An Interview with Randall Faber
JW Pepper recently published an interview with Randall Faber which I thought you might find interesting.
Interview with Randall Faber Part 1 – In this interview, Randall answers such questions as:
- We know you are busy as a pianist, lecturer, composer, publisher and director of the Faber Piano Institute. Do you still have time to teach students?
- You do so much. How do you get the energy? Are you super organized?
- What do you find most fulfilling about your work in the piano world?
I especially like how Randall answers the last question as I feel that each of us teachers who share ideas and take the time to sharpen each other experience our own “lever” on our activities. Here’s how Randall states it:
I think it’s probably the leverage in that each teacher makes such a difference to so many students. So if I can have some impact on each teacher, whether it be through the writing of the materials of Piano Adventures®, or with lectures and performances, then there is a lever on that activity because I know it is amplified in that it can reach the lives of the students. That’s what’s most fulfilling for me.
Interview with Randall Faber Part 2 – This interview features answers to these popular questions:
- If it’s not confidential, will you share with us news of any Faber publications on the horizon?
- What do you like to listen to when relaxing? (The answer may surprise you!)
- What motivates you?
What Music Means to Me [Author Interview]
What Music Means to Me Project is a celebration of the value of music in education and quality of life. This project was started by Richard Rejino, a musician and photographer, in a most interesting way. You can read more about this on the What Music Means to Me site, but one of the beautiful results is a book with breathtaking pictures and incredible stories of the difference music has made in a number of lives.
I met Richard Rejino this summer at the Texas MTA convention. I was struck at how thoughtful and selfless a person Richard was as he talked with me and my husband. It is not every day that I meet people who ask questions and listen to others in conversation rather than tell others all about themselves, and Richard is one of those rare individuals who is genuinely interested in learning about those that are around him.
So you can understand why I was so interested in his What Music Means to Me book and project. I went to his session at the TMTA convention and cried on several occasions along with those that were around me. It was a moving presentation and his book is equally as powerful. I hope you have a few moments to read about Richard’s thoughts behind this incredible tool to explore the impact of music in our schools, our families, and our own lives. Hal Leonard is now publishing Richard’s book and it is available to purchase in both hardcover and softcover editions.
In addition, Richard has generously offered to give away a signed copy of What Music Means to Me! To enter the giveaway, simply leave a comment on this post. You can add another comment/entry for every time you tweet, FB, or blog about this book, linking to this article. The drawing will take place on February 9th. Here is my interview with Richard Rejino about What Music Means to Me:
What is What Music Means to Me?
What Music Means to Me is an ongoing project that celebrates the value of music in education and in the quality of our lives. Its purpose is to give students, teachers and music lovers a voice to express how music has impacted or changed their lives. The Project is also a tool for music advocacy. It is my way of being a more active participant in the music advocacy movement that is so important to keeping music in our schools and keeping music as a vital part of our society and well-being.
How did the idea for this project come to you?
It isn’t often that one can pinpoint the birth of an idea, and although I do not remember the exact date when it happened, I clearly remember the moment when the What Music Means to Me Project was born.
In March of 2008 I purchased Class Pictures, by photographer, Dawood Bey. It is a collection of beautiful photographic portraits of inner-city high school students. Each image is paired with a personal statement written by the students expressing what they wanted most known about themselves. I found the combination of the portrait and the personal statements very powerful and moving. The courage and honesty with which
these young people wrote was palpable. I was particularly struck by their optimism. In spite of the horrific experiences they had experienced in their young lives: abuse, rape, discrimination, fractured families, and so much more, each of them retained dreams of a better life. In fact, many of them dreamed of becoming singers, dancers and musicians.
As I neared the end of the book – I read it all in one sitting – it occurred to me that I could give voice to music students in the same way that Bey did to his inner-city youths. At once, I sat up in bed, thinking about the possibilities. The title of the project, What Music Means to Me, was also born that evening. In some ways, the whole experience is still fresh in my mind and I find myself reflecting on that particular moment often.
What do you hope to accomplish through this book?
From the beginning, I knew I wanted to emulate the book that inspired this project. But as the process began to unfold, What Music Means to Me took on a life of its own. For me, it was a very creative period of time where the purpose of the What Music Means to Me Project remained the same, but new ideas kept coming and doors kept opening. That being said, the purpose of the book was to bring these ideas to life. I felt very strongly that music can and does change lives. Beethoven believed that music could change the world, and I knew instinctively that if I could find the right people to tell their stories, the impact would be as emotional and moving as music is itself. Looking back, I unknowingly wanted to show the human side of music’s effect on people. There is enough research on how music makes us smarter than we could ever read. What Music Means to Me is about the intangible benefits of music; it is about how music teaches us determination and discipline; it is about how music gives us joy, sanctuary,
and inner peace. Perhaps more than anything, I hope that this project can be used to inspire students to become music-makers, to keep music in our schools, to, in some small way, bring music and all the arts closer to the center of our lives.
Describe your process for this project.
The obvious challenge was to find candidates who would be interested in participating in What Music Means to Me. As a music retail manager, I knew many teachers and performing musicians who were instrumental in helping me find students who participated in the project.
Once I found a subject, I sent them guidelines for writing their statement. It was important to me to have a subject’s statement in hand before I photographed them. This was vital to the process because the statement gave me an insight into my subject; it was a way of knowing something about them before our first meeting. Their statements always played an integral part in planning how I wanted to photograph them. The one
time I photographed someone before I had their statement, I regretted it.
As much as possible, I wanted to photograph each subject in their learning environment, their school, or their teacher’s studio. I also wanted to capture them in a relaxed pose looking directly into the camera because the image works as a duet with their statement. Initially, the viewer is drawn to the image first, but after reading the statement and looking into the eyes of the subject, the image begins to transform itself, taking on a life of its own. It begins its own conversation with the viewer. I am always fascinated at this transformation. I’ve seen the “magic” happen many times in the faces of an audience when I talk about the project during a powerpoint presentation. It is quite a powerful phenomenon.
What has been your favorite part of this process?
© Richard Rejino. All rights reserved. Used with permission
There are many, but hearing each person’s story has been quite inspiring, even life-changing. When I began this project, I did not have any real notion of what the journey had in store for me. I knew what I wanted to accomplish and I knew the kinds of stories I needed to have, but the experience of hearing those stories and meeting the people behind them was one of the most rewarding I have ever known.
The other part that has surprised me is how the What Music Means to Me Project has taken on a life of its own. Every time that I reach a plateau, whether it’s finding a new subject, completing the DVD, or creating a motivational presentation, there is a new idea or possibility that pops up. Even now, I am creating a more interactive website that will include posts for news, other contributors, and a blog. I plan to launch it in time to
coincide with the release of my book through Hal Leonard Corporation.
In addition, I have received many speaking engagements within the last 12 months and have two major presentations in 2011. I am scheduled to speak at the National Conference of Keyboard Pedagogy in Chicago, and the National Association of School Music Dealers convention in California.
The project keeps growing. I’m just the facilitator.
How have you been impacted through working on What Music Means to Me?
Without question, the WMMTM project has been a life-changing experience. I often felt like the writer who experiences his inspiration coming from above and is merely a conduit through which the words are recorded. Every step of the way, I had a very strong, intuitive feeling in my heart that kept pulling me, inspiring me to chip away until I completed this project. There were periods when I struggled with this project, finding people, coordinating photo sessions, and having to go long periods without any progress. But now that I have gotten to where I am, there are more things to create and develop that I hope will continue to feed the purpose of What Music Means to Me.
Tell us about the new project on which you are working.
Currently, I am working on What Teaching means to me: Cause and Effect. It is similar in focus to the Music project, except that this time I am concentrating on how teachers feel about their job. Instead of limiting the focus to music, I am interviewing teachers from all subject areas, from calculus to coaching, and from kindergarten to college. I am also including principals and superintendents in the mix.
The book is be intended to show the full circle of teaching and education. It will showcase dedicated teachers who talk about what their profession means to them and what it means to the lives they touch everyday. It will also include a chapter devoted to former students of the teachers in the book. The students talk about and how their former teachers influenced and changed their lives. These stories are on a different level
from What Music Means to Me, but they are just as moving and powerful to the reader.
Teachers are too often under-valued and under-appreciated, yet they persevere to fill a need in their students and to fill a need within themselves. As the national debate on the state of education continues, I hope this timely project will raise public awareness of the value of dedicated teachers in shaping the lives of students and ultimately, our society.
Is there anything special you would like to say to music teachers about What Music Means to Me?
© Richard Rejino. All rights reserved. Used with permission
Keep doing what you are doing. You are performing a service that is immeasurable in the lives of your students. As a teacher described beautifully, when we teach music, we teach math and history, geography and language, but in a much more beautiful way. We all know that students who study music score higher on tests and generally do better in school, but what we sometimes fail to recognize is that through music students can feel a deeper connection to themselves and to the beauty in the world. I firmly believe that the intangible benefits music gives us, a deeper connection to our true potential and to the possibilities in this world, are its greatest gift.
I would encourage every teacher to ask their students to write a short statement about what music means to them. I think you will be surprised, delighted and amused at what your students will tell you. Several teachers shared with me that after reading my book or hearing my presentation, they asked their students to this. They have posted the statements in their studio and even had the students read what music means to them at a recital or a school program. We should be teaching our students, from a very young age, to become advocates of music and the arts in all areas of life.
Thank you, Richard, for your thoughtful answers to these questions. I invite all of my readers to take a look at and order What Music Means to Me. You can order on Amazon or HalLeonard. Don’t forget to enter the giveaway by commenting once and commenting each additional time you help spread the word by Tweeting, FBing, or blogging while linking to this article.
Read MoreInterview with Mona Rejino-Part 2
This is Part 2 of our interview with composer Mona Rejino. Read Part 1 here.
6. When you arrange a popular piece, do you use sheet music and re-score it, or do you listen to it and transcribe it?
Both are essential for me. I usually start with the piano/vocal/guitar (PVG) version of the piece I’m transferring to solo piano. But I also spend a lot of time listening to the original recording (thank goodness for iTunes!), which gives me a continual sense of the genuineness of the piece. It is so important to retain the original flavor and intent of the music, even if you are arranging it for an elementary student. An interesting teacher accompaniment on the early levels can help in this endeavor.
As a young student I remember loving to play the latest pop tunes. Many times
the versions you would find at the music store were really difficult and unpianistic.
I think that remains true today. In most instances there is no reason why a
student should not be able to play their favorite pop song. If an arranger retains
the essence of the music, but with careful editing keeps just the essential notes
and rhythms, they have done their job. Arranging is a challenging pursuit, but one
I enjoy very much.
7. How do you choose titles for your pieces? Does the title or the music come first?
Most of the time the music comes first, then I try to find an appropriate
descriptive title. Finding just the right title is often my nemesis. I sometimes
play my compositions for family members and piano students and solicit their
thoughts on what images the music creates for them. The editors and co-authors
I work with have also been helpful in selecting titles. Our daughter is a wonderful
artist, so I remember playing through a piece for her as she sketched what
came to mind. She suggested the title “Carnival Rag” for a ragtime piece found
in “Portraits in Style”, and sure enough, it was the perfect title! I wrote a sonatina
a couple of years ago and sent in a rather bland title for it. Jennifer Linn, my
editor, said the music was reminiscent of an “Americana” style, so we settled
on “American Sonatina.”
8. How do you get your music out of your head and onto the paper?
I have played by ear my whole life, and this has always been helpful in the
composing process. I play on the keyboard the essence of the piece I have in
mind. Then believe it or not, I start by sketching it out on a yellow legal pad. I’m
sure this is quite an unorthodox way to go about getting the music on to paper,
but it works for me. I put in the time signature and key signature then draw
several horizontal lines across the page. Basically right hand notes are written
above the line and left hand notes are below it. I jot down the letter names and
notate whether the notes are going up or down by their placement on the page.
Chords are notated in a box, and I write in just the basic rhythms. This becomes
my working rough draft, and it can be changed over and over as needed. Once
I have at least 90% of the piece sketched out to my liking, I transfer it to staff
paper.
9. Do you write your music by hand? Do you use a computer program? Which one do you use?
I am sorry to say that computers and I don’t usually get along too well. They are
essential to our daily life, but I use them only as necessary and as they fit my
comfort level. When I send hand written manuscripts in to the publisher, they are
very neat. I use good manuscript paper, sharp pencils and a ruler. I look forward
to the day when I have the time and patience to learn a computer program. My
friends and colleagues speak highly of Sibelius as a user-friendly program, so
that will probably be the one I tackle. In judging local and regional composition
contests, I find that most students use computer programs with ease, and that is
great!
10. Does your personality show through in your compositions? What style of music do you like to compose best?
There is not any one style that I prefer over others, but I do have a special
love for jazz and blues as well as romantic style music. Writing for piano gives
endless possibilities in the Impressionistic realm, also.
There is no doubt that your personality will come across through your
compositions. Think about it…you begin with a blank page, and eventually share
your soul with everyone who plays and hears your musical creation. Whatever
mood you create will be shared with those who come in contact with your works.
We often think of Haydn’s music as being cheerful, and some of Beethoven and
Debussy’s music illustrates humor. But all of these composers also wrote some
darker, more dramatic music as well. Each of us is a kaleidoscope of moods,
and the art of writing music gives each of these moods a voice to be shared with
others.
11. What kind of music do you like to listen to? Does the music you listen to affect your compositions in any way?
I listen to many different types of music, and I do believe that what you listen to
has an impact on your creativity. There is nothing more rewarding than hearing
a beautiful classical recording, and we listen to a lot of classical music at our
house. I also love jazz, so there is plenty of that in the mix. Our family members
often take turns playing our ipods through a stereo system, so I hear types of
music I wouldn’t normally listen to, and that is really helpful to me as a composer.
These run the gamut from Broadway tunes and old standards to rock and rap!
Thank you, Mona for being willing to answer our questions and for being our featured composer! Sharing your personal experiences will help us as we seek to help our students be successful wherever their musical interests lie.
Read MoreInterview with Mona Rejino-Part 1
Thank you to everyone who sent in questions for our featured composer, Mona Rejino, to answer. Such wonderful, thoughtful inquiries were submitted and I was able to group many of them together based on their subjects, making it easier for Mona to answer more of your questions. I want to thank Mona for taking the time to answer these questions so carefully. I have already thought of new composing activities to use with my students because of her answers.
This is Part 1 of the interview. Look for Part 2 on Wednesday.
1. What sparked your interest to compose? How did you develop your skill as a composer? Did you have a mentor or study a textbook?
In the beginning my interest in composing was really need based. In the early stages of writing the Hal Leonard Student Piano Library method books, we
were short a few pieces on the earliest level. One day I decided to see if I could write something that would be suitable for the task at hand. I sent in a few compositions, and to my great surprise, several were accepted. This gave me the confidence to continue writing.
For me, composing involves a lot of trial and error. I don’t use a textbook,
although the required compositions I did many years ago as a music major have
given me a foundation to build on. I don’t have just a single mentor. However
there is no doubt that playing and teaching quality compositions from the great
classical composers to the great present day pedagogical composers has a
significant impact on my work. I study the wisdom and creativity of composers I
admire, and try to emulate them with my own musical voice.
2. Where and how do you come up with new ideas for your pieces? Do you ever get melodic or rhythmic ideas for your compositions from your piano practice?
Ideas come from myriad places. Years ago I was headed to a piano teacher
conference in Dallas in rush hour traffic. I imagine you have had that terrible fear
of being late, when you knew there was nothing you could do about it! As I sat
through one stop light after another this little musical motif kept running through
my head. By the time I finally reached the conference, I had basically worked
out the A section of a piece that came to be named “Scavenger Hunt.” The idea
for “Mountain Splendor” appeared during a lovely morning hike our family took
in Oregon on summer vacation. I’ll always remember the incredible stillness
and beauty we encountered on that hike. As we climbed higher and the views
became more breathtaking, a melody over a chord progression kept running
through my head. We stopped to rest for a bit, and I asked my husband if he
happened to have a pencil and paper in his backpack. Lo and behold, he did!
So I began sketching out the basis of “Mountain Splendor” at the place in which
it was inspired. I have learned that you never know when an idea will manifest
itself, so always be prepared!
I think we all get wonderful ideas from the pieces we are practicing at any given
time. Often when my students bring in an idea for a composition we realize that
it has some relation to a piece they have just learned, whether it is melodic,
rhythmic or harmonic. This is true throughout history. One example is the way in
which Chopin and Mendelssohn’s works were influenced by Bach’s music.
3. Do you have a daily time you devote to composing? When you don’t feel like composing, do you still compose or do you wait until you are inspired?
I currently teach over 40 students and my daily schedule varies, so I am not
able to devote time to composition every single day. For me composing tends
to come in waves. I had an idea for an elementary level book this summer, so I
spent a couple of months writing and refining those pieces to turn in. The first few
pieces I wrote for this book came very easily. The last couple of pieces took a lot
more thought and time to produce. You may have had a similar experience when
working on projects. Waiting for inspiration is a great way to work, but deadlines
help add fuel to our inspirations!
4. What musical form do you use most often in your compositions?
I tend to gravitate toward ternary (ABA) form, although I have used other forms
as well. It is always fun to come up with a contrasting theme that complements
your first theme and fleshes out the composition. There is such a “roundness’ to
ternary form; it feels like starting at home plate, running the bases then winding
up at home again. It’s also a joy to add interesting introductions and codas to
your compositions, which feels like putting your signature brand on them.
5. How do you get a B section after you get the A section? How do you come up with a B section that is a good match/fit to an A section?
I think the word “contrast” is what helps me have a starting point in creating B
sections that complement the A sections. There are so many ways to create
contrast: shifting the harmonic focus from major to minor, changing the mood
from smooth and lyrical to detached and spunky, moving the melody from right
hand to left hand, creating more or less motion in the melodic line, etc. An
exercise in writing a theme and variations is always a great way to explore the
many possibilities you have at your disposal. Composing is much like writing.
Each section or paragraph is important in its own way, but you must never
lose sight of the overall effect someone will experience when playing your
composition or reading your essay as a whole.
Stay tuned for Part 2 on Wednesday.
Read MorePiano Teachers Resource Kit (Author Interview)
An interesting new book called the Piano Teachers Resource Kit has recently been published by Hal Leonard. Several of you asked me some questions about the book, so I decided that I would interview the author, Karen Harrington, so that we could learn even more about this new teaching tool. Currently, you can purchase the book from the new Hal Leonard fall catalogue which you can find on the newly redesigned Teacher Vip site.
What is the Piano Teacher’s Resource Kit?
It’s a book of worksheets and puzzles for students on five levels that can be reproduced. What kinds of things does it include? Games and worksheets on Notes, Rhythm, Intervals, Vocabulary, Symbols, Scales, Chords and Key Signatures. There are also various resources like charts, certificates and assignment sheets.
What ages of students could use these games, puzzles, and worksheets?
All ages – even adults.
What levels of students could use these?
From early elementary to early advanced. There are five levels for each concept.
Why did you create this resource?
I’ve been creating games on music theory for years and I loved this idea. Classroom teachers have been using reproducible books for some time.
How might a piano teacher use these in their studio?
For individual students or groups. I made a chart with my students’ names down the side and the concepts at the top. I mark the level of the concept each time a worksheet is finished so I can keep track. Some students may need to do one over a few weeks later for review. [Note: I was also thinking that these would be great activities for my waiting area so that sibling students could complete these while waiting for their lessons.]
Why do you think activities like these are beneficial for students?
The pages are great for either teaching or review and many pages are fun also.
Are there other individuals besides teachers that might find this book beneficial?
I’m finding that there are some students who want their own copies so they can work through the levels.
What was your favorite part about creating these resources?
Seeing the pages come to life and using them with my own students.
See more information and sample pages here: Piano Teacher Resource Kit
Read MoreDeadline Extended: Help your students recognize a great opportunity
The questions for Mona are trickling in and someone told me that I might not have allowed enough time to tell teachers, who would tell their students, who needed to think about questions, and then needed to submit them! So, I am extending the deadline for submitting questions to Mona to this Friday, October 1st.
Another thing that occurred to me as I spoke with my own students about submitting questions was that students often do not realize a great opportunity when they see it. Just as children don’t understand how scales, chords, balanced repertoire, counting, creating, etc. help make them a better pianist, neither should I expect students to understand how they can use this opportunity to interview Mona as a way to help them be better composers. As a teacher, I feel it is my job to encourage my students to participate in the things that I know will make them better musicians.
So, this weekend, I sent an email to my students (any student who has composed something) that said this:
Last week, I gave a lecture on “Nurturing Creativity and Inspiration.” I talked about how each of us has a “creative box” from which we pull out ideas and recombine them in new ways…like you do when you compose. The difficulty is that if we continue to only use the ideas that are already in our box, our compositions will start to all sound alike. So, it’s important to continually reach outside of our box and pull in new styles, ideas, problem solving techniques, etc. so that our music can stay fresh.
I think this opportunity to submit an interview question is exactly that…a way to ask another composer how they deal with certain difficulties or things so that we have yet another way to approach composing the next time we do it.
So think of the last time you tried to write a composition. What did you have trouble with? Was it finding a good motive to begin with? Composing a B section? Coming up with a title? Writing lyrics? Finding time to compose? Feeling like you aren’t creative? These are the things that you can ask Mona about! How does SHE deal with these difficulties?
So, perhaps you can use something in the above paragraphs to help your students understand how this can help them and what a great opportunity this is. You might remind your students about their last composing experience. ”Remember how you had trouble thinking of material for your B section? Maybe you could ask a successful composer if she has any tricks for this.”
I know many teachers tell me that they don’t know how to help their student composers. This is just one of many ways that all teachers can help their student composers. We can help students enlarge their “box of creative ideas” so that they can have more ideas to draw from and more problem solving techniques with which to work. I’ll leave the opportunity open until Friday, October 1st for additional questions.
Thank you for your participation and for giving your students this opportunity! You may submit questions here or send me an email.
Read More
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