However, look at any statistics of programs and community development, and you'll find something a little different.  Maybe it's that we don't understand what support means around here, but the true arts... and artists... may not be receiving the community support that is needed.

I'll refer to some personal examples that I have.  For instance, I was invited to give some classes and seminars on the arts in a school.  Two days before I'm invited in, I'm asked to pay for the space.  Now, if I would go in, it would be showing that they support the arts, right?  However, they really aren't, considering that I now have to pay for something they invited me to do.

Let's take another example.  I'm looking into spaces in order to offer the same classes and seminars.  The people that have these certain buildings are the ones in charge of community arts and are a part of a development program.  What do they want to do?  Not get back to me about the building, not allow me a time and space to rent the area... then over charge me.  

Here's my favorite.  People that walk in the door... and say that they want to take lessons.  Then, they complain about the price (which I'm actually cheap compared to most).  And no, it doesn't stop there.  They complain when they have to get a book or an instrument or put time into coming.  I had a student show up once who couldn't pay me $20 because her mom ended up spending $2,000 at a mall.  I've even had a student complain because I wouldn't give her a lesson 2 hours after her regular time, because I should accommodate to those who want to learn. 

Support of the community arts, my friends, means this.  Respect.  Plain and simple.  Stepping up and standing by the side of musicians, artists and others that you see working in order to get something done.  And, I don't just mean standing up and saying you are supporting the person by half offering them something.  I mean offering them something to truly offer them a step forward in their career.  It doesn't have to be with money or space.  Well, sometimes it does.  But it isn't everything.  Usually that is just a reflection that you believe in what the musician is doing.  Most of the time, it's showing that you are pro-active in the concept of art.  Actually, the best support I have had is when one of my students offered me a piano bench when I broke mine.  That is true support.  It was genuine, respectful and was because he believed in what I was doing. 

We can't rely on the government, programs, scholarships or funds to do the work of the community.  The community has to do it.   

Okay, let me take another side of this.  I have a good friend who lives in a different part of the world that I always work with.  He's also a musician.  In the matter of 3 -  4 months that I know him, he's developed an entire portal for artists, combined with compositions, training programs and other necessities for musicians.  He's in the same situation as me... but the difference is... he has about 20 people who stepped up to help him.  Not for money, space or anything else, but because they can see his vision and believe in it.  The same amount of things that he has done, it has taken me 4 years to develop because there are few people here that will be as accommodating as his acquaintances.  Actually, he has offered me more support than most that are in the same zip code.

So, next time you show up for a lesson, inquire about music or are interested in musical concepts, think of how you are supporting that person in the arts.  That's true community development.  

Want to ask me questions or hear more?  Contact me at www.apollomusicstudios.com or www.coachingmusician.com. 

Well, I didn't really respond, because I'm not completely a full time musician either, but I know plenty of individuals who are, and I could be if I had the desire. Then, I started thinking about it. 

What's the fear?

Being a musician is a little bit different than a regular job. It's not a 9-5 and most likely, it doesn't come with benefits.  But, if you have a voice, are supposed to be doing music or have a desire to hit the stage, what's stopping you?

The only thing that prevents anyone from being a full time musician is what they believe in themselves and the fear and belief system that has been built off of being in music.  It means that someone is too afraid to take the step, to have the desire and to make up their mind to actually build a profession off of one of the best professions in the world.

For some reason, music has this bad rap of anyone who joins the profession is going to be a starving artist.  That's the first fear you have GOT to get rid of.  It doesn't.  As a matter of fact, I know quite a few full time musicians who are feeding their family off of a comfortable set of wages, plus some.  That's combined with all of these other fears and thought processes that are stopping you from making the leap.  That's all it takes.

That doesn't mean that you should go out and quit your job and say you are a musician.  Practically, you will have to work up to it.  Meaning you will need to do both for a while in order to study, build up your craft and to start working towards getting the gigs.  But, there is a point to that, and it's actually a benefit.  By keeping your outside job and learning to work into being a musician, you will learn to love what you are doing. 

You will learn to breathe the language, live the language and love what it has to offer, and once you do that, then your mind can work you into being a full time musician and you can get rid of the false belief patterns that have come with it as you are learning to develop this other side.

So, if you have some fear about doing what you are supposed to in music, it's time to switch off the button and get some studying done. And, that goes for everyone.  Even after playing for 22 years I still study, almost constantly, trying to find new ways to approach things, new methods and to revisit the dead guys that know more than me.  That way, I can continue to live the lifestyle of being a musician and don't have to live in fear of whether I'm good enough or not.  I'm always in progress to be better, do better and to build more with the concept of being in music.

Want to hear more about building your music profession? Contact me about my entertainment coaching or professional musician development. The e-mail is info@apollomusicstudios.com and the number is 303-657-2717.  Or, visit my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

But, there is one thing I have been learning from what other parents tell me about having kids.  No one knows what to do with the kids that don't have an attention span.

I don't know how many people I have show up at my door that walk in and start telling me that their kid is good, but they just have ADD.  That is combined with the parent not telling them what they need to be doing, and letting them run around my house, getting into everything and causing havoc.  Usually, I don't say anything with parents and kids, as I feel like it is not my place, but really... After some broken things and some misplaced things of my own, it has to stop.

I don't care if your child is taking music lessons or walking to school, there needs to be something shown to them about discipline and respect.  Simple things like when an adult is speaking to you, you listen to them.  When you are in someone else's home, you leave their things in the place where you found them.  When someone is speaking, you don't interrupt them.  When you are going to music lessons, you focus on music lessons.  Not the penny on the floor.

Of course, we can't do or say these things, because it would be abuse and the kids just have ADD or need to be kids.  

The truth is, what these kids need is to be yelled at.  They need to get in trouble and they need to be told what is wrong and right with basic things.  They need to have boundaries and structure.  It doesn't mean an iron fist, it means putting something in their lives that they can lean onto so that they feel comfortable and don't feel like they have to be in ten places at once.  

So, my conclusion is this.  ADD is a bullshit excuse for parent's who won't take the time to be honest with their kids about what is wrong and right.  I know parenting is hard, but you chose the path.  You can't bring a kid to a teacher and tell them that you want them in lessons to discipline them or to put them in shape because they have ADD.  The kids don't need music class, they need to be grounded in the basic concepts of life.

The reason why I'm mentioning all of this is because I've decided to close my studio off to students under the age of 12.  Because of the mis-behaviors and the inability for the kids to control themselves, I'm not going to offer anymore lessons to kids that don't have basic respect for others.  I'm really sad about it, because I love it when a kid gains confidence in themselves when they are learning music.  But, I see that all of the up and coming generations are going to have to be cut off from things like this because they don't have enough discipline to pay attention and to focus on their goals.  I wonder what will happen to them when they are older?

Have your own thoughts about kids with "ADD?"  Feel free to let me know!  Visit my website at www.apollomusicstudios.com. 

In a lot of my past blogs, I've focused a lot on both sides. You've heard the positive reinforcement, encouragement and exploration with low pressure side. And, you have heard the keep the discipline side. Or, if you haven't read those, you are hearing it with this blog.

That's exactly what kids need. That's the huge balance of teaching, learning and even parenting. Knowing what to give the kids and when to give it to them.

Here's what I've noticed. Children typically approach me for lessons in one of three ways. The first is that they are timid, afraid and not quite sure what to do with lessons. At other times, they are divas. I actually have had a couple of four year old kids walk up to me and tell me they wouldn't take lessons because they believed that they already knew everything.  The third is that they start by testing the boundaries to see exactly how much they can get away with.

Yes, it's all intuitive from the kids. So, it boils down to this. At times, they need cookies. They need to be egged on and given a push to build up their confidence. At other times, they need to know that they need to learn and not be divas. And, at others, they just need to get whipped into shape so that they know how to be respectful and disciplined.  It's a very fine line balance, and all kids come needing a little bit of all of it.

That comes before the music. It shows in the music, but it's not just a musical thing. It's a principle that is important across all disciplines and ideas and that every good teacher probably already knows.

Want to give your kid some sweets or vitamins? Contact me at info@apollomusicstudios.com or at 303-657-2717 or check out my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

Parents, lets get real! Those rules last for about two weeks before the kids are testing boundaries, seeing how disciplined they 'really' have to be and trying to find ways out of the rules that have been set. I don't care if they are five or twelve; it always comes back around. However, the boundaries can be set back again. What it takes is a little team work.

This is where parents become involved and start teaching their children about discipline. A music teacher can do it to a certain extent, but if the parents step in and back the teacher up, it makes it all that much easier. Remind your children to be prepared, to practice and explain what discipline is about. And, team up with the teacher to make sure that your child is sticking to the rules.

Why do I keep emphasizing this? Because it is one of the most important rules to learn early on with music. If children can learn how to become disciplined first, it will be easier for them to grow in their learning later on. The more they go, the more structure they will need to learn because the music gets harder and harder. And, I'm not talking about structure that isn't fun and takes a ruler to learn.  I'm talking about structure that allows children to develop focus in learning.  If there is a continuous effort to teach children to be disciplined, it will be easier.

Want to know more? Feel free to contact me at info@apollomusicstudios.com or visit my websites at www.apollomusicstudios.com and www.coachingmusician.com. 

When you perform you should carry the stage. What exactly does that mean? In a nutshell, it means that you have complete control over everything that is going on during the time that you are on stage. You aren't letting the things that are happening on stage control you, but instead, you are going full force ahead with the music.

Second thing about carrying the stage: you are letting the weight go straight out to the audience. You have their full and undivided attention and it's not going anywhere. There is no snoozing, no speaking on cell phones or to friends and you could hear a pin drop.

It's really about presence. And respect. And confidence. Those are all good.

Want to really acquire it? Carry the stage by knowing your music. Forwards and backwards. Know it until you cry over it, get sick over it, want to throw it out the window and then start to breathe it. Nothing will stop the music from getting to the audience. Then, practice it again.

By the time you get to the stage, you can let the music shine, you can have the confidence that you need and you can demand whatever you want from the audience and from the musicians.

That's what it means to put the stage on your back. It's not about the stage. It's about what you have to say and how you are going to say it.

Simple as that.  

Get some help with performance.  Visit my website at www.apollomusicstudios.com or www.coachingmusician.com. 

1. Classical / Opera. Come on, I know that you have made fun of if in your bedroom. But, the basics of classical singing are a great technique to learn if you really want to see how your voice can work. The two major things to remember with this type of training is the breath support gaining huge momentum and the concept of resonance. The resonance takes place in the face / throat area and allows you to project in a very different way.

2. Belting. This technique became popular in the 1920s and 1930s. You hear it a lot in specific musical theater programs as well as some pop music. It came over from the African region and was used in tribes in order to communicate back and forth. That's right, the projection was so strong that it was able to go the distance. The main point to remember with this is to project like a trumpet and feel the resonance through your nose. It's almost a nasal type of sound that gives you a completely different type of resonance.

3. “Head voice.” This is very close to the classical style, but I'm keeping it separate because it is closer to a more holistic and natural type of singing, without the vibratos and major projection. When you are doing this type of singing, make sure that you feel the resonance in your forehead. You'll get a nice sweet sound combined with some good projection.

Of course, these are not the only type of singing that is used. But it will give you a basic idea that singing isn't just singing anymore. Go to any culture, any area of the world or any stage, and somebody will be singing just a little bit different. The more you try, the better your muscles will be used and the more you will be able to expand how you can sing. Start with these, get your research done, and let yourself expand your instrument.

Want to sing with me? Contact me (Brooke) at info@apollomusicstudios.com or visit my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

One of the policies that I have found myself responding to lately is with competition. With Spring coming and going, is a set of the mother's who wanted to enter their children into the competitions.  They seemed to be disappointed when I told them no.  

I don't compete. I might collaborate. Most of the time, I'm not that partial to the traditional recitals.

Why?

I had to compete all the time when I was a kid. Instead of learning how to work with other musicians, you learn to work against them. I think that competition is one of the worst things that you can teach your children, especially in music. It defeats the purpose of what music means. Sure, maybe you will be able to get some skills polished up – but what types of skills are you teaching in return?

There are other ways to put together skills that are much more beneficial. Recitals work, as long as they are non-threatening, non-competitive and collaborative. My favorite is the one that I'm putting together right now as the benefit concert. Instead of going against each other, the children will learn how to play in order to benefit other people. Playing at places such as nursing homes, where the music is appreciated for what it is – another great way to teach about how music can be beneficial.

Whether you are 50 or 5, competition isn't the way to do anything or approach anything. It teaches something to children that does not help their personal development outside of music or within it. In music, we don't need any more divas or children with low self – esteem. We need children that will shine like stars and help to communicate music to others in a pure way.

All I know is that when I think of what music means, I don't think of competition. I think of something much happier, more worldly and that is community oriented. So, if you are thinking about competition, get out of my studio! Here, we work on working together to make something better and to contribute to the community.

I would love to hear your thoughts at info@apollomusicstudios.com.  Or, visit my websites to see what I'm really about at www.apollomusicstudios.com or www.coachingmusician.com. 

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 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!

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 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.  

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!

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.  

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.  

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. 

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.

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.

I used to think the same thing. Until someone started explaining it to me.

I realized that the whole reason why classical music took an experimental turn was because there was no longer a need to express things in the same way, but there was not an understanding of exactly how to express it differently. The melodies, harmonies, seemed old to the ears that had listened to them.

So, some of the composers did go off of the deep end. I love to say that there are two kinds of composers. Ones who do it because of the universal feeling and one's who do it because they love theory. The theory composers are the engineers.

What you had, and what you still have, is music that moved into engineering. It was a new way to understand the nuts and bolts of music that moved a little bit beyond what was going on since the 1600s.

When you listen to contemporary classical, open your ears in a different way. Follow these tips:

• Listen for the sounds, not the melodies and harmonies.

• Allow yourself to let go of all of your expectations, and ask yourself what the end effect is and if it was successful.

• Immerse yourself in the theories and ideas that are totally off the cuff.

• Hate the music as much as you can, ask yourself why, and realize what else there is to it that you missed because you have spent your time hating it.

• Do some research and see where the theory is leading to now. Typically, you can find a connection to places that composers are going now that is even more effective.

You'll start to appreciate it. I promise.

Want to know more? Contact me at info@apollomusicstudios.com or at 720-277-2652.

I know, every child has a different situation and a different set of parents. So, how involved should you be?

I'll give you my perfect example of a parent that I love because of her involvement. She rarely steps in with the lessons. I know she listens from the other room, but she steps back and just lets me have at her kids. Other than that, the only thing she does is sets a rule saying that if they don't practice, they can't play their video game for a half hour. I've been around these kids after lessons. They follow the rules to a “t”, they have fun, and there is absolutely no pressure for them to learn.  They want to!  Sometimes it's because they like the piano songs and others it's because they want to beat the next level on their game.  

Even when the kids make a mistake, the mom takes note of it, will talk to me but won't punish her children for it.  For example, one of her kids decided to learn all of her music by imitating her brothers and sisters when they were practicing. Of course, I noticed because she missed the same notes her sister did.

Her mom let her suffer for a while as I corrected her. Everyone was able to recognize the mistake, and the child was able to make the improvements that she needed.  No one ever said to her that she shouldn't imitate her siblings for the best results.  At one point, she just decided it would be easier if she learned things on her own.  In the end, the daughter told me she had improved because she switched from imitating her siblings to learning on her own.  

We had a great conversation about the different ways to learn and what helps you to stay on the right track.  That was confirmed because her mom had already told me it was a problem, but didn't point out that the child was not improving because of it in front of the child.  A good example of a mistake being a learning experience and the parent being flexible enough to allow her child to make the mistake and correct it herself.  

That's the balance. Become involved by letting your child learn on their own. The teacher is there to guide them. The music method books are there to help them remember. The mistakes are there to help push them to the next level.  And, hopefully, they will pay enough attention to get what they need done. If there's a problem that the teacher can't pick up, that's when to step in. That's the best way to be supportive and get involved.  

Want to know more about my parent philosophies? I'd love to hear from you! That's Brooke at info@apollomusicstudios.com.  Or, check out my website at www.apollomusicstudios.com.  

1. Are you carrying the stage, or is the stage carrying you? Every solo performer should have this as their first priority. This means that you get on the stage and you own it. No matter what happens, you are focused on delivering the message and getting it clearly.

2. Don't sweat the small stuff, big stuff, or any of the stuff at all. No matter what happens, the show must go on. If there is a glitch, a sound problem or someone slips and falls on stage, don't stop what you are doing. Act like it is a part of the act, keep going and let the message of the music move past the incident or problem.

3. Don't apologize. The rule in performance is confidence. No matter how the song goes, act like you meant it that way. More than anything, performance is an act that you need to carry to the end. I know performers who have messed up entire sections of the piece, made things up or completely crashed their songs. If you don't pay attention to it and don't apologize for it, the significance of the problem will be lost.

4. Go with the flow. Every performer should have to learn how to improvise a little bit. You never know what's going to happen on the stage, if you are really pushing your abilities. Go with where the music ends up taking you – even to the unexpected.

5. Enjoy what you are doing. There is no better way to carry the stage and the audience than to understand the message that you are giving and to give it in a fulfilling way. Be clear about what you want to say and say it with joy.

Keep these in mind for your next performance, and watch the magic happen. Your presence will become more than just another show.

Want to know more about my techniques for performance? Shoot me an e-mail. (That's Brooke), and it's info@apollomusicstudios.com and ask about the entertainment coaching program.

Want to get to more intense levels?  Ask for Gayle (former bass player of Vixen) for her specialized performance training!

Okay, I know. I've used a lot of excuses too, and it could be a good excuse, if you only want to play a few songs.

There comes a time in every musicians life where they have to make a decision about how far they want to go and what they want to learn with their music. If any musician is ready to take the next step, it's time to buckle down with the theory.

I'm not just mentioning this because I'm a music teacher. I'm mentioning it because I watch the bands, I see what they play and I know exactly how much they know with theory. Those who have taken the time to read the books, expand their knowledge and get the nuts and bolts from the music typically are able to do more with their songs. They can take the risks, say something a little bit better and use the tools from the theory that they've learned to take it a step further.

Theory doesn't make you loose anything with your music. It's like having an extra set of tools in your vehicle so that you can drive further, take care of all of the maintenance and use them to let your ride look a little bit better. Meaning that, when you have the extra tools, you can communicate a little bit better.

Go pick up a theory book, learn something new, expand your mind and let immerse yourself in the world of music and theory. It's a great way to begin to call yourself a musician. Want some theory help? Contact me (that's Brooke) at info@apollomusicstudios.com.

One of the best players I have ever heard during my studies didn't look at notes as notes – he saw them as colors that were pasted together in order to say something.

There is nothing more magical than a piano that sounds like colors.

These are sounds that I never thought I would hear in a piano. All of a sudden, the dynamics, the notes and the harmonies that went with them said something a little bit better, stronger and more effectively. The technique that he used wasn't just to learn the notes, or to get the technique like everyone else did. It was to build an entire story around what was being heard.

If you are playing the piano, don't just let it be the notes that you are hitting. Knowing a song doesn't mean knowing the notes and the rhythms. It means sharing a story, sharing a vision and communicating exactly what the composer had in mind.

So, the next time you sit down at the piano, think about what your piano is trying to make you see or hear. Learn beyond the basics and allow yourself to explore the different sounds and resonance that the piano can make. That's when you turn music away from being learning another song and into an experience that can communicate what you want.

Want to know more about the piano or music? Let your notes be sent to me at info@apollomusicstudios.com.  You can also check out what I'm about at www.apollomusicstudios.com or www.coachingmusician.com.  

Well, I had one of those days, and I got caught. I was feeling horrible about the piece I was playing, and there were certain spots that were challenging me more than anything else. Just as I was about to start throwing books across the room, a friend that was downstairs came up and stopped me.

All he really said was, you have to know when to let go.

Since I've been trained as a musician that has to keep practicing it until I get it, I was furious. He obviously didn't know what he was talking about! But, I took his advice anyway. I stepped away for a little while, then came back.

Lo and behold, as soon as I relaxed, slowed down my mind, and digested what I had learned, I found that the part I had been toiling at was no longer difficult. All it had taken was letting go a little bit and figuring out what really had to be done.

So, what is the balance? Of course, there is work that has to go into it. But, more importantly, is knowing when the work is done and when to walk away. That's when the magic happens.

Whether it's practicing or playing at a concert, there's always a time to stop and let the piece be what it is. Allow it to take a life of it's own and be. Your mind and body will follow with what it needs to do.

Want to know more or set up a time for lessons? Feel free to contact me at info@apollomusicstudios.com.

Look, this is the bottom line of it. As a musician, you are claiming your right as a musician among thousands of others. All of the musicians are a part of this system that is required to depend on each other in order to create the best for all musicians. This is what I mean. If you play at a venue and request something, the venue owner remembers. Say that I go there and request something completely differently. The venue owner might not respect my request because someone else did not request it or did things differently. All of the musicians that come after end up loosing out.

I said that to say this. As musicians, we have to think as a business. We have to think about how our prices, our style and our approach towards our profession effects others. If we start demanding professional responses, venue owners will have no other choice than to respect the wishes of treating all musicians fairly. It goes for money, respect, time requests, demands, everything.

So, when I say think like a business, I mean think about what the demands that venue owners and others should know about. Present yourself with integrity and demand respect. It pays off in the long run, whether you are playing at the park or at Carnegie Hall.

And, I didn't say it was easy. I know how hard it is. I work too. (smile). But, it is necessary if we want musicians to have some better options.

Want to know more about my business approach for musicians? Become a part of my Professional Music Development Program or my Entertainment Coaching! Shoot me an e-mail at info@apollomusicstudios.com or call 303-657-2717 or my cell at 720-277-2652.

In a set of ideas, here's what the Artist Playground method includes;

• using instruction as an exploratory space

• allowing children to learn at their own pace, without the push

• creating a way to discover music instead of just learn it
  

• building strong foundations for musical ideas and principles

• introducing music in a way that isn't threatening or difficult

Yes, I've actually found a way for this to work. It's a combination of positive reinforcement, games, continuous encouragement and low pressure lessons. Once the kids start to open up, it's a completely different world.

Here's how this started. Believe it or not, when I was growing up and when I went to college, I had absolutely no desire to teach. In fact, I let everyone know that I would in no way, shape or form be a teacher. During my pedagogy classes, I continuously questioned and rebelled against the learning, saying it was because I didn't want to teach.  I know I've probably mentioned that before.

What I finally came to terms with was that I loved seeing kids progress and that I loved to teach. What it really was – I didn't want to teach in the same way that I had learned. My growing into music was very strict. My father was a musician, and he saw that I could play. So, it was extra lessons, extra hours and dropped extra-curricular activities to practice. My teachers all were very strict to – the ruler type, with the exception of one that I found towards the end of my high school years and one of my college teachers.

I hated the pressure, the discipline and the inability to really do what I wanted with the piano.

I stopped fighting the idea of teaching when I had no money and was living on someone's couch. Slowly, I learned to reach out to the children in a way that I had never been reached, where it was fun, non-threatening and exploratory.

What's great is that my kids have bought into it. I'll show up sometimes and they'll have the games for me. Other times, I'll walk into them composing, thinking that it's a game. We get away with laughing and playing during games, and the progress is three times as fast as I have seen it with traditional methods.

In fact, the method is working so well, that I'm now working on patenting my games. Keep a look out for them! If you are a teacher or have a student that is taking music lessons, they can probably help you to.

There you have it – the Artist Playground method. Want to know more, sign up for lessons or exchange ideas? I'd love to hear from you. The e-mail is info@apollomusicstudios.com the number is 720-277-2652.

Let's take a minute to reminisce about the Romantic Period, shall we? I love the period in time (from the 1820s to 1910), because of it's fire, ingenius musicians and pushes and changes that it brought and expanded into music. There is no other period that produced so many composers and musical pieces that said the ultimate and allowed for a certain freedom of musicianship to be at the forefront.

And, that's where Chopin comes in. He was a Polish man who was named as a child prodigy early on in piano. He left Poland for Paris when he was 20, and never returned, even though many debate that his nationalism never left him. I say, he was going where the money was.

He made a living as a teacher, performer and composer. The unique part of Chopin is simple. Everything that he wrote and performed was for piano only. He never touched another instrument, allowing him to become a specialist in the instrument that he knew most.

I'm only giving you one piece to check out by Chopin. The rest you have to do on your own. It's the Polonaise in A flat Major, Opus 53, often referred to as the Heroique Polonaise, of course, a great virtuoso piece. And, of course, check it out with a woman playing it at this link: http://www.youtube.com/watch?v=qwqYnDxWd_c.

Want to know more? Contact me (that's Brooke) at info@apollomusicstudios.com or 720-277-2652.

Here's my first rule of thumb for every parent. Don't force practice on your child. Of course, there should be some sort of understanding and routine for the children to know that they have to put the work into it. After all, music takes a certain level of discipline. Know when to discipline and when to let children explore and discover. You should be able to tell when your child is being lazy or when they are figuring something out.  On that note, let them figure it out the way that they are most comfortable with.  Most of the time, this means that you should step back and let them have fun.  

Second rule of thumb. If you don't understand something about the music, don't try to tell your children what to do. Sure, they might show up the net week doing something wrong, but it's nothing that you should have to worry about, even if you are a musician. Let your child make mistakes, play it wrong and mess up. The teacher, if they are a good teacher, will help them to figure out and make it into a learning process without making a complete tragedy of the whole thing.

So, the trick is this. Let your child explore and have fun. Get involved enough to encourage them to practice and keep them on track. Reward them for discipline and show them that it is important. But, don't confuse them and don't get involved on levels that compromise what you know or compromise the teacher. Even if it means that your child progresses a little slower, (or a little differently), it will help them much more in the long run to learn how to learn.

If you would like to know more about relationships with parents and music, send an e-mail my way. That's info@apollomusicstudios.com.

Sound familiar?

During one time in our lives, we have all had the infamous stage fright. And, we've probably all heard about the ways to solve it. Imagine people in their underwear, drink water, take deep breaths.

If you are like me, you know that none of those have ever really worked.

Here's the thing about it. If you start to understand where it's coming from, you can start to overcome it. There are actually two ways in which you send your energy that brings stage fright, according to those who study the psychology of performance. One of the ways will cause you to sweat, get clam palms and start shaking. If you experience this, it is most likely because you are thinking that you want to give out too much to the audience. The other way is the cotton mouth and everything seems dry. This means that you are drawing back and are afraid to give your audience the entire picture.  Of course, you might have your own personal reasons as well... but that's for you to find out.

Once you understand that, you can start to work at it. Figure out why you are reacting the way that you are. What are your expectations that you are afraid of reaching? What are you afraid that you will do? That's right. Don't picture people in their underwear. Face your fears head to head and figure out how to overcome them.

So, if that doesn't seem like it's your problem, start thinking about why you are doing the performance to begin with. I hate to break it to you, but it's not about you. It's about the message you are giving through the music and how you are affecting people. Get your intentions on the right track and it will do wonders.  Use visualizations and modify your intent so that it works in your favor and makes your performance clear.  

You're not going to overcome stage fright the first time you perform. But, the more you tackle it, the more you perform and the more you understand why you are performing without the extra emotions, the easier it will get.

My point is this – get beyond the cliches, the quick fixes and the bad advice for stage fright. Figure out the root of the problem and fix it. And, expect every performance to get a little bit better and a lot stronger.  Before you know it, you'll be the professional performer that everyone seeks after. 

1. Composition is all about balance. That's right – balance. You should have some instruments in motion and some that are still. Have some that are carrying a melody, and others that are supporting it. Keep some with a beat, and some that don't have a beat. Make sure that there isn't too much of one thing and not enough of another.

2. Are you sure that's the right instrument? Re-check what your arrangement is and make sure that it is going together right. Sometimes, a sound might not be exactly what you need and it can throw the entire thing off.

3. With that in mind, also check your range. It's easy to go a little too high or low for an instrument, even if it is the piano or guitar. Make sure that the range allows you to set the tone right.

4. Check your key signature. I know, you might think that the key of G is great for everything, but it's not. Every key signature (major, minor and the hundreds of modes) carry a different mood. Make sure you start it out right.

5. Know when to switch. By switch I mean rhythm, key signature, chords and anything else that you need. Sometimes a good switch in a song can bring your song to exactly where it needs to be.

6. Have you experimented with the form? Yes, it's not all just verse, chorus, verse, chorus. Spice it up a little bit, bring in something new, find new formulas. It makes ears happy.

7. Know your rhythms. Sometimes accents can get in the wrong place or do the wrong thing for the song, especially with vocals. Depending on your song, you will want to make sure that you have the consistent rhythms with the accents in the right place.

8. Put some dynamics in it. Please? I know that they are not often heard these days, but trust me – it makes or breaks a song.

9. Don't be afraid to let some of your instruments rest. Part of the balance thing I mentioned before is taking out some instruments at times, then putting them back in. It changes the loudness of the song and allows you to give your audience a treat.

10. Trust your instinct. Even if you know all of the rules in the world, it's really your creativity that should come first. If you are thinking about switching something, but can't get it to sound quite right, it's probably because it doesn't. Know when it is time to let your song be.

With these tips in mind, your composition will surely be able to pick it up a notch. If you want to get into more theory, shoot me (that's Brooke) an e-mail at info@apollomusicstudios.com.

So, other than this song being completely linked to a virtuoso mind set, it also has a great story behind it. This piece was written in 1869 after Balakirev had made a visit to Caucasus, a town located by the Black Sea and Turkey. While here, he met a prince, who introduced him to some of the folk tunes of the region on the violin. One of the pieces heard was Islamey, a dance tune that was popular as one of the folk tunes.

The only other part to this piece is in the middle – the slower part. This was actually given to Balakirev in Moscow who was visiting from Crimea. With these different themes given to him, Balakirev was able to write the piece in one month – his record time for any of the pieces he had ever written.

So, what's so great about the tune? If you have seen the video, you already know. It's fast and it's hard. Actually, some of the top virtuosos of all time have admitted that there are a lot of passages that are almost impossible to play. In fact, Rubinstein and Listz, both considered the top pianists of the Romantic / modern eras of music, found this piece as one of the most difficult.

So, this particular piece goes in my first library as one of the greats of all time. All of the elements that are built off of a simple folk tune make it one of the most virtuoso pieces of all times. Elements meaning rhythms, dynamics, form and the way that everything places it together will make you wipe sweat off of your brow.

If you want something to enjoy in piano music, this piece should not be overlooked!

What does teaching your voice to relax mean? In the common cliché, it's not pushing the notes or your voice, but just allowing your natural voice to move forward.

Beyond that, it means not tensing up any of the muscles that are in your throat, face, shoulders... or anywhere else in your body.

Your voice is your instrument. That means that your entire body is your instrument. If you are not relaxing it, you are also not using the instrument correctly. It would be like playing a guitar without the right strings. It just doesn't sound right.

Not only does it not sound right, it can seriously mess up your entire instrument. I know a lot of singers who have sung too much the wrong way, and have developed problems in their throat, such as lymph nodes, causing them to not sing for a good year.

No matter what technique you are using, how you are approaching the song you are singing, or what you are working towards, let yourself relax. Doing simple things such as massaging your neck, throat and face can help. Yawning is also great. Stretching your body and allowing it to move towards being at ease is a great warm up that is often overlooked.

So, go smell some lavender, take a nap, do something, but don't let your instrument become tense.

Ready to start singing? Give me (that's Brooke) a jingle at info@apollomusicstudios.com.

I always tell my students that being a musician is a lot like playing a video game. You start with the beginning level of having all of the goals to win the game. As you go along, you have to pick up certain tools that allow you to get to the next level. If you don't pick them up, forget it – you're going to have to start over.

Of course, the hardest things about the video games and music, is not picking up the tools, it's facing all of the monsters that get in your way. For video games, it's seeing those monsters. In music, it's overcoming those hard to get spots. More than that, it's overcoming those parts of yourself that stop you from learning certain parts. Maybe it's laziness or frustration, or just a hard to reach spot in your mind.

The difference between music and video games is that you can always stop a video game, or you can get rid of different powers in order to access others. With music, it doesn't work that way. Once you are in it, you are always learning something, picking up new tools and trying to overcome those parts of yourself that try to stop you from learning.

So, with all of the different challenges, what makes learning music so great? Of course, it's getting to the end level. It's being able to take what you've learned and share it with others, allowing them to realize something about themselves that makes them feel better about themselves, influences them or gets them to realize something. However, if the video game rules aren't implemented right, it's not as good.

So, if you are thinking about being a musician, toughen up first. Finding out what it's about and what it takes first will help you to reach your challenges and to actually get to the nuts and bolts of what you are learning. If you are interested in contacting me about my philosophies or want to schedule a time to set up a lesson, feel free to contact me at info@apollomusicstudios.com.

Here's to learning!

I have a lot of great things planned for this year. I hope you all stay tuned to the developments in this studio.

What do I have in mind?

The best thing for the year is going to be the benefit concert that is in the works for Angel Covers in Broomfield, Colorado. We're hoping to raise a lot of money through the piano to send to these folks. They do a great service by sending resources, such as blankets, books and shoes to children that are in orphanages around the world. This concert will be a combination of some great classical music and my featured students for the year. Keep in touch, I'll let you know when.

Next best thing is the recent acceptance of our first scholarship! Taji-lee Dunn (one of my students), has been given the Developing Musicians Scholarship. She will receive one semester of lessons for voice and piano, and will record four songs in the Grasshoppa Production Studio.

Stay tuned to the Artist Playground packet, coming for teachers and students. This is a game pack, filled with methods and easy ways to implement major theory concepts. Kids will be able to find easy and fun ways to learn theory and piano, and teachers will have easy tools to help teach. I'm really hoping to have some of the things out by the end of this year. (That's my New Years Resolution).

Of course I'm going to do seminars! I just don't know what yet. If you have any ideas for what you want to hear about, feel free to contact me.

Anyone who is interested in chatting about music, or wants to know more about my programs, feel free to shoot me an e-mail at info@apollomusicstudios.com. I'm always interested in hearing from you.

May blessings fill your New Year!

Thanks for visiting us!  At Apollo Music Studios, we do things a little bit differently.  

So, a little bit about me.  I'm Brooke, and am on this crazy venture to change the way that music is taught.  I grew up learning classical music from a father who was a musician.  All of my teachers were very strict, from five years until college.  I realized early on that the disciplinary and technical aspects were slowly taking over the thought process for musicians.  

I got to college, ready to learn, only to realize that nothing was different.  I really thought that somewhere, they would be.  As soon as I started wishing, I was thrown into two years of pedagogy class, where the same mentality was thrown at us with learning and teaching music students.  

I did what every twenty something year old should do - I decided that I would just never become involved in music.  

Well, that's not quite how things worked, obviously.  With my studio, I love teaching, I love my students and everything is great fun.  

That's because for these first few years, I've been rebelling against the norm.  I've been teaching with the Artist Playground style.  

If you come to my studio, you are going to receive top notch methods, all that are continuously being developed by me.  The main thing that I base my teaching off of is confidence building.  That's right.  I make sure that it's realized that it's okay to make mistakes and just plow towards the music.  

The second thing that I've developed is a lot of games.  I try not to make everything in music so dull, especially the theory part.  That would be the Artist Playground method.  

Of course, now and then, I lay the rules down, but really I don't believe that is what this is all about.  It's more like exploration and having fun with everything.  

There you have it.  That's Apollo Music Studios.  Trailblazing the way for new methods of teaching music!