Over the years I have written quite a few arrangements and original compositions for the various ensembles I’ve played with.
A bunch of them are for viola or violin with guitar and either recorder or Irish whistle, written over the several years I was performing with Acoustic Cadence folk trio. Others are for viola and piano, played at church with my friend Christina at the piano. There are several simple string trios and quartets based on Christmas carols or other church hymns, written for me to play with the young people at church (two of whom are my violin students). Over the summer I also wrote an arrangement of an Irish song for viola and small pipes. That was a blast!
Small pipes are like bagpipes except that you can play them indoors without making everyone go deaf and there is a chance that other instruments can be heard at the same time. It’s a neat instrument, with or without drone, and a 9-note range that is basically a scale in A Mixolydian with an extra G at the bottom. I have a piper friend, Lori, whom I’ve wanted to play with for a long time and finally had the time and the opportunity to write something for us. Hopefully there will be a lot more to come for this combination. It sounded great!
Then there is the viola choir my sister-in-law Kate is working on starting up in Las Vegas, her new home. She is now the viola professor on the faculty at UNLV, and the viola choir will include her students and anyone in the community who would like to participate. She asked me to write some stuff for them to play. And so I now have four pieces for viola choir.
Since I had time on my hands this summer with students gone on vacation, I took some time to set myself up to sell sheet music (PDFs) of some of these arrangements and compositions. It’s not simple and straightforward, since a lot of these pieces are “incomplete”. I wrote them with particular people in mind, and so they are strewn with things like “play anything you want here” and some chords because I knew that anything Christina came up with in the moment would be better than I could write for her. So I’ve gone back through several and “finished” them so anyone could play them.
Those that are ready are now posted under the “Sheet Music” tab on my website. Click on the links to hear them on SoundCloud (just midi files at this point, not live performances yet). If you’re interested in purchasing any, email me and I can send you to my PayPal page. I’ll send you the music as a PDF.
A woman I know was telling me about her daughter, who grew up playing the piano. She loved playing, and was very good, even winning state-wide piano competitions in high school. And she was invited to audition at one of the top music conservatories.
At her audition, one of the professors told her she would never be great.
Of all the stupid things to say to a young musician, that has to be one of the most evil. How did he know if she would ever be great or not? And are there really only two choices: great or not great? I mean, great in what way? According to whom? There are so many ways to be great.
Unfortunately, this young woman called her parents and told them to sell the piano. They didn’t, but she never played again.
Fire vs. Inspire
Some people, usually those with more sensitive personalities, who love music deeply, and have a touch (or more) of perfectionism, will take this sort of comment literally. They take it to heart. Not all will call and say “sell the piano”, but many will falter over the next few months or years, never overcoming the self-doubt that was planted that day. It kicks the dream in the gut; it puts barbed wire around a budding talent.
I told this story to my dad, a pianist and college professor who has sat through thousands of auditions. He said “Some teachers will say things like that to light a fire under the student. But I don’t like it.”
Agreed. It's a bad way to motivate someone. Fire burns and blows things up. Even if you don’t have a sensitive personality, this motivates you with fear rather than inspiring you. The two might look the same on the surface, but they are quite different underneath.
The word “inspire” literally means “to breathe into”. In the creation story, God formed man out of the clay and then breathed into him to bring him to life. This is what it means to inspire; your talent is brought to life by something or someone breathing into it. You become the person you are.
Fire, in contrast, sucks the oxygen out of everything nearby. The musician who is motivated by fear becomes needy: he needs constant recognition, repeated reassurance that what that blankety-blank professor said at his audition isn’t true after all. He’s not living the dream, he’s trying to prove someone wrong.
The focus of the musician who is inspired is completely the opposite of the person who has a fire lit under her. The former gives her music away, free to share who she is with others, and enjoying the giving as much as her audience enjoys the receiving. The latter craves something from the audience that is never really enough. The audience might still enjoy the performance, but the musician’s thoughts are on her critics rather than the beautiful music.
A Different Way
If you have a choice, and you usually do, say positive things. Offer correction with the attitude that the student is capable of improving. When you tell him he needs to work harder, tell him it’s because he could be really great, and you are going to help him get there. If her goals are unrealistic, help her to develop a vision for her future that is authentic to who she is. Tell her what she is naturally good at rather than telling her what she will never be.
There is not one arbitrary standard of “great”. There are many different styles, characteristics, and qualities. There are many different kinds of audiences, with different preferences and opinions about what is “great”. There are many roles for pianists: soloist, chamber ensemble, accompanist, vocal coach, teacher, and so on. Some become composers, conductors, or theory professors. Some become administrators and run music camps or concert series. And there are many different kinds of music to play, not just the kinds the music conservatory professor approves of.
Though my friend’s daughter had a sad ending to her music career, her story does have a happy ending. At first, she spent four years getting an academic degree in something completely unrelated to music (and which she had no interest in at all). But then, she applied that dedication that had helped her become so good on the piano to raising and training agility dogs. And she is great. She and her dogs have won many international competitions and she has become one of the most sought-after agility trainers in the world. In the world.
I hope someday she will play the piano again. Even if it is just for her own pleasure.
Occasionally I have a student who has a habit of negative self-talk. When I ask her to play something slightly challenging, she responds: “I’m going to mess it up, I just know it.” Or he makes a mistake, stops, and says, “I’m so stupid.” When I hear this kind of talk, it’s time for The Lecture on Positive Self-Talk.
Saying positive things when talking to yourself might sound like woo-woo psychobabble, but it is actually quite important. Let me explain.
You might be familiar with what we know about the left and right hemispheres of the brain. But in case you don’t, here is a very high-level summary: Generally speaking, the left hemisphere is logical, sequential, analytical, and is responsible for producing speech. The right hemisphere is spatial, global, conceptual, and though it is great at processing emotional content and can understand what words mean, it is generally incapable of forming a word, much less a grammatically correct sentence.
If you say (with your left hemisphere) “I’m stupid”, even if you are kidding, your right hemisphere hears this. And it is not capable of critical analysis. Say things like this over and over, and it will eventually begin to permeate how you see yourself.
False modesty is not a virtue! If you have just performed and someone from the audience compliments your playing, just say “Thank you. I’m glad you liked it.” If you want to be truly modest, follow this up by asking a question to get the other person talking.
I even make a habit of saying things in an unambiguously positive way whenever possible. For example, you could say “That wasn’t terrible” or you can say “That was really good.” Go for the second option!
At the same time, I am not a fan of over-the-top self-congratulations. It isn’t very helpful, in my opinion, to make a habit of saying “I’m the best!” over and over until it becomes true. Comparison, even in an apparently “positive” way, is dangerous. It may never be true, and you really have no control over your abilities in relation to others. Better to simply say “That was very good”, which is true, believable, repeatable, and is based on variables you actually have control over (like regular practicing).
And so, in my music studio, we have a zero-tolerance policy for self-denigration. If I catch you putting yourself down, even subtly, I will make you say the positive opposite three times!
Maturity rather than age
For private violin lessons, however, students need the maturity for individual instruction. This includes being able to:
Things to look for
How do you know if it’s time to start violin lessons? Besides maturity, look for these signs:
School orchestra instruction: a caution
Because the majority of kids are mature enough for violin lessons at nine years old, public schools used to start orchestra in the fourth grade. Some still do, though many more start later due to funding issues. But very few start earlier.
It is extremely important at this point to get the student into private lessons in addition to orchestra class. Group instruction is rarely enough to teach violin well! This is a highly complex skill that relies on the formation of very specific physical habits. A good foundation sets up a student to progress quickly and play well, and a faulty or incomplete foundation sets up a student for physical strain and inferior musical ability...and a lot of discouragement!
The group is no help: looking around at your peers to learn by imitation is basically the blind leading the blind. The student needs to be able to ask specific questions of an experienced teacher and receive immediate feedback for what they are and are not doing right. Add to this the fact that many orchestra teachers are not violinists. (Their main instrument might be cello…or trombone...or piano…) They might have had a semester of beginning violin during college (probably in a group!) in order to learn the basics and complete their music education degree.
I have had several students come to me after struggling through several months of school orchestra class and giving up. We automatically started at the very beginning and worked hard to undo very bad habits that were formed in group violin class. It does work, so if you are in this situation, try again with a private teacher.
And a bit of neurology
Each time you do something, a neural pathway is created in your brain. Each time you do the same thing the same way, the pathway gets stronger. Eventually, every time you approach doing that same thing, you automatically slip into the groove you have created. If this is a good groove, you become consistently good. If you have been practicing a mistake, though, doing the same bad thing over and over, you have a rut of a bad habit to try to get out of. It takes a lot of time before you can approach that behavior without slipping back into the rut.
Playing the violin is very physical and very, very nuanced. Even something as seemingly minor as curving the pinky of the right hand can have a huge impact on how beautiful your tone is, how fast you can play, and how many decades you can keep playing without pain. And there are dozens of “little” things just like this every violinist needs to learn. So, find yourself a good teacher in the beginning who will set you up right!
Quodlibet: A piece employing several well-known tunes from various sources, performed either simultaneously or in succession. (Schirmer Pocket Manual of Musical Terms)