8 Weeks Before the Recital

You want to be able to play through your entire piece with relatively few bumps. It’s normal if at this point we are still playing at a thinking tempo!
The next four weeks you should be working on slowly getting it up to full speed, and smoothing out the finer details and finding the spirit of the piece.

4 Weeks Before the Recital

You want to be able to play your song at performance tempo fairly comfortably even if you sometimes make mistakes. If you are making mistakes, that's okay! Remember that they are good if we learn from them! :)
It is useful to have a few points in the song where you can restart should things get tricky. This will save you from having to start all over should anything happen!

2 Weeks Before the Recital

Your recital piece should feel pretty comfortable now, and if we are making mistakes we should be able to recover from them quickly. Remember a polished piece has notes, dynamics, and spirit!
Practice playing for family and friends! The easiest way to simulate the nerves of a performance is to play for real live people. It is okay to be nervous! Being nervous for something means that you care a lot about it a lot, and want it to go well! If you have hit the milestones above you will do just fine. :)

1 Week Before the Recital

Just relax. You’ve got this! You know what you are doing and how to manage the odd “Oops.”
Play your piece for fun and enjoy listening to yourself. If you are enjoying what you are playing so will others!

The Day of the Recital

You have worked SO hard on your recital piece so take this opportunity to show off your hard work and enjoy yourself! Remember that everyone in the audience is so excited to hear you play, and wants you to do well! Plus there will be cookies afterward. ;)Plan to get to the recital location early to give yourself enough time for potential delays, plus any warm up time you may need. Always tune to the piano that will be used on stage, there should be someone nearby to help you should you need it. Remember also to have good manners while other children are playing, they worked hard on their pieces too! And while they play, remember to listen for something you love. :) 

By Sue Evans

  1. Play it your age.

  2. Tape it.

  3. Pick an UNO Card.

  4. Throw the dice or die.

  5. Wear a funny hat.

  6. Wear funny glasses.

  7. Left foot in the air.

  8. Right foot in the air.

  9. Eyes on the ceiling.

  10. Eyes closed.

  11. With toothbrush in mouth.

  12. With gloves on.

  13. With Kleenex on keys.

  14. Write a story to sing with it.

  15. Imagine you’re on an island.

  16. Imagine you’re on skies.

  17. Imagine you’re in the ocean.

  18. With a cookie in mouth.

  19. While smiling.

  20. While winking.

  21. While crying.

  22. With a frightened look.

  23. While undressing.

  24. While dressing.

  25. With high octaves.

  26. With low octaves.

  27. While sitting on the floor.

  28. While standing up.

  29. While blowing a bubble.

  30. Making up a rap.

  31. Making up words from other languages.

  32. Making up nonsense words.

  33. Sing in a baby voice.

  34. Sing in a dad’s voice.

  35. Sing in different animal voices.

  36. Have a relative accompany you with sound effects.

  37. Have a relative play another song at the same time.

  38. Play it and reward yourself with an M&M or candy.

  39. Play it and give yourself money.

  40. Parents play one hand.

  41. Parents play another instrument at the same time.

  42. Play it at different MM markings.

  43. Wear a wig.

  44. Wear a Tie.

  45. Flip your wig.

  46. Moo like a cow.

  47. Oink like a pig.

  48. Invite friends over and act it out like a play.

  49. Invite friends over for a Piano Party.

  50. Put ear plugs in.

  51. Wear earmuffs.

  52. Wear a coat.

  53. Set an alarm clock for 5 minutes of play.

  54. Clap your feet.

  55. Play it with a damper pedal.

  56. Play it with the sostenuto pedal.

  57. Play it with the soft pedal.

  58. Play it on another piano: church, school, store, friend’s.

  59. Play it backwards.

  60. While reading a book.

  61. While balancing a marshmallow on head or toe.

  62. While gargling.

  63. While on the phone.

  64. While whistling.

  65. While wearing a crown.

  66. With the Suzuki tape.

  67. While lying on the bench.

  68. While kneeling.

  69. While standing on one foot.

  70. In the dark.

  71. With one eye shut.

  72. While telling a joke.

  73. While watching TV.

  74. Cross hands.

  75. Create some lyrics .

  76. While balancing a textbook on head.

  77. At midnight.

  78. In your head while lying under the piano.

  79. Play it while singing DO, RE, MI.

  80. While saying “I Love You.”

  81. Have parents or friends dance.

  82. By candlelight.

  83. By flashlight.

  84. With a baby on your lap.

  85. Blindfolded.

  86. Sing your name to the melody.

  87. While writing a letter.

  88. Hands separately.

  89. While drinking.

  90. While eating.

  91. At different times during the day.

  92. Play it on a dummy piano.

  93. Play it on the back of your parent.

  94. Play it on your lap and say the melody notes or harmony notes.

  95. With a pencil in your hair.

  96. With another CD going.

  97. With your parents tapping the steady beats.

  98. Play an ostinato pattern on kitchen instruments.

  99. On the phone with your teacher.

  100. While bouncing a ball with your other hand.

  101. At 15-minute intervals.

  102. DONE!

By Heidi Ehle

Continuity is a crucial part of learning an instrument, and the link that provides continuity between lessons and practice is your precious notes! Having been a Suzuki parent, I know that in a busy day sometimes you sink into the chair at the lesson and think, “Ah, 30 minutes of down time.” Then you find yourself daydreaming, and before you know it the lesson is over. You glance down at your notebook, and see “Review Allegro” … hmmm, not much to work with. You hear your teacher compliment your child on the lesson, but you are not exactly sure what went on.

At this point you may ask your teacher, “What shall we practice this week?” This will probably get a somewhat annoyed response as the teacher thinks, “OK, do I have to re-run the entire lesson at fast forward?” although she’s glad you at least asked. Or you don’t ask and figure you’ll just get through practice somehow.

Helpful Hints

While you may need some clarification at the end of the lesson, the teacher expects you to pick out major points for practice during the lesson. Here are some tips:

  1. 1.Look for a theme, especially with very young children. There is what Suzuki teachers call the “one point lesson.” If you hear the same aspect mentioned again and again, circle it at the top of your notes (i.e., thumb position, clear high notes, where is your foot, D’s correct).

  2. In review songs, what is the teacher’s focus? Sometimes it is just a fun warm-up, but more often there is a specific goal. Children do not like mind-numbing repetition. Find the teaching point in the review (i.e., beautiful E’s, breathing, fingering D to C, air use on high notes, etc.).

  3. Write down how to do things. “Last two measures of Minuet I” is not enough. How did the teacher break it up? Did you follow the process so it can be duplicated at home? (i.e., do this small group 5 times with no slurs, then add slurs, then speed up, through the A, be careful of the C#.)

  4. In scales and exercises, try to notice how they are worked on (i.e., fruit salad, slur patterns, speed, position or tone aspects). Just writing “Do F Major scale” is usually not enough.

  5. If you can’t follow where we are in the music, make a copy of the piece as your own study copy. Whether you read music or not, you’ll find this makes a huge difference.

  6. Listen for cues. Your teacher is constantly aware of your presence—and how mentally present you are. Whenever you hear the word “practice,” heads up! Also listen for colorful language: sail your tone out the skylight, staccatos like hammering little nails, BIG beach ball bouncing. Try to use these words again in the practice. Listen for location phrases: “in the last measure of that line, where it starts on B-flat and goes up, where it says crescendo.” These location tips are often for your benefit, as the teacher and student already know where they are working.

  7. Observe and adore your child. Relish the chance to do this. Watch body language, facial expressions, how your child learns, what feelings flicker past. It’s very interesting, and you may find something to talk about later, or you may just cherish the memory 10 years from now. However, keep your reactions, especially negative ones, to yourself during the lesson.

  8. Need time to space out? OK. There are times you can, like when the teacher goes off on a long technical workout and you already have the gist of what is being done. But listen for cue words to bring you back to attention.

  9. Help your teacher: Put all materials recently used on the stand at the beginning of the lesson. Ask for clarification of practice tasks at end of lesson. Ask about review if your teacher did not mention it. Try not to do noisy things like rattle newspapers, tear checks, crinkle cellophane, etc. It’s easy to forget that listening captures all sounds—and we are listening. Bring up general practice or schedule problems at the beginning of the lesson. Starting these important and timely conversations at the end of the lesson can wreak havoc with the teacher’s attempt to stay on time. Keep the teacher informed about events that may affect the child in a significant way (moving, illness, divorce, school troubles, etc.). These things have an impact which the teacher observes, and wants to respond to appropriately. Lengthy explanations are not needed, but a word will enable the teacher to respond in a sensitive, effective way.

Posted
AuthorAnna Bross

by Lamar Blum

Our recent Recital Week gave all who attended a glimpse of music students in action. Pieces had been polished and rehearsed. Students dressed up. Parents provided tempting treats. The excitement of wanting to hear each student play buzzed through the group. An anxious look at the program told students when they would play. Every recital was filled with the same agendas and expectations. Every recital held beautiful music played by students with little experience as well as those who have been playing for many years.

A comment that surfaces after a program is, “Hasn’t Janie progressed a lot? She was in Book 2 last year, and here she is playing a Book 4 piece!” That is a great thing to recognize, but I’m wondering about the student who hasn’t covered so much obvious musical ground. Are they still progressing? The outward signs of a student making progress are clear. The student learns many pieces, plays with more expression, has more and better control of how to navigate the instrument, looks like he/she enjoys what he is doing, and is able to communicate musically with the audience.

Let’s set these wonderful elements aside for a moment and take a look at some not-so-obvious things that can still be called progress. It is difficult to determine inward progress as it is happening. Let’s say a student played on recital this year but played a piece only two pieces farther than last year’s piece. Did this student progress? Yes, but it doesn’t seem like very much. In this scenario, the parent might become discouraged. As a teacher, I would not think there is a lack of progress if the attitude of the parent is one of patience and trust in what the teacher is doing. If the parent has the child’s best interest at heart and if practice time is a regular event, something is happening inside the child.

Progress is usually defined as movement. Movement isn’t always forward. It will be sideways, backwards, diagonally and sometimes up and down in the learning process. The important learning goes on inside each of us no matter what the subject. As adults, we are capable of telling what goes on inside. It is more difficult to discover what is going on inside your child.

Suzuki tells of the persistent patience of a mother working with her child. A mother working with her child was having trouble with the bow flying from her hand. The child was able to play “Twinkle, Twinkle Little Star” within six months. However, control of her bow hold eluded her for a long time. It seemed this skill was impossible. The mother and the teacher did not give up. When the child was at last able to hold the bow throughout the song, the child and parent were very happy.

I quote from Suzuki, “An invisible growing faculty helped to breed a new ability until it finally became visible to all.”‘ It maybe a long time before we can tell what our child’s “invisible growing faculty” is, but it’s there. As was the case in this child, what keeps a student from outward progress is not usually instrument related. She had suffered from infantile paralysis and was finding her way back to health by using the violin.

I enjoy challenging a student when I believe that their mind is on something besides the piece to be played in a lesson. I remind them that our mind is like a CD with lots of information on it. I ask that the student take out that CD—we sometimes push the imaginary eject button—and put in a blank one. Then, I ask them to play their piece. It is amazing how well they can play when an entertaining visualization is used.

As I perused Webster’s Dictionary to clarify the definition of progress, I found words like “gradual, steady improvement,” “an official journey [of a sovereign]” and “to continue toward completion.” I would hold each of these phrases up for your consideration. We are looking for gradual, steady improvement. That is the kind that runs deep and holds meaning for you and your child. You are on an official journey with your child through life. We don’t have to be kingly for this role to be relevant. But life is official and Suzuki wanted your child to benefit the most from making beautiful music. And, lastly, the phrase “to continue” sounds important to me. I have heard many people state their regrets about not continuing a child’s music lessons. Once we find ourselves in the “regret zone,” it is difficult to retrieve the momentum of the musical experience. I believe it is better to continue while evaluating ways to make the situation enriching for your child. Even when children are resisting, there is something of benefit going on inside.

All of this is said to encourage you to focus on the inward journey of your child’s musical experience. It’s our job as adults to help our children make headway, rise, grow, gain ground, step forward, forge ahead, shoot ahead, dash ahead, go ahead, move ahead (according to Roget’s Thesaurus) and most of all…KEEP GOING.

Posted
AuthorAnna Bross