GROUP GUITAR CLASS Week by Week
(Part 2 of 3)
By Robin Steinweg
The past two months I’ve shared some of the advantages of offering group classes. The first, June 27, covered Group Lessons, specifically a group voice class. July 27 featured Part 1 of Group Guitar.
Here’s an outline of what I cover in this eight-week beginner class.
I record the songs from each class, and email them as MP3s to the students.
I record them at tempo so they can listen and learn the songs.
Then I follow up with a slow version which includes pauses before each chord change.
-parts of the guitar (for both classical and steel string; I used pictures)
-basics of tuning
-the all-important How to Read a Chord Chart
-how to strum (basic downstroke)
-easy versions of the C and G7 chords. Also complete fingerings of these.
Their first song requires only one chord: “Frere Jacques” (“Are You Sleeping?”)
-hints for a clear sound
-another one-chord song and then a couple of two-chord songs
-a strum in 2/4 time
(Gavin’s got it down!)
Note that in the early classes I choose songs with as few chord changes as possible.
Week 2 Read more…
Posted in Composing & Arranging, Financial Business, Music Theory, Practicing, Promoting Your Studio, Teaching Tips
By Guest Blogger, Donna Schwartz.
Last time, I gave you 2 simple tricks to read music notes. In many school districts, teachers are pressured into putting on concerts right away, and are told by administrators that the students have to read music right away. This goes totally against how we learn music, which is by using our ears to listen and our bodies to feel rhythms.
There are many systems that teachers use to count rhythms, with the most popular being the number counting of beats in every measure. I was trained that way myself, but noticed quickly that some of the same syllables for certain rhythms (i.e. 8th notes) were also used to count triplets (i.e. 1 + a). This would be confusing because triplets are felt differently than 8th notes. I somehow managed to learn how to feel the rhythms in those situations instead of relying on the counting.
The number counting system is good for determining where the beats fall in a measure, but there’s a simpler, well-researched system that is based upon rhythm function. Edwin Gordon’s system allows the student to recognize and feel the big and small beats in duple (based upon 2 small beats for every big beat) and triple (based upon 3 small beats for every big beat) meters.
Since most students are taught the number system, I will explain how this works, but I also want to compare that with Gordon’s syllables to give you a choice. Whatever works is what is best for you! Read more…
Posted in Composing & Arranging, Teaching Tips
A while ago, I blogged about online lessons wondering if they were for the birds. Since then I’ve begun my online training with Bradley Sowash in pursuit of playing in various styles beyond the page. Some may call what I’m learning “Jazz” but it’s more than that. Jazz is not just a style of music but a uniquely American approach to creating music which can be applied to any style.
In an effort to journal my progress I usually record myself showing my best efforts AFTER I’ve practiced and perfected my improvisation assignment from Bradley. He continues to challenge me with his online, methodical and expert instruction. With limited time to practice, I decided I’d come clean and let you in on the somewhat messy process BEFORE “perfection” or let’s say “close to perfection” occurs.
What you’ll see in the video below shows how I tolerated cleaning my bathroom–not my favorite chore–by allowing myself periodic breaks to practice. Come to think of it, this would be a good way to encourage my students to practice. Parents could offer two options: practice or clean a bathroom! Read more…
Posted in Composing & Arranging, Music & Technology, Practicing, Professional Development
Yes, Yiyi, is just as nice in person as she looks in a pic!
I’m still catching up on sleep after my return from the Music Teachers National Association Conference in Chicago. Attending dynamic sessions, and intense meetings, hanging with favorite peeps from around the nation, meeting Facebook friends in person and of course enjoying scrumptious meals took their toll on my sleep patterns. At the same time, what I absorbed will provide that much needed energy to reinvigorate my teaching.
Before I share more about my unique experience and the reason behind the title of this blog, here’s a couple of things I wish to mention.
Music Teachers Helper at MTNA
First, Music Teachers Helper should be proud and pleased with Yiyi Ku’s presentation on the terrific features of MusicTeachersHelper.com. This important tool has become irreplaceable to me. I’m sure those who attended Yiyi’s session learned what they were missing and signed up thanks to her comprehensive coverage of this online, savvy assistant.
The Full Scoop at MTNA Read more…
Posted in Composing & Arranging, Music News, Professional Development
Do you teach composition skills in your studio? Many teachers tell me teaching composition is something they would like to do, but never seem to get around to doing. There are many reasons given: no time, not sure where to start, student hasn’t shown an interest, not sure how to teach it.
I would not really say I “teach” composition, but more that I “encourage” composition. This is the level of intentionality that I have found to be comfortable for me in this area. Hopefully you can find one or two ideas for your studio in this blog.
The biggest help I have found is to start early, before the student thinks it might be hard! Composition grows out of improvisation, so I include improvisation at the very first lesson, and give it a little time every week for the first year. Just 3-4 minutes is enough to keep the spark alive. Emphasize that there is no “right” way, and that the student’s ideas are just as legitimate as yours.
There are so many ways to do improvisation with young children. Start improv on the black keys so that everything sounds harmonious. Model ideas for the student, and encourage them to listen for interesting textures and sounds. Make the improv tell a story. Sometimes I make up a story line that matches a Read more…
Posted in Composing & Arranging, Music & Technology, Music Theory, Professional Development, Studio Management, Teaching Tips, Using Music Teacher's Helper
Divorced, beheaded, died; divorced, beheaded, survived! Is that what comes to mind when you think of the famous Tudor King of England? I imagine that his chat up line should have gone something like this: “Don’t worry; I won’t keep you for long!”
On a more serious note, probably a lesser known side to this colourful character of history was his ability as a musician and a composer! Born in 1491, Henry received an excellent education from the leading tutors of the day. As was expected of children born of the nobility, Henry was to become proficient in many skills such as hunting, fencing, jousting, archery, hawking, wrestling, dancing, writing poetry, singing as well as learning to play several musical instruments.
A Very Long iTunes Playlist!
Henry developed a life-long love of listening to, performing and composing music. He built an extensive collection of musical instruments over the years including some 78 flutes, 76 recorders, 10 trombones, 14 trumpets, 5 bagpipes and many others! He was well respected as a competent musician and singer, doing much to actively encourage the very best musicians of the day to attend court. Many of the finest musicians and composers were attracted to this centre of musical culture with some coming from faraway European countries! During his reign, much experimentation in combining different musical instruments together in ensemble playing contributed greatly to the developing Renaissance era. At the height of this musical community, Henry had almost one hundred musicians and composers at his beck and call! They were highly organised, taking shifts to provide the King with an almost constant soundtrack to his day. From his waking moments, appropriate instruments would entertain his seemingly insatiable appetite for music.
Who Needs a Barry White CD!
Perhaps rather shocking is King Henry the VIII’s requirement for musical accompaniment whilst he entertained the ladies in his Read more…
Posted in Composing & Arranging, Music History & Facts, Music Theory
Prelude – For this month’s blog, I thought I might share five notation tips that you probably won’t find in the average theory textbook but nonetheless are important rules in music writing. Just before we get started, it’s important for you to remember that in music notation, the standard measurement of distance is worked out in stave (staff) spaces. In the music publishing industry, stave (staff) heights can range anywhere from 9.2 millimetres for educational music to 3.7 millimetres for a full orchestral score. Generally, for normal instrumental parts, a size of between 6.5 and 7 millimetres is commonly used. (All 5 tips are illustrated in the diagram which you can click to enlarge).
- How long should a stem be? – Normally, the length of a note’s stem in music notation should be three and a half spaces. An easier way to work out stem length though, is that wherever the pitch position of the note-head on the stave (staff), the stem needs to go up or down an octave. When the note-head is positioned with two ledger (leger) lines or more, the stem always extends to the middle line of the stave (staff).
- Where should a clef be positioned? – The clef must always be indented to the right by one stave (staff) space. It’s vertical position must also be precise to render the intended pitches of the notes that follow.
- Which side of the note-head does the stem go on? – Here’s a killer tip to help students remember that Read more…
Posted in Composing & Arranging, Music Theory, Teaching Tips
The Music Teachers National Association conference is held every year at different locations throughout the US and Canada. This year it was held at Disneyland (nuts!) and it was magical. The reason I say magical is that it seems the tides are changing. Here’s how my colleague and business partner, Bradley Sowash called it:
Bradley unlocking the secrets of chord symbols. His tips are incredible!
I’ve just returned from the Music Teacher’s National Association conference in CA where I was fortunate to serve as chair of the jazz/pop track along with project manager Leila Viss [that's me]. I’ve been swimming upstream on the subject of teaching creativity as a necessary ingredient to comprehensive musicianship at music teacher meetings all over the country for several years. So it was with particular delight to find that we could attract a packed room of teachers for nine hours of sessions with experts on the subject of teaching popular music styles, improvisation and creativity.
It seems the old model of only teaching the “masters” using only the written page is finally giving way to a more balanced approach or as someone at the conference quipped, “the Queen Mary (of music education) is slowly turning.” I can get even more dramatic by declaring, “The eye/ear revolution has begun!” Read more…
Posted in Composing & Arranging, Music News, Professional Development, Teaching Tips
It strikes me that there are basically three groups of music users:
Group 1 is made up of the vast majority of humans who enjoy listening to music. But that’s as far as they will ever take it!
Group 2 are the ones who aren’t content with just listening to music. In addition, they want to make music as a singer or a musician.
Group 3 are musicians who, whilst they enjoy listening to and performing music, want even more! For them, creating music from nothing is the ultimate musical expression giving them an additional voice. Traditionally this activity was supported by at least a measure of technical ability at a musical instrument but increasingly people with no previous experience are using computers or even apps on their phone to create music!
Sadly though, many students and even teachers are convinced, even if they would like to compose, that they Read more…
Posted in Composing & Arranging, Music Theory, Professional Development, Teaching Tips
Usually new resolutions are made to break a habit–over eating, avoiding exercise, partaking in a favorite yet unhealthy past time.
Why not add a habit that my enrich your skills as a musician and enhance your students’ experience at the keys? Join the Eye Ear Revolution….Here’s the scoop:
Eye players read music; Ear players improvise. To broaden their musical creativity and stylistic range, contemporary musicians need instruction in both. Reading music and playing by ear used to be common among European classical musicians until about 100 years ago. Then, as the minimum technical abilities required to interpret and play the repertoire grew with increasing complexity, creative music making gradually ceased to be a part of formal music education.
Creative Keys, a joint effort of Bradley Sowash and me, Leila Viss, is carving a path for 21st century strategies that balance and combine the eye and ear. At 88CreativeKeys.com (a blog founded by Creative Keys) you will find the following: Read more…
Posted in Composing & Arranging, Music Theory, Professional Development, Teaching Tips