Matt Glaser on Music Education, Improvisation, and Mindfulness/ Creative Strings Podcast Ep. 3

– The diversity of creative string players in the newest generation, and how we arrived here
– How classical string/music teachers can adapt to a changing musical world

“Inevitably the classical world has had to come to grips (with) this tsunami of young players playing fiddle tunes”

– “Micro-improvisation” and using skeletal melodies to develop comfort with improvisation…
– The “present moment” in performance..

jazz violinist Christian Howes

Making A Living Doing Music – Networking At Conferences

Part of my marketing plan every year involves looking at all the “best fit” conferences and industry events in the upcoming year. If you’ve never been to a trade show, you may want to start thinking about which ones are right for you. Some are more local- they cost less and represent a smaller network. If you’re looking to network for local business they can be good. For larger networking, going to bigger national conferences are better, but they’re more expensive. Attending conferences can help you find job opportunities and develop contacts for short term and long term.

Creative String Teachers Inspire Generations of String Players

In May when I visited to work with (orchestra director) Clark Chaffee’s string program at Stevenson High School I was pleasantly shocked to learn that he requires every student to write their own composition, including bass lines, inner voices, counterpoint, melody, and chord progression. Perfect!! As far as I’m concerned, his curriculum should be adapted by every classical music education program in the country. His worksheet is really well done and should enable any music student to understand and execute a decent piece of “tonal” music. And it’s a direct refutation of anyone who thought this couldn’t be done.

Jazz Violin Giveaways and Improvisation Secrets Revealed

Gift #2) Secrets revealed :

1)beginning with a “scale-based” approach to improvisation really DOESN’T WORK, beyond a very limited scope…

2) some people try to improvise based on their knowledge of arpeggios in root position and