Halloween Piano Party 2019

It’s said that you can’t officially call something an annual event until you do it at least twice. With that, let me present a summary of our Second Annual Halloween Piano Party. We always seem to have some type of drama before starting. Last year, we couldn’t get into the building because the door code didn’t work. This year, the code worked perfectly! However, I left my footprints behind – literally – in the floor wax as a contractor was working off hours. I didn’t have another way to get in the building, but that didn’t make the contractor any happier with me. Oh well!

We had really good attendance this year! Most of the participants were playing their sonatinas under pressure for the first time. We held this event three weeks ahead of the November Sonatina Celebration. The composers represented included Lynn Freeman Olson, Muzio Clementi, and Anton Diabelli. The pianists could perform in costume, so it wasn’t all that serious. However, the ringmaster below took his costumer as serious as his playing!

This ringmaster means business, on and off the piano bench!

Everyone got a chance to play something fun after the sonatinas were presented. There were some favorite pieces from method books, a Bossa Nova that’s being worked up to audition for a jazz workshop, and a piece by contemporary composer Andrea Dow.

As a reward for the great playing, I distributed some candy bars, Belgian chocolates from Aldi, and Red Delicious apples. Surprisingly, the apples were really popular! And thus, the Halloween Piano Party 2019 came to a close. Sorry, I have no candy left to share, but I can share some pictures. Enjoy!

Posted 2019-11-01

Make Those Refinements

Introduction

Music is inherently difficult, because there is no such thing as a perfect performance. When learning a new piece, it’s routine to get to the point where everything sort of works, but it’s still not great. I’m not just talking about my students, but in my own playing, too. I call this place the 80% malaise. It often takes extra practice to take care of troublesome technical passages or to make sure that everything is in place musically. It just doesn’t happen on its own. You have to be purposeful to make those refinements.

A Teacher Helps

Students have that built-in helper: their teacher. She will point out all of the places that have potential to be better. It could be little stops and starts, unclear phrases, lack of dynamic contrasts, among other things. However, in order to take advantage of those tips, it’s crucial for the student to practice within a day or so after the lesson. If there isn’t an instrument available, notate the score or write down the places where you have to focus, when you do get back to a piano.

But You Still Must Do the Work

When this doesn’t happen, and the student comes back playing the same way, with the same issues, it puts the teacher in a bind. Does he take the time to explain all of these things again, as patiently as possible? Or, does he just move on, since there is always lots to do in a lesson? While I always give the student my best, I do realize at a point that not all students are striving to be excellent. Some are just satisfied with good enough.

When I train my athletes, it’s a dictatorship with three rules: show up, work hard, and listen. If you can do those three things, I can help you. If you can’t we have no use for each other. I will bust my a** for you every way possible, but I expect you to do the same for yourself. I’m not going to work harder than you do for your benefit. Show me you want it, and I’ll give it to you.

Tim Grover, trainer to elite NBA athletes, including Michael Jordan 1

Try A Digital Audio Recorder

A good digital recorder can be helpful to both students and professionals alike. You might say that you have one built into your phone. Unfortunately, it doesn’t serve much use due to its poor fidelity. The Zoom brand is widely used among serious musicians, and you can get the base model for $200 or less. A generation ago, the Sony Professional Walkman cost far more than this, and that’s before adjusting for inflation. Listening to yourself while not playing can give you an unbiased perspective that you can’t get any other way.

In Conclusion

Even though it’s true that we’ll never be perfect, striving to be better is always worth the effort. There’s lots of guidance on that score to get you closer to musical nirvana, and you might have a teacher to give you that extra boost. In the end, it’s up to us to decide whether we’re going to do the hard work that makes our listeners sit up in our seats, or just looking around waiting for the performance to end.


Footnote

1. Relentless by Tim Grover (h/t James Clear) – NOT an affiliate link

Courtesy Wikipedia/Project Gutenberg
Posted 2019-11-01

Playful Preschool Piano Teaching

Introduction

Nicola Cantan’s new book, Playful Preschool Piano Teaching 1, is about teaching piano to 3-5 year-olds with listening, learning, and laughter (her subtitle) is a revelation. I am currently a paid member of Nicola’s Vibrant Music Teaching, so some of the concepts introduced were not new. However, it’s a great pocket guide to the challenges and opportunities for young pianists. The reason I’m taking the time to give part review, and part explanation of the book is that I think it could be very helpful to piano parents. Although I don’t currently teach anyone in preschool, I find many useful applications of the material to the several 6-8 year-olds I teach. If you are hands on with your children, you may find this book a revelation to early childhood learning in piano and beyond.

Maria Montessori

The Italian physician and educator is given a lot of credit early on in the book, with good reason. “Play is the work of the child.” That’s the quote attributed to Montessori that Nicola uses to describe her own approach. If you’ve ever spent any time with a young child, you will find that a child at play is not like an adult at leisure. Adults often look to leisure to disconnect from reality; children look to play as a chance to connect with it. When a child uses building blocks, builds sand castles, or even draws with crayons it’s an attempt to bring order to their world.

I’ve seen this first-hand in a lesson I had recently with a 5-year-old. He took a detour from the topic I introduced, as he wanted to learn something related to what I mentioned. The parent softly chided him to pay attention, but in truth he was paying attention and was quite engaged. His focus quickly returned to my topic once I answered his related question.

Play is the work of the child

Maria Montessori, Italian physician and educator

Challenges to Learning

A child’s ability to learn piano in the traditional sense is greatly diminished below age 7 or 8. By the traditional sense, I mean the capability to sit fairly still, focus on note learning, and put together pieces with little to no help from a parent. However, there’s a world of learning that is ready to tap into with the very young. Developing the ear through singing is one of them. After all, singing came first in ancient cultures, followed by the use of musical instruments. Kids love to sing, and can quickly transfer that ability to picking out notes on the piano for a piece of music, with one finger in each hand. This occurs well before they develop the ability to read notation for that same piece.

Note reading is difficult for all kids, but much more so for young ones. That’s true even when introduced slowly and methodically. The child has to learn about different shaped notes, with different durations. Then, she sees them placed on these lines, spaces, and sometimes above or below this staff, as we would call it. Plus, we expect them to associate all of this to white and black notes on the keyboard. Nicola explains this utter confusion in nonsense nomenclature, and calls the piano itself a toofpranie. Using this imaginative language, she shows how a child becomes confused and anxious when asked to quickly put all of this together to play their first song, at their first lesson.

Improvisation and Imagination

Nicola’s approach is much more imaginative and improvisatory. Even learning the patterns of two and three black notes on the piano is difficult at first. She relates each set of black keys to an animal, and conjures up stories that they can use to experiment with the keys. They eventually learn all of the notes, white and black. Plus, they have a great time getting there since there are so many fun games and songs used to guide their way. Reading music is not an obstacle. It’s just one part of lessons that includes singing, improvisation, musical story telling, and of course, rhythmic exploration.

With just singing and rhythm, you can do a lot. Fortunately, the young are very able to learn note values well before they can identify them quickly on the page. Again, there is adaptation needed, since kids don’t clap well early on. Instead, using patsching, or slapping the thighs, works better. They can also walk around the room to experience quarter notes and half notes. Good luck trying to get a 9-year-old to walk around the room to fix a rhythm problem! Movement in general is something to be encouraged when teaching these little ones, since it helps them connect into and use their abundant energy.

Technical Limitations

One of the most apparent limitations a young child hasis the ability to use all five fingers. This can extend up to 6- and 7- year-olds as well. Most young pianists only have the ability to use one finger on each hand at a time. Good pre-reading method books start with the second (index) finger, and then offer the third (middle) finger as an alternate. However, at some point, these books will introduce a piece that requires both 2 and 3 to be used. Then, finger 4 gets added shortly thereafter.

What happens if the child isn’t ready? Simple – play the piece with just one finger, cycling through 2 through 4 to make sure each gets a chance to develop. Playing with 2 to 3 fingers will come when the child is ready with the teacher’s guidance. The thumb and pinky, fingers 1 and 5, are in some ways an adult pianist’s strongest tools. However, they are the last to be developed in a young pianist.

In Conclusion

There is a lot involved in teaching very young pianists. Playful Preschool Piano Teaching to addresses this adeptly. I readily admit that I am only partially down that road. I am in deep respect and awe of those who successfully teach 3-5 year-olds! However, I’ve become more and more convinced that students don’t need to wait until age 6 or older to begin, if the circumstances are right. The child has to be receptive. The parent has to be involved. The teacher has to pace learning in a way that works. The benefits could be immense. As Nicola says, a child’s innate musicianship can be developed from a very young age, and can lay a foundation that is hard to match when compared to a child that begins much later.


Footnote

1. The book is listed on my Piano Lessons – Books page, found under the top menu Teaching > Links for Current Students

Photo by Vlad Vasnetsov from Pixabay
Last Updated 2019-11-01 | Originally Posted 2019-10-31

Set a Practice Goal

Introduction

When I sit down to practice, I usually set a practice goal. The practice goal is pretty clear when it’s a piece that I have to learn or review to play the next day. Often, the practice goal may be less clear when my bunch of pieces are in different states of readiness. Plus, they may be scheduled to be performed at different times. As a church organist, there’s a weekly requirement to have new music ready. Don’t feel sorry for me – I have a lot of experience doing this, and it’s pretty automatic. My students, however, may be beginners at this, or at most just a few years of figuring out what to do at the piano. For that reason, I hope to help all my students set a practice goal each time they sit on the piano bench.

What Does Practice Look Like?

For the beginning pianist, practice is going to be pretty straight forward. Read through all of the pieces in the assignment, and then repeat, maybe several times. There may be the need to play slow at first, or to stop to figure out the notes. However, covering a bunch of pieces, each just 4 to 8 measure long, isn’t an issue. If the beginner happens to be a young child, help from the parents to ensure good, consistent practice sessions is important. I talk about how a parent can assist in practice in more depth in this post.

Even a later beginner or early intermediate student will face repertoire that can’t be fully practiced in one sitting. Sometimes, it’s good to just work on part of it, and come back the next day to review and add more measures. Certainly, the number of pieces assigned diminishes, but the length per piece increases. This adjustment happens as students transition out of method books and into real piano repertoire. If there is a need to learn a piece in sections, I recommend using little pencil marks in the music to indicate how far you got. It could just be an X, or it could be a date stamp like 10/1. I sometimes leave a few of these before erasing them, just to see how conscientious I’ve been in making progress. It can also help to use the assignment book to make practice notes and questions to ask your teacher. 

Practice Also Includes Activities (Theory)

Many of my students forget to budget time to do their activity pages. It’s more difficult since this practice occurs at a table or desk, and not at the piano. Doing a little bit each day is best, but might not be practical. However, doing it all at once, waiting until the last possible moment, is not good. I suggest that doing it two or three times spread throughout the week is a good compromise. These coordinated assignments are invaluable in learning new concepts that appear in sheet music. Theory helps the student to become a well-rounded musician, not just someone playing notes from the page. 

Have I captured this well?

It’s really easy for me to preach practice goals, since my time is not invested in making this happen at home. However, I hope that I can provide the support and guidance you need, no matter where you are in your piano journey. Certainly doing a little bit each day, moving forward bit by bit, is going to get you far when weeks become months become years. Let me know if you have any questions, or if I could state any of this better!

Scrabble rack with tiles GOAL
Goal by Nick Youngson CC BY-SA 3.0 Alpha Stock Images
Posted 2019-10-01

Try a Motivation Ritual

Introduction

Since piano parents are my best audience for helping guide my piano students, I wanted to give them something concrete. As a result, I posted a version of what I discuss below in my monthly studio newsletter. However, I’d also like to share these same tips with a larger audience. During the summer, I had the chance to read a lot through several Facebook piano teachers groups to which I belong. One of these groups has a book club that started reading James Clear’s Atomic Habits. Although this is not specifically a music book, Atomic Habits has many great ideas about how to build habits. I’m trying to adapt them to the habit of piano practice. One of his most interesting ideas applying to music is to create a motivation ritual to get to the piano bench.

Motivation Ritual

The motivation ritual is simply a device that gets you to do something you want to do by tacking it onto something that you enjoy. If you want to get into the habit of doing a morning devotional, connect it with some kickoff activity.  The kickoff activity could be preparing a cup of coffee, tea, or pouring a glass of water, plus preparing the coffee table. You sit down, beverage in hand, with your books nearby, so why not start reading?

You can create a motivation ritual for piano practice as well. That’s important since one of the biggest obstacles to progress is lack of practice. Even the site of the piano bench can become an object of guilt. If starting is an issue, then create a motivation ritual that gets you to sit down on that piano bench. It could be to sight-read a new Andrea Dow piece, or something from a pop book you like, regardless of whether it’s part of your lesson assignment. You could also play through some of your favorite previously-learned repertoire. If you’re especially stressed out or tired, maybe you just choose to listen to some music, seated at the piano.

The beauty of the motivation ritual is that it makes the difficult habit possible, without being heavy handed. There may be some days where practice doesn’t follow the kickoff activity, which got you to the bench in the first place. But, on other days, practice does follow. That practice may not have occurred if you didn’t start with some something that helped you ease into it. 

Let me know!

If this approach appeals to you, give it a try.  Let me know what you try, and how it works out for you!

young man playing the piano
Jeune Homme au Piano (1876) – Gustave Caillebotte – Bridgestone Museum of Art, Tokyo
Posted 2019-09-21

Adult Piano Lesson Experiment

Scenario

I’m sure that you’ve heard the classic cliché: The definition of insanity is repeating the same actions over and over again and expecting different results. How does this relate to adult piano lessons? I’ve come to the conclusion that most adults are not able to sustain a long-term commitment to the piano. There are some success stories, but in general, it ends sooner rather than later. All of a sudden it hit me – what if the problem is the interval? Enter the adult piano lesson experiment!

The reason for wanting to try something different is that I feel I connect well with adults. I’m willing to take the risk of making much less per student since I believe less frequent lessons will give that adult the opportunity to succeed. I’ve rarely found that adult students don’t have the talent (oh, that word!) to succeed. Adult students can sometimes cover material at several times the rate of a young child. It’s almost always a matter of practice time. Adult students often don’t protect their practice time. They ultimately succumb to the many by demands for their time. School-aged children don’t have this worry – their practice time is often protected by these same adults!

A Possible Solution

Monthly lessons! Let me explain. My experiment would begin with a 50-60 minute lesson. We would talk about goals and then make a plan to reach those goals. Although I will would want to include some traditional teaching – note reading and sight reading in each lesson – I would also like to cover chord progressions, playing from lead sheets, and even playing by ear. There would be follow-up 30-minute lessons each month for the next five months, and there would be an option to schedule additional lessons at the same rate as the other lessons in the package.

There will be a financial incentive to prepay for each six-month cycle, with the opportunity to cancel given a minimum of 30 days notice. Any remaining money paid-in would be refunded. A month-to-month option will also be offered at a significantly higher rate since there is a higher cancellation risk for me.

As a way to help bridge the gap between lessons, I will offer email support. I want to offer encouragement and answer questions. Getting off track for a week or two won’t sabotage the entire plan like it would in weekly lessons. I also plan to create a series of blog posts specifically targeted to my adult students as well. My ultimate goal would be to build a community of adult students that includes a twice-a-year adult piano party just for them.

What Do You Think?

Does this sound like an idea worth trying? I’m willing to give it a try, for six months to a year. I already have some adult students who might be interested to enroll. I expect there may be some bumps in the road, and the need to tweak the program. However, at some point, I have to see whether it’s a viable long-term option. I hope it provides an affordable, low-commitment chance to gain a new skill or reconnect with an old one. If it works, great! I would spread that idea to my fellow colleagues and their studios. If not, I want to say that I gave it my best shot!

Posted on 2019-07-26

Music Apps for Beginners (and Beyond)

Summary

Last summer, I committed to testing a bunch of music apps that I could recommend to my students. The result of that work is in this post. It took about a year to discover that I only consistently recommended two applications, plus a metronome app for those who didn’t have a separate metronome. I’m working through some recently downloaded apps that I’ll most likely add to this post, but it’s time to clean up my old post and start anew. Here is my list of music apps for beginners and beyond!

But First…

There is a bit of a bias towards iOS versus Android by app makers in education. Even though I’ve been only a PC owner since the early Windows days (and yes, I remember DOS!), I solely use an iPhone and iPad. I don’t have the resources to buy Android devices just for testing. However, I have tried to provide alternatives, and would be glad to work with any of my students to see how they perform. It’s in my best interest to recommend the best tools, since it makes lessons easier for me and my students!

The biggest lesson I learned is you get what you pay for! Free apps can be helpful to try out a paid app, but don’t expect to rely on them for anything past that. When I first tested out music apps, I tried going the free route and was totally frustrated and wasted so much time! If I recommend an app, it will be worth the $5 or less that most of these cost. The good news is that all of these apps are one-time purchases, not a monthly or yearly subscription. You own it for as long as the developer continues to support the app – which hopefully is a long time!

Highly Recommended

Note Rush: Music Reading Game

Flashcard drilling using your piano/keyboard to verify the notes. It’s great for students who are rapidly expanding their reading of the staff, and need a bit of fun along the way.

Device: iOS, Android

I find Note Rush a lot of fun to play myself, and I sometimes demo it with students by sight-singing, instead of playing notes on the piano. It’s a hit with any student to whom I introduce it. The app uses the device’s microphone to identify pitches, and it has calibrated perfectly wherever I’ve tried it. If your piano is wickedly out of tune, it may not do so well! It’s pretty easy to use, since you choose from one of several pre-loaded levels. You could also customize your own choice of note ranges if you’d like something more challenging.

If you are a beginner and note reading is going smoothly, or especially if you are past beginner method books and playing intermediate literature, you might want to skip this app. However, at least half of my students in method books could benefit from using this app along with the landmark and interval training that I provide.

Rhythm Lab

Rhythm drilling, using either one or two hand tapping on the screen. It’s useful for beginning through intermediate students.

Device: iOS only
Android Alternative: Rhythm Cat

This is a super fun app, and I find it I recommend it a lot for transfer students whose teachers have not been as strict with note values as I am. While I typically recommend it for students who need it for basic note values, like half notes vs quarter notes, the app could also be helpful for learning more complex rhythmic notation that anyone continuing into more difficult music will face. If you do struggle with playing in time, and are not self-aware about stopping at bar lines or when things get difficult, this is your app!

The interface is a bit complex and the judgmental applause at the end of each exercise is a bit annoying, but I look at that as just a minor irritation.

Metronome Apps

Seiko SQ50-V Quartz Metronome

The Seiko SQ50-V Quartz Metronome is listed at the bottom of my piano books recommendations. It is an old fashioned metronome, not an app. I have to include it because it’s still my top recommendation instead of, or as an addition to, an app.

Price: About $25

This model has been around in some form for several decades, and price has not changed much during that time. It’s an old-fashioned, electronic metronome that requires one 9-volt battery to run.  It’s not quite as old school as the Wittner Taktell, the German brand dating back to the 19th century that I grew up using.  So that makes me just a half dinosaur!

Why buy this and not just solely rely on a phone or tablet? Sometimes having a device dedicated to doing one thing is the right choice. If you need to charge your phone, or if you are sharing a device with a sibling or parent, it may not be available when you need to use it. It’s the type of device that you will only use occasionally. However, when you need to use it, you want it to be on your piano, in your piano bag, or maybe both!

Tempo – Metronome with Setlist

A more straightforward metronome app with bells and whistles not found on a traditional metronome.

Device: iOS, Android

This is the app that I often will use in lessons, since I already have my iPad out to mark attendance, check my schedule, and it is convenient to use. I have a Wittner on the top of my piano, and carry two different Seiko models in my separate piano and organ repertoire bags. It’s not as fun as the Super Metronome Groove Box, especially if you want an app to provide a backing track for playing pop songs. You get what you pay for; this one is much cheaper!

Super Metronome Groove Box

This is a more fun type of metronome with different instruments, beats, and compound meter.

Device: iOS, Android

The free version is just awful, but I’d try before you buy since you can get a feel for it, despite it timing out after just 16 measures! When I bought it, the price was $6.99. That’s was $4 more than I paid for the Tempo app above. You do get a much more feature-rich app. If you play some rock and pop, and want to play along with a metronome to develop a steady beat, or just because you enjoy having a rhythm section behind you, this is the app! If you just want to check an occasional tempo or play along for a few measures, stick with Tempo! 

What’s Ahead?

I’m always looking for other apps to try, and would like to add to my list to make it more comprehensive.  If you like apps, I’d be glad to forward you lists of them from other teachers that I follow, with the caveat that just because they liked them doesn’t mean either you or I will!

Posted on 2019-07-25

One Piano Parent Listened

When I start typing on my keyboard, I often wonder whether there is an audience for what I’m about to say. Even though I only write when I feel passionate about a topic, I don’t know if anyone will read my blog post or Web page. If someone reads it, will it be helpful or even better, influential? In one case, the answer is a resounding yes! One piano parent listened!

She was seeking to upgrade her child’s piano. My student had long ago outgrown the 61-key Yamaha keyboard that was her practice instrument. If you read my Web page on choosing the right piano, you’ll know that I was never a fan of this instrument in the first place. I’ve also gone on the record with a blog post making the argument for an acoustic piano. I admit there are a lot of positives about choosing an electronic keyboard, until you realize that even the best keyboard isn’t going to sound as good as even a mediocre piano.

After considering a range of instruments, the piano parent decided to go with something inexpensive; she bought an older American-made spinet. It was delivered just a month before the auditions for a music festival in which several of my students participate. This was the third festival in which I had prepared my student. Each previous time there was barely enough practice to be ready. The results were always okay but not great. This time, my student ranked as first alternate, or second place, for her level! Even though she didn’t go to the finals, she made a major accomplishment. Along the way, she surprised everyone, including me!

Yes, a decent piano can make the difference. In this case, it was one costing $700. My student started practicing independently, without badgering from her parents. She practiced the changes we discussed at lessons. Her approach to the piano became more confident in a way that I didn’t see before. A couple of months past that event, she continues to play well, and has completed her method books and is ready to move on to the next level. While there is no guarantee that a new(er) piano will do the trick, having a decent instrument is one of the keys to success. And, I’ll always be thankful that one piano parent listened!

Posted 2019-06-28

Spring 2019 Finale

Four of my students from the Shepherd Music School participated in the semester-end recitals, Spring 2019 Finale. Their pictures are below. A couple of brand new students who are very young did not participate, and my two adult students also chose to sit this one out.

New Wrinkle: House Recitals!

I also tried something new this time: house recitals. Since I teach several in-home students who aren’t affiliated with Shepherd, I have to find opportunities for them to play. I often just do in-home recitals just for them, in lieu of a lesson. However, I also like for all of my students to get to know each other, regardless of where they are enrolled.

Figuring out how to do this seemed pretty obvious. Most of my students live in one of three areas. And there are about an equal number of students in each geography. I already had an invitation to check out the spinet piano one of my families had just gotten their daughter, so some of the planning already took care of itself.

At a Church

The first house recital was held not at someone’s home but at a house of God. It was at the church where Shepherd is based since none of the piano parents volunteered their home for the event. The three participants played the beautiful Baldwin grand piano in the sanctuary that is typically off-limits. My most advanced student got the chance to make a mini-recital debut playing much of the repertoire he learned over the semester. One of my adult students also participated, since she felt more comfortable in this small group setting versus the very busy Shepherd recitals.

At a Home

The second group was the one where I was invited to visit the newly-acquired spinet. There were extra adults and kids there in addition to the piano parents and student participating. I played to conclude the recital, as I did in the first event. When it was all over, the kids went into the backyard to bounce on the trampoline, and the adults enjoyed conversation in the living room. Although the goal to play was met in both cases, I much preferred the fun atmosphere of the second recital. This type of recital really benefits from being held in a home environment.

At the Emergency Room

The third group was for a single family with three students that lives a distance from the other two groups. Unfortunately, it was canceled due to a medical emergency that occurred just before I arrived. One learns to roll with the punches!

Last Updated 2019-09-25 | Originally Posted 2018-06-14

ASMTA Regional Festival 2019

I participated in the Arkansas State Music Teachers Association (ASMTA) regional festival again this spring.  I had four students enrolled, the same as last year. Two of those were continuing students; two were new students. This event was held on Saturday, April 6th, in the music building at the University of Arkansas in Fayetteville.  I didn’t sleep well and woke up before 6 a.m. since I was petrified by the possibility that I could oversleep.  I was scheduled to do musicianship testing, which took the entire morning after my 8 a.m. arrival.

I was able to get pictures of 3 out of my 4 students.  That’s because I insisted they stop by my testing room before they left.  All of them received a Superior rating of 1, but one did better than that by securing a 1+ as the first alternate to the winner for her level.  My studio did a lot better this year in supplemental testing as well, with several certificates awarded for scores of 90 or better in musicianship and written theory.

It is always interesting to compare notes with teachers in the break room during lunch.  We discussed the surprises and disappointments of the day, and traded stories about what else is going on in our lives, musical or otherwise.  As you can imagine, this event only happens due to the hard work of several volunteers over weeks and months before the event; my helping out on the day of the event doesn’t compare to that!  My thanks to them!

Posted 2018-04-18