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#15975 - 04/18/06 07:19 AM Re: How do I determine...?....
Arlene Steffen Offline
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Registered: 06/20/00
Posts: 2972
Loc: Fresno, CA USA
It's not always that intentional. I'll often just look at what the students have chosen to play and and can find some themes around which to group them. The entire recital doesn't need to be one theme.

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#15976 - 04/18/06 08:26 AM Re: How do I determine...?....
John Offline
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Registered: 03/29/01
Posts: 2454
Loc: Bellingham, WA
I used to order performers based more-or-less on the best listening experience for the audience (although young ones were placed earlier in recital). Most of my students played 2-4 pieces, and a few times I programmed STRICTLY based on the best "flow" of pieces. Since students had to go up to the piano more than once, they really had 2-4 performance opportunities.....getting to experience the process of preparation and focus more than once (very helpful!). It also prevented students from totally "tuning out" after they performed their first piece.

Once I threw everyone's name in a hat, and we took turns drawing names for the order. They LOVED the mystery!! I also threw in a few composer names (the person drawing out the card won a composer bust of the same name), and 4-5 theory games (very brief ear or theory games that allowed students to shine....i.e. "NAME THAT NOTE" or "ECHO BACK IN SOLFEGE" or "WHICH RHYTHM?", etc.)

Making every single recital a different experience (I had 4 a year) was what made these recitals exciting musical EVENTS!

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#15977 - 04/18/06 09:15 AM Re: How do I determine...?....
Jennifer Online   content
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Registered: 06/05/02
Posts: 1403
Loc: AZ
What fun ideas Jon. I have done the hat thing but never thought of adding some other things in the mix. I'll have to remember that!
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#15978 - 04/27/06 09:15 AM Re: How do I determine...?....
Manon Troppo Offline
Resident Member

Registered: 10/10/05
Posts: 318
As for me, I aim for variety (it's the spice of life!) in repertoire, ranging from classical (yes, both traditional and contemporary/avant-garde) to popular. I had some students play Nintendo music (Final Fantasy, to be exact--video game music books are out there!) and some goofily creative (or creatively goofy!) avant-garde pieces with shouting, screeching (any kind of sound goes!) and string-plucking. They definitely had fun with that stuff (and consequently, they didn't feel too nervous performing!) and the audience got a kick out of it, too! I also throw in secular and sacred music plus solo and duo repertoire. It's just more exciting that way. (It's much more fun to play duets and students don't feel jittery in that sort of arrangement.) Sometime sooner or later, I'm also planning to have a studio performance in a form of an open-mike gig (also involving other instruments than piano) instead of the traditional recital format, but again, any type of music goes. (I'm thinking about adding improv stuff--for those who can do it.) That kind of setting would give students experience in performing different kinds of music to make them versatile, functional musicians.
_________________________
If noise means uncomfortable sound, then pop music is noise
to me. - Masami Akita (Merzbow)

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