We all do it. So go for it. 

​David
Revised August 2022

I've fond memories of listening to New Orleans Jazz as a kid at home. Al Hirt, Louis Armstrong, Pete Fountain, the lot. Music that gives joy when you play it. and joy when you listen to it. 
​ 
​"Sugar" was released in 1926 by Ethel Waters, you can listen below. Over the Christmas break, I've been learning to play jazz on the xylophone. Who knew it was so much fun? This is my version on xylophone with piano accompaniment. 

If you would like to have as much fun as this on the piano, call me. 

​David
Revised August 2022

Yesterday fourteen piano students got together in a jazz club and jammed with a bassist and drummer. What a blast!

Here is some feedback from students:

1. You cannot over prepare.
2. Bring legible charts, on brilliant white paper, because lighting and/or print size is always an issue in a jazz club.
3. iPads have a nasty way of going dark at the worst possible moment.
4. Playing at workshops, in front of fellow students, is a safe place for dealing with your nerves.
5. No fancy arrangements or complicated charts; keep it simple until you gain experience.   
6. Playing from memory leads to more security on stage because you can look up for visual cues from the other musicians. Readers often have their heads down and are subsequently unaware of the clues and musical cues from the other musicians.
7. It was fun!

 
Next up February, Covid willing.
If you'd like to join us, call me. 
​ 
David
Revised September 2022

• I have no talent.
• My hands are too small.
• I tried teaching myself, that was a bust.
• I have no rhythm. 
  
• Let me address excuse number 2 first. The doctor’s assistant told me today that her hands were too small. “See she said” as she extended her hand. (It was the same size as mine.) “How do you play with those hands?” “Easy, a teacher showed me.”

Number 3 is the saddest. “I tried teaching myself “. Trying to teach yourself from YouTube or some half-baked app is like trying to teach yourself to drive a car from YouTube. Let that sink in for a moment. A teacher will make you a plan, sequence the material for you, respond to your concerns, and inspire you.

Number 1 and 4? " I have no talent; I have no rhythm." I take ballroom dance classes with my wife. She is a natural and trained dancer. I’ve no talent or rhythm. But I’m having fun every week. Nobody cares, not even my wife. We are having way too much fun dancing to worry about my lack rhythm or talent.

If I can help you overcome the resistance, call me.

David Story
Revised September 2022

I practice piano and drums daily, except Sundays when I rest. Recently my student Barb asked me, "how do you practice?" Here is my answer. 

1. I prepare to practice. My music and instruments are at hand and ready to go. As is my metronome, recordings, audio recorder, and pencils.
2. If the piece is new, I listen to the reference recording before commencing.
3. I plan out how I will play the piece. I consider fingering, dynamics, articulations, and the appropriate motions required to realize my artistic vision.
4. I warm up and stretch. (Students should warm up with scales and chords played gently and rhythmically with a metronome.)
5. I usually work with a metronome when playing jazz, but only occasionally if I'm working on my classical piano skills. However, I use it all the time if I’m on the drum kit.
6. I record myself as I practice. First, it helps keep me honest. Second, it helps me decide what and why I'm repeating the passage in question.
7. I practice piano technique and drum rudiments because technique is like muscles; it must be maintained.
8. When I listen to music, I ask myself, “what’s going on here?” I often write out what I hear going on. To date I have transcribed 100+ drum pieces alone. And over a four decade plus career, I transcribed countless jazz, and pop piano excerpts. 
9. When learning a new piece, I practice slowly with dynamics and articulations in place. I don’t add these later after "I've got the notes".
10. I’m patient because I trust the process. 

Have Fun. 
​
David Story
Revised October 2022

This guy did the work and then fearlessly put himself out there.

David
Revised October 2022

Background.
I learned piano haphazardly as a teenager. When I attended Berklee College of music the piano teachers never talked about “playing” the piano, only what to play.  Later in my professional work as a commercial musician the playing demands were not too strenuous.

Skipping ahead.
In my early forty's I spent a summer in Santa Pola Spain with a small keyboard and a book of Bach WTC book 1 and Chopin Waltzes. Every afternoon after lunch while the world took a siesta, I would explore the music on this tiny sixty note plastic keyboard. It was a magical experience. Upon returning home, I started asking around for a piano teacher. Leon Karan’s name came up a few times, so I called him. He answered with his warm Russian accent. Yes, I will see you. An appointment was made.

“Mr. Story, please play for me a c major scale.”
Gritting my teeth and tensing my body as hard as I could, I dug in and roared up the piano. He looked at me sympathetically.
“Please play your piece for me.”
I’ve no recollection of which piece I played but I do remember his concerned reaction. I was humbled. 

“You are of course going to do your ARCT?”
“My what?”
“ARCT, you are a piano teacher. You have a duty to your students.”

Four years and five thousand hours of practice later, I graduated age 47. It was the most difficult and rewarding thing I’ve ever done as a musician. It was truly a marathon, but to mangle my metaphors, I felt like superman. 

If you'd like to feel like superman/woman, call me. 

David
Revised October 2022

"Spending winters in the sunshine, reading, playing golf and socializing seemed a wonderful way to spend retirement.   With both of us being music lovers, our sound system is always on all day with great music ranging from Classical, Jazz and some pop.  But I felt something was missing and it wasn’t snow.  My wife encouraged me for years to take music lessons.  I was not too keen because my memory of lessons was the Nuns whacking my fingers with a ruler insisting, I keep my lazy fingers off the keys; that ended in 1958 when I got my Grade 8 piano.  But the seed was planted.  I decided to look on the net for a music teacher near Burlington and came across David’s website. This really looked interesting.  During our cocktail hour that night, I said – when we get back to Burlington, I am going to take Jazz lessons from this David Story guy.  On April 23, 2013 my life changed.

Of course, I thought I would be rattling off Jazz tunes within weeks; grief!  As time progressed, I realized how complex Jazz really is, especially soloing; how do they do that?   Practice, practice, practice every day and soon I started to see the tunnel – no light yet!  After a few years of toil and trouble, something that sounded akin to music emerged; I encouraged my cousin to take lessons from David.  Then, 4 years ago, David encouraged us to attend the Jamey Aebersold Summer workshop in Louisville.  There we were for 6 days: 2 old guys, jamimg in groups, attending classes and intense listening, from 7am to 10 PM.  Hardly time for a Scotch closer at night!  At last, all those lessons from David were clicking into place like a Rubik’s cube. We went back the next summer and did it again.  Then, David encouraged me to try and get a group together to Jam.  The pressure was on; my 2 songs would not cut the mustard.  More practice.  An advert in Kijiji did the trick; we ended up with an exceptional drummer, bass, guitar – and me.  We met every week for 3 hours until covid.

My lessons continue.  The Jam will continue after we all get our shots.  I am still amazed at what some practice along with amazing guidance and encouragement from David has done for my life and continues to do so.  Not bad for an 80 year old!"

​Gary.

Update October 2022: Gary is still at it. He's been playing jazz, in multiple bands, each week now, for years. Go Gary!

​David
Revised October 2022

Setting out to create your own music has many satisfactions.

​But first a story. 

I'm 13 years old, and an overly confident self-taught guitarist. I head off to music camp in Kirkland Lake Ontario in the summer of 1972. Harry Forbes, the guitar instructor, was kind and tolerant. Good thing because I sucked.

One day I spotted a strange looking keyboard in the corner of the room.
Q: "What is that, Harry?"
A: "It's an ARP2600 synthesizer".
Q: "What does it do?"
A: "It does this"
Me: "Holy *D*D(#KD+!"

I was hooked. I've never looked back. 

So why create your own music?
​
1. Personal expression
2. Participate in the sound of our time
3. Keep the "play" in playing music alive
4. Creative exploration and discovery
5. Learn new instruments
6. Join an online community of music makers
7. Become a rich and famous DJ
8. Collect gear

Electronic music has its own terms. 

Now...................................Before

Producer                           Composer
DJ                                    Musician
DAW                                 Score paper

How to get started.

The cheapest way is to explore phone apps. This can be expanded with the addition of a specialized keyboard that attaches to your phone. $100+

​Next up, purchasing a USB keyboard and a Digital Audio Workstation and pair of audio speakers. $500+

​When you want to go all in you will need a USB interface to plug in mics and instruments, USB keyboard and a Digital Audio Workstation, microphones, yards of audio cables, a pair of specialized audio speakers, a specialized desk, and a room to put it all in. 

I can help you get started, call me. 

​David
Revised October 2022

Over the duration of the classes, I've learned many new things about teaching online. As a result, I've upgraded and tweaked my technology and lesson plans. Who says you can't teach an old dog new tricks?

Call me, 

​David
Revised November 2022

I'm 15 or so and I've been playing piano for just a year when I got the call from a singer of my acquaintance. She is cute and she needs an accompanist for the outdoor church strawberry social. I accept. (Though I'm way over my head, I'm keen to impress.)

We practice together. Somehow, I survive. However, I am about to learn the difference between the practice room and the stage. (I didn't imagine it is like basic training verses combat.) So, picture this: It's a beautiful day as I approach the piano the church has hauled onto the grass. The back of the piano faces the singer and the audience. I confidently sit down, and immediately my right leg starts to bounce uncontrollably against the underside of the piano. People are looking around for the source of the noise. I remain deadpan behind the piano. She keeps singing. It mercifully ends.

Takeaways.

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 business career.
3. The magic of the performing arts is its illusion that it is easy.

David
Revised June 2023

In 2018 I traveled to Poland to study with American Jazz Masters: Dena DeRose, Miguel Zenon, Aaron Goldberg, Mike Moreno, Ali Jackson, and Luques Curtis. This transformation experience was worth every penny. Aaron Goldberg, pianist, was my 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. Instructor and 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. On day one, after hearing us all play, we were put into groups and assigned rooms to report to. A bunch of us showed up, nervously eyeing each other. Language was immediately an issue. There were 5 Poles, 2 Russian teenager wunderkinds, 1 Chinese Rock Star, and 1 Canadian old guy. And we all noticed the room was devoid of music stands.

Aaron walks in and introduces himself. Turns out h was a student of Bob Sinicrope!  He then calls the first tune Body and Soul. Everyone knew it by memory! So, without music we sing, using solfege, together the bass line of the song after much discussion and negotiation of the chords.  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 was glad I was a drummer that day.

At the concerts we are the only group playing without music. The lack of music meant we played with an intensity and conviction that the fakebook readers didn't have. I chalk it up to the terror of flying without a net. Our reward? Aaron buys us a bottle of Bison Vodka at weeks end and toasts us all. 
​
Thank you, Aaron, for the valuable insights and the vodka.

​David
Revised January 2024

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 takeaways 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 elevates our game.
3. Live music inspires and fuels your imagination. At the conference I heard 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 my enthusiasm high and knowledge up to date. I'm looking forward to sharing all my new knowledge and experiences with my students.

Cheers,

David Story
revised October 2023

I'm off to Louisville. 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 other folks from my musical past 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. Hundreds of instructional videos on the fine art of classical and jazz piano.

Cheers,

​David Story

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

1. Winners play everything as written in the score. I've noticed that few competitors do this well. However, champions take it even further by playing with musicality and poise. Here are some tips to help you. First, pick a musical piece because too many children perform unmusical selections. Second, pick pieces they have an emotional connection to. This really makes a difference.
2. Winners have control of their instrument. Control that comes from regular practice. Cramming does not work with a physical skill like music. It takes time.  
3. Well-prepared children have fun competing. They know they are ready; they present themselves well, and they bask in a job well done.

If I can help your child get ready for a music festival, call me. 

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