It’s been a long two and half days so far here in Ottawa.  Here’s the main thing I have learned with Susan Kempter (who is just WONDERFUL and brilliant!).  Teach technique first–the songs are merely a means to an end.  We want to be able to teach the music, but without what she refers to as the “basic six,” the child is not going to be able to progress properly.

Basic six:

1. Feet

2. Trunk

3. Neck

4. Right Hand

5. Left Hand

6. Eyes

I would expand upon those more, but I’m exhausted after a 14 hour day!  I will try to do so later, but mainly that those aspects of the body must be in alignment and free of tension.

14 hour day you say?  Well, breakfast, 2 1/2 hours of teacher trainer class, followed by 1 hour observation, 1 hour lecture, lunch, 1 hour recital, 2 hours observation, 1 hour of an enrichment class about how to motivate various personality types (by Ruth Meints of Omaha, NE), dinner, evening concert…wow!  I also tried to get in a bit of a walk so the day wasn’t totally sedentary, though today I only managed 30 minutes.  I’ve got my alarm set for up so I can get that out of the way first tomorrow.

Three more long days to go.  Much more scribbling on note paper ahead of me.  Must sleep.

The past few days have been very busy!  Sunday was our recital at the Ballet School.  I had two students perform (for whom I played piano accompaniment) and they did terrific.  One was my viola student, and the other a wonderful violin student, who is also a talented artist.  I am very proud of both of them…recitals are so much fun for teachers, aside from the stress leading up to them.

Monday I had to report for jury duty (my first time).  I spent most of the day waiting around, and then got called.  I then spent over a day being asked questions, only to finally not get picked for the jury.  It’s amazing how long things seem to take.  I was also surprised–I thought everyone had had their car either stolen or broken into at some point in their life?  Is that just those of us who have lived in Cleveland?

I’ve also been preparing for my week in Kansas, at the Ottawa Mid-Southwest Suzuki Institute.  I’m taking Suzuki Volume Four teacher training with Susan Kempter.  I’ve read both of the books I found that she wrote, and have heard wonderful things about her from one of the women in my Pedagogy Class in the spring, so I’m really excited!  I’ve also been practicing my book four repertoire, particularly the Perpetual Motion by Bohm (the new piece in the revised edition).

It’s funny–I haven’t managed to do any of  the things I listed on my blog earlier in the month, but instead I have been to the City Museum with some friends, and had a blast climbing around.  I didn’t know how awesome it was there!  I do have a pretty severe fear of heights, so I wasn’t able to do everything, but I pushed myself as much as I was able, and was pretty proud of some of the climbing I did.  I have also spent two full days in Jury duty, and been to a ridiculous amount of social gatherings–a 30th birthday party, a going away party (for the summer primarily), two out of town friends driving through town…I suppose lists are great, but sometimes you just have to do what you can do, and I certainly feel (other than the jury duty) as if I’ve been productive this month. (Yes, I consider my social engagements to be productive events, why do you ask?)

Tomorrow I am going to see Opera St. Louis’s production of “A Little Night Music” by Sondheim.  I played the musical years ago when I was at Brevard and really loved it then.  Isaac Mizrahi (of Target fame) is the director and designer.  I have only seen one other opera in my life (Salome with Opera Cleveland), believe it or not!  Then again, isn’t “A Little Night Music” really a musical?  I suppose I haven’t seen too many of those either, and the only ones coming to mind were amateur productions.

I try to be very methodical when it comes to helping my students prepare for recitals.  Here’s a general timeline I follow:

1. One to two months out:  we select recital piece.  The piece (or pieces, if they are short) MUST be something they already know and would just be polishing. If it will be their first recital or if they are new to my studio, I will talk through what is going to happen on the day so they don’t get surprised. One more point about repertoire choice-I don’t require students to play their more recent piece-they can go back farther if they like.  My only requirement is to perform a piece they know and the goal is to play the best they can with the most beautiful sound!  It’s such a disaster when a student is struggling to learn notes a few weeks/days before the recital.  It’s so much better when they really know the piece and are comfortable with it.

2.  Each lesson, they play through recital piece at least one time, if not many more. I will be sure to mention one or two points to focus on (even if just posture or beautiful tone).

3.  For the last few lessons before recital, I make sure the student will perform the chosen piece several times in his or her lesson.  We also practice with applause and bowing.

4.  The past two weeks I have been asking my students to play through their piece (or pieces) 3 times each day.  This is in addition to any specific spot practicing they are doing.  I encourage them to think about good posture before starting each run through.

5.  I also encourage them to put together small “practice recitals” at home with their family or friends in preparation throughout the whole timeline, and particularly towards the end.

That pretty much sums it up!  This plan is more for beginning/intermediate students–though the 3x a day run through is an idea I got from Linda Cerone back in college.  She suggested running through your recital program 3x a day for a few weeks in advance of the recital.  She said after that, only playing it once would be a breeze!