Leading As A Vocalist

Student recitals can be tremendously fun and valuable experiences for young pianists.
Unfortunately, they can also be a source of some stress and anxiety if preparations aren't
complete and certain practices aren't followed. There are guidelines and rules of behavior
all performers and audience members should follow during music recitals of any sort. The
most basic rule is to give the performer the same courtesy and respect you would desire in
the same situation.
Audience members must remember the purpose of their visit to the recital hall - to listen
quietly and appreciatively to the music being offered by the performers. It is rude and
offensive to talk while someone is playing. Conversation can also be quite distracting to
others in the audience, perhaps even to the performer if the talking is loud enough. Making
noises or chewing gum or candy is not acceptable. It is also not polite to write notes to
others, pull out a book to read, or make origami animals and paper airplanes out of the
programs while the recital is in progress. Once a recital begins, there should be no
movement - that means no running to get a drink of water, no strolling up and down the
aisles, and no leaving to go to the bathroom (unless and only unless it is an absolute
emergency). Parents should discuss with their children in advance whether or not video-
taping or picture-taking will interfere with the child's concentration. I have witnessed
many times a potentially good performance turn into a frenzy after the flash of a camera. It
can be very startling to have a flash aimed at you unexpectedly while playing.
Regarding the performers themselves, I feel very strongly that one should be comfortable
when playing. Comfortable, by my definition, is clothing that doesn't restrict arms, elbows,
or wrists. I don't feel suits and formal gowns are necessary for student recitals; but
sneakers, t-shirts, torn jeans, spandex, etc. are definitely not appropriate. Such casual
outfits leave the impression that your audience is not important enough to merit your best
appearance.
All performers need to bow; that's just the law. It is necessary to bow regardless of the
quality of your performance. Applause is an appreciative acknowledgement of your playing
by the audience. If you do not bow, it is comparable to your saying, "I don't care what you
think." If after a performance, audience members compliment you, accept the praise
graciously. It is rude to discredit their remarks by suggesting they are kidding, they didn't
realize all the mistakes you made, or that they are just trying to be nice.
In short, as a performer, you must arrive on time wearing appropriate recital attire, listen
carefully, play well, bow when you approach the piano and when you leave, be very quiet
while others are playing, and be polite to the other performers and audience members at all
times. Oh, and HAVE FUN!
With summer fast approaching many studios are preparing for end-of-school-year recitals. An important
aspect of a successful piano recital is the observance of proper recital etiquette. Below are the top ten
rules that audience members should observe when attending a recital.
The Audience:
(1) Arrive on time, or a little early. When audience members arrive on time it provides the best
opportunity for the performance to begin on time. Arriving a few minutes early will also allow for time
to get a program and to get seated. In fact, those who arrive early usually get the best pick on seating.
(2) Limit perfumes or colognes. While perfumes, colognes and scented body lotions do smell good, in a
recital/concert setting it is NOT considered appropriate to wear strong smelling scents. Many people
have allergies to perfumes. So, out of respect to the other members in the audience it is considered
proper etiquette to limit, or refrain from, applying scented items on your body or clothing.
(3) Sit QUIETLY and listen to the performances. The role of the audience is to provide appropriate
support and encouragement to the performer, and to receive enjoyment from the performance. As
such, it is expected that audience members follow some basic rules:
* No talking, loud whispering, or humming along during a performance. Additionally, noisy candy or
cough drop wrappers should be avoided! This can be very distracting to the performer and can
(especially in young students) cause problems in the performance. It is also quite distracting for
audience members.
* Remain seated during the performance (no wiggling or walking about), and only leave between pieces
if absolutely necessary.
* No gum. Smacking and chewing noises can distract other audience members. And, gum dropped in a
recital venue can create a "sticky" mess. It is best to use (quiet) breath mints instead.
* No whistling, yelling, or other loud methods of congratulations should be done, especially prior to the
performance. If a performer is focused and ready to play, but becomes distracted with the "cat-calling"
and "whooping" it can really throw off his performance. While boisterous congratulations are meant to
show support for the performer, it may actually cause unintended problems instead. The best way to
show appreciation for the performance is with thunderous applause, and an occasional "bravo" at the
end of an especially great performance.
(4) Go to the bathroom BEFOREHAND. If it becomes absolutely necessary to leave the hall during the
recital it should be done quietly and between pieces rather than in the middle of a piece.
(5) No flash photography. If pictures or video are allowed in the recital it is best to stand in the back and
be as unobtrusive or noisy as possible. And, cameras should have the flash turned off. Random and/or
unexpected flashing of cameras (along with the clicking noises) can really distract a performer.
(6) Turn off your cell phone or other electronic devices. It's obvious enough that phone ringing and
beeping is very distracting to the performer and the audience alike. It is necessary to save the texting
and talking for after the recital is over.
(7) Attend the entire recital. Leaving early is not considered proper etiquette. All of the performers have
worked hard to prepare for the event and all deserve equal respect and courtesy (i.e. a full recital hall).
(8) Clap appropriately. In addition to providing applause in congratulations it is also important to

remember to only clap at appropriate times. For example, a multi-movement piece should only receive
clapping when all of the movements have been played. Also, in piano recitals it is NOT considered
appropriate to clap after an especially brilliant passage has been played. Instead, applause is reserved
for after the performance is over (or when the performer first enters the stage).
(9) Dress appropriately. Unless otherwise indicated in the invitation the general rule on recital attire is
for it to be clean, not have holes or tears, and be more dressy than a tank top or casual t-shirt or other
other overly casual clothing (like short jean skirts or shorts). A good practice is to dress as if going to
church or on an interview.
(10) Most important of all is to enjoy the music. Creating an environment which allows all audience
members to listen to the performances unhindered will result in an enjoyable and valuable experience
for all involved. After all music is fun! It should be enjoyed.
There are many benefits to learning, teaching and applying proper recital etiquette. Recital etiquette is
an important social skill that audience members should know and practice.
Pianists and music enthusiasts know how to attend a piano recital, but what about the rest of
society who has never had the pleasure of appreciating one? If you have been invited, or would
just like to attend one, this article will guide you through what to expect and the proper etiquette
that is expected from an audience member.
Difficulty: Easy
Instructions
1. 1
Photo by: www.bridalwave.tv
Dress appropriately. Most piano recitals, if not otherwise specified on the invitation, are
semi-formal. Women don't need to wear a full length dress, nor men a tuxedo. For
women, a dress, slacks, or skirt may be worn, preferably with dress shows. Men should
wear a suit and tie, although at some recitals ties are optional.
2. 2
Photo by: www.youngmusiciansmuscat.org
Follow along with the program. If a recital program is available, be sure to pick one up
and follow along. This will help you know when to clap, and also help you know what to
expect. Although not common, some piano recitals have intermissions, and the program
would be a great indicator of this.
3. 3
Photo by: www.readingeagle.com
Know when to applaud. This is where having a program comes in handy. Piano recitals,
especially if for piano students of a wide array of ages and skill, can vary in piece
performance selections. The program will list each performer and their performance
pieces. Unless noted on the program, or by the recital host, clap at the conclusion of each
song.
Some songs, as in sonatas, are broken down in to movements, and are commonly played
by students with a higher skill level. At the conclusion of each movement, the pianist will
pause briefly before moving into the next movement. Do not applaud until all of the
movements have been played.
Once a pianist is finished performing, they will stand up and bow. This would be the time
to give any standing ovations you feel are appropriate.
4. 4
www.robertjordanpianist.com
Remain in your seat. If at all possible, avoid getting up in the middle of a performance. In
the event that there isn't an intermission, and you feel you must exit the recital briefly, do
it after a performer has concluded. Do not re-enter the recital hall until the next pianist is
finished.
5. 5
Photo by: www.istockphoto.com
Be respectful. As with any event, turn your cell phone off, refrain from fidgeting and
being disruptive, and don't talk during the performance. The performers have worked
hard on their songs, and others around you may be enjoying and appreciating the music.
Piano recitals can be a delight to attend, and are meant for listening and appreciating
beautiful music. So do just that--listen and enjoy!
Read more: How to Attend a Piano Recital | eHow.com

http://www.ehow.com/how_4845563_attend-piano-recital.html#ixzz1FcdltvdK
Classical Music Concert Etiquette: Piano
The great problems in presenting this topic are: (1) how not to make it sound condescending to
the experienced concert goers, and, (2) still keep it instructional to the newcomer. While the
following comments and observations extend to all types of classical concerts I slant them
toward (piano), my having had the most experience in this arena. So then at the risk of boring the
anointed, forgive me; and to those of you who are first timers at a classical concert I would
suggest that even the more obvious elements of protocol and propriety may not always be
evident. So let me give it a somewhat lighthearted try.
BEFORE ARRIVING
Dress
It is said that decorum at classical concerts is in transition. Of course, what isn’t? However, that
being said, I am more a traditionalist in this regard and would suggest that attendees reflect on
the thousands of hours the artist has devoted over many years in refining that which he or she
would present to you. An outfit you would choose to wear to a job interview or a business
meeting would be appropriate. Children should be dressed in shirt and slacks or dresses. It would
also be advisable to go very light on fragrances. Many people are allergic to perfumes and
colognes.
Children
Some venues will not let (young) children in the door so it is best to find out ahead to time what
the policy of the house is. In general, a five or six year old would be welcome – but only if you
are confident control will be maintained and that may be difficult to predict. (I remember an
instance of a youngster rolling a ball into the pedals of a piano in the middle of a performance.)
Leave the toys home. If, with the best of intensions, a youngster should become unruly, it is best
to escort him or her out at the earliest moment with least disruption possible.
Advance Review of the Program Selections
If you can find out in advance what the repertoire will be, it would be very advantageous to listen
to the selections (perhaps you can find a CD containing them). Reading through the musical
score, if you have that skill, will also enhance your enjoyment. The internet is a great help in this.
ARRIVAL, AND AFTER
When to Arrive
It is good to arrive ten to fifteen minutes ahead of a performance. Remember, you always forget
where you put the tickets while you are trying to get out the door. And it usually takes longer to
find a parking spot then you think. Give yourself adequate time. If you do arrive late, please
expect to be seated between selections. Even if an usher is not present, follow this courtesy.
Once Seated
There are open seating or reserved seating events. Just purchasing your seat ahead of time does
not guarantee you a ‘specific’ seat if it is an open seating event. If it is open seating it is first
come first served. If you have reserved a specific seat it will be awaiting your arrival. Unless
otherwise stated, children’s seats are expected to be paid for. It is important to stay seated except
in cases of dire need or emergency.
Applause! Applause!
It is a sign of recognition and respect to applaud the soloist as he or she appears on stage. As you
read your program you will note that on the more major compositions several (movements) may
be listed as subcategories. It is best not to applaud between movements of these works. (At times
there may be spontaneous applause from the audience when a particular movement is
particularly well executed.) Often the artist will choose to continue from one movement to
another with little or no pause. (This is another good reason for having heard the music before
attending.) One can always follow the lead of the more experienced concert goers in this matter.
The Dash to the Parking Lot (Concert Grand Prix)
Do the few minutes you might gain leaving early (while the artist is being applauded) really
make up for the wonderful encore(s) you might miss or the people you disturb while walking
over them? It is considered disrespectful to leave before the concert is over and the concert is not
over until the artist has received his or her final curtain call.
GENERAL COMMENTS
Distractions
Sometimes things just happen. A chair collapses. The lights go off. A door slams shut. However
it is best not to try unwrapping candy and snacks. Leave the food at home, or wait for an
intermission to refresh. Digital/electronic anything – OFF. (It is amazing the things that can be
overlooked. Once at a competition I was hosting a particularly noisy phone, playing the Minute
Waltz, started to ring and everyone was looking around to see who caused this faux pas – only to
have the artist stop playing and reach into his tux to retrieve his phone. A friend wanted to know
how he was doing?!) As a general rule, cameras camcorders and the like are not well received at
concerts. Many venues strictly forbid their use. Copyright laws are often in effect. If pictures are
to be taken, it is best to obtain them before or after the performance. Often a reception is given
and this is usually a good opportunity for a picture. (I recall an instance at a competition where a
gentleman in a front row seat, and this was in close proximity to the piano, with his large camera
that sported a huge telescopic lens, began blasting away as the playing started. The artist had the
good sense to stop his performance and coolly asked the gentleman to desist.) Even the more
quiet cameras can sound like a gun going off – at the wrong time. I read someplace that a
particular artist was so distracted by noise (and this is an extreme case) that he had his programs
printed on silk!
IN CONCLUSION
Attendance at a classical concert should not be a trial. You are there to enjoy some of the most
beautiful music ever written. In matters of deportment, let common sense be your guide. Always
remember – If you have class, it shows, if you don’t, it shouts.
Al Williams
Classical Pianists of the Future
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Recital Etiquette (Part 1)

May 17, 2010
By admin
With summer fast approaching many studios are preparing for end-of-school-year recitals.
Previously I discussed how teachers can prepare students to perform in recitals (please see
“Preparing Your Students for Recitals (Part 1, Part 2, and Part 3 for a refresher). Now it is time
to discuss how to behave and what to do (i.e. etiquette) when attending a recital. These tips
apply not only to private studio recitals, but to large-scale concerts as well. Recital etiquette can
be broken up into three categories: the performer, the audience, and the teacher. Each of these
three plays an important role in the success/outcome of each individual performance and also of
the recital as a whole. Accordingly, each has a unique responsibility to follow proper recital
etiquette.
This post is going to be divided into 3 parts and published separately; one for each the performer,
the audience, and the teacher.
(Part 1) The Performer:
(1) Arrive early. Performers should arrive before the start of the recital so that they can find
their chairs and get seated, receive any last minute instructions from the teacher, and take some
time to relax and become focused. If students arrive early enough they can also take a few
minutes to warm up at the keyboard and test out the feel of the piano and the acoustics in the
room, as well as make any needed adjustments to the piano bench. Having performers arrive
early will also create the best opportunity for the performance to begin on time (something that
the audience will greatly appreciate!).
(2) Be prepared. Performers should have their music with them (just in case), be dressed
appropriately and go to the bathroom prior to arriving at the recital venue. However, if for some
reason a bathroom break is needed during the recital it is best to leave the room quietly and
between pieces rather than in the middle of a piece.
(3) Be kind to fellow performers. Everyone who is performing in a recital has worked hard to
be there, most are somewhat nervous, and all are doing the best that they can. Accordingly,
everyone deserves to be treated with kindness and respect. To do this:
 Do not talk or wiggle about during the other performances.

 Remember to only make nice comments about the dress and skills of the other students. (In
other words do not make rude comments about the other students or their performances.)
 Attend the entire recital. It is hurtful and rude to leave the recital after finishing your
performance, but before the recital is over. If every student were to leave after their
performance then there would be no audience left for the final performer. Every student has
worked hard to prepare for their performance and everyone deserves an attentive, full
audience.
(4) Be humble and respectful. It is important for the performer to gracefully accept
compliments whether the performance was fabulous or a bust. Being conceited or overly down-
trodden will often be considered a “turn-off” and that in no way helps the performance or the
mood of the audience!
(5) Remember the proper protocol. Performers need to approach the piano from the LEFT
side (when possible), remember to smile at the audience, and bow before and after their
performance. These small and simple steps make a big difference to how the audience will
respond to the performer, which in turn often affects the overall outcome of the performance.
There are many benefits to learning, teaching and applying proper recital etiquette. Teachers can
teach proper etiquette to their students during lessons, and especially during preparation for an
upcoming recital. Additionally, helpful tips and reminders regarding etiquette can be included in
the recital program so that audience members can learn and remember as well. Recital Etiquette
is an important social skill that musicians and audiences alike should know and practice.
Unfortunately it seems to be frequently neglected at performances these days. However, with
time and patience and persistence teachers can provide a positive influence and help build up a
community of responsible musicians.
May your upcoming recitals be joyous and successful.
etiquette.
Below is part 2 of 3 posts regarding recital etiquette.
(Part2) The Audience:
(1) Arrive on time, or a little early. When audience members arrive on time it provides the
best opportunity for the performance to begin on time. Additionally, arriving a few minutes
early will allow for enough time to get a program, briefly say hello to/connect with other parents
of performers, and to get seated. In fact, those who arrive early usually get the best pick on
seating.
(2) Limit perfumes or colognes. Audience members often are placed in seating that is close
together for the duration of the recital (which is commonly an hour or more). While perfumes,
colognes and scented body lotions do smell good, in a recital/concert setting it is NOT
considered appropriate to wear strong smelling scents. Many people have allergies to perfumes.
So, out of respect to the other members in the audience it is considered proper etiquette to limit,
or refrain from, applying scented items on your body or clothing. Of course, it is important to
remember that unpleasant odors are also not considered proper etiquette so mild deodorants and
breath mints are encouraged. Enough said.
(3) Sit QUIETLY and listen to the performances. The role of the audience is to provide
appropriate support and encouragement to the performer, and to receive enjoyment from the
performance. Remembering that an audience consists of many people, and that all deserve
equally to enjoy the performance, it is expected that audience members will follow some basic
rules:
 No talking, loud whispering, or humming along during a performance. Additionally,

noisy candy wrappers and cough drop wrappers should be avoided! It is best to plan
ahead and remove items from their wrappers before entering the recital hall. All of these
noises can be very distracting to the performer and can (especially in young students)
cause problems in the performance. It also can be quite distracting for audience members
sitting close by, which will likely disturb their quality of enjoyment.
 Remain seated during the performance (no wiggling or walking about), and only leave
between pieces if absolutely necessary.
 No gum. Smacking and chewing noises can distract other audience members. And, gum
dropped in a recital venue can create a “sticky” mess. It is best to use (quiet) breath
mints instead.
 No whistling, yelling, or other loud methods of congratulations should be done. This is
especially true prior to the performance. If a performer is focused and ready to play, but
becomes distracted with the “cat-calling” and “whooping” from the audience it can really
throw off his performance. Boisterous congratulations are meant to show support for the
performer, but it may actually cause unintended problems instead. Please consider the
performers needs before shouting out in congratulations! In other words, if the audience
does engage in loud whistling or yelling (despite the fact that it is considered really poor
manners to do so), it should only be done after the performance is completed! The best
way to show appreciation for the performance is with thunderous applause, and an
occasional “bravo” at the end of an especially great performance. Loud applause is a
heart-warming sound and is very exciting for a performer. Loud whooping and yelling
really is not necessary for getting the message of support and love across.
(4) Go to the bathroom BEFOREHAND. It can be disruptive to get up in the middle of a

recital, especially if getting up requires stepping over many people’s feet. But, if it becomes
absolutely necessary to leave the hall during the recital it should be done quietly and between
pieces rather than in the middle of a piece. That way it is the least disturbing as possible for the
other audience members, as well as for the performer.
(5) No flash photography. If pictures or video are allowed in the recital it is best to stand in the
back and be as unobtrusive or noisy as possible. And, cameras should have the flash turned off.
Random and/or unexpected flashing of cameras (along with the clicking noises) can really
distract a performer and cause problems in the performance. It is better to take pictures before
and after the performance instead. If a picture at the piano is really desired then a little “staging”
can always occur after the recital is over!
(6) Turn off your cell phone or other electronic devices. I think it’s obvious enough that
phone ringing and beeping is very distracting to the performer and the audience alike. It is
necessary to save the texting and talking for after the recital is over.
(7) Attend the entire recital. Leaving early is not considered proper etiquette. All of the
performers have worked hard to prepare for the event and all deserve equal respect and courtesy.
In other words, each performer deserves to have a full recital hall.
(8) Clap appropriately. In addition to providing thunderous applause in congratulations (as was
discussed above), it is also important to remember to only clap at appropriate times. For
example, when a performer has a multi-movement piece the audience should only clap after all
of the movements have been played. Additionally, in piano recitals it is NOT considered
appropriate to clap after an especially brilliant passage has been played. Instead, applause is
reserved for after the performance is over (well… and also when the performer first enters the
stage).
(9) Dress appropriately. Unless otherwise indicated in the invitation audience members should
always dress in a respectful manner. This can be interpreted in different ways, but as a general
rule clothing should be clean, not have holes or tears, be more dressy than a tank top or casual t-
shirt or other other overly casual clothing (like short jean skirts or shorts). A good rule of thumb
is to dress as if going to church, or on an interview.
(10) Most important of all is to enjoy the music. Creating and maintaining an environment
which allows all audience members to listen (and watch if desired) to the performances
unhindered will result in an enjoyable and valuable experience for all involved. After all music
is fun! It should be enjoyed.
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June 14, 2010
By admin
With summer fast approaching many studios are preparing for

end-of-school-year recitals. Previously I discussed how teachers can prepare students to perform
in recitals (please see “Preparing Your Students for Recitals (Part 1, Part 2, and Part 3 for a
refresher). Now it is time to discuss how to behave and what to do (i.e. etiquette) when
attending a recital. These tips apply not only to private studio recitals, but to large-scale concerts
as well. Recital etiquette can be broken up into three categories: the performer, the audience,
and the teacher. Each of these three plays an important role in the success/outcome of each
individual performance and also of the recital as a whole. Accordingly, each has a unique
responsibility to follow proper recital etiquette.
Below is part 3 of 3 posts regarding recital etiquette.
(Part 3) The Teacher:
(1) Prepare a brief introduction and closing to welcome and thank your audience. It is
always a nice touch to welcome the audience and thank them for coming. This verbal
introduction is a great time to remind audience members to turn off cell phones, to clap only after
the entire piece is over, and also to praise your student’s efforts in preparing for the event. A
warm and kind introduction can set a positive tone for the entire recital. It is also considered
good recital etiquette to thank the audience, and provide any additional instructions (such as
where to find the refreshments, etc) at the conclusion of the recital.
(2) Be approachable. It is important for teachers to talk to the guests who have come to enjoy
the recital (i.e audience members) and thank them for coming. This can be done either as guests
are entering the venue or after the recital is over.
(3) Be a good example. Teachers need to “practice what they preach.” For example, it is
essential that teachers dress appropriately, arrive ahead of time, and are prepared for the event.
Running around and scrambling to finish up last-minute details can often lead to an air of
frustration and stress that does not help the performers or audience members enjoy the event.
Teachers also need to listen quietly to the performances and NOT be running around in the
background dealing with final details or taking care of food, etc. The teacher needs to be sitting
quietly, listening attentively, clapping when appropriate, and on-call in case a student needs help.
(4) Pay attention. Most audience members don’t really know when to clap so it’s important for
the teacher to pay attention to where the students are in their pieces so they can begin clapping at
the appropriate time. Additionally, if a student needs help it will be much easier to provide
assistance if the teacher knows what is going on and where a student is in his piece. An attentive
teacher is a helpful teacher.
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Preparing Your Students for Recitals (Part 1)

March 1, 2010
By admin
Recitals are a wonderful way for students to gain experience and proficiency in performing.
There are many elements to learn when beginning to participate in recitals. Helping your
students know what to expect and providing them with many recital “practice” opportunities will
create comfortable and confident performers. With so many aspects related to recital preparation
this post is going to be divided into 3 parts and published separately.
Note: in this article the pronoun “him” is used for simplicity’s sake to refer to a single student, but no gender bias is
intended or implied.
(Part 1) The Practicalities of Performing.
Below are practical items which should be discussed with your students prior to their
participation in a recital.
How to Approach the Piano. Many students, especially young beginners, are not aware that
there is a “rule” regarding how to approach the piano for performance (i.e. walking up to the
piano before sitting down to play). The correct direction from which to approach the piano is the
left side ( this means either the left side of the stage or the left side of the piano whichever makes
the most sense in your recital situation). Even if your current piano arrangement is not conducive
to a left-sided approach it is still important to teach your students what the correct rule is in this
regard. Doing so will help your students in future instances where they are able to approach
from the correct side.
Whatever your particular piano and approach arrangement is for recitals, providing your students
with opportunities to practice approaching the piano will give them an added element of
confidence and ease at the recital. For instance, one or two lessons prior to a recital I will have
my students pretend to be “off stage” and then come into the room, or “on stage,” and approach
the piano. I have found this exercise to be extremely useful in preparing my students for what to
expect at the recital
Bowing. A performer shows his appreciation of the audience’s clapping by bowing in

acknowledgment. If your student does not already know how to bow then it will be necessary to
show him how to do so, and have him practice bowing. Acceptable times for bowing are: (1) As
part of the approach to the piano, if the audience applauds the performer’s entrance. The student
will walk up to the piano and bow to the audience before sitting at the bench. (2) After a piece
has been performed and the audience begins to clap.
To teach a proper bow have your student stand straight up, with arms hanging at his side. Then
instruct your student to bend at the hips (as if bending over to touch his toes), all the while
keeping his arms at his side. Your student does not need to bend far to have an effective bow!
Remind your student to look down to the ground for the bow, and then up at the audience again
as the student rises to a standing position again. It is useful to have your student practice bowing
several lessons prior to the recital. Also, practicing this in conjunction with the approach to (and
leaving from) the piano is very beneficial for your student.
Preparing to Perform. Once a student has approached the piano and bowed it is now time for
the student to sit at the piano. That sounds simple enough doesn’t it? However, what is your
student to do if the prior performer had the bench closer to or father away from the keyboard
than the current student needs? How long should your student wait before beginning to play? Is
your student playing with the sheet music instead performing from memory? There are a variety
of simple things which can throw off your student’s concentration and confidence if your student
is not prepared. It is often the little things that cause problems. As such, help your student think
through the possibilities and help him find solutions to the potential problems prior to the recital.
For example:
(1) If the previous performer left the bench too close or too far away for your current student to
use then it is perfectly acceptable for your student to take some time to adjust the piano bench.
The best method to do this is to sit lightly at the bench and shift it forwards or backwards as
needed. Once the bench is in position your student will place his hands in his lap or at his side.
This will signal that the adjustments to the bench are completed. The same goes for raising or
lowering the bench height.
(2) Teach your students to take time to think before beginning to play. The audience is there to
hear a performance. As such, they will wait until the performer is ready. It is perfectly
acceptable (and is highly recommended) for students to take time to think about the piece before
beginning to play. Teach your students through practice opportunities (during lessons) how to
feel comfortable with taking time before playing their piece.
(3) If your student is playing with sheet music then he should carry the music in the hand that is
facing away from the audience as he approaches the piano. Additionally, once your student sits
at the bench he will need to adjust the piano as is necessary to hold up the music. Then your
student should open to the correct page, look at it while quietly sitting, and then only begin
performing when he is completely ready to do so.
Thinking through the various possibilities that your student may face and helping him come up
with a game plan, and then practicing it together at lessons, will help your student remain at ease
during the recital.
Dealing with Audience Eccentricities. Audiences are wonderful and a necessary element for
any performance. However, sometimes audience members can exhibit funny, distracting, or
downright disruptive behaviors during a recital. You never completely know what to expect
when you get a room full of parents, siblings, and friends to watch a performance. But, there
are some fairly common occurrences which your student should be prepared for in case they
happen while playing. For example:
(1) Clapping at the “wrong” time. If your student is playing a multi-movement piece more often
than not someone in the audience will clap between the movements, even though they should
wait until all of the movements have been performed. This happens even when it has been
announced ahead of time that they should wait until the last movement of the piece is
completed. Audiences just forget sometimes. Discuss with your students acceptable options to
do if this occurs, such as ignore the clapping and continue on with the piece, or give the audience
a very slight nod as acknowledgment of their support before moving on with the piece.
However, remind your students that in a multi-movement work they would never stand and take
a bow between movements, even if clapping occurs.
To help you students prepare for this situation provide practice scenarios while your student is
playing during a lesson. To do this let your student begin to play his piece and then interrupt him
with clapping at an inappropriate time. If you do it when your student is least expecting it
(though, of course only after you have discussed this concept with him) then it will provide him
with the most “real” opportunity to practice the experience, as well as assess his reactions to it.
(2) Extra noise, such as candy wrappers, babies, and coughing. A performer needs to be able to
concentrate despite the myriad of potential distractions in a live performance. To prepare your
student for this possibility it is best to provide practice opportunities during lesson time. For
example, you can reach in front of your students while they are playing, take flash photos of
them, talk out loud, talk to other people on the phone or in the room, walk around, cough, hum
along with the piece while your student is playing, open a noisy wrapper, etc. This may seem
rude, but in reality it is helping your students learn to concentrate no matter what happens. That
is an essential skill for a performer to have! As a side note, you would only begin this technique
once your student has thoroughly learned his piece, or sections of his piece.
It really doesn’t do your students any good to sit quietly every time they perform their recital
pieces during the lesson because an audience isn’t going to be able to be so attentive and
courteous. Providing opportunities during the lesson for your students to practice being
distracted and being able to ignore those distractions is tremendously helpful in preparing your
students for a recital. You will find that some students do this easily and other students will
require weeks of training to achieve some proficiency. If you have a distractable student it is
particularly important that he receive training in how to focus while performing. You will
probably want to begin practicing with him in this manner several weeks before a recital.
Unfortunately for some students if they have not received this valuable training they will fumble
in a performance and will make silly mistakes, even forgetting their previously memorized
piece. It is very sad for a student to feel poorly after a recital instead of enthusiastic and happy!!
If your student is prepared ahead of time it is MUCH less likely that problems will occur in the
actual recital.
When preparing students for recitals keep in mind that it is important to provide them with the
BEST chance of success at every opportunity. Help create opportunities for your students to
learn early on that sharing music with others can be a highly rewarding and exciting experience
(and not something to be feared)!
Look for our upcoming blog post entitled Preparing Your Students for Recitals (Part 2) –
“Elements of Emotion” on March 15, 2010.
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May 17, 2010
By admin
etiquette.
This post is going to be divided into 3 parts and published separately; one for each the performer,
the audience, and the teacher.
(Part 1) The Performer:
(1) Arrive early. Performers should arrive before the start of the recital so that they can find
their chairs and get seated, receive any last minute instructions from the teacher, and take some
time to relax and become focused. If students arrive early enough they can also take a few
minutes to warm up at the keyboard and test out the feel of the piano and the acoustics in the
room, as well as make any needed adjustments to the piano bench. Having performers arrive
early will also create the best opportunity for the performance to begin on time (something that
the audience will greatly appreciate!).
(2) Be prepared. Performers should have their music with them (just in case), be dressed
appropriately and go to the bathroom prior to arriving at the recital venue. However, if for some
reason a bathroom break is needed during the recital it is best to leave the room quietly and
between pieces rather than in the middle of a piece.
(3) Be kind to fellow performers. Everyone who is performing in a recital has worked hard to
be there, most are somewhat nervous, and all are doing the best that they can. Accordingly,
everyone deserves to be treated with kindness and respect. To do this:
 Do not talk or wiggle about during the other performances.

 Remember to only make nice comments about the dress and skills of the other students. (In
other words do not make rude comments about the other students or their performances.)
 Attend the entire recital. It is hurtful and rude to leave the recital after finishing your
performance, but before the recital is over. If every student were to leave after their
performance then there would be no audience left for the final performer. Every student has
worked hard to prepare for their performance and everyone deserves an attentive, full
audience.
(4) Be humble and respectful. It is important for the performer to gracefully accept
compliments whether the performance was fabulous or a bust. Being conceited or overly down-
trodden will often be considered a “turn-off” and that in no way helps the performance or the
mood of the audience!
(5) Remember the proper protocol. Performers need to approach the piano from the LEFT
side (when possible), remember to smile at the audience, and bow before and after their
performance. These small and simple steps make a big difference to how the audience will
respond to the performer, which in turn often affects the overall outcome of the performance.
May your upcoming recitals be joyous and successful.
Preparing Your Students for Recitals (Part 2)

March 15, 2010
By admin
Recitals are a wonderful way for students to gain experience and proficiency in performing.Â
There are many elements to learn when beginning to participate in recitals.Â Helping your
students know what to expect and providing them with many recital “practice” opportunities will
create comfortable and confident performers.Â Â Below is part 2 of 3 posts regarding preparing
your students for recitals.
Note: in this article the pronoun “her” is used for simplicity’s sake to refer to a single student,Â but no gender bias is
intended or implied.
(Part 2) Elements of Emotion
(1) Receiving compliments and praise. Shy students and/or students who have made mistakes
in their performance sometimes do not know how to graciously accept compliments and praise
after the recital.Â But, a true “performer” needs to accept compliments and say “thank you” no
matter how she personally feels about her performance — it’s just part of performance
etiquette.Â Professional “performers” do not let on that mistakes have occurred (even if
everyone knows there were mistakes).Â So, in training your students to be good performers it is
essential to provide your students with the opportunity to practice graciously accepting
compliments.
To practice this, take time during regular lessons to compliment your student on something that
she has played for you — whether there were mistakes or not — and see how she reacts.Â
Teach her to say “thank you” and to smile or shake hands when appropriate.Â If you practice
this regularly it will in timeÂ become automatic for her to do.
Another tip to provide to your students is to let them know that many times an audience will
NOT be aware of any mistakes that occurred in the performance simply because the audience
does not know the piece and/or is not proficient in music.Â For a student to cringe or flinch
during the performance or to look down-trodden after a performance will only clue in the
audience that something went wrong.Â The appearance of confidence and being pleased with
the performance will cover up a myriad of musical sins for an audience!Â
(2) Learning how to deal with the fear and stress of performing. Not everyone is a natural
born performer.Â Shy students, young students, new students, ill-prepared students, and
students with low self-esteem can sometimes experience extreme fear and stress when required
to perform in public.Â A display of compassion and sympathy are vitally important when
dealing with a student in this situation!Â The best way to help your student overcome stage
fright is to teach her techniques for dealing with performance anxiety.Â Some typical methods
include deep breathing, meditation, focusing/mentally picturing the piece, visualizing a
successful and happy outcome, pretending to be all alone, thinking about happy thoughts, etc.
Above and beyond those techniques sometimes all that is required, in helping a student to
overcome the fear of performing, is to provide many/frequent opportunities to “practice perform”
in front of small and familiar audiences.Â Oft times when a student becomes comfortable and
confident performing in front of small and familiar groups it becomes easier to perform in larger
and less familiar groups (as is likely to be the case at a “real” recital).Â Familiarity with
performing itself may be all that is required.Â In this case, hosting a variety of mini-recitals for
you student is a fabulous idea.Â Mini-recitals can be done with a small group of students who
perform for each other (like group lessons or studio workshops), one or two students and their
families, a small group of your student’s friends, etc.Â Many mini-recitals provides your student
with multiple opportunities to perform and become comfortable with the piece that she will be
performing at the main recital.Â If there are any problems in the mini-recitals then it gives your
student the opportunity to fix/address them before the main event.
Unfortunately there will be times when you have gone through all of the options above with your
student and she still continues to have fear and stress in relation to performing.Â If this is the
case then consider discussing with her parents a technique called “EFT” (emotional freedom
technique).Â According to Gary Craig (who is the founder of EFT), “EFT is an emotional
version of acupuncture wherein we stimulate certain meridian points by tapping on them with
our fingertips.Â Clearing away the fear and stress associated with the idea of performing
willÂ help a student to play with confidence anew.
(3) Dealing with mistakes.Â Prior to a recital remind your students that no one is perfect and
that mistakes are a normal part of learning and performing music.Â I often share with my
studentsÂ examples of famous performers who have made mistakes and “survived.”Â Â For
example, I will tell them about the time thatÂ Alicia de Larrocha missed the final note in her
piece,Â part ofÂ a long descending scale, during a concert.Â She stuck her tongue out —
making light of the situation (though of course, I suggest to my students that they keep their
tongues in).Â Or, I will share various examplesÂ of professors at myÂ University who made
mistakes in concert and how they gracefully pulled it off.Â Or, I will share with them
experiences that have happened to me during a performance.Â After all, it is not the mistake that
matters, but what a student does with the mistake that will ensure a good performance.Â Remind
students that is it never OK to just stop playing, or to go back and start over from the beginning,
or to say out loud “oh no, oops, darn it, etc,” or to repeat the same measure over and over in
hopes that they’ll remember what comes next!Â Instead, the goal is to KEEP GOING all the
way to the end no matter what happens.
Many mistakes that occur in recitals are due to errors in practicing or mistakes that went
unnoticed during the lesson.Â However, there are times that completely unexpected mistakes
can occur in a performance, things which have never been problems for your student before.Â
However, there are ways to help your student thoroughly prepare their pieces, and even for
theÂ unexpected,Â for performance.Â For instance:
(A). If your student forgets something in her piece then she needs to jump to the next part in her
piece that she can remember (this will be discussed further in an upcoming blog post entitled
“performance strategies”).
(B). If your student misses a note it’s simply not a big deal.Â Practice the technique of “keep
going” in lessons and a student will learn to let the minor note errors slip by without concern in a
recital.Â (also to be discussed in an upcoming blog post entitled “performance strategies”).
(C). IfÂ you student starts to play a section out of order teach her to finish that section and then
either keep going forward from that point or to seamlessly go back to the section she missed and
play through from that point.Â As long asÂ your student doesn’t let on with facial expressions
that something went wrong chances are the audience will never know!
The key to pulling offÂ mistakes during a recital isÂ simply to make it SOUND like that’s how
it was meant to be.Â Most of the audience will never know a mistake occurred if the student
doesn’t broadcast the mistake through body language, verbal cues, facial expressions, or
repetition of the problem while performing.Â Remind a student that only she, her teacher, and
possibly her parents will really know how the piece is supposedÂ to sound.Â The audience will
always enjoy the experience so long as it SOUNDS and LOOKS like that is the way it was
supposed to occur.Â Help students learn to let mistakes roll off their backs and keep going.Â
That’s the key to a successful recital!
Please note:Â Â These techniques are designed to help a student who has already learned her
piece and who is preparing for a recital.Â It is not appropriate to teach a student who isÂ just
learning a new piece to ignore her mistakes.Â Rather, when a student is just learning a piece it is
vitally important to fix mistakes right away!
When preparing students for recitals keep in mind that it is important to provide them with the
BEST chance of success at every opportunity. Â Help create opportunities for your students to
learn early on that sharing music with others can be a highly rewarding and exciting experience
Look for our upcoming blog post entitled Preparing Your Students for Recitals (Part 3) — “Final
Preparations” on April 1, 2010.
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Preparing Your Students for Rectial (Part 3)

April 1, 2010
By admin
Recitals are a wonderful way for students to gain experience andproficiency in performing.
There are many elements to learn whenbeginning to participate in recitals. Helping your
students know whatto expect and providing them with many recital “practice” opportunitieswill
create comfortable and confident performers. Below is the last ina series of 3 articles on
preparing your students for recitals.
Note: in this article the pronoun “him” is used for simplicity’ssake to refer to a single student,
but no gender bias is intended orimplied.
(Part 3) Final Preparations
(1) Run Through/Dress Rehearsal. Aside from the actual event, thetime just before a recital
can be the most exciting for you and yourstudents. At this point all of the music should have
been learned and the fun of performing can really come through. One or two lessons prior to the
recital is a great time to hold dressrehearsals for your students. This can be done easily with
eachstudent during the regular lesson time. Dress rehearsals provide theopportunity for students
to fine-tune aspects of their performance,learn what to expect during the recital, and run through
the variouselements of a recital in order. In a dress rehearsal you will haveyour student run
through everything as if it were the real event, suchas:
(a) Have your student sit in the performer seating area (either theactual part of your studio where
your students will sit, or in thegeneral area of where it will be at your recital venue)
(b) Then greet your imaginary guests
(c) Once your greeting is concluded your first performer will take thestage. If the student you
are working with at the time is not going tobe the first performer then verbally go through the list
of performersprior to your student. Then when it is your student’s turn he willwalk on stage. Be
sure to clap at his entrance.
(d) He will bow, take his seat at the piano, and make any needed adjustments to the bench.
(e) He will then perform his piece while you sit quietly and observe as an audience member.
(f) When he is finished playing clap for him as an audience would sothat he will bow. If he has
another piece to perform he will sit downagain and play the next piece. Or, if/when he is
finished he will exitthe stage.
Once you have gone through all of these steps, take the opportunity todiscuss the piece(s) your
student played and how his performance went. If any fine-tuning is needed it can be done at this
time. At the endof the dress rehearsal remind your student to be positive, to do hisbest, to let go
of silly mistakes (the audience likely won’t evennotice), to keep going no matter what, and to
accept compliments at theend of the recital. And, as an added bonus let your student know
howproud you are of his accomplishment and offer positive reinforcementthat he can do a good
job at the upcoming recital.
If your student seems confused or hesitant during any of the stepsin the dress rehearsal be sure to
practice with him again! It isimportant for your student to be confident and comfortable with
what isgoing to happen at the recital.
(2) Last Minute Details. There are always last minutedetails or additional items of information
that should be conveyed tostudents prior to a recital. It is best to discuss these things withyour
students one or two lessons before the recital. As an additionalhelp you can provide parents with
a letter or flier with all of thepertinent information related to the upcoming event. This letter
orflier can be handed out at the lesson, sent in the mail, or sent viaemail. Below are some topics
which should be discussed with yourstudents prior to the recital:
– A. The order of the program. Students can be veryanxious about where they fall on the
program. Some students do notrelish the idea of being first while others love to be done early
sothat they can relax and enjoy the rest of the performances. Otherstudents (particularly nervous
performers) can’t stand the idea of having to wait all the way to the endof the recital to perform,
whileothers enjoy being the final performance in the program. I have foundthat telling my
students in advance where they will be on the program(at least in general terms — at the
beginning, near the middle, at theend) helps them to mentally and emotionally prepare for the
experience,which in turn results in better performances. If your student does notknow his
placement in advance and instead finds out upon receiving aprogram at the recital he may
experience additional and unnecessaryanxiety. This really is not fair to him!
– B. Dress Code. Students should be informed of what theyare to wear at the recital. For
instance, is the recital a formalrecital, a casual dress recital, a theme or costume recital? If
therecital is formal wear, but your student unknowingly shows up in jeansand a sweatshirt he
may feel awkward and uncomfortable. Unfortunatelysomething as simple as a choice in clothing
can cause a student to losefocus during his performance and make silly mistakes. Provide
yourstudents with the best opportunity to perform well by discussing inadvance what they should
wear to the recital.
– C. Timing and Location. Another important detail todiscuss with your students (and their
parents!) is where the recital isgoing to be, and at what time they should arrive. For instance, is
therecital going to be at your studio or in a music store? If the recitalwill be at a music store
instead of your studio then be sure to providedirections to the store, and also include instructions
for how to findthe recital room once inside the store. Students who arrive lateand/or do not
know where they are going tend to be more flustered andnervous. Additionally, if your students
need to arrive early in orderto warm-up, or to find their designated seating area, etc. then be
sureto make it clear that they need to arrive at a specific time that isprior to when the recital will
begin.
When preparing students for recitals keep in mind that it isimportant to provide them with the
BEST chance of success at everyopportunity. Help create opportunities for your students to
learnearly on that sharing music with others can be a highly rewarding andexciting experience
I hope that your studio recitals will be full of joy and success, for both you and your students!
Recital Ideas
It's close to the end of the school year, a prime time to schedule a recital for your private students. To
make sure your recital is a great experience for you, your students, and the audience, some careful
planning needs to be done.
If you have fewer than 10 students, you can either choose to have these students perform 3-4 songs, or
you can go in with another teacher. The advantage to the former: more performance time for your
students. The advantage of the latter: another adult with whom you can share the responsibilities, more
exposure for your students, and giving YOUR students more exposure to other performers.
Whether you have quite a number of students or whether you decide to go with another teacher, recital
length decisions are crucial. An hour to an hour and a half in one sitting is best. If your recital program will
run any longer than that, you must fit in an intermission, or you'll run the risk of poor audience etiquette.
Some teachers actually give two recitals in the same day, breaking it up and scheduling it so parents and
visitors can see their own children without having to sit through two or more hours. More on that later from
someone who has observed this through a parent's perspective:-)
Facilities are another important matter. If you have a small group and aren't sharing a recital with another
teacher, you might consider your home if it's large enough. I've attended small, intimate recitals for my
daughter before, and they were very nice. However, realize that you will also be serving as hostess, too.
If you have more than 5 or 6 students, that could get to be a handful. Investigate other facilities, such as
schools, churches, and local colleges for cost, piano conditions, and seating arrangements. The cost of
rental might well be worth it.
Refreshments add a nice, personal touch to the end of a program, but these shouldn't be your
responsibility! You have enough on your mind. Enlist the help of parents to arrange these. And,
remember KISS (Keep It Simple, Silly:-)
In planning the actual program order, keep some things in mind:
 You want to involve as many students as possible, but it's not a good idea to involve students
who aren't prepared, even if that means leaving them off the program. That sends a signal that
it's OK to not be prepared, plus, it's miserable for the audience. Consider having those students
be part of a duet or small group, or just require that they be there to observe. If the students don't
practice in order to get out of the recital, you need to question their motives, as well as their
parents'. It truly sinks the rest of the students down, and puts you in a bad light.
 Mix up the difficulty levels.
 BUT, it's a good idea to have any students under the age of 9 or 10 near the beginning. They
might get restless before they play otherwise.
 Don't think it's necessary to give each student the same number of songs. Plan the best
arrangement for each one first and figure out the timing. The, you can "pad" the rest with duets,
special highlights, or even some performances of your own.
 If you can have the facilities (especially if your recital involves piano), a wonderful finale or encore
is a Monster Duet, in which each student, plus you, and maybe parents, perform one work all
together. This would involve several instruments, of course, but frankly, it's so cool! Half the
participants take one part, and the other half part two. For piano, you can have two to an
instrument.
 If some of your performances need accompaniments, consider letting accomplished students or
parents do it.
 Schedule a work for yourself. It's a good motivator for kids, and lets the parents know that this
teacher knows what he or she is doing!
 Make sure you recognize any students who had achieved high ratings at music festivals,
competitions, etc. You might consider a little bio in the program for these students. Again, this can
be a motivating factor for students coming up.
 If your parents can afford it and you have enough numbers, you might consider having the recital
professionally videotaped or recorded. That gives each family a chance to get a nice memory and
will cut down on the videocameras and snapping bulbs that might distract students.
 Enlist a parent to do NICE programs. BUT, please make sure they give you a master to proofread
beforehand! Carefully check for spellings and make sure you give proper acknowledgements to
anyone who helped.
 Don't be afraid to ask. If you have a parent who is in the printing business, see if they'll volunteer
their time to print the programs if you provide the paper. See if there's a videographer parent who
will videotape the program and charge only the price of the tape. See if there's a parent who has
an "in" with the local college to give you a good rate on a room. Be prepared to take no, but don't
be surprised with a "yes!" You'll never know how you can save yourself some time and money.
On the day of the recital:
 Do What You Can To Make This A Good Experience And Relaxed For Your Students
 Make sure all the equipment is working, ready to grab, and organized. Nothing's worse than
watching fumbling between pieces for 2-5 minutes while the next person's getting ready. (Another
thing to consider when you're deciding the order of the program). You might want to select a
couple of responsible students to act as stage hands.
 Ask the students to arrive about 30 minutes early for warming up. That means normal latecomers
will arrive about 15 minutes early, and you'll still be OK. If someone arrives after the recital starts,
make them perform out of order, in time for them to relax and not be flustered.
 START ON TIME.
 When you start, you're probably going to have to give a little speech about concert etiquette. I've
attended recitals where little children were allowed to run around (and sometimes, I saw students
who were performing doing this!), people talked during performances or got up, and in general,
were quite rude, although they probably didn't see it that way. In this day of TV and pop concerts,
a little talk about proper behavior during classical performances is almost a must. (Please step
out if you must in between performances, please take crying children out to the foyer, please do
not allow your children to run around, etc.). Don't be afraid, during the recital, to remind people of
this if they decide to "try" you to see what they can get away with.
 In the same little speech, you would probably want to ask the audience to not take pictures while
a student is actually playing. It may not bother some, but it could break the concentration of
others. Allow time at the end of the recital for pictures and "re-enactments". This is especially true
if your recital is in close quarters......not quite so bad if you're in a regular recital hall.
 Keep the flow going. If you see that someone isn't there, or has arrived late and is still on edge,
skip on and go to the next person. Don't allow much dead time.
 Acknowledge everyone who helped and give your thanks!
 Relax and enjoy your students and their (and your!) accomplishments.
 Ask a good photographer parent to take a group picture or two. Submit one to the local
newspaper, and include the students' names in the article.
 Be open to suggestions and ideas for next year!
If you have any thoughts on this topic or other ideas related to private studio teacher, please contribute
them!

Leading As A Vocalist

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Leading As A Vocalist

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Student recitals can be tremendously fun and valuable experiences for young pianists.

(8) Clap appropriately. In addition to providing applause in congratulations it is also important to

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Read more: How to Attend a Piano Recital | eHow.com

Classical Music Concert Etiquette: Piano

Advance Review of the Program Selections

ARRIVAL, AND AFTER

The Dash to the Parking Lot (Concert Grand Prix)

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Recital Etiquette (Part 1)

(Part 1) The Performer:

 Do not talk or wiggle about during the other performances.

May your upcoming recitals be joyous and successful.

Below is part 2 of 3 posts regarding recital etiquette.

(Part2) The Audience:

 No talking, loud whispering, or humming along during a performance. Additionally,

(4) Go to the bathroom BEFOREHAND. It can be disruptive to get up in the middle of a

Recital Etiquette (Part 3)

With summer fast approaching many studios are preparing for

Below is part 3 of 3 posts regarding recital etiquette.

(Part 3) The Teacher:

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Preparing Your Students for Recitals (Part 1)

(Part 1) The Practicalities of Performing.

Bowing. A performer shows his appreciation of the audience’s clapping by bowing in

Recital Etiquette (Part 1)

(Part 1) The Performer:

 Do not talk or wiggle about during the other performances.

May your upcoming recitals be joyous and successful.

Preparing Your Students for Recitals (Part 2)

(Part 2) Elements of Emotion

Preparing Your Students for Rectial (Part 3)

(Part 3) Final Preparations

In planning the actual program order, keep some things in mind:

On the day of the recital:

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