String Shock

Currently, at the NC School of Science and Math, the orchestra and chorale are finishing preparations for our annual Collaborative Masterworks Concert performance. This year, the orchestra will be performing Dvorak's 8th Symphony in G major and will be accompanying the Chorale on movements selected from the Mozart Requiem, Brahms Requiem, and Mendelssohn's Elijah. Each year, we try to do a performance that involves collaboration between our choral ensemble and orchestra.  In addition, we welcome a number of community singers to join our Chorale for this performance. Hence, it is a collaborative concert. This is always a magnificent event. It is always great to see our high school students perform alongside adults of a variety of ages and to offer the opportunity for all of our students to participate in a performance of these great masterworks.

Each year, we know that the first rehearsal that involves both the instrumentalist and the singers will include something that Choral Director, Dave Stuntz, and I like to call STRING SHOCK. String Shock is the experience that the singers have singing along with instrumentalists and an actual orchestra rather than a piano accompanist for the first time. This phenomenon is very real and it is always stunning to witness many of the singers’ reactions.

For many, this is the first time that they've ever had this experience. One of the great things about being a high school music instructor is providing new experiences for our students. In this setting, we are not only providing new experiences for high school students, but also new experiences for musicians of all ages who are participating.

I was speaking with another music professional about this phenomena a couple of weeks ago and he suggested that I write a little bit about it. I think many of us have experienced string shock over the years in one way or another and, as a director, it is important to know that it is going to occur. There are a few facets of string shock that I think one should be aware of and prepared for.

First, is simply that the first run of a work with strings and singers together is going to be understandably distracted. The distractions will include the sonic experience, the visual experience, and the new ensemble experience. The singers will be interested to watch the movement of the string players.  The movement of  the bows and wave of ensemble movement is understandably visually interesting. They will be enamored with the different sound that the instruments create in conjunction with their voices.  The timbre of an orchestra is unique and really fun to experience "up-close" for the first time. And, in the end, that initial experience will be somewhat overwhelming.  I think that sometimes we conductors forget or, at least, take for granted the awesome sonic nature of the experience we get to have on a daily basis.  Additionally and understandably, the conductor's attention will be pulled in new directions with the additional musicians in the mix.  Thus, the singers will not be receiving exactly the same visual information that they had been receiving up to that point in rehearsals from the conductor.

Next, there is the issue of the accompaniment articulation. In a traditional rehearsal setting, the singers are used to hearing the accompaniment played on a percussive instrument, the piano. The articulation of notes on the piano is somewhat monochromatic in a rehearsal setting on piano as well. The singers get used to hearing that percussive nature of the hammer hitting the string and grow to count on it from both a pitch and rhythmic perspective. When the string section is introduced to the chorus, one of the first sonic differences is the string section's ability to articulate notes with a much softer edge. Legato is very different on a bowed string instrument than it is on a piano. This can lead to a number of rhythmic inconsistencies. The most notable however, is the tendency to slow down or drag the tempo on the part of the choir.

This can also be heard quite notably when a string orchestra is accompanying any corporate sing-along, like leading a congregation in singing. String players must work very hard to articulate each note and to stay on or just in front of the pulse in order to pull the congregation along. This same technique may be used in the accompaniment setting as well. It is often wise for the string section to be instructed to articulate notes just a little bit more than they might do otherwise in order to provide an important information to the singers. They must also pay close attention to the stick and work to avoid playing behind the pulse.  As the singers begin to get over the string shock, they may not need this added articulation quite as much. In the end, I find that the instrumentalist must hold the singers accountable for tempo and rhythm and must be very attentive to the conductor’s gesticulation.  It is easy for the string player to become complacent in this task.  So, frequent reminders are important and it helps to have a very proactive and aware front stand in each section.  My colleague, Dave Stuntz, and I have led many ensembles over the years, both in a scholastic setting and in a congregational setting, and one constant with a string section is the need for rhythmic accuracy and articulation. It just is a simple fact of the musical setting.

As the choir begins to get more familiar with the sound that they are hearing, the sites that they are seeing, and the new added information that is coming at them with the addition of the instrumentalist, they begin to get over string shock very quickly. As I said earlier, string shock is part of the beginning of the rehearsal process, and hopefully not a factor during performance. By the time this ensemble will reach a performance, both singers, instrumentalists, and conductor are all well prepared to provide an audience with the "shock and awe" of a great performance.

In summary, I certainly recommend that choral directors and instrumental directors, particularly string instructors, consider combining your ensembles for performances. The musical benefits to these collaborative performances are numerable. I have had many students over the years, return to my school or contact me well after their graduation, to let me know how important these performances were to their music education and to their overall memory of their experience in my ensembles. These collaborations can certainly bring generations together and bring musical communities together. But don't be surprised if you to have ensembles that experience STRING SHOCK!

Peace.

Scott

NS Design’s Instruments Electrify the Classroom

Hi all -
The following article appeared on the NS Design Blog recently. I thought I would share it with you today.

Music educators across the country are discovering that electric stringed instruments offer a new, powerful way to engage young musicians. As the string education community has begun to embrace what it terms “alternative styles”—including jazz, rock, and many kinds of fiddling and world music—electric string instruments are attracting attention for their ability to play amplified without feedback, and their ability to incorporate electronic effects.

Teachers at the forefront of electric string education are quick to point out that the advantages of the instruments extend beyond performance settings. Amplification gives some students a new sense of empowerment, and for many, it clarifies the challenges they face with their playing technique. The process of creating and refining sound electronically requires students to think about aspects of music they would not need to consider with an acoustic instrument—a valuable means of engaging a generation already steeped in technology.

NS Design recently interviewed four different players, including educators who use electric instruments in their classrooms, as well as performers who use electrics to attract new audiences to the possibilities of stringed instruments in general. We are proud to work with these musicians, and we hope that sharing their perspectives will inspire other teachers and students to new musical endeavors.


New possibilities

For Scott Laird, who is Instructor of Music at the North Carolina School for Science and Math in Durham, NC, technology serves both as a pedagogical tool and as a focus of instruction, and NS Design’s instruments are a centerpiece of the classroom. Laird’s performance career has revolved around the electric violin and the technology associated with it. As an educator, he champions a “blended curriculum” of classroom instruction reinforced by online resources, such as D’Addario’s Web site The Lesson Room, to which he has contributed several videos. In his classroom, Laird says, electric instruments serve the dual purpose of facilitating performances that would not be possible with their acoustic counterparts, and engaging students in a more complex understanding of music.

Laird says that overcoming the amplification barrier is the biggest practical advantage to incorporating electric strings in an educational setting. In so doing, educators can remove the restrictions that often keep string students from trying jazz, rock, and other amplified genres.

“From a performance standpoint, it completely opens up what you can do with a bowed instrument because volume is no longer a limiting factor,” Laird said recently in an interview. “The great violinist in your school can play with the jazz ensemble.” In addition, NS instruments’ precise tone and volume controls of offer practical advantages in orchestrating student performances. “We use the NXT Bass to accompany the wind ensemble,” he said. “It lets us get just the right amount of volume and a really warm tone.”

But besides expanding performance options, Laird explains that electric instruments make students think about music in new ways. The precise control NS instruments offer over their output signal—and their ability to use electronic effects—requires students to plan and analyze the sounds they wish to create.

“Electric instruments ask students to think about tone quality as it relates to an adjustment knob, a reverb tail, a delay. These are questions that traditional string students normally don’t have to answer,” Laird said. “One of the main things teachers are called upon to do is encourage students to step out of their comfort zones.”

Scott Laird also sees an improvement in his students’ musicianship as a result of electric instruments’ tonality and interface abilities. “When you’re amplified, your mistakes do not get covered up,” he said. “Your inconsistencies from a technique standpoint are obvious. Kids can plug an electric violin straight into a laptop and record themselves playing a Bach Partita, and hear the subtle inconsistencies in their bow technique and intonation.”

Yvette Devereaux, a Los Angeles-based violinist, conductor, composer and educator, who performs on an NS CR-5, attributes a similar advantage to the electric violin. But she says that, in addition to offering students a clearer technical picture of their playing, electric violins empower students on an emotional level. As a teacher of younger students, Devereaux has a first-hand view of how playing amplified can help students overcome their insecurities.

“When a student tries an electric violin plugged into an amp, you get instant gratification,” she said. “Students hear all these undertones and overtones that they can’t get right away on an acoustic violin. The violin becomes not just a violin anymore.” Playing amplified also allows some students to understand their playing in a wider musical context. “Right away they feel like they’re part of a current situation,” she said. “They say, ‘oh wow, I can play this anywhere!’”


Inspiring from the Stage

Outside the classroom, a number of performers and organizations have used NS instruments to reach out to young audiences in performance settings. One such group, the Los Angeles-based Elevation Orchestra, is an ensemble that includes 17 string players (including several NS players) as well as a rhythm section of bass, drums, and keyboards. Targeting underserved urban audiences, the group strives to expand its listeners’ musical palates by applying classical string instrumentation to contemporary, pop-inspired compositions.

“The elevation orchestra was created to let everybody know that string instruments are not just for classical music, but are actually behind a lot of the big groups in pop music that you hear today,” said Ryan Cross, the group’s founder. “NS instruments help us kick that goal.”

The group has commissioned work from arrangers who have written for Michael Jackson, Alicia Keys, Earth Wind and Fire, and Stevie Wonder, among others. Cross and members Chris and Adrienne Woods performed at NS Design’s exhibit at the 2011 Winter NAMM Show in Anaheim, California—one of three annual international trade shows for music products, and the largest of its kind in the U.S.

NS Design has also worked with motivated performers to make instruments available for special events with significant educational impact. In 2010, the company loaned a quartet of instruments to the Colorado Symphony for a performance of George Crumb’s piece “Black Angels” at the Denver School of the Arts. Violinist Erik Peterson organized the performance and, with help from NS endorser Dr. Gregory T. S. Walker, arranged to let students try the instruments hands-on. Peterson said that the experience revealed the value of pursuing approaches to string education that might have seemed radical even in the recent past.

“To have that exposure was very good for them,” he said. “They were excited to hear the piece and excited to try the instruments. We can’t just approach string instruments in the way they were approached a hundred years ago. There are musicians and audiences for all different types of music.”


Catch the WAV

As part of an initiative to encourage the adoption of electric stringed instruments, NS Design has launched a pilot program, called “Catch the WAV”, to make its four-string WAV Series electric violin available through participating retailers at a special pricing to schools and educators. Educators who are interested in taking advantage of this program should contact their local NS Design dealer for assistance in finding a dealer contact. (To find a participating dealer, contact sales@thinkns.com .)

Music Education Can Help Children Improve Reading Skills

ScienceDaily (2009-03-16) -- Children exposed to a multi-year program of music tuition involving training in increasingly complex rhythmic, tonal, and practical skills display superior cognitive performance in reading skills compared with their non-musically trained peers, according to a new study.

Orchestras and Adjudicated Festivals

Hi all.
I know it has been a while since my last post. It has been pretty busy here at NCSSM and my family life has been filled with a variety of spring sports leagues. It has not been uncommon for my wife and me to take 3 kids to 3 different sporting events or practices in one evening this spring. So, I apologize for my recent silence.

Today, I want to just give a few thoughts about school orchestras and adjudicated festivals. I recently served as an adjudicator for the North Carolina Eastern Regional Music Performance Adjudication Festival. It was such a pleasure and honor to observe my North Carolina colleagues with their kids. I know so many of them from NCMEA meetings and other events. It is always great to see master-teachers interacting with their daily students.

My role in this festival was to judge in the sight-reading room. This is hard duty as a judge. I heard around 40 orchestras sight-reading one of 4 different pieces, depending on their performance level. Believe me, there is only so much that one can say about a grade 1 or 2 piece that is being played for the first time by a group of nervous middle schoolers. The plan for me as a judge is always to find lots of positive things to say to the group and affirm the work that they have done. Then, I try to isolate on area where they can improve. I try to offer constructive suggestions for a more musical performance, stronger technique, or a more cohesive ensemble.

Following this adjudication festival, I had a couple of overriding thoughts. The first is a technique issue. It is now, quite common for orchestras to "shadow-bow" before sight-reading a piece. This is when the student holds the bow and moves it to the rhythm without touching the strings, simulating playing the piece. In and of itself, it is a great idea. But, I noticed that lots of students did REALLY odd things with their bow hold and I can't believe that this has a positive impact on their bow hold in the long run. As I make my way in to a variety of teaching situations throughout the area, one constant that I have noticed is an inconsistency of functional bow holds. (For a primer in teaching or establishing a good bow hold, follow this link.) My suggestion here is to simply not hold the bow during the "shadow bow" portion of the sight reading experience. Have the kids put the bow on the music stand and do the exercise exactly the same way. I don't even know if this is necessary for the violins and violas, but it definitely is for the celli and basses. I would have everyone put the bow down. The students can still focus on the kinesthetic experience of bowing and the associated rhythms. Instructors can still see the rhythmic motion of the bow arms. And, the potential bad habits of bow hold can be avoided.

The other over-riding thought that I have involves listening. Now, I know that it seems like a silly thing to say that listening is an important part of performance and sight-reading. But, in two complete days of adjudicating sight-reading, I only heard a handful of instructors remind their musicians to listen. Furthermore, it was very easy for me to identify the ensembles that had practiced the art of listening in the ensemble. We, as instructors, can get fixated on the nuts and bolts of notes and rhythms and simply forget to teach listening. I believe that many ensemble intonation problems are not so much a function of individual playing and technique issues, but are more a function of listening issues. We must know how to listen across the ensemble and build a chord from the bass, up. That, of course, also accentuates the importance of the role of the bass and cello section. I recently had the pleasure of working with our Physics Department at NCSSM on a unit on Sound and Frequency and, believe me, the physics doesn't lie. The fundamental tone has to be in tune (bass) and the 2nd harmonic does, too (cello). If they are out, the orchestra doesn't have a prayer of creating a beautiful sound. And, the upper strings must listen and adjust to the others around them in order to create that special string sound that we all know and love.

So, there are a few thoughts. I hope someone out there finds them to be helpful. I certainly welcome your thoughts and remarks on the issues of shadow bowing and listening across the orchestra.

It was definitely ah honor to work with all of you at the Eastern Regional Music Performance Adjudication.

Ichi, Ni, and San

In August of 1986, as a senior at Indiana University of PA, I embarked on a journey that would forever change my life. The previous spring, a high school orchestra from Williamsport, PA and performed on our campus and were absolutely magnificent. I had never seen a school orchestra play at that type of high level and I knew then and there that I wanted to be part of that dynamic. I chased down the bus as they were leaving, made eye contact with the director, and said, “You don’t know me, but I am going to student teach with you!”

Somehow between that time and the beginning of my student teaching experience, I had convinced the music ed. folks at IUP that I needed to student teach in Williamsport and there was nowhere in the immediate area that could offer me the same program and experience. Williamsport is about a 3 hour drive from Indiana, PA and is really outside of the range for stucent teaching experiences. Somehow, through the efforts of some wonderful music ed instructors, I became the first student teacher from IUP to go to Williamsport and now I was getting ready to meet the high school orchestra director, Walt Straiton, for the first time since that day his orchestra performed on campus.

But this was no ordinary meeting. Walt had called me about a week earlier and said, “Hey – I am going to Madison Wisconsin for a workshop on strolling strings and you need to go with me.” No questions asked. No options. I was going to Madison and that was going to be part of my student teaching experience. Walt made it clear that if he was going to do something, I was going to do it, too. I knew right then that this semester was going to change my life. It did. Profoundly.

I could write a book about that trip and the wonderful experience that I had in Madison at the Red MacLeod/Marvin Rabin run Strolling Strings Workshop, learning about the concepts behind school strolling groups, or about the experience of being part of the beginning of the Williamsport Strolling Strings group that received national recognition in the coming years. But, this post is about relationships. That day, as Walt picked me up in his new t-top Camry at a parking lot in Dubois, PA and my Mom watched, clearly worried about who this guy was that was hauling her little boy to the Midwest, my life changed. On that day, I became linked up with Walt Straiton, both personally and professionally for the rest of my life. He burst into my life like a tornado that day - wheels spinning in the gravel parking lot as we took off down Interstate 80. And, from that moment on, he has challenged me over and over, in his unique way, to be the driven professional and pedagog that I am today.

Something that I didn’t know that day was, that to be connected to Walt, is to be connected to Ken Raessler. What a blessing. Ken Raessler, in those days, was the Supervisor of Music for Williamsport School District and the driving force behind what was and is arguably the finest public school comprehensive music program and Pennsylvania and beyond. He has conquered many areas in the music ed. field, including public school teaching, college music teacher development, public school arts administration, and collegiate administration. He is an author and speaker and a true leader in every respect. He mentored Walt while he was at Williamsport and facilitated much of the success that Walt enjoyed in that system. Ken understood that an Arts Supervisor had to have a plan, a model, and his was steeped in all of the right things: student achievement, opportunities for teachers, solid musicianship, impeccable teacher training, and a top to bottom comprehensive approach to music education. (His latest book is entitled Aspiring to Excel: Leadership Initiatives for Music Educators (GIA Publications) and I recommend it highly!!)

During the 5 months that I lived in Williamsport, these two teachers guided me, challenged me, taught me, inspired me, and most of all accepted me as one of their team. They made me part of their fraternity of driven professionals. At one point in the time I was there, Ken told me that we were like Ichi, Ni, and San. One, Two, Three. Three music educators that were living parallel professional lives, each in different stages of their career. He told me that I was like them and that I would enjoy the type of professional success that they enjoyed if I put my mind to it. I was only 21 and somehow, I couldn’t believe that Ken and Walt could possibly see themselves in me.

23 years have passed and we have all three moved in numerous directions.

Last night, I had dinner with Ichi and Ni – Ken and Walt. Now, Ken and I have been in fairly close touch in recent years. Ken was keynote speaker for the NCMEA Fall In-Service a few years ago and I was honored to introduce him at that event. He is always in attendance at my sessions when I speak at a conference he is attending. Unfortunately, I hadn’t spent any meaningful time with Walt for the past 10 years or so. And, the three of us hadn’t been together in a much longer time. But last night, we finally got together. It was like we were just in Williamsport yesterday. We are all a good bit older and have been through lots of experiences, but the things that are important are still the same. Ken listens intently to our stories of experiences and successes and offers wise advice, based on years of experience and his own success in the music education business. Walt inspires me with his take no prisoners approach and energy. He tells stories of wonderful experiences as a musician and businessman and is very willing to offer strong advice and friendly, caring support on a variety of topics. I have had my successes over the years and feel much more comfortable in the role of “san”. Ken’s prediction has come true in palpable ways. And he is happy to let me know that “he told me so.”

I could continue with details of how Walt and I reconnected with a comparable energy on current pedagogical thought, or how he nationally recognized now for his work with Yamaha, or how I think we convinced Ken to start a blog to share his thoughts on music ed and leadership with the world in a new way. But, really, none of that matters in this forum. These guys are my friends and mentors and I cannot express my thanks to them enough. They helped to shape me as a teacher and as a professional.

There are a million reasons to go to conferences as an educator. We go to sessions, learn new techniques, visit exhibits to see what is new, and have a great time. But, when it is all said and done, it is always about relationships. Last night, I had the priceless opportunity to renew two important relationships in my life. And, sure enough, we were still Ichi, Ni, and San. Just like in 1986.
Thanks, Walt. Thanks, Ken. I love you both.

Peace.
Scott

Phyllis Garris: Founder of the Lamar Stringfield String Camp

As I promised in my previous post, I want to give a bit more information about the wonderful string camp where I am working this summer. The Lamar Stringfield String Camp is celebrating it's 30th anniversary this year and is in full swing this week. The camp was founded by Meredith College Music Faculty member, Phyllis Garriss. Her vision for the camp was and continues to be to provide a meaningful string music experience for children of a variety of ages and playing levels in the context of a nurturing environment. Additionally, it is important that the camp supports the local public school string programs and teachers. Campers receive instruction on technique and music theory, a daily orchestra rehearsal and sectional rehearsal, and a daily concert by local professionals or advanced students. Students may also remain at the camp for a popular daily "extended day" experience that includes swimming and recreational fun with the camp counselor staff. All of these wonderful experiences would have never been possible without the vision of Phyllis Garriss. It is her love for teaching, children, and string music that paved the way for this wonderful legacy.

Phyllis Garriss is associate professor emeritus of string instruction at Meredith and is founding director of the Lamar Stringfield String Music Camp. She holds undergraduate degrees from Hastings College and an M.M. from Eastman School of Music. She has held teaching positions at DePauw University and Ball State University, in addition to Meredith. A former National Secretary of the American String Teachers Association, Professor Garriss is a member of the Music Educators National Conference, the Music Teachers National Association, the American String Teachers Association, Local 500 of the Musicians Association, and past-president of the Raleigh Music Club. She performs with the Raleigh Symphony Orchestra and the Capital String Ensemble.

It is my pleasure to let you know a bit more about Phyllis Garriss and the Lamar Stringfield String Camp. I know that there are many wonderful camps around the country that occupy similar places in their individual communities. I am so pleased to be art of this camp that serves the Raleigh, Durham, Cary, Chapel Hill communities.

Peace.
Scott

Lamar Stringfield String Camp 2009

This week (and last) I am teaching at the Lamar Stringfield String Camp at Meredith College in Raleigh, NC. This little string camp is celebrating its 30th anniversary this year and is truly a gem in our world of string education.

The camp is 2 weeks long and students have the option of attending for 1 or both of the weeks of camp. It serves students from ages 6 through high school and all levels of playing. The camp features 3 orchestras, music theory lessons, sectional rehearsals, technique lessons, a daily concert, opportunities for swimming and other activities, and lots of fun and love. In addition to a staff of wonderful professionals from the world of string education, there is a team of "counselors" that are advanced string players from local high schools and colleges that serve an invaluable role for the camp as the liaison between the instructors and the students.

In the coming days I will post some various thoughts and remarks about the camp. There are so many positive things going on here and I really want to share them with you all.

For now, let me just say that I am having a great time and am so pleased to be part of this wonderful camp for the 2nd year. The camp was founded by Phyllis Garris, a long time string faculty member at Meredith College. The is wonderful loving woman who is truly interested in getting kids excited about string music. The camp directors are Margaret Garris, Phyllis' daughter and string educator, who is carrying on the tradition started by her Mom, and Virginia Hudson, cello instructor at Meredith. They are magnificent folks that truly keep the overall vision of the camp in focus as they prepare for each and every day of the experience.

Two of my sons are attending the camp this week (more about this later) and I couldn't feel more fortunate for them to have this opportunity.

If you are in the Raleigh area and teaching strings, check out the camp and send your students. They will have an experience of a lifetime.

More to come on this great camp.

For now, I have to head to Raleigh!

Peace.
Scott

ASTA in Atlanta

On March 18-22, The American String Teachers Association (ASTA) held their annual National Conference in Atlanta. I was pleased to attend the conference and present several educational sessions to both teachers and students that were involved with the conference and the National Orchestra Festival. I am happy to report that NS Design had a strong presence at the event and folks from all over the country are now aware of the Wav Violin and the buzz around the product is very strong!

First, The Electric Violin Shop (www.electricviolinshop.com) had a booth that was prominently positioned right at the entrance to the exhibit hall for the conference. Every attendee had to walk right by their booth to enter the exhibits. They had the Wav, in all three colors, displayed front and center and everyone from students to teachers could try the instruments on fantastic amps and with cool effects processing. Additionally, all that checked out the instrument in the booth could register for a raffle at the end of the show where one person would receive a free wav. I know that generated a great deal of interest as well.

One of my sessions was entitled "Effective Effects." In this session, I really give a mini science lesson and discuss exactly what various common effects do and how the parameters work. I broke down the function of EQ, reverb, time based effects (chorus, flanger, and delay), filter effects (phase shifting, wah wah), distortion, and pitch shifters. The session was really well attended and I received super-positive feedback from many that attended. Throughout the session, I demonstrated all of the effects with my Wav violin. The instrument sounded fantastic and many remarked about it afterwards. Folks were amazed at the fantastic look as well as the economical price. All feedback was extremely positive. You can see more information on the effects processing seminar at www.electricstringed.com.

All in all, it was a fantastic conference and the Wav received some fantastic publicity. The instrument certainly speaks for itself. I couldn't be happier with the results and the response from the conference.

Peace,

Scott

Coda Joule Carbon Fiber Bow

Today, I want to say a few words about the new Coda Joule Bow.

I have been playing carbon fiber bows for the past 10 years or so. Initially, I was using them primarily with electric violins and had also used them off and on with my acoustic violin. I have used them for a variety of styles including classical, rock, jazz, bluegrass, and others.

I just picked up the new Coda Joule about 3 months ago and I must say, it is really fantastic! This bow has all kinds of guts for the big stuff that I play and all of the subtlety and nuance that is required for my classical playing. I have used it extensively with my electric and acoustic instruments on a variety of performances and rehearsals and have been uniformly impressed with it. It gets a a huge tone and is totally consistent from frog to tip.

Prior to getting the Joule, I had been known to use a viola bow from time to time with my electrics and on fiddle improv gigs. I just really liked the power and tone that it provided. Now that I have the Joule, that is totally off the table. The Joule meets that need completely.

I think that students often sacrifice getting a better bow in order to afford a little more of a violin when stepping up in instruments. The Joule is priced under $700.00 and could fit into a violin step up outfit very nicely. Trust me, it plays a lot better than $700.00! And, it will never limit your bowing capabilities. So, if you get a chance, give a Coda Joule a try. You be amazed at the playing experience.

A quick thought on practicing

This will be a quick entry today. We depart at 4:30 the NCMEA Eastern Regional Orchestra Festival. I will be taking 13 of my students from NCSSM. This has been a busy week at school. We just completed the 2nd trimester of the year and all of my students have been taking exams this week. (In fact, I am giving a music theory exam as I write this!)

My students have been trying to prepare for the regional orchestra event in the midst of this busy academic week. So, practice time has been limited. I took a minute a few days ago to look up the three pieces that they are preparing on Youtube and send the link to them. The works are: Nimrod from Elgar's Enigma Variations, Tsiolkovsky's Romeo and Juliet , and Dvorak's Carnival Overture. These are all great, well-known works and easily and quickly available on Youtube. I am amazed at the number of my students that hadn't thought to check out a recording before beginning to prepare the music.

This, to me, ought to be task #1 when preparing a new piece of music. When I am preparing a work that is new to me, I seek out as many recordings as possible. I play them in the car, in my home, when I can study a score, and when I can't. I try to just internalize the work as much as possible. Then, when I have time to practice, I actually know the end-goal.

It took me a long time to learn this. But, after years of experience, I am convinced that listening is the key to achieving real artistry in our playing (and, for me, conducting). It is the same with jazz. How can one aspire to be great without first listening to that studying the greats? Yet, millions of folks try to learn to play jazz without ever hearing John Coltrane, Miles Davis, etc. Weird.

Additionally, it just saves time! You won't be fighting with figuring out notes and rhythms. It is so much easier when you have that aural reference. I know that my students didn't have time for that this week. So, if that edge is available, why not take advantage of it?

So, to my students, and anyone else that may be reading this, put on a recording!! It will change the way your approach your instrument and preparation. And, it just might save you some time in the process.

Peace.
Scott

Fret Killer

For my Guitar Students:
A student in my D block Piano/Guitar Class just turned me onto a guy called "Fret Killer" on You Tube. He has a ton of good guitar picking videos on there. This student saw his ragtime take on Greensleaves and is outside my office working on it right now. Very cool stuff.
I encourage you to check out his work and implement some of his style points into your playing. Or, just enjoy it!!
Peace.
Scott

(By the way - this is using technology for content delivery at its purest!!)

Putting Your Effects in Order

Hey all -
Check out a recent article that I wrote for Teen Strings magazine.

http://www.teenstrings.com/article/default.aspx?articleid=23372

For those of you that are electric violinists - I hope it is helpful!!

Peace
Scott

Why do we "do" music?

This past weekend, I had two opportunities is make some great music as part of a group. First, on Saturday night, the NCSSM String Quartet (4 of my students) were scheduled to play for an alumni function at Hope Valley County Club. One of the violinists had a last minute schedule conflict and it was too late to prepare another student for the event. I agreed to play. We played for almost 2 hours and did primarily Mozart String Quartets. I played first violin and really enjoyed myself. It had been quite a while since I had played really good string quartet music with an ensemble that wasn't just playing the standard gig or wedding music. What a pleasure it was to play Mozart String Quartets that actually required preparation and practice to pull off in a musical and expressive manner. There was a real feeling of satisfaction as we finished up for the night. We had played a fine performance.

On Sunday, I put on my improv hat and headed out to a gig at the Piedmont Restaurant to play for Sunday Brunch. I work at Piedmont regularly with Willie Painter and Keith Guile. This week, Willie was out of town and Keith invited his friend and bassist, Robert Truesdale to sit in. We played a fair amount of music that was new to me and I had an opportunity to test my aural and improv chops for a couple of hours. Much like Saturday night, it was a blast. We had such a good time making music and I walked away from the gig with such a great feeling of satisfaction.

This brings me to my thought for today. What is it about music that keeps bring us back as both players and listeners. It certainly fills avoid in our lives and thoughts. Something quite satisfying happens when we listen to great music, when we play music. People are compelled to spend billions of dollars each year on recorded music, concert tickets, and musical instruments. We invest hundreds of hours each year in practicing, listening, and discussing music and performers. And, I am not talking about professionals. Let's take the pros out of the equation. Something is definitely going on in the brain when we play and listen to music. What is it that compels us to invest so much in the pursuit?

Certainly, music is different than most other activities. It requires study, practice, and preparation much like any other worthwhile pursuit. One thing that makes it unique is the fact that it is timed. If we are performing music, there is no time for pondering or considering our next move. The pulse will not wait. The closest activity to which I can compare this is timed sports. In football, the play begins and the player must hit every mark in order to be successful. In track and field, the gun goes off and the runner must perform every move perfectly in order to win or even complete the race. The athlete must prepare ahead of time in order to do these things at the tempo required for success. Just like the musician.

Here is another thought. I teach a course in piano and guitar. This course attracts students from all ends of the experience spectrum. Some of my students are quite experienced in the discipline of piano or guitar and take the course to build practice time into their busy schedules at NCSSM. But, a greater percentage of my students in that course are beginners. They are kids that just want to learn the skill of playing an instrument and they are starting from scratch. Some of them are brilliant kids that struggle to play little tunes such as Jingle Bells and Merrily We Roll Along. But, they invest the time in the pursuit. the are drawn to the complexity of the activity. They are drawn to the notion that they can't just "learn" it by reading the concepts in a book. they have to first comprehend the activity and then, they must perform it. And, not only perform it, but perform it in time, in rhythm. Most of them succeed. Certainly, they succeed in varying degrees, but succeed they do. Regardless, I am always amazed by theri degree of determination and drive. Very few give up. There must be something there that they need as humans. There is some extra bang for the academic buck that you get from music. Otherwise, why would so many be willing to invest ther time in it?

My son has the bug. He comes home from school every day and goes straight for the instruments. Some days it is his violin and others it is his bass. Still others, his brother's drums. but, he goes to music most days. I did it, too, as a kid. I would wear out the piano after school nearly every day. I would wear out my LP records nearly every night. I would go to sleep listening to WDVD in Pittsburgh every night and wake up to it in the morning.

I have an old frind that is a brilliant scholar. He made his career in music, however. He told me once that, "Music is the only thing that I ever really had to work at to be good." I think of that statement frequently and wonder if that is part of the appeal. I am certain that it isn't the whole story. Part of it, at least, is much deeper. It is emotion. It is connection to feelings. It is aesthetics. But, i am sure that part of it is what it does to our brains. There is so much there to process.

I read a book this summer entitled, This is Your Brain on Music. Let me encourage you to read it. It really sheds some insights into what is going on in our brain during the pursuit of music. It definitely gives some answers. but, for me, it also creates new questions. How cool is that?
Until next time....

Peace,

Scott

Extended Weekend/ Energy

It is Extended Weekend at NCSSM. These are weekends that are built into the NCSSM calendar that permit students to get home for an extra day over the weekend to rest up, see family, visit with friends, and generally reconnect with home. I noticed that my classes on Friday were particularly distant and clearly, the students were already letting their minds wander to the events of the weekend, rather than the tasks at hand. I understand that. It is normal to anticipate a long weekend a little early.

The thing is, I have noticed a large number of unresponsive students this year. Don't get me wrong. They are not disrespectful, unprepared, disruptive, or unwilling to work. Quite the contrary. They couldn't be nicer. But, in many ways, there is a wave of unresponsive students. I am really not sure why. But, here is my best guess. I think they are tired. Actually, we are all tired. I am convinced that we are all just exhausted in many ways. We are physiclaly exhaused from lack of sleep and busy schedules. We are mentally tired from working hard and thinking hard from the time we wake up to the minute we go to bed at night. We are emotionally exhaused from trying to do our best in all that we do. We all want to achieve and it takes energy. It takes physical, emotional, and mental energy.

So here is my thought for the day. Even when we are tired, we have to find the energy for every activity of the day. We have to approach everything as if we are rested and ready to go. Even if we aren't. After all, if we don't give it our best, with our best effort, what will we really get out of the activity. There are many days that I get going and just feel like I need another hour of sleep. But, by the time I get to work and my first class, I give it all that I have. I find the energy. I approach the class with the same energy that I expect to receive in return from my students. this doesn't happen without effort. One must make a conscious effort to be energetic.

I see it in orchestra the most. In order to make a wonderful sound, the musician must play with energy. It can be seen in theri posture, bow use, left hand, and can be heard in their tone and facility. Even if the players don't feel energetic, they must still play with energy. They must still rehearse with physical, mental, and emotional energy.

So, as you return to school on Tuesday, or to work on Monday, find your energy. Prepare yourself to give it everything. Give it your physical energy, mental energy, and emotional energy. Without it, you are short-changing yourself. And, trust me, your teachers, coworkers, and family will appreciate the effort.

Have a great week! May you find your energy.

Peace.

Seating Auditions are Traumatic

Seating auditions are traumatic. Anyone that has ever played in an orchestra knows it. A musician's seating is a concrete expression of a musician's "rank" in the ensemble and one really can't hide from the number. (1st chair, 2nd chair, 14th chair, etc.)

I have to constantly remind my ensembles that auditions are like a snapshot. Sometimes photos give a very true impression of a person's image. Sometimes our eyes are crossed and we look horrible. Other times, we see a shot a person that just makes them look fantastic. They are all the same person, but that snapshot can go either way. Auditions are similar. Sometimes we go into an audition, get nervous, and end up being the subject of an audition "photo" that depicts our eyes crossed and hair totally messed up. Other times, we show better that we actually are. but, in the long run, generally speaking, the image is still us and we give some kind of general impression of the player that we are.

The beauty of the ensemble is this: once the auditions are over, we all have the same responsibilities - to prepare our parts, participate in rehearsals, lead from any chair, and work to be as intagral a member of the group as everyone else. Seating order ultimately does not matter. Yes, it provides a tangible "rank." But it really doesn't change anything. We are an ensemble. And, by definition, it is all about the entire group. Ensembles are only successful when everyone understands their importance to the sum and committs to that concept. (Just think of the last time you watched a dance ensemble performance where one of the dancers didn't operate at the same level as the rest of the group. Ruined the effect - didn't it.) He is where I usually go into sports analogies and the need for team play, but I will spare you that sermon today.

My orchestra received their seating on Wednesday right before rehearsal. It was a weird rehearsal that day. Players were getting used to their new stand partner, adjusting to the reality of that new "ranking" that they had just received, and generally getting comfortable. I really hope that today is better. This is such a fantastic group of musicians and I have such high expectations for the year.

For now, we move on as an ensemble. Seating doesn't matter. That is the first key to success as an orchestra. A chain is only as strong as the weakest link. Now we get to the real work of developing musicianship, artistry, technique, repertoire, and a commitment to the goals at hand. I will enjoy the journey!

Peace.

Scott

Orchestra is My Favorite Class

This week, my son started middle school. He is 11 years old and in the 6th grade. He has been so excited to get started and finally, the big day came on Monday. I thought about him all day as imagined what kind of exciting things must be going on for him. Did he get lost in the hallways? Was he late to any classes? Did he like his teachers?

He called me as soon as he got home from school on Monday. It had been a great day! The first things I heard about were the larger portions of food in the cafeteria than the elementary school had. And choices! He had Salisbury steak and rice! Yum! Also, the locker was a big deal. He mastered the art of opening a combination lock on day 1.

But the kicker was this one. I asked what his favorite class was. He immediately responded, "Oh that's easy. Orchestra." Well, wasn't I proud. Of course it was orchestra. So, I decided to press on a bit. "Why?" I asked. "Because the teacher let me go to the restroom without a hall pass!"

Here we go. Middle School is upon us. I really used to feel like I understood the kid. But, if I have learned anything as a teacher in the last 20 plus years, I know this. The next couple of years will be an adventure. For him and for me. Bring it on. Let's have this adventure together!