New Business Cards

Well, Sarah Parker Oboe Reeds has been up and running on Etsy for a little over two weeks, and I have learned a ton about online marketing in that time period. On Monday, I had my first sale! A nice lady bought three reeds from me, and I've been hard at work getting them finished. I really wanted to have business cards that matched the shop, blog, and facebook themes to go out in the packaging with the reeds, so I turned again to the lovely Christin at Christin Thomas Design. I really can't recommend her enough, she's very easy to work with, talented and incredibly quick. This time I ordered her custom font logo design and her custom business card design.

That's the front of the card, and I love how simple it is. The back is really fun, and I'm very excited about it, because I'm also going to be able to use it as a magnet.

She also designed the logo in blue for me, so I can use it on white paper or on whatever I want really. I've got an idea for getting it on the reed tubes that I think will work. I'll probably do a post next week on how all the packaging works out.

If you're a professional musician, I can't stress to you enough how important it is to have professional looking business cards. You can use templates online or hire an affordable design professional like I did, but you need to have them. They don't have to be boring; we're in a creative industry and people appreciate seeing your personality come across on your business card. The other thing about business cards is to make sure you always have them with you (I'm frequently guilty of this). You never know when you're going to meet someone who could be a beneficial contact. You should have them in your instrument case, your purse or wallet, or heck, even in the diaper bag! 

How to Practice Music: Using the Level System

When I work with students, I'm frequently reminded that a lot of us simply have no idea how to practice music. Practicing is more than just getting the instrument out and playing (although, that's sometimes the hardest part!). It's a skill that we have to learn, whether on our own or with the help of a teacher. One of the tools that I use when I'm teaching my students how to practice music is the Level System.

Last year I told you about a book that revolutionized the way I teach music, The Practice Revolution by Philip Johnston. The main tool in this book that's changed how I practice music is an idea called The Level System. I learned a piece using this method two years ago, and I can pick it up today and it will be as fresh as if I had worked on it last week. Ever since then, I've had my students learn all their music and All-State scales this way. Basically, the idea is that you section your music off into small phrases, if it's not too technically challenging, or into individual measures if there is a lot to work on technique-wise. Each section is given a number and the sectioned music looks like this:

This piece is not challenging technically, so it's been sectioned into small phrases. Once we have our sections, we can start putting them through the levels. The levels are a series of steps that have to be mastered one after the other before we can move on. They start out fairly easy: rhythm, then notes, then articulations, and finally upping the tempo. 

The Metronome

The metronome is used the whole time, except for the second level, which is all about notes. Without the metronome, we have no standard to judge ourselves by, and it's really easy for rhythm mistakes to creep in. To figure out our metronome markings, all we have to do is figure out our final tempo and work backwards.  So, if our level 6 tempo is q = 120, level 5 would be q = 116, level 4 would be q = 112, level 3 would be q = 108 and level 1 would be q = 104. Here's a blank level system for you to use (the link takes you to a Google doc):

Blank Level System

As you work through the levels, all you have to do is write the number of the level completed in the blank space next to the section numbers. To consider a level completed, you need to be able to play it correctly three times in a row. With my students, when they get through level 6 with a section, we mark it with a small sticker, and when they've done all the sections we put a big sticker at the top along with the date completed. The stickers are really important because they give you a visual reference of how much you've gotten done.

The Lesson Notebook

 One of my favorite things about using the level system is that it's really easy for me to notate what I want the student to do for the week in their lesson notebook. A typical notebook entry would look like:

Bach, Gavotte - Trio

• S.1 - L. 6
• S.5 - L. 6
• S.9 - L. 6
• S.11 - L. 4
• S. 13 - L. 3

S stands for section and L stands for level. Because the levels are already defined for the student, it's very clear what needs to be accomplished for the next lesson. We typically try to have 3 sections completed for every lesson and one or two in the hopper for the next week.

When I practice, my natural tendency is to practice the first phrase to death and neglect the rest of the piece. The level system ensures that each section of the piece is practiced with the same attention to detail, and once all of the sections are completed, they're all technically in the same place. The harder parts aren't slower than the easy parts, and it's really easy to put everything back together and start working on phrasing. If you're questioning how to practice music, or if you're looking for a better way to practice, I highly recommend trying the level system!

Reading to Enrich Your Teaching - The Practice Revolution

When I first started teaching I mostly did things in the way my own teachers had taught me, consciously and unconsciously. Within a year it seemed as though all of my students had somehow inherited my own practice flaws, plus a few of their own. I'm not sure that there is anything more irritating than seeing your own flaws reflected in your students. After some serious self-reflection, I realized that I was responsible for teaching them these flaws, as my own teachers had taught them to me. This isn't to say that I was responsible for every error my students made; they are certainly capable (creative?) enough of making their own mistakes, as I was at their age and in college. We simply learn to do things the way our teachers do them, good and bad.

In an effort to have a more thought-out, tailored approach for each student, I decided to research practice techniques. I found a lot of books on motivation of the artist, and lots of books that made you feel good about the idea of practicing, but very few books about the diagnosis of practice problems and practical techniques for overcoming them. The first (and I think the best!) book that I found along these lines was The Practice Revolution by Philip Johnston.

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Philip Johnston has to be one of the most enlightened teachers of music on the planet. This book helped me to be objective about my own practice flaws and get past them. By doing this, it opened me up in new ways to help guide my students through their flaws into success. In the third chapter, Johnston discusses common practice problems; he defines the flaw, teaches you how to see if the student is practicing that way, and gives you tips to help correct the flaw. He discusses why students don't practice, and gives effective ways to learn new music, speed pieces up, get the hard parts under control, memorize and ideas on how to help students make a piece their own. Johnston also gets specific about the use of the lesson notebook and the role that parents can play.

When I read this book, I knew many of the techniques that Johnston discusses, but many of them were fresh ideas for me, and one of them has literally revolutionized the way I teach music (that is a whole other post!). If you are looking for ways to make yourself more effective as both a teacher and a musician, this book is absolutely one of the best places to start. I'd like to say that I recommend this book to music teachers everywhere, but the truth is I honestly believe every musician should read it, teacher or otherwise.