From the Winspear Opera House to the Dallas Cowboys Stadium: How to adjust your performance to fit your venue

“If you’re gonna play in Texas, You gotta have a fiddle in the band.”

-Alabama

As 21st century musicians, we live in an age where versatility is essential to our trade. We hear violin in a wide variety of settings, whether listening to Hilary Hahn playing the Sibelius Violin Concerto at Carnegie Hall or Boyd Tinsley rockin’ out to a concert with the Dave Matthews Band. In her interview, Brittany Peterson, Executive Director of Uptown Violins, recounts her experiences performing in diverse settings, ranging from the Winspear Opera House to AT&T Stadium.

Participants: Ashley Rescot (AR) and Brittany Peterson (BP)

AR: Which venues have you enjoyed performing at the most?

BP: I particularly liked performing at the Winspear Opera House in Dallas, TX. The acoustics were excellent, the sound managers were good, and the audience was receptive. I played a fun variety of music, including a violin concerto intro leading into a Ledd Zepplin song. I also liked the Orpheum Theater in Wichita, KS. The audience was impressed to see eight members of the same family playing together, and they really enjoyed my arrangement of Vivaldi’s Winter with a modern twist for eight violins. Another memorable performance was the movie premier of Fotolanthropy’s “Travis: A Soldier’s Story” at the Majestic Theater in Dallas. We had the privilege of performing patriotic music for the paraplegic soldier whose life had inspired the movie. Playing at the Ambassadors’ Ball for the presidential inauguration in DC was also a highlight. The guests entered on the Red Carpet, and they loved both our classical music opening, as well as our pop finish. At the end the ambassadors chanted, “One more song,” so we played the most popular song at the time, "We Are Young" by the band FUN, to great applause. I even got to kick off my heels and dance!

AR: How does your audience and venue affect your choice in genre?

BP: You have to know how to read your audience. Stereotypically, younger crowds are often more drawn to the pop sets, including songs by Taylor Swift and Twenty One Pilots. Older generations, as well as people from cultures where classical music is more widespread, may better understand classical music references than the average American. Of course Texans are known for their love of country, so the ability to throw in a lick from “The Devil Went Down to Georgia” is a huge crowd pleaser. Audiences are most drawn to what they know, so it is important to be able to adjust your set lists accordingly.

AR: What kind of venues and genres lend themselves to the acoustic instrument? How do you prepare a large verses small setting?

BP: In general, I use my acoustic violin for classical playing and in more traditional settings, including symphony halls, historic churches, and people’s homes. If you are playing on a small stage, you don’t need to be powering through an orchestra, so you can incorporate more dynamic contrasts by using less pressure, playing closer to fingerboard, and tilting your bow hair. Concert halls were made for acoustic instruments. When I have played at the Meyerson Symphony Hall, Bass Performance Hall, Dallas City Performance Hall, and the Winspear Opera House the conductors have determined our dynamics. However, if you are a soloist in a large hall, all of your playing has to be stronger in order to be heard over the orchestra. You can’t do as many dynamic contrasts. For example, your piano in a large venue may require flatter bow hair, but perhaps you can still play closer to fingerboard. Try to practice in advance on the stage where you will be performing. In college I would sneak onto the concert hall stage late at night in order to get the feel for it. In this way the hall became more like a practice room, instead of a gigantic stage. I eventually felt like all the stages were the same, whether I was playing in front of five hundred or 50,000 people.

AR: What kind of venues and genres lend themselves to the electric instrument? What are some of the challenges of playing electric violin for venues like the Dallas Cowboys’ Stadium?

BP: I often prefer my electric violin for outdoor venues, large stadiums, band settings, and for contemporary music concerts. New concert venues and many modern churches are designed for bands and musicians who “plug in.” The electric violin is helpful because you can plug in just like the electric guitars and play as loudly as them. You can adjust your volume in a variety of places: on your violin, your pedal, amp, and even in the sound system by a sound engineer.

When you play at any sports stadium, keep in mind that cameras will be on you. You have to acknowledge them every once in awhile with your facial expressions, but you do not want to continuously be looking at them. Sometimes focus your attention on interacting with the other musicians or playing to the audience, giving an occasional smile at the camera. In the age of social media, you want to look as professional and fun as possible, because you could end up on someone’s phone, on YouTube, or with your face spanning from 30-yard to 30-yard line!

When I played for Dierks Bentley at the Country Music Awards, we were performing in front of 80,000 people. The stadium was so loud we couldn’t even hear the drums! As a result, we had to use “in ears.” We were plugged into the sound system, but we also needed a “count off” or a click track, as well as a “talk back” in order to communicate with the person in charge.  I could tell him if I needed more of the lead singer, lead guitar, etc.

AR: Do you have any final suggestions for performing, regardless of venue?

BP: My best suggestion is to over-prepare. Before a big concert, I recommend "practice performing" your song 10 times every day for 10 days. This way by the time you perform, you will have practiced it 100 times recently. During this time you can experiment with body motion and different dynamics. Maybe you played too stiffly the first time, so now you try moving forward, etc. Practice in front of the mirror. Record yourself, even though you may hate it. Play your song out for a forgiving audience. The night before the big concert, always get good rest so that you have enough energy for the audience, whether you are performing a Tchaikovsky’s Violin Concerto or a two-hour pop set. And enjoy yourself! The audience appreciates the concert more if they know you are having fun, too.

 Brittany does an excellent job of reading audiences and adjusting her performances to fit their needs. Although some people may believe adaptation is compromise, we must remember that adaptation is not new to the world of music. The musicians transitioning from the Classical to the Romantic Era adjusted their technique and even their instruments’ makeup to accommodate the large stages of Berlioz and Liszt, in stark contrast to the intimate settings of the royal residences hosting Mozart. So if you’re gonna play violin in Texas, you might have to fiddle with the band!

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

Back to School Bash: How Do I Motivate My Child to Practice?

“Leadership is getting someone to do what they don’t want to do, to achieve what they want to achieve.” –Tom Landry

  Accomplished violinist and mother of five, Allison Peterson is the proud matriarch of Uptown Violins. While most people I know find it daunting to motivate even one child to practice regularly, Allison managed to motivate all four of my sisters and me to practice nearly every day from the age of 3 until we went to college, all of us with violin scholarships in hand. As the mother of a soon-to-be-2-year-old, I wanted to find out her tricks of the trade, not just as a professional violin teacher, but also as a busy mom, with all of the responsibility that entails! Here are the questions that came to my mind, and the advice of a veteran teacher and mom!

Participants: Ashley Rescot (AR) and Allison Peterson (AP)

AR: What are some of the techniques you use to motivate your students to practice?

AP: I try to make it so fun that the kids want to practice! With pre-school and early elementary school children I structure lessons and practicing like playing games, and I try to keep this up for as long as possible. However, realistically most kids would still rather play outside, (or now with their phones and tablets, etc.), so they need external motivation as well. Students need both short term and long-term goals. Short term goals involve small prizes, like a piece of candy from the teacher if they get an A at the lesson, or perhaps they could build a piece of a puzzle for every time they drill a difficult passage. I also make sticker charts to keep track of students’ daily practicing, which result in long-term prizes. Long term goals and prizes need to be set up with parents. For example, if the student has a month of A lessons, he might get to have a special fun night out with mom or dad! It is best if parents have something to offer, because they know what would best motivate their child. For middle school and high school students, it should be understood that they must practice regularly, without the need of external rewards. At this point the reward should be the joy of performing. Group playing, including group lessons, music camps, and orchestral playing, also help motivate students because kids like the social aspect of playing.

AR:  What did you do to motivate your own kids (like me!) to practice? Did you have to adjust your technique between students and your own children?

AP: I had to be stricter with my own children because I was the parent. Parents usually struggle with kids’ attitudes more than the teacher does. In addition to the short term and long-term goal charts, we also had attitude charts, where you could get a sticker for having a good attitude.  In our house, practicing was a non-negotiable family rule as part of our daily life, just like clearing the table and picking up rooms. The social aspect definitely motivated my children. We performed together as a family and no one wanted to feel left out, so the kids would motivate each other to practice.

AR: What advice can you give to non-musical parents when working with their children at home?

AP: Parents should understand that they don’t have to know music; they have to know their child. Parents know how to motivate their child better than anyone else, and they can learn the music right along with the student. In the age of smart phones, parents can also take videos of the lesson, which is very helpful!  One of the great things about the Suzuki method is its emphasis on the Parent/Teacher/Student triangle. A good teacher should show you the small steps to take in your home practices. To use a sports analogy, the teacher is the coach, but the parent is the day-to-day trainer. Another important factor in the success of your child’s music lessons is the support of both parents. Often the moms come to lessons (although not always), so it means a lot to students when dads ask to hear them play as well! It also takes both parents to help make practicing is a priority at home.

AR:  Sometimes it seems that musical parents struggle the most at helping their kids reach the same musical level they themselves have achieved. What advice can you offer them?

AP: I believe it is important to make your own children’s practice time a part of your studio schedule. Whenever possible, set up your kids’ activities first, and then your students’ lessons. Sometimes this requires creative thinking on your part as a parent. For example, I had my children practice at 6:30 every morning before school, due to after-school lessons and activities. Regarding attitudes, try to look for the bigger picture, and use this as inspiration to persevere through the tough days. During the teen years, if possible have your kids take from another teacher so that you have the backing of someone who isn’t their parent. Coming from a Christian perspective, my long-term goal was always to help my children serve the Lord, whether that was in music like me, medicine like my husband, or something entirely different from us. However, I knew that if I wanted my kids to have a chance at a musical career, they would have to practice a lot to reach the high level of playing required in college. I had to think long-term in order to persevere through the short-term hurdles of bad attitudes, challenging repertoire, and musical disappointments. Students need good leaders to help them persevere, and often parents are their biggest inspiration.

I know that I, along with the other sisters in Uptown Violins, are all grateful for our mother’s inspiring love of music, and her dedication to her children. She worked tirelessly at helping us improve as musicians, and, more importantly, at developing our character. She taught us to persevere through difficulty, and the joy of accomplishing our goals. We also learned to play together as a family, and not just as individuals, which has been very motivational in our desire to perform together today. 

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

Vacation Music School!

 “Then, in that hour of deliverance, my heart spoke. Does not such a country, and such defenders of their country, deserve a song?”

-Francis Scott Key

Happy belated 4th of July everyone! Uptown Violins is in full patriotic swing! Due to the holiday weekend last week our blog is coming to you the 2nd Friday this month. Every year we members of Uptown Violins host music camps in our respective cities, with fun innovative themes! Last week Allison and Christy conducted a Wichita, KS Vacation Music School entitled “God Bless America.” Each of the four days had sub-themes relating to America. On the first day, “Old Glory Flag Day,” they focused on songs pertaining to our flag, including “You’re a Grand Old Flag,” and “The Star-Spangled Banner.” The second day, “Kansas Day,” students listened to the state’s song “Home on the Range,” and my Grandmother Ruth came to talk about the operetta she wrote for the love of Kansas, featuring the “Merry Meadowlark,” the state bird. For “Military Day,” Allison introduced her studio to many Sousa marches and other famous military songs for each branch of the Armed Forces. On the last day of camp, “Freedom Day,” the campers gave a patriotic concert for family and friends featuring American music, including “American Patrol,” “America the Beautiful,” and “Home on the Range.” I asked Allison what the highlight of camp was for her this year, and she said she enjoyed learning the history behind many of the famous patriotic songs we know and love. On a different note, she said the students’ highlight was probably the musical game of croquet they played outside while being squirted with water to combat the heat!

Next week Brittany and I will be conducting our “Jungle Jams” Vacation Music School in Springfield, IL, followed by a “Team USA” musical Olympics camp in Dallas, TX. Sheree, Brittany, and Allison will conclude our summer season by teaching an “Around the World” music camp in Kampala, Uganda, where they hope to adapt our American music school concepts to the needs of the Ugandan violinists. They are looking forward to teaching the students about music from different continents, while also having the kids teach them about African musical traditions.

When deciding our themes for the year, we look at the age and level of our students as well as popular kid movies at the time, and pick themes that appeal to our particular studios. We usually have a “fun” theme and a “musical” theme, which we correlate whenever possible. For example, in our “Four Seasons” camp we decorate the studio each day with different seasonal décor for fall, winter, spring, and summer, and ask the children to wear clothing appropriate for that time of year. Each day we study Vivaldi’s corresponding work pertaining to that season, as well as make a seasonal craft or play a musical game. Over the years some of our favorite themes have included: “The Sound of Music” which introduces students to a variety musical genres, “Jungle Jams,” with an emphasis on rhythm and Brittany’s fun stomp routine, and “Frozen,” in which students study some of the famous winter-themed classics while dressing up as the popular Disney characters!

We usually hold Vacation Music School four days in a row, for two-and-a-half hours a day. We structure it like mini collegiate music school, including daily music theory, music history, group lessons, crafts/games, and of course the kids’ favorite, snack time! We end the week with a special performance for family and friends. We believe camp is a great way for young violinists to become more familiar with music theory, famous composers, different musical time periods, and a variety of musical genres, in a fun and creative atmosphere. It is especially helpful for children accustomed to private lessons to experience group playing and to build friendships that continue from one year to the next. Our Vacation Music School also prepares young students for more intensive music festivals they may wish to attend in their high school and college years. Many of my students tell me music camp is their favorite musical week of the year, and the kid in me whole-heartily agrees!

P.S. Stay tuned for our new “How to” series for the fall, featuring articles for performers, parents, students, and teachers alike! We will first look at challenges including how to motivate kids to practice!

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

Bon Voyage!

“Man cannot discover new oceans unless he has the courage to lose sight of the shore.”

–André Gide

The summer season is upon us, and with it comes one of my favorite pastimes, travel! Growing up in the Peterson household, our parents instilled in us a love of both music and travel. Our motto was work hard and play hard. Our family vacations ranged from mountainous dude ranches and historical cities, to peaceful lakes and exotic beaches. We always loved these trips because we could discover exciting new places as a family. I still remember Brittany and Kerri singing camp songs at the top of their lungs while water skiing together. Our family not only put on musical shows, we were also the stars of the lake when it came to water skiing. My dad showed off for us by turning around on trick skis, then he and mom slalom skied together, managing to hold hands and kiss without falling down! To top it all off, we kids could all slalom ski together at the same time, even if only for a minute or two.

My senior year of high school I had my first taste of international travel when I toured Europe with my mom and high school choir. Not the typical high school socialite, I was a nerdy, overly studious 18-year-old who preferred learning French and art history to partying with my friends. As a result, I was particularly excited to visit France where I hoped to put my four years of high school French to good use. My moment arrived while we were singing in Notre Dame. Instead of the romantic experience we had expected singing in one of the most famous cathedrals in the world, we were squeezed in tightly amidst construction cranes and machines, and were constantly interrupted by the loud clanking of workmen. After much scowling and gesturing on the part of our director, I finally walked over to the workmen, gathered as much confidence in my high school French as I could muster, and said politely Il est difficile de chanter avec cette bruit (It is difficult to sing with this noise.) Taken aback by this French-speaking American teenager, the workmen stopped their clanking long enough for us to finish our concert!

After this first international experience, I was hooked. Throughout college and graduate school I traveled every chance I could! My freshman year of college my orchestra travelled to Cost Rica where I spent a week with a musical Costa Rican family. Although my Spanish was minimal at the time, I still did my best to speak it with the family in order to learn as much as possible about their culture. The following year, I returned to Paris to study abroad, where I met a French cellist named Camille. She was scheduled to stay with my family in Kansas for a chamber music camp a couple of weeks later. As fellow musicians, we hit it off immediately! She did laugh at me for using the formal vous with her while accidentally saying the informal tu to our waiter. When she came to the States I had my revenge when she confused squirrels with sharks, talking about “the horrible squirrels that bite people in the sea!” Needless to say, we learned a lot from each other. When I moved to France a couple of years later, she allowed me to stay with her while I looked for my own apartment, and she frequently took me to her hometown of Orleans to visit her family. This became my home-away-from-home. Her father was a puppeteer by trade (a profession I never knew existed), and her mother a music theory professor at the local university. They were some of the kindest, most interesting people I had ever met. Brilliant, witty, and excellent cooks, I spent hours at their dinner table talking music, culture, and cuisine!

  When I returned to France a few summers ago, my husband and I had the chance to hear Camille perform Berlioz’ oratorio L’Enfance du Christ with the Orleans Symphony. This work is not often played, so it was a pleasure to hear it performed live in its entirety: one-and-a-half hours straight!

That same trip I had the opportunity to perform a recital in Paris entitled “An American Taste of Paris,” featuring “Nocturne” and “Cortège” by Lili Boulanger, the first movement of Debussy’s Violin Sonata, and Franck’s Violin Sonata. The two short pieces by Lili Boulanger captured my attention because her sister, Nadia Boulanger, is the famous Parisian pedagogue who instructed many American composers, including Aaron Copland. Lili, however, is alleged to be the sister with true talent, but she died tragically at the young age of 25, leaving behind a much smaller but still impactful legacy of beautiful music. The Franck had special meaning for me personally because my mother had performed it at her senior recital in college. For the highlight of the program my pianist and I performed the world premiere of a work by Paris-residing Mexican composer Esteban Zuñiga. He and I have been friends for years, having met him while I lived in Paris. He wrote the work specifically for us. It was such a wonderful experience to work with him in person, and to see how music truly can bring together people from around the world!

As I begin the summer, I look forward to more of my favorite pastimes, traveling and teaching French and music camps throughout the Midwest! This summer Uptown Violins is leading camps in Dallas, TX, Wichita, KS, Springfield, IL, and Kajjansi, Uganda. Stay tuned!

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

All Aboard the Rhythm Train!

“Everything living has a rhythm. Do you feel your music? ”

-Michael Jackson

As a violin instructor of many young children, I believe it is important to use resources that appeal to the age demographic I teach. In addition to the Suzuki series, I use The Rhythm Train books with my young protégés. If you ask any of my beginner students what is their favorite part of the lesson, they often say “Rhythm Train!”

The Rhythm Train series is written by Dana (Bowen) DeKalb. It is a wonderful resource for young musicians because it gives them a chance to become familiar with fundamental note values, ranging from quarter and eighth notes at the beginning of Book 1, to triplet, eighths and dotted quarter notes in Book 2. Clapping rhythms gives my students a sense of accomplishment, even on their first lesson when they don’t yet know how to play anything on their instrument (let alone how to hold it!). It also allows them to sit down and rest their often-weary legs! The Rhythm Train appeals to children because it is full of adorably illustrated animals, with each animal representing a different rhythm. For example, when students see a quarter note they simultaneously clap and say “dog.” I also typically follow-up by asking them to give the traditional note name and how many beats it gets. Even the youngest beginners are able to clap difficult rhythmic passages, including dotted eighth sixteenths, due to the creative animal names. In addition to clapping, my mother Allison has the kids stomp their feet to the rhythms in order to use their whole bodies, not just their hands. With time, as they become more comfortable with the rhythms, she teaches them to use traditional numeric counting (1-e-and-a) instead of the animal names in order to prepare them for orchestral playing. My sister Brittany suggests adding the metronome at this stage as well for students to practice keeping a steady beat.

I recently had the opportunity to interview Dana about The Rhythm Train series, and she gave me some useful background information on the project. She invented the concept while living in Alaska and expecting her second child. She said the “bull moose” (used to clap the half note) was inspired by the many bull moose she saw near her home! She had already been using animal names to teach rhythm to her students but thought it would be fun to use them in a book with pictures. She collaborated with her illustrator and graphic designer, Aaron Bowen, to come up with the cute, cartoon animals that help bring the books to life. The train cars are meant to resemble measures on the staff, allowing for easy legibility. The Rhythm Train compliments the Suzuki Violin series well, as it covers most rhythms encountered in Suzuki Books 1-3. The books are useful to teachers of any instrument who would like a creative way to teach rhythm to young people. Even my one-year-old daughter loves looking at the notes and pictures and trying to clap along!

During her interview, I asked Dana if she had any additional creative uses for the books. She said that besides simply clapping each page, students and teachers can practice clapping different lines at the same time in order to simulate ensemble playing. Clapping from the books is an excellent exercise to do at group lessons. For example, in her “chase” activity, one student starts clapping the first line, and the second begins once the first student moves on to the second line. Parents and teachers can laminate the flash cards at the end of the book so that students can make up their own trains. This has been a hit with my studio at group lessons, especially with my Pre-Twinklers! Teachers can also set up various stations during the lesson, using The Rhythm Train as one station among many in order to help students move around the room. I have many beginners this spring, and I am looking forward to using several of these new ideas at my summer music camp!

Dana DeKalb is the director of the DeKalb Suzuki School of Violin. She has conducted Rhythm Train classes at both the Ottawa Suzuki Institute and the Parsons Suzuki Institute, and they have been used at other Suzuki Institutes as well. The Rhythm Train can be purchased from Shar Music and Young Musicians. Her books are dedicated to her three children.

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

Just Foolin’ Around

“All music is folk music. I ain’t never heard a horse sing a song.”

-Louis Armstrong

The art of practical joking isn’t lost on the world of musicians. Contrary to popular belief, classical musicians are not always as stodgy and serious as they may appear! We like to play April fools jokes just as much as everyone else, and several composers loved writing jokes into their works.

The classical composer Joseph Haydn (1732-1809) wrote two works in particular that have entertained audiences for centuries with their humorous nature. His famous “Surprise” symphony shocks drifting audience members to attention with his loud chord near the opening of the 2nd movement, so don’t fall asleep next time you attend an orchestra concert, or you might be rudely awakened! Haydn’s “Farewell Symphony,” written in 1772, is an 18th century equivalent of video production employee Marina Shifrin’s 2013 “I Quit” video. Haydn wrote the “Farewell Symphony” because he and his fellow musicians had been forced to play unexpected overtime at their patron’s summer home, providing him with entertainment for his extended stay. In order to make a statement about their unfair working conditions, towards the end of the symphony the musicians left one by one, blowing out their candles as they went, until no one remained on stage. Similarly, Shifrin “I Quit” complains that it was 4:30 a.m. and she, too, was never allowed to leave her job. As a protest to her video production boss, she made a video of herself dancing to Kanye West’s song “Gone” and ended the video by turning out the lights and quitting her job. Way to rip off Haydn, Shifrin!

Another work I personally find entertaining (as well as incredibly challenging to play) is Eugene Ysaÿe’s “Obsession” from Sonata for Solo Violin, Op. 27 #2. Ysaÿe wrote a collection of Six Sonatas for Solo Violin in 1923, dedicating each of the six sonatas to a different violinist friend. Ysaÿe dedicated the second sonata to French violinist Jacques Thibaud. The work begins just like Bach’s Preludio from Partita No. 3 in E Major, but then shifts to a 20th century improvisatory-sounding passage, followed by more Bach, and then more of the latter. This pattern happens several times throughout the movement. While learning this work, my violin teacher informed me that this shifting between Bach and Ysaÿe passages was a parody on Thibaud’s frequent memory slips. Apparently he always worried about forgetting his place when playing Bach, so his friend wrote him a piece in which the whole movement sounds like a series of flashy memory slips! Perhaps next time I play Bach I will just add my own improvisation every time I lose my place, and claim I am inspired by the genius of Ysaÿe!

For our jazz lovers, the lyrics to Ricky May’s song “Just Foolin’ Around” from the 1987 album Just Foolin Around! A Tribute to Louis Armstrong, speak of musicians’ love for “foolin’ around” with different melodies they already know, and in the process creating new songs of their own. In May’s works he built on the legacy of Louis Armstrong. Ysaÿe built on those of Bach. Shifrin unknowingly followed in the witty vein of Haydn. We all have our inspirations that help us become the kind of artist we are today. However, before deciding which artist to imitate, make sure you have the right training. Otherwise you might look like Brett Yang from TwoSetViolin imitating violinist/dancer Lindsey Stirling. Then you will really look like a fool!

Links

1. Haydn’s “Surprise” Symphony: https://www.youtube.com/watch?v=tF5kr251BRs

2. Haydn’s “Farewell” Symphony: https://www.youtube.com/watch?v=kjFeDk6Kr3U

3. Shifrin’s “I Quit” video: http://www.telegraph.co.uk/news/newsvideo/viral-video/10344179/Is-this-the-best-way-ever-to-quit-your-job-Marina-Shifrin-resigns-with-Kanye-West-dance-video.html

4. Bach’s “Preludio” from Partita No. 3 in E Major: https://www.youtube.com/watch?v=2KYRdRnnBYw

5. Ysaÿe’s “Obsession”: https://www.youtube.com/watch?v=ut1H-3tE6jk

6. May’s “Just Foolin’ Around” https://www.youtube.com/watch?v=4i5KXAs-mFM

7. TwoSetViolin’s Lindsey Stirling imitation: 

https://www.facebook.com/theviolinchannel/videos/1056354407771867/?pnref=story

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

The Red Violinist

“There is nothing more difficult than talking about music.”

-Camille Saint- Saëns

I realize the irony of this quote when writing a blog about music. However, Mr. Saint- Saëns, I will give it my best shot!

A year ago this month, I had the wonderful opportunity to attend the Wichita Youth Symphony Concert at Century II Concert Hall in Wichita, KS. With my husband on my left, snapping photos on his extended lens Canon, and my 4-month-old baby on my right, sleeping blissfully much to my relief, I settled in for the second half of the concert. The entire hall was packed with about 2,000 people in attendance, the concertmaster had tuned the orchestra and taken her seat, and I waited in excited anticipation for the star to arrive. Suddenly, a beautiful girl walked across the stage in a sparkling, floor-length red gown. Her golden curls cascaded gently over her shoulders, and she bowed gracefully to the audience. The members of the youngest orchestra sat in the front, gazing in awe at this high school senior, hoping that one day they could stand in her shoes. The conductor took his place on the podium, and the soft strains of Saint-Saëns’ “Havanaise” began to permeate he hall. The opening was sweet and nonchalant, evocative of a peaceful French countryside. However, the following section showed a fiery side to the young performer that defied her age. I watched as her fingers flew over the strings, one after the other in rapid succession. The French piece lent itself to drama, and the young star gave it the perfect blend of relaxation and passion. After an intense passage of tenths (large stretches for violinists’ fingers) and brisk 16th notes, she finished the piece with a happy, carefree melody that floated off into the distance.

With tears in my eyes, I climbed the stairs onto the stage as she took a bow. I walked over to present her with a bouquet of roses, and gave her a proud, sisterly hug. “You were wonderful!” I whispered. “I’m so proud of you!” She smiled as she took the flowers and walked graciously off stage. What a magical moment!

This concert held special significance for my family, because Christy, the star of our story today, is the youngest sister of we five. All of us came back to our hometown for this special occasion, along with our families, to celebrate Christy’s accomplishment. I couldn’t help but think back on my own senior solo several years ago (I won’t betray my age, but we’ll just say I now celebrate a yearly 29th birthday…), as well as those of my other sisters. We had all won this special opportunity to perform our solos with the orchestra, so the pressure on Christy had been immense. However, she rose to the challenge and performed her song with flair and finesse!

P.S. Interestingly, four of the five of us performed different works of Camille Saint-Saëns, including his Concerto #3 in B minor, 1st movement, 3rd movement, Rondo and Capriccioso, and the Havanaise. Kerri, the fourth sister, branched out to another French composer, Eduard Lalo, performing the 5th movement of his Symphonie Espagnole. They are all wonderful works, but as Saint- Saëns mentioned in his quote, words can’t fully do them justice. So if you get the chance, look  them up and take a listen!

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First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

Becoming Uptown Violins

“Music is enough for a lifetime, but a lifetime is not enough for music.” -Sergei Rachmaninoff

 Music runs in our family. It’s in our blood. As a child, I remember going to Grandpa and Grandma Scheer’s house to practice for our Christmas shows with our Grandma Ruth, mom, aunts, and cousins. Filled with music and noisy children, this house never knew a quiet moment! As we played, a well-worn violin sat perched in a frame above us, as though presiding over the rehearsal like a wise old friend. Grandparents’ houses are always filled with family treasures that tell tales of the generations past. My mother Allison was one of 10 children who grew up in this house. The family performed as the “Scheer Delights,” often reenacting songs from The Sound of Music in which Allison played Marta, the next-to-youngest child in the von Trapp family. She fondly remembers singing Edelweiss with her father Harold, the stately Captain von Trapp. Valerie, the oldest of the 10 children, had taken up violin and taught it to many of her younger siblings, including Allison.

A generation later, Allison had 5 little girls of her own whom she imparted her love of violin. We kept our mom busy as she worked tirelessly to teach all of us the family trade. The “Scheer Delights” became the “Five Star Strings,” and we performed frequently at Christmas parties, church events, orchestra concerts, and violin recitals. Favorite songs included “The Syncopated Clock,” “Minuet” by Boccherini, and “Millionaire’s Hoedown.” We even brought back a few of the old Sound of Music songs! As the oldest of the five I played Liesl, much to the chagrin of some of my younger sisters who had to play the male roles of Friedrich and Kurt!

While Christy, the youngest, was still in kindergarten I left the nest to attend Baylor University to study music. Sherèe joined me shortly afterwards, and one by one the others followed suit. Now Christy is the last of the clan to attend our Alma Mater. Following graduation, Brittany and Kerri, the third and fourth sisters, moved to Uptown Dallas and started a new music business, Uptown Violins. It has now expanded to cities throughout the Midwest, including Wichita, KS, Kansas City, KS/MO, and Springfield, IL.

However, when I look closely, it’s not such a new business after all. Very recently, I discovered that our musical heritage dates back to my Grandpa Scheer’s grandfather. Apparently Granfather Panter McIlvain played the fiddle in a country band, performing for dances and parties in his town. He passed on his violin to his grandson, Harold, who gave it to his own children to learn. It now hangs in a prominent place in the Scheer home, looking from above on all the aspiring new violinists. I smile every time I see my one-year-old daughter imitate her mommy by clutching her little toy violin, trying to hold it under her chin. Perhaps she will be the sixth generation to espouse this trade, giving it her own spin as her predecessors have done. Rachmaninoff was right, “a lifetime is not enough for music.” The musical heritage of a Midwestern violinist still lives on a century later through the songs of his descendants.

In memory of the late Grandfather Harold Scheer (1922—2016), co-founder of the “Scheer Delights.”

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Director of Public Relations/ Principal

First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.

First Fridays With Uptown Violins

With the start of the New Year, we are launching our new blog, First Fridays with Uptown Violins! You can check us out at the beginning of every month to read up on all things violin. Topics range from pedagogy and product reviews, to the relationship between music, the visual arts, and literature. You can catch up on some of our highlight performances, including playing at the Country Music Awards, giving a recital in Paris, France, soloing with the Wichita Youth Symphony, and even performing at the Dallas Cowboys Halftime show! Whether you are a fellow violinist or a music aficionado, we hope you join us First Fridays for some Uptown fun!

Director of Public Relations/ Principal

First Fridays with Uptown Violins is hosted by Ashley Rescot, Director of Public Relations. Ashley received her Bachelor of Music from Baylor University, as well as minors in French and English. She taught English as a Fulbright scholar in France for a year, and then obtained her Master’s Degree in French Literature at the University of Kansas. She has taught French to all ages, including a Maman et Moi baby French class, as well as collegiate French levels I-IV. She teaches her own private violin studio and performs throughout the Midwest. Research interests include the relationship between music education and language acquisition, as well as the connection between music and other forms of artistic expression.