Once you know how to talk about where notes are in the bar it is also useful to understand the terminology surrounding what the notes are. One of the things I have found whilst teaching students about music theory, aural studies, and improvisation is that it is often difficult to engage with these concepts because of the sheer volume of new vocabulary. Continue reading
I’ve had this theory for a while that if you have the words to describe what is happening when you play music (physically, mentally, emotionally) it assists greatly in the development of musicality. My experience has been that having a vocabulary to express what you hear is integral to being able to improve. This is because great musicians are always comparing two things: their ideal concept of what something will sound like and what their playing sounds like in reality. Yet, in the way that we teach, we often tell our students “that’s wrong, it goes like this,” without giving them the tools to be able to express why something doesn’t meet their own aural concept. It’s just as important to do this with the nuts-and-bolts of music (rhythm, articulation, pitch) as well as the more expressive aspects of music. This is because giving students building a musical vocabulary early enables them to understand instruction more quickly and develop self-reflective practising skills. Continue reading
Yesterday, I felt inspired to finally embark upon a creative project I have been thinking about for a while: a location specific work composed with graphic notation. I have recently performed graphic scores for the first time in 10 years and composing one of my own just felt right. So, I went out and bought a visual diary to begin my very first graphic composition. Continue reading
When I was at university, in addition to studying music I studied Comparative Literature and Cultural Studies. There was a significant focus in that course of study on Semiotics. Semiotics is the study of how one interprets symbols. Semiotics has informed my musical practice by making me aware of the mental processes that I undertake in my daily life. Each time I read music I am instantaneously recognising the pitch of a note, its duration, its articulation, and then linking that to the finger combination that is used to play that note, the tongue action, breathing technique and embouchure that I have to use to play that note realise the music that is on the page. And that process all happens before I try to express anything of my own!
Two Types of Practice
As musicians, it is important to recognise that we don’t have a lot of time. Between learning the new tunes for tonight’s corporate gig, memorising the latest song in your artistic project and doing life at the same time, there is not a lot of time to practice. Because of that, it is important to develop a strategies to use our time most effectively. The two types of practice exist so that we firstly maintain our current level of technical facility and musicianship and give ourselves the capacity to learn new things when more time becomes available. Continue reading
Practising can be hard work, but its worth it.
You have homework, sport, family commitments, friends to see, places to be and you have to allow time to eat and travel as well. Sometimes there doesn’t seem to be enough time in the day to fit in music practice as well. It may be comforting to know that its not just students who feel this way, many professional musicians find it difficult to motivate themselves to practice as well. So I have decided to share with you some of the strategies I use to get myself to practice even when I don’t feel like it. Continue reading