Tinturin Music Blog

Last night on “So You Think You Can Dance,” executive producer and choreographer, Nigel Lythgoe made an insightful comment to one of the dancers. “You are not the artist – the choreographer is. You are the artist’s brush. You are the instrument with which they paint,” he said.
Musicians would be wise to take this advice and understand their role in the creation of music. Their first responsibility is to the composer – to be true to the composer’s intentions and what he is aiming to communicate through his music. The performer must first serve the music with a pure and honest interpretation that is in keeping with the composer’s style. Having first considered this, the performer is then free to express himself through the music.

My father, Manuel Compinsky, was a great violinist, pedagogue, and chamber music artist. Of the many things I learned from him about music, performance, and teaching, here are a few.

On Technique: It is important to develop a strong, fast and versatile technique on the instrument. But it should never exist for its own sake. Technique should serve the music and be used only to enhance musical interpretation.

On Fingerings: Fingerings should not be chosen on the basis of physical ease of execution, but should be designed primarily to make the phrasing smooth and musical, and only secondarily to make the notes easier to play.

On Performance: There is no reason to be nervouse about a performance if one is very well prepared. Thorough preparation is the key to a confident, comfortable, and successful performance.

And lastly, give a firm handshake. My father would train his students to give a firm handshake and convey the impression of strength and confidence – even if the student does not yet feel it.

In my many years of teaching piano, I have come across a few students who have a rare gift for learning and playing music.   I have seen similarities in their personalities and personal qualities that seem to contribute to their musical talent.  

Early maturity, both intellectual and emotional is a key factor.  I have found that the greater the maturity, the more extraordinary the talent.  The process of learning and studying music requires the maturity to comprehend and appreciate complex, grown-up music,  on both an intellectual and emotional level.  It takes maturity for a child to be organized and disciplined, with a strong work ethic, and to take responsibility for studying, practicing, and learning.

The bottom line is that musical talent, although naturally present to some degree in certain individuals, must be nurtured and developed, through consistent focus and hard work.

I recently recorded a video of a Rachmaninoff Prelude for piano, to post on YouTube and on my website.  I recorded it at home on my wonderful Mason & Hamlin concert grand piano.  It was like a live performance in that there was no editing.  I chose this piece because I have played it off and on for many years, and I had never recorded it before.  You can view the video on my website: http://tinturinmusic.com/index.php?option=com_content&view=article&catid=58&id=114&Itemid=80   Let me know if you enjoy listening to it.  And please let me know what you think of the website too.

My recent CD titled, American Portrait is a collection of delightfully entertaining piano music by American composers.  Included are serveral ragtime piano pieces, two of which were written by my good friend and colleauge, John Novacek.  4th Street Drag and Hog Wild are two contrasting and fun rags that I love to play and you will love to listen to.  To listen to them, go to http://americanportraitcd.com/music.html.  The CD is available from CD Baby at: http://www.cdbaby.com/cd/compinsky.

I have a new location for The Tinturin Music Studio in Camarillo!  It is centrally located at the corner of Flynn and Adolfo, in the Flynn Road Business Park.  Beginning in May, I will be teaching all of my piano students in my new studio.  I will be moving my grand piano in next week.  For information about piano lessons for students age 5 through adult, at all levels from beginning through advanced, call me, Noelle Tinturin at 909-663-7911 or 909-337-3811, and be sure to visit my website: www.TinturinMusic.com.

When music students are performing in a recital or competition, it’s often the parents who suffer the most from nervousness.  They know how much and how hard their child has practiced to prepare for the event, and of course want them to do well.  It is for this very reason that parents should not be nervous for their child.  Although the parent has not done any of the practicing, and therefore does not feel secure with the preparation, the student has done it all, and by this time should feel very secure and ready to perform.  So parents, don’t be nervous.  Relax and trust that your child is ready to perform his best, and can and will do it!  Just be there to support him, and whatever the outcome, show him how proud you are of him and his achievements.

Have you ever faced this? You are practicing regularly for an upcoming performance. Everything seems to be progressing steadily and you are starting to feel more and more confident in your playing. Then it happens…one day you go to your instrument and nothing seems to work. Your fingers aren’t doing what they are supposed to do. Your memory is faltering. You’re ready to scream, “What’s happening to me?”

Relax, take a deep breath, and know that you’re not alone. It happens to all of us at one point or another. All it means is that you are not quite as prepared as you thought. No big deal. So, slow everything way down. Get out the music and read it carefully as you play. Dust off the metronome and yes, turn it on. And, most importantly, focus. Really focus. Laser-sharp focus. Anticipate every move. Know every note. Practice your music not like you have a performance coming up soon, but rather like you are still wood-shedding your pieces and getting them into your fingers almost for the first time. Making mistakes? Stop right there, read the notes, analyze and anticipate your finger and hand movements, and repeat, repeat, repeat just that isolated section until you can do it in your sleep. Once you have it, only then move on.

Spending a day or two practicing like this will not only bring your playing back to where you thought it was to begin with, it will likely move you forward in leaps and bounds.

Whether you need a master teacher or someone who works with beginners, visit The Tinturin Music Studiowebsite or contact Glenn and Noëlle Tinturin at 909-337-3811. Also, the Music Teacher’s Association of California is a good resource.

Two piano students, both studying at the Tinturin Music Studio in Lake Arrowhead, performed today in the Southern California Junior Bach Festival in Redlands.  They each played a short prelude by the famous Baroque composer, J.S. Bach.  They each performed their piece perfectly, with security and dynamics, and I am SO proud of them!  It pays to be well-prepared for a performance.

I recently recorded a CD of piano music by American composers, self-produced and recorded in my studio on my Mason & Hamlin concert grand.  I decided to include on the album, ten of the Chilren’s Songs by the jazz keyboard wizard and composer, Chick Corea.  I  have been blessed with the opportunity of teaching many young students over the years whose innocence and imagination have delighted and inspired me. It was for these children that I chose the  Children’s Songs.  Spacious and light in texture, these short pieces feature repetitive rhythmic motives and a wide range of creative ideas that appeal to the imagination of children. The songs were numbered by the composer, but with the exception of No. 6 and No. 9, the titles given are my own.  The CD is available from CD Baby at: http://www.cdbaby.com/cd/compinsky.