Practice. Plateau. Power Through.

What to Do When You Hit a Plateau in Your Playing

Every musician hits a plateau—when you’re practicing but not seeing much progress. It’s frustrating, but it’s also completely normal. In fact, it usually means you’re close to a breakthrough. Here are a few ways to get unstuck and keep moving forward.

1. Set Smaller Goals

It’s so easy as musicians to become over-ambitious! We feel the need to cram as much learning as we can into a short timespan and it’s easy to become frustrated when learning takes more time than anticipated. Instead of focusing on big outcomes (like mastering a whole piece), zoom in. Work on just a few measures, improve one tricky transition, or bump your scale speed by a few BPM. Small wins lead to big progress. I like to break larger pieces into sections either by page, rehearsal letter, or measure number. This can also help keep you from getting overwhelmed when starting something big! Keep track of those sections in a notebook or practice app, and it will help your practice to become more structured and progress more visible.

2. Change Your Routine

If your practice feels stale, switch things up. It’s easy to go through the motions especially in something as necessarily repetitive as practicing an instrument. Though this can be helpful cognitively, it can also be detrimental. A new approach can refresh your focus! Here are some small ways to change up your practice sessions if you feel like you’ve fallen into a rut.

• Try a new warm-up. Maybe this is a new scale, a short etude, or even something fun that’s completely not what your normally do: a lick from a pop song, or a silly party-trick to show your friends.

• Practice at a different time of day. Sometimes the brain just needs to be surprised by different lighting or background sounds in order to wake itself back up!

• Use a metronome or backing track. Like I mentioned in my last post, using backup tracks or other digital methods can help switch up the mindset especially if you are used to playing in a group or ensemble.

• Record and listen to yourself. This can feel somewhat daunting, but it’s a very helpful way to hear things in your playing that you may have missed initially. It’s also a great way to practice for performance!

3. Adjust Your Mindset

Progress isn’t always visible day to day. Don’t confuse a lack of obvious improvement with failure. Keep showing up—that consistency is powerful growth in itself. As long as you sat down at the piano, or picked up your horn, you’ve made progress. Keeping track of where you’ve come from is super helpful here. Have a practice goal relating to time such as practice an hour a day. That way, instead of feeling like you’ve failed if you don’t perfectly polish the spot you’d intended, you’re still making strides towards your goal by taking the time to practice.

4. Learn Something New

Step outside your comfort zone. It’s easier to get burned out if you are doing the exact same thing every day. If you need a little break, try something you don’t ordinarily do to get some spring back in your step. In addition, exploring something new can re-energize your practice and teach you skills that transfer back to the repertoire you’re working on.

• Pull out an old piece. What’s a piece you really loved that you haven’t played in awhile? Try it out and remind yourself how much fun it was to play!

• Learn a song by ear. This is great aural training, but it can also challenge the musical brain in ways normal practicing does not. Plus, it’s a good excuse to listen to your favorite song a whole bunch!

• Try a pop song or soundtrack piece for “fun music” at the end of a session. I had piano teachers that would let me play what they called “fun music” when I needed a break from repertoire. Get a book with songs by your favorite singer, a musical that you really love, or a soundtrack you enjoy. Choose one and spend time learning it at the end of each practice session—now you’ve got something to look forward to if you’re in a practice rut!

5. Ask for Feedback

Sometimes a fresh set of ears makes all the difference. Ask a friend to listen, show a recording to someone you live with. You might discover small changes that unlock big progress! This can also help with practicing for performances. Reach out to other musician friends to get their advice on beating a progress plateau—changes are they’ll have some great suggestions as they’ve also been there too!

Bonus Tip: Take a Break

Sometimes rest is the most productive thing you can do. Step back for a day or two—you might return with a clearer head and new motivation. Burn out is a real problem for lots of people, no matter how young or old. Make sure you’re taking care of yourself and know when you need a little rest!

Practice plateaus are a normal part of the learning process. If you feel like you’re stuck don’t worry—it definitely won’t be forever. You’ve got this! Thanks for reading and happy practicing!

~ Charissa Garrigus, Instructor at Vibe Music Academy

From Playback to Performance: Using Recordings to Elevate Music Education

How to Use Recordings to Enhance Music Education

Incorporating recordings into music education can transform the learning experience for students of all levels. Whether teaching in-person or online, recorded music provides an invaluable tool for improving listening skills, technique, and musicality. Here’s how educators and students can use recordings effectively as both practice tools and teaching aids.

1. Active Listening Exercises

Encourage students to engage with recordings through focused listening. As a primarily auditory learner myself, I benefit so much from listening to a piece while I’m learning it. This is not to say that one should simply have a student copy a recording—it can just be immensely helpful to organize a melody or pattern aurally and recordings are perfect for that. Furthermore, active listening is an essential skill for musicians, especially if one is playing in a group. To encourage active listening, recordings can be utilized both during and outside of lessons. Students can be instructed to:

• Identify different instruments and timbres. Which instrument has the melody? If it is a solo instrument performance, how is the musician changing their sound to create musical interest and timbral change? How could these changes be incorporated into the student’s own repertoire?

• Analyze structure and form. How is the piece organized? Are there methods in which understanding the organizational structure can help with interpretation? This skill is very important for any students wanting to go into music as a profession!

• Compare different interpretations of the same piece. Especially for more advanced students, having musical opinions is very important. Which interpretations does the student prefer and why? Are there things that can be taken from different recordings to create a new understanding of the piece? Help the student articulate using musical language why they do or do not enjoy particular interpretive choices. This is a fantastic opening for discussion!

• Transcribe melodies, rhythms, or harmonies by ear. Transcription is another skill that advanced students will benefit from especially if they plan to study music in college. Having a solid dictational foundation can really set a student apart in auditions and interviews. Beyond that, some students are very skilled in playing by ear. Encouraging them to write down what they hear builds musical literacy by allowing the student to make associations to what they hear and read in notated form.

2. Play-Along Practice

Using recordings as a practice aid helps students improve their timing and ensemble skills. This technique must be used with care as it can become a bit of a crutch. However, if used correctly, it can be extremely beneficial. When I am preparing a larger piece, I do try to play along with recordings at times to see how I fit into an ensemble, especially if I have limited rehearsal time. Try these techniques:

• Practicing with accompaniment tracks to simulate playing in a group. Playing along with an accompaniment track can be helpful when rehearsal time is limited, or if a live accompanist will not be present at a performance. It’s very helpful to understand where one fits into the musical landscape of a piece and to hear how one’s part interacts with the rest of the musicians. Playing with a track can help a musician situate themselves within the piece. It’s also great practice for listening to another part—if you just practice your part and then try to add it into a larger group, you can run into unexpected stumbling blocks!

• Playing along with professional recordings to match articulation and dynamics. This should not be an everyday tool nor should it become the only way one rehearses a piece. This can lead to robotic playing or simple mimicry. However, it can be helpful for trying out different touch, textures, articulations, and so what. Playing in ways one normally does not can help encourage musical variety and offer different styles and techniques outside of one's comfort zone.

3. Studying Performance Styles

Expose students to different recordings of the same piece to highlight stylistic variations. Encouraging a student to locate particular performances they enjoy can open discussions about lots of musical areas. Have a student locate several different performances of a piece, and spend some time analyzing the differences. What is it about a particular performance that the student likes or dislikes? How might those techniques be applied to the music being learned in lessons? Consider discussing the following:

• Differences in phrasing, tempo, and interpretation. What is written in the music and how does the performer choose to apply it? Is there a wrong way to play a piece? If you were (or are) performing this piece, what would you do differently or the same? Why make those choices? Use the score as evidence and to promote analytical thinking.

• How historical recordings compare to modern performances. Is modern recording accurate when performing historical pieces? This is a whole topic in musicology of course, but it can lead to some interesting conversations and interpretive options for advanced students.

• The unique characteristics of various genres and cultures. How does the playing of your student’s instrument change when performed by in a different genre? Compare classical, jazz, and folk versions of violin playing, piano, and any other instruments. What do those musicians do differently? Encourage your students to listen to music they might not normally choose—what to they like or dislike about it and why?

4. Self-Recording for Feedback

Motivate your students to record their own playing to track progress and refine technique. Though this can be difficult to do, it’s so helpful for self assessment. I avoided recording my practicing for a long time as I didn’t want to listen to my own mistakes. However, I’ve learned that it can be extremely useful. Benefits of self-recording include:

• Identifying mistakes that might not be noticed while playing. When practicing, there are so many things to think about. One might be focusing on rhythm and miss a note, or considering phrasing and skip an important dynamic change. Recordings are helpful tools that point out these issues so that they can be addressed quickly and efficiently.

• Comparing recordings over time to measure improvement. Sometimes it’s tricky to evaluate one’s own playing and notice the progress that’s being made. Recordings of progress are very helpful in this way as they can easily provide demonstrations of success as well as showing improvement.

• Building confidence before recitals or performances. Recordings can serve as a performance simulation. This helps to practice confidence and recovery if mistakes are made. Making a “one take” recording is just about as close to performing as one can get in a solo practice session! I find this very helpful at the end of my practice sessions when I’m doing a run-through of a full piece and would recommend it especially as performances get closer.

Final Thoughts

Using recordings in music education enhances ear training, technique, and appreciation. Whether analyzing, playing along, or self-recording, students can deepen their musical understanding in ways that traditional methods alone may not achieve. Thanks for reading, and happy practicing!

~Charissa Garrigus, Instructor at Vibe Music Academy

How to Choose the Right Musical Instrument for Your Child

As I have written in numerous posts, learning an instrument can have a host of benefits for a child. Social, emotional, and academic growth are common results of studying music. Once you have decided that your student will be learning music, though, how do you choose which instrument they should play? Many factors including personality, physical ability, and interest play a part in this selection. Read on!

 1. Consider Your Child’s Interests and Personality.

Does your child prefer soft or loud sounds? Are they drawn to rhythm, melody, or harmony?  Their favorite music styles may indicate a preference for certain instruments.  When listening to music, what songs spark joy in your student? Does she have a preference for instruments that fit in a band or an orchestra? Is he always imitating the drums? Selecting an instrument that fits your student’s desires can really help motivate them to practice and continue to work on improvement. Just because you have Aunt Debbie’s old clarinet in the closet or because the Smith family always plays brass instruments doesn’t necessarily mean those are the correct choices for your budding musician. Take your student’s interests into account when choosing their instrumental path!

2. Assess Physical Factors

• Size & Age: Pretty much all instruments can be played by anyone regardless of size, age, physical ability, etc. However, some may be more difficult than others if your student is particularly young or small. Some instruments (such as the tuba or bassoon) require larger hands or strong breath support. What instrument will be the most comfortable for your student’s physical makeup? Is there any pain when trying the instrument out?  

• Dexterity & Coordination: Does your student have especially nimble fingers that could be well suited to the piano? How about an innate sense of rhythmic coordination that could be excellent in a drummer? These things once again can pretty much always be taught regardless of existing skills. However, some students might be innately more successful with different instruments. I was much more successful trying out the clarinet than I was the trombone due to my body composition and lip shape. Instrument try-outs are a must!

• Braces & Dental Considerations: Brass and woodwind instruments may be affected by orthodontics.  If your student is due to have severe dental work done, a string instrument or percussion might be a better choice. Many students do have braces at some points during their high school career—I did, and was able to play my clarinet just fine. However, this is something to think about as it can be a bit of an issue for some players.

3. Think About Practicality

• Cost of the Instrument & Lessons: Some instruments are more expensive to purchase or rent, while others are pricey to maintain. What fits in your family budget? If you do have a quality instrument that just needs some repair, how much will that cost? Does the school provide instruments, or is there a local business that can allow for leasing/rentals? Many music stores offer very reasonable rates on instruments that either include repairs or offer substantial discounts. Connect with local music educators and see what you can find!

• Portability: Consider how easy it is to transport. If your student is taking an instrument on a school bus, the harp might not be the best choice. Where will the instrument be kept at home? Pianos are wonderful, but a keyboard might be more practical if it will need to be moved regularly. If your student does choose a large instrument, consider seeking out a teacher who travels to students so that the instrument doesn’t have to be moved as often and risk damage.  

• Noise Level: Is it suitable for home practice? Throughout my time as a music educator, I have had multiple students come to me with the excuse that they couldn’t practice at home because they were “too loud.” Are you prepared to listen to a beginning trumpet player? Of course, your student will sound better as time goes on and no one needs to play at the loudest possible level all the time. However, it seriously inhibits a young musician’s growth should she not be able to practice due to “noise.” Think about a practice mute/pad, a designated practice space, and your own sanity before choosing an instrument that could be detrimental to this.

4. Try Before You Commit 

• Rent or borrow an instrument before purchasing.  It is absolutely essential to try out an instrument before purchasing one! I have had many students who think they want to play one instrument only to discover that they are far more excited about a different on once they try it out. Instruments can sound and feel completely different when actually being played, and some students have more success with different instruments than others. Never purchase an instrument online without trying it out or having a trusted advisor vet it for you—local music stores will often be able to secure instruments that are affordable and quality. Amazon and ebay are not the way to go!

• Attend instrument demonstrations or beginner classes. When I was directing a beginning band, I always hosted an instrument try-out day so that my students could experiment and see what they were best suited to. As an early college student, I decided to upgrade my clarinet and went to a local music store with my teacher to try out instruments. This is so important for a student who will be pursing music—there is no way to know if the instrument is the right choice until it has been played. Below are some Indianapolis music stores to consult you are searching for somewhere to try out instruments.

  • Musicians’ Repair and Sales: Located downtown Indianapolis. Offers brass, woodwind, and string instruments. https://www.musiciansrepair.com/?srsltid=AfmBOopnqewG2yfCoD3cfnVrDvN0fXK7IXrCgfkCz1rxpqZ1QUkI2Drf

  • Arthur’s Music Store: Located in Fountain Square. Offers mostly guitars and string instruments. https://www.arthursmusic.com/

  • Paige’s Music: Located in Fishers. Offers brass, woodwind, and string instruments. https://www.paigesmusic.com/paiges/run?id=6

  • Guitarworks: Located in Greenwood. Offers primarily guitars. https://www.guitarworksin.com/

  • Piano Solutions. Located in Carmel. Offers pianos new and used, and guitars/ukuleles. https://www.pianosolutions.net/

Choosing the right instrument makes learning music more enjoyable. Encouraging exploration and having patience are extremely important as part of this decision-making process. The best instrument is the one that keeps your student engaged and excited to play! Best of luck and happy hunting!

—Charissa Garrigus, Instructor at Vibe Music Academy

Creating Harmony: Building a Positive and Inspiring Music Classroom

Creating a space in which students feel comfortable being vulnerable is one of the cornerstones of successful music education. Whether you are teaching in a classroom or a private studio space, building an environment where your students feel safe, respected, and challenged is absolutely essential. Read on for some tools to help you get started!

There are both physical and social/emotional steps that can be taken to ensure an environment that fosters creativity and growth.

1. Set Clear Expectations: As any teacher who has ever stood in front of a classroom full of kids knows, ground rules are a must. This is true for both a classroom and a private lesson space. Having an established set of guidelines and boundaries that set the music space apart both prepare the student for what is expected of them and allow them to know their limits. These rules should be clear and stated outright—this will help to establish respect, focus, and collaboration between teacher and student. Alongside this, expectations need to be set that the music space is a safe place for mistakes and questions. Because of the nature of music itself, mistakes are a huge part of learning. Creating an environment in which mistakes are allowed and questions can be asked helps to build a solid mentoring relationship between teachers and students and can help the student take ownership of their own learning.

2. Foster a Growth Mindset: It is very easy for students to be hard on themselves, especially in our culture of intensity and perfectionism. This means that It is the job of teachers to support and encourage their students to focus on the value of effort over perfection. Teachers should encourage students to view mistakes as part of the learning process. This doesn’t mean students should be allowed to take advantage of grace given to them as they learn—having high expectations is also essential as discussed in the last point. However, building a growth mindset creates trust and will pave the way for success.

3. Promote Inclusivity: Especially in a larger classroom setting, it is very important to ensure all students feel valued, regardless of skill level. Everyone needs to feel seen and heard, and they can certainly tell if this isn’t the case! Furthermore, adapt lessons for diverse learning needs. Classroom teachers often receive instruction regarding how to do this, but it is equally necessary for private students. Everyone deserves equal access to music education and it’s on us as music educators to ensure that they do!

4. Make Learning Interactive: This touches on points I’ve made in several other blog posts. The most that we can do for our students is encourage their gifts and joys. What are your students passionate about? What are their goals and dreams? How do they learn best? Incorporate engaging activities like games, technology, and hands-on exercises into your lessons if you believe that would be the most helpful for your students. Cater to different learning styles and musical interests—composition, history, theory, and all of those things!

5. Support Creativity: Encourage creative exploration in music. This ties into the last point, but it also goes further than that. Oftentimes, music lessons can be reliant on the teacher lecturing. What does your student bring to the table? What are their talents and how can they be nurtured? Allow students to express themselves through improvisation and composition, and instill in them the ability to express themselves in music.

Creating a positive learning environment fosters student growth and enjoyment in music. Try out some of the tips above, and make your musical both safe and challenging for students. Happy teaching!

—Charissa Garrigus, Instructor at Vibe Music Academy

Music Education for Adults: It's Never Too Late To Start

Ever wished you had learned an instrument as a child? It's never too late to start! Oftentimes, we are socially condition to be nervous about trying something new at an older age. However , there are so many incredible benefits to learning an instrument as an adult! Read on to find out more.

In my mind, there are three huge benefits to learning an instrument or participating in music as an adult beginner. I have had the privilege of working with adults in instrument lessons but also as part of ensembles and choirs. Especially when participating in groups with older adults, music can be extremely helpful in retaining cognitive skills.

• Mental Health: Playing music reduces stress, boosts brain function, and improves memory. I remember a singer in one of the choirs I played for who was struggling with dementia. He had difficulty keeping names in his head, but was able to sing beautifully from memory. Similarly, I have heard from my adult students that playing their instrument helps them deal with stress in a healthy manner.

• Emotional Health: Participating in music provides an emotional outlet, increases self-esteem, and brings joy. Playing an instrument is so much fun! Some of the feedback I’ve gotten from adults who either begin or restart lessons talks about the enjoyment of being able to express themselves in a new way. Music can be so helpful to process emotions in a healthy manner. Learning a skill increases self esteem!

• Social Connection: Music generates opportunities for joining groups or learning in community settings. Many adults don’t take time to do things for themselves. Joining a choir or community ensemble can foster connections between other musicians of similar experience levels and allow for important social interactions. Especially in the case of older adults, being connected to a community can be difficult. Music is an incredible way to bridge that gap!

There are many potential concerns that adults express when starting something new. These are some of the most common.

• “I’m too old.”: Many argue that it is more difficult for an adult to learn due to decreased neuro-plasticity. However, I think that the discipline and patience adults are able to exert over their practice makes them sometimes more effective learners. Lesson time can be spent on acquiring techniques and more complex skills since adult learners can be trusted to practice and follow through on their own. I find it often far easier to teach adults than children!

• “I don’t have time.”: In our fast-paced world, it can be hard to consider adding things to the plate. However, learning an instrument does not have to be a huge time commitment. Short practice sessions can be very effective as long as they are consistent. With the advent of zoom and other online interfaces, lessons can even be given digitally. I’ve taught and received lessons virtually and had great success with them!

• “I have no experience.”: The best way to get experience is to begin! Learning an instrument takes time and patience: beginners can start simple and progress at their own pace. The key is setting realistic, achievable goals and making sure to take note of progress. Choosing pieces that are fun to work on can also be a big help in motivating one to practice.

Once you’ve decided to take the musical plunge, what’s next? I’ll outline the first few steps here below.

• Choose Your Instrument: Start with beginner-friendly instruments like piano, guitar, or ukulele. These instruments can be acquired easily and are faster to start on. There is no need for secondary instruments to accompany, and music from all different genres is easily available.

• Learning Methods: Once you’ve chosen an instrument, then it’s time to choose a teacher. Private lessons are a fantastic way to get one-on-one instruction catered to your own goals, experiences, and strengths. Oftentimes, private teachers offer flexible locations either in their own home studio or yours. Virtual lessons are also an option and can be very convenient. Group classes are another great possibility as they will provide opportunities for social connections as well as performance practice. There’s no wrong way to go about it, take the path that fits best with your learning style and needs.

• Set Realistic Goals: As I mentioned previously, it’s really important to focus on small achievements and celebrate progress. Learning any new skill takes time, and it’s really necessary to have that in mind when taking up a new endeavor. A Beethoven Sonata might not be the ideal first choice. However, celebrate progress! Once you’ve studied your instrument for a month or so, look back and be amazed at all you’ve learned and how much you’ve grown.

To conclude this lengthy post, it’s never too late to start. The the benefits of learning an instrument far outweigh the challenges! And of course, what better place to start your musical journey than here with us at Vibe? Happy practicing!

—Charissa Garrigus, Instructor at Vibe Music Academy

Why Music Education Matters: More Than Just Notes and Scales

Music education benefits students in ways beyond musical skills, focusing on cognitive, emotional, and social growth. As we move into the next phase of the school year, I’d invite you to consider all of the benefits music lessons provide beyond just learning an instrument—which is very valuable in and of itself of course! In any case, read on to learn about why music is such an important tool for learning!

As a lifelong musician, I have benefited so much from taking lessons. I started early and have continued up through my current Masters degree program. It is always important to learn and grow no matter how old we are! Even though I’m a professional performer at this point, it is still so essential to continue working to better myself as a musician and person. In any event, I don’t know what I would have done without music as an option inside and outside of school. Young learners particularly derive so much good from learning an instrument, both musically and extra-musically. Here’s how!

1. Boosts Cognitive Skills: Learning an instrument improves memory, focus, and problem-solving, with benefits extending to math and language skills. When you learn to read music, you are essentially learning to communicate via a new language. Counting rhythms involves the mathematical part of the brain, and spending time practicing encourages discipline. Hand-eye-coordination is another huge benefit that comes form playing an instrument—so much time nowadays is spent on screens that doing something kinesthetic becomes rare. Playing instruments can help young musicians build muscle memory and foster fine motor skills.

2. Emotional and Social Growth: Music helps students express emotions, build empathy, and develop teamwork skills through group activities like choirs and bands. As a member of an ensemble, young musicians have to develop patience, listening abilities, and group understanding. Just like being part of a sports time, ensembles require participants to go beyond self-gain and work together. Many bands and choirs expose students to music and cultures they may not be familiar with, which can build social connections and encourage compassion and empathy for those who might not look, think, or speak the same.

3. Fosters Creativity: Music encourages creative thinking, especially through interpretation, composition, improvisation, and expression. As someone who struggles with social anxiety, music has always been my avenue for connecting with others. It allows people to communicate beyond words, and creates space for individual expressive growth. Even within a large ensemble, creativity is the backbone of music. Learning to stimulate one’s creativity takes practice—music is a unique method by which one can accomplish this.

4. Real-World Skills: Time management, discipline, and resilience are key life skills honed through music practice. It takes time to learn an instrument. No matter which one a young student selects, it will take time to learn how to produce a good sound and even more time to become proficient in musical literacy. Practicing often and well, eliminating distractions, and encouraging persistence are all absolutely essential for learning an instrument. What better way to instill values like patience and discipline than through honing a skill that will be with you forever?

Music education is about much more than just learning to play an instrument; it’s about developing well-rounded individuals who excel both inside and outside the classroom or studio. Of course, there are many more advantages to learning an instrument than just the ones included above—it’s also so much fun! Thank you for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

The Live Music Connection: Engaging Through Performance

It’s the middle of a busy season in education—programs are finishing up their fall marching band rehearsals, winter concert prep has begun, fall performances are concluding. However, in this moment between fall break and winter break, it is a perfect time to venture out of the classroom and into a performance hall to experience some live music. Why is it so vital to music educators and students to attend performances of live music? Read on to learn all about it!

Live music is the lifeblood of what we do as music educators. Our whole gig is striving towards facilitating the beautiful experience of connection that people experience when listening to and participating in music together. Sometimes it can be difficult to see beyond the requirements of the classroom or lesson, but where would we professional players be if we didn’t have somewhere to perform? What better way to get inspired and excited than to attend a show where music is happening live!

As an educator, many of the experiences I provide to my students involve their own performances. However, I spend a great deal of time educating them on etiquette, performance practice, how to be an audience member, and the like. Some of the most valuable experiences these students have had, though, occur outside the lesson and inside an actual performance hall. I still remember going to see my first ballet in elementary school and being utterly awed by its beauty. Facilitating these experiences is so important to the development of students as musicians. They can even begin young learners on the path of musicianship—if a student has never been exposed to the sound of a cello, hearing one for the first time might spark joy.

Now, it is very difficult to provide students with these opportunities. Unless one is teaching in a classroom with lots of access to funding, bussing, chaperones, etc it can be very hard to put together an outing to the symphony. Instead, I’d recommend putting together a list of performing venues/organizations and providing students/guardians with the resources on where to find live events. If you have a studio, selecting a performance and encouraging students to meet you there can also be an option. There are many performances around the Indianapolis area being provided for little to no cost. Transportation can be tricky to figure out, but carpooling, student drivers, and guardians can help should the case be made. Below, I will provide a list of organizations that offer different types of live music. Several of these groups facilitate new music being written by young, Indiana composers and played by Indianapolis residents. As both an educator and performer, I cannot recommend highly enough the value and essential nature of attending live performances! Here are a few resources:

-Indianapolis Symphony Orchestra: https://www.indianapolissymphony.org. The orchestra offers student tickets for $15 a person. Performances are every weekend and feature everything from classical symphonic works to movie music.

-Indianapolis Chamber Orchestra: https://www.icomusic.org. This ensemble is based at Butler University, also offering student tickets. These are quality, high level performances by local musicians.

-Sound Ecologies: https://www.soundecologies.org. This is the non-profit I run with my husband. Sound Ecologies is a new music artist collective: our concerts are free to the public and feature new music written by Indiana composers and performed by Indiana musicians. Performances are primarily located on the south side of Indianapolis.

-Ronen Chamber Ensemble: https://www.ronenchamber.org. This ensemble is a small performing group formed by ISO musicians among others. Low to no cost ticketing makes these events affordable and very high quality. Ronen features a blend of old and new music.

-Forward Motion: https://www.forwardmotionnewmusic.com. This ensemble is run by local clarinetist Eric Salazar and features new music performed by local musicians. Tickets are low to no cost, and the concerts are very unique!

-Circle City Orchestra: https://www.circlecityorchestra.org. This ensemble is made up entirely of volunteer players who work on both classical and new works. Performances are free to the public!

-Philharmonic Orchestra of Indianapolis: https://www.philharmonicindy.org. This ensemble is auditioned volunteers, offering music camps and large scale works. Tickets run about $25 per person.

-Gamelan Mojomanis: https://www.instagram.com/gamelan_mojomanis?igsh=MWc4MTEwZ2N0NGZ4MA==. This Balinese Gamelan ensemble performs at festivals and outdoor events with free admission. An amazing way to experience the gamelan!

On the whole, live music is relatively accessible in the Indianapolis area. The above list only encompasses a few of the groups based in this city—it is by no means exhaustive! However, I hope you and your students take advantage of some of these events and take some time to get inspired, reinvigorated, and excited about live music. Cheers!

—Charissa Garrigus, Instructor at Vibe Music Academy

To Memorize, Or Not To Memorize?

Memorizing music is a tricky questions for many teachers and students. How does one teach memorization? Is it an important or valuable skill? Why do some instruments need to memorize their music while others don’t? Read on for a my experiences and opinions!

Imagine with me for a moment. It’s your junior year of college and you’re about to walk on stage for your recital. You’ve spent countless hours in the practice room preparing, and you know all of your pieces by heart. You step out on the stage, sit down at the piano bench, lift your fingers to the keys….how does that nocturne start again? Your pulse starts thundering, your brain is whirring, and you feel panic beginning. If only you had your music!

So, this happened to me. I’ve always dealt with considerable performance anxiety, and college was a bit of a crucible when it came to confronting that issue. I gave my junior recital entirely from memory, and learned my lesson—I used music for some pieces in my senior recital. I remember sharing my first recital with a vocalist who also memorized all of her music. My senior recital was shared with a cellist who got to use her scores, which made me rather jealous. Why do solo pianists have to memorize their music and other instrumentalists don’t?

The answer is a long one, so I won’t spend a great deal of time on it. However, historically, the famous pianists Franz Liszt decided to start playing all of his music from memory. So many other pianists thought this was an impressive and excellent thing to do that it became the standard. Now, if you visit the symphony to hear a concerto (a soloist playing any instrument with the orchestra) the majority of the featured performers will not be using their music no matter their instrument. Convention has also been shifting somewhat as trends change and technology becomes available. However, I will be approaching this question of whether or not to memorize music as a performer and a teacher.

I don’t memorize my music anymore. I simply do not have the time! I’m a full time accompanist and the sheer amount of music I have to learn means that I can’t memorize it. I also do a lot of collaborative playing, and I find it extremely helpful to be able to see what the other musicians are doing. Oftentimes, it’s the accompanist’s job to catch the soloist if they get lost—not having the music in front of me would be problematic. Finally, I just don’t find the extreme anxiety that I personally experience worth it. I play from an iPad so I’m able to turn the pages myself and it’s just easier and far less stressful for me to perform with the music in front of me. Of course, I don’t begrudge people who do choose to memorize their pieces—there are definitely some aspects that can be helpful!

There is a case that can be made for memorizing music. In order to memorize, the music must be fully internalized. The performer has to truly know the piece inside and out. Additionally, the performer is significantly freer to move and express themselves without being tied to sheets of paper. Many choirs and vocalists memorize all of their music so that they can focus on emoting while they sing. I’ve had students with audition requirements specifying that music must be memorized—I think this was the case with ISSMA state piano competition at some point. Once again, neglecting to teach a student how to memorize music should that skill be required is a disservice to that student.

My personal philosophy is to let the student direct whether or not their music is memorized. If they find it helpful or useful to play without sheet music, I’m happy to help them with techniques for that. I know sometimes when a piece has been worked on for a long time, memorization is that next logical step. However since it is not a skill I rely on myself as a professional performer, it’s not something baked into my teaching. What are your thoughts? Thank you for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

Lost in Translation: Questions of Interpretation and Expression

How do we as musicians and educators choose to interpret music? What forms our opinions on how a piece should be played? Do we focus on technique, expression, or something else entirely? Read on!

As college students, many music majors are required to take courses in music analysis. These classes often include in-depth digging within pieces of “classical” music, pulling apart the theory behind the musical construction and understanding how a piece functions. Additionally, music majors take private lessons—learning techniques and interpretations based off of specific musical traditions and conventions. I remember performing pieces by Bach and Haydn, learning how to “properly” interpret expression markings in the score. One thing in particular that sticks in my mind is an encounter I had with a teacher where I was told I was playing a piece “wrong,” because I was mimicking a performer this teacher had decided interpreted the piece incorrectly. I was surprised as I’d really connected with that recording and felt that I was expressing myself authentically by playing the work the way I’d heard it.

As I have continued in both my teaching career and my study of musicology, this incident has cropped up several times when I consider how to teach my students. I think there are several points to address when it comes to the idea of musical interpretation, which I will outline below. First and foremost, it's always about the goals of the student!

• What is the student hoping to get out of lessons? As I’ve mentioned in most of my posts so far, the needs of the student are always our top priority as educators. We strive to give our students diverse, complete learning that helps them to reach their own goals and provides them with the skills they are seeking. What music is your student playing? If she is working towards an eventual music major, what are the audition requirements of her program? Does he want to play for a church service, or a wedding? Do they want to be part of a jazz ensemble? Similar to repertoire selection, the role we play in our students’ musical exposure is huge and our opinions have a great deal of power. Thinking particularly of conservatory playing, there may be a “right way” to interpret a phrase marking or dynamics. If your student is searching for an avenue of self-expression, there could potentially be a great deal more leeway in that area. If you are instructing a young musician, they may need a more concrete understanding of these terms and markings so that they are able to make their own interpretive decisions later on.

• What requirements does that student need to fulfill? This is more of a sub-point to the first question. Of course, if your student is looking to fulfill specific audition requirements, it would be a disservice not to teach them what their evaluators are expecting to hear. The same is true for competitions such as ISSMA where adjudicators are attempting to be objective (not possible in music, in my opinion) and utilizing particular criteria for judging. In those cases, interpretation of dynamic markings, staccatos, accents, phrasing, and so on might have to be a bit more “standard.” Though self expression is essential, and the heart of music, these things are important to consider.

• What are the actual markings in the music/what does the composer say about it? I play a great deal of new music. With that in mind, I’ve had conversations with lots of composers working on pieces I’ll be playing wherein markings don’t make sense. I have a lot of power as an interpreter, and it’s always a pleasure to work with a composer to discover how they want their piece to be played. In our modern musical world, we often think of the composer as the ultimate authority. However, as I’ve collaborated with modern composers I’ve learned that markings are often not set in stone. Music from the Baroque era often doesn’t have markings at all—they’re added by transcribers. We rely a great deal on convention, but I think it’s important (especially if working on a substantial piece) to do some research on the work. If it is an older piece, how would it have been played? There is a whole field of musicology related to Historically Informed Performance Practice where scholars dedicate their careers to faithful reproduction of music as it would have been heard when it was written. All of this to say, though the musical markings may appear straightforward they may in fact not be at all. They may even mean different things based on the genre of music being studied/performed!

• Are there lots of different options out there for interpreting this specific work? One of the best things any teacher or student can do is listen to different interpretations of a piece. This gives the performer the capacity to make their own decisions when it comes to how the music best represents their own sensibilities in the context of the music. Fostering the growth of a student’s critical ear and their own interpretive maturity is so very essential to creating well-rounded musicians. Which recording sounds “the best” to the student? How have these musicians taken the same music and played it differently? Which parts of their favorite recording does student like best and why? What might they take from this recording and what might they change? If your student were to make their own recording, what choices would they make?

So of course, every interpretation is up to its own…interpretation! There is no easy set of clear to follow steps when teaching musical expression and interpretation. However, I think that considering the factors above can help music educators create a framework by which to examine pieces and present them to their students as both works of art and avenues for self expression. Thank you for reading!

—Charissa Garrigus, Instructor at Vibe Music Academy

Song of the Summer: Why Popular Music Matters!

What types of music do you enjoy listening to? How do your tastes shape what you enjoy playing or how you teach? Why do you enjoy particular stylesof music? Read on for my thoughts!

Summer often gives us space to relax and enjoy our hobbies. I know as a professional musician, it can be difficult to find the time during the school year. I’ve had discussions with other teachers and music students regarding the fact that many musicians don’t listen to much music outside of what they are working on. Sometimes, it can be difficult not to feel oversaturated with music! For myself, summer has been a time to get back to actually listening to music which has been lots of fun. It’s also caused me to think more about why I enjoy the types of music I do and how I can incorporate that into what I perform and how I teach.

One of the greatest gifts I’ve been given as a teacher has been working with students who come from backgrounds that are completely different than my own. Many listen to/sing/play music that is completely new to me and I love learning about it from them. I recently took a graduate class all about American popular music and it was quite eye-opening to learn about the origins of much of the music that plays on the radio, in coffee shops, and so on. Trends, tastes, and cultures change overtime, but the importance of music (especially to young people) does not. Through the years, young people have used music as an avenue of social change, self expression, and so on. This hasn’t changed, and I think it’s especially important for us as educators to be aware of how essential non-classical music can be to young folks.

In academic circles, there has historically been an air of pretentiousness surrounding music deemed “less prestigious” than the likes of Mozart, Beethoven, and so on. In current years, this has been shifting especially in the collegiate realm as those in power begin to question why we select certain genres as more important than others. That is a deep hole to go down, and I will not be attempting that in this post! However, suffice it to say that popular music is garnering more attention in academic fields as we consider the social, cultural, environmental, philosophical and anthropological factors that combine to generate our own tastes in music and what we value as important.

As a teacher, I want to cater my lessons to the students who are learning from me. I’ve been thinking a great deal this summer about my own tastes, where they come from, and how they shape my musical expression. As I’ve mentioned in past posts, I think it’s essential that we teachers do a similar form of investigation into our own students. What have they been listening to this summer? What genres are their favorite to sing along to? Why do they enjoy those particular types of music? When classroom teaching, I would always take a survey of my middle school and upper elementary students on the first day of class regarding their favorite songs/artists/bands. Then, I’ve select songs from a list I’d compile of those songs to play as they came to class each day. The excitement that would build as kids realized “this is MY song” was really rewarding, and helped me to engage with them on a deeper level. Of course, we want to teach our students musical literacy and how to sing and play their instruments. But, we also want to foster a love and appreciation for music in our students. Something else I noticed when playing music that my students enjoyed was the joy they took in sharing their music with each other. As I’ve already said here, the type of music we like is an expression of who we are as people. The music we grew up listening to, songs that played at weddings, funerals, important moments in our life, the soundtrack of our teenage or adolescent years…these are powerful things. Sharing our favorite tunes with each other gives them a glimpse into who we are, and allows permission for others to do the same.

As we get ready to go back to school, I hope you have time to rest, relax, and listen to some of your favorite songs. Though music is a job for many of us, I think it’s important we still find ways to keep it fun. Happy listening!

—Charissa Garrigus, Instructor at Vibe Music Academy