Sight read Any Music! Ten FREE Tips!

Ten amazing free secrets help to sight-read any sheet music notation for piano, from Sound Feelings. This free sight reading information provides self-study tools and solutions on reading music like a professional. Sight reading takes time to improve, as with any self-improvement program, but these helpful tips will show you how to get there faster than you ever believed possible! See also: read notes, reading notes, note-reading, read music, sight-reading books.

1  Develop Your “Relative” Sense of Touch.

Acquire the skill of playing so that you don’t need to look down at your hands. Without looking at the keyboard, glide your hands so you feel the two and three black keys (like Braille.) When you need a C, D, or E, feel for the “2s.” When you need an F, G, A, or B, feel for the “3s.” Most good sight-readers don’t need to look at their hands while they play and this drill teaches you how to find any note without looking at your hands. Then you will be able to keep your eyes on the music and look ahead and this will greatly speed up your sight-reading.

2  Develop Your “Absolute” Sense of Touch.

Always sit in the same place. Middle “D” is recommended because it creates a symmetrical pattern in both directions. Sometimes you may need to make a page turn or your hand will jump from a high position to a low position on the keyboard. It is handy to not have to look down to find the correct position in these cases. By always sitting the same place at the piano, you will develop a physiological memory of all 88 keys on the piano!

3  Practice Finger Technique Without Looking at Your Hands.

A creative way to do this is to play your scales and arpeggios in the dark. This will add confidence to your sense of touch. This exercise is to further enhance tactile awareness that is developed in steps 1 and 2.

4  Learn the Four Groups of the Lines and Spaces:

Try to learn these without the typical slogans: “Every Good Boy Does Fine,” or similar phrases. If you were to attempt to read a note using slogans, you would have to go through a 2-step process which seriously slows-down your speed. Just memorize the groups as fast a possible by saying them out loud frequently. Memorize the following.

Say: “Lines in the Treble E G B D F”
Say: “Lines in the Bass G B D F A”
Say: “Spaces in the Treble F A C E”
Say: “Spaces in the Bass A C E G”

Eventually, you will just memorize all the notes, but until that time comes, literally speak through the appropriate sequence until you reach the desired note. For example, if you want to read the third space in the treble clef, you say “F A C.” You stop on “C” and that is the third note.

5  Practice Only the Rhythmic Information.

In a composition you are working on, ignore the correct pitches. Just play the rhythmic infomation of the piece on any notes. Your brain will enjoy the ability to work on just one thing.

6  Practice Only the Pitch and Fingering Information.

In a composition you are working on, ignore the correct rhythm. Just play the correct pitches along with the correct fingering. Don’t try to play in time here. This way, you can focus on just the right notes with the right fingers. your brain will enjoy the ability narrow its focus. Eventually, you will be able to play the right notes with the right fingering and with the right rhythm all at the same time!

7  Play Easy Pieces up to Tempo.

Force yourself to keep going no matter what. Don’t worry about mistakes. This helps you to look ahead.

8  Play Difficult Pieces Super Slowly.

Don’t dare make even one mistake. This helps to develop accuracy.

9  Look For Patterns in Music.

Don’t be afraid to look way ahead for a second just so you can anticipate what will be easy or difficult. Patterns make it easy. If you detect a pattern then you can devote your concentration to other things.

10  Study Music Theory.

Professional sight-readers never read every note! They get a sense of the overall chord and “fill-in” the blanks. With a solid knowledge of music theory, this becomes natural and immediate.

By Sound Feelings Publishing

Common Misconceptions About the Flute
(as published in Flutewise – Summer 2002)

Commonly held misconceptions about flutes and flute playing was a recent topic on the FLUTE internet discussion list...

This popular subject elicited a large number of misconceptions. While some misconceptions are based on truth, often they are oversimplified in a way that could do harm to a young player's progress. Many misconceptions are surprisingly common while others are rare. Shedding the light of clarity on these indefinite areas may be beneficial.

      "The proper way to tune is by rolling the head joint."
A slight rolling outward of the head to sharpen or backward to flatten may be used sparingly to tune but generally a better technique is to use air speed variation in combination with air stream direction changes.

      "The flute must be held straight out to the right of your body."
Holding a flute comfortably can be a complicated issue. Attention should be given to discovering a tension free, comfortable position. Keeping the flute horizontal to the ground is possible but doing so may cause tension. A slight downward angle is generally accepted and, if not exaggerated, will likely result in the most tension free stance.

      "Open-hole flutes are better quality than closed-hole (plateau) flutes."
Some things can be done with open-holes that cannot be done with closed-holes. Many multi-phonic notes require open holes and subtle tuning can be accomplished by partially covering open holes. However, an open hole flute is not necessarily better than one with closed holes.

      "A single, unique distance for cork placement is applicable to all flute head joints."
Each flute and each flute head joint is unique. A generally accepted "correct" position for head cork placement exists, but tuning and response can be refined by altering that position in very small amounts either up or down the tube.

      "This old clunker flute will do for the kid to learn on. If he or she likes
       the flute and plays well, we can see about getting a decent instrument."
Having a flute that works well is vital in the early stages of learning how to play. An expensive flute is not necessary at the beginning of study, but a flute that is in good working order is critical for success.

      "A smiley, tight-cornered embouchure is correct."
A well developed flute embouchure must be flexible and able to easily and accurately redirect the angle of the air stream. Lips that are pulled back in a smiley position with muscle tension at the corners limit flexibility.

      "High notes are played by squeezing the embouchure tighter."
High notes are best achieved through a combination of reducing the size of the aperture through which the air is flowing, aiming the air stream slightly higher, and maintaining a fast air speed. Squeezing the embouchure generally leads to a rise in pitch or to no sound at all.

      "If you can whistle, you can blow into a flute."
Little similarity exists between a typical lip shape generally used for whistling and a well developed flute embouchure. The "whistle" approach is quite useful to produce exotic sounds like "whisper tones" but equating a good whistle with a good flute embouchure is irrelevant.

      "Silver flutes are better than silver-plated flutes."
What materials are "best" for flute construction has been debated among flute players for as long as flute makers have been producing instruments out of various substances. Each player tends to find a flute (silver, gold, platinum, wood, and various combinations of materials) that works best for him/her. A verifiable and repeatable test to determine the best flute construction material has yet to be designed. The "best" material for a flute is a matter of personal preference and individual opinion.

      "The flute is a little instrument. Therefore it doesn't take much air to play."
If only that one were actually true! All of the other wind instruments (woodwinds and brass) make their sounds in such a way that a certain amount of back pressure is created by the various instruments and by the embouchures used. The flute does not provide any back pressure of its own. The flute players lips have to take care of providing that back pressure, resulting in the need for a large amount of air. This is especially true in the early stages of a player's development. Oboe players often find themselves getting rid of unused air but a flute player experiences that only rarely.

      "No one will hear if I use fake fingerings in all fast passages if I get the sound out?"
Alternate or "fake" fingerings are useful tools in appropriate situations. These special fingerings are useful to make difficult passages slightly easier but often the tone or pitch of the note is inferior to the normal fingering. Alternate fingerings are best used only as a last resort because even at fast speeds many alternate fingerings are clearly audible.

      "There's no difference in sound if you leave the left hand 1st finger down for D2 & Eb2."
I often ask students to make their best sound on a long D2 or Eb2 with their eyes closed and listen very closely. I then have them do it again but this time move the left hand first finger up and down while they play and listen very closely. They instantly perceive a big difference in sound between the two fingerings. Those two notes must have the first finger off to make the best possible sound.

      "Wood flutes are old fashioned and out of date."
Wood flutes are neither old fashioned nor out of date. Many modern flutes are made of wood and have the same keys as metal flutes.

      "To play the notes in the third octave, use the same fingerings
      as for the first two octaves, and blow REALLY HARD!"
The most important consideration for any flute player is to create the most beautiful and in tune sound throughout the entire range. Third octave fingerings are more complicated than the lower two octaves but produce the best sound with the least amount of effort for the air stream and embouchure. Learning those high note fingerings is important because flutes generally play the high notes in an orchestra or band.

      "Tone and technique exercises aren't necessary."
To play well, one must spend the time needed to develop the best sound possible and a fast, fluent technique. Tone and technique exercises may not be exciting but devoting a good portion of practice time to them is the quickest way to develop the skills required to play demanding flute music. One beautiful note is worth more than a million ugly ones, so beautiful tone should be considered the most important skill of all. Nearly all music uses patterns and note combinations based on scales and arpeggios. Learning technique thoroughly will minimize the time spent to learn new pieces and improve sight reading ability.

      "My flute comes 'tuned' from the factory, therefore I should
      leave the head joint pushed all the way in to play in tune."
Flute scale or tuning is done by the flute maker. Tone holes are placed in the tube of the flute according to the total length of the whole flute. To allow for small adjustments either sharper (shorter) or flatter (longer) flute makers tune the flute expecting that the player will keep the head joint pulled out slightly. In that way players can push in the flute head slightly if the pitch needs to be raised.

      "Flute tenons need to be greased."
The metal parts of the flute that fit together are called tenons. In previous periods of music history those connections were often constructed using cork. The modern flute does not use cork but it does use highly refined tubes of metal that fit extremely precisely. Adding grease to a well made metal tenon will shorten the normal life of the tenon by adding volume to an already well fitted tool. The grease will attract dust and further enhance the damage caused each time the greased flute is assembled. Metal tenons should be kept clean in order to get the longest life from the flute.

      "Tarnish must be removed at all costs."
Tarnish does no harm and there is no need to clean it. Areas of the flute tube, the head joint, and the key tops can be wiped with a soft cloth to minimize the amount of tarnish but attempting to clean tarnish from between the keys is unwise. Rods, springs, and keys can easily be bent by attempting to remove tarnish so the best thing to do is leave them alone. When the flute receives its routine servicing the repair person will likely take off the keys and give the instrument a good cleaning.

      "This flute is a great flute; I haven't had it to a technician in years."
Flutes that are used often wear out and need repairing and servicing attention at regular intervals. Normal wear and tear affects the pads more than any other part of the flute. Leaks develop naturally over time so small pad adjustments or changing deteriorated pads will reduce leaking and keep the flute in optimum condition. With careful and proper handling a single set of flute pads can last for several years. A routine servicing will generally include cleaning and oiling the key work so that the keys will function freely and without undue wear for years. The cork on the inside of the head joint can shrink over time causing leaking or poor intonation if the cork should shift out of place. Commonly, professional flute players take their instruments to the repair shop several times per year for regular maintenance and servicing. Students are advised to seek out routine maintenance about once per year.

Larry Krantz © 2002

Here are some basic auditioning tips, no matter what the ensemble level:
1. Dress appropriately.
Believe it or not, what you wear can mean almost as much as how you perform to an auditioning judge. While you’re certainly not going to wear a formal tux when you audition for a local wind ensemble, wearing jeans automatically undermines your credibility and commitment as a performer. Most auditioners want to feel that you are dedicated to the position you apply for - make them believe that you take the audition seriously by wearing slacks, or a long skirt, with a nice shirt. A word of caution - if you get nervous easily when you perform, wear nice pants: even the longest skirt will show your shaking legs!
Of course, try to avoid the other extreme: don’t wear clothing that distracts from your performance. Keep jewelry, make-up, and clothing colors to a minimum. Keep your hair combed and simple. You may love that bright pink, sequined flamingo shirt, but think of it from the auditioner’s perspective first. Dress conservatively and appropriately. Also: wear shoes that you feel comfortable in! Ladies in particular should try to wear a pair of black, flat-heeled shoes. There’s nothing worse than tight-fitting or overly-high-heeled shoes when you’re trying to concentrate on a difficult piece.
Suggestions
Arwen (for girls): Dressy, black v-neck shirt and black slacks, with simple (nothing flashy) jewelry. Black has always been a classy, conservative outfit for musicians, though simple, solid colors work well, too.
Justin (for guys): Nice collared shirt and slacks, and a tie, depending on the occasion.
2. Choose a professional accompanist.
You’ve worked hard at your pieces; you deserve someone who accompanies for a living, or at least has extensive experience. Trust me, and this is from personal experience, it’s painful to spend so many hours in practice only to have your accompanist screw up terribly at a performance exam because they couldn’t handle the repertoire, or worse, they “got nervous.” (I’ll certainly never make that mistake again) A professional will never make mistakes (well, at least very rarely), and will in fact work around your tempo and will minimize your performance errors. Though the price is higher, it’s nice to know that your performance probably won’t bomb if you change your tempo suddenly or even skip an entire bar of music! (I’m not saying to do that at a performance, of course!) Even if you’re not taking private lessons, call local teachers and find out who they recommend. Better yet, if there’s a school of music nearby, call there and find out who they use for accompaniment. Remember to give your accompanist plenty of notice before the performance, and meet with them at least once beforehand to rehearse.
3. Warm-up before you perform.
Make sure you have at least half an hour to an hour before your performance to achieve the tone you want. Warming-up makes an incredible difference not only in your sound, but also your range, tuning, and embouchure flexibility. Just as a track-athlete’s performance would be compromised if he didn’t stretch beforehand, it is vital that you play your instrument long enough to produce a thick, rich sound. You should set a specific warm-up routine into your everyday practice that includes an overtone series, scale patterns, and long tones, that you can use before an audition. The purpose is not to exhaust yourself, however, so try not to play until your facial muscles are over-exerted.
4. Select your music with care.
Finally, we come to music. When selecting music for an audition, remember to choose pieces that you can perform well and expressively. The best balance of audition pieces would be something like a classical concerto and a graceful French work. Try to select pieces that complement each other through your ability to tackle contrasting styles, challenging technical passages, as well as exhibit sensitivity to tone color and musical markings. It’s risky to perform avant-garde pieces, such as modern 20th-century pieces. Tastes vary so much on newer works, that you never know what bias an adjudicator may have against a particular modern composer or work. Often, it’s better not to find out. However, if you simply can’t stand anymore Bach, and are confident of your skill and interpretation of a piece, then go for it. But try to temper the “modern” flavor of your audition with a classical work, to show that you are able to perform the standard repertoire with ease.
5. NEVER show up late.
If you show up late for an audition, brace yourself for disappointment. Depending on the ensemble, you may be told not to bother even performing. Though this would most likely not happen at a less-than-professional level, it is nonetheless a black mark on your performance before you have even played a single note. Auditioning committees often have dozens, or even hundreds of applicants, and they have little patience for someone who doesn’t appear to their audition on time, or worse, not at all.
First of all, make sure that you figure out where the audition site is well ahead of time, and not just the building - know the very room! Imagine your panic 5 min before your audition when you’re still running the hallways searching desperately for the audition room……not realizing that you’re in the wrong building. Ouch. Help out your accompanist by giving them specific directions ahead of time as well.
And last, but not least, BE PREPARED. The more prepared and comfortable you are performing a piece, the less chance that nerves will take their toll.
By Arwen and Justin
 

Common Music Questions and Answers

Q: Do I need a piano at home to take piano lessons?

A: It is ideal if you do have a piano at home, but you can start lessons by using an electric keyboard to practice on as long as it meets these requirements: It should have a full keyboard (88 keys), It should have a stand so that it is at the proper height to avoid injury, It should have a bench that is also at the proper height to avoid injury and ensure the proper posture, It should have regular sized keys and a touch sensitive response (A touch sensitive keyboard means if you press a key harder it will play louder and if you press a key softer it will play quieter) and it should have a pedal. Please call/email if you need further information or a name/number for such a purchase.

Q: How long does it take to learn an instrument?

A: There is no set answer of how long it takes to learn an instrument. With regular practice a basic level of playing can be accomplished in a few months. Most of our students take lessons on a long term basis because they want to be constantly improving and they find the lessons enjoyable.

Q: I don't have any musical background or ability; can I still help my child practice?

A: Yes. Even if you don't have a musical background you can ask the teacher for advice on how to help your child practice. By simply monitoring that they are doing exercises a certain number of times per day the student will progress. Many parents occasionally sit in on their child's music lesson to get an idea of the proper way a song should sound or how the student should be positioning their hands.

Q: Are Private Lessons Tax-Deductible?

A: Yes, they can be if taken at a qualified music school such as Music2Master.com. Contact your tax advisor to see if you qualify.

Q: My child is interested in learning the guitar. Does he have to begin on an acoustic or is it ok to start on an electric?

A: Since most parents began learning guitar on an acoustic they often think that it is necessary for their kids to start that way. In reality a child can learn how to play using either an acoustic or an electric because the notes and the chords are the same. We always advise the parent to get the opinion of the child if he has one, since for some children emulating their favorite artist will motivate them to practice more. The advantage of beginning on an electric is that it has lighter string tension which means it will take less strength to get a good tone. The advantage of having an acoustic is that you can practice anywhere because you don't need an amp. Parents don't have to worry about the electric being too loud because most beginner amps have a headphone jack so the child can practice without disturbing others.

Q: My child is only interested in rock and roll, can he benefit from taking lessons?

A: No matter what style of music a person is interested in, the fundamentals of music still apply. Learning the terminology (language) of music and developing a comprehensive knowledge of music does not impede one’s ability to “rock out”. It actually will allow a person to develop to a higher level of playing no matter what style they prefer.

Visit us at www.Music2Master.com for more valuable information in regards to Music Education/Music Lessons!
 

I am happy to announce a three-day weekend experience, "Integrating Flute,Spirit, Mind, & Body",

By Paula Neudorf and Weilun Soon

The names of great American piano companies that once thrived but no longer exist — or exist in some virtually unrecognizable form — could stretch over measure after measure of a musical score. Mason & Hamlin, Wm. Knabe & Co., Chickering & Sons, Baldwin. The names of towns where piano factories once stood — South Haven, Trumann, Boston and Thomaston — could serve as a counterpoint. Call it the swan song of the American piano industry.

Ask anyone, like Doug Skor, a Wurlitzer salesman. Owned by the guitar maker Gibson, Wurlitzer once made organs and pianos. Now the Wurlitzer trademark is mostly found on jukeboxes. “Pianos are for the most part just fine pieces of furniture,” Skor said.

Or ask Jackie Ross, the executive director of the Chamber of Commerce in Trumann, Ark. Until December 2008, Trumann was home to the last Baldwin plant in the United States. At one point, Ross explained, Baldwin’s plant employed about 260 people. Over the course of three years, the staff was reduced to a size of 13. Baldwins are now made mostly in China, though you can still order a custom piano from the tiny staff in Trumann.

For everyone in the business of making and selling pianos, the recession, combined with a general downward trend in sales and ever-increasing production and labor costs, created something of a perfect storm. In the eye of this storm is Steinway & Sons, the last major American piano manufacturer still standing.

A COMPANY IMPERILED

Steinway & Sons’ American factory endures at the northernmost edge of Astoria, Queens, where it has remained since the late 1800s. The company has a sister factory in Hamburg, Germany, which opened decades after Steinway’s founding, in 1853 in New York.

Considered by many to be among the best pianos in the world – if not the best – Steinways are endorsed by the majority of professional classical pianists. A new Steinway grand can cost anywhere between $40,000 and upwards of $120,000. At the Astoria factory, skilled craftsmen have been building these pianos in much the same way since the company first began.

But in 2009, Steinway’s Astoria factory saw a sharp decrease in production.

“Sales in the U.S. were down by half from ’08 through ’09,” said Chris Arena, who was manager of the factory’s restoration department until March 2009, when he was laid off. Arena worked with the company for 22 years and is one of many employees laid off since the economic crisis hit in mid-2008.

Anthony Gilroy, director of marketing and communications at Steinway & Sons New York, clarified that in the second quarter of 2009, U.S. grand piano shipments, specifically, were down by a little less than half.

THE WORKERS' FEARS

Overall, Steinway Musical Instruments Inc., which owns Steinway & Sons as well as Asian-manufactured brands Boston and Essex, experienced a 21 percent decline, equivalent to $48 million, in its piano sales in 2009. Although the company’s stock price has risen by 100 percent from a 2009 low, the price today – just under $20 – is roughly what it was 15 years ago.

Steinway’s Astoria factory has felt the recession’s blow. Rohan Somnarain, the beleaguered president of United Piano Workers Local 102 — the union that represents Steinway workers — recounted a litany of woes. Union members’ wages, between $16.90 and $28 an hour, are frozen until 2012.

Since August 2008, Steinway & Sons’ staff has been reduced by 30 percent, Gilroy said. Somnarain added that 142 union members were laid off between November 2008 and November 2009. There are currently 259 workers on the Astoria factory floor.

Dominick Iovino puts the finishing touches on a piano in Steinway Astoria's tone regulating department, on March 2, 2010. (Photo: Weilun Soon)

“We worked for four days a week for a while, just to try to keep it running, but now we’ve been back to five days a week,” said Dominick Iovino, a final tuner in Steinway’s tone regulation department. “They cut down the staff in order to keep the senior people working for five days a week.”

Somnarain said his union’s bargaining power with the company has been seriously eroded by the recession. In the late 1990s, when times were better, the factory had some 500 workers.

Some workers’ biggest fear is that the factory could close and move to another location, or consolidate with the Hamburg factory.

“It’s not like a hospital — if this hospital closes, you can go to the next on the next street,” Somnarain said. “If Steinway falls, we have to go to Yamaha, Kawai in Japan, China.”

Fueling fears of a move is the high price tag on the land Steinway’s Astoria factory occupies. The 450,000-square-foot space has a current market value of nearly $54 million, according to a New York City Department of Finance estimate.

However, Ron Losby, the president of Steinway & Sons Americas, firmly stated his commitment to keeping Steinway & Sons in Astoria.

“If we would move this to Georgia or some other place in this country, it would definitely be the death knell for the company, because we wouldn’t have the access to the labor we need,” Losby said. As a cautionary tale, he mentioned Baldwin, which moved its factory from Cincinnati to various locations before settling in Trumann, Ark. “That had a serious impact on the fortunes of that company, and now it’s just a shell of what it used to be,” Losby said.

“Moving from America (or even from New York) might mean cost reduction, but it would also mean reduction in the quality of the Steinway piano, which is simply unacceptable for our company or the musicians who play our instruments,” Gilroy added in an e-mail.

MADE IN ASIA

Today, the largest piano manufacturers are located in Asia. Yamaha, a global corporation that, unlike Steinway, produces a slew of products beyond pianos, is based in Japan. Still, the giant has been affected by the recession as well.

“All of us have taken a hit, probably 30 or 40 percent,” Bill Brandom, senior technical manager of Yamaha’s American keyboard division, said of the piano industry’s sales last year. “All of us are just trying to survive right now.”

In 2007, Yamaha closed its last American piano plant, located in Thomaston, Ga. Brandom said a major factor in Yamaha’s decision was the high cost of American labor. Yamaha now produces its uprights in China, a line of grands in Indonesia and the majority of its grands in Japan.
Workers bend a piano rim at Steinway's Astoria factory on March 2, 2010. (Photo: Weilun Soon)

While Yamaha and other piano manufacturers have streamlined the production process with high-tech machinery, Steinway & Sons relies on craftsmanship of a type that has all but vanished from the American manufacturing industry.

The majority of Yamahas are tuned by a machine, for example, whereas Steinways are tuned dozens of times by ear. From beginning to end, a single Steinway piano takes about a year to make.

As Asian manufacturers like Yamaha and Samick Musical Instruments Co., a Korean-based company, purchase more and more piano brands, it has become increasingly difficult to keep track of where these brands are made. Most of Samick’s roster of brands, including Wm. Knabe & Co., Pramberger, Kohler & Campbell and Sohmer, were formerly American and European companies that Samick bought out and now manufactures in Asia.

“They call it stencil pianos, and they’re still manufactured under those old names, but they’re pretty much Asian pianos,” explained Mark Dillon, the foreman of Steinway Astoria’s tone regulating department.

In the last decade, some of the world’s preeminent piano brands have also been sold in whole or in part. Samick became a part-owner of the renowned German piano company Bechstein in 2002, while Yamaha bought the equally esteemed Bösendorfer in 2007. Bechsteins and Bösendorfers are still produced in their home countries, Germany and Austria, respectively.

LOOKING FORWARD

In November 2009, Samick announced it had bought 1.7 million newly issued shares of Steinway Musical Instruments. These shares, along with the 200,000 shares Samick already owned, represent an ownership interest of 18.4 percent in the Steinway company. A Steinway press release noted that money from the purchase would go toward paying off the company’s debt and that Samick’s chairman, Jong Sup Kim, would join the company’s board of directors.

The announcement has led to speculation from people close to the industry that Samick may have purchased the shares to secure a manufacturing deal with Steinway Musical Instruments for the production of its Boston and Essex piano lines, currently made through other agreements in China, Korea and Japan.

Samick also has the option of buying another 1.7 million shares of Steinway Musical Instruments before March 31. If this purchase were to take place, Samick would own nearly 30 percent of the company. Kyle Kirkland, Steinway’s chief executive, and Dana Messina, Steinway’s chief financial officer, would still own a controlling share of the company.

Steinway & Sons' Astoria factory, which has manufactured pianos in the same location since 1873, on March 2, 2010. (Photo: Weilun Soon)

Despite the recession’s turmoil, there are signs that things are turning around. Traffic to Steinway’s showrooms has increased recently, Losby said. He also noted the market in Asia is increasing, though this market is by and large served by the Hamburg factory. And Steinway Musical Instruments’ fourth quarter earnings in 2009 were 26 percent higher than a year earlier.

“It might have reached its lowest point at this time,” said Alex Kostakis, co-owner of A.C. Pianocraft, a piano restoration company, of the piano industry at large. Kostakis, whose father worked at Steinway & Sons and founded A.C. Pianocraft in 1966, noted that Steinway could survive not only this economic downturn but also future storms.

“I honestly don’t see Steinway folding in any shape or form,” Kostakis said.

The big splash consumer electronic development in the last month was the release of the iPad by Apple. And right on cue, several piano teaching and playing applications were announced. Most of these appear to be based on existing iPhone applications that have been modified to take advantage of the iPad's larger display surface.
A quick assessment of the potential for piano and DJ applications on the iPad, focusing on the larger iPad display, is offered by CNET and can be reviewed by clicking here.
Two newly announced piano products for the iPad include:
Magic Piano – Smule, best known for its Ocarina application for the iPhone, introduced Magic Piano. This is an i Pad-only application that lets users play piano on traditional and very non-traditional keyboards that are displayed on the iPad. The application is available from Apple’s iStore for $2.99. For more information about Magic Piano click click here.

Pianist Pro - UK-based MooCowMusic announced the release of their new application, Pianist Pro for the iPad. Building on their iPhone application Pianist, this new iPad-only application offers advanced music composition functionality for the casual player and the music professional. The application is available from Apple’s iStore for $9.99. Click here to read more about Pianist Pro.
 

The Steinway piano that John Lennon used to write the song "Imagine" is on display at the world's first global Musical Instrument Museum (MIM) which officially opened its doors on Saturday, April 24 in Phoenix, Arizona. The piano is on loan to the museum for one year from its current owner, pop singer George Michael.

The $250 million museum has more than 12,000 instruments and objects in its collection, with 3,000 on display. It was founded by former Target stores chairman Bob Ulrich. The two-story, 190,000 square-foot museum features over 280 exhibits relating to practically every country in the world.

 

Chai, Chang-Ning is one of the most acclaimed Chinese flautists of his generation. He graduated from the Central Conservatorium of Music in Beijing, China, where he also lectured until 1988. Whilst still in China, Chai was awarded First Prize at the prestigious 4th Annual Guan Dong Music Festival. In 1984 Chai was guest soloist of the "Great Tang Dynasty Music and Dance Orchestra" which performed at the ninth Asian Festival in Hong Kong. In concerts throughout Europe, North America and Asia, this outstanding orchestra demonstrated the brilliance of the arts in the overall achievements of the Tang Dynasty. Chai was frequently engaged as soloist and also ensemble-member with major Chinese traditional orchestras and symphony orchestras.

He has been associated with the sound-tracks of several acclaimed movies. The most distinguished of these include "The Last Emperor", "Children of the Dragon", and "The Road to Xanadu". The filmscore of "The Road to Xanadu" was composed by Australian composer Nigel Westlake. "The Last Emperor" (1986) directed by the Italian Director Bertolucci received seven Academy Awards including best soundtrack.

Chai migrated to Australia in 1988. Since his arrival he has made a distinct mark on the music community of Australia. In the year of his arrival he gave a lecture-recital for the NSW Conservatorium. Two presentations and a recital as a guest lecturer for the Music Department of Sydney University followed in 1989 and 1991. He was also engaged by the Woodwind Department of the Victorian College of the Arts and Pan Pacific Music Camp at Collaroy. He has regularly toured Australia and Asia as featured guest soloist with the respected Australian Ensemble, Sirocco. His involvement with the Australian media, in particular the Australian Broadcasting Corporation has been much appreciated by Australian audiences.

Chai is greatly admired not only as an ensemble musician but also as a solo performer playing extensively in Australia as a soloist and with many other acclaimed musicians. In Sydney, Chai directs "The New Music Ensemble" in performances of traditional Chinese music and teaches flute at the Australian International Conservatorium of Music in Harris Park.

Fred Blanks of the Sydney Morning Herald described Chai Chang-Ning as a "brilliant performer"
 

Sophie Barili who was born in Marseille began her studies of the flute with Frédéric Chatoux and Jean-Marc Boissière at the music conservatory in Aix-en-Provence where she graduated at the age of 15. She then moved to Germany to study with Prof. Jean-Claude Gérard at the staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart and with Prof. Andrea Lieberknecht at the Hochschule für Musik und Theater in Hannover. From 2000 to 2002 she was the solo-flutist of the European-Union-Youth-Orchestra, then won an internship position with the SWR Radio Symphony Orchestra in Stuttgart and became a scholarship recipient with the Villa Musica in Mainz. In addition, she is a special award winner of the 6th International flute competition in Kobe/Japan. She's held the position of associate principal flute in the Pfalz Theater Orchestra Kaiserslautern since 2005.

Brooklyn native Lori Bell is a flutist and composer of admirable depth and broad musical sympathies. A resident of San Diego, she has contributed to the development of higher standards of jazz performance while earning acclaim from both peers and critics for her artistry on stage and in recordings. Her debut on Discovery Records, "Love Will Win" with pianist / vocalist Dave Mackay and assist Andy Simpkins, received warm praise and four and a half stars (out of five) from the esteemed Leonard Feather and was selected on the Grammy list for Best New Artist in 1983. A second Discovery disc, "Take Me To Brazil", showed a natural fluency in this Latin idiom and demonstrated her ability to maintain a high level of inspiration. This album featured the first of several fine compositions and was enthusiastically given four stars by the Los Angeles Times in 1989. Over the past 15 years, Ms. Bell's many performances in venues such as the Wadsworth Theater, Elario's and the Jazz Bakery established her reputation, among musicians and audiences alike, as a remarkably vital interpreter.
Her outstanding contributions with the ensemble Straight Ahead, during the 2997 Mary Lou Williams Jazz Festival at the Kennedy Center, broadened that reputation and were noted in the music periodical Jazziz for their fire and commitment. She continues to deepen her understanding of the rich, varied language of jazz even as she develops her eloquent gifts of communication. In 1998, this artistic maturity was delightfully demonstrated with her stellar work with Dave Mackay and guitarist / vocalist Ron Satterfield in the trio Interplay. Their Self-titled first album from Webster's Last Word was selected on the 1999 Grammy ballot in four categories, including Best Jazz Solo by Ms. Bell on Pat Metheny, "It's Just Talk." The disc, which garnered four stars from Scott Yanow in Strictly Jazz magazine, also features her composition "Playing in The Snow", a waltz that skillfully combines an uncommon musicality with a fresh, intrinsic charm.
There is a surpassing craftsmanship-inspired improvisation rendered within a wonderful harmonic and melodic framework - that is at once fulfilling to the musician's mind and music lover's heart. It is a quality, which embodies the fundamental appeal of Ms. Bell/'s music and which conveyed her special talents to a wider audience with her most recent endeavor, her eponymous CD. Released in 2002 on the Beezwax label, the "Lori Bell" album successfully interpreted more commercially viable arrangements grounded in the best jazz fundamentals. The Grammy Award panel recognized the album's comprehensive excellence with selections in five categories, among them Best Instrumental Arrangement and Best Contemporary Jazz Album. The press also found the collaborative efforts of Ms. Bell and her colleagues to be exceptionally persuasive. Marco Pignataro wrote in Jazz Improv of "...truly enjoy(ing) the sophistication of the arrangements and the professionalism of each member of Mrs. Bell's band. And noted that Bell's "...command of the flute is outstanding...(her) arabesques really paint some beautiful landscapes." He appreciated the album for "...delivering a good mélange of playful grooves and soothing atmospheres as a backdrop for Bell's remarkable flute playing." In addition, Cadence magazine's Frank Rubolino observed that Ms. Bell "...makes the music happen with her wide range of improvising skills and melodious tonality." He also remarked of her "definitive solo statements on each of the tunes..." while commending her for the lyrical intensity and spontaneity of her tasteful playing.
Ms. Bell performed at the Gala for the 2003 Annual Conference of the National Flute Association. She and her musical partner, Ron Satterfield, distinguished themselves as worthy peers of the many fine musicians that graced the stage that evening. She seeks to use the valuable experience of participating in the annual conference as a foundation for inspired effort in reaching an even higher level of musical excellence.
 

Katharina Böhm was born in September 1976 in Wasserburg am Inn. She is a descendant of Theopart Boehm, who is the founder of the modern flute system. Katharina's first flute lesson was 9 years old and she eventually became a student of the Richard-Strauss-Conservatory in Munich. Since 1997, she had learned by Professor I. Boßler Wechselte at the Hochschule für Musik Felix-Mendelssohn Bartholdy Leipzig. During her study, she joined several Orchestras and also she taught regularly. She took part many courses and played several chamber music ensemble including the Quintet Wind Strong Five (Quintetts Windstarke Funf).

János Bálint flutist was born in 1961 in Hungary. He graduated from Franz Liszt Academy of Music in Budapest in 1984. After graduating he was given further education by András Adorján. He won many awards at international competitions at that time (Ancona, Leipzig). He was the solo flutist of the Hungarian Radio Symphony Orchestra between 1981 - 1991. In 1998, he was the Artistic director at Auer Sommer Academy and in 1999 he established and become a president of Doppler Music Institute in Hungary. Since 2000 he is a solo flutist of the Hungarian National Philharmonic Orchestra. In 1986 he became a soloist of the Cziffra Foundation and his international career was started. He has performed at the most important European festivals and concert halls (London, Paris, Bratislava, Roma, Assisi, Moscow, Helsinki, Salzburg, Budapest). He has also performed in Israel and the United States. He has performed with partners like Ruggero Ricci, Gervase de Peyer, Pierre Pierlot, Miklos Perenyi, Alain Marion, Maxence Larrieu, Georges Cziffra, Tamás Vásáry, Zoltán Kocsis András Adorján, Ransom Wilson and Jean Claude Gerard and with ensembles and orchestras like the English Chamber Orchestra, the Radio Orchestra of Bratislava, "The European Soloists from Luxembourg" Chamber orchestras, Kodáy and Bartok Quartett and with the most important Hungarian symphony and chamber orchestras. He regularly makes radio and TV recordings and takes part in live concerts transmitted by the media. He has made recordings with the Nexos Hungarian Hungaroton (5 CD's) and with the German Capriccio company (12 CD's). Two of this CD's had a specially big success (transcriptions of Paganim and Mendelssohn concertos). New CD with Zoltán Kocsis - Schubert, C.Franck, Dvosor. He has regularly judged at important international flute and chamber music competitions (Hungary, Yugoslavia, USA, Itaia, Poland, Austria, Rumania, Japan). His publications are issued by the Accord Company. He is teaching at Accademia Flautistica (Imola) and Hochshule fuer Musik (Detmold) and his students have received 20 prizes by International Competitions. He does 8-10 master classes a year all over the world and he has a wide repertory (the whole flute literature) from baroque to contemporary including more than a thousand pieces. Performing about 100-120 pieces from this repertory a year, these pieces include concertos, pieces with orchestra, with strings, guitar, harp, piano and voice. To make this wide repertory richer he often makes transcriptions. Many contemporary composers have written pieces for him and he got awards for the interpretation of these pieces.

Masahiro entered the Tokyo College of Music in 1987, and joined the Tokyo Symphony Orchestra in 1989 while in college. He won 3rd prize in the the 5th Flute Convention Contest, solo division in 1991. Masahiro studied under Yasuo Yamamoto, Tsuyoshi Koizumi, Gao Saito, Paul Maisen. Currently, as a principal flutist at the Tokyo Symphony Orchestra, he plays in chamber music, solo works and recordings. Masahiro is a member of a flute Quartet, "The 4 flutes".

Born in Ankara in 1957, he received his music and flute lessons from his father, Ismail Ayvazoglu. During his education, following an exam opened by the “Ankara State Opera and Ballet” he was accepted to the State Opera Orchestra in 1976. While making small programmes of harpa and flute duets for the TRT Ankara Radio, Ayvazoglu also gave concerts as a soloist player with the Ankara Chamber Orchestra. He was transferred to the “Izmir State Opera and Ballet” as Principal Solo Flutist in 1983. He gave concerts with the orchestra as a soloist performer and performed in the harpa and flute duets for the chamber groups. With a private scholarship Ayvazoglu worked with Prof. Hermann Klemeyer in the “Munich Higher School of Music” where he became Dr. Jochen Gartner’s student. He received a “master flutist” diploma from the “Munich Richard Strauss Conservatory”in 1992. While performing as soloist flutist for the “Richard Strauss Orchestra” for one year, Hürkan Ayvazoglu also worked as a guest performer for the “Neu Munich Symphony Orchestra”. He toured in Italy,Greece, Romania, Bulgaria, France, Holland, Tcheck Republic, Hungary, Azerbejian, Russian Republic, Mexico and numerous other European countries with orchestras and piano accompaniment concerts. He also gave numerous concerts in Germany. The artist, while participating in opera and music festivals in various countries throughout the year, also continues his work as a flute and chamber music instructor in “D.E.University Izmir State Conservatory”.

He graduated at the Conservatorio S. Cecilia in Rome with Faliero and studied with Tamponi and Gallois. Since 1993 he plays with the Orchestra del Teatro Carlo Felice in Genoa and has played with such orchestras as Orchestra Sinfonica della RAI in Rome, Orchestra del Teatro S.Carlo in Naples, Orchestra del Teatro alla Scala in Milan. In 2003 he has won the First Prize at the Concours "Solo Flute in contemporary music" of Ovada. He plays in several chamber groups. New Music Studium, Choros ensemble, Orfeo and founded the Janua Coeli ensemble in Genoa.

Pearl Flute Pinless Construction
The foundation of every Pearl flute is a patented Pinless construction, which eliminates the problems of traditional flute construction - protruding needles that snag clothing and give easy entry to perspiration and body acids causing corrosion and binding keys. Besides this unique pinless construction, Pearl flutes have additional bridge mechanisms that add strength to the entire mechanism. Plus, socket-head screws are inserted from the underside of the key work, preventing the entry of perspiration into the mechanism.

Pearl Flute One-Piece Core-Bar Construction
The One-Piece Core-Bar construction of all Pearl Flutes eliminates many of the wear and tear problems associated with traditionally constructed flutes, specifically in the areas of the high C key and the king post next to the F# key. Pearl has designed one rod that extends from high C through the king post resulting in an extremely reliable mechanism that plays more comfortably, stays in adjustment longer and is easier to service.
 

Music2Master.com has announced that $10,000 in scholarships will be offered to Edina K-12 students for summer semester of 2010. Three students from each Edina school will be awarded a full semester scholarship from the submissions. Students of Edina schools that qualify are: Concord, Cornelia, Countryside, Creek Valley, Highlands, Normandale, South View, Valley View and Edina High School.

Students must be entering kindergarten or 12th grade by fall 2010. Majority of the entry process must be completed by the student.

Forms and information can be found and printed from
http://music2master.com/index.php?contentID=249

Questions about the entry process can be answered by calling 952-924-4141. Deadline to enter for consideration of the scholarships is May 9, 2010.
 

The One-Piece Core-Bar construction of all Pearl Flutes eliminates many of the wear and tear problems associated with traditionally constructed flutes, specifically in the areas of the high C key and the king post next to the F# key. Pearl has designed one rod that extends from high C through the king post resulting in an extremely reliable mechanism that plays more comfortably, stays in adjustment longer and is easier to service.  Call us at 952-924-4141 for a playtest or more information on Pearl Flute Models.  Or, visit us at www.Music2Master.com

Call 952-924-4141 to Enroll!
Registration going on NOW!

We are writing in regards to summer 2010 PRIVATE LESSON offerings along with CLASSES AND ENSEMBLES that will enhance your private lesson experience and allow you to try something different for summer!

We will have the following PRIVATE LESSON offerings this summer 2010

• Piano, Keyboard
• Flute, Piccolo, Alto Flute, Bass Flute
• Violin, Viola, Cello
• Voice
• Oboe
• Clarinet
• Alto Saxophone, Tenor Saxophone, Bari Saxophone
• Acoustic Guitar, Electric Guitar, Classical Guitar , Bass Guitar
• Trumpet
• Trombone
• Baritone
• Ukulele, Mandolin, Banjo
• Tuba
• French Horn
• Drums, Percussion
*These are 30, 45 or 60 minutes each depending on age, ability & teacher recommendation

We will have the following CLASSES AND ENSEMBLE offerings this summer 2010 to enhance your private lesson experience:

OPTIONS LISTED HERE:
• Clarinet Ensemble (For Middle School HS, Adult)
• Classical Destinations (Middle School, HS)
• Composition, Arranging, Theory Classes (For Middle School, HS, Adult)
• Flute Ensemble (For Middle School, HS, Adult)
• Flute Performance Class (HS and Adults)
• Group Guitar Lessons (For Elementary, Middle, HS, Adult)
• Guitar Ensemble (For Elementary, Middle, HS, Adult)
• Introduction to Piano Lessons (Ages 4-5)
• Music Theory (HS and Adult)
• Orchestral Excerpts Class for Flute Students (HS and Adult)
• Vocal Ensembles/Choirs (For Middle School, HS, Adult)
• Vocal Performance Classes (For Middle School, HS, Adult)
• Wind Ensemble (Middle School, HS, Adult)
• String Ensemble (Middle, HS, Adult)
• Saxophone Ensemble (Middle, HS, Adult)
• Trumpet Ensemble (Middle, HS, Adult)

Call 952-924-4141 to Enroll!
Registration going on NOW!

 

Several students from Music2Master recently were awarded superior ratings at Edina's annual Solofest. A requirement for all band students 7th-9th grade that are enrolled in Band at Valley View or South View Middle School in Edina, Solofest is an opportunity for individual musicians to perform their selected pieces for ajudication and ranking. Superior Rating is only given to those who perform at the top level. Solofest is held on a Saturday in March every year.

Students receiving a Superior Rating were Jack Swanberg, Maggie Horan, Rachel Earl, Lauren Johnson, Rebecca Earl, Lisa George, Adam Sverak, John Riedel, Jennifer Ettinger, Allie Whiteside, Michelle Grafelman, Mary Myers. Additionally, “Best at Site”, “Outstanding Solo” and “Honorable Mention” were presented to several of the students as well.
 

The Quantz series embodies ingenuity, innovation and diversity, and is totally unique in the flute making industry. Aspiring flautists have never been so fortunate. Every Quantz model has French pointed arms. Once considered solely the domain of handmade flutes, it is now universally provided by Pearl. Pearl’s patented Pinless mechanism and One-Piece Core-Bar construction are also present throughout the range. This ingenious yet simple design affords even the student
or amateur flautist with an exceptionally efficient and dependable mechanism - another industry first.

The Quantz series has now expanded to include four models. All of them feature Pearl's French pointed arms, Pinless mechanism and One-Piece Core-Bar.

The 765 model has a Sterling Silver headjoint,body and footjoint, with Silver clad keys.
The 665 model has a Sterling Silver headjoint,with Silver clad body, footjoint and keys.
The 525 model has a Sterling Silver lip and riser, w Silver clad headjoint, body, footjoint and keys
The 505 model has Silver clad headjoint, body, footjoint and keys

All of these models are available through Music2Master.com. Call us for an appointment at 952-924-4141.

 

The new Calore headjoint is Pearl’s most responsive and flexible headjoint ever created.
Our craftsmen in Japan have designed a perfect blend of powerful tone, effortless articulation, and exceptional dynamic range in one headjoint that is simply a joy to play.

“When I first tried the new Pearl headjoint, I knew within SECONDS that it was amazing. All I could say was “Wow! Incredible!” What I personally look for in a headjoint is the complete openness of sound, and that no matter how much or how little air/volume I put into the flute, it is “received”. This head is by far the best that I have every tried!” - Rhonda Larson

Available for our Professional Series Handmade Flutes with standard Pearl lip plate and riser options.

We invite you to try Pearl’s new Calore headjoint and experience a new level of unmatched performance.

Our headjoints are available in three different metals - Silver, Gold and Platinum. Silver is best known for its sonorous sound and its wide tonal range. Gold is available in 3 different carats - 10K, 14K and 18K. As the carat level goes higher, the sounds gets more warm and rich, and Gold never tarnishes. Platinum is a rare material, and when used with Gold or Silver, produces enhanced power and projection. Through combining different elements, we can also create unique hybrid Headjoints. Gold and Platinum can produce stunning creations of sound when used with Sterling Silver. Using Gold or Platinum as the Headjoint Riser or Lip Plate can greatly enhance the projection, desired tonal quality and subtlety. We suggest a personal consultation with us so that we may work with you in selecting from an assortment of Headjoint Models and Materials. Available by appointment at Music2Master.com! 952-924-4141.
 

"...Once every generation there comes along a transformative force that breaks all the industry rules. Larson wields her instrument like a blow torch, breaking down our Victorian preconceptions of what the classical flute should be, how it should sound and where it should take us... This intensely gifted flutist needed little more than her native Montana charm to win the hearts of the packed house..." raves Connecticut's VOICES review of "THE RHONDA LARSON BAND" in concert. Flutist James Galway said of Rhonda, "...she's one of the best---a great player---and she does her own thing."
Entering the national music scene as a classical flutist, Rhonda Larson won first place in the National Flute Association's Young Artist Competition in 1985, and was awarded a Carnegie Hall debut. Shortly thereafter, Rhonda joined forces with the Paul Winter Consort, crossing over into the World Music genre. She has toured in Russia, Asia, Europe, Central America and throughout North America. Rhonda won a Grammy Award for the "SPANISH ANGEL" release, recorded live in Spain with the Consort. Rhonda officially parted from the group at that time to embark on her individual music path.
Commencing Larson's solo musical pursuits, she released "FREE AS A BIRD" on Earth Sea Records, receiving world-wide critical acclaim. The recording is marked by a marriage of Rhonda's classical heritage to the traditions of jazz, celtic, ethnic, and sacred music. Larson's unique blend of genres, combined with her musical and technical wizardry, has begun a new generation for the flute as a leading voice in the music world. A review from the New York convention of the National Flute Association affirmed, "...her technical abilities are astoundingly advanced! She does something that sounds like she is playing chords on the flute...she's destined to be a mega star..."
Rhonda has not only established herself as a virtuoso performer, but as a foremost ethnic flutist encompassing traditions from around the world. Most recently, Larson traveled to South Africa as a musical ambassador for the United States to perform for the Parliament of the World's Religions, sharing the stage with such luminaries as Nelson Mandela and the Dalai Lama. Composing much of her own repertoire, Larson continues to be recognized as a visionary force, creating a refreshing hybrid music for the flute. In the pioneering spirit of her home state of Montana, Rhonda continues to blaze her own trails...Her sheet music is available at Music2Master.com along with her CD’s!
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