The Live Music Connection: Engaging Through Performance

It’s the middle of a busy season in education—programs are finishing up their fall marching band rehearsals, winter concert prep has begun, fall performances are concluding. However, in this moment between fall break and winter break, it is a perfect time to venture out of the classroom and into a performance hall to experience some live music. Why is it so vital to music educators and students to attend performances of live music? Read on to learn all about it!

Live music is the lifeblood of what we do as music educators. Our whole gig is striving towards facilitating the beautiful experience of connection that people experience when listening to and participating in music together. Sometimes it can be difficult to see beyond the requirements of the classroom or lesson, but where would we professional players be if we didn’t have somewhere to perform? What better way to get inspired and excited than to attend a show where music is happening live!

As an educator, many of the experiences I provide to my students involve their own performances. However, I spend a great deal of time educating them on etiquette, performance practice, how to be an audience member, and the like. Some of the most valuable experiences these students have had, though, occur outside the lesson and inside an actual performance hall. I still remember going to see my first ballet in elementary school and being utterly awed by its beauty. Facilitating these experiences is so important to the development of students as musicians. They can even begin young learners on the path of musicianship—if a student has never been exposed to the sound of a cello, hearing one for the first time might spark joy.

Now, it is very difficult to provide students with these opportunities. Unless one is teaching in a classroom with lots of access to funding, bussing, chaperones, etc it can be very hard to put together an outing to the symphony. Instead, I’d recommend putting together a list of performing venues/organizations and providing students/guardians with the resources on where to find live events. If you have a studio, selecting a performance and encouraging students to meet you there can also be an option. There are many performances around the Indianapolis area being provided for little to no cost. Transportation can be tricky to figure out, but carpooling, student drivers, and guardians can help should the case be made. Below, I will provide a list of organizations that offer different types of live music. Several of these groups facilitate new music being written by young, Indiana composers and played by Indianapolis residents. As both an educator and performer, I cannot recommend highly enough the value and essential nature of attending live performances! Here are a few resources:

-Indianapolis Symphony Orchestra: https://www.indianapolissymphony.org. The orchestra offers student tickets for $15 a person. Performances are every weekend and feature everything from classical symphonic works to movie music.

-Indianapolis Chamber Orchestra: https://www.icomusic.org. This ensemble is based at Butler University, also offering student tickets. These are quality, high level performances by local musicians.

-Sound Ecologies: https://www.soundecologies.org. This is the non-profit I run with my husband. Sound Ecologies is a new music artist collective: our concerts are free to the public and feature new music written by Indiana composers and performed by Indiana musicians. Performances are primarily located on the south side of Indianapolis.

-Ronen Chamber Ensemble: https://www.ronenchamber.org. This ensemble is a small performing group formed by ISO musicians among others. Low to no cost ticketing makes these events affordable and very high quality. Ronen features a blend of old and new music.

-Forward Motion: https://www.forwardmotionnewmusic.com. This ensemble is run by local clarinetist Eric Salazar and features new music performed by local musicians. Tickets are low to no cost, and the concerts are very unique!

-Circle City Orchestra: https://www.circlecityorchestra.org. This ensemble is made up entirely of volunteer players who work on both classical and new works. Performances are free to the public!

-Philharmonic Orchestra of Indianapolis: https://www.philharmonicindy.org. This ensemble is auditioned volunteers, offering music camps and large scale works. Tickets run about $25 per person.

-Gamelan Mojomanis: https://www.instagram.com/gamelan_mojomanis?igsh=MWc4MTEwZ2N0NGZ4MA==. This Balinese Gamelan ensemble performs at festivals and outdoor events with free admission. An amazing way to experience the gamelan!

On the whole, live music is relatively accessible in the Indianapolis area. The above list only encompasses a few of the groups based in this city—it is by no means exhaustive! However, I hope you and your students take advantage of some of these events and take some time to get inspired, reinvigorated, and excited about live music. Cheers!

—Charissa Garrigus, Instructor at Vibe Music Academy

To Memorize, Or Not To Memorize?

Memorizing music is a tricky questions for many teachers and students. How does one teach memorization? Is it an important or valuable skill? Why do some instruments need to memorize their music while others don’t? Read on for a my experiences and opinions!

Imagine with me for a moment. It’s your junior year of college and you’re about to walk on stage for your recital. You’ve spent countless hours in the practice room preparing, and you know all of your pieces by heart. You step out on the stage, sit down at the piano bench, lift your fingers to the keys….how does that nocturne start again? Your pulse starts thundering, your brain is whirring, and you feel panic beginning. If only you had your music!

So, this happened to me. I’ve always dealt with considerable performance anxiety, and college was a bit of a crucible when it came to confronting that issue. I gave my junior recital entirely from memory, and learned my lesson—I used music for some pieces in my senior recital. I remember sharing my first recital with a vocalist who also memorized all of her music. My senior recital was shared with a cellist who got to use her scores, which made me rather jealous. Why do solo pianists have to memorize their music and other instrumentalists don’t?

The answer is a long one, so I won’t spend a great deal of time on it. However, historically, the famous pianists Franz Liszt decided to start playing all of his music from memory. So many other pianists thought this was an impressive and excellent thing to do that it became the standard. Now, if you visit the symphony to hear a concerto (a soloist playing any instrument with the orchestra) the majority of the featured performers will not be using their music no matter their instrument. Convention has also been shifting somewhat as trends change and technology becomes available. However, I will be approaching this question of whether or not to memorize music as a performer and a teacher.

I don’t memorize my music anymore. I simply do not have the time! I’m a full time accompanist and the sheer amount of music I have to learn means that I can’t memorize it. I also do a lot of collaborative playing, and I find it extremely helpful to be able to see what the other musicians are doing. Oftentimes, it’s the accompanist’s job to catch the soloist if they get lost—not having the music in front of me would be problematic. Finally, I just don’t find the extreme anxiety that I personally experience worth it. I play from an iPad so I’m able to turn the pages myself and it’s just easier and far less stressful for me to perform with the music in front of me. Of course, I don’t begrudge people who do choose to memorize their pieces—there are definitely some aspects that can be helpful!

There is a case that can be made for memorizing music. In order to memorize, the music must be fully internalized. The performer has to truly know the piece inside and out. Additionally, the performer is significantly freer to move and express themselves without being tied to sheets of paper. Many choirs and vocalists memorize all of their music so that they can focus on emoting while they sing. I’ve had students with audition requirements specifying that music must be memorized—I think this was the case with ISSMA state piano competition at some point. Once again, neglecting to teach a student how to memorize music should that skill be required is a disservice to that student.

My personal philosophy is to let the student direct whether or not their music is memorized. If they find it helpful or useful to play without sheet music, I’m happy to help them with techniques for that. I know sometimes when a piece has been worked on for a long time, memorization is that next logical step. However since it is not a skill I rely on myself as a professional performer, it’s not something baked into my teaching. What are your thoughts? Thank you for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

Lost in Translation: Questions of Interpretation and Expression

How do we as musicians and educators choose to interpret music? What forms our opinions on how a piece should be played? Do we focus on technique, expression, or something else entirely? Read on!

As college students, many music majors are required to take courses in music analysis. These classes often include in-depth digging within pieces of “classical” music, pulling apart the theory behind the musical construction and understanding how a piece functions. Additionally, music majors take private lessons—learning techniques and interpretations based off of specific musical traditions and conventions. I remember performing pieces by Bach and Haydn, learning how to “properly” interpret expression markings in the score. One thing in particular that sticks in my mind is an encounter I had with a teacher where I was told I was playing a piece “wrong,” because I was mimicking a performer this teacher had decided interpreted the piece incorrectly. I was surprised as I’d really connected with that recording and felt that I was expressing myself authentically by playing the work the way I’d heard it.

As I have continued in both my teaching career and my study of musicology, this incident has cropped up several times when I consider how to teach my students. I think there are several points to address when it comes to the idea of musical interpretation, which I will outline below. First and foremost, it's always about the goals of the student!

• What is the student hoping to get out of lessons? As I’ve mentioned in most of my posts so far, the needs of the student are always our top priority as educators. We strive to give our students diverse, complete learning that helps them to reach their own goals and provides them with the skills they are seeking. What music is your student playing? If she is working towards an eventual music major, what are the audition requirements of her program? Does he want to play for a church service, or a wedding? Do they want to be part of a jazz ensemble? Similar to repertoire selection, the role we play in our students’ musical exposure is huge and our opinions have a great deal of power. Thinking particularly of conservatory playing, there may be a “right way” to interpret a phrase marking or dynamics. If your student is searching for an avenue of self-expression, there could potentially be a great deal more leeway in that area. If you are instructing a young musician, they may need a more concrete understanding of these terms and markings so that they are able to make their own interpretive decisions later on.

• What requirements does that student need to fulfill? This is more of a sub-point to the first question. Of course, if your student is looking to fulfill specific audition requirements, it would be a disservice not to teach them what their evaluators are expecting to hear. The same is true for competitions such as ISSMA where adjudicators are attempting to be objective (not possible in music, in my opinion) and utilizing particular criteria for judging. In those cases, interpretation of dynamic markings, staccatos, accents, phrasing, and so on might have to be a bit more “standard.” Though self expression is essential, and the heart of music, these things are important to consider.

• What are the actual markings in the music/what does the composer say about it? I play a great deal of new music. With that in mind, I’ve had conversations with lots of composers working on pieces I’ll be playing wherein markings don’t make sense. I have a lot of power as an interpreter, and it’s always a pleasure to work with a composer to discover how they want their piece to be played. In our modern musical world, we often think of the composer as the ultimate authority. However, as I’ve collaborated with modern composers I’ve learned that markings are often not set in stone. Music from the Baroque era often doesn’t have markings at all—they’re added by transcribers. We rely a great deal on convention, but I think it’s important (especially if working on a substantial piece) to do some research on the work. If it is an older piece, how would it have been played? There is a whole field of musicology related to Historically Informed Performance Practice where scholars dedicate their careers to faithful reproduction of music as it would have been heard when it was written. All of this to say, though the musical markings may appear straightforward they may in fact not be at all. They may even mean different things based on the genre of music being studied/performed!

• Are there lots of different options out there for interpreting this specific work? One of the best things any teacher or student can do is listen to different interpretations of a piece. This gives the performer the capacity to make their own decisions when it comes to how the music best represents their own sensibilities in the context of the music. Fostering the growth of a student’s critical ear and their own interpretive maturity is so very essential to creating well-rounded musicians. Which recording sounds “the best” to the student? How have these musicians taken the same music and played it differently? Which parts of their favorite recording does student like best and why? What might they take from this recording and what might they change? If your student were to make their own recording, what choices would they make?

So of course, every interpretation is up to its own…interpretation! There is no easy set of clear to follow steps when teaching musical expression and interpretation. However, I think that considering the factors above can help music educators create a framework by which to examine pieces and present them to their students as both works of art and avenues for self expression. Thank you for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

Song of the Summer: Why Popular Music Matters!

What types of music do you enjoy listening to? How do your tastes shape what you enjoy playing or how you teach? Why do you enjoy particular stylesof music? Read on for my thoughts!

Summer often gives us space to relax and enjoy our hobbies. I know as a professional musician, it can be difficult to find the time during the school year. I’ve had discussions with other teachers and music students regarding the fact that many musicians don’t listen to much music outside of what they are working on. Sometimes, it can be difficult not to feel oversaturated with music! For myself, summer has been a time to get back to actually listening to music which has been lots of fun. It’s also caused me to think more about why I enjoy the types of music I do and how I can incorporate that into what I perform and how I teach.

One of the greatest gifts I’ve been given as a teacher has been working with students who come from backgrounds that are completely different than my own. Many listen to/sing/play music that is completely new to me and I love learning about it from them. I recently took a graduate class all about American popular music and it was quite eye-opening to learn about the origins of much of the music that plays on the radio, in coffee shops, and so on. Trends, tastes, and cultures change overtime, but the importance of music (especially to young people) does not. Through the years, young people have used music as an avenue of social change, self expression, and so on. This hasn’t changed, and I think it’s especially important for us as educators to be aware of how essential non-classical music can be to young folks.

In academic circles, there has historically been an air of pretentiousness surrounding music deemed “less prestigious” than the likes of Mozart, Beethoven, and so on. In current years, this has been shifting especially in the collegiate realm as those in power begin to question why we select certain genres as more important than others. That is a deep hole to go down, and I will not be attempting that in this post! However, suffice it to say that popular music is garnering more attention in academic fields as we consider the social, cultural, environmental, philosophical and anthropological factors that combine to generate our own tastes in music and what we value as important.

As a teacher, I want to cater my lessons to the students who are learning from me. I’ve been thinking a great deal this summer about my own tastes, where they come from, and how they shape my musical expression. As I’ve mentioned in past posts, I think it’s essential that we teachers do a similar form of investigation into our own students. What have they been listening to this summer? What genres are their favorite to sing along to? Why do they enjoy those particular types of music? When classroom teaching, I would always take a survey of my middle school and upper elementary students on the first day of class regarding their favorite songs/artists/bands. Then, I’ve select songs from a list I’d compile of those songs to play as they came to class each day. The excitement that would build as kids realized “this is MY song” was really rewarding, and helped me to engage with them on a deeper level. Of course, we want to teach our students musical literacy and how to sing and play their instruments. But, we also want to foster a love and appreciation for music in our students. Something else I noticed when playing music that my students enjoyed was the joy they took in sharing their music with each other. As I’ve already said here, the type of music we like is an expression of who we are as people. The music we grew up listening to, songs that played at weddings, funerals, important moments in our life, the soundtrack of our teenage or adolescent years…these are powerful things. Sharing our favorite tunes with each other gives them a glimpse into who we are, and allows permission for others to do the same.

As we get ready to go back to school, I hope you have time to rest, relax, and listen to some of your favorite songs. Though music is a job for many of us, I think it’s important we still find ways to keep it fun. Happy listening!

—Charissa Garrigus, Instructor at Vibe Music Academy

The Right Tools for the Job: Keeping Your Instrument in Good Shape!

With the warm summer months in full swing, you’re not the only one who’s sweating! What happens to instruments in warm temperatures, and how can we prevent damage? When do we perform maintenance, and how often should it be done? Read on to learn about some tips for keeping your instrument in good shape!

Have you ever taken your instrument into a music shop for maintenance? How about had a piano tuned? Our instruments are incredible tools, complex and often hand built by skilled artisans. They are made up of many moving parts including wood, strings, metal, cloth, and wire. Just like anything else that is used regularly, your instrument is likely to need a tune up every once in a while. Now, not all instruments are alike! Your clarinet might require a bit more maintenance than your brother’s trumpet. Or vice versa. These suggestions are to be taken only under the advisement of you and your student/teacher. Always ask before spending large amounts of money of course! Anyway, here goes.

Woodwind Instruments (flute, oboe, clarinet, saxophone): These instruments are for the most part made of wood—hence the name. Saxophones are usually brass, but have numerous pads used to cover the keyholes (same as flutes). Some clarinets are made of plastic, but these tend to be a bit less common. Regarding keeping these instruments safe in warm temperatures: never leave them outside or in a hot car! Wood can warp, and the glue holding the pads on can melt which will result in costly repairs and potentially unfixable damage. If you are in marching band, keep an eye on your instrument at all times and do not leave it outside unattended. Rain is to be avoided—wooden instruments can sustain damage from this. Especially if you perform with a marching or outdoor group, I’d recommend taking your instrument in to a repair shop just for a check up at least once if not twice a year. This will allow a technician to examine all the small, complex parts that enable your instrument to sound its best. Of course, it’s also helpful to make sure you are taking care of your instrument on your own: swab it out after each time playing, wipe out the mouthpiece, avoid getting your instrument wet, and make sure you remove clarinet, saxophone, or oboe reeds before putting things back in their cases.

Brass Instruments (trumpet, trombone, French horn, tuba): Though brass instruments are a little more durable than woodwinds, they still require care. Brass instruments are often times more capable of being outside: they won’t warp in the rain or experience melting glue. However, extreme temperatures and rainstorms still aren’t ideal. Just like woodwind instruments, one should not leave one’s trumpet, trombone etc. in a hot car or outside unattended. There are parts inside these horns that can bend, shift, and warp in heat. Perform routine care on your instrument—though some recommend giving your brass instrument a “bath” every once in a while, do not attempt this unless your teacher recommends it and/or shows you how. Empty spit valves, make sure the tubes are adequately greased, and so on. I’d still suggest taking your instrument into a technician once or twice a year for routine care.

String Instruments (violin, cello, viola, bass, guitar, harp): String instruments should not go outside, first and foremost. The wooden bodies of these instruments are essential for resonance, and can easily become damaged when encountering high temperatures. Even more so than woodwinds, strings should be kept at a moderate, consistent temperature as much as possible. Though some temperature variation is ok, your instrument will likely stay in tune much longer and more reliably if it isn’t transferred between large temperature dips. Oftentimes, instrument cases can help keep your instrument at a stable temperature when not being used—this means, don’t leave your violin sitting around outside of its case, or in a hot car! There’s almost nothing worse than realizing your instrument has cracked due to a temperature issue. Routine maintenance on these instruments tends to be a bit more complex than woodwinds or brass as the strings themselves are usually what needs adjustment. I would not recommend attempting to change strings unless you are doing it with an instructor for your first few times. Metal strings can rust, so it’s important to pay attention to the quality of your strings. Keep your instrument rosined, and dusted!

Percussion (piano, drums, marimba etc): Percussion instruments are potentially the most complicated in terms of repair and maintenance. Repairs and tuning should for the most part be left to the professionals as years of training are required to become certified or registered. For acoustic pianos, a tuning every 6 months to a year will help keep the action in good shape. Additionally, keeping the room where your piano is housed the same temperature (ideally a bit on the cooler side) will help your instrument stay in tune for longer. Avoid resting drinks, food, or sticky substances on your instrument—the strings are made of metal and can rust if they get wet. If a string breaks, call a technician. Digital pianos and drum kits will not have these issues, which should be kept in mind when considering the budgetary restrictions of getting an instrument.

Take care of your instrument and it will take care of you! If ever a question or concern arises, ask your instructor. Chances are, they are already familiar with the issue and can fix it for you, or they can recommend a reliable instrument technician to help put things back in order. Enjoy the sunshine, keep your instrument cool, and thank you for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

The Perfect Fit: Thoughts on Finding the Music Teacher for You!

Teachers have a lot of influence in our lives! They can shape the way we experience the world, the way that we learn, and so much more. I’ve been both a student and a teacher—I’ve taken private lessons since the age of 4, through undergrad and graduate school, and so on. I’ve taught private lessons, elementary school music courses, directed bands and choirs, etc. All of this to say, I’ve seen how big of a part teachers play in the lives of their students, from both sides of that coin. When selecting a private teacher for yourself and/or your student, there are many things to consider. Read on!

As mentioned above, a lot goes in to finding a music teacher that fits you as a musician. The first thing to consider is your own goals. What do you want to get out of private lessons? Are you a beginning young student looking to develop a base knowledge of an instrument? Are you planning to audition for a high level collegiate program? Are you an adult student coming back to lessons to revitalize a love of music? Do you have a talent show, festival, or other event you want to prepare for? If you know your own goals, it will be much easier to find the teacher who is right for you. In addition, once you’ve started lessons, most teachers will take these goals into account while selecting repertoire and organizing your lessons.

A majority of instrumental private teachers are versatile in their lessons and will be able to tailor your instruction in a way that fits you. It is helpful to learn about your teacher’s specialties so that if you have very specific hopes for your lessons you can better collaborate. Some instructors have a better knowledge of contemporary popular styles while others would make excellent audition coaches, for example. Musical theater, jazz, church music—all of these different genres require certain skills and different approaches. When selecting your teacher, feel free to ask them about their knowledge or expertise. What are they most passionate about and how will they be able to help you succeed? One of my first piano teachers was an absolutely incredible musician who helped me build a strong foundation and develop an enduring love for playing the instrument. Once I reached a certain point in my education and decided to audition for music school, she suggested I switch to a teacher she knew who was particularly focused on audition coaching. This ended up being excellent in the long haul as I learn different techniques and the intricacies of music school auditions.

Another thing to consider is whether or not you vibe with the teacher’s personality and approach. While auditioning, I was able to have practice lessons with potential instructors and get a feel for their teaching style. Oftentimes students looking to earn a degree in music performance will go to a school with a teacher they connect with the most—this is in part why we at Vibe include a free trial lesson each time a student is matched with an instructor. Learning an instrument can be a very vulnerable experience, and it’s essential that you as a musician feel comfortable, supported, encouraged, and excited about your learning. That isn’t to say you should jump ship and switch teachers if you have a bad lesson every once in a while (which can almost always be avoided by practicing)! Instructors will push you to meet your goals, which can be tough sometimes. Keep working hard and those hurdles will push you forward on your journey towards better musicianship. However, sometimes a student and teacher just don’t click. If this happens, learning is going to be very difficult! Being honest about your needs, and maintaining clear communication with your teacher is a great way to build that relationship.

Thank you for taking the time to read this post! I hope you have success in your music-teacher-locating endeavors, and that some of these insights have given you something to think about. Of course, consider us at Vibe Music Academy! Our instructors are versatile, caring, and supportive—we are waiting to help you reach your musical goals. Happy practicing!

—Charissa Garrigus, Instructor at Vibe Music Academy

Practice Makes Perfect…Even In Summer!

Summer is such a fantastic time of year! Sunshine, vacation warm weather—huzzah! However, all of this time off can sometimes lead to learning loss when it comes to music lessons. There are ways you can keep up with the progress you’ve made while still enjoying a summer break. Read on!

Summer is supposed to be a time to rest and relax. However, it often isn’t—many times there are suddenly loads of commitments (fun and otherwise) that over schedule designated “off-time.” Summer jobs, internships, camps, vacations, activities: it all adds up! Especially as kids move into the high school years, summer can become much more full. I remember spending weeks at a time at marching band camps both in high school and college! Plus, there are sports summer conditioning events, travel, and all sorts of other things that take up lots of time. These things are all important and can be huge influences on a student’s life and even eventual career. However, before digging further into my strategies to combat learning loss I do want to point out that I believe the most important thing one can do over the summer is rest and recover. Burnout is something that starts younger and younger as we push ourselves to be better, faster, stronger, smarter, more productive, more successful, etc. By doing this, I think we miss out on the precious space summer (or any time off for that matter) gives us to truly set things down and focus on taking care of ourselves. Before adding more to your already insane summer schedule, check in with yourself and make sure that YOU are doing ok first! Once you are rested, relaxed, recovered, and ready—then you can put some of these ideas in place to make sure your hard musical work over the academic year stays in place!

The first suggestion I would make to any one hoping to maintain habits over a long stretch of summer is to keep a routine. It can be very hard to do with a schedule that isn’t necessarily consistent or predictable. However, plan ahead with a goal for each week. This doesn’t need to be as extensive or strict as the school year practice schedule. Though, keeping up with at least fifteen minutes a day or two hours a week will really make a difference.

Along with having time and schedule goals, making repertoire or musical goals can help as well. Choose a piece you’ve worked on in lessons to continue practicing over the summer. Play one old piece each session. Find a piece you wouldn’t get to work on in your lessons and learn it on your own. Start on a big project piece that you can keep working on when lessons resume! As I’ve gotten on in my professional career, I’ve realized that summer is the perfect opportunity to start on big works that I’ve always wanted to prepare and don’t have the time to invest in during the academic year. Make your practice sessions a treat to yourself by playing things that you enjoy! Whatever will get you to play your instrument is what you should work on during breaks.

Though this might not appeal to all, it’s worth considering: take some summer lessons! These could be weekly or biweekly, or even shorter than normal lessons (think 30 minutes instead of a full hour). I’ve written a post before on all the benefits of summer lessons—check it out for all the good stuff they can provide!

What do you do if you are traveling or unable to play your instrument for long stretches of time? There are quite a few things to try here! Number one is listening to the pieces you’re working on. Many of us learn aurally and listening to the music we are preparing can help us organize it in our heads. Finger through those difficult passages while sitting in the car or on a plane. Take your music with you and look at it while you listen. Do some analysis! I know older students can benefit a lot in the music theory department when applying it to music they have a stake in. Engage with your music in ways you ordinarily wouldn’t—you might be surprised by how much this helps when you come back to your instrument!

Happy summer, and best of luck to all of you as you pursue your break time adventures. Make sure to take care of yourself, rest, and recover! Cheers!

—Charissa Garrigus, Instructor at Vibe Music Academy

Dress Like a Musician! Tips for Selecting Performance Attire

What goes into choosing an outfit to wear while performing? How will you present yourself onstage? In classical music, it often feels as though there are lots of secret rules about how to dress and behave. However, as a consummate performer, I can tell you that only one thing matters above everything else—what clothing will make you play and feel your best? I’ll explore some of these options below from my own perspective.

When attending a symphony performance, one of the things a first time concert goer might notice is how the ensemble is dressed. Depending on the orchestra, some ensembles elect to wear formal tuxedos and gowns while others simply require all of their members to wear black. I’ve played in ensembles that have a strict dress code, and also groups where all are encouraged to “come as you are.” What I’ve really noticed as a soloist and someone who struggles with performance anxiety (as I’m sure many of us do), is that I need to wear clothing that I am comfortable in. When selecting an outfit, these are the things I take into consideration.

1. What is the venue/performance? Though I personally don’t prefer formal gowns, sometimes the event calls for a certain dress. If I’m playing as the soloist for a piano concerto, I’ll select an outfit that sets me apart from the rest of the group. If I’m playing for a wedding or funeral, I’ll choose something muted so as not to distract from the importance of the event. The same goes for cocktail parties or background music gigs. When it comes to recitals or chamber concerts, this is where there tends to be flexibility. I often will coordinate with any one else I’m performing with so that we choose clothing that matches in either color or formality level. When in doubt, black is usually a safe choice!

2. Once I’ve determined what is appropriate for the performance, then it’s time to think about how I present myself. As I mentioned before, sometimes as an artist you want to stand out. How do you feel most yourself onstage? This doesn’t necessarily have to be in a huge floor-length dress or a tailored tux with a cummerbund. I know some excellent artists who prefer to wear Hawaiian shirts, fun socks, or t-shirt/blazer combos as their signature dress. How do you want to brand yourself as a musician? When I’m accompanying, I usually choose black floor-length dresses so I can blend into the background. If I’m giving a solo recital, I like to wear an earth-toned sweater, boots, and black pants as this makes me feel at home and helps reduce anxiety. What makes your style unique or comfortable for you?

3. When you’ve established some of these more esoteric details, it’s important to think about practicality. I can only really speak to performing as a pianist, organist, singer, or clarinetist. But, let’s start with tops! When playing the piano, I don’t like for sleeves to get in my way. I generally choose either 3/4 length or sleeves I can push back. I don’t usually like to wear sleeveless dresses myself, but this is often a great option. I’ve never performed in a tuxedo, but I have worn button downs before. I generally prefer something soft and flexible that allows my body to move. This applies for all instruments I’ve played. If performing on the clarinet or singing, I like to make sure I’m wearing attire with a loose neck. Having tightness around the throat causes me to feel restricted (whether I actually am or not). I don’t wear thick necklaces, ties, or scarves for the same reason.

4. It’s time to think about pants. Or skirts! I’m tall, and usually don’t have major issues with skirts or pants being too long. However, I have had it happen before when I wore a gown and didn’t practice in it. Always practice in what you’re wearing for a concert at least once! It can change the way you play and you definitely don’t want to accidentally step on your dress and trip…which I have done! In any event, I personally usually go for pants myself. As a pianist and organist, I can see the pedals better and I feel a bit more comfortable moving around.

5. Shoes! Where do we start when it comes to shoes? Once again, as a pianist I am somewhat particular when it comes to the shoes I play in. I know several concert pianists who don’t wear shoes to perform, either going barefoot or wearing fun socks onstage. I like to wear soft soled boots usually where I can feel the pedals through the sole. Having a small heel on the boot is helpful for angling, but I don’t usually like anything high. I’m also tall, which doesn’t help. I had a piano teacher in college who would always perform in black New Balance tennis shoes that he’d worn in. When playing the organ, I use specific organ shoes that are made for the pedals so the decision there is easy. I usually avoid uncomfortable shoes while playing clarinet or singing as I stand for those instruments.

6. Jewelry, accessories, hair, nails, and makeup? I think all of these are based on the first two points. What are your personal preferences? What does the occasion call for? What will make you most comfortable? Avoid heavy jewelry if it will get in your way but feel free to express yourself as an artist. If chunky bracelets are your thing and they don’t hinder your playing, go for it!

Hopefully now you have an idea of what you might like to wear for your next concert as a performer. But, what about if you’re in the audience? Honestly, I think the same tips apply as outlined above. What’s the occasion? Is there a dress code? What will make you most comfortable and able to enjoy the performance as an audience member? I’ve recently attended several performances both chamber and symphony where there are all sorts of outfits from formal gowns and suits to jeans, shorts, and even sweatpants. The most important part of any concert to a performer is making music, and if you are able to enjoy it then I think that’s paramount.

Thank you for reading, and happy dressing!

—Charissa Garrigus, Instructor at Vibe Music Academy

A Repartee on Repertoire: Methods of Choosing Music for Lessons

As private instructors, finding appropriate repertoire for our students can tricky! Do we stick to a curriculum, or a series of instructional books already separated into levels? Do we use classical works to teach techniques? Do we let the student choose their own rep? As a piano teacher of beginners big and small, I’ve tried numerous methods. Some have worked, and some haven’t. Read on!

At the heart of the question of rep choice is one of teaching style. What is your personal teaching philosophy and how do you approach your students’ learning? What is the ultimate goal of lessons for each individual student? Once these questions have been considered, it’s much easier to go the route that is most helpful for your student.

When considering how to approach repertoire selection, I usually first tackle some questions with my student and (if relevant) their parents. What is the purpose of these lessons? With much younger students, those answers often tend to be along the lines of learning an instrument for fun and because the student has curiosity about it. Older students that I’ve taught who have some experience do tend to have clearer goals such as playing a particular piece or getting in to a specific program. Understanding the goals of the student really helps to point me in the direction I want to take for choosing music.

For young beginners, I generally find that using a pre-built curriculum is helpful. Oftentimes the student is not just learning the piano but also how to read music. There are many excellent teaching methods out there that compile solid rep in an order that makes sense for a student’s learning. Books that appeal to learners of different types (kinesthetic, aural, visual, etc) can help substantiate that learning. One important note about curricula like this: always make sure to peruse the books before you assign them to students. Sometimes older books can be outdated in regards to both methodology and content. It’s essential that we as educators do the work to ensure the music we choose is not harmful in terms of racial or cultural stereotyping which can be common in older books. Just because a method has worked well in the past does not mean there isn’t something better nowadays.

Even when using a curriculum, I’ve found it helpful to have a goal/fun piece to chip away at or work towards. This might not be realistic for younger students (early elementary/preschool students tend to benefit more from consistency), but middle level students (late elementary/middle school) who might still be using a curriculum tend to need a little extra motivation. I like to ask them what their favorite type of music is or if they have a “dream piece” that they want to play. Finding a simplified version of the piece if it’s too difficult (there are many available at online databases) can allow them to have something concrete to work towards which allows them to build ownership of their own learning. If the piece the student wants to play is something simply beyond their capabilities, select a work in the same style or genre so that they can start preparation. This worked for me as a student, and helped me to discover my favorite types of music to play. Even though we can often be tempted to stick to classical music, I’d encourage teachers to be open to music of all different genres—basing their lessons around what is important to the student.

Older students can present greater difficulty when it comes to choosing appropriate repertoire. If you have elected to teach without a predetermined curriculum, selecting quality works that are engaging, important, and relevant to your lesson plans can take up a great deal of time. In my own experience, this phase of learning is the most difficult. If you have students who are attempting to enter competitions or eventually audition for college, those requirements may have to drive your rep selections. If it is techniques you are hoping to apply, this may allow for more diversity in your choice as music of numerous styles and genres can work for this. However, it is of course essential that your students needs are met in terms of preparation for schooling or competitions so you may have to base your choices around that.

This past year, I’ve begun teaching adult students. Selecting repertoire for them has been an interesting journey. Adult students present a whole different style of learning and teaching—they tend to be engaging in piano lessons strictly due to their own passion for it. When beginning lessons, I have conversations with my adult students regarding what they want to get out of lessons and how I can best help them to succeed in this. After that discussion, it’s essential to establish your student’s familiarity with the piano and music literacy in general. Since there often isn’t a goal of entering competitions or auditioning for music school in adult beginners, there is much more freedom in what you the instructor can choose to do. I’ve tried a few different routes. One of my students was finishing up a Masters in Composition, and already a competent, excellent musician. Her desire for lessons was to prepare for Doctoral piano proficiency auditions. That desire drove our repertoire selections as we looked at the list of requirements for her desired program. As a composer, she was also interested in learning about different techniques for writing for the piano. I’d suggest pieces or she’d bring them in and we’d collaborate on what her goals were. Alternatively, I have a student who has some background in music but is mostly just passionate about learning the instrument so he’s able to play what he likes. I started with a more traditional approach of scales/chords, Bach, and one piece he’d chosen. As we continued to work together, though, I realized that this wasn’t entirely working. My student was making progress, but I wanted to try something else. So, I stopped harping on scales and started focusing on the types of music he’d mentioned liking at the beginning. We’ve been able to make so much more progress when I started having my student drive the repertoire we work on. It’s easier for him to teach technique in context of the music instead, and my student has been getting so much more out of lessons than if I tried to force a more traditional mode of rep selection. We may not be doing a piece from the Baroque, the Classical, and the Romantic era. However, this student is achieving his lesson goals therefore succeeding as far as I’m concerned.

As the instructor, you know your students’ needs best. They are trusting you with their musical education—choosing the music they play is an important part of that. Hopefully some of these techniques will help as you continue to give the students your best. Happy Friday, and thanks for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

iPads! Are They Worth It?

Considering switching to an iPad for music? In our world of screens and digital assistants, using a tablet as a musician might seem like just another electronic distraction. But, there are many important and helpful things these devices can do to make a musician’s life easier! Read on for some helpful tips, apps, and tricks to make the most of your tablet.

I’ve been a pianist since I was four years old, and have accumulated a veritable TREASURE TROVE of music. Within that time, I have also purchased loads of binders, page protectors, and things of that ilk in order to stay organized and keep my music together. I recently switched over to a tablet which I’ve been using it for about 2 years now, and have had a lot of success with it. Here are the benefits I’ve discovered, along with some of the detriments!

As previously mentioned, I am a professional pianist. I accompany a large high school choir program, and also perform regularly for freelance solo and collaborative gigs. In addition, I’m a church organist and choral accompanist. Trying to stay organized with a binder for each job can be pretty tricky! I’m often part of the new music scene in Indianapolis as well—working with composers means often scores get updated several times before a show. That means multiple copies of the same piece of music, with any markings having to be re-written into the new score. Beyond the mountains of paper, I’ve also encountered issues with page turning. I’ve tried turning pages myself (which as any pianist or keyboard player knows can be tough) with limited success. Sometimes I’ll get a page-turner, but that can lead to its own problems. I recently attended a concert where the page turner accidentally turned too many pages and mixed the pianist up! Nothing like a little extra stress packed on top of performance nerves!

In any case, I’d considered switching over to an iPad for a while and finally decided to bite the bullet and give it a shot. Below are the positive considerations I had and also the main benefits I’ve discovered since switching over.

• Organization. This is one of the absolute biggest reasons I found the iPad helpful. As I said before, trying to tote around binders for every gig became a huge hassle. Staying organized just didn’t happen with paper music. Now, I put all my scores into setlists for my different gigs. If I’m playing a piece for numerous shows, I can simply drop it into both of those setlists. I’m also able to duplicate or rearrange pages to take care of repeats or things of that nature to avoid flipping back several pages. Plus, I can save music so that I don’t have to go digging around in my library or piano bench every time I need to find an old piece. It’s right there on my device! Finally, all I have to carry around is a slim tablet instead of heavy binders full of paper. Much more convenient!

• Page turning. As previously discussed, I’ve always had issues with page turning. On both the piano and the organ, it’s really tricky to navigate unless you memorize all your music—something that’s not possible for me most of the time. My iPad allows me to turn my own pages without having to rely on someone else or take my hands off the keyboard. I do use a specific software that enables me to turn pages by twitching my lips, which is kind of crazy. I tried using an additional pedal, but found the coordination really difficult. So, I upgraded the software I was currently using and am now able to turn pages by moving my mouth. In any event, being able to take care of this task without having to stop playing to grab at a page or rely on someone else has been a came changer!

• Less paper waste! My iPad has been great in terms of not having to recycle stacks of old music or find somewhere to put them when I’m done with a gig. I don’t have to waste time printing, hole-punching, or sleeving any music and I don’t have to figure out what to do with it when I’m finished. I used to put my music in page protectors so it would last longer. But, that meant I had to take it out of the page protector every time I wanted to mark it (which I do a lot), and it also meant extra time fiddling with organization or printing a specific way so as not to waste extra pages. Tablets eliminate the need to print (or reprint) music, which is super helpful in getting rid of clutter and avoiding paper waste.

• Built in light. Tablets have lit screens! I have some issues with seeing in low light, and using my iPad has helped mitigate that since I can simply turn the screen brightness up. I’ve also been able to increase the size of the music if it’s too small. Now, the light from the screen isn’t bright enough to illuminate the keyboard so if you are playing in total darkness you would still likely need a stand light to see your hands. But, the tablet screen does help in instances of dim or low lights!

• Instant access to digital music. I’ve played a few church or cocktail party gigs especially around Christmastime where people make requests. Having access to the internet or to a large digital store of music can be incredibly helpful for that. If someone desperately needs to hear “Let It Go” from Frozen, you can just pull up off of Google and play it!

• Integrated devices. As I’ve written on this blog several times already, distraction is a difficult enemy to face when trying to practice. Using my iPad has been incredibly helpful to stave off distraction as I am able to utilize integrated devices such as a metronome. It’s helpful to have access to my email as well so that I can simply pull up music I’ve been sent instead of having to scan it.

Of course, nothing is perfect. Transitioning over to an iPad does have its problems. Here are some issues I’ve encountered after switching over.

• EXPENSIVE. iPads are not cheap. I’m not certain about the capabilities of non-Apple devices as I don’t use them myself, but Apple products don’t come without a large price tag. I originally purchased an 11-inch iPad for around $300, which wasn’t horrible. However, I discovered as time went on that it was on the small side and made the music hard to see. I recently upgraded to a 12.9 inch—much easier to see the notes! With a keyboard case (I use my iPad as my laptop as well) the whole cost was around $1000…not a drop in the pond! Now, I use my iPad for everything including grad school and paper writing so the cost was worth it to me. However, if you are considering an iPad just for music it might be too much of an expense.

• Additional costs. As with any big purchase it seems, you can’t just buy an iPad. You’ll also need a case. I elected to buy one that also has a keyboard, but there are folios or cases specifically for musicians that work very well. I also think a stylus (like an Apple pencil) is really helpful for making marks in the music. You’ll also have to pay for an app or software to store your music, and possibly other hardware such as an iPad stand or a page turning pedal. Some online music services have switched over to subscriptions so these expenses might not just be onetime, depending on the app you go with. All told, tablets are an investment that might be quite sizeable.

• Battery. One downside to iPads is the fact that you do really have to be aware of battery life. I have been to concerts before where the performer was panicking because they forgot to charge their iPad and showed up to the event with a nearly dead device that had to last for an hour’s worth of music. Not good! Sometimes, older model iPads have terrible battery life and the longer you have your device the less time it can go between charges. Oftentimes, music software can drain batteries quickly as well—you have to be aware of what you have open in order to optimize your device’s battery life. Always make sure your tablet is FULLY CHARGED before a gig, and bring a charger just in case!

• One page at a time. Even the biggest iPads or tablets aren’t really large enough to display more than one page of music at a time. That means you’ll need to practice how to turn pages on your own. This could entail simply tapping the screen, utilizing a Bluetooth pedal, or a mouth twitch. Practicing this coordination isn’t horrible but it is definitely something to consider before a performance. I’ve had issues sometimes with multiple pages turning at a time because I didn’t have my device set up properly or I hadn’t practiced the coordination enough. Always practice every aspect of a performance, not just the music bit!

• Notifications/sound. iPads do have the capability to be connected to text messaging, email, apps, and all that good stuff. Though this can be super convenient, it can also cause issues during performances. You will need to make sure your iPad is in silent mode and that notifications are turned off before performing with one. I pretty much always have my iPad in silent mode with most notifications turned off. Putting it in airplane mode works as well. However, this is something to remember, which can be tricky when holding a lot in one’s head before a show.

Well there you have it, folks! iPads are super helpful in my opinion, and I have found that the benefits outweigh the detriments. However, it is very important to take into consideration all of these things when making an investment in an expensive device. If you are accident prone or tend to drop things, an iPad might not be for you! Or you may just need a super heavy-duty case. Before we finish up, I have a few software recommendations that have been extremely helpful to me. One is specifically for tablets, and the other is an app that can be used to help with practice on any device.

• Forscore. This app is what I use on my iPad for all my music. It has both a onetime purchase option and an upgraded Forscore Pro version. The primary version gives the user access to score rearranging, setlists, and a huge amount of storage space as well as marking capabilities, a digital piano keyboard, and a metronome along with numerous other features. The main reason I upgraded to the Pro version is that this includes hands-free page turning capabilities. I am able to turn pages utilizing the camera with a mouth twitch. You can calibrate the app to recognize your facial movements, head movements, or even shoulder movements. It’s really changed the game for me, and I’d highly recommend it!

• Andante. This app can be used on any device as a way of tracking practice and establishing good habits. It functions as a streak tracker, mood gauge, focus indicator, tuner, metronome, recording device, and timer all in one. There is a free version, and a paid version. This app is independently operated, which means there is only a onetime cost right now. I’ve found it super helpful to keep track of which pieces I’m practicing at each session, how long I’m practicing, and how I’m progressing. I love the streak feature, along with the data of how many hours I’ve spent and what times of day I focus the best.

If you’ve made it all the way to the end, thank you for sticking with me! I hope some of this information is helpful to you and best of luck as we finish out the semester!

—Charissa Garrigus, Instructor at Vibe Music Academy