Sheet Music Transcription: A Source of Additional Income for Music Teachers

Jennifer appears monthly as an author on the Music Teacher’s Helper Blog.  This article was published on October 16, 2009 at this original link:  http://www.musicteachershelper.com/blog/sheet-music-transcribing-a-source-of-additional-income-for-music-teachers/#more-823 

I have the pleasure of dipping my feet into two different worlds of music on a daily basis: The world of teaching, and the world of performing & recording.

It is within the latter, the world of performing and recording, where I have the opportunity to meet many other artists in the entertainment business who do the same thing as I: Compose music, record it, distribute it, and perform it.

You might be very surprised to hear though, how great the percentage is of performing artists out there who a) have never had any formal music training, and b) do not read music.

This is where you come in as an educated music teacher.

The selling of original sheet music is a nice source of income for recording artists – both independent and record label alike. Though, for non-music-reading independent musicians who do not have someone to automatically transcribe for them (as most record label artists have), they end up hiring a transcriptionist to produce their sheet music.

I personally know many artists who pay anywhere between $50 – $200 to transcribe a song, or between $25 – $50 for someone to proofread transcriptions (meaning they do their best to transcribe it on their own, and then pay a professional to look it over for mistakes).

With the economic downturn this past year in the United States, there are many people who are either searching for jobs, or are simply looking for additional ways to make supplemental income. For you music teachers who have knowledge and experience in notation, offering transcription services is one way that you can earn supplemental income. In fact, many transcriptionists are actually music teachers.

Why?

Because we as music teachers are great at reading music, are keenly aware of mistakes when we hear or see one (in music), and need I mention that we also know our theory.

How Can You Get Started in Sheet Music Transcription?

• Having knowledge and skill in notation is key here. But also having the ability to hear a song and write it down is also very essential. In other words, to learn music by ear. Most artists who hire out a transcriptionist only have their recordings to offer as a means of getting the music down onto paper. So you would need to feel comfortable listening to someone’s song and figuring it out from there. Some however, are able to provide you with a midi file that you can pull directly up into a notation software program and edit from there. Which brings me to my next point…

• You will need a reliable notation software program. Two of the most commonly used programs are Finale, and Sibelius. For the full versions, these run between $530 to $600, but you can purchase scaled down versions for less.

Finale offers a freeware program called Notepad, which operates much like the full-fledged version with the exception of certain key tasks that a more advanced user would require, such as the ability to change key signature mid-song, or time signature, for example.

Sibelius has a freeware program called Scorch, which I wouldn’t even consider a notation program at all – as it merely only has the capability of displaying music, playing music (through a midi file), and transposing music to a different key .

Aside from these two mainstream notation software programs, you can Google “Free Notation Software” and find an array of various freewares that could work for you, or at least to practice on.

• Finally, you will need to get the word out that you are available. This is a day and age of social networking – use it to your advantage. Use Facebook, Twitter, etc. Create a blog or website. Perhaps offering a special discount or even offering your services for free initially, to attract customers and to build your clientele. Broaden your network by seeking out independent artists and “friending” them.

There are so many possibilities with this and it really is a skill that is in need. Not only does it benefit you for financial reasons (and to keep your skills brushed up), but it also greatly benefits the artist who needs your services.

It is yet another way for an educated musican to make use of their valuable skills.

Jennifer appears monthly as a contributing author for The Music Teacher’s Helper website and blog.

Teaching Your Piano Students How to Accompany

Jennifer participates as an author on the Music Teacher Helper’s Blog, and posts an article once a month.  This article was posted on May 1, 2009.

Most piano students take lessons with the intention of being solo performers, without realizing that at some point in their years as a pianist, they will undoubtedly be asked to take on the roll as an accompanist. The piano is the most commonly used instrument to accompany both vocalists and instrumentalists, and all great accompanists you see today, at some point in their training, had to learn the art of accompanying.

You notice I used the word “art” when referring to accompanying skills. Just because you can play the piano well, does not mean that you can accompany well. It truly is an art form that takes much hands-on experience to learn and perfect. I love what the great American accompanist Irwin Cage said, “There are many great accompanists who are very good pianists, but there are not many pianists who are good accompanists.”

We as teachers can provide our students with opportunities to learn and practice this skill while in their early years during lessons.

I will list a few suggestions of ways that you can help your students learn to accompany:

• Include simple vocal music as part of their practicum. These can be hymns, patriotic songs, Christmas tunes, or popular music from the radio (as most of my teenage students prefer). Even if you don’t have the best voice, you can sing along as they play the accompaniment part to train them how to keep up with a vocalist. Be sure that they know how to find and play an introduction, and know how to skip ahead to catch up with you if they make a mistake.

• Invite students to accompany other students for recitals. This is a great way for young pianists to get a hands-on experience accompanying in a public setting. If your studio is piano-only, they can accomplish this task by either playing duets with another student (or you), or if they are advanced enough they can play orchestral reductions for large scale pieces such as concertos. For multi-instrumental studios, young pianists have a great chance to play for stringed instruments, brass, or woodwinds. You can also coordinate with other instrumental or vocal teachers in your area to have your students accompany at their recitals.

• Encourage your students to volunteer to play at church or school. There is always a need for accompanists in these settings, whether it is for choir practice, or running through music for the school play. Typically a pianist need not to be an advanced level either, but just have the ability to play parts and fill-in where needed. This is a great opportunity for young accompanists to learn to play parts and follow an ensemble.

• Have your students be included on a call list for festivals. For your more advanced piano students who perhaps enjoy the limelight a little more and dread the thought of accompanying, this is a perfect opportunity for them. Most high school aged students do festival competitions each year and are always looking for accompanists. In this situation, the accompanist is as much an equal partner in the performance as the soloist. This somewhat-high stress performance situation can refine the skills of any advanced player wanting to fine tune their ability to perform in an ensemble. Not to mention, accompanists are usually compensated generously for their time in these types of opportunities.

Perhaps the most difficult part of teaching your piano students to accompany, is helping them to realize that they are not the “star of the show” in these performances, but are no less important. The accompanist is a vital part of the performance. They can make a performance a huge success, or completely throw it off.

Lastly, I present to you my list of ten great attributes to obtain as an accompanist. My “10 Be-Attitudes of Accompanying”:

1. Be a great Sight reader.

2. Be able to play without always watching your hands

3. Be able to play while watching a conductor, or soloist.

4. Be an active listener, and watcher.

5. Be able to match the soloists style and phrasing.

6. Be a team player, instead of the “star”.

7. Be able to ad-lib if necessary.

8. Be able to voice properly (If the soloist is in a high range, bring out the lower range of the piano more).

9. Be able to skip ahead or vamp if a soloist gets nervous and jumps a few measures.

10. Be the best pianist you know how to be.

May you be able to turn your fine little pianists into fine little accompanists as well, and have fun in the journey.