All posts by David Lusterman

Sean Nelson Joins MCMS Board of Trustees

A faculty member at Marin Community Music School since 2018, drummer Sean Nelson became the school’s fifth currently serving Trustee in May  2024.

Nelson earned his Bachelor of Arts degree at Boston’s Berklee School of Music and moved to the Bay Area in 1996, where he established himself as a sought-after instructor at the Community Music Center of SF, Marin Country Day School, and New Village Music. He is also an active performer in jazz, rock, and pop settings in Northern California and beyond.

“I’m excited to play a role in Marin Community Music School’s governance and planning new and better ways to serve our community. There is so much more we can be doing to encourage music making among Marin County residents of all ages and interests.”

Upcoming Events with Piano Faculty Member John Mackay

John Mackay’s jazz trio is performing at Hotel Healdsburg on Saturday, October 12, from 6:00 to 9:00 pm. The show includes selections from their forthcoming album.

On October 30 at Sonoma State University’s Schroeder Hall saxophonist Andrew Harrison will give the world premiere of Continuum for saxophone(s) and piano, a work in seven movements composed by John Mackay. Dedicated to Johann Sebastian Bach, listeners will hear hints of the High Baroque master along with jazz inflections from Mackay’s own playing.  Click here for more information and tickets.

Weekly Chamber Music Workshop Resumes October 23, 2024

Classical string, wind, and keyboard players of all skill levels and musical interests are invited to join the coached Chamber Music Workshop for five weekly meetings, plus an informal recital for members of the workshop and their invited guests.

The workshop meets Wednesday evenings from 7:00 to 9:00 pm starting  October 23, under the guidance of violinist/violist Tara Flandreau. 

Participants play music from the Baroque, Classical, Romantic, Modern, and Contemporary chamber literature.  Good music-reading skills are essential; experience playing with others is a definite plus but not essential.  Our goals are to help you enlarge your familiarity with chamber music literature; become a more confident and proficient ensemble player; and meet others who share your interest in chamber music.

If you would like to enroll, please fill out this short form.

Violin Faculty Member Tara Flandreau Performs at Napa’s di Rosa Center 

Saturday, September 21, at noon at the Di Rosa Center for Contemporary Art in Napa, violin faculty member Tara Flandreau will be one of fourteen musicians performing in Hawks and Doves, a piece of improvised instrumental music to accompany a site-specific sculpture of the same name by artist Philip Krohn recently installed at the art preserve. Built from salvaged wood offcuts intricately woven together suggesting the traces of the flights of birds, the sculpture is installed suspended in the air outside through a grove of olive trees, spread over an area 450 feet in length.

The artist’s creation is designed so that it can accommodate additional collaborative input from other artistic mediums – in this particular instance, music. The musicians will be spread out and moving around in and through that large space while playing, performing five approximately 10 minute improvisations, each of a different character.  The visitors to the di Rosa preserve to see the work will also move through this outdoor sonic space, so that each viewer will experience a different version of the music as they pass through the installation.

The di Rosa preserve is a large exhibition space and museum of contemporary art, with works displayed both inside and outside on the many acres of grounds. There is much to see in this surprising collection of work, located a beautiful rural environment amongst hilly acres of vineyards.

Although the sculpture will be installed there until the end of the year, the additional musical collaboration is only happening on Saturday the 21st of September starting at noon.

musicians:

  • Scott Amendola – drums/percussion
  • Mark Clifford – vibes, marimba
  • Tara Flandreau – violin/viola
  • Fred Frith – guitar
  • Ben Goldberg – clarinet
  • Aurora Josephson – voice
  • Robert Lopez – percussion
  • Lisa Mezzacappa – acoustic bass
  • Larry Ochs – sopranino/tenor saxophone
  • Crystal Pascucci – cello
  • Karen Stackpole – gongs/tam tams/percussion
  • Willie Wynant – percussion/glockenspiel
  • Philip Krohn – creative direction

Click here for more information and tickets.

SUMMER STRING QUARTET WORKSHOP FOR YOUNG STRING PLAYERS

If you are between the ages of 12 and 18 and play violin, viola, or cello, you are invited to join a workshop coached by Marin Symphony violist Meg Eldridge where you’ll hone your ensemble skills and play pieces by Mozart, Britten, Holst, and other great composers.

Chamber music is the classical music equivalent of a rock band (but without the singing): There’s no conductor and each member of the group is responsible for their own part.  

If you’re used to playing in an orchestra – or if you’re new to playing with people other than your teacher – get ready for a great new experience.

The workshop meets at Marin Community Music School in San Anselmo from 3:00 to 4:30 pm on four consecutive Sundays starting August 4 and concludes with a brief informal performance on Sunday, August 25 at 5:30.

The participation fee is $200. Financial assistance is available to qualified applicants. You do not need to be currently enrolled at Marin Community Music School to participate.

Apply using this online form on or before the July 21 registration deadline.

Chamber Music Workshop Begins April 7, 2024

Classical string, wind, and keyboard players of all skill levels and musical interests are invited to join the coached Chamber Music Workshop for six weekly meetings, including an informal recital for members of the workshop and their invited guests.

The workshop meets Sunday mornings from 10:00 to Noon, starting April 7, under the guidance of violinist Kathy Marshall.  A member of both Marin Symphony and Santa Rosa Symphony and a faculty member at Marin Community Music School, Kathy is an experienced chamber music coach who excels in helping amateur musicians achieve their ensemble goals.

Participants play music from the Baroque, Classical, Romantic, Modern, and Contemporary chamber literature.  Good music-reading skills are essential; experience playing with others is a definite plus but not essential.  Our goals are to help you enlarge your familiarity with chamber music literature; become a more confident and proficient ensemble player; and meet others who share your interest in chamber music.

If you are new to our program, please inquire here.

If you have participated in the past, please inquire here.

Four Questions for Pianist John Mackay

How can students practice more effectively and enjoyably?

After decades of teaching I have found that students practice too quickly and somewhat stressfully, wanting to ‘conquer’ the piece as quickly as possible. They don’t realize that practicing this way greatly prolongs the learning process, adding to the frustration and bringing with it a host of doubts like “I don’t have the talent or ability” or “I just don’t have the time” or “I don’t think this is for me.”

When students simply slow down and enjoy the sound of the notes as they are played, practicing hands separately when needed, and relax their expectations, they learn pieces much faster. Learning the piano, or anything really, is a process that has its own rules and time line. You can’t bypass any of the stages. The sooner a student accepts this, the faster their development. 

What have you learned lately from one of your students?

One of my adult students brought in some Gershwin preludes that I was not familiar with. They are wonderful little pieces, fairly accessible to an intermediate pianist, although not without challenges. There aren’t a lot of 20th century pieces that appeal to many of my students. They tend to go for the older composers – Bach, Beethoven, Mozart – so having these pieces to offer them has been a find for me and I’m grateful to my student for bringing them to my attention.

Who were your biggest musical influences?

My biggest influences have been the players, in any genre, who were very clean. When you listen to them it feels they are conscious of every note being played, whatever the speed. In the classical piano world Glen Gould comes to mind. He played as if in a state of intoxication, exuding feeling throughout the entire piece. It is infectious listening to him. I have just discovered a new pianist, Vikingur Olafsson, from Iceland. He has a beautiful, clean sound and plays with extraordinary feeling.

In the jazz world, both Bill Evans and Art Tatum played like that, although they were extremely different in terms of style. There is a conviction in their playing that exudes an unmistakable beauty. In the rock world, Elton John and Billy Joel are two pianists who fit the mold, each in their own unique way. Clean playing with no superfluous notes or embellishments. That’s the kind of playing I love.

How has your approach to teaching evolved over time?

I think the biggest change for me, after decades of teaching, is not trying to enforce any particular teaching formula or system, but approaching each student differently – because each student is different. They each have their own proclivities, talents, challenges, tolerance levels, likes and dislikes. I enjoy the differences and enjoy the challenge of finding the best approach to instructing them. Some like improv, some not. Some like perfecting a piece, others not. Finding the right path for each student is a challenge I appreciate. 

Make Friends with Your Metronome

What’s more important, playing the right notes or playing with the right timing? Every professional musician will tell you it’s the timing.

When you dance or march, you feel the flow and beat of the music that supports you as you move. Music has a pulse, just as your heart does. The cycle of expansion and contraction that moves blood through your body is mirrored in the measures of a musical composition. The intake and exhalation of air through your lungs is reimagined in the meter and phrasing of poetry and song.

When the guitarist misses a note, someone might notice. When the drummer misses a beat, everyone on the dance floor stumbles.

Most of us can sing with steady timing and don’t need to think much about it. But when we sit down at the piano or take an instrument in our hands, the technical demands of playing can wreak havoc with our sense of time, especially when learning new music from the page. In a rush to master new material, we focus almost all of our attention on the pitches without taking time to first read through the rhythms and flow of the music.

Even when we are able to clap or vocalize the rhythms of new music on the page, we can find ourselves stumbling in fits and starts when playing the same passages. This problem is compounded for pianists who need to learn one set of rhythms in the left hand and another in the right. Not to mention drummers, who need to coordinate their feet as well as their hands!

That’s when you need to bring in the help of a good friend. Your metronome.

The metronome is the brainchild of inventor Dietrich Nikolaus Winkel, who discovered in 1814 that a pendulum could be weighted on both sides of its pivot and produce an audible beat, making it an ideal practice tool for musicians aiming to practice against a perfectly steady pulse whose speed could be adjusted in small increments.

The original metronome was a mechanical device and is widely available, though digital metronomes and smartphone apps have largely supplanted the old standby.

Whatever device you use, here are some tips about making friends with your metronome:

  • Start at a very slow tempo, no more than 40 or 50 beats per minute, and choose a very limited amount of musical material to practice. Just one or two measures will be enough at first.
  • Count aloud with your metronome in the time signature of your piece before you start playing. For example, if you are playing a piece in 4/4 time, count at least four beats (one measure) along with the metronome before you start to play. Be certain that you are counting at the same speed as your metronome, even if you need to count two or three full measures before you play.
  • Restart when you are out of sync. When you find yourself playing ahead of or behind the metronome’s beat, stop immediately. Then count a measure out aloud again before playing.
  • Always start counting on the first beat of a full measure (“downbeat”), even if you are learning a piece that starts on a different beat or the “and” of a beat.
  • When you want to speed up your tempo, advance the metronome by no more than five clicks. If you find the new tempo is too fast to play accurately, go back to your original setting and add just one click. Try again. When you’re comfortable at the new tempo, try advancing by five clicks again. Repeat going forward and back as necessary.
  • Alternate practicing with and without the metronome. You’re trying to become more consistent, not turn into a machine!

Ask your teacher for more advice about becoming friends with your metronome.

Some Advice for Adult Beginners

It’s a big decision: You are picking up a musical instrument for the first time, one you have never played before. Perhaps you have never played any instrument before but have decided it’s finally time to try.
You’re excited and enthusiastic, as well you should be. You are going to play the kinds of songs and compositions you’ve heard and loved for many years.

Naturally, you also feel some trepidation. Am I talented enough? Am I too old? Will it take forever before I sound good enough to play for others?

Think back, if you can, to your first day of school. Did you ask those questions of yourself then? Probably not. More likely you wondered whether you’d make new friends or like your teacher or enjoy what was in your lunchbox. You took for granted that you’d learn new things and that you had the ability to do so. And you knew you’d be in school for many years, so what point would there have been predicting what the future held?

And that, in a nutshell, is the difference between childhood learning and adult learning. Whether contemplating a new musical instrument, a new language, or any new skill, adults ask themselves too many inappropriate questions. We do this because we have self-consciousness, self-awareness, and we have spent so many decades assessing ourselves and being assessed by others that we are habituated to the process.

Of course, self-awareness is a huge blessing. It’s what leads us to make decisions and judge the quality and efficacy of our efforts and motivates us to seek greater mastery.

But that same self-awareness can be a curse. It causes us to compare ourselves unfavorably with others, doubt our capacities, and even generalize deep moral failings from simple efforts of trial-and-error.

We often hear that life is the journey, not the destination. Putting that thought in educational terms, learning is a process, not a product. When we say “live and learn” or “you learn something new every day” we are remarking on the essential connection between living and learning; we are implying, correctly in my view, that when we stop learning we stop living.

The time may come, sooner or later, when you question your decision to take up a musical instrument. You may decide your hands are too small or you have insufficient innate talent or you are driving your partner or child or pet crazy with the sounds of your practicing.

Rational as these thoughts may seem, none of them will be true. So, when you start in on yourself that way, just remember your child mind would never have drawn those distinctions. And that the re-emergence of your child mind is what makes learning your new musical instrument so worthwhile, so enjoyable, and so necessary. Keep playing wrong notes and dropping beats and squeaking and squawking. If you didn’t, you wouldn’t be learning. You’d just be repeating yourself. And who wants to be that person?

Attend the Fall 2023 Student Recital

Please join us as performers of all ages will take the stage at the MCMS Fall 2023 Student Recital on Sunday, December 3, at 2:30 PM at the First Presbyterian Church of San Anselmo, 72 Kensington Road, San Anselmo.

You’ll hear soloists, duos, trios, and quartets playing in a wide range of styles and instrumental combinations, including rock bands, piano trios, and a quartet of cellos.

Whether you’re a family member, friend, or neighbor of one of the performers, or a community member with a love of music, you’ll enjoy a warm welcome and the gratitude of our performers, some of whom will be taking the stage for the very first time.

Summer 2023 Chamber Music Workshop Report

Nothing is more delightful for musicians than playing with others in a small group. Whether it’s a jazz trio, a bluegrass band, a rock group, or a string quartet, small groups offer us the chance to share music with others in the most personal way. Instead of watching the conductor’s baton, we watch one another and communicate with small gestures, nods, raised eyebrows, and, of course, through the music itself.

Since its founding in 2009, Marin Community Music School has always attracted amateur classical musicians to its coached chamber music program. And while COVID restrictions put the program on hold for a couple of years, it’s happily come back to life with a wonderful new coach, flutist Carol Adee, who brings a fresh, welcoming approach to her students.

“Playing with other people is not only interesting and fun and rewarding, it makes people more aware of how music comes together,” Carol says. “It accustoms us to holding an inner sense of time while also being aware of other people.”

The Summer program met Wednesday evenings from July 26 through August 23.  At the final meeting, the players entertained one another with informal performances of Kuhlau’s Grand Quartet for flutes, Beethoven’s opus 11 Piano Trio, and the Piano Quartet opus 1, number 2 by Johann Gottlieb Naumann (1740-1801), pictured above.

The program resumes on October 4, 2023, under the guidance of violinist/violist Tara Flandreau. Learn more here.

Join the Band Workshop

Want to learn how to play in a band and perform on stage? Sign up for MCMS Fall Band Workshop today. Or attend a free information session on Sunday, October 1, from 2:00 to 3:00 pm.

Who Can Join?
If you are between the ages of 8 and 18 and can sing or play an instrument of any kind, you are welcome. You do not need to be currently enrolled as a private student at MCMS.

How Does It Work?
You attend five ninety-minute Band Workshops in October and November where MCMS faculty members teach you how to sing and play with others and help you rehearse your songs. In December, your band takes the stage at the MCMS Fall Recital and you perform for a live audience.

What Kind of Music Will You Play?
Your band will pick two or three songs from a list of pop, rock, country, and singer/songwriter styles. Some of the songs were huge hits, while others may be less well known. All are chosen to help you get the most from your band experience.

Who Are the Teachers?
Guitarist Joe Marquez, violist/violinist Tara Flandreau, bassist Tommy O’Mahony, and drummer Sean Nelson. They will coach and accompany each band as needed.

How Much Does It Cost?
Band Workshop costs $150 per participant, payable upon registration. Sheet music is provided.

When Does It Meet?
Sundays from 2:00 to 3:30 pm on 10/15, 10/29, 11/5, 11/19, and 12/3. The bands perform on Saturday, 12/9, at 2:00 pm.

How Can You Learn More?
Attend a free informational session at Marin Community Music School on Sunday, October 1, from 2:00 to 3:00 pm or ask your teacher for more details. Register for orientation here.

Ready to Sign Up Now?
Fill out this registration form.

What Is a Musical Scale?

In Latin, scala means “ladder” and that original meaning applies to the musical scale.

The Encyclopedia Britannica says: “Scale, in music: any graduated sequence of notes, tones, or intervals dividing what is called an octave.”

A tone is any sound that can be recognized by its regularity of vibration. When you sing or play a musical instrument, you are disturbing the air around you and creating little wind storms made up of invisible waves. These waves go up and down at a regular speed. Our ears perceive the waves and transmit information about them to our brains, which interpret the information as a sound or tone, also called pitch.

The faster the waves, the higher the tone. Middle C on the piano, for example, vibrates at 261hz (waves per second). The low C string on a cello vibrates at 65hz, while the highest E on a violin moves at 5,274hz. Most people can hear tones as low as 20hz and as high as 20,000hz. (The abbreviation “hz” honors the man who first measured wave frequency, physicist Heinrich Hertz.)

When we want to make a record of these sounds by writing them down, we use symbols called notes. A note, as its name implies, is simply a written-out tone.

Just as we can divide and measure distance into inches and time into minutes, we can measure the distance between sounds. We call these distances intervals. And just as different cultures have devised different standards of measurement – think pounds vs. kilos or Fahrenheit vs. Celsius – different cultures have different ways of measuring the distances between tones.

Interestingly, all cultures seem to agree on one measurement – the interval whose higher tone has a sound-wave frequency of vibration twice that of its lower tone. For example, Western music uses the letter A to mean the tone vibrating at 440hz. When we hear the tone that vibrates at twice that speed, 880hz, or at half that speed, 220hz, our ears perceive all three to have the same quality of sound. Consequently, we use the letter A to mean any of these tones. This unique distance is called an octave.

But why do we use the word “octave” to describe this distance? “Octo” means eight in Latin – is that relevant here? Well, yes, because in Western music the most common way of creating tones between one A and the next A is to space six other tones in between them, which we call B, C, D, E, F, and G. When we add up the tones from A to A, the sum is eight: Seven unique tones plus the repeated one at the end equals eight. Octave means “eighth in a series” in the same way that fifth means “fifth in a series.”

OK, we’re getting very close to understanding a scale: It’s a series of musical tones which are separated into steps which take us from one musical point to another.

Now here’s where it gets interesting. On our musical ladder, the distance between each tone isn’t always the same.  The distance from B to C is only half as far as the distance from A to B. Same goes for E and F. We call those distances “half steps.” The others are whole steps.

The most common sequence of steps in Western music, is a C major scale, which works like this:

C goes up a whole step to D
D goes up a whole step to E
E goes up a half step to F
F goes up a whole step to G
G goes up a whole step to A
A goes up a whole step to B
B goes up a half step to the next C

The major scale is by far the most common scale in Western classical and popular music. But it’s not the only one! We can change the sequence of whole and half steps to make a minor scale. We can start a scale on any of the seven basic tones and make what are known as modal scales …. We can divide the whole steps into half steps and make a scale of twelve tones, known as the chromatic scale … we can select some but not all the twelve tones and make up special scales like the diminished scale … we can get rid of the half steps completely and use seven whole steps to make what’s known as a whole tone scale … or we can omit one or two of the seven basic tones and divide the octave with only five, six, or seven tones.

Whatever scale we make, the tone that starts and ends the scale becomes the tonal center of the music we sing or play and our ears perceive it as the most important tone.

Four Questions for David Lusterman

What music are you playing these days for your own enjoyment and what made you choose it?

Johann Sebastian Bach wrote “6 Suites for Violoncello Solo senza basso” which are now among the most recognizable solo pieces in classical string literature, especially the Prelude to the first Suite in the key of G major. The sixth of these Suites in D major is an outlier, because it was composed for a five-stringed instrument called the violoncello piccolo or viola pomposa which was rare even in Bach’s time.

Professional performers seem comfortable playing the sixth Suite on a regular four-stringed cello, but I’ve always steered clear of attempting it, though I’ve studied and played the other five Suites. Recently I decided to transpose the piece from the original key of D down to G, which changes its sonority but makes it vastly more accessible on my instrument. I’m having a great time. Each of the six suites has a different character. This one projects a feeling of joy and confidence, which I find particularly uplifting right now.

Who were your biggest musical influences and what did you learn from them?

My father loved to sing and he expected me and my two sisters to sing with him. We sang in the car on any trip that lasted more than five minutes. Folk tunes, show tunes, old ballads, rounds. I’m forever grateful. Thanks to New York State’s rational public education priorities, my grade school music teachers, Arlene Fisk and Ira Krupenye, got me started with choral and instrumental music. My early inspirations were Pablo Casals, Pete Seeger, Doc Watson, and Ali Akbar Khan. From each I took away a realization there is really no boundary around any kind of music and that character and culture are always in foment.

What’s your advice for busy adult students who can’t always practice regularly?

Schedule a 15-minute daily practice time on your calendar, as early in the day as possible. Even if you can’t get to it every day, you’ve demonstrated a positive intention!

Start your 15 minutes with something very basic, like a slow scale or a simple rhythmic pattern or even just long tones. If you do nothing else in that session, you’ll enjoy the resonance of your instrument or your voice and derive a sense of satisfaction.

Never beat yourself up about missing a practice time or cutting one short. In fact, don’t ever beat yourself up about anything.

Sing to yourself in the car or the shower or anywhere else you find yourself alone. If you can sing something you’re learning on your instrument, so much the better. If not, just sing!

How has your approach to teaching evolved over time?

I’m wrestling with the tension between the two primary ways of teaching music – the aural tradition and the written tradition. Learning by ear is laborious yet ultimately liberating, because it forces us to rely on not just our senses but our thoughts and feelings as well. Learning by eye is efficient but can be terribly misleading, because so much musical information is missing from the page. I have been asking my students to take the songs they can sing by ear and play them from the page in hopes of wedding these two fundamental methods. It’s too soon to say how it’s working.