Creativity, Discovery & Failing. It works that way.

Frustration is an integral part of discovery. Failure is an integral part of discovering or creating something.

Well-meaning parents often try to protect their children from failure, thinking that failing will defeat them, dash their hopes and dreams, keep them from being successes in life. It doesn't work that way. The protected people who don't know how to fail and get back up on the horse are inclined to quit, to cheat to succeed, to not lift a finger at all, and to expect, as my mother used to say, that the world owes them a living. Those who are given everything don't know how to want anything well enough.

Being required to want and wait to get is what helps us determine if that which we want is worth waiting for. Wanting to "do" something significant is the best kind of desire. Wanting and not getting is what makes us find creative ways to work toward doing or getting what we want. If we aren't interested in working out the scheme, the plan, the details of doing or getting what we want, we don't want it enough. And we are unlikely to be successful at whatever we are doing, or, ultimately, unhappy and bored with the thing that we had thought we wanted. And the enticing, titillating part of the journey to anywhere worth our time involves exploring, taking some wrong turns, making some missteps, getting lost and then finding our way out.

And another thing I've learned in life is that having few things makes us appreciate the few things that we have and the many things that we don't have even more. Having more things overwhelms us so much that we appreciate all of them less. I don't have everything. But I have more than I had growing up. My white elephant shop used rag doll with the nose scuff and the old, broken down piano my family borrowed when I was in high school meant more to me than a parcel of new dolls and a store full of brand new grand pianos ever would have or ever could have meant. When you've had to wait and wish long and hard for a piano, and when you've taught yourself to play (with no piano handy), the arrival of any old piano on the scene is a most amazing event.

Practicing (Oh, there's that hideous word, again, music students), is the means we singers have of getting what we want. Now, practicing isn't necessarily a fun thing to do. But, for those of us who want to arrive at some level of musical competency at some point, practicing is the main tool we have. So, fun or not, rain or shine, we get to our little practice shrines and we do our duty to our art and to ourselves. Sometimes we have little epiphanies on a regular basis. Other times, we work at it and work at it with few noticeable results. But, like I tell my students, the Ugly Duckling was in the midst of his daily transformation into a swan. Because the process was so slow, it was hard for him to see the change on a daily basis. This is why we have video and audio recording in the 21st Century! Well, it isn't "why" we have it. But you get the idea. At any rate, the fun happens on the other end of practice, when we've accomplished some part of the journey. And, if we get into the right mode of operating, the practice, itself, can be fun. It certainly can be an interesting journey.

Inevitably, within a couple of lessons a beginning voice student will say, "I'm afraid of practicing wrong." Or they'll ask, "What if I practice wrong all week?" I tell them they have two choices. They can practice what they think is right, or they can not practice at all – which will get them exactly nowhere. Sometimes this is enough to get them to relax. Other times, I need to add, "If you practice "wrong" the entire world will come to an end." Usually, this is enough to knock the irrational fear out of them – at least until the next lesson.

Some students don't get over this hurdle, or another one of the many hurdles along the way. They quit, or take time off (only to return to come up against the same hurdle again). Others, who want to become the best singing artists they can be, work through the frustrations and the failures. They are also the ones who will pick up a book, or peruse the Internet, or invent their own methods and techniques of practicing to help guide themselves through the process. They want to be proficient singers so much that they are willing to risk failing over and over again. This is how artists are born.

I just picked up an interesting new book by Jonah Lehrer titled, Imagine: how creativity works. Here is a clever promotional video for the book that inspired this blog entry. Enjoy! (Then go practice.)

IMAGINE: How Creativity Works from Flash Rosenberg on Vimeo.

Learning to do the Slow Work is Slow Work

It’s resolution time, again. It’s the time when people all want to lose weight, tone up and take voice or piano lessons. It’s also a time when people who have not been living authentic lives for years and years, for reasons good and not so good, are looking for an escape. People want to be beautiful. They want to look younger. They want to do glamorous things – like sing onstage. They want to reclaim lost time. And they want to take crash courses so they can reclaim that lost time instantly.

It doesn’t work that way.

Nothing happens instantly, no matter what the ads on TV will tell you. Sure, if you spend every waking moment exercising and watching ever morsel of food you put into your body, you can make significant changes in your appearance. I doubt that you can count on developing that six-pack or those bicep muscles, though, in six months or a year. If that were the case, there would be many more people wandering the streets looking like models and weightlifters. Think about the number of people you know who have resolved to lose it and tone it. Have they? If they did manage to make changes, did it last?

And you can learn to play a few songs on the piano with a down and dirty course where note names are placed inside each notehead, and you have a library of a handful of chords that you can call on to harmonize pop songs (though you might not know that those things you’ve been playing are called chords, or what a chord is if you were to trip over one, for that matter). You can limp along, with no technique, playing stiffly and non-musically and maybe even enjoy the experience. But allow me to be one of the first to raise my hand to tell you that you have NOT learned how to play the piano. You are doing self-limiting, surface-level “busy” work.

The person who succeeds at weight loss usually is one who has made the decision over time, not because January 1 is upon them and, whew, all of those holiday goodies finally have been consumed (until next year). The decision is made based on appearance AND on health, longevity, or because career and overall lifestyle will be enhanced. It might have something to do with a medical condition, or caring what a spouse thinks. It might have to do with a number of factors that all figure into a change of lifestyle and a new mode of operating. When the decision to lose weight is made over time it is, perhaps, a bit easier to deal with the long course of exercising and monitoring of diet that is necessary to make a permanent change.

Personally, I think that calling it weight loss is one of the problems. Who wants to lose anything? We should call it size adjustment, or something more innocuous and less emotionally disturbing or negative sounding.

The point is there is a shift in thinking that precedes the successful shift in acting to effect change.

On the other hand, learning to play the piano is a positive thing. You are adding a skill to your existing inventory of skills. You aren’t losing anything. But the problem with learning to play the piano, or learning to sing when it isn’t something that you’ve considered thoughtfully, over time, is that you likely are resolving to do it, in part, because it seems so removed from your reality, unattainable. This already sets you up for failure. If you make playing the piano (perfectly) or singing (like a superstar) something you must do in order to alter your drab, unsatisfying life, you’ve put in on a pedestal, in an ivory tower on another planet in an undiscovered galaxy, somewhere. Part of you wants to do it because it is something that other people do. It isn’t something YOU do. Great! So, let’s get down to lessons!

I don’t think so. How can you possibly succeed?

The person who does well with piano or voice lessons is the person who has reasonable but less than grandiose expectations. As with learning any new skill or habit, the successful music student recognizes that (as Aesop said and one of my young piano students recently remarked) “Slow and steady wins the race.”

Cut through the buts and make the “onlies” lonely.

Our little demons will try to speed up and shortcut the learning and changing process by throwing “but” and “only” at us. Sometimes I feel like a Ninja, deflecting a barrage of buts and onlies from a student. The mind is quick to try to find another solution when the slow, difficult process taxes our patience. When the first solution is nixed, the mind quickly runs another direction.

Piano student: But I have to move my bottom from one side of the bench to the other in order to play all the high and low notes.

Me: No. You don’t. You need to adjust the distance you sit from the keys and your arm and wrist and finger positions and allow your upper body to move with your arms, in the up or down direction, as your arms and the music requires.

Piano student: I would do that, only my arms aren’t long enough, and my wrists naturally bend this way.
…
Voice student: My tongue doesn’t want to go there (to the front of the mouth, the tip resting lightly behind the bottom teeth).

Me: First of all, your tongue has no mind of its own. You are in charge. Second, it will go there, if you work to relax the jaw and the tongue. (There is much more to this. But you get the idea.)

Voice student: But, maybe my tongue isn’t long enough.

Me: It is.

Voice student: (upon successfully finding the tongue position, allowing for a resonant tone). Wow! If only I could do that every time.

Me: With time and repetition, you will.
…
“I’ll try” is another defeating statement that the brain sends to the mouth and the mouth sends back to the brain. Don’t try. Just do.

“One Day at a Time” – Alcoholics Anonymous Slogan

It’s natural for human beings to try to make things easier than they actually are. But a person who really wants to learn something, really make changes that can make a difference in their life, must work hard and slowly and steadily to develop an evolved way of operating and thinking. Changing a habit, developing a new skill; these things are accomplished one step at a time, one day at a time. Complete dedication and regular maintenance are critical components. The person who means well often doesn’t do. The person who does well has moved beyond mere intention, to action.

In case you haven’t already considered this, or discerned it from this posting, learning how to do the slow work is, itself, slow work. Developing the mindset that allows you to jump on the scale, day after day, after having worked out like a fool and dieted as prescribed, only to see the same dumb number – or a HIGHER number – staring you in the face. You just keep plugging away at your workouts, in spite of it.

Developing the mindset that keeps you going to the piano, not minding the clock, and going over and over an exercise in a meaningful way, until you play that particularly important repetition and make that discovery that changes one teensy-tiny part of your technique. Then you applaud yourself and go have a cookie, um, unless you’re also doing the weight loss thing.

Don’t expect an external reward, by the way. In fact, expect others to punish you for your efforts and achievements. Take their laughter, denials, ignoring you altogether… as your rewards. And please ignore the sad truth that people with lesser skills may be rewarded even though you may feel you are more entitled and even though you may, in fact, be more deserving of a reward. That’s life. As my significant other always says, “Those people are put here by the devil just to upset us.” People will be threatened by your success. They may be embarrassed by your talents. They will be jealous of your accomplishments. And, chances are, they won’t even be aware of their thoughts and their behaviors around you and toward you – because they aren’t as evolved as you will have become.

Your work and your progress are your rewards. Get used to it. When you are thinking through your master plan to lose weight, shape up, play the piano or learn to sing, think, “If I were alone with this new physique, or this wonderful skill, on a desert island, would it still make me happy?”

What a great desert island! Hmmm. Now, if only I had a piano. Good thing I’ve lost all this weight and I’m looking so marvelous on the beach. Now, if only I had a mirror… or a really handsome lifeguard.

So much for the desert island.

Teaching Singing My Way

There can be huge differences between what different voice teachers offer and what those interested in taking voice lessons expect from lessons.

Here is a general overview of what I offer and what I do best.

I HELP YOU to do the following WORK (because a teacher is merely a guide, an extra set of eyes and ears and a knowledge source)

1. Finding YOUR true voice/sound - not a voice that imitates or mimics other singers

2. Balancing your voice throughout its entire range and all registers (because a singer who wants to sing comfortably and reliably unbalanced -- adding audible breaks, breathiness, etc. -- needs to know how to sing balanced, first)

3. Accessing all available notes in your voice (because you can't add notes to your range that don't pre-exist in your voice, you can only learn how to access them -- and they usually number more than you think they do)

4. Establishing a resonant voice technique that can allow you to sing unamplified and be heard in a reasonably friendly acoustic environment. For those who work hard, they may be able to develop a voice that can carry over an orchestra with ease. This is my goal for all singers. You can always sing and be heard with a microphone. Techniques are slightly different. But techniques that allow you to sing on a mic are easier to master, in my opinion, because they tend to be more cosmetic, than are the more varied and subtle principles of freely-produced and properly supported tone required for singing audibly, unamplified. A microphone can be an aid. It can also be a cheat and a crutch.

5. Removing affectations that keep you from developing your own voice. Getting rid of the breathiness, screechiness, the squeeze, the press, the push, the breath holding, the choked and muffled "cooking lady" sound, the added vibrato that doesn't sound as good as you think it does, the bleet, the uncoordinated vocal wobble...

6. Developing a flexible vocal technique that will allow for artistry -- rapidly sung passages, dynamics, vocal colors, legato (flowing, connected) singing, staccato singing...

7. ...which brings me to musicianship. Teaching sight-singing, music theory, rhythm, etc. I don't believe in learning songs solely by ear. The visual aspect of learning your music and understanding how your particular voice relates to the notes on the page is critical to your vocal development and understanding.

8. Teaching piano for singers. If you want to sing and you have no desire to minimally learn to play the notes of your songs on the piano in order to learn the music, I wonder about your initiative.

9. I help you to NOTICE things, so that you can own your technique and not remain teacher-dependent. I teach you to see and feel what's going on, because listening to yourself from the inside doesn't work.

10. No apologies. No excuses. I may be a dinosaur. But I prefer working with singers of classical, semi-classical and other legit or legit-related forms of music. Some new age and alternative music fits into this schematic. That said, I am pleased to work with singers of all genres of music -- musical theatre, pop, rock, jazz, rhythm and blues, folk, and so forth. Keep in mind, I am not an interpreter of all of those genres (though I do pretty well working with some of them). My background is opera, classical, art song (Lieder, mélodie, British and American song), assorted forms of religious music.

Again, my strength is helping you sort out your voice, establish a strong, healthy, acoustically sound, intelligent foundation technique and your personal sound. What you do with it from there is your business.

I may edit or add to this list along the way.

The Subtlety of Learning

It's been too long since I last blogged. I live in awe of those teachers who are able to teach, take care of their business, participate in numerous other activities and pursuits and manage to find time to blog about it all.

As fall approaches, and I begin rallying my school-aged singers and pianists in preparation for the NATS Student Evaluations, performances, a studio recital, The Achievement Program (Carnegie Hall-Royal Conservatory) and MTAC Certificate of Merit (whew), I am reminded that too many of these students have little to no idea of how to study... how to deeply learn material... how to prepare their minds for the subtle aspects of becoming an artful musician, how to look for and then notice small improvements that lead to big changes, how to stop trying to "do" things that only interfere with the process, and how to focus on process over product.

Me: "Listening over and over again to someone sing the song is fine. But you also need to sit down at your piano and play the notes for yourself, learn to sing the song your way - not as a copy of a recording, speak the text, checking every word for pronunciation..." etc.

This is not what today's average singing student seems to want to hear. Deep learning and subtle learning aren't on their radar. Deadline for testing learning is what they get in school. Facts are crammed into their brains at the last minute, only to be forgotten after the test. This kind of learning does not produce artistry.

With all of this on my mind, I just stumbled upon this news story having to do with properly learning to meditate. There are interesting parallels to my teaching practice and philosophy. This article reflects the kind of teacher I aim to be, the kind of student I prefer to teach, and the kind of focused, self-less artists I hope to prepare for a world that is desperately in need of a few genuine, humble artists.

http://www.huffingtonpost.com/jeanne-ball/transcendental-meditation-teacher_b_935655.html

Hocus Pocus Focus on the Fourth of July

The July 4th holiday offered me an opportunity to do anything other than teaching-related work. So, what did I do? I put on my teaching hat and wrote a lengthy response to a thread in a singers' forum. A singer was complaining about a quick fix offered by a voice coach to a friend of a friend and referring to it as hocus pocus. The friend's friend changed her posture and was able to produce a high note that was previously unattainable. My response may or may not have stand-alone merit. For what it's worth, here it is.

It would be interesting to see if this altered posture helped the singer to sing the notes slightly above or below the high note in question. And it would be interesting to be the fly on the wall at this coaching session, to see if the singer 'cared' about singing the notes slightly above or below. My first guess would be "probably not" in both cases. Quick fixes aren’t usually good fixes. And, in my experience, the vast majority of individuals taking lessons/coachings tend not to question. I have to dare to bore them with the information.

Some teachers and coaches resort to hocus pocus for many reasons -- none of them good ones.

Broad generalizations follow.

Singers expect to learn everything there is to learn in a few lessons/coachings. TV shows and contests make it seem like the progression is 1) audition, 2) stardom. Some Ts&Cs go with that. It's easier than fighting the singer to try to help the singer. People think that singing doesn't require the same foundation work as ballet, ice skating, golf, baseball... what have you. (In reality, it ranks right up there with skills like ballet in terms of training for strength, flexibility, control, nuance, total body involvement, life commitment...) People don't realize that, once you find something that works for you, it requires ongoing maintenance. You don't just learn to sing. Resting on those laurels stagnates a singer and wastes a voice. Good Ts&Cs know all of this. It requires a complementary class to teach it these days. And nobody would take the class (except for those who are somehow enlightened already).

People like quick results. People don't like to wait for things. People don't want to do the grunt work and look for answers themselves. They want everything handed to them. People believe what they want to believe, instead of seeking truth. Survival of the species, no doubt. How many young girls think they have modeling figures, because no one tells them otherwise? They don't see themselves clearly in the mirror, and those who would profit from the girls' desire to become models willingly take their money.

People want to be appreciated. They don't necessarily take coachings to learn anything. Years ago, a young lady came to me who needed lots of help. This was before I learned to cushion the obvious truth. After hearing her, I suggested a couple of things she might work on, to help her change the way she was singing. She stared, dumbfounded and said, "I don't want to change the way I'm singing." Silly, literal me. (She needed to change the way she was singing.) My next thoughts (to myself, for safety reasons) were why are you here? and what can I do for you, then? I had only been exposed to the "pat on the head and you're a star" school of teaching in what I thought were very unfortunate settings.

In another instance, a manager brought an actress/singer to my studio for lessons. She had a recording session set for two weeks from the date we met. (This happens a lot.) So, I asked the woman to sing a couple of notes right around Middle C. She couldn't. She couldn't sing those notes, or any notes. She couldn't sing a song, or hum a tune. ...

For a short time I worked with a brilliant woman who, until then, could do anything she set her mind to. When she had trouble with singing, she resorted to a throaty voice that would not have held up for long, and that wasn't giving her range, etc. Finally, frustrated, she asked me how long she would be able to sing the way she was singing. I told her I couldn't predict. I said, a year, a few years, 5 or 10 years... She said, "That would be long enough."

Learning to sing, improving one's technique or approach to songs... takes openness, trust, trial and error, willingness to fail, additional work on the part of the singer, immersion. Hopefully, the professionals training the singer are ethical and skilled enough to offer something of value, and to be worthy of trust.

The change in posture offered by this coach may have been a necessary integral component of producing an efficient sound for this singer. Very possibly this is a skilled coach with a good eye and ear. I wonder if your vocalist friend's friend knows why this change in posture helped. What were the mechanics? Did this person record the sound to see if it was something she wanted to keep producing in this way? Was she able to align her posture the same way and produce the same tone the same way, again? How can this change in posture contribute to her over-all singing? These are just a few of the thoughts that instantly flood my mind.

People who want to "do" singing generally are happier and sometimes more successful in the long haul than are people who want to "be" singers. Just another observation.

If I’ve gone a bit off topic, please pardon my purge. Yes! Good luck out there, indeed. May no singers find themselves in circumstances that would limit or detract from their ability to do (key word) the thing they love doing.

Remembering Working with Natalie Limonick

The late Natalie Limonick was my mentor. She was a coach and a guide. She was artistry and musical intelligence incarnate. The day I first sang for her back in 1980-something, she wasted no time telling me what was deficient in my technique. But she gave me very specific solutions. Diplomatically, she commented that I was very musical. That could have meant something. Or it could have meant nothing. Naturally, my ego led me to believe it was a compliment. In the next breath, Ms. Limonick told me that my Italian was awful. Actually, it seems to me that she said something more like, “Your Italian stinks.” She went on to say that it was to be expected. I was a little taken aback. But I had to agree with her. After all, I’d had one semester of Italian in college. No singing, diction or language teacher had ever worked with me on the intricacies of pronunciation.

Way back when I was in high school, I had worked dutifully through most of Vaccai (memorizing and singing one every week or two, which is not the prescription for mastering the technique they contain) with my first teacher, and had studied Italian Art Songs and Arias with her and with several other teachers. No one had every corrected my pronunciation – closed /o/ or open, and so forth. And that was just the vowels.

Suddenly, under the tutelage of Ms. Limonick, the truth about my status as a singing musician was revealed to me. Funny thing about the truth. We usually already know our truth. It’s just more convenient to ignore it and push it deep into our psyche where it’s much less likely to surface and cause us to have to acknowledge painful reality. Of course my Italian pronunciation wasn’t my worst problem. I had been singing professionally with some success, even though I was experiencing vocal problems. Top notes were becoming problematic. There was more of a break than ever in my lower passaggio. I never really had a low range – except when I sang lower pop songs, which I sang in a way that didn’t allow me to bridge into my middle range with the same quality. My voice was difficult to operate. It didn’t feel smooth. Because I was still attempting to employ a technique I had learned along the way (and that helped me to win a contest), I frequently lost my voice and wouldn’t be able to sing for a day or two afterwards. I had read books on voice production, but I was never able to apply the information from the books to my own voice production. There was a disconnect somewhere.

Working with Ms. Limonick everything that I had read suddenly made perfect sense. In short order, I learned that my concept of how to produce a free, supported tone was way off-base. My idea of what a good tone should sound like was way off. My breath and my voice weren’t even connected. Ms. Limonick introduced me to subtleties of singing that were never even hinted at by previous teachers and coaches. And, most important, she showed me how to make the appropriate changes.

One story I tell my students is my experience with learning the free, focused tone from Ms. Limonick after more than 15 years of singing and lessons with other teachers who never taught it. Ms. Limonick helped me make a few mechanical face, tongue and jaw adjustments, and she taught me a more settled breathing technique. The tone that resulted was so different. It hummed. It felt like it was completely out of my control. It didn’t even seem to be coming from my mouth at times. It was so flexible, I felt like my voice was on autopilot. This new way of producing the voice connected the voice, top to bottom. I found additional notes on both ends of my range. I took my new sound home and practiced it at least twice a day. I didn’t want to lose it! The next week, I went to my lesson ready to show off my new sound. So I thought.

“No,” Ms. Limonick said. Apparently I had lost the right sound somewhere along the way. She helped me re-establish the sound. Oh! Of course! What a huge difference! I went home and practiced. Back to my lesson. “No,” she said. We found it again, and I trotted back home to try to make it stick. This happened at least three times before I was able to produce the sound on a regular basis. When I finally could do it, I managed to do it only on an A-flat in the middle of my range. Gradually, I transferred the technique up and down by half-steps. Even after I could recognize the difference, if I didn’t practice regularly, the sound again would escape me.

Most of the singers and teachers I’ve known who had experiences with Ms. Limonick seem not to have been completely fond of her. One teacher said that she wouldn’t trust a teacher who treated singers the way Ms. Limonick had. (This was in reference to my telling the teacher of my experience with Ms. Limonick critiquing my Italian pronunciation.) I feel just the opposite way. I wouldn’t trust a teacher who would let me believe all is well, when it isn’t. These days, teachers are expected to say several good things for every one comment that might be construed as critical. It’s a formula that’s used to humor and pacify people. But, in a private lesson, when a singer is expecting to be offered thoughtful, meaningful assistance in exchange for a fee, I think that a teacher downplaying technical issues and sidestepping the truth is terribly manipulative and more than a bit demeaning. What needs to be said, needs to be said. The flow might be more skewed toward criticism than praise, if the moment calls for it. But honest criticism always should take precedence over less than genuine praise, as long as the criticism is accompanied by suggestions, solutions, and some kind of helpful, well-intended input. Praise is great, too, when praise is appropriate. Ms. Limonick never put me down or made me feel that way.

If you want me to sing like a professional, be a professional and treat me like a professional. It’s called respect.

I worked with Ms. Limonick some 25 years ago. I’ve worked with teachers and coaches since then. But none of them has come anywhere close to being as musical, knowledgeable and insightful as was Natalie Limonick.

In the film, Copying Beethoven, the composer rudely critiques the composition of his copyist, Anna Holtz. She is rightly offended, but she realizes how correct he is about her work. She meets his offensive behavior with a better composition. He acknowledges it is better, but tells her that she is copying his style of writing. If he had just left it at the comment that her work was improved, she might have gone on happily and, possibly, successfully copying the style of Beethoven, never going through the wonderful, miserable process of becoming her own artist – her own composer.

In one of her Juilliard master classes (pick any one of them for a similar story), Maria Callas told a young singer that she had no trill (an integral part of the aria), and that she had to find her trill. Callas said that she didn’t care how the girl found it, but that she would have to find it in order to sing the aria. Callas was right. But the trill the young singer was using could have been passed off as a trill. I’ve heard much less proficient and apparently professionally acceptable trilling in my lifetime. Other comments were equally cutting and true. Even the less than knowledgeable listener clearly would hear the difference in the depth and wisdom of Callas’ vocal examples, in comparison to the singing of the student. I would want to be offered awareness and given the option to upgrade my skills. I would rather aspire to a proper trill, an informed performance, precise diction, and the rest, than be patted on the head and told, “That’s nice.”

Written in memory of the great Natalie Limonick 1920 - 2007

Ensembles Open House

January 22 is the International Day of Collaborative Music – a part of the Music Teacher’s National Association Year of Collaborative Music celebration. The time has come. Let’s all start making some beautiful music together!

It has long been a desire of mine to bring musicians of all flavors together for ensembles reading sessions, or "woodshedding" get-togethers, where instrumentalists and singers can experiment, have fun and learn. I am opening the studio for several hours for an invitational ensembles open house on Saturday, January 22, 2010. The exact time will follow. I would like to see and hear musicians of all ages and playing abilities… singers and instrumentalists. You would need to bring your music, including parts for other players/singers to read from.

You don’t have to be part of an ensemble to participate! I will build ensembles based on who responds.

Seasoned musicians who would be willing to play with less proficient musicians are particularly encouraged to contact me. I’m all about education. You would be doing a great public service.

How do you get invited? (I will have a guest list.)

Email me your interest. Tell me what you play, how well you play, what music you have (and the instrumentation). If you wish to participate but have no printed music, you may still be able to participate. Don’t let no music stop you from contacting me.

Make sure you want to play or sing as part of a group – not as a star with a back-up band.

Duo pianists, vocal duets and small groups, strings, reeds, brass, recorders, what have you. Classical/jazz/folk/mixed media, etc.

Instrumentalists will need to be able to read music to some degree. Again, beginning is OK. Alternately, you will need to be an impressive improviser with a very keen ear, depending upon the genre of music you play.

Singers who don’t read music should learn your parts of the songs in advance. (And you should learn to read music!)

I have no room in the studio for a drum set or tymps. (You should be aware that my studio is upstairs in a commercial building and there is no elevator.) But small traps/hand-held rhythm instruments are great! Also, if it needs to be plugged-in and/or requires an amp, not this time around. Sorry. Another time, in another venue. More than five or six players in one ensemble at a time, same situation. Not this time. Maybe next time.

Please email soon. Ask whatever questions you like. The success of the open house is completely dependent upon your participation. Let’s do something "different." Let’s have some fun!