bcrmta student composer competition british columbia ......cfmta/fcapm 2015 conference in vancouver...

British Columbia Registered Music Teachers’ Association

B.C. Registered Music Teachers’ Association Provincial Magazine

Winter - January 2015

Inside this issue: CFMTA/FCAPM 2015 Conference in Vancouver

BC Young Artist Tour BCRMTA Student Composer Competition And so much more.....

“I am so happy I chose Capilano

University to begin my post-secondary

music studies. Not only did I feel

completely comfortable in the

small classes, I was given countless

opportunities that wouldn’t have

been possible if I attended any larger

institute. The music faculty is excellent,

and I really love how they get to know

everyone personally and offer one on

one attention tailored to individual

needs.”Karen Nakajima — Graduate 2008 Recipient of the Governor General’s Collegiate Bronze Medal

The Diploma in Music program integrates theoretical, historical and performance studies, offering concentrations in: brass, composition, guitar, harp, percussion, piano, strings, voice or woodwinds.

All courses in the Diploma in Music Program are transferable to the School

Faculty of Fine & Applied Arts

Conducting Certificate in Music

Diploma in MusicBrass • Composition • Guitar • Harp • Percussion • Piano Strings • Voice • Woodwinds

Graduates of this program will be able to conduct choral and instrumental ensembles. The certificate is designed so that currently active teachers and musicians may take this program while continuing to work (TQS credits ap-proved). Most classes will be offered in the evening over an 8-month period - part-time is possible - with small class-es (max. 18) in a personalized learning environment: www.capilanou.ca/programs/music-classical/conducting

“I have learned so much from the

Conducting program at Capilano

University and feel more confident,

comfortable, and qualified in my

role as a Community Choir Leader.

I appreciated that the schedule was

compatible with my work as a teacher

and musician. The course was really

informative and challenging while

being relaxed and supportive.”Karla Mundy, B.Mus., April 2010

of Music at the University of British Columbia and to the Faculty of Music at the University of Victoria.

Capilano University students have also received transfer credit to the following universities: Alberta, Brandon, Calgary, Carleton. Dalhousie, Guelph, Lethbridge, McGill, Regina, Simon Fraser, Toronto, Western Ontario, Western Washington, Winnipeg, and York.

scholarships and bursaries

Capilano University has several scholar-ships and bursaries available to music students in the Diploma in Music Pro-gram: www.capilanou.ca/programs/music-classical/scholarships-bursaries

For More inForMation: Geordie Roberts Capilano University • Department of Music Faculty of Fine & Applied Arts 2055 Purcell Way, North Vancouver, BC Tel: 604.984.4951 E-mail: [email protected] www.capilanou.ca/programs/music-classical

Winter 2015 Progressions 3

STANDING COMMITTEES

Board of ExaminersMarilyn Glazer

Canada Music WeekSonia [email protected]

ArchivesSusan [email protected]

Professional Development

Joyce [email protected]

Young Artists’ TourBC Piano Competition

Susan [email protected]

PresidentCynthia Taylor18 Anton Road Campbell River, BC V9H 1A1Tel: [email protected]

SecretaryAnita Perry13409 Hermiston DriveSummerland, BC V0H 1Z8Tel: [email protected]

RegistrarSusan OlsenPO Box 45537Sunnyside RPOSurrey, BC V4A [email protected]

TreasurerLois KerrUnit 7 - 6179 No. 1 Rd Richmond, BC V7C 1T4Tel: 604.274.1980 [email protected]

EditorDina Pollock32908 Bevan Ave Abbotsford, BC V2S 1T3Tel: 604.614.3298Fax: [email protected]

Changes to your contact info, go to:

bcrmta.bc.ca/membership-update/

Published by the Provincial Council of BCRMTA. Any material included with the magazine does not necessarily have the endorsement of the Provincial Council. It is included as a courtesy to our members. Not one word of this newsletter may be reproduced without the written consent of the Editor. We are perfectly happy to co-operate, but we don’t want quotations to appear out of context.

PUBLICATION INFORMATION

Next Issue: SPRING 2015Copy Deadline: APRIL 15, 2015

Advertising rates: Back Cover $ 130.00 Inside Cover $ 130.00 Full Page $ 105.00 Half Page $ 65.00 Third Page $ 50.00 Quarter Page $ 40.00 Business Card $ 30.00

Circulation: 1175The Editor reserves the right to edit submissions. Send all advertising inquiries and material to the editor: [email protected]

Contents4 President’s Message

5 Hello from the Editor & Webmaster

5 How to Renew your Membership Online

6 BCRMTARegistrarPosition

7 HighlightsfromtheSeptember28,2014GeneralCouncilMeeting

9 Canada Music Week Highlights

17 BCRMTAStudentComposerCompetitionAdjudicator Adjudicator - Maryanne Rumancik BCProvincialandCanadianNationalRegulations Competition2015EntryForm

20 YoungArtistTour

22 How to Choose a Music Teacher

CFMTA/FCAPMVancouver2015NationalConference24 Information25 MeetourJudges26 RegistrationForm

27 2016ProvincialConvention

28 Ask Lori - Teaching Tips for Everyday Lessons

34 In Two Minds - Mature Piano Learners are Toddler-Adults

37 ReviewsofPublications

46 SupportourAdvertisers

4 Progressions Winter 2015

thePresident’s

Message

Cynthia (Cindy) Taylor

I hope that everyone had a restful holiday and is rejuvenated and ready to explore, encourage and

mentor the world of music in our own lives and in the lives of our students. There is an exciting year ahead with numerous opportunities for our own personal growth through our local branch activities, music festival season, BCRMTA and CFMTA/FCAPM programs.

The BCRMTA website is a wonderful place to search for information on programs that are available to local branches, teachers, and students. Our very talented Dina Pollock has made the website very user friendly.

BRANCHES:• BC Piano Competition

• Young Artist Tour - see Susan Schleppe for Young Artist Tour information on how to invite Linda Ruan, our BC National Piano Competition representative, to your community to present a concert in preparation for the competition in July 2015.

• Canada Music Week®

• Clinicians List

• Professional Development Program – Contact Joyce Janzen for information on how to apply for the $300 Professional Development Grant

• Heritage Fund Projects - each year BCRMTA plans a special project for local branches

to participate in and provides a subsidy which is available toward expenses. Keep watching this spring for more information on our new 2015 Heritage Fund Project.

TEACHERS:The above programs available through branch activities• CFMTA/FCAPM Pedagogy Award• Student Composer Competition

STUDENTS:• Community Service Awards• Secondary School Credits• Student Teacher Auxiliary

We are very fortunate to have access to professional development through concerts and conferences that are accessible through our local areas and within travelling distance to the city. Over the past couple of years I have been attending some of the incredible concerts that the Vancouver Recital Society has been presenting. I realized one day that life is too short to let the opportunity of experiencing world class performances pass me by. I am excited and looking forward to hearing Emanuel Ax and Andras Schiff soon.

Our BC Conference committee is hosting the CFMTA/FCAPM National “Pathways to….” Conference and Piano Competition in July 2015. They have been working very hard to bring you a fabulous event. I encourage all of you to check out the conference website for clinicians, masterclasses and workshops that will be available. There is a special atmosphere when musicians gather to

share ideas and learn together. If you have never attended a music conference then I highly recommend and encourage you to come to Richmond in July for the Pathways to….. Conference.

More professional development is coming to us through the hard work of the Vancouver branch. They are busy planning our BC Provincial Conference which will be held in downtown Vancouver in September 2016. Keep watching for more information as we move closer toward that event.

Many of you are unaware of the multitude of working hours that go into the planning of these events and the work that goes into the running of our BCRMTA programs. I would like to take this opportunity to thank all of the program Chair people and their committees, General Council delegates who represent the local branches, and the Executive who tirelessly work on your behalf to make BCRMTA a vibrant and vitally progressive organization.

So, in closing, my New Year’s wish to all of us is to keep learning and filling up our “well” of knowledge and enthusiasm for our chosen life’s career, so that our passion for music can be shared with our students and those around us. See you at the Conference in July!!

Cynthia Taylor

Happy New Year!


Any updates sent in by the 15th will be included - if you send in your updates on the 16th it will be updated the following month.

I have also included below how to renew your membership online - this is for current members only. Any new members or members who would like to reninstate their membership should contact the Registrar.

Branches - I have space to add photos on your branch page. Please look at your page and notice that there is blank space beside the members list - that space is for you to fill, just send me photo(s) and any information you would like to include.

Hello From

Dina Pollock

The Editor & Webmaster

Hello Everyone,

I hope you had a great holiday and a good start to the new year.

WEBSITE - updating your personal information. On the website, there is a menu tab, UPDATES - when you scroll over this option you have two choices - MEMBERSHIP UPDATES and BRANCH INFORMATION UPDATES. If you are updating your address, phone number or e-mail address, please use the "Membership update" option. If you are updating branch information (new executive, calendar of events, etc) please use the "Branch information updates".

Please remember that all updates are done after the 15th of each month.

MAGAZINE - We have a new item in this issue "Ask Lori". Lori Elder from the Prince George branch has started this new column. If you have a question you need some guidance with - send Lori a question and it will be included in the magazine.

[email protected]

To the members who do our book reviews "Thank you". What a great job you all do. If you are interested in doing a review, please send me an e-mail:

[email protected].

To the executive - thank you for all your help in making this magazine a success.

Take care - Dina

How to Renew your membership online:• Go to the main website - www.bcrmta.bc.ca - CLICK on ONLINE MEMBERSHIP RENEWAL (Large Button) • Members only page appears - enter USER NAME and PASSWORD if prompted.• (send me an e-mail if you need this)• Online renewal page appears - CLICK on your Branch Name• Answer YES or NOtothe3requiredquestions-CLICK on Add to Cart• CLICK on View Cart (at right top) -- summary of your purchase appears.• Review for accuracy - click on Proceed to Checkout• Fill in the billing details required (name, address…..)• CLICK on Proceed to Pay Pal (near bottom of page)• Chooseawaytopay.Thereare2options:

1. Pay with my PayPal Account (Log in to your existing account) 2. Don’t have a PayPal Account? (Pay by Credit Card or join PayPal by providing information as required)

• Oncepaymentismadeonyourcreditcard,yourwillreceiveaconfirmation-byemailfromPayPal.Your BCRMTA Membership Card, official Receipt and Insurance Certificate will be mailed to the address you entered in your billing details.

Please note: for insurance purposes you are identified by your mailing address. It is not required that this address be the location of your teaching activities.


ThecurrentRegistrarisleavingherpositioninApril2015andtheProvincialCouncilhasstruckaSub-CommitteetoseekanewRegistrarfromwithinourcurrentmembership.

Allapplicationsaretobesentto: CarolSchlosar,PastPresidentofBCRMTA

[email protected]

Deadlineforsubmission: March1,2015

• TheprimaryjoboftheRegistraristoreceiveApplicationsforMembershipandkeepacurrentRoster of all members of the BCRMTA and the Student Teacher Auxiliary. The Registrar acts as the‘publicface’oftheorganizationandanswersinquiriesaboutallaspectsoftheorganization.

• Thetermofofficeis2years,renewableforafurthertwoyears(inApril,inodd-numberedyears.)Whilethereisnospecificrequirementsforacertainnumberofyears,itisexpectedthattheRegistrarwouldremaininplaceforatleast4elections.

• TheRegistrarisrequiredtoattendallExecutiveandProvincialCouncilmeetingsheldinAprilandSeptemberofeachyear,andpresentareportateachmeeting.

• TheRegistrarreliesontheBoardofExaminersforthefinaldecisiononmembershipapplications,and forwards all payments received to the Provincial Treasurer.

• TheadministrationaspectsoftheRegistrar’spositionincludeproducingMembershipCertificates,MembershipCardsandInsuranceCertificatesforeachmember.TheRegistrarisalsoresponsibleforadministratingthe25/50yearMembershipPinsandtheMusicalCommunityServiceAwards.

• The Registrar must own a computer (currently Windows) and photocopier that connects to the computer.Colourprintingisanasset,butnotabsolutelyrequired.ThephysicalstoragespacecurrentlyrequiredfortheRegistrarsuppliesisapprox.40sq.ft.ofshelfspace.CurrentlytherecordsarekeptinMicrosoftOfficeprograms(Word,Access&Excel)

• ThecompensationforthispositionisanHonorariumof$6000perannum,plusanannualstipendfortheuseoftheRegistrar’spersonalcomputer.Thehoursofofficetimeforthispositonisapproximately 400 per annum.

• TheSub-committeewillconsiderallapplicationsreceivedbythedeadlineandwillrecommendanewRegistrartotheProvincialCouncilpriortotheApril2015AnnualGeneralMeeting.

BCRMTA Registrar Position


Finance Committee ReportFor the past few years the Finance Committee and Registrar of BCRMTA have been working on the development of online renewals for our annual fees. We are now ready to proceed. BCRMTA Fees: a $5.00 increase in fees was passed in the budget to cover the cost of online renewals. Registration and reinstatement fees: were increased to $50.00, which is the first increase in this area in over twenty years. CMW Music Writing Competition: New fee increases were passed. Entry fees will cover the adjudicator costs with BCRMTA absorbing the cost of the prizes, CFMTA entry fees and postage. The last time the fees were increased was 2010.

Registrar’s ReportMembership: In the 2013 – 2014 year (ending last April) we processed a total of 50 new memberships. From April – Sept. 2014 we have added 25 more. We recently welcomed an international member who was a former BCRMTA member who now lives in Fort Bragg, California.

Online RenewalsOur website is set up for online renewals. We are “live” as of January 1st. Deadline for online renewals will be March 1st midnight Pacific Time 2015. After March 1st 2015, the renewal fees will include the reinstatement fee as determined in the budget. Student Auxiliary cannot do online renewal.

Canda Musie Week®Student Composer Competition: The 2014 competition had 63 entries this year. Adjudicator, Christine Donkin, chose to award several “Honorable Mentions”. The adjudicator for the 2015 Student Composer Competition is Marion Rumancik who is from Manitoba.

BC Piano Competition The North Shore Branch hosted a wonderfully successful competition at the Holiday Inn and Suites. Seven promising young students performed for adjudicator Ian Parker who gave insightful, entertaining comments and advice. First Place went to Linda Ruan representing the Richmond Branch. Linda will now represent BC at the CFMTA Piano Competition in July 2015 at the “Pathway’s to….” Conference in her home town of Richmond.

Young Artist TourThe winner of the B.C. Piano Competition, Linda Ruan, will be touring the province in 2015 impressing audiences with high calibre performances. Your branch can sponsor one of these concerts.

ArchivesThree boxes of archival files were received from Pamela Smirl this past summer. A special thank – you to Wendy Maggiora for assisting in this process. If anyone knows the whereabouts of the archival display at the Richmond 60th Anniversary event in 2007, and the Harrison Conference 2008 and photo display books from our past conventions please contact Susan Olsen.

Progressions MagazineProgressions Magazine: There is a move from advertisers to digital ads. Recommendation: to move the past issues of Progressions from the member’s only section to the main website. By doing this, hyperlinks can be added to all ads placed in the magazine and giving advertisers a digital option.Motion: That the current issue only of Progressions Magazine be on the main page of our website. M/S/ Approved

Professional Development To date, three branches have applied and been approved for the Professional Development Grant. Applications are available on the BCRMTA website.The clinicians list of the BCRMTA was updated in the summer.

CFMTA Branching Out Project October 1st 2014 – April 30th, 2015. The focus is on Canadian Music. For more information see the CFMTA website. www.cfmta.org

Jason Rohrick – AVED Legislative Analyst Governance and Quality Assurance Branch The Massage therapists of BC made application to change their legal entity to “BC Registered Massage Therapists” This was denied as the Government Registrar determined that it might infringe on our rights and cause confusion should acronyms be used. The Massage Therapists appealed. The ministry of AVED contacted us to assist in defending the government’s decision. We responded with a letter currently on file. The outcome is not known at this time.

Elections 2015Keiko Alexander has stepped down from her position of 2nd Vice President of BCRMTA. This lead to discussion on the efficacy of the position of 2nd Vice due to the length of time of commitment. Motion: To start the process to remove the position of 2nd Vice President from the BCRMTA Bylaws. M/S/ Approved.

Highlights From the Sept. 28th 2014 - General Council Meeting


EAST KOOTENAY - cont.

EAST KOOTENAY

CHILLIWACK

Canada Music Week® Highlights

ABBOTSFORD

I requested each branch to send in a highlight of their Canada Music Week® Event

An amazing recital was presented November 21st, in Abbotsford! Nineteen performances were enjoyed with a variety of disciplines showcased. The fourteen piano solos ranged from beginner level to ARCT and ten of them were by Canadian composers. We had two violin solos also by Canadian composers and the Yarrow Violin Group delighted us with a French melody arrangement by Stephen Chatman of Playing Ball. The piano duet, Exodus, was played by senior students. We were treated to a guitar solo by Rose vanAert who recently received her 2nd Gold Medal for her guitar exams. Another special element to the evening was hearing the premiere of Remembrance composed by our own Kathleen Feenstra.

Award medallions were presented to students who had achieved the highest mark in practical and theoretical exams from December 2013 to August 2014.

Everyone was served cake and beverage at the conclusion of a successful night!

Ten of our branch members were involved in this recital through student participation and helped the tasks that go into making a successful evening for the all. Well done Branch!

Jean Ritter 1

Our Canada Music Week® recital was held on Friday, November 21st at the Chilliwack Baptist Church with Doug Wickers, a member of the local theatre guild, acting as master of ceremonies. Eleven of our members submitted a total of 35 violin, voice, and piano students performing compositions by 24 different Canadian composers. Anne Crosby was the most popular composer of the evening with six of her compositions performed. The recital concluded with a piano duet rendition of O Canada. The back of the recital program listed the names of students receiving 80% or higher marks on exams (practical, theory, history) for the 2014 year. An asterisk next to the name noted students with marks above 90%. Examination awards were presented with Junior, Intermediate, and Senior bursaries awarded for practical subjects and separate bursaries for theory and music history. A red and white cake decorated like a Canadian flag was the highlight of the reception concluding the evening.

Nita Pelletier 1

The Canada Music Week® Recital is always a highlight for the East Kootenay. The recital held on November 23rd not only brought together our small band of teachers who provided a venue to showcase Canadian music, but it also brings an awareness to our students that they are not alone in learning an instrument.

The introduction to the recital pointed out that all across our country similar recitals are taking place. This year we compared artists from the pop world to educational composers, to help students understand it is all music and all Canadian - there is no difference. We celebrate it all.

Our recital began with a young person singing the national anthem and ended with Jazz Exercise #2 by Oscar Peterson. All ages of pianists, string students and singers entertained us with their music. We listened to songs about hockey and monkeys, tired left hands, dancers and dragons, stormy seas and Banshee Balls....we even listened to a student composition about Autumi (Autumn changing to winter). The recital gave our newest ensemble - a student string quartet - a chance to play O Canada again later in the concert.

This year the recital saw 22 students receiving examination awards totally close to $800.00. We are thrilled for what we are able to do for students and seek ways to keep our scholarship fund alive. We also had over fifty compositions entered in our CMW composition festival......what a treat that was. Students were awarded ribbons for all compositions entered.

It was a busy day but rewarding. We are pleased to be able to teach our students Canadian Music and thank all those who contribute to this with their wonderful compositions.

Katharine Nimmert 1



NORTH - ISLANDNELSON NORTH SHORE

On Saturday, November 22, 2014, the Nelson Branch of the BCRMTA celebrated Canada Music Week® with their students.

Students were divided into two groups for two recitals of music by Canadian composers, one in the morning and one in the afternoon. There were even three Canadian compositions by local students!

Each recital was followed by a snack and then a workshop given by Kenneth Finlayson, a piano technician from Sorrento, BC. During the workshops, students saw first hand the workings of both an upright piano and a grand piano. During these very interesting workshops many questions were answered and lots of information was provided to everyone.

It was a great day - lots of wonderful Canadian music along with some fascinating and technical music learning!

Donna Goodwin-Wilson 1

This year, it was decided that since our Branch had enjoyed a very involved event last year; that this year, teachers would put on their own studio concerts to celebrate Canada Music Week®

Two events merit mentioning however. Motif Studios sent some of their students to play Canadian music at Berwick Retirement complex. Three of our Branch members got together and presented thirty-six students who performed forty-three pieces in all. Five of these were the student’s own composition. The two sets of duets were presented. Two trios were performed. Turquoise Tangle by B Porter, and Industrial Revolutions per Minute , by J Check we’re wildly appreciated. The quartet finale, the Canadiana Suite by Joanne Bender finished off a great concert! It was followed by the enjoyment of a Canadian Flag Cake, punch as well as warm hearted fellowship.

Sonia Hauser 1

The North Shore Branch, BCRMTA, is delighted to have been given a “William Andrews CMW Award” for 2014 by the CFMTA. This is the third win for the North Shore Branch under the leadership of CMW Co-ordinator Dr. Carolyn R. Finlay; the North Shore also won this national CFMTA award in 2008 and 2013.

To celebrate our 10 years of commemorating Canada Music Week® (2005-2014), CMW/North Shore organized events to reflect our increasingly multi-cultural student community. Continuing our 10-year long tradition of commissioning guest composers both to write new works and to mentor student composers, our CMW guest composer 2014 was Mark Armanini, Artistic Director of The Vancouver Inter-Cultural Orchestra (VICO), producer of the BC Chinese Music Ensemble, and currently on Faculty at Capilano University, North Vancouver. With Mr. Armanini we also invited two professional guest performers: Ms. Song Yun, erhu (Chinese string instrument) and Charlie Lui, dizi (Chinese flute). VICO, founded in 2001 and one of the first concert orchestras of its kind in the world, specializes in commissioning and performing new inter-cultural music performed on both Western and an eclectic variety of non-Western musical instruments. The Georgia Straight newspaper writes that VICO performs “music that sounds like Vancouver looks.”

CMW/North Shore 2014 consisted of four interconnected events; the first was a demonstration recital in April 2014

In MemoriamEsther Trynchukmember of BCRMTA since 1968

Penticton Branch 1968 - 1978South Fraser Branch 1978 - 2005

Our thoughts and prayers are with the families and friends at this

difficult time.


NORTH SHORE - cont.

with Mr. Armanini, Song Yun, erhu, and Charlie Lui, dizi. Ms. Song and Mr. Lui demonstrated the performance techniques of their respective instruments, and Mr. Armanini explained the particular challenges of writing and notating music for them. Four student composers undertook to write their own erhu/dizi duets to be performed by Song Yun and Charlie Lui at the CMW recital in November.

Mr. Armanini, Song Yun and Charlie Lui met again with all the student composers at two further composition workshops held in June and October 2014. Compositions-in-progress for both solo piano and for erhu/dizi duet were submitted to our guest composer and performers in advance. Each student’s composition went through the process of revision and refinement in consultation with Mr. Armanini and the players who were to perform them.

Our 10th Anniversary CMW Recital was held on Sunday, November 16, 2014, opening with students of RMT teachers performing works from the Canadian repertoire. Following these, Song Yun, erhu, and Charlie Lui, dizi, performed Er Quan, or Reflection of the Moon on Second Lake by Abing (1893-1950), a work now regarded as a masterpiece of traditional Chinese music. Ms. Song and Mr.Lui then gave the premiere performances of the four duets for erhu and dizi written by the student composers:

Morning Birds by Sarah HaysomReflections by Denise KerneyD Dorian Rhapsody by Annudesh LiyanageOriental Gardens by Julia Tancon.

This was followed by performances by student composers of works for solo piano:

Planet X by Martin BarnesSweet Trauma by Sasha Chudinsky.

Congratulations to all of these student composers for writing works of remarkable accomplishment and musical imagination. Special thanks to Mark Armanini for the thoughtful advice and encouragement which he gave to each of our students, and to the sensitive attention given to each composition by our guest performers.

The premiere performance of “Red Leaves,” commissioned by us for CMW 2014 from guest composer Mark Armanini, was given by Song Yun and Charlie Lui. Mr. Armanini wrote this delicate and evocative erhu/dizi duet as a tribute to the season, and to the cultural links between Canadian and Chinese music.

Our CMW Recital 2014 concluded with performances by special guests

“The VICO Sounds Global Ensemble” under the direction of Farshid Samandari, composer in residence, VICO and BC Chinese Music Association. Performances of six new pieces by the adult student composers who had participated in the “VICO in the Schools” programme with support from Capilano University were given by Lan Tung, erhu; Bic Hoang, dan bau; Saina Khaledi, santur; and Jonathan Bernard, percussion.

Our CMW 2014 Recital was a feast of sounds unlike anything we had ever undertaken before and sought to reflect the increasing global influences upon Canadian music and our composers. Just as our neighbourhoods are becoming increasingly multi-cultural, so, too, is our music being enriched not only by Western musical traditions, but by those of an ever-widening global cultural heritage.

Dr. Carolyn R. Finlay 1

BACK:StudentcomposersDenise Kerney, Annudesh Liyanage, Julia Tancon and Sarah Haysom; Mark Armanini, CMW guest composer; JoAnn Primeau, RMT; Dr. Carolyn R. Finlay.

SEATED:MusiciansCharlieLui, dizi, and Song Yun, erhu.



SOUTH FRASERSHUSWAP - cont.

SHUSWAP

RICHMOND

Canada Music Week® Recital Sunday November 16th, 2014

Our Branch celebrated Canada Music Week® by hosting two Student Recitals with over forty students participating.

The 1st Recital commenced with the singing of O Canada, led by Mr. & Mrs. Forgeron, (parents of two performing students) together with participating teachers.

Both Recitals contained a wonderful selection of Canadian Composers works and other compositions.

After each performance, students were presented with a Certificate of Achievement from the Branch containing the Canada Music Week® Seal.

Canadian Flags and bookmarks with the National Anthem were distributed to those in attendance.

Grace Hoff 1

The Shuswap Branch presented a public piano recital of Canadian compositions on Sunday afternoon, November 16, 2014, at First United Church, Salmon Arm. The programme opened with a piano duet version of O Canada by Lavalee followed by a variety of pieces representing the broad spectrum of Canadian repertoire, pieces by Archer, Bouchard, Claman, Coulthard, Crosby, Duke, Donkin, Duncan, Ethridge, Goud, Jancewicz, Kuzmenko, Louie, Marsden, Mills, McIntyre, Niamath, Peterson,and Telfer.

We established a dress code: no jeans, wear “dress clothes” and wear red and white if possible.

Jaeden Izik Dzurko thrilled the audience with a virtuosic performance of Wild Innocence by David McIntyre. He won the award for best performance of a Canadian composition at the recent BCRMTA piano competition, and came third over all. We are very proud of our very talented fifteen year old.

To conclude the afternoon’s event, we presented book awards to students of our members who had completed their RCM or Conservatory Canada theory and practical exam requirements for Grade 8 through Associateship in the past year. Grade 8 piano: Aiden Hepburn, Katrina Weiker, Serafina Muto, Jessica Brown, Virginia Flahr, Nicola Schut, Brittany Northway and Carly Pullin. Grade 9 piano: Netanya Qwessy, Kayla Stump, and Liisa Befus. Grade 10 piano: Jaeden Izik Dzurko. It requires a lot of dedication and practise to achieve these goals, and in recognizing their achievements we hope to encourage them to continue. Congratulations to the book award recipients, and their teachers!

Our next focus will be on the Shuswap Music Festival which will be held in April 2015. Strings and Junior Piano April 20th to 23rd. Vocal and Senior Piano - April 27th to 30th.

Jean Ethridge 1

L to R: Jaeden Izik Dzurko, Jessica Brown, KatrinaWeicker,SerafinaMuto,VirginiaFlahr,Nicola Schut, Netanya Quessy, Kayla Stump,

and Liisa Befus.

Our Branch celebrated Canada Music Week® at the newly modernized Guildford Mall on a Sunday afternoon, amid all the shoppers. So that everyone would hear the beautiful music, our coordinator Elizabeth Gilchrist arranged for the sponsorship of a grand piano from Pacey’s Piano and a complimentary sound system from Long & McQuade Musical Instruments. There were 140 students, dressed in their best, who entertained with piano solos and duets, as well as voice solos and a glee club! Yvette Rowledge made 140 goodie bags and each one contained a “Canadian” item and some seasonal sweets. Our display table highlighted Canada Music Week and we had BCRMTA brochures and South Fraser Branch bookmarks. Our thanks go to the 16 members and all the performers, Rob Gilchrist, Brad Felton and Jim Olsen for their assistance with the event.We enjoyed celebrating our young Canadian musicians and they enjoyed performing for an appreciative audience!

Yuko Denhman 1


SOUTH OKANANGAN

Many FIRSTS were celebrated during one exciting recital!

On November 16 we had over 130 people in attendance and 30 performances of piano, vocal and violin at our annual Canada Music Week recital at the Shatford Center in Penticton. Our South Okanagan Branch gave out over $700.00 in

scholarship awards and many certificates of merit to deserving students ranging from Grade 1 to 10 in the disciplines of piano, voice, violin and theory.

A NEW adult scholarship award was initiated and given by our newest member, Lynne Carmichael to a mature Grade 10 voice student.

Ernst Schneider, avid hunter, Penticton composer and long-time BCRMTA member, was fêted with a milestone birthday and special cake. Besides having one of his works ‘Nocturne’ premiered at this event, he also was sincerely thanked for donating significant funds to upgrade the Chickering Grand Piano at our event at the Shatford Centre for the Arts in Penticton.

What fun as we continued celebrating with everyone with coffee, juice, student-donated goodies as well as Ernst’s ‘Canadian Flag/Moose Cake’.

Carmen Leier 1

Thank you to all the Branches for sending in the highlights and photos.

For the next issue of Progressions, I will need your Branches annual report. Thank you

Dina


VICTORIA

Victoria is blessed with many fine composers. This year Nicholas Fairbank was our featured composer and Murray Adaskin Composition Competition adjudicator. Nicholas brought a power point slide presentation titled “North of the Arctic Circle, Sept. 28th - Oct. 15th 2012, Svalbard and the Creation of Isbjorn”. He had travelled on the sailing vessel SS Antigua with a group of artists, writers, and composers, gathering inspiration. While his intent was to create a musical composition he was able to capture awesome pictures of his trip that brought the arctic into both our breakfast meeting and our student concert. As his choral composition Isbjorn, Norwegian for polar bear, requires multiple choirs he was only able to bring a recorded performance. Local groups including Ensemble Laudis, Hexaphone, Viva Choralis , Viva Youth Choirs, and Vox Humana, all performed together to present his inspired composition in 2013.

Saturday evening saw the winners of the Murray Adaskin Composition Competition receiving their awards, courtesy of Tom Lee Music, and performing their compositions. We had a special treat with the Senior Award winner bringing a choir to perform his composition. We then enjoyed student performances of the music of an assortment of Canadian composers including Nicholas Fairbank, Anne Crosby, Joan Hansen, Stephen Chatman, Pierre Gallant and others.

Pat Williamson 1


SUNSHINE COAST VANCOUVER

The Sunshine Coast Branch held its annual Canada Music Week® Recital on Sunday, November 23, 2013 at 2:00pm at St. Hilda’s Anglican Church in Sechelt. Twelve students performed Canadian compositions on piano, violin, guitar & voice. Students Faith Mellis, Liam Harding, Hannah Wing, Brison Geue & Nadia Behji performed their own original compositions.

Following the student performances this year, our teachers took the great pleasure of performing 6 chamber pieces by BC composer, Imant Raminsh. The pieces, from Field Notes, consisted of two piano solos and four duos. Performers were Luci Herder & Carl Montgomery who each played a piano solo and ended our program with a song for voice (Luci) and piano (Carl); Valerie Anderson, vibraphone with our new teacher Mark Johnson, recently transferred from the Vancouver Branch, at the piano; Michele Satanove, who initiated this project, on cello with Patricia Greenfield, piano and Kathleen Hovey, violin with Katherine Hume, piano.

This project generated much enthusiasm from the teachers and we greatly enjoyed collaborating together to perform these beautiful, melodic works and presenting them to our students.

Katherine Hume 1

The Vancouver branch celebrates the Canada Music Week® yearly by holding its Student Performers’ Guild Festival on the second and third week of November. This year the festival was held from the 10th to the 22rd of November. A special Canadian Composer class is included in the list of performance classes to highlight the works of Canadian composers.

Scholarship awards are generously contributed by Tom Lee Music to the best performers of these Canadian works. They were given at the Honour Recital held on December 7 at Shadbolt Centre for the Arts in Burnaby. Recipients of the scholarship this year are Xavier Ma, (Junior division), Caitlyn Berg and Callista Berg (Intermediate division), and Sean Yang, (Senior division). Ever since we included the Canadian Composer class in the festival, we have observed an increased interest in Canadian music among our young musicians.

Toni Meyer 1

VCC.CA/BCRMTA

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BCRMTA Student Composer Competition Adjudicator - Maryanne Rumancik

M aryanne Rumancik (1960 - ) ARCT (Piano Pedagogy), BA in music composition (4 year

program), Bachelor of Music Therapy, as well as private studies in composition and orchestration for two years.

Ms. Rumancik lives in Lorette, Manitoba where she has an active piano teaching studio since 1989, teaching all ages and styles of music. She has prepared students for Royal Conservatory and Conservatory Canada exams, as well as for festivals and university auditions. In addition she has been active as an accompanist, piano adjudicator, composition adjudicator, workshop clinician and part-time church choir director. She is the past editor of Take Note, the journal for the Manitoba Registered Music Teachers’ Association.

As an accredited music therapist, Ms. Rumancik utilizes a variety of musical styles in her work with people living with developmental disabilities across the life span. She also enjoys working with elderly living in long-term care. In her music therapy work, Ms. Rumancik

uses piano, guitar, voice and a variety of percussion instruments. Composition as well as musical improvisation are often a part of therapy sessions. She is part of the editorial team for the clinical magazine, Ensemble, for the Canadian Association of Music Therapy.

Ms. Rumancik has written music for piano teaching, along with choral, vocal and chamber music. Her music has received performances across Canada and internationally by both learners and professionals.

Several of her piano pieces Fun for Two, Butterfly, Wish Upon a Star, Prairie Steeples, Creaky Chorale, Friendship and Will Someone Please Play have been published by the Canadian National Conservatory’s Northern Lights series through Mayfair/Montgomery Music. A variety of her works are available from Prairie Sky Music Publishing. These pieces are suitable for recitals, festivals and examinations.

in her spare time, she enjoys relaxing with her family and cat, reading, gardening, iconography and biking.

Members,Please read over the regulations carefully.There a few new requirements for all applications. Deadline - April 1, 2015 Thank you Sonia Hauser - CMW Coordinator


B.C. Provincial and Canadian National Regulations

Please find the Student Composer Entry Form on the next page or on the BCRMTA websitewww.bcrmta.bc.ca.Please send your students’ composition and SIGNED entry form to our PROVINCIAL Coordinator(not the National Coordinator). If you have any questions please do not hesitate to contact theCMW Coordinator Sonia Hauser at: [email protected] 250.923.2212.

Each entry must be composed by the named entrant, and written out or computer-generated by the entrant, except that Preparatory and Division A entries may be copied out by others if needed. Entries must be neat and legible in ink, computer print or photocopy (faxes or e-mails are not acceptable). Please keep a copy of each entered work.The bars in the composition should be numbered so that the adjudicator can easily refer to various parts of the composition.Any composition longer than four pages long should be accompanied with a performance of the composition on CD.The entrant must be of stated age as of June 1, 2015 and be a student of a BCRMTA member in good standing.The entrants name must appear on each entry or its title page. The measure number startingeach line, tempo and dynamic markings, and other appropriate details should be included.Entrants may submit one or more works, and enter both sections of Preparatory, Division A or B if desired, but must keep to a single age division. Entrants moving after April 1 must notify the Composition Coordinator in writing.

Entries must be received by April 1, 2015Please remember - any entries received after this date will not be acceptedA completed entry form and the correct provincial fee must accompany each piece entered. Please include a high resolution jpeg photo and short five line bio of yourself.Each entry will receive a written adjudication. Entries will not be returned, but will be placed in the BCRMTA archives. BCRMTA will forward First Place-winning works to the National Finals and pay the entry fees.In each division (and section of Preparatory, Divisions A and B), provincial First, Second, and/or Honourable Mention(s) may be given. National awards are First Place only. All decisions are final. Award cheques must be cashed within thirty days of receipt.BCRMTA and CFMTA reserve the right to use a winning work for publicity. All other rights remain with the entrant.

BCRMTA - CFMTA Student ComposerCompetition 2015

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This form must be completed and signed by both the teacher and the student.Make cheque to: BCRMTA Student Composer Competition

Mail to: MWC c/o Sonia Hauser, 1031 Springbok Road, Campbell River, B.C. V9W 7G4

Name _____________________________________ E-mail address______________________________Address _____________________________________________________________________________P. Code ___________________________________ Phone ( ___ )_________________________Fax (_____)________________________________ Birth date____________________________

Teacher’s name ______________________________ E-mail address______________________________Address _____________________________________________________________________________P. Code____________________________________ Phone ( ____ )_______________________Fax (_____ )________________________________ RMT Branch ________________________

Preparatory: 8 years & under Fee: $13.00 Awards: Pre.1 - An original work for solo instrument or any combination of instruments In each category: Pre.2 - An original work for voice with or without accompaniment BC $20

Division A: 11years & under Fee: $13.00 A.1 - An original work for solo instrument or any combination of instruments In each category: A.2 - An original work for voice with or without accompaniment BC $20

Division B: 15 years & under Fee: $16.00 B.1 - An original work for solo instrument or any combination of instruments In each category: B.2 - An original work for voice(s) with or without accompaniment BC $30

Division C: 19 years & under Fee: $18.00 An original work for any instrument, voice, or combination of voices and BC $40instruments, with or without accompaniment.

Division D: Open Fee: $25.00 An original work for any instrument, voice, or combination of voices and BC $50instruments, with or without accompaniment.

Second Place awards, for any category with six or more entries - Division A: $15 B: $20 C: $30 D: $40

I certify that this composition is my own work. ______________________________ (Entrant) Date__________

Parent or Guardian (if under 19) ______________________________ Teacher___________________________

BCRMTA - CFMTA Student ComposerCompetition 2015 - Entry form


P articipation in the Young Artist Tour continues to grow. Our B.C. Piano competition winner,

Linda Ruan has been invited by seven branches to give concerts during the spring of 2015.

Praised for “a great passion and poise” in her performance, Linda has participated in many local and international music festivals and piano competitions where she has received numerous scholarships and awards. She has given performances and recitals at various venues from Carnegie Hall in New York, and the Brechemin Auditorium at the University of Washington to the Tom Lee Music Hall and the Koerner Recital Hall at the Vancouver Academy of Music. Since winning the B.C. Piano Competition, Linda has given a solo rectial tour in China; highlights included her concerto debut with the Xinghai Philharmonic Orchestra, playing Tchaikovsky’s First Piano Concerto. Linda also competes in various ensemble competitions as a part of The Rossette Piano Trio advancing into the International Live Auditions Round of the 7th Melbourne International Chamber Music Competition. She aspires to work with artists of all levels and a wide array of genres. Beyond music, she is an academically excellent student. In her spare time, she enjoys writing, reading and running.

Young Artist Tour 2015 Susan Schleppe

The Young Artist Tour will provide opportunities for Linda to hone her performance as well as raising the profile of BCRMTA in the host communities and treating them to a high caliber performance. As Linda has intentions of visiting a number of universities in the early part of 2015, the dates for her performances on Vancouver Island are tentative at this point. The hope is that she will perform concerts for:

• both Mid-Island Branch and North-Island Branch the first weekend in March.

• South Fraser Branch will host a concert April 26.

• May 1 - Nelson will host a concert followed by concerts in Trail/Castlegar May 2.

• Okanagan Branch (Penticton) May 3

• Vancouver Branch have secured the Tom Lee Music Hall downtown for Linda’s concert May 9.

If your branch is not hosting a concert, consider attending a concert nearby in support of the Young Artist Concert. Watching music performed live is a very motivating experience; consider arranging a “field trip” for your students making attending a Young Artist Concert the main event. And, be sure to share with family and friends how inspiring and mature Linda’s playing was at the B.C. Piano Competition and urge them to attend a Young Artist Concert.

Please contact Susan Schleppe if your branch is interested in hosted a Young Artist [email protected]

Ian Parker with Linda Ruan

FB: Yamaha Piano CanadaTwitter: @YamahaCanMusic

Yamaha has been a strong supporter of the Canadian Federation of Music Teachers' Associations and would like to thank all teachers for their dedication to the arts and music education. Yamaha continues to support music festivals, music education and art foundations and is proud to have Yamaha pianos featured in international piano competitions, played by top artists and found in top institutions and concert halls around the world.

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I f you are one of the many parents who are contemplating enrolling their child in music lessons,

there are a few points you may wish to ponder. One of the most important is how to choose a teacher for your budding Beethoven.

Music teachers come in all shapes and sizes with varying temperaments, strengths and weaknesses. Your most important goal is to find a teacher who is qualified to teach your child to ensure a well-rounded musical education. This person should have experience as a music educator. If your choice is a student teacher, they should be teaching under the care of an established mentor who has musical credentials such as a university degree in music or conservatory music diploma.

Dedicated and professional music teachers will attend seminars, workshops and lectures to improve their teaching skills. Many are members of professional teaching organizations such as the British Columbia Registered Music Teachers' Association and the Canadian Federation of Music Teacher Associations.

A good teacher of any subject is one who is passionate about what he or she does and can communicate well with children. An important aspect of communication is listening. Does your

How To Choose A Music Teacher by Anita Perry

prospective teacher listen to you and your child and really hear what you are saying? Are you and your child clear on what is expected for your program of study? Your teacher should have a written guide setting out lesson fees and payments schedules as well as the policy for missed lessons.

Being able to play music is a valuable, even priceless addition to life’s experience. It is therefore worthwhile to ensure that the following questions are answered to your complete satisfaction?

1. Is this teacher qualified?

2. Does this teacher have experience?

3. Does this teacher attend regular seminars/workshops to maintain or improve teaching skills?

4. How does this teacher interact with my child?

5. Does this teacher’s curriculum mesh with my expectations for music lessons?

6. Does this teacher encourage participating in music festivals or examinations. If so, are the results to your expectations?

7. Does this teacher have a clear studio policy?

Anita (A.D.) Perry is proud to call the

Okanagan her home since 1997. She has written works for orchestra, concert band, piano, voice and choir as well as seven children’s musicals and five ballets. In 2012 she was honoured with the Summerland Arts Appreciation Award. Anita is a member of the Canadian League of Composers, an affiliate of the Canadian Music Centre, a member of the Society for Composers and Authors (SOCAN) and a Registered Music Teacher. Anita currently teaches piano, composition and theory rudiments in Summerland.

BRITISH COLUMBIA REGION

[email protected]

604.734.4622837 Davie Street

Vancouver BC V6Z 1B7

THEGREATEST MUSICYOU HAVEN’T HEARDYET

Don’t be shy about interviewing and meeting with more than one teacher. A musical education can be a costly venture and you want to be sure that your time and money are well invested. And as with anything, finding the teacher with the lowest price doesn’t always mean that you are getting a bargain: you generally get what you pay for.

How To Choose A Music Teacher by Anita Perry

Pathways to . . . Collaboration - Performance - WellnessCFMTA/FCAPM Vancouver 2015 National Conference

Sara Davis Buechner Janet Scott HoytJames Parker

July 8 - 11, 2015 Vancouver B.C. Canada

Welcoming all members to Vancouver

Early Bird Deadline is January 31, 2015www.cfmtavancouver2015.com

CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONSFÉDÉRATION CANADIENNE DES ASSOCIATIONS DES PROFESSEURS DE MUSIQUE


July 8 - 11, 2015Sheraton Vancouver Airport Hotel

7551 Westminster Hwy - Richmond, BC604 - 273 - 7878

• Piano Competition • Workshops • Trade Show • Meals & Gala Banquet

Rooms starting at $ 149 Mention CFMTA/FCAPM Conference 2015 to get reduced rate

Take the pathway through the park to our other venue. . .

Gateway Theatre6500 Gilbert Road - Richmond, BC - Venue for our Opening Night Gala

CONFERENCE PRICES Registration rates will be the same for members of CFMTA/FCAPM and MTNA

All full Conference packages include3 breakfasts (Thursday, Friday, Saturday) - 1 lunch (Friday) and coffee breaks

Please note - Banquet ticket and CFMTA/FCAPM Lunch are not included with Conference package.

CFMTA/FCAPM MTNA Non Members Members Students

Register before Jan 31 $ 349 $ 399 $ 299Register Feb 1 - Mar 31 $ 379 $ 429 $ 329Register Apr 1 - May 31 $ 409 $ 459 $ 359Register after June 1 $ 439 $ 489 $ 389

DAY PASSES A ticket to the Opening Night Gala is included with each Day Pass

Thursday only $ 159 All events including BreakfastFriday only $ 199 All events including Breakfast and LunchSaturday (half day only) $ 89 All events including Breakfast

SINGLE TICKETS ADULTS STUDENTS/SENIORS

Opening Night Gala (Wed) $ 20 $ 15Piano Competition Semi-Finals (Thur) $ 20 $ 15 CFMTA/FCAPM Lunch - Information Session (Thur) $ 25 $ 25Piano Competition Finals (Fri) $ 25 $ 20Gala Banquet & Entertainment (Sat) $ 69 $ 69

www.cfmtavancouver2015.com


Sara Davis Buechner enjoys a vibrant international performance and recording career as a musician of “intelligence, integrity and all-encompassing technical prowess” (New York Times), “fascinating and astounding virtuosity” (Philippine Star), and “thoughtful artistry in the full service of music” (Washington Post). She established her early career as winner of a bouquet of prizes at the world’s great piano competitions, including the Gold Medal of the 1984 Gina Bachauer International Piano Competition, and a Bronze Medal in the 1986 Tschaikowsky International Piano Competition in Moscow.

With an active repertoire of over 100 piano concertos ranging from Bach to Wuorinen, she has appeared as soloist with many of the world’s prominent orchestras: New York, Philadelphia, Cleveland, San Francisco, Vancouver, the CBC Radio Orchestra, Japan Philharmonic, Birmingham (U.K.), BBC Philharmonic, Kuopio (Finland), Slovak Philharmonic and the Orquesta Sinfónica de Castilla y León (Spain). � e New York Times greeted her CD of piano music by Rudolf Friml as a “revelation,” and devoted the front page of its Sunday Arts & Leisure section to her 1997 world première recording of the Bach-Busoni “Goldberg” Variations. Ms. Buechner’s versatility extends to many premières of new music, and collaborations with � lm and dance projects.

A former faculty member of New York University and principal consultant to Dover Publications International, she has presented lectures and masterclasses worldwide. Now a Canadian resident, Sara Davis Buechner is Associate Professor of Music at the University of British Columbia School in Vancouver. She plays the Yamaha Piano exclusively.Photography - Yukiko Onley, Vancouver

James Parker - Accomplished, versatile, brilliant, are descriptors frequently linked to Canadian pianist, James Parker. To put it simply, he is among the most sought after artists. Mr. Parker’s achievements are both lengthy and impressive. his musical roots can be traced to the Vancouver Academy of Music and the University of British Columbia where he studied with Kum Sing Lee. He then went on and received his Master of Music and Doctor of Musical Arts at � e Juilliard School with Adele Marcus. Dr. Parker continues the teaching tradition as the Rupert E. Edwards Chair in Piano Performance on the music faculty at the University of Toronto.

Awards came early and often. Beginning in 1984 with a � rst prize at the Eckhardt-Gramatté Competition, James served notice that he was a rising star. � e CBC competition concurred, selecting him winner of the 25th National Competition for Young Performers. � e Virginia Parker Award as the most promising young classical artist soon followed, further solidifying Parker’s place as one of Canada’s best.

Concerts given by Dr. Parker consistently garner artistic acclaim. His style has earned him praise as “one of the most searching musical intellects and 10 of the nimblest � ngers in the business” according to � e Globe and Mail. James has enthralled audiences in North America and Europe, counting diplomats and dignitaries among his receptive audiences. He has made frequent appearances on CBC, and has performed on Bravo!, the CanWest Global Network, MuchMusic and a myriad of stations across the globe.

A consummate professional, James is recognized as a soloist, a chamber musician and as the pianist for Canada’s foremost ensemble, the Gryphon Trio. Add to this his critically acclaimed performances with major Canadian symphonies like Toronto, Vancouver, Victoria, Quebec City, Edmonton, National Arts Centre, Symphony Nova Scotia and many in between, one is reminded of the scope of his contributions to the national classical music scene. With three JUNO recording awards and many other nominations from his vast discography, James Parker continues to graciously strive to do it all. (Uno� cially, he’s still Jamie to us.)James Parker is a Steinway Artist.

Photography - Shin Sugino, Toronto

Janet Scott Hoyt is a performer and pedagogue with a wealth of experience on the concert stage and in the teaching studio. Active as a chamber musician, soloist and recording artist, performances have taken her across Canada, United States and to Europe.

Born and raised in Alberta, she graduated from the University of Alberta, furthering her studies in Europe and at � e Ban� Centre. She maintained a long association with � e Ban� Centre, participating as a collaborative pianist during the summer programs from 1973 till 2007. During her career, she has performed with many internationally renowned artists, including Sidney Harth, Zara Nelsova, Barry Tuckwell, Jeanne Baxtresser, Shauna Rolston and Raphael Wall� sch. Among her many performances are premières of works by composers Violet Archer, Srul Irving Glick, Malcolm Forsyth and Oskar Morawetz.

An active recording artist, her recordings include a CD with her husband David Hoyt and violinist Erika Raum featuring horn trios by Johannes Brahms and Canadian composer Elizabeth Raum. Other recordings have included “� e Passionate Englishman” with cellist Tanya Prochazka, “Inspiration” with Lidia Khaner, principal oboist of the Edmonton Symphony Orchestra and “From the Library of Joseph Szigeti” with violinist Guillaume Tardif. Her most recent project is a recording of the Brahms Sonatas for Piano and Violin with Martin Riseley.

In 1998, Janet Scott Hoyt joined the faculty of the University of Alberta, where she supervises a graduate program in piano pedagogy. Her interest and expertise in educating young musicians results in frequent invitations from across the country for workshops, masterclasses and competition juries.

CANADIAN FEDERATION OF MUSIC TEACHERS’ASSOCIATIONS

FÉDÉRATION CANADIENNEDES ASSOCIATIONS DEPROFESSEURS DE MUSIQUE


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Registration Type: (please circle below) (Postmarked by when mailing in registrations)

CFMTA/FCAPM - MTNA Non COMPLETE PACKAGES Members Members Students

Register before Jan 31 $ 349 $ 399 $ 299Register Feb 1 - Mar 31 $ 379 $ 429 $ 329Register Apr 1 - May 31 $ 409 $ 459 $ 359Register after May 31 $ 439 $ 489 $ 389

DAY PASSES A ticket to the Opening Night Gala is included with each Day Pass

Thursday only $ 159 Breakfast, Piano Competition (Semi-Finals), Workshops, Trade ShowFriday only $ 199 Breakfast, Lunch, Piano Competition (Finals), Workshops, Trade ShowSaturday (half day only) $ 89 Breakfast, Master Classes, Workshops, Trade Show

SINGLE TICKETS ADULTS STUDENTS/SENIORS

Opening Night Gala (Wednesday) $ 20 _____x $ 20 $ 15 _____x $ 15Piano Competition Semi-Finals (Thursday) $ 20 _____x $ 20 $ 15 _____x $ 15CFMTA/FCAPM Lunch - Information Session (Thur) $ 25 _____x $ 25 $ 25 _____x $ 25Piano Competition Finals (Friday) $ 25 _____x $ 20 $ 20 _____x $ 20Gala Banquet & Entertainment (Saturday) $ 69 _____x $ 69 $ 69 _____x $ 69

Allergies - Yes / NoIf yes - please detail

All full Conference packages include - Opening Night Gala, Piano Competition, Workshops, Master Classes, Trade ShowAll complete packages include the following meals: THURSDAY - Breakfast • FRIDAY - Breakfast & Lunch • SATURDAY - Breakfast

Please note - Banquet ticket and CFMTA/FCAPM Lunch are not included in complete package

Please note that in the event of your cancellation, there will be a non-refundable fee of $75. No refunds will be issued after May 31st, 2015.

Photographs and Video consent, waiver, indemnity and release for the Canadian Federation of Music Teachers’ Associations (CFMTA). CFMTA/FCAPM is granted the right to publish and use any photographs and to exhibit audio or video in which I or my works appear for the purposes of CFMTA/FCAPM archives, marketing, publicity and public relations projects. I guarantee that any material recorded during this event will not be used in any commercial endeavor whatsoever without the written permission of CFMTA/FCAPM and all persons involved in the performance/recording.

TERMS OF SALE - Please initial each box ( if not initialed - registration cannot be processed. )

CONFERENCE REGISTRATION FORM

MAIL TO:Kevin ThompsonRegistrar - Conference 201515042 Royal AvenueWhite Rock, BC V4B [email protected]

PLEASE MAKE CHEQUES PAYABLE TO CFMTA/FCAPM Conference 2015

Use this form to register by mail.To register online please go to

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T he Vancouver branch is hosting the 2016 Provincial Convention. The Convention will be held

at the Empire Landmark Hotel in downtown Vancouver. This two day convention will be from Friday, September 23rd to Saturday, September 24th, 2016.

One of the highlights of the convention is the B.C. Piano Competition. The semi-finals will be on Friday and the finals on Saturday evening. Our adjudicator for this competition is Peter Mack.

We are working towards organizing different events which include a piano master class and workshop by Dr. Sasha Starcevich, a violin master class by

Don Lum, a workshop on technology in music teaching, trade exhibits, and product presentation by Tom Lee Music.

Our formal dinner will be at the Cloud 9 Revolving Restaurant of the hotel, overlooking downtown Vancouver. For those members who wish to book a room in the hotel, we have negotiated a very reasonable price of $135 for a standard room and $145 for a deluxe room. Registration and other information will be posted on our convention website: www.bcrmtavancouver2016.com We hope to see you all at the convention.

2016 Provincial convention Music : Where We Belong

The Vancouver Recital Society Youth Club provides a wonderful introduction to some of the brightest lights in classical music. From celebrated cellist Steven Isserlis, to the funny and outrageous musical comedy duo Igudesman & Joo, there’s a host of musical experiences waiting to inspire our youngest audience members.Youth Club subscribers enjoy unrestricted seating privileges for only $13 per concert (minimum of 3 concerts). Available to students from Grades 1 through 12.

Call 604.602.0363 or visit vanrecital.com

SEASON SPONSOR:


Hi Everyone!

I’m Lori Elder, and welcome to our new Progressions Advice Column. I have been giving masterclasses and workshops around the province, and teaching the ARCT Pedagogy course for we-won’t-say-how-many decades. I feel like I’ve answered every teaching question known to man, and some NOT! If you have any questions on common, or even particularly gnarly teaching problems, send them in. There’s a good chance I’ve come across it. And, lending her expertise to notate the musical examples is composer, teacher and BCRMTA Provincial Secretary Anita Perry.

Q. How do you encourage your students to play with arm weight? A student of mine tends to play on the top of the keys, and many of the soft LH notes don’t speak. I’m at the point of attaching exercise weights to her upper arms!

Anita Perry, Summerland

A. Here is a big subject! There are many ways to approach this, and a lot of different circumstances to consider. If I notice LH notes missing, I have them do the LH alone. Then I stand over them and try to figure out why I’m hearing nothing. Here are a few things I usually see:

1) they are not playing to the bottom of the keys. So I tell them to FEEL the bottom of the keys. Imagine the key bed is like a trampoline that springs you off – but you have to land first!

2) they are using too slow of an attack into the key. They need to play with a faster downward strike into the key. So we have a race. I count to 3, and we see who can push a key down the fastest. This usually helps, as they’ll try very hard to beat me!

3) I ask them about their piano at home - are the keys easier or harder to press than my piano? They usually say easier, so I tell them to play louder. (I know. That’s not rocket science.) A “housecall” lesson is always illuminating for this and many other issues. I drop around to their house to say hello and try their piano. Then I can feel for myself what the keyboard action is like. (BTW, I always take snacks!)

4) The student is playing with just the weight of their finger or hand, and not using their arm. I try to have them imagine that their arm is very heavy and it’s sinking down to the bottom, like being in the water on a sandy beach and your feet sink into the sand. I’ll hold their arm underneath the forearm, and have them try to “let go”, having the arm land on their lap. They usually need to release tension from the upper arm and shoulder, which takes quite a bit of concentration and muscular control. To help students loosen up, I guide their arm as they do large circles with their elbow, like mixing a cake.

Q. Do you have any concertos that are good in terms of getting a kid’s feet wet, but not overly difficult? I have a student who is currently in Grade 6, but he will soon be ready for bigger challenges.

Barb Parker, Prince George

A. Yes, I have lots. I sometimes start them on the Haydn D major Concerto, first or third movement, if they’re classically inclined. Other concertos I use are the Jean Williams Concerto in a minor, John Thompson Concerto in d minor, Catherine Rollin Concerto in C major or Concerto Romantique, and the Martha Mier Concerto in C major. They’re all quite “splashy” (they sound harder than they are!) with good cadenzas, brilliant passages and that kind of thing. It helps if your student learns notes quickly, but kids tend to enjoy these pieces no matter what.

Ask Lori Teaching Tips for Everyday Lessons byLoriElder-ExamplesnotatedbyAnitaPerry

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Q. How do you keep your students interested in their technique practice?

Indra Egan, Winnipeg

A. That is a good question! Rare is the student who loves scales. They do exist, but they’re few and far between. More common is the student who will play a scale once or twice, and think they’re done. Usually this isn’t enough to remember it, or to develop evenness and fluency. So I have lots of ways to play everything - rhythms, staccato, legato, crescendos, diminuendos, you name it. And I always add words, usually to do with food! Why count? You can just say “Smartie Blizzard” or “Have a Smoothie”.

For broken triads I combine words and rhythms:

And for students who have lots of 4 octave scales I use the Shopping Rhythms:

Going Shopping Going Shopping

I want to go, I want to go

Ask Lori - Teaching Tips for Everyday Lessons


Are you coming?

Yes I’m coming

Where should we go?

Go to the mall!

These rhythms are great for the 16th note passages in their pieces too. I just tell them “You need to go Shopping!” Now that’s music to their ears!

Q. What would be your best piece of advice for a new teacher starting out? I think it will be very hard to limit it to one piece of advice, but there’s the challenge.

Anita Perry, Summerland

A. I thought about this question a lot. Can it possibly be narrowed down to only one answer? Yes, it can. My best piece of advice: care about your students. Yes, we should prepare lessons. We should study pieces, pedagogy books and technical methods. We should do all this, and more. But the single most important thing that will be at the heart of all of our actions and decisions is to care about each student. Then we will want to teach them everything we can, really get to know them, and pick out pieces they will enjoy. We will be more patient, and we will really listen to them. We will truly desire to do everything we can to help them become the best person, and the best pianist, they can be. It all starts with caring attitude of the teacher.

Email your teaching questions to [email protected]

Thanks Everyone!

Ask Lori - Teaching Tips for Everyday Lessons


Lori Elder is well-known in BC as a pianist, teacher, adjudicator and workshop presenter. She holds a Masters Degree in Piano Performance, a Bachelor of Music and an ARCT. She has performed as a soloist and chamber player in many regions of Canada and the United States. Lori has adjudicated

throughout BC and Alberta, and she has taught in Vancouver, Toronto and Edmonton. She currently teaches in Prince George, where she specializes in senior piano and pedagogy. She recently produced a Cookbook and CD called “Students’ Favourites”, with the proceeds to benefit charities in northern BC. Lori’s newest CD is called “Piano Music for Earth Hour”. Her articles have appeared in Clavier, Progressions, CFMTA national journal, Notations, BC Parent and Okanagan Child.

Anita (A.D.) Perry is proud to call the Okanagan her home since 1997. She has written works for orchestra, concert band, piano, voice and choir as well as seven children’s musicals and five ballets. In 2012 she was honoured with the Summerland

Arts Appreciation Award. Anita is a member of the Canadian League of Composers, an affiliate of the Canadian Music Centre, a member of the Society for Composers and Authors (SOCAN) and a Registered Music Teacher. Anita currently teaches piano, composition and theory rudiments in Summerland.


T he Greek myths are not just another set of beliefs.

These tales are, in fact, universal, the unconsciously held patterns, common to all humanity. The importance of the myths is that they were documented at the precise moment when writing was newly available and before the archetypes of human behaviour were smeared by the developing conscious mind. Zeus, the boss god, for instance was a hedonist autocrat. He might just as easily have been an effete, super-competent mandarin but, no, top bosses are often addicted to power, substances and profligate procreation. Zeus, like all his kind, is a slave to his desires. Aphrodite, infatuated with romantic love, had a dress sense, although as far as we know confined to girdles.

The myths the pre-literate Greeks of 850 BCE told were long-standing truths, unexamined, unquestioned. Children are similarly unable to explain their mechanisms behind the working of their minds. They seem unaware of much of what they go through. Rarely can they do more than respond to their pre-ordained development plan.

I learned piano at age 45, beginning from no music at all to relative competence at 68. I worked as a journalist. I hope, like Socrates and the Attic lads, to observe the adult learning process, albeit only from my own limited experiences, and to document its universal truths. My only intent is that other adult learners and their teachers might benefit from the dialogue. Comments from teachers and students are welcome so that a blog of our thoughts might constitute a useful resource.

I have always thought that adult learning differed from child learning. Before adults can accept and believe incoming information they need to categorise and classify it, probe it for flaws, invest it with intellectual understanding, question it deeply and test it against other known facts. Children, contrarily, and how so very effectively - simply absorb, often without concern for the validity of what they learn. Obviously, the adult process is better for living and running a community; it is nowhere near as good for packing away raw data and the feelings about it.

A child can learn to walk and talk in two years, speak a language or two by five, even become a professional golfer or pianist by twenty. However, during late teenage years the mind hardens: it selects from the accumulated information only those abilities needed for life; it throws out what it deems unnecessary. For example, we cut down the full range of sounds we were born to make, trim them down to those we actually employ daily. Watch a mature Frenchman struggle with ‘th’ or an Englishman with that funny Gallic ‘u’.

I have always accepted conventional wisdom that we adult learners have entirely ditched the simply absorptive process. Recent developments in my musical journey, however, have brought me to question parts of these nostrums.

Quite suddenly, about nine months ago, I could play. The answer to the question: ‘can you play Scott Joplin?’, was suddenly an unequivocal ‘yes’. Today, no more than I have to flay myself into speaking English, do I have to beat my mind into remembering

music I know. Rarely do I have to actively think about structure. My hands know where to go. My mind seems occupied solely with listening to the effect of my hands. A video of my performance shows me looking rather vacant and unfocussed. Playing, then, is very much a product of the unconscious mind. Something was absorbed.

The transformation happened within a month. It came as a complete surprise. I have never dared hope that I might reach that level. Pressing the knobs in the right order was all I had hoped for. Receiving compliments from friends about the accomplishment, but certainly not the end result, was a handsome bonus. That was all. I think of this transformation as a child experience.

The idea that I could play the piece, in public if need be, while also watching the listener relate to the playing, all this without much effort, was extraordinary. Piano had become just like speaking or walking, natural, unjudged. I am not speaking of oratory, nor of walking like a great Shakespearean actor, the very best there is, but rather of just the everyday doing it. Imagine driving a car well and you have it.

I draw several conclusions from this stunning outcome. I begin to think that in some ways adults can still learn in the same way as children. The purely absorptive process is indeed at work with adults. Adults, however, absorb much more slowly. Because the action is so slow though, it looks like a different process, just in the same way as The Flight of The Bumble Bee’ played at dirge speed is hardly recognizable as the same tune.

In Two MindsMature Piano Learners Are Toddler-Adults by Andrew Patton


From the blessing, I have tried to formulate what I might offer other adult learners and their teachers. For this issue I will address only one topic: practise. Other notions will appear in the next issue.

Obviously professional pianists, sportsmen and learners of any physical process do know about practise. That, largely, is why they are at the top.

Often, just doing a job day in and day out, getting it right, making small errors, is in itself the practise, albeit of a sophomore level. Most of the adult learners I have encountered, however, do not understand practise properly. They play a piece, repeat and repeat again at random. Rarely do they pay attention to the mechanisms of how to learn. They pack precise and proper techniques for fixing their problems.

All this stumbling about is evidence, also, that practise is not taught to adult students at a high level. Were that not true, outcomes would be quicker and better.

I have come to think that the techniques of practise are a subject in themselves and should be taught as such. At least a quarter of every hour for the first few years should be devoted to nothing but learning practise skills thoroughly. A good deal of the issue is that adults are highly skilled in other areas. They think they know, but when they are new to music they certainly do not. They seem to think these skills are so fundamental that everybody should have them. It is like telling someone to learn how to swallow better. They resist – well, I did – acquiring the basics they so eagerly seek.

For the teacher the problem is formidable. Pure practise yields, apparently, no music as the payoff. To require the student to doggedly spend time learning ‘how to learn’, by which I mean the techniques not the hours of dull scales, is to risk losing a customer.

In another article I will document with precision some of the techniques I have found valuable. ‘Ordinariness’ has been especially useful to me. So has the ‘focussed month’. Also, drawing on my reporter habits, I have remorselessly grilled professionals. They, of course, do know the tricks and arts of practise. Oftentimes though, like asking a typist where the Z is on the keyboard, they have to dig deep to get to the bottom of answers.

In this one corner of learning or knowledge, the adult is so utterly a clean slate that chalk itself comes as a serious surprise.

Contributions to this dialogue about adult learning of piano are welcome. Email Andrew at [email protected]

As I was in the beginning, am now and ever shall be, ragtime without end.

Andrew

When Andrew began piano at 45, in 1990,

he owned a farm, a 1942 Ford tractor that needed daily disassembly, logging horses and a blacksmith shop. In short, his hands, even when not bandaged were unsuited to the trilly bits of piano. His titanium-alloy enthusiasm for the instrument, however, carried him through. Ten years ago he returned to journalism and the writing of light amusements. His dexterity returned to the point where he now regularly plays Scott Joplin, Mississippi Delta Blues and some of the simpler classics to applause that is best described as ‘polite’. You can hear his CD Red Light Blues, Ragtime and read his book Solid Pudding: From Bumff with Love on his website www.bumff.com


METHODS

PREMIER PIANO COURSESightreading 1A & 1Bby C. Marz and V. McArthurAlfred Publishing 41040 41041

Both of these books are divided into 14 units. Five activities make up the unit and are carefully correlated with the material in the lesson books. The activities are not designed to be practiced but to be played only once with the repeat.

Activity 1 entitled Play the Note: requires the student to use only finger 2 so that there is no reliance on set positions. Landmark notes are reinforced initially and then gradually notes further away are incorporated into the exercises. The letter names are to be written in the boxes before playing the notes. The

goal is to recognize and play note patterns similar to note identification with flashcards and not relying on the previous notes as a reference.

Activity 2, Play from Note-to-Note: after writing in the note names, students play patterns with repeated notes, steps, and skips as related to the Landmark Notes. Here the purpose is to play notes using the previous note as a reference.

Activity 3, Rhythm Challenge: this requires the student to tap a rhythm divided between hands counting and keeping a steady beat. In Book 1B some of the patterns have both hands tapping different rhythms.

Activity 4, Play With-out Stopping: with these reading exercises use of the metronome would be a goal to pursue. The idea is to keep going even if a wrong note is played or one is omitted accidentally without pausing. These short pieces utilize the Rhythm Challenge from activity 3!

Activity 5, Play Expressively: here the student is to circle all the tempo and dynamic markings prior to playing expressively. The piece is a variation of the Play With-out Stopping from activity 4.

The activities can be assigned for the student to complete 1 a day thereby completing a unit a week. We all know the benefits of creating great sight readers and these books will launch your students to success!

JR

Review of Publications

Joyce JanzenAbbotsfordPiano, TheoryMember since 1983

Jean Ritter AbbotsfordPiano, TheoryMember since 2006

Lillian ChanRichmondPianoMember since 2002

Janet MarcotteSouth OkanganPianoMember since 1992

Celeste-Tina HernandezAbbotsfordPiano, TheoryMember since 2005


PLAYING WITH SCALES Level 1Chester MusicHal•Leonard HL0014043100

Here is an innovative resource to make playing scales a whole lot more interesting. The book contains one hand C+, D+, F+,

a- (natural, harmonic and melodic), d- (natural, harmonic and melodic) scales with audio tracks for four different accompaniments each. Two of these accompaniments have piano scores for a teacher to accompany at a lesson. C+ contrary motion and D chromatic contrary motion are hands together, also with four accompaniments. The time signature is 4/4 but the accompaniments are quite varied in rhythm, style and genre. Each key also has one handed broken chords in 6/8 meter, again with four accompaniments. A card included with the book gives a code for downloading the accompaiments. This looks like a lot of fun!

JJ

SUPPLEMENTAL

ENCANTOS ESPANOLES (Spanish Delights)by Eugenie RocherolleIntermediateHal•Leonard HL00125451

Who can resist playing Spanish music? There is something about the rhythm and the chords that draws one in, and this collection of six

pieces does not disappoint. From the first piece, Alegrias (Joyous Festival), to the last, Las Senoritas, this beautiful music is worth learning. Although some of the pieces are up to five pages long, there are only four staves per page, and an easy- to- read note size is utilized. There is enough repetition that the student will not get discouraged when learning. The student will encounter key signature changes, LH crossing over RH and vice versa, and the syncopation one would expect in Spanish music, but there are no more than four sharps or flats in the key signatures. Danza de Amor is my favourite from this book. Completely delightful! CH

DISNEY - FROZENMusic From The Motion PictureBeginning Piano Soloby K. Anderson-Lopez and Robert Wonderland Music Company Hal•Leonard HL00130375

The seven solos include the popular Let It Go and Do You Want to Build a Snowman? They are arranged as beginning piano solos in the keys

of C, F and G major. As in all popular music the syncopated rhythms can be challenging. Three of the selections use

sixteenth notes and one is in a swing rhythm. Young students that love this movie will have an excellent incentive to master these rhythms without too much difficulty.JM

THE CLASSICAL ERAEarly IntermediateEdited by Richard Walters G. Schirmer, Inc.Hal•Leonard HL00297071

This book consists of 18 pieces by 8 composers, some of them major (Beethoven, Clementi, Czerny, Haydn, and Mozart) and some lesser

known (Benda, Pleyel, and Turk). When I first opened the book, I was surprised to see that the music is printed on yellow paper; the music looks aged already. The book begins with helpful “Composer Biographies and Performance Notes”. There are frequent editorial suggestions in brackets throughout the pieces, so frequent that I found them distracting. One can access recorded performances of these pieces online using a code printed inside the book. Unlike some classical piano books, this one lies flat. Minuet in F Major by Mozart, Sonatina in C Major by Clementi, and Ecossaise in E-flat Major by Beethoven are just a few of the pieces found within. This is a good introduction to classical music for a student who is thinking of trying out the RCM program.CH

Review of Publications - cont.


Premier Online Assistant correlated with Lesson 1B, page 24 and Notespeller 1B, page 15

Premier Piano Course, Notespeller 1B, page 15

PremierPianoCourse.com

Premier Online Assistant is a resource to support teachers and students who are using Premier Piano Course. In these short videos, co-author Gayle Kowalchyk explains each new concept introduced in the corresponding Lesson Book in a concise way.

Students can watch each video on their computer or smart device to:

• introduce the concept before they study it in the lesson.

• review the concept after they have studied it in the lesson.

FREE Support for Teachers and Students!

Notespeller Levels 1A–2B Now Available!

Scan the QR Code with your smart device to see this video or visit

www.premierpianocourse.com/videos/poa to see all videos.



THREE PRELUDES Early AdvancedA Mythical Triptych for Piano Soloby Christos Tsitsaros Hal•Leonard HL00130747

Greek mythology is the inspiration for this mythical triptych composed for piano solo. The composer was surrounded by his

ancestors' cultural and intellectual heritage, and has skillfully created each prelude to represent a different ancient mystery. Pieces include: • Prelude 1 (Water Nymphs)• Prelude 2 (Dance Mystique)• Prelude 3 (Dionysian Rites).

I would recommend reading the performance notes before playing the pieces.

Prelude 1 – Irregular groups such as 3 against 2 are used. Students have to pay attention to the frequent changes of time signatures. Also watch the pedal & other markings noted by the composer. Some of the LH triads require a large hand (9th apart).

Prelude 2 – Irregular groups such as 5 against 3, 7 against 2 are used. Easier to play compared to Prelude 1.

Prelude 3 – The music ranges from lowest key of A to the highest key of A. It is one of my favourite pieces among the 3 and not too hard to learn.

LC

SPOTLIGHT ON STYLES COLLECTIONIntermediate Piano Solosby Catherine RollinAlfred Publishing 42269

It was a real pleasure to play the 21 original solos that create this collection. The book is divided into the four stylistic periods of Baroque, Classical,

Romantic, and Impressionistic. The pieces provide a fabulous introduction to the characteristics of these periods. The suggestions and program notes at the beginning of the book carefully lay out the elements that make each period distinct.

The Baroque is represented by a Bourree, Gavotte, Gigue, and Minuet as well as a Suite made up of a March Overture, Sarabande, and Gigue. The realization of the ornaments used is clearly explained as applied to the era. Cut time, triple meter, and compound duple meter are explored in the keys of C+, d-, D+, and G+.

The Classical period includes a Classic Minuet, 2 Sonatinas, and Variations on an Original Theme. Here the student encounters sonata-allegro form, rondo form, and theme and variations and is required to employ finger pedaling, modulation, Alberti bass, and carefully marked use of the damper pedal. Here the ornamentation is written out. The theme and variations exposes the student to musical variety with the register changes, hand crossings, and rhythmic alterations.

The Romantic pieces lead the student through an Etude, Mazurka, Nocturne, Polonaise, and Waltz. Once again the program notes provide clear descriptions of the characteristics of

each of these works. The ornamentation is written in the score. These works include more extensive and specific use of the damper pedal and the rhythmic complexity is greater.

The pieces in the Impressionistic period are clearly written in the style of Debussy and Ravel and are inspired by the art of Monet. The music is very imaginative and colorful. Chouchou’s Cakewalk, Iberia, Under the Sea, Valse Noble, Valse Romantique, Water Lilies, and Windchimes make up this section of the book. Syncopated melodies, alternating hand technique, 7ths, 9ths, and augmented chords, rubato, and the pentatonic scale are applied in these works.

I truly enjoyed these solos and find them to be a wonderful introduction for the intermediate student in preparation for works of the masters!

JR

IMPRESSIONS FOR PIANOby Andre PrevinHal•Leonard HL00123525

This book consists of 20 interesting piano pieces with titles such as Promenade in the Park, Poodles, Polar Bear Dance, The Out-Of-Tune Band

(which really did sound like that!), and A Piece of Lace. Some readers of this review may be familiar with Round-Up and In Perpetual Motion. Frequent dissonance, time signature changes, clef changes, etc. are some of the challenges students will find in these pieces. The pieces range from graceful to lively and percussive; there is something for everyone here.

CH


DUETS

AT THE LAKE Elementary/Late Elementary Piano Solos and Duetsby Elvina PearceHal•Leonard HL00131642

From the ‘Composer Showcase’ library, this book consists of six expressive solos and four duets. I appreciate the practice and performance

notes that this book includes at the beginning. Having tips on practicing and specific parts to be aware of really speeds up the learning experience for the student. It is also helpful for the less experienced teacher. The music is written in large print so that the student is able to see all the details.

The titles in At the Lake include the following solos: Sunrise Waltz, Sailing, Canoe Ride, Sandcastle, Foggy Night, and Lighthouse. All these pieces include some use of the damper pedal. The waltz has the melody in the LH with RH short soft staccato accompaniment. None of the pieces have a key signature, however, accidentals are scattered about adding color. An interesting observation was that 5 of these 6 solos are written in either simple triple meter or compound duple meter. The student will encounter frequent register changes.

The duets: Beach Volleyball, Seagull’s Lament, Skipping Stones, and Drifting Clouds have 4/4, 3/4, and 6/8 time signatures. Again no key signatures are present but the accidentals clearly indicate the major and minor harmony present.

This music is imaginative and provides many opportunities to develop various skills in the elementary/late elementary student! Well presented!

JR

DOUBLE AGENT! Intermediate Piano DuetsArranged by Jeremy SiskindHal•Leonard HL00121595

Eight arrangements for one piano, four hands make up this volume from the Popular Songs library. The spy themes in this collection are among the

most recognizable melodies in popular music and can be found in video games, at sports matches, and in commercials. The music is a reminder of the thrills and chills of the spy movies. The duets include Mission: Impossible Theme, The Pink Panther, Secret Agent Man, and Soul Bossa Nova. The student encounters moods of surf-rock coolness, swing, urgency, and funky grooves. Having a great piano duo requires trust, patience and sensitivity similar to the character traits of secret agents.

The music is very entertaining and would make an excellent resource for motivating students. The familiarity of the rhythms and melodies add listening pleasure for any audience. Well done!

JR

THE KNIGHT’S QUESTWillis Music Dynamic DuetsEarly ElementaryOne Piano – Four HandsHal•Leonard HL00125695

This is a well-planned composition with the melody shared between the primo and secondo. It is written in middle C position with quarter

and eighth note rhythms, accents, staccato and tenuto notation and effective dynamics for the lyrics that are provided.

JM

TRIOS

CONTEST WINNERS FOR THREE Book 3 Elementary From the Alfred, Belwin and Myklas LibrariesAlfred Publishing 41981

This is book 3 of a 5 book series of graded trios. The pieces are chosen from the 3 Libraries and are the most effective and popular trios chosen from festival

and contest lists. Book 3 includes the Cancun Cha-Cha, Three’s a Crowd Rag, Down By the Riverside, Yankee Doodle and a lively Hot Pursuit composition. In Three’s A Crowd Rag there are some playful antics where player one gets pushed off the bench and ends up standing and playing between player two and three.

JM

CONTEST WINNERS FOR THREEBook 5 IntermediateFrom the Alfred, Belwin, and Myklas LibrariesAlfred Publishing 41983

If you haven’t tried getting three students of approximately the same level together and made music by playing trios in your studio, you’re missing

out on great fun and great music! Bob’s Blues by Robert D. Vandall is to be played in swing style and although it’s written without a key signature the numerous accidentals take you through many harmonic colors. Part 2, the music written for the middle of the piano, is the easiest part and basically keeps the rhythm stable.


Hava Nagila, an Israeli folk song arranged by Ruth Perdew, is lively and spirited and all 3 parts are of equal difficulty. Syncopation, dotted rhythms, and triplets make for great fun!March Promenade by Robert D. Vandall, is energetic and demands students of equal ability to keep the rhythm full of syncopation and varied articulation marching forward steadily.The easiest trio is an arrangement by Jonathan Aaber of America the Beautiful. The familiarity of the tune and the simplicity of the arrangement would make this an ideal first trio.Robert Vandall’s Blue Threesome in swing style was probably our favorite

when a couple of students and I played through the book. All parts have rhythmic challenges and counting out loud together was a must! Helpful fingering is provided and although part 3 ‘looks’ most difficult it is full of patterns and not tough to work through.Polka Diana by Ruth Perdew is allegro and delightfully drives the players forward through the dance. The catchy tune is carried primarily by part 1 which is in the upper register of the piano and part 2 gets a moment of the ‘limelight’.If you’re considering trying trios in your studio, this book would provide excellent music making!JR

SOLOS

BY THE KOI POND by Randall HartsellWillis Music Spectacular SolosLater ElementaryHal•Leonard HL00123576

This is a gentle sound picture piece that employs excellent pedaling and a simple triple rhythm. The interval of a fifth creates an oriental influence. The

effective use of 8va, a rolled chord and D.S. al Coda add to the musicality of this piece.

JM



WHIRLING SHADOWSEarly Elementary Piano Solosby Wendy StevensThe Willis Music CompanyHal•Leonard HL00137743

This piece is in ABA form and in G+. At the beginning it is noted to “pedal harmonically”, so the student has to listen carefully to the changes

of harmony. LH cross over is used at the end of the 1st page. Syncopated rhythm used in the Agitated section adds the mysterious quality. The music introduces 8va and 8vb. The last page of the piece is a good practice in moving hands up & down by an octave. A stirring melancholic piece, perfect for a moody day.

LC

SPANISH FIREEarly Intermediate Piano Soloby Catherine RollinAlfred Publishing 42831

This solo is lively, dramatic, and rhythmical. The short introduction sets the Spanish mood and leads into the broken triad of the key, a-. The

LH consists primarily of broken chords and the RH carries the melody which has a repeating rhythmic pattern. The shortest note value is eighth notes and staccato, legato, and short phrases contribute to the overall sense of ‘flair’. A cute piece easily within reach of the early intermediate student!

JR

SNAP TO IT! Early Intermediate Piano Soloby Jennifer EklundAlfred Pulishing 42830

This is a catchy moderate swing piece that is in the key of C minor determined by accidentals. The intervals used in the left move by step and

change to the three primary positions of c, f and g minor. The pattern used in the right hand is repetitive and alternates with the snapping of fingers to the beat. Syncopation, accents, pedaling and dynamics make this a fun piece to play.

JM

MOONBEAM WALTZ Elementary Piano Solo with Optional Duet Accompanimentby Martha Mier Alfred Publishing 43023

This piece is in ABA form, ¾ time. Section A - LH melody (dotted half notes) & RH staccato intervals on beats 2 & 3. Section B - Melody is divided between

the hands & LH cross over can be found at the end of the section. It’s very easy to learn as the 2 phrases in section B are repeated. A metronome marking would have been helpful in interpreting this composition. While playing the piece, the student should imagine the cat and his girlfriend dancing at night time. Optional duet accompaniment provides harmonic variety & interest.

LC

SWING KINGLate Intermediate Piano Soloby Dennis AlexanderAlfred Publishing 42829

This toe tapping music is sure to energize! As the title indicates, a lively swing tempo is required. The piece is launched in D+ and

then colorful harmonies take over. Triplets and patterned triplet runs are interspersed throughout and the music travels over different registers. If the suggested fingering is observed the late intermediate student will be able to navigate the music more efficiently. Some pedal is marked but there are also staccato passages. This sheet would make an excellent addition to a recital or other performance opportunity!

JR

BELIEVE From The Polar ExpressShowcase Solos Pops Level 4 Early Intermediatewords and music by G. Ballard and A. Silvestri arranged by Fred KernHal•Leonard HL00129407

This is an excellent arrangement of this song for this level. It keeps true to the melody alternating it from the right hand to the left hand. The

harmony supports the melody in a manageable way with mostly single notes or simple intervals of a 5th or 6th. The pedaling and dynamics are well marked and the lyrics are included.

JM


STUNT DOUBLEEarly Intermediate Piano Soloby Wendy StevensThe Willis Music CompanyHal•Leonard HL00131160

I can guarantee you that this solo has crowd appeal! The rhythmic drive and building drama topped with the numerous glissandi will peak the

interest of most of our students and will definitely engage the audience at a performance. The LH provides the steady pulse and starts off with single notes but by the 11th measure they are replaced with octaves. The RH has many 16th notes and propels the music ahead. The use of pedal helps deepen the beat in the bass and when the RH glissandi are added the result is a very full sound. A very attractive piece!

JR

WAVES IN THE MOONLIGHTMary Leaf Solos written for youLate IntermediateFJH Music Company Inc. W9410

This light and sparkling piece is written in g minor and ends with a Tierce de Picardie. It is quite a technical piece with the waves created

by flowing scale runs and arpeggios that are in sixteenth and thirty-second notes. Pedaling and effective dynamic markings help create this beautiful sound picture.

JM

TRIPLE SCOOP!Level 3 Late Elementary Piano Soloby Jennifer & Mike WattsHal•Leonard HL00131582

This Showcase Solo is written in triple meter with a lilt. The lyrics are engaging and support the rhythm. The note values range from eighth notes

to dotted half notes plus one dotted quarter and eighth note prepare for the return to section A. The music is contained within 2 octaves ranging from bass C to treble C. Accidentals are scattered throughout and both hands have some 2 note chords in section B. A cute supplementary solo for the late elementary student!

JR

Gospel

CHRISTIAN HITS FOR TEENS Book 1 42456Book 2 42457Book 3 42458

arranged by Melody BoberAlfred Publishing

Well-known composer and arranger Melody Bober has arranged three books of contemporary Christian music which increase in difficulty from early-intermediate/intermediate in Book 1, to intermediate/late intermediate in Book 2 to late intermediate/early advanced in Book 3.

Attractively packaged with colorful covers featuring the ubiquitous teen accessory – headphones; the pieces are set in large type for easy reading. The only thing missing in my opinion is lyrics to the songs! Each book contains eight songs with only one overlap between the books – In Christ Alone is found in both Book 1 and Book 3 but in very different versions. Book 1 has keys from one flat to two sharps, uses harmonic intervals of 5ths and 6ths and triadic chords, with writing primarily to showcase the melody. Book 2 has keys of two flats to three sharps, uses more extended chord patterns, octaves, leaps and more sixteenth notes. Book 3 extends the keys to four sharps occasionally changing key within a piece. Here we see more true ‘arrangements’, wider range and bigger chords. Many pieces familiar to contemporary Christian music fans – Shout to the Lord, Above All, How Beautiful, Revelation Song, How Great is Our God; Lord, I Need You – are joined by the inspirational favorites You Raise Me Up (Book 2) and The Prayer (Book 3). These books are well thought out, carefully progressed and nicely arranged. They would make great additional study material for a student as well as a much appreciated gift.

JJ



Gospel

SOLOS FOR THE SANCTUARY, GOSPEL arranged by Glenda AustinWillis Music CompanyHal•Leonard HL00121443

An eclectic mix of gospel songs are featured in this excellent book of piano solos for advanced difficulty. From the perennial favorite How

Great Thou Art to old standards such as Victory in Jesus and Mansion Over the Hilltop with a few pieces from the 70’s My Tribute, Soon and Very Soon and Sweet, Sweet Spirit – if you like gospel music you will find something to play here. Two medleys are included. The King is Coming is very successfully paired with We Shall Behold Him. How Excellent is Thy Name begins and ends the medley which includes Christ Arose, I’ve Just Seen Jesus and Because He Lives. Arrangements are three to five pages long, with both of the medleys at six pages. Key signatures range between two sharps and five flats and most pieces change key at least once. Big chords, wide register range and even a black key glissando are used to exploit the character of each piece and create interesting and idiomatically pianistic arrangements. Check it out!

JJ

Christmas

THE CHRISTMAS VARIATIONSPiano Duet by Phillip KeverenHal•Leonard HL00126452

The name Phillip Keveren on a book guarantees a good arrangement – so much so that there is an entire Phillip Keveren Series! While by no means

the first Christmas book he has done, or even the first duet book, it is his first Christmas book for piano duet. Eight classic carols are featured in later intermediate to early advanced difficulty. Selections range from the well-known Angels We Have Heard on High, God Rest Ye Merry, Gentlemen and Joy to the World, to the lesser known I Saw Three Ships and Ding Dong! Merrily on High to the older Lo, How a Rose E’er Blooming and Still, Still, Still ending with a rousing version of We Wish You a Merry Christmas. More than just arrangements, these are – as the book title states – variations on an original theme. Typically, one verse of the carol is presented with the original melody, the second and perhaps third verse is varied and there is a return to the original melody at the end. The two slowest carols are six pages each, the rest vary between nine

and twelve pages. Key signatures range between three sharps and four flats. The meter and key signature changes often within a single carol. Musical interest is divided between the two parts which are written above one another and are of similar difficulty. We Wish You a Merry Christmas begins with a waltz style, and moves through jazz waltz and baroque style before ending with an audience sing-along and a presto finale. My personal favorite is Still, Still, Still with its music box-like introduction and imitative treatment of the melody. There is such a variety of content, style and genre within this one book that there is something for everyone.

JJ

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