Mundaring and Hills Piano Lessons

You can develop musical skills and musical understanding through lessons with an experienced and qualified teacher.

With expert guidance you can learn to play with ease and avoid the pitfalls of faulty technique.

Make your playing a joy to listen to using methods based on natural, scientific biomechanical principles for use of the hands, arms, and fingers.

Expressive playing comes from combining easy technique with an understanding and appreciation of the languages of music.

MDJ selfie 20180714.45
I still have some hair (2018)

Little by little children and adults learn the nuts and bolts: note names, intervals, scales, chords, rhythms, and more. Each concept on its own is simple but the combinations give you a huge variety of music you can explore.

Most students also want to learn to read musical notation, which I encourage. I became extremely fluent at reading music but that’s a long term project for most people. So there’s a little reading, and ear training, in each lesson.

What music do you want to play?

Over several decades my students have learnt a wide range of piano music in many different styles.

You can bring sheet music you like to the lesson to learn, or I can get recommended pieces and books for you. Choosing the right music to work on is an art in itself so we always discuss it, and we don’t try pieces you don’t want. There is no shortage of music to choose from.

I teach piano and theory from age 8 to 88, including complete beginners of any age. Lessons are in the students’ own homes or online.

Please contact me if you want lessons for yourself or a family member.
Mobile: 0414 374 701.
Email: m, followed by the ‘at’ symbol, followed by: mixmargaret.com (there is no ‘au’).

Other info:
Fees and teaching areas in the Shire of Mundaring (Perth Hills).
If we have another lockdown your lessons can continue as I also teach online.
Old page about my piano teaching. I also teach singing (but only for students over 18 years).
My musical qualifications and WWC Check.

Thürmer piano sold: end of an era

When I had more hair, less weight and sat too low, ca. 2002

It was with mixed emotions that I sold my 1903 Thürmer upright piano a few days ago after owning it for more than 30 years. It’s been like a family member since 1988 when I bought it from Dave Carlson, who was a president of the APTTA. Fifteen years later Dave and his wife, Wendy, surrounded by my piano and singing students, gave the piano a present for its 100th birthday party: a pair of new candle holders.

When I visited Dave’s workshop seeking to buy a piano this one had come back to him some years after a full recondition. He hadn’t recently tuned it and so did not fully know its value. Because it is hard to assess a piano’s quality when it’s not in tune, I struck (and I do mean STRUCK) a note, as loudly and roughly as I could, to assess what range of colours it might have. Dave must have been horrified that I would beat a key like that and he must have wondered about my piano teaching skills because of the raucous sound. However, ever the diplomat, he didn’t say a word. Suitably impressed with the piano’s responsiveness, I agreed to buy it for $2950, which was raised from small loans from a number of students. It turned out to be a great buy.

Pic from 2010

In those days old pianos could appreciate in value so a few years later I asked Dave for a valuation. From memory I think it was $3500 or perhaps more. Not long after that something happened in Japan and the value of all the old pianos in WA went through the floorboards.

In vague terms I think the Japanese economy slid down the slopes and disappeared under the sea. All over that country people were losing their jobs and eyeing off the excellent Yamaha pianos sitting in their loungerooms, unused since the kids left home. Suddenly, huge numbers of them were in sea containers headed for Australia which meant our lovely old European and Australian-made pianos were instantly devalued.

2018 in Jane Brook

Fast forward to 2011 when I returned to the Hills were I grew up. I resumed teaching piano, singing and theory, and accompanying choirs and exam students after a long break when I drove taxis in Karratha. I also took up another part-time profession, that of the house sitter (and pet visitor/plant waterer).

Instant problem: how do I teach and practice piano as a house sitter? The first part was easy: I teach in student’s own homes. The second part was quite difficult. For several years I paid removalists to shift the Thürmer from one house sit to another, often leap-frogging one or more short bookings. Then I got local Hills Choir stalwart and inventor, Ivan Halbert, to modify a trailer so I could shift the piano on my own with a hand winch and several bits of custom-made equipment.

Customised trailer by Ivan, seen here in GEH, Chidlow

Shift the piano on my own? I did try this once but then thought I’m never doing that again, so usually I slipped a few bucks to my long-suffering eldest brother, Lawrence, to help me move it. Because the equipment was quite different to what professionals use it always took at least three hours, anything up to five hours. We must have moved this piano (plus a few friends’ pianos) about twenty times and I’m SOOOO glad I won’t be doing that again.

Lawrence, 2013
2018

The trailer was sold six months ago so last week the piano was moved to its new home nearby by pushing it along the road.

Pushing the piano with supervisors staying well back (they learn fast)

The new owner got it as a surprise early Christmas gift from her husband. I am over the moon that the piano, almost human to me, has gone to a good home where it will be greatly appreciated and played so well.

At the birthday party in 2003 Dave & Wendy gave me this info: “At present Thürmer pianos are not commercially imported into Australia, however if you would like one, it could be arranged for approximately $35,000 to $40,000 Australian for an upright.” One of the best brands, for sure, and built to last in Meissen, Germany. With another recondition a decade or two from now this one might outlive the new owners and their children.

These days I practice and often perform on digital pianos. No moving or tuning issues and I can literally carry one under my arm! At night I can practice and compose with the headphones on if people are sleeping nearby.

My final play before selling, at a soiree in the Hills, November 2019
2015, me vainly trying to learn how to tune
And they say practice makes perfect. Hmm, maybe not.
On the move, early 2018
Storing in Toodyay, from mid-2016

See these other pages on my website:

Piano chair boxes to adjust your sitting height
How to sit correctly at the piano
Piano chairs and benches
Piano hydration (water) beakers to maintain pitch (but note this contrary advice from the piano tuner’s association: www.aptta.org.au/faqs.aspx)
Piano music stands / sheet music holders: rigid or foldable (portable, DIY)

Child’s Play: eight dodecaphonic piano pieces

Reuben's Big Day Out, from Child's Play

Educational piano music book by Mx M D Jones.

Child’s Play is eight dodecaphonic piano pieces including a duet and a trio, all based on a 12-note row. Some pieces are genuinely atonal while others sound more neo-tonal. The Greedy Row Snake used to be in the AMEB’s exam syllabus for grade one and has probably been played by 10,000 students (23,000 copies were sold of their exam book which included Greedy as the last piece).

BLOG UPDATE November 2018: I now have three YouTube videos where I talk about the pieces and then play them.

Or have a listen at SoundCloud (also free):

Upside-Downs
The Greedy Row Snake

Visit the music page for Child’s Play, with more samples to view or listen to.

Reuben’s Big Day Out is dedicated to former Australian Prime Minister, Paul Keating, whose dog, Reuben, was the subject of many questions from the opposition in federal parliament in the 1990s.

The pieces cover a range of levels from pre-initial to about grade 6 or 7, and include a trio where a novice can sit at the piano between experienced students and play a previously-learnt solo (Upside-Downs) which fits into a new piece.

Study instructions for Child’s Play

Upside-Downs, from Child's Play by MDJ

A partially completed chart is included for studying the tone row. Students can fill-in some of the missing rows using a pencil and match them to the pieces they are learning.

The 12-tone style or method was developed in the 1920s by Arnold Schoenberg. Typically, such music is freely dissonant and, unlike some of Child’s Play, deliberately atonal. The technique was developed further by many composers through the twentieth century.

Performance grouping suggestions

The eight pieces of Child’s Play were originally intended to be played as individual items in programmes with a mix of pieces chosen from the works of many composers, not as a complete set. However, they can well be grouped into small sets. Here are some suggestions.

Four Easy Pieces from Child’s Play (or Three… or Two…).

Pre-initial to about grade one or two:
Upside-Downs (played twice)
A Lazy Day
The Greedy Row Snake
Reuben’s Big Day Out

Five Pieces from Child’s Play (or Four… etc)

About grade two to grade seven:
Reuben’s Big Day Out
Homage to Webern
Homage to Schoenberg
Clouds (as a solo)
Alone in the Dark Forest (as a solo)

Clouds was conceived as a duet (one piano, two players) but a skilful pianist can play it solo. Alone in the Dark Forest, given in the book twice as a trio and a duet, can also be played solo by a pianist with a big hand span using the adjustments shown in certain bars.

Duets from Child’s Play (or Duet and Trio from Child’s Play)

Play Clouds and Alone in the Dark Forest as written, perhaps prefaced by Upside-Downs and other pieces.

To purchase my music:

HMP secure online purchase via Shopify http://www.mixmargaret.com/shopify-links-for-mdj.html

Or use the Printable Order Form (or email) if you prefer to pay using a cheque or a direct bank transaction http://www.mixmargaret.com/HMP-printable-order-form.html

Comments welcome.

UWA Keyed Up! Day of Piano, & RSI

I went back to my alma mater today to watch UWA Head of Keyboard and Performance Studies, Graeme Gilling, give masterclass tuition in the second annual Keyed Up! Day of Piano.

Graeme Gilling with student

What a great resource this is for piano students and teachers in Perth. Graeme’s many years of experience as a performer and teacher were in evidence as he gave sage advice to students ranging in age from young children through to late teens (and perhaps 20 year olds?), playing pieces from the early grades through to about grade seven or eight and perhaps one from the AMusA.

Topics covered, usually with several students, included voicing, rhythm & beat in mazurkas, balance, articulation, shaping phrases, and playing as if you were singing. Graeme made the point, often completely missed by students and teachers alike, that the only difference between a loud sound and a soft one was the speed with which the key goes down. So true and so counter-intuitive! The difference seems to be beyond human perception and so many people incorrectly think it has something to do with a vague notion about ‘force’ or ‘weight.’

Mx Margaret Dylan Jones

Mx Margaret Dylan Jones, that’s me.

A point made several times was that all pianists need to be careful to avoid getting repetitive strain injury (RSI), a descriptive term for an overuse injury also known as occupational overuse syndrome. While playing with wrists in an unnatural position (such as low, with the hands bent up) is not the only problem it is certainly asking for trouble. I had RSI about five years ago, caused mainly from a faulty piano technique but with poor computer mouse use a contributing factor. Then I discovered a much better technique for piano playing and now I’m practically symptom-free.

I don’t often get down to ‘The Flatlands’ so it was a little nostalgic for me to be in the Callaway Auditorium again. Professor John Exton’s black hemispherical acoustic baffles (diffusors?), installed just before I began studying for my degree there in 1979, are still hanging from the ceiling (see pic below), which no doubt contribute to the venue having such good acoustics. These students were so lucky to play there on a wonderful full-size Steinway grand. What a sound! But I wonder if anyone has thought to check the baffles for dust & dead insects. If they get heavy will they one day come plummeting down?

Callaway Auditorium at the University of Western Australia

Callaway Auditorium at the University of Western Australia

This annual event is highly recommended for all students and teachers. Feel free to comment below.

Chidlow Recital, May 2016

With a couple of friends I held a classical music recital last week. We were  SO  STOKED  at the big attendance and all the great comments we got. Everyone had a great time and it seems it was a tremendous success. Yay us!

We three had a lot of fun preparing for the event, and we really enjoyed playing and singing our favourite music. It is such a joy to share music you love with a really appreciative audience. We held it at the Chidlow Hall, built in 1905 in the Shire of Mundaring, way out east past the hills of Perth, Western Australia. In recent years the Shire wanted to do away with the hall but now the local residents have taken it over and are refurbishing it.

Audience at Chidlow Hall

Audience at Chidlow Hall

Many people told us they loved the way we all spoke about the music before playing it. They said they found the music easier to follow and it made it all the more enjoyable. I can well understand that as I got used to hearing quite a bit of spoken introduction in countless wonderful performances I attended when I was a university student. It just seems like common sense to me and I don’t understand why anyone would do otherwise. In many situations it would be disrespectful, and unnatural, to simply walk up to the instrument and play without saying anything.

For my part, I talked about how I used to find Mozart’s music rather boring until I realised I was listening for something that is not in it. When I figured out how his style worked about ten years ago it was a revelation to me, and I think that resonated a lot with the big audience.

I illustrated the Bulgarian rhythm of a Bartók piece before playing it, and showed how it is identical to one of the most common and most loved rock or pop rhythms, sometimes known as the frug. Later someone asked me if that was from Bach, and I realised he thought I’d said ‘fugue.’

Naomi and Tony also gave very useful spoken insights into their guitar solos and songs, respectively (see the full programme below).

I took the opportunity to play a couple of original piano solos. I wrote Androgyne Prophecy in 1977 around my 16th birthday. Puck at Parkerville was completed just a month ago, and depicts the mischievous elf or sprite Puck, also known as Robin Goodfellow, from Shakespeare’s play A Midsummer Night’s Dream. The play was produced in my family’s Parkerville Amphitheatre ca. 1974.

Naomi Millett, classical guitar

Naomi Millett, classical guitar

Our programme:

Mix Margaret & Friends
Classical Music, Old and New

Naomi Millett, guitar
Toni Arndt, soprano
Margaret D. Jones, piano

Naomi
Courante and Galliard by Silvus Leopold Weiss
The Maids in Constrite from the Jane Pickering Lute Book
Go From My Window from the Jane Pickering Lute Book
Allegretto in A major Op. 10 No. 4 by Matteo Carcassi
Alla Polacca (Polonaise) by Ferdinando Carulli

Toni
Lieder by Franz Schubert (b. 1797, d.1828) (accomp. by MDJ)
Romanze (from Rosamunde)
Frühlingsglaube
Liebhaber in Allen Gestalten
An Die Musik

Margaret
Piano Sonata in C, K309 (first movement) (1777) by W.A. Mozart
Androgyne Prophecy (1977) by MDJ (sheet music available)
No. 6 of Six Dances in Bulgarian Rhythm (from Mikrokosmos, 1926 – 1939) by Béla Bartók

INTERVAL   Free refreshments

Naomi
Sarabande by Francis Poulenc
Llanura by Reginald Smith Brindle
Estudio Sencillos No. V ‘Allegretto Montuno’ by Leo Brouwer
Allegro No. 26 by Brouwer
Movido/Rapido No. 20 by Brouwer

Toni
Two arias from Mozart’s opera, The Marriage of Figaro (1786) (accomp. by MDJ):
Porgi Amor
Non So Più

Margaret
Song Without Words, Op. 19 No. 3 in A (1829-30) by Felix Mendelssohn
Sonatine (second movement) (1905) by Maurice Ravel
Puck at Parkerville by MDJ (2016)

About Naomi
For many years Naomi was the presenter of The Guitar Show on RTR 92.1 FM community radio. (The show is now called Plucked Strings.)

As a fine soloist and performer she has played guitar or mandola in many duos and other ensembles. She was an Arts journalist with The West Australian newspaper for fourteen years, where she interviewed many leading classical guitarists, and has been a leader in the classical guitar (and mandolin) community of Perth behind the scenes. For many years Naomi has been an examiner for the Australian Music Examinations Board (AMEB).

Since having two children and moving to the Wheatbelt in 2007 Naomi has continued to teach, write, perform, record CDs and adjudicate at eisteddfodau, most recently the successful Pilbara Music Festival held in Port Hedland. She works part time in consumer advocate/peer support areas with the WA Health Department.

About Toni
Well-known to Hills audiences for her many solo appearances at concerts with the Hills Choir, Toni has a great love of soprano arias and art song. Her extensive repertoire includes Lieder and other music by Mozart, Schubert, Schumann and Fauré.

About Margaret
Margaret grew up inside the Parkerville Amphitheatre, which her family founded and ran from 1966 to 2001. See www.parkerville-amphitheatre.com

For five years Margaret studied composition at UWA with Roger Smalley AM. Margaret’s piano compositions have been in the AMEB exam syllabus for many years. See her extensive website at www.mixmargaret.com for sheet music, free recordings and videos, and information about her many musical qualifications and accomplishments. Margaret is available to play her wide repertoire of classical music for private functions, cafes, exhibitions and book launches.

Margaret is an androgyne (a type of non-binary transgender) and is referred to as she or they. Instead of Miss or Mr, her title is Mx (Mix). Margaret has continuously used Mx since 2002 and is one of its earliest adopters. This honorific title was added to the Oxford English Dictionary in its online form in 2015 (see Margaret’s major online article on Mx/Mix, with a little about the singular they).

Many thanks to Kim Graham (Chidlow Progress Association), young Clive (Fuzzy) Millett, and to all those who helped spread the word.

More info (including how to buy scores online): www.mixmargaret.com

7.30pm Friday May 20, 2016 at Chidlow Hall, Chidlow, Western Australia.

 

Androgyne using the new Mx title since 2002, now in OED

Updated to 4 July 2016

The new honorific title ‘Mx’ was added to the Oxford English Dictionary recently. Some transgender and intersex people are now using Mx instead of Miss, Mrs, Ms or Mr. But there are some problems with it, not the least of which concerns the OED’s definition (more briefly discussed in my YouTube video New Mx title now in OED. See also my major article on this subject at About Mx, with Miss, Mrs, Mr, Ms, and the singular they).

(Note that in this blog post, the way I use ‘transgender’ refers to ‘non-binary transgender,’ and does not include ‘transsexual,’ simply because the latter, ie binary transgender people, will probably have a different perspective or attitude to Mx.)

To my mind Mx is an abbreviation of Mix or Mixture just as Miss, Mrs, and Mr are or were originally abbreviations of Mistress, Mistress (you read that correctly), and Master, respectively.

Many years ago I was a very early adopter of Mx (or Mix) after hearing that an intersex person in Victoria, Australia, was using it. Unfortunately I don’t recall their name.

Mx Margaret D. Jones ca. 2002

Mx Margaret D. Jones ca. 2002

As an androgyne, choosing to use the title Mx in 2002 was an excellent decision. For well over a decade most of my bills have come addressed to Mx Margaret Dylan Jones, or something similar. That’s credit cards, tax bills, bank statements, utilities etc. Mx or Mix is used in some sheet music publications of my classical piano music. At live performances where I play piano solo or accompany choirs or student soloists I’m introduced as “Mix Margaret…”

The sky has not fallen in and not once have I encountered a problem with it, apart from when computer operators find their software is just a bit too binary, but that is slowly changing.

In 2004 a seven-minute profile of myself was broadcast nationally on ABC television by the George Negus Tonight (GNT) programme. They consistently called me ‘Mix.’ (See the link at the end.)

December 2002 Mx Margaret Jones, doctor's letter

7th December 2002. Formal letter from my endocrinologist to my GP, about ‘MX MARGARET JONES.’ Also has ‘Mx Margaret Jones’ after Cc, below the signature.

However, I fear the inclusion in May 2015 of Mx in the Oxford Dictionary online version may now, for the first time, present some headwinds for me. It’s clear they have failed to adequately define the meaning or use of Mx, and they’ve come up with a poor pronunciation for it.

On October 3, 2015 at www.oxforddictionaries.com/definition/english/mx#Mx they had this definition:

Mx
noun

A title used before a person’s surname or full name by those who wish to avoid specifying their gender or by those who prefer not to identify themselves as male or female. (This is unchanged at July 4, 2016)

Their definition suggests Mx is used to avoid stating one’s gender. The phrase ‘… those who prefer not to identify themselves as male or female’ may at first seem liberal and up-to-date with contemporary thinking but it’s not about modern notions of gender identity at all. It’s tantamount to denying the existence of any other gender besides male or female, which flies the face of the views of many researchers and academics.

Based on the way people are using it Mx definitely refers to various types of transgender or intersex identities, however difficult to define or however loosely defined those may be. As far as I can tell the only people using Mx are certain intersex and transgender people who, like myself, far from trying to conceal their gender are trying to make it clearer.

Any cisgender (i.e. non-transgender or non-intersex) person using Mx to refer to themself will be considered by others to be transgender or intersex, which is certainly not what they’re wanting. Using it to avoid specifying one’s gender is not going to work and like posting nude selfies on the internet it may be impossible to completely undo. Mx will inevitably continue to refer to an atypical gender identity, and that will be a gender which is not exclusively male or not exclusively female.

BUT  WHAT  IF  YOU  ARE  GENDERLESS?

I’ve often heard individuals say they do not have a gender. Sometimes I feel like this myself and I suspect many people occasionally do not feel like they have a gender. For example, not every man using Mr always thinks of himself as typically male. So I wonder if, perhaps paradoxically and showing its versatility, Mx may also serve to denote a person who is consistently genderless, as many otherwise transgender people consider themselves to be.

The online dictionary provides four examples which one assumes are meant to clarify their definition and illustrate how Mx is being used:

‘the bank is planning to introduce the honorific ‘Mx’ as an alternative for anyone who feels that they don’t, for reasons of undetermined gender, fit into being either a Mr, Mrs, Miss or a Ms’

‘A council is to include the title ‘Mx’ on its official forms to be more accommodating to the trans-community.’

‘To me, Mx Bond embodies the very best kind of girl a boy could ever grow up to become.’

‘Brighton & Hove council adopted the trans-friendly Mx title in 2013, after an inclusivity panel made the recommendation.’

However, these are all transgender or intersex uses and not cisgender at all. So their examples are consistent with my experience and usage, and with my observations of how others have used Mx, but they quite clearly contradict the Oxford Dictionary’s own definition!

BUT  HOW  DO  YOU  SAY  IT?

The Oxford Dictionary provided two pronunciations (you can listen to them spoken at their site):

Mx
Pronunciation: /məks/  /mɪks/

I suggest in practice /məks/ would soon become ‘mucks’ or ‘mux.’

The same dictionary’s definition of the word ‘mix’ (not the new honorific title) is identical with their second offering for Mx: /mɪks/. That is, ‘mix.’

The pronunciation is definitely better as ‘mix,’ not ‘mux,’ for several reasons. First, the real meaning of Mx often, though not always, pertains to a mixture of gender characteristics, which should be reason enough. Second, and this is more of an aesthetic preference, ‘mix’ is a much nicer sound. Also, ‘Mux’ sounds the same as ‘mucks,’ and who knows what that is supposed to mean?

The pronunciation ‘Muck’s’ could be misinterpreted as denoting possession as in ‘Muck’s Ackroyd’ wherein people may wonder what an ackroyd is and why Muck has one. With ‘Muck’s Jane’ they may wonder if Jane is a friend or perhaps a daughter of Muck. Granted, ‘Mix’ could be heard as ‘Mick’s,’ but at least mix is already a word and retains its original meaning of ‘mixture.’ Thus, it should not be so confusing.

The use of Mx or Mix as an honorific title is an elegant solution where many awkward alternatives have been suggested over several decades. Like the other titles Mrs, Miss, Ms or Mr, it starts with an easy ‘m,’ is only two or three letters, and I suggest is even easier and nicer to say than Ms.

THE  ADVANTAGES  of  Mx  and  Mix

  • Allows androgynes and other transgender and intersex people to be open about their gender
  • Allows us to fill-in forms truthfully, without lying
  • Is an elegant solution.

Mix as a pronunciation, and as the alternative or full spelling, has these important advantages over Mux:

  • Mix doesn’t fall foul of automatic spell-checkers
  • Retains the meaning or implication of mixture
  • Is easy to say
  • Everyone already knows how to pronounce it
  • Is less likely to be misheard as Ms
  • Is already proven to work perfectly in the real world since at least 2002.

NOT  COMPULSORY

Of course, using Mx should be optional and not at all compulsory. Many transgender or intersex people will not want to use it. Mx or Mix doesn’t suit all people with an unusual gender identity so it is important that no-one assumes a non-binary transgender or intersex person wishes to be known by this title. Some people don’t want any gender titles or labels of any kind. And I guess most transsexuals would only want to use the traditional male or female titles. If you don’t know you can ask.

For a long time I have called myself an androgyne, meaning a type of non-binary transgender person (not a transsexual). I’m happy to be addressed or referred to as she and her, and also by they and their. Other androgynes may feel differently about how they should be known.

Intersex people are often not aware they have an intersex variation or trait. Even when they are aware they probably consider themselves to be exclusively male or exclusively female in terms of identity, and would not want to call themselves in any way transgender. But a small number have a very different idea of their gender and some like to use Mx or Mix.

WHAT  IS  THE  POINT?

People such as myself really need a title like Mx for use in filling out official forms and many other situations. Very often you can’t open an online account without specifying a title or at least a gender. This forces us to LIE—if we put either male or female we are LYING. This can cause some real-world problems as well as emotional difficulties. If you are a cisgender person reading this, can you imagine going through your daily life constantly being referred to by, and having to provide, the wrong gender title? Then multiply that feeling by a hundred and you might know what it is like for us. It can be a tremendous insult for transgender and intersex people and at the very least it’s an injustice. Constantly hearing the wrong personal pronouns and titles does violence to one’s soul and can have mental health implications.

Mx may not satisfy all transgender theorists. Any title hides a myriad of differences and Mx is no different. How many different types of men are there? Billions! How many different types of androgynes or gender-queer etc. people are there who might use Mx? That’s also an infinite variety.

Mx and Mix do not denote exactly what type of gender identity a person has other than it is ‘other.’ This means not exclusively male or not exclusively female, whatever those terms may mean. Mx and Mix have proven to be of great practical value over at least the last thirteen years or so. Importantly, the general public seems to find them easy to understand and straightforward to use.

I’ve written to the Oxford English Dictionary in a personal capacity. I hope they will amend their entry on Mx soon. (No change as at 4 July 2016.)

Comments welcome

See the links at the start for the newer and much-expanded main article on Mx.

Listen to my 1977 Androgyne Prophecy music for free
soundcloud.com/mix-margaret-dylan-jones/sets
Watch me play it on a grand piano on YouTube
youtube.com/channel/UCz318nZdr520zMNK6GNfnjQ

Watch my YouTube video about Mx being added to the dictionary
New Mx title now in OED
Comment on this blog: mixmargaret.com/blog
Main site: mixmargaret.com
facebook.com/MixMargaretDylanJones
Read the transcript of my 2004 appearance on the George Negus Tonight ABC television programme: mixmargaret.com/Mx-Jones-GNT-transcription-ABC-television-2004-07-20.html (This transcript used to be on the ABC’s site, as below, but has since been archived)
www.abc.net.au/gnt/people/Transcripts/s1158647.htm
Read about me and Mx in my local newspaper September 2015
echonewspaper.com.au/margarets-mx-gender-in-the-dictionary
More about me in the media
www.mixmargaret.com/margaret-in-media.html
2002 IFAS definitions of androgyne and intersex, and other links
mixmargaret.com/androgyne-definition.html

More scans of documents with ‘Mx Margaret Jones’

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Jan 2003 Music contract for Mx Jones

January 2003. Royalty ‘contract’ for piano composition by Mx Margaret Jones in exam syllabus book by Allans/AMEB (Allans was then the biggest Australian sheet music publisher, and later became AMPD).

Feb 2003 phone bill, MX MD JONES

February 2003. Telephone bill for MX MD JONES

New edition of Androgyne Prophecy

1st page

1st page Androgyne Prophecy

Today I will pick-up from the printers the new sheet music for Androgyne Prophecy. Yay! It’s only been eleven years since the first edition, but who’s counting?

I will make more videos of it and a really good recording soon. In the meantime you can see me play the whole piece at http://youtu.be/nzDjcSDs7j8

To get your copy of the sheet music click on the green Shopify buttons below, or see HMP Sheet Music to buy direct with a cheque or direct credit. There is also an easy version.

Or drop-in to hear me play at Soul Tree Organic Cafe and get the special price of $15 and save on the p&h too!

I play there on the 2nd & 4th Sundays of each month, so 23 August, 13 & 27 September 2015, 12 noon to closing time at 3pm.

Of course, they also have the most amazing food, very special indeed. See you soon for coffee, cake and music?