Joyeux Noël!

Minuit ! Chrétiens, c'est l'heure solennelle
Où l'homme Dieu descendit jusqu'à  nous.

-Placide Cappeau (1847)

As French and music teacher, French music has always held a fascination for me! This time of year, my mom, my sister Kerri (a fellow French teacher), and I enjoy sharing some of our favorite French Christmas traditions with each other. These include baking the traditional “Bûche de Noël” (Yule Log), drinking “Esprit de Noël” French tea, and listening to French Christmas carols. Last year Kerri and I taught the original French carol “Les anges dans nos campagnes” to our respective classes, reminding students that not all of our beloved carols are English in origin. “Minuit Chrétien,” (another French original) is my personal favorite, which I now love to sing in both French and English! (In my last blog I talk about its significance to our family, remembering my mother singing the English version for our many Christmas shows!)

If you want to mix it up a bit this Christmas season, try baking your own “Bûche de Noël,” sip on delicious French tea, and listen to the following Christmas carols in French! Enjoy the renditions of many famous francophone artists over the years, from the 1950s to the present, as well as some beautiful traditional gems. If you feel particularly ambitious, write down the English equivalent of the songs, and check back next Friday for the answers! (The last two are only in French.)

Tastes of Christmas

French “Bûche de Noël” recipe

http://www.marthastewart.com/354925/buche-de-noel

Uptown Violins’ Favorite French tea

 http://www.mariagefreres.com/FR/2-esprit-de-noel-the-noir-TJC921.html

Les Chansons de Noël

1. Les anges dans nos campagnes : chanson traditionnelle https://www.youtube.com/watch?v=_Ap-zj7H23g

2. L’enfant au tambour : chanson traditionnelle 

 https://www.youtube.com/watch?v=M1ncR6HSmKg

3. Le petit renne au nez rouge : chanson d’enfant

 https://www.youtube.com/watch?v=QsZsu7rLr3A

4. Mon beau sapin : Tino Rossi

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

5. Promenade en traineau : Fernand Gignac 

https://www.youtube.com/watch?v=4Kq2f70CEQQ

6. Noël Blanc: Dalida

 https://www.youtube.com/watch?v=oZY-GBact_o

7. Vive le vent : Ginette Reno

https://www.youtube.com/watch?v=t8yQaB22Atc

8. Un Noël d’amour: Pierre Lalonde https://www.youtube.com/watch?v=8Z6GZc21QuM

9. Minuit Chrétien : Nicole Martin 

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

10. Père Noël arrive ce soir: Céline Dion

https://www.youtube.com/watch?v=ltt1YqSKMpw

11. Au royaume du bonhomme hiver: Roch Voisine https://www.youtube.com/watch?v=MGnby1FHtcw&list=PLpdMoG1R00J5id0bAKFUg-19L0Nl-HaLM&index=3

12. Joyeux Noël : Marie-Élaine Thibert https://www.youtube.com/watch?v=cGWhyYwDTG0&list=RDcGWhyYwDTG0

13. Douce nuit, sainte nuit- chanson traditionnelle

 https://www.youtube.com/watch?v=i0HvkYD5Ec4

14. Petit Papa Noël : Josh Groban : https://www.youtube.com/watch?v=jM1tfaM5y1o

15. La plus belle nuit : Marie Denis Pelletier 

https://www.youtube.com/watch?v=WtM4PWzK3Q8

****************************************************************************************

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.

Christmas is Coming!

“Christmas is coming, the geese are getting fat. Please do put a penny in the old man’s hat. If you haven’t got a penny, a ha’penny will do, if you haven’t got a ha’penny, God bless you!”

-Traditional Christmas Carol

Fall has always been one of my favorite seasons. With Halloween, my November birthday, Thanksgiving, and now my daughter’s birthday, I always have so much to celebrate! As a child, I especially looked forward to fall because my family and I would begin our Christmas show rehearsals. We were a 3 generational music group called “The Belles and Beau of Christmas,” made up of my Grandmother Ruth, mother, aunts, sisters, and cousins. We played and sang everything from “Deck the Halls” and “Santa Claus is Coming to Town” to “Angels We Have Heard on High” and “Silent Night.” Uptown Violins now continues this family tradition, but with a modern twist! Brittany has written beautiful violin arrangements to some of our old favorites, including “The Sugar Plum Fairy” from Tchaikovsky’s Nutcracker, and genre mixing on “O Holy Night” and “Hallelujah” by Leonard Cohen, as well as “Silent Night” interwoven with “Amazing Grace.” Her flirty winter medley made up of “Baby it’s Cold Outside,” “Santa Baby,” and “Let it Snow” is always a crowd pleaser! Filled with rich harmonies, elegance, innovative song combinations, and a hint of nostalgia, our beloved Christmas carols continue to be the highlight of our season! All of us still enjoy performing Christmas carols in our respective cities, with concerts ranging from corporate Christmas parties, to Christmas cantatas, to senior home recitals, and even symphony concerts!

In order to capture the essence of our childhood Christmas shows, I have written a few of our favorite memories. Enjoy!

“The Twelve escapades of Christmas”

12. Singing the intro to “Rudolf the Red-Nosed Reindeer,” and watching the audience laugh when the youngest member of the group emerged as Rudolf with a red, strap-on nose. Rudolf would then gallop vigorously around the stage, pretending to lead Santa’s sleigh.

11. The Christmas show when my sister Kerri kicked off her shoes during the Rudolf dance, and the rest of us followed suit. Soon the stage was strewn with little black Mary Jane shoes!

10. Wearing matching Christmas dresses with my sisters sewn by my Dad’s mom, Carol, who wasn’t musical herself, but contributed her time and talent to the production. She never forgot to include the puffed sleeves!

9. Singing the sassy song “I Want a Hippopotamus for Christmas,” but being deathly afraid when “I saw my hippo hero standing there,” embodied by my two oldest cousins in a giant hippo costume!

8. In later years of the show, laughing at my sister Sheree who had to personify the back-side of the hippo while I dressed up as the over-sized head.

7. The older cousins building the base of a pyramid so a little cousin could jump off of thier backs to the line “Out Jumps Good Old Santa Claus.”

6. Performing a Nutcracker violin medley while my younger sisters and cousins marched around on stage dressed in soldier uniforms.

5. Leaning over, with my finger to my mouth, and saying “Ssshhhh” to my aunt when she sang a really high note in the middle of “Christmas is Coming.”

4. Dancing as hard as I could to “Rockin’ Around the Christmas Tree” and “Jingle Bell Rock,” even though my middle school dance moves needed a little tweaking…

3.  Playing and singing the harmony part to “Angels We Have Heard on High,” and thinking I was very grown-up because I could carry an alto line for the first time!

2. Representing the 3 kings by presenting gifts of gold, frankincense, and myrrh to the baby Jesus.

1. My number one memory by far, however, didn’t actually involve me. After singing, playing, and dancing to the Christmas carols, near the end of the program my mom and her sister would always sing my personal favorite, “O Holy Night.” I will never forget standing backstage, listening in awe as mom’s beautiful soprano sailed over the audience. With her voice like an angel, she always knew how to convey the true meaning of the season: the birth of Christ.

Sadly, our childhood days are over, and we no longer crawl around on the floor in our fancy dresses building chimneys for Santa, wear outrageous red noses, or dress up as hippos during our Christmas programs. However, we still have a lot of fun performing our holiday favorites every Christmas season! A couple of years ago I even had the privilege of performing “O Holy Night” as the soloist for a Christmas Eve service at my church. While I sang about the birth of Christ from the balcony, my own newborn baby listened quietly from the pew, cradled in her father’s arms. I couldn’t help but think back on my own childhood days when I would listen to my mother sing the same song. I hope my daughter will have the privilege of continuing her grandma’s tradition someday!

******************************************************************************

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.

Musical, Medical, and Mentorship Missions, Summer 2016!

“Here I am, Send me.”

-Isaiah 6:8

Our members of Uptown Violins have been busy this year with two missions trips, one to Uganda, and the other to the Dominican Republic. I thought we should include a special edition blog for everyone who attended one of these two missions trips to tell about their experience. This includes the “Men of Uptown Violins” as well!

Uptown Violins participants at St. Mary Kevin School in Kajjansi, Uganda: Dr. Stacy and Allison Peterson, Brittany Peterson, Ben and Sheree Lutz

AR: Dr. Peterson, what was your experience working at the hospital in Kampala? What do you feel was the most meaningful part of your trip?

SL: While in Uganda I had the privilege of working at Mengo hospital. It is the oldest hospital in Uganda and was originally started by British missionaries. There are three observations I would like to make. First, I was impressed by their medical staff. With very limited resources they worked tirelessly and effectively against unlimited needs. Second, the Ugandan people were extremely appreciative of any care that was provided to them. They would even wait in line for hours without complaining. It made me so thankful for our medical care here in the U.S. Third, God has his remnant of Christians throughout the world. In so many ways they were just like me, wanting to practice medicine like Jesus would! I would like to close with Paul's letter to the Ephesians, Chapter 2 v. 19-20: Consequently, you are no longer foreigners and aliens but citizens with God's people and members of God's household, built on the foundation of the apostles and prophets with Christ Jesus himself as the chief cornerstone.

AR: Allison, what did you enjoy most about teaching the children at SMK? What struck you most about Uganda?

AP: I enjoyed seeing how excited the students were to learn new concepts and play sounds they may have never heard before. Not only is violin rarely played in Uganda, it is rarely even heard on the radio! The violin originated in Europe, so most classical music isn’t part of the African culture. Rhythmic instruments like bongos and drums are the basis of their music. Some of the students entertained us by performing native dances accompanied only by drums.

The students were thrilled to play the simplest of songs, like “Jesus Loves Me” and practiced them over and over. I was also able to teach two of the students, Ambrose and Elijah, how to play fast by changing their bow grip and having them play in the middle of the bow. They really liked going fast! Because the students have fewer opportunities to be involved extra activities, I think they really enjoy playing their violin more.

What struck me most about Uganda was that even though the country is behind in their infrastructure and housing, the people live above their situation. Maybe they don’t even realize that not having running water isn’t the norm in the United States.  Cooking over charcoal rather than ovens is normal for them. It is interesting, however, that they have cell phones but no paved roads. The people work very long, hard days just to survive, yet in general they are very happy! I’m so glad I was able to meet these kind people.

AR: Ben, what kinds of activities did you conduct while working with the children at SMK? What was your favorite experience while in Uganda?

 BL: SMK had six laptop computers in their computer lab, but computer lessons are not a part of the regular curriculum. I spent a few hours every day overseeing the kids using a typing program, and gave some limited instruction in Microsoft Word. The students loved getting to spend time on the computers and asked me about getting on them whenever they saw me. I also spent time having conversations with the older students as a way to improve their English skills. I really enjoyed getting to interact with the kids and making friendships with them.

AR: Brittany, what did you find most rewarding working at SMK? What did you enjoy most about your trip?

 BP: What I thought most rewarding was being able to really love on the kids and also be loved on. It was a mutual joy to be around each other and learn about one another. We were able to share our likes and dislikes with each other, including our mutual love for puppies when “Scooby” wandered onto campus and found his home there. Most importantly, we were able to share our love of Christ with one another, and even the kids who had never heard of Christ before were open and willing to hear about his love.

I had fun working with the violin students and hearing their progress even in the short time we were there. I also really enjoyed being able to share resources and pedagogical information with their violin teacher so that he can help the students grow in their violin studies while we are gone. The kids were so eager to play it was incredible! They practiced practiced practiced in order to please us the next day at lessons, and what teacher wouldn’t want to work with kids who practice?!

 Uptown Violins participants at Makarios School in Montellano, Dominican Republic: Forrest and Kerri Parr

 AR: Kerri, you helped lead a group of American students on a mission’s trip to the Dominican Republic. What was most rewarding for you in serving both the citizens of the Dominican Republic, as well as helping the American students learn to serve?

 KP: I found that the most rewarding part of the trip was watching the high school students grow throughout our time there. Students who originally were not comfortable with kids were giving them piggy-back rides and playing duck duck goose by the end of the week. Overall, I was touched by how joyful the Dominicans were, even though they had very little. It really brought my attention to how materialistic we are in America, and it inspired Forrest and myself to live our lives differently. 

AR: Forrest, what kinds of activities did you conduct while working in the Dominican Republic? What was your most memorable experience there?

 FP: We were responsible for running Vacation Bible School, doing construction at the school, and helping organize and facilitate a neighborhood soccer practice and soccer tournament. We also went into the surrounding communities and played games with the children. My most memorable moment came when we took the students from the school to the beach for a morning. They rarely got to go to the beach because they had no form of transportation. The kids just grabbed our hands and we all ran into the water together. Despite the language barrier, the kids just wanted us to play with them and hold them. 

AR:  I would like to say thanks to all of our participants for their inspiring stories! I pray we can all develop a spirit of gratitude for our many blessings as we approach Thanksgiving this year!

************************************************************************************************

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.

Uptown Violins’ Vacation Music School in Uganda!

“I am not the same, having seen the moon shine on the other side of the world.”

- Mary Anne Radmacher

This past August, Allison, Sheree, and Brittany had the opportunity to conduct Vacation Music School at St. Mary Kevin Orphanage and Primary School in Kajjansi, Uganda, a suburb of the capital city Kampala. Dr. Stacy Peterson (the patriarch of Uptown Violins) and Sheree’s husband Ben Lutz accompanied them on the trip. Upon their return, I spent an entire day living vicariously through them all, trying to soak up the experience as best I could, listening to their amazing stories. Here Sheree Lutz, the initiator of the trip, shares her experience.

AR: How many children/what ages were you working with?

SL: We worked with quite a few children! The first few days we had a music workshop of about 30 kids who were approximately ages 5-8. Then we had our class for about 25 older students who were 9-12 or so. But we spent time with kids even outside of music classes, so it probably accounts for more!

AR: What did a typical day look like for you while there?

SL: We would arrive at the school in the morning, Allison, Brittany, and myself gave private violin lessons to about 15 violin students. Some just started the violin this year, while others have participated in the program for about three years. They worked on songs such as Twinkle Twinkle Little Star, I Would Like A Fiddle including the “pizzicato” part, and Jesus Loves me. We would then eat lunch at the school prepared by Matron Josephine (who introduced us to some local cuisine!) followed by our music camp in the afternoon.

AR: What kinds of techniques did you work on during private lessons?

SL: We worked on learning proper positions first and foremost, incorporating aids including proper shoulder rests and the new bow-buddies that help with the bow hold. We also worked on scales, pizzicato, and melody vs. harmony. Their favorite though, was simply learning new songs and having additional music available!

AR: What were some of the students’ favorite activities during the afternoon music camps?

SL: They loved getting to learn rhythms, which we incorporated into a song from Tarzan. Some children used rattles to play an eighth note rhythm, others used “boom whacker” sticks with quarter notes, and they really enjoyed the partner clapping section. They were also very excited to make the music crafts, especially the bridges donated by Simon McHugh violin shop. They got to paint them, add stickers, ribbons, and more. The older students like competition, so playing Musical Jeopardy, led by Brittany, became very lively. They chose questions from sections we had covered throughout the week, including Music History, Rhythms, Note Names, Playing Your Instrument, and Dynamics.

AR: What kinds of concerts did you/the students perform?

SL: We thought it important to play a bit for the students to show them what is possible with practice and dedication: we played a wide variety of songs including the Bach Double, an arrangement written by Brittany of Be Thou My Vision/Angel by Jewel, and Fantomen so they could hear a bit of fiddling. The violin students performed Jesus Loves Me, I Would Like a Fiddle, an A-Major scale, as well as a very fun game of “follow the leader” while playing the rhythm “Grasshopper, Grashopper.” They even ended up sitting on the ground while playing!

AR: What did you learn from the students/teachers there?

SL: The kids are extremely open to learning new things. They cannot get enough information fast enough. What they do with that newfound knowledge is also amazing. They are very creative! They can build toys out of discarded plastic; they play games with found objects such as rocks, and dance unlike anything I’ve ever seen. We learned a lot from hearing their choir perform using call and response, listening to the marching band concert, and the highlight, watching the traditional African dance troupe!

AR: Outside of music, what did you enjoy most?

SL: We loved getting to know the students, teachers, and staff. Even though they face adversity, they persevere and constantly look out for one another. The teachers helped us so much and there is no way we could have held class without them! The staff, including the school’s director Joan Faith and social worker Melissa Mosher, are amazing women who give of themselves constantly to ensure safety, health, education, and love for the students.

AR: What surprised you most about your experience?

SL: For me, the most surprising thing was the sense of family between the students. When 150 kids live at the school, it is impossible for the few adults to take on all of the chores. Daily activities that seem daunting to a five-year-old, including washing laundry by hand, learning English, and getting water, can be very difficult. The older students take the younger ones under their wings and help them learn.

AR: What are your plans to help maintain a relationship with the students there?

SL: We hope to be able to continue the pen-pal relationship we started with our US violin students. They have already been able to send and receive a letter. It was most encouraging for the students to hear from others who live half way across the world, but have the same interests and dedication as themselves. We also hope to maintain relationships through emails, sponsorships, and hopefully a return visit at some point (the configuration of people going may look different!).

AR: What are ways in which we can continue to help the students at SMK?

SL: The students are dependent upon donations to keep the strings program going. They use the raised funds to pay for the teacher’s salary to come once a week and give instruction. We were so happy to be able to donate 5 violins to the program and leave them there. However, they still have to pay to rent the additional instruments. They always will need new strings, music stands, and rosin. If interested in donating go to either the Change The Truth website (http://changethetruth.org/) or the Strings for Uganda site (http://stringsforuganda.com/ ). Of course, please feel free to contact us at http://www.uptownviolins.com/contact/ if you would like additional information and we can help point you in the right direction!

Beyond music, the school is working to get more reliable water supply as well as additional nutrition in their food. Also, a student’s education typically ends after the 7th grade if they do not receive a sponsorship for secondary school. While a larger commitment, a sponsorship helps keep a student in school and gives them a great chance at a job, etc. If interested, again go to the Change The Truth Website and they will help get a perfectly matched student. http://changethetruth.org/

SPECIAL EDITION TO COME SOON!!: Dr. Stacy Peterson's and Mr. Ben Lutz's missions work at the Mengo Hospital and Saint Mary Kevin Orphanage in Uganda!

*******************************************************************************************

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.

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!

****************************************************************************************

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. 

********************************************************************************************

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!

*******************************************************************************************

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!

****************************************************************************************

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.

***************************************************************************************************

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

***********************************************************************************************************

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.