Let's unpack! What is true? What is real? What is completely fabricated by the AI generated book? Listen here for my thoughts.

Remember when I ordered that gag AI book? Yes, I did. I filled out an intense form, and then designed the cover, selected from generated titles, and then had it printed and shipped to me. Here's chapter 1 for you below, and also the link to where you can order your hilarious AI book. - Doniell

​You’ve heard it time and again: Practice makes perfect! But, we all know that practice is hard work and can be a real drag. Here are some tested and true strategies to up your game as you work through new assigned pieces.
 

1. Name every note in the piece. – It sounds tedious but it works. What is even better is making a photocopy of the music, and with a pencil, labeling EVERY SINGLE NOTE. This ensures that your reading is parred and that if you encounter any mistakes, you have a reference that you can trash/recycle/shred when you are done.
2. Play each hand separately. Work on your right hand alone and become overly familiar with the melody, contour, and timing. Then switch to the left hand. Immerse yourself in the chords and structure. Identify when you are playing block chords, broken chords, patterns, or countermelody in a chorale style.
3. Begin learning hands together in a “phrase by phrase” manner OR measure by measure. Do not move on until you can play this section 3 times in a row without a mistake. Then, string together the previous section(s) when you have completed the new one.
4. Label chords with chord symbols or Roman Numerals. This will help you quickly identify what sound to expect and hear incorrect notes, passing tones, neighbor notes, etc. You can also compare your chords to the sheet you copied and wrote all over with the names of the notes. This could benefit you by showing where you have 7th chords, for example.
5. Practice your piece backward. Okay, not literally backward. But start with the last note. Then the last 2. The last 3, etc. An alternative to this is to backward practice measure by measure. I use this with students quite frequently. You hear and see things with freshness, and often can find spots that need TLC.
6. Start each practice with detailed work in the middle of your piece, or at trouble spots, instead of playing the piece all through. This allows spot checks on the trickier parts and works you up to a climactic finish where you play the piece all the way through with fewer mistakes.
7. Never begin practice at full speed. Always start slower. My philosophy closely aligns with that of the Bach Scholar on YouTube, Corey Hall: Practice at half speed. THEN slowly increase the tempo by 3-5 ticks until you reach the desired or capable tempo.
8. Listen to your piece daily. That’s right, it’s part of practice! Find a reputable recording or video and listen frequently. Do not imitate the recording though – that is not what this practice tip is about. It’s about getting the work ingrained into your memory, being able to sing/hum it at any time, and/or along with the recording. You should know your work just like you know all the lyrics to your favorite Def Leppard song (or whomever your favorite band/singer is).
9. Always end your practice with a full playing of the piece. Find satisfaction in the hard work you have done in certain areas. Reward yourself with playing your favorite light piano piece, a cookie, a reading break, etc. Cooling off all that pent-up energy in a productive way will make your practices more “worthwhile.”

Let's face it, building a piano music library can be easy - yet difficult when you're curating a specific musical era, or genre. There are so many books out there to choose from, from a variety of big-name publishers like Hal Leonard, Alfred, G. Schirmer, Belwin Mills, Kalmus, Kjos, Dover, and more! Where to start? 

First of all, I do love compendiums. Especially when they have a good selection of pieces from ancient to 20th century eras. But this still makes finding specific eras difficult when you're studying just the Baroque Era. You'll see a smattering of the typical names like Bach, Rameau, and the like. But they are always going to be the standard tunes we're all used to.

Things to look for in a book that you are wanting to add are the following:

• Short biography of the book or of the composer
• Notes (e.g., ornamentation suggestions)
• Table of Contents
• Large volume of work at a reasonable price (e.g., 100 pages for approx. $12, or 40 pieces for $15)

So, I thought it a short list of some books with a sizeable amount of Baroque Music was appropriate. Without further ado...

1. Scarlatti Masterpieces for Solo Piano: 47 Works
2. Henry Purcell: Keyboard Works
3. Joseph Haydn: Complete Sonatas Vol. 1 & 2
4. Dietrich Buxtehude: Keyboard Suites
5. Jean-Philippe Rameau: Complete Works for Solo Keyboard
6. Georg Philipp Telemann: The 36 Fantasias for Keyboard
7. Bach: Riemenschneider 371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass
8. Bach: Anna Magdalena Bach Notebook
9. Johann Pachelbel: Organ Works
10. Francois Couperin: Complete Keyboard Works Vol. 1 & 2

Now, I don't suggest going out and buying every single one at the get-go. And these books are in no specific order. Peek at each of these composers and pick up the tomes you know will fill out your collection best. Start with a favorite, listen to a few pieces, Google a few pieces, then purchase the book(s) that make the most sense in your library. Make a list of top priority items, and items that can wait. Set up a Wishlist on your favorite site and remain within budget.

If you want to venture off this list, totally cool! Let me know your favorites in the comments below. I'd love to know what you think is in an essential Baroque collection!

As a teacher, it is critical that you have a wealth of music at your fingertips from classics to contemporary. When you are a pianist (student or recreational player), having music that stimulates you, challenges you, and defines you is also important. Seasoned educator or beginning pianist, it is essential to first work within your budget, but then also to maintain a high-quality library. But where does one start?

In 1995, Dr. Jane Magrath of the University of Oklahoma compiled a relatively exhaustive list of standard teaching and performance literature. The Pianist’s Guide to Standard Teaching and Performance Literature primarily encompasses Baroque through 20th Century composers. Many educators are sent to this annotated bibliography tome – and I do mean TOME!
As of 2013, Maurice Hinson’s Guide to Pianist’s Repertoire was in its fourth printing before he passed away shortly after in 2015.

Piano Repertoire Guide by Albergo and Alexander is another text published in 2011 but is limited to intermediate and advanced literature.

Borrowing or purchasing one of these books could be extremely helpful in starting off your library right. They will have the best suggestions for epic Beethoven books, Chopin’s myriad of educational escapades, and will have a variety of headings, commentary, and a general rating.
But you can also be practical! Imagine this: A well organized library full of style, periods, genres, and sheets all curated by YOU! Yes, YOU! Now, I have done this personally. My entire library is focused on my teaching goals and playing goals.

I started out with a small library of music I had collected from my lesson and college days. Most of the music was encouraged by my parents, teachers, professors, and home church. In 2008, when I was ready to start teaching, I did the most outrageous thing ever: I consulted the internet. Yep, you read that right! Back in the good old’ days of MySpace and Facebook’s infancy (and very blatant Farmville addiction) I read online all about running and operating a home studio. Next thing you know, I requisitioned our “military closet” room and turned it into my new piano space, complete with a small bookshelf, my Yamaha digital grand, and an overstuffed loveseat, the first piece of grownup furniture my husband and I bought together.

Now, I am sorry to say that what I am about to tell you is no longer possible, but next I utilized the promotions that Amazon was offering at the time. It was a program where almost every book available on the website was in a “4 for 3” program. I ordered a pile of the most popular method series out there in the piano world: Alfred’s Basic Piano Library.

Next, I did research – something I used to enjoy doing back when I was finishing my college degree online. I found the most loved and used books by piano teachers around the world, and slowly began acquiring them. I would scour lists of the top 10 or top 100 books, composers, etc. until I was satisfied, and then I would use the promotional program to order my copies.

I started with the great teachers like Czerny, Burgmüller, Hanon, Bartók, Haydn, and Berens. Then, I would branch out and purchase educational literature like compendiums with games and reproducible worksheets. Finally, I would sprinkle in a little of my own interests to make a robust purchase each month. I spent hours on publishers’ websites gleaning information, finding repertoire, and filling out holes in my library.

At the time I budgeted around $50-$60 per month for literature only. In today’s world and increased prices, you may need to increase this amount to about $75-$90 to adjust for the change in economy and inflation.

In the 2010s, I started shopping at local secondhand stores like Half-Price Books, Value Village, The Salvation Army, and Goodwill, as well as attending yard sales and estate sales. This allowed me the opportunity to look at the texts people owned and learned from. I purchased quite a lot of what I encountered. In fact, just earlier this year I went to our local secondhand bookshop and found two cartons full of old sheet music from an estate sale. I bought close to 30lbs of music, for just a fraction of the cost… a whopping $60.

In the last few years, I have been more selective. I have found publishers I love, and publishers I am not terribly fond of. For example, I’d rather purchase a Schirmer edition of compiled Beethoven music than a Hal Leonard version. The quality of paper and binding is an important concern. Schirmer has space on the page to make notes and is extremely simplistic. Hal Leonard is modern, not as concise, and has odd layouts for classic pieces.

As you gather more material, you will be able to select pieces for students much easier. You will also be able to store and organize them into a cohesive collection. When building your library, you will also notice that you must have a system in place to keep track of all that you have. I highly recommend using a software database to assist with this, even if it is just a simple Excel sheet. When you know what you have, you will not accidentally double buy (like I have done!) and you’ll be able to appropriately fill holes.

Things to watch out for as you are building your library are huge collections. These are sometimes unavoidable because let us say your student is totally into John Williams music. You are stuck with these unwieldy books that have no specific location in your library other than to be included in a stack of other big fat books. Take for instance my 80s and 90s sheet music. I do not have a spot for “Decades” music. Plus, there are a myriad of genres in the 20th century, so what do I do? It will be tempting to get them too because you’ll get say, 100 songs for only $32.99, whereas a beautiful copy of just one sheet would be at least $3.99 or more.

Also, if you do not like an edition or a publisher – sell your books and replace them. There’s no sense in keeping copies you can’t read easily, or that don’t include measure numbers, etc. Be conscientious about the editing and engraving you prefer. Use trusted and time-tested companies like G. Schirmer, Kalmus, Willis, Dover, Urtext, Alfred, Hal Leonard, Oxford University, etc. If you cannot find students that would buy your unwanted copies at a reduced price, you could check out a secondhand shop for a credit, or sites like Ebay, Amazon, Pango, Offerup, and Craigslist to name a few.
​
Finally, be sure to actually use all the music you purchase. If you are not able to use it with a student or yourself, then you probably should lose it quickly so you can get something you have your eye on. Do not just rely on some guy you met down at the piano bar or in Nordstrom for a review. Make a wish list and prioritize your students and teaching needs first, then yourself. In example, for every order you make, buy something just for you. 

​It's a strange world out there with tons of Gifs that are seemingly never ending. Here I have compiled a great list of musical Gifs for your entertainment, use, etc.

Bucket Lists are a great way to set goals and to motivate. Whether attainable or not, we as musicians should all have a bucket list of things we want to play, accomplish, or hear. So, I've put together this list to inspire you!

30 Musical Things to Do by 30

1. Learn to play Beethoven's Moonlight Sonata
2. Join a chamber group (wind or string ensemble)
3. Learn to play a simple song on 10 different instruments that aren't your primary
4. Attend La Boheme live
5. Play on public radio or television
6. Purchase a gown or tuxedo to be used just for performances
7. Visit Neuschwanstein castle in Germany to see the paintings of Wagnerian operas
8. Join a church or community choir
9. Take your music to the street corner and play for tips
10. Record a promotional album with your 10 best pieces
11. See both versions of Disney's Fantasia
12. Give a free music lesson to a disadvantaged youth
13. Complete a collegiate degree in Music
14. Hear Tchaikovsky's Piano Concerto No. 1 Live
15. Visit Prague and find street musicians willing to play Smetana's Moldau
16. Create a YouTube channel with your music
17. Compose a piece of music that is about something important in your life
18. Audition for a symphony
19. Play in a marching band
20. Do a meet and greet with your favorite musician
21. See a Tchaikovsky ballet live
22. Purchase an artwork of music to display in your home
23. Give a live performance at a coffee shop/restaurant
24. Collaborate with a team to write an original song
25. Commit to learning by memory a signature piece that you are always ready to perform
26. Write a research paper on an interesting musical topic
27. Buy a vintage instrument and turn it into a functional every day object
28. Enter a musician's competition
29. Join your local MTNA chapter
30. Put together a benefit concert and donate all proceeds to a music cause

Failure Happens as a musician. A lot. I mean, like A LOT! And you know what? It's okay. It's not the end of the world. Music is an art, an appreciation, a passion. We can't get to the point of elation or success without a few blunders under our belt.

Learning music is difficult enough as it is. Just think about all the combinations of symbols you could have in a piece of music ... it's an endless stream of possibilities. This should make us feel better, but often it leaves us terrified of messing up. And really, we shouldn't fear making bad music. It's all part of the process of learning to be a good musician.

Failure happens largely in executing music, not the comprehension or learning of it. As a teacher, that makes my job somewhat easier because I know I can send a student home with instructions that they can follow without worry. However, when it comes to practicing and performing the concepts learned, we become more fragile and breakable. How can we avoid this? We can't!

How about instead we think back to the first time you poured your own glass of milk. Maybe you dropped the jug and milk spilled everywhere. Maybe you were too small and were chastised by an adult. Or perhaps you dripped milk all over the kitchen trying to get it into a cup. These situations are teaching moments that last with us for a lifetime. We learn how to properly hold and carry the jug of milk, just how to tip it gently sideways, and when to stop filling up. Music is the same side of the coin here. Your teacher is there to guide through the mistakes just like a parent or guardian is for a child learning to pour milk. We want you to make mistakes that you can learn from, and give you lots of praise when you succeed.

Don't take failure too strongly to heart in music. Everyone has a bad day, a bad warm-up, or even a bad song now and again. It's important that instead of becoming overwhelmed or beat-up by the process, we add it to our arsenal of knowledge and practice conquering our challenges daily. No one built Rome in one day, so it goes to show you that failure is something to expect as part of the process. And, just like Rome eventually fell, you too will fall in music. How you bounce is what matters the most though!

There are also times when it is okay to fail, and to let failure have its day. We can pull ourselves up by the bootstraps tomorrow, and try something new, or try what we failed at again. Sure, if we majorly disappointed an audience we can't get that back. But don't let it rule your mind and heart! Learn that humility and grace are key characteristics of a good musician. Understand that the audience appreciates your hard work and effort, even though it may not have pleased them. Grow as a person who has been at all the stop signs and now knows the way better than others.
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I'll say it again, Failure Happens. But ... there is always another song, another day, another rehearsal. Let go and enjoy the journey!

Everyone who is alive and breathing can get distracted even by the tiniest of things. But pianists have some large issues when it comes to distractions. Distractions are anything that pulls us away from the music, or even playing all together. A distraction can be huge and keep you from your practice, or small and make you lose your place. Here are the top five that I have found to be the worst.

1. Housework/Chores are More Important
Maybe you have a guest arriving from out of town, or maybe you have a family with four wild and crazy kids under the age of ten. Whatever the case, your home life is a number one priority to you. So much so, that you can't even get to the piano to play a song. You may go for days, weeks, months, or even years without so much as touching the keys. And while yes, our home life should be comfortable and relatively clean, you CAN make time for piano if you set aside specific time in your daily or weekly schedule.

2. Holidays and Celebrations
I've heard this so many times: "Well, I didn't practice much because it was Thanksgiving." Letting important dates get in the way of practice is an amateur mistake. I always try to encourage my students to actually USE these celebrations as an excuse to play. Take for example Christmas - Have a sing-a-long of your favorite tunes. On a birthday, play your best rendition of Happy Birthday. Granted when you travel, you aren't likely to have the ability to practice, but you can absolutely take your music with you to read and study. Tabletop playing is also encouraged. You can do this by pretending you have a piano in front of you, and using your fingers to play your imaginary keys.

3. Tiredness
Hey, I get it, I really do. I've suffered from insomnia since I was a child. Being tired doesn't have to equal less practice though. Using aromatherapy such as essential oils can perk your body and brain right up. Orange, Tangerine, Ylang Ylang, Spearmint and Lemon are great pick-me-ups. Another great solution is to eat a heaping spoonful of peanut butter or an orange, wait 10 minutes, then practice. These foods are quick to activate sugars needed for energy and focus in your body. The other thing I would encourage is to pick a time of day when you are most alert to do your practicing.

4.  School and Extra Curricular Activities
You make a commitment to learn music and all of a sudden the workload at school is too much. This is a common theme with middle school and high school students in particular. Or maybe, you have a double header soccer tournament over the weekend. For some reason, you believe there is no time in between your school or your soccer, to find time to practice. This is not the case! You know those times in the morning before school when you have extra time on your hands? Sit at the piano and practice part of your assignment! Right when you get home from school is also another great time to practice, as is just before dinner. Especially if you treat dinner as a reward for hard work! Make your schedule find the time that you have nothing to do and work in a song or two at the piano. It IS possible!

5. Illness
Never let a cold or flu get you down. If you are grounded at home on an illness staycation, make sure to bone up on your music. Yes, you're tired, yes you may cough or sneeze, but that shouldn't equal no practice. Start with just reading your music in the comfort of your bed or on your couch. Then, when you are feeling your most alert (right after a nap or just before a meal) practice for a short spurt of 10-15 minutes. This works great in conjunction with placing tissues and sanitizer nearby just in case, and having a glass of orange juice just before for an energy boost. I also recommend essential oils and/or aromatherapy designed to support your immune system or level of alertness.
 
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Today I will be reviewing the book Piano Repertoire: Romantic & 20th Century at Preparatory Level by Keith Snell. https://kjos.com/piano/repertoire/collections-series/snell/keith-snell-repertoire-series/piano-repertoire-romantic-20th-century-preparatory-level.html

There are many reasons to love this little book - or any Keith Snell book really. It's concise, and to the point for one. At just 16 pages, this Prep Level gem is accomplishable within a year's time for any elementary or beginning student. Even the front inside cover and back inside cover are used for information pertinent to the materials. I love when a book is eco-friendly. For the low, low price of just $4.50 you receive 15 traditional works from the Romantic era through the 20th Century. A 7-year-old could save and purchase this all by their self, it's that affordable.

Included are some of my favorites: Ferdinand Beyer, Louis Köhler, Cornelius Gurlitt, Béla Bartok, and Dmitri Kabalevsky. Clearly printed (or engraved for you technical musician/composers), the music is large and clear tidy. To save space, 2 songs may be printed on the same page due to their brevity and the ability to supply repeats.

Titles clearly list which work the pieces are from with Opus numbers, etc. Furthermore, every composer is listed with their dates, and the back cover has a Composer Biographies that are short and somewhat helpful to understanding the work.

Most of the pieces included in this Preparatory Level are within a 5-Finger Position in the comfortable locations of C, G, F and A Minor. Minimal use of accidentals make the works deceptively simple for beginners, and I've found that penciling in a reminder at the top of the page, or highlighting the Key signature, is a helpful tool. There are limited finger markings that are sensible, which also make the works very approachable for students who are learning new locations and working on confidence and spatial awareness. Therein also lies a good mix of 3/4, 4/4, cut and Common time as well as tempo markings - most of which lie at a moderate speed, making this book a great challenge to accomplish within a year's time.

Coincides with students in, or who have completed with following methods:

• Alfred's Level 2
• Alfred's Adult Level 1
• Piano Adventures Level 2A-2B
• Bastien Level 1