'What is a music teacher?' Does this sound like a stupid question?
Your answer may be...
'A person who educates other people about music and how to play a musical instrument'.
But this answer is too simple and leaves out the human part of teaching music.
My answer includes a more holistic approach. In reality, any kind of good teacher is someone who knows their students beyond the content that they teach. A music teacher, especially someone who teaches one-on-one, develops a healthy relationship with their student. The teacher has to know how to adapt their approach based on how the student learns. Everyone learns differently. When you are teaching a class of many students, you aren't, unfortunately, able to cater to each student specifically. As much as a good teacher may try, there will always be someone in that group that thinks differently to the majority of the learners. This is why teaching individually is so impactful when teaching a musical instrument
Not only are they an educator, but can also be a counselor. If student has doubts about their abilities, or had a rough day, they may need an objective ear. They may need someone to hear them out, get something off their chest, and then help them to re-focus on playing their instrument. This makes a music teacher an encourager, someone who helps a person believe that they can achieve their goal. They may need that teacher to go beyond just a skill developer, but one who instills structure and accountability for the student.
When someone says that they are going to teach themselves how to play an instrument from online tips, I have no doubt that will get them started, but I question how long they will continue.
As much as we have access to so many tools on the internet, I feel that nothing can replace a teacher.
I remember taking one of my brother's 'jazz' piano books to my high school piano teacher and asking her to teach me the pieces. She was not impressed. (It wasn't like they were even jazz standards). She put the book away and told me that I need to focus on my exam pieces. But I hated practicing the piano with a passion and I had figured that it was because I need some more inspiring pieces. Needless to say it wasn't long before I switched piano teachers, but it was still my high school subject, and I still needed to learn those exam pieces.
Over the later years of learning to play music, I just accepted whatever pieces my teachers gave me and decided that it was the only way it needed to be done. I convinced myself that if you want to be a good musician, you have to play all the pieces you are given.
But the reality of this, is that those pieces (or scales) that didn't motivate me to practice, also lead me to recent the piano.
Somehow, learning all the pieces on my woodwind instruments wasn't so terrifying, but it certainly didn't always make me excited about picking up my instruments and practicing.
Now as a musician, I have found that the best way to motivate myself to practice, is to pick music to play that I actually like. This is not necessarily music that I always listen to, or that is popular. But music that is interesting and fairly challenging to play. Yet it mustn't be so difficult that I can't sight-read some of it.
If this is my motivation, then it needs to be how I approach my teaching. Yes, you still need to eat your vegetables, learn those scales and play those pieces, but a dessert of a fun piece, is a definite incentive.
So I hope that you too can find some fun, catchy music to learn this holidays.
As a teacher of many different age groups I have noticed a trend with all of my students, while playing a piece, that they should have practiced. When they make a mistake, they almost always want to go back to the beginning and start again. It can sometimes be a bit frustrating as a teacher, but I have been starting to analyze why this is such a trend. I do teach my students how to break down pieces when they practice, I also give them a new piece or sightreading most lesson, so that they become used to reading new music, but they all want to start at the beginning if they make one little mistake.
So, my question is, is it an innate thing that makes us want to have perfection? Or is it habit as human beings to strive for perfection, and so once you have made a mistake you need to wipe the slate clean and start again?
For those who are not musicians, the reason this can be a problem when playing through a piece or sightreading, is that it is important to move on and keep playing music even if you make a mistake. You might do so while performing one day, or playing with a band, and you certainly can't stop and go back and fix a mistake. Yes, while learning, you can then go back over the parts that you don't know so well, but that is a different exercise in itself.
You learn something new every day! Never in my life have I seen this:
It is quite original and very clever. As the guy plays the baritone saxophone, he is naturally blowing air through the instrument which makes the flame bigger!
I like to teach my students to sight-read by giving them new music at each lesson from early on. If they are continually exposed to new music they aren't going to feel daunted when they have to do so in an examination.
Being able to read music really is an essential part of learning to be a competent musician and something that I believe is key to being able to empower a learner to be able to learn and play anything that they choose. It also helps boost their confidence when they join an ensemble or band.
Before I continue let me make it clear that I do realize that many musicians are self taught and many play by ear, so I'm not knocking anyone, but in terms of the system and styles that I teach, it is highly important and appropriate for learners to be able to read music.
So when teaching sight-reading I make sure that my students check out the following before attempting to play:
Key signature
Accidentals
Accents (including slurred and tongued notes)
Time signature
Dynamics
Tempo indications
Any tricky rhythms
If there is still time then I tell them to try to find any melodic or rhythmic patterns that are repeated and if they are allowed to, they should play the first two and last two bars.
Make sure you count a bar for nothing before you begin to set your speed and off you go. Make sure that you don't stop once you have begun. Make sure you focus more on the rhythms because your brain should naturally pick up which notes to play.
When I first started teaching I thought that my students having a homework diary was a waste of time. Firstly I thought that it wasted my time because most students don't consult these diary's and then if I have written in them it would be pointless. I also felt that some of the lesson was wasted on writing in it, and if it wasn't going to be used anyway, this was also a waste of paper. My students either asked me to write on their music or they would 'just remember' what they would have to do. I was happy with this, and felt that I could usually remember what my students were doing as well.
When I started teaching full-time, each student was given a music diary and the school insisted that we write in it. Over the time I was at that school I realised that it was really is a useful tool. Firstly, I not only had a lot more individual students, I was teaching a lot of other music classes and bands and it became nearly impossible to remember what every student was doing. As soon as I was able to consult their diary, I was able to remember what that student was doing and the lessons were therefore more productive.
I later realised that it also became a great record book as to when the students were having lessons as well as how they had progressed over the year. It was good for the student as well as myself, and it was proof to any potentially concerned parent that things were actually happening in the lessons (not that this was a problem, but it could potentially be in a school situation).
While I'm not as strict about this with my private students, I certainly recommend have a music homework diary. Even if it is just for your records. I don't always write in them myself. It depends on the students, sometimes they like to be the one to write in it, but either way, it is really helpful.
The reason that I have not written a new post in a while is because I have been questioning my motivation for writing this blog. The biggest issue I have had with myself is that the reason I started this blog, has not been what has been motivating me to write posts. In fact many of my posts have had nothing really to do with the nature of this blog.
So while rethinking this blog, I decided to take a bit of a break and come up with reasons I feel that this blog should continue and give you an idea of the kind of future posts that you can expect on this blog.
To encourage other musicians and budding musicians
To teach 'non-musos' something about music and the industry
To learn about other musicians
To learn about different styles of music
To learn more about what is happening in Cape Town
To share about instruments
To help people find out if music is for them or their child
To discover how music can help a person develop their brain
To share my experiences as a teacher and small-business owner
To interact with other musicians and enthusiasts
I feel that if I make sure my posts are in line with at least one of these points, then it will be more valuable to others and more meaningful to me. I want to grow my knowledge and share with others as I do that.
I want to me more consistent with posting regularly. I find that this is my biggest downfall when it comes to blogging. I hope that my list will be the motivation that I need to keep me from 'going astray' and off these topics.
Since I'm not always very good at sticking to long term goals, I have decided to give this new approach a month.
If I can be consistent for a month, I will then attempt a second month. If I can't, I may have to try another strategy.
Well, hears to October, a good time to start a fresh.
Sorry, I write this post almost 2 weeks ago but did not post it because it wasn't finished. It still isn't, (gosh, I would make a terrible reporter) but I have decided to just put it out there anyway as the moment has pretty much gone for a proper review.
My husband was so excited at the idea of going to watch an opera. "I think it's actually a musical that is put on by Cape Town Opera Company", I told him. But for him knowing he was going to hear a different style of music other than jazz was thrilling. I was excited too as I had seen snip-bits of it on TCM as a child but I couldn't remember much. Either way, we were going with my family as it was my husband's birthday last week and it was a great excuse to go.
I'm still not sure what you classify Show Boat as, a musical opera? Not all of the singing was in operatic style, but a lot was and yet there was talking in between and much dancing, which is not usually found in an opera.
Either way, my husband was quite satisfied and said it was incredibly refreshing. Poor guy has been bombarded with jazz music since we started dating.
So how was the show? Well the costumes and stage were beautiful. The acting was really good, although American accents slipped a few times, and of course the singing was amazing...except that we couldn't always here what they were saying. I blame the sound engineer. I think that their diction was good. So that was the biggest problem for my family and I, we couldn't here everything they were saying or singing, especially the chorus parts.
It's only May and so much has happened, so far, this year. I feel blessed beyond belief at how I have managed to get extra work here and there that has helped us make it through each month. So how is my music school going? Well, I wouldn't say that business is booming, but I have 6 committed students so far and I absolutely love teaching each of them. I am doing a lot of 'experimenting' with advertising, as I do want the business to grow. In the meantime, I have been able to make the room look a bit more like a teaching room with a music white-board. The board makes the room feel bigger, which I think is great.
While I do want to get more students, I also still want my students to feel that they are getting the best lessons possible and so I have to make sure that I do not over-commit to other work or in other areas of my life. I don't want to seem tired or distracted. With that being said, however the school where I work at part-time has offered me a bit more work for next term. I can't say what it is yet, but I am super excited. Also, with there being so many holidays in April and with examinations coming up, I realise that any extra income makes a huge difference.
So, do I have any regrets so far about going freelance? Not at all! While I certainly miss my students and working with such lovely people (especially two very special friends I made while there), nothing can make up for the peace that I have in my life now. I go to bed every night and wake up every morning without anxiety. And I sleep really well! I don't have this ever-present sense that there is something that needs to be done, or worse that there is something that I did not do correctly. Of course there are still things in my life, my school teaching and my business that need to be done, but I feel like I'm more in control of my life. I feel like I can do things and then tick them off and then relax. It really has made me so much happier, like an elephant of a weight has been lifted off me and I have bounced back into being human again and not just coping. Now I know this might sound ever so dramatic, but I really believe that you have to be a special kind of person to work full-time. Regardless of what school it is at which you are working. There is no perfect job, but I think in life, you have to weigh up what it is that you and your family need or want. One thing that I really want to live by is words from one of Switchfoot's songs "I want to thrive, not just survive". This is such a beautiful mantra, and yet it sparked much turmoil in me when I was still debating whether or not to go on my own. I think because there are so many people out there who have nothing and that I should be grateful for having a good job, and good opportunities. But the more I seeked council, prayed and debated what to do, the more unhappy I was in what I was doing and the bigger my desire grew to do other things. I came to realise that in this state, I was useless to anyone.
My one friend told me that God puts dreams on our hearts and that it can then only be a good thing to pursue them. So I prayed and prayed that if my desire was purely selfish, then it would go away, but it grew. Now I look back and I am so pleased for all the amazing people in my life who have supported me in this decision. I feel that I am thriving because I am able to connect with people again and that is the biggest blessing ever. I have truly amazing people in my life, and it feels so good to be able to hang out with them and appreciate them.
Being forced to work part-time at a school and supplement our income has been incredibly rewarding. I have met so many people. I think it has also been very healthy for me to get out of the house (since my private lessons are held in our home). I also filled in at the school for a full-time teacher, which was really nice because I was able to get to meet more of the staff.
I have joined the UCT Wind Ensemble and Windworx. Both have allowed me to be challenged and stretched but the best thing is that I am loving playing again.
I have also done some temp teaching at Pinelands North Primary School, which is the most delightful school ever. I have never felt so welcome at a school in such a short space of time. The students are lovely there and the school is so friendly.
I did an in-house commercial shoot with Old Mutual, which was quite an interesting experience and I played at a wedding in beautiful Stellenbosch.
My husband and I have been able to go to Betty's Bay over weekends without having to worry about me marking papers or having to be at rehearsal.
I feel like I am just rambling on now, but all-in-all things have been going well. I am happy with the way things are now and I am excited for things to come.
I did not have a huge appreciation for classical music when I was at school. Partly because I didn't understand it and I thought that everyone who played it was either rigid or perfection. Both of which I felt I wasn't and so I longed for this thing they call 'jazz'. It sounded way 'cooler' to me and it was different to what everyone I knew was playing. My hunger for jazz was not fed at all while I was at school and I decided I needed to know more.
After doing some job-shadowing in the medical field in grade 11, I realised that it really interest me. Since I come from a medical family I thought my folks would be disappointed if I didn't follow suit. But after consulting them on my desire to study music my parents genuinely showed approval and, most importantly, support.
So off I went. I got an extra teacher to help me prepare for my audition and, to my amazement, I got into the South African College of Music (part of UCT). I won't bore you with details of my 4 year undergraduate degree (it's an honours degree) or the next 3 intense years of Master's. I do want to say, however that it has been 9 years since I last played in a classical wind ensemble. Now, this year being my 10th year out of school, I have joined the UCT wind ensemble. It has been both healing and refreshing. I have recently also joined Windworx and I am so pleased to say that last night we played in a concert and it was the first time in my life that I was not nervous to perform. Not even a pang of nerves and no blushing. It was the most relaxed performance and we even got a standing ovation.
I am enjoying the music we are playing, and I am loving that I am playing my instruments more. But the interesting thing is that we are mostly playing classical music. It's beautiful, challenging and I love it. I don't feel like people are judging me any more for not being good enough. I feel like I have something to bring to the table and I'm learning and improving.
I have come to realise that it doesn't have to be a specific kind of music that you play. It can vary or it can be the same old thing, but it's all about what you put in and get out of it that counts. I have an entrepreneurial outlook on many things, but currently I am playing in bands that allow me to just make music for the love of it. No strings attached.
I have found that adult students can occasionally be the worst kind. Why? Well, when parents send their children for private lessons they are reliable. They get
their children to lessons on time, the children usually practise, are enthusiastic
and want to be at the lessons. The parents pay on time (at the beginning of each month) and mostly let you know in advance if their kid is going to miss a lesson. In short, the parents are organised. Perhaps it's because they believe in the system (one-on-one private lesson's, where your child get's undivided attention by a music specialist) or they really value their child's education or they respect that you are running a professional business and act accordingly or all of the above. Either way I, personally, have only had good experiences with children as private students.
Unfortunately, (and this is not all my adult
students) but the general feel is that adult students have a very different
outlook. Please note that I am not venting here, just trying to put things straight. Somehow, I have discovered, adults feel that the same 'rules' don't apply to them. When I was a student I used to teach privately too, but I was very relaxed about how I conducted my business. Now that I reply on this business as my livelihood (and I have my degree and work experience), I have to protect myself in the business sense. So I ask all my students to sign a contract. In this contract it clearly states that you need to commit to a term of lessons and that you need to pay for lessons on or before your first lesson of every month. I am upfront about how much I charge (it's even on my website) and I give my students the choice of how long they want each lesson (I offer three different options). I don't charge for the first 'lesson/meeting' so that we can discusseverything that the lessons will entail, they can ask any questions and they have the option of taking home the contract to brew on it. There is no pressure. But once a person has signed the form, I assume that they have at least skim-read it and gauged and idea of how things work.
So, if you are an adult, have never played an instrument, or it has been too long and you really want to start again, here are some things to think about before you call up a teacher.
Learning
an instrument takes time. You can’t ‘fast-track’ learning an instrument unless
you can already play another one and you can read music already. But even then,
you still need to put in the time and effort (this means regular lessons and practice/play).
Your
goal is usually far more advanced than you are (hopefully, at least) but this means you need to be patient in getting there.
The above comment also means that you need to listen to the guidance of your teacher/tutor. Sure, do more than what is asked of you. No teacher will be upset about that! But don't skip out the important things, like long notes and tonguing exercises for wind players.
Music lessons are a bit like having a personal trainer, you get individual attention, but if you don't keep it up, you won't get fitter.
Music lessons are a bit like buying a dvd contract in that you have to pay up front before taking home a dvd.
Music lessons cannot be on a 'pay-as-you-go' basis. This is because teacher's rely on teaching as an income. If you have not paid in advance and then don't pitch up at the lesson, the teacher looses out on your lesson as well as any other potential student that they could have taught during that time. Most teacher's want the student to succeed and are quite understanding if the occasional 'something' comes up. If you let them know in advance they usually allow you to move it to another day.
Although music requires a lot of discipline, the pay-off is worth it, there is nothing more rewarding that achieving your goals, and it can be a lot of fun. Alternately that is the idea isn't?
I am truly grateful that I have been blessed to meet some of South Africa's finest musicians and Shane Cooper is certainly on the top of that list. Bass player, composer and producer, Shane, is definitely someone to watch in the South African music industry. He has recorded with many other well-known South African musicians including Melanie Scholtz, Kyle Shepherd, Bokani Dyer, Rus Nerwich, Zim Ngqawana and Dan Shout (to name a few). He was a member of the Indian fusion quartet 'Babu' and South African quintet 'Restless Natives' (both were based in Cape Town).
After watching Shane play numerous times at the Standard Bank National Arts Festival in Grahamstown, it was then no surprise to learn that he was selected as the Standard Bank Young Artist for Jazz in 2013. I have not heard any other player make a double bass sing like he does, and when he plays his solo's you will involuntarily sit up and watch his every move. Being at the Grahamstown jazz festival specifically, you are inundated with jazz music (obviously that's the point) for almost a full week, it's easy for a person to become overwhelmed and for their ears to get 'tired'. But every time Shane plays, it is almost as if the audience is awakened by his tone and style, then entranced and taken on a musical journey of the story he is 'telling'.
Thankfully those of us living in Cape Town are privileged to see him play at venues such as www.thecryptjazz.com and Straight No Chaser Club and occasionally the Nassau Centre.
Check out what Shane had to say about wining the Standard Bank Jazz Young Artist award (2013).
If you are following my blog, then you will already know that I have been trying to get an understanding of what is 'Behind the Music'. I am asking musicians about what they have to say about their career's, especially within the context of the South African music industry.
This is what Shane had to say in answer to my questions:
When and how did you start playing your
instrument/s?
I started playing piano when I was very young, and
eventually switched to guitar. When I
started high school I was asked to play bass in the school jazz band so I
started learning to play bass for fun. I
developed a love for the instrument very quickly and it became my main musical
focus after that.
Did you
have any formal training, and if so where?
I studied jazz performance at UCT.
What
inspired you to take up your art form as a career?
Playing music became my favourite hobby when I was still in
school, so I decided to try make it a career.
What does
your current career entail? (Can you give an idea of a day in your life?)
It's a mixture of practising my instrument and practising
with bands, composing music, recording / producing, playing shows, and doing
lots of boring admin stuff too.
How did
you (and do you) approach being in the music industry in South Africa?
It's very difficult in South Africa because we don't have a
lot of venues to perform in, and we only have a few big cities that we can tour
to. Also travelling within the continent
is very expensive, so we are limited in terms of performance options. As a result we have to work hard at trying to
get international exposure so that we can get gigs abroad and keep performing
as often as possible.
What do
you most enjoy about your career?
I get to make music everyday, it's the best!
If you
could, what would you change about the music industry?
I wish we could still make money from selling records in the
digital age. That money goes back into
making more albums, but it's very difficult to have that cycle running these
days. I'd also like people to be more willing to pay proper cover
charges for live shows. In 2014 I still
see people complaining about paying R40 to watch a live band, which is
crazy. I also wish music equipment was cheaper
in SA, most products are almost double the price they are in Europe and the
USA.
Do you
enjoy what you do now?
I'm loving it.
What are
your plans for your future?
I'm writing new music at the moment, and also producing
tracks for some singers.
Disclaimer: Please note that non of the images in this post belong to me and they have been credited as far as possible.
It has been a dream of mine to, not only write reviews of South African musicians and their music, but get a bit of a 'behind-the-scenes' look of how they view their own careers. Especially within the context of the South African music industry. There are so many questions to ask, but I thought I would keep it simple.
Lwanda Gogwana was kind enough to answer some of my questions. If you have been living under a rock for the last few years and you don't yet know about this burning trumpeter, composer, arranger and producer, then do yourself (and the world) a favour and go here http://lwanda.co.za/biog.html and here:
Then, share the love and tell a friend! Because you are missing out on what Lwanda has given to the world. Not only has he recorded his own album, The Lwanda Gogwana Songbook, and thus been nominated for a few SAMA’s, but he has performed at great venues and festivals (including the Cape Town Jazz Festival) in and around South Africa and overseas. Lwanda has also performed with the likes of Jimmy Dludlu, Steve Dyer, Moreira Chonguica, Ezra Ngcukana, Errol Dyers, Tete Mbambisa, Robbie Jansen, Bruce Cassidy, John Fedchock, Judith Sephuma, Goldfish’s Sakhile Moleshe, Bokani Dyer and Marcus Wyatt (to name a few). He is brilliant at what he does, but he also has a heart for paying it forward. Lwanda is down-to-earth and very involved in his community. He loves sharing his passion of music with those around him and is part of an organization, RYTHM (reaching youth through music) that promotes South African music to the youth. Keep up to date with Lwanda's gigs on Twitter here: @lwandagogwana Or on Facebook here: https://www.facebook.com/LwandaGogwanaMusic This is what Lwanda had to say:
What do you think?
When and how did you start playing your instrument/singing?
I started by singing along
to my parent’s music in the car, then I started singing in the school choir. I later
took up the piano and then the trumpet.
Did you have any formal training, and if so where?
My formal training started
at school, at Cambridge Prep School. Then Cambridge Junior, then Stirling High
School and my tertiary training was at UCT.
What inspired you to take up your art form as a career?
I can’t remember anything
specific that inspired me, but I think if, anything it, was just loving the
sounds of music around me...then, when I saw others do it at school, I wanted
to join too.
What does your current career entail? (Can you give an idea of a day in
your life?)
Nowadays my typical day
includes anything from teaching music, recording in studio, practicing,
performing and touring with different artists including my own band.
How did you (and do you) approach being in the music industry in South
Africa?
South Africa is blessed to
be very diverse in culture and this inevitably influences the music of this
country to be very diverse - so I try to take advantage of that by
collaborating and working with as many different artists to make a good example
of a rainbow nation inspired musician, lol.
What do you most enjoy about your career?
I’m not quite sure what I
like the most about my career - I'm still trying to figure that out. I'm always
involved in anything that comes my way - and enjoy most of it.
If you could, what would you change about the music industry?
I would like for all
musicians to know about their opportunities - because there are many,
especially in rural areas, who are extremely talented but are clueless about
SAMRO and other bodies designed to assist artists. Also I would like to see a
stronger presence of indigenous South African culture through the music we
export to the world.
Do you enjoy what you do now? Is it what you expected it to be?
I enjoy what I do, but it
is not what I expected.
What are your plans for your future?
My plan for the future is
to help future musicians, especially those from underprivileged backgrounds, to
launch their careers and give them guidance. And to be actively involved in the
promotion of indigenous South African music.
On Monday my little heart nearly exploded with excitement at the beginning of a full day dedicated to the saxophone. Yes, that is true, 12 hours of talking, listening and playing saxophone really happened at the Hugo Lambrechts Music Centre in Parrow.
Organised by Karendra Devroop, Matthew Lombard and Liam Burden through UNISA this FREE Saxophone Symposium took place in Durban on 9 April, Pretoria 12 April and Cape Town 14 April.
Karendra Devroop opening the symposium.
Karendra Introducing Apollo Saxophone Quartet
The morning started with a British Apollo Saxophone Quartet. They opened with an avant guard work.
Apollo Saxophone Quartet
This is just a clip of them tuning, lol.
Karendra ntroducing Artvark Saxophone Quartet
Artvark's moto is 'Away with the chairs! Away with music stands! Artvark moves! So as you will see they perform everything from memory, as most jazz musicians do, but they also walk around a bit while playing.
Then about 50 participants joined the quartets in a mass saxophone piece. It was truly exhilarating as we all, from very young to old, beginner and expert played 2 pieces together. I have never in my life felt so…I’m not even sure how to describe it in words, so, happy to be playing with other saxophonists. There was no judgement of anyone in the room. You were all in the same boat.
Victor De Freitas, owner of Musicraft, and his team were offering free saxophone services and advices throughout the day.
We could choose if we want to go to more jazz or classical focused workshops. For the first sessions I went to the jazz classes, and for the second sessions I went to the classical ones.
Artvark giving a jazz workshop.
Mike Rossi giving a workshop on sound production
There were then a few more performances.
Matthew and Liam playing some classical music.
Liam and colleagues from Hugo Lambrechts
Mike Rossi playing a Blues
Karendra playing a solo, supported by Artvark.
The classical workshop given by Rob Buckland. Discussing technique and answering our questions. He has written a book called 'Playing the Saxophone', which can be ordered through Astute. I believe you can also download it through them.
Rob Buckland from Apollo Saxophone Quartet
Sans Souci girls. They were taking to long to pose.
Then, in the evening concert, we were all brought on stage to do our mass piece. It was so much fun. I loved playing with all those people.
What a winner of a day. I am so inspired and encouraged by all the things I learnt and some of which I was also reminded.
