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.

Key of G basic open position chords 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:

  1. 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.
  2. 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!
  3. 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).
  4. Finally, the 1 & 2 fingers land on the 5th & 4th strings to make the Em7 chord.

Capo Common-Tone Chords 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! G5 and C2 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! Common Tone Capo Chart 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…

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Posted in Music Theory, Performing, Practicing, Teaching Tips

Watching is better than listeningIf 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:

  1. most humans are better at understanding what they can see rather than what they can hear
  2. 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…

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Posted in Music & Technology, Performing, Practicing, Professional Development, Teaching Tips

Robin Steinweg

The Relaxed Recital

April 28th, 2014 by

By Robin Steinweg

Recital Reception cookies, yum!

Recital Reception cookies, yum!

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:

Start Early

*6 months ahead—secure the location.

*2-4 months—students choose songs (pending my approval). This gives them a sense of ownership.

*2 monthsget 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!

Recital snacks Recital Healthy Snacks

*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

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

Tyler entertains before-hand

The reception was a hit,

Listening to Tyler helped them to relax!

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!

See? Happy and chillin’ out!

Have you ever held a relaxed recital? What did you do to help your students have less stress?

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Posted in Performing, Practicing

Playing the Blues“Can I hear your progress on that song we were working on last week please?”

He just shrugged his shoulders and looked at me sheepishly!

“Oh okay then. How about those exercises we were doing? Can I hear how you got on with them?”

He just looked at his feet!

“Oh dear! What HAVE you been practicing?”

Suddenly a mischievous grin appeared on his face.

“I’ve been playing the blues ALL week!!! It’s been driving my mum crazy. I play it before and after school. I can’t stop!”

It never ceases to amaze me how much fun students have at learning to improvise the blues. And not forgetting the kudos it earns them when they can use it to entertain friends and family. Best of all, it’s just so easy to learn!

So this month, here are some free resources to get you started or to add to the ones you use already. I’ve tried to make the sheet music universal to whatever instrument you play or teach (treble & bass clef/guitar & bass tab). I’ve also recorded a slow blues backing track (in G) that you and your students can “jam” with.

Introducing the coolest scale on the planet! Whatever instrument your student plays, they will love learning the Read more…

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Posted in Music Theory, Performing, Practicing, Professional Development, Teaching Tips

The Blank Stare.

blank stareWe dread it, but we’ve all seen it: the face that tells you unequivocally that your students are lost and haven’t got a clue what is going on. This can happen suddenly, and sometimes in the most unexpected places. Picture this scenario:

My lesson or class has been rolling along smoothly, and I’ve felt encouraged by the odd head nodding, or some gentle smiles tentatively creasing passive faces. I’ve smiled myself, warming to my subject, and then I’ve taken the fatal step.
                ‘And that’s how we know that the composer is modulating!’, I swoon. ‘She’s been hinting for the last two systems with those occasional B-flats and now we know from this arpeggio followed by the cadence: we are in F-major!’. 
                My revelation is met with silence, which is not what I expected. A hand shoots up, breaking the still pool of now immobile faces. ‘Why is it F-major and not F-flat major?’.  
                What?!’ I think, and try not to frown.  ‘Can you explain what you mean?’, I say.
                ‘I thought you said those were the “flat keys”, so why isn’t it F-flat major?’.
                ‘Because F isn’t flat,’ I reply. 
                Faces go blank and a thick pause of unknowing oozes across the classroom. Heads drop and a faint voice cries into its sleeve, ‘I don’t get it!’ and (since this is the film version) all the desks start shrinking backwards away from the teacher and disappear into a black abyss at the back of the room….

“Unknown unknowns”

ha ha i don't get it tshirtIt would be my guess that every music teacher reading this will have experienced at least some version of this same scenario. It can happen with children, teenager, or adult students, and, although it looks like the moment of catastrophe was caused by what I’ve called ‘one fatal step’ instructionally speaking, of course, these scenarios represent a series of moments of unknowing coming to a head. The student who asked this question (and it is a real question asked me in a class just last year) must have experienced many moments in previous classes when he hadn’t understood what was going on but hadn’t said anything. At the same time, I will have been happily piling concept after concept on top of this student without realizing that he hadn’t understood what was going on.

How can it happen that we sometimes unwittingly leave our students behind? And is there anything we can do to help those students who find the theoretical side of music difficult, or are some people simply ‘more musical’ than the others, who will always at some point get left behind? Read more…

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Posted in Music Theory, Performing, Practicing, Studio Management, Teaching Tips

blue river6 fun pieces for intermediate to advanced pianists

When I was a teenager, I innocently asked my piano teacher one day if I could possibly learn some pop songs in my lessons. I will never forget his reaction!

Well, the colour drained from his ancient, wrinkly face and I could tell it was all he could do to withhold the rage clearly brewing deep within him!

“Why would you want to learn such rubbish?!?” he finally exploded.

“But it’s fun! And nobody has heard of the pieces I play” I grumbled, for he kept me on a strict diet of scales and Bach! I was tired of the same old routine and desperately wanted some excitement.

“Could I then just learn some jazz and blues?…What about some Scott Joplin even?” His cheeks were starting to puff uncontrollably and he gripped his chair for support. I could tell this was going nowhere!

I dropped my shoulders is resignation. The situation was hopeless. In fact I resorted to learning to play the “Maple Leaf Rag” in “secret,” dreaming of one day playing some cool popular music. The local music shop was just as disappointing carrying an antiquated stock in their so-called “popular music” section.

Now fast forward twenty or more years on and what a different world we live in! Exciting music is easily available from all over the world with the click of a mouse (or a poke of an iPad)!

Take one such book that I recently stumbled upon…

“Blue River” by Elena Cobb. A collection of six original pieces for the immediate to advanced pianist (grade 6+). Now had such a book been available for me as a teenager, I would have loved it! And to have shown it to my old teacher…now that would have been cruel but funny!!!

Full of bluesy, jazzy pieces and even some latin thrown in for good measure, this is an exciting collection which some of my advanced piano students are really enjoying at the moment. It’s challenging them but they are having lots of fun.

Cloud Seven, Latin. This was the first piece that caught my attention. It has a classic Cuban style groove, so perfect for Read more…

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Posted in Music News, Performing, Practicing, Product Reviews, Teaching Tips

New college cloister“When I was confronted with official tuition, the academic thing, I could see no relationship whatever between that and the music I’d been writing since I was 11.” – Harrison Birtwistle

For many musicians, and for many music-lovers who listen to them, the term “academic” has become a kind of musical dirty word. Defined variously as “not of practical relevance”, “of only theoretical interest”, or “pertaining to scholarship rather than practice”, the term is assumed to have little or nothing to do with the sound of music, or the enjoyment of music, or of music as an innate form of human expression. Indeed, the term “academic”, can for some by synonymous with “anti-practice”: we engage in “academic” music when we study theoretical concepts or argue about obscure points of critical theory; we engage in “practical” music when we put away our books, pick up an instrument, open our hearts, and sing.

But there is a difference and I can hear it!

blackboardIt’s of course true that reading a book about music is not the same as playing an instrument or attending a concert. And I agree that, in some quarters, so-called “book learning” of historical and compositional concepts can lean strongly toward the abstract, and can aspire to meet expectations of meaning and relevance that appear to have nothing to do with practical music-making or the preferences of the ticket-buying public.

But this is OK with me as a practicing musician, for three reasons: first, because it is these same “book-learners” who have provided musicians with so much of the foundation of practical music-making (from well-edited scores, to treatises, to knowledge about how our brains process musical information); second, because the pursuit of knowledge for its own sake – especially about something as essential as music – is important in its own right (if we can say that art justifies itself, then surely scholarship too can be self-justifying as a human pursuit); and third, because, in my experience, many student musicians and concert-goers vastly underestimate the significance of the role “academic” knowledge plays in the study, performance, and enjoyment of practical music-making, both for performers and for audiences. Read more…

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Posted in Music History & Facts, Performing, Professional Development, Teaching Tips

IMG_2720

A beach theme was used for the last studio recital. Can you tell?

Apparently I’m not the only one scarred by a horrendous memory black out during a recital. Riding home with fellow adjudicators from a nearby Federation of Music Clubs Festival, I discovered that others have endured unforgettable and traumatic experiences where the memory bank crashed during an important performance. As I’m preparing my students to participate in a local Federation festival that requires memorization, it’s critical for me to equip performers for NOTHING but a successful experience. I do not wish to pass along my personal past performance scars to anyone.

Playing for an audience is already risky but playing from memory for others including adjudicators could be equated to walking a tightrope.  If performers are going to tip toe on that high wire, it’s important that a safety net is below ready to catch them when, not if mistakes occur and bounce them right back up on the rope.

Designing a plan that will empower students to play through an error, find an exit, manage a detour, reroute and get back on track all within a feeling of control and not panic is essential–but not easy. I figured if I came up with as many options as possible, students would be equipped to rely on a number of fallback plans to ensure a positive performance experience. Below is my piano-teacher-not-very-scientific list for building a strong memory bank. Read more…

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Posted in Performing, Practicing, Teaching Tips

How do you prepare a student to have a good experience in a competition or other event? Below are a some specific ways that I try to make sure the student is ready. Event prep is an ongoing process of growth and learning for both teacher and student. This long list is in a somewhat random order and by no means complete, but I hope it will generate a few ideas for you.Competition Blog

Start early. Nothing spoils the process more than running out of time. Creating a reverse timeline is an excellent idea. Starting from the date of the event, work backward setting intermediate goals and deadlines. For example, if an event takes place on April 5, you might set a deadline for secure memorization of the material by March 1, articulation, phrasing, and dynamics integrated by January 15, and notes, fingering and rhythm secure by December 2.

Start the piece correctly from the beginning. Do not allow any bad habits to develop. It is easier to start with a new piece from the ground up than to choose a piece with ingrained problems to rehabilitate. Allow the student one play-through to get the overall feel of the piece, but then slow way down and work section by section, phrase by phrase. On the other hand, sometimes the second or third time you learn a piece, it really comes together. Don’t be afraid to pull out a piece learned last year and relearn it at a deeper level, if it does not have big issues.

Choose material that is level-appropriate. Too hard and tears and frustration will be the result. Too easy and boredom and carelessness will set in. Take into account the amount of time you have to prepare. If the competition requires a certain minimum level of difficulty, use Jane McGrath’s book “The Pianist’s Guide to Standard Teaching and Performance Literature” to determine the level of your piece.

Start with the rhythm, separated from the notes. The rhythm drives Read more…

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Posted in Performing, Practicing, Studio Management, Teaching Tips

duetMusic shapes us, but it is also shaped by our culture and practice of music-making. This is true whether we are students, performers, concert goers, consumers, or music teachers.

But how can we find space for experiment and innovation in our teaching without compromising standards or impeding the progress of our students?

In this post, I’m going to talk a bit about some of the ways we can make time to take risks and develop new approaches in our teaching.

I’ll also be talking about why this is important for our students, our job satisfaction, and our broader culture and practice of music teaching.

The medium is the message

IMG_1137The first thing I’d like you to consider is how your personal teaching method may reflect the space and/or institution you teach in, and the expectations that come with it.

You may be a solitary teacher working on the piano bench next to a stream of neighbourhood children, an instructor at a music school, a performer giving masterclasses or lessons on request, or you may be one of the increasing number of teachers who addresses students through internet portals such as YouTube.

However you connect with your pupils, your medium of interaction – your studio, institution, schedule, or online platform – will dictate how you teach to an important extent. A school typically requires teachers to follow a fixed curriculum, for example, while home studios usually prioritize one-on-one teaching over group classes.

Your school may encourage you to teach from a series of books they already have in the library, while in your home studio you may find that students and their parents appreciate following a system based on graded instructions books that are approved by some well-known institution. However you choose to teach, these work patterns will help to make your teaching effective, and they will help your students to progress at a regular rate alongside their peers.

But these same, what I am going to call ‘institutional systems’ can also have drawbacks, both for pupils and for teachers. What may seem like a time-saving book series or course curriculum that ensures standards in your studio may in fact be limiting your ability to express yourself as a teacher, and in turn, may be holding back your students from achieving their best as musicians.

DorianPerhaps the recommended studies and technical exercises take up so much lesson time that you can never really get to talk to your students about the special musical alchemy that is at work in the pieces they play? Or perhaps, in wishing your students to do well in exams, you may be encouraging them to conform too much to the received wisdom of previous generations of musicians, and in turn limiting the space in which they can experiment and innovate for their own and future generations?

Whatever system we employ will always bring with it both advantages and disadvantages. Our job is to try to identify the positive in both these things, and to put them in service of a greater ends: satisfying music-making, undertaken by both students and their teachers.

Rebelliousness in the teaching studio – making space for freedom

freedomLuckily for both teachers and students, there can be few conditions more inspiring to experiment and innovation than imposed limitations!

What starts out as a restriction, may end up inspiring some of our most innovative ideas – we simply have to think about them differently and make time and space to turn them to our advantage.

Many of you will be doing this already. Teachers in a home studio, for example, may work hard to create a clear curriculum of the sort typically found in music schools, while college teachers may take pains to carve out space for personal attention for their students of the sort made easy by the home studio format.

But we can go further, especially in the freedom we can give our students to experiment with music as part of their overall progress. We can take the time to let the students work their way more slowly through pieces, for example, perhaps taking time to help them identify underlying key structures, or colouristic effects, or aspects of text setting, and then giving them the space to improvise and innovate on these interesting and important musical features and ideas.

If your students don’t know how to improvise, remember that this is a very important part of music making – all the classical composers learned to do this at an early age using simple patterns. Teaching your students (and perhaps yourself) how to do this will hugely enhance their enjoyment of music, and will make your teaching – and your own playing – much more fruitful and enjoyable.

Another simple tip to consider is how you may be pacing your students. Many students want to progress quickly and can race through grade books because of their nimble fingers or strong memories. But these same students will almost without exception falter later on in their life as musicians. This typically happens either because the pieces they play at advanced level will eventually get very demanding of mental and emotional interpretive skills that they will not possess as players, or because they never learn to see the importance of musical life beyond their achievement in exams, and will give music up once their parents are no longer ferrying them to lessons.

If you gave your students more time to sit their exams – two years instead of one, for example – they may be annoyed at first, but in the end, they are more likely to enjoy playing, to become better musicians, and to develop the ability to have their own musical ideas. At the same time, they will make your work much more enjoyable! They will probably also score higher in exams and will do even more for the reputation of your studio. Who knows, you may even end up turning out more professional musicians than you were when you were simply ‘following the book’.

Music is play

dixielandHowever you organize your studio, university or college classes, or your online teaching content and interface, keep in mind that both student and teacher can learn as well as teach. Giving yourself – and your students – time to do this as part of their ‘regular curriculum’ will enhance your studio culture, your students’ progress, and your own work satisfaction.

But it’s important to remember that, without a doubt, your teaching makes an important contribution to something much bigger than yourself – broader musical and music pedagogical culture.

Like Mozart, and Beethoven, and Bach, and Dizzy Gillespie, all of whom played with music and broke away from the restrictions and patterns of the past, you too must take the time and make the space to break away from imposed work and playing patterns and come up with something new that is unique to you and to your students.

This, more than anything we can do as teachers to ‘maintain standards’, is what will keep music alive, both for now, and for future generations.

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Posted in Performing, Practicing, Professional Development, Studio Management, Teaching Tips