Next stop, Family Weekend!
Hello everyone,
Doc and I hope that you had a marvelous summer. We'll be meeting with the returning choirfolk next Tuesday (September 20) at Doc's house - check your SU email for details and directions.
Y'all, you are in for SUCH a treat this year!
Wonderful repertoire, exciting performance opportunities, TREMENDOUS section leaders - and of course, the inestimable pleasure and benefit from shared effort to master our Art.
I always love the returning student meetings - they're so full of excitement, enthusiasm, camaraderie, and expressed concern for the new choirfolk and how we will welcome them into our group.
Some of our new people will be new to everything: Seattle, Seattle University, dorm or apartment living, Bon Appetit pizza (! - we will help them with that) - in a whirl of newness, it will be good for them to know that in at least one context, they will find a ready-made community of intelligent, talented, accepting people who value them for their multi-faceted selves and work with them to achieve their personal and collective best.
"Excellence" - that good old SU buzzword - excellence is not our goal.
Surprised?
Excellence is our STARTING POINT.
We begin there, and then we move individually and collectively from "excellent" to OUTSTANDING.
In section leader retreat yesterday, I related a conversation Doc and I had earlier this summer... something that came to me while I was watching Simone Biles change the laws of physics with her mindblowing gymnastics performances.
All of the Olympic athletes are excellent. You don't get to the Olympics unless you're excellent.
But, in the context of this event, only a few will be judged OUTSTANDING.
Choir is unique in its three-fold position - we are a class-for-credit, a performance organization, AND a socially viable entity. We are the largest and most diverse student organization on campus. Yet our diversity is united in its essence: we are devotees and passionate students of the Art. The love of music unites us.
We're also cooks: cooks who prepare a musical and spiritual feast for those who will come to eat at our table. We're cooks who eat our /own/ cooking, moreover: we give to our audiences from abundance.
Tuesday, September 13, 2016
Friday, May 20, 2016
but wait...there's more!
Hello everyone,
Congratulations, salutations, felicitations, and whoop-ilations to Chamber Singers for a wonderful Farewell Concert on May 16! You did yourselves proud, indeed.
---------------
Our last group gig - Baccalaureate Mass - approaches. With rehearsals now at two plenary sessions per week, it is important for everyone to be extremely focused in all contexts: group work AND private practice.
Reviewing Music.
What does "reviewing the music" mean?
I like to think of this process as "re-learning," rather than "reviewing." For me, "reviewing" has different connotations. As a solo pianist, I formed the habit of retiring to a quiet place with the musical score after I'd played a concert, mentally re-playing the program with dispassionate care, essentially clearing my mind of things I did that I would rather not have done (and vice versa!). A "wash," you might say. With everything cleaned up, I felt free to then put that program away and go on to other things.
Re-learning is different and requires different mental set.
I most recently experienced re-learning a couple of years ago, bringing a few things "back" for a solo recital. I found it useful to work with two copies of the score: the original copy (with my notations, etc.) and a clean copy. I would go over the piece in sections, working with the clean copy - checking my physical reactions. Some sections called up physical sensations that seemed to "clash" with learned muscle habits. Why? I would mark these sections in the clean copy for later perusal.
After doing this, I'd go back to the original copy and play again, using that score. If muscle "clashes" persisted, I'd analyze them and see if I could find a better, more efficient way to work out the difficulties.
The success of re-learning is largely dependent upon the success of the initial learning, which lays down neural tracks that become one's "default setting" when playing/singing the piece.
THIS IS WHY IT IS SO IMPORTANT TO AVOID FORMING BAD HABITS THE FIRST TIME AROUND. THIS IS WHY IT IS SO IMPORTANT TO BE MENTALLY FOCUSED, ENGAGED, AND PRECISE THE FIRST TIME AROUND!
I have had to drop pieces from my performing repertoire because bad habits developed in the First Learning were too solidly ingrained to warrant the amount of time it would take to correct them the second time around. The 'clash' between bad muscle habits formed years ago and good muscle habits developed since "then" was simply too great. Sometimes it really IS easier to simply learn a new piece!
What does all of this have to do with Baccalaureate music?
Well!
If you've sung Bacc before, you have laid down neural tracks - and when you "review" your music, you must be very careful to PAY ATTENTION when practicing. If you feel a "tug" between what you're doing now and something that you did before, STOP - LOOK - LISTEN - ANALYZE - PLAN CORRECTION - and then repeat the corrected version many, many, many, MANY times. It is easier to correct if you work from an unmarked, clean score. (No transferred associations from markings!)
If you're a Bacc newbie, your job might, paradoxically, be a bit easier! Just do what you are supposed to do - many times! - stay focused - stay engaged.
Baccalaureate Mass is the biggest engagement of the year - we sing for 37 minutes (thanks, Doc! for crunching the numbers - egads, that's A LOT OF SINGING!) - before a group that exceeds the COMBINED attendance at our paying concerts.
At Baccalaureate, we are the choros - the chorus (as in ancient Greek drama). Through the art of music, we bring chronos (everyday time) and kairos (sacred time) together, making them as one. We express the Voice of the People and interpret the Voice of the Transcendent.
People who attend Baccalaureate Mass come from a variety of contexts. Some will consider themselves congregants, participating in a beloved and familiar religious ritual. Others attend as an audience, who may or may not practice any faith tradition. For two hours on Saturday, June 11 - all of these people are gathered for a single purpose - a purpose it is our privilege and responsibility to communicate and to celebrate.
Let's do OUR work well, so that the Work will be well.
End of sermon! - See you Tuesday next.
Congratulations, salutations, felicitations, and whoop-ilations to Chamber Singers for a wonderful Farewell Concert on May 16! You did yourselves proud, indeed.
---------------
Our last group gig - Baccalaureate Mass - approaches. With rehearsals now at two plenary sessions per week, it is important for everyone to be extremely focused in all contexts: group work AND private practice.
Reviewing Music.
What does "reviewing the music" mean?
I like to think of this process as "re-learning," rather than "reviewing." For me, "reviewing" has different connotations. As a solo pianist, I formed the habit of retiring to a quiet place with the musical score after I'd played a concert, mentally re-playing the program with dispassionate care, essentially clearing my mind of things I did that I would rather not have done (and vice versa!). A "wash," you might say. With everything cleaned up, I felt free to then put that program away and go on to other things.
Re-learning is different and requires different mental set.
I most recently experienced re-learning a couple of years ago, bringing a few things "back" for a solo recital. I found it useful to work with two copies of the score: the original copy (with my notations, etc.) and a clean copy. I would go over the piece in sections, working with the clean copy - checking my physical reactions. Some sections called up physical sensations that seemed to "clash" with learned muscle habits. Why? I would mark these sections in the clean copy for later perusal.
After doing this, I'd go back to the original copy and play again, using that score. If muscle "clashes" persisted, I'd analyze them and see if I could find a better, more efficient way to work out the difficulties.
The success of re-learning is largely dependent upon the success of the initial learning, which lays down neural tracks that become one's "default setting" when playing/singing the piece.
THIS IS WHY IT IS SO IMPORTANT TO AVOID FORMING BAD HABITS THE FIRST TIME AROUND. THIS IS WHY IT IS SO IMPORTANT TO BE MENTALLY FOCUSED, ENGAGED, AND PRECISE THE FIRST TIME AROUND!
I have had to drop pieces from my performing repertoire because bad habits developed in the First Learning were too solidly ingrained to warrant the amount of time it would take to correct them the second time around. The 'clash' between bad muscle habits formed years ago and good muscle habits developed since "then" was simply too great. Sometimes it really IS easier to simply learn a new piece!
What does all of this have to do with Baccalaureate music?
Well!
If you've sung Bacc before, you have laid down neural tracks - and when you "review" your music, you must be very careful to PAY ATTENTION when practicing. If you feel a "tug" between what you're doing now and something that you did before, STOP - LOOK - LISTEN - ANALYZE - PLAN CORRECTION - and then repeat the corrected version many, many, many, MANY times. It is easier to correct if you work from an unmarked, clean score. (No transferred associations from markings!)
If you're a Bacc newbie, your job might, paradoxically, be a bit easier! Just do what you are supposed to do - many times! - stay focused - stay engaged.
Baccalaureate Mass is the biggest engagement of the year - we sing for 37 minutes (thanks, Doc! for crunching the numbers - egads, that's A LOT OF SINGING!) - before a group that exceeds the COMBINED attendance at our paying concerts.
At Baccalaureate, we are the choros - the chorus (as in ancient Greek drama). Through the art of music, we bring chronos (everyday time) and kairos (sacred time) together, making them as one. We express the Voice of the People and interpret the Voice of the Transcendent.
People who attend Baccalaureate Mass come from a variety of contexts. Some will consider themselves congregants, participating in a beloved and familiar religious ritual. Others attend as an audience, who may or may not practice any faith tradition. For two hours on Saturday, June 11 - all of these people are gathered for a single purpose - a purpose it is our privilege and responsibility to communicate and to celebrate.
Let's do OUR work well, so that the Work will be well.
End of sermon! - See you Tuesday next.
Monday, May 2, 2016
DONE DONE DONE DONE DONE FABULOUSLY DONE DONE DONE!
Hello everyone,
WOW.
I mean, just - WOW.
EPIC!!!
AWESOME!!!
Spring Concerts 2016 - you did yourselves proud, and Doc and I are proud of every single minute of both performances. What wonderful, expressive, spirited singing - and what marvelous and efficient teamwork ;-) Y'all ROCK!
-------------------------
S.U.C.C.U.L.E.N.T. Field Trip Saturday, May 14th
Seattle University Choir Crafters Unique, Luxurious, Elegant, Nifty Treasures!!!
Field Trip and epic MAKIN' JAM SESSION on Saturday, May 14th.
The field trip begins outside the Fine Arts Building. We'll gather, put on our SUCCULENT group badges, walk down to the Capitol Hill light-rail station, and board the train for the first step of our journey to the hinterlands (Crossroads Mall, Bellevue).
After we load up in Bellevue, we will make our way back to Seattle and to campus. We will OCCUPY a classroom and get busy making stuff!
Anyone who'd like to learn how to knit or crochet - EMAIL ME asap so that we can work out a tute time.
I'm still working out the details - I will post everything right here at Lee's Lessons.
Begin filling a sack with your crochet and knitting tools, yarns, jewelry tools, beads, and ??? -
WOW.
I mean, just - WOW.
EPIC!!!
AWESOME!!!
Spring Concerts 2016 - you did yourselves proud, and Doc and I are proud of every single minute of both performances. What wonderful, expressive, spirited singing - and what marvelous and efficient teamwork ;-) Y'all ROCK!
-------------------------
S.U.C.C.U.L.E.N.T. Field Trip Saturday, May 14th
Seattle University Choir Crafters Unique, Luxurious, Elegant, Nifty Treasures!!!
Field Trip and epic MAKIN' JAM SESSION on Saturday, May 14th.
The field trip begins outside the Fine Arts Building. We'll gather, put on our SUCCULENT group badges, walk down to the Capitol Hill light-rail station, and board the train for the first step of our journey to the hinterlands (Crossroads Mall, Bellevue).
After we load up in Bellevue, we will make our way back to Seattle and to campus. We will OCCUPY a classroom and get busy making stuff!
Anyone who'd like to learn how to knit or crochet - EMAIL ME asap so that we can work out a tute time.
I'm still working out the details - I will post everything right here at Lee's Lessons.
Begin filling a sack with your crochet and knitting tools, yarns, jewelry tools, beads, and ??? -
Tuesday, April 19, 2016
tick tock tick tock tick tock...NINE DAYS REMAINING BEFORE SPRING CONCERTS!!
Hello everyone,
What a productive rehearsal we had at St. Joseph Church on Monday evening! It's a logistical tour de force, as you might imagine - an achievement that would not have been possible or successful without the cooperation and participation of everyone involved: management team, section leaders, CREW and DRIVERS!! So many, many thanks to you all.
A reminder - Dress Rehearsal #2 Thursday 4/21/16 (yes, the day after tomorrow!) in Campion Chapel. Please consult your Detailed Dates sheets for - well - details ;-)
And our third (final) dress rehearsal - Tuesday 4/26/16 at the church. Again, please check your Detailed Dates sheets for information.
Our rehearsal today in Campion was simply exhilarating! Isn't "El Vito" da bomb!!! Hooray for Jamie Namkung, one of this year's Pigott Endowment artists-in-residence, for totally kicking it on the Primo piano part! This is SO EXCITING to put together at last, what glorious fun.
"Incenerite spoglie" sounded haunting and beautiful today. The "tolling bell" idea came to me in a flash at rehearsal - I was gratified to hear the difference this 'mood-setter' made in the opening. We won't have audible tolling bells at the concert, but I do hope everyone will carry those bells (and the mood that I was trying to establish) into the performance. These things DO make a difference!
"Light-hearted Lovers" is becoming more light-hearted and playful each time we do it!
I urge everyone to be especially vigilant about self-care as we enter the final "lap" before our performances. Sleep well. Eat well. Stay well. Continue to explore and to enjoy the depths of the music. Really get into it! Give it your all! When the curtain falls at 10 p.m. on Saturday 4/30, you can then say that you have put your best effort into our group work - and you can roll home, eat everything in the fridge, hoist a tankard of some refreshing beverage (!), and sleep the sleep of the just.
Boldly go! Engage! Make it so!
What a productive rehearsal we had at St. Joseph Church on Monday evening! It's a logistical tour de force, as you might imagine - an achievement that would not have been possible or successful without the cooperation and participation of everyone involved: management team, section leaders, CREW and DRIVERS!! So many, many thanks to you all.
A reminder - Dress Rehearsal #2 Thursday 4/21/16 (yes, the day after tomorrow!) in Campion Chapel. Please consult your Detailed Dates sheets for - well - details ;-)
And our third (final) dress rehearsal - Tuesday 4/26/16 at the church. Again, please check your Detailed Dates sheets for information.
Our rehearsal today in Campion was simply exhilarating! Isn't "El Vito" da bomb!!! Hooray for Jamie Namkung, one of this year's Pigott Endowment artists-in-residence, for totally kicking it on the Primo piano part! This is SO EXCITING to put together at last, what glorious fun.
"Incenerite spoglie" sounded haunting and beautiful today. The "tolling bell" idea came to me in a flash at rehearsal - I was gratified to hear the difference this 'mood-setter' made in the opening. We won't have audible tolling bells at the concert, but I do hope everyone will carry those bells (and the mood that I was trying to establish) into the performance. These things DO make a difference!
"Light-hearted Lovers" is becoming more light-hearted and playful each time we do it!
I urge everyone to be especially vigilant about self-care as we enter the final "lap" before our performances. Sleep well. Eat well. Stay well. Continue to explore and to enjoy the depths of the music. Really get into it! Give it your all! When the curtain falls at 10 p.m. on Saturday 4/30, you can then say that you have put your best effort into our group work - and you can roll home, eat everything in the fridge, hoist a tankard of some refreshing beverage (!), and sleep the sleep of the just.
Boldly go! Engage! Make it so!
Wednesday, April 6, 2016
Mr. Toad Motions Video
Video of LP doing the motions for "Mr. Toad's Song"
I am still working to get it into either Dropbox or Soundcloud - haven't figured out yet, but
HERE
IT
IS
I am still working to get it into either Dropbox or Soundcloud - haven't figured out yet, but
HERE
IT
IS
Sunday, March 27, 2016
...aaaaaaaannnnnnnndddddddddd...prepare for warp drive!
No, really!
Hello, everyone,
Here's hoping we are all returning from our various "vacances" with energy, determination, and renewed fire ;-)
Tuesday, March 29 is the first day of Spring Quarter.
First dress rehearsal (at the church): Monday, April 18
Second dress rehearsal (in Campion): Thursday, April 21
Third dress rehearsal (at the church): Tuesday, April 26
FIRST CONCERT: Friday, April 29
SECOND CONCERT: Saturday, April 30
I've prepared my Task Calendar for this epic prep and momentous weekend.
Because I absolutely LOVE making charts of all kinds, my Epic Concert Planning Thing is handwritten on 18 x 24 inch drawing paper - a tabletop-sized spreadsheet/calendar/Gantt Chartt hybrid capable of holding sticky notes detailing Very Import Urgent Tasks that would otherwise keep me tossing and turning all night ;-)
But then, this is my job.
I recommend a somewhat less epic version of The Big Sheet for all y'all. Some things actually sink in better if planned out the old-fashioned way - by hand (writing).
Make a calendar for the time period from March 28 (day before) to April 30. Write in ALL rehearsals that require your presence. Time and venue!
Then: copy learning/mastery deadlines from your assignment sheets to the appropriate dates in the calendar. This will be particularly useful if you are in more than one group.
F'r instance: if you're in Women's Chorale and Chamber Singers, you have TWO "sets" of repertoire assignments due on Mondays. If everything is on one sheet, nothing will be forgotten or lost.
I mentioned the use of sticky notes as personal reminders for practice focus (i.e., make/date note of things you missed in rehearsal or need more work to master and put that sticky note IN YOUR MUSIC, right at the spot!)
If you need to dry clean/ press/ otherwise freshen up your concert attire, buy something (socks? bowtie? hair scrunchies? hose?), get a haircut, or do other extra-musical prep, PUT IT IN THE CALENDAR!
LONG REHEARSALS ARE LONG...
10 things to do when you are not on the risers or being directed to move somewhere:
1. Review text (memorizing practice).
2. Tap rhythms.
3. Practice diction sotto voce, or subvocalize.
4. Don't succumb to electronic distractions. Although dress rehearsals may SEEM more "free-form" than rehearsals in Campion or the choir room, they aren't. They're actually more intense, more focused.
5. Support your colleagues with engaged listening and APPLAUSE!
6. If you need to nosh at a time other than scheduled group nosh time - please remember to do so in the Social Hall or outside the building. Nothing other than water (in water bottles) may be ingested inside the nave or narthex. We're free to nosh in the Social Hall.
When you are on the risers, really "rise" to the challenges of singing in a new space and projecting your wonderful self out towards where our audience will be seated. Practice everything! "No phones at rehearsal" also means, "Don't phone in your performance!"
I'll always be grateful for this rehearsal and performance advice from one of my concert-pianist teachers: "The minute you step on stage, those cameras are CLICKING - walk the walk and talk the talk!" Word!
CONCERT HEALTH INSURANCE POLICY: DON'T GET SICK!
Yes, it happens to the best of us - but mind must triumph over matter.
Counting March 29 through April 28, there are 31 days until Concert #1.
Take care of yourself, beginning NOW - eat properly, get enough sleep!!, stay hydrated, be alert to the faintest drumbeat of oncoming problems and take firm measures to stop The Gunkk dead in its tracks. You know the drill: extra Vitamin C, echinacea, Air-Borne (yup, the gunkk is still going around)...Alcohol dehydrates a person...a smart person will stay away from it during the entire concert week, if not before ;-)
If you're flying or taking the train back to Seattle this weekend, please consider fortifying your immune system with Air-Borne or similar preventative.
Your body is your instrument is your body - you are now in the final and most intense stages of training for The Main Event.
LISTENING UP
At this point, I'm hoping Soundcloud tracks are history for you. Time to hunker down with the choral recordings in Dropbox!
They're listed alphabetically (that's Dropbox' doing, not mine) - but it's a simple thing to arrange the Spring music in concert order and transfer to other playback mode so you can listen to the concert music in more holistic fashion. I recommend doing this with "sets" as well - just take this information from the concert order in your syllabus and make yourself a nice little bunch of mixtapes.
Listening Tips:
1. Listen to the piece as background music.
2. Listen to the piece as "foreground" music - i.e., sitting with your scores and following along.
3. Listen for one particular voice part (not necessarily your part!)
4. In pieces where the musical texture is generally laid out high / low alternation (Red, Red Rose, for example) - focus on the entire group of parts (if you're a tenor, focus on tenor AND bass parts)
5. Focus on the outer parts.
6. Focus on the inner parts.
7. "Performance" listening - stand in singing position and listen to the piece, singing your part aloud or audiating it as the music plays.
8. Stand in singing position, begin the track, and practice an attitude of relaxed alertness during piano introductions, interludes, and postludes. What you practice will come naturally to you in performance! You won't have to remind yourself to "get ready."
9. I love this one: Conduct! Dance around!
...to be continued...
Hello, everyone,
Here's hoping we are all returning from our various "vacances" with energy, determination, and renewed fire ;-)
Tuesday, March 29 is the first day of Spring Quarter.
First dress rehearsal (at the church): Monday, April 18
Second dress rehearsal (in Campion): Thursday, April 21
Third dress rehearsal (at the church): Tuesday, April 26
FIRST CONCERT: Friday, April 29
SECOND CONCERT: Saturday, April 30
I've prepared my Task Calendar for this epic prep and momentous weekend.
Because I absolutely LOVE making charts of all kinds, my Epic Concert Planning Thing is handwritten on 18 x 24 inch drawing paper - a tabletop-sized spreadsheet/calendar/Gantt Chartt hybrid capable of holding sticky notes detailing Very Import Urgent Tasks that would otherwise keep me tossing and turning all night ;-)
But then, this is my job.
I recommend a somewhat less epic version of The Big Sheet for all y'all. Some things actually sink in better if planned out the old-fashioned way - by hand (writing).
Make a calendar for the time period from March 28 (day before) to April 30. Write in ALL rehearsals that require your presence. Time and venue!
Then: copy learning/mastery deadlines from your assignment sheets to the appropriate dates in the calendar. This will be particularly useful if you are in more than one group.
F'r instance: if you're in Women's Chorale and Chamber Singers, you have TWO "sets" of repertoire assignments due on Mondays. If everything is on one sheet, nothing will be forgotten or lost.
I mentioned the use of sticky notes as personal reminders for practice focus (i.e., make/date note of things you missed in rehearsal or need more work to master and put that sticky note IN YOUR MUSIC, right at the spot!)
If you need to dry clean/ press/ otherwise freshen up your concert attire, buy something (socks? bowtie? hair scrunchies? hose?), get a haircut, or do other extra-musical prep, PUT IT IN THE CALENDAR!
LONG REHEARSALS ARE LONG...
10 things to do when you are not on the risers or being directed to move somewhere:
1. Review text (memorizing practice).
2. Tap rhythms.
3. Practice diction sotto voce, or subvocalize.
4. Don't succumb to electronic distractions. Although dress rehearsals may SEEM more "free-form" than rehearsals in Campion or the choir room, they aren't. They're actually more intense, more focused.
5. Support your colleagues with engaged listening and APPLAUSE!
6. If you need to nosh at a time other than scheduled group nosh time - please remember to do so in the Social Hall or outside the building. Nothing other than water (in water bottles) may be ingested inside the nave or narthex. We're free to nosh in the Social Hall.
When you are on the risers, really "rise" to the challenges of singing in a new space and projecting your wonderful self out towards where our audience will be seated. Practice everything! "No phones at rehearsal" also means, "Don't phone in your performance!"
I'll always be grateful for this rehearsal and performance advice from one of my concert-pianist teachers: "The minute you step on stage, those cameras are CLICKING - walk the walk and talk the talk!" Word!
CONCERT HEALTH INSURANCE POLICY: DON'T GET SICK!
Yes, it happens to the best of us - but mind must triumph over matter.
Counting March 29 through April 28, there are 31 days until Concert #1.
Take care of yourself, beginning NOW - eat properly, get enough sleep!!, stay hydrated, be alert to the faintest drumbeat of oncoming problems and take firm measures to stop The Gunkk dead in its tracks. You know the drill: extra Vitamin C, echinacea, Air-Borne (yup, the gunkk is still going around)...Alcohol dehydrates a person...a smart person will stay away from it during the entire concert week, if not before ;-)
If you're flying or taking the train back to Seattle this weekend, please consider fortifying your immune system with Air-Borne or similar preventative.
Your body is your instrument is your body - you are now in the final and most intense stages of training for The Main Event.
LISTENING UP
At this point, I'm hoping Soundcloud tracks are history for you. Time to hunker down with the choral recordings in Dropbox!
They're listed alphabetically (that's Dropbox' doing, not mine) - but it's a simple thing to arrange the Spring music in concert order and transfer to other playback mode so you can listen to the concert music in more holistic fashion. I recommend doing this with "sets" as well - just take this information from the concert order in your syllabus and make yourself a nice little bunch of mixtapes.
Listening Tips:
1. Listen to the piece as background music.
2. Listen to the piece as "foreground" music - i.e., sitting with your scores and following along.
3. Listen for one particular voice part (not necessarily your part!)
4. In pieces where the musical texture is generally laid out high / low alternation (Red, Red Rose, for example) - focus on the entire group of parts (if you're a tenor, focus on tenor AND bass parts)
5. Focus on the outer parts.
6. Focus on the inner parts.
7. "Performance" listening - stand in singing position and listen to the piece, singing your part aloud or audiating it as the music plays.
8. Stand in singing position, begin the track, and practice an attitude of relaxed alertness during piano introductions, interludes, and postludes. What you practice will come naturally to you in performance! You won't have to remind yourself to "get ready."
9. I love this one: Conduct! Dance around!
...to be continued...
Thursday, March 10, 2016
They're HEEEEEERRRREEEEEE.....
Hello everyone,
Spring "break" is just around the corner - remember to bring your choir music with you if you're traveling - just 10 to 15 minutes of focused work a day will reap ENORMOUS dividends when we next see each other at the beginning of Spring quarter!
If you deliberately make time for music practice, it will likely happen. Personal experience tells me that the more specific the assignment, the better.
Invariably, I have more success when my practice task assignment looks like this:
Tuesday, December 4 -
Mussorgsky "Catacombs" - LH legato work, RH continuous tremolo overkill
Bach fugue - voice combinations and mm work 4 clicks above perf tempo
Brahms #1 - Sweeping #2 Left arm drop #3 Shifting accents RH, LH legato
und so weiter
I have little real success if I give myself this kind of assignment:
Tuesday, December 4 - Practice piano 3 hours
------------------
Use Doc's assignment sheets as your models - they are excellent ways of training yourself to think specifically when you're working alone.
Modify the task assignment to include your PERSONAL challenges. If you need to work on rhythm, INCLUDE THIS SPECIFICALLY IN YOUR ASSIGNMENT, as though you were detailing it in an email.
Not "rhythm" - but, "Count and tap Froggy Goes A'Courting mm.1-20, shift major beats till thinking in 1"
you see where I'm going with this.
The more specific the assignment, the more you'll be able to "quantify" your accomplishment.
This really doesn't take much time to do -
Punch and put a few plain sheets of paper in your binder.
Get a pad of 3 x 3 sticky notes.
For each piece: Devise an acronymn or something to identify the piece and write it at the top of the sticky before you begin.
To assign something to yourself - go to the music you'll be working on, locate trouble spots, and write ONE specific practice task for each trouble spot on a separate sticky note. Stick these notes to the score.
When you're ready to practice, just work through the stickies.
When you finish the tasks, check each one off on the stickie and then put the sticky on one of the plain sheets of paper - MISSION ACCOMPLISHED!
The beauty of this is its flexibility. If you don't get to something, leave it stuck onto your music, reminding you of work yet to be done. When you finish something, the plain sheets serve as a collection point and a reminder of continual success!
I use something like this to manage work flow - it's my personal modification of the most amazing task management concept ever - Kanban. It has kept me sane and productive since September 2015. I couldn't live without my Wall of Stickies.
Rehearsal in 15, must take off for Campion - remember to bring your music with you if you leave town or to put it in a prominent place in your digs if you do a stay-cation ;-)
LL&P,
Lee
Spring "break" is just around the corner - remember to bring your choir music with you if you're traveling - just 10 to 15 minutes of focused work a day will reap ENORMOUS dividends when we next see each other at the beginning of Spring quarter!
If you deliberately make time for music practice, it will likely happen. Personal experience tells me that the more specific the assignment, the better.
Invariably, I have more success when my practice task assignment looks like this:
Tuesday, December 4 -
Mussorgsky "Catacombs" - LH legato work, RH continuous tremolo overkill
Bach fugue - voice combinations and mm work 4 clicks above perf tempo
Brahms #1 - Sweeping #2 Left arm drop #3 Shifting accents RH, LH legato
und so weiter
I have little real success if I give myself this kind of assignment:
Tuesday, December 4 - Practice piano 3 hours
------------------
Use Doc's assignment sheets as your models - they are excellent ways of training yourself to think specifically when you're working alone.
Modify the task assignment to include your PERSONAL challenges. If you need to work on rhythm, INCLUDE THIS SPECIFICALLY IN YOUR ASSIGNMENT, as though you were detailing it in an email.
Not "rhythm" - but, "Count and tap Froggy Goes A'Courting mm.1-20, shift major beats till thinking in 1"
you see where I'm going with this.
The more specific the assignment, the more you'll be able to "quantify" your accomplishment.
This really doesn't take much time to do -
Punch and put a few plain sheets of paper in your binder.
Get a pad of 3 x 3 sticky notes.
For each piece: Devise an acronymn or something to identify the piece and write it at the top of the sticky before you begin.
To assign something to yourself - go to the music you'll be working on, locate trouble spots, and write ONE specific practice task for each trouble spot on a separate sticky note. Stick these notes to the score.
When you're ready to practice, just work through the stickies.
When you finish the tasks, check each one off on the stickie and then put the sticky on one of the plain sheets of paper - MISSION ACCOMPLISHED!
The beauty of this is its flexibility. If you don't get to something, leave it stuck onto your music, reminding you of work yet to be done. When you finish something, the plain sheets serve as a collection point and a reminder of continual success!
I use something like this to manage work flow - it's my personal modification of the most amazing task management concept ever - Kanban. It has kept me sane and productive since September 2015. I couldn't live without my Wall of Stickies.
Rehearsal in 15, must take off for Campion - remember to bring your music with you if you leave town or to put it in a prominent place in your digs if you do a stay-cation ;-)
LL&P,
Lee
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