An Intern’s Perspective in the Drum Studio

Perfect 5th intern, Michele, wrote this after observing a lesson with Jeremy Hummel:

Recently I was able to observe a drum set private lesson with Perfect 5th instructor Jeremy Hummel,  and I was very impressed! The lesson included many tools that helped the student learn. The first tool that I noticed was the practice calendar in the room with an inspirational quote at the bottom and a famous drummer at the top….very cool!

Additionally, Jeremy videotaped the lesson for the student to watch which allows for better retention of musical corrections. I found the videotaping to be a useful, visual tool for the students to utilize. From my prior knowledge, (masterclasses or a lesson from reputable teacher) many lessons are often videotaped because of all the information and tips thrown at a student at once. The lesson was structured and effective, evident in the student’s reaction, initiative, and motivation during the lesson.

  • Jeremy and the student started with drum sets and headphones, and they begab playing a “groove” and basically ran through a piece of music.
  • When there was a part the student could not do Jeremy slowed it down and they broke it down. He taught by playing the song with the student and the student would follow him if confused. This method  enables the student to be proactive and learn the song completely.
  • Jeremy even showed a youtube video that we watched during the lesson to give more insight on the technique and styles they were using which was awesome!

-Michele P5 Intern


Jeremy Hummel is a professional drummer and educator. He is also a clinician, studio musician and columnist for Modern Drummer Magazine. Jeremy’s popularity as an educator stems from his engaging personality and practical concepts. His lessons are fun and sometimes unorthodox.

As a player, Jeremy puts his focus on two main projects. He is involved with a jazz trio called “EVE.” “EVE” does some fusion, electric dates as well. Jeremy also serves as the musical director of “Into The Spin,” an eight-piece horn band.

Jeremy’s most popular recorded works came with platinum-selling rock artists Breaking Benjamin. He was a co-founding member of the group and played on the band’s first two records, “Saturate” and “We Are Not Alone.” During his tenure the band scored two #1 hits in the Active Rock Format with “So Cold” and “Sooner or Later.” Additionally, Jeremy has recorded with a variety of artists and styles over the years.

His broad taste in music has made him the musical chameleon he is today. Over the years, Jeremy spent time in a variety of bands ranging everywhere from blues and jazz to reggae and funk. Jeremy also spent time in a 50s-60s era theme band.

For more info on Jeremy Hummel or to sign up for lessons, please visit :



One Day in the Flute Studio with Molly

My Intern wrote this little essay “One Day in the Flute Studio with Molly” as I was teaching in my studio on Wednesday. This is just a smattering of what I do every day, (6 days a week!) as I am constantly developing new ways to teach every student, from the 4 year olds to the retirees! I have so many ideas that pop into my head to adapt to each student’s needs and musical interests, and it was so nice to have InternMichele Arnold observe and write this little essay to explain a bit about how I teach! Of course, there are lots more ways that I teach each person, and I am always trying to adapt activities to fit each and every personality and ability level. I find my career to be so interesting and an absolute joy (most of the time!).

One day in the Flute studio with Molly…

…I played a super fun ice-cream game!
At Molly’s studio we play a game that consists of trying to stack an ice cream cone with as many scoops of ice cream as possible. When it gets to high and the ice cream falls, Molly picks out a corresponding number of rhythm cards for the student to clap, say, and then play. Whoever knocks the ice-cream over has to give the other person the cards after playing them, to counts as points. This is an innovative and creative game that gets students excited to play more challenging rhythms.

…I won m&ms in the five note pattern challenge!
In Molly’s studio, specifically for the younger and intermediate students, we begin learning all 12 of our five note patterns, which are the foundation for playing many different pieces. When the student comes in the room they are asked to play a certain five note pattern and for every pattern they get correct they will receive m&ms in a baggie. At the end of the challenge period the student with the most m&ms wins and of course they get to eat all of their hard work in the form of m&ms!!!

…I played my song and there were lots of blips!
Never fear…Molly’s metronome is here! When students are having trouble with smoothly transitioning from note to note we call this a blip. When this occurs in the studio we first identify what is causing the problem (tension, finger coordination, mental focus, etc). Then we practice the transition correctly with the metronome (at a slow speed). Once we achieve our goal at the slow tempo we speed up the tempo (ad nauseum). The notes that are causing trouble are recorded on the students special blip page called “Baffling Blips That Drive You Bonkers”, and that page goes in their binder to take home and practice.

…I just could not play a hard passage correctly…
Never fear… Molly’s awesome learning techniques are here! When this occurs in the studio Molly will have the student practice the passage with a learning technique. Some techniques that we do are chunking, syncopating, playing at different speeds, slurring/tonguing everything, saying the rhythms, playing a passage backwards and repetition with the metronome.

…We played warmups!
Some awesome warmups we do are galaxy/space notes in which we play a low note and over blow to get an overtone out… This dynamic warmup prepares and works the student’s embouchure to play notes in the correct register!

…We danced!
Today in the studio to try and encourage a student to put more energy and soul into their playing we danced around to get a feel for the music. Molly and Miss Michele were both waltzing around the studio with excitement and thus the student showed more enthusiasm. Music is fun, which is easy to forget when your mind is wrapped around trying to get the rhythms and notes correct but it’s important to remember to have fun and love what you’re doing!28872068_1809757242389744_7415522707426508800_n.jpg

3 Types of Goals

27654940_1659960884069359_5986149454272245414_n.jpgOn a whiteboard in my flute studio, I ask my students one question a month.  January’s was:  “What is your New Year’s Flutalution?”  (resolution in flute language!)

It was  clear that most students had things that they wished to work on in their flute-playing.  It did not matter the age of the student, or how long they have played, but from beginners to advanced, they had ideas and knew what they were aspects of their playing they wished to improve.  Here are some of the answers:

*Head up, feet solid, not slam my fingers (6 year old)

*Practice more often (5th grader)

*Learn my high trills (11th grader)

*Not clipping my notes (7th grader)

*Change Embouchure to get a better sound (7th grader)

*Keep Pinky Down on most notes (6 year old)

*Long Tones for a better sound (adult)

*Use my Tongue (7th grader)

*Fuller sound (beginner)

*Get 3 songs ready for every lesson (a student who has been playing for 4 years)

*Tension free playing (student who has played almost 2 years)

*Try to ace my college audition (senior in HS)

*Learn more high notes (10 year old, and yes, she has achieved this and learned most of the upper register in a month!)

*Memorize all 5-note patterns (7 year old)

*Improve Rhythm (8th grader)

*Get my plugs out and get in symphonic winds (Junior)

*Stop hanging my fingers over the keys (10 year old)

*Practice at least 3 days a week (Beginner)

*Learn to play a lot quieter (Junior with a great big, full sound)

*Memorize all my 5-note patterns (4th grader)

*Follow Miss Molly’s advise and listen better, also, get fingers closer to keys (10 year old)

*Practice with a journal while getting ready for college auditions (senior)

*Work extensively on a new Natural/melodic/harmonic minor scale each day (Senior who just got accepted into the Marine Band!)


Now that you have read the list of goals that students wrote down, try to think about each one and if it fits into one of the following categories:  Long-term, Medium-term or Short-term goals.

1. Long-term, missional based goals:  These goals are based on your core values.  In terms of flute playing, it may mean that you would be setting a goal based on how long you wish to play throughout your life.  You may wish to play just through high school, or make flute your career, or you simply wish to experience the day-to-day pleasure of playing as an amateur. Perhaps you find some healthful benefits to playing, and you wish to keep playing on a regular basis due the stress release it provides, or breathing benefits.

You may ask yourself, how does playing your instrument fulfill your perceived purpose in life?  Some goals may center on this.  For instance, if you say “I am making a goal to have fun while I make music”, then you are filling a very needed purpose to add some joy to your life.  Or, you may decide that your were given talents to help others experience beauty in life and perhaps turn their eyes from sorrow,  so your goal may be to continue playing so that you can help others.

I do not see any answers from my students on the whiteboard to suggest that the students are thinking long term, but I do know that many of them are thinking long term.  Apparently, they tend to think automatically about short term or medium term goals to improve their playing.  Asking them about their long term goals may be another question that I would like to explore with my students in the studio in the near future.

2. Medium term, strategic goals:  I would consider most of the above of my students goals to be medium term goals.  Once you come up with something you need to fix in your playing, you then will set yourself a time limit to focus very hard on one aspect for a month to perhaps 3 months.  You might not work on this exact goal every time you play, but you may decide something like this:

“I will focus on not slamming down my fingers while doing my scales for the next 2 months”

“I will look in a mirror and improvise music while relaxing my embouchure as completely as I can for 1 month”.

3. Immediate, tactile goals:  Some of the goals written down by my students were more immediate in nature.  These are more organizational centered goals, where a student decides that they will try to practice more, or they will try to play 2 more songs well in each lesson than they usually do. Focusing on a to-do list will help you achieve smaller objectives that you desire to work on in your playing, but also you may find that writing down a small to-do list for each day for your practice session can help you organize your thoughts and larger goals.

Obviously, we often have to change focus to learn music quickly for a concert or audition.  When this happens, we need to set aside some of the long-term and medium-term goals we have so that we can focus on achieving the immediate needs of the audition or concert. This would be another example of a short-term goal.

As an end note, take time to write down all of your goals that you can think of into the three categories.  This can help you jump-start your practice sessions by organizing and prioritizing your daily life so that it meets your flute goals.  I would also take time to ask yourself which goals were given to you by a teacher or another person, versus the goals that you came up with yourself.  This could also be another meaningful exercise, and perhaps a whole other blog post!





The BumbleBlog

Would you give The Flight of the Bumblebee to a 6th grade student, still in the beginning stages of learning their instrument? I recently said YES, and gave it to a student who:

  1. Went from practicing 1-day-a-week to EVERY DAY, several hours at a time (and actually now has trouble putting her flute down)
  2. Recently started to come to her lessons  more well prepared than ever with material from her 1st lesson book
  3. Started listening to YouTube videos of flute pieces and famous flutists
  4. Has clearly developed a passion for playing her flute
  5. Recently exhibited much more comfort in the balancing of her instrument and has demonstrated a much stronger sound
  6. The Flight of the BumbleBee is mostly chromatic scales, with a few surprise leaps, so it is rich with note-learning and finger-change possibilities, that can only enhance the flutist’s learning experience
  7. She looked at me (wide-eyed) and asked me if she could please play the Flight of the Bumblebee!!!

I do not have issues with giving her this piece, for many reasons. If a student develops a passion for their instrument, it is my job to nurture that passion, because when a fire is first lit, it can go out easily. But, I must proceed with caution and  not damage the passion by giving her an assignment that is way to hard for her.  So, I decided to make the piece all about finger, tonguing and tone exercises. I simply handed it to her and gave her 2 measures to learn.  I told her to do the two measures in manageable ways:

  1. Turn the measures into a long tone exercise, playing each note so slowly that you make each note big and beautiful, full and rich
  2. Play each note in each measure 8x each, on a breath attack, so she could work on the quality of her sound while slowly learning the notes
  3. Play each note 8x as a slow double tongue passage,  so that while learning the notes, she could start to work on her double tonguing.
  4. Since the piece is pretty much all 16th notes, I was able to teach her about how to work on difficult pieces by chunking, the lingering method, syncopating, etc.  These tools are invaluable for learning difficult music, but she would be able to do this in one week, because, after all, it is only 2 measures of the piece!

Here are the measures I gave her last week, which she actually learned very well and played at a fairly quick piece this week : IMG_6016.JPG

During this week’s lesson, she played the above passages for me, and we worked on lightening up her fingers, keeping her fingers closer to the keys and how to listen for un-evenness in the passages. I showed her how I would sound if my fingers were far off the keys, as a beginner tends to play.  Then I showed her how the piece was so much easier with my fingers close to the keys, and I played it delicately and fast.  I sent her home with the assignment to work on those aspects of playing well. I also gave her a few more measures.  She then asked me to teach her the very beginning of the piece (students ALWAYS want to start at the beginning, even when I do not want them to as much) At the beginning the flute music starts up high and moves down quickly in a chromatic passage.  Even though she was not playing those high notes yet in her lesson book, I decided that she probably could start playing that notes based on the quality of her sound production. I gave her the fingerings and sent her home with just the beginning 5 notes of the piece to learn.  For the record, we continued to work in her 1st lesson book, so that we do not miss any important progressive flute-learning steps along the way!IMG_6017.JPG





How to listen to classical music using storytelling

Hello there!  This is Molly, flute instructor and one of the owners at the Perfect 5th.

As a music therapy student at Temple University, I was a participant in a few “Guided Imagery and Music” practice sessions that masters and doctoral level Music Therapy students subjected me to.  After my first session of progressive muscle relaxation I was listening to Wagner, and with the help of  therapist verbal prompts, I found myself flying around in outer space with my cat, Willow!  I was laughing out loud and feeling quite giddy, thinking how cute my cat looked in her astronaut suit! I did not want to stop listening to the music and still remember how powerfully the music held me there, floating in outer space.

Currently, I often travel around the country to the national and regional flute conventions, as I  am sometimes a presenter at flute pedagogy workshops and work with the Blocki Flute Method and at my own Fluteplace booth. While there, I like to take the opportunity to attend concerts and workshops.  I always want to attend the concerts of some of the greatest flutists around the world at these conventions. I have to admit, I experience some listening fatigue, as I am exposed to whirlwind of flutes, flutists, music, noise, and flute information almost 24/7!

Finding myself in San Diego a few summers ago at a fabulous piccolo concert, followed by another concert of  newly composed music, I became increasingly sleepy and had  trouble concentrating.  I did not want to “check out” and lose focus, so I thought back to my experiences with guided imagery and began making up a story.   Soon, in my imagination, the unfamiliar classical music that I was hearing suddenly became alive, and each new section and new key became a new part of a story.  I found myself running along a river and I had birds flying along with me. I jumped in the river, swimming at lightning speed, and suddenly was in a race with another person.  I jumped out of the river and was running again until I came to a tree!   The tree was beautiful and majestic and reached up to the sky and animals were all drawn to it.  The music I was hearing suddenly became alive again, and each new section and new key became a new part of my story.

The wonderful thing about being to imagine while listening to classical music is that it can take you out of your present moment and bring you joy that was intended by the composer.  Sometimes you can hear angst, anger or sorrow in a composer’s music,  which you can also explore through your own imaginative storytelling while listening. You can help identify and express to yourself your own feelings, perhaps leading to your a needed resolution for yourself.

Another positive result of storytelling while listening to classical music, is that the storytelling becomes a way for you to organize what you are hearing and begin to identify the musical structure of the song.  The song can be remembered and recognized later on if you made up a story to it.  Many people start to tune classical music out if they are not given a way to focus on the music and relax.

Next time you are at a concert and find your self beginning to tune out the music and not focusing, try using your imagination.  Or, you can simply lie down on your couch at home, turn on some music and practice listening with imagination.

For parents who want to expose kids to classical music, try putting classical music on at dinner or in the car, and have your family actively make up stories to the music together.  I do something similar in my KinderFlute classes, where I pull out capes, scarves, balls, jump-ropes and other toys, and let my kids run around the room to a piece of classical music, making up a story as they go along!  They love it and they later remember the music when I play it for them again.  This activity is especially helpful if they are to be playing a portion of that same music that they are hearing in a method book or for a recital.  While this is so useful as a teaching tool, I ultimately simply want the kids to love the music and realize that they can use it for their own expressive purposes throughout their lives.

Don’t know where to start?  Here are some great pieces of music that you may want to try:

Masquerade Waltz by Kachaturian

Pines of Rome or Fountains of Rome by Resphigi

Morning from Pier Gynt Suite by Grieg

The Hall of the Mountain King by Grieg

Spring (or any of the seasons!) by Vivaldi

Water Music by Handel

Royal Fireworks by Handel

The Hebrides by Mendelsohn

Night on Bald Mountain by Mussorgsky

O Fortuna by Orff

La Mer by Debussy

Die Moldau by Smetana

The Swan by Saint Saens


(Tips brought to you by Molly Shortridge, Flute Instructor at P5)

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Great Job at District Auditions!

Each year, close to 100 flutists at the high school level try out to be in district band and orchestra.  It’s a long process, where students get their music in May and audition in December.  They audition on scales and a college-level piece of music.  This year, Marissa Duggan, Jacey Crayton and Michele  Arnold made it in.  Jacey even had the honor of achieving first chair in band!  The top 8 students get to try out for district orchestra, so Jacey made principal flute in that, as well! Congrats to all 3 outstanding flutists, for their hard work!



First Chair in County Orchestra, this year, goes to a Freshmen Flutist!

Congratulations to Marissa, a freshmen, who was first chair this year in County Orchestra.  This is highly unusual, as students qualify by recommendations from their band-director and by having placed in PMEA district band the following year. Marissa made 4th chair in district band in 8th grade, which is also highly unusual and most students do not get into districts until in high school!  But, Marissa’s hard work and dedication to learning her audition music is paying off!23622177_1583895445009237_8993950361087199806_n.jpg

Goal Setting : Partnering Together by Examining Motives and Emotions in the Music Studio

Goal Setting : Partnering Together by Examining Motives and Emotions in the Music Studio

Occasionally, I have a student who does not practice or move ahead in lessons,  and I start to wonder what I can do to get the ball rolling to help the student make progress.

I have a flute studio of about 55 students, and I generally have about 5 students like this at any given time.  Lack of progress and practicing seems to happen across all ages, from ages 5 to adult.  I find it necessary to constantly examine my own motives for wanting them to work hard and move ahead, but I realize I must remain open to exploring why a student may not be progressing. I must examine the motives of the student and myself.

There are several ways I go about this.

The first is an exercise I do at home, when I have time to reflect on the situation. I try to thoughtfully write out all the goals that I have for my student, for myself, and for my flute studio. Then I write down what I think my student’s goals are.  This does not mean that this is EXACTLY what the student’s goals are, and I recognize the fact that I may be making assumptions.  But, this is helpful because it helps me to think outside of the box and begin to uncover certain reasons why the student is not progressing.   I try to  explore in myself why I might have certain goals for this student, and discover if there are any conflicting goals the student may have. This is simply a brainstorming exercise that can help me look at possible multifaceted reasons that the student is not practicing or progressing. In this situation, I imagine what the student may be thinking and feeling vs. my own thoughts and feelings. It helps to identify my own goals that may be in conflict with the possible goals and needs of this particular student.  

The second way to examine goals is to simply go into a lesson with a sheet of paper and explain to the student that I would like to hear what their goals are.  I write down what his or her goals are in one section, and write down what some of my goals are for that student.   I write down and  share with your student some of the reason for some of the goals that I want for the student, and I also want them to try to explain to me reasons for some of their goals.  If the goals between student and teacher do not match up, it is simply my job to make sure the student knows that I am there to partner with them to come up with a set of goals that is reasonable for the student. It may be that the student only says one or two things for the goals. (‘I want to have fun” or “I just like my lessons and playing flute”). If that is the case, I have to examine if that is enough reason for me to continue teaching her, especially if I have goals that are more focused on only having students who work hard or have a high level of playing.  For me, having fun playing and enjoying lessons (while not really practicing) can certainly be a good thing for some students who are already juggling a full schedule or having emotional issues.  Helping them grow into good adults and creating joy in their life is absolutely a positive benefit.

Sometimes, student’s goals are in conflict with needs and wishes of their parents.  In this case, it is important that communication about goal setting includes the parents.  The exercise above can be modified to include the parent’s goals and feelings.  If a student is progressing slowly and the parent is wishing them to improve more quickly, the teacher does need to be in communication with the parent.  A thoughtful approach with a sheet of paper that can list concrete goals and the  feelings  and emotions of all parties is helpful.

Many students are more willing to work on their practicing skills, fundamental skills and music once they are involved in the goal setting process. I try to also teach them that their goals can simply turn into “wishes” if they do not come up with any steps to achieve those goals. If their goals turn into wishes, then they simply will not progress.

As a side note,  working on goal setting with a student is a great exercise for them, and doing this with your students can set an example of how to go about making changes in any situation in life. Perhaps this student will eventually mature into a mindset that includes setting goals toward improvement in music. 

 Upon examining my own goals,  I have discovered that in essence, I strive to be a teacher that is there for every student who walks across my threshold.  I may not be aware of all the things that they are dealing with in life, but I am open to the possibility that for some reason I am there to help them with whatever they are dealing with, and this may not coincide with my personal goals for them. Most of the time, it is musical, but other times, I hope that i am helping them grow as human beings and lifting up their human spirits in some way that I may never know.