Music Performance & Appreciation

Let's Play Music Together

noreply@blogger.com (WilsonQ) — Tue, 02 May 2017 05:04:00 +0000

On 12 March 2017, Rhythm MP organized a music recital event for music students held at the Penang House of Music in KOMTAR. A total of 11 music students performed either as a soloist or in an ensemble.

The event was simply called "Let's Play Music Together". The primary goal is to encourage music students to perform music publicly. Performing music to an audience develops the self-esteem and confidence of the young performers.

To perform will require a lot of practice and rehearsals (if one is part of an ensemble). Any performer will be very conscious of the task ahead and not wish to be unprepared. Moreover, all the hard work of practicing is for a meaningful purpose, which is to present your music to an audience.

The audience that day comprised of family members of the performers, friends of the family and the general public who happened to be visiting the Penang House of Music that afternoon. It was well attended and the audience was very receptive and supportive of the performers. Most of the performances were instrumental music except one ensemble that included vocal singing.

Our event also encourages the students to perform music creatively. This specific criteria can include many things depending on the musicality and musicianship of the students. One of the easiest ways would be to add embellishments (decorations) like 'ornaments' to the melody. This can be learned during music lessons as 'ornaments' are part of any music syllabus. To acquire and develop more ideas will require the student to play and listen to lots of music.

Other than solo performances, there was an ensemble comprising four young students (see photo on the right) performing 5 songs that included singing. The leader of this ensemble himself is a multi instrumentalist and is always keen on performing. He has actually appeared on TV being part of the Astro Kids program. He put together an ensemble with his friends playing the keyboard, violin and assorted percussion instruments.

Another interesting performance was a piece for '8 hands' performed by four piano students (see photo on the left). This piece was arranged by a schoolmate who excels in music and it was really refreshing to see such creativity in the arrangement. Also, we rarely see four pianists on the same instrument performing together.

This event is on-going and we hope to hold it monthly or once every two months. The next round will be on 28 May 2017 at the same venue, which is the Penang House of Music in KOMTAR and there are no available slots left. For anyone interested to participate in this continuing series of performances, contact Miss Toh of Rhythm MP at 04-5050246 for information.

Incidentally, the Penang House of Music that was set up and opened to the public some months back, is worthy of a visit by everyone. It is a one-stop centre that chronicles the history of music and the musicians of Penang. On display are many interesting items ranging from music instruments to gramophones, etc. Look up this venue on the internet to know more.

Music Jamboree 2015

noreply@blogger.com (WilsonQ) — Thu, 11 Jun 2015 05:41:00 +0000

Rhythm MP's Music Jamboree 2015 was held last week during the school holidays from 1-6 June 2015. It was also a bit tricky organizing this year's event because firstly, we could not run the music jamboree during the second term holidays like we usually do because it will then coincide with the Islamic Hari Raya Aidil Adha. It then leaves us with the recent holidays to run the event but it also coincided with music exams that are currently on-going.till August.

Nevertheless, we had music teachers from Indonesia and Malaysia who signed up this year. The first two day's program on 2 & 3 June were only for the music teachers. Exploring creative piano teaching ideas, technical development to perform music and aural development, among others, were the main focus .

The teachers' program also did include workshops focus on music composition and harmony that we have regularly featured on facebook.com/MusicJamboree and in the music workshops that we offer to music schools. We have for many years, been encouraging music composition as it is a creative activity that uses the music theory that the student has learned. Having learned some years of music theory, any music student can be encouraged into composing. The student only needs to compose according to the level of theory learned. The attached videos of students compositions featured at the recent music jamboree below is an example.

Every year, the music jamboree will always include a program for young primary school students. This year's music jamboree saw the participation of six primary schools. They were SJK (C) Perempuan China, SJK (C) Poay Wah, SJK (C) Kong Min Pusat, SJK (C) Chung Hwa Confucian 'B', SK Convent Lebuh Light and SJK (C) Tar Thong. The last school mentioned are from Balik Pulau, literally meaning 'back of the island' and yes, they are from the other side of the island. we wish to thank all these schools for participating at this year's music jamboree and hope that everyone had an enjoyable musical experience.

As it has been for many years now, SJK (C) Perempuan China, aka Peng Hwa (as is locally known) is the host school and has great facilities to hold this event. The first day of the students' music jamboree was on 4 June 2015 and it began with all the students gathering in the school hall after morning registration for a 'musical' warm up. It began with viewing an animated clip on music to lighten up everyone, followed by a singing activity and finally a music and movement activity.

All the students were then divided into teams managed by the music jamboree teachers to rehearse the musical activity assigned.

Each team is to perform the musical activity that would usually involve all or a combination of singing, music and movement, playing percussion instruments, etc.

On the second day of the students music jamboree, the performances are held in the school hall. Each team would then appear on stage to perform their assigned musical activity. For this year, the students of SJK (C) Tar Thong prepared and performed a welcoming song to all the participating schools. It was a nice gesture on their part and this is their third year participating in the music jamboree. Below are the video clips of the students performances.

As with last year, we asked students to participate in our music composition event and those whose compositions are successful will be selected to performed live by the students themselves during the music jamboree. The following three clips are among some of those submitted for this year.

Improving on sight reading

noreply@blogger.com (WilsonQ) — Thu, 22 Jan 2015 08:03:00 +0000

Do you like sight reading? Maybe some of you do but most of you struggle at sight reading. Although you learn music literacy when you begin music lessons, sight reading music notes and playing the notes on a musical instrument instantly is not such an easy task. Of course, if you are given the time to slowly look at the notes, you will be able to figure them out. But the point of sight reading is to be spontaneous in reading and playing the notes on a musical instrument.

Reading music notes well has to do with familiarity. The more you see the same notes, the better you recognize them. But I have encountered situations where quite many students can read well within an octave of C major from Middle C up (in the Treble clef) and down (in the Bass clef). Students struggle most especially when the notes go beyond the music stave lines, and I noticed them trying to read such notes by counting the notes from a familiar note within the stave.

So, how do you improve on sight reading? There are books on improving your sight reading that may help you. Obviously sight reading is a problem for many of you, if not, then why should there be books on sight reading to help you? Yes, you can get these books to help you in sight reading.

However, you can help yourself improve in sight reading simply by reading and playing a lot of music, especially new music, all the time.

I will go back a series of articles I wrote some years back about my musical journey that lead to my profession and career in music. My father was always keen and encouraging when I was learning music that he frequently brought home all types of music that the local music shop near his office may have. Whenever stock of new music albums or music sheets was available, he would just buy them for to me to learn with no expectations involved. I can fondly remember when he got me the complete album of the musical 'The Sound Of Music'. I enjoyed learning all the pieces and especially after watching the musical and listening to the music, I understood better how to perform the pieces better.

Besides that, my music teacher also prescribed numerous books from classical albums containing a mixed repertoire, to the Sonatina Album, various Piano Studies and Etudes, etc to play. Since I figured that I am going to be playing these pieces at one time or other, I started to learn playing all the pieces on my own other than those prescribed for my piano lessons. Eventually, I began to get familiar and better with reading notes across the musical stave in both clefs. I began to notice and understand the rhythmic grouping of notes, musical symbols and signs, learn to respond to expression markings, dynamics, articulations, etc.

You can also do this at any time at home. Be proactive and tell yourself that you want to improve on sight reading. You can begin with the music books you have, or get more music books to read and play, or ask your music teacher for recommendations. There is a lot of music out there to be explored. Of course, the classical oriented books are preferable because it has equal focus on developing your reading of the bass clef and technique for the left hand.

Therefore, while there are books to help you improve in sight reading, you can only be good at it through application which means, by reading and playing more music as frequently as you can.

Music Jamboree 2014

noreply@blogger.com (WilsonQ) — Tue, 30 Sep 2014 18:46:00 +0000

Our annual Music Jamboree was held during the second term school holidays from 16 - 19th September 2014. Music teachers who participated in this year's event were from Malaysia, Sri Lanka and Dubai. For this year, special focus was on music composition in line with our program conducted at two schools since the beginning of the year through our CSR Music Outreach program. Subscribers to our blog would have read the numerous postings done monthly about our program for this year.

During the first day of the Music Jamboree, the theme focused on creative teaching ideas to enhance the student's musical experience during lessons. This was held at J. Y. Klasik, a music centre who graciously provided their facility to host this session.

On the second day, a special workshop session was held during the first half of the day on music composition. At this session held at the Penang Chinese Girls Primary School, a small group of five students participated in the workshop to complete a composition each. The purpose of this session was to encourage students to use music theory and the instrumental instruction they have received in a creative manner, which is, to compose music.

Encouraging a music student to compose is a rewarding experience to apply music. The students get to use their creativity to conceptualize their compositions. They were only required to whatever musical knowledge that they have individually acquired up to that point in time. The students were eager and enthusiastic in their attempts and did quite well. One student even added an accompaniment in the form of a piano arrangement to her composition.

Later, during the afternoon session, the teachers received their assignments to prepare for the activities that they will conduct with the many students that they will be meeting during the next two days at the Penang Chinese Girls Primary School.

The third day of the music jamboree, as has always been, is the students music jamboree where primary school students who registered to participate showed up for their music program that involved musical performance in various formats. For this year, the Year 1 - 5 students were from Penang Chinese Girls Primary School, Convent Light Street and Tar Thong Primary School. This session was only for a period of three hours to prepare students to perform the next day.

The students' program was co-planned with Ms. June Loo of the Penang Chinese Girls Primary School. Ms. Loo is the senior music educator of the school and the key person who has been working with us all these years for the students' music jamboree segment. For this year, she participated and led the Year 4 & 5 students in a special performance using the 'angklung' (an ethnic musical instrument made of bamboo).

The music jamboree teachers were all assigned to lead their respective group of students to perform during the final day of the music jamboree. The music jamboree serves to bring new experiences to music teachers and one of the activities we indulge in is to have those who teach music on a 'one to one' basis to step out of their comfort zone to do something they have never done before. Or thought they would never do! That, being to instruct a large group of students to perform.

It was quite a challenge for some of them but nonetheless, they did well as can be seen from the videos of the students' performances that they led.The links to the videos are below at the end of this report.

The entire first half of the day was for the music jamboree teachers to plan their students' performances, to rehearse the students and get them ready to perform on stage at the school hall the following day.

During the second session in the afternoon, the teachers were brought to Evolution Music House, another music centre located at the upmarket Gurney Plaza shopping mall in Penang. There, they met with Ms. Lucy Loo, a composer whose contemporary piano works were published in a series of publications titled "Because Of Love" by Rhythm MP. Those series of books were co-authored together with another composer, Mr. Raymond Tan. Ms. Lucy conducted a hands-on workshop with the teachers and had them perform in an ensemble using the various musical instruments available at the music centre.

The final day on 19th September was the performance day involving the teachers and students under their charge. Here are the videos of the students' performances.

Year 1 & 2 students

Year 3 (Group A)

Year 3 (Group B)

Year 4 & 5 (Group A)

Year 4 & 5 (Group B)

We also featured the top compositions of four students from the Penang Chinese Girls Primary School who participated in a composition project we initiated at the school.It was quite a defining moment for these students to hear their compositions being performed live to an audience of fellow students, teachers and parents. The winning compositions were performed by some members of the Penang Chinese Girls Primary School's recorder ensemble. An added bonus was the recorder ensemble students were so eager that they asked to perform a classical piece titled 'Eine Kliene' by Mozart for the audience.

You can further view all the photos of this year's music jamboree by clicking the link below:

Music Jamboree 2014 photos

As we look forward to next year's Music Jamboree, we truly appreciate and would like to sincerely thank;
- the music teachers who have participated in this year's program (and hope that you all had an enjoyable time here),
- the Penang Chinese Girls Primary School for hosting the students' part of the music jamboree and for the use of the school's great facilities,
- J. Y. Klasik and Evolution Music House for the use of their premises and facilities,
- Ms. June Loo for your support and advice

CSR Music Outreach Program 2014: Chords make your composition interesting

noreply@blogger.com (WilsonQ) — Thu, 26 Jun 2014 05:54:00 +0000

Recently, we embarked on a composition project for the primary students at the school where we run our music program. It was an assignment for them to do over the first term school break. We encouraged the students to add chords to their compositions, and even going to the extent of doing an arrangement for the piano if they are capable of it. But if they are only able to compose a melody line, I offered to help them add in chords to their composition. As we start to receive some compositions now that school has begun for the second term, I am taking this opportunity to blog about how chords can make a composition sound interesting.

Chords support a melody and does make a song sound good. Quite many old songs are being re-released over the years and to cater to the listener today, those songs have gone through a revamp. The groove is more current and some of those songs go through some re-harmonization. This 'big' word simply means that some of the original chords of the song has been changed and substituted with other chords.

The music appreciation of the listener evolves and progresses through time. Pop songs around the 50's and 60's consist of three basic chords that we refer to as the primary chords. They are Chord I, IV and V7. These chords are most evident in Rock and Roll songs of that era. Nowadays, songs contain more chords to make it sound a lot more interesting.

I shall take a recent composition submitted by a student to illustrate the use of chords and how chords can make the same piece of music sound interesting. The piece (see below) was composed without chords. The story behind the title was that the student was feeling really happy when he composed this piece of music. Thus, the title reflected his mood at that moment when he wrote this piece.

For my first illustration of chord use, I am staying with the use of primary chords only. This piece is written in the key of C Major, therefore the primary chords will be C, F and G7. I am not using Chord V in its most primary form but as a Dominant 7th chord, as shown below.

There are many different chords that are suitable to be used and what I did was simply to change the C chord at Bar 13 to F chord (circled below). Play the above piece at the piano and then the one below to feel the difference in that bar. Both chords sound suitable but it is always a matter of preference for the individual in deciding which chord sounds best.

Taking it another step further, I am using more chords to make the piece sound more interesting. In the example below, I am using chords diatonic to the key of C Major to add to the melody. Play the piece below on the piano and notice the difference as compared to the above. I am sure you will find the use of more chords below more interesting to your ears.

Finally, just to make you aware that more can be done to the harmony (chords) for this piece, I use chords that are not diatonic to the key of C Major. The chords E7 (at bar 11) and D7 (at bar 15) do not belong to the key of C Major but I can use them to great effect for this piece of music. Also, notice that in bars 2, 7 and 19, I use two chords in each bar to add more harmony to the melody. Again, play it on the piano to hear and feel the difference.

Of course, these are just some possibilities of chords that can be used in the same piece of music. There are other possibilities depending on your level of music appreciation and musical knowledge to change the chords around or even add other chords to this piece to make it sound different and interesting. The possibilities are plenty.

When we have received all the compositions, it will be uploaded with arrangements for all to play and recordings for all to hear.

CSR Music Outreach Program 2014: Composing for the young beginner (Part 2)

noreply@blogger.com (WilsonQ) — Fri, 30 May 2014 01:00:00 +0000

In Part 1, we have explored notes from a major scale to begin composing your melody. Next is to consider what happens after the first bar. Your melody has to flow continuously and sound good. While some of you can be inspired and continue after composing your first bar of melody, some others may not know how to continue.

Let's go back to my earlier blog posting where I was getting students to begin by creating a one bar rhythmic motif and developing the motif in the second bar. Here is the link: http://musicperformanceappreciation.blogspot.com/2014/04/csr-music-outreach-program-part-5.html

Once the first bar motif is determined, I had the students clap the rhythm to feel what the continuation should be in the second bar. They had to keep clapping and 'feeling' the groove of the motif quite a few times before it impressed upon some students. Soon enough, some were able to clap a continuing rhythm right after the original motif. This was the development that I was waiting for.

At the next lesson, we worked on developing a motif up till four bars. I started the first bar in Simple Triple time as shown below and got the students to suggest the rhythm for the continuing bars.

After which, we began another in Simple Quadruple time and below were the four bars that the we came up with.

Then came an interesting observation by the students as they clapped the rhythm. They commented that the first four bars were not that interesting as it was repetitious and monotonous. This is when they were made to understand that though the rhythmic phrase is repetitious and sounds uninteresting, it is because no musical pitches/tones were attached to them yet. It began to make musical sense when we began converting the notes into sounds from a scale to turn it into a melody. A few examples were demonstrated for the students to understand the process.

Once musical pitches/tones are attached to these notes, it will definitely not be monotonous or uninteresting anymore. It will be music, as music should be. Of course, the right choices of musical pitch/tone will decide if the melody sounds pleasant or not. As a further illustration, consider the two songs (from the Piano Lessons Made Easy publications) that we are familiar with since our kindergarten days.

I can safely say that most of us are familiar with the tune of the above pieces. If we remove the musical pitch of the notes in the opening four bars of both songs, you will notice that the types of notes are exactly the same, as shown below. Clap the rhythm of the notes in these four bars and you will feel that it is exactly the same until you hear the music.

The approach to composing for these young students is to begin with a rhythmic motif, developing it to four bars and assigning a music pitch/tone to each note of the rhythm. Of course, there are other ways to begin composing but when these students learn music strictly from a theoretical approach without instrumental studies, it is a lot more tricky. Obviously, composing with instrumental support is most ideal. We hope the process will encourage all the students to take up learning a musical instrument of their choice.

CSR Music Outreach Program 2014: Composing for the young beginner (Part 1)

noreply@blogger.com (WilsonQ) — Sun, 25 May 2014 04:00:00 +0000

Young students generally get stumped and find it difficult to start composing. It is always the very first bar that poses numerous problems; what to write, which notes to use, what sounds good, etc. In short, considering too much.

Furthermore, our students are young primary school students who do not have years of formal music learning and music training. In fact, not many even after having learned music for a few years, are really capable of composing music on their own. Those who do are either prompted and carefully guided, or impressed upon.

Firstly, we have to understand what is required in a composition. A composition basically requires a melody (the tune of the song) supported by chords. Chords provide the harmony to support and accompany the melody. One cannot imagine a song today comprising of only melody without chords.

Our focus here is on melody writing. Chords require much training to understand. To assist the young students to begin composing, here are some pointers to consider. Let's begin by paying attention to the sounds of a scale. In this case, we take the C major scale that most piano methods and theory books begin with. This about getting the very first bar of a composition started.

Normally, the first bar of a composition uses the Chord I of the scale, which is C chord. Let's explore the sounds of notes from the C major scale with C major chord.

Take a look at the C major scale shown below. Notice that the C chord ( C E G) is in the Bass Clef. Play and hold the chord while playing the scale up and down (ascending and descending) . Notice that all the notes sound fine when played in this manner.

However, when taking each note individually and playing it with the chord will produce different results. Let's consider which of the notes individually suit the C chord. Obviously, the notes C, E and G that form the C chord sounds the best, as shown below. Play the chord and the three notes individually. The sound of all three notes match the chord perfectly. These notes belong to the C chord and are called chord tones.

Next, let's look at the other notes in the scale. The three notes D, A, B played with the C chord may not sound that ideal. The sound of these three notes do not really match with the C chord. But it does not mean that they create a bad sound. They just have to be used with caution. These notes are termed as non-chord tones as they are not the same notes used in C chord.

The only other note left is F note. I left this note till the end here to demonstrate what is considered a 'bad clash' when playing this F note with the C chord. Try it and you will understand what I mean.

Obviously, F note is to be avoided as the starting note with C chord.

Going back to the chord tones, you would not want to compose your opening bar using just chord tones. It will be quite uninteresting. You should mix chord tones with non-chord tones as in the examples below. Notice that between the chord tone notes are the non-chord tones. Play these examples and feel how they sound to your ears. Notice that none of the examples begin with the F note.

Below are more examples using a mix of chord tones and non-chord tones.

Let's experiment if using just the non-chord tones to compose your first bar of music would work. Play the examples and you will feel that none of them create a good opening melody. As mentioned above, you would want to use a mix of chord tones and non-chord tones.

Again, leaving the use of the F note till here is to demonstrate the musical pitch of F note that does not suit C chord if you compose your opening bar of melody in the manner below.

To compose music is to create music.

noreply@blogger.com (WilsonQ) — Tue, 20 May 2014 07:13:00 +0000

Learning music and learning to play a musical instrument is to study the language of music, to know music, to develop the musical mind and bring forth one's musical creativity. However, learning music is not only about being able to read and play music well.

Composing is one of the most creative processes in music. Some of us can achieve this quite easily while it can be a struggle for others. There are many musically inclined people who never studied music formally but can easily compose music. They do this simply by using their musical mind. They can 'hear' music in their head. Majority of us have musical minds. It is only through personal interest in music or through learning music that we begin to develop our musical mind.

For music students though, to begin composing is not to sit thinking or staring at a piece of manuscript paper hoping that some idea will kick in. I am rather amused when I see students trying to 'think' when attempting to compose music. The idea of 'thinking' in such a situation will be quite unproductive.

In fact, the process should be as simple as 'singing' a short musical idea (motif). Most music students seem to find this method impossible because they are always trying to 'think'. Instead, try to 'hear' a musical line (idea) in your head and hum it out vocally. Everything begins from an idea. Likewise with music. There has to be an opening phrase to get things going. Just go ahead and try out as many musical ideas as you can.

To create the opening phrase may require some effort. Hum out a musical phrase and you may have to do it a few times. Listen intently to it and decide if you like it. If not, try another musical idea until you chance upon one that you like better. Once you have found the opening phrase you prefer, try it a few more times so that you can remember it and to let it inspire you to create a continuing second phrase from this. From here, it goes on in the same manner until you have a complete song.

Listening to lots of music from diverse musical styles is a stimulation to start getting musical ideas. From listening, we get a better appreciation and understanding of musical tones. We also begin to get a 'feel' for phrasings and rhythm in the melody. The rhythm part means using a mixture of music notes (minims, crotchets, quavers, etc) to make our melody interesting.

The opening phrase is not to be a continuous long melody. Everyone who listens to popular music whether it is an instrumental or vocal piece (with lyrics) will note that every song opens with a short to medium phrase. Only classical pieces tend to have much longer and quicker lines, though not all.

A complete song does not have to be a long piece. It can be as little as 12 bars of music up to 48 bars, or even more.

Here are some points to consider:

Create a 'catchy' melody that is memorable.
Avoid too many repeated notes as it can sound monotonous.
Requires a mix of different note types of different note values.
Ingenious use of chords can greatly improve the composition.
Be adventurous with the range of notes.
Be sure that the melody is singable.

CSR Music Outreach Program 2014 Part 7: The Sound Of Music

noreply@blogger.com (WilsonQ) — Mon, 05 May 2014 13:46:00 +0000

Yes, the hills are alive with the sound of music, and music is alive everywhere.This blog posting is not about the musical of the same namesake but has more to do with introducing the young students to a musical instrument and hearing musical tones.

Although our program is conducted in a large group comprising young students of different ages and does not focus on any instrumental learning, we encourage the students to learn a musical instrument of their choice privately. Learning music is not about learning music theory alone. A musical instrument must be involved, otherwise, learning music will be dull and uninspiring. The only musical activity we do is for me to play on the keyboard and have students accompany using an assortment of percussion instruments. However, one can only go so far with this activity before boredom sets in. There needs to be variety.

For the purpose of our program, the ideal instruments that are affordable and portable would be the recorder and the pianica (also known as the melodica) as seen in the photos here.

Once any student begins learning to play a musical instrument, the appreciation of and interest in music should automatically catch on. From here on, how fast and how committed the student would be will depend
very much on his/her personal interest.

Playing the pianica is a lot more easy than the recorder, which is much more difficult to control. Blow too hard and the pitch will squeal on the recorder. Learning to control the amount of air requires practice and the students were advised to stand in front of a mirror and observe that they cover all the finger holes. Otherwise, they will take a much longer time to master this basic technique.

For these young chargers, getting them to play the instruments in unison produces quite a commotion. Hearing off pitches makes them holler out and clasping their ears, obviously in protest of hearing something not very musical. At least, they can differentiate between 'bad off pitched noise' and good musical tones. Hopefully, it will be off to a good start for them. I will looking forward to 'an experiment' that I wish to conduct during their next lesson and hope to report some success in the next blog posting.

It just so happens that the school has a 'roll up keyboard' that the students find fascinating when I was unfolding it to be plugged in.

Everyone was eager to try playing this keyboard, so I just let them have a go at it towards the end of the lesson. Of course, it's more of a toy than a real musical instrument.

CSR Music Outreach Program Part 6

noreply@blogger.com (WilsonQ) — Mon, 21 Apr 2014 13:12:00 +0000

Continuing with the four bar rhythmic pattern that students were required to create during their first term school exams, the next step would be to attach musical pitches/sounds to the musical notes of the four bar rhythmic pattern.

The process is actually quite simple.

1. To begin, ask the students to decide on a time signature and create a two bar rhythmic pattern.

2. Ask students to volunteer coming to the whiteboard to write out the two bar rhythmic pattern they have created. In this case, the student chose Simple Triple, which means three crotchet beats in a bar.

3. Next, I ask for any student to volunteer developing the two bar rhythm pattern with another two more bars. But I caution them that this other two bars must have musical connectivity to the earlier two bars. The student (in the photo below) came up with the additional two bars.

4. When all four bars are written on the whiteboard, the next activity is for all the students to clap the four bar rhythm. Ask the students to try their best to 'feel' if the flow feels correct. After clapping the four bar rhythmic pattern a few times, some students noticed that they felt awkward with the rhythm in Bar 3.

5. Rightly so, it does feel a little awkward. Instead of having the students create other rhythmic pattern for Bar 3, I decided on another approach.

6. Getting the students to hear and appreciate musical tones can help them decide better. Musical sounds were then introduced to the students using an electronic keyboard, but only limited to three notes; Middle C, D and E. Include a pitch singing activity using these three notes. I use the syllable 'la' for the singing activity.

7. I would play short melodic phrases using these three notes and have the entire class 'sing' the phrases exactly as played. It is simply to imitate the pitch they hear.

8. After the singing activity, I would ask students to suggest attaching a pitch to every note of the rhythmic pattern and below is what the students decided. The notes can be randomly chosen because one cannot go wrong with these three notes (C, D and E).

9. Once a pitch is assigned to every note in the rhythm pattern, I proceeded to play the entire melody on the keyboard while the students were asked to listen attentively especially to Bar 3. Quite immediately, the students reacted by saying it did not feel correct, some said it felt 'rushed'.

10. Exploring the somewhat 'adventurous' suggestions given by the students that they are never short of, I simply said the easiest would be for both notes to exchange positions as shown in the photo below.

11. Below is a similar activity done in Simple Quadruple time.

These approaches are simply ways to encourage students to begin composing music.

CSR Music Outreach Program Part 5

noreply@blogger.com (WilsonQ) — Thu, 03 Apr 2014 06:29:00 +0000

For their recent first term school exams, revision classes were also in order for their music assignment test that is in line with their school exams.

The students are to create a four to eight bar rhythmic phrase using the basic few types of notes they have learned. The purpose is to lead them into composing music. I would not consider any of the young primary school students in my class as being too young to begin composing. In fact, the students actually welcome the opportunity to compose music, though some may find it quite challenging. But the enthusiasm to try their hand at composing is most encouraging.

Here is a simple 'recipe' to begin composing music.

1. Firstly, begin by creating a two bar rhythmic motive. This is the opening musical sentence.

2. Instruct the students to create some contrast between both bars. In this case, the first bar is INACTIVE while the second bar is ACTIVE. It simple means having less notes in the first bar and more notes in the second bar (as shown in the photo). Of course, the notes must all add up to the required beats in each bar according to the time signature.

3. Of course, it can be reversed too. The first bar can be active while the second bar can be less active.

4. The best way to know if the two bar rhythmic motive works, is to clap the rhythm. Lead the entire class to clap the two bar rhythm together. Ask their opinions on how they feel about the rhythmic motive. It is important to communicate with the students to know their thoughts.

5. When the first two bars are completed, proceed with another two bars. Use and follow the same concept of an INACTIVE bar followed by an ACTIVE bar of rhythmic pattern.

6. The student here decided to use quavers in the next two bars (as seen in the photo on the right). This is a good idea as it would create good contrast with the earlier two bars.

7. Joining them together, we now have a four bar rhythmic phrase. Clap the notes of these four bars to 'feel' if it is correct. Do the clapping activity of these four bars a few times and then ask the students for their opinion.

8. Questions that I would ask the students would be; What do you think about the rhythmic flow? Does it feel correct? Is there anything to change? Would you want to change anything?

9. Asking if anyone can improve on it would bring forth an avalanche of ideas from the eager students. Of course, this is encouraged but there must enough lesson time to explore all the students' musical ideas in this case. If not, do this activity at another time.

Here is a clip of the students doing the clapping activity of the four bar rhythm shown in the photo above.

Music Literacy

noreply@blogger.com (WilsonQ) — Mon, 31 Mar 2014 07:57:00 +0000

Literacy is the ability to read and write. In music, every student has to begin by learning the 'language' of music to gain music literacy. Music literacy is the ability to read music (music notes, musical symbols, expression marks, dynamics, etc) and write music (compose and arrange). Music literacy also means the ability to read a music score and perform it on a musical instrument.

My concern here is with those young students who have been learning music for at least two years but still lack the ability to read music well. Some even struggle to read notes slightly beyond an octave above or below Middle C, never mind the notes outside the stave. All resort to counting the spaces and lines of the music stave to figure out the note. They will start from a note that they are familiar with. I have actually observed a student count from Middle C all the way to the A note above the stave in Treble Clef. This is tedious.

I can only attribute this situation to lack of reading music to play on the instrument. Reading or sight reading music is valuable to improve on note recognition. Reading and playing an assortment of different styles of music does a lot of good.

Young students should develop a pro-active attitude and go hunt for new music to explore on the instrument. Buy those books and start reading and playing on the instrument. Students can ask teachers for their recommendations. Likewise, conscientious teachers would also make certain that their young students are exposed to as much music as possible. Yes, I have also heard and experienced young students who do not practice diligently, taking up to three or four lessons just to play a simple piece correctly. This hinders progress.

What needs to be done to improve reading music notes?

Constant exploration of new music to play
Sight reading books to help you in reading and recognizing music notes better
Keep your eyes on the scores when playing music
Do not memorize the music piece until you are sure all the notes are correctly read and played
Start composing music according to your level

CSR Music Outreach Program Part 4

noreply@blogger.com (WilsonQ) — Sun, 23 Feb 2014 09:58:00 +0000

Music rudiments and theory is best understood when applied musically. They can be in numerous forms. The most basic to begin with is rhythmic activities. Such activities are firstly, to apply music theory learned and to use them in a musical manner.

At the same time, there are additional musical traits to learn and develop along the way. Having a steady sense of beats/pulse in different tempos is crucial to appreciate and perform music. Imagine listening to a song that has irregular tempo? It would be difficult to enjoy and appreciate the song.

I turned a recent music theory and rhythmic activity into a musical drill game for the students. It is similar to the theory exercises on page 28 of My First Theory Book and is a simple formula.

Create a two or four bar phrase on the board. Include some missing notes in these bars.
Put an asterisk (*) where the missing notes are.
Students are to fill in the missing notes or rests.
Let students take turns coming to the board to do the theory drill games.
The teacher has to create numerous phrases depending on the number of students in the class.
Get creative as well. For example, in place of a missing minim note, instead of putting one asterisk (*), put two asterisks (* *) instead. Obviously, two crotchets are required.
When the students have given all the correct answers to the phrases, conduct the entire class to rhythmically clap each phrase.
It is necessary is to have students know that music must be continuous, beat after beat, from start till end. Each beat must be steady and must not quicken or slow down. Maintaining the beat is not easy for the young students.
Guide the students and clap with them each exercise. Then have the students clap the exercise while you clap a steady pulse for them.

The next rhythmical exercise can be great fun for the entire class. Instead of clapping together for the entire rhythmic phrase, try separating them into two or more groups. Here is the formula for a four bar phrase:

For a start, separate the students into two groups.
Assign each group with the bars they are to clap.
For example, Group A claps Bar 1 & 2. Group B claps Bar 3 & 4.
Inform them that they are to clap the rhythmic phrases in a constant tempo one group after the other continuously.
Set the tempo and count the beats to get them started.
Lead each group through some practices on the bars they are to clap, if they cannot seem to get it together.
If the students are brilliant, then throw a bit of challenge into the activity.
Separate them into four groups each clapping an assigned bar (in the four bar phrase).
Count off a tempo for them to get started.
If they show they can clap the phrases well, then quicken the tempo or slow it down for variety.
Or, the teacher can create longer phrases up to 8 bars.
Or, create more complicated rhythms with syncopation, dynamics, etc. For example, adding staccatos to some notes and see if the students demonstrate the effect correctly.

CSR Music Outreach Program 2014 Part 3

noreply@blogger.com (WilsonQ) — Sun, 16 Feb 2014 15:40:00 +0000

After learning some basic music rudiments and theory, application is always necessary. Application is the best way to know if the students understood what they have learned. It is also a way to revise and put music theory into practice.

The constant and frequent application of music theory will prepare them for learning instruments and reading music. In keeping with the prepared program, the students are to be capable of creating a 2 or 4 bar rhythmic phrase. The music program involves a little instrument learning when introducing musical tones/pitches. Only theory, group singing and percussion are the focus.

Eventually, the students are to be able to create an 8 bar rhythmic piece by the end of their first school term.

At this recent session, the lesson plan was to engage all the students in music theory drill activity.

Here are the steps taken:

1. Select a student to begin creating a 2 or 4 bar rhythmic pattern on the board.
2. Let the student decide on the time signature.
3. Get the entire class involved by asking them to check if the created rhythm is theoretically correct. If a student spots any mistake, ask that student to point out the mistake. Or, come to the board to make the correction.

4. Ask this student to pick another schoolmate to come to the board to fill in the counts and clap the rhythm.

5. Next I began counting a constant tempo of 2 bars based on the time signature for the student to begin clapping the rhythm. Meantime, the entire class is obviously paying attention to the activity.

6. When completed, the entire class can be asked if they felt it was correctly done. Let any student point out any mistake. Or, discuss with the class how it was. Questions posed can be like these: Was the tempo constant? Did it flow well from start to end?

7. Next, involve the entire class in clapping the same rhythm.

8. Ask the student to select another schoolmate to begin creating another 2 or 4 bar rhythm pattern. Then, the entire process begins again.

9. Hopefully, as many as possible of the students get to take part in this theory drill activity. Young students like to be up on their feet actively. So, indulge them with learning as well.

Below is a photo of a student creating and filling in the counts of a 4 bar rhythm.

Here is a clip of students clapping the 4 bar rhythm pattern shown in the photo above.

CSR Music Outreach Program 2014 Part 2

noreply@blogger.com (WilsonQ) — Fri, 24 Jan 2014 17:03:00 +0000

Encouraging young students to compose music requires them to understand some basic rudiments of music, simple musical form and a basic scale (usually C Major). Learning basic music rudiments means the student is able to read, understand and write music.

During the recent first lesson, the students learned some basic types of notes (semi breve, dotted minim, minim and crotchets) and time signature (simple duple, simple triple, simple quadruple). Examples of notes that can be used to complete a bar according to the time signature were shown to the students.

Learning to count the beats continuously in a steady pulse was next explained and taught to the students. Following this, the students did some rhythm clapping exercises to fully understand what they have been learning so far.

Try as many one bar examples as possible to let the students see and experience various combinations of notes in a bar that suits the required time signature.

Getting students involved during the lesson is the best way for them to learn and reinforce what they have learned.

Some students were asked to volunteer coming to the whiteboard to fill up one bar with notes that adds up to the required time signature. When done, the entire class was asked to confirm if the written one bar rhythm is correct. If not, the students who spot any mistakes are encouraged to point them out.

Once corrected, all students would then clap and count the rhythm.

Conducting theory drill games when teaching any new rudiments or theory does make lessons more exciting. The drill games will involve the entire class. From the photos shown, two students volunteer to create a one-bar rhythm each. Another student fills in the counts accordingly. The the entire class will clap and count the two bar rhythm as created on the board. Repeating this exercise a few times involving as many students as possible would reinforce what has been taught.

If the students seemed competent enough, go on to other time signatures and repeat the drills and exercises.

This is also a start to composing music as well. Composing begins with a melodic motive.

But for the very young beginner students in our program, this is not immediately possible. So, to begin, start working on rhythmic motives. After this, the student needs to experience musical sounds from a scale. Once musical pitch is taught, then a musical melody can be created using the rhythmic motive What the students are going through is a start to be able to compose a simple musical piece by this year end.

CSR Music Outreach Program 2014 Part 1

noreply@blogger.com (WilsonQ) — Tue, 14 Jan 2014 14:27:00 +0000

As the new school year begins, so does our music program at the participating schools. To know music is to be able to create music. To create music also includes composing. To compose, the student must know music rudiments, music theory, musical tones on an instrument, rhythm, etc. For this year, the goal is to get kids to compose music.

However, since these are very young students and considering that lessons are on average twice every fortnight, the requirements are very elementary. They are only required to write a short and simple composition but along the way, they will have to learn how to write music formally and know musical tones.

The first lesson began with learning basic music rudiments and theory. Lessons are based on the popular My First Theory Book published by Rhythm MP.

Turning to the first page and seeing musical symbols of clefs, notes, etc. is when the students get formally introduced to music language. As they begin learning the elements of music notation, it is a good idea to have them participate in a board quiz.

As shown in the photos, the students took turns going to the board and answer music quizzes on types of musical notes and the beats/counts each represent.

This is one way of affirming that the students understood what they have learned. Another activity carried out was to have the students clap and count the beats of the various types of notes from the board.

Additional exercises are recommended, if there is still time, as a revision of the lesson. These exercises can take the form of what has been done during lessons, which are, quizzes and rhythmic clapping exercises. Or, get creative and do music theory games.

Young Students Composition Project (Part 4)

noreply@blogger.com (WilsonQ) — Mon, 16 Dec 2013 02:38:00 +0000

Here are a few more compositions to share with you. If you like the compositions featured in these series of articles, you are most welcome to try them out and create your own accompaniment of the piece for the piano.

The composition below was submitted by Seow Yin Ze whose other composition was featured in the previous article. Quite an interesting and creative title given to this song that reflects the melancholic mood in the way it was composed and to be performed.

An analysis of this piece:
- Composed in A Minor scale (relative minor of C Major scale).
- Some parts of the melody is harmonized with a note that is an interval of a third below the melody. Intervals of 3rds and 6ths are consonant intervals commonly used to harmonize a melody.
- The chord progression uses four chords, moving from Am - G - F - E for the duration of one bar each.
- There are folk songs and pop songs of different genres that use this chord progression, either for the entire song or for part of the song (perhaps in the A section where the main verse is).

Melancholy means sad, depressed, miserable. Therefore, it is obvious that the piece must be performed in a slow (adagio) and melancholic style.

Below is the recording of this piece as performed by Yin Ze.

Yin Ze did submit another composition but this composition bears some resemblance to his younger sister's composition titled "WISHES" that was featured in Part 1 of this series of articles. It is obvious that being in the same household, siblings can get influenced by each other.

Likewise, in the professional world, it also happens. Haven't you experienced hearing a song and telling yourself that you have heard another song that sounds somewhat similar? Though not entirely from start to end as it would mean an infringement of another composer's work, but some parts sound similar.

Analysis of "HAPPY DAYS":

- AABA form

- Composed in C Major scale.

- Simple triple time signature.

- Using chord I (C) & V7 (G7) only.

In simple triple time, it is obvious the accompaniment will be in the style of a waltz. Listen to Yin Ze's performance of his composition below.

Young Students Composition Project (Part 3)

noreply@blogger.com (WilsonQ) — Tue, 10 Dec 2013 07:40:00 +0000

Continuing with the primary school students composition project, here are a few more to share. The following piece was submitted by Tan Jia Rou of Peng Hwa primary school.

Analysis of Jia Rou's composition:
- This piece is 8 bars long.
- Composed using C Major scale.
- Begins with a 2-bar motif in Bars 1 & 2.
- Bars 3 & 4, and Bars 5 & 6 is a further development of the original motif.
- Interestingly, the motivic development in Bar 3 is not a direct transposition (up a step) of the motif in Bar 1 as one would normally expect.

The following composition below was submitted by Seow Yin Ze (who submitted two compositions).

Analysis of Yin Ze's composition:
- ABAC form, each 4 bars in length.
- Bars 1 - 4 and Bars 9 - 12 has the same exact melody and chords.
- Bars 5 - 8 offers some continuity in sound as the melody in Bar 5 begins with the notes on Beats 3 & 4 in Bar 4.
- The melody and chords in Bars 13 -16 sounds surprisingly refreshing

Click play and listen to the recording that Yin Ze did of his composition below.

There will be more compositions featured in next week's postings. After which, I will begin a series of articles on what to do and what not to do when composing.

Young Students Composition Project (Part 2)

noreply@blogger.com (WilsonQ) — Tue, 03 Dec 2013 02:30:00 +0000

In this second part, let's look at the following students' compositions submitted. "The Adventure Land" was composed by Year 5 student, John Low of Peng Hwa primary school.I hope that students looking at this post will be able to learn some composition techniques as used by the students in our CSR Music Outreach Program.

Let us study some features of the composition:

- The song is composed in C Major.
- Bar 1 & 2 is the main motif of the melody. It is a 2-bar melodic idea.
- Bar 3 & 4 is the development of the motif. It is also 2 bars long.
- Notice that the rhythm of the 2-bar melody in Bar 1 & 2 is the same as in Bar 3 & 4.
- The original motif is transposed a major 2nd down in Bar 3 & 4.
- Bar 5 & 6 continues with the same pattern of notes but goes back to the sound og the original motif in Bar 1 & 2.
- Bar 7 & 8 ends the A section of this piece with a perfect cadence of chord V (G) in Bar 7 and chord I (C) in Bar 8.
- The bridge of the song (section B) in Bar 9 begins with a new motif. But, notice that the melody used is the same as in Bar 6.
- The use of some chromatic notes from Bar 9 - 12 is a great idea instead of just using notes diatonic to the C major scale. It sounds more interesting.
- The last 4 bars of the piece is the same as Bar 5 - 8.
- Play this piece on the piano (or your principal instrument) to hear the flow of the music and connection between the phrases to appreciate it.

The composition below is by Chloe Tan, another Year 5 student of Peng Hwa primary school. This piece like the one above comes with an arrangement for the piano. Let's look at the features of Choloe's composition.

- It is a 24 bar form in C major.
- The original motif is just 3 notes (E D C) as in Bar 1.
- The development of the same motif is continued in Bar 2, written just one note higher.
- The opening phrase is a 4-bar phrase.
- The next 4 bars (Bar 5 - 8) is similar with the first 4 bars (Bar 1 - 4) except for Bar 8.
- The bridge (B section) from Bar 9 - 16 begins with a new motif in bar 9.
- The original melody returns from Bar 13 onwards.
- One interesting feature of Chloe's composition is that the last two bars of every 4-bar phrase is quite similar.
- Notice that Bars 3 & 4, 7 & 8, 11 & 12, 15 & 16, 19 & 20, 23 & 24 sounds similar. This gives the entire composition a 'sound connection' throughout.
- The best way to appreciate this composition is to play it on the piano.

Young Students Composition Project (Part 1)

noreply@blogger.com (WilsonQ) — Tue, 26 Nov 2013 07:58:00 +0000

As the school year was winding down towards the year-end break, we announced to the primary school students of Rhythm MP's CSR Music Outreach Program that we are going to embark on a music composition project after their school term exams. Other than just the melody line, we encouraged them to add lyrics and chord symbols (if possible) to their compositions.

The added incentive for them to compose is, if their compositions are worthy, it will be used at the 2014 Music Jamboree event and possibly to be added to the activity pages in the very popular Made Easy series of piano method or theory books published by Rhythm MP for the young beginner.

Quite many students attempted and submitted their compositions over the past few weeks. Some even went the extra mile to do an arrangement of their compositions for the piano. I also recorded some of the students performing their compositions and arrangements live.

I do not wish to feature all the compositions in one long article on this blog. Therefore, over the course of the next few weeks, I will feature a selected collection of compositions in this blog with some analysis to create awareness and encourage musical creativity through composing. I would like to thank all the students who participated in our music composition project for their effort and enthusiasm.

The first composition to feature are the ones with a recording to listen to. Here are two compositions from 10 year old Seow Yu Xuan. The first is titled Wishes. It is a piece in binary form (AABA) with chord symbols.

Let's hear Yu Xuan perform her composition on the piano.

The second composition from Yu Xuan is titled Happy Kangaroo. For this piece, she wrote lyrics to it. Also in binary form (ABAC) with chord symbols.

Below is Yu Xuan performing Happy Kangaroo on the piano.

The following is a composition by 11 year old Wong Chien Chien titled We All Grow Up (AABA form), with lyrics and chords.

Here is the recording of Chien Chien performing her composition on the piano.

Chien Chien suggested that her composition can also be performed in a swing feel. Below is the clip of her performing the piece with a swing feel.

Music Jamboree 2013: Primary students 2-day program

noreply@blogger.com (WilsonQ) — Mon, 30 Sep 2013 13:33:00 +0000

The main theme for this year's annual Music Jamboree was "Empowering The Students To Lead", and this was put into practice during the 2-day session with primary school students. The purpose of this theme is basically to have students rise to the challenge of leading a team in carrying out musical activities at this event. The musical activities involve singing, body movement and percussion playing. These three elements are to be collectively presented in a performance by each group of students. There were a total of seven groups comprising about 160 primary school students from three participating schools. Students in each group are divided into smaller groups under team leaders to carry out their assigned musical activity that they must collectively perform the next day.

I have always maintained that grooming an individual takes time and must begin as early as possible. To train students to lead is to develop their confidence and their minds, as well as their ability to plan and communicate with others. If they are able to hone these skills and gain the respect of their peers, then they would be on their way to a more successful life. Primary students spend all their time at school learning subject after subject. Other than academic subjects like math and science for example, only music and sports would involve team work.

The students from the participating schools who volunteered to be team leaders began honing their skills a few months prior to the event. This was not an easy task as the young students have never assumed such roles before. Much encouragement and assurance is needed to make the students feel at ease.The more training they have of the assigned tasks, the better they should be.

Obviously most of the students when volunteering to be team leaders, though aware of the task and responsibility they are to assume, were not able to sense how monumental and intimidating it can be. It was during the music jamboree when they have to put into practice their training, that they discovered something else about themselves.

There were those who were so intimidated by the sheer size of the turnout and everything that was happening around them. Some felt their confidence slipping away because they are not familiar with the music jamboree teachers and students from other schools. Of course, they are still very young and I do not expect them to be super-sociable with everyone they do not know. Besides, the daunting task of having to teach other students while under the observant eyes of the teachers can be quite intimidating for these young student team leaders.

Nevertheless, though they acknowledged their weaknesses when speaking to them during our regular music class, they realize their mistakes (if any) and how they can improve for the next music jamboree. I can only be glad that they had this realization and are willing to up the ante for themselves. From this point of view, I can safely say the purpose of letting the young students rise to the challenge and spurring them on has been successful. It is just the first step to many more steps that lies ahead.

Here are responses from some the student team leaders. Let's begin with the guest students of the visiting school.

Kee Wei Ming (Tar Thong): I made friends with many students at Peng Hwa and enjoyed performing percussion with them on stage the next day.

Munis Vitya (Tar Thong): My role is to create body movement steps to the music and while teaching the students in my team, I also learned more body movement ideas from the teachers. It was a good experience and I am very happy to have taken part.

Ooi Yi Sheng (Tar Thong): Teaching students in my team to play the tambourine was easy and fun. I enjoyed my role and the music jamboree. I am looking forward to the next music jamboree.

Chan Xu Peng (Tar Thong): I am glad I had the chance to experience teaching others to play a percussion instrument although some of the students in my team were quite naughty (mischievous) and did not pay attention to me. I also got to make new friends there. I hope that I can attend the next music jamboree.

Munie Lekha (Tar Thong): I had to teach body movement to the Year 1 students and though they did not pay much attention to me, I did not care and insisted on teaching them for the performance. During the performance, I was very excited and brave performing with the other students. I felt most relaxed and happy after the performance. I would like to come back to the music jamboree next year.

Mohd. Ridhwaan (Tar Thong): I enjoy exploring music at school through body movement, rhythmic ensembles and vocal singing. At the same time, I can develop good personality and social interacting skills through musical performances with other students. I enjoyed myself during the two day music jamboree.

Chong Yi Jie (Tar Thong): I was very happy to join the music jamboree but very nervous about being a team leader. With the teachers helping me, I learned more and became better. I felt good at the end after the performance.

Now, let's hear comments from some students of the host school.

Goh Wan Chern (Peng Hwa): I met many teachers and made new friends at the music jamboree. I learned a lot and had a good time. I was a bit nervous during the performance but it was fun.

Edmond Yeoh (Peng Hwa): I felt bored because the teacher did not let us use the ideas we had. But I made two new friends from another school.

Yeap Jiang Wei (Peng Hwa): I felt very happy that I met and made a new friend during the music jamboree. I learned that friendship is very important and we must help a friend in need. Perfoirming on stage was very exciting.

Goh Fay Xien (Peng Hwa): I discovered that it is not easy to be a leader. But I had a wonderful time and wish I could meet the jamboree teachers again. It was really fun.

Jessica Teoh Yi Jie (Peng Hwa): I am very happy that I learned a lot of music. I love attending the music jamboree.

MUSIC JAMBOREE 2013: Empowering the students to lead

noreply@blogger.com (WilsonQ) — Wed, 28 Aug 2013 17:43:00 +0000

The theme for this year's music jamboree with the primary school students was titled "Empowering the students to lead". After teaching music to the primary students twice monthly under Rhythm MP's CSR Music Outreach Program for over a year, I felt that the students were bright and creative enough to actually get more involved with the musical performances required for the music jamboree.

Normally, during music lessons, the entire duration is mostly focused on the student learning music theory and playing musical pieces. Sometimes, little is known about how much musicality and creativity the student has acquired. So it was decided that we will let the students take the lead at this year's music jamboree 'hands-on' event.

The young students were briefed on this years program and were asked if any would wish to be a student team leader. Team leaders were required for 3 separate activities namely; singing, body movement/dance and percussion accompaniment. Each group's performance must incorporate all these three and each group decides on the song to perform. If the students and team leaders are overwhelmed by their assigned duties, the teachers shall step in to take charge and lead the group.

This year's program is quite a departure from the usual students program of our previous music jamborees. Previously, the music teachers were responsible for organizing and staging the performance, from selecting a song, creating the percussion accompaniment rhythms and body movement/dance steps and rehearsing the entire group to perform on stage.

This time around, the teachers are to follow the lead of the students and guide the students in their performance. In total, there were about 160 primary students from three schools who participated. The students are from SJK (C) Perempuan Cina aka Peng Hwa, SJK (C) Tar Thong and SK Convent Pulau Tikus. These three schools are in our CSR Music Outreach Program.

There were a total of 7 groups; Year 1, Year 2 (Group A & B), Year 3 (Group A & B), Year 4 and Year 5.

Below are the performances of each and every group from Year 1 to 5 for all to view.

MUSIC JAMBOREE 2013

noreply@blogger.com (WilsonQ) — Mon, 26 Aug 2013 15:51:00 +0000

Each year, the music jamboree program features the sharing of numerous innovative ideas on teaching music to a group of students or individually. Those of you who have been following our music jamboree all this time would notice this. While most teachers who attend our music jamboree yearly are conducting music lessons on a 'one-to-one' basis, we always include music activities for a group to encourage the teachers to occasionally organize such sessions with their students. There were 21 participants this year.

Much has been expounded about the merits of teaching students individually and in a group. The music jamboree program covers both these situations with a 'hands-on' session for the group activities with young primary school students.

The four day music jamboree program would feature two days of workshops for teachers with one or more clinicians, and another two days of group activities with students. The first day of this year's music jamboree was assigned to Alice Chua, a London-based music teacher and examiner, who authored a series of beginner books for piano instruction. These publications are titled "Playing Piano Is Fun" and there are four volumes in this series.

These books are relatively new on the market and feature quite a different approach to teaching music. Duets are the main feature. The purpose is to involve the teacher in musical play with the student. Most instructional books for instrumental studies are designed for one student at the piano. Alice Chua's music requires two at the piano. So, one can imagine that during lessons, there will be more interesting music being heard from the piano when both teacher and student are performing the pieces together.

Alice's session actually began with a performance of her works with narration based on the popular novel 'Alice In Wonderland'.

Alice narrated the text while accompanied by music from her publication Playing Piano Is Fun Book 3. There are fourteen musical pieces in this book that was performed by a young student named Emily Tan.

Emily was given about three weeks to learn all those pieces. Emily did very well performing all pieces in the entire book during this 45 minute session.

Incidentally, Emily was featured in our blog when she was a participant of our music improvisation program some years back when she was a six year old attending kindergarten.

There is a clip of her on the blog performing a simple improvisation of Mary Had A Little Lamb, which was her favorite song then.

Alice Chua shared many teaching tips and advice that are valuable to hone the teachers' musical mind and raises more awareness to teach music effectively.

Assisting Alice was her pianist daughter, Mitra, who travels regularly with her. Mitra demonstrated Alice's musical ideas at the piano.

Their presentation together as a mom and daughter team was effective in leading the music jamboree participants through the activities during her workshop throughout the day.

A feature of the music jamboree session for teachers are the interactive moments when teachers are invited to attempt musical ideas at the piano on their own or with the clinician.

Likewise, teachers were invited to perform with Alice, playing duets from Alice's books.

On day two, the privilege was mine to conduct a full day's workshop and my focus was on aural studies, music theory, technical development, rhythmic studies, harmony, improvisation and performance esthetics. The program is more wide reaching as the teachers teach different levels of students across the board. The focus was primarily on the building blocks to develop musicality and musicianship.

The piano beginner publications that I base some of my workshop features on, are the very popular 'Piano Lesson Made Easy ' series by Lina Ng. These entire series of books that include theory books are synonymous with music teachers around the region and internationally.

The next report coming up will be on Day 3 & 4 of the music jamboree featuring musical activities with primary school students, inclusive of videos of their performances.

Empowering the students to lead

noreply@blogger.com (WilsonQ) — Mon, 24 Jun 2013 08:07:00 +0000

It cannot be denied that one of the most effective ways for young students to learn and develop confidence is to empower them to lead. This happens to be the main objective of our music jamboree this coming August. However, before empowering them to lead, the students must first be prepared and ready. The only way to know their readiness is to know their knowledge, skills and personality through tests and activities assigned to them.

There are numerous objectives that we incorporate into our annual music jamboree for music teachers and students. For the teachers; sharing, exploring and learning creative teaching ideas make them much more versatile, adaptable and effective in teaching their students. For the students; the experience and joy of music will hopefully encourage them and instill more musical interests.

During the music jamboree this year, some of the primary school students of our CSR music program have volunteered to be leaders of whichever team they are assigned to. Each team will be assigned a few team leaders. Every team leader will be in charge of a different activity required in the music jamboree project.

They student team leaders will have to coordinate with each other in creating and rehearsing the other students in their group for a musical performance the following day. So, while the music jamboree with students does seem to be in the hands of the students, the music jamboree teachers still do have a role in supervising, advising and assisting the young student leaders and the entire group.

The student leaders are empowered to organize, create, instruct and lead their team. Obviously, we can all comprehend the purpose of giving students the opportunity to lead because this is one of the best ways to let young students develop. It is also revealing for the students to test themselves and know themselves, Unless the students are reading this article, they would not know that they will be assessed by their peers and the music teachers assigned to their team. So, it should be quite an interesting music jamboree this year.

Just a slight departure from the focus of this article, I was pleasantly surprised during one of my CSR music lessons last week when two students came up to me right after class and handed me a card and a present for Teachers Day.

The students said they were looking forward to giving me the card and present on Teachers Day but I was not present that day at the school.

It was the simple homemade Teachers Day card
message that I truly appreciate more than anything else. To these two students, A BIG THANK YOU from me if I have made your musical experiences worthwhile.

Enjoy Playing Piano The Creative Way (2)

noreply@blogger.com (WilsonQ) — Thu, 06 Jun 2013 09:26:00 +0000

Interests in this workshop brought us to a music centre in Klang, Selangor right after the first in Penang. At this centre, there were 16 students who participated as well as 9 piano teachers at a separate session. All the students and teachers are from a classical music-based background and are keen to explore contemporary music in the manner that our workshop is offering.

Doing a musical arrangement of a piece of music is something that they have never done before as classical works they learn are complete, prepared music that one is not allowed to desecrate. Therefore, to have the freedom and to experience arranging a musical piece, a contemporary music piece would be most apt for this purpose.

Obviously, they have to rely on all the music theory and musical experience that they possess for this task. They are at liberty to decide how complex they wish to arrange the musical piece of their choice.

For the classical teachers, this workshop offers them the opportunity to learn how they can teach their students creative ways to arrange and perform contemporary pieces. The teachers too can use the ideas explored for contemporary music works that they themselves like.

Below is a clip of a student at this workshop performing her arrangement.