Learning how to do improvisation

I’m a huge supporter of mimicing what you hear. It’s a fabulous way to learn to play music and grow. With traditional music lessons, sometimes I think the act of sight-reading is over-emphasized. Don’t get me wrong, I think it’s very important. However, teachers are going to teach what they know, and they know sight-reading. They know Bach, Beethoven, Haydn, etc.

The path to becoming a well-rounded musician is multi-faceted. There is theory, sight-reading, and ear training. There is history, and learning how to playing with other musicians.

Another very important element is improvisation. The freedom to express oneself is such an important element of becoming a full rounded musician. Here are a few ways I encourage my students to do this. Some will do this freely and others will struggle to play without music.

First, I get them to play a simple rhythm left hand pattern in C major, and have the student do C major triads in the right hand.  Giving the student the rhythmic pattern to copy gives them a headstart.  As the student gets more advanced I give them common chord pattern progressions like ii, V7 and I with a left hand rhythmic pattern. I show them how to embellish these chords with 2nds, 6ths and 7 major and dominants. We do these patterns in various inversions and make little songs of these chord progressions.

Second, we listen to a simple song of choice, not a classical song….a song of repetitive chord structures. Students are amazed once they realize they can play harmony with a song of their choice. This usually inspires them for more challenges.

Thirdly, I use Pattern Play by Akiko & Forrest Kinney. This is geared to teachers to help them show their students how to improv. In turn it shows the teacher how to improv as well.  I also recommend PlayPianoTODAY.com for the moderate to advanced piano player wanting to challenge themselves with rhythmic patterns and improvization.

I hope this helps you reach beyond and try something new. Your comments are welcome!

Where to study voice? Go to university? Study privately?

I’ve posted about this before, but it is so important that singers understand what they are doing with their voice. Your voice is your instrument of choice, and you need to learn and understand how to use it the way you want to use it. That may not make sense…read on.

You are told you have a beautiful voice…you must go on and study, study, study, go to university, you have such a bright future…..You love to sing……sounds like the best thing to do in the world. You are going to work your entire like doing what you love…..singing.

Careful now….let’s be really clear about what is going on here. 

You go to university and the professors tell you you have a lovely voice, but you must do this, and do that. They tell you if you can sing classically you can sing anything. They change your voice. You love singing classical music so you enjoy 4 years of singing, learning arias and practising diligently. Four years later you graduate with a beautiful classically trained voice and now you need to work.

You search for music theatre work and find out your voice is only suitable for certain plays. Most productions do not want your style of singing. You try to change your voice to suit what is needed for the shows but you sound phoney, different, and not yourself.

This is very common. Work is limited and hard to find.  Graduates, in turn, start teaching to young, naive students the very same classical technique that they were taught for years.

Classical vocal training is the most common teaching available because it is embedded in our history!   But…..here’s the big but, wait for it…….it’s out of date!!  There is very little work for classically trained singers. Times have changed. Musical theatre has changed. In order to stay current, singers must realize this shift is happening. The beautiful soprano head-voice is no longer the voice of choice. Instead, listeners are enjoying the beautiful, strong and powerful sound of chest voice high in the mix.

For the most part, this cannot be accomplished with classical training. Some singers can sing anything, but most singers need to learn and understand what they want their voice to sound like.

For more information visit this website and find a Speech-Level Singing teacher near you. You will not be disappointed. www.speechlevelsinging.com.

I welcome all comments and questions. Speech-Level Singing is an up-to-date method based on the classical Bel Canto technique. It has been created by Seth Riggs to allow singers to stay current with information, and to help build a strong, beautiful voice that can sing ANYTHING!! Yes, any style of music!  This is the year 2010….Singers, get with the times!!  Universities are out of date!

It takes all kinds to make the world go round…

You’ve heard the saying before…it takes all kinds to make the world go round. Well, the same goes for musicians and how they play their music. Some musicians can read music as easy as reading the newspaper. Others can play music without reading anything. They make it look sooo easy. Who is to say which is better? Frankly, I think having both abilities is the best of both worlds.

In Music for Young Children, the students learn to sight read music as well as learn to “listen” to musical structures. These are two very important building blocks for success in the lifetime of music understanding. Students learn how to “improv” or play around within a musical key. They even compose songs yearly.

There is no better time to start your child off on the right musical path than right now. There are entry levels into the program for ages 2 and up. Even teenagers can benefit from The Music for Young Children Best Choice program.  For information just visit their website at www.myc.com and look up a teacher near you!

Do what you love and live a long happy life……

Don’t let other people stop you from doing what you love. If you love to sing or play an instrument then try to learn everything you can and practise diligently to be the best you can possibly be. Don’t compare yourself to others. There will always be someone who is better than you.

Playing an instrument or singing fills you will a wonderful sense of self. Take that time with yourself and enjoy. Watch this video and it will give you inspiration!! http://abcnews.go.com/WN/101-year-pianist-music-secret-long-life/story?id=10434375

SLS standards are set high….

I just got back from a fabulous SLS workshop and masterclass with Kathy Kennedy this weekend in Toronto. SLS students and teachers had the opportunity to take a voice lesson from one of the best instructors in the business. Kathy Kennedy is a level 5 master Speech Level Singing instructor.  She was hand-picked by Seth Riggs himself.

To be qualified to teach SLS a teacher must continue yearly with ongoing SLS voice lessons and SLS education.

Currently I’m precertified in SLS. I will take my testing in the summer when Wendy Parr visits Toronto for yet another masterclass!  In the meantime, I’ll be continuing my voice training with Dave Stroud and Jeffrey Skouson.

You can check out who is teaching SLS in your region by going to www.speechlevelsinging.com and search for your area. If their name isn’t on the list then they are not actually qualified to teach SLS. Watch out for this…..that’s all for now!

Why does it seem that I have two singing voices?

Do you ever notice that when you sing along with the radio you usually have this very talky kind of singing that can be fairly loud but you have trouble reaching the high notes. Then when you sing at church on Sunday, you have this other voice that is, let’s just say, different, kind of whimpy maybe, yet sweet. 

This isn’t everyone’s experience but it is common, especially for women. Songs on the radio are usually written in lower keys so the singers can use their chest voice. Then when they get to the higher notes, they “belt” out the high notes. This is that shouty, yelling kind of voice that some audiences love, and some audiences hate!

Traditional church songs are quite often written in a key that is too high to use your chest voice well. Instead, singers need to use their head voice to reach the high notes. This is why some church choirs with older women have that unique sound!

Depending on your singing background, you may be more comfortable in either one of these voices. Most children who grew up singing in choirs are very well acquainted with their head voice. Children who did not sing much growing up, are much more likely to be comfortable in their chest voice, because this is the range that is closest to their speaking voice.

The key here is to know which voice you gravitate to, and then work on the opposite. Good singing needs a balance of both the head voice and chest voice, irregardless of the kind of song you are singing.

Did you find this post helpful? Please leave me a comment!

When it’s not perfect….

Have you experienced this….you can’t hear yourself singing in the monitor above the noise, or you have a cold and you’re really worried about the high note that is coming.

Conditions are not going to be perfect. Trust me, been there, done that. You know, there is this saying about going with the flow…….have you heard of it? Sure you have!

Somehow, some way, you are going to find the way to make this experience the best it can be. When you roll with the punches, your audience will not even know things aren’t perfect. Trust me. And even if they do, (because maybe you told them), it’s the way you handle it that matters. Singing through a tough cold but having fun and putting on a great show goes a long way. I know it’s not ideal but sometimes you have no choice.

Your facial expressions need to reflect that everything is A-OK, even if it’s not. You owe it to your audience. You are a professional…..you owe it to yourself to be the best you can be.

If you believe…they will believe.

So often I say to my students…..sing like you believe it! Make me believe you! What exactly does that mean? I just finished watching American Idol and Usher says to a few singers that if they can connect with the audience, make the audience believe, then they have done their job. Yes, point taken. I agree. But how do you get the audience to believe you, if you don’t believe yourself?

Number one, without a doubt, is self belief. The audience can see it, you can feel it. Is it real or is it fake? If it is fake then maybe you are trying to hard. Sing to yourself, sing for yourself, believe in yourself……..

You can always learn to sing better…

This is for all the adults who were too shy to sing as a kid, and now as a adult you love singing along with the radio, but you wish you could to it better. Here are a few tips to try…

1. Use a set of good headphones to listen to an easy song by one of your favourite artists.

2. Listen intently and try to mimic the words and expressions but without making a sound. In other words, pretend you are that performer and articulate every word with clarity and preciseness.

3. When you are ready to add your voice, take one side of the headphone off and leave the other side on. You must be able to yourself as well as the performer. 

4. Now sing quietly but intently with the performer. Make sure you are enunciating the words clearly and with expression. Be careful to be on exact pitch as the performer. Remember, you are not trying to mimic your interpretation of the performer’s sound, you are mimicing the consonants, vowels and phrasing.

5.  Remember you are doing this quietly, but not quiet like a whisper, but quiet like you are talking…..just like talking on pitch.

6.  If you find yourself needing to be louder as you go higher, then you are not approaching this exercise correctly. The voice needs stay at the same volume on the low notes as the high notes.

7.  To help find what the high notes will feel like, try a “cry” approach, or a dog whimper to the pitch of the high note. Notice the thinness of your voice when you are in your head voice. Remember, your goal is not to match to “sound” of the performer, but rather the “pitch” of the performer. Sometimes just lightening up on the high notes will usually create the correct connection. This may be very breathy but you are going in the right direction.

9. Now with practise you can start to “lean” into the notes. This should help eliminate any extra air getting through. 

10. One last tip — be true to your voice. It should not be your goal to sound like the performer in the song, it should be your goal to sing the song with your voice to the best of your ability.

Let me know how this exercise worked for you. Do you have any questions?

Celebrating 30 years…early childhood music education at its’ best.

Wow, what a day! Just finished a marathon birthday party celebrating Music for Young Children’s 30th birthday party. There were approximately 100 kids with their parents and teachers from London, Ontario and surrounding areas. We spent an hour and a half together of drumming, singing, keyboard playing and music concept games. I don’t know about you, but my music lessons as a kid were never like this!

Music for Young Children (MYC) is a music educational program for young children. How young? Well, the keyboard level starts at 3 1/2 to 4.  The founder of the program is Frances Belodis. In the last 30 years her program has blossomed all over the world with over 900 teachers.

The MYC way is intent on teaching the elements of music at the introductory level that will build a solid music foundation for an entire lifetime. I’ve listed below some of the many building blocks built into the program.

*note reading – The MYC way is not to memorize a phrase like “every good boy deserves fudge” or “FACE”. Students learn note reading with stories, songs, and games that are a fundamental part of the program.

*sight reading – Sight reading is an extremely important, yet challenging part, of being a good musician. Students at MYC learn patterning to help with note reading from the very beginning. Patterns are reinforced weekly when analyzing songs. Patterns are reinforced with games and sight-reading exercises.

*singing – Singing is used to reinforce concepts and rhythms. Most children love to sing, so it’s an easy and enjoyable way to learn about music.

*solfege – Solfege is built right into the program. For those of you who don’t know what solfege is, it is hand signs that match the major scale….just think of The Sound of Music movie, and the famous song Do-Re-Mi by Julie Andrews. This song is all about solfege. MYC has terrific solfege songs for all levels. Children do actions mixed with solfege to build skills necessary for playing music by ear (without music).

*rhythm – There is an entire section in the MYC music books at each level geared to rhythm ensembles. Children learn how to play music together in mulitple parts.

*composition – Children at all ages write music in MYC. MYC teaches writing techniques that help the students put songs together for submission to a yearly worldwide composition festival.

*movement – In MYC we move! Students learn by moving!

*ear training – The ear is an important building block in the MYC family. An entire “listening” section is included in each MYC music book at each level. There is a weekly listening exercise.

*fingerplay techniques – Piano playing is about great fingers and hands. MYC knows this. From early on, fingerplay components help to build strong piano players.

*history – Yes, MYC teaches history! Children learn all about Beethoven and Bach and other famous composers! We play their songs and we learn about their lives!

*theory – This is probably the most phenomenal part of MYC in my opinion! I still can’t believe it when my 9-y-o students accomplish their Preliminary Rudiments exam with top honours. Students learn about major and minor intervals, rest replacement, circle of 5th’s, scale writing and terminology. Most piano teachers do not touch the elements of theory with their students until they reach the equivalent of Grade 5 piano.

*harmonizing a melody line – Last, but certainly not least, the children learn how to use left hand chord structures to harmonize with a melody line. As early as the first level, students start to learn “bridges” and “snowman chords” in I, IV and V7 degrees of most scales including C+, G+, D+, F+, a-, e- and in the higher levels B flat+, d- and g-. This goes hand-in-hand with ear training and solfege to show the children how to play familiar songs and engage them in the exploration of playing songs without the use of sheet music.

Well, I could go on and on…. If you want to learn about an MYC teacher in your area visit www.myc.com. If you are a music teacher and think this is the way you would like teach, then check out the teacher section at the same address!

Bye for now, would love to hear your comments!!