Mark's Music School Diary.

The thing is, this isn't anything very complex. If they had just done the work in the previous two classes of the sequence they should understand this stuff fairly easily. I mean, the class started with the professor saying "some of you are still putting accidental on the wrong side of the note heads". My piano teacher was only partially kidding when she said that if you were struggling with what we were playing last week in class (which is all review) then you should change your major. By the third semester you either need to buy into the reality that this is just like any other major and the book work needs to be conquered or do something else. Because the book work is really the easiest part of this who thing.


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This begs the question, how old are your classmates? Unfortunately, many younger folks in college (regardless of major) are prone to being young folks in college. So they may not be prioritizing certain work (or work at all), especially in music...all the more so in a class like piano and you have a mindset that it's not important because your instrument is ___________ (insert instrument here). I remember when I was going to music school and the folks that were doing bio and engineering or even history dismissing it as easy (they did this to art students as well). They neither realize nor appreciate the rigor of music school.

The one advantage that most people studying creative and performance arts is a passion for their art (and art in general), but that doesn't mean you'll be able to get through a performance, composition, improvisation, audio engineering, education (music/art), or primary instrument program without a lot of hard (and intense) work. But that rigor is part of the elimination process. If you can't handle the core of the arts curriculum then you should look to something else academically. It doesn't mean you should or have to stop playing or pursuing music, but don't waste your time or that of your professors.

This does create an added benefit for you though. You get to see some of the things you'll have to deal with when you get a teaching position at an accredited academic institution. Skill and talent many be plentiful, but work ethic, prioritizing, etc. are some of things many creative types tend to have to grow into.
 
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What do you guys think? Should I change my major and play an instrument with even fewer financial rewards? My friend Daniel is taking lute for a semester.

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Are his parents rich and near death? Does his wife have a good paying job and endless patience?

Does he know the difference between "lute" and "loot"?
 
What do you guys think? Should I change my major and play an instrument with even fewer financial rewards? My friend Daniel is taking lute for a semester.

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There are pros and cons to specialization.

As a cellist, I can make at least as much money playing the cello for 10-15 minutes during a wedding ceremony than a DJ would for a 6-hour reception, and my setup time is less than 5 minutes.

Demand doesn't always shrink proportionally to supply, and vice versa.

The more instruments you're competent in, the more marketable you are.
 
I was just trying to help your story along. Oh well. PG not R.

But that's cool, seeing the scope of your influence.
Actually there is another kid who used to be one of my students here too. Kinda strange being classmates with him. Also kinda wish he'd practice more. He makes me look bad as a teacher even though it's been years since he studied with me.
 
There are pros and cons to specialization.

As a cellist, I can make at least as much money playing the cello for 10-15 minutes during a wedding ceremony than a DJ would for a 6-hour reception, and my setup time is less than 5 minutes.

Demand doesn't always shrink proportionally to supply, and vice versa.

The more instruments you're competent in, the more marketable you are.
Actually the double I'm working on (besides owning a banjo) is piano. Lutes not gonna get me paid around here.
 
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