Track Your Practice Time

Introduction

You’ve decided to learn piano, but do you have a practice goal? I talk about how to Set a Practice Goal in a separate blog post. Once you set a practice goal, it can be helpful to see if you’re meeting that goal. I can guarantee that you won’t be able to meet your goal without sufficient practice. I’ll start by showing you how I track my practice time.


More About Practice

While practice time is a key component, there’s more you can learn about practice. Visit my Teaching Posts page to see the articles I’ve written on this complex subject.


How I Track My Practice

I use the free version of an app called Toggl, which allows me to track both how much and what I’m practicing. I also have a notebook to write details about my practicing, but some days I do that better than others. I’m also posting a practice summary online to show that I have to practice, too!

I consider this a better way to document my practice than documenting it in 30-second clips as you’ll see from certain Instagrammers. I’ve been very consistent in posting so far, but I did only make it for the first 4.5 months of 2021, so we’ll see how long it lasts!

Why Tracking Practice Is Important For Me

My practice is going to look a lot different than yours because my goals are different. I have to prepare for weekly church services at First Methodist, so I schedule my practice for both piano and organ around the rehearsal and service time I spend in Bella Vista. I don’t practice every day. When I do practice, it’s often for 2 to 3 hours per session.

I have goals aside from what’s required to fill the prelude and postlude slots for each church service. I have specific projects to learn the music of a Black composer (H.T. Burleigh) and a female one (Amy Beach). Some pieces from any of those side projects may end up in a church service, but I can pretty much guarantee the book I bought to learn salsa from the classical pianist’s perspective will not. I want to become a more well-rounded musician, which I hope will also inform my teaching.

What Works For You?

If you just want to make sure you are putting in the effort, you may not need to track at all. You might just want to use a simple silent timer. You can set it to countdown – ding, you’re done. Or, if you like practicing, use a timer that allows you to accumulate time instead. Most digital ones do. You can also use a watch or clock if that’s not too old-school for you!

Even if you do decide to track, you might just do it for a week or two, just to see if your practice time equals the effort you think you’re making. You might be surprised that the reality doesn’t meet your expectation. I like Toggl, but your best choice might be a scrap of paper, a Post-It, or a little notebook. Find what works best for you.

In Conclusion

To track or not to track. That is the question. Yes, you should commit to practicing. How you decide to make sure you are putting forth the effort is up to you. Hopefully, these ideas have been helpful. Please let me know!

Last Updated 2022-03-08 | Originally Posted 2022-01-04

Good Enough

Introduction

“Never good enough” was the original title I proposed for this post. That along with “How to discourage and demoralize a piano student” as the short description. I hope it’s obvious I don’t endorse any of this “never good enough” stuff. However, I experienced it first hand during my first two years of piano study at music school. I noticed a lot of this, across many students and teachers, during the six years I spent earning my BFA and MM degrees.

I realize that I had a lot to learn and that constructive criticism is key to learning how to make a piece better. However, spending an inordinate amount of time on a piece and picking it to death is not the road to success.

Several Possibilities

When a piece isn’t getting better, it might come down to insufficient practice time. For a performance major in a degree program at a music conservatory, you’d hope that’s not the case. However, I find that often in school-aged children in my own private teaching. Sometimes a student gets to a particular point and doesn’t have the time or motivation to pick the piece apart further.

In many such cases, I’ll just suggest that the piece is put to the side for now. Typically, much work has been done, and the piece will be better approached with fresh eyes several months down the road. In the meantime, I might assign a similar piece by the same composer or era, since that can deepen understanding. Of course, there are times where we have to push to the finish. Then, I’ll try to help pick apart the most challenging spots to give the student that last push.

In some cases, I may have misjudged the difficulty. The student has really tried his best but just isn’t ready to make more progress. This sometimes happens with what I call stretch pieces, pieces that are intentionally assigned above the student’s current level. This can help the student to reach beyond her limitations, but it can also lead to a dead end. Even if the piece can’t be completed right now, it can always be reconsidered down the road.

Balancing the Load

Students tend to learn best when their repertoire is at a level that nudges them without overwhelming them. I often rely on graded repertoire books to help me do that. However, there are times when I want to push a student by intentionally assigning a level or two above where they are currently studying. I have tried this with transfer students if I suspect that they have not been challenged enough.

Part of balancing the load is to know when to assign pieces that are below the current level of study. I routinely suggest that approach at Christmas, where a student will want to learn several pieces in several weeks. There just isn’t enough time to learn at level, unless the student will be satisfied to learn one piece over several weeks. That’s a better fit for an advanced student who might be entering a competition or talent show and understands the benefit of working on a piece longer.

In Conclusion

It’s easy for a piano teacher to go into criticism mode and not see the bigger picture. There is an optimal path for each piece assigned to a student and it’s up to the teacher to sniff that out. Sometimes a piece is close to recital ready, and a student should be given another week to do better. Another student might be near his limits, and it’s time to call it. Good enough. Be honest and don’t sugarcoat, but also acknowledge the progress that has happened. Tomorrow is another chance to do better.

Last Updated 2021-11-22 | Originally Posted 2021-11-22

Going the Second Mile

Introduction

I remember seeing this expression on a motivational poster decades ago, where a runner is shown in full stride with no one else in sight. The others gave up before going the second mile. I’ve known both mid- to long-distance runners, and most of them wouldn’t bother to lace up just to do a mile. But what the expression originally refers to has nothing about recreational runnning.

Origin of the Expression

Going the Second Mile has Roman and Biblical roots. One of the feats of the Roman empire was to create an elaborate road network not previously seen in the ancient world. The expression “Many roads lead to Rome” comes from that. Because Rome ruled much of the world, any Roman soldier or citizen could ask anyone traveling along the road to help carry his/her load for exactly one mile. In Matthew 5:41, Jesus tells anyone who is so asked to go two miles. Jesus could have said just go an extra 100 yards, but he makes it clear we are to go far beyond what is expected!

Inspiration to Carry On

I think about this instruction when inspiration is lacking, and the urge to quit is swelling! Sometimes the burden seems too heavy, and getting done sounds good. I won’t lie, I often feel that it’s hard to keep going and I just want to quit early. That’s true whether I’m trying to make my step count for the day, finishing up work on the computer, or getting a piece in shape on the music bench. I try to keep thinking how good it will be to complete that second mile, and often it works!

The Struggle of Piano Students

I’ve seen the same struggle at work in my piano students, particularly as they arrive into the early intermediate repertoire, where pieces double in length and become more complex between the hands. Some of them come to lessons with a first-mile attitude. You can see it when they come in saying they only practiced hands separately, or that they haven’t gotten far through their piece.

To be fair, there are some advanced pieces that require several weeks to get through. That’s not what I’m talking about here. I’m talking about bringing a beginner mindset to intermediate pieces. They haven’t fully embraced arriving at the higher level.

However, some of my students don’t seem phased by longer and harder pieces. They try their best, and they sometimes surprise me at how far they’ve gotten or the achievement they’ve shown. They’ve learned the secret that a piece double the length isn’t necessarily double the work.

Lots of those passages repeat. They are much better readers than they used to be and can cover more measures in a practice session than they used to be able to cover. They’re okay with certain passages being complex and don’t just stop and give up when they encounter a hard passage. They know I’m here to help them figure those out.

Thoughts?

What are your struggles in going the second mile? Where do you find it easy or difficult to go on?

Last Updated 2022-03-11 | Originally Posted 2021-09-19

Find the Best Christmas Sheet Music for You

This post has no affiliate links. In other words, I don’t get any compensation as a result of any purchases made using these links. I hope this list helps you to choose wisely among the vast amount of Christmas sheet music available.

Introduction

There is so much Christmas sheet music out there! How do you choose? In the fakebook I own, there are over 150 pieces, and there’s another fakebook I don’t own that has almost double that! When I started teaching again, after a long corporate career with just my church job on the side, I used to skip teaching Christmas pieces. It was really daunting because I didn’t know where to find exciting and correctly leveled pieces, particularly for beginners.

Fortunately, there are lots of new books out there, like those from Piano Pronto. The leveled Faber books are great, even though I don’t teach that method except when with transfer students. There is an overwhelming number of choices, even at the advanced level. First, some cautions.

Even kids who haven’t learned how to read a grand staff can read notes on a reduced staff, or learn primarily by rote. That’s where teacher inventiveness is especially important. Jingle Bells can be learned by pretty much anyone; you just have to find the right path! It’s not just beginners who benefit from an inventive approach. Rote playing and playing by ear is a legitimate skill that I also teach to older students.

Lead Sheets vs Arrangements

I love teaching older students the skill of reading from a lead sheet. It’s where you get the melody, chord, and lyrics, and have to put the song together yourself. (Lead sheets are compiled together in collections and are often called fake or real books.) You can craft the left hand as simple or complex as you desire. You don’t need to struggle with an arranger’s idea of how to play the piece.

For some, this approach is quite liberating. It’s what professionals often do. For others, it’s a lot of work! Not everyone is going to have the patience or inclination to learn via lead sheets. If you’re going to go with a book of arrangements, it’s important to choose a correctly leveled book, and not just whatever handed-down book is found inside the piano bench.

Leveled Repertoire

Leveled repertoire means what it implies – the pieces in a specific book are at a narrowly-defined level. These levels correspond to method books and are often published as supplemental volumes by those same publishers. In my recommendations, I’m going to group books into larger segments. You’ll then want to go to that publisher’s Website to see examples of the actual pieces before purchasing. I am glad to provide my students with the level that would work best, plus some examples from ths compiled list.

I have to give credit to my mentor, Nicola Cantan, who provided many of the beginner and intermediate choices you’ll see below. She recorded this YouTube video that takes you inside a number of those choices. I hope it’s as helpful to you as it was to me.

If Unsure, Go Simple, Not Difficult

If you want to learn a difficult Christmas piece, start during Christmas in July. Don’t start a piece that’s a stretch for you in mid-November and expect it to be ready for a recital in mid-December. It might work, but it also may not. I make this recommendation based on experience, which includes frustration and tears.

We typically don’t think about learning Christmas music until it’s too late. That’s okay. Just learn one at your current level or one that is a level easier. You may even learn two or three pieces (or more) that way! The goal is to share with family and friends; keep that top of mind!

Researching/Purchasing Sheet Music

Where links are provided, they are to the publisher’s sites. I recommend starting there for two reasons: 1) It’s your best chance to look inside the book. 2) You will find out the suggested retail price. Some publishers like Piano Safari and Piano Pronto only sell materials through their own sites, so you won’t go any farther. However, for those books that are sold through music retailers, you’ll need to make an additional search. Please read ahead!

Armed with the suggested retail price, proceed cautiously if you want to buy your books on Amazon.com. It’s typically true that a book that ships from and is sold by Amazon.com to be at the retail price or better. Always beware when you see a 3rd party vendor! However, I found several of my new advanced book suggestions selling well above retail. Every one of them was selling at retail or at a discount on Sheet Music Plus, a reputed online music retailer.

I do group orders throughout the year at a brick-and-mortar shop that can ship, like my favorite, Cliff Hill Music. However, traditional retailers like Cliff who order wholesale, assemble the order, and finally ship to the customer are not the best bet when you need a book within a few days.

Beginner
Intermediate

All of the books here should only be attempted by those at the early intermediate level. If you are still a late beginner, or even on the beginner/intermediate bubble, heed my warning earlier in this post. I’d recommend one of the Faber 2A or 2B books listed above instead.

Advanced
Not Leveled
  • The Real Christmas Book: C Edition Includes Lyrics – Hal Leonard – Over 150 songs but they are in lead sheet format (melody, chords, lyrics). What’s important is that you know the skill for reading from lead sheets, which can be learned by a late beginner and beyond fairly easily.
  • Hymn Book – If you want to learn the sacred Christmas songs of your own faith tradition, start with your own church’s hymn book! I prefer the selection and harmonizations in the Episcopal Hymnal 1982, but any hymn book will do. You can often borrow a hymn book from your church, donate to your church to take one home, or order one through a music store.
  • In Conclusion

    My suggestions are presented in hopes that you will play Christmas music versus just hearing it. Sharing these pieces with friends and family is a great celebration of why you decided to learn an instrument in the first place. Since Christmas music is relatively inexpensive, there’s no reason to struggle. If you find pieces that are too simple, you can add octaves and broken chords to increase the difficulty. It’s trickier to simplify a score. Happy Christmas to all, and to all a good night!

    Santa Claus at the Piano by Jo-B. Courtesy Pixabay.com
    Last Updated 2022-01-15 | Originally Posted 2020-11-21

    Sharpen Your Pencil

    Introduction

    When I was in public school, you learned quickly whether the teacher required a pen or pencil for class. Once you got past early elementary school, pretty much every class except for math required a pen. It’s always been a surprise to find that kids typically don’t bring anything to write with to lessons. In case your kids missed the onboarding notice, here’s the announcement once again: Sharpen your pencil!

    Fingering

    The most important thing we’ll often discuss at a lesson is fingering. Unless you have one of those uncanny minds, how can you possibly remember what we’ve discussed unless you write it in your score? Sometimes I’ll give two different fingerings to try, each with its advantages. A good fingering often simplifies the execution of a passage. Or, at the very least, it simplifies the passage by using sound fingering principles.

    Other Score Markings

    There are other things that you might want to write in your score. It might be the metronome marking of practice and goal tempos. It could be to circle a dynamic marking or write a reminder on the page. (Slow down here!) Sometimes a student will take that to an extreme as you’ll see in the picture below. However, this is much preferable to seeing a page with no markings, which to me means no extra effort.

    Sign of Respect

    I had a boss several jobs ago named Fred who would call me into his office to deliver very specific instructions. One day, when I apparently wasn’t thinking, I just plopped down in his guest chair empty-handed. Fred asked me where my pen and paper were. The point he was making was that I wasn’t being invited for tea and scones (or coffee and donuts). He wanted something specific done, and I wasn’t prepared to take notes. Lesson learned. When I see a student with a pencil, I see a student who cares and is ready to learn. When I don’t, I often think back to that day in Fred’s office.

    Sharpen Your Pencil

    In choosing the wording of the title of this brief blog post, I was trying to be a bit clever. Bringing a pencil is a good start. When you sharpen your pencil, you’ve gone the extra mile. This points to other parts of preparedness, like being ready to play the scale that was assigned, knowing the pieces in your repertoire, and what I expected you to cover during your practice since your last lesson. Sure, a sharp pencil won’t solve any of those problems, but it shows you are serious. And that has to count for something, right?

    music score with writing
    A student who took my “don’t stop” advice seriously.
    Last Updated 2021-09-12 | Originally Posted 2020-07-25

    How to Succeed in the Recording Process

    Introduction

    This article was originally intended to help my students prepare for their first recorded recital in May 2020, two months after lessons went online due to Covid-19 confinement. I’m repurposing it to preparing for any recording because it’s a different preparation process from live playing. You might say, yeah, it’s actually easier because you can record yourself as much as you want, and then just choose the best take. However, that flexibility can actually make the recording process much more difficult!

    Be Prepared

    There is no getting around the preparation and the memorization, if that’s required, no matter whether you are performing live or making a recording. A live performance means that you have one shot to make it count. Even if you don’t do your best, you’re done once the performance is over. If you don’t do your best in a recording, then you’re faced with take two. Take two leads to take three, and a seemingly endless spiral. There are some techniques to make sure that doesn’t happen!

    Do a Trial Run

    This should be at least several days in advance to your selected recording day. You’re going to find out things you didn’t imagine. Do you have the right batteries for your equipment, if you’re using peripherals requiring double-A or triple-A batteries? Have you tested out your equipment to make sure that you have the optimal camera angle and distance from the instrument? Have you experienced what it’s like to do a recording? Just because you don’t have an audience to make you nervous, the camera can do that all by itself! Know what the process is like so the actual process is no surprise when it comes to recording day.

    What Did You Learn from the Trial Run

    Besides wanting to make sure the process goes correctly, you’ll want to actually hear what your recording sounds like. Are the levels correct? Does your playing come across as intended? Are there problem areas that you need to focus on that can be reasonably improved in a short amount of time? Do you know how to record your takes, so that the editing process goes smoother?

    Recording Day

    Now that you’ve practiced all that you can, and have made some sample recordings before recording day, you’re ready to make your final recording(s). Try to either set a time limit or a take limit. Two or three takes are normally best because your performance will likely get worse, not better, after that number. Use your instinct as to whether a recording was good or bad. Don’t give up on any performance unless it’s so below your normal playing that it doesn’t pay to keep going.

    Make sure to reference each take with a note. On my equipment, each recording is incremented. I write the number of the recording with a note about what piece or movement recorded, and whether that take should be considered. Sometimes I’ll know right away that a recording is not worth considering. On the flip side, I sometimes will know that a particular recording is my winner. Don’t waste time making additional takes or deciding later which one is better if you know on the spot the winning take. Only keep going if you haven’t made a worthy recording and think you have what it takes to make the next take work!

    Adjust on the Fly

    If you’re making lots of mistakes, either adjust the entire tempo to be a little bit slower or do a little emergency practice on the area that needs help. Be realistic as to what is possible at that moment. Your recording should reflect an approximation of what you would do in a live situation and isn’t going to be any more perfect than that.

    Submit Your File

    If you have to choose between takes, don’t agonize too much between what likely will be pretty similar performances. Use your instinct to choose what you think your best recording is, however you judge that for yourself. Remember that your audience, whether it’s a festival judge or the studio families, will enjoy your performance and appreciate the effort that you took to make it happen. Once you’ve completed this process, you’ll get better and more efficient in the process. You may not grow to love it, but at least you’ll learn how to do it! Accept and embrace the process.

    Enjoy

    Try to have some fun during the recording process. If you enjoy your performance while it’s happening, it will likely translate to a better recording. If your recording is part of a recital or other student performances, make sure to listen and offer positive feedback to the other performers. Your peers will appreciate your attentive listening and your kind compliments. Don’t offer constructive feedback; let the teacher take care of that. Good luck!

    Photo by Gerd Altmann. Courtesy Pixabay.
    Last Updated 2021-09-11 | Originally Posted 2020-05-01

    Set a Practice Goal

    Introduction

    When I sit down to practice, I usually set a practice goal. The practice goal is pretty clear and not needing a lot of thought when I have to have a piece ready to go for the next day. Practice goals become more important when I have a bunch of pieces that are in different states of readiness. At any one time, I have a number of pieces that I’m working on that are scheduled to be performed at different times.

    Much of this comes from my job as a church organist where there’s a weekly requirement to have new music ready. Fortunately, I have a lot of experience doing this, so it’s pretty routine. My students, however, may be new to this, or have at most a few years of figuring out how to manage their practice. For that reason, I like to help all my students learn how to set a practice goal each time they sit down to practice.

    What Does Practice Look Like For A Beginner?

    For the beginning pianist, practice is going to be pretty straightforward. Read through all of the pieces in the assignment, and then repeat two or three times. Stop along the way if you need to figure out the notes, or clap the rhythm. You might remember that I talk about establishing good practice from the beginning in the post Guide Your Child to Independent Practice.

    How Does Practice Change for the Intermediate Student?

    An issue I see frequently is when a pianist moves on to early intermediate repertoire where pieces typically double in length and become more difficult. No longer is it possible to practice every piece cover to cover in each practice session with good results. Intentional practice becomes a lot more important for this student. Why? The tendency is to start from the beginning, which means that sometimes the student doesn’t get to the end. Ever!

    I typically will notate practice zones in the score. Sometimes I map them to the recognizable structure of the piece, like exposition, development, and recapitulation. At other times, I might just choose zones that equalize the amount of difficulty in each section so that there is a similar amount of material to be practiced each day. If there are three sections, and a student practices six days a week, she can cover each zone twice during the week. This fixes the problem of getting really good at the first page or two while neglecting the rest of the piece or movement.

    Practice Often Includes Other Things

    Many of my students forget to budget time to do other parts in their lessons plan. Technique comes to mind, even though I’m not specifically addressing technique in this post. It also might be a little homework assignment or activity page, which is really theory work. Depending on the size of this supplemental work, you might choose to do a little bit each day, or two or three times per week. Typically it’s not good to do it all at once unless it really is a small assignment.

    Conclusion

    It’s really easy for me to preach practice goals when I’m not the one enforcing them in the home. However, it’s my goal to be a partner with the parent and the student to make practice a normal part of each day’s activities. Please let me know how 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, and months become years.

    Scrabble rack with tiles GOAL
    Goal by Nick Youngson CC BY-SA 3.0 Alpha Stock Images
    Last Updated 2021-09-18 | Originally Posted 2019-10-01

    Te Deum – Psalms to Charlemagne

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    Introduction

    I was asked much earlier in my career if I’d ever taught a continuing education class for church, or whether I’d consider doing so. Up to that point, I’d never done it, but I was open to the idea. The possibility has since then intrigued me, but until recently I hadn’t put together a plan. Now that a date is on the calendar, October 16th, it’s becoming real. I’m teaching a class in sacred music at church!

    The Course

    The course is based upon the book Te Deum: The Church and Music by Paul Westermeyer. I became familiar with Dr. Westermeyer through his work with the American Guild of Organists, and was impressed that an ordained Lutheran pastor would spend so much time associating with organists! He has spent his career steeped in teaching both seminarians and church musicians, so this book has an interdisciplinary approach.

    I warn that the text has a scholarly bent, which is probably no surprise given the scope of the topic. For those who wish to take this journey with me, there will be quite a lot of reading involved, though I’ll parcel it off to make it manageable. As a reward, you will receive musical samples from each period to illuminate the weekly readings.

    More Details

    As the title of my post hints, the first five weeks will be covering just a portion of the history of sacred music. A continuation of this class will continue the exploration, beginning at the Reformation and continuing through modern times. In this session, we’ll cover music in Old and New Testament times, the First Centuries, and Before and After Charlemagne. I realize that this period may not be glamorous to some, but hopefully you’ll join me anyway. For those who are curious about what exactly is covered in later on – yes, there is a section on the Wesleys! Even a Lutheran like Westermeyer knows it’s best not to omit John and Charles!

    Call to Action

    Will you be joining me?

    Posted 2019-07-18

    Brighten the Corner Where You Are

    The third of July just wasn’t my day.  I was having trouble getting the things done that I planned. My tendency is to try to do to much right before leaving for a vacation, even one lasting just a couple of days. I needed to complete the list that included doing the dishes, house cleaning, laundry, and mailing a birthday present to a friend in France. The latter involved a software and customer service nightmare that took an hour of time and didn’t get my package posted. Bottom line: I ran out of time to salvage driving to Kansas City to see the Royals play and enjoy a fireworks show at Kauffman Stadium afterward.

    As I took a few minutes to decompress after realizing I couldn’t do everything, the lyrics of the century-old hymn Brighten the Corner Where You Are popped into my head.  This is one of those hymns that has long since disappeared from modern hymnals, but still has staying power. I like this upbeat recording by the Statesmen Quartet. The lyrics for the first verse are below.

    Do not wait until some deed of greatness you may do,
    Do not wait to shed your light afar;
    To the many duties ever near you now be true,
    Brighten the corner where you are.

    Ina Duley Ogdon, Author

    I did depart for Kansas City the next day, and enjoyed the remainder of the vacation I planned. Although I’m sorry I missed the game, I’m not sorry that I took the time to brighten my own corner. Plus, I found a post office on July 5th so I could brighten the corner of my friend. Wouldn’t it be great if there were some hymns on time management?

    Posted 2019-07-11

    Great Success and Utter Disappointment at my Last Recital

    Great success and utter disappointment might be a slight exaggeration. However, it shows the range of emotions I felt after giving what I consider to be my best organ recital on Sunday, April 28th at First Methodist in Bella Vista. My playing was really pretty decent, even good at times, and was about the best I could have expected. The Widor Toccata was the only piece that I had learned before this year. Anyone listening to me now versus several years ago would notice significant improvement. I am well on my way to playing the organ in mid-life as I did the piano when I graduated from music school.

    I didn’t have a large network through which to market the recital, but I got the word out early, and even let the program sit for long enough to make a change from a shaky to a solid final selection. In the last year or so that I have been giving piano and organ recitals at the church, I have been getting audiences between 12 and 35 people, so I reasonably expected that I’d at least hit the low number, despite it being the Sunday after Easter and there being a couple of competing activities at the church.

    Oh boy, was I wrong about that: Only five people showed up. That included my page turner, Music Director Larry Zehring. He reluctantly pitched in when I couldn’t find a single volunteer from the choir.

    Strangely, I wasn’t as bothered by this as I might have been in the past. After all, I do broadcast and archive my recitals via Facebook Live, so they do have an online afterlife. The primary motivation for giving the recital was to prove to myself that I could do it. Having an audience of any size to hold me accountable was really the main criterion. This counted! Playing to an empty house, even in the best circumstances, is still just practice!

    As I go forward, I need to be clear about my motivation, and what is and isn’t important. I have to focus more on the great success and less on the utter disappointment. I have to realize that most people are more concerned about their brunch plans than noontime recitals. Plus, there are only so many fans of the organ. Whenever I hear a national recitalist in Tulsa, there are barely 50 to 100 attendees for recitals that are free of charge. Maybe this was a reminder from God to keep looking inward, instead of outward, as performers want to do. I did well and should let Him take care of the rest.

    two thumbs in opposition
    Image by Gerd Altmann. Courtesy Pixabay.
    Last Updated 2020-05-10 | Originally Posted 2019-05-05