Showing posts with label Royal Conservatory of Music. Show all posts
Showing posts with label Royal Conservatory of Music. Show all posts

Friday, April 27, 2018

See My Presentation at Summer Summit Toronto 2018


I'm thrilled to announce that I'll be giving a workshop at The Royal Conservatory's Summer Summit Toronto 2018. At 1:30pm on Saturday, August 11, I'll be giving a presentation entitled Creative Approaches to Technology in the Teaching Studio. Here's the official blurb:
Explore creative ways to integrate technology into your teaching studio, using a variety of tools and strategies. This session will offer practical ideas on how to utilize digital resources—including the RCM’s iPad apps and online courses—to support your pedagogical goals and create a vivid and engaging learning experience.
Those of you who have seen my technology workshops will know that they tend to be oriented towards the practical. Rather than impressing people with shiny new devices, I like to start with the importance of understanding what your agenda and objectives are as a teacher. From there, I'll be talking on how you can utilize specific tools in order to further what you intend to accomplish in your mission as a teacher.

The full lineup of clinicians at the workshop includes John Burge, Maria Case, Liz Craig, Sue Elliott, Julia Galieva-Szokolay,Tom Green, Sean Hutchins, Midori Koga, Janet Lopinski, Anne-Marie Page, Scott Price, Joe Ringhofer, Elaine Rusk, and Lisa Tahara.

For more information on registration, travel, and accommodation, check out the Summer Summit page.

Photo by Tim Gouw on Unsplash.

Thursday, April 19, 2018

On the Road in April


I've been out of town a lot this month, with two routes last week for The Royal Conservatory's Certificate Program in Halifax and Regina. The view in the picture above is from one of the rooms at the Maritime Conservatory of Performing Arts in Halifax, where I arrived just as the week's storms started to hit the Atlantic coast and just as my flu from the previous week was starting to abate. By the time of the first day of exams however, the sun was out and the weather was cold but bright. 

After Halifax, I had a day in Toronto followed by another short route in Regina. Going to Regina late last week meant that I dodged the ice storm that plagued so much of the region around Toronto, but the temperature was well below freezing for much of the short trip. 


Arriving in Langley, BC last Sunday, the sudden change in weather was a pleasant shock. The cheery blossoms are near the end of their blooming cycle in the Fraser Valley, so I was lucky to be able to catch a few pictures. 


This week I'm adjudicating for the Kiwanis Fraser Valley International Music Festival at Kwantlen Polytechnic University in Langley. The standard here is very high, and I'm continually impressed by the sophistication of repertoire choices from the young performers. The pianos in the picture above are a Fazioli on the outside and a Bechstein to its left. Fountain pens pictured above are a Waterman Expert Series I from the early 90's and a John Phelan custom cigar pen (yes, I collect fountain pens!). Next week I'm back to Toronto where I'll launch myself into one of the busiest times of the year.

A quick note to my students: I hope that you're reading this and I hope that you're practicing diligently. After hearing such excellent playing for the last two weeks, you can count on me being highly inspired. 




Sunday, August 17, 2014

What I've Been Up To Lately

The exam room in Calgary SW last week. How appropriate!
This summer is one of those times where so many projects are in development and coming up to completion that it can be difficult to take stock of exactly how things fit in perspective. Here's a short list of my current and recent projects:
  • Finishing up a tour of duty examining in southern Alberta this month, after previous trips to Vancouver, Surrey, Trail, and Nelson in BC this June. 
  • Working as Artistic Consultant alongside producer Anton Kwiatkowski for the recordings for the upcoming 2015 Piano Syllabus of the Royal Conservatory. Pianists performing on the series include Li Wang, Lang Ning Liu, Robert Kortgaard, Peter Longworth, Michael Esch, Ben Smith, and Janet Lopinski.
  • In collaboration with RCM Senior Academic Director Janet Lopinski, rewriting the technical requirements for the 2015 Piano Syllabus, as well as expanding the scope of the technique books for the next edition.
  • Finishing up the work compiling the repertoire lists for the 2015 Piano Syllabus.
  • OK, this is one of the coolest ones - performing the musical samples for the online component of the Four Star Sight Reading and Ear Training series, 2015 edition. This includes playing intervals, chords, chord progressions, clapbacks, and playbacks which will be available online for anyone who buys the book. The online component will be awesome!
  • Finally, I made my podcasting debut in June in conversation with Andrea Dow for Teach Piano Today. Have a listen to Episode 18, where I talk to Andrea about teaching and learning collaborative piano, careers in music, using technology, and being in the curriculum creation business.
Being a foodie in Vancouver.
Picture credit: Karen Lee-Morlang
And that's not even the projects I've got on deck for the fall (more later)...

So this summer has been a fascinating time of taking stock of projects about to finish as well as planning new ones for the fall. At the same time, I've been thinking about how I aim to approach this blog in light of how busy I've been lately. Much of my blog output seems to be in fits and spurts in between busy project times. 

I've been receiving a lot of email from people eager to get press and reviews for their products. It seems that this is a weird time, with traditional press no longer reviewing CDs the way they used to. There's an arms race going on with education apps, with the big winners being the teachers (and their students) who are able to fit these apps and their workflows into their teaching and practice. 

I'm particularly fascinated by the way technology fits into the teaching and practice process, not just as cool new things to amaze teachers at conferences, but as a way of utilizing these apps and devices to integrate seamlessly into the learning process. That's the kind of approach I would like to be taking in my articles in the next while.

And of course there will be giveaways as well. But now it's time for me to take a well-deserved break on a Sunday evening, with two full days of examining in Alberta remaining before I return to Toronto on Wednesday evening. 

The view from the Prince's Island pedestrian bridge last week in Calgary







Friday, June 03, 2011

Notes from the Road

June is usually a busy time for me, and this year is no exception. Here are some of the things I'm up to these days:

  • Last Sunday I held my annual studio recital at the Royal Consvatory. You can read about some of the things I and my students learned in my most recent article for Music Teachers' Helper.
  • Right now I'm on the road examining for Carnegie Hall Royal Conservatory in New Jersey. I started out in Spotswood a few days ago, and now I'm in the middle of a three day stint in Matawan. Tomorrow evening I drive out to Spring Valley, New York for my final day of this route.
  • Back in Toronto next week, I teach frantically for a few days, then head off to Vancouver for a week of examining mostly RCM Grade 10 students.
  • Starting in late June, I plan on getting to work compiling an ebook for release sometime this summer. Most of the material is already written, but formatting and distribution need some serious thought before the ebook gets released.
  • My students have noticed that their lessons notes are looking different these days. I've completely ditched handwritten lesson notebooks (my handwriting is illegible anyway) and now bring a laptop to every lesson in order to type out comments, assignments, and goals on Evernote. I'm going to write about this process in the coming weeks.
  • Finally, I just bought an iPad! I'm fascinated about using a tablet device for performing and teaching, and have already downloaded some cool apps that I'll get a chance to try out in the coming weeks. If you have any great music teaching or performing iPad apps to recommend, leave a note in the comments. 

Wednesday, June 16, 2010

1877 Rosewood Steinway Becomes Wall-Mounted Installation at the RCM

There's music in the frakkin' walls...an 1877 rosewood Steinway from the Royal Conservatory's instrument archive developed a cracked soundboard. Since the instrument was unplayable, KPMB Architects arranged for it to be mounted on the Evelyn and Burt Lavis Promenade just outside Koerner Hall. Here's a video of its installation:

Friday, May 28, 2010

Keyboard Pedagogy Professional Development Summit July 24-25 at the Royal Conservatory

How about a great excuse to travel to Toronto this July: the Royal Conservatory's Keyboard Pedagogy Professional Development Summit, a two-day symposium featuring piano pedagogy luminaries such as Marvin Blickenstaff, Andrew Hisey, Janet Lopinski, Kent Williams, and Jennifer Snow at the RCM's new Telus Centre for Performance and Learning. If you register before July 1, you'll pay only $275, after which the price goes up to $325. The student rate is only $195, regardless of when you register.

Below is the full program for the weekend - I particularly like how the breakout sessions are repeated throughout the day so you won't miss anything:
SATURDAY, JULY 24, 2010

8:00-8:45 a.m. Registration, Coffee
8:45-9:00 a.m. Welcome: Dr. Jennifer Snow
9:00-10:45 a.m. OPENING GROUP SESSION: Strong Foundations

Piano Pedagogy 101: In Consideration of the Basics
Dr. Marvin Blickenstaff
Engage in a comprehensive and insightful overview and explor
ation of basic teaching principles. Using the preparation / presentation / reinforcement approach, we will experience ways in which the teaching of reading, rhythm, and technique can begin in the first lesson.

10:45-11:00 a.m. Break

11:00 a.m.-12:00 p.m. BREAKOUT SESSIONS
Interactive Workshops: A, B, C

A. CREATIVITY AND SKILLS
A Creative Spirit: Pieces
Dr. Andrew Hisey
By mining repertoire for patterns and musical ideas and textures, teachers can invite students at all levels into radical acts of critical listening, improvisation, and creative exploration.

B. IMAGINATION AND APPLIED THEORY
Not Just in Theory: Making the Most of Repertoire Study
Dr. Janet Lopinski
Explore insights on the value of incorporating music theory into the piano lesson and demonstrates how a “multi-tasking” approach can engage students in the learning process while solidifying their understanding of the musical language.

C. INSPIRATION AND REPERTOIRE
Learning How To Learn
Dr. Kent McWilliams
Inspire students to become independent learners. Investigate specific teaching techniques that help students acquire problem-solving skills for life and develop a sense of inquiry that allows them to take ownership of their own music making.

12:00-1:00 p.m. Lunch

1:00-2:00 p.m. ROTATE BREAKOUT SESSIONS
Interactive Workshops: B, C, A

2:00-3:00 p.m. ROTATE BREAKOUT SESSIONS
Interactive Workshops: C, A, B

3:00-3:15 p.m. Break

3:15-4:00 p.m. TECHNOLOGY DEMONSTRATION
Beyond the Studio Walls: Long Distance Teaching: Yamaha
Mr. George Litterst and Dr. Jennifer Snow

4:00-5:30 p.m. PANEL DISCUSSION AND OPEN FORUM
Dr. Jennifer Snow
Expanding your Reach:
Professional Development and Opportunities
Panel: Frances Balodis (MYC), Elaine Rusk (Frederick Harris Music), Ann Edwards
(Royal Conservatory School), Jun Fujimoto (Yamaha), Victoria Warwick (ORMTA),
Dr. Andrew Hisey, Dr. Kent McWilliams, Dr. Janet Lopinski

5:30-7:45 p.m. Dinner Break: Group or Individual Options

8:00-9:30 p.m. RECITAL: Leonard Gilbert
Winner of 2010 Canadian Chopin Competition

SUNDAY, JULY 25, 2010

8:00-9:00 a.m. Coffee

9:00-10:45 a.m. LARGE GROUP SESSION
Nature’s Clues to Interpretation
Mr. Marvin Blickenstaff
We know it when we hear it: the performance sounds “natural” and “right.” What are the elements that contribute to a “natural” interpretation? In this presentation we examine the role that gravity, inertia, breath, and heartbeat play in formulating the interpretation of the music we play and teach.

10:45-11:00 a.m. Break

11:00 a.m.-12:00 p.m. BREAKOUT SESSIONS

Interactive Workshops: D, E, F
D. CREATIVITY AND SKILLS
A Creative Spark: Patterns
Dr. Andrew Hisey
Learn to approach the teaching of technical drills and theory constructions in w
ays that form a suite of practical tools for creative application and expressive satisfaction.

E. IMAGINATION AND REPERTOIRE
Discovering the Dances
Dr. Kent McWilliams
Explore the influence of dance on repertoire that we play and teach every day. Video demonstrations of standard Baroque dances (including the Allemande, Courante, Bourrée, Gavotte, Minuet, Sarabande, Gigue) as well as four distinct Polish folk dances that inspired Chopin’s Mazurkas and Polonaises will be highlighted.

F. INSPIRATION, MUSIC HISTORY AND STYLE
Beyond the Notes: Explorations:
Dr. Janet Lopinski
Inspire your students to develop a deeper awareness of musical style through incorporating the study of music history at all levels, from elementary to advanced. Ideas will be explored on how to inspire enhanced appreciation and enrich the musical experience for all of your students.

12:00-1:00 p.m. Lunch - FH Exhibit Room

1:00-2:00 p.m. ROTATE BREAKOUT SESSIONS
Interactive Workshops: E, F, D

2:00-3:00 p.m. ROTATE BREAKOUT SESSIONS
Interactive Workshops: F, D, E

3:00-3:15 p.m. Break

3:15-4:00 p.m. Technology Demonstration
E-pearl: Self regulated Learning for students

4:00-5:30 p.m. PANEL DISCUSSION AND OPEN FORUM
Dr. Jennifer Snow
Meaningful Assessment
Demystifying assessment: What to listen for and how to create improved student experiences
Panel: Dr. Thomas Green, Chief Examiner Practical Subjects (RCM Examinations), Janet Fothergill (Royal Conservatory School), Dr. Andrew Hisey, Dr. Kent McWilliams, Dr. Janet Lopinski

5:30-5:45 p.m. Closing Remarks
If you're interested in going to the Keyboard Pedagogy Summit, you can register online at rcmusic.ca.

Monday, May 10, 2010

ARC CD Launch Giveaway: Win 1 of 2 Copies of Two Roads to Exile

Two Roads to ExileUpdate: the contest is now closed, and the two winners are Brett Kingsbury and Fatima Medeiros! Thanks for playing - if you want to have a listen to Two Roads to Exile, you'll have to wait for the May 25 release date or pre-order the CD on Amazon.

Last week, I attended the CD launch event for Two Roads to Exile, the latest recording from Artists of the Royal Conservatory (reviewed here). What I didn't mention in the review was that at the launch I received two complementary copies ahead of the official May 25 release date!

So it's time for yet another free CD giveaway - rules and regulations are below. I would like to thank the Royal Conservatory and Sony Music Entertainment Canada for making these recordings available to Collaborative Piano Blog readers.

Competition Rules and Regulations

1. Answer the following question:
What are the names of the two previous commercial recordings of the ARC Ensemble (Artists of the Royal Conservatory) on RCA Red Seal?
2. Once you've figured out the answers, mail them to me at collaborativepiano [at] gmail dot com. Please note that you'll need to list both previous ARC recordings (in any order) to win one of the CDs.

3. There is no deadline for this contest. There will be two winners for this contest. After they have been selected, I'll update this post with the names of the winners, and them email them with a request for their mailing addresses. Once I get mailing addresses, I'll then send out the two CDs as soon as possible.

Best of luck!

Thursday, May 06, 2010

Review: Artists of the Royal Conservatory - Two Roads to Exile

Two Roads to ExileA double difficulty facing traditionally-minded post-Romantic German composers blacklisted by the Nazis in the 1930's was that even if they or their music survived Hitler's regime, they faced disdain and marginalization by a post-war European avant-garde intent on erasing the Romantic past and moving forward into the atonal age. Adolf Busch and Walter Braunfels were two composers who survived the Second World War with remarkable, although different stories.

Two Roads to Exile is the third release of Artists of the Royal Conservatory, the ensemble-in-residence at the Royal Conservatory of Music in Toronto (ARC for short). Adolf Busch, one of the great German violinists of the early twentieth century, reacted to the outbreak of violence against German Jews in 1933 by moving to Switzerland and refusing to perform in Germany, severely jeopardizing his performing career in the process. He later moved to the US, where with Rudolf Serkin he co-founded the Marlboro Festival. Walter Braunfels (a descendant of Louis Spohr), was removed from his position as director of the Hochschule für Musik Köln for being half-Jewish. During the war he was sheltered by the Catholic community in Überlingen and miraculously returned to his duties in Cologne afterwards.

The Busch String Sextet in G major, Op. 40 and the Braunfels String Quintet in F-sharp Minor, Op. 63 are difficult, dense scores redolent of the Romantic era's last flowering. These works demand several hearings in order to get a handle on the twists and turns of musical logic, especially in the Braunfels quintet, which goes the farther of the two in terms of emotional scope, harmonic compass, and color choices. Fortunately, ARC's playing (sans clarinet and piano this time around) is of such a depth, artistry, and discernment that repeated listening is a continual pleasure, especially given the fine acoustics of the RCM's Koerner Hall, which provide both richness of overall sound and pinpoint detail (incidentally, this is the very first CD recorded in the hall).

Violinists Marie Bérard and Benjamin Bowman switch parts for each of the works, with Bérard playing first violin in the Busch and Bowman in first chair for the Braunfels. They both play with a virtuosity of sound that is always at the service of both ensemble and musical argument. Violists Steven Dann and Carolyn Blackwell fill out the middle of the texture with conviction and musicality, and I think their sound may project more live than in recording (if Dann's fine performance sitting on the outside of the group today was any indication). At the foundation of the ensemble are cellists Bryan Epperson and David Hetherington, whose impeccably shaped phrases lend both blending and individuation of sound.

Royal Conservatory President Peter Simon remarked at today's Toronto launch event that the Artists of the Royal Conservatory have never released a CD that hasn't been nominated for a Grammy award. Two Roads to Exile is of a quality that one could imagine the same thing being said on the release of their next recording. The level of musical complexity on these two works combined with the performance's deep commitment requires a concentration of listening above and beyond the call of duty required for most classical releases. My suggestion on the best way to listen to this recording: experience it late at night, free from distraction. Fine speakers or headphones are a must, as well as time for repeated listening.

Monday, September 10, 2007

Collaborative Piano Class at the RCM Community School

With any luck, the RCM main site will be up and running in a few days--until then here is the info for the collaborative piano class I will be teaching this year at the Royal Conservatory of Music Community School:

Collaborative Piano Class

Who: Advanced pianists

Start Date: September 26

Duration: 28 one-hour classes

Tuition: 8 monthly payments of $73.50 or one payment of $560 (+ 60 student services fee)

Prerequisite: Students must be 14 years of age or older and playing at RCM Grade 9 Level

The Collaborative Piano class provides an opportunity for advanced pianists to explore and learn vocal and instrumental music that includes piano. Participants will receive hands-on experience learning the skills that can turn a pianist into a well-rounded and valued partner that will excel in both the rehearsal room and concert hall. Opera, art song, concerto reductions, duet playing, sight-reading, and keyboard skills are just some of the activities that will enrich a pianist’s life in this exciting new class.


Interested students can contact me at collaborative piano [AT] gmail dot com or call the Community School registration line at (416) 408-2825.

Friday, September 07, 2007

RCM Community School Website Temporarily Relaunches--As A Blog

It's been over a week since the main site of the Royal Conservatory of Music went down due to server problems. In the interim, the Community School has relaunched their site on Blogspot. Although not all course information is up yet, the blog format is certainly a quick way to see all of the school's course offerings at a glance. No word yet on when the main RCM site will be up and running--I hope they keep the blog as a possible secondary site, where news and announcements of upcoming events could be announced. In the meantime, a big welcome to the classical music blogosphere's latest addition!

Tuesday, August 28, 2007

RCM Community School Quick Links

Here are some links to the RCM Community School and its programs for the 2007-08 season. From the RCM site:

Founded in 1886, The RCM Community School is the oldest division of The Royal Conservatory of Music and is also one of the largest community-based music schools in North America.

Designed for people of all ages and levels of ability, it is recognized for its outstanding Early Childhood Education programs and its commitment to lifelong learning. The high-quality, practical and academic instruction offered by The RCM Community School represents a constantly evolving selection of musical traditions, including early music, classical, popular, folk, jazz and world music.

The Community School offers practical music classes and lessons in a variety of acoustic and electric musical instruments; classes in music theory and history, music appreciation, and music and technology; as well as accredited and internationally recognized professional certification courses in music teacher training.

Community School Home Page

Toronto Faculty
Mississauga Faculty

2007-2008 Course Schedule
(I will be teaching the Collaborative Piano Class Wednesday evenings starting September 26.)

Registration
Toronto Registration:

Tel: (416) 408-2825
Fax: (416) 408-1955
communityschool [at] rcmusic dot ca

Mississauga Registration:

Tel: (905) 891-7944
Fax: (905) 891-2897
cawthra [at] rcmusic dot ca

More contact info

Community School Concerts and Events
RCM Concerts and Events

Update 9/4/07:

The RCM site has been non-functional since August 31, apparently because of a server meltdown. The site should be up and running again by the end of this week.

Tuesday, August 14, 2007

RCM Community School 07-08 Course Schedule

The course schedule for fall and winter classes at the RCM Community School is now online and registration is open.

This year at the Community School I will be coaching singers and teaching piano at both the RCM main location and at my Oakville home studio, as well as teaching the Collaborative Piano Class at the main location Wednesday evenings at 7pm starting September 26.

Course Schedule
Registration Info

Registration and Student Services Office (Toronto):
Tel: 416.408.2825
Fax: 416.408.1955
communityschool [AT] rcmusic.ca

Registration and Student Services Office (Mississauga)
:
Tel: 905.891.7944
Fax: 905.408.1955
cawthra [AT] rcmusic.ca

Thursday, August 02, 2007

New Dean Appointed for Glenn Gould School

James Anagnoson has been appointed Dean of the Glenn Gould School at the Royal Conservatory of Music.

Press Release

Wednesday, July 18, 2007

Calling All RCM Alumni

For those of you that have ever attended the Royal Conservatory of Music or participated in RCM Examinations...

The RCM website now has an Alumni section, with many chances to reconnect and stay in touch with the school.

Sunday, June 03, 2007

10 Ways To Compete With The Lowest-priced Piano Teachers In Town

As the summer is upon us, now is the time when studios and schools begin to think about recruiting for the coming school year. As interested parents and students navigate the world of music teachers via advertisements, flyers, referrals, word of mouth, and AdSense ads, the inevitable question is eventually asked: "How much do you charge?"

The rate differences for piano teachers can vary drastically in an area. In Toronto, they vary from between $30 and $120 an hour. My rate through the Royal Conservatory of Music Community School is $62 per hour and $31 for a half hour, which puts me in the mid-priced range $100 per hour, which puts me near the top of the price range in Toronto. At my Oakville home studio, my private rate is a slightly more reasonable $60 per hour.

However, the toughest part of each year is competing with teachers that charge less than $35 per hour, many of whom are drastically under-priced for what they offer. My yearly battle has resulted in this guide on how to compete with the lowest-priced.

I'll start with a few words of wisdom from Martha Beth Lewis, who has written about this subject extensively on her site. On the subject of what fees actually are, she writes:
Here's what we should be thinking: our lesson fees are tuition.
  • They reserve a space in our schedule for a specific student.
  • Music instruction is an on-going thing.
  • It is an investment in time and effort, as well as money.
Here's what we should -not- be thinking:
  • Our lesson fees are payment for services rendered.
  • They are a flat fee for a product delivered.
  • They are fees paid for the duration of the buyer's interest.
As for the perils of charging too low a fee, she writes:
Charging a low fee - possibly because you think students will be unable to pay you more - typecasts you as a cheap teacher. An unspoken assumption among buyers is that you are not a very good teacher because if you were better you'd be more expensive! As a low-fee teacher, generally you will tend to draw from the pool of students who consider music instruction as a short-term activity and who consider what they pay you as money given for a one-time service rendered (like baby-sitting or a haircut). This kind of family tends to be cavalier about lesson attendance, cancellation, timely payment, and continuation in lessons.
I partially disagree with Martha on this one. In our find-the-lowest-price culture, parents are looking for a service, are willing to pay as little as possible for it if they can, and usually don't have the skills to equate price with quality unless they have prior experience accessing private education. On the other hand, a teacher with a higher rate often tends to have students with a commitment towards working hard and for a longer time period.

Therefore, here are some ways to compete with teachers that charge less:

1. Advertise your education. Teacher, institution, and program. If you have a high-quality education, that can certainly affect your fees, and a teacher with a graduate degree in music is entitled to charge more than one that doesn't.

2. Advertise your professional network. If you are a member of MTNA or a local registered teachers' association, you have access to professional development, student performing opportunities, and professional publications that non-members don't. In addition, many local associations have minimum rates for their members.

3. If you teach at an institution, broadcast their curriculum, related courses, and financial aid. Part of a teaching institution's value is in offering a wide umbrella of courses for different types of students. For example, at the Royal Conservatory of Music Community School where I teach, students have access to a large number of programs for all age levels, performing opportunities, and financial aid based on both merit and need.

4. Advertise your performing career. Not every teacher is up to the level where they can actually perform for an audience and make money from it. If you perform regularly, that reflects a depth of experience you can bring to the teaching studio that can be reflected in your fee.

5. Advertise with better materials. Cheaper teachers rarely go to the expense of creating high-quality materials, but this is one of the most effective ways of looking professional. Simple things like high-quality business cards and attractive-looking flyers can make a big difference.

6. Offer online registration and support. You don't have to go to the expense of creating a huge server infrastructure in your own home to do this. Music Teacher's Helper offers a full range of options, including online registration, automatic billing, website integration, and student progress reports all for a reasonable monthly fee.

7. Performing opportunities for students. Not every teacher develops their students to the level where they can actually present their work for an audience. If you are a teacher that regularly puts your students in recitals and festivals, that shows a level of commitment that goes beyond the ordinary and should be reflected in your price.

8. Have a professional-looking studio with high-quality grand or upright piano. Merely having a large and spacious studio with grand piano is not the sign of a great teacher, requiring only money and good design sense, but it can be reason to charge a higher rate since it is a better learning environment.

9. Have an extensive library of scores in your studio. It is equally important to advertise your score collection and is the sign of a teacher that has a long-term commitment to acquiring the core materials of your field.

10. Advertise your articles and publications. If you have taken the time to create articles, books, publications, authoritative websites, or methods, this shows that you are an authority in your field and one that creates and builds rather than simply imitates, and is one of the primary indicators of one who could qualify for a high-end teaching rate.

Some options that are mandatory but didn't make the list because they are ubiquitous these days, can be faked, and shouldn't really figure into your rate:
  • Creating a website. They are so easy to make these days and cost very little if anything, depending on type and location. Everyone seems to have a great picture and bio and it's hard to put yourself in front of the pack unless you truly distinguish yourself in this department by taking the time to offer something the others don't in terms of content or features, lovingly maintained and updated over years rather than days.
  • Statement of teaching philosophy. Although this is a standard question asked of prospective teachers by parents the world over, statements of this sort can be faked. How can a dedicated teacher encapsulate their entire teaching philosophy in one sound bite? However, you still need to know what to answer and have something worthwhile to say when asked the question.
  • Student accomplishments. Also can be faked and I've seen it done many times. I've also seen teachers raise their rates to exhorbitant levels based on the success of one student, rather than long-term quality and commitment to teaching excellence.
In case you are concerned you might be charging too little, Freelance Switch has a list of 10 ways to tell. Two of them are listed below:
3. You never run out of work, yet you are subsisting on baked beans and 2 minute noodles.
8. Even though you work 80 hour weeks your income level qualifies you for welfare payments.



Saturday, May 12, 2007

My New Appointment

I have just been elected head of the voice department at the RCM Community School for a two-year term starting this September. Many thanks to colleagues that voted for me in the departmental election and I look forward to the challenges ahead.

Because of my new duties, readers of this site may notice a marked increase in items of a vocal nature...

Tuesday, May 08, 2007

Recital with Laure Valiquette-Talbot this Friday

Here is the program for Laure Valiquette-Talbot's recital this Friday. I will be playing works by Neuling and Gougeon on the program.


Laure Valiquette-Talbot, horn

May 11th 2007, 7 PM room 305
The Royal Conservatory of Music, 90 Croatia Street


Ludwig Van Beethoven (1770-1827)

Sextet op. 81b for 2 horns and string quartet (1794)

I- Allegro
II- Adagio
III- Rondo


Émilie Dupras-Langlais horn, Hanna Matthijsse violin,
Beckie Brown violin, Jane Levitt viola, Jonathan Glidden cello


Hermann Neuling (1897-1967)

Bagatelle for low horn and piano


Denis Gougeon (1951-

Six thèmes solaires: Jupiter for horn and piano(1990)

Christopher Foley, piano


Intermission


Benjamin Britten (1913-1976)

Serenade for tenor, horn and strings op.31(1943) --arranged for piano

Prologue
Pastoral
Nocturne
Élégie
Dirge
Hymne
Sonnet
Epilogue

Cory Knight tenor, Brahm Goldhamer, piano

Update 5.9.07


Laure's invite on Facebook now lists this event with the name "Beethoven VS Britten"!

Friday, April 20, 2007

Showcase Festival this weekend at the RCM

This weekend will feature numerous concerts from students the many divisions of the Royal Conservatory of Music in the RCM Showcase Festival, running April 21 and 22 at 90 Croatia Street in Toronto.

Two of my students will be performing together on Saturday's Community School Showcase: soprano Hilary Knox, one of my vocal coaching students, and Mimi Mok from my collaborative piano class in a short set of songs by Richard Strauss.

Here's the full Showcase Festival schedule:

SATURDAY, APRIL 21 1:00 PM
GGS Brass Department Showcase
Free admission

SATURDAY, APRIL 21 3:00 PM
GGS Piano Department Showcase
Free admission

SATURDAY, APRIL 21 5:00 PM
RCM Community School Showcase
Tickets: $10 (adults), $5 (students & seniors)
Proceeds will go towards supporting RCM Community School bursaries.

SATURDAY, APRIL 21 8:00 PM
YAPA Showcase
Free admission

SUNDAY, APRIL 22 12:00 PM
GGS Harp/Percussion Department Showcase
Free admission

SUNDAY, APRIL 22, 2:00
GGS Woodwind Department
Free admission

SUNDAY APRIL 22, 5:00 PM
GGS String Department
Free admission

Saturday, March 10, 2007

RCM Community School summer catalog released

The Community School at the Royal Conservatory of Music has just released its summer lineup of courses.

Link to courses
Link to registration info

Thursday, March 08, 2007

Recital tomorrow with James Langridge

Here is the program for the recital I will be playing tomorrow with trumpeter James Langridge at the Royal Conservatory.

James Langridge, trumpet
ADO Year 1 Recital
with Christopher Foley, Piano,
Angela Burns, Soprano,
and the Glenn Gould Brass
8:00 PM, March 9th, 2007
Rm 305, The Royal Conservatory of Music


Legend by Georges Enesco

Six Songs, Op. 48 by Edvard Grieg
-Lauf der Welt
-Zur Rosenzeit
-Ein Traum

Opening Aria from “Jauchzet Gott in allen Landen”, BWV 51 by J.S. Bach
with Angela Burns, Soprano

Intermission

Sonata by Halsey Stevens
I. Allegro Moderato
II. Adagio tenero
III. Allegro

Street Song by Michael Tilson Thomas
with the Glenn Gould Brass: James Langridge, trumpet, Stéphanie Lavoie, trumpet, Joel Green, trombone, Laure Valiquette-Talbot, horn, and Adam More, bass trombone.

Admission is free. Hope to see you there!