Have you ever gone to a nice restaurant or a mall and heard a pianist playing beautifully without any sheet music at all? She might have memorized every note of the piece you are hearing, or she might be playing by ear, but chances are she's using chord style piano to help her play the harmony parts. Chord style piano is used by many pop/rock artists and performers, and it is also a learning style that is well-suited to adult piano students who can more easily comprehend the intellectual framework it provides.
When I was growing up, we had a piano that didn't serve much purpose other than to hold lamps and picture frames. Every once in a while I would sit down and plunk out a melody, playing mostly by ear. I even learned a few basic chords and added harmonies to simple songs. That's about as far as I got before deciding as an adult to finally take piano lessons. I wanted to learn how to play the piano "right," so I ignored those little symbols above the notes on my sheet music--symbols like "Cmaj7, D, G7, Bb7#9"--and learned to play notes exactly as they were written on the treble and bass clefs. I made good progress over the course of a few years, but learning was sometimes slow and frustrating. Then I was introduced to chord style piano and discovered that a knowledge of chords gave me a "map" to the piano and let me pick and choose notes that would sound good in a given song. I combined this knowledge with the classical piano skills I had already learned, and soon was regularly receiving compliments on my playing. Chord style piano even helped me site read and play classical music better, because I had increased confidence and my hands were already familiar with many of the shapes and movements found in other piano styles.
Here's a very brief description of how chord style piano (sometimes called "popular piano") works. Think of a simple song like "Twinkle, Twinkle Little Star." This song consists of 3 chords: C, F, and G7. These letters are both names of chords and the names of the root note each chord is built on. The C chord contains three notes: C, E, and G. The F chord also contains 3 notes: F, A and C. The G7 chord contains 4 notes: G, B and D and F. These notes could be written on the bass clef using standard notation (with stems and rhythm values), but in chord style piano the bass clef is eliminated or ignored and the left hand part is simply notated with letters and other chord symbols. This type of notation is very common in jazz and popular music. It can be found in "fake books," in music marked "Piano - Vocal - Guitar" and in most non-classical arrangements. Advanced chord style pianists with a good knowledge of theory can even look at music without chord symbols and determine which chords to play.
The pianist who is learning to play chord style piano has three key challenges to overcome. First, the pianist must memorize a variety of chords. Basic 3-note chords are either major (happier sounding chords) or minor (sadder sound chords). Beyond these, there are diminished chords, augmented chords, and extended chords such as G7 (mentioned above) and F13 (a chord that contains 7 notes in its original form, although sometimes certain notes are dropped to improve playability). While the sheer number of possible chords may seem overwhelming, they follow consistent patterns, so the same hand shape can be used to play several chords. As an example, the same hand shape used to play the C major chord can be used to play D minor, E minor, F major, G major, A minor, and B diminished. The only thing that changes is the note you start on. Also, since chords are the building blocks for songs, once you learn a C chord you can use it in thousands of other songs that call for it. It is helpful to learn some of the theory behind how chords are constructed, to make it easier to find the right notes for a given chord. There are also chord reference guides that show pianists which notes to play for each chord.
The second challenge the chord style pianist must overcome is that of variety and interest. Playing the same chords the same way in a song--especially if the chord is only played once during a measure of music--is boring and unsatisfying for both pianist and listener. Fortunately, chords can be much more versatile than a written bass clef, because the pianist gets to choose how he wants the song to sound, and can either plan what he will play in advance or make up the left hand as he goes. An experienced chord style pianist rarely plays a song the same way twice, creating interest by inverting, arpeggiating, and playing chords in different places on the keyboard. Chord notes can also be dropped to create different sounds (as an example, try playing just the C and G notes of a C chord). Chord notes can be played with just the left hand or with both hands, and if the pianist isn't satisfied with the chords for a given arrangement, he can experiment with others that may sound better (this is called chord substitution). For example, Cmaj7 can sometimes be substituted for C to give songs a jazzier sound, and Em can sometimes be substituted for C to create variety. He can also vary the rhythm in the left hand, playing eighth notes instead of quarter notes, for example, or syncopating the rhythm. The right hand can add additional variety with run-ups, trills, fills, slides, octave melodies and glissandos. There is no end to the possibilities chord style piano allows. This is personal, expressive, creative piano at its best! Just remember to keep a steady rhythm while playing. Experiment with different sounds and techniques, and let your ears tell you when you've found something that works.
The third challenge the chord style pianist must overcome is that of her own perception and the perceptions of others. Unfortunately, chord style piano is sometimes touted by dishonest web scams as a way to "play piano instantly," "learn to play piano in just 10 days" or "learn to read music in 30 minutes." These utterly ridiculous claims of overnight success would be laughable if so many people weren't fooled by them. Chord style piano is a valid technique for improving your playing, but it can't take the place of years of correct practice. On the other side of the equation, many classical/traditional piano teachers think that chord style piano is "cheating." This may be a valid claim for classical music, since chord style piano is usually not well-suited to that type of playing. However, when playing songs like "Moon River" or "As Time Goes By," chord style piano can allow the pianist to produce far more satisfying results than when playing notes exactly as written. Too many piano students get stuck on the mental process of reading and playing notes, and never really teach their fingers how to play quickly and creatively. Chord style piano allows pianists to make use of notes but not be entirely at the mercy of the arranger. It also reduces sheet music expenses, since a chord style pianist can experiment with a variety of styles using the same piece of music. Ultimately, the best defense against those who think chord style piano is "cheating" is simply to ignore them. As long as you are satisfied with the results you are getting, that's what matters.
Chord style piano can also provide a great foundation for successful improvisation. Ironically, improvisation was a common practice by classical era composers such as Mozart and Beethoven, but it is typically marginalized by modern classical piano teachers. At first, learn to improvise over a standard chord progression (such as C-F-G7-C), and then experiment with creating your own progressions, planning them in advance or making them up as you go. When you invent a new melody and play it over your chord progression, you're improvising. Jazz musicians do this all the time, and it's a great exercise for songwriters too. Another improvisation technique involves taking an existing song like "Silent Night" and playing its exact chord progression with the left hand while making up a new melody in the right hand using scale notes. This may seem intimidating at first, but keep in mind that the improviser never makes mistakes--she just takes unexpected turns. The goals is to create, learn, experiment, develop your own style, express yourself and most of all to have fun.
So how do you learn chord style piano? Get a chord reference book, get some arrangements of your favorite songs, find a competent teacher who is willing and able to instruct you in this style, and start playing. With time, effort and consistent practice, chord style piano can bring you a lifetime of enjoyment.
Monday, March 16, 2009
Thursday, February 19, 2009
An Introduction to Classical Guitar
I was at my favorite guitar store a few days ago and noticed that there were only seven or eight nylon string guitars among dozens of steel string instruments. This makes sense, since most popular music features steel string guitars, but nylon strings have a unique, warm tone that is often overlooked by new guitarists. I learned to play on a steel string acoustic guitar, but when I heard a soloist perform a rendition of "Carol of the Bells" on a nylon string classical guitar, I was hooked.
A classical guitar, sometimes called a Spanish guitar, is different from an acoustic guitar in several ways. All of the strings are made of nylon, but the lower three strings are steel-wrapped. Nylon strings are easier to play than steel strings, making them a good option for new guitarists who have not yet developed calluses on their left hand fingertips. Also, since classical guitars are generally strummed or plucked with the fingers rather than with a guitar pick, a classical guitar has a wider neck than an acoustic guitar. This makes it easier to isolate individual strings with the right hand. A classical guitar may also feature different internal construction, since nylon strings have much less tension than steel strings. Finally, a classical guitar usually does not have a protective plastic pick plate.
The classical guitar is rich with tradition and has a repertoire that includes baroque compositions written for other instruments but adapted for guitar such as those by Bach. Renaissance music originally played on the lute such as "Greensleeves" is also part of the standard repertoire. Then there are songs such as Malaguena that were written specifically for the classical guitar. Fernando Sor, Mauro Giuliani and Matteo Carcassi are three well-known classical guitarists who composed pieces for solo guitar during the early part of the 19th century. In the early 20th century, Andres Segovia popularized the classical guitar as a concert instrument. In 1940, Joaquin Rodrigo wrote a concerto for guitar called "En Aranjuez Con Tu Amor." The second movement of this piece, written as a memorial to victims of the Spanish Civil War, is--in my opinion--one of the most hauntingly beautiful pieces of music ever written. However, in addition to traditional repertoire, the classical guitar can also be used to play folk, new age, latin, gospel, jazz and many other styles of music. It has also found its way into popular music, such as in Eric Clapton's "Tears in Heaven" and the popular 1960's hit "Classical Gas."
Classical guitarists traditionally read standard notation (looks like piano music, but without the bass clef). Beginning classical guitarists may choose to fast-track their studies by using guitar tablature (tab) which makes many songs--including the traditional classical repertoire--more accessible to those unfamiliar with standard note reading. However, most classical guitar pieces are notated with standard notation, so I highly recommend that anyone interested in playing the classical repertoire learn to read notes at some point in their skill development.
A classical guitarist traditionally plays while sitting, using a foot stool to elevate the left leg. The classical guitar rests in the guitarist's lap, with the guitar neck pointing up at about a 35 degree angle. This position may feel strange for guitarists accustomed to a horizontal neck. However, it allows the guitar to sit securely so that the left hand can concentrate solely on playing. It also allows the guitarist's left wrist to be held straight rather than bent. This playing position can take a while to get used to, but I've found that I'm able to play for longer without wrist fatigue and I am more relaxed when I play. I have even started using this position for some of my steel string acoustic and electric guitar playing.
Classical guitarists typically shape their right hand fingernails in a way that allows them to easily pluck strings with their nails. This creates a sharp attack and allows for more volume dynamics than just plucking with the fingers. Personally, I enjoy a finger-plucked tone, but the best players typically use their fingernails in concerts and recordings. The sound of the classical guitar can be varied by playing in different locations with the right hand. Strumming towards the bottom of the strings, away from the fretting hand, produces a hollow, tinny sound that works well for certain pieces, while strumming over the fretboard closer to the fretting hand produces a soft, harp-like tone. Classical guitars can also be played in a percussive, flamenco-like style to produce a distinctly Spanish sound.
If you enjoy great music with history and tradition, you'll find what you're looking for in the classical guitar. If you've never pictured yourself as a classical guitarist, you may be surprised by how much fun it is to play. You don't have to change your name to Giovanni and develop a taste for fine wines and cheeses to enjoy playing the classical guitar. With a little dedication, you may even find that your electric solos and acoustic fingerstyle playing will improve. Whatever your musical interests, give the classical guitar a try and find out what you've been missing.
A classical guitar, sometimes called a Spanish guitar, is different from an acoustic guitar in several ways. All of the strings are made of nylon, but the lower three strings are steel-wrapped. Nylon strings are easier to play than steel strings, making them a good option for new guitarists who have not yet developed calluses on their left hand fingertips. Also, since classical guitars are generally strummed or plucked with the fingers rather than with a guitar pick, a classical guitar has a wider neck than an acoustic guitar. This makes it easier to isolate individual strings with the right hand. A classical guitar may also feature different internal construction, since nylon strings have much less tension than steel strings. Finally, a classical guitar usually does not have a protective plastic pick plate.
The classical guitar is rich with tradition and has a repertoire that includes baroque compositions written for other instruments but adapted for guitar such as those by Bach. Renaissance music originally played on the lute such as "Greensleeves" is also part of the standard repertoire. Then there are songs such as Malaguena that were written specifically for the classical guitar. Fernando Sor, Mauro Giuliani and Matteo Carcassi are three well-known classical guitarists who composed pieces for solo guitar during the early part of the 19th century. In the early 20th century, Andres Segovia popularized the classical guitar as a concert instrument. In 1940, Joaquin Rodrigo wrote a concerto for guitar called "En Aranjuez Con Tu Amor." The second movement of this piece, written as a memorial to victims of the Spanish Civil War, is--in my opinion--one of the most hauntingly beautiful pieces of music ever written. However, in addition to traditional repertoire, the classical guitar can also be used to play folk, new age, latin, gospel, jazz and many other styles of music. It has also found its way into popular music, such as in Eric Clapton's "Tears in Heaven" and the popular 1960's hit "Classical Gas."
Classical guitarists traditionally read standard notation (looks like piano music, but without the bass clef). Beginning classical guitarists may choose to fast-track their studies by using guitar tablature (tab) which makes many songs--including the traditional classical repertoire--more accessible to those unfamiliar with standard note reading. However, most classical guitar pieces are notated with standard notation, so I highly recommend that anyone interested in playing the classical repertoire learn to read notes at some point in their skill development.
A classical guitarist traditionally plays while sitting, using a foot stool to elevate the left leg. The classical guitar rests in the guitarist's lap, with the guitar neck pointing up at about a 35 degree angle. This position may feel strange for guitarists accustomed to a horizontal neck. However, it allows the guitar to sit securely so that the left hand can concentrate solely on playing. It also allows the guitarist's left wrist to be held straight rather than bent. This playing position can take a while to get used to, but I've found that I'm able to play for longer without wrist fatigue and I am more relaxed when I play. I have even started using this position for some of my steel string acoustic and electric guitar playing.
Classical guitarists typically shape their right hand fingernails in a way that allows them to easily pluck strings with their nails. This creates a sharp attack and allows for more volume dynamics than just plucking with the fingers. Personally, I enjoy a finger-plucked tone, but the best players typically use their fingernails in concerts and recordings. The sound of the classical guitar can be varied by playing in different locations with the right hand. Strumming towards the bottom of the strings, away from the fretting hand, produces a hollow, tinny sound that works well for certain pieces, while strumming over the fretboard closer to the fretting hand produces a soft, harp-like tone. Classical guitars can also be played in a percussive, flamenco-like style to produce a distinctly Spanish sound.
If you enjoy great music with history and tradition, you'll find what you're looking for in the classical guitar. If you've never pictured yourself as a classical guitarist, you may be surprised by how much fun it is to play. You don't have to change your name to Giovanni and develop a taste for fine wines and cheeses to enjoy playing the classical guitar. With a little dedication, you may even find that your electric solos and acoustic fingerstyle playing will improve. Whatever your musical interests, give the classical guitar a try and find out what you've been missing.
Saturday, January 31, 2009
Buying Your First Guitar
Buying your first guitar can be a very fun experience. I bought a guitar on a whim a few years ago and it was one of the best decisions I've ever made. If you are on the fence but aren't sure which guitar is right for you, I encourage you to read this information before buying an instrument. There's also some advice for parents of would-be guitarists and beginning players.
Question: I want to learn how to play the guitar. What type of instrument should I buy?
Answer: That depends what style of music you want to play. There are electric, classical, and acoustic guitars. If you enjoy distorted guitar and want to play heavy metal, some jazz and blues, crossover country or modern rock, an electric guitar may be the best instrument for you. An acoustic guitar is a versatile instrument that can be played with just about any style of music. It works well if you want to sing around the camp fire or just enjoy that unique steel string sound. A classical guitar has a beautiful soft tone that is ideal for playing instrumental melodies & harmonies.
Question: How much should I plan to spend on a new guitar?
Answer: If you're just starting out and want an entry-level instrument, expect to pay anywhere from $99-$250 for an acoustic guitar, $200-$400 for an electric guitar with amplifier, and $200-$350 for a classical guitar.
Question: What if I want a higher quality acoustic guitar?
Answer: A higher-end guitar will have a solid wood top (compared to lower quality instruments which are made of laminate), and the highest quality acoustic guitars are made entirely of wood. A laminate guitar will usually sell for $99-$200, a solid top guitar from $200-$300 and solid wood guitars start at $350 and go up to $2,000 or more. If you enjoy the process of playing your instrument (largely determined by the "action"--the amount of force required to hold down a string to play a note or chord) and the sound of your instrument, you will likely make more rapid progress as a musician. The action can often be adjusted at the store where you purchase your guitar. Finding the instrument with the best sound can be done with a "blind test." Find a guitarist friend or store employee and sit across from this person while he or she plays several guitars. Close your eyes and try to identify the guitar sound you like best without seeing which instrument is being played. Sometimes an instrument will look great but sound awful, or vice versa.
Question: I've seen guitar "kits" for sale that include picks, method books, a strap, a case, and a guitar. Are they a good value?
Answer: They can be a great value for a beginner. An acoustic kit retails for as low as $99 and an electric kit for around $200. But beware, with all of the money spent by manufacturers on accessories and packaging, there isn't a lot left for the guitar. You may get an acoustic instrument that has high action, making it very hard to play. In an electric guitar package, the amplifier will certainly leave a lot to be desired.
Question: I'm looking for a guitar for my child, age 7-10. Should I purchase a 3/4 size or 1/2 size guitar?
Answer: Smaller steel string guitars do not stay in tune for very long (lower quality instruments sometimes won't even stay in tune for a single song). Consider a small nylon string acoustic or full-size electric guitar for the smaller player. Electric guitars work well for younger students because they have narrow necks and light, low tension strings. If your child's arm is too short to reach the first fret, put a capo on the second or third fret. (A capo is a device that raises the pitch of the guitar by shortening the string length.)
Question: I found a small guitar with four nylon strings. It's the perfect size for my child and stays in tune.
Answer: That's a ukulele.
Question: What is a bass guitar?
Answer: A bass guitar usually has four strings that sound an octave lower than the lowest four strings on a standard guitar. It is typically electric, typically has frets, and uses the same tuning as an upright acoustic bass (one that you would see in an orchestra or bluegrass band). Learning to play the electric bass is somewhat different from learning to play the guitar, since chords are used less often and notes are usually struck individually. However, familiarity with one makes the other easier to learn.
Question: I'm trying to find a good beginning guitar book, but there are so many to choose from. Some teach how to read notes, others how to play chords or tab, still others teach finger-style, Hawaiian slack key or slide guitar. Which book is best?
Answer: There are a lot of different approaches to learning guitar, and it is doubtful you will find a single comprehensive method book. Some of the most important skills for beginners include (in order of importance): learning to play chords, learning strumming techniques, learning to play guitar tab, learning to read standard notation (this one is optional for most players, although classical guitarists will find it beneficial). Of course, if you have an instructor you can ask him or her for a method book recommendation. Try to find a book that teaches these skills. A chord chart or chord book is indispensable, and if you combine this with an easy guitar book of some of your favorite songs, you should have what you need to get started. Folk songs, children's songs, Christmas songs and hymns are often good candidates for beginners since these tunes usually feature only four or five chords. After you can play several songs while strumming chords, I recommend learning to read guitar tab. Once you've got the basics down, you can investigate more advanced techniques such as finger-style, Hawaiian slack key, jazz, rock or slide guitar.
Question: Can't I just learn to play by ear?
Answer: Yes, if you have been blessed with extraordinary talent you will probably be able to listen to songs and duplicate those sounds on your guitar. You won't be able to purchase any guitar books at your local store, write down songs, or communicate with other musicians. If that's the route you want to take, go right ahead, but the journey will be difficult and may end in frustration. If you learn to read chord diagrams and tab, you'll have a much better chance at success.
Question: Should I purchase an electronic tuner for my guitar?
Answer: YES. Tuning by ear is a great skill, but you'll spend a lot of time playing out of tune if you rely on it when you're just starting out. An electronic tuner is worth every penny you'll pay for it.
Question: Besides the tuner and method/chord book, what accessories do I need to purchase?
Answer: You'll probably want a strap (required if you want to play standing up) and guitar picks. I recommend a very thin pick for beginning strummers, and thicker picks for playing individual notes or for louder strumming. A case or a guitar stand is also helpful to hold your instrument when it's not in use or when it's being transported. A capo is optional, but recommended as it will allow you to adjust the pitch of the guitar so you can sing along with songs that aren't in your vocal range. A portable music stand may be helpful, too.
Question: What is a good amplifier for my electric guitar?
Answer: You should look for an amplifier that has enough power and features--sound effects, distortion, etc.--to allow you to play the music you want to play. Often, beginning electric guitar kits come with very limited 5- or 10-watt amplifiers. I recommend upgrading to at least a 30-watt amplifier, and if you are going to perform for small groups you will want at least 100 watts. You will also need a 1/4" to 1/4" stereo cable to connect your guitar with the amplifier.
Question: Should I purchase an acoustic/electric guitar?
Answer: Acoustic/electric guitars are acoustic guitars with a built-in "pick-up" microphone inside the guitar. Often, the acoustic pick-up is powered by a 9-volt battery and includes a built-in electronic tuner. It connects to an amplifier using the same cable as an electric guitar, but the amplifier is specifically made for acoustic sounds. This type of guitar is best if you plan to perform for larger audiences. Keep in mind that when you purchase a low cost guitar with a pick-up, the quality of your guitar may be less desirable than a similarly priced guitar without electronics. If you decide to purchase a fully acoustic guitar, you can decide later to purchase an after-market pickup (placed over the sound hole), or you can have a local guitar shop install an electronic amplifier.
Question: I bought a new guitar and brought it home. What should I do now?
Answer: Tune your guitar. The strings should be tuned, in order of lowest (thickest) string to highest (thinnest): E A D G B E. Once the guitar is tuned, pick it up and try playing a few chords such a G, D and C. Then start learning on your own or find an instructor. There are a lot of great songs and a lot of free guitar information available on the Internet, but there's no substitute for a good teacher.
Question: I tried playing my new guitar, but it made my fingers sore. Am I doing something wrong?
Answer: Probably not. It's possible your "action" needs to be lowered, but most new acoustic guitarists can only play for 15-30 minutes at a time before their fingers are too sore to continue (classical and electric guitarists have it a little easier). In time, you'll develop calluses on the tips of your fingers. You may want to try putting a thin coating of super glue over your fingertips to make it less painful to play. It's also a good idea to keep the fingernails of your left hand cut short, so they don't interfere with your ability to hold down the strings.
Question: My guitar buzzes a lot when I play. Is something wrong with the guitar?
Answer: Probably not. It's possible your "action" needs to be raised or you need to use a thinner pick, but most buzzing is caused by not holding down the frets with enough pressure, or holding them down in the wrong place. Some beginners try to place their fingers exactly in the middle of the fret they are playing, but it's best to slide the finger closer to the fret (in the direction of the sound hole of the guitar). You don't want to press the metal part of the fret, which deadens the sound, but just behind it, where it takes less pressure to produce a good tone. Your guitar may buzz a little while you're learning, but over time you'll develop better technique and increased hand strength.
Question: How often should I change my strings?
Answer: New strings can do a lot to improve the sound of your guitar. Your strings will last longer if you wash your hands each time you play. Avid players will need to change their steel strings every few months (nylon strings last a little longer). You'll know it's time to replace your steel strings if they become visibly tarnished, or if they lose their bright sound. Some music stores provide string changes and other adjustments free or at low cost. If you want to change your own strings, I recommend purchasing a peg winder, which will make it easier to turn the tuning pegs. You'll also need some wire cutters. At the store, you can buy a new set of lighter or heavier strings, depending on the desired sound and your playing style. Change one string at a time, paying careful attention to the direction the original string was wound around the tuning peg. Be sure to cut the new string to the approximate length of the old one. When you are done, you may have to re-tune the strings a few times, as the guitar re-adjusts. Your strings will go out of tune more quickly for the first few days you play (classical strings take a few weeks to "train"), but you should notice an improvement in sound quality right away.
Question: I want to learn how to play the guitar. What type of instrument should I buy?
Answer: That depends what style of music you want to play. There are electric, classical, and acoustic guitars. If you enjoy distorted guitar and want to play heavy metal, some jazz and blues, crossover country or modern rock, an electric guitar may be the best instrument for you. An acoustic guitar is a versatile instrument that can be played with just about any style of music. It works well if you want to sing around the camp fire or just enjoy that unique steel string sound. A classical guitar has a beautiful soft tone that is ideal for playing instrumental melodies & harmonies.
Question: How much should I plan to spend on a new guitar?
Answer: If you're just starting out and want an entry-level instrument, expect to pay anywhere from $99-$250 for an acoustic guitar, $200-$400 for an electric guitar with amplifier, and $200-$350 for a classical guitar.
Question: What if I want a higher quality acoustic guitar?
Answer: A higher-end guitar will have a solid wood top (compared to lower quality instruments which are made of laminate), and the highest quality acoustic guitars are made entirely of wood. A laminate guitar will usually sell for $99-$200, a solid top guitar from $200-$300 and solid wood guitars start at $350 and go up to $2,000 or more. If you enjoy the process of playing your instrument (largely determined by the "action"--the amount of force required to hold down a string to play a note or chord) and the sound of your instrument, you will likely make more rapid progress as a musician. The action can often be adjusted at the store where you purchase your guitar. Finding the instrument with the best sound can be done with a "blind test." Find a guitarist friend or store employee and sit across from this person while he or she plays several guitars. Close your eyes and try to identify the guitar sound you like best without seeing which instrument is being played. Sometimes an instrument will look great but sound awful, or vice versa.
Question: I've seen guitar "kits" for sale that include picks, method books, a strap, a case, and a guitar. Are they a good value?
Answer: They can be a great value for a beginner. An acoustic kit retails for as low as $99 and an electric kit for around $200. But beware, with all of the money spent by manufacturers on accessories and packaging, there isn't a lot left for the guitar. You may get an acoustic instrument that has high action, making it very hard to play. In an electric guitar package, the amplifier will certainly leave a lot to be desired.
Question: I'm looking for a guitar for my child, age 7-10. Should I purchase a 3/4 size or 1/2 size guitar?
Answer: Smaller steel string guitars do not stay in tune for very long (lower quality instruments sometimes won't even stay in tune for a single song). Consider a small nylon string acoustic or full-size electric guitar for the smaller player. Electric guitars work well for younger students because they have narrow necks and light, low tension strings. If your child's arm is too short to reach the first fret, put a capo on the second or third fret. (A capo is a device that raises the pitch of the guitar by shortening the string length.)
Question: I found a small guitar with four nylon strings. It's the perfect size for my child and stays in tune.
Answer: That's a ukulele.
Question: What is a bass guitar?
Answer: A bass guitar usually has four strings that sound an octave lower than the lowest four strings on a standard guitar. It is typically electric, typically has frets, and uses the same tuning as an upright acoustic bass (one that you would see in an orchestra or bluegrass band). Learning to play the electric bass is somewhat different from learning to play the guitar, since chords are used less often and notes are usually struck individually. However, familiarity with one makes the other easier to learn.
Question: I'm trying to find a good beginning guitar book, but there are so many to choose from. Some teach how to read notes, others how to play chords or tab, still others teach finger-style, Hawaiian slack key or slide guitar. Which book is best?
Answer: There are a lot of different approaches to learning guitar, and it is doubtful you will find a single comprehensive method book. Some of the most important skills for beginners include (in order of importance): learning to play chords, learning strumming techniques, learning to play guitar tab, learning to read standard notation (this one is optional for most players, although classical guitarists will find it beneficial). Of course, if you have an instructor you can ask him or her for a method book recommendation. Try to find a book that teaches these skills. A chord chart or chord book is indispensable, and if you combine this with an easy guitar book of some of your favorite songs, you should have what you need to get started. Folk songs, children's songs, Christmas songs and hymns are often good candidates for beginners since these tunes usually feature only four or five chords. After you can play several songs while strumming chords, I recommend learning to read guitar tab. Once you've got the basics down, you can investigate more advanced techniques such as finger-style, Hawaiian slack key, jazz, rock or slide guitar.
Question: Can't I just learn to play by ear?
Answer: Yes, if you have been blessed with extraordinary talent you will probably be able to listen to songs and duplicate those sounds on your guitar. You won't be able to purchase any guitar books at your local store, write down songs, or communicate with other musicians. If that's the route you want to take, go right ahead, but the journey will be difficult and may end in frustration. If you learn to read chord diagrams and tab, you'll have a much better chance at success.
Question: Should I purchase an electronic tuner for my guitar?
Answer: YES. Tuning by ear is a great skill, but you'll spend a lot of time playing out of tune if you rely on it when you're just starting out. An electronic tuner is worth every penny you'll pay for it.
Question: Besides the tuner and method/chord book, what accessories do I need to purchase?
Answer: You'll probably want a strap (required if you want to play standing up) and guitar picks. I recommend a very thin pick for beginning strummers, and thicker picks for playing individual notes or for louder strumming. A case or a guitar stand is also helpful to hold your instrument when it's not in use or when it's being transported. A capo is optional, but recommended as it will allow you to adjust the pitch of the guitar so you can sing along with songs that aren't in your vocal range. A portable music stand may be helpful, too.
Question: What is a good amplifier for my electric guitar?
Answer: You should look for an amplifier that has enough power and features--sound effects, distortion, etc.--to allow you to play the music you want to play. Often, beginning electric guitar kits come with very limited 5- or 10-watt amplifiers. I recommend upgrading to at least a 30-watt amplifier, and if you are going to perform for small groups you will want at least 100 watts. You will also need a 1/4" to 1/4" stereo cable to connect your guitar with the amplifier.
Question: Should I purchase an acoustic/electric guitar?
Answer: Acoustic/electric guitars are acoustic guitars with a built-in "pick-up" microphone inside the guitar. Often, the acoustic pick-up is powered by a 9-volt battery and includes a built-in electronic tuner. It connects to an amplifier using the same cable as an electric guitar, but the amplifier is specifically made for acoustic sounds. This type of guitar is best if you plan to perform for larger audiences. Keep in mind that when you purchase a low cost guitar with a pick-up, the quality of your guitar may be less desirable than a similarly priced guitar without electronics. If you decide to purchase a fully acoustic guitar, you can decide later to purchase an after-market pickup (placed over the sound hole), or you can have a local guitar shop install an electronic amplifier.
Question: I bought a new guitar and brought it home. What should I do now?
Answer: Tune your guitar. The strings should be tuned, in order of lowest (thickest) string to highest (thinnest): E A D G B E. Once the guitar is tuned, pick it up and try playing a few chords such a G, D and C. Then start learning on your own or find an instructor. There are a lot of great songs and a lot of free guitar information available on the Internet, but there's no substitute for a good teacher.
Question: I tried playing my new guitar, but it made my fingers sore. Am I doing something wrong?
Answer: Probably not. It's possible your "action" needs to be lowered, but most new acoustic guitarists can only play for 15-30 minutes at a time before their fingers are too sore to continue (classical and electric guitarists have it a little easier). In time, you'll develop calluses on the tips of your fingers. You may want to try putting a thin coating of super glue over your fingertips to make it less painful to play. It's also a good idea to keep the fingernails of your left hand cut short, so they don't interfere with your ability to hold down the strings.
Question: My guitar buzzes a lot when I play. Is something wrong with the guitar?
Answer: Probably not. It's possible your "action" needs to be raised or you need to use a thinner pick, but most buzzing is caused by not holding down the frets with enough pressure, or holding them down in the wrong place. Some beginners try to place their fingers exactly in the middle of the fret they are playing, but it's best to slide the finger closer to the fret (in the direction of the sound hole of the guitar). You don't want to press the metal part of the fret, which deadens the sound, but just behind it, where it takes less pressure to produce a good tone. Your guitar may buzz a little while you're learning, but over time you'll develop better technique and increased hand strength.
Question: How often should I change my strings?
Answer: New strings can do a lot to improve the sound of your guitar. Your strings will last longer if you wash your hands each time you play. Avid players will need to change their steel strings every few months (nylon strings last a little longer). You'll know it's time to replace your steel strings if they become visibly tarnished, or if they lose their bright sound. Some music stores provide string changes and other adjustments free or at low cost. If you want to change your own strings, I recommend purchasing a peg winder, which will make it easier to turn the tuning pegs. You'll also need some wire cutters. At the store, you can buy a new set of lighter or heavier strings, depending on the desired sound and your playing style. Change one string at a time, paying careful attention to the direction the original string was wound around the tuning peg. Be sure to cut the new string to the approximate length of the old one. When you are done, you may have to re-tune the strings a few times, as the guitar re-adjusts. Your strings will go out of tune more quickly for the first few days you play (classical strings take a few weeks to "train"), but you should notice an improvement in sound quality right away.
Thursday, January 15, 2009
Feel the Fear and Do It Anyway
Your heart is pounding, your thoughts are racing, adrenaline is flowing. Your palms are sweaty, your muscles tense, your breathing shallow. No, it's not a first date. It's a music performance, and all you can think about are the dozens, or hundreds, or thousands of eyes directly on you. Now you are stumbling, missing a note here and there, trying to keep an even tempo and thinking only of the conclusion of your performance when you'll be able to run from the stage and this nightmare. You've played this piece hundreds of times before, often flawlessly, in the comfort of your own home. Yet suddenly, just when you need to play your best--when people are watching, expecting, listening--you choke.
Stage fright, also known as performance anxiety, is something musicians, actors and actresses, athletes and public speakers all must face. When I began playing the piano as an adult, I had dreams of concert halls and television gigs, albums and record deals. I worked hard to develop my skills, but could barely get through a song for my piano teacher, much less a large audience. Even playing for my own family was a challenge, especially when they were trying to sing along.
Over the past several years, I've worked hard to improve my performances and conquer fear. Above my piano at home, I have a sign that says "Feel the fear and do it anyway." For me, it's a reminder that performance anxiety is a reality of life but can be overcome. Here are a few tips I've learned along the way:
1. Know your material
When you are preparing to perform, learn your material inside and out. Site reading is a great skill, but it is usually not something you want to rely on when performing. If possible, memorize your piece so that instead of focusing on notes you can focus on other aspects of making great music. When memorization is too difficult, or time does not allow for such preparation, bring sheet music--but don't use it as a crutch. It is common for nervous performers to lose their place. If you know the material well, you should be able to find your place again without anyone knowing the difference.
When you are practicing, you will develop muscle memory so that even if your attention strays or your anxiety takes over during a performance, your hands will know what to do. Begin learning a new piece by playing it slowly. Each time you make a mistake, repeat that passage of music correctly several times so that your hands learn what they should do. Then gradually speed up the tempo, still repeating sections of music when you make mistakes. When you have worked up to full playing speed, practice with a steady beat as if you are performing (you may wish to do this with a metronome). Even if you make a mistake, keep going and stay with the beat. Alternate these practice methods as needed. It also helps to practice the song exactly as you will perform it. If it has an introduction, play the introduction before beginning the song. If it has repeats, take the repeats every time. If you will be playing multiple verses during your performance, play these verses every time you play the song.
2. Visit your venue
If possible, visit the venue where you will be playing, and practice on the same instrument you will be performing on. Find out how large the audience will be and how the program will proceed. Learn as much as you can about every circumstance surrounding your performance so you aren't thrown off balance by a last minute surprise.
3. Visualize your performance
Picture your audience while practicing. If you will be accompanying other instruments or singers, try to imagine the sounds you will be hearing while you play. Sometimes just the thought of being in front of an audience will cause you to feel some of the anxiety you will actually feel on stage. If you can play a song well while picturing your audience, you're on your way to a better performance. It also helps to picture the applause you will receive afterwards.
4. Know yourself
When selecting a song to perform, choose one that isn't too difficult to play under pressure. Avoid pieces that are on the very edge of your playing ability unless you have adequate time (weeks or months) to prepare.
5. Embrace imperfection
No one plays perfectly all the time. Not professionals, not music geniuses, not you. It can't be done. But, it is possible to cover most mistakes by keeping a steady beat. If you set perfection as your goal and accept nothing less, you will be a very frustrated and unhappy musician. But if you embrace imperfection and learn to work with it, your performances will improve. I recently heard a professional piano player admit -- can you believe it? -- that he sometimes makes mistakes. One of his strategies for recovering from a mistake was to play the rest of the song while making the same mistake on purpose, so people would think it was supposed to be played that way!
While practicing for a performance, I use a few techniques to throw off my balance and practice responding under pressure. I like to slide my music all the way to the left or right on the piano, so that I have to lean over and squint to see it (don't tell my eye doctor). When I am performing on an unfamiliar instrument, sometimes the music sits in a different place than I'm used to. With this technique, I'm ready for anything. I also like to increase the tempo to a very fast rate. If I'm going to perform a song at 100 beats per minute, I'll work up to 125 or more, just to see how I do under pressure. When I come back to the original tempo, psychologically it seems slower and easier.
During a recent performance, I began a song by playing the wrong notes. It wasn't a great start, but I was able to keep my cool and within a measure or two I was back in the right place. The rest of the song went well, and as I played I became more comfortable and more confident. By the time I was done, my initial mistakes were forgotten and the performance was well received.
6. Play for increasingly larger audiences
When it comes to overcoming stage fright, there's no substitute for experience. At first, you may just play for your music teacher or your family. As your confidence and skills develop, though, you should take every opportunity you can to play in front of others. Always have some music with you or a few pieces memorized, since you never know when you'll have a chance to play. It may help to explain to your impromptu audience that you are trying to gain experience playing in front of others. Just make sure you don't sell yourself short. Many poor performances begin with predictions of failure like, "I'm not very good, but I'm going to try to play anyway." A better approach is to simply tell people what you are going to play and play it. Let them judge your performance without disclaimers or excuses.
7. Practice and perform with a group
If you join a group of musicians, practices will give you an opportunity to become comfortable playing your instrument with others in an informal setting. If your group performs for audiences, you won't have to be alone on stage.
8. Believe in yourself
When the time comes to perform, be confident and give yourself permission to be amazing.
9. Stay focused
A performance is about you playing as well as you can, keeping the rhythm and expressing yourself. Don't let your thoughts move too far away from these tasks, particularly to your audience and what they might be thinking. You can worry about the audience later. Right now, it's time to play.
10. Find your inner performer
This may sound like a new age Zen concept, but it's not as ethereal as it sounds. In acting it's called "getting into character," in sports it's called "being in the zone." To find your inner performer, think back to a time in your life when you felt great, absolutely on fire. Perhaps it was when you were falling in love, graduating, getting a promotion, or being complimented by a friend or loved one. Maybe you'll want to think of a great vacation, a previous successful performance or the memory of a perfect day. How did you feel at that moment? Motivated? Happy? Fulfilled? When you're getting ready to walk out on stage, think of that memory and the emotions you felt. Focusing on something overwhelmingly positive will help you overcome fears and inhibitions and perform at a higher level.
Once again your heart is pounding, your thoughts are racing, and adrenaline is flowing. But this time, you're in control. You are expressing the passion that you feel for your music. Notes are flowing effortlessly and your preparation is paying off. A wrong note here, a mistake there--easily recovered from, easily overcome and noticed by no one. You conclude your performance with a flourish and smile in the moment of silence between your fading notes and the applause you are about to receive. Stand up and take a bow. You deserve it.
Stage fright, also known as performance anxiety, is something musicians, actors and actresses, athletes and public speakers all must face. When I began playing the piano as an adult, I had dreams of concert halls and television gigs, albums and record deals. I worked hard to develop my skills, but could barely get through a song for my piano teacher, much less a large audience. Even playing for my own family was a challenge, especially when they were trying to sing along.
Over the past several years, I've worked hard to improve my performances and conquer fear. Above my piano at home, I have a sign that says "Feel the fear and do it anyway." For me, it's a reminder that performance anxiety is a reality of life but can be overcome. Here are a few tips I've learned along the way:
1. Know your material
When you are preparing to perform, learn your material inside and out. Site reading is a great skill, but it is usually not something you want to rely on when performing. If possible, memorize your piece so that instead of focusing on notes you can focus on other aspects of making great music. When memorization is too difficult, or time does not allow for such preparation, bring sheet music--but don't use it as a crutch. It is common for nervous performers to lose their place. If you know the material well, you should be able to find your place again without anyone knowing the difference.
When you are practicing, you will develop muscle memory so that even if your attention strays or your anxiety takes over during a performance, your hands will know what to do. Begin learning a new piece by playing it slowly. Each time you make a mistake, repeat that passage of music correctly several times so that your hands learn what they should do. Then gradually speed up the tempo, still repeating sections of music when you make mistakes. When you have worked up to full playing speed, practice with a steady beat as if you are performing (you may wish to do this with a metronome). Even if you make a mistake, keep going and stay with the beat. Alternate these practice methods as needed. It also helps to practice the song exactly as you will perform it. If it has an introduction, play the introduction before beginning the song. If it has repeats, take the repeats every time. If you will be playing multiple verses during your performance, play these verses every time you play the song.
2. Visit your venue
If possible, visit the venue where you will be playing, and practice on the same instrument you will be performing on. Find out how large the audience will be and how the program will proceed. Learn as much as you can about every circumstance surrounding your performance so you aren't thrown off balance by a last minute surprise.
3. Visualize your performance
Picture your audience while practicing. If you will be accompanying other instruments or singers, try to imagine the sounds you will be hearing while you play. Sometimes just the thought of being in front of an audience will cause you to feel some of the anxiety you will actually feel on stage. If you can play a song well while picturing your audience, you're on your way to a better performance. It also helps to picture the applause you will receive afterwards.
4. Know yourself
When selecting a song to perform, choose one that isn't too difficult to play under pressure. Avoid pieces that are on the very edge of your playing ability unless you have adequate time (weeks or months) to prepare.
5. Embrace imperfection
No one plays perfectly all the time. Not professionals, not music geniuses, not you. It can't be done. But, it is possible to cover most mistakes by keeping a steady beat. If you set perfection as your goal and accept nothing less, you will be a very frustrated and unhappy musician. But if you embrace imperfection and learn to work with it, your performances will improve. I recently heard a professional piano player admit -- can you believe it? -- that he sometimes makes mistakes. One of his strategies for recovering from a mistake was to play the rest of the song while making the same mistake on purpose, so people would think it was supposed to be played that way!
While practicing for a performance, I use a few techniques to throw off my balance and practice responding under pressure. I like to slide my music all the way to the left or right on the piano, so that I have to lean over and squint to see it (don't tell my eye doctor). When I am performing on an unfamiliar instrument, sometimes the music sits in a different place than I'm used to. With this technique, I'm ready for anything. I also like to increase the tempo to a very fast rate. If I'm going to perform a song at 100 beats per minute, I'll work up to 125 or more, just to see how I do under pressure. When I come back to the original tempo, psychologically it seems slower and easier.
During a recent performance, I began a song by playing the wrong notes. It wasn't a great start, but I was able to keep my cool and within a measure or two I was back in the right place. The rest of the song went well, and as I played I became more comfortable and more confident. By the time I was done, my initial mistakes were forgotten and the performance was well received.
6. Play for increasingly larger audiences
When it comes to overcoming stage fright, there's no substitute for experience. At first, you may just play for your music teacher or your family. As your confidence and skills develop, though, you should take every opportunity you can to play in front of others. Always have some music with you or a few pieces memorized, since you never know when you'll have a chance to play. It may help to explain to your impromptu audience that you are trying to gain experience playing in front of others. Just make sure you don't sell yourself short. Many poor performances begin with predictions of failure like, "I'm not very good, but I'm going to try to play anyway." A better approach is to simply tell people what you are going to play and play it. Let them judge your performance without disclaimers or excuses.
7. Practice and perform with a group
If you join a group of musicians, practices will give you an opportunity to become comfortable playing your instrument with others in an informal setting. If your group performs for audiences, you won't have to be alone on stage.
8. Believe in yourself
When the time comes to perform, be confident and give yourself permission to be amazing.
9. Stay focused
A performance is about you playing as well as you can, keeping the rhythm and expressing yourself. Don't let your thoughts move too far away from these tasks, particularly to your audience and what they might be thinking. You can worry about the audience later. Right now, it's time to play.
10. Find your inner performer
This may sound like a new age Zen concept, but it's not as ethereal as it sounds. In acting it's called "getting into character," in sports it's called "being in the zone." To find your inner performer, think back to a time in your life when you felt great, absolutely on fire. Perhaps it was when you were falling in love, graduating, getting a promotion, or being complimented by a friend or loved one. Maybe you'll want to think of a great vacation, a previous successful performance or the memory of a perfect day. How did you feel at that moment? Motivated? Happy? Fulfilled? When you're getting ready to walk out on stage, think of that memory and the emotions you felt. Focusing on something overwhelmingly positive will help you overcome fears and inhibitions and perform at a higher level.
Once again your heart is pounding, your thoughts are racing, and adrenaline is flowing. But this time, you're in control. You are expressing the passion that you feel for your music. Notes are flowing effortlessly and your preparation is paying off. A wrong note here, a mistake there--easily recovered from, easily overcome and noticed by no one. You conclude your performance with a flourish and smile in the moment of silence between your fading notes and the applause you are about to receive. Stand up and take a bow. You deserve it.
Friday, January 9, 2009
The Art and Craft of Songwriting
Good songwriting, like good writing or sculpting, requires a combination of head and heart, knowledge and instinct, art and craft. If you dream of writing songs but don't play a musical instrument, learning one is a great place to start. The piano and guitar are both popular choices, because they allow melodies and harmonies to be played simultaneously. It is possible to write songs without being able to play an instrument--vocalists, for example, sometimes sing melodies into a tape recorder--but the ability to play your music brings it to life and makes it easier to share with others. If you have some knowledge of how to notate melodies and chords, that will benefit you as well. There's nothing worse than having a great idea and not being able to write it down before it's forgotten.
In music, there isn't a set of absolute rules to follow, like in some mathematic or scientific disciplines. But just as novels are expected to be divided into chapters, paragraphs and sentences, songs follow expected patterns of logic and form. Classical forms include sonatas, concertos, rondos and symphonies. You may have heard of the "twelve bar blues," a more contemporary form that is almost ubiquitous in blues music and has made its way into some rock songs as well. Popular music follows forms that include verses, choruses, and bridges. Each verse is sung to one tune, but the words change with each repetition. Choruses repeat the same music and words, and should be the most memorable part of a song. Bridges give listeners a break from repeating patterns and often introduce new themes, chords or keys. At the end of a bridge, when the verse or chorus returns, there should be a feeling of familiarity, as if the song has come back home.
Songs combine melody, rhythm, harmony and lyrics. Melody is the part of a song that sticks in your head. Writing a catchy melody is one of the most difficult aspects of songwriting to codify. But you've been listening to songs all your life and know a good tune when you hear one, so let your ear be your guide. Sometimes a good melody will come to you in a moment of inspiration, but more often melody is a product of craft, along with trial and error. When you think you've created a good melody, share it with others and get their feedback. You don't have to take their advice or criticism (it's your song, after all), but you may gain some useful insights. Occasionally, you may find yourself subconsciously "borrowing" from a song you haven't heard for a while. If you find yourself writing songs that sound very similar to existing music, you may want to take a step back and try a different approach. Unfortunately, there isn't a foolproof way to avoid this, but rest assured there are plenty of great songs out there that haven't been written yet.
Rhythm is the part of a song that you tap your foot or dance to. A "signature" rhythm is often recognizable even in the absence of pitch changes. For example, the fanfare opening of Mendelssohn's "Wedding March" includes a single repeated pitch, but has such a familiar rhythm that it is instantly recognizable. Several styles of music such as reggae, Latin music and ragtime are distinguishable by their rhythms alone. The swing era of the 1930's and 1940's was named after the syncopated rhythm that dominated the music scene at the time, and the familiar "beat/back beat" rhythm of rock and roll has been the driving force behind many popular songs for nearly 50 years. A songwriter needs a through knowledge of common rhythms in the genre of music he or she wants to write. A good rule of thumb is to keep a steady underlying beat but introduce variety and "fills" (embellished rhythms at the end of a musical phrase) throughout a song to make the rhythm more interesting.
If melody is like a scoop of vanilla ice cream, then harmony is the sundae topping that adds color, flavor, texture and variety. A familiar song like "Twinkle, Twinkle, Little Star" can be drastically altered when played with different chords. Typically harmonized with happy-sounding major chords, minor chords make the song sound sad and serious. Major 7th chords give the song a more sophisticated, contemporary feel while dominant 7th or diminished chords make it sound dissonant and unresolved. Harmony is one of the most easily codified aspects of songwriting, and should be studied thoroughly by every aspiring songwriter.
Song lyrics typically rhyme in popular genres and tell a story or convey an emotion (or both). A good lyric might be "It was a hot day in July when she walked by." A better lyric might be, "Standing on the blacktop in the middle of July, I was frozen by the beauty of her face when she walked by." The second line may be a little corny (it's the best I could come up with on short notice), but the point is that a good lyric should paint a picture for the listener. Also, the title of a song should be obvious from its lyrics. In many popular songs, the title is featured at the beginning or end of the chorus and is sometimes repeated for emphasis.
Remember that lyrics aren't the only part of a song that express a message. The music you write says something as well. Music and lyrics should go together like birds of a feather (sorry, still in corny lyric mode). For example, if your song is an upbeat piece about new love, the music should be upbeat too, unless you are trying to convey a sense of irony (e.g., writing words about the apocalypse and setting them to a happy tune). If your song uses the word "high" or "up," the melody should go up too. This is called prosody. Great songs feature lyrics that fit so well with the music you couldn't imagine them being sung to any other tune.
Inspiration for songs can come from a variety of sources. The best songs I've written are based on past personal experiences, generalized so that others can relate to them too. Old photo albums and scrapbooks are a great place to start looking for ideas. Sometimes, I visit places that bring back memories: houses I used to live in, schools I used to go to, the place where I proposed to my wife, etc. Sometimes an idea for a song comes to me in random places, like the grocery store. Or a smell reminds me of grandma's house and inspires me to write a nostalgic tune. Sometimes going to a concert gives me the extra boost of inspiration I need to finish a piece.
There really isn't a right or wrong way to write a song, as long as the desired results are achieved. One songwriting approach is to write the lyrics to a song, including verses, chorus, bridge, etc. and then add music to it. Another approach is to write music first and then add lyrics. Some songwriters prefer to write melodies first and harmonies second, while others start with harmonies. Some songwriters write a chorus and then add verses, while others start with verses. To ensure musical variety, songwriters may experiment with all of the approaches above and even try some of their own invention. Another good way to ensure songwriting variety is to co-write a song with another musician or lyricist.
When I write songs, I often begin by improvising at the piano, experimenting with different melodies, harmonies and rhythms. When I find a theme that seems catchy and memorable, I record it on a midi keyboard and/or write it down on sheet music paper. If I can still remember it the next day without listening to my recording or looking at my sheet music scribblings, I might be on to something. I then take that theme and manipulate it in a variety of ways. Depending on its length, I may extend it or shorten it. I may repeat it, sometimes in a different octave. Then I may vary it--perhaps playing the notes in the theme backward, out of order, with different rhythms, or with added notes. I may play the theme in a minor key instead of a major key, or harmonize it with different chords. I can then add additional--sometimes contrasting--themes and/or write a bridge, add an introduction and conclusion and organize the song into a recognizable form.
It can sometimes be difficult to know when a song is finally "finished." When I am writing a song, I try to convey a particular emotion. I know a song is complete when I feel that emotion while playing or singing it. At this point the song is "done" but still may need revision. Some professional songwriters go through 7 revisions or more before submitting a completed song. This may sound painful, but if a song gets better with each revision then the effort is worthwhile. When I am done with a song, I want to be glad to call it my own and I'd like to be able to say with pride, years from now, that I wrote it.
I wrote my first tunes to share with family and friends, and in the process discovered which styles, instruments and genres I enjoyed. I also found techniques and tools that made the writing process easier for me. While these initial attempts certainly won't become hits, writing them was a valuable learning experience. With each new song, I get a little better and learn a little more. I try to write every day, and am ready to capture new ideas whenever I have them. Some days I sit at the piano for hours struggling to come up with anything at all; other days I only have 5 minutes to write and inspiration hits like a bolt of lightning. The most important thing is to keep trying.
Songwriting can be a challenging and rewarding undertaking. If you have a desire to create music, either as a hobbyist or professional, the best way to learn is to start writing songs today.
In music, there isn't a set of absolute rules to follow, like in some mathematic or scientific disciplines. But just as novels are expected to be divided into chapters, paragraphs and sentences, songs follow expected patterns of logic and form. Classical forms include sonatas, concertos, rondos and symphonies. You may have heard of the "twelve bar blues," a more contemporary form that is almost ubiquitous in blues music and has made its way into some rock songs as well. Popular music follows forms that include verses, choruses, and bridges. Each verse is sung to one tune, but the words change with each repetition. Choruses repeat the same music and words, and should be the most memorable part of a song. Bridges give listeners a break from repeating patterns and often introduce new themes, chords or keys. At the end of a bridge, when the verse or chorus returns, there should be a feeling of familiarity, as if the song has come back home.
Songs combine melody, rhythm, harmony and lyrics. Melody is the part of a song that sticks in your head. Writing a catchy melody is one of the most difficult aspects of songwriting to codify. But you've been listening to songs all your life and know a good tune when you hear one, so let your ear be your guide. Sometimes a good melody will come to you in a moment of inspiration, but more often melody is a product of craft, along with trial and error. When you think you've created a good melody, share it with others and get their feedback. You don't have to take their advice or criticism (it's your song, after all), but you may gain some useful insights. Occasionally, you may find yourself subconsciously "borrowing" from a song you haven't heard for a while. If you find yourself writing songs that sound very similar to existing music, you may want to take a step back and try a different approach. Unfortunately, there isn't a foolproof way to avoid this, but rest assured there are plenty of great songs out there that haven't been written yet.
Rhythm is the part of a song that you tap your foot or dance to. A "signature" rhythm is often recognizable even in the absence of pitch changes. For example, the fanfare opening of Mendelssohn's "Wedding March" includes a single repeated pitch, but has such a familiar rhythm that it is instantly recognizable. Several styles of music such as reggae, Latin music and ragtime are distinguishable by their rhythms alone. The swing era of the 1930's and 1940's was named after the syncopated rhythm that dominated the music scene at the time, and the familiar "beat/back beat" rhythm of rock and roll has been the driving force behind many popular songs for nearly 50 years. A songwriter needs a through knowledge of common rhythms in the genre of music he or she wants to write. A good rule of thumb is to keep a steady underlying beat but introduce variety and "fills" (embellished rhythms at the end of a musical phrase) throughout a song to make the rhythm more interesting.
If melody is like a scoop of vanilla ice cream, then harmony is the sundae topping that adds color, flavor, texture and variety. A familiar song like "Twinkle, Twinkle, Little Star" can be drastically altered when played with different chords. Typically harmonized with happy-sounding major chords, minor chords make the song sound sad and serious. Major 7th chords give the song a more sophisticated, contemporary feel while dominant 7th or diminished chords make it sound dissonant and unresolved. Harmony is one of the most easily codified aspects of songwriting, and should be studied thoroughly by every aspiring songwriter.
Song lyrics typically rhyme in popular genres and tell a story or convey an emotion (or both). A good lyric might be "It was a hot day in July when she walked by." A better lyric might be, "Standing on the blacktop in the middle of July, I was frozen by the beauty of her face when she walked by." The second line may be a little corny (it's the best I could come up with on short notice), but the point is that a good lyric should paint a picture for the listener. Also, the title of a song should be obvious from its lyrics. In many popular songs, the title is featured at the beginning or end of the chorus and is sometimes repeated for emphasis.
Remember that lyrics aren't the only part of a song that express a message. The music you write says something as well. Music and lyrics should go together like birds of a feather (sorry, still in corny lyric mode). For example, if your song is an upbeat piece about new love, the music should be upbeat too, unless you are trying to convey a sense of irony (e.g., writing words about the apocalypse and setting them to a happy tune). If your song uses the word "high" or "up," the melody should go up too. This is called prosody. Great songs feature lyrics that fit so well with the music you couldn't imagine them being sung to any other tune.
Inspiration for songs can come from a variety of sources. The best songs I've written are based on past personal experiences, generalized so that others can relate to them too. Old photo albums and scrapbooks are a great place to start looking for ideas. Sometimes, I visit places that bring back memories: houses I used to live in, schools I used to go to, the place where I proposed to my wife, etc. Sometimes an idea for a song comes to me in random places, like the grocery store. Or a smell reminds me of grandma's house and inspires me to write a nostalgic tune. Sometimes going to a concert gives me the extra boost of inspiration I need to finish a piece.
There really isn't a right or wrong way to write a song, as long as the desired results are achieved. One songwriting approach is to write the lyrics to a song, including verses, chorus, bridge, etc. and then add music to it. Another approach is to write music first and then add lyrics. Some songwriters prefer to write melodies first and harmonies second, while others start with harmonies. Some songwriters write a chorus and then add verses, while others start with verses. To ensure musical variety, songwriters may experiment with all of the approaches above and even try some of their own invention. Another good way to ensure songwriting variety is to co-write a song with another musician or lyricist.
When I write songs, I often begin by improvising at the piano, experimenting with different melodies, harmonies and rhythms. When I find a theme that seems catchy and memorable, I record it on a midi keyboard and/or write it down on sheet music paper. If I can still remember it the next day without listening to my recording or looking at my sheet music scribblings, I might be on to something. I then take that theme and manipulate it in a variety of ways. Depending on its length, I may extend it or shorten it. I may repeat it, sometimes in a different octave. Then I may vary it--perhaps playing the notes in the theme backward, out of order, with different rhythms, or with added notes. I may play the theme in a minor key instead of a major key, or harmonize it with different chords. I can then add additional--sometimes contrasting--themes and/or write a bridge, add an introduction and conclusion and organize the song into a recognizable form.
It can sometimes be difficult to know when a song is finally "finished." When I am writing a song, I try to convey a particular emotion. I know a song is complete when I feel that emotion while playing or singing it. At this point the song is "done" but still may need revision. Some professional songwriters go through 7 revisions or more before submitting a completed song. This may sound painful, but if a song gets better with each revision then the effort is worthwhile. When I am done with a song, I want to be glad to call it my own and I'd like to be able to say with pride, years from now, that I wrote it.
I wrote my first tunes to share with family and friends, and in the process discovered which styles, instruments and genres I enjoyed. I also found techniques and tools that made the writing process easier for me. While these initial attempts certainly won't become hits, writing them was a valuable learning experience. With each new song, I get a little better and learn a little more. I try to write every day, and am ready to capture new ideas whenever I have them. Some days I sit at the piano for hours struggling to come up with anything at all; other days I only have 5 minutes to write and inspiration hits like a bolt of lightning. The most important thing is to keep trying.
Songwriting can be a challenging and rewarding undertaking. If you have a desire to create music, either as a hobbyist or professional, the best way to learn is to start writing songs today.
Tuesday, January 6, 2009
It's Never Too Late to Play
When I started playing the piano at the age of 26, a well-meaning friend who had taken music lessons from the tender age of 3 told me, "You'll always play piano with an accent." That was five years ago. I have since developed my piano skills and am now composing my own works for a solo piano album. I have played for family, church and singing groups. I have also learned to play the guitar, bass, and drums and am taking voice lessons. I don't consider myself a musical genius by any stretch of the imagination, but I don't think I "play with an accent" either. Music is a skill, and anyone willing to invest the time and effort required to gain that skill can become a musician at any age. Here are a few tips for the adventurous adult who wants to learn to play an instrument:
1. Find a good teacher
When I started to play the piano, I almost had myself convinced that I didn't need a teacher at all. Fortunately, my 7-year-old daughter started taking piano lessons at about this time, and when I saw how well she was playing after only a few lessons I asked her teacher if she would teach me as well. My playing dramatically improved when I started taking lessons, and I would not be the musician I am today without the foundation my teacher helped me to build. I have since learned other instruments on my own, but I think it is especially important for someone with a limited musical background to be guided by an experienced teacher when learning a first instrument.
Even for an adult, learning to play a new instrument can feel a little like going back to school. So when selecting a teacher, it's important to look for someone who cares about your goals and can help you achieve them without being condescending or critical when you make mistakes. As an adult music student, I consider myself a paying customer and am not afraid to speak up or find a different teacher if my needs aren't being met.
2. Make time
Most adults have many responsibilities, but they make time for things that really matter to them. When an adult says, "I don't really have time to learn an instrument," he or she is usually saying, "I don't consider music important enough and have chosen to do other things with my time." As an adult music student, you may not be able to practice every single day. But if music matters to you, then you'll make time for it.
3. Play music you love
It's okay to start out with a simple book that teaches the basics of note reading, but you should start playing songs you love as soon as you possibly can. Most adults need more than "Twinkle, Twinkle Little Star" and "This Old Man" to get them excited about music. Church hymns and Christmas songs often make great pieces for adult beginners, since they are familiar and enjoyable and often simple to learn. As you gain experience, you can branch out and play more complicated songs. You will be much more likely to enjoy the time you spend practicing if you love the music you are learning to play.
4. Be patient
Rome wasn't built in a day! Don't worry if your progress is slow: good things take time. As an adult music student, you may compare yourself to other adults who have played for years. I used to think that to be a good pianist, I needed the ability to site read any piece of music. I have since realized that site reading is only one of many skills a musician possesses, and I have found that I can play at a much higher skill level when I practice a piece thoroughly.
5. Understand that one size doesn't fit all
There are many styles of music--classical, jazz, rock, pop, new age, etc--and every music student learns differently. Some styles require exceptional note reading skills, and some do not. Unfortunately, many music teachers use a "one size fits all" approach to teaching. The best teachers will find ways to blend your particular musical interests and learning styles into a custom curriculum that works for you.
When I started playing the guitar, I discovered that the symbols above the melody line of a piece of sheet music (symbols like Cmaj7, D, and Gm) found in so many music books and "fake books" were simply chords that could be played on the piano as well as the guitar (and a variety of other instruments). So I learned to play chords on the piano, and almost immediately improved my playing abilities. I no longer had to read the bass clef and was free to focus on the melody in my right hand while playing chords in a variety of ways with my left hand. This opened up a whole world of songs that I could now play.
When playing piano chords, sometimes I play the chords as a block (all notes at once), and other times I arpeggiate them (play each note of a chord individually). Sometimes I play chord inversions (mixing up the order of notes in a chord), and sometimes I play chords using a "glissando" (an arpeggiated chord played quickly from the lowest note to the highest to produce a harp-like sound). All of these techniques allow me to produce great sounding music, often with even more variety and interest than sheet music arrangements. I also find that I use much more of the piano while playing in this style, moving up to the highest notes and down to the lower notes with greater ease. I still read the bass clef when I want to, but it's nice to have options.
6. Study music theory
One of the best reasons to learn to play an instrument as an adult is that you can more easily understand music theory. A friend of mine is a talented pianist who took a college music class and said she learned more in 1 semester as an adult than she had in 3 years as a child, thanks in large part to her improved ability to understand music theory. Music theory is everything that makes music possible--from notation to instrumentation to tuning--and can provide adults with a better understanding of what they are playing and why. Music theory can give you much more than trivia: it will directly benefit your playing! When I began learning chords, progressions and scales, I was better able to identify patterns in the songs I was playing. This allowed me to learn more quickly and retain more of what I was learning.
7. Improvise
Improvisation can be one of the most enjoyable aspects of music. My improvisations initially sounded awful, but when I started applying the chords and scales I had learned from my study of music theory I was able to create more musical sounds. One improvisation technique I used was to choose a chord progression (like C,F, and G) and play notes from the C Major scale over the progression. This worked best when I used the 1st and 5th tones of the left-hand chord (avoiding the 3rd) because the 1st and 5th tones of a scale blend well with every scale tone.
8. Write songs
When learning a foreign language, students typically focus on reading, speaking, writing, and listening. In music, far too many teachers and music students focus only on reading and playing (the musical equivalent of speaking). Writing (composing) is rarely taught before a student reaches collegiate levels. This is unfortunate, because songwriting (with or without lyrics) can be one of the most creative and fulfilling aspects of music.
I often "find" themes while improvising and either record them or jot down notes on sheet music paper. Then I develop the theme into a longer song by repeating it, modifying it, adding additional themes, an introduction, a conclusion, and a bridge. It helps if I know what emotion I am trying to portray or what story I am trying to tell in a song.
9. Don't let performance anxiety hold you back
I find that playing the piano is a great way to relieve stress. This changes, however, when I try to play in front of others. Suddenly, the piano can become a source of stress and my mind, too often, goes into panic mode as the notes in front of me blur into useless markings.
During the past 5 years I have worked diligently to overcome my fear of performing. The most important step I took was to decide what my goals were. Did I want to play for myself, family and friends? Church groups? Concert audiences? On television? Once I decided my piano performance goals, I created a plan and found opportunities to play in a variety of different settings. It has been a slow journey, but I have successfully played for groups as large as 80 people. If this isn't your idea of fun, don't worry. You can set a goal to play only for yourself, and it can be a very fulfilling experience.
10. Build muscle memory and memory muscles
Learning to play any instrument involves both mental and physical learning. The more you play an instrument, the easier it will be for your muscles to move reliably from one note to another. The more your mind and body know about music, the easier it will be for you to learn new songs. For most people, learning to play a song one specific way will help muscles learn the necessary movements. All of this comes with time and guided practice.
11. Have fun
As adults, we spend so many of our waking ours working. Why not learn a musical instrument and spend a few of them playing? It has been a richly rewarding experience for me, and I recommend that anyone who wants to play a musical instrument, young or old, begin the journey today.
1. Find a good teacher
When I started to play the piano, I almost had myself convinced that I didn't need a teacher at all. Fortunately, my 7-year-old daughter started taking piano lessons at about this time, and when I saw how well she was playing after only a few lessons I asked her teacher if she would teach me as well. My playing dramatically improved when I started taking lessons, and I would not be the musician I am today without the foundation my teacher helped me to build. I have since learned other instruments on my own, but I think it is especially important for someone with a limited musical background to be guided by an experienced teacher when learning a first instrument.
Even for an adult, learning to play a new instrument can feel a little like going back to school. So when selecting a teacher, it's important to look for someone who cares about your goals and can help you achieve them without being condescending or critical when you make mistakes. As an adult music student, I consider myself a paying customer and am not afraid to speak up or find a different teacher if my needs aren't being met.
2. Make time
Most adults have many responsibilities, but they make time for things that really matter to them. When an adult says, "I don't really have time to learn an instrument," he or she is usually saying, "I don't consider music important enough and have chosen to do other things with my time." As an adult music student, you may not be able to practice every single day. But if music matters to you, then you'll make time for it.
3. Play music you love
It's okay to start out with a simple book that teaches the basics of note reading, but you should start playing songs you love as soon as you possibly can. Most adults need more than "Twinkle, Twinkle Little Star" and "This Old Man" to get them excited about music. Church hymns and Christmas songs often make great pieces for adult beginners, since they are familiar and enjoyable and often simple to learn. As you gain experience, you can branch out and play more complicated songs. You will be much more likely to enjoy the time you spend practicing if you love the music you are learning to play.
4. Be patient
Rome wasn't built in a day! Don't worry if your progress is slow: good things take time. As an adult music student, you may compare yourself to other adults who have played for years. I used to think that to be a good pianist, I needed the ability to site read any piece of music. I have since realized that site reading is only one of many skills a musician possesses, and I have found that I can play at a much higher skill level when I practice a piece thoroughly.
5. Understand that one size doesn't fit all
There are many styles of music--classical, jazz, rock, pop, new age, etc--and every music student learns differently. Some styles require exceptional note reading skills, and some do not. Unfortunately, many music teachers use a "one size fits all" approach to teaching. The best teachers will find ways to blend your particular musical interests and learning styles into a custom curriculum that works for you.
When I started playing the guitar, I discovered that the symbols above the melody line of a piece of sheet music (symbols like Cmaj7, D, and Gm) found in so many music books and "fake books" were simply chords that could be played on the piano as well as the guitar (and a variety of other instruments). So I learned to play chords on the piano, and almost immediately improved my playing abilities. I no longer had to read the bass clef and was free to focus on the melody in my right hand while playing chords in a variety of ways with my left hand. This opened up a whole world of songs that I could now play.
When playing piano chords, sometimes I play the chords as a block (all notes at once), and other times I arpeggiate them (play each note of a chord individually). Sometimes I play chord inversions (mixing up the order of notes in a chord), and sometimes I play chords using a "glissando" (an arpeggiated chord played quickly from the lowest note to the highest to produce a harp-like sound). All of these techniques allow me to produce great sounding music, often with even more variety and interest than sheet music arrangements. I also find that I use much more of the piano while playing in this style, moving up to the highest notes and down to the lower notes with greater ease. I still read the bass clef when I want to, but it's nice to have options.
6. Study music theory
One of the best reasons to learn to play an instrument as an adult is that you can more easily understand music theory. A friend of mine is a talented pianist who took a college music class and said she learned more in 1 semester as an adult than she had in 3 years as a child, thanks in large part to her improved ability to understand music theory. Music theory is everything that makes music possible--from notation to instrumentation to tuning--and can provide adults with a better understanding of what they are playing and why. Music theory can give you much more than trivia: it will directly benefit your playing! When I began learning chords, progressions and scales, I was better able to identify patterns in the songs I was playing. This allowed me to learn more quickly and retain more of what I was learning.
7. Improvise
Improvisation can be one of the most enjoyable aspects of music. My improvisations initially sounded awful, but when I started applying the chords and scales I had learned from my study of music theory I was able to create more musical sounds. One improvisation technique I used was to choose a chord progression (like C,F, and G) and play notes from the C Major scale over the progression. This worked best when I used the 1st and 5th tones of the left-hand chord (avoiding the 3rd) because the 1st and 5th tones of a scale blend well with every scale tone.
8. Write songs
When learning a foreign language, students typically focus on reading, speaking, writing, and listening. In music, far too many teachers and music students focus only on reading and playing (the musical equivalent of speaking). Writing (composing) is rarely taught before a student reaches collegiate levels. This is unfortunate, because songwriting (with or without lyrics) can be one of the most creative and fulfilling aspects of music.
I often "find" themes while improvising and either record them or jot down notes on sheet music paper. Then I develop the theme into a longer song by repeating it, modifying it, adding additional themes, an introduction, a conclusion, and a bridge. It helps if I know what emotion I am trying to portray or what story I am trying to tell in a song.
9. Don't let performance anxiety hold you back
I find that playing the piano is a great way to relieve stress. This changes, however, when I try to play in front of others. Suddenly, the piano can become a source of stress and my mind, too often, goes into panic mode as the notes in front of me blur into useless markings.
During the past 5 years I have worked diligently to overcome my fear of performing. The most important step I took was to decide what my goals were. Did I want to play for myself, family and friends? Church groups? Concert audiences? On television? Once I decided my piano performance goals, I created a plan and found opportunities to play in a variety of different settings. It has been a slow journey, but I have successfully played for groups as large as 80 people. If this isn't your idea of fun, don't worry. You can set a goal to play only for yourself, and it can be a very fulfilling experience.
10. Build muscle memory and memory muscles
Learning to play any instrument involves both mental and physical learning. The more you play an instrument, the easier it will be for your muscles to move reliably from one note to another. The more your mind and body know about music, the easier it will be for you to learn new songs. For most people, learning to play a song one specific way will help muscles learn the necessary movements. All of this comes with time and guided practice.
11. Have fun
As adults, we spend so many of our waking ours working. Why not learn a musical instrument and spend a few of them playing? It has been a richly rewarding experience for me, and I recommend that anyone who wants to play a musical instrument, young or old, begin the journey today.
Saturday, January 3, 2009
Gerry's Guide to Classical Music
Are you a closet classical music lover? Do you mentally run through the opening theme of Beethoven's 5th while pretending to listen to Puff Daddy or Avril Lavigne? Do you quickly switch your MP3 player from Bach's St. Matthew Passion to Nickelback when someone asks you what you're listening to? No? Well, then you are missing out my friend. Here are a few tips for becoming a classical music lover without losing your social status or your lunch.
When you hear the term "classical music," what immediately comes to mind? High-brow symphony performances attended by people whose idea of a good time is starching their shirts? Music so boring you can't fathom how anyone managed to stay awake before the creation of rock & roll? 200-year-old wig wearing Germans with nothing better to do than write music that all sounds the same? Yes, there is a certain stigma associated with classical music that can be hard for the modern listener to get past, but a rich reward awaits those who are not afraid to make the attempt.
While some classical music can be a bit slow and long-winded, there are a lot of lively works too. Take, for example, Tchaikovsky's "1812 Overture," which features a nice, quiet, easy like Sunday morning percussion section consisting of cannons. That's right, I said cannons. When was the last time you heard Dr. Dre with a rhythm section like that? Then there are pieces like Flight of the Bumblebee, which features a tempo so fast it makes the Energizer Bunny on Espresso look like a three-toed sloth. Berlioz's "Symphony Fantastique" is a veritable roller coaster ride that features, according to the composer's program notes, an opium dream and a beheading. How about the first performance Stravinsky's "Rite of Spring," which caused a riot when it was premiered in 1913? These pieces, along with patriotic standards like "Stars and Stripes Forever" and just plain fun songs like Khachaturian's "Sabre Dance" prove that classical music doesn't have to be boring.
Sometimes it may feel to the modern listener like classical music was written by ancient composers who pre-dated the dinosaurs. Yes, much music in this style was written by people who thought "cool" referred to temperature and "rap" was something you did with a door knocker. But classical music is still being written today, and it is listened to by millions of people in those modern concert halls we call movie theaters. What would movies like "Pirates of the Caribbean," "Braveheart," "Last of the Mohicans," "Glory," and "Star Wars" be without their soundtracks? Ever since the days of silent movies, when shows were accompanied by theater organs, music has been an indispensable part of what has become the ultimate audio-visual experience. Nearly every movie today, even those using more contemporary scoring styles, includes an orchestra in at least part of its soundtrack. Movie music is today's classical music, and it's still a living, breathing artistic medium.
The classical music of the past was the foundation of the music we enjoy today. Even jazz and rock (and yes, sadly, muzak) owe their existence to the western music system made possible by musicians and theorists who lived as far back as the ancient Greeks. (Music existed long before then, too, and has been a part of every culture.) The music of the past is a mirror of the time in which it was created, and today serves as a window into the lives of people in past eras. But, ancient though it may be, it can still move us today. In fact, much classical music of the past has made its way into modern movies and television shows. Richard Strauss's "Also Sprach Zarathustra" is better known today as the theme for "2001: A Space Odyssey." Rossini's "William Tell Overture" became the Lone Ranger theme song, and Mouret's "Rondeau" is better known as the theme for Masterpiece Theatre. There's even the "Beef, It's What's for Dinner" campaign of the 1990's that featured Aaron Copland's "Rodeo." And of course, Pachelbel's Canon in D and Beethoven's 5th are as indispensable a part of our culture as Coca-Cola.
There was a time when you had to go to the concert hall to hear classical music. Thanks to recording technology, there are now so many classical works available that attempting to sort through them can a little overwhelming. To help you with this task, I will briefly discuss the different periods classical music is divided into. In many cases, songs from a particular era exhibit similar sounds, and if you like one song from one era you may wish to search for others from that same period:
-Medieval/Renaissance period: Prior to 1600. Notable composers: Josquin Des Prez, Jon Dunstable. Characterized by unaccompanied vocal music such as plainchants and madrigals.
-Baroque period: 1600 - 1750. Notable composers: Bach, Vivaldi, Handel. Style: Complex, ornate, controlled; often featured a harpsichord.
-Classical period: 1750 - about 1820: Notable composers: Haydn, Mozart, early Beethoven. Style: Melodic, balanced, uniform with consonant harmony; piano first became popular during this era.
-Romantic period: about 1820 through about 1900. Notable composers: Tchaikovsky, Mahler, Brahms, Chopin, Liszt, late Beethoven. Style: Lush, emotional, with an emphasis on personal artistic expression; often features more dissonant harmonies and musical "flavors" influenced by folk music of various nationalities.
-Modern period: about 1900 through the present. Notable composers: Stravinsky, Shostakovich, Copland, John Cage, John Williams, Hans Zimmer. Style: Varies widely from imitative to conservative to experimental.
Thanks to the Internet, it is very easy to find free classical music in various styles from various eras. Local radio stations, iTunes radio and Live365.com broadcast classical music over the Internet, and sites like Pandora and Last.FM allow personalized, interactive listening experiences. Digital music services like iTunes and Amazon provide short samples of pieces that can be listened to for free and purchased if desired. However, purchasing digital classical music can be challenging. In an era when point and click technology allows instant digital song purchases, you might suppose that every classical work would be available to you at any time for a buck a song. You would, in this supposition, be entirely mistaken. Services like iTunes and Amazon offer many, far too many, classical pieces as "album only" works. This means that if you want the 3rd movement of Beethoven's 5th Symphony, it's yours for the taking. But if you want the 1st, 2nd and 4th movements, you'll have to fork over $10 or more to purchase an entire album. Why, in an age when men have walked on the moon and cheese comes in a spray can, are individual classical pieces so difficult to acquire? It may be that the licensing agreements with music publishers are too restrictive, or it may be that classical songs are too long. It may even be that Steve Jobs' heart is two sizes too small. Whatever the reason, be prepared to be annoyed by the online classical music purchasing experience.
Any discussion about classical music would be incomplete without a few words about the names classical composers gave their works. Expressive, meaningful names like "Op. 65" and "Symphony No. 2 in D Major." Descriptive, artistically inspired names like "Piano Concerto #21 K647" and "Concerto Grosso Op. 6, No. 3 in C Minor." Don't they just roll off the tongue? Are you sensing the sarcasm? There were, I have no doubt, good reasons composers chose not to bestow more memorable names on their works, but it certainly can make things confusing for the modern listener. Yes, the occasional composer had the misfortune to have a piece nick-named (not always in accordance with his own wishes) something useful, like "Moonlight Sonata" or "Pathetique." But far too many otherwise excellent pieces are distinguished only by their music, not their names. Such pieces sometimes elude the grasp of casual music listeners, who cannot remember if they were searching for "Sonata for Piano No. 29 in B-Flat Major, Op. 106" or "Sonata for Piano No. 31 in A-Flat Major, Op. 110." If asked, I would be happy to provide better names for such works, but so far no one has taken me up on this offer. For now, you have the "opportunity" to search for the hidden treasures masked by such bland names as "Orchestral Suite #2 in B Minor, BWV 1067" and "Etude #12 in C Minor."
I am as confident as Johannes Brahms was when he came up with the perfect name for his memorable work "Violin Sonata No. 1, Op. 78" that you will find great enjoyment as you make classical music--past, present and future--a part of your life. To get you started on your quest for the ideal classical collection, I have provided a list of some familiar favorites and some less familiar--but no less spectacular--pieces. May the bewigged composers of times past smile upon you as you venture into new realms in search of that great classical valhalla in the sky.
Bach: Jesu, Joy of Man's Desiring; Toccata and Fugue in D Minor; Goldberg Variations; Brandenburg Concerto #3
Beethoven: 5th Symphony; 9th Symphony; Moonlight Sonata, Fur Elise
Johann Strauss, Jr.: Waltz on the Beautiful Blue Danube, Emperor Waltz, Roses from the South
Samuel Barber: Adagio for Strings
Mozart: Symphony No. 41 in C Major "Jupiter," Symphony No. 40 in G Minor, Eine Kleine Nactmusik, Overture to the Marriage of Figaro, Turkish March
Pachelbel: Canon in D
Tchaikovsky: Souvenir de Florence Op. 70 movement IV (Allegro Vivace); Piano Concerto in B Flat Minor; Nutcracker Suite
Ravel: Bolero
Smetana: Ma Vlast movement II (The Moldau Theme)
Dvorak: Slavonic Dance No. 1 Op. 46, Cello Concerto in B Minor
Copland: Fanfare for the Common Man, Rodeo - Four Dance Episodes movement IV (Hoedown)
Debussy: Claire de Lune
Brahms: Wiegenlied (Lullaby), Waltz in A Major
Chopin: Nocturne in C-Sharp Minor
Vivaldi: The Four Seasons
Vaughan Williams: Fantasia on a Theme by Thomas Tallis, Fantasia on Greensleeves
Rachmaninov: Variations on a theme by Paganini
Richard Strauss: Also Sprach Zarathustra
Telemann: Concerto for Trumpet (Adagio)
Wagner: Ride of the Valkyries
Bizet: Carmen, Habanera
Grieg: Peer Gynt, Morning; In the Hall of the Mountain King; Holberg Suite
Schubert: Ave Maria
Mahler: 1st Symphony, 2nd Symphony, 5th Symphony
Shostakovich: 5th Symphony
Lortzing: Zar Und Zimmermann
Liszt: Liebestraum
Handel: Messiah, Music for the Royal Fireworks
Glazunov: Poeme Lyrique
Sibelius: Finlandia
Puccinni: O Mio Babbino Caro from Gianni Schicchi
Mendelssohn: A Midsummer Night's Dream
Suppe: Leighte Kavallarie (Light Cavalry)
Boccherini: La Musica Notturna Delle Strade Di Madrid No. 6 Op. 30
Prokofiev: Romeo and Juliet movement XI: Dance of the Knights
When you hear the term "classical music," what immediately comes to mind? High-brow symphony performances attended by people whose idea of a good time is starching their shirts? Music so boring you can't fathom how anyone managed to stay awake before the creation of rock & roll? 200-year-old wig wearing Germans with nothing better to do than write music that all sounds the same? Yes, there is a certain stigma associated with classical music that can be hard for the modern listener to get past, but a rich reward awaits those who are not afraid to make the attempt.
While some classical music can be a bit slow and long-winded, there are a lot of lively works too. Take, for example, Tchaikovsky's "1812 Overture," which features a nice, quiet, easy like Sunday morning percussion section consisting of cannons. That's right, I said cannons. When was the last time you heard Dr. Dre with a rhythm section like that? Then there are pieces like Flight of the Bumblebee, which features a tempo so fast it makes the Energizer Bunny on Espresso look like a three-toed sloth. Berlioz's "Symphony Fantastique" is a veritable roller coaster ride that features, according to the composer's program notes, an opium dream and a beheading. How about the first performance Stravinsky's "Rite of Spring," which caused a riot when it was premiered in 1913? These pieces, along with patriotic standards like "Stars and Stripes Forever" and just plain fun songs like Khachaturian's "Sabre Dance" prove that classical music doesn't have to be boring.
Sometimes it may feel to the modern listener like classical music was written by ancient composers who pre-dated the dinosaurs. Yes, much music in this style was written by people who thought "cool" referred to temperature and "rap" was something you did with a door knocker. But classical music is still being written today, and it is listened to by millions of people in those modern concert halls we call movie theaters. What would movies like "Pirates of the Caribbean," "Braveheart," "Last of the Mohicans," "Glory," and "Star Wars" be without their soundtracks? Ever since the days of silent movies, when shows were accompanied by theater organs, music has been an indispensable part of what has become the ultimate audio-visual experience. Nearly every movie today, even those using more contemporary scoring styles, includes an orchestra in at least part of its soundtrack. Movie music is today's classical music, and it's still a living, breathing artistic medium.
The classical music of the past was the foundation of the music we enjoy today. Even jazz and rock (and yes, sadly, muzak) owe their existence to the western music system made possible by musicians and theorists who lived as far back as the ancient Greeks. (Music existed long before then, too, and has been a part of every culture.) The music of the past is a mirror of the time in which it was created, and today serves as a window into the lives of people in past eras. But, ancient though it may be, it can still move us today. In fact, much classical music of the past has made its way into modern movies and television shows. Richard Strauss's "Also Sprach Zarathustra" is better known today as the theme for "2001: A Space Odyssey." Rossini's "William Tell Overture" became the Lone Ranger theme song, and Mouret's "Rondeau" is better known as the theme for Masterpiece Theatre. There's even the "Beef, It's What's for Dinner" campaign of the 1990's that featured Aaron Copland's "Rodeo." And of course, Pachelbel's Canon in D and Beethoven's 5th are as indispensable a part of our culture as Coca-Cola.
There was a time when you had to go to the concert hall to hear classical music. Thanks to recording technology, there are now so many classical works available that attempting to sort through them can a little overwhelming. To help you with this task, I will briefly discuss the different periods classical music is divided into. In many cases, songs from a particular era exhibit similar sounds, and if you like one song from one era you may wish to search for others from that same period:
-Medieval/Renaissance period: Prior to 1600. Notable composers: Josquin Des Prez, Jon Dunstable. Characterized by unaccompanied vocal music such as plainchants and madrigals.
-Baroque period: 1600 - 1750. Notable composers: Bach, Vivaldi, Handel. Style: Complex, ornate, controlled; often featured a harpsichord.
-Classical period: 1750 - about 1820: Notable composers: Haydn, Mozart, early Beethoven. Style: Melodic, balanced, uniform with consonant harmony; piano first became popular during this era.
-Romantic period: about 1820 through about 1900. Notable composers: Tchaikovsky, Mahler, Brahms, Chopin, Liszt, late Beethoven. Style: Lush, emotional, with an emphasis on personal artistic expression; often features more dissonant harmonies and musical "flavors" influenced by folk music of various nationalities.
-Modern period: about 1900 through the present. Notable composers: Stravinsky, Shostakovich, Copland, John Cage, John Williams, Hans Zimmer. Style: Varies widely from imitative to conservative to experimental.
Thanks to the Internet, it is very easy to find free classical music in various styles from various eras. Local radio stations, iTunes radio and Live365.com broadcast classical music over the Internet, and sites like Pandora and Last.FM allow personalized, interactive listening experiences. Digital music services like iTunes and Amazon provide short samples of pieces that can be listened to for free and purchased if desired. However, purchasing digital classical music can be challenging. In an era when point and click technology allows instant digital song purchases, you might suppose that every classical work would be available to you at any time for a buck a song. You would, in this supposition, be entirely mistaken. Services like iTunes and Amazon offer many, far too many, classical pieces as "album only" works. This means that if you want the 3rd movement of Beethoven's 5th Symphony, it's yours for the taking. But if you want the 1st, 2nd and 4th movements, you'll have to fork over $10 or more to purchase an entire album. Why, in an age when men have walked on the moon and cheese comes in a spray can, are individual classical pieces so difficult to acquire? It may be that the licensing agreements with music publishers are too restrictive, or it may be that classical songs are too long. It may even be that Steve Jobs' heart is two sizes too small. Whatever the reason, be prepared to be annoyed by the online classical music purchasing experience.
Any discussion about classical music would be incomplete without a few words about the names classical composers gave their works. Expressive, meaningful names like "Op. 65" and "Symphony No. 2 in D Major." Descriptive, artistically inspired names like "Piano Concerto #21 K647" and "Concerto Grosso Op. 6, No. 3 in C Minor." Don't they just roll off the tongue? Are you sensing the sarcasm? There were, I have no doubt, good reasons composers chose not to bestow more memorable names on their works, but it certainly can make things confusing for the modern listener. Yes, the occasional composer had the misfortune to have a piece nick-named (not always in accordance with his own wishes) something useful, like "Moonlight Sonata" or "Pathetique." But far too many otherwise excellent pieces are distinguished only by their music, not their names. Such pieces sometimes elude the grasp of casual music listeners, who cannot remember if they were searching for "Sonata for Piano No. 29 in B-Flat Major, Op. 106" or "Sonata for Piano No. 31 in A-Flat Major, Op. 110." If asked, I would be happy to provide better names for such works, but so far no one has taken me up on this offer. For now, you have the "opportunity" to search for the hidden treasures masked by such bland names as "Orchestral Suite #2 in B Minor, BWV 1067" and "Etude #12 in C Minor."
I am as confident as Johannes Brahms was when he came up with the perfect name for his memorable work "Violin Sonata No. 1, Op. 78" that you will find great enjoyment as you make classical music--past, present and future--a part of your life. To get you started on your quest for the ideal classical collection, I have provided a list of some familiar favorites and some less familiar--but no less spectacular--pieces. May the bewigged composers of times past smile upon you as you venture into new realms in search of that great classical valhalla in the sky.
Bach: Jesu, Joy of Man's Desiring; Toccata and Fugue in D Minor; Goldberg Variations; Brandenburg Concerto #3
Beethoven: 5th Symphony; 9th Symphony; Moonlight Sonata, Fur Elise
Johann Strauss, Jr.: Waltz on the Beautiful Blue Danube, Emperor Waltz, Roses from the South
Samuel Barber: Adagio for Strings
Mozart: Symphony No. 41 in C Major "Jupiter," Symphony No. 40 in G Minor, Eine Kleine Nactmusik, Overture to the Marriage of Figaro, Turkish March
Pachelbel: Canon in D
Tchaikovsky: Souvenir de Florence Op. 70 movement IV (Allegro Vivace); Piano Concerto in B Flat Minor; Nutcracker Suite
Ravel: Bolero
Smetana: Ma Vlast movement II (The Moldau Theme)
Dvorak: Slavonic Dance No. 1 Op. 46, Cello Concerto in B Minor
Copland: Fanfare for the Common Man, Rodeo - Four Dance Episodes movement IV (Hoedown)
Debussy: Claire de Lune
Brahms: Wiegenlied (Lullaby), Waltz in A Major
Chopin: Nocturne in C-Sharp Minor
Vivaldi: The Four Seasons
Vaughan Williams: Fantasia on a Theme by Thomas Tallis, Fantasia on Greensleeves
Rachmaninov: Variations on a theme by Paganini
Richard Strauss: Also Sprach Zarathustra
Telemann: Concerto for Trumpet (Adagio)
Wagner: Ride of the Valkyries
Bizet: Carmen, Habanera
Grieg: Peer Gynt, Morning; In the Hall of the Mountain King; Holberg Suite
Schubert: Ave Maria
Mahler: 1st Symphony, 2nd Symphony, 5th Symphony
Shostakovich: 5th Symphony
Lortzing: Zar Und Zimmermann
Liszt: Liebestraum
Handel: Messiah, Music for the Royal Fireworks
Glazunov: Poeme Lyrique
Sibelius: Finlandia
Puccinni: O Mio Babbino Caro from Gianni Schicchi
Mendelssohn: A Midsummer Night's Dream
Suppe: Leighte Kavallarie (Light Cavalry)
Boccherini: La Musica Notturna Delle Strade Di Madrid No. 6 Op. 30
Prokofiev: Romeo and Juliet movement XI: Dance of the Knights
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