Did you ever go to a library or coffee shop just to have a bigger desktop? There’s something so spacious and freeing about just having more physical workspace right in front of you.
Last week, I visited several co-working spaces in New York City just for that reason. Having a bigger desktop is incredibly freeing. It opens up your thinking.
And it’s the same thing with your internal mental workspace. Years ago, I came up with the metaphor of the mental desktop. This is how I imagine each child learning. As I begin teaching a 4-year-old, they can only retain one note at a time in their mental workspace.
Over time, we begin chunking that into two and three-note phrases. Over time, we begin expanding their “mental desktops” to be able to hold complete phrases and sections. It is incredible to witness!
Each child’s progress is individualized.
There are no hard and fast rules of how many days or weeks it will take to expand from two notes to two measures.
But sometimes we overestimate how much a particular student can retain. Sometimes the student will shut down and not want to do anymore. They’ll refuse to even try! Other times, it’s as if we’ve gone backwards.
I’ve had some parents complain about their kid’s slow speed in learning how to read music. But it’s similar to learning to read words. You can’t skip ahead. That will only lead to confusion, frustration, and overwhelm.
The core principles of the Musicolor Method include a 7 step framework of teaching and learning.
My family loves to watch American Idol as well as The Voice. These competitive singing shows are fun and introduce a new audience to a lot of great songs, old and new. The shows are both well produced and fun and get you involved with each contestant’s story so that you care whether or not they make the cut.
One thing that stands out for me is the subject of song choice.
So many of the judges comments on these shows go something like, “That was the perfect song for you.” But who’s helping these fledging artists make these choices?
Last night’s American Idol had a lot of interesting re-workings of old songs in such unusual ways. There was a slow, introspective almost morose version of “You’re the One That I Want” – the song from Grease. There was a female singer doing a version of an Adam Sandler song! That is probably the first cover he ever got. So interesting! Talk about “making it yours.”
A&R is not Accounts and Receivables
In the early days of the recording industry, there were specialists at the record companies. They called them “guys with ears.” These Artists & Repertoire or A&R men (they were always men) were the specialists in matching the singer with the songs. This art of song selection is the true magic behind some of the greatest music stars. The most famous of these A&R men are guys like John Hammond who discovered Bruce Springsteen, Bob Dylan, Aretha Franklin and Billie Holiday to name a few.
This past Sunday, there was a NY Times Article on the importance of music education in everyone’s life. I feel like it was written specifically for music teachers! The author interviewed some of the top performers in numerous and diverse industries and has found a surprising number had deep musical training from Condoleeza Rice to Allan Greenspan to Paula Zhan to James Wolfensohn to Steven Spielberg to Woody Allen and Paul Allen.
[box] “I’ve always believed the reason I’ve gotten ahead is by outworking other people,” he says. It’s a skill learned by “playing that solo one more time, working on that one little section one more time,” and it translates into “working on something over and over again, or double-checking or triple-checking.” He adds, “There’s nothing like music to teach you that eventually if you work hard enough, it does get better. You see the results.” – NBC White House Correspondent Chuck Todd[/box]
With all of my students, I stress the importance of memorizing their pieces, especially for performance at a recital. Here’s some of the reasons why.
Repetition is the Mother of Skill
How many times did Tiger Woods hit a golf ball before ever entering a competition? Apparently he was already golfing at age 2 when he made an appearance on the Merv Griffin show with his Dad. He turned professional at age 21 after winning many competitions along the way. That’s 19 years and probably 30,000 to 40,000 hours of practice! In Malcolm Gladwell’s book Outliers, he discusses the theory that it takes an applied 10,000 hours of practice to mastery in any field. No wonder Tiger Woods is the greatest golfer that ever lived! He’s simply played 3 or 4 times much as anyone else before he even turned pro!
Now, I’m not demanding 8 hour practice days for my students, but five minutes the day before the lesson is just not going to cut it. It’s unfair to the student who is going to sound awful and not enjoy the wonderful process and sense of accomplishment of learning a song to a masterful level.
As we use our muscles to achieve the production of sound, we need to train them to move in specific ways. Fluidity can only be achieved by repetition. By consciously practicing the repeated motions at the same time being mindful of proper alignment of back, wrists, hands, we can create smooth, fluid motions that create beautiful sounds without repetitive stress injuries.
Aimed at parents , home-schoolers and teachers of young children aged 3 to 6 years old, the book is really an app which delivers a learning system including audio, video, animations and my unique color system. It spans the first month and a half of lessons that in my private lessons would cost over $200! There is no experience required and no need to read traditional music notation. In fact, the problem with most music books and teachers try to present too much information at once. By breaking down the learning process into micro steps, I’ve helped hundreds of kids learn to play piano, (and guitar) whilst having proper technique, and learning music theory, traditional notation and even composition.
For those of you who have been unable to get on my roster, this is a great way to virtually start lessons with me. There’s even a free sample that gives you the first lesson for free. And this is just the beginning, I’m already working hard on the next volume as well as a support website PlayPianoForKids.com
It was a great recital last Saturday at the Carroll Gardens Library in Brooklyn. With 30 students performing and a house of over 100 guests, we had a lovely time and everyone did their best. Thanks again to all the parents, grandparents, friends and family who came to show their support, love and appreciation of our young performers! And special thanks to Jeff Schwartz and the entire staff of the Carroll Gardens library who graciously let us use their space and even set up the chairs for us!
Apologies for the site being down all of last week. But we’re back! Here’s a quick update and enjoy the week off for Thanksgiving!
As many of you know, in each of my lessons, my aim is to address 3 main areas: repertoire, reading and music theory.
This is building up a collection of pieces that your child can play from memory and perform in public.
It allows us to work on technique and bring music to life whilst giving a great confidence boost and joy in playing. This material I often present using my own color notation which enables your child to learn a piece as quickly as possible and then memorize it. Many of you are using Suzuki material for this repertoire whilst others are working on a combination of Suzuki with jazz, blues, pop and world music.
To learn to read music is truly a great skill. To be musically literate opens a whole door to deeper appreciation. Reading music is not as difficult as it seems, but requires a steady practice diet. I will usually not start this until we’ve been playing a repertoire of about 7 to 10 songs. I use a proprietary method of notation to get them up to speed quickly with simple and then complex pieces.
This is the nuts and bolts of music. We get under the hood and see how music is structured and built through games,
As a teacher of music, this is a common question I hear. Every child is unique and while there is no one right answer, I can offer a few guidelines.
One of the first “games” I play with my younger students is to have them order the letters of the alphabet. This is a chance for them to show off their knowledge, build confidence and break the ice with their new teacher. I do this by giving them a stack of flash cards, each with one letter on it. By connecting this to the musical alphabet, there’s usually an “a-ha” moment. So if you’re child knows their ABCs, it will be easier to connect the dots to the musical alphabet.
Having a child who is passionate about music is probably the most important thing. The amount of time required to master these new skills and concepts is great. Has your child been asking about music lessons? Do you listen to music around the house? Does your child sing spontaneously? If so, these are all great signs that your child is ready for more musical challenges and instruction.
Fine Motor Skills
Many kids, especially younger ones, have difficulty controlling different fingers. With these children, I usually spend more time on singing, clapping and movement activities designed to internalize basic music concepts. With piano, these kids can play melodies with one finger. Other instruments may need to wait.
Voice is the instrument we already own. With all of my students,
Ignite the passion, fun and excitement of music within
Introduce the names of the notes
Connect those notes to their location on their instrument
Connect those notes to standard written notation
Through achievements, build their sense of self confidence and self worth.
To go through these steps, I have a variety of techniques and methods. Steps 1 and 2 are usually not a problem. If you know only the first 7 letters of your ABCs you know all the names of the notes in music. Connecting those note names, A-B-C-D-E-F-G to where they lie on a guitar or piano or xylophone can be a challenge, especially for 3 to 5 year olds. Once students know where the notes are on the instrument, we can make music and the fun begins!
I have experimented with many methods out there. One method is to use color to correlate note names to keys. I’ve been doing this with some of my younger students with great results. This is not synesthesia, where a person actually perceives one sense with matched with another like say “middle C is always a certain hue of red.” It’s using what is readily available as a transmission system that is highly developed in all but the color-blind.
However, there is a caveat. One has to know when to remove the “crutch of color” to allow the student to walk on their own. Otherwise they never progress to the next level.