Keys & Strings Music Studio

 As my five-year-old and I were watching television together recently, she said excitedly, “That music is major! I can tell because it sounds happy!” I can thank a homework assignment from Ms. Sandie for this newfound knowledge and excitement. Several weeks ago Sandie assigned homework to our family. On the day of my three girls’ lessons, we always have a family movie night. Sandie asked my girls, ages 11, 8 and 5, to listen carefully to the music in whatever we were watching that evening. She asked them to try to determine whether the music was in a major or minor key and to observe the correlation between the key of the music and the action in the movie. They caught on quickly. We watched the very first episode of “Little House on the Prairie,” which is movie-length. As the Ingalls’ wagon almost tips over while crossing a raging river—they all shouted, “Minor!” When the Ingalls family finally arrive at their new home—the girls shouted, “Major!” It became a game to them, s

Your musician is multi tasking the minute they decide it's time to make some music.  Get out the instrument and/or books.  Is their stand out?  If they are a bowed player they need to tighten their bow, rosin and then tune their instrument.  That's a lot of thought process for a younger musician.   If their instrument sounds awfully quiet, or it seems their bow is sliding off the strings, ask if they have rosined.  Woodwinds and Brass have to assemble their instruments too! Okay, now all the implements are in place.  Let's start making music.  How about a scale?  What key is my new assigned piece in? Key of D.   D E F.....oh wait, that should be F#.  Go back and start over.  D E F# G A B C D....hmmm, didn't sound exactly right.  Oh yeah, C is supposed to be sharp.  Go back and start over.  Now that they are warmed up finger/reed/airflow wise, let's get to work on their assigned piece.  Key Signature check, Time Signature Check, q

To be a good teacher the focus should be on the word TEACHER.     100% of their efforts and energies should be focused on the student.   Improving their own skills, to better demonstrate what they want their students to accomplish. Having a good connection with their students.  Find out how each student 'clicks' and get through to them in the way that works best.  Be positive, yet firm when needed.  Be encouraging.  Be a good communicator with student and parents. Be open to working on any music.  Explore all different styles and genres. Offer performance opportunities, group ensembles, music history and music theory. I believe (and this is truly my own opinion) that I cannot be a performer and be a good teacher.  If I am only focused on my own goals as a musician, then I should only be focusing on those goals.   I never saw my teaching as a way to 'make a quick buck'. Here at Keys & Strings, our main focus is on TEACHING.  Yes, we sometimes play out at ou

Sure, it's fun to figure out songs by ear.    It's a gift, not everyone can do it.   But reading music...…….that's the gift that keeps on giving.  When I look at music I see a key signature, time signature, I see note values, rhythms.   What does that mean in a language a non musician can understand? I see an accent (New England/Southern/Italian) in the key signature.  It tells me which pitches I will most consistently be playing in a piece.  Whether it will sound happy or sad.  Where the 'twang' will come from so to speak.  The time signature tells me which note equals one beat in a measure, and how many beats are contained in each measure.  Do I need to count 3, 4, 6, 12? Building strong match skills.  In the photos above I see pitches broken down into rhythms that equal 1.5 beats, 1 beat, 3 beats.  Lengths of notes tied together to make longer notes.  Rests that are worth 1/2 a beat.  Do you realize that addition, subtraction and

I am asked this question at least twice a week, sometimes more! It's actually a very easy question to answer.....The answer is, every child is different. Parents need to ask themselves, is my child requesting to learn this instrument, or do I think they should do it?  Wanting to learn an instrument is a big part on the readiness radar. We certainly don't expect our students to sit or stand like statues for 30 minutes, but can they do so for 10 minutes at a time? Good listening skills.  We build on listening skills in lessons, but we need our students to be prepared to listen and follow direction.  When at home and you ask your child to 'get your shoes on' or 'go brush your teeth' do they HEAR and LISTEN? Music readiness is also a team effort.  Not only does the teacher need to be prepared but so does the musician AND his parents.     Everyone needs reminders now and again.  Young children will need to be nudged to go make music at home.  Even en

The Webster definition of perception is Definition of  perception 1 a   :  a result of  perceiving   :  observation b   :  a mental image  :  concept 2 obsolete   :  consciousness 3 a   :  awareness of the elements of environment through physical  sensation   color  perception b   :  physical sensation interpreted in the light of experience 4 a   :  quick, acute, and intuitive  cognition   :  appreciation b   :  a capacity for comprehension — perceptional   play   \ pər-ˈsep-shnəl ,   -shə-nᵊl \ It is funny how our perceptions of a situation can be so different from another's .   I had an aspiring student many years ago.   He started with me as a toddler and based on my perception of the situation I dismissed his family when he was 10-years old .  He started  on violin first, then piano as well .   I loved this young man as a musician, a student and a person.     I thought I had a good relationship with his family .  

Time.  Not just starting on time (though punctuality is a priority!) but time to learn, to grow, to practice and improve.  Time to put your best work out there.   But also time to arrange the date (a year in advance) make sure the insurance is paid up, design and order the passes, get all the students names, pieces and length of piece from the educators. Do the math of the solos and ensemble length of songs to make sure we don't go over our allotted time.   Combine in an attractive and not overwhelming order.  Change who is in what recital because of conflicts of events (dance recitals!, softball finals!) Change more because now we have duplicates.  Get program to the printers.  (Forget half the programs at the studio) Make sure we have all the wires, plugs, strings, rosin, music stands, music, instruments.  Set up the ensemble chairs, the keyboard, move the piano.  Don't forget to put everything back where we got it!  All in all, the audience may see a two hour event.