And there I stood! A shy, male, British, teenager!
Everything was conspiring against me. Especially my music teacher. Right then as he commanded me to “sing” I was thinking unspeakable thoughts of hatred towards him.
Why did I need to sing in the school choir? After all I was an instrumentalist. I’d managed to survive all these years of mumbling at the back during class singing so why did everything need to get so ugly?
And there I stood! The whole choir of immature boys and girls just waiting to poke fun at me. Why couldn’t I just run around the corridors naked? Surely that would be less embarrassing?
But he made me do it! Oh how I seethed with anger at the time. But when I look back now, he probably gave me one of the greatest gifts to my musicianship!
So why sing?
Reason 1: Helps You Express Yourself Better
When you can’t articulate into words what you mean to another musician, singing simply fills in the gaps. The more frequently you sing to express musical ideas, the more relaxed and “normal” this method becomes. I love to promote a safe environment in my studio where everyone feels relaxed enough to communicate through singing their musical intentions without Read more…
With this post, I’m going to start a short series of blogs on the theme ‘An Invitation to Performance’. I will be exploring performance as an action, a skill, and as something that every teacher should consider offering as an integral part of his or her teaching studio. As my students and colleagues well know, I can get quite evangelical about the importance of providing access to performance – in particular experimental performance (about which more later) — to all students, whether aspiring professionals or dedicated amateurs.
Performance offers us commentary on and access to a part of our musical self that no other medium can: it is the window into our true, communicative, musical responses, while at the same time being in the only venue in which we can observe or consider those truths. Performance is a lot of other things as well, things that my friends well know that I take great pleasure in discussing far into the wee hours. It’s a space; it’s a shared arena for action; it’s the special place where only musical things happen; it’s our only access to the creativity of our audiences.
I’ll be saying more about these and other ideas surrounding performance in future blogs, but for now, let me me start the series by banging a favourite drum regarding an effective practical option available to all music teachers who wish to give their students more access to the joys and intrigue of performance: the institution of the studio masterclass.
Making masterclasses work
There can be few experiences more stimulating for both music teacher and student than witnessing an expert performer working with a student in a masterclass setting. Once the hard graft of technique, musicianship, and style have been addressed, and once the many long hours of practice have been clocked, the opportunity for students to step out into the light of the concert hall and begin to experiment with performance under the expert guidance of a professional is an invaluable one. It is the crucial step between practice and performance, in particular, professional performance – in my opinion, the crucial step.
And yet, not all teachers make the space for masterclasses as part of the regular studio activities. Read more…
One of the biggest challenges students face when playing guitar is learning how to strum correctly. They usually have a favorite song they’d love to learn how to play but when they sit down to try and figure it out it just doesn’t sound right. Every time they try it, the strum sounds all herky-jerky instead of smooth and flowing. Sound familiar?
Before we get started, be sure to open this PDF: Keys To Strumming, which I’ll be referring to throughout this post. If you’re wondering what chords to play during this lesson, click here to use any to use any of the common-tone chord shapes I wrote about.
THE QUARTER NOTE BOUNCE
It’s fairly easy to teach a student how to play the quarter-note strumming pattern in Fig. 1 (Keys To Strumming PDF). All you have to do is play a down-strum on every count (or beat). Every time you strum down, you count 1, 2, 3, 4, and so on. But there’s really more going on here. Once the down-strum is played, you have to lift your hand back up to prepare for the next down-strum, right? This down-up movement of the strumming hand is more accurately represented by eighth notes. Look at Fig. 1 again. The arrows above the staff, hovering over each down beat and up beat, represent those eighth notes. In other words, you should be counting “one and two and three and four and” as you strum down, up, down, up, etc. This steady down-up strumming movement is what I call The Quarter Note Bounce. Read more…
A friend recently offered to take me out to lunch if, in return, I would let him pick my brain about teaching guitar. He was feeling the tug to teach and wanted to explore how I got started. It was fun for me to recount my story – I’ll share some of that story here.
Growing up, music was the most important thing to me. I declared myself a music major when I entered a 2 year junior college in 1977. I loved every aspect of musical performance, however I was convinced that I did not want to pursue teaching. When the end of my 2 years at this school came, I was lost and confused. I didn’t know what to do. I was certain I would fail if I tried to continue school so I did a 180 and hit the road. Literally.
I started a career as an over-the-road bus driver. I traveled all over the U.S. and Canada taking senior citizens on vacations and driving regular routes. I borrowed a guitar from one of my brothers during this time and started teaching myself how to play. I loved playing that guitar, but I didn’t have any aspirations to do anything with it. I totally kept my playing on the down-low. Read more…
Group classes are a great way to reach more students, multiply your time and promote your studio. I taught a group vocal class over the summer (Group Classes) and a group guitar class. Find the first two guitar class posts here (Group Guitar part 1 ) and here (Group Guitar part 2).
What I cover in weeks 5-8:
-how to tell the key of a song
-transposing, review how to make your own chord charts, and the 3/4 strum
-the “Happy Birthday” song. You’d be surprised how many accompanists I’ve met who can’t play it!
-another parody I wrote for this class, with only 2 chords, to the tune of “Clementine”. This one I personalized with their names and some positive traits:
1. In a church one sultry summer, round a table sat The Six: sore fingers, sore brains, but they strummed their acoustics.
2. Guitars ready, keep it steady, press your fingers till they bleed. Making music is so fun! What more in life could you need?
3. Play the 2/4, play it over and over again. “Almost got it,” says the teacher, “Take a little rest.” But then…
4. …comes another even harder, will we ever get it right? Now the strings are out of tune, but do I loosen or turn it tight?
5. There is Jerry, always ready, and Malea’s cheerful grin, Leslie’s great dry sense of humor; Robin says, “Play it again.”
6. Asia strums and Doris hums and Gavin, fearless, forward goes. By the end of this guitar class, every one of them will be pros!
What I choose to review and for how long depends on how they did at the last lesson, and what I think they need:
-the 4/4 strum and appropriate songs
-a demonstration that 2/4 and 4/4 strums can be interchangeable
Note: whenever I introduce new chords or strum, I choose songs with as few chord changes as possible. I aim for a good mix of musical styles and tempos.
I sing the melodies until they can. Sometimes I say the strum aloud: DOWN, downup downup downup—and we pause at the chord changes until they have their fingers in place. Once most have the hang of it, I make sure to do parts of the songs slowly and parts quickly to accommodate all class members. It’s equally frustrating whether you can’t keep up, or you’re being kept from going as fast as you are able, so I do some for both.
Preparing solo music on your own can be a wonderful experience – it is a bit like meeting a new person and watching their personality and interests unfold over a long conversation and discovering you have just made an important new friend.
In the case of the really great pieces, feeling the layers of meaning reveal themselves to you as you get to know a new piece can be intoxicating; it has even been described as a bit like falling in love.
But how can we be sure we don’t learn mistakes as we prepare our pieces? And how can we learn a piece quickly without straining our voice?
Everyone will have his or her own answer to these questions. In my own work, I’ve found that keeping to a strict method – one that leaves actual singing to quite late in the learning process – makes all the difference. Here is a brief outline of the method I use to learn music quickly and without strain. I hope it will be of use to you too.
HOW TO LEARN YOUR MUSIC: a method for singers
1. Listen to a number of recordings to get a feel for the piece (never listen to just one recording!). Do not sing along.
2. Read the text aloud.
3. Ask yourself what the text means. Paraphrase the text and say your own version aloud to be sure you understand what you are singing about.
4. Read the text aloud again and again until you can say it without tripping up.
5. Working very slowly (nowhere near performance speed), add the rhythm to the text (you are still not singing!) phrase by phrase. I like to start at the back of the piece and work toward the beginning phrase by phrase. This way I am always working towards something I already know. This helps to make important links between sections, and avoids the ‘dropping off a cliff feeling’ when you’re not sure what comes next.
6. Say the text aloud in the correct rhythm over and over until you can do it without error. Do this at a medium tempo – speed is unimportant until much later in the learning process. Strongly resist the impulse to sing! Read more…
I thought I’d share something I call The Capo Common-Tone Chord Concept with you in this month’s article. This is something I use with great success to get new guitar students ready to play music quickly. In my role as worship director at my church it’s been an indispensable tool in getting new guitar students up and running on the worship team. The first chords most guitarists learn are G, C, D, and Em. In the key of G, these chords cover the 1 – 4 – 5 – 6m chords that are found in most folk, pop, and rock songs.
After I teach these basic chords, I usually teach my students a special voicing concept for G, C, D, and Em that is used more widely in the music they really want to play. After that, I show them how to use the capo and suddenly they’re able to play a lot of music in a lot of different keys! One of the things that used to frustrate me as a guitarist is when I would buy a piece of sheet music only to discover later that the guitar chord diagrams don’t show that actual chord voicings that are being played on the original recording of the song! That frustration worsened if the song was in a non-friendly guitar key like Ab, Bb, or B. Even if I learned how to play a Bb barre chord, it never sounded like the guitar in the original recording. I knew something else was going on that the sheet music wasn’t telling me. It was only when I discovered this common-tone chord concept that I learned what was actually happening! Here’s how the Capo Common-Tone Chord Concept works:
Place your 3rd and 4th fingers (fretting hand) on the 1st and 2nd strings at the 3rd fret as shown in the diagram below (circled in red). These two notes (D and G) are the “common tones” that will remain the same for all 4 chords.
Since the 3 & 4 fingers stay in the same place for all 4 chord shapes, the 1 & 2 fingers are the only fingers to that move. Look at the 1 & 2 fingers in the G chord. Notice how they move one string over to create the Cadd9 chord. Very simple movement!
To make the Dsus4 chord, the 1 & 2 fingers split on either side of the 2nd string (like they do in a regular D chord).
Finally, the 1 & 2 fingers land on the 5th & 4th strings to make the Em7 chord.
How to apply this concept: Let’s say your chord progression is Em – C – G – D. Try playing the common tone voicings instead of the basic chord forms. For instance, if you see a C chord in your chart, play the Cadd9 voicing instead. When you see D, play the Dsus4 instead. If you come across a C2 (Csus2), the Cadd9 is going to sound great. This approach might drive a music theory purist crazy – but to most ears all these voicing are going to sound great. Try it! In the diagram below, I show you how to easily change the G chord into a G5,a.k.a. G(no3), by removing the 1 finger. (The 5th string gets muted by the 2nd finger.) Now, move the 2nd finger over one string and your Cadd9 becomes a legitimate Csus2 because the 3rd of the chord (that was previously played at the 2nd fret of the 4th string) is now muted. I love the jangly sound of those treble strings! But wait! There’s more!Arming yourself with a capo, the guitarist’s top accessory (behind a tuner of course), enables you to use these common-tone shapes to play in at lease 5 more common keys! No more going into cardiac arrest when you’re called upon to play a song in Bb (or Ab, B, etc.)! Just slap your capo on at the 3rd fret and play your common-tone shapes! Try this experiment: Play the following chord progression using the basic open Key of G shapes - C – G – Em – D. Try playing the same progression substituting the common-tone shapes. Now put your capo at the 3rd fret and play those same shapes. You’re playing C – G – Em – D shapes, but sounding Eb – Bb – Gm – F. I’m betting both you and your students will love the sound of the common-tone chords and find the concept very, very useful, especially when transposing. When first learning this concept, it may help to write your transposed chord shapes over the existing chord names in your chart. After a while, you’ll begin to recognize them and you’ll no longer need to write them in…you’ll be able to transpose in your head! In my next post, I’ll expand this concept to include some inversions. Read more…
If you’re anything like me, it can be really challenging encouraging students to listen properly to their performance whilst at the same time playing (or singing).
The other day, one of my beginner pupils made the all too familiar statement: “I can’t hear a tune!” Yet any other person listening would have, like me, surely been able to make out the strains of Beethoven’s famous “Ode to Joy!”
So why then can it be so hard to actually hear what you are playing whilst in mid performance? And more importantly, how can students be encouraged to “hear” what is “good, bad and ugly” in their playing or singing so that they can improve?
The answer lies in two facts:
most humans are better at understanding what they can see rather than what they can hear
the process of trying to listen properly whilst at the same time read the music and physically play or sing is at best, extremely complex
So what’s the solution?
A simple method to assist students is to Read more…
Oh, for a more relaxed recital! Jitters, butterflies, loss of sleep. At the worst, a sick tummy or stage fright. Brrr. Must our students experience these before every recital?
I believe students should know how to play under the increased pressure of a formal performance. But sometimes I’d like a relaxed recital.
Here are some ways I lowered recital anxiety this spring:
*6 months ahead—secure the location.
*2-4 months—students choose songs (pending my approval). This gives them a sense of ownership.
*2 months—get volunteers to help serve food and to video the recital. A wonderful stress-reducer for me.
*1 month—plan reception food, beverages, décor. Make lists of what I’ll need to bring (sound equipment, instruments, stands, programs…).
*1 month—memorize their pieces. But bring music just in case.
*1 month—send out reminders (via Music Teachers Helper) about date, time, location and volunteers. Ask each family to bring a dozen of something for the reception. This helped me so much!
*3 weeks—students dictate 2-4 sentences about themselves. I type an introduction for each of them. This was a great tension-diffuser at the recital. The intros often got people laughing (one student likes to wear pajamas to lessons, another likes her brothers to bug her when she practices because it trains her to concentrate in spite of distraction…).
*3 weeks—decide the order. Consider age, level, variety.
*3 weeks—distribute introductions to the students. Each one will introduce the next. Have them practice reading these aloud. Tell them to bring them to the recital, but not to stress out if they lose them, since I’ll bring a master copy. This was an effective way to deflect attention onto others instead of themselves. Less tension!
*3 weeks—invite families and suggest they invite friends and relatives.
*2 weeks—focus on expression. Students should practice hands separately and together slowly, to ensure songs are played consciously—not by muscle memory.
*2 weeks—students rehearse logistics (sit in order of performance, get to the instrument quickly, introduce the next student…). A big stress-reducer.
*2 weeks—explain recital etiquette. Students set the example for adults and visitors. No talking, whispering, giggling or wiggling. No cell phones or other noisy electronics.
*2 weeks—send ideas for snacks. This time I was made aware of people with potentially life-threatening nut allergies, so I needed to alert my families and make suggestions.
Krispie bars are always a hit
*2 weeks—do my recital/reception inventory and shopping.
*1 week—let families know what to expect when they arrive. Ask a couple of students to greet people and hand out recital programs. Visitors felt welcome!
*Recital Day—set up food and recital room early.
**What may have helped most to promote a Relaxed Recital: I had a graduating senior, in lessons with me for nine years. He’s played in coffee houses and for weddings. He entertained for nearly fifteen minutes before-hand. I let everyone know about this so they were prepared to come and listen. Students had little time to be nervous about their own performances, focusing instead on the cool guy playing and singing!
Tyler entertains before-hand
The reception was a hit,
Listening to Tyler helped them to relax!
and families stayed to visit. Students complimented one another and had a blast. They seemed much more relaxed for this recital. Win!
See? Happy and chillin’ out!
Have you ever held a relaxed recital? What did you do to help your students have less stress?