Now, one of two things will happen:

1.)  The class will go great, the students will leave happy, and a construct will be implanted in the new teachers mind which goes something like “wow, I’m really good at this teaching lark, and can happily teach without worrying about lesson planning”

OR

2.)  The class will be terrible, the students will all go home and complain to their parents, at which point said parents will ring any administration at the music school / the sick teacher /  whoever, and this will implant the notion in the powers that be not to use that young teacher EVER again, as the consequences are too much work, when in reality that teacher was given no support whatsoever or taught anything about teaching!!

Both of these outcomes are dreadful.  Both of these outcomes should be avoided at all cost.  Pity the new young teacher who is given no guidance or training.  They have to learn by feel and instinct alone.

Luckily, or perhaps unluckily for me, my experience was number 1, which left me feeling great and also set me up for being asked to start teaching more regularly, but it also meant that for the first 10 years of my teaching life (until age 27 to be exact, yes I remember the exact moment) I felt that my time could be spent on more important business activities than lesson planning, and while I believe most of my students got a lot of good stuff out of me, why am I now the complete evangelist for taking the time to implement good planning methodologies . . .

RESULTS.  And i can prove it now in the decade I have had between 27 – 37.  Observing over 120 music teachers of all the ages, intelligence, shapes, sizes and abilities, you could ever imagine

Tomorrow I will post some of the things I know work brilliantly and how lesson planning can be implemented quickly, efficiently, and be awesome for the benefit of both student AND teacher.

Talk soon.

Gareth

This fantastic competition has been running in Auckland for 7 Years now, and I have been privalleged to be asked to Judge each year from the first finals, cramped into the piano department of Atwaters Musicworks, where parents spilled out the door and climbed on top of on another for a photo of their kids playing;  To last year at the beautiful Bruce Mason Centre on the North Shore.

This competition gives intermediate school aged children who might otherwise be confined to being ‘bedroom guitarists’ or ‘closet drummers’ the chance to stage a massive gig in front of screaming /cheering fans.  I totally dig the look on the faces of the finalists and winners as they come up on stage to take prizes ~ a mix of shear surprise and elation!

With the Sweet As new endorsement as a major sponsor this year by Musicworks, we have got together a committee of interested parties to make sure this new legacy on the Auckland Music Calendar can not only continue, but prove bigger and better than ever.  This means a re-branding, inspired by all the high’s and lows of every competition that has come before.  If you have photos, comments, video, memories, WHATEVER it would really help us when we take to our marketing team and they decide what to re-title the competition this year.  Please share them with us, or post to:

PO BOX 74 198,  Greenlane, Auckland, 1546

Awesome.

Pretty important then! Actually even back in my Uni days I remember serious discussion around the coke machine at the Conservatorium of how performers had sounded ‘stale’ , ‘jerky’ , or ‘unconvincing’ during their gig, and I know only too well from first hand experience that no matter how well prepared you are with a piece, when nerves come into the equation the game changes. Some people took Beta Blockers, supposed to work, don’t have any experience myself, others spent time studying improvised music and performed Jazz as there is no better way to be put on the spot than having to find a completely improvised solo within you.

So this mind/body connection is acknowledged as being really important to pulling off a performance in which you are connected to and able to attract your audience, thereby making them come back for more / download your single / get the T-shirt. Let me quote Rachael once more. “My personal experience of Flow is of having uninterrupted time and an inspiring space to be completely immersed in music, whether practicing, rehearsing, teaching, recording, or performing. By becoming fully involved in the creative process one loses track of time and the stresses of the world disappear and you find an inner peace and happiness” Woah – Flow sound AMAZING, & it’s just what we all need.

How can this be taught? Ideas put forward are by encouraging your students to ask themselves questions:
* How do I feel right now?
* How much energy do I have?
*Am I bored OR am I anxous?
*Am I trying to be too perfect?

Seems a little staged to be talking to musicians in this manner, but the second suggestion “How much energy do I have now?” resonates alot with me as I have had quite a lot of success with taking notice of my diffferent energy patterns throughout the day and graphing when I am at my best for practice, writing, reflecting, reading etc. Try it out. I know for instance I used to practice first thing in the morning because at Music School that’s when everyone else was doing it. Took me 10 years to figure out practicing for an hour in the morning was generally about the same as half an hour at 10 pm, as I am a bit of a night owl – go figure.

Back to Rachael. Just be aware that her practice is in helping classical and orchestral players, but at the same time these are all good ideas for you ‘touchy feely, wierd and arty creative types’ hah!

“In practicing and performing music, Flow is achieved through four basic steps: continuous contact with the instrument, developing a sense of resonance produced by the instrument and one’s body, an ease in playing which is enhanced through movement and the use of improvisation to study repertoire.
FEEL – be aware of your creature comforts
MOVE – Allow yourself to move, your body is intelligent!
ENGAGE – Be mindful of your energy level
TOUCH – Enjoy the contact with your instrument
RESONATE – Search for overtones
IMPROVISE – Play around with the music
SLOW DOWN – Enter the sound world of each and every note

How can you apply flow to your work?
* Set realistic and obtainable goals
* Awareness of your skills and abilities
* Awareness of the challenge of the goal
* Trust confidence in your own abilities
* Remove Judgement
* Remove external expectations
* Create your own space and time
* Reduce distractions and interruptions

Whadya think? Useful? I won’t rabbit on here about my thinking, but keen as to know your thoughts and if you have managed to achieve flow in a key performance.

Leave a post.

(Article cited: Teaching in Flow for musicians – written by Rachael Beesley, NZ Coda, June 2011, published by ABRSM, www.abrsm.org)

Pretty important then! Actually even back in my Uni days I remember serious discussion around the coke machine at the Conservatorium of how performers had sounded ‘stale’ , ‘jerky’ , or ‘unconvincing’ during their gig, and I know only too well from first hand experience that no matter how well prepared you are with a piece, when nerves come into the equation the game changes. Some people took Beta Blockers, supposed to work, don’t have any experience myself, others spent time studying improvised music and performed Jazz as there is no better way to be put on the spot than having to find a completely improvised solo within you.

So this mind/body connection is acknowledged as being really important to pulling off a performance in which you are connected to and able to attract your audience, thereby making them come back for more / download your single / get the T-shirt. Let me quote Rachael once more. “My personal experience of Flow is of having uninterrupted time and an inspiring space to be completely immersed in music, whether practicing, rehearsing, teaching, recording, or performing. By becoming fully involved in the creative process one loses track of time and the stresses of the world disappear and you find an inner peace and happiness” Woah – Flow sound AMAZING, & it’s just what we all need.

How can this be taught? Ideas put forward are by encouraging your students to ask themselves questions:
* How do I feel right now?
* How much energy do I have?
*Am I bored OR am I anxous?
*Am I trying to be too perfect?

Seems a little staged to be talking to musicians in this manner, but the second suggestion “How much energy do I have now?” resonates alot with me as I have had quite a lot of success with taking notice of my diffferent energy patterns throughout the day and graphing when I am at my best for practice, writing, reflecting, reading etc. Try it out. I know for instance I used to practice first thing in the morning because at Music School that’s when everyone else was doing it. Took me 10 years to figure out practicing for an hour in the morning was generally about the same as half an hour at 10 pm, as I am a bit of a night owl – go figure.

Back to Rachael. Just be aware that her practice is in helping classical and orchestral players, but at the same time these are all good ideas for you ‘touchy feely, wierd and arty creative types’ hah!

“In practicing and performing music, Flow is achieved through four basic steps: continuous contact with the instrument, developing a sense of resonance produced by the instrument and one’s body, an ease in playing which is enhanced through movement and the use of improvisation to study repertoire.
FEEL – be aware of your creature comforts
MOVE – Allow yourself to move, your body is intelligent!
ENGAGE – Be mindful of your energy level
TOUCH – Enjoy the contact with your instrument
RESONATE – Search for overtones
IMPROVISE – Play around with the music
SLOW DOWN – Enter the sound world of each and every note

How can you apply flow to your work?
* Set realistic and obtainable goals
* Awareness of your skills and abilities
* Awareness of the challenge of the goal
* Trust confidence in your own abilities
* Remove Judgement
* Remove external expectations
* Create your own space and time
* Reduce distractions and interruptions

Whadya think? Useful? I won’t rabbit on here about my thinking, but keen as to know your thoughts and if you have managed to achieve flow in a key performance.

Leave a post.

(Article cited: Teaching in Flow for musicians – written by Rachael Beesley, NZ Coda, June 2011, published by ABRSM, www.abrsm.org)

Pretty important then! Actually even back in my Uni days I remember serious discussion around the coke machine at the Conservatorium of how performers had sounded ‘stale’ , ‘jerky’ , or ‘unconvincing’ during their gig, and I know only too well from first hand experience that no matter how well prepared you are with a piece, when nerves come into the equation the game changes. Some people took Beta Blockers, supposed to work, don’t have any experience myself, others spent time studying improvised music and performed Jazz as there is no better way to be put on the spot than having to find a completely improvised solo within you.

So this mind/body connection is acknowledged as being really important to pulling off a performance in which you are connected to and able to attract your audience, thereby making them come back for more / download your single / get the T-shirt. Let me quote Rachael once more. “My personal experience of Flow is of having uninterrupted time and an inspiring space to be completely immersed in music, whether practicing, rehearsing, teaching, recording, or performing. By becoming fully involved in the creative process one loses track of time and the stresses of the world disappear and you find an inner peace and happiness” Woah – Flow sound AMAZING, & it’s just what we all need.

How can this be taught? Ideas put forward are by encouraging your students to ask themselves questions:
* How do I feel right now?
* How much energy do I have?
*Am I bored OR am I anxous?
*Am I trying to be too perfect?

Seems a little staged to be talking to musicians in this manner, but the second suggestion “How much energy do I have now?” resonates alot with me as I have had quite a lot of success with taking notice of my diffferent energy patterns throughout the day and graphing when I am at my best for practice, writing, reflecting, reading etc. Try it out. I know for instance I used to practice first thing in the morning because at Music School that’s when everyone else was doing it. Took me 10 years to figure out practicing for an hour in the morning was generally about the same as half an hour at 10 pm, as I am a bit of a night owl – go figure.

Back to Rachael. Just be aware that her practice is in helping classical and orchestral players, but at the same time these are all good ideas for you ‘touchy feely, wierd and arty creative types’ hah!

“In practicing and performing music, Flow is achieved through four basic steps: continuous contact with the instrument, developing a sense of resonance produced by the instrument and one’s body, an ease in playing which is enhanced through movement and the use of improvisation to study repertoire.
FEEL – be aware of your creature comforts
MOVE – Allow yourself to move, your body is intelligent!
ENGAGE – Be mindful of your energy level
TOUCH – Enjoy the contact with your instrument
RESONATE – Search for overtones
IMPROVISE – Play around with the music
SLOW DOWN – Enter the sound world of each and every note

How can you apply flow to your work?
* Set realistic and obtainable goals
* Awareness of your skills and abilities
* Awareness of the challenge of the goal
* Trust confidence in your own abilities
* Remove Judgement
* Remove external expectations
* Create your own space and time
* Reduce distractions and interruptions

Whadya think? Useful? I won’t rabbit on here about my thinking, but keen as to know your thoughts and if you have managed to achieve flow in a key performance.

Leave a post.

(Article cited: Teaching in Flow for musicians – written by Rachael Beesley, NZ Coda, June 2011, published by ABRSM, www.abrsm.org)

Well, I have decided that this looks like a nice place to keep the Lyrics Sheet. Promise to keep it up to date with gigs, dates, info, interesting rambles, and the latest in the world of contemporary Music Education.

Had a nice weekend (gig free) staying at my father-in-laws place at Taupo, but had a nasty shock when The Violent Femmes ‘Blister in the Sun’ came on the radio while I was making my toast. I should explain that Julie’s dad is 70, so the radio station is tuned religiously to Classic Hits. You really know you are getting old when the anarchistic songs of your teenage years start getting played on Classic Hits at 7 am in the morning!

“MIDGET”

Our youngest band at School of Rock have started to get a bit of a cult following amongst the older bands, with a chant of ‘Midget, Midget, Play some Midget” at every show, something of an echo from their sellout show at Rockcamp last year. Well, the Midge have just had a blast recording their new single at The Rockfactory, filming a brand new Video Clip, Playing a Guest appearance on Sticky TV (Look out over the next few weeks) and getting a video to air at the Recent School of Rock Galatos show. Have a look.

“Midget on Sticky TV and Youtube!”
http://www.youtube.com/watch?v=9r2zgDjbCuQ
http://www.youtube.com/watch?v=2Vn7KdKARZM
http://www.youtube.com/watch?v=UQJc9t6n6Jk

http://www.youtube.com/watch?v=j9m75XLpdes

Jon Hunter Goes all Euro On us

Busy Guy Jon. Our congrats go out to School of Rock’s exceptional Vocal Maestro Jon Hunter who after spending some quality professional development time Training in the ‘Estill Vocal Method’ in Australia last month, has just found out that he has received a full scholarship (airfare, accomodation, and course fees) to attend the professional development Vocal Conference in July, training in both London and Rome!! We are proud you are able to represent us over their mate.

SCHOOL OF ROCK SONGWRITING MASTERCLASS:

Wednesday May 25th, we will have a 1 hour seminar up at George St called “The Songwriter in the Marketplace with expert Writer and composer Clive Cockburn.

$20 course fee to the public, or FREE to Currently enrolled School of Rock students.

Limited to 10 spaces, and RSVP by 20th May. To register please email; sally@schoolofrock.co.nz

Here is a full video biography of Clive at the link below

http://www.thecontemporarymusiccourse.com/index.php/about-us

SMOKEFREE ROCKQUEST ENTRIES CLOSING FRIDAY!!!

“Join in Smoke Free Rockquest” Get your band together,

go to www.smokefreerockquest.co.nz and sign up!

Entries Closing Soon.

Atwaters Musicworks are holding some MEAN clinics for Guitarists and Drummers during Music Month. As always they are supporting our students by offering discounted tickets for School of Rock Students Only, meaning you can get into the Guitar Clinic for only $7 and Corey’s drum clinic for $3 (Thanks Nate!)

All the Info and how to get tickets is here;

http://www.musicworks.co.nz/news/nz-music-month-is-here-check-out-these-awesome-clinics/

Wanna do some recording? Check out a studio during Music Month!!

National Recording Studios Open Day participants

An impressive physical and stylistic range of fourteen music recording facilities from Dunedin to Silverdale, are taking part in the second National Recording Studios Open Day, on Saturday May 28, from midday to 4pm. They include community and university facilities, two newly opened private studios and several of the country’s best known and most highly regarded studios.
In descending geographic order they are:

Hysteria Studio, Keith Hay Court Silverdale: www.hysteriamanagement.com or ph (09) 421 0945
Earwig Studios, Birkenhead Auckland: www.earwigstudios.co.nz or ph (09) 480 2219
Depot Sound, Devonport Auckland: www.depotsound.co.nz or ph (09) 963 2331
York Street, Parnell Auckland: www.yorkstreet.co.nz or ph (09) 307 1444
Montage Recordings, Grey Lynn Auckland: www.montagestudio.co.nz or ph (09) 376 2691
Roundhead Studios, Newton Auckland: www.roundheadstudios.com or ph (09) 377 7600
The Lab Recording Studio, Mt Eden Auckland: www.labstudio.co.nz or ph (09) 623 3930
The Rock Factory, Sylvia Park Auckland: www.therockfactory.net or ph (09) 270 9555
The Stomach, Palmerston North: www.creativesounds.org.nz or ph (06) 359 0120
Tsunami Sound Studios, Levin: www.tmv.co.nz or ph (06) 368 3655
PAF – Villa Number 9, Upper Main Drive Porirua: www.paf.co.nz or ph (027) 454 8523
STL Audio, Webb St, Wellington: www.stlaudio.co.nz or ph (04) 801 5602
Angels Gate Recording Studio, Sydenham Christchurch: www.angelsgate.co.nz or ph (03) 366 7640
Albany Street Studios, (NZMiC) Dunedin: www.nzmic.org ph (03) 479 8885

Heaps of people are saying that Kimbras new video “Cameo Lover” is the future of pop and she has timed this one just right … what do you think? Was just talking to a bass player who made the rather clever observation that “all lame songs need a great music video to make people listen/watch them …” HA!

http://www.youtube.com/watch?v=elyk9MBY72U

Sweet. Would love your feedback if this new Blog will work for ya. Hit the comments button and let me know.

Happy Music Month

“But most importantly, and most positively, consumers will continue a flight to quality. In other words, half-assed don’t cut it no more, especially live. I’m not here to argue the merits of the word “quality” (look at the top of the charts — people are gonna like what they like, even if it ain’t your thing), but if you cannot deliver a consistently good stream of work, either recorded or live, then don’t come to my house — people ain’t got the time or money to waste on a bad album or a bad show.

2010 saw the beginning of a massive weeding out in the live space — this may be bad for a large booking agency or any venue that has to fill a space x number of days of the year, but it’s great for consumers, as bands are forced to deliver quality or get out of the game. “

Ohhh yeah! I TOTALLY agree – wanna make it kids, you have to craft you art. Have you put in your compulsory 4 – 6 hour today? As Malcolm Gladwell wrote in ‘Outliers’;

“The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a word-class expert – in anything. In study after study, of composers, basketball players, musicians, fiction writers, ice-skaters, master criminals and what have you, this number comes up again and again.’

Righto, put down that x-box controller – get practicing!

Homebrew? At the Artist Collective last Wednesday (http://www.lovemusic.co.nz/artistcollective/index.php/home) Music Video Director extraordinaire Ivan Slavov (www.myspace.com/ivanslavov) mentioned that in his opinion NZ Hip-Hop was slowly dying away and it was time for Hip-hop groups to step up again. Well Ivan (pronounced E-Vaan) make sure you get to the music awards this year on October 7th. THESE guys stepped up, ran out, yelled out, rat-a-tat crazy flow about everything from being on the benefit with its crazy chorus “Get on the Benefit” that had a crowd of music industry types chanting it back to them. Even DJ Sir-vere was lovin it, rockin out at the side of stage with a huge smile on his face.

Visiting friends from Wellington ruined my chance of seeing the final act, the acclaimed Naked and Famous, which is a shame because I love Thom and Aliisa and what they do. This is their year after the massive success of Young Blood both here and across the ditch, and what a lot of people don’t see is that all the while they are scalling the busy world of making it as a band, they also give a lot of time to education and talking to and mentoring young bands around Auckland. Yeah, yeah, yeah, yeah!

How cool is that?  We are going to have the best looking website for you guys.  One page per band coming up!