Dr. Jeannine Jordan, Concert Organist

Posts tagged ‘organ teacher’

How To Stay the Course

                                        ”Nothing in the world can take the place of Persistence.

Talent will not;  nothing is more common than unsuccessful men with talent.

Genius will not;  unrewarded genius is almost a proverb.

Education will not;  the world is full of educated derelicts.

Persistence and determination alone are omnipotent.

The slogan ‘Press On’ has solved and always will solve the problems of the human race.”

–Calvin Coolidge

How to Stay the Course to achieve your musical goals and dreams:

  • Renew your vision of what you are working to accomplish regularly.  My students are encouraged to set and put in writing a new goal for their organ study three times/year: at the beginning of our fall, winter/spring, and summer organ lesson sessions.
  • Do something every single day to move in the direction of your desired achievement or goal.  As an organist, practice of course is of utmost importance.  But, what about those days when one cannot get to an instrument?  Listen to recordings, read about composers, peruse new music, talk to colleagues.
  • If you find yourself drifting away from your course, analyze what is going on.  Maybe the goal is too unwieldy, maybe the goal is too easily achieved, maybe you need to tweak the direction of the goal.  Analyze and regroup, but don’t stop your forward momentum.
  • Involve a friend or network in helping you achieve your goals.  The students in my organ studio are a cohort of individuals who actively support each other through email communication and several group meetings a year to share performances and ideas.
  • When you fail – and we all do – place yourself gently back on the path.  Redefine your goal and don’t be afraid to ask for help from your teacher, your family, and supportive colleagues.

Dr. Jeannine Jordan, concert organist

 

What’s In A Title?

A wealth of information about a piece of music can be gleaned from examining the title of the piece, such as:

  •         The form – Do you know the difference between a fugue and toccata?
  •         Whether the piece is hymn based – Have you read the text to Amazing Grace?
    Did you know that a word in capital letters indicates the name of the tune on which the piece is based?
  •           The mood – What moods do the words Fanfare or meditation evoke?
  •          Its use as service music – Can a piece titled Prelude be used in other parts of a worship service?
  •          The tempo – How fast is allegro?  How slow is lento?
  •          Registration suggestions – How do I create a tierce en taille registration?

Where can one find the answers to these questions?

I.  A Music Dictionary  

A music dictionary should be something you carry with you in your music bag and use at every practice session.  You will be amazed at how much you will learn by looking up one word at every practice session.

Google “music dictionary” online or visit any music store and you’ll find a music dictionary to purchase to fit your needs.

For all of you iPad type device users, the Virginia Tech Multimedia Music Dictionary is quite the resource.  It is found at http://www.music.vt.edu/musicdictionary/

II.  A Hymnal

A hymnal should also be found in your music bag.  It is an invaulable resource for hymn texts and tunes.

A superb online resource for finding hymn texts and tunes is http://www.hymnary.org

III.  An Organ Registration Resource

Google search on the web still amazes me!  Want to know about tierce en taille?  Google the term and you’ll find videos, definitions, and resources galore.

Also check out http://www.organstops.org to learn more about the Tierce or Trompette stop.

For a resource book to carry with you or at least have handy in the organ bench, look for the Dictionary of Pipe Organ Stops by Stevens Irwin.

It is amazing how much information the
title of a piece imparts to the curious student of the organ.
So, don’t foget to start

“at the top”

to become a creative and informed performer. 

Dr. Jeannine Jordan, instructor and concert organist

March — Sort of Like a Wednesday

The month of March, in the scheme of things as a  music student–or music teacher— is sort of like a Wednesday, isn’t it?  Sort of like a “hump month”.

The urban definition of the “hump day” or Wednesday, the middle of the week, implies that you have to get “over the hump” before you can anticipate the weekend. March marks the halfway point (the middle) of my Winter/Spring lesson schedule.

With the March lessons I encourage my students to move  up and over “the hump”.  The really hard work of setting goals, and in some cases facing disappointment, and starting the work to achieve those goals was done in January and February.  In March we will start to hone those new skills and start enjoying that repertoire! By April we will be on the downward slope to achieving the goals you set in early January for this series of lessons.  It is an exciting month!

Some of the goals set by my students this semester include:

  • preparing and presenting an entire recital
  • working through technique exercises, repertoire, and online speedback tests in the BYU Organ Course
  • planning and preparing music to enhance worship services for Epiphany, Lent, Holy Week, and Easter
  • improving hymn playing skills
  • learning the features and sounds of a new organ
  • preparing repertoire for the Spring Recital on
    May 19
  • making every day a joyous practice day — a day of meeting challenges and making discoveries

Onward and forward through “hump month”!

Jeannine Jordan, organ coach and concert organist

As A Musician, Do You Care About the Greater Good?

You care about the greater good. You make decisions that will benefit the entire organization.

As a musician, it is sometimes tempting to think first about ourselves, to look inward, and “hole-up” in our practice rooms, music studios, offices, or church sanctuaries.  After all, everything we do and everything we are about requires hours and hours and hours of planning, preparation, and practice before we ever have to or get to interact with another human being.  However, as musicians of integrity, we must have an awareness and a concern for the greater good for those groups of people and organizations with which we are associated.

Caring about the greater good of my hard-working and dedicated group of students means providing community building opportunities such as Play-Ins, recitals, and music-sharing days.

Caring about the greater good of my church’s congregation means working closely with the pastor to plan the music for worship; practicing and preparing the music I will play;  preparing the choir in the music they will sing to lead worship;  and eventually sharing the music that will enhance worshipDr. Jeannine Jordan, organist with David Jordan, media artist

Caring about the great good of my audiences means presenting concerts that will advance the value of music making in society.  It means not only being well prepared to play in an exciting and careful manner, but also being creative and original in my performance presentation.

Caring about the greater good of my musical colleagues means supporting the professionalism of my musical colleagues by listening first and then encouraging a thoughtful interchange of ideas to advance the music profession.

Dr. Jeannine Jordan, organist

 

Keeping Your Word

The dictionary definition of integrity uses three words: wholeness, unity, and honesty. “When talking about integrity, we are talking about being a whole person, an integrated person, with all our different parts working well and delivering the functions that they were designed to deliver.” (Cloud, p. 31) To continue our discussion of the ten “integrity characteristics” as defined in The Integrity Advantage, we look at the necessity of keeping your word as a music teacher to gain trust within a community or group of individuals such as a student cohort.

You keep your word. You act with integrity to gain trust.

If I tell my students we are going to have an opportunity to play the outstanding pipe organs at Mt. Angel Abbey, it is not a whimsical idea. I know once such an opportunity is presented to my students, I will have to follow through. By working through the myriad of details necessary to make that performance and learning opportunity a reality, I continue to build trust with my enthusiastic group of students.

“In the end trust is about the heart, and someone making an investment in you from his or her heart. If you gain people’s trust, their heart, then you also have their desire and passion. Good teachers capture the other people’s will, their true desire, through connecting with them first. “ (Cloud, p.53)

Dr. Jeannine Jordan, instructor of organ and concert organist.

To Quote Dame Julie Andrews

I recently read Julie Andrews’ autobiography, Home– A Memoir of My Early Years and  came across this intriguing practice tip!

“My coach, Madame Stiles-Allen had taught me how to work on a problematic note in a song by strengthening the note before it.  I was amazed and humbled to discover that this technique can be applied to many aspects of theater:  drama, comedy, song, or dance.  It seems to me that if a moment in one’s performance feels lost, it pays to take a look at the moment before it–to help set up and strengthen the troubling area.”

Am looking forward to putting this concept into practice.

Dr. Jeannine Jordan, concert organist

As a Musician Do You Find the “White” When Others See the “Gray”?

In their book The Integrity Advantage, Adrian Gostick and Dana Telford identify ten “integrity characteristics.” Let’s examine how these “integrity characteristics” can be integrated into the life of the whole musician—the musician with all the different parts working well and delivering the functions that they were designed to deliver to students, colleagues, and audiences. 

Let’s now examine one of these characteristics which involve making effective decisions.

You find the white (when others see gray). You don’t make difficult decisions alone. You receive counsel and take the long- term view.

Several years ago the church where I was teaching initiated a room use fee. This fee was going to greatly increase the expense to my organ studio. Instead of merely announcing to my students that a room rental fee would be added to the following semester’s lesson fees, I asked for counsel from my students and sought other alternatives.

We took the long-term view by carefully weighing the convenience of the present teaching space, the type of organ, and the ability to reserve the space not only for lessons but student concerts as well.

In the end, through the counsel of my students, I made the decision to remain at the same church and add a room use fee to the lesson amount. The students, because of their buy-in, understand the addition of the fee and are satisfied with the studio location. 

Musicians of integrity work together to create a better learning situation for the future.

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