Orchestral Strings Teacher
ASSIGNMENT 2
From ignorance to awareness in many small steps.
Adding digital to my connected learning.
1. The time before digital media
I began teaching music at a private school in Canberra in 1993 while completing a Master of Music degree at ANU. At that time communication was largely non-digital and occurred via telephone, some emails, and mostly face-to-face. My Masters’ thesis was not internet based at all – entirely face-to-face for tutorials and instrumental instruction and one face-to-face interview with Peter Sculthorpe in 1994, and research in physical libraries. Asynchronous communication was confined to the answering machine. What would now be described as my PLN was ‘offline’. With this experience I became a professional cellist who both performs and teaches music. The teaching aspect includes not only instrumental techniques, but knowledge of physical instruments, appropriate music selection, composition and arranging for students, and musicology when students require hard data.
I have always been interested in digital technology having built all my own computers since owning a ‘Commodore-64’ in 1989. When social media platforms became available there was no pressing need to adopt them. The older communication served me well enough in keeping existing contacts, with gradual expansion on a well-established base. Nevertheless, these contacts have to be nurtured to maintain the connections in order to facilitate continual learning. Instrumental teaching and performing were always face-to-face. I did start using YouTube as a teaching resource (but not a learning resource) in 2008 – not on a laptop, but a terminal at the school.
Most of the formal education of this activity is still face-to-face as is assessment, although instrumental teaching can now be achieved via Skype (https://www.lessonface.com/), or students can download YouTube videos of violin lessons and almost every other orchestral instrument (https://www.youtube.com/watch?v=GYSqIXuTnjM). Watching musical examples from YouTube can help direct the student along the right path in showing technical competency, but there is little analysis of the interpretation behind these performances.
Instrumental music teaching is not primarily word-based (although musicology is definitely word-based), and this may explain why curriculum-based teaching in this area has not seized the advantage of digital advancement so readily. Much of the earlier Digital Learning Theory was applied to academic word-based disciplines (Garcia, 2014). The rapid advance of digital technology means that social media is now commonplace and noticed by its absence rather than its presence. With the expansion of digital technology, utilised by social constructivism/connectivism, networked learning is now becoming embedded in the educational process and not just an external enhancement of the process. Students are involved with both physical and digital technologies, and physical and digital spaces in their educational and social lives (Jandrić, 2018).
However, in day to day practice to use these digital networks in Instrumental Music, high quality sound and vision are critical beyond the beginner-learning stage. This means that making use of this teaching method tends to favour a more privileged minority who can afford the equipment. This is an equity issue as even some won’t be able to afford even cheaper equipment. The problem is recognised by Ito (2013, p.15) when considering an educational agenda that serves all youth rather than a privileged few.
2. My Initial PLN
My starting PLN reflects this largely non-social-media background. I see that the email contact served the OzTeachers community well over 20 years, but technically it required a team to maintain a server in an environment that had to be increasingly security conscious. While the network met social and educational affordances, technological affordances were superseded by Web v2.0 social media abilities (Lloyd et al, 2015).
This course has provided the way for me to enter the social media arena and view it as a personal learning tool to supplement my existing email/face-to-face networks. The course itself could be regarded as a “critical incident” in an expanded way of seeing learning possibilities for my own practice as a teacher, composer and performer. Finally getting my assignment 1 online was another critical incident in itself, in that it was the first blog I have ever achieved. I have been introduced to the concept of networks as learning resources as a way to access a spread of information relevant to my interests. The sheer volume of data presents a challenge to focus on particular useful topics (Wenger et al, 2011). From brief experience the ability to connect ideas and concepts from differing strands of knowledge and decide on their relevance is a basic skill that has to be developed. Up to date knowledge is the desired result (Siemens, 2004).
I have always wanted to improve both my teaching ability and performance expertise. With regard to teaching, the question of how to enthuse students in all the aspects of practical musicianship, meant I reluctantly realised that somehow social media had to be involved. The students communicated in this new language although a lot of the time it seemed for trivial purposes.
Face-to-Face teaching requires use of many digital technologies, and being able to draw on connected learning principles will help me to incorporate social-media learning activities as part of my teaching (Mirra, 2014). To become a connected educator, I have to experience becoming a connected learner (Nussbaum, 2012).
Students will then be introduced to their instrumental studies in what they see as a familiar electronic environment. This would add to the effectiveness of the limited face-to-face time available for musical instrument instruction, especially as the students need to operate more independently (i.e. to practise) between weekly lessons. The case study of the Skateboarder (Ito et al, 2019) who improved his art using social media interaction is a pointer in this direction. The novelty of using social media may encourage more interest, or break down the barriers of ‘doing homework’, or of practising. With youth being more familiar with social network technologies, there is the possibility of them generating content of their own. This is relevant for education systems, as it has implications not only for the teachers but just as importantly, the curriculum that guides them (Hegarty, 2015).
3. Developing my PLN
Developing my PLN on one hand, has reinforced the need for personal thought and control of the direction of my learning, and on the other has expanded my concepts of how learning may occur. Being immersed in instructivist ways of learning since primary school, transitioning to connectivist methods with this LCN600 course has been traumatic. Learning experiences involving a PLN reverse the instructivist way in that learning is driven by the individual with the network creating the opportunity through the affordances of social media (Oddone, 2016).
The social nature of networks is very evident but a large degree of filtering is necessary as many networks don’t have education in mind (Dron & Anderson, 2014). I have found many sites that contain useful knowledge, but to get to this type of ‘teachable information’ is very time-consuming and I have found it necessary to ‘learn how to learn’ in a constantly changing world of digital data (Dron & Anderson, 2014). It is the interaction with another world which has been described as the world of “Networked Publics”. The term ‘Publics’ can be used to mean facilitation of people gathering for the social, cultural and civic purposes that characterise human communities and also helping them expand their horizons beyond those communities. The term “Networked Publics” is used to describe publics that are reorganised by networked technologies which effect how information flows and peoples’ interaction to it. The way people engage with their environment is moulded by the affordances of networked publics but is not dictated by it (boyd, 2010).
I signed up for Twitter and Facebook in late January, and found that the operation of these sites to be contrary to my intuitive processes. I signed up to one website but it proved to be too confusing and was dropped in favour of my present website which I found easier to setup initially when time was scarce. I also downloaded Xmind Zen to create the Maps/PLNs for Assignments 1 and 2. YouTube registration followed after assignment 1 as I completed the blog on aspects of interpretation and teaching of a favourite cello work ‘Allegro Appassionato’ (Hall, 2019) https://awhmusic.wixsite.com/website/about-1. I also completed the first blog of a series of four on the cello music of Australian composer Peter Sculthorpe (Hall, 2019) https://awhmusic.wixsite.com/website/about. I used excerpts of these blogs to promote them on YouTube and linked them to my Facebook group.
There are many other Appasstionato videos available to watch and reference on YouTube, but here are a select few.
https://www.youtube.com/watch?v=Itpvk6R3RvY
https://www.youtube.com/watch?v=rYJ6502c_Lc
https://www.youtube.com/watch?v=f6-twx19R2k
https://www.youtube.com/watch?v=gkSlhYFBIxo
A video excerpt from the appassionato blog follows which is my response to the YouTube performances:
I have had a response to this blog which is included in Appendix-1.
Working on these blogs reinforced the underlying audio/visual technology needed in addition to digital social media if students are to interact with each other or particularly with an Instrumental teacher online. Although most households are connected to the internet, this may not be of sufficient quality to support an audio/video learning environment at home, especially for music teaching. Once again, inequity becomes an issue (Ito, 2013), even more so if the student needs to respond with A/V output (especially in a real-time Skype lesson). For example, the sound quality of the QUT LCN600 tutorials would not support a real-time music lesson for anything but beginners.
In looking at the way I have interacted online, in the sense of Linking, Stretching and Amplifying (Oddone, 2019), there are beginnings in all three of these activities; nothing predominates at present. As a beginner, linking with forum sites has not yet produced much activity (but this is an ongoing process).
List of Twitter, Facebook, and Forum sites I am following:
EdQLD forum sites
Staff Bulletins forum
Software updates forum
Primary-Music discussion forum
Instrumental-Music Discussions forum
QTU forums
Other sites
@NeedSchoolLibs; @msdsocial; @learningspace17; @LuptonMandy; @MusicEDnet; @Stringbabies; @cellobellofans; @KayOddone; @MAGAInc; @ESTAStrings; @CelloStudyBooks; @ASMForchestra; @PerlmanOfficial; @JoshuaBellMusic; @CL_QUT;
CelloBello https://www.cellobello.org/cello-chat/
CelloBello Facebook page CelloChat https://www.facebook.com/cellobellofans/
Internet Cello Society
https://www.tapatalk.com/groups/cellofun/?sid=0a7b94e63d1735b48ae5d8d677f119b0
London Cello Society https://www.londoncellos.org/
For Stretching, I have requested advice as a teacher of primary school string students.
I have given advice on cello composition to a composer on this website (Appendix 2). The content of my advice is listed in Appendix-2 after the references section. While I have expanded the diversity of my network, this was effectively from a zero-starting point.
Amplifying is illustrated in my blogs on Peter Sculthorpe and Saint-Saens, and also adding comments to an online article regarding teachers (Appendix-3). I have also used Google Search backed up by ‘old fashioned’ email, to contact a non-indigenous composer who has worked with indigenous elders to produce multi-modal compositions involving indigenous culture with non-indigenous performers. The reply I received could be regarded as a critical incident, as there has been an undertaking to raise my queries with a far-wider digital network. I am hoping that some ideas will emerge which will allow me greater understanding of indigenous culture and the possibility of incorporating it into my music teaching. This will be a longer-term project and excerpts from emails are included in Appendix-4. I have also given permission for a music teacher in Adelaide to use one of my compositions in a school concert. This contact was through the older established face-to-face and email network, contents of which are found in Appendix-5.
I experienced a negative critical incident as I tried to be part of a live Facebook #CelloChat dealing with a masterclass, and although signed up to the organisation, I ran into the limitations of synchronous communication, as the chat was being held in a time zone which meant that I was at work when it occurred. I can still learn from the content in a recording, but could not actively contribute.
In my interactions with Facebook/Twitter/YouTube and Google Search, I have found a vast amount of Data and Information presented, but most of the content was not useful for conversion into Knowledge about practical instrumental teaching. Searching through Twitter I found the very short content of messages was suitable for Information about practical musicianship, but not in sufficient detail to be qualified as Knowledge. Rather, in Twitter, references could be made to platforms that allowed more comprehensive treatment of the subject. I have found that the Knowledge which leads to the possibility of Wisdom is contained more in the Google Search and Facebook platforms (Tobin, 2017).
An example of high-quality shareable content is this series of videos from Framlingham College, one of which is “How to Practise Music” and is comprised of 7 tips about how students (and anyone else) can manage their practise sessions to increase the efficiency and effectiveness of learning music (Framlingham, 2019).
As my digital interactions are not yet extensive, my approach to learning through my PLN is still developing. I am more closely aligned with the ‘evolved connector’, however, I can see myself in parts of other types of learners such as the ‘time manager’, in that I believe that it is essential to keep the PLN up to date, but that this also takes time. However, more efficient managing should lead to a more fluid and flexible way of learning. In part I am a ‘global connectivist’, in that I wish to develop my PLN to contain high-quality Information and Knowledge which can contribute high quality shareable content (Oddone, 2018). At this stage it is obvious that these are aspirations rather than achievements. Using the digital tools that support ongoing learning and professional expansion involves a lot of interactions across a number of systems and there is no “one size fits all” approach; each person works at it in their own way (Trust et al, 2016).
4. My current PLN
During this semester, Facebook, Twitter, Forums, and YouTube uploads have all occurred, something I never thought possible. Software has been acquired and used in order to develop the PLN, while linking social media sites to my Gmail account has proved beneficial.
5. Future Directions
As a basis for understanding what is involved in Connected learning (for students and myself) I have explained the following chart in terms of the discipline of Instrumental Music.
Eight Pedagogical Points for Connected Learning
i. Relationships
Offline, Instrumental Music relationships are based around ensembles and small group learning. Online, with closed Facebook groups, students need to be given the ability to upload their video performances to a local school website which supports similar functionality to YouTube.
ii. Learning Goals
Connections could be created that link peer culture to more formal music making, in that the Instrumental Music teacher could use the student’s interest in popular music to show connections with more formal music styles. Comparing the harmonic, melodic and rhythmic complexities of more formal music styles with those of popular music, could stimulate interest by students in both classroom and instrumental music programs.
iii. Challenge
Challenges are built into each stage of the learning process, as students learn how to play music. A network should allow students to interact online, both listening to and producing music with each other, while interacting with online sound/video files guided by the teacher. The network also needs to provide security (closed network) for assessment uploads.
iv. Real World
Public performance is an important part of Instrumental Music. School ensembles regularly perform for school events like assemblies and school concerts. Instrumental Music also goes outside the school (outreach) to other events like eisteddfods and retirement villages.
v. Participatory
Schools vary in the approach to Instrumental Music. Some schools have dedicated performance centre to teach in, while others have lesser accommodating spaces. For shared purposes, specialists can be brought in to run workshops and concerts. Australian jazz trumpeter James Morrison and jazz clarinettist Don Burrows do exactly this, and day long workshops, rehearsals and concert with them and their bands are possible for high-school students. At a primary level, schools in the same cluster will organise ‘day camps’, targeting a particular student level, where the day is organised by specialist instrumental teachers. The students benefit by gaining about a term’s worth of ensemble technique and development in one day.
vi/vii. Openly Networked, Production Centred
For both of these pedagogical aspects, the students need to be able to login to their own Instrumental Music site, created and maintained by the government or private school as the case may be. For child safety and for privacy reasons, an Instrumental Music site needs to be within the school system, and not openly networked. The act of a teacher giving a YouTube link to students does not limit the students to this link, which may generate concerns by administrators. Software such as SeeSaw is available to network within a school (https://help.seesaw.me/hc/en-us/articles/115003755186-How-does-Seesaw-work-) however, at present there is not a way for students to safely share their learning in an open network.
viii. Interests
Instrumental Music concepts of technique can be driven by student interests and choice, but it’s probably best if the teacher suggests a series of options. Some of these ideas won’t be considered until tertiary level as the student transitions into a more professional musician. Within the limits of the curriculum and their own personal limits, students can be given choices of music to learn for performance and assessment that provide a challenge for their abilities. Being challenged to learn something a little be harder at times is how the beginner transitions into a professional in most areas of education.
To conclude, while introducing Connected Learning principles into the Instrumental Music curriculum is in its early stages, further development of platforms are needed that offer safe social connection while allowing greater flexibility and security for students to engage in an openly networked environment. The safety of data in online networks is always a concern as earlier this year a school server was subjected to 5000 overseas unauthorised login attempts per hour for a two-week period. Although no attempt was successful, this situation shows that personal data, no matter where it’s located, has value for illegal activities.
Growing my PLN
At present, there are approximately 100 Instrumental Music teachers in the South East QLD Region (not counting Brisbane) covering all instruments. I have some face-to-face encounters at times with a few of these teachers, but I don’t have digital contact with them unless they give out their Education Queensland email address. I would like to discuss common pedagogical issues online with them, in an organised professional learning community. I have not been able to find much interaction about instrumental music teaching on Facebook and Twitter. I would like to grow my PLN by contacting these teachers but currently the communications system does not encourage it. It’s necessary to network with people who have knowledge that I am interested in, and who are willing to share their knowledge online, even within a closed government network or Facebook page. This could be the first step towards open connected learning (Tobin, 2017). To become a teacher-learner in the 21st century, I will need to further develop my PLN as a step to becoming part of a community of practice, to connect with individuals who have interests that cover the full range of music activities and related areas of interest (Nussbaum, 2012).
In general, at this early stage, there is a lot more searching that I still can do to find groups to connect with. For example, the series of blogs that I have started about the Cello music of Peter Sculthorpe should be of interest to anyone performing these works. As Sculthorpe was a highly regarded Australian composer, I would expect some interaction on this topic.
The simple fact is that I have to overcome some of the habits of many years and recognise that “(Digital) isolation is the enemy of improvement” (Trust et al, 2016).
END OF BLOG
References
boyd, danah. (2010). Social Network Sites as Networked Publics: Affordances, Dynamics, and Implications. In Networked Self: Identity, Community, and Culture on Social Network Sites (ed. Zizi Papacharissi), p.39-58. Retrieved from
https://www.danah.org/papers/2010/SNSasNetworkedPublics.pdf
Department of Education, QLD. (2017). Instrumental Music Curriculum v2.0.
https://education.qld.gov.au/curriculums/Documents/instrumental-music-curriculum.pdf
Dron, J., Anderson, T. (2014). Teaching Crowds: Learning and Social Media. p.138. Edmonton, Canada: AU Press. ISBN 978-1-927356-81-4 (PDF).
Dron, J., Anderson, T. (2014). Teaching Crowds: Learning and Social Media. p.140. Edmonton, Canada: AU Press. ISBN 978-1-927356-81-4 (PDF).
Framlingham College. (2019). How to Practise Music. 2019 (January 7). Retrieved from https://twitter.com/FramCollege and https://www.youtube.com/watch?v=VAiUME7Di-o&feature=youtu.be&a=
Garcia, Antero, Ed. (2014). Teaching in the connected learning classroom. Irving, CA; Digital Media and Learning Research Hub, 2014 (February). Ch.3. p.40.
Hall, Allan. (2019). Wix personal website. https://awhmusic.wixsite.com/website/about-1
Hegarty, B. (2015). Attributes of Open Pedagogy: A Model for Using Open Educational Resources, p.5. Educational Technology July/August, 2015.
Ito, M., Martin, C., Cody Pfister, R., Rafalow, M. H., Salen, K., & Wortman, A. (2019). Affinity online: How connection and shared interest fuel learning. Skateboarder case study. New York, NY: New York University Press.
https://www.youtube.com/watch?v=4BIshttps://www.youtube.com/watch?v=4BIsZ8hGznsZ8hGzns
Livingston, Sonia. (2016). The Class, Living and Learning in the Digital Age. NYU press. ISBN: 9781479884575. Retrieved from
http://www.researchingcommunication.eu/book12chapters/C04_LIVINGSTONE201617.pdf
Lloyd, Margaret., Skyring, Carol., Nykvist, Shaun. (2015). Teacher professional conversations – the oz-Teachers story. Australian Educational Computing, 2015, 30(2). Queensland University of Technology, Australia.
Mirra, Nicole. (2014). Making Learning More Connected. 2014 (July 21). Retrieved from
https://educatorinnovator.org/making-learning-more-connected/
Nussbaum-Beach, S. & Hall, L. (2012). The connected educator: Learning and leading in a digital age. Bloomington, IN: Solution Tree Press, 2012.
http://go.solution-tree.com/technology/Reproducibles_TCE.html
Oddone, Kay. (2016). Connected Learning and Open Networked Learning, a Comparison. 2016 (December 7). Retrieved from http://www.linkinglearning.com.au/connected-learning-and-open-networked-learning-a-comparison/
Oddone, K. (2018). How do you connect? 2018a (January 29). Retrieved from http://www.linkinglearning.com.au/how-do-you-connect/
Oddone, K. (2018). PLNs: Theory and Practice. 2018b (January 21). Retrieved from http://www.linkinglearning.com.au/plns-theory-and-practice/
Oddone, K. (2018). Transforming professional learning with Personal Learning Networks [Slides]. 2018 (April 29). Retrieved from https://www.slideshare.net/kayc28/transforming-professional-learning-with-personal-learning-networks/1
Oddone, K. (2019). Linking, Stretching and Amplifying. National Education Summit, Brisbane. 2019 (May 31-June 1). Retrieved from http://www.linkinglearning.com.au/linking-stretching-and-amplifying-at-the-national-education-summit-in-brisbane/
Oddone, K. (2019). Teachers’ Experience of Professional Learning Through Personal Learning Networks. Faculty of Education, Queensland University of Technology.
https://eprints.qut.edu.au/127928/1/Kay_Oddone_Thesis.pdf
Petar Jandrić, Jeremy Knox, Tina Besley, Thomas Ryberg, Juha Suoranta & Sarah Hayes. (2018). Critical Pedagogies and Philosophies of Education. Postdigital science and education, Educational Philosophy and Theory. Volume 50:10, p.893-899.
DOI: 10.1080/00131857.2018.1454000
QLD Curriculum & Assessment Authority. (2013). Teaching and Learning Resources: Aboriginal and Torres Strait Islander perspectives.
https://www.qcaa.qld.edu.au/downloads/senior/snr_music_13_indigenous.pdf
Siemens, G. (2005). Connectivism: A Learning Theory for the Digital Age. International Journal of Instructional Technology and Distance Learning. 2005 (April 5). Retrieved from www.connectivism.ca
Trust, T., Krutka, D. G., & Carpenter, J. P. (2016). Together we are better: Professional Learning Networks for Teachers. Computers & Education, issue 102, p.15-34. DOI: 10.1016/j.compedu.2016.06.007
Wenger, E., Trayner, B., & de Laat, M. (2011). Promoting and assessing value creation in communities and networks: A conceptual framework (18). The Netherlands: Ruud de Moor Centrum Open University. Retrieved from http://wenger-trayner.com/wp-content/uploads/2011/12/11-04-Wenger_Trayner_DeLaat_Value_creation.pdf
Appendix 1
General response to my Wix website
Hi Allan,
That looks like a huge amount of work - well done!
My reactions -
I found the Saint-Saens much more interesting than the Sculthorpe because it shows you performing excerpts rather than disembodied recordings which I think are never going to be as interesting as watching the "speaker" perform. Also, I thought the Sculthorpe read very much like an "assignment" and was perhaps a bit wordier than it might be?
There were a couple of segments in the Saint-Saens that had this in them though, which you might want to edit out:
"Use this space to add information for your users, write about your philosophy or your journey and define your distinguishing qualities. Consider adding an image for extra engagement."
I think this happened twice?
XXXXXXXXX
XXXXXXXXX (mob. XXXX XXX XXX)
MPhil(Perf) GradDipMus(Pedagogy) GradDipEd LMusA LTCL
Musician - Accompanist - Teacher (piano/violin)
Appendix 4
Excerpts from emails
Hello XXXXXXX
Thanks for getting back to me, much appreciated. I have no objection for you to sound out (pun intended) this topic to other social media users. I am sure your contacts would be much more broad ranging than mine (I am pretty new to the social media scene).
Thanks for your interest.
Allan Hall
From:
Sent: Wednesday, 15 May 2019 3:14 PM
To: Allan Hall <ahmusic@tpg.com.au>
Subject: Re: Indigenous music
Hi Allan,
Thanks so much for getting in touch with your query. Excuse my late reply, [data removed to preserve anonymity].
First of all, I hear you! As I'm sure you feel, it is a really tricky situation where there is a strong and well-meaning enthusiasm from educators and students to engage with Australian First Nations culture, yet a myriad of complex cultural factors that don't make it quick and easy to meet this demand.
I'm afraid I don't have a clear answer for you. I've been lucky, as a non-indigenous person, to have had opportunities to consult with elders to understand and gain permission to work with certain traditional stories in my compositional practice. However, this has only ever been related to words, language, and subject matter. And even then, I would say that my work remains a response to these stories rather than an authentic telling of them.
In terms of music without words, this is even trickier. Would you mind if I anonymously quoted you and did a social media shout out to see if anyone had more information/ideas than me? No problem if you'd prefer not, but I think you've highlighted a very broadly-felt issue.
Warm regards,
XXXXXXX
On Tue, May 7, 2019 at 4:40 PM Allan Hall <ahmusic@tpg.com.au> wrote:
Hi XXXXXXX
I am a teacher of orchestral strings. My enquiry is: How can an Instrumental Music teacher of orchestral strings, introduce indigenous music into my primary school program? No beginner violin/cello manuals have Indigenous pieces in them. All manuals have the old favourites like Twinkle, Jingle Bells, Mary had a Little Lamb and Lightly Row etc but nothing from Indigenous Australia. Just wondering if you have come across sources/sites dealing with this topic. It seems the intersection of indigenous music and western music is mostly in the pop-music area, not classical instrumental music area.
I have played and studied Sculthorpe (orchestral and cello) and realise that he modified for western instrumentation some indigenous chants. However, this material is not for primary school levels!
Thanks
Allan Hall
Appendix 5
From: [data removed to preserve anonymity]
Thanks so much, Allan - that's super. I can't wait to give it to the kids!
XXXXX
[data removed to preserve anonymity]
On 17/05/2019, 11:16 AM, "Allan Hall" <ahmusic@tpg.com.au> wrote:
Hi XXXXX
Score and parts attached. Let me know if there are any problems.
Thanks
Allan Hall
-----Original Message-----
From: XXXXX
Sent: Friday, 17 May 2019 10:34 AM
To: Allan Hall <ahmusic@tpg.com.au>
Subject: Re: Eleanor Rigby
Hi Allan,
Thanks so much! We performed this when I was at UQ with XXXXXX and remember loving the arrangement! Would it be possible perhaps to please obtain the score and parts from you via email?
Best wishes,
XXXXX
[data removed to preserve anonymity]
On 15/05/2019, 4:26 PM, "Allan Hall" <ahmusic@tpg.com.au> wrote:
Hi XXXXX
Yes, by all means go ahead and perform the arrangement. [data removed to preserve anonymity]
If you have any further queries then please contact me.
Thanks
Allan Hall
From: [data removed to preserve anonymity]
Hi XXXXXX
Good to hear from you - [data removed to preserve anonymity]
I will contact XXXXX directly - thanks for the email.
Thanks
Allan
-----Original Message-----
From: [data removed to preserve anonymity]
Sent: Wednesday, 15 May 2019 3:59 PM
To: Allan Hall <ahmusic@tpg.com.au>
Cc: XXXXX [data removed to preserve anonymity]
Subject: Eleanor Rigby
Hi Allan,
Hope life is treating you well.
I’ve had a request from XXXXX to play your 6-cello arrangement of Eleanor.
[data removed to preserve anonymity] I’ve copied XXXXX in here so you can be in direct contact.
Cheers
XXXXXX