There’s an assignment that we often miss as teachers. And it’s one that always makes our jobs way easier – maybe easier than anything we could have students do. Over time it simply transforms our students’ musical experiences and their abilities.
Students should be asked to listen to music each time we see them. It can be done in casual conversations about what they’ve been listening to (or what we’ve been listening to), to more precise assignments based on what you’re working on in lessons.
Over time as I’ve gotten the opportunity to hang out and discuss music with people who have had very successful performance and recording careers, there is a common thread that they all emphasize in their own playing and admire in the playing of their peers. This common thread is rhythm. It can either be the commitment to and admiration of deep and individual time-feel, high levels of rhythmic accuracy, advanced rhythmic phrasing or to their ability to make the most basic musical parts feel so good.
When children begin music lessons there is always a lot more happening than just starting lessons. Parents bring their experience as former students or inexperience in music to the table. Experienced teachers bring well-formulated habits and routines that may or may not serve the new student. Inexperienced and young teachers may relate exceptionally well to a young student but not have the ability or experience necessary to efficiently move students from one goal to the next.
After a lesson with a student who has been working with me for nearly 14 years, I took a moment to assess the state of our room as I walked out, letting him tear down his gear. I was inspired to take a quick picture after realizing that this may not be a typical scene to many folks who teach, practice or took lessons at some point in their lives.
All of us who have played, taught, listened to or experienced music in any way know the power it holds. Many people can trace certain important times of their lives to specific recordings. Several musicians, myself included, can trace the reason we play music back to one or two recordings. Many people who play music have often been pulled out of major ruts in their practice/playing after hearing a recording. There are people who don’t have anything to do with playing music who simply can’t function without it.
Notes:I’ll be speaking at the WSMTA convention. This is for members of the association throughout the state of Washington. If you’re there, stop and say ‘hi’. After my presentation I’ll be in the vendor area answering questions about my books.
One of the main concepts my favorite teachers hammered home when I was a student and hopefully I’ve continued the tradition; is an emphasis on playing in time, developing a strong time feel and learning how to make musical decisions on the fly. Hence the large library of accompaniment tracks with this method.
After years of accepting transfer students who wanted to learn classical, jazz, popular music and composing; I realized that much of the information they wanted to know was in the music they already knew how to play. Somehow the information they had accumulated paralyzed them when it came to “creating” their own sounds – even when playing written music. They were either overwhelmed by all the options or going through their mental checklists of everything they were supposed to do to play “correctly”.
Phrasing often gets overlooked when we learn to improvise. This video covers the basics of phrasing on Twinkle, Twinkle and the opening passage of a Mozart Sonata. There are a few splices in the video as the camera kept shutting off – I’m still learning to use the new gear! I hope you enjoy it.
There have been times when I would feel that my rate of improvement didn’t line up with the large chunks of time I was spending at the instrument practicing. Sometimes practicing a lot isn’t enough. We need other methods to elevate our playing and bring cohesion to all the concepts we are working through.