The keys to piano care

Keep the music sweet with biannual tunings, climate-control and regular cleaning. By SUSAN MURPHY CASEY

Pianos go out of tune whether you play them or not because of heat and humidity.

Piano placement
In addition to temperature and humidity regulation, Gerald Arbeau suggests:
• Keep pianos away from sunlight and windows. Air from open windows will change the humidity.
• Place the piano a safe distance from air vents, or deflect the heat away.
• Try to find a place for your piano away from the front door.

Be on the lookout-Watch for these piano dangers
• Pet damage is common when animals spray to mark their territory. Affected castor wheels or pedals can turn carpet green.
• Wheels are vulnerable whenever a piano is moved, especially from a wrinkled carpet, a threshold that’s tough to clear or an uneven floor.
• Don’t put a plant on your piano, says Steve Cantu, “It looks pretty, but the pots sweat, condensation penetrates, and you’ll get a big, black ring.”
• Check to see whether the mover or anyone working on your piano carries liability insurance.
• Old pianos contain animal glue, which attracts mice, who start gnawing on glue and continue to the wood.

Start with regular tunings.
“Tune in the winter, when the piano is at its driest and coldest, and tune in the summer, when it’s most humid and hottest,” says Steve Cantu. “Catch the piano at its extreme conditions.”

The metal expands or contracts with different temperatures, and the wood expands or contracts with different humidity levels, Cantu says. A tuning usually runs between $60 and $125.

To find a technician, contact a dealer who sells your brand of pianos or the Piano Technicians Guild or ask your piano teacher. The region’s humidity changes make pianos go out of tune quickly, says Wayne Yockey.

Although somewhat controversial, Yockey and some others recommend installing a humidifier/dehumidifier or “damp chaser” on the piano. The device includes a low-wattage heating element to chase away humidity and a humidifier to put moisture into the piano during drier times. Damp chasers run $400 to $575. Maintenance costs $30 to $75 per visit, and they need service once or twice a year, experts say.

But Deets says he has seen the devices malfunction and cause serious damage. Gerald Arbeau says the devices have improved over the years. A shut-off sensor has been added to newer models to prevent an empty humidifier from drying out the piano, and technicians must now be certified to install them.
Arbeau regularly recommends the devices for grand pianos but not as much for vertical pianos, which are close to the ground and therefore less vulnerable to air changes.

Deets and Cantu would prefer that an ideal room humidity level — between 42 percent and 45 percent — be regulated without use of a damp chaser.

Once you’ve tackled the inside, how do you keep your piano spiffy on the outside? Advice differs by finish and technician, but there are a few constants.

For routine cleaning of dust and fingerprints, use a damp microfiber or cotton cloth, Deets says. Clean along the grain. Wipe off excess water with a dry cloth.

Never use furniture polish, experts say. It’s not necessary and can damage the wood.
If there is gum or goo on your piano, the next step for varnished, lacquered and satin (a type of polyester) finishes is to use a product without ammonia or silicone, experts say. Dilute the product and spray it sparingly onto the cloth, not directly onto the piano. Rinse with a damp cloth, and follow with a dry cloth.
For extra cleaning on polished, shiny ebony — another type of polyester finish — Deets likes detail wax (look for it at auto parts stores). Arbeau and Yockey recommend Cory Care Products, which are specifically for pianos and are sold at most piano venders or through technicians.

Treat the keys the same way you would the cabinet, Deets says, with a mildly damp cloth, followed by a dry cloth. While the tops of the keys usually are made of plastic, the sides are made of raw wood and need to be kept dry.

Clean brass pedals with brass cleaner or nickel-plated pedals with nickel cleaner. What about dust that settles on the strings inside?

“A professional technician should clean the inside,” Deets says. “There are too many things to damage.”
A vertical piano almost never needs cleaning, Deets says. “But if the lid is open on a grand piano, dust settles like it does on knickknacks in the house.”

Have a technician clean the interior while it’s being tuned, Deets says — it might cost extra, but it’s worth the money. For more information about pianos visit us @ http://www.Music2Master.com  or http://www.PearlFlutes.net  or call us at 952-924-4141.
 

Music participation provides a unique opportunity for literacy preparation. Whether the children are singing, playing, or listening, teachers direct them to listen and hear in new ways which exercises their aural discrimination. Playing instruments and adding movement to the lessons teaches children about sequential learning which is essential in reading comprehension

Plato once said that music “is a more potent instrument than any other for education”. You will find many teachers of young children who would agree with him. Recent research has found that music uses both sides of the brain, a fact that makes it valuable in all areas of development. Music affects the growth of a child’s brain academically, emotionally, physically and spiritually.

Music is academic. For some people, this is the primary reason for providing music lessons to their children. A recent study from the University of California found that music trains the brain for higher forms of thinking. Second graders who were given music lessons scored 27% higher on proportional math and fractions tests than children who received no special instruction. Research indicates that musical training permanently wires a young mind for enhanced performance.

Music is physical. Music can be described as a sport. Learning to sing and keep rhythm develops coordination. The air and wind power necessary to blow a flute, trumpet or saxophone promotes a healthy body.

Music is emotional. Music is an art form. We are emotional beings and every child requires an artistic outlet. Music may be your child’s vehicle of expression.

Music is for life. Most people can’t play soccer, or football at 70 or 80 years of age but they can sing. And they can play piano or some other instrument. Music is a gift you can give your child that will last their entire lives.

This wonderful article produced by: Music Education Online ©  For more helpful tips, call us at 952-924-4141 or  visit us @ http://www.Music2Master.com  or http://www.PearlFlutes.net

Though it has not received a lot of press to date, the industry is on the case—in part for the sake of its own survival, and thanks to the hard work of a handful of green groups, guitar makers and wood suppliers.

In 1996, Gibson, one of the world’s premier guitar brands, became the first in the industry to make some of its instruments using wood certified as “sustainably harvested” by the non-profit Forest Stewardship Council (FSC). By 2006, some 42 percent of the wood purchased by the company for its Gibson USA electric guitars came from FSC-certified sources. By 2012, Gibson expects to increase that to 80 percent.

Gibson isn’t the only instrument maker greening up its footprint: Taylor, Fender, Martin, Guild, Walden and Yamaha, along with Gibson, have signed on as partners with the Music Wood Coalition, a project of the leading environmental non-profit Greenpeace. The coalition, which is also made up of a half-dozen tonewood suppliers, hopes its efforts will protect threatened forest habitats and safeguard the future of trees critical in manufacturing instruments of all kinds. Eco-advocates and guitar makers alike fear that the spruce, maple, mahogany, ebony and rosewood trees that have been the foundation of the wooden instrument industry for years are being cut down faster than they can be replaced.

The coalition’s initial focus is on halting the aggressive deforestation going on in Southeast Alaska. Greenpeace has been in talks with Sealaska Timber Corporation, one of the biggest logging operations in Alaska, to get 190,000 acres of the company’s privately owned Southeast Alaska timberland—a prime source of Sitka spruce, a wood coveted by instrument makers for its use in guitar soundboards—certified by FSC. Greenpeace Forest Campaign Coordinator Scott Paul views getting these forestlands certified as an important win-win opportunity for Sealaska, which wants to maintain a viable income stream, and for instrument makers who need a dependable source of resonant, durable and beautiful woods.

“These [private] lands are going to be logged,” says Paul. But with FSC oversight, he says, the forests can be managed sustainably. And the process is already underway, with the first part of the two-step certification process already completed. “Our goal is to create a demand…for FSC certified ‘good wood’ as the only acceptable music wood from the North American coastal temperate rainforest,” adds Paul.

Guitar makers know that the woods they’ve used for years might not continue to be had at the quantities and low prices they’re used to, but they are willing to adapt: “Alternative woods are the key to successful guitars,” says Bob Taylor of Taylor Guitars, which has been a pioneer in the use of exotic and sustainably harvested tonewoods in their high quality acoustic guitars. “But the market needs to go there all together.”

Tradition is a huge driving force, agrees Paul. “Players expect a spruce soundboard, a mahogany neck, an ebony or rosewood bridge.” There needs to be a leap of faith in changing markets, he says, where people are becoming more environmentally conscious.  This article is written by EarthTalk which is produced by E/The Environmental Magazine in Westport CT.  For more information on this visit Greenpeace Music Wood Coalition, www.musicwood.org.  http://www.Music2Master.com  and http://www.PearlFlutes.net or 952-924-4141.

It’s audition season at my university and, if this year is like previous ones, very few of the applicants will be strong sight-readers.

Without question, it’s challenging for most teachers to regularly incorporate sight-reading during lessons, what with technical studies, theory, musicianship, and repertoire—let alone harmonization, transposition, improvisation and other keyboard skills. But since one of the most important things a teacher can do is to guide her students toward, in effect, becoming their own teachers, I am convinced that sight-reading is a vital skill that can facilitate—or even liberate—other aspects of music-making at the piano.

One pre-college teaching paradigm favors having students study three or four pieces over an entire academic year, usually in preparation for a competition and/or a recital. The study of ‘the music’ is stressed, and the student’s repertoire may become considerably more refined over the course of many months. Certainly, I have heard students present fine performances after following this routine. Others, however, do not respond as well to working in this manner.

In either case, this way of teaching does not encourage sight-reading. Without this skill, the student can rely too heavily on the teacher for musical ideas. This dependence can make it difficult for the student to become self-reliant, reticent to approach new music or to experiment and venture into unfamiliar territory.

This is where sight-reading assessment relates to the upcoming auditions at my school. It’s common for my colleagues and me to hear potential in an applicant’s playing and then to observe the same applicant stumble through an unfamiliar piece of music. Sometimes we take a chance on the student who sight-reads poorly and sometimes we don’t. Although anyone can improve, our experience has shown that students without this skill struggle to learn music at an acceptable pace. This, in turn, hinders musical and technical development.

Most pre-college piano students do not have vocational designs and will pursue other, non-music fields. But all students benefit from including sight-reading into their daily practice.

An approach I’ve found to be effective features three ways of working with piano music: blocking, earnest study (that may or may not be leading toward a performance) and sight-reading.

Blocking: Using unfamiliar repertoire that is not difficult—but too hard to sight-read easily—pianists may ‘block’ a piece or a section of a larger work by reading more deliberately, analyzing the harmonic and formal structure, planning effective fingering, and choreographing efficient technical gestures, to familiarize themselves with new music. For beginning and intermediate students, the pieces may be only one to two pages long. Advanced players may expand their knowledge of repertoire by budgeting more time to blocking every day—as opposed to the common practice of playing only those pieces that are being studied with a teacher, or those that are scheduled for performance.

Earnest Study: This is a more detail-oriented activity, where many pianists spend most of their practice time. Depending on what individuals find most stimulating, serious study may involve isolating technical problems, singing parts, stimulating the imagination through extramusical means, and innumerable other practice techniques to improve one’s playing. (For those with performance goals, I differentiate a fourth category, “Refining Toward Performance.” This is an extension of “Earnest Study,” but recognizes the additional effort required to bring repertoire to the highest-possible level. Usually, this involves memorization, as well as physical, emotional, and psychological demands that exceed those required for “earnest study.”)

Sight Reading: Determine your or your student’s ‘level‘ by finding music that is a stretch to play well the first time*. After a quick review of the score (meter, key, expressive markings, articulation, accidentals, registration, etc.) start by playing just one short example or a one-page piece all the way through, without stopping. For this exercise, it’s important to keep going forward, no matter what happens. I tell students to imagine that they’re accompanying dancers who rely on them to keep the music flowing—that these dancers don’t care about mistakes but do not want their dancing interrupted by stops and stutters!

When a student (usually a conscientious one) ‘stammers,’ by continuing to try to fix mistakes, I have him begin again, but this time I hold a piece of paper up to his music while he plays, advancing the paper to cover up the music just played so that the student’s eyes must keep moving forward. Even if he stops to ‘fix’ a problem, I keep advancing the paper. This invariably causes some anxiety, but the point gets made quickly. Despite some discomfort, this exercise puts students into a heightened state where they become more willing to take chances.

This kind of sight-reading is one activity in piano-playing where mistakes are accepted as a necessary part of the process, and the payoff is considerable. By playing more repertoire, we and our students are presented with many more aural and kinesthetic possibilities. Gradually, pianists become more courageous and feel empowered to tackle increasingly difficult repertoire.

Every musician is on a sight-reading continuum, meaning each of us has a ‘level’ from which to improve. Incorporating sight-reading into our practice and pedagogy can yield impressive benefits and, ultimately, greater joy in music-making, for us and our students. Written by Fred Karpoff. For more information about music lessons or music tips, visit http://www.Music2Master.com or http://www.PearlFlutes.net or call us at 952-924-4141.

Overtime, guitar strings will have to be replaced; it’s inevitable. Natural stretch and wear will require you to replace your guitar strings regularly, but here are a few tips to keep yourguitar stringsas long as possible.

1. Wash and thoroughly dry hands before playing. Washing and drying hands removes oil and buildup from your hands that would otherwise get on the guitar.
2. Keep away from smoke or smoky places.
3. Keep hands as dry as possible when playing the guitar. Wet or sweaty hands will break down the strings and cause them to have to be replaced more often.
4. Try not to strum or play your guitar too hard (avoid heavy grip on fretting hand and aggressive picking). Some guitarists have a tendency to play their guitar “hard” and that wears out the strings faster.
5. Obviously, the more guitars are played, the more often their strings will need to be replaced. If you’re not going to be able to change your guitar strings anytime soon, then avoid strumming away for hours on end, otherwise you will have to change your guitar.

Here are a few tips to tell when it is time to change your guitar strings.

1. When the strings start to look dark or tarnished, the probably should be changed. Oil and buildup will cause strings to become tarnished and in need of replacement.
2. When the strings start to sound dull, they’ll need to be changed to keep a nice fresh sound.
3. If the guitar tone sounds flat, the strings will need to be changed. Strings are responsible for keeping the sound of your guitar in tune.
4. If you have a harder time tuning your guitar and getting it to stay in tune, the strings should be changed.
5. If one string breaks after a long period of time, it’s a good indication that all strings should be changed. Otherwise, they’ll all start breaking.

For more information on guitar strings, guitar lessons, etc visit us at http://www.Music2Master.com or http://www.PearlFlutes.net  or call us at 952.924.4141.

An Instrument makes the perfect gift!

Having trouble deciding on a gift for someone this Holiday season? Give them a musical instrument! Many people are interested in learning an instrument but either do not have that instrument or just haven’t taken the steps to begin learning to play.

Here are some reasons why a musical instrument could make the perfect gift.

1. Cost. Buying a used instrument or music lessons for someone is not as expensive as you may think. A used instrument could be the perfect way to turn someone on to music so they will want to invest in a higher quality instrument.

2. Bonding. You’ll often hear that someone comes from a “musical family” and that’s because people bond over shared interests. Families that can play or learn instruments together will naturally bond over the shared interest.

3. Depression. Studies show that music affects people’s moods. Keep your family’s spirits up by giving them music lessons.

4. Age. It’s a myth that you have to learn to play instruments while you’re young. While it may be easier to retain information at a young age, adults have the discipline and attention span necessary for learning an instrument. You’re never too old to learn to play an instrument.

5. Caroling. Do you have friends or family that love to go Christmas caroling? This year, get them music lessons so they will be the talk of the town with their vocal talent.

6. Nostalgia. Many people have a certain instrument they associate with their childhood. Whether they loved listening to jazz or their grandpa played the guitar, they probably have some pastime that involves music. The gift of memories could be the perfect gift this year.

7. Regret. Odds are if you know people that do not play an instrument, they wish they did. Make those regrets a thing of the past by giving them an instrument for Christmas this year.

8. Stress. Music and playing an instrument are shown to fight off stress. Music is often associated with relaxation. If you know someone who gets stressed out easily, give him/her an instrument and watch the stress melt away.

9. Value. All gifts have a different value to the receiver. While your kids might request certain gifts within this year’s fad, an instrument could be the gift they didn’t know they wanted. The gift of music is one that lasts a lifetime.

10. Want. Give someone an instrument for Christmas because they asked for it and they want it. It may seem like a big investment, but if people want to learn an instrument, they will.

Do you have more questions or need assistance with a musical instrument purchase or music lesson sign-up? http://www.Music2Master.com or http://www.PearlFlutes.net or 952-924-4141

“Black boys don’t play flute.” So were the words of Harold Todd’s high school band leader nearly thirty years ago. We’d like to think that Harold mastered the flute just to prove something to that erroneous old instructor, but the fact is that he was born to play – and he isn’t going to let anyone tell him otherwise.

Since the high school band, Harold has become an accomplished songwriter, drawing from classical, jazz,rock, reggae, funk, house and dance formats. And he’s just as diverse an instrumentalist, wrecking it as much on flute and sax as he is on clarinet , oboe and English horn.

For the last ten years, Harold has been playing woodwinds with Lenny Kravitz, but his life in music began when he was ten years old, singing “Swing Low” solo for the fifth grade Christmas Pageant. When his voice changed, he had to dream up another way of singing. Enter the flute.

Some people call him a flutist, some opt for the classically-minded flautist, but Harold isn’t concerned with syntax – he’s just a player. And like a true player, Harold has done nothing but play. He started at the San Francisco Conservatory and by fourteen was competing for scholarships in the San Francisco Bay. In 1976, he won musician of the year. Then, he won scholarships to Mendocino and Aspen music festivals, as well as second prize in the E-Bell Club Award and musical and athletic scholarships to UC Irvine, where he honed his classical agility as principle flute in the UC Orchestra.

His professional career began at age 21, when Harold picked up the saxophone and moved to San Diego. He began playing with Common Sense, a legendary SoCal reggae, funk crew before enjoying lengthy stints with Goldfish, the B-Side Players, Psydecar and Greyboy Allstars. Then, rocker Lenny Kravitz heard Harold perform and asked him to collaborate. Harold’s been with Lenny for ten years on saxes and flute, recording on Five, Circus and two DVD performances.

Harold then went on a creative sojourn to Frankfurt (Wiesbaden), Germany, where he recorded three albums. Revealed, Treat Me Right and Thinker’s Journey collectively represent Harold’s agility as a performer, as well as his diverse and meticulous style as a singer/songwriter. Revealed is a synthesis of traditional and modern jazz with electronica influences. Treat Me Right, Harold says, is music for music lovers – an acoustic album featuring classical and pop instrumental styles. And Thinker’s Journey is a cerebral take on poppy tunes from various genres.

Harold Todd is a humble, classically-trained musician who makes classical music cool – an eclectic performer who redefines contemporary songwriting by employing progressive, European club beats and funky American phrasing. He’ll knock you off the dance floor with his flute, woo you back with his sax and engage you in a physical discourse with his arrangements. Translation: grab a date and get your groove on –Harold Todd’s in the house.

http://www.Music2Master.com  and http://www.PearlFlutes.net  
 

Playing your first recital can be nerve-wracking, but it’s a great way to show what you’ve learned and stay motivated with lessons. Here are a few tips to prepare for the big day.

Find out what music you’re playing. Some instructors allow you to choose what piece(s) you’d like to play during the recital; other instructors assign pieces. If allowed to choose your own music, choose a piece that interests you.

Practice! Try to set aside time every day to practice. Practicing for 15 minutes a day will be more effective than practicing one day for an hour.

Difficulty. Tackle the more difficult pieces you’ll be playing then move onto the easier ones. Beginning with the harder pieces will give you more time to learn and master them. After learning the difficult pieces you should master the easier ones in no time.

Warm up. Play through a few easy pieces and your recital piece before the recital. Don’t over practice right before a recital though or you’ll be tired and make more mistakes.

Play in front of an audience. Practice a few times in front of your family and friends. This will help you feel more confident playing in front of a larger audience.

Record a practice session. Record yourself, or have someone record you, playing through all your pieces. Some musicians have bad habits that they do on stage and aren’t aware of them. Watching yourself play will show you how you will look on stage and you can address any issues before playing in front of an audience.

Rest. Get a good night’s sleep the night before a recital. You may be too nervous to sleep, but if you’re tired during the recital you might forget a piece or miss a note.

Breath! Many people get nervous in front of an audience and forget to breath. Practice some breathing techniques before your recital that help calm you down.

Don’t be too hard on yourself. Everyone messes up during his or her first recital. Usually it’s just a small mistake that only you notice, but the temptation to stop will be there. If you make a mistake, keep playing like nothing happened. Remember, this is your first recital; it will go better next time.

Have fun! Playing music shouldn’t be a chore. Always remember to have fun when playing. Performers that are having fun have better stage presence than those who are not.

More music tips are available at http://www.Music2Master.com OR http://www.PearlFlutes.net

Preparation of Scales and Repertoire:

- Perform for an audience. Yes, perform even your scales for an audience of three or more people. Scales are the building block of your pieces. The more accurate and solid your scales, the more accurate and solid your repertoire. The more you perform in front of an audience - even a small one - the more comfortable you will be.

- Work constantly on the difficult spots. You can never practice the difficult passages too many times. You should be able to play the most difficult passages with the greatest of ease. This only comes with careful and constant repetition. Practice makes permanent!

On the Audition Day:

- Warm Up! It is a good idea to play through your scales and pieces SLOWLY before you arrive at the audition site. Once you arrive, start your pieces and scales.

- Think Positively! As you think about the audition, imagine your sound as one of confidence and clarity.

- Enjoy! This is what you have been working for. The adjudicators are there to listen to you play well and really enjoy listening to each and every student. Keep breathing and relax!

For more music tips visit us at http://www.Music2Master.com OR http://www.PearlFlutes.net

New pianosare a big investment; so before going out and buying the first pianoyou see, there are a few things to consider.

1. Shop around. Pianosare not all the same and everypianowill not be right for you. Make sure and look at as many pianosas you can before making a decision. Always remember to play and inspect a pianobefore you buy it!

2.Placement. Make sure you have a space ready for your new pianobefore you buy it. Factors such as room size, carpeting etc. will make a difference in how your piano sounds. When buying a piano, be conscious of the space you’re going to put the pianoin; if you’re not sure how a piano would sound in your space, don’t be afraid to ask.

Want more information on pianos, piano tips, piano lessons?   http://www.Music2Master.com or http://www.PearlFlutes.net

3.Moving. Before purchasing a piano, find out who is responsible for moving it. Private retailers usually expect you (the buyer) to do the moving yourself, while large pianomanufacturers will often handle the moving for you. Always remember to hire professionals to assist with the moving. Moving a pianoby yourself will cause expensive damage to your new piano.

4.Hire a professional.Having a professional help you choose a piano is a good idea if you don’t know a whole lot about pianos.

5.Play.Don’t be afraid to play and test the pianothoroughly before you buy it to be sure it is in good condition.

6.Age.Pianoshave a long life span (30-60 years), so don’t be turned off if a pianois 20 years old, it could still be in pristine condition.

7.Be cautious.If a seller is trying to turn your attention to the new finish on the exterior of the piano rather than telling you about the life of the piano, be suspicious. This is a common trick to distract buyers from actual problems with the piano.

8.Initial call.Before taking the time to drive over and look at a piano, call the seller and get some background information about the piano. Information like age and value of the piano will help you decide whether or not to actually take time to look at the piano.

9.Tune.Before taking lessons with your new piano, be sure that it is properly tuned. Practicing on an out of tune pianowill get you nowhere.

10.Price. Plan on spending at least $100 on moving and tuning thepiano(this is on top of the cost of the piano). Don’t try to save money by moving the pianoyourself when a professional pianomover can safely move your piano.

Your voiceis a delicate instrument because if you wreck it you can’t fix it like you can with other instruments. Keeping your voicehealthy means keeping your body healthy. Here are a few tips to keep your singing voicesounding its best.

Drink water.
Drink lots of water! Keeping your body hydrated is the most important thing you can do for your vocal cords. Water helps your body create the lubrication that allows your vocal cords to function properly. Try to drink at least the recommended amount of water each day, but drink more if you can.

Quit Smoking.
Smoking removes the necessary moisture that allows your vocal cordsto function properly. Smoking also reduces normal breathing capacity, so if you smoke, you may not be able to hold those notes as long.

Warm up.
Your vocal cords require a warm up before each time you sing. Singing for long periods of time can cause permanent damage. Always try to warm up for at least 10 minutes before each performance to stretch and relax your vocal cords.

Reduce dairy consumption.
Dairy products coat your throat and reduce your vocal range. You don’t have to completely cut out dairy products, but avoid them right before a performance.

Limit alcohol and soda.
Do not be fooled by thinking since you’re drinking a soda you’re hydrating your body; alcohol and sodas dehydrate your body. Dehydration is the worst thing for your vocal cords. Limit your alcohol and soda consumption, but if you do need a soda or a beer, try to balance it out by drinking an extra glass of water. Just remember to always stay hydrated!

Exercise.
Exercise improves your core muscles and allows you to sing better. Exercises like yoga will improve your posture and teach you breathing techniques. Remember, a healthy body means a healthy singing voice.

Visit us at http://www.Music2Master.com or http://www.PearlFlutes.net for more information on private or group voice lessons/classes along with other music tips and music lessons.

If your child is enrolled in band or orchestra class at school, then you might think there is no reason to enroll them in private music lessons. Students that take private music lessons on an instrument will improve faster than if they are only learning in the classroom. It is difficult to get individualized attention and guidance in a classroom setting because there are many students. If your child has a genuine interest in an instrument, or maybe their band/orchestra teacher thinks they have special musical talent, then you should consider enrolling your child in private music lessons.

Better Ensembles
Typicaly, the more students enrolled in private lessons, the better the ensemble sounds. If a few students are taking private music lessons and excelling at their instrument, other parents might see that and enroll their children as well. Band/orchestra ensembles often compete in competitions and if the majority of the students are also taking private lessons the ensemble should do well.

Individualized Attention
If your child has an interest in learning an instrument, then school band/orchestra classes may not be cutting it. Students interested in learning an instrument will typically practice more outside of class and be genuinely interested in learning the instrument. Some students in band/orchestra classes may only be taking the class to socialize and therefore slow the progress of the entire group down. Private music lessons will give your child the training they need.

Musical Talent
All children learn at different speeds, and it can be discouraging if children see their peers excelling at something that is taking them more time to learn. Private music lessons can speed up a slower learner because a private instructor can address issues the student may be having with learning, or teach him/her better ways to practice.

Innate Ability
If your child has a serious interest in music and would like to pursue music as a career, then private lessons are a must. Music schools and ensembles (even youth ensembles) are extremely competitive and children will have to take private lessons to ensure they are getting the proper training.

Visit http://www.Music2Master.com or http://www.PearlFlutes.net for more information on private music lessons and your instrument rental/sale needs.

Acoustic, electric, bass—there are so many different types of guitars to choose from. So, how do you know which guitar is right for you?

Acoustic Guitar
Acoustic guitars are the most hassle free guitars to learn on because they don’t require any additional equipment. This also makes them cheaper than electric guitars. Acoustic guitars are very portable so you can practice just about anywhere. The drawback with these guitars is that they’re harder to play. This is because the strings are thicker and take more force to make a solid connection with the fret board. The upside of this is that it increases your finger strength so you can play longer.

Electric Guitar
Electric guitars are usually easier for people to learn because the strings are thinner which makes it easier to get a solid connection with the fretboard. This makes a difference because you only need half the force to push down the string and make a solid connection with the fret board, which is a struggle for many beginning guitarists. Electric guitars require more equipment than acoustic guitars, which can get expensive.

**It is important to remember, when buying either type of guitar, not to just buy the cheapest one. Cheap guitars may seem like a good idea if you’re not sure you want to invest in a guitar, but odds are if you buy a cheap guitar you’ll hate the instrument. Cheap guitars hinder learning and practice and often give the player a bad taste for the instrument. You don’t have to spend thousands on a beginner guitar, about $150 should get you a decent acoustic guitar (and 250.00-300.00 for a decent electric with gear), but don’t skimp. A decent guitar could mean the difference between sticking with guitar lessons and quitting.

In the end, the most important thing to consider is which guitar you enjoy playing the most. For more information on guitars, you can go to http://www.Music2Master.com or http://www.PearlFlutes.net     

NEW @ Music2Master.com! Guitar Rentals and Guitar Sales! Call us at 952-924-4141 or for more information visit us at http://www.Music2Master.com

 

1. Stretch. Playing the pianomay not seem like something that requires stretching, but stretching can prevent repetitive stress related injuries. You’ll also be sitting at the pianofor long periods of time, so stretching can prevent stiff joints and discomfort.

2. Be Happy. This may sound silly, but practicing the pianoin a good mood will make it more enjoyable. If you’re dreading the end of the practice session you’ll probably retain less and the practice session will be useless.

3. Eat Well. Have a snack before practicing the pianoso the dreaded hunger pains don’t creep up after a half hour of practice time. Staying energized will increase clarity while playing and you’ll play better than you would on an empty stomach.

4. Make it a Ritual.Doing the same things in the same way over and over will force your body to recognize when it’s practice time. If your body is ready for the practice session then you’ll be able to jump right back into where you left off easier than if you’re constantly switching things up.

5. Create a Space.Creating the perfect practice area with few distractions will make it easier to focus.

6. Variety.Don’t skip over the difficult parts because you can’t quite get them right. The difficult parts may require some extra attention, but after playing something hard for a bit, go back to something you’ve already mastered. The variety will make you feel more accomplished.

7. Think in Shapes. If you’re having trouble remembering notes, try to remember how your hand looks when you play the note. This is similar to tricks people come up with to remember place names; if you forget a note, your mind will automatically review the hand shapes in your head and you’ll be able to figure out what note you need.

8. Switch it up.Not the practice area, but the order in which you practice. Repetitive practicing can get boring, so switching things up during a practice session can make things more enjoyable.

9. Start With What You Love. Also end with something you love. This can get you excited about the entire practice session.

10. Listen.Listen to pianomusic even when you’re not practicing. You can find new pieces you’d like to learn or hear a new technique to try. Listening is an important part to learning.

More practice tips are located at http://www.Music2Master.com

6 more days until the Rhonda Larson Concert! Register: http://www.music2master.com/as_rhonda-larson-concert-and-masterclass-April-29-30

Every parent who has a school-aged child has experienced at least once ‘the homework battle’. This is the battle in which you calmly tell your child to do their homework and they react with, “but” – “I will in a minute” – “I want to play” – “I don’t have any” – or just plain screaming. Now, you as the parent try to stay calm, this patience wears off after 10 minutes into what has now become the homework battle and now you are both screaming!

You have probably tried some of these tactics: Let them play and then they will do it later, make them do it right away and get it over with, give them a snack while they do it, have them take a nap first (sometimes a battle in itself), and even bribery.

Here are a few tips that you may have not considered. Music can be very calming. Research has found that listening to Mozart’s music makes one relaxed and attentive. In a book authored by Don Campbell, an experiment found that, by listening to music by Mozart, student’s IQ’s were temporarily boosted by 8 to 9 points. Don Campbell said that listening to Mozart’s music actually helps the mind organize time and space.

Now that we know Mozart can calm and relax children, making them smarter in the process, why not give it a try! Buy a CD of Mozart’s music and turn it on for the drive home from your child’s school. If you want them to do their homework right away, tell them that the drive is their downtime, have them close their eyes and relax, listening to the music. You can also have them lie down at home in thier room for 30 minutes, listening to the music and relaxing. Put the music on quietly while they are doing their homework. This music may be the solution to the homework battle!

Not only does listening to Mozart make your kids smarter, but studies show that kids who learn to play music at a young age are more interested in school and get better grades. Exposing your child to learning about music early in life can eliminate the homework battle situation altogether! http://www.Music2Master.com OR http://www.PearlFlutes.net

We would love to hear back from you on this, please let us know if music by Mozart is working or has worked for you!

“Listening to Mozart actually makes you smarter” –Alex Ross, NY Times music columnist

Most pianos have 88 keys. And most great piano music comes from the middle of the keyboard — only rarely do the player’s fingers venture onto the tinkly keys at the top of the keyboard, or the booming bass notes at the bottom. But a craftsman in Newcastle, New South Wales, Australia, thinks the instrument has room to grow; and he wants to nudge the piano out of complacent middle age. He has designed a grand with an unprecedented 102 keys.

The Stuart and Sons grandpiano has 14 more keys than most, which means its lowest and highest notes live very much on the edge. Its designer, Wayne Stuart, says a few other grands can play as low as this 102-key model, but none can play as high.

"I'd hate to go back to the 88-key piano," he says. "I couldn't stand it. It's too limited."

The extra notes might lend themselves to great feats of acrobatics, but they're not exactly musical. So why have them?

For color, Stuart says, and resonance. "There's a tremendous amount of energy in the low-octave notes, and you can hear the power."

The power is evident even in pieces where the lowest notes aren't played.  Concert pianist Gerard Willems has recorded most of Beethoven's works on a Stuart grand, and he found the extra keys made a difference.

"Beethoven would have loved the sound of the Stuart piano," he says. Beethoven only had about 70 keys on his piano and would surely have used more notes if he'd had them, he says.

But don't focus too much on the keys, Willems says. This Stuart piano has other innovations, like a device that makes the strings vibrate differently, so each note sings out clear and separate. "It's almost like pulling wool apart — you can feel and sense and smell each layer of the sound."

But if the Stuart piano is going to attract more attention, it has to attract living composers — to write for it. And slowly, that’s happening.

New Age jazz musician Fiona Joy Hawkins has composed pieces for the Stuart piano, and she says it's the best piano she's ever played on. A single note on the Stuart, she says, can sustain for a long time.

"It just doesn't have any bend in the decay — it just goes straight. It goes forever, so you get these incredible harmonics that last," she says.

Some people say the Stuart has a distinctly Australian sound — as clear and bright as sun on the beach.  But in Australia, the instrument has its critics. Pianist and music professor Geoffrey Lancaster would not say this piano is "sunny."

"I find the sounds very cold," Lancaster says. "They don't have that dimension of warmth that, say, a great Steinway or a great Bosendorfer has. It's this clarity — this so-called clarity or crystalline quality, it's really quite icy."

The Stuart grand can't compete with a giant like Steinway; only about 40 of the grands have been sold worldwide. But Lancaster says the Stuart raises an important question: When do we stop innovating?

"The idea 150 years ago was that each piano should be a masterpiece in its own right, and should not necessarily resemble the piano that was made before it," Lancaster says. "That's all changed, of course. So I'm all for innovation in the modern piano. To me, the piano is a pinnacle of human achievement. So it seems right and proper that it should continue to develop."

How you innovate, he says, depends, as always, on personal taste. But if you want to debut with a Stuart, you'll also need money: It costs up to $300,000, delivered.

For more information, go to:  http://www.Music2Master.com  OR http://www.PearlFlutes.net  OR http://www.npr.org

When: Flute Concert
Friday, April 29, 2011 at 7:30pm
*General Public Welcome!

Flute Masterclass
Saturday, April 30, 2011 at 9:45am
*Flutists of All Ages and Abilities Welcome! Bring Your Flutes and a Readiness to
Try Something New! Dress Comfortably For Body Stretching/Workout!

Where: Mayflower Community Congregational Church
106 E Diamond Lake Rd
Minneapolis, Minnesota 55419

Directions: Go to www.GoogleMaps.com for directions or call Music2Master.com at 952-924-4141
*Please do not call the church directly!

Cost: Concert: $15.00 if purchased by February 28, 2011, $20.00 if purchased between March 1-April 28, 2011 and $25.00 at the door.
Masterclass: $15.00 if purchased by February 28, 2011, $20.00 if purchased between March 1-April 28, 2011 and $25.00 at the door.

Registration: (Three Ways To Register)
On-Line:
Go to: http://music2master.com/index.php?contentID=245to purchase your tickets on our secured website.
By Phone:
Call us at 952-924-4141 and register over the phone using your credit card!

Pearl Flutes, Flute Music, Crystal Flutes and Flute Supplies Will Be Available and For Sale at Both Events

**We need 6 Master-class Performers, so indicate on registration form if you are interested & we will contact you

PLEASE DIRECT ALL INQUIRIES, CALLS and QUESTIONS to:
Music Masters Incorporated
www.Music2Master.com (check us out on the web!)
7300 France Avenue South
Suite 112
Edina, Minnesota 55435
952-924-4141
Authorized Pearl Flute Dealer
Authorized Band and Orchestra Instrument Rental and Sales Affiliate
Hours By Appointment
Private Lessons on ALL Band and Orchestra Instruments and Piano, Voice and Guitar!
Kindermusik-Ages New Born to Age 7

About the Concert: (Friday, April 29th, 2011)

Rhonda Larson (Grammy Award Winner and Pearl Flute Artist) performs an intimate, multi-faceted “solo” flute show entitled “One Woman, a World of Music”, with her “Virtual Band” on CD. The recorded instruments include piano, acoustic guitar, synth, bass and percussion in a variety of ensemble configurations, while others are for flute alone. Rhonda not only performs on the familiar western European flute (including alto), but plays an assortment of ethnic flutes from around the world. Her music merges the most soulful elements of sacred, classical, folk, Celtic and ethnic music. The program consists chiefly of Ms. Larson’s own original compositions, and is accessible to all audiences, classical and non-classical alike.

About the Masterclass: (Saturday, April 30th, 2011)
Rhonda (Grammy Award Winner and Pearl Flute Artist) offers a masterclass in addition to her performance. It begins in a refreshingly untraditional way with Rhythmic Rubrics with Rhonda. This is a group participation with an engaging percussion background leading, as participants focus on feeling the rhythm in their bodies with various physical activities, and call-and-response phrase inventing. Liberated from the written page, everyone plays by ear and expresses themselves with more character and style as inspired by this rhythmic convergence.

Next resumes the standard-format masterclass: Performers who wish to play repertoire in front of the class, receiving instruction and suggestions from Rhonda. Particular focus is given to the Art of Performance and Stage Presence. Please, no avant-garde music, as it does not lend itself well to teaching in a group class format.

Masterclass “group” participation lasts about 1 hour. Traditional portion of the masterclass will last 2-3 hours with 20-30 minutes per performer.


Rhonda Larson Biography
(Grammy Award Winner and Pearl Flute Artist)

Flutist, composer, and bandleader Rhonda Larson entered the national music scene from her native Montana by winning first prize in the National Flute Association's Young Artist Competition in 1985, including a Carnegie Hall debut. Shortly thereafter, Rhonda joined forces with the Paul Winter Consort, initiating her journey of combining diverse musical styles in addition to her classical training. Rhonda won a Grammy Award during her last year with the Consort, departing the group at that time to embark on her individual cross-cultural/multi-genre music path.
Rhonda's diversity, combined with her musical and technical wizardry, has begun a new generation for the flute as a leading voice in the music world. Composing much of her own repertoire, Larson continues to be recognized as a visionary force creating a refreshing hybrid music for the flute, including her versatility on an array of ethnic flutes from around the world. Larson journeyed to South Africa as a musical ambassador for the United States to perform for the Parliament of the World's Religions, sharing the stage with such luminaries as Nelson Mandela and the Dalai Lama. In addition to South Africa, Rhonda has toured in Russia, Japan, Europe, Central America and throughout North America. She has recently performed in Ireland, Italy, and Spain. In Spain she recorded with the Celtic Galician group "Milladoiro" from the Santiago de Compostela region, and performed as a guest soloist with this stellar bunch along with guest soloist Eileen Ivers, famed celtic fiddle player of the original "Riverdance" troupe.
Rhonda has a discography of over 19 commercial recordings from label/distributors such as Windham Hill and American Gramaphone, among others. She has recorded a variety of flute music for the CBS television series, "Survivor" and "The Restaurant", and performed on the Live CBS finale episode of "Survivor" from Madison Square Gardens, seen by over 40 million viewers.
Rhonda has two solo recordings, Free as a Bird, and her newly released second solo CD, Distant Mirrors. The latter is an eclectic musical reflection on world cultures and ancient traditions, and was listed in the top ten of the "25 Essential CD's for 2003" nationally syndicated Public Radio program, Echoes. Rhonda is featured in the 2003 "Flute Stories--101 Inspirational Stories from the World's Best Flute Players", Windplayers publication. Ms. Larson has served on the Board of Directors for the National Flute Association.
From October 2006 through June 2007 Rhonda lived in Ramallah, Palestine (West Bank), where she taught flute at the Edward Said National Conservatory of Music.
Rhonda and her husband Lee deLisle live in Southwestern Michigan, where Rhonda continues her creative work and practice of the flute in her studio which is an historical 1878 one-room schoolhouse located on their property, alongside a replica of a 1630's Williamsburg cabin. They also live part-time at their second home in the Lazio region of Italy.

Check out Rhonda Performing at http://www.youtube.com/watch?v=PohoBSPX7Eg

Go to this link to purchase Pearl Flutes: http://music2master.com/as_Pearl-Flutes-Quantz-Coda-765-795

Go to this link to purchase Rhonda Larson Sheet Music for pick-up or delivery: http://music2master.com/as_Flute-Sheet-Music-Music-Lessons?product_category=208

Go to this link to purchase Rhonda Larson flute CD’s for pick-up or delivery:
http://music2master.com/as_Flute-CDs

Music majors are better readers & more successful medical school applicants!

A study of 7,500 university students revealed that music majors scored the highest reading scores among all majors including English, biology, chemistry and math.
Physician and biologist Lewis Thomas studied the undergraduate majors of medical school applicants. He found that 66% of music majors who applied to med school were admitted, the highest percentage of any group. Forty-four percent (44%) of biochemistry majors were admitted.
For more information about music, go to http://www.Music2Master.com  or http://www.Pearlflutes.net

References: “The Comparative Academic Abilities of Students in Education and in Other Areas of a Multi-focus University,” Peter H. Wood, ERIC Document No. ED327480
"The Case for Music in the Schools,” Phi Delta Kappan, February, 1994
 

Why Music Education? 

Music is a Science...It is exact, specific, and it demands exact acoustics.  A conductor's full score is a chart, a graph which indicates frequencies, intensities, volume changes, melody, and harmony all at once and with the most exact control of time.  

Music is Mathematical...  It is rhythmically based on the subdivisions of time into fractions which must be done instantaneously, not worked out on paper. 

Music is a Foreign Language...Most of the terms are in Italian, German, or French; and the notation is certainly not English - but a highly developed kind of shorthand that uses symbols  to represent ideas.  The semantics of music is the most complete and universal language. 

Music is History...   Music usually reflects the environment and times of its creation, often even the country and or cultural feeling. 

Music is Physical Education...  It requires fantastic coordination of fingers, hands, arms, lip, cheek, and facial muscles in addition to extraordinary control of the diaphragmatic, back, stomach, and chest muscles, which respond instantly to the sound the ear hears and the mind interprets. 

Music Develops Insight and Demands Research... Music is all these things, but most of all, Music Is Art...  It allows a human being to take all these, dry, technically boring, (but difficult) techniques and use them to create emotion.  That is one thing science cannot duplicate; humanism, feeling, emotion, call it what you will.

Music...A Part Of living...   Music is inherent in the very nature of man.  The tiny infant will often respond to a rhythmic sound, beginning to hum even before speaking.  Rhythm and music abound in nature all around us - the rhythmic drumming of the surf, the measured meter of rain, the winds, the melodic tunes of song birds.   Music is in us, as well.   It's an ability inherent in every child, simply awaiting development.    Unfortunately some children may never know the joys of creating  their own music, exploring their innate abilities, or discovering the joys of this self expression.  For most children, that opportunity comes but once.  To be denied that opportunity is to forfeit this natural means of self expression.

The Time May Be Now...  For your child, the opportunity to participate in music may be now.  As a caring parent, you too are presented with a unique opportunity: the chance to introduce your child to a new and wonderful world where undiscovered abilities may blossom forth, where awakening dreams become fulfilled, where a richer and fuller life begins.  Your decision to enroll your child in a music program may be one of the most important contributions you'll ever make to his or her education and perhaps to his or her life.

And, Music Is Fun!   Unlike some disciplines, music is fun to learn.  We all enjoy listening to music.  It is even more fun to create it.  There is a simple joy in experimenting with an instrument, playing real notes and discovering how those notes fit together to become a melody.  And there's a unique and special satisfaction in performing as part of  a band or orchestra that will be cherished for a lifetime, a unique pleasure in meeting new challenges and handling them - beautifully.

Did You Know...That when children study music in school, they also improve their reading, spelling, and math skills?  Educators agree that abstract concepts such as counting, fractions, and ratios become more concrete when applied in a musical context, making the relationship between mathematical theory and practice noticeably clearer. 

Music increases a student's learning capabilities in many other areas, as various studies show:   In 1987 to 1989, students taking music courses scored an average of 20 to 40 points higher on both verbal and math portions of the SAT's than students who took no arts courses.  During the same period, students who took more than four years of music and the other arts scored 34 points better on verbal SAT's than those who took music for less than a year.  Students who participate in their school band or orchestra are 52 percent more likely to go on to college and graduate.  A recent Rockefeller Foundation study discovered that music students have the highest rate of admittance to medical schools.  Studies in other countries have demonstrated that along with these benefits, there is a significant relationship between music instruction  and education performance in reading, spelling, mathematics, listening and verbal abilities, and motor skills.

Music - It's Creative And Advances Learning Ability...   Children have a natural curiosity, and curiosity is the seed of creativity.  Music offers the child an  exciting opportunity to channel that natural curiosity into creative endeavor.  It nurtures independent thinking that will carry over into other aspects of the child's curriculum and be applied to many subjects other than music.  It is more than coincidental that nationwide studies have shown that students in school music programs have achieved higher averages in all subjects and develop academically more rapidly than others.    Direct correlations between music instruction and reading, spelling and math skills underscore music study as a decisive factor in  a student's educational success.

What Is It We Want For Our Children...  Obviously many things, but most parents include some of these traits: good self-esteem and self-expression; good self-discipline; individual creativity; good academic and social skills.  When a child participates in music program, all of these traits may be developed.  When a child succeeds at the diverse tasks required in playing and instrument, self-esteem is enhanced.  When a child learns by experience that creating music links one's self to the world, self expression becomes more fluent.  Creating music helps the child interpret "who I am."  The child who is taught how to make music learns much about his or her innate creativity.  As a child begins to understand the connection between hours of practice and the quality of a performance, self-discipline becomes self-reinforcing.  It may then be a short jump to making the connection between self-discipline and performance in life.  Music programs alone may not be the answer to all the educational and social problems among youth, but many agree it would be foolish to discount music education's contributions to finding solutions in these areas.  Music is one of the few areas of study available to children that can bring such a diversity of positive factors together in the same classroom at the same time.

Music Builds Self Confidence...   Every child needs a success, a means of gaining recognition.   It's a part of the growing-up process, with each accomplishment contributing positively to the development of a stronger personality.  Music provides almost daily opportunity for individual accomplishment and, with each success, you child gains confidence.   Children who participate in school music programs begin to know themselves, to believe in their abilities and to gain strength as individuals.

Music Is A Form Of Beauty...   Music stirs the memory of our people.  It connects us to our history, our traditions, our heritage.  It is a dominant force in the world, shaping every culture's senses as well as the values of its children as few other forces can.  It is critically important that our children understand their place in today's world by making these connections.  In the folk songs of Appalachia, in the emotional reverberations of the blues, in the soaring spirituality of Leonard Bernstein's Mass, in the vigor of Aaron Copland's Rodeo, our children can awaken to a knowledge of themselves - their community and their world - in ways that cannot be duplicated.  We want our children to know and understand music precisely because it has intrinsic value on these and many other levels.

Music Has Lifetime Value...   "Music is the universal language of mankind," said Longfellow.   Where will learning this "language" lead your child?  the possibilities are endless.  First, of course, there is the school band or orchestra.   Eventually, your child might play in a marching band, participate in philharmonic concerts, or a popular music performing group.  And, too, there is the practical matter of music scholarships to college.  Millions of dollars in scholarships are currently awarded to deserving students each year.  Regardless of where music leads your child, he or she is certain to benefit from the ability to play an instrument.   your child will develop a finer appreciation for history and culture as well as for all forms of music.  Music will provide a means of individual expression, of relaxation and enjoyment, and better use of leisure time as well.  Your child will benefit from the personal growth and development that musical training brings.

Band And Orchestra - A Model For Life...    When children join band or orchestra they are learning more than just music.   They are also learning the critical thinking skills needed in today's work force.   Children in band or orchestra develop higher cognitive skills and increased ability to analyze and evaluate information.  they also learn about teamwork and conflict/resolution skills required for success in the modern workplace while enjoying the healthy, positive activity of band and orchestra with friends.

Music Enhances Social Development... In the school music program, your child becomes part of a group whose success depends upon teamwork and cooperation.  Discovering the advantages of working with others and contributing to the overall success of the group is a valuable lesson that your child will carry through the rest of his or her life.  With this group association, your child will find how to more easily make new friends who share the same common backgrounds and interests.  Most importantly, because every student contributes to the success of the school band or orchestra, children learn a greater appreciation for the part others can play in their own successes, and vice versa.  And in band or orchestra, every member of the team gets to play!

Keeping The Opportunity Alive...   Despite the obvious values of a musical education, some school districts are cutting school band and orchestra budgets - or worse, cutting out entire music programs, simply because some school officials don't understand these benefits.  Fortunately there are ways parents can help improve these conditions in your community:  Strike an alliance with your school music educators and directors.  Find out how you can support, at home, what the teachers are trying to accomplish at school.  Make sure you local school board, administrators and public officials know of your commitment to music education as a matter of educational principle.  Work with your music parents' club and area music dealers to prevent music from becoming a "bargaining chip" in school budget battles.

The Important Role Of The Parent...   Your child's success in learning to play an instrument depends a lot on you.   Your involvement is vital to your child's attitude and progress.  Encourage your child to play for you every day.  Be generous with enthusiastic praise.   Offer your support when your child becomes discouraged.  Above all, participate - meet the music teacher and music dealer and attend concerts and recitals.   Regardless of your own musical background, you will derive great satisfaction and enjoyment from following your child's progress.

Credits... Much of the above material was copied from "Your Child's Future...with Music!", a brochure printed by United Musical Instruments.  For more information about music lessons, visit our website at http://www.Music2Master.com

Andy Findon is Europe’s most recorded flute player. In his thirty years as a London-based musician, he has appeared on countless albums, film & TV scores. He is widely regarded as the definitive flute player in the fiercely competitive world of London’s West End theatres, where he has been continually employed throughout his illustrious career, working closely on original scores for Andrew Lloyd Webber’s productions among many others. He has been involved in just about every genre of performance from serious orchestral work and session recording to rock-bands and performance on a vast array of ethnic instruments.

As well as his enviable reputation as a master performer on the flute, Andy has been Michael Nyman’s baritone saxophonist since shortly after graduating London’s Royal College of Music in 1976. His personal recording projects include 2 multi-tracked CDs and several solo pan-pipe albums as well as writing for many “library” tracks.  For more information about Pearl Flutes, visit us at http://www.Music2Master.com OR http://www.Pearlflutes.net

Matteo Evangelisti was born in Rome in 1985. He graduated in 2003 obtaining first prize "cum laude". In the last two years he has won all major national flute competitions (16 times first prize and 2 times second prize) including "Concorso Syrinx" (May 2004) and "Concorso Cilea" (September 2004). He's one of the best young players of the country. Visit http://www.Music2Master.com and http://www.PearlFlutes.net for more information!

We have the following PRIVATE LESSON offerings at Music2Master.com:

·  Piano, Keyboard

·  Flute, Piccolo, Alto Flute, Bass Flute

·  Violin, Viola, Cello

·  Voice

·  Oboe

·  Clarinet

·  Alto Saxophone, Tenor Saxophone, Bari Saxophone

·  Acoustic Guitar, Electric Guitar, Classical Guitar , Bass Guitar

·  Trumpet

·  Trombone

·  Baritone

·  Ukulele, Mandolin, Banjo

·  Tuba

·  French Horn

·  Drums, Percussion

 *These are 30, 45 or 60 minutes each depending on age, ability & teacher recommendation

  

We have the following CLASSES AND ENSEMBLEofferings to enhance your private lesson experience:

OPTIONS LISTED HERE and DESCRIPTIONS ARE LISTED BELOW THAT:

·  Clarinet Ensemble (For Middle School HS, Adult)

·  Classical Destinations (Middle School, HS)

·  Composition, Arranging, Theory Classes (For Middle School, HS, Adult)

·  Flute Ensemble (For Middle School, HS, Adult)

·  Flute Performance Class (HS and Adults)

·  Group Guitar Lessons (For Elementary, Middle, HS, Adult)

·  Guitar Ensemble (For Elementary, Middle, HS, Adult)

·  Introduction to Piano Lessons (Ages 4-5)

·  Music Theory (HS and Adult)

·  Orchestral Excerpts Class for Flute Students (HS and Adult)

·  Vocal Ensembles/Choirs (For Middle School, HS, Adult)

·  Vocal Performance Classes (For Middle School, HS, Adult)

·  Wind Ensemble (Middle School, HS, Adult)

·  String Ensemble (Middle, HS, Adult)

·  Saxophone Ensemble (Middle, HS, Adult)

·  Trumpet Ensemble (Middle, HS, Adult) 

COURSE DESCRIPTIONS:

CLARINET ENSEMBLE:

Middle School,HS,Adult (Students will be grouped by age and ability)

The clarinet choir/ensemble will focus on the preparation and performance of a wide variety of musical styles.  Students will have an opportunity to perform transcriptions as well as clarinet repertoire composed specifically for their instrument.  Each clarinet plays a different part and you will become a better sight-reader and experience a variety of music that you would not normally experience in private lessons or band/orchestra. All clarinet family instruments are welcome. This will meet 1 time per week for 1 hour! Students are required to be in private lessons. 

CLASSICAL DESTINATIONS:
Middle School,HS,Adult (Students will be grouped by age and ability)
What better way to learn about classical music then to go to the countries where it all started.  With Classical Destinations, we will take journeys to different countries from Austria to Russia using video, audio, interactive, and printed resources.  Students will have the opportunity to see where the composers lived, hear the compositions, and really uncover how the music was created.  It is a great way for students to learn about classical music in a multi-media context! 

COMPOSTION, ARRANGING and THEORY CLASS:

Middle School,HS,Adult (Students will be grouped by age and ability)

This Class is perfect for songwriters and composers looking to fine-tune their skills. Students will get an in-depth look at various compositions and discover what the musician was possibly thinking as they created. Topics include diatonic theory and harmony, song construction, chord function, and arranging. Must be able to read music. This will meet 1 time per week for 1 hour! 

FLUTE ENSEMBLE:

Middle School,HS,Adult (Students will be grouped by age and ability)

Flute Choir is an opportunity to play flute trio, quartet and flute choir music with other peers.  Each flute plays a different part and you will become a better sight-reader and experience a variety of music that you would not normally experience in private lessons or band/orchestra. This will meet 1 time per week for 1 hour! Students are required to be in private lessons. 

FLUTE PERFORMANCE CLASS:

(Adults ONLY)

M2M will be offering a Flute Performance Class for ADULT students this summer.  The class will cover performance technique, overcoming stage fright, finding yourself on stage, how to lead an accompanist, and many other useful tools to help gain more performance confidence.  Each student will have a chance to perform several pieces with or without piano accompaniment throughout the semester for the other class members and teacher.  This will be a great opportunity to gain more experience and ideas to enhance performance skills, stage presence, and artistic interpretation.  The class will not be limited to the classical genre.  Students will be encouraged to prepare and perform different styles of music.  For any flutist looking to develop skills for performing and auditioning, this is the perfect class for you and a great addition to private lessons! This will meet 1 time per week for 1 hour! Students are required to be in private lessons. 

GUITAR ENSEMBLE (Rock/Blues):

Elementary, Middle School,HS,Adult (Students will be grouped by age and ability)

This Ensemble is perfect for those who want to improve the skills of improvisation, rhythm playing, and playing with a group. Students will get to learn standard rock and blues songs in an ensemble setting. Topics will include chord progressions, rhythm accompaniment, melody lines and soloing.  

GROUP GUITAR CLASS (For Beginners)

Elementary, Middle School,HS,Adult (Students will be grouped by age and ability)

This class is perfect for people who want to learn the basics of playing the guitar. We will explore the topics of sight-reading, reading tablature, chords, rhythm playing, melody playing and scales.  Everything to get you started developing great guitar skills.  This will meet 1 time per week for 45 minutes. 

INTRODUCTION TO PIANO LESSONS (Ages 4-5)

Wondering if your child is ready for piano lessons? This is the perfect opportunity to find out in a shorter semester (summer) and in a group setting with other children their age.  This is for beginners.  This is for children age 4-5.   Class size is limited to 4 students. Students will play music games and learn basic music theory.  They will get to perform for each other throughout the semester.   It will be an excellent indicator whether they are ready for private lessons for fall 2010 semester.  Each student will get a recommendation from the teacher by the end of the session.  This will meet 1 time per week for 45 minutes. 

MUSIC THEORY (HS, Adult)

Fundamentals of Western music theory and their applications are presented in this course. The focuses are analysis of eighteenth- and nineteenth-century music, part-writing (learning how to write music in historical styles), and the practical skills of sight-singing and ear-training. This course is designed for intermediate theory students who want to explore the subject beyond their core lesson requirement.

ORCHESTRAL EXCERPTS CLASS for Flute Students
HS,Adult (Students will be grouped by age and ability)

This class will introduce advanced high school and/or adult students to orchestral pieces that feature important flute solos and sections used in both the education and audition processes.
Each student will have a chance to study and perform a different excerpt each week with or without piano accompaniment throughout the semester for the other class members and teacher.  We will have the opportunity to listen to recordings of each excerpt and/or orchestral piece, as well as study a brief history of each piece and composer.  This will be a great opportunity to gain more experience and ideas to enhance performance skills, stage presence, and artistic interpretation. For any flutist looking to develop skills for performing and auditioning, this is the perfect class for you and a great addition to private lessons!  Or if you are just interested in learning more about orchestral music, this class will be a great fit!  This will meet 1 time per week for 1 hour! Students are required to be in private lessons and will need to purchase an orchestral excerpts book chosen by the instructor.

SAXOPHONE ENSEMBLE

(Middle School, HS, Adult) Grouped by Age
The saxophone ensemble will focus on the preparation and performance of a wide variety of musical styles. Students will have an opportunity to perform transcriptions as well as saxophone repertoire composed specifically for their instrument. Each saxophone plays a different part and students will become better sight-readers and experience a variety of music that they would not normally experience in private lessons or band/orchestra. All saxophone family instruments are welcome. This will meet 1 time per week for 1 hour! Students are required to be in private lessons.

VOCAL ENSEMBLE:

Middle School,HS,Adult (Students will be grouped by age and ability)

This is an opportunity to work through vocal trios and quartets with other peers.  Each student sings a different part and you will become a better sight-reader and experience a variety of music that you would not normally experience in private lessons or choir.  This will meet 1 time per week for 1 hour! Students are required to be in private lessons. 

VOCAL PERFORMANCE CLASS:

Middle School,HS,Adult (Students will be grouped by age and ability)

M2M will be offering a Vocal Performance Class this summer.  The class will cover performance technique, overcoming stage fright, finding yourself on stage, how to lead an accompanist, and many other useful tools to help gain more performance confidence.  Each student will have a chance to perform several pieces throughout the semester for the other class members and teacher.  This will be a great opportunity to gain more experience and ideas to enhance performance skills, stage presence, and artistic interpretation.  The class will cover different genres of music including classical, broadway, jazz, pop--and perhaps even a karaoke performance.  For any vocalist looking to develop these skills for performing and auditioning, this is the perfect class for you!  Adaptable for beginner levels through advanced and a great addition to private lessons.  This will meet 1 time per week for 1 hour!  Students are required to be in private lessons. 

WINDENSEMBLE
Middle School,HS,Adult (Students will be grouped by age and ability)

The wind ensemble is a performing ensemble which consists of members of the woodwind, brass, and percussion instrument families.  It would perform various repertoire including original wind compositions, classical, popular tunes, and more!  The class is a great opportunity for students to hear how their instruments interact and blend with others. It also gives them the experience of playing in a band setting while continuing to pursue their private study.  The class will meet 1 time per week for 1 hour. 

STRING ENSEMBLE:

Middle School, HS, Adult (Students will be grouped by age/level)
String ensemble is an excellent opportunity to play chamber music with musicians at your age and performance level.  String ensemble will increase your ability to sight read, you will gain valuable performance experience, and you will experience a variety of music that you would not have the opportunity to play in private lessons or orchestra. This will meet 1 time per week for 1 hour! Students are required to be in private lessons.  This course is designed for all abilities and ages. 

TRUMPET ENSEMBLE:

Middle School, HS, Adult (Students will be grouped by age/level)
Join your peers in creating excellent music on your favorite brass instrument: the trumpet!  Playing a wide variety of repertoire, the trumpet ensemble will focus on ensemble playing on a small and intimate scale.  Sight reading, performance experience, and fun will be our focus!  This will meet 1 time per week for 1 hour! Students are required to be in private lessons.

Call 952-924-4141 to Enroll!

Registration going on NOW!

 

Sight read Any Music! Ten FREE Tips!

Ten amazing free secrets help to sight-read any sheet music notation for piano, from Sound Feelings. This free sight reading information provides self-study tools and solutions on reading music like a professional. Sight reading takes time to improve, as with any self-improvement program, but these helpful tips will show you how to get there faster than you ever believed possible! See also: read notes, reading notes, note-reading, read music, sight-reading books.

1  Develop Your “Relative” Sense of Touch.

Acquire the skill of playing so that you don’t need to look down at your hands. Without looking at the keyboard, glide your hands so you feel the two and three black keys (like Braille.) When you need a C, D, or E, feel for the “2s.” When you need an F, G, A, or B, feel for the “3s.” Most good sight-readers don’t need to look at their hands while they play and this drill teaches you how to find any note without looking at your hands. Then you will be able to keep your eyes on the music and look ahead and this will greatly speed up your sight-reading.

2  Develop Your “Absolute” Sense of Touch.

Always sit in the same place. Middle “D” is recommended because it creates a symmetrical pattern in both directions. Sometimes you may need to make a page turn or your hand will jump from a high position to a low position on the keyboard. It is handy to not have to look down to find the correct position in these cases. By always sitting the same place at the piano, you will develop a physiological memory of all 88 keys on the piano!

3  Practice Finger Technique Without Looking at Your Hands.

A creative way to do this is to play your scales and arpeggios in the dark. This will add confidence to your sense of touch. This exercise is to further enhance tactile awareness that is developed in steps 1 and 2.

4  Learn the Four Groups of the Lines and Spaces:

Try to learn these without the typical slogans: “Every Good Boy Does Fine,” or similar phrases. If you were to attempt to read a note using slogans, you would have to go through a 2-step process which seriously slows-down your speed. Just memorize the groups as fast a possible by saying them out loud frequently. Memorize the following.

Say: “Lines in the Treble E G B D F”
Say: “Lines in the Bass G B D F A”
Say: “Spaces in the Treble F A C E”
Say: “Spaces in the Bass A C E G”

Eventually, you will just memorize all the notes, but until that time comes, literally speak through the appropriate sequence until you reach the desired note. For example, if you want to read the third space in the treble clef, you say “F A C.” You stop on “C” and that is the third note.

5  Practice Only the Rhythmic Information.

In a composition you are working on, ignore the correct pitches. Just play the rhythmic infomation of the piece on any notes. Your brain will enjoy the ability to work on just one thing.

6  Practice Only the Pitch and Fingering Information.

In a composition you are working on, ignore the correct rhythm. Just play the correct pitches along with the correct fingering. Don’t try to play in time here. This way, you can focus on just the right notes with the right fingers. your brain will enjoy the ability narrow its focus. Eventually, you will be able to play the right notes with the right fingering and with the right rhythm all at the same time!

7  Play Easy Pieces up to Tempo.

Force yourself to keep going no matter what. Don’t worry about mistakes. This helps you to look ahead.

8  Play Difficult Pieces Super Slowly.

Don’t dare make even one mistake. This helps to develop accuracy.

9  Look For Patterns in Music.

Don’t be afraid to look way ahead for a second just so you can anticipate what will be easy or difficult. Patterns make it easy. If you detect a pattern then you can devote your concentration to other things.

10  Study Music Theory.

Professional sight-readers never read every note! They get a sense of the overall chord and “fill-in” the blanks. With a solid knowledge of music theory, this becomes natural and immediate.

By Sound Feelings Publishing

 

 

Common Misconceptions About the Flute
(as published in Flutewise – Summer 2002)

Commonly held misconceptions about flutes and flute playing was a recent topic on the FLUTE internet discussion list...

This popular subject elicited a large number of misconceptions. While some misconceptions are based on truth, often they are oversimplified in a way that could do harm to a young player's progress. Many misconceptions are surprisingly common while others are rare. Shedding the light of clarity on these indefinite areas may be beneficial.

      "The proper way to tune is by rolling the head joint."
A slight rolling outward of the head to sharpen or backward to flatten may be used sparingly to tune but generally a better technique is to use air speed variation in combination with air stream direction changes.

      "The flute must be held straight out to the right of your body."
Holding a flute comfortably can be a complicated issue. Attention should be given to discovering a tension free, comfortable position. Keeping the flute horizontal to the ground is possible but doing so may cause tension. A slight downward angle is generally accepted and, if not exaggerated, will likely result in the most tension free stance.

      "Open-hole flutes are better quality than closed-hole (plateau) flutes."
Some things can be done with open-holes that cannot be done with closed-holes. Many multi-phonic notes require open holes and subtle tuning can be accomplished by partially covering open holes. However, an open hole flute is not necessarily better than one with closed holes.

      "A single, unique distance for cork placement is applicable to all flute head joints."
Each flute and each flute head joint is unique. A generally accepted "correct" position for head cork placement exists, but tuning and response can be refined by altering that position in very small amounts either up or down the tube.

      "This old clunker flute will do for the kid to learn on. If he or she likes
       the flute and plays well, we can see about getting a decent instrument."
Having a flute that works well is vital in the early stages of learning how to play. An expensive flute is not necessary at the beginning of study, but a flute that is in good working order is critical for success.

      "A smiley, tight-cornered embouchure is correct."
A well developed flute embouchure must be flexible and able to easily and accurately redirect the angle of the air stream. Lips that are pulled back in a smiley position with muscle tension at the corners limit flexibility.

      "High notes are played by squeezing the embouchure tighter."
High notes are best achieved through a combination of reducing the size of the aperture through which the air is flowing, aiming the air stream slightly higher, and maintaining a fast air speed. Squeezing the embouchure generally leads to a rise in pitch or to no sound at all.

      "If you can whistle, you can blow into a flute."
Little similarity exists between a typical lip shape generally used for whistling and a well developed flute embouchure. The "whistle" approach is quite useful to produce exotic sounds like "whisper tones" but equating a good whistle with a good flute embouchure is irrelevant.

      "Silver flutes are better than silver-plated flutes."
What materials are "best" for flute construction has been debated among flute players for as long as flute makers have been producing instruments out of various substances. Each player tends to find a flute (silver, gold, platinum, wood, and various combinations of materials) that works best for him/her. A verifiable and repeatable test to determine the best flute construction material has yet to be designed. The "best" material for a flute is a matter of personal preference and individual opinion.

      "The flute is a little instrument. Therefore it doesn't take much air to play."
If only that one were actually true! All of the other wind instruments (woodwinds and brass) make their sounds in such a way that a certain amount of back pressure is created by the various instruments and by the embouchures used. The flute does not provide any back pressure of its own. The flute players lips have to take care of providing that back pressure, resulting in the need for a large amount of air. This is especially true in the early stages of a player's development. Oboe players often find themselves getting rid of unused air but a flute player experiences that only rarely.

      "No one will hear if I use fake fingerings in all fast passages if I get the sound out?"
Alternate or "fake" fingerings are useful tools in appropriate situations. These special fingerings are useful to make difficult passages slightly easier but often the tone or pitch of the note is inferior to the normal fingering. Alternate fingerings are best used only as a last resort because even at fast speeds many alternate fingerings are clearly audible.

      "There's no difference in sound if you leave the left hand 1st finger down for D2 & Eb2."
I often ask students to make their best sound on a long D2 or Eb2 with their eyes closed and listen very closely. I then have them do it again but this time move the left hand first finger up and down while they play and listen very closely. They instantly perceive a big difference in sound between the two fingerings. Those two notes must have the first finger off to make the best possible sound.

      "Wood flutes are old fashioned and out of date."
Wood flutes are neither old fashioned nor out of date. Many modern flutes are made of wood and have the same keys as metal flutes.

      "To play the notes in the third octave, use the same fingerings
      as for the first two octaves, and blow REALLY HARD!"
The most important consideration for any flute player is to create the most beautiful and in tune sound throughout the entire range. Third octave fingerings are more complicated than the lower two octaves but produce the best sound with the least amount of effort for the air stream and embouchure. Learning those high note fingerings is important because flutes generally play the high notes in an orchestra or band.

      "Tone and technique exercises aren't necessary."
To play well, one must spend the time needed to develop the best sound possible and a fast, fluent technique. Tone and technique exercises may not be exciting but devoting a good portion of practice time to them is the quickest way to develop the skills required to play demanding flute music. One beautiful note is worth more than a million ugly ones, so beautiful tone should be considered the most important skill of all. Nearly all music uses patterns and note combinations based on scales and arpeggios. Learning technique thoroughly will minimize the time spent to learn new pieces and improve sight reading ability.

      "My flute comes 'tuned' from the factory, therefore I should
      leave the head joint pushed all the way in to play in tune."
Flute scale or tuning is done by the flute maker. Tone holes are placed in the tube of the flute according to the total length of the whole flute. To allow for small adjustments either sharper (shorter) or flatter (longer) flute makers tune the flute expecting that the player will keep the head joint pulled out slightly. In that way players can push in the flute head slightly if the pitch needs to be raised.

      "Flute tenons need to be greased."
The metal parts of the flute that fit together are called tenons. In previous periods of music history those connections were often constructed using cork. The modern flute does not use cork but it does use highly refined tubes of metal that fit extremely precisely. Adding grease to a well made metal tenon will shorten the normal life of the tenon by adding volume to an already well fitted tool. The grease will attract dust and further enhance the damage caused each time the greased flute is assembled. Metal tenons should be kept clean in order to get the longest life from the flute.

      "Tarnish must be removed at all costs."
Tarnish does no harm and there is no need to clean it. Areas of the flute tube, the head joint, and the key tops can be wiped with a soft cloth to minimize the amount of tarnish but attempting to clean tarnish from between the keys is unwise. Rods, springs, and keys can easily be bent by attempting to remove tarnish so the best thing to do is leave them alone. When the flute receives its routine servicing the repair person will likely take off the keys and give the instrument a good cleaning.

      "This flute is a great flute; I haven't had it to a technician in years."
Flutes that are used often wear out and need repairing and servicing attention at regular intervals. Normal wear and tear affects the pads more than any other part of the flute. Leaks develop naturally over time so small pad adjustments or changing deteriorated pads will reduce leaking and keep the flute in optimum condition. With careful and proper handling a single set of flute pads can last for several years. A routine servicing will generally include cleaning and oiling the key work so that the keys will function freely and without undue wear for years. The cork on the inside of the head joint can shrink over time causing leaking or poor intonation if the cork should shift out of place. Commonly, professional flute players take their instruments to the repair shop several times per year for regular maintenance and servicing. Students are advised to seek out routine maintenance about once per year.

Larry Krantz © 2002

 

Here are some basic auditioning tips, no matter what the ensemble level:
1. Dress appropriately.
Believe it or not, what you wear can mean almost as much as how you perform to an auditioning judge. While you’re certainly not going to wear a formal tux when you audition for a local wind ensemble, wearing jeans automatically undermines your credibility and commitment as a performer. Most auditioners want to feel that you are dedicated to the position you apply for - make them believe that you take the audition seriously by wearing slacks, or a long skirt, with a nice shirt. A word of caution - if you get nervous easily when you perform, wear nice pants: even the longest skirt will show your shaking legs!
Of course, try to avoid the other extreme: don’t wear clothing that distracts from your performance. Keep jewelry, make-up, and clothing colors to a minimum. Keep your hair combed and simple. You may love that bright pink, sequined flamingo shirt, but think of it from the auditioner’s perspective first. Dress conservatively and appropriately. Also: wear shoes that you feel comfortable in! Ladies in particular should try to wear a pair of black, flat-heeled shoes. There’s nothing worse than tight-fitting or overly-high-heeled shoes when you’re trying to concentrate on a difficult piece.
Suggestions
Arwen (for girls): Dressy, black v-neck shirt and black slacks, with simple (nothing flashy) jewelry. Black has always been a classy, conservative outfit for musicians, though simple, solid colors work well, too.
Justin (for guys): Nice collared shirt and slacks, and a tie, depending on the occasion.
2. Choose a professional accompanist.
You’ve worked hard at your pieces; you deserve someone who accompanies for a living, or at least has extensive experience. Trust me, and this is from personal experience, it’s painful to spend so many hours in practice only to have your accompanist screw up terribly at a performance exam because they couldn’t handle the repertoire, or worse, they “got nervous.” (I’ll certainly never make that mistake again) A professional will never make mistakes (well, at least very rarely), and will in fact work around your tempo and will minimize your performance errors. Though the price is higher, it’s nice to know that your performance probably won’t bomb if you change your tempo suddenly or even skip an entire bar of music! (I’m not saying to do that at a performance, of course!) Even if you’re not taking private lessons, call local teachers and find out who they recommend. Better yet, if there’s a school of music nearby, call there and find out who they use for accompaniment. Remember to give your accompanist plenty of notice before the performance, and meet with them at least once beforehand to rehearse.
3. Warm-up before you perform.
Make sure you have at least half an hour to an hour before your performance to achieve the tone you want. Warming-up makes an incredible difference not only in your sound, but also your range, tuning, and embouchure flexibility. Just as a track-athlete’s performance would be compromised if he didn’t stretch beforehand, it is vital that you play your instrument long enough to produce a thick, rich sound. You should set a specific warm-up routine into your everyday practice that includes an overtone series, scale patterns, and long tones, that you can use before an audition. The purpose is not to exhaust yourself, however, so try not to play until your facial muscles are over-exerted.
4. Select your music with care.
Finally, we come to music. When selecting music for an audition, remember to choose pieces that you can perform well and expressively. The best balance of audition pieces would be something like a classical concerto and a graceful French work. Try to select pieces that complement each other through your ability to tackle contrasting styles, challenging technical passages, as well as exhibit sensitivity to tone color and musical markings. It’s risky to perform avant-garde pieces, such as modern 20th-century pieces. Tastes vary so much on newer works, that you never know what bias an adjudicator may have against a particular modern composer or work. Often, it’s better not to find out. However, if you simply can’t stand anymore Bach, and are confident of your skill and interpretation of a piece, then go for it. But try to temper the “modern” flavor of your audition with a classical work, to show that you are able to perform the standard repertoire with ease.
5. NEVER show up late.
If you show up late for an audition, brace yourself for disappointment. Depending on the ensemble, you may be told not to bother even performing. Though this would most likely not happen at a less-than-professional level, it is nonetheless a black mark on your performance before you have even played a single note. Auditioning committees often have dozens, or even hundreds of applicants, and they have little patience for someone who doesn’t appear to their audition on time, or worse, not at all.
First of all, make sure that you figure out where the audition site is well ahead of time, and not just the building - know the very room! Imagine your panic 5 min before your audition when you’re still running the hallways searching desperately for the audition room……not realizing that you’re in the wrong building. Ouch. Help out your accompanist by giving them specific directions ahead of time as well.
And last, but not least, BE PREPARED. The more prepared and comfortable you are performing a piece, the less chance that nerves will take their toll.
By Arwen and Justin
 

Common Music Questions and Answers

Q: Do I need a piano at home to take piano lessons?

A: It is ideal if you do have a piano at home, but you can start lessons by using an electric keyboard to practice on as long as it meets these requirements: It should have a full keyboard (88 keys), It should have a stand so that it is at the proper height to avoid injury, It should have a bench that is also at the proper height to avoid injury and ensure the proper posture, It should have regular sized keys and a touch sensitive response (A touch sensitive keyboard means if you press a key harder it will play louder and if you press a key softer it will play quieter) and it should have a pedal. Please call/email if you need further information or a name/number for such a purchase.

Q: How long does it take to learn an instrument?

A: There is no set answer of how long it takes to learn an instrument. With regular practice a basic level of playing can be accomplished in a few months. Most of our students take lessons on a long term basis because they want to be constantly improving and they find the lessons enjoyable.

Q: I don't have any musical background or ability; can I still help my child practice?

A: Yes. Even if you don't have a musical background you can ask the teacher for advice on how to help your child practice. By simply monitoring that they are doing exercises a certain number of times per day the student will progress. Many parents occasionally sit in on their child's music lesson to get an idea of the proper way a song should sound or how the student should be positioning their hands.

Q: Are Private Lessons Tax-Deductible?

A: Yes, they can be if taken at a qualified music school such as Music2Master.com. Contact your tax advisor to see if you qualify.

Q: My child is interested in learning the guitar. Does he have to begin on an acoustic or is it ok to start on an electric?

A: Since most parents began learning guitar on an acoustic they often think that it is necessary for their kids to start that way. In reality a child can learn how to play using either an acoustic or an electric because the notes and the chords are the same. We always advise the parent to get the opinion of the child if he has one, since for some children emulating their favorite artist will motivate them to practice more. The advantage of beginning on an electric is that it has lighter string tension which means it will take less strength to get a good tone. The advantage of having an acoustic is that you can practice anywhere because you don't need an amp. Parents don't have to worry about the electric being too loud because most beginner amps have a headphone jack so the child can practice without disturbing others.

Q: My child is only interested in rock and roll, can he benefit from taking lessons?

A: No matter what style of music a person is interested in, the fundamentals of music still apply. Learning the terminology (language) of music and developing a comprehensive knowledge of music does not impede one’s ability to “rock out”. It actually will allow a person to develop to a higher level of playing no matter what style they prefer.

Visit us at www.Music2Master.com for more valuable information in regards to Music Education/Music Lessons!
 

http://www.Music2Master.com or http://www.PearlFlutes.net for more information
 

I am happy to announce a three-day weekend experience, "Integrating Flute,Spirit, Mind, & Body",

By Paula Neudorf and Weilun Soon

The names of great American piano companies that once thrived but no longer exist — or exist in some virtually unrecognizable form — could stretch over measure after measure of a musical score. Mason & Hamlin, Wm. Knabe & Co., Chickering & Sons, Baldwin. The names of towns where piano factories once stood — South Haven, Trumann, Boston and Thomaston — could serve as a counterpoint. Call it the swan song of the American piano industry.

Ask anyone, like Doug Skor, a Wurlitzer salesman. Owned by the guitar maker Gibson, Wurlitzer once made organs and pianos. Now the Wurlitzer trademark is mostly found on jukeboxes. “Pianos are for the most part just fine pieces of furniture,” Skor said.

Or ask Jackie Ross, the executive director of the Chamber of Commerce in Trumann, Ark. Until December 2008, Trumann was home to the last Baldwin plant in the United States. At one point, Ross explained, Baldwin’s plant employed about 260 people. Over the course of three years, the staff was reduced to a size of 13. Baldwins are now made mostly in China, though you can still order a custom piano from the tiny staff in Trumann.

For everyone in the business of making and selling pianos, the recession, combined with a general downward trend in sales and ever-increasing production and labor costs, created something of a perfect storm. In the eye of this storm is Steinway & Sons, the last major American piano manufacturer still standing.

A COMPANY IMPERILED

Steinway & Sons’ American factory endures at the northernmost edge of Astoria, Queens, where it has remained since the late 1800s. The company has a sister factory in Hamburg, Germany, which opened decades after Steinway’s founding, in 1853 in New York.

Considered by many to be among the best pianos in the world – if not the best – Steinways are endorsed by the majority of professional classical pianists. A new Steinway grand can cost anywhere between $40,000 and upwards of $120,000. At the Astoria factory, skilled craftsmen have been building these pianos in much the same way since the company first began.

But in 2009, Steinway’s Astoria factory saw a sharp decrease in production.

“Sales in the U.S. were down by half from ’08 through ’09,” said Chris Arena, who was manager of the factory’s restoration department until March 2009, when he was laid off. Arena worked with the company for 22 years and is one of many employees laid off since the economic crisis hit in mid-2008.

Anthony Gilroy, director of marketing and communications at Steinway & Sons New York, clarified that in the second quarter of 2009, U.S. grand piano shipments, specifically, were down by a little less than half.

THE WORKERS' FEARS

Overall, Steinway Musical Instruments Inc., which owns Steinway & Sons as well as Asian-manufactured brands Boston and Essex, experienced a 21 percent decline, equivalent to $48 million, in its piano sales in 2009. Although the company’s stock price has risen by 100 percent from a 2009 low, the price today – just under $20 – is roughly what it was 15 years ago.

Steinway’s Astoria factory has felt the recession’s blow. Rohan Somnarain, the beleaguered president of United Piano Workers Local 102 — the union that represents Steinway workers — recounted a litany of woes. Union members’ wages, between $16.90 and $28 an hour, are frozen until 2012.

Since August 2008, Steinway & Sons’ staff has been reduced by 30 percent, Gilroy said. Somnarain added that 142 union members were laid off between November 2008 and November 2009. There are currently 259 workers on the Astoria factory floor.

Dominick Iovino puts the finishing touches on a piano in Steinway Astoria's tone regulating department, on March 2, 2010. (Photo: Weilun Soon)

“We worked for four days a week for a while, just to try to keep it running, but now we’ve been back to five days a week,” said Dominick Iovino, a final tuner in Steinway’s tone regulation department. “They cut down the staff in order to keep the senior people working for five days a week.”

Somnarain said his union’s bargaining power with the company has been seriously eroded by the recession. In the late 1990s, when times were better, the factory had some 500 workers.

Some workers’ biggest fear is that the factory could close and move to another location, or consolidate with the Hamburg factory.

“It’s not like a hospital — if this hospital closes, you can go to the next on the next street,” Somnarain said. “If Steinway falls, we have to go to Yamaha, Kawai in Japan, China.”

Fueling fears of a move is the high price tag on the land Steinway’s Astoria factory occupies. The 450,000-square-foot space has a current market value of nearly $54 million, according to a New York City Department of Finance estimate.

However, Ron Losby, the president of Steinway & Sons Americas, firmly stated his commitment to keeping Steinway & Sons in Astoria.

“If we would move this to Georgia or some other place in this country, it would definitely be the death knell for the company, because we wouldn’t have the access to the labor we need,” Losby said. As a cautionary tale, he mentioned Baldwin, which moved its factory from Cincinnati to various locations before settling in Trumann, Ark. “That had a serious impact on the fortunes of that company, and now it’s just a shell of what it used to be,” Losby said.

“Moving from America (or even from New York) might mean cost reduction, but it would also mean reduction in the quality of the Steinway piano, which is simply unacceptable for our company or the musicians who play our instruments,” Gilroy added in an e-mail.

MADE IN ASIA

Today, the largest piano manufacturers are located in Asia. Yamaha, a global corporation that, unlike Steinway, produces a slew of products beyond pianos, is based in Japan. Still, the giant has been affected by the recession as well.

“All of us have taken a hit, probably 30 or 40 percent,” Bill Brandom, senior technical manager of Yamaha’s American keyboard division, said of the piano industry’s sales last year. “All of us are just trying to survive right now.”

In 2007, Yamaha closed its last American piano plant, located in Thomaston, Ga. Brandom said a major factor in Yamaha’s decision was the high cost of American labor. Yamaha now produces its uprights in China, a line of grands in Indonesia and the majority of its grands in Japan.
Workers bend a piano rim at Steinway's Astoria factory on March 2, 2010. (Photo: Weilun Soon)

While Yamaha and other piano manufacturers have streamlined the production process with high-tech machinery, Steinway & Sons relies on craftsmanship of a type that has all but vanished from the American manufacturing industry.

The majority of Yamahas are tuned by a machine, for example, whereas Steinways are tuned dozens of times by ear. From beginning to end, a single Steinway piano takes about a year to make.

As Asian manufacturers like Yamaha and Samick Musical Instruments Co., a Korean-based company, purchase more and more piano brands, it has become increasingly difficult to keep track of where these brands are made. Most of Samick’s roster of brands, including Wm. Knabe & Co., Pramberger, Kohler & Campbell and Sohmer, were formerly American and European companies that Samick bought out and now manufactures in Asia.

“They call it stencil pianos, and they’re still manufactured under those old names, but they’re pretty much Asian pianos,” explained Mark Dillon, the foreman of Steinway Astoria’s tone regulating department.

In the last decade, some of the world’s preeminent piano brands have also been sold in whole or in part. Samick became a part-owner of the renowned German piano company Bechstein in 2002, while Yamaha bought the equally esteemed Bösendorfer in 2007. Bechsteins and Bösendorfers are still produced in their home countries, Germany and Austria, respectively.

LOOKING FORWARD

In November 2009, Samick announced it had bought 1.7 million newly issued shares of Steinway Musical Instruments. These shares, along with the 200,000 shares Samick already owned, represent an ownership interest of 18.4 percent in the Steinway company. A Steinway press release noted that money from the purchase would go toward paying off the company’s debt and that Samick’s chairman, Jong Sup Kim, would join the company’s board of directors.

The announcement has led to speculation from people close to the industry that Samick may have purchased the shares to secure a manufacturing deal with Steinway Musical Instruments for the production of its Boston and Essex piano lines, currently made through other agreements in China, Korea and Japan.

Samick also has the option of buying another 1.7 million shares of Steinway Musical Instruments before March 31. If this purchase were to take place, Samick would own nearly 30 percent of the company. Kyle Kirkland, Steinway’s chief executive, and Dana Messina, Steinway’s chief financial officer, would still own a controlling share of the company.

Steinway & Sons' Astoria factory, which has manufactured pianos in the same location since 1873, on March 2, 2010. (Photo: Weilun Soon)

Despite the recession’s turmoil, there are signs that things are turning around. Traffic to Steinway’s showrooms has increased recently, Losby said. He also noted the market in Asia is increasing, though this market is by and large served by the Hamburg factory. And Steinway Musical Instruments’ fourth quarter earnings in 2009 were 26 percent higher than a year earlier.

“It might have reached its lowest point at this time,” said Alex Kostakis, co-owner of A.C. Pianocraft, a piano restoration company, of the piano industry at large. Kostakis, whose father worked at Steinway & Sons and founded A.C. Pianocraft in 1966, noted that Steinway could survive not only this economic downturn but also future storms.

“I honestly don’t see Steinway folding in any shape or form,” Kostakis said.

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The big splash consumer electronic development in the last month was the release of the iPad by Apple. And right on cue, several piano teaching and playing applications were announced. Most of these appear to be based on existing iPhone applications that have been modified to take advantage of the iPad's larger display surface.
A quick assessment of the potential for piano and DJ applications on the iPad, focusing on the larger iPad display, is offered by CNET and can be reviewed by clicking here.
Two newly announced piano products for the iPad include:
Magic Piano – Smule, best known for its Ocarina application for the iPhone, introduced Magic Piano. This is an i Pad-only application that lets users play piano on traditional and very non-traditional keyboards that are displayed on the iPad. The application is available from Apple’s iStore for $2.99. For more information about Magic Piano click click here.

Pianist Pro - UK-based MooCowMusic announced the release of their new application, Pianist Pro for the iPad. Building on their iPhone application Pianist, this new iPad-only application offers advanced music composition functionality for the casual player and the music professional. The application is available from Apple’s iStore for $9.99. Click here to read more about Pianist Pro.
 

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The Steinway piano that John Lennon used to write the song "Imagine" is on display at the world's first global Musical Instrument Museum (MIM) which officially opened its doors on Saturday, April 24 in Phoenix, Arizona. The piano is on loan to the museum for one year from its current owner, pop singer George Michael.

The $250 million museum has more than 12,000 instruments and objects in its collection, with 3,000 on display. It was founded by former Target stores chairman Bob Ulrich. The two-story, 190,000 square-foot museum features over 280 exhibits relating to practically every country in the world.

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Chai, Chang-Ning is one of the most acclaimed Chinese flautists of his generation. He graduated from the Central Conservatorium of Music in Beijing, China, where he also lectured until 1988. Whilst still in China, Chai was awarded First Prize at the prestigious 4th Annual Guan Dong Music Festival. In 1984 Chai was guest soloist of the "Great Tang Dynasty Music and Dance Orchestra" which performed at the ninth Asian Festival in Hong Kong. In concerts throughout Europe, North America and Asia, this outstanding orchestra demonstrated the brilliance of the arts in the overall achievements of the Tang Dynasty. Chai was frequently engaged as soloist and also ensemble-member with major Chinese traditional orchestras and symphony orchestras.

He has been associated with the sound-tracks of several acclaimed movies. The most distinguished of these include "The Last Emperor", "Children of the Dragon", and "The Road to Xanadu". The filmscore of "The Road to Xanadu" was composed by Australian composer Nigel Westlake. "The Last Emperor" (1986) directed by the Italian Director Bertolucci received seven Academy Awards including best soundtrack.

Chai migrated to Australia in 1988. Since his arrival he has made a distinct mark on the music community of Australia. In the year of his arrival he gave a lecture-recital for the NSW Conservatorium. Two presentations and a recital as a guest lecturer for the Music Department of Sydney University followed in 1989 and 1991. He was also engaged by the Woodwind Department of the Victorian College of the Arts and Pan Pacific Music Camp at Collaroy. He has regularly toured Australia and Asia as featured guest soloist with the respected Australian Ensemble, Sirocco. His involvement with the Australian media, in particular the Australian Broadcasting Corporation has been much appreciated by Australian audiences.

Chai is greatly admired not only as an ensemble musician but also as a solo performer playing extensively in Australia as a soloist and with many other acclaimed musicians. In Sydney, Chai directs "The New Music Ensemble" in performances of traditional Chinese music and teaches flute at the Australian International Conservatorium of Music in Harris Park.

Fred Blanks of the Sydney Morning Herald described Chai Chang-Ning as a "brilliant performer"
 

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Sophie Barili who was born in Marseille began her studies of the flute with Frédéric Chatoux and Jean-Marc Boissière at the music conservatory in Aix-en-Provence where she graduated at the age of 15. She then moved to Germany to study with Prof. Jean-Claude Gérard at the staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart and with Prof. Andrea Lieberknecht at the Hochschule für Musik und Theater in Hannover. From 2000 to 2002 she was the solo-flutist of the European-Union-Youth-Orchestra, then won an internship position with the SWR Radio Symphony Orchestra in Stuttgart and became a scholarship recipient with the Villa Musica in Mainz. In addition, she is a special award winner of the 6th International flute competition in Kobe/Japan. She's held the position of associate principal flute in the Pfalz Theater Orchestra Kaiserslautern since 2005.

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Brooklyn native Lori Bell is a flutist and composer of admirable depth and broad musical sympathies. A resident of San Diego, she has contributed to the development of higher standards of jazz performance while earning acclaim from both peers and critics for her artistry on stage and in recordings. Her debut on Discovery Records, "Love Will Win" with pianist / vocalist Dave Mackay and assist Andy Simpkins, received warm praise and four and a half stars (out of five) from the esteemed Leonard Feather and was selected on the Grammy list for Best New Artist in 1983. A second Discovery disc, "Take Me To Brazil", showed a natural fluency in this Latin idiom and demonstrated her ability to maintain a high level of inspiration. This album featured the first of several fine compositions and was enthusiastically given four stars by the Los Angeles Times in 1989. Over the past 15 years, Ms. Bell's many performances in venues such as the Wadsworth Theater, Elario's and the Jazz Bakery established her reputation, among musicians and audiences alike, as a remarkably vital interpreter.
Her outstanding contributions with the ensemble Straight Ahead, during the 2997 Mary Lou Williams Jazz Festival at the Kennedy Center, broadened that reputation and were noted in the music periodical Jazziz for their fire and commitment. She continues to deepen her understanding of the rich, varied language of jazz even as she develops her eloquent gifts of communication. In 1998, this artistic maturity was delightfully demonstrated with her stellar work with Dave Mackay and guitarist / vocalist Ron Satterfield in the trio Interplay. Their Self-titled first album from Webster's Last Word was selected on the 1999 Grammy ballot in four categories, including Best Jazz Solo by Ms. Bell on Pat Metheny, "It's Just Talk." The disc, which garnered four stars from Scott Yanow in Strictly Jazz magazine, also features her composition "Playing in The Snow", a waltz that skillfully combines an uncommon musicality with a fresh, intrinsic charm.
There is a surpassing craftsmanship-inspired improvisation rendered within a wonderful harmonic and melodic framework - that is at once fulfilling to the musician's mind and music lover's heart. It is a quality, which embodies the fundamental appeal of Ms. Bell/'s music and which conveyed her special talents to a wider audience with her most recent endeavor, her eponymous CD. Released in 2002 on the Beezwax label, the "Lori Bell" album successfully interpreted more commercially viable arrangements grounded in the best jazz fundamentals. The Grammy Award panel recognized the album's comprehensive excellence with selections in five categories, among them Best Instrumental Arrangement and Best Contemporary Jazz Album. The press also found the collaborative efforts of Ms. Bell and her colleagues to be exceptionally persuasive. Marco Pignataro wrote in Jazz Improv of "...truly enjoy(ing) the sophistication of the arrangements and the professionalism of each member of Mrs. Bell's band. And noted that Bell's "...command of the flute is outstanding...(her) arabesques really paint some beautiful landscapes." He appreciated the album for "...delivering a good mélange of playful grooves and soothing atmospheres as a backdrop for Bell's remarkable flute playing." In addition, Cadence magazine's Frank Rubolino observed that Ms. Bell "...makes the music happen with her wide range of improvising skills and melodious tonality." He also remarked of her "definitive solo statements on each of the tunes..." while commending her for the lyrical intensity and spontaneity of her tasteful playing.
Ms. Bell performed at the Gala for the 2003 Annual Conference of the National Flute Association. She and her musical partner, Ron Satterfield, distinguished themselves as worthy peers of the many fine musicians that graced the stage that evening. She seeks to use the valuable experience of participating in the annual conference as a foundation for inspired effort in reaching an even higher level of musical excellence.
 

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Katharina Böhm was born in September 1976 in Wasserburg am Inn. She is a descendant of Theopart Boehm, who is the founder of the modern flute system. Katharina's first flute lesson was 9 years old and she eventually became a student of the Richard-Strauss-Conservatory in Munich. Since 1997, she had learned by Professor I. Boßler Wechselte at the Hochschule für Musik Felix-Mendelssohn Bartholdy Leipzig. During her study, she joined several Orchestras and also she taught regularly. She took part many courses and played several chamber music ensemble including the Quintet Wind Strong Five (Quintetts Windstarke Funf).

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János Bálint flutist was born in 1961 in Hungary. He graduated from Franz Liszt Academy of Music in Budapest in 1984. After graduating he was given further education by András Adorján. He won many awards at international competitions at that time (Ancona, Leipzig). He was the solo flutist of the Hungarian Radio Symphony Orchestra between 1981 - 1991. In 1998, he was the Artistic director at Auer Sommer Academy and in 1999 he established and become a president of Doppler Music Institute in Hungary. Since 2000 he is a solo flutist of the Hungarian National Philharmonic Orchestra. In 1986 he became a soloist of the Cziffra Foundation and his international career was started. He has performed at the most important European festivals and concert halls (London, Paris, Bratislava, Roma, Assisi, Moscow, Helsinki, Salzburg, Budapest). He has also performed in Israel and the United States. He has performed with partners like Ruggero Ricci, Gervase de Peyer, Pierre Pierlot, Miklos Perenyi, Alain Marion, Maxence Larrieu, Georges Cziffra, Tamás Vásáry, Zoltán Kocsis András Adorján, Ransom Wilson and Jean Claude Gerard and with ensembles and orchestras like the English Chamber Orchestra, the Radio Orchestra of Bratislava, "The European Soloists from Luxembourg" Chamber orchestras, Kodáy and Bartok Quartett and with the most important Hungarian symphony and chamber orchestras. He regularly makes radio and TV recordings and takes part in live concerts transmitted by the media. He has made recordings with the Nexos Hungarian Hungaroton (5 CD's) and with the German Capriccio company (12 CD's). Two of this CD's had a specially big success (transcriptions of Paganim and Mendelssohn concertos). New CD with Zoltán Kocsis - Schubert, C.Franck, Dvosor. He has regularly judged at important international flute and chamber music competitions (Hungary, Yugoslavia, USA, Itaia, Poland, Austria, Rumania, Japan). His publications are issued by the Accord Company. He is teaching at Accademia Flautistica (Imola) and Hochshule fuer Musik (Detmold) and his students have received 20 prizes by International Competitions. He does 8-10 master classes a year all over the world and he has a wide repertory (the whole flute literature) from baroque to contemporary including more than a thousand pieces. Performing about 100-120 pieces from this repertory a year, these pieces include concertos, pieces with orchestra, with strings, guitar, harp, piano and voice. To make this wide repertory richer he often makes transcriptions. Many contemporary composers have written pieces for him and he got awards for the interpretation of these pieces.

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Masahiro entered the Tokyo College of Music in 1987, and joined the Tokyo Symphony Orchestra in 1989 while in college. He won 3rd prize in the the 5th Flute Convention Contest, solo division in 1991. Masahiro studied under Yasuo Yamamoto, Tsuyoshi Koizumi, Gao Saito, Paul Maisen. Currently, as a principal flutist at the Tokyo Symphony Orchestra, he plays in chamber music, solo works and recordings. Masahiro is a member of a flute Quartet, "The 4 flutes".

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Born in Ankara in 1957, he received his music and flute lessons from his father, Ismail Ayvazoglu. During his education, following an exam opened by the “Ankara State Opera and Ballet” he was accepted to the State Opera Orchestra in 1976. While making small programmes of harpa and flute duets for the TRT Ankara Radio, Ayvazoglu also gave concerts as a soloist player with the Ankara Chamber Orchestra. He was transferred to the “Izmir State Opera and Ballet” as Principal Solo Flutist in 1983. He gave concerts with the orchestra as a soloist performer and performed in the harpa and flute duets for the chamber groups. With a private scholarship Ayvazoglu worked with Prof. Hermann Klemeyer in the “Munich Higher School of Music” where he became Dr. Jochen Gartner’s student. He received a “master flutist” diploma from the “Munich Richard Strauss Conservatory”in 1992. While performing as soloist flutist for the “Richard Strauss Orchestra” for one year, Hürkan Ayvazoglu also worked as a guest performer for the “Neu Munich Symphony Orchestra”. He toured in Italy,Greece, Romania, Bulgaria, France, Holland, Tcheck Republic, Hungary, Azerbejian, Russian Republic, Mexico and numerous other European countries with orchestras and piano accompaniment concerts. He also gave numerous concerts in Germany. The artist, while participating in opera and music festivals in various countries throughout the year, also continues his work as a flute and chamber music instructor in “D.E.University Izmir State Conservatory”.

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He graduated at the Conservatorio S. Cecilia in Rome with Faliero and studied with Tamponi and Gallois. Since 1993 he plays with the Orchestra del Teatro Carlo Felice in Genoa and has played with such orchestras as Orchestra Sinfonica della RAI in Rome, Orchestra del Teatro S.Carlo in Naples, Orchestra del Teatro alla Scala in Milan. In 2003 he has won the First Prize at the Concours "Solo Flute in contemporary music" of Ovada. He plays in several chamber groups. New Music Studium, Choros ensemble, Orfeo and founded the Janua Coeli ensemble in Genoa.

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Pearl Flute Pinless Construction
The foundation of every Pearl flute is a patented Pinless construction, which eliminates the problems of traditional flute construction - protruding needles that snag clothing and give easy entry to perspiration and body acids causing corrosion and binding keys. Besides this unique pinless construction, Pearl flutes have additional bridge mechanisms that add strength to the entire mechanism. Plus, socket-head screws are inserted from the underside of the key work, preventing the entry of perspiration into the mechanism.

Pearl Flute One-Piece Core-Bar Construction
The One-Piece Core-Bar construction of all Pearl Flutes eliminates many of the wear and tear problems associated with traditionally constructed flutes, specifically in the areas of the high C key and the king post next to the F# key. Pearl has designed one rod that extends from high C through the king post resulting in an extremely reliable mechanism that plays more comfortably, stays in adjustment longer and is easier to service.
 

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Music2Master.com has announced that $10,000 in scholarships will be offered to Edina K-12 students for summer semester of 2010. Three students from each Edina school will be awarded a full semester scholarship from the submissions. Students of Edina schools that qualify are: Concord, Cornelia, Countryside, Creek Valley, Highlands, Normandale, South View, Valley View and Edina High School.

Students must be entering kindergarten or 12th grade by fall 2010. Majority of the entry process must be completed by the student.

Forms and information can be found and printed from
http://music2master.com/index.php?contentID=249

Questions about the entry process can be answered by calling 952-924-4141. Deadline to enter for consideration of the scholarships is May 9, 2010.
 

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The One-Piece Core-Bar construction of all Pearl Flutes eliminates many of the wear and tear problems associated with traditionally constructed flutes, specifically in the areas of the high C key and the king post next to the F# key. Pearl has designed one rod that extends from high C through the king post resulting in an extremely reliable mechanism that plays more comfortably, stays in adjustment longer and is easier to service.  Call us at 952-924-4141 for a playtest or more information on Pearl Flute Models.  Or, visit us at www.Music2Master.com

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Call 952-924-4141 to Enroll!
Registration going on NOW!

We are writing in regards to summer 2010 PRIVATE LESSON offerings along with CLASSES AND ENSEMBLES that will enhance your private lesson experience and allow you to try something different for summer!

We will have the following PRIVATE LESSON offerings this summer 2010

• Piano, Keyboard
• Flute, Piccolo, Alto Flute, Bass Flute
• Violin, Viola, Cello
• Voice
• Oboe
• Clarinet
• Alto Saxophone, Tenor Saxophone, Bari Saxophone
• Acoustic Guitar, Electric Guitar, Classical Guitar , Bass Guitar
• Trumpet
• Trombone
• Baritone
• Ukulele, Mandolin, Banjo
• Tuba
• French Horn
• Drums, Percussion
*These are 30, 45 or 60 minutes each depending on age, ability & teacher recommendation

We will have the following CLASSES AND ENSEMBLE offerings this summer 2010 to enhance your private lesson experience:

OPTIONS LISTED HERE:
• Clarinet Ensemble (For Middle School HS, Adult)
• Classical Destinations (Middle School, HS)
• Composition, Arranging, Theory Classes (For Middle School, HS, Adult)
• Flute Ensemble (For Middle School, HS, Adult)
• Flute Performance Class (HS and Adults)
• Group Guitar Lessons (For Elementary, Middle, HS, Adult)
• Guitar Ensemble (For Elementary, Middle, HS, Adult)
• Introduction to Piano Lessons (Ages 4-5)
• Music Theory (HS and Adult)
• Orchestral Excerpts Class for Flute Students (HS and Adult)
• Vocal Ensembles/Choirs (For Middle School, HS, Adult)
• Vocal Performance Classes (For Middle School, HS, Adult)
• Wind Ensemble (Middle School, HS, Adult)
• String Ensemble (Middle, HS, Adult)
• Saxophone Ensemble (Middle, HS, Adult)
• Trumpet Ensemble (Middle, HS, Adult)

Call 952-924-4141 to Enroll!
Registration going on NOW!
 

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Several students from Music2Master recently were awarded superior ratings at Edina's annual Solofest. A requirement for all band students 7th-9th grade that are enrolled in Band at Valley View or South View Middle School in Edina, Solofest is an opportunity for individual musicians to perform their selected pieces for ajudication and ranking. Superior Rating is only given to those who perform at the top level. Solofest is held on a Saturday in March every year.

Students receiving a Superior Rating were Jack Swanberg, Maggie Horan, Rachel Earl, Lauren Johnson, Rebecca Earl, Lisa George, Adam Sverak, John Riedel, Jennifer Ettinger, Allie Whiteside, Michelle Grafelman, Mary Mathison. Additionally, “Best at Site”, “Outstanding Solo” and “Honorable Mention” were presented to several of the students as well.
 

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Several students from Music2Master recently were awarded superior ratings at Edina's annual Solofest. A requirement for all band students 7th-9th grade that are enrolled in Band at Valley View or South View Middle School in Edina, Solofest is an opportunity for individual musicians to perform their selected pieces for ajudication and ranking. Superior Rating is only given to those who perform at the top level. Solofest is held on a Saturday in March every year.

Students receiving a Superior Rating were Jack Swanberg, Maggie Horan, Rachel Earl, Lauren Johnson, Rebecca Earl, Lisa George, Adam Sverak, John Riedel, Jennifer Ettinger, Allie Whiteside, Michelle Grafelman, Mary Myers. Additionally, “Best at Site”, “Outstanding Solo” and “Honorable Mention” were presented to several of the students as well.
 

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The Quantz series embodies ingenuity, innovation and diversity, and is totally unique in the flute making industry. Aspiring flautists have never been so fortunate. Every Quantz model has French pointed arms. Once considered solely the domain of handmade flutes, it is now universally provided by Pearl. Pearl’s patented Pinless mechanism and One-Piece Core-Bar construction are also present throughout the range. This ingenious yet simple design affords even the student
or amateur flautist with an exceptionally efficient and dependable mechanism - another industry first.

The Quantz series has now expanded to include four models. All of them feature Pearl's French pointed arms, Pinless mechanism and One-Piece Core-Bar.

The 765 model has a Sterling Silver headjoint,body and footjoint, with Silver clad keys.
The 665 model has a Sterling Silver headjoint,with Silver clad body, footjoint and keys.
The 525 model has a Sterling Silver lip and riser, w Silver clad headjoint, body, footjoint and keys
The 505 model has Silver clad headjoint, body, footjoint and keys

All of these models are available through Music2Master.com. Call us for an appointment at 952-924-4141. http://www.Music2Master.com or http://www.PearlFlutes.net for more information

 

The new Calore headjoint is Pearl’s most responsive and flexible headjoint ever created.
Our craftsmen in Japan have designed a perfect blend of powerful tone, effortless articulation, and exceptional dynamic range in one headjoint that is simply a joy to play.

“When I first tried the new Pearl headjoint, I knew within SECONDS that it was amazing. All I could say was “Wow! Incredible!” What I personally look for in a headjoint is the complete openness of sound, and that no matter how much or how little air/volume I put into the flute, it is “received”. This head is by far the best that I have every tried!” - Rhonda Larson

Available for our Professional Series Handmade Flutes with standard Pearl lip plate and riser options.

We invite you to try Pearl’s new Calore headjoint and experience a new level of unmatched performance.

Our headjoints are available in three different metals - Silver, Gold and Platinum. Silver is best known for its sonorous sound and its wide tonal range. Gold is available in 3 different carats - 10K, 14K and 18K. As the carat level goes higher, the sounds gets more warm and rich, and Gold never tarnishes. Platinum is a rare material, and when used with Gold or Silver, produces enhanced power and projection. Through combining different elements, we can also create unique hybrid Headjoints. Gold and Platinum can produce stunning creations of sound when used with Sterling Silver. Using Gold or Platinum as the Headjoint Riser or Lip Plate can greatly enhance the projection, desired tonal quality and subtlety. We suggest a personal consultation with us so that we may work with you in selecting from an assortment of Headjoint Models and Materials. Available by appointment at Music2Master.com! 952-924-4141. http://www.Music2Master.com or http://www.PearlFlutes.net for more information
 

"...Once every generation there comes along a transformative force that breaks all the industry rules. Larson wields her instrument like a blow torch, breaking down our Victorian preconceptions of what the classical flute should be, how it should sound and where it should take us... This intensely gifted flutist needed little more than her native Montana charm to win the hearts of the packed house..." raves Connecticut's VOICES review of "THE RHONDA LARSON BAND" in concert. Flutist James Galway said of Rhonda, "...she's one of the best---a great player---and she does her own thing."
Entering the national music scene as a classical flutist, Rhonda Larson won first place in the National Flute Association's Young Artist Competition in 1985, and was awarded a Carnegie Hall debut. Shortly thereafter, Rhonda joined forces with the Paul Winter Consort, crossing over into the World Music genre. She has toured in Russia, Asia, Europe, Central America and throughout North America. Rhonda won a Grammy Award for the "SPANISH ANGEL" release, recorded live in Spain with the Consort. Rhonda officially parted from the group at that time to embark on her individual music path.
Commencing Larson's solo musical pursuits, she released "FREE AS A BIRD" on Earth Sea Records, receiving world-wide critical acclaim. The recording is marked by a marriage of Rhonda's classical heritage to the traditions of jazz, celtic, ethnic, and sacred music. Larson's unique blend of genres, combined with her musical and technical wizardry, has begun a new generation for the flute as a leading voice in the music world. A review from the New York convention of the National Flute Association affirmed, "...her technical abilities are astoundingly advanced! She does something that sounds like she is playing chords on the flute...she's destined to be a mega star..."
Rhonda has not only established herself as a virtuoso performer, but as a foremost ethnic flutist encompassing traditions from around the world. Most recently, Larson traveled to South Africa as a musical ambassador for the United States to perform for the Parliament of the World's Religions, sharing the stage with such luminaries as Nelson Mandela and the Dalai Lama. Composing much of her own repertoire, Larson continues to be recognized as a visionary force, creating a refreshing hybrid music for the flute. In the pioneering spirit of her home state of Montana, Rhonda continues to blaze her own trails...Her sheet music is available at Music2Master.com along with her CD’s!
 

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