Photo: cliff1066
Growing up with perfect (or absolute) pitch, I experienced high levels of success in musicianship tests in school and college. Being able to sight-sing and to write down melodies and chord sequences accurately was a breeze, and I could quote passages from set pieces in exams without having to study them. I felt a lot of sympathy for the other students who struggled to write down what they were hearing, or to sing what they were reading, and I witnessed the challenges of teachers trying to help them.
It was when I began to teach that I realized that my perfect pitch was also a handicap. All I had were the tools my teachers had used—for example, matching well-known tunes with intervals (e.g. “Twinkle Twinkle Little Star” for a perfect 5th) so that the student, presuming that they read the interval correctly, would be able to pitch it. But were they supposed to do that for each interval in the whole piece? That was hardly feasible.
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Posted in Music Theory, Practicing, Teaching Tips
A student of mine attended a music camp recently where she learned several fiddle tunes. One of them was a tune she already knew but she found it confusing until she realized that the teacher was only teaching the notes. Her fingers felt awkward playing the notes without fitting them into the consistent bowings that she had previously learned.
The teacher explained that the focus was just on the notes, not the bowings. But this brings up a question all music teachers deal with. What are we actually teaching when we teach a piece of music? Is it really just one note after another in the right order? Do we add musical ideas only after notes are learned?
Painting by Neil Macpherson
Strangely enough, many students learn music that way, and yet we would never think of learning to speak in that way. Think about how you might learn a line if you were performing in a play — say, for example, the first line of Shakespeare’s Twelfth Night. Being an experienced English speaker, you probably would have no trouble remembering that line: “If music be the food of love, play on.” Not only does this line flow easily, but you’ve probably heard it many times before. A line of music could be easy to learn for the same reasons.
But supposing you found that line difficult to remember, Read more…
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Posted in Music Theory, Practicing, Teaching Tips
This is an instructional book for aspiring guitarists specializing in the first timers. It is a ten lesson guide that systematically takes the reader through the book as if the author was teaching you himself. I found out the book was written by a high school guitar teacher who was teaching as many at 35 students at one time.
Ultimately it’s design stemmed from the desire to make a book that was the most user friendly to learn with and teach from while having so many students in the classroom at one time. Additionally, the book was set up to help people learn how to play that could not afford private lessons. In reviewing this book, I found that the mixture of musical theory and guitar technique really balance each other out allowing the student to learn only the most important beginning material. The book is entitled “EasyGuitarBook”, and it is just that, “easy”! I read all ten lessons and believe this instructional book indeed meets its goals.
The ten lessons range from theory to chord building; bar chord formations to finger style; and common strum patterns to how to play scales. The lessons are simple to understand and easy to follow. It is my opinion that the lessons are arranged in a manner that puts the reader on a path of simplicity towards teaching themselves how to play the guitar. It is clear that following the theory lessons, lessons one and two, that the author has the reader learn techniques in a specific order focusing mostly on rhythm guitar and ending with introductory lead techniques. If you or anyone you know wants to learn on their own, this book would be a great resource. Read more…
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Posted in Music Theory, Product Reviews, Teaching Tips
Evidence that great minds DO think alike: after spending time drafting my next blog about summer camps, I logged in to my MTH account and wouldn’t you know–the very creative Christine Schumann had already posted a blog about summer options! I contemplated scrapping my draft and finding a new topic. However, I decided this could be my “response” to Christine’s timely topic. So…
By mid May, I, along with my students, suffer from spring fever with symptoms including motivation deprivation, practice burnout, lesson absentia, routine-o-phobia.
Nothing has remedied this spring fever more successfully in my studio than offering summer camps. Every student is required to attend a camp or take at least 5 private lessons during June-July or they may register for both.
Following the suggestions of experienced teachers regarding materials, fees, format, etc, I began offering summer camps as an option for my students two years ago. The first year I offered Creation Camp and last year I offered Creation Camp along with Discovery Camp, Invention Camp and Theory Boot Camp. Below are brief descriptions of each camp including materials used. Read more…
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Posted in Composing & Arranging, Music Theory, Promoting Your Studio, Teaching Tips
One of the essential skills for any musicians is the ability to sight sing. It is invaluable to have the ability to be able to look at a score and hear the music internally, or to be able to sing the music aloud. A quick poll of several of my music teaching colleagues showed that while every teacher agreed that sight singing was a valuable and necessary skill for instrumentalists, only one teacher of the 12 present actively taught this skill in their lessons.
I find that the easiest time to start teaching sight singing is when a student is an absolute beginner to an instrument. Read more…
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Posted in Music & Technology, Music Theory, Practicing, Teaching Tips
Another Simple Game That Kids Love
Three Card Composition
I came up with this composition game for my students a couple weeks back and thought I would share it with all as part of my “Simple Games” series of blog entries. It takes about 15 minutes to complete and I use it as the very first activity of the lesson. The idea behind it is to get students thinking about composition from a visual point of view as well as an aural one. And to explore how compositions can be manipulated to create new sounds without altering the notes.
Here is what you need for the game:
1.Hal Leonard’s All-Purpose (Dry Erase) Music Flashcards. Available @ Amazon for $11.95. Here is a link- http://www.amazon.com/Hal-Leonard-All-Purpose-Music-Flashcards/dp/B0002MQJMY
2.Two dry erase markers. (preferably different colors)
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Posted in Music Theory, Practicing, Teaching Tips
One of my top reasons for having the lab along with the lesson is that it simply offers me more time with each student. Thirty-minute lessons literally disappear and making plans for what and how to practice in the upcoming week must always come first. The opportunity to introduce and reinforce concepts is often limited to a quick intro and then students are asked to “apply immediately”. Most of my students require a great deal of review of new signs, sounds, and concepts to make it stick. With the extra lab time, I am able to provide a wide variety of activities at the computer and beyond that allow for extra “sink” time.
My past blog described types of software for the lab sessions. However, sometimes, my favorite activities to assign are the beyond the computer assignments. Below is a number of them:
Reviewing: Hands On
1) Recently, I designed a unit dedicated to the bass clef to ensure stronger reading skills. The very first assignment required bass-clef-note flash cards. Students had become familiar with the sentences for
lines: Great Big Dogs From Alaska
and for
spaces: All Cows Eat Grass
So, while listening to “Who Let the Dogs Out” and “Cows, Remarkable Cows” on iTunes with head phones, they were asked to make Cow piles and Dog piles (space-note pile and line-note pile.) Basic, yes, but students have since then, not forgotten the sentences thanks to the fun music and of course the visuals–I had l plenty of cows and dogs hanging out around the studio.
2) Create a stack of flash cards–only treble, bass or both clefs and challenge students to name them in less than a minute. Offer a “fabulous” prize for the studio winner.
3) Ask students to review certain basic concepts using Coloride found at http://www.musicedmarket.com . This manipulative is a very unique tool for students to reinforce learning “in color”.
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Posted in Music & Technology, Music History & Facts, Music Theory, Performing
Last month I listed the benefits of adding a lab to your lesson and provided a general overview of lab ideas. This month I will list and describe specific pedagogical software (programs designed specifically for student learning of musical concepts) that I use throughout the year.
Generally, software can become an immediate favorite with me and my students, seem to date itself quite quickly, or seem useful but with limitations. Most of the programs I own fall into the following categories:
Can I Play It Again? (Games that Teach)
Piano Wizard
http://www.pianowizard.com/ This unique game is reminiscent of Guitar Hero but provides excellent sequential steps to reading from the grand staff, hands alone and hands
together. The success of the program lies in how well it disguises learning with graphics, animation and action. Students with NO prior piano experience can easily play this game–it is loved by students of all levels.
Groovy Shapes (ages 5-7), Groovy Jungle (ages 7-9) and Groovy City (ages9-11)
www.sibelius.com/products/groovy/shapes.html The set of three programs offers lessons in music notation and terminology and then provides unique ways to create and compose with the material covered in each lesson. The graphics captivate students and the inspirational format for making original compositions lures them into the world of musical creativity. These programs allow input from a MIDI keyboard for further creative options.
Do I Have To? (Lessons that Teach)
Children’s Music Journey Vols 1-3
http://www.adventus.com/store/childrens-music-journey/ This series is a marvelous teaching program for elementary pianists (preschool to 8?). The curriculum is designed with diligently- sequenced steps to learning and applying reading and composition skills. Students enjoy meeting their various on-screen “teachers” (famous composers) and listening to their famous compositions while learning the rudimentary basics.
Alfred’s Essentials of Music
http://www.alfred.com/Products/Essentials-of-Music-Theory-Software-Version-20-CD-ROM-Student-Version-Complete-Volume–00-18833.aspx Even though students may consider these a little dry, the lessons cover essentials and are great tools. If a new concept is being taught during a lesson, I will assign lessons from this software to reinforce what was taught–never hurts for students to hear explanations from a different “teacher”. Read more…
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Posted in Music & Technology, Music Theory, Product Reviews, Teaching Tips
An assignment given to me as a grad student was to visit various successful piano teachers in the area. One studio that particularly inspired me offered a computer session with each lesson. Upon graduating I embraced the technology of the 20th century and since then have attracted many students because of the “Lab” (computer session) with the “Lesson”.
In the 21st century, most households have succumbed to the technology and expect others to do so as well. At this point, why not capitalize on the countless options provided by the virtual world? WHY NOT set up lab time for your students and hire your computer?
Why?
- More Students–show that you care and attract students by meeting them where they are–online, on the phone, xbox, iTunes…
- More Time–spend 30 minutes teaching your student and then increase his/her learning time by a 30-minute lab
- More Income–charge for the lesson and add a lab fee as well (about one-third of your lesson fee)
- More Learning Tools–with more income you are able to purchase more equipment, music, software, etc that provide a variety of options for all learning styles
When?
- Schedule two students each hour, one works with you for 30 minutes while one works on the lab assignment for 30 minutes, then switch
- Consider this schedule for students in preschool, 1st-8th graders and beyond
How?
- Create Lab Folders for each student that lists the assignment to be covered for the day
- Choose software, or activities that provide tutorials, ear training, note name drills, YOU decide
- Create a unit and choose games, drills and tutorials focused on that concept
Why Not?
- Do not attempt to add a Lab if you are NOT interested in computers, software, internet…
- If you are NOT able to multi-task, reconsider the Lab. You must be prepared to teach one student and expect interruptions from the other working on the computer
- If you are NOT willing to spend time determining lab assignments (however, great resources like www.keystoimagination.com are available to lift this burden!)
- If you are NOT interested in learning about, acquiring and installing software Read more…
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Posted in Music & Technology, Music Theory, Promoting Your Studio, Studio Management, Teaching Tips
Need curriculum for teaching the creative stuff? Have favorite resources to share?
- Over the next few months, I’d love your help in compiling a list of resources for teaching music creativity. My own experience has been that it is difficult to find adequate materials in the areas of improvisation and composition curricula, and I would love to know about resources you use to inspire your students in their music creativity! I will share some of my favorites. As you can see, many of them are my own, developed for use in my own teaching and then published for others. They have been successful! But, I would really value your suggestions as well! Please add your favorites by comment, and I will amend the list as we go!
Here’s just a start…as I am on vacation as I write this, so I may be able to add more upon returning to my studio after the New Year!
Resources for Music Creativity –
Places to Start, and Were to Find Them
Imagery and Stories
Child’s Garden of Verses by Robert Louis Stevenson (all levels) – Amazon
Crazy Staves by C. Schumann (beg/int) – Piacere Music
Flip for Improvisation “Jr” and “Original” (beg/int) by C. Schumann – Piacere Music
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Posted in Composing & Arranging, Music Theory, Performing, Practicing, Product Reviews, Teaching Tips
