Tools for Learning Music

Historical Example: How Valuable are the Arts Really?

2013-07-27T17:06:00.004-07:00

Today, while continuing my frustrated lament of our modern educational system, I was thinking back to my undergraduate classes in world music. During those days I completed a number of PowerPoint presentations regarding Chinese stringed musical instruments and their history. I was surprised to discover that musical proficiency was not necessarily attained in order to pursue a career as a performer, but rather one of the main components that made up a learned person. Colloquially, the important skills were known as “The Four Arts.”

The Four Arts of the Chinese gentlemen-scholars were thought to be: playing the Guqin (a seven stringed zither), playing the game of Qi (a chess-like board game), calligraphy, and painting. In reading this during research I was surprised by the fact that three of the four “Arts” are actually fine arts – more specifically: music, literature, and visual art. Needless to say it’s quite a contrast from the subjects emphasized in our modern education where STEM (science, technology, English, and mathematics) are seen as the core “worthwhile” topics.

During the time that the “Four Arts” notion was popular (the Tang Dynasty, roughly 7^th – 10^th centuries) China enjoyed a thriving economy that included maritime trade as well as land trade with countries as far away as Greece and Egypt. They made significant contributions in medicine and philosophy and their civil engineering was the envy of the world. China’s poetry, music, and theater influenced all of its neighbors including Korea, Japan, Mongolia, and India – and those influences are still seen today in the modern art of all these countries. China was a world leader in every sense of the word, including education. And when it came to their own education it is interesting to note that what they valued were things we might think of as “elective subjects.”

So, if history is any indication of what the future will look like – I would ask the question: “how valuable are the arts really?”

Why Should American Musicians Study Indian Classical Music? Part 4: Rhythm

2013-07-11T14:08:00.004-07:00

Certainly rhythm is learned effectively in western musical traditions. Additionally, the western system of musical notation, in terms of rhythm, is phenomenally useful. Western music, however; on the whole doesn't tend to stray too far from triple or duple meter. This means that whenever an odd meter is encountered, it tends to be something that makes performers nervous.

While I think that the above presenter could certainly work on his organizational skills (just look at that mess!), I appreciate very much the points he is making - FYI, this system for learning is from South India and is somewhat different than the system used in the north.

On the other hand, Indian Classical Music, with its system of taal is very well suited for teaching (what westerners would call) “irregular” rhythms. The most typical rhythm cycles (like Western music) fall into duple or triple meter, but it is not uncommon to hear rhythms that are seven beats long (3+2+2) or 14 beats (3+4+3+4). Furthermore, the system of teaching how to identify parts of the rhythmic phrase (such as strong and weak sections) is incredibly useful. Once students are able to tackle a few compositions in the more unusual cycles, a simple odd meter will never bother them again.

Here is a primer on rhythmic concepts from a wonderful musician - Also the owner of the lesson site World Music Guru.com

Why Should American Musicians Study Indian Classical Music? Part 3: Improvisation

2013-07-11T13:48:00.001-07:00

Western classical music used to have a rich tradition of improvisation. Many performers during the Baroque period were expected to be able to spontaneously create music. During the classical period almost all the cadenzas of a concerto were improvised. What happened? Today, Jazz is really the only remaining vanguard of western improvisation.*

Every Jazz musician knows how vital it is to be able to think quickly when it comes to improvisation, so studying a system that has thousands of years of improvisational development under its belt seems like a good idea. This in many ways goes along with the ear training portion; Indian Classical Music’s study methods usually involve palta-s and Alankar-s which stress musical patterns over a drone. These patterns range from the super-simple to the ultra-complex (and every phase in-between). Memorizing these patterns means that the performer is able to call upon virtually every scale degree and every interval almost at a whim.

Of course, calling up random scale degrees and intervals is not all that is involved in the task of melodic improvisation. As the above video teaches us; there is also the issue of making something that is pleasing and interesting – not to mention "novel." Fortunately, the western-trained musician is in luck here. Where western music took the route to develop complex harmonies that supported melodies, the melodies in Indian Classical music had to thrive on their own. Anyone who listens to an instrumental or vocal alap during a performance can tell you that these musicians exercise incredible restraint and creativity in order to deliver the best possible musical product.

It should be mentioned, however; that instruments which are heavily dependent on harmony such as guitar and piano will benefit somewhat less from this. The instruments that benefit the most from this portion of ICM training are monophonic instruments such as woodwinds, strings, and of course the human voice (please see the ear-training blog). Best of all, the training is, for the most part, universal which means that a vocal instructor would be able to instruct a cellist, a sitar player would be able to instruct a flutist and so on.

*I understand that many jam-rock bands such as the Grateful Dead and Phish are known for their long improvisations. I also understand that there are many popular acts that fall outside of Jazz that also improvise. Furthermore there are some modern performers within the tradition of western classical music who are attempting to bring back the older forms of improvisation – I made a sweeping remark for the sake of brevity only.

New Intermediate Works for Violin, Cello, and Piano

2013-06-27T13:16:00.002-07:00

Two new compositions by the composer Misha Kolesoski are available for purchase from Amazon.com. The first is a three movement piano trio based off of Shakespeare's play Macbeth. The pieces are fun and playable, they are also brief and move quickly which makes them ideal for a student recital or other multi-musician event. The best part is that each of the three performers (violin, cello, and piano) have a chance to shine while playing.

The second composition available is Seven Themes for Violin and Piano. These are more involved later-intermediate vignettes that focus on violin melody and piano accompaniment. There are compositions in a wide range of moods and styles including a tango, a gigue, and meditation. This work would also be ideal for any pianist and violinist needing soft/elegant music for a recital or other musical performance.

Why Should American Musicians Study Indian Classical Music? Part 2: Ear Training

2013-06-21T21:41:00.001-07:00

Don’t get me wrong, ear training is very much a component in western music pedagogy. What we are discussing in the section is the method of teaching the student to hear musical notes and identify melodic structure/contour. In this respect, I believe the Indian aural system has a leg-up.

Consider the aural tradition in general, when melodies can’t be written down the pressure to memorize them immediately and quickly becomes a major priority. Of course, modern Indian musicians can easily notate their melodies, but the consensus seems to be that it loses something in the translation (or perhaps more appropriately, transcription). Therefore, the system of continuous “listen and repeat” until the melody is learned is a huge boon to the performing musician.

This can only be done with a very acute pair of ears, and training them to recognize patterns is an arduous and difficult task. With perseverance, however; it can be accomplished to the point of mastery. North Indian music offers a system of “Alankar” and “Palta” which are essentially melodic patterns sung (and played) over a drone, they move from the hyper-simplistic to the extremely complex (and long). The student is meant to master these both before and alongside their repertoire study.

From an anecdotal standpoint, I learned more ear-training in 6 months of doing palta-s than I did in my first two years at college. This led me to consider a way to implement these methods in a more “western” context. I now teach all of my students a hybridized version of Italian solfege patterns and traditional Hindustani Palta-s, and I am happy to report that the results have been wonderfully successful.

An Open Response to "Want A Job? Don't Bother With These Degrees" by Jennifer Berry

2013-06-20T22:53:00.005-07:00

Logging into my Yahoo.com email I stumbled across the article: “Want a Job? Don’t Bother With These Degrees” by Jennifer Berry. It’s a recent trend in blogs and online writings that I am seeing more and more lately. It seems there is a slew of weekend authors turned guidance counselors who hold a major ambition to steer college students away from the fine arts. Citing high unemployment and the down economy, these fierce guardians of personal economic security are bent on warning parents and young scholars to avoid creative fields at all costs.

I don’t even know where to begin with this. The authors’ ignorance of history and total disregard for the long-term needs of our society leaves me with an irritation that I can hardly express in words. I can’t totally blame the authors though; it is symptomatic of the greater issues surrounding our culture, especially in relationship to the economy. When employment is scarce there are many who feel justified in their obsession with short-term gains and completely disregard what happens to the next generation, or the generation following.

These articles (carelessly) advise students not to pursue degrees in arts, philosophy, or religion – all hallmarks of traditional higher learning. Instead (as Berry does) they recommend that young people look into more trade-oriented diplomas such as nursing and finance. This leads me to the main issue surrounding these ignorance-peddlers. There is a fundamental question facing our society regarding higher learning: does college exist to train the next generation of intellectuals, or is it simply there as vocational training? More and more people seem to be gravitating towards the latter.

If our research universities (now becoming dwarfed by the onslaught of “for profit” schools) currently exist simply to train young people to do a job, why fuss with a four year degree at all? Putting it bluntly, a nurse is not a better nurse for knowing classics, argumentative fallacies, or the history of the French revolution – therefore; if someone is earning an accounting degree, that should be all the student is squared to learn, why delve into any other subjects whatsoever? After all, it won’t boost their all-important earning potential. Wouldn't it be better to set up small, inexpensive vocational/technical schools where these positions could be filled?

So our destiny is to be cogs in the capitalist machine, we don’t need art, music, philosophy, ethics, historians, or advanced thinkers of any kind. All we need are human drones trudging off into the workforce to perpetuate a monetary cycle so that everyone can keep happily feeding the hyper-materialistic culture we have erected.

I wonder how long it will take society to realize that the power to change these ugly assumptions rests in all of us. We can make our colleges and universities a real place to advance human pursuits. We can embrace skepticism, music, art, and science which all feed into and support each other. Finally, we can reject the notion that intellectualism is something to be feared. The humanities are a pathway to a more enlightened civilization, which in our age of paranoia, selfishness, and celebrated self-centeredness is something we desperately need.

Why Should American Musicians Study Indian Classical Music? Part 1: Introduction

2013-01-29T13:46:00.000-08:00

After several years of studying Indian Classical Music (still very much a beginner in many ways) it just doesn't sound that exotic to me anymore. This is actually something about which I am quite happy. Even more-so, Indian Classical Music has become such a regular part of my daily routine it's rather strange to me that not everyone knows what Raga and Tala mean. They have never heard of Ram Naryan, baba Allauddin Khan or Rabindranath Tagore.

Almost two years ago I posted a video on YouTube where I asked the question: “does anyone think it’s strange that the whole world studies western classical music?” Though no one created any responses, I would be wholeheartedly surprised if any person answered in the affirmative. The idea of violin/cello/piano schools in every continent of the planet seems to be something of a mundane fact. Nobody bats an eye over the notion that several of the most accomplished European classical musicians have family and cultural roots that go back to Asia, not Europe.

So my next question would be: “why then, if the rest of the world has embraced our classical traditions have we not reciprocated?” Why is it still a novelty to see a young American playing a spike fiddle or Sarangi? Is it possible that this ignorance stems from the same notion that (for so long) informed us that western classical music is the greatest/most sophisticated music that exists?

Surely in our modern age global intercommunication and cultural diversity we have overcome that outmoded idea. Therefore I suppose the short answer to the question “why should American musicians study Indian Classical Music?” could be answered with another question: “why should American musicians European Classical Music?”

The Cup Song Phenomenon, and What It Can Teach Us About Musical Play

2013-01-26T10:25:00.002-08:00

Yesterday a student came into my office with her normal 16 oz Dutch Brother's chai - for better or worse, it certainly seems to give her the energy to tackle difficult music. She brought with her an extra cup and let me know that she taught herself a new song. I said: "cool, have you been singing along with a recording or using a karaoke track?" She replied: "actually, you just sing with a cup." So, we sat on the floor and she proceeded to drum and move the cup around creating percussive sounds while singing a bluesy (mostly pentatonic) melody.

I was really quite astounded. The drumming and choreographed cup movements were repetitive, but none-the-less sophisticated. Of course her singing was beautiful as always. I asked her when she finished whether or not this was a popular thing. It turned that that many young women were posting videos of themselves performing this (apparently the original version of the performance appeared in the film [I didn't see] "Pitch Perfect). One example is below:

It wasn't really surprising to me that the vast bulk of these videos were being created by young females. I can remember being in grade school and observing my classmates. Boys would often be playing tag, chasing each other around, punching/kicking, and/or playing basketball. On the other side of the yard there were usually at lease a few girls playing elaborate versions of patty-cake. This seemed a mystery to me (along with the bizarre future telling device made out of paper... but I digress).

So, obviously there is quite a precedent for "the cup song" phenomenon. In fact, musical games are performed (primarily by girls) all over the world. And I think, as music teachers, this represents a wonderful opportunity for us to reevaluate the way we go about teaching rhythm and melody. Kodaly revolutionized (or at least codified) music instruction for young children by (re)introducing musical games, singing, and group activities into the classroom. In that vein, wouldn't it be possible to generate a book of simple rhythms and songs that could be learned by all students as part of a standard music curriculum?

Music teachers love to complain about students not practicing. And yet, the young people posting "cup song" videos on YouTube are spending a fair amount of time learning how to maneuver their "drum" and sing at the same time. Think of the classic American folk-songs (especially those from the south) that could be revived by doing similar things with them.

*Of course, it is entirely possible that a curriculum like the one I am proposing exists already and I just haven't heard of it. If that is the case I hope you will post some info for the rest of us. But until then:

OK composers and music teachers, let's see what you got!

Taus, Dilruba, and Esraj Method Book Now Available

2012-12-22T00:29:00.003-08:00

Greetings all!

I am very pleased to announce the new book "A Practical Method for Taus, Dilruba, and Esraj" has recently become available at Amazon.com and Rain City Music. This text was the result of several years of work/learning/research, so, to be able to offer it (finally) feels really great.

The book outlines a brief history of the instruments, maintenance and care, music theory, and practical lessons. Its not entirely a self-study text, but those of you who have experience with musical instruments you could probably work with it on your own. It would be most useful, however, with an instructor.

So, if you have been meaning to learn Taus, Dilruba, or Esraj I would like to invite you to consider "A Practical Method" as I really feel it will help you on your way. There is also a much less expensive Kindle version as well.

Order at Amazon.com

Purchase the Kindle Version

Order at Rain City Music

All the best!
-Michael

The Ending of a Graduate Student Jorney; Part III

2012-12-08T12:12:00.002-08:00

My masters degree program kicked off with our first residential which happened in August of 2010. I had never been to the UK before and was fairly anxious about traveling internationally. Not that it was really terribly new to me, as a child I lived in Japan and visited as an adult. Plus growing up on the Mexican border meant short trips to our southern neighbor. Still, the fear of the unknown plays strong in my psyche and I can be a fairly nervous person in general.

I flew to London from Phoenix AZ, and caught a bus up to Sheffield, it was a long trip (about 17 hours total). I checked into the university accommodation and fell asleep rather easily on the small cot in my dormitory. The weather was lovely in South Yorkshire, not at all like the 110 degree summers I was used to in Phoenix. Walking was really enjoyable with all the green around and save for a few cultural hiccups (stores don't open terribly early) there were no real adaptation problems.

The residential itself was fairly overwhelming, but also really wonderful. I met a few fellow-Americans as well as many students from a host of other countries. I took some pride in the fact that we were such a diverse group. There were several Europeans, a charming young woman from Japan, a brilliant violinist from Hong Kong, and a record producer from Trinidad. In retrospect, I think I can safely say that I learned just as much from my classmates in the program as I did from the modules.

Myself and a (younger than me) tutor at the pub.

Over the next three residential (during the course of two years) my classmates and I would spend much more time together. Of course, the University provided events which we could attend, as well as mini-field research projects, but just venturing around the community was equally as fruitful. Naturally, we are all still connected (on some level) through FaceBook.

The Ending of a Graduate Student Jorney; Part II

2012-04-09T13:45:00.001-07:00

My experience with "distance" education started in my late 20's. My girlfriend (later my wife) had managed to persuade me to return to college in order to finish my bachelor's degree (I had dropped out at 21 after being denied admission to the School of Music at Arizona State University). I considered re-auditioning with the hopes of finishing a degree in music composition but was advised that should I be rejected a second time, the likelihood of being offered an opportunity to thrice fail was slim. I couldn't say whether or not I would have passed the audition, after all; I had been diligently practicing for the past five years, I had been on tour with two bands and was in fact teaching music for a local after school program. But the memory of the rejection pressed hard on my mind. I was also informed by an academic adviser in the School of Music; that to allow me to study within the college itself, without being a music major, would constitute a "waste of resources." In this time I had also come to the realization that in order to attend school full time (and in person), I would need to quit my job of private music instruction, which was paying me well and had allowed me to engage professionally in music which was something I was not terribly anxious to give up.

All of these things factored into my decision not to return to Arizona State University, but rather to find some other option for completing my degree. It was then that I came across the three primary correspondence universities in the US; Excelsior, Thomas Edison and Charter Oak State College. My choice was the final. For the next two years I worked very hard at finishing my Bachelor of Arts in Music History (something I am very grateful was a distance offering). In 2010 I graduated with honors. My salery didn't go up, I received no promotions I wouldn't have gotten without the degree, but the time working with the professors to whom I was assigned changed me in a way (and improved my writing) that I couldn't have anticipated.

Because the initial hurdle of my bachelor's degree was complete, and because I had the full support of my parents (financially), I decided to look for graduate studies options. During this time I had also taken up playing the Dilruba, and had been studying Hindusthani vocals with a saintly teacher who encouraged me faithfully. This naturally led me to weekly web-searches for programs that included non-western musics, which is how I came across the University of Sheffield's Master of Arts in World Music Studies programme (no, I am not misspelling it, that is actually how "program" is written in the UK). Essentially the program was everything for which I was looking, it was distance learning (sort of, it actually required four visits to the physical campus over two years in order to attend seminars and present findings among other activities) and wouldn't interfere with my work schedule (much).

So, I decided to take the plunge. I renewed my passport (thanks to my wife who had set my expired one aside) and sent in my application materials. I was thrilled to hear that I had received an unconditional invitation to join the programme which I proudly announced to a class voice course I was attending at the local community college. I really had very little idea as to what to expect but was anxious that for the first time in a long time, I felt that my goals were back on track.

The Ending of a Graduate Student Jorney; Part I

2012-04-06T03:38:00.003-07:00

The University of Sheffield's Master of Arts

in World Music Studies, class of 2012 complete

with students faculty and staff.

I don't know how public I have made this (especially on this blog), but as of the writing of this entry I am a student through the University of Sheffield's Master of Arts in World Music Studies Programme. Actually, to speak literally, as of writing this I have just completed my final residential on the campus here in Sheffield and am preparing to return to Oregon where I will be completing the writing of my dissertation. Currently, I am seated in a train-station lounge waiting to take a trip to London where I will meet with some dear and helpful people at the Raj Academy school of Sikh and Indian music.

My journey through an advanced degree followed (in some ways) the typical course for so many students. What I mean to say is; that plans were laid out during undergraduate work to study beyond the bachelor level with the hopes of entering higher education as a career. While I have proceeded to accomplish some of this during the course of adulthood - I can't help but feel as though I am a million miles from where I expected. My life, took so many twists while I was in my 20's that when I look back on the whole ordeal, I find it astounding that I should end up here.

In the UK, this programme which I am on the verge of completing is officially a distance-learning module. In the US, we would refer to it as "low-residency" as the students are required to attend the physical campus twice a year where they engage in workshops, lectures and presentations. The final residental ended for my class just yesterday on Apr 5, 2012 and while I am quite anxious to get home to my family I must admit that I have grown close to my colleagues involved in the WMS course.

My purpose for writing this is that it might be of some use to people in similar situations as the one in which I found myself. Namely, being an adult student in a graduate program when so many young academics are going straight through to terminal degrees, without ever entering the workforce before their PhD. When one is in this situation, it becomes very easy to feel as though the world has passed you by. I am not yet in a position to state whether or not this is the case, I can only reflect on my own current and past predicaments.

Vocal Study Products: List One

2012-01-31T23:58:00.000-08:00

Some parents/students have asked me to summarize the various vocal training methods I have been considering. So, I have generated two lists. The first are the major home study products. These are the first-rate-celebrity vocal coaches that have come out with training materials (apparently) intended to be an all-in –one program. The second list will be additional components, or lesser known products aimed at being supplementary material for students currently enrolled in voice lessons. These lists are in no way intended to be a review of any kind, the only goal here is to inform consumers of what is available. It is strongly suggested that you view the product summaries on the seller’s webpage directly.

List One: Major Players in Home Vocal Study Products

Singing Success – Brett Manning

This is the only program out of the bunch (meaning this first list) with which I have had first-hand experience. I managed to procure a copy of the program while I was looking for materials for students and was very taken with the method. It had made an impression so much so that I actually recommended the program in a past blog. In truth, the best vocal study product I have come across so far is the “Mastering the Mix” program (also by Brett Manning) which was billed as something of a follow-up to the Singing Success CDs. There is no specific time-frame for the course, the student is simply supposed to work through it at their own pace (it took me the better part of a year to complete the Singing Success CDs). To summarize the approach; essentially, it is a step by step series of vocal strengthening sessions in order to make the voice more pliable and virtuosic. Singing Success used to offer a payment plan, but I have been unable to verify if they still do this.

Physical Version (Singing Success) $199.95 + $10.00 Shipping Download Version 199.95

Physical Version (Mastering the Mix) $249.99 Download Version $249.99

How to Sing Better Than Anyone Else - KenTamplin

Ken Tamplin is an absolute legend in the Christian rock genre, and his high note chops are first rate. It is actually his own skill that is the major selling point for this program as can be seen from his many “how to sing like…” videos on YouTube. I reviewed his “e-book” publication in an earlier blog which garnished me some degree of ridicule from Tamplin supporters. Regarding the program; there are three levels total. The first two are (I am told) designed to form a foundation for correct singing whereas the last is supposed to be advanced training. I have not used Tamplin’s series and therefore cannot comment on its effectiveness, however; there are many singers out there who stand by the program.

Physical Version $319.00 Download Version $299.00

The Singing Zone - Per Bristow

This program seems to be the only one out of the bunch that is completely video-based. A total of four DVDs comprise issues such as generating more power with your voice, singing in tune, increasing your range, and finally; breathing. Again, there doesn’t seem to be any set schedule for using the lessons, although it is conceivable that one could spend a week with each video.

Physical Version $177.00 Download Version $147.00

Singorama – No Known Author

I looked around, fairly hard (much harder than I wanted to for this blog) to find who the author for this program was. Sadly I was unable to uncover that bit of data, so any of you readers who know the answer please feel free to drop a comment letting us all know. This program comprises 28 lessons, and from the looks of it, this is the only program to have a theoretical component to it. Meaning that you get all the breathing, pitch and range work, and also solfege, meter and scale theory, this is worth mentioning. Of course, if you already have a theoretical basis (such as, if you took piano lessons) this might not be quite the draw I am making it out to be. Aside from this there are also practical segments such as; how to sing with a band, and audition advice.

Pysical Version $299.95 Download Version $99.95

Vocal Release - Eric Frey

Vocal Release is an eight week program that on the surface is indistinguishable from the others. What is really nice here is the apparent step-by-step approach of clearing the voice of “bad habits” and then applying the exercises. The idea (seems to be) that the singer will cycle through the program every two months checking in with the audio files and making sure no bad habits develop along with keeping everything humming. Eric Frey is also a gifted vocalist worth hearing if you are a fan of rock-vocals.

Physical Version Not Available Download Version $97

Vocal Study Product: Singer's Advantage by Seth Riggs

2012-01-31T01:19:00.000-08:00

I understand the desire to capitalize off of the American Idol brand. But attempting to get singers to embrace their own unique sound all the while carrying the label of the single most conformist (artistically speaking) program to ever be on the air puts me off just a bit. That being said, I have not yet run across a vocal training product that was worthless. Indeed, most things I review are usually quite useful. I wrote a few quick observations for Amazon.com and decided to re-post them here, just in case you wanted to read.

The pros first:

There is a male and a female version, something that I really wish existed in other SLS products. The exercise routines are fast-paced and provide a fairly gentile but at the same time challenging routine. Its much more affordable than other products but for what you get (the four CD's are almost identical) it should really cost half of what it does. If the cost were to drop in half, I would highly recommend this product to every singer to keep and have in their arsenal, when they need a quick vocal workout.

The cons:

There is no explanation of how to access the "head voice" the way Brett Manning's course teaches - therefore; it might be very frustrating for a singer who is unfamiliar with "damping" their vocal chords. Supposedly, each routine is selected based on a self-diagnosis, but truthfully 90% of each track is the same as the previous rendering the diagnosis sadly superfluous. Last, the extra CD's containing an "intro to SLS" is really more of an infomercial with next to no theory explaining how it works, and "5 Secrets to mastering any song" are "secrets" only if you have been living in a cave your whole life.

All in all, the singing community does owe a lot to Mr. Riggs - he really was the first to bring out a method for teaching contemporary vocals, but he seems to have developed very little beyond his original findings. A fact which renders SLS as really just a high-priced brand-franchise, which is a shame, because I think that if it developed further, it would really have a lot to offer the vocal pedagogy world as it is today.

If you would like to purchase the product, you can visit Amazon.com and type "Singer's Advantage" in the search query.

Arts Advocacy; a Backward Approach?

2012-01-20T14:40:00.000-08:00

When I went back to school in order to finish my Bachelor’s Degree, I enrolled myself in a general music/piano pedagogy course as a way to learn more about being an effective private music instructor. One of the things that we discussed was music, and more generally; arts advocacy. At that time I was (like so many other music teachers) reading literature on the subject of why it is best to keep arts in the public schools. The arguments are old ones: music helps with math, music helps young people socialize, music makes the brain more efficient… etc. I don’t mean to say that these are not valid points, I genuinely believe them to be true. The problem with these arguments is that it seems to affirm the notion that the arts are of secondary importance – it is as if to say that if music didn’t make children better in math, that it wouldn’t be worth having in the classroom.

No other subjects face this criticism. I firmly believe that all children should have a high mathematical ability, but how many of us actually use algebra on a daily basis (to say nothing of calculus)? The truth is; only the top tier of engineering or other sciences really require those skills on a regular basis. Still, we as a society have deemed them important, and I say good for us for doing so.

The fact that we can’t see being educated as a reward unto itself shows just how far we have to go as a culture. Yes, it is true that a more educated population will turn out more innovation. Likewise a more educated population will most likely make better decisions politically and socially. And it is fair to assume that a more educated population will almost certainly be able to approach problem-solving more methodically and rationally. But my question is; if these things stopped happening, does that make the point of education void?

Because that is where we are going. Sure, it is easy to see the total disinterest in the arts and cry out that we are the ones being injured. But the truth is; we have devalued education (in general) to the point that we are becoming ineffectual, and then pointing at the educational system and saying; “see, it doesn’t work… I guess we should stop wasting money on things that don’t work.” Meanwhile, charter schools cropping up all over the country are pulling resources from traditional public schools, which mean that our whole scholastic system is becoming fractured beyond repair.

In the end, we have to stop advocating arts based on how they help students on other subjects and start to acknowledging them part of a complete education. Music (and dance, theater, painting… etc) should stand side-by-side with mathematics, not subordinate to it. Only then are we in a position to genuinely advocate for the arts and preservation of our culture.

Overcoming Ego for Musicians

2012-01-16T05:47:00.000-08:00

What do we mean by the word “ego?” I would venture to say that if you asked most people (especially young people) they would tell you that having an “ego” would be on-par with being arrogant or a “know-it-all.” This is a fair assessment, but it doesn’t paint the entire picture for which we are looking. The truth is, the word is not without its baggage. If we were to take a Freudian look at it, we might define ego as: "a set of psychic functions such as judgment, tolerance, reality testing, control, planning, defence, synthesis of information, intellectual functioning, and memory." (Wikipedia). If we took a more philosophical approach, we might say that: "The ego is often associated with mind and the sense of time, which compulsively thinks in order to be assured of its future existence, rather than simply knowing its own self and the present." (also from Wikipedia).

For the purposes of this posting, though, we will use the word “ego” to refer to that part of you consciousness that tells you; you are worth only as much as you succeed or possess. Additionally, your ego may make you feel that if you don’t own the most current trends in fashion or electronics, you are somehow lesser, or the belief that you are defined by what other people think of you. In short; your ego is the part of you that makes you feel continually incomplete. Of course, the shedding of the ego (especially for musicians) is quite possibly one of the most difficult tasks that we may complete. I wanted to nonetheless share my own techniques for getting rid of this pesky nuisance below.

Stop comparing yourself with other musicians (and this includes your peers). OK, I wanted to get the big one out of the way from the get-go. No more reading about Sarah Chang or Van Cliburn and feeling old before your time. Yes, the world is taken with “prodigies,” they are impressive, and because they are so rare, they make for great press. But understand this: if you are able to play a piece of transcendent (meaning truly masterful playing) at age 25 or at age 50, people will take note. To be perfectly blunt: it is the sound that matters, not the vessel from which the sound comes. Therefore (and this is going to sound strange to those of us living in the western world) don’t rush, you have time to be great!

This one is kind of tied to the first: band together with your fellow musicians. I know, this is another tough one, especially for young people. I can’t tell you how many times I, as a teenager, sat in my student recitals comparing myself with my fellow singers/pianists hoping that they sang/played worse than I did. Really, what I should have been doing was appreciating them and cheering them on. In the long run this would have opened my mind up to what they were doing right – and provided me with an opportunity to learn from them, and vice-versa. In short, do your best to be likeable. There is nothing wrong with having allies and if you can keep these allies as you grow older, your chances of success will be much greater.

Do not judge yourself while you are performing. This includes performing for your instructor and in class in front of your classmates. Save all your evaluations until you are finished. Sometimes self-judgment seems like an involuntary occurrence, but the truth is; you have control over it. During your performance, for better or worse, just power through – improvise if you forget or lose your place, sing “la” instead of words… Do whatever you have to do to finish the performance with confidence and don’t let the audience ever see that you were shaken. Remember, the audience (for the most part) tends to take away the good things much more than the bad. If you fumble on a note, or forget a word but the rest of the performance is brilliant, than one error won’t even be a distant memory. And if you have a serious problem during your performance, but you keep your cool and you finish un-fazed; chances are that the audience will see you a pro who just had a bad night.

Finally, remember that keeping the ego in check is much more than just maintaining a level head, it is about knowing you are complete without praise, without fame and without doubt. Having no ego isn’t the defeat of self-esteem, it is the affirmation of it combined with the knowledge that you still have everything to learn, which is a good thing. It is also there to remind us that our abilities come with the great price of a monumental amount of time spent honing them. Remember: we should not let our egos grow into areas that could be taken up by knowledge.

Overcoming Writer's Block for Composers

2012-01-16T05:10:00.000-08:00

It is something that used to plague me, sitting in front of my manuscript paper (or later, the computer screen) trying to force something to materialize that wouldn’t make me scream. I used to have a terrible habit of not allowing myself any sleep whatsoever until I composed at least an idea with which I could be happy. Needless to say, this generated more than one sleepless night.

First things first, let us try to examine just what “writers’ block” really is before we go about attempting to make suggestions about its treatment. To be completely honest; There really is no such thing as “writer’s block,” when you think about it – you can go to your manuscript paper and doodle notes down into melody and harmony all you want, all day, every day. There is only the condition: “I’m not writing anything that I am happy with,” and the best way to get over this, is just to accept it and move on (or power though). But this may not be totally realistic for many composers or songwriters. So I wanted to list some additional ways to cope, just in case.

I would like to expand on our first suggestion, that being to power through and just write something you don’t like, or are not happy with. I know, it seems like you would be inviting a great deal of punishment for doing this, but the truth is – virtually every piece I have generated in this manner, (after I came back to it) there was at least something I appreciated in it. It’s funny how time and distance from a creation will give you a fresh perspective.

Something else you might want to consider is shifting gears. Instead of trying to compose something fresh, turn to arranging, or orchestrating. For instance; try harmonizing a Gregorian chant or medieval song – or orchestrating a Bach Fugue or even a Chorale. You could read about instruments you aren’t familiar with and arrange for those so that you get to know them. In short, don’t worry about generating new material at all. Another thing you might try is to focus on doing strict theory or counterpoint exercises. Practice writing hymns or writing melodies over a cantus firmus. If you come up with something you like you can always adapt it into a new piece.

Part of dealing with writer’s block is to avoid it all together in the first place. One of the best ways to do this is to get involved in composition lessons, having an instructor who will give you weekly assignments tends to motivate students much more than just writing in your bedroom. Plus, a good instructor will try to coax certain skills out of you that you might not realize you are lacking.

A video series I made for my beginning composition students.

If you would like to study music composition at a distance,

please visit http://www.michaelwheelerstudios.com for more information.

Finally, and this is the most important - Let go of the idea that “genius just springs forth,” the truth is that composing music (especially good music) takes work – and it takes years of hard work. So, stay focused and you will get there.

When Purchasing Instruments From Abroad, it is Best to Demand UPS, NOT FedEx

2012-01-15T02:47:00.000-08:00

I wanted to warn the community about FedEx and their tactics for denying claims for instruments damaged in transit. I ordered a Dilruba from India (I have ordered 8 instruments from India, all shipped through UPS without incident) this one was shipped FedEx, the skin was torn during the trip which (as you all know) makes the instrument worthless. I filed a claim with FedEx which dropped into a black hole for a couple of weeks before I called for an update. I was promptly told that the claim was denied. Needless to say I was frustrated regarding the whole ordeal especially after watching videos like this:

There are many more videos like this, but many of them feature swearing which I don't want to expose my readers to. I suppose in the final analysis, this company believes that it can get away with anything - but for my part, I will always ask for UPS, not FedEx.

Level 2 Hindustani Vocal Exercises

2011-06-20T20:30:00.000-07:00

Here is Level 2 in the Hindustani Thaat exercises, remember to practice every day, try to commit to one Thaat a week, that is what worked best for me.

Choosing the Right Music Instructor, pt. 2

2011-04-27T08:08:00.000-07:00

Now that you know what your goals are in terms of music lessons, here are some very general pieces of information which will help you to make an informed decision regarding your child's potential music teacher.

Education

Typically, education is the first thing parents want to find out. It is the shortest means of discovering any kind of credentials. In the past, I have not stressed a formal education due to my notion that instructors and musicians could be very effective through experience alone. Of course, it goes without saying that this is still the case – I myself began lessons with an older woman teaching out of her home, she never attended university, but she had been teaching for about 50 years, and simply by virtue of that fact she knew the needs of her students very well. On the other hand; a college education does create the opportunity to attend classes such as pedagogy and child/adolescent development courses all the while honing one's instrumental ability.

Literature

This is an area that I find profoundly important, much more so than music teachers having a four year (or more) degree. An instructor must be continually learning in order to know what is out there in terms of the teaching world. Magazines such as “American Music Teacher,” “MENC Periodicals,” and “Music Teacher Magazine” are some examples of publications that contain wonderful information on practical instruction.

In addition to magazines, a good instructor should have several “go-to” texts which forms their theoretical basis in the studio. Most major areas of study have some seminal book to its instruction, you could ask in the interview or in conversation to which books your child's potential teacher adheres. If she/he is able to converse with you and explain what they liked about the book, its a good sign that they pay attention to what other experts have to say regarding music instruction.

Which leads me to the next point...

Are They in Lessons Themselves?

Many parents/students seem surprised when an instructor states that they are still taking lessons. It shouldn't really be shock, continuing personal and professional development shows dedication to the craft – something that is very admirable in any expert. This is something that is absolutely vital for a teacher maintaining a realistic vantage point during their own teaching. An instructor enrolled in lessons sets a good example to all of that instructor's students – it also give the instructor another expert with whom to discuss issues that arise in teaching. It should be noted that for a professional musician, weekly lessons might not be necessary, but at the very least, a teacher should check in with another instructor ever couple of months.

Professional Memberships?

A good instructor will have a membership in at least one professional organization. Music Teachers' National Association (MTNA), National Association of Teachers of Singing (NATS), and North American Music Teachers' Association (NAMTA) are just to name a few. Professional organizations provide a network for teachers to collaborate, share ideas/knowledge, recommend products and a host of other benefits. Most professional organizations also have yearly conferences where experts present, new literature is shown and technology unveiled all with the hopes of making private studios better.

Background Check?

Most studios have some sort of background check procedure. Many opt for the state fingerprint card which is bar-none the most reliable. There are however many private background check companies that do a comparable job in looking at criminal records as well as enquiring about general reputation and searching the internet for information. NAMTA members have an option to submit to a background check which shows up on their teacher profile, other organizations might have similar services. In the end, it is up to you how important this aspect of the selection process is.

Choosing the right music instructor Pt. 1

2011-04-17T07:05:00.000-07:00

Question: What are my plans, or goals for my child?

This isn’t as easy to answer as you might think, and your answer will be different depending on the circumstances that brought you to looking for a music instructor. Perhaps your child has shown a genuine interest – maybe at age5 or 6 they are listening intently to Glen Gould or Horowitz and begged you for lessons every day for months. It’s a rare occurrence but not one that is totally unheard of. More commonly, a child will be exposed to a music performance and this will spark a desire to try out the new thing they have seen. More common still, lessons are a parent’s ambition for their children as music is part of a complete education woefully left out of our public schools (that is, here in the USA where I live).

The reason these situations are of so much importance is that it will alter the kind of instructor you seek out. For the child that in grossly ambitious beyond their years, you are going to need the kind of teacher who can deal with prodigies – I would argue that it isn’t as important to hire someone who really understands children because a youngster in the first situation is likely to be very self-motivated. Of course, this is also the most rare of circumstances and you must be very very sure that your child fits that first description.

An example of the kind of youngster who probably doesn't need to be told to practice.

Here is another one.

The second situation is one that has to be handled gingerly, your child shows a genuine interest to learn and you want to seek out someone who will challenge them, but at the same time understands a correct pace of learning for all developmental levels. My advice would be to find someone who focuses on collaborative work between student and teacher, where music can be as much a social outlet as an intellectual one. This method tends to keep the students engaged all the while enhancing their intellectual needs.

A wonderful performance by a teenager who has probably worked quite hard for some time

In the third situation, one where the parent is responsible for initiating music lessons, it is important to find a teacher who is sensitive to the fact that not everyone aspires to play Carnegie call. I know this should sound like a given, but you have to remember that most music instructors were at one time (or still are) aspiring professionals – meaning they fit into one of the first two categories as children It is not the norm at all, that a music instructor would be so desperately out of touch - but it can happen. For this reason, it would be advisable to find out how many diverse activities are implemented in the program. For instance; are musical games played? Is there use of technology? Is the instructor willing to pursue music interesting to your child and so on.

Where it all starts - my students love learning this piece

It should be noted that any professional teacher, of any quality what-so-ever should be able to construct a viable lesson plan for any of the above three situations. Most of us who have received degrees in music were required to take some amount of pedagogy and developmental psychology. Still the more important thing to take away from all of this is that you should be very upfront with potential instructors regarding your child’s interest level.

Level 1 Hindustani Vocal Exercises

2011-04-09T01:06:00.000-07:00

Sing along with the following exercises to improve your ear and vocal flexibility. Sing the sargam (sa re ga) with the harmonium then repeat the phrase exactly over the drone in akar (on an "ah" vowel)

Indian Musical Instrument Seller Recommendation: ExoticHub

2011-01-29T22:13:00.000-08:00

It’s not always easy, having the leap of faith to trust a seller you have never met. That is why it is so important to go off of the recommendation of someone you trust. Therefore; when looking for a seller of Indian musical instruments from whom I could purchase multiple items I trusted my voice teacher’s referral (Guru Haresh Bakshi of soundofindia.com ) and went with Exotichub on eBay.

Sitar

Since my first purchase of an Esraj almost 3 years ago, I have gone on to buy harmoniums, dilrubas, various percussion, more esrajs and most recently – jori (Sikh pakhawaj). I have placed a total of six separate orders with them and have never been disappointed. In fact, I find their business practices to be among the most ethical on eBay.

Harmonium

Dilruba

They have considerable customer service skills and communication is prompt and always polite. They ship with lightning fast speed and their quality is the best you can find without spending at least five times the amount they charge. In short; if you have never purchased an Indian instrument before, or are looking to expand your collection, I highly recommend Exotichub.

Recommended Vocal Study Product: Singing Success

2011-01-09T21:56:00.000-08:00

Brett Manning's Singing Success 12-CD program is the one that constantly comes up in search engines when looking for “learn to sing” methods. There is no shortage of testimonials for this product and the website itself boasts some of the most hard to believe before and after recordings. Other review sites in general have given this approach an overwhelming thumbs up. Although, most other review sites tend not to go into too much detail on the manor or types of exercises you will be doing, which is what I would like to do presently.

The Good:

The program sets out a few major goals and delivers masterfully on them. The first ambition in the course is one that I as a voice teacher hear students desiring all the time. Namely: increasing the range of the voice. This was something that I as a classically trained singer was extremely skeptical about. Not only had I struggled with high notes for my entire adult life, I was under the assumption that one is born with either a high or low register voice.

The technique the program employs is known by some in the pedagogical world as vocal “damping.” It is not uncommon to hear chanters of Byzantine music or Hungarian folk singers use this method for singing extraordinarily high (often the opera singer Pavarotti is sighted as an example of this style). What is unique about the Singing Success program is the step by step process in which the student learns to “damp” whereas in the aforementioned cultures, students simply learned by rote from very young childhood. Essentially, Mr. Manning's method seems to approach the voice from different registers building strength in each and then blending them together (for instance; from a vocal “fry” to a “damp”). Another secret to the program's success is that the exercises are simply more demanding which challenges voices to rise to the occasion. This is probably the aspect of the program I most enjoyed.

For an example of vocal "damping" please listen to the phrase beginning at 1:40 and ending at 2:01

Brett Manning demonstrating some of his methods

Singing Success also sets out to achieve greater vocal flexibility. As mentioned above, this is largely due to the demanding nature of the exercises. What is beneficial about this is; the newly flexible voice is put into practice doing simple blues runs and other highly desirable ornaments in modern popular music. Once again, there is a step by step method for approaching these outcomes, building on simple, easy to achieve skills and then expanding.

Some Minor Drawbacks:

(note: I have been in contact with the Singing Success crew while doing research for this review and they have told me that a new updated version of the program is in the works, so it is entirely possible that these issues will have been addressed in the upcoming version.)

The biggest complaint I have about the program is that there isn't a male and female version (or at least male and female sections on the CDs) rather we are expected to come in during the exercises when it enters our range. This makes for a somewhat frustrating practice because once your portion is over you must either wait an inordinate amount of time for the pattern to loop back around so you can come back in, or fast forward and hope you don't miss your entrance. If you play piano you can simply learn the exercises and play them for yourself, but of course, not all singers play piano.

A much smaller complaint I have about the course is that it does very little to tackle intonation issues. It does however; not presume to be an ear-training course, and the Singing Success website links to outside methods for ear-training.

In Closing:

I don't know if we will ever reach a point where the private voice instructor will be rendered unnecessary. In that vein; I can't see the Singing Success program replacing the need for a private teacher (note: private lessons with Brett Manning trained instructors can be set up through the Singing Success website). I do, however; see the course as an invaluable tool for students looking to supplement their learning, as well as educators who want to expand their knowledge of teaching popular music. The program does deliver on everything it promises which is why I have given it the recommendation it be used by students and voice teachers.

There are many options for purchase including a payment plan (with a nominal service charge) broken up over several months. This enables even the most frugal voice student to have access to this wonderful resource.

The program can be purchased at: Singing Success.com

New American Masters Documentary: Glenn Gould

2010-12-29T10:17:00.000-08:00

I'm thrilled that PBS has done a recent documentary on one of the greatest pianists of the 20th century. This absolutely worth viewing for music students and music lovers alike.

Watch the full episode. See more American Masters.