After our first round of the Michigan Choral Commission Consortium, I took a year off to reflect, as well as tackle some other big unrelated projects. Now I’m back with the second edition of MC3, and I’m hoping it’s now going to be an annual thing.
In essence, we’re joining together to commission new music for Michigan choirs. Our lead composer this year is Andrea Ramsey, and she’ll be writing an upbeat, uplifting SATB+piano piece suitable as an opener/closer. The text looks great!
The coolest part of how MC3 is set up is that the value grows with the number of participants – so participating choirs are motivated to get their friends involved. For every 10 choirs who join, we commission an additional piece. I’m hoping to commission at least two pieces this year, and I think there’s the potential for three. We’re already close to signing up the first ten, just from past participants. The $300 fee is reasonable for commissioning an outstanding composer, but if you get three or more commissions for the same $300, you’re actually paying less money per piece than you might pay for octavos at the store!
Consortium members receive:
- PDFs of the composition upon completion (planned for August).
- Opportunity to influence selection of composers for future years.
- Possible special collaborative events (stay tuned).
- Your choir name listed in the octavo in the event of its publication.
- A private Facebook group for sharing insights and ideas with other MC3 members.
If you’re a Michigan choir director, watch for an email from me about joining our merry band of new music supporters. And if you don’t get one, contact me for more information, or just click here to become a new member of MC3!
Yesterday marked the 50th anniversary of the beginning of Mister Rogers’ Neighborhood. Today I was struck with this quote:
“It’s not so much what we have in this life that matters. It’s what we do with what we have. The alphabet is fine, but it’s what we do with it that matters most. Making words like ‘friend,’ and ‘love.’ That’s what really matters.”
Mr. Rogers’ example is one of not only using his skills, but being forever mindful of how he was using them.
How often do you ask yourself, what am I doing with my alphabet of musical skills? What can I do with a choir?
What is the musical equivalent of using the alphabet to make words like “friend,” and “love?”
George Washington wrote in a letter to his nephew,
True friendship is a plant of slow growth and must undergo and withstand the shocks of adversity before it is entitled to the appellation.
So it is with great ensemble singing. We cannot attain the deep, intimate, soul-stirring performances of our dreams without adversity, without striving, without time spent together.
I would rather hear a choir of amateurs who have forged this bond than a choir of the best “ringers” brought together to sing for a concert.
Overwhelmingly often, students will rise to the bar you set for them. They will not always clear the bar, but they will rise to meet it.
Musical students have infinite potential for growth, and too many students turn away from music-making, or never reach their potential, because their leaders do not set the bar high enough.
Set the bar higher. You will risk disappointment, you will fail to serve them well as you grow, too. You will not always do justice to good music.
But your students will rise. Today, tomorrow, and long after they leave, they will rise because of where you set the bar. Or they won’t.
There is a balancing act in handling personal failures – particularly when it comes to mindset. Performing arts students should be reminded regularly of these two opposing forces.
Take your mistakes seriously. Work hard to recognize mistakes, work hard to prevent mistakes, and work hard to correct mistakes once made.
Don’t take your mistakes personally. Remind yourself that you are not your mistakes, and that mistakes are an inevitable part of pursuing art.
Which are your students struggling with today? These opposing muscles must both be strengthened for musicians to succeed. Remember that the student not taking his mistakes seriously today may be the one taking them too personally tomorrow – and he will need different encouragement depending on his state of mind.
Views, likes, shares. They’re what we count, because they’re easy to count.
But views are a terrible metric for quality. As my 11-year-old pointed out today, Gangnam Style holds the record for most YouTube views, at over 3 BILLION.
It doesn’t make it the best song, the best video, even the best Psy song.
But it’s easy to measure, so we measure it.
It takes constant reminding that views are not correlated to quality. Remind yourself today that the work you do is valuable, even if it doesn’t garner 3 views, let alone 3 billion.
Views are not quality, and quality does not compel views.
Say it again.
Ask as often as possible to the people you work with:
How can I make your life better?
Ask as often as possible to yourself:
How can I show my love?
There are lots of ways a piano can help increase your practice efficacy. Here are ten:
- Use the piano to play your part in time with your singing.
- Use the piano to play first and last pitches in each phrase.
- Use the piano to play the full accompaniment as you sing.
- Use the piano to play the left hand of the accompaniment as you sing.
- Use the piano to play the bass part as you sing (unless you’re a bass).
- Use the piano to play the melody as you sing the harmony.
- Use the piano to outline the harmony as you sing the melody.
- Use the piano to play whichever part is closest and/or most dissonant to yours.
- Use the piano to play random distractions while you sing your part.
- Use the piano as a stand to hold your music while you sing a cappella.
Don’t fall into ruts in your practice – use the piano for all it’s worth!
We go through many stages in our development of skills. Here’s a rough outline of the progression.
- I can’t do this at all.
- I can’t do this well.
- I can do this well as long as I’m not doing anything else.
- I can do this well with slight distractions.
- I can do this well despite major distractions.
- I can always do this.
- I can’t remember not being able to do this.
“I work from a hypothesis of generosity with you. If things are not going well, I assume the best I can about your intention and behavior, and I ask you about it.”
– Brené Brown, in conversation with Krista Tippett (unedited interview)
I find that approaching work, love, and life with this generous mindset is a game-changer for improving the interactions I have with everyone in my life.
How can we bring more of this generosity into your teaching? Can we assume the best of our students intentions and maintain communication?