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IMPROMPTU FALL 2012
In music the sages found
pleasure and that it could be used to make the hearts of the people good. Because of the deep influence which it exerts on a man, and the change it produces in manners and customs, the ancient kings appointed it as one of the subjects of instruction.
Confucius (551 – 479 BC)
Inside this Issue:
2 Advertisers Directory
3 Executive and
Committee Members
4 Editor’s Note
5 Calendar of Events
7 Ear Charming
11 Announcements
12 National Music
Centre
13 Minutes to Hours
15 Recitals Menu
18 Introduction to the
Cajón
21 Call & Answer
President’s Message
It has been a truly busy summer for most of us this year. If we have not been teaching, we have been at Conference, Symposiums, or Workshops. CASSA is an organization in operation for many years in Calgary with Linda Kundert-Stoll at the helm. A great local workshop for the City of Calgary every summer. Empowering the Whole Musician, Mind & Body for a More Musical Tomorrow: this was the name of the Symposium held in New York City, at the Yamaha Centre. CFMTA and MTNA were collaborators in the organization of this event. It was well attended by teachers from Canada and the United States. The attendance from British Columbia was overwhelming. There were three of us from Alberta, as well as others from the Maritimes and many from our other provinces. The Presenter
was Linda Cockey, with assistance by Pat Frehlich of Edmonton. Erik Erikson’s Stages of Development Chart was discussed in detail. It is considered to be the most widely accepted theory of how human beings develop from infancy to old age. There are eight stages of psychosocial development. At each stage there is a crisis to be resolved and a virtue to be gained. According to Erikson’s Theory, failure to properly master each step leads to problems in the future. This session was very detailed and if anyone would like this material I can certainly make sure you get a copy of it. Each day we had very interesting clinicians.
continued on page 10
Impromptu - 2 -
Advertisers Directory Please support our Advertisers
Editorial Policy Advertising and Submission Deadlines:
Ambrose University College………………………. 9
Music for Young Children………………………….. 10
Music Makers…………………………………………… 22
North Calgary Music…………………………………. 13
Precision Piano Movers…………………………… 21
Rideau Music…………………………………………… 20
Rocky Mountain College……………………………. 23
Steinway Pianos of Calgary………………………… Back Cover
Ultimate Music Theory……………………………… 22
Yamaha Canada……………………………………….. 8
Articles by members are welcomed and encouraged. Attended a great workshop or concert; read an inspiring book? Share your thoughts with ARMTA members. Inquiries and submissions can be made to the editor:
Margaret Brentnall at: [email protected]
Submissions should be in doc or pdf file format - no docx files, please; and may be edited due to space considerations.
For Advertising Inquiries, please contact: Amy Skinner
[email protected] 403 236 9156
Impromptu is the newsletter of the Calgary branch of ARMTA with the purpose of informing our members of events of interest; providing summaries of Calgary branch General and Executive meetings; and encouraging and supporting professional development through member-written articles.
Please note: Deadlines and Issue Dates have changed
all Issue – deadline is September 10th
inter Issue – deadline is November 10th
arly Spring Issue – deadline is January 10th
ate Spring Issue – deadline is April 10th
Impromptu - 3 -
ARMTA Calgary Branch Executive & Committee List
2012 – 2013 at September 10, 2012
Executive Officers: President Rita Thurn 202-0429 [email protected]
Past President Melodie Archer 251-3805 mel.lynn.archer@gmail.
1st Vice-President Beth Olver 254-6008 [email protected]
2nd Vice-President Marilyn Newbury 619-3013 [email protected]
Secretary LaDona Ahenda 730-8537 [email protected]
Treasurer Priscilla King 239-8383 [email protected] Internal Communication: (Treasurer)
Membership List P.King/OPEN 239-8383 [email protected]
E-mail & Telephone Barb Robertson 241-1002 [email protected] Newsletter Editor Margaret Brentnall 251-1385 [email protected]
Newsletter Distribution Josee Robitaille/PKing 730-8537 [email protected]
Newsletter Advertising Amy Skinner 236-9156 [email protected] External Communication: (2nd VP)
Publicist Doug Evans 201-4824 [email protected]
New Member Convener Josee Robitaille 547-6541 [email protected]
Archives Karen Gloge 254-4842 [email protected] Education, Students, Social: (1st VP)
Workshops/Events Mila Brandman 284-9313 [email protected]
Teacher Talk Katrina Thompson 454-8859 [email protected]
Joint Recital Katrina Thompson 454-8859 [email protected]
Coffee and Food Rita Thurn 202-0429 [email protected]
Honours Recital OPEN
Outstanding Student Recital Natalie Brodsky 720-4785 [email protected]
Student Recitals (North) Alice Monson 286-8809 [email protected]
Student Recitals (South) Antonina Cox 278-0742 [email protected] Delegates & Representatives (President)
PPG (Piano Pedagogy Group) Marian Parrott 274-0174 [email protected]
Liaison Convener Looi Tan 619-9990 [email protected]
ARMTA Board 1 Beth Olver 254-6008 [email protected]
ARMTA Board 2 Karen Gloge 254-4842 [email protected]
CFMTA delegate TBD
All telephone numbers are a 403 exchange
Changes to last Impromptu are bolded If you are interested in becoming involved, Calgary Branch is currently looking for volunteers for the following positions:
: Honours Recital – please contact Beth Olver [email protected]
Some positions are in flux with changes and additions to accommodate ARMTA Calgary’s online presence. Stay tuned!
Need your contact information updated or corrected? Please contact the editor at [email protected]
Impromptu - 4 -
Did you know that new in 2012, not only the Canadian medalists were awarded prize money? Coaches were, too! Part of Canada’s “Own the Podium” project.
CAJON: Spanish for ‘box’, the cajon is a wooden percussion instrument. For more about the cajon, see Rhona-Mae’s article on page 18.
Here we are, fast into the start of a new teaching year.
Hope everyone’s summer was fun and rejuvenating. Did you catch any
of the Olympics? What a treat to watch these world-class athletes –
such a testament to where practice, effort, attitude – and good
coaching – can take a person. An easy segue into this issue’s theme:
Teaching Music and its Many Benefits. You’ll find quotes and
excerpts that relate to music training sprinkled throughout the
newsletter. And let’s not forget performance: the opportunities we, as teachers, supply and
prepare our students for have their own advantages.
Speaking of performances, we had an ‘Impromptu’ moment at our May 26
ARMTA SW student recital. The recital had concluded…but 1 student and 1
accompanist were still trying to reach the venue. We all know what
preparation goes into a recital – two students were going to miss their
opportunity, what to do? Earlier in the recital, Rhona- Mae Arca had
accompanied one of her students on a cajon. A suggestion was made: would
Rhona-Mae care to tell us something about the cajon? She gave an apt
description, which included a welcome demonstration. The audience,
students and teachers were further delighted when Antonina Cox, teacher and
recital organizer, joined Rhona-Mae for an impromptu “jam” for piano and cajon. Happy ending:
the recital wrapped-up with relaxed performances by the remaining two students. Win-win!
Look for Part One of Roberta Stephen’s article on teaching intervals. Geared toward piano
students, the concepts and material can be applied to any instrument, including voice. And
looking forward, I am hoping that for our December issue, teachers will respond to our Call for
Submissions: your Favourite – and Easy – Christmas-time recipes.
Enjoy the Fall,
Margaret
Editor’s Note
Impromptu - 5 -
October 14th------------------Piano Pedagogy Group(PPG) meet------------------Denisa Calcan for info
15th-----------------Contemporary Showcase Registration Deadline
17th – 26th----------Honens Competition
19th – 21st----------ARMTA at the Honens Semi-final sessions---------Jack Singer Concert Hall
20th-----------------ARMTA Provincial AGM & Dinner --------------------Marriot Hotel, Calgary
27th------------------PPG meet
29th-----------------ARMTA Calgary GM--------9:30 am----------------First Church of the Nazarene
*Guest speaker: Malcolm Edwards “Importance of Music in our Society” TBD----------------Kiwanis registration opens late October
November 1st – 3rd----------------Music Conference Alberta-------------------Sheraton Centre, Red Deer
3rd---------------------CASSA fundraiser: Music in the Meadows II-----------6:30 pm----------
-----------------------Canyon Meadows Golf & Country Club
5th----------------------ARMTA Calgary Executive meeting------------9:30 am-----K Gloge’s
6th----------------------RCM Winter 2013 Exam Registration Deadline
8th----------------------CC Winter 2013 Exam Registration Deadline
10th---------------------ARMTA Calgary NW Student Recital Registration Deadline
11th--------------------- PPG meet-------------------------- Denisa Calcan for info
17th---------------------ARMTA Calgary NW Student Recital-----2 pm---St David’s United Church
17th---------------------ARMTA Calgary Honours Recital Application Deadline
18th – 24th-------------Canada Music Week
19th---------------------ARMTA Calgary Honours Recital Committee meeting
19th---------------------Kiwanis Piano Entry Closing Date
22nd – 24th------------Contemporary Showcase
December 1st---------------------- Contemporary Showcase Gala Concert
3rd----------------------Kiwanis all other disciplines than piano Entry Close Date
14th & 15th-------------RCM Winter 2013 Theory Exam
January 8th-----------------RCM April 2013 Exam Registration Deadline
12th----------------CC Winter 2013 Theory Exam
13th---------------- PPG meet-------------------------- Denisa Calcan for info
14th – 26th--------RCM Winter 2013 Practical Exam
15th----------------ARMTA Provincial Spring 2013 Piano Competition Registration Deadline
21st----------------ARMTA Calgary Executive meeting
26th---------------Workshop with clinician Janet Scott-Hoyt------------------details next issue
27th----------------ARMTA Calgary Honours Recital
Impromptu - 6 -
2013 continued
February 1st---------------Calgary Concerto Competition C3 Application Deadline
4th – 23rd-------CC Winter 2013 Practical Exam
10th------------- PPG meet-------------------------- Denisa Calcan for info
17th & 18th------Calgary Concerto 2013 Competition C3
25th – Mar 16th---------Kiwanis Festival
TBD-------------ARMTA Calgary Budget and Nominating Committee meeting
TBD-------------ARMTA Calgary SW Student Recital
TBD-------------ARMTA Calgary Outstanding Student Recital
March - 16th-------------Kiwanis Festival continues
5th-----------------RCM Spring 2013 Exam Registration Deadline
7th------------------CC Spring 2013 Exam Registration Deadline
9th-----------------ARMTA Provincial Spring 2013 Piano Competition------------Red Deer
9th----------------- PPG Mini Festival-------------------------- Denisa Calcan for info
9th – 13th----------MTNA Conference----------------------------------------------Anaheim, California
22nd---------------ARMTA Calgary AGM--------------------------details to be confirmed
31st----------------AMEF Student Recognition Award Application Deadline
April 1st ----------------ARMTA Student Composer Composition Entry Deadline
14th-------------- PPG meet-------------------------- Denisa Calcan for info
15th – 20th-------RCM April 2013 Practical Exam
TBD--------------ARMTA Calgary Executive meeting
May 5th-----------------PPG meet-------------------------- Denisa Calcan for info
10th & 11th--------RCM Spring 2013 Theory Exam
11th----------------CC Spring 2013 Theory Exam
TBD--------------NATS Calgary Songfest & Concert
TBD--------------ARMTA SW & NW Student Recitals
TBD--------------ARMTA Calgary GM
June 1st – 30th--------CC Spring 2013 Practical Exam
4th----------------RCM Summer 2013 Exam Registration Deadline
9th--------------- PPG meet-------------------------- Denisa Calcan for info
10th – 29th------- RCM Spring 2013 Practical Exam
27th---------------CC Summer 2013 Registration Deadline
Summer July 3rd – 6th------------CFMTA Convention & Piano Competition-----------------Halifax, NS
July 10th – 14th----------ICVT 2013, Singing: Learning, Teaching, Performing---Brisbane, AUS
August 9th & 10th------ RCM Summer 2013 Theory Exam
August 10th-------------CC Summer 2013 Theory Exam
August 12th – 24th-----CC Summer 2013 Practical Exam
August 12th – 24th----- RCM Summer 2013 Practical Exam
Impromptu - 7 -
Ear Charming Part One – Part Two will be featured in the Winter Impromptu
The Lucky Charms books were
designed by Roberta Stephen and Peter Jancewicz to make ear training an enjoyable and artistic experience. The books were written for pianists but I have adapted them for singers. The principles are the same but the examples I have chosen in this article are mainly for singers. Be sure to consult the Lucky Charms books to see the piano examples.
One of the basic building blocks of
music is the interval, the “distance” between two sounds. Another way of thinking about it is that the interval is the sound that is created when the two notes are played either together or as part of a melody. Each interval has a distinctive character. For instance, a perfect fifth is immediately distinguished from a major second because of the distinctive sound of each interval. Each interval could have a unique colour depending on the weight of each sound; that is, whether the bottom or top pitches are weightier, heavier. To hear this effect, try playing or singing the top note of a major third louder than the bottom note. Listen to the sound; now try a louder sound for the bottom pitch. Can you hear the difference? How would you describe the top heavy interval? The bottom heavy interval?
Sometimes a student will come from
another studio with weak or untrained ears. There are various ways to help a student distinguish the sounds of intervals:
1. By rote or playing the same interval over and over, a bleak way of learning.
2. Using melodies for each interval such as My Bonnie Lies over the Ocean for a Major 6th . This becomes time consuming and interferes with the flow of the music.
3. Using sol-fa names to identify pitches is my way of learning intervals and paves the way for sight reading. It works well for singers and pianists too.
4. Using descriptive words to remember the interval: for instance, Major 3rd is happy; minor third, sad. I think you can go further by asking if an interval is sweet, sour, salty or bitter or by other descriptive names such as by colors. I think a Perfect 5th is blue. What do you think?
By really listening to an interval, a student can begin to hear the subtle differences. It also is useful to have a systematic way to learn the intervals. One such method developed by Zoltan Kodaly after his study and analysis of Hungarian folk song and eventually adult folk songs, teaches intervals the way children use them beginning with the minor 3rd and perfect 4th as in The Wishing Song (Star Light, Star Bright, First star I see tonight). His ideas were adapted for other cultures including Canada, mainly in the school systems. Many teachers use his method for helping children to be musicians. This should be a great aid in the private music studio.
�One of the basic building blocks of music is the interval, the “distance” between two sounds. Each interval has a distinctive character.�
continued on page 9
Impromptu - 8 -
Impromptu - 9 -
‘Ear Charming continued from page 7
Minor Third According to Kodaly, the first interval to learn is the Minor 3rd (m3). Pianists should find all
the minor 3rds in C major, first descending, and then ascending. Do the same with the A harmonic minor scale. Singers should sing minor thirds, descending, and if using the piano on different white keys and then black keys. Next practise singing ascending minor thirds. It is possible for singers to just use arbitrary pitches and not use the piano at all. So that you truly understand the minor 3rd, see how many children’s songs you can find that use minor 3rds and Perfect 4ths. I have listed some at the end of this article.
Perfect Fourth The next interval is the ascending perfect fourth. This interval is often found as a pick up or
the last note of the beginning measure, low so → do. This is the pattern of many children’s songs, such as The Farmer in the Dell. Do you know any other songs that begin with the same pattern? It is useful to learn a solo which emphasizes the chosen interval. There are some piano solos in Lucky Charms. For singers I would use folk songs - see end notes.
Perfect Fifth Perfect 5th is the next interval to study. Boating by Dean Blair is the best song I know to
learn perfect 5ths. It is found in Six Playful Songs. I would not use the sol-fa names but numbers. Practice singing or playing fifths and fourths. Listen to the difference. It is sometimes hard to tell if an interval is a Perfect 5th or a Perfect 4th. It helps if you can hear or sing the missing third in a Perfect 5th. Help your students to learn that fourths and fifths are inversions of each other. Another way of hearing the Perfect 5th is as the sounds of the first and fifth notes of a scale. The outside notes are a fifth apart such as c → g.
continued on page 12
Impromptu - 10 -
President’s Message continued from page 1
“Nurturing the Musician” consisted of three parts: Your Brain on Stage (Functions during practice, performance and ways to maximize its potential on stage.). Mindfulness, Practice & Performance, Anxiety Management. A wide variety of progressive exercises & techniques adapted for group lessons (They even covered “Teacher Burn-Out”). Biofeedback, progressive relaxation and deep breath work for Musicians. This is something
�Some years ago Harvard psychologist Robert
Rosenthal ran an experiment that explored the impact teachers can have on their students’ subsequent performance. As a result of Dr. Rosenthal’s studies it is now widely recognized in education that our expectations about how others will perform may have at least as much of an impact on their subsequent achievement as any other single factor.� The Inner Game of
Music, B. Green
that Voice Teachers are well aware of, and use its practical application. We saw how it worked on piano students as well. It made quite a difference with the anxiety level. Part 3, Psychologies of Optimal Performance Experience, using rational thinking, subconscious mind, emotional responsibility & techniques of self-hypnosis to enhance performance excellences. This was most informative. Materials are also available on these concerns. Kathleen Riley was the
presenter for Understanding the Anatomy of Performance. Steinway & Sons hosted a reception for all members who attended the Symposium at Steinway Hall on the Thursday evening. Julie Nagel’s work on Performance Anxiety, Music as an instrument of social change, and Mental Health outreach has been published in many Journals. Julie was the presenter of this on Friday. A great time was had by all! Wicked at the Gershwin Theatre and a NYC & Chicago White Sox game in the new Stadium, completed my trip to New York City.
G. Rita Thurn
Impromptu - 11 -
Announcements
♫ NEW! ARMTA Calgary branch website has been redesigned and is now linked to the ARMTA provincial data base. Huge Thank You to Carolyn Garritano for the wonderful job she has done updating our website. Site url is: http://www.armta-calgary.com/
♫ PLEASE NOTE: Teachers should check the visibility of their name on the website under ‘Find a Teacher’. Teacher names are organized by neighbourhood, so if you do not find your name under the correct area – or to edit any information - update your profile under ‘Members Area’.
♫ Teacher Profiles on the website are accessed through ‘Members Area’: ‘Login’ – ‘Your Profile’. Teacher contact information is displayed under ‘Find a Teacher’. There are three options for contact information that a teacher can choose to display: Telephone, Email, and Website. At least one must be selected for the teacher name to be displayed in the ‘Find a Teacher’ list. In addition, members can add or remove themselves from this list anytime by logging into the Members Area & changing their preference in the profile area.
♫ Summaries of Executive and General Meetings will continue to be published in Impromptu. Full meeting minutes are available to members on request to the Secretary.
♫ Updated ARMTA Calgary Bylaws are available on the website by logging in to the Members Area and clicking ‘Documents’: https://www.armta.ca/members/
♫ Piano Pedagogy Group – upcoming meetings and contact information: October 14th - October 27th - November 11th
January 13th - February 10th - March 9th – Mini festival April 14th - May 5th - June 9th
Come and join us if you are interested in learning more about piano pedagogy Location: TBA
Contact Denisa Calcan for more information Phone: (403) 460 0767
Email: [email protected]
♫ CASSA will have a fundraiser on November 3, 2012 Music in the Meadows II, a Concert, Silent Auction and Chocolate Festival, 6:30 pm, Canyon Meadows Golf & Country Club featuring Derek Stoll Jazz Piano Quartet and Tate Mitchell singing Frank Sinatra songs.
�An important lesson for a teacher: that detailed verbal instructions are seldom as effective as experience…. Maybe there are “information” subjects where verbal instruction works best, but music is something the body is going to have to perform and it’s best learned by the body that’s going to do the performing.� The Inner Game of Music, B. Green
�Your enthusiasm and encouragement are of tremendous value to the young musician, and even evaluations can be helpful – as long as they strengthen the individual’s own sense of purpose and growth.� The Inner Game of Music, B. Green
Impromptu - 12 -
Chinook Keyboard Centre…..Cantos Music Museum…..Cantos Music
Foundation……and now………………the National Music Centre
Currently located in the same space at 134 – 11th Avenue SE, the move to a new site is anticipated to take place in early 2015. The building that will house the National Music Centre is architecturally unique and will feature expanded programming and exhibits. Public – and private- tours are still available at the 11th Avenue location, as is venue rental space in Creative Spaces. Booking for rental space is now online: http://www.nmc.ca/visit/creative-spaces; the National Music Centre offers a non-profit rate for Creative Spaces.
Please note the
following message from the National Music Centre (previously Cantos Music Foundation): “We would like to continue to offer our venue as a great space for teachers to use for recitals, however, we are no longer able to offer the additional 10% discount to ARMTA members. Our costs to run the space have increased over the years and we are in the middle of a $132 million dollar campaign in raising funds
for our new building.”
Major 2nd and Major 3rd The first three notes of the major scale
make it easy to hear major seconds and thirds. Sing the first three notes of a major scale starting on any comfortable pitch. Now sing the first two, doh – re, which is a major second. Then sing the first and third, doh – mi, which is the major third. Almost any song with scale like patterns will give you examples of these two intervals. I suggest Three Blind Mice, and Hot Cross Buns. Can you find other songs with scale like patterns?
Major Sixths Pianists, play the first six notes of the
major scale. Then play the bottom and top notes solid and broken. Singers imitate the pianist. Do you like this interval? Is the skip too high?
1. Find other major sixths on the piano. Describe the sound. Is it sour, sweet, heavy or common? Do you have other descriptive words for this interval?
2. Sing Major sixths on different pitches. Is it easy to sing this interval? Do you recognize this interval in your songs?
3. Invert this major sixth interval (turn it upside down). Now what interval do you have?
4. Find songs which begin with the major
sixth to help you remember the sound. One is A Blessing by Nancy Telfer. You should find others.
5. Learn one of the major sixths piano solos in Lucky Charms.
Suggested songs for learning intervals.
1. Minor 3rd - One, two, tie my shoe, a children’s song
2. Perfect 4th- Star light, star bright, first star I see tonight; Flow gently Sweet Afton – RCM Gr.4
3. Perfect 5th - Boating – Dean Blair. Alberta Keys Music Publishing co. ltd.
4. Major 2nd & 3rd - Three Blind Mice;
Hot Cross Buns
5. Major 6th – A Blessing by Nancy Telfer in C.C. Gr.5 song book; Volksliedchen by Robert Schumann in RCM Gr. 5
Reworking of a lecture given July 2011 in Regina, SK at CFMTA conference by Roberta Stephen. Part Two of this article continues in the Winter Impromptu
‘Ear Charming’ continued from page 9
Impromptu - 13 -
Executive Meeting June 11, 2012
� Discussion re stream-lining new members’ process and wait time on provincial approval. � Margaret Brentnall was congratulated on Impromptu. Deadline dates were revisited and revised: September,
November, January and April 10th. � A nomination form to be designed by Karen Gloge re Honorary Membership � Permission form for publication of member information online to be redesigned: permission granted unless
specified otherwise. � Speakers for October’s GM were considered � Concerns that CFMTA fees will rise to cover CFMTA and provincial resolutions � Motion approved for disposal of ancient documents ; to take place at Melodie Archer’s July 19, 2012 � PPG member names will no longer be listed on ARMTA Calgary website to comply with ARMTA Provincial
rules. PPG members may choose to receive a copy of Impromptu with the payment of a $15 annual subscription fee, to be collected by the PPG Advisor and forwarded to Priscilla King. We will continue to publish PPG information in Impromptu.
� Ongoing discussion re division of Membership List Convener and Treasurer positions (currently both positions held by Priscilla King)
� At this point, Impromptu will continue to be delivered via Canada Post to members � Carolyn Garritano has begun working on the website. We will still need a local webmaster. Bev Moore will
meet with Barbara and Melodie on June 23 regarding training for the local website position
� Mila Branman made suggestions for upcoming master classes and possible tie-in with future Canada Music
Week
� Honours Recital Convenor still being sought
� Recital programmes continue to be forwarded for the Secretary’s binder
� Ongoing discussion re support of PPG and their members joining ARMTA Calgary
� Priscilla King has stepped-down as President of ARMTA provincial, leaving a vacancy for CFMTA delegate in
our rotation.
Minutes to Hours – Summaries of ARMTA Calgary Minutes
Impromptu - 14 -
�Musical devotees have clung to the idea that listening to Mozart could somehow raise one’s IQ
on a permanent basis, but subsequent research has shown that the impact on spatial intelligence
by listening to music is temporary. Rather, it is the playing and memorizing of music that produces long lasting results, hence the need for music teachers. (T)he reasons for learning to play and to memorize music go far beyond being culturally enriched or having something to show on a college application form.� What’s this Business about Music? Robert DeFazio in The
Canadian Music Teacher, May 2012
�Students of the arts
learn to think creatively and to solve problems by imagining various solutions, rejecting outdated rules and assumptions. Questions about the arts do not have only one right answer.
A study of the arts
provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. This development of compassion and empathy, as opposed to development of greed and a "me first" attitude, provides a bridge across cultural chasms that leads to respect of other races at an early age.
Students of music learn
craftsmanship as they study how details are put together
painstakingly and what constitutes good, as opposed to mediocre, work. These standards, when applied to a student's own work, demand a new level of excellence and require students to stretch their inner resources.
Music study develops
skills that are necessary in the workplace. It focuses on "doing," as opposed to observing, and teaches students how to perform, literally, anywhere in the world. Employers are looking for multi-dimensional workers with the sort of flexible and supple intellects that music
education helps to create as described above.
Music performance
teaches young people to conquer fear and to take risks. A little anxiety is a good thing, and something that will occur often in life. Dealing with it early and often makes it less of a problem later. Risk-taking is essential if a child is to fully develop his or her potential. Music contributes to mental health and can help prevent risky behavior such as teenage drug abuse.� Selections from - Twelve Benefits of Music Education, Carolyn Phillips http://www.childrensmusicworkshop.com/advocacy/12benefits.html
Impromptu - 15 -
Recitals Menu �
Honours Recital – We take our top exam students of the previous year and present them with a delectable award – only available in January. However, to allow time to marinate – submit an application form (available in the fall) by the November deadline. Ingredients are hand-selected - our committee of Sous chefs will notify successful applicants.
Chef: Honours Recital Convener Outstanding Students Recital – a ‘lite’ version of the Honours; still a high-quality cut: high exam or festival results. A filling dish - teachers are advised to order a maximum of two students in the spring.
Chef: Natalie Brodsky [email protected]
Student Recitals – This dish appeals to everyone; students of all levels gobble up these aromatic performance opportunities. Offered throughout the year - usually in February, May and November; we do require one week’s notice to properly prepare. Available in two flavours: north and south.
North Chef: Alice Monson
[email protected] South Chef: Antonina Cox
Joint Recitals – Perfect for sharing! For 2 teachers or get a group together – your own students will love this. We want you to enjoy; so, fill out an application form and we will cover up to $75 of the cost of this rare dish.
Chef: Katrina Thompson Fost [email protected]
The next Student Recital will be held on November 17th, 2012 at 2:00 p.m. at St.David’s United Church, 3303 Capitol Hill Crescent NW. Contact Alice Monson at [email protected] (403) 286-8809 with submissions. Please email the following information no later than November 10th. If you have not received verification that we have received your submission by November 12th, please contact the Student Recital convener by phone to ensure your students are included.
• Name of student(s) • Grade level • Title of piece(s) to be
performed
• Composer of piece(s) • Time length of piece(s)
The participation fee for each student performer - soloist or ensemble member - is $5.00 to help cover venue costs (accompanists are exempt).
Impromptu - 16 -
Visit our website for information on Joint Recitals – application this page – and on the Honours Recital – application on next page. https://www.armta.ca/members/index.php
Login – Select Documents – Look under Branch
Impromptu - 17 -
2012 HONOURS RECITAL APPLICATION
NAME OF STUDENT _______________________________________ AGE ________
CATEGORY ______________________________________________ GRADE _____
PRACTICAL MARK _____________________________
THEORY MARK (S) _____________________________
EXAMINATION BOARD__________________________________________________
TENTATIVE SELECTION for performance at the recital -first choice:
_____________________________________________________________________
COMPOSER _______________________________
TENTATIVE SELECTION -second choice:
_____________________________________________________________________
COMPOSER __________________________________
NAME OF ACCOMPANIST (if applicable) ____________________________________
TEACHER’S NAME ________________________________
MAILING ADDRESS ____________________________________________________
PHONE ________________ E-mail _____________________________________
TEACHER: Please sign the following statement and return with the application.
I, _____________________________________________, have read the guidelines and I agree to abide by them.
Signature ___________________________________ Date ____________________
Please send application form and supporting documents by
Saturday, November 17, 2012, to:
Joan Bell
35 Cornwallis Drive NW
Calgary, AB T2K 1T6
Applications via e-mail will not be accepted.
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An Introduction to the Cajón by Rhona-Mae Arca The cajón, or drum box, is a small instrument with a big voice. Pronounced “ka-HONE”, this versatile instrument is Spanish for “box” or “crate”. This portable drum is used in a variety of performance settings and music genres. A Brief History on the Cajón Most sources indicate that the cajón is Afro-Peruvian in origin. In the 16th century, African slaves took shipping crates and played them as they would play a drum from their motherland. Sometimes, drawers were used.
By the 19th century, the cajón had a distinct place in Afro-Peruvian and Afro-Cuban music. From Flamenco music to pop, rock and jazz, the cajón has steadily grown in popularity. Cajón Construction The cajón is generally made of pine, although there are several other types of woods used today. Another layer of thin plywood is nailed to the front. One notable feature is that the top corners of the face are left loose so as to produce a slapping sound. Another distinct feature is the sound hole in the back. Some cajóns also have a snare (adjustable or non-adjustable). For a traditional Peruvian or African sound, the snare is turned off. There are also bongo cajóns, tubular and trapezoidal ones available too. Buying a Cajón If you live in a large city centre, chances are one or more music stores in your area is a licensed retailer of cajóns. If not, some music stores do ship worldwide. There are several popular cajón brands available around the world:
� Asia: Pearl
� North America: KOTZ™ in the US
� Europe: Meinl Cajon in Germany, The Cajon Drum Shop in the UK, Requena cajón drums in Spain, Cajón de Gregorio in Spain and Schlagwerk drums in Germany.
Cajóns vary in cost, depending on the make and the material used. Beginner cajóns are in the low $100's, while custom, hand-made cajóns can cost well over $600. Learning to Play the Cajón Getting started on the cajón is relatively easy. The instrumentalist sits on the cajón, with the drum face pointing forward. Striking the lower part of the drum face produces a warm bass tone. As you move higher, the sound is higher, similar to a bongo. You can slap the loose ends as well. Drum accessories can enhance your cajón configuration. You can add other percussion instruments, such as cymbals, castanets, tambourines and blocks. As well, drum brushes or specific cajón brushes expand the range of tones you can produce on the instrument.
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Several resources are available online to help you develop proper technique. There are free video tutorials, such as those available at www.learncajon.com and www.frameddrums.net . DVD courses available by notable cajón instrumentalists David Kuckhermann and Danny Moreno on their websites or via Amazon. For those who prefer one one-on-one instruction, contact your local flamenco club or Peruvian cultural society and enquire about cajón instructors in your area. Alternatively, some musicians do offer cajón lessons through Skype. Using the Cajón in the Studio Regardless of your primary instrument, the cajón can be a useful addition to your studio. The most obvious use is ensemble work. This past year, my students worked on ensemble pieces throughout the year. They performed their ensemble numbers at the June recital. There were piano/cajón duos as well as four- and five-piece bands. I often use it as a metronome alternative. From Mozart sonatas to scales, “Phantom of the Opera” to Lady Gaga, I have noticed that my students are able to maintain their tempo better when they feel the beat going from the floor, up their feet and through the bench. I also try to play a groove suitable for the genre being played. Other uses include ear, rhythm, sight-reading and improvisation. I sometimes have one student sit on the “student” cajón,
while I sit on mine and we do Talking Drum exercises (a variation on clap-backs). This upcoming year, I plan to use it for more rhythmic dictation exercises. My students will also do more improvisation on percussion (as well as on piano) while I will play the cajón during sight-reading exercises. In addition to being a portable drum, the cajón is a relatively easy instrument to learn. From its humble Afro-Peruvian roots, it has expanded into other genres – from flamenco to jazz and from pop to church music. Originally published on www.themusicalmese.blogspot.com on February 9, 2012. Reprinted with permission. Revised for Impromptu. © 2012 by Rhona-Mae Arca. All rights reserved.
�The Cajón can be a useful addition
to your studio…in ensemble work…as a metronome alternative…for ear, rhythm, sight-reading and improvisation�.
‘Intro to the Cajon’ continued from page 18
�Musical training is believed to have enormous non-musical benefits for your child. One of the benefits includes the improvement to your child’s reading abilities. Apart from improving reading skills, music training also has the following positive non-musical benefits:
� Improved academic achievement, including language and mathematics;
� Clearer thinking, both linear and abstract;
� Stronger ability to create in other media;
� Improved self-esteem; � Stronger social and group
skills; � Improved attitude towards
school; and � Improved ability to remain
calm when provoked.� The Power of Music C. Blanche & A. Beattie
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It’s your time to shine at the Calgary Kiwanis Festival
With more than 19 different categories and 4,000 performances the Calgary Kiwanis Festival has something for everyone. From
piano, choral speech and musical theatre, to Chinese Ethnic Instruments, strings and pipe organ, the Festival provides
performance opportunities for almost 12,000 students a year.
Teachers are a key influence in a student’s decision to enter Festival, and we encourage you to
look at what we have to offer. Non-competitive sessions provide students with constructive
feedback on the repertoire you’ve been learning so far, while competitive sessions offer
adjudication from professional musicians and the opportunity to compete for more than
$50,000 in scholarships. Regardless of age, skill level or background, Festival offers endless performance opportunities
for those passionate about classical and contemporary music and speech arts. You are sure to
find something that sparks the imagination. The Calgary Kiwanis Festival takes place February 25 to March 16, 2013 and registration opens in late October. If you are
interested in participating in one of the Calgary Kiwanis Festival categories, you can register online
at www.calgarykiwanisfestival.ca. We believe that the performing arts can spark a passion within and, with the right encouragement, ignite a star. See you at the
Festival!
A Message from the Calgary Kiwanis Music Festival
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Call & Answer
eachers! Not to rush things, but do you have a favourite Christmas-time recipe? How about sharing it for publication in the December issue of Impromptu. The only criteria: it must be
well-tested - a Quick and Easy recipe. Aren’t these the best kind?! Thanks for answering.
T
�New research may help parents when they write the monthly check for music lessons. After a review of a wide range of scientific literature, Northwestern University scientists believe the facts support a link between musical training and learning. According to the experts, musical practice improves skills including language, speech, memory, attention and even vocal emotion. “The effect of music training suggests that, akin
to physical exercise and its impact on body fitness, music is a resource that tones the brain for auditory fitness and thus requires society to re-examine the role of music in shaping individual development,” the researchers conclude.� Long-term Benefits from Musical Training, Rick Nauert PHD
http://psychcentral.com/news/2010/07/22/long-term-benefits-from-musical-training/15885.html
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�A coach is someone who tells you what you don't want to hear, who has you see what you don't want to see, so you can be who you have always known you could be.� Dallas Cowboys NFL coach Tom Landry
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It’s a fact! �Musical training changes sound processing in the brain. Regular engagement with music influences a variety of nonmusical brain functions: (ability to process) speech in noise, reading, language, attention, vocal emotion, and memory. Musicians have better neural encoding
of music and also speech. Musicians invoke auditory/vocal-motor mechanisms to selectively enhance vocal production. Aging slows neural timing but a lifetime of playing an instrument protects musicians from these age-related declines. Neural function is more enhanced in musicians who have undergone more years of musical training. What happens after you stop playing music? Does the brain continue to profit? Yes! Adults who played an instrument as a child exhibit neural changes that accompany musical training.� Selections from the slideshow - Music for the Development of Auditory Skills: Impact on Education http://www.soc.northwestern.edu/brainvolts/projects/music/index.php#
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