Tools for Learning Music

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.

A Response to Ken Tamplin's E-Book: Singing Lessons & Voice Training With Vocal Coach Ken Tamplin

2012-01-22T19:45:00.000-08:00

Tamplin, Ken. "EBooks - Singing Lessons & Voice Training With Vocal Coach Ken Tamplin." Singing Lessons | How To Sing | Vocal Coach Ken Tamplin. Ken Tamplin Vocal Academy, 2011. Web. 16 Jan. 2012. .Free with e-mail signup.

I remember being a voice student in the early 1990’s. At that time I had a coach who would record each lesson. Her expectation was that we would go home and practice along with the cassette tape every day in order to progress. For the most part, I would say her approach worked. But I often thought that life would be easier if I had just a recorded bunch of exercises, which had explanations, but without a whole bunch of talking, just a vocal workout. In short, what I really wanted was a home-study course.

Times have changed greatly over the last few decades. Now it seems as though the modern voice student has nothing but options in terms of vocal-study materials. From the free YouTube tutorials done by amateurs to the fairly costly studio produced products, one wonders if voice teachers are really necessary any more.

One such product is Ken Tamplin’s “How to Sing Better Than Anyone Else” series. Right off the bat, I want to say that I have not used Mr. Tamplin’s product, and an attempt to review its effectiveness is far beyond the scope of this short article. However; while researching vocal-study-methods I ran across his free “e-book” which I downloaded (by giving my e-mail address) and read. It is, as you might expect, a lengthy advertisement for his vocal study products. But, the text is really more of an informal essay, or even a pamphlet than it is a book, nonetheless it did spark some thoughts and I wanted to make a few comments.

In the first section of the text we are introduced to Ken Tamplin, he writes about his experience and his own journey in bettering his singing voice. From there, he goes on to report on a series of fairly unrelated assumptions about the reader and their development along with other current vocal instructors. It is very hard to tell whether or not he is exclusively bashing the “Singing Success” program of Brett Manning or other SLS-type products. But one thing is for sure, he seems to have little or no appreciation for his colleagues in vocal instruction.

Tamplin writes outright that

…there are SO many vocal teachers out there that either; Can’t Sing, Can’t Sing Like You Want To Sing, Don’t Want To Teach You Enough To Be Self-Sufficient, Or – are just plain charlatans in the first place (this one probably has the biggest group. (p. 2)

From there, Mr. Tamplin goes on to make the claim that all current vocal products make. This is that they have the “secret” to unlocking the vocal potential of the client that no other program possesses. Ken Tamplin writes that regardless of chosen genre, this program will work, and if it doesn’t, the guarantee of a complete refund is in place (this is actually something I really appreciate, and if it is genuine, then it is the only guarantee I have heard of that is honored 100% of the time).

From page 3:

I’m blowing the lid off of every other vocal coach out there who doesn’t believe in teaching people to be self-sufficient. I’m sick and tired of watching good people spend their heard earned cash only to be taught scales. Scales help, but that will not make you a good singer on their own.

At this point, I would really appreciate knowing exactly who these voice teachers are that “only teach scales” so that I may also warn people about them. It is a little bit of a weasel word on Tamplin’s part to say: these people exist, but I’m not going to name them. As a voice teacher myself, I can say that scales and scale-patterns play a big part of musical study, and they should. After all; scales (or more exactly, perhaps; modes) and intervals are the raw material from which we derive our melodies. By mastering both in a methodical way we are better prepared to tackle phrases set out in songs we learn.

The book then goes on to draw parallels between singing and other types of performers in order to punctuate how some teachers move slowly with students. This is an interesting thing to write, as earlier he criticized claims of instructors who make grandiose promises of rapid improvement (and, once again; did not outright name them). Tamplin himself says that progress cannot happen overnight and that true skill is going to take time. So I have a hard time understanding why his is so concerned with instructors who dole out information in easily digestible bite-sized chunks.

Tamplin sums up this section by writing that his tricks really amount to using the right technique (which, of course, he possesses). Again, this is a statement that I find curious. I seriously doubt that Mr. Tamplin is getting a whole bunch of students who are singers of Pansori, or Beijing Opera. How many Ghazal singers have signed up for lessons at KTVA? There are an almost infinite number of musical styles the world over, all with their own history of pedagogy. Simply put, the correct way to sing a Maori chant is not the way one would render a Ukrainian work-song. So, the claim that there is just one, universal technique to end all others seems a little bombastic.

At this point in the book, there is an attempt to answer the question: “Can Anyone Sing?” which is the part of the document that I appreciate more than any other. Tamplin mentions progress and hard work, but really, this part of the book is more concerned with embracing your unique voice. He cites examples such as Bob Dylan, David Bowie and Louis Armstrong (all of whom didn’t have conventionally beautifully voices) and their mark on the music world. These are important things to keep in mind, and in our age of conformity (as punctuated by shows such as American Idol, The Voice…etc.) and it is really nice that a prominent instructor is pointing this out.

The final section of the book deals with KTVA’s home study course in minor detail (that is, after reiterating his fairly conspiratorial ideas about “charlatan” vocal coaches). Tamplin is thankfully forthcoming about timeframe for success and makes no claims about an overnight change in the voice. There are three levels to his program, the first two are for less experienced singers and are meant to set the stage for more advanced development, whereas the last level is said to be the most strenuous and the most demanding. Although I do take issue with one of the sections in this area of the text; most problematic to me is the slight contempt Tamplin seems to have for educated terminology:

What you’re not going to hear from me as a teacher, Well the pharyngeal larynx valve with the dual farbage valve and you times that by the square root of your social security number‟ crap (p. 6)

I would like to know why Tamplin is so against the use of terminology for the voice. Does he believe his audience isn’t educated/intelligent enough to understand? I have always thought that learning the physiology of the voice is very empowering to the student. I often recommend they read the section in “The Diagnosis and Correction of Vocal Faults” By James McKinney about the laryngeal mechanism. When they do this, it is much easier for them to understand what is happening in their own bodies.

Before we wrap this up, I feel inclined to restate that this article is not intended to be a review of any kind regarding Ken Tamplin's singing course or lessons. A quick search over the internet, singing forums and blog-sites like this one, will contain hundreds of positive testimonials. I simply felt that as a voice instructor, some of the statements made in his publication needed a response.

In the final analysis, I’m glad I read Tamplin’s book. And, it isn’t that hard to believe that his course is fairly effective. In truth, I would very much like to try it (but with my studio needing so much in the way of materials and instruments, it is not likely I will have $300 to spend anytime soon). My problem is that rather than asserting himself as a component in the vocal instruction world, Ken Tamplin seems bent on separating himself from it. I find that sad, as there are so many of us who are NATS and MTNA members working very hard to improve our studios and have devoted hours upon hours to our students with little or no financial gain. And after all of this; to be accused of being interested only in taking students’ money is quite insulting. For my part, I teach many students for free (or almost for free) so long as they state a financial need. I would like to know if KTVA offers any low-income students scholarships (bully for him if he does!). All in all, the educational world does much better with greater communication and if there are people out there scamming students, we should know who they are by name.

To learn more about Ken Tamplin, visit his website here

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.

Home study products

2010-12-27T00:15:00.000-08:00

Home study products

This, I imagine is the primary reason that many of you came to this blog. Home study products have become increasingly popular over recent times mainly because the cost to produce such items has decreased drastically. To be upfront; my interests are broad, but not without aims, my intention is to cover a wide range of products but keeping in mind that the end goal is to assist the student in developing superior skills, or at the very least; self improvement. I have acquired many audio/video and internet courses which are all geared to learning music and it is my intention to pass the finer points of the programs along to you.

The first review will be a series of materials from the very famous vocal pedagogue; Brett Manning. Most people know him as the voice teacher to Taylor Swift and Hayley Williams of the band Paramore. Mr. Manning (through his singing success website) offers a number of different products, all of which are geared towards making for clearer, stronger and more agile voices. In order to give a completely genuine review I have been using the products on myself and feel that I am an adequate guinea pig due to my naturally narrow range, my long struggles with intonation and overall lack of any natural talent whatsoever.

This is one of the commercials from the singing success website

it features Hayley Williams of the band; Paramore.

The major problem with all of these reviews of which I would like to remind the reader is that while I am using these products enthusiastically, I am still a student. As of writing this, I have been working with an instructor of Hindustani classical voice music for some time and his teachings have altered my perspective on instructing music greatly (Haresh Bakshi of www.soundofindia.com) . Therefore, it is important to keep in mind that while these home study materials might work extremely well, they are being tempered in my experience by the private studies which I am currently undertaking.

But that is the point, isn’t it? The idea of home study materials is supposed to supplement mentor-style learning and not to replace it. Therefore; please keep in mind; while I feel very strongly that students should be using modules and programs for themselves it is part of the greater learning experience.

A Couple of Worthwhile (short) Articles

2010-12-19T12:58:00.000-08:00

Music lessons pay off in higher earnings: poll
http://www.sharda.org/Music%20lessons%20pay%20off%20in%20higher%20earnings.pdf

This is a Reuters article about a survey of high income earners and speculates on how music lessons might have contributed to their success, as it is a summary of the Harris study, it is only a few paragraphs long and certainly worth a look.If you would like to see the complete findings of the poll, you can look here:
http://www.menc.org/documents/advocacy/harrispoll/harris_poll_column.pdf

Make-up Music Lessons from an Economist's Point of View, By Vicky Barham, Ph. D.
http://musicworksacademy.com/Files/Make%20Up%20Lesson%20%20Rostron%20article.pdf

It is not uncommon for many parents to be confused as to why instructors of music lessons don't offer makeup lessons. The article by Dr. Barham goes some way to explaining why it really isn't possible or equitable to have an open reschedule policy.

Getting Started

2010-12-19T11:21:00.000-08:00

Getting Started

I think it is safe to say that for learning any discipline belonging to music, the first necessary thing is a desire to do so. Once you have that desire the next step is finding someone who can help you along the way. But how to choose the right music-teacher? Its not an easy question unless you really know what you want to get out of lessons. So, before going to any free trial lessons or talking to any instructors its best to have the clearest possible image of what your goals are. When you know this, finding the right teacher for yourself (or your child) should be considerably easier.

Below are some general guidelines to consider based on the age of your child (or yourself). Also, keep in mind that this blog is primarily geared towards piano or voice lessons. I am not completely equipped to speak on the issue of bowed strings and for wind/brass instruments age plays a huge factor in getting started and many young and very young students simply don't have the blowing power to produce sound.

If you are the parent of a very young child (ages 3-5)

You will find some teachers who will take 5 year old students, but not many. In short, my opinion is that private lessons shouldn't really be considered for those under 6 years of age. My best recommendation would be to seek out some kind of class setting for youngsters. There are many wonderful group programs such as those taught through Yamaha schools as well as Koldlay and Kindermusic classes. These focus on games and simple music learning in a fun group environment that often includes parent interaction which is often very beneficial for all parties involved. It is not uncommon that by the end of a student's time in one of these programs they tend to move very quickly and overall do quite well in private lessons.

It might also be best to simply expose your child to art music as well as other cultural events. Children are very intuitive and it is amazing what they will pick up by watching a concert pianist or seeing a ballet. If you have the opportunity to allow them to experiment on a musical instrument this would also be a positive first step.

If you are the parent of a young child (ages 6-9)

Usually the goals for young children students of music are fairly straightforward; music is part of a complete education. To this end, it might be a good idea to ask the instructor if they are including the more “academic” concepts such as music history, music theory and repetition into lessons. Also (on the more general side of things), learning a skill such as singing or playing an instrument carries wonderful results in a young person's self esteem, and every parent wants that. This is also an age, however; where parents have to take a very honest look at their children and answer some fundamental questions: 1) how attentive is my child? 2) Is my child able to sit still for a half-hour? 3) Is my child easily frustrated? And, 4) how much help are they going to need from me in order to meet practice goals?

The purpose of these questions is not to discourage anyone, every music-teacher has had students who had very short attention spans, who couldn't sit still, got easily frustrated and could not practice on their own. In many cases students (with the right care and a good learning strategy) are able to overcome what might seem like an initial handicap, and very quickly, the skills they learn spill over into their other studies. It should also be kept in mind that every student has both strengths and challenges to face. The trick is to be very open with the instructor as to the difficulties you are having, that way the two of you can work out a plan for making music studies easier. Also, keep in mind that you really can't be too honest with the instructor, after all; nobody knows your child better than you and the more information her/his teacher has, the better lessons can be planned.

If you are the parent of a preteen (ages 10-12)

According to the World Health Organization; adolescence begins around age 10 (in its earliest stages) and ends somewhere around age 20 (source: http://www.babyart.org/teen/adolescent-psychology.html). From an educational standpoint, hitting the double digits means the beginning stages on the road to maturity.

In my opinion, goals for this age group should really be centered on empowering the student to take ownership of their educational journey and discovering that being self-motivated and self-staring yields very positive results (in addition to all of the other benefits listed in the above sections). For instance; instead of being told a story about the life of a composer, the instructor might recommend the student look up a biography online and have a discussion on the subject (rather than a lecture) the following week. Another consideration is that your child might have dreams of becoming famous and wealthy as a celebrity and she/he may want an educational experience which would prepare her/him for that kind of life. As an instructor, I am never really bothered by this, virtually every young person dreams of being famous, rich, beautiful and adored and this seems to be perfectly healthy behavior. If anything, this is a wonderful opportunity to demonstrate the amount of hard work it takes to master a task and let them know the road to stardom isn't an easy one.

If you are a teenager or the parent of a teenager (ages 13-18)

Much of what was discussed in the section on preteens pertains to the teenage student as well, except I would say it goes double for the older students. Teenage years can be a tough time for young people in general, but these days where kids are committed to not only music lessons but also sports, academics their social lives and finding time to take a breath, often practice time can take a back seat. Couple that with the fact that our sleep rhythms change in our teen years to favor staying up late and sleeping late and we see there is a potential for disaster when it comes to adding music lessons to the schedule. Students at this age should be (for the most part) wholly responsible for maintaining their lessons, they should be encouraged to keep their own practice logs, record their own playing/singing as well as share with their friends. They use these tools to self-assess and then discuss the findings in their weekly music lessons with their instructor in order to grow as students.

As far as goals go, students at this age are ready for relatively complex topics; advanced concepts in music theory or music history, perhaps composing or songwriting and support for any school ensembles in which they are participating. It is a very exciting time for those who have taken their studies seriously thus far, it is also a great opportunity for those to begin serious study as they are at the maturity level in their development to really understand commitment and individual responsibility.

For beginning teenage students of music: These students might feel left out or that they “missed” their golden age to start music lessons, especially if at the recital much younger students are playing more sophisticated material. For this reason, I would recommend a much more comprehensive approach to studying, one which focuses not only on traditional methods but also incorporates broader concepts such as improvisation and pattern-play which are usually too difficult for younger beginners. This can be a great confidence builder and often leads to development in skill that rivals those who have studied since early childhood.

If you are an adult learner

Adult learners are often seen by instructors as equals, in which case it might be good to come into lessons very honest about what you want to do. What are your long term goals? What are your short term goals? Is there a piece or a style of music you really want to learn? (keeping in mind it might be some time before you are ready to tackle it). In all, treat the relationship with your instructor the same you would treat any other professional relationship, commit to practice, listen to suggestions with an open mind and there is no reason you can't get everything you need from music lessons.

In the final analysis, please keep in mind that this is just a brief and very general list of advice I have given to parents over the years. Please don't hesitate to ask questions in the comment section and I will do my best to respond, especially if your issue has not been addressed.

Resources:

For young learners

http://www.kindermusik.com/

https://www.oake.org/default.aspx

http://www.musicforlittlemozarts.com/

General development

http://www.babyart.org

My Own Story

2010-12-09T12:22:00.001-08:00

It has come up from time to time, parents or students ask me; “what was it like for you when you were studying music?” To which I reply; “I'm STILL studying music,” and I think I always will be. The truth is that the arts are way too big a subject to ever feel as though you could stop learning. At the time I am writing this I am a graduate student through the University of Sheffield's Master of Arts in World Music Studies programme, in addition to taking vocal performance and composition courses at the local community college. I also study privately for Hindustani voice and sitar (both with wonderful instructors). But I get the feeling that what parents/students are really asking is; “what was it like for you when you were YOUNG and studying music.” And this is something quite different than the litany of things listed above.

As a child I lived in Japan and in those days; playing the melodica (a keyboard like free-reed instrument you power by blowing through a tube) was taught to just about everyone. But I can't say that any part of me as a child was passionate about the melodica so I don't really count that as starting my music-studies. For that, I would have to flash forward to being 12 years old and coming up with the idea of being in a heavy metal band with my friends... I decided I would be the singer.

My mother knew a young man who possessed an incredibly beautiful voice and asked him if he would instruct me. Neither of my parents were musical so they had virtually no idea of what to look for in a voice-teacher. It turned out that although his singing was phenomenal, this young man had next to no experience teaching. He owned no piano or keyboard (which wouldn't matter because he could not play), we never warmed up, and in the course of one year we did approximately three songs which were poorly chosen for my skill level. All in all it was a very poor learning experience, although; one thing for which I will credit him is that he opened my eyes (and ears) to classical music and opera, which is something I have loved my entire life since.

It wasn't until I was 14 years old that I started going to a professional vocal instructor (I had also begun playing piano in that time). She was a full time teacher with a bachelor's degree in music education who had also been teaching private voice lessons for over 20 years.

I should break to mention that as a singer I greatly lacked in any natural ability whatsoever. Matching pitches was a near-impossible task for me, my sustained tone sounded like shouting and to top it off I possessed the range of about half of an octave (roughly 1/3 of a normal healthy voice). I am sure that if I would have auditioned for American Idol (assuming it existed in 1993) my performance would have surely made it to the “worst of” reel.

Over the next four years I worked very diligently on my music. I practiced at least an hour a day on my own, I joined the high school choir, and began acting/singing in community musical theater productions. Over this time my range expanded to close to two octaves, I was able to match pitches and developed vibrato in order to warm up my virtually non-existent tone. Studying piano helped greatly as well, as I started to understand music more and more my memory of notes and melody became more natural.

After graduating from high-school I auditioned for a vocal scholarship, which I was awarded. I had developed a passion for composition which consumed almost ever last bit of my attention and I therefore stopped singing in the community theater, although I continued in the college choirs. I did not resume my voice studies until I started working for Arizona Music Academy as a voice instructor. It was largely because I was encountering students who shared many of the challenges I faced as a young student and wanted to have a clear and concise way of overcoming those hurdles. Students taking up singing now are fortunate to be living in such a scientific age where there seems to be a multitude of options for studying any music. But it can also be difficult knowing where to begin where it seems like there are endless avenues. My next blog will be about advice on getting started.

Can Singing Be Taught?

2010-12-07T14:14:00.000-08:00

Can Singing Be Taught?

It is the most common question parents/students have for voice teachers. You may have even searched this phrase in Google or Bing in order to find out what has been said on the subject, and who could blame you? After all, we have all heard over the course of our lives those individuals who (in our humble opinions) sounded downright awful. Perhaps they stood next to us in church during opening hymns or we heard them one night during a karaoke outing, or even viewing reruns of American Idol. We think to ourselves; “if singing can be taught, why can't these people learn to do it?” “did they not have the proper teacher?” “what method did they study?” “if it didn't work for them, how could that method work for me (or my child)?” - All of these are totally valid queries, in fact, it is largely because of questions like these that a veritable pantheon of singing methods have been created (especially in the last 20-30 years), and isn't it interesting that each school of thought claims to have the “silver bullet” to overcoming the nagging doubts we have all had about the original question of whether or not singing can be taught.

It is no secret that we hold singing in a far different esteem than any other skill in existence. In the western world; no one expects you to be born knowing how to ride a bicycle, spell your name, read a book or do math. These are all things taught to you during your early education, children are taught these skills every day spending extensive amounts of time learning to do small tasks which eventually add to their overall skill-set. Yet, most schools devote only one to tow days a week to music, in which there is very little regular singing. Imagine if a school devoted one day a week to math or writing, it seems implausible at best that any child would develop a proficiency in these subjects beyond the very remedial.

This leads me to my answer of the original question: Yes, singing can be taught, but it takes time. It takes as much time as it took to learn to read. You didn't go immediately from Bernstein Bears to The Great Gatsby, it took you about 10 years to build up the vocabulary, grammar and syntax - from roughly Kindergarten to 9^th grade, to be able to digest such a novel and it took you more time than that to move onto Shakespeare and Montaigne.

Sadly, however; we don't view music in the same light.

It has been speculated (from the best-selling book: Outliers by Malcom Gladwell) that it takes approximately 10,000 hours to master any task. In musical terms; this means that if you practice for three hours a day six days a week it would take about 11 years to achieve a mastery of whatever endeavor you set out to accomplish. I hope this sheds some perspective on the process. I should add that I am not advocating students practice singing for three hours a day, every day. The amount of practice time will vary depending on what the student knows already and their vocal stamina (there is such a thing as too much practice for the voice).

Of course, it isn't as though you are awful for hours 1- 9,999 and then magically on hour 10,000 you sound like a professional. There is quantifiable progress along the way. Students might notice their range improving, or having a greater control over pitch, they may hear their tone becoming more warm, and their diction more clear. Often, these observations become apparent even between one lesson to another (so long as the practice is there).

One of the greatest singers in western history; Enrico Caruso

did not start out perfectly hitting those high notes, it was

something on which he worked his entire life.

Now, on to the subject of methods. Bel Canto, Speech Level Singing, Alexander Technique and Vocal Release just to name a few. Which one is the best? Which one will work? The answer might surprise you but, in short, they ALL work. The truth is; it is the matter of time spent working through the method that really matters here. It should be noted though that each method has its strengths and weaknesses and some methods will work better than others for students, this is based on what that student's goals are, not to mention their physical makeup and personality.

In the next few blogs I intend to take you through a strategy for plotting out your voice study and hopefully give you a few pointers for help along the way. This will include reviews of singing methods based on my success of using it with myself and students. I will also be recommending videos, practice schedules, song-literature and books with detailed descriptions of why I feel it is useful.

You have decided on a very exciting journey. It is an incredibly satisfying thing to be able to sing and be confident in your own voice and I hope I can be some help along the way.

Welcome!

2010-12-05T22:17:00.000-08:00

I just started this blog... Stay tuned for reviews, tools, updates and videos which I hope will aide you in your journey towards fluency in music.