Creating Music

Opening the door to creative musical expression

Posts Tagged ‘music’

Surviving YouTube: Playing Smart with Music Instruction Videos

Posted by Pamela Szalay on February 23, 2013

YouTubeYouTube is giving many aspiring pianists the ability to learn popular songs by rote. Without a doubt, many beginning students learn easily through imitation. When a song is learned this way, I believe it should be celebrated! An accurate, fluid performance is an accomplishment.

However, I heartily believe that the learning should not stop there. A budding musician who is successfully learning songs by rote is in a perfect position to deepen  understanding and speed progress. Here are a few ideas for looking a little closer at the songs you play. Feel free to ask a musical friend or mentor to help you with any of these steps.

  1. Identify the key and meter of the song.
  2. Learn the names of the chords. Then, create a chord chart or find one online in the same key.
  3. Break down the song into smaller chunks. Identify the sections such as the introduction, verse, chorus, bridge, and any other unique moments.
  4. Look for chord patterns. Perhaps there are four chords that repeat over and over during the verse.
  5. Determine the role of the piano part in the song. Is it mostly a chordal accompaniment or are there fills, too?
  6. Test your understanding by re-arranging the song. Play the sections in a different order, for example, or repeat a line of the song.
  7. When you are secure with the key, meter and chord patterns of the song, try some rhythmic, melodic or harmonic improvisation. For example, throw in a surprise accent. Play a chord in a different inversion. Create your own fill.
  8. Record yourself playing the song, in its original form and with your variations. Listening back will make you more aware of what you do well and what might need further improvement. It would be helpful to get feedback from others you trust as well.
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Posted in Improvisation, Music Instruction, Philosophy of Education | Tagged: , , , , , , , , , , , , , , , | Leave a Comment »

Guidelines for creativity

Posted by Pamela Szalay on January 19, 2013

Nothing is sacred 2Successful composing and improvising stems as much from the right attitude as it is does from applying knowledge. In the previous article, I shared some musical improvisation tips for those interested in experimenting with creative musical expression. If you typically rely on written scores, I suggested starting your experiment by improvising various endings to a familiar song. However, those techniques may not work well at all if you don’t approach the activities with the right attitude.

The guidelines below can be extremely helpful in freeing your creative musical self to start behaving like a composer. Again, it all starts with giving yourself permission to be creative, just like all great composers of the past have done.

As you read each guideline you might want to consider how it will affect your approach for a specific creative task, such as improvising a new ending for a song.

Recognize that nothing is sacred. Once you decide that it’s ok to depart from the composer’s score, whether it’s Beethoven or Jim Brickman or a jazz transcription, you free yourself to the world of creative musical expression. Consider the score in front of you as your inspiration.

Creativity takes time. Accept that you may try twenty or thirty ideas before arriving at something you really like or seems truly unique. This doesn’t happen in two minutes! Sometimes musicians experience the thrill of an idea suddenly popping up in their mind, but often that occurs after they have spent time playing and tinkering and rehearsing. Which leads me to my next guideline….

Be playful. Go ahead and let yourself get a little silly. Or random. Or “off the wall”. Try out wacky ideas, or crazy combinations. The outcome may really surprise you! Yes, musicians can be really serious sometimes but remember that playfulness contributes to creativity.

Flow first, judge later. Although you may think your inner critic is the secret to your success, constantly finding flaws in your ideas could stop the flow of ideas altogether. You can be picky later, but first you need to get out all the ideas you can, whether they are from your own head or inspired by other things and people.

Dig deep. Most likely, the golden nugget you seek (my metaphor for an amazing musical idea) is not going to be your first idea. You might have to discover it, uncover it, or even recover it. Think of tunneling down a winding passage way in search of gold. You will get dirty, sweaty and tired. Yes, my friend: this is work.

There are no “mistakes”. For this activity you are in a workshop, not a concert.  As you try different variations, some will work and some won’t. It’s no big deal. Learning what not to do is a valuable part of the process.

Trust yourself. With time, effort and an attitude that welcomes the creative process, you will be able to craft a new idea that is fits the task at hand. Believe you are creative, because you are.

Posted in Composition, Improvisation, Music Instruction | Tagged: , , , , , , , , , , | 3 Comments »

Giving yourself permission to be creative

Posted by Pamela Szalay on December 29, 2012

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There are many talented musicians and students who have learned to play an instrument “by the book” and who are rarely, if ever, encouraged to improvise. If you are interested in being more creative with your music but are not sure how to begin, I have some ideas to get you started below.

First, let me remind you that the composers whose music you have read and performed over the years were able to compose it because they were willing to take risks, try out new combinations, and meddle with established norms. They gave themselves permission to be creative. You are no different! You can be musically adventurous. You can play around with new combinations. You can create.

Let’s start with something safe – the last note of a song you already know how to play. For example, if the last note of The Star Spangled Banner is Bb, or “do” in the key of Bb, what are some things you can do to change things up?

  1. Play a different note of the Bb chord –D or F.
  2. Repeat the note in a different octave – or several!
  3. Insert a rest before the last note.
  4. Hold the last note longer or make it staccato.
  5. Play the note more than once, in any rhythm combination that feels right. Try several variations!
  6. Experiment with different articulations.
  7. Combine 2 or more of the above variations.

For a keyboard or other harmonic instrument, if the last notes form a Bb major block chord you could start playing around with these basic variations.

  1. Break up the chord into an arpeggio.
  2. Play the chord using a different voicing: Take out the fifth, play the third in a different octave.
  3. Insert a rest before the chord.
  4. Play the chord twice in any rhythm you choose.
  5. Repeat the chord in a different octave.
  6. Experiment with different articulations.
  7. Try two or more of the above simultaneously.
  8. Try two or more of the above in various orders.

More advanced musicians may want to manipulate the final phrase of the song rather than just the last notes.

Of course, you won’t love everything you come up with, but if you give yourself enough room to play it can be a matter of minutes before you generate something that surprises you. The main thing is to try. Composing and improvising can be fun and liberating. Go ahead and try it today!

Coming up in my next article: Having the attitude of a composer

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Stepping into musical composition: the limited tone row

Posted by Pamela Szalay on December 8, 2012

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Looking for a way to introduce composition into music lessons? Creating a melody using a limited set of pitches is a great way to start. While the label “tone row” often suggests using 12 tones, this activity is focused on a smaller set of 4 to 7 tones which are arranged in a sequence and used to compose a melody, guided by just a few rules. This activity encourages creativity within constraints and works for beginners and more experienced musicians. As a matter of fact, it can even be used with students who do not yet read music.

For music-readers:

Materials:

manuscript paper, pencil, music notation flashcards (optional)

Activity:

1. Select four to seven flashcards and arrange them in a sequence (the teacher can do this ahead of time, or the student can select the cards randomly). Write the desired sequence on paper.

2. The student composes a melody using the sequence, using whatever rhythm, expression or style is desired.The composition should be committed to paper, but written in pencil for easy editing.

3. Each tone must be used in order, although a tone can be repeated before moving on to the next tone. When the end of the sequence is reached, the sequence beings again with the first note.

4. The sequence can be repeated multiple times, and can be treated differently each time.

5. The sequence should have a definite ending.

Depending on the outcome and the needs of the student, the melody could be further developed, harmonized, etc. Also, for additional mileage with this activity, start by using pitches that reinforce a recent note-reading or theory lesson

Alternate approach for non-music readers:Image

If the student is quite young and not yet reading music, use letter names instead of music notation. The focus should be selecting the sequence itself, rather than composing from a sequence. This will develop the ear while also introducing them to the compositional process. When the student is satisfied with the sequence, have the student write down the sequence on paper to preserve it.

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Getting Your Child to Practice: Sensible Tips for Parents

Posted by Pamela Szalay on September 11, 2012

Your child is taking music lessons, but it seems like she never practices. You think, “why am I paying for all of this?” Before you give up, here are some ideas for supporting your children toward a positive, productive musical adventure.

Call it play instead of practice. Asking, “Why don’t you play that new song for me?” is more inviting than “Why haven’t you practiced yet?” The word “practice” conjures up notions of routine work, while the word “play” suggests exploring, creating and experimenting.

Have a sensible routine. After school, many things compete for your child’s time and attention: sports, friends, and video games as well as family, homework and school events. If after-school hours are tight, maybe the best time to “play” music each day is in the morning before school or on weekends. Do what works for your family.

Remember that a little time is better than no time. Even if there are only five or ten minutes available, there can be time to play a few songs or scales. Keeping the instrument and music books set up in a convenient spot can make a quick rehearsal possible.

Consider your child’s maturity. While one child might be able to maximize 10 minutes of playing time, another might get very little done in a half-an-hour session. At every age and for every child, the level of focus varies. The best approach is to  encourage quality over quantity! Playing well for a few minutes trumps aimless, half-hearted effort for twenty minutes.

Use a reward system. Help children manage their time by providing special incentives. If a child resists learning new songs, for example, but loves to play familiar songs or have an audience, you can set up a reward system that encourages  him to persist. Set a timer for five to ten minutes where the child must work on new songs. Then the next five to ten minutes let him give a “concert” where he can play any and all of his favorite songs.

Hire the right teacher. If your child is having a very negative experience, it may just be that the teacher, although qualified, is not the right person to teach your child. Don’t hesitate to try a different teacher whose style of teaching more closely matches the way your child learns.

Music lessons available at www.imagineandplaymusic.com

Posted in Music Instruction, Parents, Philosophy of Education | Tagged: , , , , , | 1 Comment »

The “One-Note Blues” Gets Students Started with Musical Improvisation

Posted by Pamela Szalay on May 31, 2011

Below are videos of two different students improvising a melody to go along with a 12-bar blues progression in the key of Eb.  This is a great key for learning to improvise over a 12-bar blues pattern:  not only does it sound great,  but even novice players can easily pick out the right notes to play along. Since the black-keys form a pentatonic scale, which works well in the blues, students of all levels of ability can play confidently just by playing any black key. For non-musicians or anyone new to improvisation, this can be a liberating experience!

Regardless of previous experience, I like begin this activity by allowing players to improvise only with a single note,  E-flat. For newcomers, I will often mark the note on the piano keyboard with a sticker or post-it note. I encourage players to experiment with all the ways they can perform that single note: slow, fast, with a swing, with different articulations, or whatever. I call this activity the “One-Note Blues”. It is amazing how many ideas can come from playing that one-note!

Once players have spent time exploring the possibilities of the “One-Note Blues”, I tell them they are ready to add one more black key. In some cases, we quickly move to using all the black keys. Usually, new players are pretty surprised at how good their improvisation sounds. I am glad to say that this activity always brings a lot of smiles, regardless of age!

The two videos below feature this activity. The students’ ages are 10 and 16, and both have been playing the piano for a few years. However, neither student regularly improvises in this genre, and neither was given an opportunity to rehearse before I hit the “record” button on the video recorder. They are truly creating their music in real time.

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Six ways music teachers can encourage creative musical expression

Posted by Pamela Szalay on August 23, 2010

1. Make time for creativity – Learning takes time and so does learning to be creative. Students are not always open to leaving the printed page, especially if their lessons have always been “by the book”. Have patience and offer plenty of praise for their effort (pat yourself on the back, too). Think of including creativity as a long-term goal, not the subject of a single music lesson.

2. Be Playful – Playing is different than practicing! When children play, often they are experimenting, testing scenarios, engaging in “what if?” thinking. This can be done with music as well. Instead of being focused on the final result, let students see what happens to a phrase when played with different rhythms or styles. Let them explore the possibilities or even compose an alternate ending.

3. Focus on sound – Sometimes it’s easy to get into a rut of relying too much on the notes on the page. Encourage students to listen to themselves, to hear the intervals and the rhythmic patterns. You could record them and then let them listen to themselves. Or have them close their eyes and listen as you play an excerpt. Afterward, talk about the sound together. It can be quite challenging to talk about sound at first, but it gets easier through practice.

4. Give students the freedom to make mistakes – Students afraid of failure will not take risks. Yet risk-taking is essential to getting beyond what you know and can do right now. It is important for teachers to provide a sense of “safety” during lessons so that the fear of making mistakes is lessened. I have known teachers who celebrated mistakes because they could use that information to plan the next steps—for them, a mistake is an expected part of the learning process!

5. Set the example – Teachers can lead the way toward creative musical expression by trying new things in the studio, like improvising with students! The goal is not to do it right the first time: it is to discover something new about music, about yourself, about the way you learn!

6. Be open to all kinds of musical expression – Students will often oversome significant barriers to learning when they realize they can be themselves . One way teachers can make students feel safe or special is to ask them about the types of music they enjoy listening to at home. Let them use their i-pod or mp3 player to share one of their favorite songs with you. This can be a great starting point for improvising together

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Choosing your pathway to musical expression

Posted by Pamela Szalay on August 9, 2010

There are many ways music can be learned: through books, through imitation, and by ear, all with or without a teacher. A successful musician might start off using any one of these approaches but at some point, teacher guidance and focused study plays an important role for most students. Before selecting a teacher, it can be useful to know about some of the approaches they may use.

There are essentially three approaches:

  • Traditional – book based, with emphasis on reading music.
  • Rote – visually-based, with emphasis on copying.
  • Ear-training – sound-based, with emphasis on developing musicality

Teachers may use a combination of these as well. Although I have my own preferences, overall I recommend finding a teacher that recognizes your strengths and is willing to work with them.

More on each method:

A traditional method will provide a foundation in music notation and theory: many teachers prefer this route . It is a text-based learning method, using a written system of symbols that must be interpreted. Learning to interpret musical notation takes years, and there is no guarantee that knowledge of music will make you a good performer of music. But this approach does provide a clear way to communicate and record progress.

  • Pros: Students will understand standard musical terms and notation, be able to talk about music easily with others
  • Cons: Students may be bored playing simple, unfamiliar songs; they may be unable to perform without a book

Learning by rote is a fast way to move toward actually playing, especially with songs that are familiar. This method is greatly preferred by children, who often watch their friends or siblings play a song so many times that they figure it out for themselves. You-tube videos are also a primary source for kids who want to learn particular songs. Kids will carefully observe the placement of the performer’s hands on the keyboard, often watching over and over, and then mimic with great accuracy songs that would be very difficult to read out of a book. Having a patient teachers provides an extra advantage for getting tips on proper fingering and rhythm.

  • Pros: Students learn more difficult songs they really enjoy playing before they are even able to read music.
  • Cons: Students don’t always play with understanding and they may not be able to transfer what they learned to other songs.

Learning by ear is what happens when the student figures out the notes to a song purely by sound, with no visual model (such as a friend to play it for them first). The student perceives different pitches and then finds them on the instrument, playing the notes in the order he hears them and according to the rhythmic pattern he discerns. It is a slower process at first, but a very intimate one. Students who learn this way tend to know why they are playing certain keys on the keyboard and eventually become very quick absorbers of new songs. Like the rote- learners, music is always memorized. But the advantage for ear-players is that if a song is forgotten it is easily relearned.

  • Pros: Students able to learn many songs and play fluidly
  • Cons: Student may resist learning to read music

Each of these methods will allow students to express themselves musically, although some are better suited for  certain applications.

  • If you want to play in orchestra, you need to read music.
  • If you play in a garage band, no music books are necessary but a good ear is very helpful.
  • If you play in three piece jazz band, you may be glancing at pages of a fakebook that contain only words and chords—the best players will have a strong foundation in music theory.
  • If you play solo, you can pretty much do whatever you want!

As a teacher, I have used all these approaches at one point or another to prepare my students to express themselves musically. I am not hung up on one method. But I will say that the main ingredient in any musical program, for an adult or a child, is time and attention. To be good, musicians put in years of practice with attention to detail. That’s not bad news, though, because learning music can be a pleasure in itself.

Enjoy your journey!

Posted in Music Instruction, Parents, Philosophy of Education | Tagged: , , , , , | 2 Comments »

The Right to Play Music

Posted by Pamela Szalay on August 3, 2010

Who should learn to play music? Do only the musically gifted deserve the opportunity to learn music and play publicly? Some music teachers conduct evaluations before accepting students, even at the elementary level. If the goal is to produce performers, then this makes sense. But for most people who study music, in the long run, the benefit will be mainly personal: playing for friends or self, or maybe in a local band. And studies have shown that there are both cognitive and emotional effects to playing music, so that tells me that everyone should have the chance learn how to express themselves through music.

How can we open the door for more people to participate in music? I follow these simple guidelines:

  1. Remove the goal of performing publicly or professionally—at least initially.
  2. Concentrate on enabling musical expression.

Even beginners can improvise after learning just a few notes and rhythm patterns. One of my favorite first activities with students is something I call “The One-Note Blues”: I provide the chord changes and they improvise on a single note that I assign. It helps students see how much can be done just with rhythm and attitude!

Of course gaining knowledge and skill is important—it certainly gives players more options as they create music. But depth of knowledge and refined skill is not a prerequisite to enjoying creative musical expression, even in the first days of learning.

Look for the video featuring the one-note blues in the weeks ahead!

Recommended Reading:

“The Child’s Right to the Expressive Arts: Nurturing the Imagination as Well as the Intellect”. Position paper of the Association for Childhood Education International, by Mary Rench Jalongo, Professor of Education, Indiana University of Pennsylvania, Indiana. 1990.

Related Links:

http://acei.org/action/acei-positions/positions-papers/

Posted in Parents, Philosophy of Education | Tagged: , , , , | 2 Comments »

Making Room for Music

Posted by Pamela Szalay on July 24, 2010

One afternoon, I heard music coming from the living room. Who could be playing that funky tune?  I grabbed my video camera and snuck down the stairs. I was thrilled to find my son totally immersed in improvisation. What inspired him I don’t know, but maybe he just wandered into the living room, saw the Yamaha Motif digital piano, and decided to “go for a spin”.  I also don’t know how he came up with that cool riff, but clearly he was onto something that mesmerized him and he just played it over and over.

I think what is captured by this video is something that many people wish to experience for themselves: being lost in a creative, musical moment. What made this moment possible was allowing my son to have access to my digital piano. Easy access to a musical instrument is one part of opening the door to creative musical expression. Imagine if you wanted to learn to play the electronic keyboard, but every time inspiration struck you had to pull it out from under the bed, carry it over to a table top, plug it in, find a chair the right height  (or not)… in most cases, these steps get in the way of playing.

Another factor that inhibits musical creativity and learning is keeping an instrument in a location that is uninviting. I have met families who kept their piano in the garage, the basement, or even on a back patio. Not surprisingly, the pianos were always out of tune because of frequent changes in temperature and humidity. But it was also inconvenience, musty odors and lack of ambience that kept the kids from being drawn to play those pianos .

Parents who want to encourage a child to play don’t need to have a big house with a music room, but they do need to designate a special place for the instrument. The more visible, the better! Even a living room corner or child’s bedroom can work. My nieces could barely walk by the piano in their living room without stopping to play something. These practice sessions, consisting of just 30 seconds at times, probably added up to an extra hour by the end of the week.

Having a special place for music is equally important for adults. Most adults have such busy lives that they might only have a few minutes at a time sit down and play. Seeing that instrument propped in the corner, waiting for you to come and create something special, might be the lure you need to stay consistent.

So if you want to be begin creating some special moments with music, begin by designating a place for your instrument. You may also want to setup a place for keeping your learning materials such as music books, pencils, notebook, speakers for listening to songs, headphones, and perhaps a metronome. This is a place for you to build positive associations between learning and music.  One of my adult students, when planning her special area for music, included aromatherapy candles, special artwork, and décor that made her feel creative.

I welcome your comments and questions, and am especially interested in hearing about how you are making room for music in your life.

Appreciately,

Pam Szalay

Posted in Music Instruction, Parents, Philosophy of Education | Tagged: , , , , , , , , , , | 2 Comments »

 
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