas Flood – Stevie Ray Vaughan
3. Further On Up the Road – Eric Clapton version
4. Mannish Boy – Muddy Waters
5. Smokestack Lightning – Howlin’ Wolf
6. Little Red Rooster – Willie Dixon
7. I Just Want to Make Love to You – Muddy Waters
8. Killing Floor – Howlin’ Wolf
9. Goin’ Down – Freddie King
10. Born Under a Bad Sign – Albert King

🔹 Blues-Rock Crossovers (Very Common with Younger Crowds)These keep blues clubs packed.

1. The Sky Is Crying – Elmore James
2. Roadhouse Blues – The Doors
3. Tush – ZZ Top
4. La Grange – ZZ Top
5. Before You Accuse Me – Eric Clapton
6. Crosscut Saw – Albert King
7. Love Me Two Times – The Doors
8. Dust My Broom – Elmore James
9. Cocaine Blues – Rev. Gary Davis
10. Got You (Feel Good) – James Brown (blues-funk staple)

​Can I learn to play piano after age 60?
Yes, of course you can. However, the body has limitations, but within those limits, much can be realistically accomplished. I’ve had a few late bloomers pass Royal Conservatory piano exams from Level A through Level 9—all from a standing start. And others have learned to play jazz. 
Can I learn to play piano well after age 60?
Yes, you can, if you approach it properly. Consider the words of Wayne Gretzky when asked how he became so great: “I loved all aspects of the game.” So, don’t cherry-pick what you think will make you better; follow and cheerfully complete all the homework. Have faith in your teacher and the process.
Will learning to play piano be relaxing?
No, not really. Learning is difficult work. Learning a physical skill is even trickier. But playing pieces that you have learned will be joyful and relaxing.
Can I teach myself from YouTube or an app?
I don’t know. Anyone who has successfully taught themselves from YouTube or an app is not going to call me. But, as you’ve guessed it, many, who have tried, end up calling me or colleague for rescue or intervention.
Can I call you for lessons.
Alas, I’m sold out until July 2026. 

​David Story

Here are the dozen plus steps I’ve taken to teach myself to play these instruments. Cavet: I’m not going to be turning professional. But I do play in ensembles that I’m not embarrassed to invite my students to experience. And, I’m having fun!

1. I really wanted to learn to play them.
   1. Bassist Rory Slater said I’d be great on the things. That boosted my confidence to give it a go.
   2. During the lockdown I purchased a used xylophone for $600 and started whacking the thing with 2 mallets. I was instantly hooked playing early jazz and ragtime. You can see the early results below.
   3. I wanted to assess the validity of my teaching advice. Does it work? (It did.)
2. I knew the scope of the jazz field from my 50-year career as a professional musician and educator.
   1. My 1st experience hearing, as a first-year student at Berklee , Hendrik Meurkens play be-bop vibraphone and continued with my discovery of Gary Burton, a Berklee educator inspired me.
3. I knew the repertoire from playing the piano.
4. I knew the harmonic material that I would need to master.
   1. Scales
   2. Chord voicings, inversions, substitutions etc.
   3. Arpeggios
   4. Licks
5. I knew that to succeed I would need to always practice musically. I would not make the beginner mistake of “learning the piece” and then adding the expression.
6. I used a metronome in practice.
7. I video taped and/or recorded all my practices so that I could evaluate my progress.
8. I found groups to play with.
9. I learned how to hold the four mallets watching Gary Burton on YouTube.
10. I practiced regularly and I practiced a lot.
11. When I got the Malletkat I modified it to play more musically.
12. I had a couple of lessons with Rick Dior who seconded all the steps above.
13. I listen to jazz mallet players. I've discovered all sorts of forgotten musicians like Dave Pike and Emil Richards. 

If I can help you on your piano journey, call me.
David

Note how fluid the tempo is. Especially at measure 8. This is not metronomic music; it ebbs and flows. Note how the conductor gives the rhythm to the musicians. He is not just keeping the beat either, he is creating with his hands and body language. 

The most common error that students make when learning a new piece?

Leaving out, or worse, inadvertently leaving out the dynamics until they "learn" the piece. Big mistake. Why? Because under the stress of a piano exam or public performance the students will revert back to the way they practiced before they tried to "relearn" the piece with the dynamics. 

As a former piano examiner, it was always heartbreaking to see the dynamics in the score marked up in coloured pencils. Especially if the marks had the look of exasperation or desperation. I have no recollections that the poor candidate ever was able to execute the dynamics on exam day. 

David

A Rubric.  
“Jazz research and its expressions presuppose contact with a whole range of materials and speeches, namely performative, historical, theoretical, musical, pedagogical, literary, discographic and bibliographical.” The Shape(s) of Jazz to Come. Jazz Studies, interpretation, theory, and education Research Project
Let’s break this down for Jazz, Classical, and Pop musicians. 

I found this today in a collection from 2017. These are still good questions to ask and answer. 

Things to learn.
Things to improve.
Situations I like to find myself in. 
Short term goals.
Long Term goals.
Practice Schedule. 

If I can help you determine what needs improvement in your playing call me. 

​David

Audition Prep for a Blues Band
I've been invited to audition for a blues band that’s looking for a keyboard player and an occasional sub on drums. It sounds like a blast—and I’m diving in headfirst.
Here’s how I’m preparing, and the thought process behind it:

1. Motivation & Connection I’m driven to succeed and confident in my skills. What sparked this? The drummer—who played in my first professional band 48 years ago—mentioned over lunch that his current band might need a new keyboardist. They’ve got gigs lined up. I said I was available, and he sent me the set list.
   
2. Charting the Tunes I’ve created roadmaps for each song, outlining form, chords, and riffs. Just three tunes left to chart!
   
3. Gear Upgrade Sold some old equipment and picked up a keyboard that’s perfect for the gig.
   
4. Daily Practice & Score Corrections Each evening, I play along with the recordings and refine the scores. My Berklee buddy Kai spotted a wrong note in one of my charts. Later, I found even more passages that needed tweaking.
   
5. Leaning on Theory & History Blues isn’t foreign territory—I know the style well and can anticipate musical turns thanks to my background in theory and history.
   
6. Immersive Listening I made a playlist of the set on my phone and have already listened to it twice in the past 24 hours.
   
7. Scoring by Ear Transcribing by ear has been a game-changer. Writing it out helps me internalize and memorize the tunes faster.
   
8. Embracing the Adventure I’m excited to step out of my comfort zone, make some noise, and relive the smoky bar days with fellow musicians.
   
9. Targeted Practice I focus only on the tricky sections—no time wasted on what I can already play or fake convincingly.
   
10. Rest & Recovery Upped my sleep schedule. This is intense work, and I want to stay sharp.
    
11. Self-Recording Starts Tonight I’ll begin recording myself playing along with the tracks to fine-tune my performance.
    

Ten Tips for Meaningful Piano Progress

Whether you're just starting out or deepening your craft, here are some guiding principles to help you stay motivated and make real progress at the piano:

1. Find Your “Why” Have a compelling reason to succeed—something strong enough to carry you through the ups and downs of the journey.
   
2. Listen Deeply Study professional recordings of your repertoire. Pay attention to the nuances: phrasing, dynamics, tempo choices, and emotional delivery.
   
3. Respect Your Instrument Play on a well-maintained piano. An instrument in poor condition can be discouraging and hinder your growth.
   
4. Record & Reflect Record yourself regularly. Compare your performance to the score, and later, to professional interpretations. It’s a powerful tool for self-awareness and improvement.
   
5. Study Theory & History Understanding the structure and historical context of the music makes it easier to memorize and interpret with depth.
   
6. Curate Your Repertoire Keep a playlist on your phone of current, past, and future pieces. Listening often helps internalize the music and keeps you inspired.
   
7. Train Your Ears Ear training is essential. The better your aural skills, the more intuitive your playing becomes. The Royal Conservatory of Music has a terrific program at each level of skill.
   
8. Stretch Comfort Zones New material will always present challenges. To stay encouraged, begin and end practice sessions with pieces you love and know well.
   
9. Practice Smart Focus only on the tricky sections. Don’t waste time on what you can already play confidently or fake convincingly.
   
10. Be Kind to Yourself Progress takes time. Rest well, stay patient, and trust the process. If you are not sure on what the process consists of borrow some books from the library on teaching piano. You'll aquire insight there. 
    

If I can support you on your musical journey, feel free to reach out.
Warmly, 

Three Instruments, One Focused Practice PlanBy David
Balancing piano, mallets, and drum set in a single session might sound ambitious—but with intention and structure, it becomes a powerful way to grow across disciplines. Here's how I organize my two-hour daily practice to stay sharp, inspired, and musically connected.
🛠️ Step 1: Prepare Your MaterialsBefore I play a single note, I gather everything I need:

• Sheet music
  
• Pencils
  
• Reading glasses
  
• Recorder
  
• Metronome
  

Having these tools ready keeps me focused and minimizes interruptions.
🎯 Step 2: Set Clear GoalsEach session begins with a purpose. I know exactly what I want to accomplish on each instrument.
🎹 Piano

• Jazz Standards: I’m working on memorizing Beatrice by Sam Rivers and My Ideal by Chet Baker. I start by listening, then reconstruct the tunes by ear using the chord changes.
  
• Classical Repertoire: Sightreading Haydn’s Sonata in C helps me maintain touch and stylistic fluency in classical music.
  

🔔 Mallets

• Technical Etude
  
• Twelve Major Scales
  
• Sixty Broken Jazz Chords
  
• Twelve ii–V–I Rootless Voicings (4 mallets)
  
• Perform Beatrice and My Ideal on the MalletKAT
  

This combination keeps my hands nimble and my ears tuned to jazz harmony.
🥁 Drum Kit

• 10-Minute Warm-Up
  
• Record One Wilcoxen Etude. These etudes bring tone, phrasing, and musicality to my playing. 
  
• Practice Drum Solo Vocabulary because my drums solo suck.
  
• Two Pages from Rick Dior’s Drum Book
  

These exercises build precision, creativity, and endurance behind the kit. Endurance that I will need this fall playing drums in 2 big bands each week. 
⏱️ Total Time: 2 HoursIt’s a tight schedule, but with focus and flow, it’s incredibly productive.
If you’d like help organizing your own practice routine, feel free to reach out.
Best,

🎹 Scale Patterns That Shaped My Playing 

By David, formatted by Ai.
​
Scales are the backbone of piano technique, but they don’t have to be boring. Over the years, I’ve found a sequence of scale patterns that not only improved my dexterity and control, but also deepened my musicality. If you’re looking to add structure and variety to your scale practice, give this method a try.
🧭 The Pattern SequenceUsing a metronome for consistency, move through these progressive patterns:

1. Quarter Notes – One Octave Start simple. Play one octave up and down in steady quarter notes.
2. Eighth Notes – Two Octaves Increase the range and speed. Two octaves in eighth notes builds fluidity.
3. Triplets – Three Octaves Add rhythmic complexity. Triplets across three octaves challenge coordination and phrasing.
4. Eighth + Sixteenth Triplets – Four Octaves Finish with a flourish. This combination across four octaves pushes your control and stamina.

🎨 Musical TouchAs you ascend, gently build a crescendo. As you descend, ease into a diminuendo. This not only trains your fingers—it trains your ears and your expressive instincts.
💬 Final ThoughtHave fun with it. These patterns helped shape my development as a pianist, and I hope they bring clarity and joy to your practice too.
If I can help you organize your routine or answer any questions, please don’t hesitate to call.
Warmly,

🎶 How I Got Paid to Play MalletsBy David
This is my account of how I brought my mallet abilities to a professional level—where I could actually get paid to play. The big question behind it all: Do the practice techniques and curriculum I teach actually work? Let’s find out.
🛠️ Starting PointBefore I ever touched the MalletKAT, I had already taught myself elementary xylophone. You can hear those early efforts here on my YouTube Channel: Early Jazz. Also worth noting—I wasn’t starting from scratch. I’ve played and taught the music I was hired to perform for decades on the piano. That foundation made a huge difference.
🎯 The Process I Followed

• Lessons with Rick Dior I took a few mallet lessons with Rick, who showed me a proper grip, rootless voicings, and recommended graded repertoire—both jazz and classical. I shedded it until I knew it inside and out. In other words, I did the work. He also encouraged me to expand my harmonic and solo vocabulary (more on that in a future post).
• Listening & Research I studied jazz mallet players like David Pike, Gary Burton, Lionel Hampton, Milt Jackson, and others. I paid close attention to their phrasing, pedaling, and overall approach.
• Jazz Mechanics I worked through the jazz warm-up I outlined in my 1-page PDF (you can download it here).
  • 12 major scales + selected bebop scales
  • 60 jazz chords: solid for comping, broken for soloing
  • 24 rootless ii–V–I progressions in major and minor
  • Minor blues scales in A, D, C, F, Bb, Eb
  • Guide tones (3rds and 7ths) through various progressions
• Technical Work I played a ton of exercises to develop hand-eye coordination. It wasn’t a chore—it was a thrill to hear my expressive abilities grow and begin to mask my technical limitations.
• Visual Learning I watched YouTube videos of vibraphone performances. (You’ll find links to my favorites in earlier blog posts.)
• Tune Practice: The Bill McBirnie Method I practiced tunes by playing along with professional recordings. Bill’s method is simple: pick a tune, load up several YouTube versions, and spend the afternoon playing along—transposing as needed. I also used software to drill chord progression patterns from Step 4.
• Expressive Playing I focused on phrasing and musicality, even within the limits of my technique. I credit this—and knowing the tunes cold—as the key to the success of the gig.

🔭 What’s Next

• Building and retaining repertoire
• Expanding my harmonic vocabulary

If you’re working on your own musical journey and want help organizing your practice, feel free to reach out.
Best, David 🎵

He is keen and organized. There are spreadsheets, old school flashcards, and recordings to assess.