It’s really late and I can’t sleep!

 

It seems that my mind is buzzing with so much information to integrate that I am forever awake!

 

I’ve had my youngest daughters class camping at our place for the past three days and it’s been raining so they have all been bunkered down on the living room floor.

 

Imagine sleeping with 26 kids in the house! Maybe I can’t get to rest tonight simply because it’s so quiet.

 

The thread of storytelling has come to the forefront for discussion both literally during the camp and also with my music.

 

We worked on finishing the next recording and the first thing that hit me today was how different it sounded with the space of a week in between sessions.

 

I had a sore throat and wasn’t feeling so well so was not sure how I would sing today, and it took me some time to connect with the telling of a story.

 

Overall it has been a really good experiment.

 

I have come to realize that I want to keep working on the previous songs as I go, to be sure that I keep moving forward on them and that they do not slip away.

 

So it’s time to write, free form, I’m actually petrified of doing this so looks like another fear has reared it’s ugly head to be dissolved.

 

What better forum than to give it a go right now…

 

“nyyyyuuuup,  yup move go window.

 

Ring a ding man said it’s singing, ah my head hurts I think it’s going to explode – just go man just go to the window of your soul and the you will see the light shooting beyond the beyond into the future that is to become, your future so bright.

 

Hold onto it tight like. Kite don’t let go for you know that it’s true just for you as you think, so shall you go into the lines that define the creation of your mind weaving time into matter and matter into fine creations of Devine inspiration moving translations of extraordinary thought rolling through seas of imagination, expanding into mysteries for mankind ever blooming.”

 

Wow that’s fun, I’m thinking I’d like to play with rapping and rhythm next piece.

 

Choir is going great – it’s much more full on when you are the only harmony part.

 

You really need to know your stuff otherwise there is no one to anchor with.

 

One of the other ladies, Coral, explained that for her it’s like a jigsaw puzzle and that once she knows all the parts then she can easily hold her own.

 

I am moving forward with the beat boxing – still a way to go but definitely moving forward.

 

I am away next week on a theta healing course, so a bit nervous that I will fall behind.

 

Actually, come to think of it, I’m nervous about going away on this Course.

 

It’s full on to leave the girls and Pete, and while eternally I feel excited, I also feel that so much is happening right now.

 

I guess that I just have to trust that it’s all perfect and there is something in this experience that I need.

 

I was given the most amazing DVD to watch tonight called “Garbage Warrior”.

 

For me, as an Architect, it was so inspiring and a very important part of the puzzle.

 

I feel like I have a lot of balls in the air, I know that it’s all important, I just hope that I can hold enough concentration to create something truly amazing.

 

Then again, everything that I am learning is that it has nothing to do with me, I’m just a conduit.

 

Ok well it’s time to try sleep now.  I have a 630 start for a morning sounding session, so sweet dreams.

 

xxxxxx

 

Lisa’s Reply

 

Hi Joanna

 

Yes, you were really buzzing this lesson after having so many house guests.  I didn’t envy you but it was great you handled it so well.

 

The theme of storytelling did come up in your lesson today when we were talking about writing songs and we looked at Adele’s video in relation to song writing.

 

As I have always said, a singer’s most important job is to tell a story and to tell a story well you really have to be connected to it.  If you can master this aspect of music, especially singing, people will love to listen to you.

 

We also spoke about subject matter for stories and I mentioned that the more connected you are to the story (in other words, telling your story) and the more universally understood the subject, the more successful the song will be.

 

The “automatic” writing you have done in this entry will be great to use in a piece with some rapping.  I’m excited to do that one with you.

 

And for all our followers, here’s Joanna’s latest composition.  We’d love to hear what you think about it as it’s really “between the cracks” as far as genre is concerned.

 

Feelin’ Good (28/10/11)

 

 

It is always good to touch base with material you have learned in the past and it’s something I always do whenever I have a solo gig.  That is, revisiting past repertoire and adding new songs.

 

Coral’s advice regarding learning the parts for choir is spot on.  If you learn all the other parts, you will be able to hear how your part relates and fits into the music.  This makes it so much easier even though it sounds like more work.

 

The ease of singing harmony will come with experience.  The more you do it, the more you hear and the better you get at it.  (The same with all music really.)

 

I think the beat boxing and the rapping will fit in well together as far as your learning goes and maybe we could do them both in your next composition?

 

Looking forward to it!

 

 The ahh haa moment has arrived!

 

Finally I have arrived at the pivotal point. After much debate and deliberation I have realized that really what we are working on is my self-confidence.

 

It’s time to really harness this experience and embrace those aspects of my life that are holding me back from realizing my full potential and from living my full creative expression.

 

No matter how hard I try or even not try it is a cyclic certainty that I must come to accept, love and transmute.

 

This journey of discovery is about the integration of all that I am in this beautiful plane of existence called Earth.

 

Time to breathe, let go, take one step at a time and allow myself to dissolve the  fears that have held me for so long.

 

I had a guitar lesson today and was feeling really bad about myself, and my progress and was assuming that I should kick the can, give it in, give it up to be realistic given that I can’t seem to find the space to practice.

 

Well “yes” my teacher replied that “it needs to be an objective or it won’t  happen, but lets play anyway”, and then boy, was I surprised how much I enjoyed it, how I was actually ok at it even though it’s been months since I practiced and so it’s not ready to let me go yet.

 

We talked about my initial objective to be able to play and accompany myself, not to be a mad guitarist, and then bang!, it just all clicked into place.

 

I met with a very dear friend this afternoon and realized that I needed to embrace the lost Architect within, to take stock of myself and complete some very long overdue projects starting with my professional identity.

 

I was questioning whether the secret dream of a life of recording and performing was being washed away to the ‘should do responsibilities of life’ and then I realized that I am craving this creative expression and that no matter how far I go into anything else I have a date with my own destiny and that there are unresolved issues pertaining to the very same core of self confidence and free expression that inspired me to sing in the first place.

 

If I can do this with music then surely I can also allow this flow into other areas of my world. It’s both a relief and a bit daunting to have some direction now to pursue.

 

What truly counts is the energy that I bring to all that I do, as Lisa says, it doesn’t really matter what type of genre you sing as long as you love Singing it!

 

This must surely be a philosophy for life and so many things are indeed happening on many different levels, and it’s now a journey of shifting between the different forms of this expression.

 

I also had some amazing sound work this week.

 

So many insights to give sound fully to all the emotions within me, wow what a way to start the day.

 

Sound is an entire structure of resonate communication and to become conscious of allowing sound to pass through me, to open new spaces for sound to be within me and to make the connection between energy and sound as energy, what blessing!

 

Also another big lesson is to always speak ones truth, openly, heartfelt and as quickly as  feels right to do so.

 

The choir is shifting up a notch and I am both nervous that I will not be able to meet my new commitments to know my parts and also so excited that things will move more quickly here, I am starting to feel more comfortable with the beat boxing.

 

So really now that this is all down on paper (well iPad) I realize that alot has been going on.

 

Also, because there is even more to share as this week, I have journeyed through a strict regime to eliminate food intolletances with my youngest child plus night terrors, the separation and settlement for my oldest son and his partner, a realignment with my staff and lots of body work for me.

 

What a lucky life I live indeed I am so grateful for all my blessings! Thank you, thank you, thank you!!!!!!!!!!

 

Lisa’s Reply

 

Hi Joanna

 

Thank you for this great reflection.

 

I have definitely noticed a change in you and you seem so much happier.  I think this is partly due to the fact that you have made this realisation regarding your self-confidence, what you want as opposed to what you think you should want, as well as taking the step towards being more the person you want to be and not being afraid to be yourself.

 

These are all issues that learning music, if you are on the right track, will bring up for everyone and it’s just so great that you are able to share them here with others.

 

Being Authentic is not always so easy, as you have discovered, especially when it doesn’t fit into any set musical genre.

 

I think this was something you were worried about, however, as you have already reflected upon, it is only important to do music you love doing.

 

Your guitar teacher was absolutely right to set you back on track remembering why you are learning in the first place.  We often need this reminder from our teacher.

 

Again, if you feel you haven’t got the time to practice, you may be interested in reading this article, which gives you a few ideas about finding that time, or consider it may not be an issue of having to find time at all but something to do with resistance to practice brought about by some more complex unconscious feelings toward learning an instrument.

 

Creative expression is important for everyone on this planet and yes, now you have discovered the importance of that for yourself, it will inevitably spill over to other areas of your life and generally create more happiness.

 

This is another reason it is so good to participate in music.

 

I have never done sound work myself but I know how I feel after singing and piano, which is more energetic and uplifted and I know this is due to the vibrations I feel in my body as well as spending time with rhythm.

 

So I am sure sound work is something I could look into in the future.

 

The choir will be a great project for you.  It has been beneficial for everyone that you gave the leaders of that project your heartfelt honest feedback.  I think now it will get very exciting and hopefully we’ll be able to put a future recording onto this site.

 

And yes, it’s a wonderful feeling to be grateful for everything we have in this life.  That is yet another key to happiness!

 

 

 

 

 

 

Part I of this Series looked at some methods of conflict resolution.

 

In this Article I’d like to put those methods to the test and suggest ways to solve common arguments among band members.

 

This may come as a surprise to you (or maybe not) but most bands argue about the same things.

Of course, there will be many other issues that may come up in your band other than the ones illustrated above and hopefully you will be able to take what you learn from this Article to help you resolve them.

 

One thing you can do for your band when you are starting out is to first set a tone or ‘culture’ that everyone is to be treated respectfully.

 

That means no name calling, talking behind each others’ backs or blaming.  It means letting others speak and having calm communication.

 

If you set this tone in your band it will be a much more positive experience for everyone.

 

 

Band Name / Band Leader

 

From my 25 years + experience of working in bands I would have to say that a “true democracy” never really works.

 

In other words, you will have to have a band leader or acknowledged “project holders”.

 

These people (or person) are responsible for keeping the band together, organising the direction of the band, having a clear idea of what the project is about, making important decisions about gigs and management, being a point-of-contact and making sure all other musicians are kept informed and looked after.  It’s a big job.

 

It also means that they make the final decisions on many issues.

 

As I write this Article now, I am thinking about our band rehearsal tonight because we are supposed to come up with a band name.

 

Each of us has been told to come up with two suggestions and we will all vote on those suggestions.  I am just interested to see how this goes and what we will come up with.

 

Will there be any conflict?

 

Would it have been better to know whose project this actually is (because at the moment this still isn’t clear for us) and let them come up with the name?

 

Will I have to step in and use any conflict resolution skills myself?!  I’ll let you know.

 

Basically, if there is known leadership in place, arguments about band names etc should be easily resolved as the decision will be that of the Band Leader.

 

 

The Rhythm

 

 

Time or rhythm is the most important aspect of the music.

 

If it’s out, the music simply doesn’t sound good.

 

Your rhythm section (keyboard, bass, drums, guitar) have to get on together and they need to ‘click’ if you want your band to have a chance of any success.

 

Arguments or friction between these band members need to be taken seriously and sorted out.

 

One suggestion is that when you are forming your Band, get members of the rhythm section to choose people they would like to play with.

 

For example, the keyboard player chooses the bass player, the bass player chooses the drummer and the drummer chooses the percussionist etc.
This will almost always ensure there are no arguments about bad timing and you will have a tight rhythm section.

 

The Rhythm Section is sometimes referred to as the “Engine Room” because they keep the music ticking over.  They should also be considered as another separate unit within the band itself, with it’s own leader (perhaps the keyboard player or guitarist) when it comes to the directing the music.

 

If you are the Band Leader of the project and not a rhythm section player, make sure you let this unit function in it’s own way and make sure the members of this section like working with each other.

 

If arguments do occur, suggest that those members spend some extra rehearsal time together (just them) to try to iron out any problems.

 

If those players still can’t get on, you may need to consider other players.

 

 

Repertoire

 

Even if your band has a leader, there may still be some “discussion” about which songs are in and which are out.

 

This is where compromise may be in order.  Your band wants to enjoy the music they play.

 

Remember not everyone’s taste is the same, so here’s where you can use negotiation. 

 

For example, if you don’t like one of the songs of the repertoire, and another person doesn’t like a song you like, perhaps you can agree to do both the songs and that way, each person is satisfied that they get to play a song they like and all you are doing is compromising.

 

These are two very important conflict resolution ideas that ensure everyone gets what they need.

 

Remember too, in your audience, you will have people that like both songs!

 

 

Sound and Dynamics

 

This is one especially for the singers.

 

So much of the time singers can’t hear themselves because the other musicians are too loud.

 

This is where maturity as a musician really shows itself because the mature musician considers the music sound in it’s entirety and not just the sound of their own instrument.

 

Here are some suggestions to ensure your Band is happy with the sound:

 

• Sound check.

 

• Make sure fold back is at the right level and that each musician can hear what they want to hear first.

 

• Get one person to listen to the music from an audience perspective, out the front. Then get another person to do the same and make adjustments from there.

 

• Remember dynamics, loud and soft, add an extra, wonderful and powerful dimension to the music.  Think about using them because it can really make your music stand out.

 

It’s unfortunately true that often the sound engineering on live gigs is not that good, all the more reason for each band member to be sensitive to each other, wanting the same thing, which is for the music to sound good together.

 

 

Money

 

Nobody wants to fight about money and it’s truly one thing that can destroy a relationship, even a close one.

 

In order that there is no conflict about money, it’s important for everyone in the band to be clear about how much is being paid and where that money is going.

 

If you are a Band Leader, don’t think it is right for you to simply take any extra money you think you need without informing the others.  This will definitely lead to trouble.

 

It’s simple really, just remember transparency.  That means everyone can see where ever cent is going.

 

 

If you want your band to really get on well, you could try spending some time together in other ways than playing, for example, having dinner together or going to see another gig together or other social events.  That way, band members get to connect on a deeper level and get to know each other outside music.

 

Lastly, remember that there are always alternatives to the common outcomes of conflict like walking out, shaming, blaming, leaving things unresolved and not talking to each other.

 

 

If you are lucky enough to have a band that stays together for a while, you have to expect the odd run in.

 

After all, you are in a relationship, just like a family or a group of co-workers.

 

The important thing is that you know how to resolve the small conflicts as they arise, so that they don’t become big conflicts.

 

You can do this by making sure:

 

• Your band is well organised.
• The musicians like playing with each other.
• Everyone has similar visions and desires for the Project.
• You set a culture of respect.
• Finances are transparent.
• You spend some time together outside the rehearsal studio and gigs.
• You communicate clearly and calmly, negotiate and compromise.

 

I hope you have found this Article useful.

 

Leave a comment and tell me of some of your Band stories!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Wow what a day! I love singing!!!!!

 

I have been overwhelmed with an enormous sense of weighty confusion, really bogged down feeling quite flat and heavy.

 

I have been feeling quite unsettled with much of my life spinning around, homes, schools, business you name it the complexity of it all has been doing my head in.

 

To the core of all this is an ongoing pattern, always with too much to do, not enough time, unable to complete and finish what I need.  I am the preverbal person that bites off more than I can chew!

 

Well what a surprise today was for me to have it all come pouring out – and some tears too.

 

We didn’t get through much singing today, but we moved mountains of internal stuff.

 

With each note of my warm up came more stuff in my process, more and more and more. No wonder I feel lighter.

 

What is it to be happy?

 

I want to be happy.  I mean this was the very reason I started this adventure into music right? I have come so far, and yet feel at the exact same point I  was 6 months ago.

 

What is this veil, this shadow that keeps the hand brake on?

 

Once again it’s time to consolidate, really take stock of what I  am doing and what I am choosing to create.

 

I cannot possibly do everything before me and I’m spread so thin that I’m stretched and therefore not present or solid any one thing.

 

What a shock to see that I have been so caught up in things that I haven’t even had the space to dream.

 

No wonder things have been tiring – I’m exhausted just writing about it!

 

I know that things will shift and I can feel that coming.

 

This is what I want – simply to be myself!

 

I must get out of my own way and just trust that things are unfolding as they should and yet it’s time to be ruthless with how I spend my time.

 

It’s time to create the life that I truly want.

 

So that’s it for now – stay tuned.

 

 

Lisa’s Reply

 

 

Hi Joanna

 

I think many people, especially parents, can relate to what you are saying here and the feeling of having too much going on to be able to concentrate on some of your own pleasures.

 

Understanding this, I asked you if you could make some time to dream about what you wanted in music and that’s when lots of other issues started to come to the surface and it was great to really address those things clearly.

 

It’s really important to see or visualise where you want to be in the future and what you want out of your music (and life) because by doing that, half the work is done.

 

Trusting that life will help you get there is another aspect of this.

 

However, you felt you didn’t even have time to dream.

 

Much of what has been developing for you has been about reassessing some really important questions such as,

 

1.            Who am I?

 

2.            What do I want?

 

3.             What makes me truly happy?

 

The answers to these questions constantly change throughout our lives as we grow and develop and I think it was important for you to look at the answers to them for yourself.

 

Learning music brings up these questions because learning music is very much like learning life.

 

Sometimes (actually often) we feel like we  haven’t really learned anything, or are only just beginning to see how things work.

 

Learning music is not a linear process but rather more like a spiral, where we constantly revisit parts of our learning but perhaps from a different perspective.

 

As you can hear from your recordings, you have come a long way and are now looking to take your music a step further which  means you need to make room in your life for it.

 

Perhaps that’s why a lot of emotion was coming up for you, because you are making changes to live your (secret) dream of living music and changing parts of the way you live life is always uncomfortable.

 

It was a great lesson and very important.

 

Thank you for sharing it with me.

 

 

Keeping a band together can be a tough at times.

 

Even if you are the best of friends, if you play together long enough, differences of opinion will occur.

 

In these Articles we will explore the following:

 

• Useful methods to deal with conflict.

 

• The main causes of conflict among band members.

 

• Organisational structures that can help stop conflict arising.

 

 

 

Useful Methods To Deal With Conflict

 

 

Before we explore some of the common conflicts arising between band members, let’s learn a little about conflict resolution.

 

Being part of a band is like being part of a family and just about all of us have experience of that.

 

A family has its ups and downs, including difficult relationships, and some families deal with this better than others.

 

Just take a moment now and think about how conflict was dealt with in your family.

 

• Did you fight it out?
• Argue, agreeing to disagree or just disagreeing?
• Sit down and talk and resolve the issue?
• Bury the problem and not talk?
• Wait until many issues built up and explode?
• Submit?

 

Your personal experience of conflict in your family, what you have seen and experienced, will colour the way you are able to deal with conflict in your personal and professional adult life.

 

After all, if we only know one way to deal with conflict, we have no choice but to use that way of dealing with it.

 

But here are some other suggestions that can actually lead to resolving conflict without negative results:

 

 

Negotiation

 

Instead of fighting to get your way, see if you can negotiate another completely different option so that both parties get what they want.

 

For example, you may be arguing over a particular part of a song arrangement.

 

Is it possible to change that part of the song so that both ideas are incorporated?

 

It may not be possible, however, if it is, you may just come up with a better song than you had before.

 

Give other ideas a go and be flexible.  It really can’t hurt to try other people’s suggestions.

 

Even if you think those suggestions won’t work, there is no need to worry because it will always become obvious what feels right in the music anyway.

 

 

Find Out What Each Party Really Needs

 

Often the cause of conflict is misunderstandings brought about by the way we interpret each other’s body language and speech.

 

In many circumstances arguments arise and snowball because we don’t take the time to step out of being in a reactive frame of mind or certain gestures trigger older memories of conflict within us.

 

If you feel this may be happening, or two or more parties are just arguing around in circles, try to step out of this frame of mind and clarify exactly what each party is looking for or needing at that point in time.

 

That way you have a starting point from which to take action.

 

In almost every case, everyone can have their needs met if they state what they need in a civil, calm and clear way.

 

Compromises may have to be made but that’s ok if it saves ill feeling and can keep your band ticking over.

 

 

Try To See The Benefits Of The Opposite Point Of View

 

Ok, this may be difficult but again it can’t hurt to look at what may be gained by taking the opposite point of view.

 

 

Think About What People May Object To When You Introduce A New Idea

 

If you want to suggest something to the Band you think they may not like, or have opposition to, try to think about what they may not like about your idea and address those views when you introduce the idea.

 

That way, the other members know you are aware of, and value, their opinions.

 

 

Make Extra Efforts Not To Undermine Morale

 

As stated before, it’s so important to communicate calmly and clearly.

 

Blaming, criticising and complaining do sour the feeling of the group.

 

Avoid these at any cost by using some of the above suggestions.

 

 

We Are All Different

 

I know this may be an obvious statement but it’s important to remember no-one sees the world as you do and vice versa.

 

If you bear this in mind, you can avoid jumping to conclusions about what or how someone else is thinking.

 

Avoid assumptions and clarify everything.

 

Just because you may make a certain conclusion about something, it doesn’t mean that other people will make that same conclusion or see things the same way.

 

Differences are what make a Band truly original.

 

Respect and honour those differences and you truly have a chance at making your Band a great working environment where everyone feels valued and included.

 

If the feeling between members of your band is good, it creates better energy and therefore better music.

 

In the next part of this Series we will explore some common points of conflict in Bands and how we may apply some of these suggestions.

 

I hope you have enjoyed this Article and if you have any comments, please leave them below.

 

Oh, and just for fun, a little clip illustrating how not to manage your band by Spinal Tap.  Enjoy!

 

It’s been a couple of weeks since Joanna has posted a reflection, but for those of you who are following, that will happen soon.

 

I thought this would therefore be a great opportunity to look back at Joanna’s recordings and listen to how far she has come since May, this year.

 

As her teacher, I feel Joanna is starting to get a much clearer vision of where she is going with her singing and a few things in her life are now lining up to meet that vision.  It’s all very exciting but I will let her tell you about that.

 

In the meantime, here are her recordings revisited:

 

 

First recording of Joanna (13 May 2011)

 

Second recording of Joanna (21 May, 2011)

 

 

Cry Me A River

 

Just Like A Star (recorded 11 June 2011)

 

 

Just Like A Star (recorded 18 June 2011)

 

 

Here’s the recording of Joanna’s “Back On Down Blues”

 

 

Just Like A Star (16 July 2011)

 

 

Joyful Joyful (recorded 30 July 2011)

 

“Have a Talk With God”, Stevie Wonder (recorded 18 August 2011)

 

 

Joanna’s original track inspired by Burning Man festival

 

 

 

 

 

 

 

Music practice can be so much more than the ‘normal’ routines you go through in your practice session.

 

In fact, the following suggestions for practice away from your instrument can definitely enhance your learning and progress if you use them regularly.

 

These techniques are fun, help you to approach learning from different angles and support all the other exercises you work on as well.

 

Here’s what you can do if you can’t get to your instrument for practice:

 

 

Visualisation

 

As you may or may not know from reading this blog, I had my first gig with a newly formed band last weekend.

 

I had planned to practice, particularly on one song which needed work, during the day (the gig was that evening), however, my little one would not sleep unless I was lying down with her.

 

That cancelled out my practice session.

 

Recently I wrote an article on creative visualisation and I decided this was the perfect situation to put “practice what I preach”.

 

It is quite a well-known fact that sportspeople use creative visualisation to improve their performance and musicians can use it too!

 

So as I was lying down next to my daughter I closed my eyes, relaxed and visualised myself playing the chords on the piano, hearing them, feeling my hand positions etc.  and I imagined everything in as much detail as possible.

 

While doing this, I made the mistakes I was making before so just did my imagined practice in order to iron them out, exactly as I would do in ‘real life’ and in real time (by breaking parts of the song down and working on them) until I could play the song through without incident. The verdict?

 

It worked, doing the practice in my head was just as good, and in some ways better, than if I had physically done it on the piano.

 

It was better because I found I really had to concentrate hard to get the results and this meant that the learning was deep.

 

We had a great gig and I’m looking forward to the next one.

 

I will also be using this technique more because it is great exercise for the imagination and adds another dimension to learning, making it a deeper process.

 

 

Reading Rhythms

 

Learning to read music should be part of any instrumental or vocal training.

 

If you focus on learning to read rhythms well, you are also learning to subdivide a beat and this is one of the most important skills any musician could focus on, since developing good rhythms is perhaps 90% of the work in music.

 

Reading rhythms is one thing my students and I always enjoy practicing and again, you can do it anywhere.

 

All you need is a metronome and a resource book.

 

The book you get should be in graded exercises (meaning they get harder as you go along) and remember always to set your metronome tempo at a slow speed to start with and just speed up as the exercise gets easier.

 

I have a book called “The Rhythm Method for Safe Music” by N. Peterson, an absolutely fantastic resource that I have been using for years now.

 

Unfortunately, it has been difficult to find this book on the internet and I will look into how I may be able to get my hands on it and sell on my site.

 

It teaches rhythms using French time names, something I was sceptical of at first but have found really works and it has improved my sight reading enormously.

 

I am much more confident in reading music than I have ever been because I do this exercise as part of my practice routine, however, I don’t have to be in front of the piano to do it.

 

 

Computer Resources and Games

 

Every month I post a list of useful resources that you can access on your computer.

 

This month (October 2011), I have included some websites that provide free resources you can use online so that you can practice reading, note identification, song writing and much more.

 

Using online computer resources to help you gain other musical skills is a stimulating and fun experience.

 

Just try not to get sidetracked when looking for them and perhaps check out my site for previous months’ recommended resources, which include free programmes to help improve aural skills.  (Just go to the sidebar and in the search area type in “this month’s 10 most useful music programs”) which will bring up loads of options for you.

 

 

Listening

 

Although listening to music seems like such an obvious activity for musicians, many don’t do it nearly as much as they could.

 

Sometimes we just get too busy, or have too much of our own music to write or learn that listening comes down our priority list.

 

However, there is always something to gain from it such as;

 

• Pleasure
• Inspiration
• Understanding of how music works and much more

 

When you actively listen to music.  Just lie down or sit with your eyes closed.  Don’t do anything else but listen and choose carefully what you wish to listen to.

 

In this act, just let the music take you where it will and reconnect with the experience of enjoying music for what it is and not thinking too much about it.

 

Being able to let go and get in touch with our initial feelings towards music, the pure enjoyment, the reason we wanted to participate in it, is important to reconnect with, especially if we have been practicing hard.

 

 

Reflecting

 

I’ve talked about the importance of reflecting upon our learning experience in this blog and you will see me do my reflections from time to time as well and post them here.

 

By reflecting on where you are in your learning and where you want to go, what important lessons you have learned etc. you are carving your path of learning, taking charge a little bit more and cementing what you have gained.

 

I make reflective learning a regular part of my practice by writing a paragraph in my Practice Diary every week.

 

This really helps to solidify learning and gives  a clearer picture of what is happening for you on many levels.

 

The experience of doing reflective work always makes me feel better and appreciate the time I have spent doing music.

 

All you have to do is sit quietly and write for about ten minutes.

 

I hope you have found this article helpful and also have some ideas of how to vary your practice.

 

Please leave a comment and let me know what you think!

 

 

Lie Number 3

 

“I’m too old to start learning music.”

 

One of my biggest joys in life is teaching adults.

 

I’ve had classes of adult learners where the youngest person was 45 and the oldest 75 years of age.

 

These were really fun-filled, wonderful teaching experiences and each of those adults enjoyed their progress learning piano, and the realisation of their lifetime dreams.

 

Unfortunately, I often hear this Lie from people who are only in their 20’s and all I have to say is that each of us has the rest of our lives to learn music.

 

So how many years have you got left?

 

(I know nobody can really answer this question, but we can make an estimate, given good circumstances).

 

If this Lie is something you believe, I’d like you to consider the following:

 

 

1.             Why are you too old to start learning music?

 

Some people believe that the only reason to learn music is to perform or become good at it.

 

From my experience having these pre-determined aims stops people from realising the true joy of learning an instrument or learning to sing.

 

The truth is that learning music is purely about the processes involved in doing just that.

 

These include:

 

• learning about our inner critic and inner musician
• discovering our playful nature
• developing co-ordination;
• developing  memory, and
• learning to live with focus and presence, not to mention
• inviting the challenge of being authentic.

 

All these things simply add up to living a better quality of life and are you ever too old to pursue that goal?

I’d like you to watch the following short video of a couple who, while waiting to attend their appointment at the Mayo clinic, decided to fill in time the fun way.

 

It’s so obvious how music would have added to their quality of life and their 60 year marriage.  (He’s 90 by the way!)

 

 
2.            Did you have a negative learning experience of music when you were younger?

 

Many adult learners I meet have had negative learning experiences of music in the past that have held them back from approaching it again, and ultimately made them feel inadequate and unconfident.

 

It takes a lot of effort to firstly, take the risk of trying to have lessons again (risking the same negative experiences and/or feelings) and secondly, to give dreams a second chance.

 

I have to say, I have so much respect for those adults who do take those risks and I love the process of bringing music to their lives in an enjoyable way.

 

This is the way it should have been all along.

 

If you recognise yourself in this, please read this article on how to choose a music teacher and perhaps consider giving it a second shot.

 

It’s good to remember to research options for learning music that are available to you such as community education colleges where there are some fantastic teachers, such in this film.

 

 

 

If you find the right person or course to learn with, you won’t have to live with the regret of feeling you were not able to satisfy one of your desires in this lifetime.

 

 

3.            What are the advantages of learning music at a mature age?

 

There are so many advantages of learning music when you are older.

 

Here they are:

 

• You can be more aware of your learning process and therefore gain a deeper understanding of music because you know yourself better and you have more life experience.
• If you are retired, you have time to dedicate to learning this art and it can be something that enriches your life.
• Learning music stimulates your brain and that’s great for staving off diseases associated with aging such as dementia.
• You are learning because choose to learn and are therefore much more in control of the learning process by
• Contributing to your learning path by choosing repertoire and reflecting on where you want to take your music.

 

As a teacher, I really don’t find that children pick up any learning quicker than adults do.

 

The only thing that adults tend to have is a well-developed inner critic (or negative thoughts about themselves) that often gets in the way of learning taking place.

 

If you a place of learning or a teacher that is aware of all these issues you are sure to do well and have a good time … and that’s all music is about… fun and challenge!

 

 

 

We’ve been talking about training your memory and putting yourself in a performance situation.

 

I had my first gig with the new band (yet to be named) last night.

 

I wanted to do all the songs without any chord charts and so had to learn about six new songs in three weeks.

 

It sounds like a long time to learn these songs, but there is really a lot of repetition involved in knowing something well enough to perform it.  So last night was the moment of truth and I thought I would share this reflection with you.

 

These were my discoveries:

 

1.   Having to perform something is the ultimate way of knowing whether you really know a song.

 

You may be able to play or sing it in the practice room but it’s a whole other matter when you have to perform it.

 

Therefore, it’s a really good exercise to put yourself in a performing situation, not only to add a bit of pressure to the learning process but also to see where  you need to do more work.

 

2.   Sometimes it’s surprising which songs actually come out the best.

 

For me, I realised there was one song which I thought I was ok with but it really needs work, and another, I thought needed more work but I was ok with.

 

3.   Playing in a band is great and I really have missed it.  One of the best things besides playing music with other people is the social aspect.

 

It’s really good to do gigs, meet new people, have a good night out with your partner or family AND, if you’re lucky enough, get paid for it.

 

You have to put the hours of practice in, of course,  but it’s very worthwhile, especially if you like the people you are working with.

 

We have another gig this evening, so it’s off to the practice room for me now and tomorrow I will be posting the next in this month’s Article Series, “The Greatest Lies Ever Told About Learning Music”.

 

 

Some people find it hard to remember lyrics or chord progressions.

 

Although these tasks may be difficult to begin with, the more you do it the easier it will become.

 

This Article will look at how your memory works and give you methods make the learning of lyrics and harmony easier.

 

 

How does memory operate?

 

Memory is the storage and recall of anything we have sensed through smell, touch, taste, sight or sound.

 

In fact, you may notice that a certain smell, or hearing a song, tasting or touching something will trigger a past memory associated with those particular sensations.

 

When we recall a memory, many of the same neural pathways used to sense the initial experience are refired, sometimes causing us to almost re-experience the event.

 

There are two main types of memory, short-term and long-term.

 

Short-term memory we use to store information needed only for the next 30 seconds or so, for example, numerical calculations, and because it has a small capacity, it can store only about seven items – perfect for phone numbers.

 

However, information that is going to help us in the future is stored in our long-term memory.

 

This is more complex and involves the process of encoding, storing and retrieving.

 

This is how it works:

 

• First a new concept or experience is broken into different parts to establish meaning.

Also, the context around the concept is linked to another experience.  For example, I might encode the phrase “delicious orange” with key descriptive ideas — orange color, sweet taste, round shape, the slurpy sound of a bite, sticky juice running down my arm — and then such contextual items as ‘”I’m feeling good because it’s a happy summer day and I’m eating oranges.”

 

• Second, as we store the memory, we attach it to other related memories, like “half-time at a soccer match” and thus, consolidate the new concept with older memories.

 

• Third, we retrieve the concept, by following some of the pointers that trace the various codes, then decode the stored information to regain meaning.

 

If I can’t remember just what “delicious orange” means, I might activate any of the pointer-hints, such as “slurpy” or “juice running down my arm.”

 

Pointers connect with other pointers so one hint may allow me to recover the whole meaning. http://www.usatoday.com/tech/columnist/aprilholladay/2007-03-12-memory-first_N.htm

Here is a very informative video explaining the processes of memory clearly.

 

Those of you who are studying and have to do exams will find it especially useful and it’s a great tool for teachers too!

If we know how recording long-term memory works, we can use this information to better “encode” our memory of chords and lyrics in the first place.

 

 

How To Remember Lyrics

  

1.            Go through the lyrics and connect them to your own experience.

 

Since long-term memories are associated with other memories and sensual meanings, when we go about the task of learning lyrics, it is important to attach our individual sensations, thoughts and feelings to the lyrics as we learn them.  (This will also help very much when it comes to song interpretation).

 

Attaching our own meaning to phrases throughout the lyrics, via visual images, feelings and other sensations, will help to “point” our memory back to the words.

 

 

2.            Repeat and practice the lyrics without singing along to someone else’s version.

 

As you have probably experienced by now, learning music is very much about repetition.

 

By repeating or rehearsing, you practice retrieval of the lyrics.  It also brings our learning of the lyrics from our short-term memory, into the long-term memory.

 

You may want to get a backing track and rehearse that way or you can learn lyrics by singing them your head, or quietly humming them as you go for a walk or a drive.

 

 

3.            Use as many senses as possible to help learn the lyrics

 

It’s one thing to look up lyrics on the internet, print out a copy, read them and try to start learning them from there but this approach is definitely not as effective as listening to a recording and hand writing the lyrics.

 

By following this process you are using many more of your senses, such as:

 

• Hearing – when you listen to the song to write down the lyrics, you are paying close attention to sound and associating the sound of the music to the words.
• Kinesthetic (body or muscle memory), by writing the words you are using your body and paying attention to the formation of the letters on the page which also connects to your…
• Visual memory.  You may even remember where you are as you are writing, how you are feeling, what you are smelling etc as you write those lyrics.  This is because, as we have seen in an earlier article, listening to music connects with our limbic system.

 

 

How To Remember Chord Progressions

 

This was something I found difficult at first but with more practice have become much more efficient.

 

To effectively remember chord progressions, we need to take into account the above principles of association and “chunking” of information as well as repetition and rehearsal.

 

 

1.            Work out the form of the song

 

All music can be broken down into sections that, just about always, have a form or repetition to them.

 

Your first task is to recognise this form.  For example, the verse we will call “A”, the chorus we will call “B” and there may be a bridge or pre-chorus we will call “C”.

 

Look at the song and work out in what order these sections appear.  Is it AABA or ABCA, or something different?  This is what we call the form of the song.

 

 

2.            Choose one section to memorise at a time

 

When you are memorising a section, say part A, you will notice there is probably a pattern there as well, it may be just two lots of a 4 chord progression.  So, try to find an order within each section.

 

Once you can see that order, look at the chords and see how they relate to each other.

 

For example, here is the verse or A section of “Let It Be” by the Beatles.

 

4   C  G  |  Am  F  |  C  G  |  F   C  |

4

 

This is then played twice, A A ,before the chorus, B.  Therefore the form of the song is AAB, repeated over and over.

 

Next, work out the harmonic rhythm (how many beats each chord lasts).

 

I can see that this song is in 4/4 time and there are two chords per bar, which means each chord gets two beats each (unless otherwise stated).

 

I can also see that all these chords are derived from the C major scale (no sharps or flats).

 

In this progression, I can connect the chords to each other by defining their position within the scale:

C=chord I,

Dm=chord ii (see this article if you don’t understand why it is D minor),

Em=chord iii etc.

 

Therefore, the progression is I-V-vi-IV then I-V-IV-I.

 

(Lower-case roman numerals means minor, upper case roman numerals means major)

 

Now I just have to practice the I-V (and realise that this pattern begins each of the above progressions) then learn the first phrase and the second phrase and put them together.

 

Once that is done, I have learned the verse.  I know that I just have to play that order of chords twice.

 

Then I go about learning the second section or B section of the song.

 

 

3.            Practice the song and actively rehearse

 

Again, this is about moving the information from the short-term to long-term memory.

 

In this case, you are using your hearing and kinesthetic senses, which help to retain and retrieve the information.

 

 

4.            Learning common chord progressions

 

Adding the theoretical knowledge discussed above will also help to order the information or “chunk” it (as explained in the above video).

 

This is the real key to understanding and learning harmony and why also why many musicians (especially those who improvise) practice around commonly occurring chord progressions such as ii-V-I’s in all keys.

 

This not only helps musicians to quickly “chunk” information when they are learning a song but it also helps them to improvise.

 

It’s also very useful for song writing.

 

Here’s an excellent video explaining this concept.

 

 

And if you are a musician who wants to practice improvising around some common chord progressions, here are some progressions you can start with:

 

 

ii-V-I

I-IV-vi-V

I-V-vi-IV

I-vi-V-IV

I-vi-IV-V

vi-IV-I-V

I-V-IV-V

I-V-IV-I

I-V-IV

 

Note:  To get the full benefit of this practice, you need to practice these progressions in all 12 keys.

 

I hope you have found this Article helpful.  Please leave a comment and ask any questions below.