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Whether you call yourself a diva or a producer, you can't just decide to work alone.  There is still the need to work together nicely. Okay, let's start this by me telling you a story. I was working with a singer for a rock band at one point in my life. She was a great person. A little bit out there, but really just wanted her songs sung.

Unfortunately, the collaboration thing didn't work so well. While she was putting together her first CD she made the mistake of firing almost the entire band – one by one. By the end of it, she had also fired the one that was recording the music for her. She still got the CD, but she said it was her learning experience.

Here was the problem. She forgot to recognize the talent that she was working with and the jobs that they were supposed to carry. Whether you are the front or the back person, know what everyone's role in the band is. I know that you know the cliché. Every member in the band has a specific part that allows for everyone to harmonize. (Something like that).

Others say that sometimes collaboration is just about the connection. Maybe, but maybe not. Really, it's about knowing how to accompany each other and balance each other out. I've worked with many a people that, as people, they've totally bothered me, but we could make great music together. It's really about knowing how to work out the music together. Once that is the real focus, collaboration gets easier, maybe even fun.

Here's another hint. Know when to take leadership and when to back off. That really just comes down to communication and playing your part. If you feel like there isn't enough leadership, step up. If there is too much from someone else, know when you can or can't step up to the plate. Eventually, everyone will take their places.

What it comes down to is a combination of intention and integrity as well as respect for everyone's music.

One more principle for you to ponder. Have fun! If you're not, it's probably not worth it.  

Want to talk more? Give me a ring 303-657-2717 or e-mail me at info@apollomusicstudios.com.  Or, check out my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

I think I mentioned this in the performance section of “Oops! I Missed a Note.” But, I'm not talking about this idea in performance anymore, I'm talking about it with my teaching methods.

I remember when I was young and I would miss a note. Most of the time because I was frightened to death of my teacher. The mechanics of the piano were the most important and carried the most weight.

I believe that it is important, but as a teacher, I don't focus on it all the time. Sometimes, parents are astounded that I let my students pass a song when they miss something mechanical.

Here's why. A lot of times, they will understand the song, but they will miss the notes because they get excited, get too far ahead of themselves and forget. They'll have to start over, then they will get it. Other times, they will not understand the mechanics at the right level, even though it is being explained to them. It's their hibernation spot.

It's almost like a really good magic trick. If, instead of holding them back because they miss something mechanical, I highlight what they do right and how they are progressing. I build their confidence in the areas that are working for them. The magic is this. I'll come back the next week and the mechanics that they missed before are simply gone.

Then, guess what? I get to send more positive reinforcement to the mechanics that they got that time around and they didn't even realize they were doing it.

It's not about pointing out the faults. It's the strengths. Then, the mechanics and the little things aren't a big deal anymore and they go away.

Inside each child is an intuitive understanding of what to do and how to do it. All you have to do is encourage them to bring it out. That's the spirit of teaching and that is how to get beyond the mechanics.

Want to set your child up with lessons or discuss this with me? Shout at me! E-mail is: info@apollomusicstudios.com and number is 303-657-2717.  If you want to know more about my teaching style, you can also check out www.apollomusicstudios.com or www.coachingmusician.com.  

Here's to your song!

So, this is one of my favorite stories to tell. I walk into a home for one of my child's first lessons. They are all excited and ready to go. I set the rules with the child, then talk to the parents about what is expected after teaching them some things. The parent says 'sure that works' then goes onto explain that they will just expect me to do what needs to be done because they don't know music and have never studied it.

Yup, sure. That idea lasted for about a month. Even though I write all of the instructions down for the week and have a method book, it didn't work. The music lessons quickly took a turn on me as she wanted to become involved. I would tell him to learn notes, she would tell him to clap out the rhythms. Even though both were important, he was a beginner, and both ideas at once confused him and he stopped practicing.

So, I consider that entire situation a lesson for me, not for her. She was just trying to help. Here's how you can keep the music teacher on your good side and make sure that you don't confuse the kids.

1. Check with the teacher after each lesson. Ask what the child should be working on and get it written down if possible.

2. Get progress reports every once in a while. Is your kid behaving, improving, etc? I don't mean a quick, is my kid doing okay, but a real sit down with the teacher, like a parent teacher conference.

3. Know what is being learned, what has already been learned and what is on hold for a while.

4. If you don't know what a musical term means, ask for an example or explanation. That will ensure that your child is practicing while allowing you to tune into what they are learning.

5. If you think that something isn't right during the week, you have a choice. Give the teacher a call to ask, or let it go until the next week. It's okay if your child practices something wrong for a week. Even I practice things wrong before lessons. That's what a teacher is for.

Simple, easy communication. It makes everyone's lives easier and makes the music learning much more effective.

Want to know more? Contact me (that's Brooke) at info@apollomusicstudios.com.  Or, visit my websites to learn more about my programs.  www.apollomusicstudios.com and www.coachingmusician.com. 

I might have seen one performance once where someone went the entire time without missing a note or didn't turn around a section. No, wait. That was with the CD in the background. The only thing that got close to that was James Brown. You miss a note, you miss out on $50.

I had a great performer and musician come up to me one time. He was learning to play the piano, and had some great jazz riffs down. But, he said he refused to play because he didn't want to miss what he was playing.

Let's get real. If you are performing, you are thinking about a lot on the stage. And, don't shout blasphemy! You might miss a note or two.

One of my favorite techniques in preparing for a performance is to blindfold myself. Everyone should try it at least once. I shut off all the lights, put a handkerchief around my head and make a complete disaster area out of the song. I don't let myself stop, but keep playing.

What I've found out is that, in the end, it's not that bad. Even with the missed notes, I learn how to keep pushing through the piece and to make the most out of it. Once I get up to the stage, I don't dwell on the notes that I've missed. I think about the message of the song and what I heard when I couldn't really sense what I was doing.

My point being, miss a note or two. Five. Ten. Play a song that you wouldn't expect because you miss so many notes. In the end, it will still be the song, it will still carry the message and it will still be valuable if you believe it should be. Give yourself permission to be free with the song.

Want to know more? Contact Brooke at info@apollomusicstudios.com. or visit my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

Everyone knows that songs are made up of chord progressions. But, it didn't come from the blues riffs or from the pop music. Chord progressions began as far back as the 1600s in learning to define music and different ways that it could work, known as figured bass.

Here's how you can progress with knowing your chord progressions.

1. Set your key signature. Make sure that you know how many sharps or flats are in that key signature.

2. Every note that is in the key signature is also a chord. All you have to do is build 1 – 3- 5 on top of it. For example, if it is in the key of C, it will be C (1), E (3), G (5).

3. Every chord will either be major or minor. If the third is lowered, it is minor and vice versa. For example, C, Eb, G is minor and C, E, G is major.

4. Each of the chords will also have a roman numeral. It looks like this: I, ii, iii, IV, V, vi, vii. The capital is major, the lower case is minor.

5. You can then set your chord progressions by going from each of the chords. For example, I, IV, I, IV, I, IV, V is a standard blues riff. If it is in the key of G, it will look like G, C, G, C, G, C, D, G.

That's all there is to it. If you really want to know how to progress, look up the rules for Figured Bass. It will show you how others have progressed from one chord to another with the different styles. Before you know it, your harmonies and your chords will carry the song.

Want to know more theory?  Contact me at info@apollomusicstudios.com or visit my websites: www.apollomusicstudios.com or www.coachingmusician.com.  Happy music making!

Okay, every teacher gets one session of the year to complain about the one student that makes them grit their teeth. My time to do that would be here.

I have this lovely young 5 year old boy that I've been teaching. He learns quickly, he's boosted his confidence by eons from working with me and when I see him he says that he is excited to play.

So, what's the problem?

Even though it seems like progress is being made, this five year old really doesn't know what it takes to play. When I show up, he has a comment or two to say about me being late, or not giving him the right tools. (Very manipulative for a 5 year old). The first thing he does when we sit down is he tells me how he refuses to practice. Afterwards, he always admits that he actually practiced, but didn't want to tell me.

At that point, his mom usually comes in and tells me that she told him to do something other than what I gave him to do. “Thanks mom!” The rest of the lesson is straight down hill. From trying to stop him from banging on the piano to falling off of the bench to refusing to do the work when I ask, it's a no win situation.

Of course, I'm not working with this child anymore. What really threw me off was when the mom started pushing to enter him in competitions and recitals, which I refused to do because he couldn't straighten up.

The lesson is this. If you or your child are going to play, don't be like the lovely 5 year old boy that I get to use as an example. Playing means showing respect, discipline and putting in the work because you want to. If not, don't waste the time.  This doesn't mean that the playing isn't fun or doesn't have rewards.  But, it's always a balance between the two. 

If you have it together, shoot me an e-mail. I would love to talk. It's info@apollomusicstudios.com.  Or, visit my website at www.apollomusicstudios.com.  If you are a professional musician, you can also visit www.coachingmusician.com.  

It's the most popular question in the universe: what can I do to get my voice to sound like his or hers, or to sound just that much better? Well, I'm not giving you all of my tips and tricks, but here are my top 10 that I always recommend.

1. Use your breath as the foundation. If you don't get the breathing right, you're not getting anything else right. Work on making this your first priority in singing.

2. Relax! Could I say it enough? All of the screeches, missed notes and uncomfortable situations come from not relaxing.

3. Look at your voice as your instrument. Once you begin to get to know the nuts and bolts of your voice, it gets a lot easier. Let yourself study all of the muscles, how they work together and what comes out of how they work together.

4. Sorry, you can't just 'sing.' Knowing the theory of everything and understanding the music with what you are singing is a great way to improve your voice.

5. Trust yourself. I can tell you, the number one reason why others I've seen have had difficulties with their voice, and one of the reasons why I used to, is because I never trusted what I was singing or the notes that I was putting out there. Trust that you and your voice have enough power inside of you to really let your voice stand out and let go.

6. Destruct and re-construct. If you have a song that isn't quite going together, break it down, put it in pieces, then build it back up. It will help to smooth out all of the bumps.

7. Be clear. You have to watch the pronunciation and the vowels that you are singing. I know you have all heard a singer that you don't understand what they are saying. Pronunciation is key.

8. Go natural. Singing like you speak is an easy way to find your natural voice and to let it shine. Unless you want a specific technique, like opera, let your natural voice grow into you.

9. Are you still relaxed?

10. 
    Practice, practice, practice. But, of course, you already knew that, right?

This doesn't mean that you will be able to apply these tips and learn how to sing better over night. But, it will start you on the road towards singing correctly and towards getting a little bit more in with your voice. Give yourself some time, build your confidence and your power, and wala! I'll be the one seeing you on stage.

Ready to implement these voice techniques at another level? Contact me at info@apollomusicstudios.com or visit my website at www.apollomusicstudios.com or www.coachingmusician.com.  

One of my favorite mothers approached me the other day, saying that I needed to have a talk with her kids. All three of them were having difficulties with their music. If they didn't get it the first couple of times, that was it. They would give up and not practice for the next few days.

They all just looked at me and smiled. The problem, she said, was that there would be one spot or two spots that they just couldn't get.

Sound familiar?

Hibernation spots are something that every musician needs to know about and know how to deal with. Even if the entire song, technique or concept is understood, there might be a small spot that just doesn't go through.

The trick to hibernation spots is to isolate them, approach them, and kick them in the gut. If you don't tackle it from the beginning, it's going to kill you at the oddest times, most likely during a performance.

Hibernation spots are a lot like the knot that accidentally gets stuck in a piece of yarn. You can knit the rest of the scarf, but unless you get that knot out, your not going to be able to finish the piece. The only way to get it out is to tackle the knot and try to fix it.

Overtime, your hibernation spots will become your strong spots. It just takes some time to get it together. And, most likely, another hibernation spot will develop after that for you to tackle. Once you get them all, that's when you know you have succeeded at learning something.

So, don't keep your music snoozing. Whenever you are working on something, make sure that you focus on your hibernation spots first, then the rest of the song will come.

If you would like to talk more or set up a time for lessons, feel free to contact me at info@apollomusicstudios.com.  If you want to know more about my teaching, look up www.apollomusicstudios.com or www.coachingmusician.com. 

I know, the pieces of paper – just sign on the dotted line. Oh, if it were so easy. If you are setting contracts as a musician, congratulations! You should be oh so proud of getting that far. If you aren't signing contracts, set up your own so that you have what you require in order to get the job done right.

Whether I'm playing at a wedding or a large venue, I have a contract in my notebook to get signed. It's a simple work for hire agreement that the person paying you signs, saying that they will pay you, and how much. For most venues, that means that they get a certain percentage of your sales, but it shouldn't be much more than 5%. It also states the designated times, hours, etc. that you get. Make sure you have an understanding if you have to pay over and make sure that your breaks are in there. Check for things like sound checks, available resources, etc. If you see any clauses, check what they are. It depends on the venue, but typically, clauses shouldn't be necessary for a gig.

If you are a composer or arranger, do the same thing. There are plenty of sample contracts available that you can use to get the work done right. Even a simple agreement will do. Make sure you include ASCAP or BMI policies on it about lease programs and what is needed. Take some time to study the expectations so that you don't get yourself stuck in a rut.

If there are legal terms, read through them. That's my best advice. You want to know the nuts and bolts; the legal items are typically just to support that in a legal way. If you don't understand it, find out how to or develop your own contract that makes more sense. Don't sign the dotted line until you know what it is about.

There you have it. The idea of reading into contracts is to simply read it and to set your own guidelines. Want to know more about contracts? Contact me at info@apollomusicstudios.com or 720-277-2652.

This is one of my favorite topics – let's talk about the traditional methods of teaching and how dry they are, and how ineffective. I'm just kidding. Well, kind of. What I really want to talk about is the traditional methods and the good, bad and ugly that is in them.

Let me start you off with this. I believe that teaching is a spiritual concept, not just a physical and mental one. It is one that takes levels of understanding of children and people. It also takes ways of developing spiritual concepts into the children that they can use for the rest of their lives.

So, back to the traditions. First – the good. Traditional methods have a good way of including discipline and persistence in the method. It means that you go to a lesson only after you have practiced, chop up and dissect songs to bits and pieces and work like crazy to learn something. I think that is something every student should know and that is a good set of things to learn.

The bad. Traditional methods don't leave a lot of room for exploration and discovery of music outside of what the teacher knows or has been taught to teach. There's not a lot of space to be creative or to explore beyond the intended level. Mostly because of the method books and levels that are being used. You don't want to go outside of it. Most method books that I have seen miss out on some important things – simple things – like songs.

The ugly. I'm not talking about traditional methods now. I'm talking about traditional teachers. There's a lot of discipline, but not a lot of love. I've actually had a lot of students show up at my door because they are disgusted with the teaching methods of others who ignore their needs.

That means this. Kids need more than the ability to learn the music. They need nurturing and love. They need to have a warm place to share their music so they can move to sharing it with the world. They need to have a place that is safe for them to explore the way they want to. It's not teaching, it's discovering.

As teachers, we're not just developing musicians and it's not a product factory. We're producing life long lessons and ideals that will help children to face their battles, overcome their fears and conquer their goals. It goes beyond the methods and the discipline and into paying attention to what students need spiritually.

Want to know more or sign up for an evaluation for your child? The name is Brooke, the e-mail is info@apollomusicstudios.com and the number is 303-657-2717.