Studio Classes


Classes: Third week of January, April, July and October

In a studio class, you have the opportunity to perform for other students and then get feedback about your performance from the instructor and the other students.  There will also be time to have discussions about issues of interpretation, presentation, or whatever else seems to be pertinent to the performances that evening.

Four weeks of the year will be devoted to studio classes instead of private lessons.  Each night of those weeks will be a about a two-hour class, beginning at 6:00pm for a maximum of 7 students.  Each student will have about 15 minutes to devote a piece or two they’d like to present.  The studio class will count in the tuition as one lesson.  If you choose not to participate in a studio class, it will not count as a lesson that can be made up.  You are always welcome to attend, but not perform.

What can you get out of these classes?

Learning to be a musician is more than just tone, pitch and rhythm.  You must also be expressive, musically and dramatically.  This involves attention to, and subtle manipulation of dynamics, articulation, phrasing, only to name a few.  Still, these fall into the realm of what we might hear on your own CD - there is yet another important element that must be addressed: live performance. 

Getting up in front of an audience and presenting your music requires another whole set of skills that are difficult to really address in one-on-one lessons.  You must become actors.  You must be striving to make a connection with your audience at all times.

What the Studio Class will address are these elements of both musical interpretation (phrasing, etc.) and live performance (acting, connection, etc.).  Of course, these are things we ALL need to work on.

The Studio Class format allows us the opportunity to see how we’re being perceived by a group of people.  It gives us the opportunity to work on our skills of performing for (interacting with) a group of people.  It gives us the chance to discuss with others the craft of interpretation and presentation.  I ask my students to listen critically to recordings and it is also necessary for them to be able to observe performances with a critical eye and recognize what works and what doesn’t.

Of course, “critical” does not mean “negative.”  We all need to be very careful to be supportive and positive in our discussions of the performances we observe.

Copyright @ 2019, William M. Adams, D.M.A.

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