Rhythm in Baseball

If you know me you know that there are two things that I absolutely obsess over; drumming and baseball. I am so excited that baseball is back! I love baseball more than any other sport for a few reasons. Its filled with strategy, intelligence, patterns and a lot rhythm. I think it is no surprise that a drummer would be a big fan. One thing that has always stood out to be about baseball is the routine and internal rhythms that players have when either at bat or on the mound.

If you’ve ever seen a game you will notice that every pitcher has their own ritual that they do before every pitch. Whether its something as weird as Red Sox closer Craig Kimbrel or something as long as Marcus Stroman when he takes the mound, they never vary. They are replicated with robotic like accuracy every time they pitch. Because I am a drummer, I often make verbal beats and melodies that I can say along to a pitchers wind up. Pose, tap shoulder, crouch, stand up, exhale, turn head, throw. It is the same every time and is a huge part of a pitchers game. It sets their internal rhythm and they would not be able to vary from this precisely timed sequence even if they wanted to. It such a big part of the game that first base coaches will relay to base runners the exact amount of time it takes for a pitcher to start their windup to the time they throw the ball to help them steal bases. SO COOL!!!

The same goes for batters who have a set of movements they do before stepping into the batters box. A few favourites of mine are the Juan Soto “fight me” shuffle, the Yasiel Puig bat lick, the Troy Tulowitzki puff and the Asdrubal Cabrera sleeve pinch. No matter how strange, simple or dramatic they are, every batter has one.

It proves that rhythm is a part of who we are, and it is so cool that it has such a crucial part of the game of love.

Hilary

A Linear vs Abstract Approach to Music Education

I have spoken before about teaching a student from the ground up. Giving them a step by step process to build a great drumming foundation one brick at a time. This to me is the best way to learn almost anything. Start from the bottom and add to what you have learned. However I have found myself taking a very different approach to teaching with most of my students and I have finally figured out why that is.

I have always said that I heavily take the students motivations and opinions when building a curriculum, and what I have discovered is that a linear approach only works if a student has already bought into being a drummer and will do whatever I throw at them to achieve that. In other words, my students who are 12 and up. With my younger students I can tell when a lesson is too dense to keep their interest so I move on. Sometimes I question the journey we are on because it seems so scatterbrained at times, however I see my students having fun and proud of what they accomplished. In most cases its led us to some pretty advanced places at a super early stage in there learning.

The best example I have is with one of my piano students. He asked me during one of our online lessons why we weren’t using the black keys and why they are even there. So I gave him a very quick answer about keys and how depending on what note you “start” on, there would be certain black keys that would be played. He was extremely interested in this and asked a bunch of follow up questions so I made our next lesson about sharps and flats. I made a video explaining them, gave him a worksheet to fill out and an exercise to play. He loved it and got it right away! Keep in mind this student had only been playing piano for about a month, that’s 4 to 5 lessons. He understands what sharps and flats are and what keys and key signatures are, but he can barely play a scale. This is not a typical order of operations, but because I followed his interest he worked harder and felt better after getting it. Since then we have learned scales faster and even major and minor chords and intervals extremely easily because we focused on what he wanted to do first, then back tracked. He was already confident in the concept and was excited to apply it.

What I learned is that a Linear approach is more productive, however if a child is not having fun and is not kept engaged, then it is the least productive method. Sometimes you need to follow their lead and try a more abstract approach.

Hilary

Back to Front Teaching

There is a system I use to help fix kinks in a students drumming that I refer to as back to front which is basically reverse engineering. I by no means invented this method of teaching and problem solving but it is something that I use with every student not only because its proven to fix mistakes but also because it gives the student tools to fix their own mistakes in the future.

The process is pretty straight forward. Identify a problem then break it down to its basics and work the problem from the bottom to the top. It takes a long time to be able to see a problem and know why the student is playing it incorrectly, however it can also be done with some basic drumming logic. Let’s break down how it works!

Lets say a student is working on a new piece and I hear something happening in a bar that doesn’t sound right. The first thing we will do is play just that bar over and over again so that we can identify what part they are playing incorrectly, consistently. Then I will look at three things 1) what rudiment or core skill is involved with the error? 2) are they playing that part with the correct technique? 3) what is the space in between the notes telling me? Are they rushing something or missing something?

Next we take that rudiment, technique or note misplacement and we create an excercise that will help focus on that and serve as a “check”. A check is a term used to break down a part to its basics. Usually just the rhythm and the sticking. Sometimes only focussing on the hand that is the problem. Once we have done that and fixed the problem then we start to layer all the parts back in, run the section multiple times then try it back in the piece. (Maybe I should be calling this the pyramid method).

There are usually a few steps involved that go something like this. Mistake in bar 4. Problem playing flam drags. The diddle is being crushed. Need to make a check for gracenote into diddle transition. Run a left handed check of the bar down tempo. Practice practice practice. Add the right hand in. Practice practice practice. Add in accents and phrasing. Practice practice practice. Play section now with fixed bar. Practice practice practice.

Give a student a fish, they drum for a day. Teach a student to fish they drum for a lifetime. Something like that.

Hilary

Structure Your Improvement

With month 4 of lockdown approaching, my motivation on self improvement has started to dwindle. As a music educator and performer I am used to drumming all the time, especially in June, July and August as those are CRASH’s busy months. The biggest problem that I encounter with this however is that constant drumming to perform and teach is not always pushing my musical limits. It is more important now than ever to put time aside to improve myself as a musician alongside my students.

The first step is to set goals. I like to give myself a new chart to work on that I tell myself not to give up on until its “performance ready”. This gives me something fun to look forward to and presents a nice finished product to prove all of my hard work. It’s important however to pick a piece just beyond my comfort level to be sure I am working to improve. My second goal is every week to pick a rudiment, fundamental or mechanic that I want to improve on. The luxury I have as someone who has been drumming and teaching for over a decade, is my self awareness of my own weaknesses. For those who do not have that self awareness yet, ask your teacher or friend to help identify those weaknesses.

The last thing is to give yourself some structure. Pick a time of day that always works for you. For me its right after lunch. I rarely teach lessons and usually have my office work and lesson plans caught up. This will guarantee that I cant put it off!

Remember that there is a difference between playing and improving, although I would argue that all playing is improving. What I should say is not all playing is pushing you to improve at a rate that challenges you. Don’t let the mundane structure of today stop you from scheduling self improvement!

Hilary

Drummer Dads

Now that Sound of Music weekend is over I can focus all of my attention on thanking my Father and wishing him a happy Father’s Day! On Sunday Drumeo posted something that really resonated with me. It was their own definition of what a drummer dad is. According to them a drummer dad is “the father of a drummer who serves as an unpaid roadie, rehearsal space manager, and financier to every aspiring drummer”. This quote holds especially true for my dad, however there are some things that I feel need to be added to the list.

My dad has never once said to me “do it yourself” when I have asked for his help schlepping gear. He is constantly asking me for more of my business cards because he is always handing them out. He has given up his basement/“man-cave” so that I could have a drum studio. He always stays late after my concerts to help tear down and always let me borrow the family van for gigs. Fun fact on that, when my family got a brand new Honda Odyssey in the summer of 2015 my parents let me take it to Toronto 3 days in a row for our gigs at the Toronto PanAm games street festival. THEY HADN’T EVEN DRIVEN IT YET! Most dads would have clung to their new car like a newborn.

My dad is definitely a drummer dad and proud of it! He may not know the names of the things he is lugging, or how to play the drums, but he should be inducted into the drummer hall of fame for his commitment to my love of drums

Thanks Dad,

Hilary

The Most Wonderful Time of the Year: SOM

Father’s Day weekend is always my favourite time of year, but not because it is Father’s Day, sorry dad. It is because Father’s Day weekend is always the Sound of Music festival in Burlington! My friends and I love this festival so much that we refer to it as Christmas. I have often been seen donning a Christmas vest during this weekend, because to me it is the most wonderful time of the year.

The Festival and parade have been around for over 40 years. I remember watching the parade as a kid and marvelling at the Teen Tour Band Drumline. It was such a cool feeling to eventually march the parade as a member of the drumline from 2005-2011. And a few years ago it was even more amazing to march the parade with the CRASH Rhythm Junk Line. A parade I had spent my whole life watching was now featuring my company. So awesome.

This year is a little different due to COVID-19 and therefore I felt it even more important to share how special this upcoming weekend is to me even though all bands will be live streamed and there is no parade to watch. I will still be having my best friends over for a backyard breakfast to celebrate the occasion.

Sound of Music is the largest free music festival in Canada and I feel so lucky to have grown up down the street from it.

Blank Slate Syndrome

When I get a new student I immediately become excited. The thought of introducing someone to their eventual love of music is what gets me up in the morning! There is also something so refreshing and exciting about working with a student who is an absolute blank slate. Meaning a child who has no music education at all and is simply ready to be moulded by my curriculum. It’s a lot of pressure, but something that I find very exciting. The real problem that I face at this first stage of lessons with a student is what I call Blank Slate Syndrome. This for me is the feeling of “with all the paths and lesson plans in the world, where do I start and what is the right journey for this student?”

Obviously you need to start at the beginning. We need to build a proper and sturdy foundation in order for the house to withstand the test of time. However, every child is different and not every child is as willing to work on whatever you throw at them. The two biggest questions I will constantly ask myself within the first few weeks or months of lessons with a student is “are they learning to love music or to just hit a drum? And “Is this direction that we are going on going to bite us in the butt?” With every possible lesson plan on the table it is often hard to know which one to chose that will engage the child and also set them up for success.

There are a few ways I try to manage both. The first is I always interview the child on our first lesson. I learn their homework schedule, extra curriculars, hobbies and learning strategies. This helps me initially identify the ratio of fun to work. To me, it doesn’t matter how fast a kid learns the drums if they are not enjoying it. A success story for Johnny could be that he loves coming to lessons and learned paradiddles in a month, while a success story for Sally could be that she spent 5 hours practicing paradiddles this week and felt really accomplished.

I also listen to the child and check in constantly. I always ask “was this weeks assignment hard?” Or “Did you have fun working on this?” Or “What has been your favourite lesson plan so far?” The child will always tell me what things they don’t like, therefore I know I need to rethink the way we are learning that thing.

Lastly I try to incorporate their likes into our lesson plans. You like Imagine Dragons? (Which is every kid I have ever taught) Let’s work our way up to learning a song of theirs. You like Star Wars? Let’s do a outer space soundscape.

At the end of the day my decisions are based on me observing their successes, engagement and failures. I like to give them as much control as possible in leading our curriculum. I listen to their opinions and try to make that work. I think one of our biggest failings as music teachers is trying to fit every kid into the same product. The success of one student is completely different than what is success to another. Often the best way to find that out is to listen to them and follow their lead. That’s how I break out of Blank Slate Syndrome.

Hilary

The Human Element to Music Making

This last week members of the Junk Line got together to do a social distancing performance. It was the first time we had gotten together to jam live since COVID and it felt amazing! Why is it so different to play with people in person vs. recording yourself on a click track and puzzling the parts together? The difference is this human element of music making.

When we play to a click-track there is no communication, no fluidity and no situational improvising. This makes a much less musical experience, especially for a group like the Junk Line who thrive off of one another. When we jam with one another our ears interpret the tempo, rhythm and feel of a jam. Something that a click-track simply cannot provide. This was obvious to me after recording myself playing duets with myself. I would play the two parts with a click-track but they just didn’t feel right. Once I recorded the first part, then played the second part to that first recording, it sounded more musical. It was such a subtle transformation, but it proves the theory that music is meant to be played with other people.

Our Junk Line performance this week was exactly what I needed to confirm the theory. We meshed, we adapted, we had fun. I cannot wait for us to be able to do this again, but in the meantime, I have a lot of awesome footage to look back on!

Hilary.

Let’s Talk about Practicing

Practicing can often be a stressful word. As a child, we often associate practice as a burden or chore that needs to be done just to check it off for the day. I’m here to tell you that practicing is not as daunting as it may seem and can be quick, effiencent and fun! Here are 5 tips to making practicing a little easier.

1. Stop calling it Practicing! If you are a drummer, simply call it drumming. Telling yourself you have to drum today instead of practicing is one easy way to break down that chore-like feel of the “p” word.

2. Leave your instrument out and assembled. This is an easy way to pick it up and play. It puts one less step in your way that may only take a few seconds, but in your head that few seconds is all it takes to say “nah, ill do it later”

3. Find a way to make the more mundane parts of practicing fun. The best way to do this is to warm up to a favourite song (easier if you are a drummer). Put on a 3 minute song and play along working on something that needs to be looked at, or just use it to stretch out.

4. Follow the four R’s of Practicing. Routine, Regiment, Repitition and Record. Make sure that your practice time is apart of your daily routine, that it has a direction and goal, that you are playing something correctly multiple times before packing it in and that you record yourself playing in order to more critically see your mistakes and where to improve.

5. Quality over Quantity. We are often taught that we need to practice a half hour a day or more! When you or your child are starting out it is more important to have frequent short sessions than one or two long ones. Set a timer for 10 minutes and try to practice 4 times a week. This will guarantee progress more that a 1 hour session once a week. Who doesn’t have 10 minutes to work on the instrument they love!

There you have it. Practicing isn’t so bad after all! Make it effiencent, directed and fun and you will be improving and enjoying your playing in no time.

Hilary

Music is Essential

Over the past two months many spaces and venues that we use to make music have been shut down. As necessary as it is, it is obviously still sad. It’s no shock to us that concerts, rehearsals and practice spaces are not essential to the the health of our planet, however the surgence in online music making and the need to continue to entertain each other has been very apparent. I think it is important for those who don’t see the relevance of arts education, whether in an institutional setting or not, to witness now that gatherings have stopped but that does not mean music is not essential.

In this time of boredom and cabin fever people have leaned to the arts to keep them busy. I keep asking myself questions to prompt proof as to why music is essential. Questions such as ‘Why do I have more students now then when lessons were in person?’, ‘Why are online music programs seeing a surge?’ And ‘Why has there been so many new songs, whether parody or not, about the quarantine circulating?’. I think the answer is all the same. When we are tested in this way to be left alone with nothing to do and no one to talk to, music brings us together. It makes us laugh, it makes us happy, it helps us to communicate and it makes us better! When we strip down the lighting rigs, the tuxedos and the stadium seating, we get something pretty amazing. A raw and personable way of sharing music with one another.

Those of us who make music do it because we love it and are passionate about it. We cannot invite you to our concert halls right now, but how cool is it that we are welcome into living rooms to show that music is essential and we need it now more than ever.

Shoutout to the Moms

Yesterday was Mothers’ day and was so glad to spend a few hours 6 feet away from my mom. My mom is awesome, unique, crazy, bubbly, incredibly smart and an awesome role model. She is an amazing pharmacist and owns a pharmacy in Hamilton that runs an infusion clinic. Because of this she is an essential service and a frontline worker. Without the infusion clinic a lot of people with autoimmune diseases would not get their treatment. She has been working like crazy so my sister and I thought it would be a good idea this Mother’s Day to set up a zen spa in the garage for her. Equipped with tranquil music, plants, candles and a comfy chair. We sat 6 feet a part and had a wonderfully peaceful visit. We got into a lot of conversations about My sister and I growing up and one conversation that put a smile on my face was my choice in picking music as a career.

I had a few options for a career. Millwright, engineering, journalism or music. Music is not usually considered the most lucrative career choice so naturally my mother was sceptical and I had to prove to her that Music was the only choice for me. In the garage yesterday I told her that I remembered there being a time when she questioned my choice of music and a time when she was 100% supportive and I wondered what flipped that switch. She said she remembered the moment vividly. Apparently we were in the car driving somewhere and I told her that I could not go a day without music in my life and that I needed it to be a part of what I did. She said at that point she knew that music was for me and she was all in.

I’m so thankful to have two parents who allowed me to follow my dreams, they were patient when I failed or became lost and have supported me fully with CRASH. Not an easy thing to green light when your daughter pitches an idea to make bucket drumming a full time gig! Thank you Mom for being a boss lady that taught me to do what I love and help others while doing it. Shoutout to all the moms!

Hilary

Music Monday

This week we celebrated the 15th annual Music Monday in Canada! Music Monday is the first Monday in May and is used to bring awareness to the importance of music education across the Country. In 1992 the Coalition for Music Education in Canada was formed to ensure that music education had a unified and intentional support across Canada. In 2005 the Coalition found that a great way to bring the country together to celebrate music was through a nationally celebrated day where all were encouraged to share their love for music, especially those in an educational setting.

I was in grade 8 when the first Music Monday took place and have fond memories of Music Monday throughout my High School years. Ironically awareness for music education meant that those of us in the music program were able to skip all classes that day to play on the front lawn of our school. Therefore it was one of my favourite days of the year, taking place right when the weather was getting nice and skipping math and science to make music outside! We would put together a full days set list consisting of anyone in the school who wanted to make music. I played in my schools concert band, R&B band as well as the guitar class which often played at coffee houses. It was one of my first experiences at what felt like ‘gigging’ and I loved every second of it.

It is decisions like these made by the Coalition that have led to my love of music and appreciation for the music community and education. I hope that most of you got the opportunity to make, create or listen to music yesterday. If not, ITS NOT TOO LATE! Check out the Junk Line’s Virtual Jam from yesterday if you are feeling deprived of some wicked beats!

https://youtu.be/nNCl8kquBr4

Hilary

Anyone Can Make Music

I’m sure that the world of music can sometimes be intimidating to those who do not play an instrument. I know seeing someone use all four limbs independently to create an awesome beat looks extremely difficult. However I want to stop you there! I want you to forget everything you know about ‘what it takes to make music’ and read these words; ANYONE CAN MAKE MUSIC. Will you be the best? No, but you don’t have to be Gordon Ramsey to cook dinner.

Before I went into post secondary education I was under the impression that music was about competition and getting that next grade in Royal Conservatory. This is the thing that I cannot stress enough, If you think you need to be good, educated or talented to make music then you are missing out on one of the best things you can experience. Music is about participating in something that makes you feel great, helps you to expresses yourself and lets you share something with people. I know what you’re thinking. “That’s great and all, but I have zero talent in music and do not know where to start”. Fear not! I have three ways that someone with no musical experience can create music.

1. Start by finding an instrument. The easiest, and my personal favourite, is a simple bucket or pot. Anyone can hit two spoons against a pot.

2. Make a Soundscape. If you saw CRASH’s video challenge last week you will have learned that a soundscape is like a landscape but with sound. We can use sounds to recreate an environment. Experiment with different types of sticks or techniques to find the right sound. It’s a lot of fun and therapeutic.

3. Make a graphic score. This is a way to combine your love of art with music. Draw an image, create a mini road map that can direct the way you play. Then try and follow it and make sounds that reflect the image. It can be as structured or loose as you like. You’re the composer!

So before you decide that music is out of your reach think outside the box and remember that you don’t have to be the best to participate.

Hilary

Three Things I’ve Learned Since University

Piggy backing off of last weeks post I wanted to share how the way you view music never stays the same, and attempting to make it in this music industry is never easy. Once leaving school we all have the same dilemma, “what’s next?” Although everyone can struggle to find a career, and often change it, some career paths are more laid out and certain than others. Usually if you go to school to become an electrician, you find a job doing electrical work. For musicians it is not always that easy. Turning a passion into a career is a lot of work and can make you question everything. And sometimes your path leads to a different purpose than you thought. Here are the three main things I have learned about this industry since I left University.

1. No one is going to spoon feed you a music career. There is no perfect formula for a music career and no one does just one thing. Most musicians have a part time job during the day, teach lessons in the evening and gig at night. That’s just the reality of being in this industry. But no one is going to hand you your road map on how you are going to fill your days and make money. I found CRASH by combining two things I love, drumming and engaging kids in music, while also navigating a market that would be willing to pay for it. It’s not easy and it takes time, but if you want to make music for a living you are going to have to get creative and go get it.

2. Network Network Network!!! No conversation is a bad one. Never turn down the opportunity to meet someone. Always invite people to coffee, AND PAY. Always make time for people who need your help or advice. Music is a family and everyone knows everyone. Anytime you can share your love of music with someone you grow your family and increase the chances of being called on in the future. I cannot tell you how many times a $2 cup of coffee has made me $200 a year later.

3. Being a consistent role model for a student is more important than teaching them how to drum. I love working with kids and love seeing them light up when they create something new or finally get that rudiment that has been choking them up, but I often worry about a students progress or if we are doing too much fun and not enough learning (obviously I know now that fun IS learning). I connect with the kids, let them create, hear about their day and try to improve them as musicians. I have recieved many compliments from parents, but rarely are they about how excited they are that their child’s paradiddles are up to 120bpm. Parents want their kids to belong, be creative and step out of their comfort zone. Music is often the conduit for that, but not always the most important destination.

I have learned so many things in starting CRASH and working with kids. It has been such an interesting path that led me here, one that has been made easy by those who have given me the advice I needed to start a business in the music and education industries. If you or anyone every has any questions, please give me the opportunity to pay it forward!

Hilary

Three Things I learned in University

Musicians are always learning. That is a fact! Through our first private lessons to high school ensembles to jamming with friends, there will always be hidden parts of music for us to unlock and explore. I have had many amazing mentors and a variety of experiences that have made me the musician I am today, but in this blog I would like to share a mere 3 things about my time at University that made me a better musician.

1. How we play it is as important as what we play. I came from a background in marching percussion which is a very precise and technical style of drumming. The real thing I was missing was my ability to play the drums musically. I learned how to create the smallest of changes and intonations in my sound that I didn’t even know existed. It opened up a whole new world of percussion that I have now taken into my marching percussion.

2. Community is better than competition. The percussion studio at Laurier was always so helpful. My theory with percussionists is that because we have to play so many different instruments in so many different styles, not one of us could possibly be the best at everything. Therefore we would often talk to each other about our strengths and weaknesses and would always help out each other where we could. We wanted the section to succeed and that meant sharing our intellectual resources.

3. You do not need a degree to make music. When you are in High School the thought is that you need a music degree to make music. Although it definitely helps, I know now that there is a lot more to someone’s credibility of a musician that receiving a piece of paper. Talent, education, expression, creativity, teamwork and performance are not always learned through an institution. I learned a lot at university and I would not change that, however I also learned not to look down on those who are creating meaningful awesome music just because they don’t have a music degree.

   There are many other things I learned at University but these are the main three that changed the way I view music. Education is important, but so is creating and exploring without limitations.

P.s. I dedicate this post to my parents for supporting me and assisting in funding me through school. They are proud of me and I have a new respect for their level of patience!

Hilary

Online Learning Strategies

We are now halfway through the 3rd week of online lessons with CRASH Rhythm and I am honestly shocked with how well they are going! Like everyone, I had a lot of concerns with engaging children, teaching children and keeping them accountable to learn through a completely online platform. I spent one week just researching and creating a method that I thought would resonate with a child’s creative side, their need for a structured plan as well as being extremely straightforward and easy. Through Vittle, Zoom, iMovie, Staff Sketch Pad and Dropbox, I have been able to do just that. I hope that all music teachers have found the same success because at the end of the day we do not want to lose income and we ESPECIALLY do not want our students to lose interest! Here are the three things that have shocked me the most with doing lessons online.

1. Kids are actually doing the work! I don’t know if it is because the children are going through this journey with their parents at their side and are therefore being forced to do their work or if they are enjoying it more. I have seen a significant improvement across the board! In a normal week I would say about half of my students would have their work completed in full. Now it is about 95%!

2. My more fidgety students are sitting still with me for the entire lesson online. I have kept the “face-to-face” portion of my lessons (on zoom) to approximately 15 minutes as opposed to the regular 30 that way we are checking in with each other, getting down to lesson material and signing off. No time to be bored or distracted, but shockingly, no need to reel them in either.

3. The kids are understanding the material. I was worried that not being there in person would effect the way my students were learning, but somehow my video explanations have worked better with some students. It may be because I make them colourful and fun with a drawing commissioned by the student at the end, or because they are watching me on their phone or iPad which is apparently more exciting than the real me! Either way my students are looking forward to my videos every week and therefore are looking forward to learning!

I am so happy to see these early results and am hopeful that others will be able to use these strategies in creating engaging online lesson plans for their students. We could be in this for a long time, and that does not mean we should give up on music education!

Hilary

Virtual Concerts

This week on #playitforward I challenged everyone to video call a loved one and play some music for them. I called my Grandpa this morning to play him the piano piece I have been working on and he really appreciated the mini concert. It was such an easy way to brighten his both of our days. After we hung up I reflected on how this type of platform is allowing me to work on myself as a musician and performer.

The first thing I want to encourage people to do is make mistakes! Even though I called it a mini concert, obviously the setting was very casual. It was me in my living room and my Grandpa in his office just sharing a love for music. When you play for a loved one your audience is always going to be supportive and excited to hear you play. Take advantage of that! Use this as an opportunity to practice playing for people to get rid of some nerves for when you eventually make it to the main stage.

The other thing that my Grandpa noted is that he never gets to hear me play the piano. As a percussionist my family often hears my performance and play on the drums, but rarely do they get to hear me play the piano. I thought “why not showcase what I am best at?” But for my Grandpa it was a pleasant change and he really enjoyed the glimpse into my ‘behind the scenes’ music making.

Use this time to work on yourself and your music knowing that you have your number 1 fans just a click away!

Hilary

What makes this school special?

Two weeks ago I had the absolute pleasure of attending Hawthorne Village Public School’s Arts Day. When I booked this gig, I could not have imagined the magnitude of what this day entailed. From the moment I arrived I was greeted in the parking lot by a staff member and shown where to go (something that rarely happens) I was given a welcome packet including school map, programming schedule (they brought in around 20 presenters all for the arts) and a gift of homemade cookies! Every staff member I met was extremely kind and excited to have me there. They worked as a team and had to communicate well to pull of this massive day for their kids.

The students were polite and engaged and all 3 of my workshops went without a hitch. However the real highlight of the day was a provided luncheon for the presenters in the gym that featured a full hours worth of live entertainment PROVIDED BY THE STUDENTS!!! It was amazing! Junior choirs, drama club, spoken word, poetry, live band and dance teams. There must have been close to 200 kids participating. It was beyond incredible and I could not stop smiling. The kids were having a blast and the teachers were so proud. Upon leaving the school i reflected on why the atmosphere was so different and the answer was obvious. The schools principal, Carolyn Lewis, was a former music teacher.

It all made sense. Hawthorne Village was a prime example of what happens when arts are put at the forefront of a students education. The community and team mentality of the school was impossible to miss. It seemed that everyone in the school was involved in some arts extracurricular, and it showed. The halls were filled with life and vibrancy. Students and staff who worked as a team and had created a community they were proud of. You could tell they all love coming to school everyday, well more days than most.

Carolyn Lewis and her team at Hawthorne Village do not take their responsibility lightly. There jobs are to create amazing human beings and they are doing that through the arts. I am still today inspired and beyond impressed. I hope to return someday soon!