“The Practice Nest” by Lola Akwabi

The Practice Nest: an environment that is conducive to regular, and (this is key!) enjoyable home practice. This article is focussed on the piano, but you can adjust the advice for any instrument.

Piano Keyboard

 

“I love the term “nest” because it immediately brings to my mind a cosy area in the house where I enjoy spending time.

Below are 4 tips I came across which can help us achieve this: –

 1. When choosing a location for your piano, select a space that is lived-in, welcoming, and well-lit. Keep it close to “the action” but not in the action. Your children will gravitate to the piano more often if it is in a central place in your home. Avoid bedrooms, basements and other “put away” places. Feeling shut-off from the family while practicing will inevitably lead to a reluctance to spend time on the piano.

Consider the noise factor – not only from the piano, but also from your family’s day-to-day activities. Your children want to be close by, but not competing with the TV, dishwashers and washing machines.  

2. Make the space warm and welcoming. Your children will be encouraged to spend upwards of 30 minutes every day in this space. Is it a happy place to be for this amount of time? Is it a cheerful and welcoming space that will encourage your child to visit the piano often for their own enjoyment? Small adjustments can make a world of difference e.g.  adequate lighting, a comfortable bench at the correct height, flowers…

3. Ensure your children have all required materials at hand. If the practice notes are away from the piano, chances are that’s where they will remain J Help your children put together a small basket or bin of everything they may need for home practice – pens, pencils, highlighters, post-it notes, stickers. These will give the children a sense of organization that will spill over into their practice habits. Clear out old sheet music and books they no longer use. Minimize knickknacks and other distractions from the top of the piano. Having the books your children need at their fingertips reliably ensures that no time is spent searching for lost or crumpled music. Get into the habit of placing the piano books here immediately after each piano lesson so they are ready and waiting.

 4. Make the “Practice Nest” a communal space. Children of any age appreciate company while they practice. Having a chair, couch, beanbag chair or pillows nearby where family members will be inclined to sit, listen and enjoy the music immediately sets the tone for happy time on the piano. Encourage siblings to stop by and listen quietly, and allow yourself even just 5 minutes to sit and listen with undivided attention each time your children practice. Many memorable moments of laughter will be found in this “nest.” 

Plus one more!  Adding small surprises to your children’s practice nest (flowers, a hand-written note of encouragement, a small treat, a new sticker pad, a special pen, etc) helps to show that you value the time they are spending on the piano and that you appreciate their effort and dedication.

One giant step towards making the piano a vital part of your children’s day-to-day life (and not a requirement) is making the piano area a place your child looks forward to visiting.

My own apartment has limited space but my digital piano space is the most noticeable area, and even if I weren’t a piano teacher, I would never have to think twice about “visiting” and spending time in that corner 🙂 “

Lola’s Practice Nest in Dubai

Lola Akwabi grew up in a musical family – her father was a college music lecturer and was thus surrounded by music every day of her childhood. At the age of nine, she started piano lessons and carried on with these when she joined the Kenya High School, which has a strong music tradition. On completion of her secondary education she started off work in the field of administration, while practicing music on the side as a hobby. She later joined the Kenya Conservatoire of Music as Music Instructor and Programmes coordinator. While at the Conservatoire, Lola taught theory of music and the piano to students of all ages – from age five up to 60! She loves all aspects of her teaching and especially enjoys the rare moments when the students get motivated to practice out of their own volition. In 2008, she sat and passed her Dip ABRSM in Piano Performance, under the tutelage of Mrs. Julia Moss (MBE), with whom she continues to take lessons to-date. She has taken Master Classes with Italian pianist Carlo Michini, English pianist and conductor Peter Evans and world-renowned Czech pianist, Libor Novacek. 

Lola has been involved in music for close to 20 years. She has been called upon to perform at various State functions and as an accompanist for the Kenya Music Festival competitions, which she first did at age 17. She hosted a Classical Music programme on radio for five years and wrote articles for Classics, a monthly Classical Music magazine for two years. In the year 2012, her article, Peri’s Diary was published in a leading UK magazine, the Music Teacher. She has also had the opportunity to speak to educational institutions on instrumental teaching and history of music. In addition to her Dip ABRSM in Piano Performance, she also recently acquired her Dip ABRSM in Instrumental Teaching. 

Although she listens to lots of music, her bias is towards Classical music and her favourite composers are the three B’s – Beethoven, Bach, and Brahms (in that order). In addition to her love for music, Lola is passionate about wildlife conservation, and fosters two elephants, Shira and Sokotei, at the David Sheldrick Wildlife Trust.

Lola Akwabi – Piano Specialist

Interview with Magdalena Wajdzik

 

Interview with Magdalena

1. When did you start learning the piano?

I started piano in pre-school, at the age of 6, in group lessons, to prepare me for piano from the age of 7.

2. What drew you to learn the piano?

We had my grandpa’s piano at home and my mum found me playing music by ear so she took me to an entrance exam where I had to pass a test to be accepted into the music school. In the music school you learn ‘normal’ subjects alongside music, with up to 2 hours of music per week.

3. Who/what were your major influences when you were growing up – which teachers inspired you and what classes motivated you?

In high school and the beginning of University (in Poland) I was given a teacher from a Music Academy – Mrs Murawska. She had a different approach to what I was used to. She was very passionate and focussed and gave me extra lessons when I needed it. She pushed me for competitions, concerts and always encouraged me to perform as much as possible. She was the main reason I discovered my passion for contemporary music. 

When I moved to England she still supported me and my application for Birmingham Conservatoire, where I was given two amazing teachers:

Margaret Fingerhut and Malcolm Wilson (who was the head of the piano department at the time). Malcolm helped me to develop performance skills, a wider amount of timbre on the piano whilst Margaret helped me to discover nuances and delicate qualities that you can bring out the piano. 

4. Can you name a few of your favourite pieces and why?

By far my favourite is Ravel Piano Concerto in G major, Movement 2. Ravel is an Impressionist composer who focussed a lot on melodic development and textural structure. This piece, for me, is beauty in the simplest form. Sometimes it doesn’t mean “the more notes the better” – it is a very humble piece with uncomplicated lines shared between piano and orchestra. This entire concerto is a testament to Ravel’s Impressionist sound and this movement firmly exhibits his brilliance.

My other favourite piece is like a completely different world. Some people may not even be aware that it exists ! It was written in 1972 by an American composer, George Crumb. It is entitled ‘Makrokosmos’ and my favourite is Volume 1 for piano solo.

What I truly love about this piece is that it not only explores playing on the keyboard but playing inside the piano as well: using so-called extended techniques. In the first movement the pianist is required to drop a chain on the bass strings, to create a metallic sound when you play on the low notes on the keyboard. The score of movement 4 is actually written in the shape of a cross – and is called Crucifixus!

Picture of the score for Crucifixus

What is interesting is, Crumb never had any of his music printed, he physically wrote everything down. Crumb wanted the music exactly how he wanted it and did not want to be limited by notational programmes. The performer also has to use your voice in 4th movement, I shout into the strings – the word “Christ” – pronounced in latin – this is a major shock to the audience! I think this is amazing, fun, challenging, and very rewarding to perform to the audience because the audience is fascinated by what is happening to the piano. I really feel this is my comfort zone. Crumb also quotes Chopin in the 11th movement, which sounds like sunshine to the audience! He almost creates a collage of music and it becomes a piece of art.

Watch Magdalena performing this piece, 32 minutes 30 seconds into the video.

https://www.youtube.com/watch?v=nEtvNBtLh_M

5. Who are your favourite performers/composers and why?

The Ravel and Crumb pieces have been the most influential for me – to develop me as a performer. This may change in a couple of years, but since playing these pieces, they have become my favourite pieces and subsequently my favourite composers. 

Martha Argerich (Argentinian pianist) is my favourite performer – she knows how to make the music come alive. “She becomes the music the way a great actress becomes the part she is acting”. She has got such a brilliant technique and she always chooses very aggressive tempos but this doesn’t compromise the music for the audience. 

6. How did you get into teaching?

Whilst at University in Poland and Birmingham we had pedagogy classes – which, to be honest, I wasn’t very keen on as I had a strict idea of becoming a performer! But then I used teaching to help me develop as a player. I started to analyse how to explain technical difficulties to students and I could then apply this to my own studies. This developed into a real passion and gave me more variety as an overall musician. My teaching began in Birmingham in 2007 and this is where I got the bulk of my experience.

6. What is your teaching Philosophy?

My philosophy is to enable my students to become independent learners by teaching them how to listen to themselves, evaluate themselves, how to make changes in their own playing. I endorse reflective learning. I also try to teach techniques for efficient learning that they can use when they are at home. This is imperative when I only spend 30 minutes a week with a student to help them progress. 

7. You came up with the concept of Funky Fingers at the Centre for Musical Arts. Can you describe this to us, and what the outcome has been for the children involved?

I had this idea for quite a while. When I had my interview with Tala she mentioned creating a piano ensemble and this was the main reason I wanted to work at CMA.

When I started teaching I noticed that pianists are disadvantaged because we always practice by ourselves, we play solos! When it comes to accompanying or chamber music we are lost, because we are not used to playing with other instruments early enough. Children have to develop their listening skills and awareness. If there is a group effort it stops being an individual process. Children need to realise that the music is not MINE or YOURS, it is OURS.

I think that the best way to teach students to play with someone was to put the pianists together! Funky Fingers is a workshop for up to 12 students on 4 pianos. In order to accommodate students in Dubai I also integrated differentiation, because we don’t have students at the same level – so I arrange the music accordingly. This also means beginners students can listen to more advanced ones and learn from them. For example I arranged The Pink Panther theme with the melody on just 1 finger, then 2 hands together, and a more complex part including chords.

Funky Fingers is a piano workshop held at CMA once a term.

The first workshop will be on the 27th November from 10am – 5pm.

To book your space, or for more information, please email workshops@cmadubai.com

Magdalena was born in Wroclaw, Poland, in 1985. She studied at the Nowowiejski Music Academy in Poland, Birmingham Conservatoire in the UK and Liszt Academy of Music in Hungary. She has been a recipient of many awards and scholarships; Joseph Weingarten Scholarship sponsored her studies in Hungary for two consecutive years. She has performed internationally, in Poland, in the UK, Hungary and USA.

Magdalena has been a successful teacher and performer, taking part in concerts and festivals that promote art within educational institution and community. Since 2013 she has enjoyed a close relationship with Birmingham Conservatoire, UK, working as a music lecturer on the Composition Department, as well as with The Atlantic Music Festival in the USA, where she regularly performs as a Fellow Piano Artist.

After moving to the UK, she spent numerous years at Birmingham Conservatoire, studying with Margaret Fingerhut, Prof.Malcolm Wilson and Victor Sangiorgio. She took part in many projects as a pianist, such as orchestral performances, chamber music concerts as well as opera rehearsals. Magdalena was always enthusiastic and eager to try out skills which led to a deep interest for contemporary music. In 2013 she was recognised as Park Lane Group Young Artist, which allowed her to collaborate with renowned and established international composers.

As a piano tutor Magdalena has worked with young children and adults. She finds it rewarding to see the outstanding talents of students highly appreciated by various audiences. She received her teaching education during her Bachelor and Master studies, as well as during teaching training for Birmingham Music Service. Additionally she took part in workshops discussing performance psychology aspects to improve the art of performance itself.

‘There doesn’t have to be any particular reason to start playing a musical instrument. It is important to know that it enhances personality development. Playing the piano is not easy but it engages all senses in the process of learning and therefore stimulates both halves of the brain.’

The Music Parents’ Guide, Part Two: Pedagogy

The Music Parents’ Guide, Part Two: Pedagogy

There are Three P’s in Learning Music at Home:

1. Philosophy: a theory or attitude that acts as a guiding principle for behaviour
2. Pedagogy: the method and practice of teaching
3. Practice: the actual application or use of an idea, belief or method, as opposed to theories relating to it

Our philosophy on Talent Education:

• One teaches; two learn.
• Teaching is primarily about creating this positive atmosphere through your words and actions. Use the home lessons as a time to learn yourself.
• Be present and enjoy the moment!
• Lessons are an important for you as they are for your child. If your child is younger than 10, you should attend most, if not all of their lessons. But it is important to observe good lesson habits (to be featured in our next post).

Three Keys to a Living Pedagogy:

1. The atmosphere of environment (playing music at home, enjoying your child’s progress, praising them in front of others, showing pleasure in their work)
2. The discipline of habit (practicing at regular, calm times in a happy mood)
3. The presentation of living ideas (taking your child to concerts, lessons, and other art-centred experiences)

 

Crosby DeLaney Barrett

Crosby Barrett is a teacher who brings a wealth of enthusiasm, patience and passion, along with the creativity needed to inspire students to achieve their personal goals through hard work and dedication. Having worked with children as young as two and adults as old as sixty, she is keen in understanding the needs and learning styles of each student and adapting her teaching techniques to meet those needs. With extensive experience in the Suzuki, Galamian, Kodaly, and Auer methods as well as playing experience including styles as varied as Opera, Medieval Plainchant and Rock she is able to bring a variety of options to her students in addition to preparing them for the Trinity or ABRSM exams.

Stage Fright – Using Alexander Technique

Many performers, young and old alike, struggle with stage fright and performance anxiety, especially before auditions.

Elisa Martinez Gil, one of our very own Upper Strings Specialists, has been very interested in researching techniques to assist musicians in overcoming this issue that plagues many of them world-wide. Below is an excerpt from her research paper entitled ‘A theoretical and practical approach to Alexander technique and dealing with stage fright.’

“To be able to change physical and mental tension, we need to inhibit, to stop, in order for something new to be developed. For that, we can use the semi-supine position….it is a position of mechanical advantage and is usually used in the Alexander Technique. We can use it for visualisation exercises and we must be aware that these routines have to be done conscientiously and deliberately.”

Semi – supine position

Time it well in advance of a performance and two things may well happen:

1. The upward and outward directions slowly become more present and powerful than your imagined stage fright, and you overcome it.
2. When the audition arrives, you will have spent all the capacity for fearing stage fright and you will cease to worry about it.^1]

To work on constructive rest in this semi-supine position, look for a space on the floor where it is quiet. It shouldn’t be too hard nor too soft- use a blanket, for example. Then lie down and  position the back, with a book or two under the head.

Bring the legs up, knees directed to the ceiling. After a few minutes of rest, think of the following steps, allowing ourselves to listen and observe:

Allow the neck to be free. When you bring attention to the neck, the tendency will be there to do something, like moving your head.  But it is important to leave the neck alone and think of the directions and not fall back in the habitual patterns.

Allow the neck to be free in a way that the head can go forward and up. Then, the back can lengthen and widen. Letting go of unnecessary tension in the neck will allow the whole back to expand into its full length and width, from the neck to the sitting bones.

When you think of the new directions, the tendency to fall back into the habitual patterns will be much less. Also think about other direction sequences in semi-supine position:

Imagine that you are in the audition situation, on stage. If you don´t feel nervous we, try to remember how that feels like (our habitual symptoms of stage fright). Then scan your body trying to feel how the anxiety influences different parts of the body. Try to be conscious about what exactly is happening (if the breath changes, if you feel any tension…). You can stay for a few minutes with the feeling, trying to recognise it.

Try to do something to have this feeling under control, making a decision to do something different in response to habitual feelings.

If we regularly repeat this simple process, it can improve stage fright because it grants the recognition of habitual response in performance situations. You can train to observe and understand stage fright in a normal situation, and improve it.

About Elisa 

Elisa Martinez Gil, Upper Strings Tutor

Born in Spain, Elisa began violin lessons at the age of six  and took her Bachelor’s Degree of Music in violin performance at the Conservatoire of Aragon. 

In 2010, Elisa was accepted at Fontys University in The Netherlands where she completed her Masters Degree in violin performance. She has attended the masterclasses of prestigious violinists including Axel Wilczok, Bolsi Corrado, Nicolás Chumachenco, Mark Kaplan, and James Dalhgren. 

Combining performing and teaching, Elisa has taught in several music schools, as well as privately. She has experience in the Suzuki and Paul Rolland methods and she also applies Alexander technique to her teaching.

An experienced performer, she has worked with the Asturias Symphony Orchestra for three years, having the opportunity of playing with amazing soloists, such as Eldar Nebolsin, Javier Perianes, Gabriela Montero, Suyoen Kim, Leticia Moreno, Akiko Suwanai, Lylia Zilberstein and Ning Feng.

Elisa has performed with orchestra and chamber music ensembles at very important concert halls, such as Royal Concertgebouw in Amsterdam, Konzerthaus Berlin, and the National Music Auditorium of Spain. 

Elisa is involved with many genres of music. She loves jazz, pop, bossa nova, flamenco, and tango. She also loves teaching and she believes in the importance of passing on the musical language in all it’s forms. Besides music Elisa is also pursuing an advanced degree in Business and Finance. She is also interested in cinema and has participated in theatre workshops.  Her sister is a classical cellist and her brother in law is double bass player, both work in the Asturias Symphony Orchestra. 

 

[1] Alcántara, P. Indirect Procedures: A Musician’s Guide to the Alexander Technique, p. 264