As the self-distancing measures come into play all around the world, we are all taking to the internet to keep our lives going as much as we can. Musicians are looking for ways to play and share their music with each other, as well as continuing to teach and reach out to their students to keep them motivated.
In light of this, I’m compiling a list of online resources which are popping up or being offered free of charge which may be of help to musicians in this difficult time. I’ll also include other previous resources which may be of use. If you have any to add, then feel free to email me and I’ll add them to the list.
Concerts and programmes
BBC plan to launch arts and culture into the home
Royal Opera House free online content
Met Opera to screen free performances online
Berlin Philharmonic free performances if you sign up before March 31
Streaming service for arts and culture
Virtual performing groups you can join
Gareth Malone’s Great British home chorus
For fellow fluties, Flute Center of New York Virtual flute choir (I shall be joining in with this one!)
National curriculum and instrumental resources
Similar to Charanga
Online music creation software
Similar to soundtrap
Online notation software
Online learning instrument and songs. Write and record your own music.
General Teaching Resources
All resources offered through the Twinkl website are free for the next month only if you signup using the code UKTWINKLHELPS
BBC launches BBC Teach containing video and audio clips arranged by age group
Flash cards and quizzes
Quiz/learning game creator
Online exercises and resources
My own online lessons and courses for Grades 1-3
My helpsheets available to download
Stay safe, and keep making music!
(this post contains affiliate links…)
In my experience, the vast majority of musicians and people who perform in some capacity or another are introverts. Whilst this may surprise many who themselves are not, it actually makes perfect sense that those who enjoy sharing their creative talents with the world and, in order to prepare for this, are more than comfortable with spending a large amount of time in their own company, allowing them the space to think, explore and grow their interests to the full.
In Quiet: The Power of Introverts in a World that can’t Stop Talking, Susan Cain not only provides a in dept insight into why those who identify with the concept of introversion do so, but she also explores how this can produce an array of valuable traits which can be applied to many different situations which are predominantly seen as only being successfully handled by so called extroverts.
As well as providing a feeling of relief for many, I feel there are many takeaways from this book which would resonate and provide food for thought for musicians and teachers alike. For example, Susan argues that it is vitally important for introverts to ‘find their passion’ in what they are doing so that they can see the purpose and gain from what they are trying to achieve. Perhaps this is something that everyone needs, but with introverts it always has to be continually present, which in musical terms could translate into the need to choose music or exercises which the musician can always find connection to, or the need to have regular goals and targets to aim towards. Alongside this, it is noted that there is a need for projects to be manageable, not overly stressful and supported by others. Again, this is vital information to be taken into account when dealing with musicians and pupils alike. Even seemingly less obvious differences are explored such as the belief that introverts function better than extroverts when sleep deprived – so there’s no reason not to get that extra practice session in of an evening!
Whilst the book does provide a number of long case studies which may not relate directly to the areas which interest musicians, it provides a valuable insight to a anyone who wishes to understand those around them more and improve their communication skills. And, after all, that’s what being a musician is all about!
This mental health awareness week, I want to share my experience of how teaching has been challenging to my wellbeing and what I have found useful in order to remain healthy in and out of my work.
Several years into working as a teacher, I began to experience a significant crisis of confidence over my ability to do the job. Almost overnight, I began to feel that I did not have the knowledge or skills to guide my pupils appropriately and that I was not the best, and therefore did not have the right to be in the position that I was when so many other fantastic musicians were struggling to find work. And whilst I knew that this feeling was all coming from me, from the thoughts I was having, and not through any constructive criticism or feedback, it still felt like I would ultimately have to leave a job which I had somehow always felt I would always fulfil.
And this of course was coming on top of the ‘usual’ level of stress that goes with the territory. The pressure to keep pupils on track, especially leading up to an examination or performance, and the energy required to remain upbeat and positive through day after day of back to back lessons is not something I think that everyone is cut out to cope with.
Teaching one on one can also be a lonely business. The chance to discuss the challenges and highlights of the day is seldom there, whether you work privately at home or in a school or other organisation. The preparation and planning of lessons takes place alone and feedback from anyone other than your pupils themselves is rare.
I realise now that my crisis was fuelled mainly by the disease we call perfectionism. My desire to be the best at everything was still present from my years of studying as a singer and I was now transferring it to my teaching. I also failed to realise that teaching is just as much about personality and your ability to relate to a pupil as it is about your own musical ability, and that your own desire to continue to improve your musical skill is perhaps more important than your current level of expertise which is always much greater that that of your pupils.
Many years later, I’m now in a very different place mentally to where I was when I first started. I came through that difficult time by facing the fact that perfectionism is a damaging construct (and one which I explored in a previous post relating to performing here) and ultimately through my own strength to carry on whilst taking small steps in building my confidence in my abilities. I am now aware of how to mange my time and work load so that I don’t become overwhelmed – taking regular breaks and setting aside scheduled time to plan and deal with admin tasks is now something I wouldn’t sacrifice. I am also aware of the need to share ideas and experiences with colleagues and others in a similar position as often as possible and so try to become involved with events and discussions, even if only online rather than face to face.
In taking a wider perspective on my working life as a whole and making sure that I am always able see the bigger picture, I feel not only am I a stronger person both professionally and personally, but that my teaching has directly benefited greatly also.
Today, we live in a instant world. A world which often feels like it takes place more often than not behind a screen than in reality. Not only is it possible to see someone who is across the other side of the world at the push of a button, we can access a wealth of information on any conceivable topic at any time of the day or night. That of course has its many advantages, but when it comes the art of learning to master a musical instrument, it would seem that the dominance of our virtual and instantaneous world can be more of a disadvantage which can have a huge effect on our ability to strive towards real achievement in a real way.
For many younger students, their first experience of learning to sing or play may also be their first experience of having to coordinate their brain and body in such a way that it can only be truly learnt once frequent repetition and intense concentration have been practised. This, when combined with the necessity to find time and a quiet solitary space without distraction where their senses of sight, sound and touch can all be perceived together (ie. whilst not in front of the a TV or computer screen), can make learning an instrument seem like a completely unapproachable and alien task. This has of course always been the case for anyone, however I believe that nowadays, the frustration and desire to give up at the first hurdle is more sorely felt, in some cases to the point where students really can’t comprehend the idea that to be able to get it right every time, diligent practice really is the only way.
But this is conversely exactly why I love playing an instrument so much and why I love encouraging and helping others to do so. It’s raw and real, and requires my own mental and physical energy to be controlled in such a way that a sound can be produced and replicated as I when I want it (and when taken to the extreme, for example in fluteboxing, can produce a really powerful natural high). It takes dedication, discipline and determination to keep going when its difficult, and even if technology can aid us along the way, it can never fully take a humans place when it comes to playing. Alongside these aspects, my instrument and my voice are themselves devoid of technology – they require no plugging in or charging up – and whilst modern in their make up, have an element of history woven into their development and understanding which gives them a real feeling of nostalgia before the music even begins.
So when faced with the struggle against our instantaneous hungry brains, the process of learning an instrument is one which can really teach us a lesson in stepping back and keeping it real. And even if a student once having taken those early steps decides that learning an instrument isn’t for them, I would hope that they have a least gained the realisation that not everything is instant – a most valuable lesson to have learnt.
Nadine Cooper was told by her music teacher when she was a child that she can’t sing and therefore shouldn’t join in with the school choir because she is ‘spoiling it for everyone else’ (as reported in this BBC article). Let’s think about that for a second. To me, it’s a bit like saying that you shouldn’t walk down the street because the way in which you place one foot in front of the other is not, in someone’s opinion, worthy of being classifiable as walking.
Everyone can sing. As a singing teacher I’m often asked to give this response to the first question that I’m faced with when someone’s learns what my job is. I’ve always given this same answer in my 9 years of teaching as I’ve never been proved wrong. Every student I have ever taught has been able to open their mouth a create ‘musical sounds with the voice’ (Cambridge dictionaries online definition of singing) right from the very first lesson and, more crucially, every student has made an improvement to this over time, even those who on initially hearing a note played on the piano are unable to internally hear it and therefore pitch it in their own voice. And that’s the main point here. Some people are born with an inmate musical ability and natural vocal technique which allows them to sing well with little guidance. But the vast majority are not, or at least have only a certain degree of these skills when they begin to sing more regularly. We wouldn’t expect anyone to be able to, for example, swim well, if even at all, the first time they try it, even though it only requires the use of our own bodies and no external equipment.
So learning how singing works is critical for anyone who wants to use their voice just like any other skill, with regular time needing to be spent on developing these skills in the correct way for the individual. If we go back to the walking idea, yes we can all walk (if we have no medical reason not to) but we could probably all improve our walking by looking at our posture, balance, fitness etc.
Nadine has decided to not let her music teachers words stop her and has formed a choir for ‘those who lack confidence or need more practice.’ I can’t applaud her enough. Often those students who have come to me with a seeming lack of skill as discussed above are really completely lacking confidence in their ability after being told they can’t sing, often by people who should know better. This is damaging, and can sometimes take years to reverse and have a knock on effect to other areas of their lives too. Singing as part of a choir is a great way to begin to combat this, allowing you to explore your voice in a relaxed way, whilst hopefully having some fun and learning something about vocal technique along the way. Of course there is no substitute for one on one lessons with an experienced teacher if you are serious about improving you voice, but we are not all fortunate enough to be able to devote the time and money needed to do this.
However you choose to do it, if you have been told/think you can’t sing and want to give it a go, then go for it – you can only progress, and you never know where it might lead.
I’ll admit that when I first became a singing teacher, and for a good few years into my teaching career, I blinkerdly looked upon it as a sideline, a way to work in music and earn money whilst supporting my own singing and studying. Despite the admiration that I received from those who learnt of what I did for a living, I couldn’t see the joy that could be found, and the knowledge that could be gained, in what I now come to regard as one of the most important and fulfilling ways in which to share your own passion for music making.
In the nine years that I have now been teaching, I can honestly say that I have learnt more about life and music making directly from it than from any other activity. I have had the privilege of working with a massive range of people of all ages who have come to lessons for a wide variety of reasons – to challenge themselves, to try something new, to resurrect an old skill, to pursue a musical career. All of these reasons may have given them a different starting point, yet they ultimately all end up experiencing the same negative and positive feelings during the inevitable challenging moments and the successful times which arise. Even though this roller coaster journey which every musician finds themselves one is one which inside I know all too well, it is only now when I get to experience it over and over again through the differing eyes of all my pupils that I can understand its merits and its importance.
And it’s not only in this way that I’ve seen what teaching can offer to the person delivering it. Over the years I’ve experienced moments of joy and laughter during teaching, especially when a pupil experiences a breakthrough in their development or when I can hear the beginning of a new vocal sound emerging. I’ve been privileged to witness numerous performances where pupils have gone far beyond my expectations and have given me more enjoyment and perhaps more to think about than if I had been performing myself. I’ve had the chance to explore pieces that I thought I knew well from a new perspective which has deepened my own understanding and interpretation. And above all, I’ve formed relationships with people which have become so well bound that the teaching and leaning has become so comfortable and instinctive as brushing your teeth.
How many aspects of music making can boast all that? Teaching, I’m glad you found me.