What are the benefits of playing in a recital?
When students perform in a recital in front of friends, teachers, and family, they provide great entertainment value to the audience. However, recitals benefit the participants too. Here are some of the benefits of playing in a recital:
- Having something to work for
Something will change in you when you hear that you will be performing in a recital. Apart from the sense of urgency and nervousness, there is a deadline. If you don’t know the value of a deadline, ask working people who have to deal with one almost daily. When you have a recital to look forward to, you start practicing more often. Wether you are taking online lessons or in home music lessons, your sense of urgency to get the song right is a great motivator! You are willing to absorb information more than ever before. Once the recitals become routine, you are likely to keep working just as hard after the recital because you’ve enjoyed the rewards of your efforts.
- Gaining performance experience
When you perform in a recital at a young age, you gain valuable performance experience. If it is your dream to be a professional musician, you will certainly need to get lots of live shows under your belt. It takes a few things to get used to performing in a live setting. It’s not easy to perform in front of people. You need lots of practice. When you are new to recitals, performance anxiety will be the order of the day. However, the more you perform in front of an audience, the easier it becomes. You learn how to play through a mistake or take a gracious bow or smile at the audience. That way, you are gaining very valuable experience to use for future performances.
- Getting inspired by advanced performers
In many recitals, more beginner students are placed closer to the beginning with the more experienced coming at the end. That way, you get to watch the more advanced students do their thing. As a beginner, you see a great performance and discover that you are capable of playing like that too. All you need is some more time, practice, and energy. You will definitely leave the stage psyched to do exactly what you saw the seniors do. With time, your motivation will increase even as your performance skills improve.
Gaining a great sense of pride
This is perhaps the most important benefit you will get out of recitals! You have definitely worked very hard taking lessons in your home and faced the worst of your fears. How would you feel when the applause and smiles finally come from the audience? You will wish this magical moment of the recital lasts forever. Like most students, you will feel special, accomplished, and appreciated for all your hard work. It’s a moment like this that makes it worth the effort. This is when you are likely to psyche yourself up for the next challenge. When you enjoy this at a young age, you become more fearless. Your self-esteem will be boosted like never before. You will definitely look back when you are older and more successful with a smile that you were able to accept this awesome challenge.
MTYH Viola teacher Carrie D. has been playing viola since age 6, and she’s pretty passionate when it comes to all things having to do with this cool instrument. Here are her thoughts on why viola is a great choice for your musical journey:
Want to play the violin but can’t sing that high? Want to play the cello but don’t feel like lugging it around? Here’s a solution for you: viola!
A violin and viola look pretty much the same, so what exactly is the difference? Kindly referred to as a “larger violin” or “smaller cello,” the viola is the perfect choice for many reasons.
- It’s unique. Not many people start out playing the viola, and so you and your instrument would be one of a kind!
- Because the viola is “in between” a violin and cello, it comes in many sizes and lengths for all types of people, tall or short.
- Violists get to play violin music, cello music, and our own music. Because of this, you will learn how to read many different clefs, giving you the upper hand in future music theory classes.
- Being able to perform a wide variety of instruments’ music also means violists are adept at playing many different genres of music. Baroque, Classical, Romantic, 20th Century, rock and roll, Broadway, and much more!
- Composers today love to write for the viola, and the “new music” scene is an ever-growing part of the current musical community. Some of these pieces may even include electric viola.
- Beautiful things are associated with the word “viola:” Viola (the flower), Viola Davis (the actress), Viola Thompson (the baseball player), and even a character named Viola from Shakespeare’s play Twelfth Night.
- While lots of musicians are focusing on playing the melody out front, violists get to play the harmony. They are good at supporting and helping other instruments, proving us to be true team players! This also makes the viola a great instrument for people who are shy and like to blend in.
- Music to your Home (MTYH) has viola teachers available and excited to start teaching YOU today!
Image courtesy of adamr at FreeDigitalPhotos.net
With many of our piano students living in NYC, I thought it would be useful to talk about finding the right instrument for your city apartment or home. For many of our clients finding enough space for a full size piano can be a real challenge. Here are our recommendations for pianos that will fit in tight spaces.
- The Williams Allegro Hammer Action Digital Piano: This is a great piano for extremely small spaces. It’s a digital piano so it’s lightweight and easy to move. It can also be put away whenever extra space is needed. I have played this piano and can say that for an entry level keyboard its sounds are very rich and the hammer action of the keys is excellent for an entry level digital piano. Make sure you buy a keyboard stand and have a stool of appropriate height for practice time. The other advantage is that you can plug headphones into it for late night practice sessions.
- Essex EUP-108C: Let’s talk about acoustic pianos… Whether you are a professional pianist or a child taking piano lessons for the first time, there is nothing like playing on a real acoustic piano. This Essex model piano is one of the most compact and well-made instruments I have seen. The piano is affordable, well designed, plays well and sounds excellent. I had the pleasure of playing one recently and for such a small piano the sound is very big. This piano can fit into very small spaces and as far as pianos go, its super lightweight so it’s easy to move around if you have to. The piano also has a very stylish look that will fit well into any Upper East Side or Tribeca apartment. The best part about this piano is that it’s made by Steinway and Sons so it has all the latest engineering enhancements from their amazing development team at a fraction of the cost of an actual Steinway. This is definitely a great instrument for beginner piano lessons.
- Boston UP-118E PE: Here’s another great little piano. This one is slightly larger than the Essex but still small enough to fit into almost any room. The design of this instrument is definitely more traditional but the sound and performance is just as good – if not better than the Essex. Also made by Steinway, you are getting the same standards that has made that company famous for many years. Although this piano has a small footprint it is definitely a little heavier than the Essex so moving it around is slightly trickier. Any beginner student or professional would be very happy to own one of these instruments even if space was not an issue.
- Yamaha M560: This is a really nice piano. It’s definitely compact, so for apartments or small rooms it’s a great instrument. It’s really well made, sounds excellent and in my experience Yamaha pianos are real workhorses and can take a lot of abuse. It has a different sound than the Essex and Boston but all 3 are great when it comes to that experience. The design is very traditional and somewhat ornate. It’s not my favorite piano ascetically but a great instrument nonetheless. The Yamaha is close in size to the Boston but will still fit nicely where space is limited.
- Steinway 4510 Sheraton: This is my personal favorite of the small pianos. It’s actually smaller than the Yamaha but in my opinion has a bigger sound. It’s also super cool looking and will basically match any décor your home or apartment has. You can use this for beginner piano lessons in your home or it can be used professionally in the world’s best recording studios. It’s compact but maintains that authentic Steinway and Sons sound. The action on this piano is super quick for an upright as well. It’s also handcrafted in the same factory that Steinway grand pianos are made using the same process and craftsmanship. When you sit down and play this you can see it’s solid, sturdy and well-built but extremely artistic and visually appeasing at the same time. You can tell something extra went into this design. If I were learning how to play the piano this instrument would definitely keep me motivated to practice and constantly create.
If you’re someone who is looking for a piano in NYC or anywhere else and have limited space these are my top choices. Choosing the right piano can absolutely make a difference in how you play, practice, learn and create music. These are all winners in my opinion.
Image courtesy of Rawich at FreeDigitalPhotos.net
Music to Your Home is lucky to be able to work with musicians from around the world, and Alejandro M. comes to us with words of wisdom from Argentina. Currently he’s a professional guitar player and teacher living the dream and gigging all over NYC.
Recently, Music to Your Home interviewed Jim P, one of our saxophone teachers and a current gigging musician all over NYC. Jim indulged our curiosity about his experiences with teaching, playing, learning and inspiring his students. His philosophies on teaching sax lessons in NYC are not to be missed, so read on:
1) What advice would you give to parents who are considering getting saxophone or other woodwind lessons for their children?
Jim: I would say this about any instrument really, but take the plunge! How often does your child get one on one attention from a highly trained professional working in their field?
I also like the idea of mentorship when it comes to learning music. Having somebody to look up to, imitate, and question is really important. I know the student-mentor relationship has been and continues to be integral for me as I master my craft, and I want to share that experience with others, as well.
2) What is the best woodwind instrument to start young students on?
Jim: This is a really good question – For flute and clarinet players, students should start on their instrument of choice, but for saxophone players, there is some discussion. I know my teachers started me on clarinet before switching to saxophone, because the clarinet requires more technique and control. I also understand the argument for starting students on sax right away – if that’s the instrument they want to play and it’s going to keep them interested and involved in music, then maybe it’s right to skip the clarinet and go right to sax. I think it’s okay to start a young student on saxophone, especially if they’re getting a dedicated lesson time once a week.
3) What are some obstacles that saxophone or clarinet students face when learning how to play and how can they be overcome?
Jim: I think a lot of it is just patience – with yourself and with the instrument. When you pick up a woodwind for the first time it can feel very awkward. You’re shoving a hunk of metal and wood and rubber into your face and it has all these buttons and levers and you can’t see what you’re doing with it.
Our modern culture in a lot of ways is centered on ease of use – if we can’t operate a new phone or app within two minutes we give up. Saxophone, and other woodwinds, they’re different. They take patience and perseverance. You have to pace yourself, and give yourself time to grow and learn.
4) How much daily practice time does a beginner need to realize steady progress and become a proficient player?
Jim: The short answer? About 15 minutes. With beginning students, getting acclimated and adjusted to the instrument is essential, and usually about 15 minutes of daily, uninterrupted, focused practice will help with that acclimation and learning the fundamentals of playing. There is also a lot going on with the muscles of your face and hands as you start a new instrument, and you don’t want to over extend yourself.
Depending on the student and their goals on the instrument, 15 minutes can expand into longer periods in the first weeks or months. Personally, I think about my own practice from a more goal-orientated perspective, but for a lot of students, timing their practice is very helpful.
5) What benefits outside of music can come from learning the saxophone?
Jim: Well I was talking about the patience aspect earlier, and I really think that’s huge. When I pick up a horn it can be very meditative for me. Working slowly on difficult passages, while it stresses some people out, really helps me to slow down and think about my problems methodically.
Beyond that, I mean you could go through a ton of benefits that studies attribute to studying music. Improved test scores and all of that. Problem solving skills, motor skills, spatial skills, learning a new language, they all come into play when you’re learning music, and in real time. To me, when people talk about that stuff, what they’re getting at is that studying music (or really any other art) helps you to become a more complete person.
6) What do you love about teaching and being a performer in NYC?
Jim: My favorite part about teaching and playing in New York is the people that I meet and work with, without a doubt. The people I know on Music To Your Home’s teacher list are great examples – Lena H. (woodwinds), Manuel S. (piano), Daan K. (guitar), Tim T. (drums), Owen B. (woodwinds). These men and women aren’t just formidable musicians, but amazing and inspiring people to be around. Honestly, they are the reason I work so hard to be the best musician and person I can be.
7) What was your most memorable teaching experience?
Jim: I was working with a student when I lived in the Midwest. He and I basically started together while he was in middle school, and we had a really good rapport all the way through high school. When I moved to New York we stopped working together, but we kept in touch. When he did his first solo recital as a high school senior he wrote a very heartfelt thank you to me in the program – knowing that I couldn’t be at the performance and that I would probably never read it myself. An old professor of mine actually sent me a picture – I’m not actually sure that the student ever knew I read his thank you. I think about that to this day, and how much of an impact a teacher can have on his or her students, and vice versa, and how cool that can be.
8) When and where was your most memorable performance?
Jim: This is a really difficult question – the “big” performances either featuring my music or at important venues or with important people, they’re memorable in their own way, but the performances I really cherish are the times that the music was really happening. I remember one time specifically, we were playing with this jazz-funk band at this dive – and for whatever reason, the whole band just clicked. We opened up to all these new territories and opportunities; it was like everything was brand new. It was really a beautiful moment. And even though we were on this little stage with only a handful of people in the audience, everyone was laughing and smiling by the end. Those are the moments I really live for as a performer.
9) Who are you musical influences?
Jim: I probably have too many to list. For jazz; Charlie Parker, Cannonball Adderley, Wayne Shorter, John Coltrane, Hank Mobley, Warne Marsh, Herbie Hancock, Bill Evans, and Mark Turner are just a few of my favorites on a long and ever-growing list.
For more rock or funk influenced music (because I end up playing a lot of it) I look to Maceo Parker, Lennie Pickett, John Scofield, and Kenny Garrett for inspiration.
10) Do you have a preferred woodwind method book for beginner students?
Jim: The Standard of Excellence series by Bruce Pearson or the Rubank books are my favorite methods for people just starting out. There are some great jazz methods by Lennie Niehaus and Jim Sniedero I really like once the student has some faculty on the instrument.
I also use a lot of my own material in my teaching – not only do I work on pedagogical material for all my students’ benefit, but I like writing stuff for individuals as well. I think about teaching – especially one on one lessons – as a two way street. There are a lot of ways to solve a problem; why not cultivate an individual’s problem-solving capabilities instead of just telling them what’s “right” and what’s “wrong?” In this way, we’re learning how to be human beings and artists instead of just pushing buttons on a shiny noisemaker. Plus it’s just way more fun.
Music to Your Home is proud to work with the best, brightest and coolest musicians in NYC so we’ve been picking their brains about music lessons. The latest interview was with Kiyan T., who took the time out of his busy schedule consisting of teaching, recording and performing to answer these 10 important questions every parent considering singing lessons for their child should know.
1) What advice would you give to parents who are considering getting vocal lessons for their children?
Kiyan: Make sure to speak with the child beforehand to see what they’re into as far as genre, or what they see for themselves musically, in conjunction with your own opinion. This way, you can know what you’re looking for in a teacher.
2) Why do you think vocal lessons have become so popular over the past few years?
Kiyan: Thats a large question! I think there’s a large correlation to singing and the high-glam pop star image that technology permeates into media. Its important to remember that singing is art, technical, and requires an instrument (the human body) to be understood and mastered, with plenty of love and passion!
3) What is the right age for a child to start singing lessons?
Kiyan: I would say no younger than 7. Maybe an unusually intuitive 6 year old?
4) How much daily practice time does it take to become a great singer?
Kiyan: I don’t think a “daily” regiment is the answer. You need to love singing, and feel that natural inclination to express through this medium, in order to have the desire to practice enough to become “great”, however many hours that takes.
5) Are vocal warmups important? If so what are you favorite to do?
Kiyan: Honestly, I talk so much that by the time I have to sing, the voice is already warm. I enjoy warm ups in minor keys that feel like musical lines. This gets the ear going, as well as a sense of carving out a phrase.
6) Do you think having a piano at a vocal lesson is important?
Kiyan: It makes it much easier, yes, but I have done Skype lessons without a piano for many years without a hitch.
7) What do you love about teaching voice lessons?
Kiyan: I love that, in my self-centric life as a recording artist, I get to take all of my musical faculties and apply them to another person. Its a rewarding balance of ego for me in the sense that while on my time, I will ask you to think of music the same way I do (visually, kinesthetically, emotionally), which leads to so much growth. I often find my approach just catches people off guard in how absolutely simple it is.
8) What was your most memorable teaching experience?
Kiyan: I was in college, and I had a student come to me completely unable to match pitch. I’m talking: I play middle C, and he sings the F# two octaves below. After two or three months, I said “listen, I don’t know if this is going to work. I’m starting to feel bad taking money from you when I can’t even get a single note out of you.” He wouldn’t have it, and insisted that we continue. It was only after research on overtones from the piano as opposed to the human voice did I realize that all I had to do was use my voice as reference. I had him doing a major scale, in solfege, up and down, and unaccompanied in two weeks. What a huge triumph this was!
9) When and where was your most memorable performance?
Kiyan: My first solo show in New York was a highlight for me.
10) Who are the singers that have inspired you?
Kiyan: Too many to list, but: Patti LaBelle, Beyoncé, and Edita Gruberova.
Kiyan T. is available in NYC for voice & piano lessons. Contact us today to schedule yours!
So you’ve finally decided to give yourself or your child the opportunity to learn how to play the piano. Good choice! The amount of benefits that come from taking music lessons is endless, but we can talk about those in another blog. This article will answer some of the common questions we get before someone begins lessons and will also identify the things you need to get the most out of your lessons.
Your first piano lesson should be a very fun and exciting time. You are about to learn how to create music, and most likely this is something you or your child has been expressing interest in. You’re also about to meet your new piano teacher. Hopefully, this will be a person you will spend many years learning from and building up a great relationship with.
A few things that you will need before your teacher arrives
If you are taking lessons in your home then the most important thing you will need is a working piano or keyboard. If you have an acoustic piano, its best to have the instrument tuned by a professional piano technician before your teacher arrives. This will make playing on the instrument a lot more enjoyable to listen to. If you are learning on an electronic keyboard, we suggest that the keyboard has at least 61 keys and that all of them are working. Also, the room that the instrument is in should be a quiet place with no interruptions or external noise. This will give you the best chance of keeping your focus on the lesson.
What will I learn at my first lesson?
At your first piano lesson your teacher will assess your current musical skills. Some beginner students have already tried to learn on their own using tutorials or playing by ear, but for the most part, beginner students have no experience whatsoever. Your teacher will go over the very basic techniques about how to play the piano including correct posture, hand position, finger curving and wrist placement. Most teachers will use a method book such as the Alfred or Bastien beginner methods. These books have detailed sequential exercises that help with all of these techniques. An introduction to the keyboard will be given pointing out the patterns that the black and white keys create and of course the introduction of middle C is always an important first lesson staple. After a brief overview of the keyboard, simple rhythms are usually taught. The quarter and half note generally show up during the first lesson and the first few songs learned will be composed of these rhythms. Another important first lesson skill you will learn will be finger numbers. This is so important because it’s something that never changes and will help a lot as you advance in your method book. Depending on the length of your first lesson this is a lot of material to absorb for one week.
What do I do after my first lesson?
When your teacher leaves, you will have an assignment book with detailed notes on exactly what things you need to practice for the week. Generally there is a small amount of writing (theory) that will help you understand musical notation but for the most part you will be getting familiar with the keyboard and setting up your hand and finger positions.
How long until I can see results?
This is a very common question we get. The answer is very simple. That is up you or your child. Practice is the main factor when making improvements at the piano. If a daily practice schedule is set up, then the skills learned at the lessons will improve consistently and progress will be quick. The same goes for not practicing… results will be slow to none if practice is not consistent.
Hopefully, this sheds some light on what to expect in the beginning of your piano journey. Remember to practice and have fun!
Unlike the guitar, saxophone or piano, when it comes to singing, your body IS your instrument. And we all know that taking care of our bodies is not only paramount to living a healthy life but also helps you sing to your full potential. So when it comes to the idea of little kids starting voice lessons there’s a bit of confusion so allow me, someone who started formal singing lessons at 5 years old and with not a nodule in sight, to clear up any misconceptions.
Let’s begin by saying that most likely your 6 year old isn’t chomping at the bit to sing Italian Art Songs. If they are? Cool, we’ll cover that so read on. They probably enjoy singing the soundtrack to the latest Disney hit or Taylor Swift song. Either way, professionally trained voice teachers know that working with voices that haven’t matured yet require tapping into a skill-set and repertoire that accommodate an undeveloped body and mind.
Our philosophy is pretty simple, we think kids playing music, any kind of music, is igniting that part of the brain those newspaper articles are always talking about, so we’ll teach any song a kid wants, and we’ll show them how to sing it in such a way that they are laying the groundwork for correct vocal technique while having fun! Yes, it’s possible!
The first song I learned how to sing was the theme to Sesame Street. My teacher knew I loved it, it was simple, familiar, and I enjoyed practicing it every day. I eventually moved on to show tunes, ran through the Les Miz book, the Rogers & Hammerstein classics, discovered the Tapestry record, was introduced to Italian Arias and opera, fell in love with jazz, all the while rock and folk rested closely in my heart. But the point I’m making is that every genre I sang as I grew up, I was always using proper technique because my teachers recognized the right repertoire to suit my age and growing body.
Kids today have shows like The Voice to inspire them- and that’s amazing, but some of those contestants have no formal training and are actually straining their voices pretty badly. You can hear a lot of them “sitting” on their vocal chords, putting all that tension on the throat where it doesn’t belong. That’s the damaging stuff we are avoiding with proper coaching.
So are we looking to have your six-year old work on their belly breathing and tongue position? We’ll get there over time, but for now that child will enjoy singing their favorite songs while the seeds to formal training are planted. And you can rest easy knowing they’ll be no permanent damage in sight for your young musician.
For in-home singing lessons, visit our singing lessons page.
Image courtesy of sattva at FreeDigitalPhotos.net