Why Music Education
April 11, 2010, 10:40 pm
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A student presented with skill deficits, a lack of awareness generally, and low self esteem. His beginning lessons proved difficult for him; practice was not a welcomed activity. The ensuing weeks, he learned to play scales, certain passages in his ensemble literature, and raise his grade one mark. At the moment of dawning success, moderately, the student found a discussion regarding attitude helpful. Today, we know a lot more about music than in years past. For example, music has been a part of our lives for the past 35,000 years, at least. There must be a good reason for this longevity.
There are several. We know that 90% of students who participate in music programs go on to college. Students in music programs score 50 points higher on standardized tests. When we practice anything, the neurons in our brains grow at the rate of 1mm to 5 mm each day. It takes a while for this growth to manifest itself as a map in our brain; that is a recognizable pattern to us represented by neuron growth. Such definitive growth is established only with practice. Should a person practice well, then the maps are of good quality.
Music requires us to perform a coordinated activity. We use 21 areas of the brain to make music, more so than any other activity that we know of. Music requires many skills, and many of those are what we call transferable skills. Some are linguistic, mathematical, social, attitudinal; all of these combine to make us happier, productive and ultimately healthier. The chemicals in the brain excited by musical activity are constructive. They are pleasureful. Dopamine, acetylcholine, and others provide us with the effects of eustress. Contrary to distress, eustress is good stress for us. If you are not having fun, then you are in distress, you are doing something wrong. Change. Learning these good habits through practice guarantees a better life result.
I suggest a student practice along with homework. Treating homework as practice encourages the eustress effect. Practice until you are fatigued, but not worn out. Change the subject and practice another. Return to a subject when ready. Move from one to another until all is accomplished. Do this each day and, like grass grows, trim your efforts. After a while the result is rewarding, with out overwhelming.
I look at work not as hard, but as productive. Hard work does not produce the quality we seek, it produces result only, and the potential of over working, and destructive activity, unhealthy activity is in the long run not good for us. Establishing the right quality of work, the right patterns, for yourself in the long run will achieve a healthier balance, include all the activities you need in your life in the same manner. The effect of a busy life can only remain productive if this balance is achieved. Early habits established through a good attitude and approach, successful practice will create the eustress of harmony.
Where most of us fail is regarding the long term goal as too far in advance to achieve. We give up before we reap the rewards. Music helps here, too, for it is fun. There must be (a) survival skill(s) of great importance in the lesson of music. Otherwise, we would not have continued the activity for so long.
Time Scheduling and Productivity-keeping with practice
December 29, 2009, 5:09 pm
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The lessons of music include learning good management of time skills. Here is a suggestion. Take five minutes and look ahead to the next day. Think over ALL that you want to accomplish, in some ways like a budget. You want to play, spend time with friends and socialize, work or attend school, do house chores, do homework, practice, attend events, play sports, attend to your hobbies, etc. Leave nothing out: even 5-20 minutes at something can reap benefits.
Move these things around; play with your time in your mind until you find a workable solution. Bargain and barter your time slots with your variety of activities. If chore can be done on Tuesday instead of Thursday when you ski, then do those on Tuesday. Starting with one days planing may require you to chose another day for an activity you cannot fit in. Leave that to the other day’s planning at first. Just see if one day, you can look ahead and make a good plan for the next, leaving time for all you need.
Next, get that day done in the way you imagined it. If you can imagine it, and you make a reasonable plan, you will feel a sense of accomplishment at the end of the day. Try this out on a few days. Test the waters.
Once you have an idea of how you plan to spend your time, then stick to it as best you can. Gradually, you will learn that if you work well, you will accomplish most of what you need, within the time allotted to it. If there are some things that need more of your time, or if others need your time, then adjust your schedule. Then, set yourself to keeping your schedule. Make room in your schedule for practice. You might ask others if you are needed at any time; make sure to be flexible. Remember, if you do not practice, you will never learn to play your instrument.
As you practice your instrument, you will learn to make good use of your time. As you make sure to accomplish everything you need in a practice session, you will also learn to make sure your practice time is used efficiently. Do not waste your time on things you are not ready to do, build your skills and move on to other skills when you are ready to, when challenges become easier. That way you are always using your time effectively. Note that there are basic skills that need daily practice. The routine is used to assure this practice.
Sometimes, it is best to make yourself accomplish everything in the time you have, making your work efficient and improving. Other times, you may need greater freedom to express yourself and allow the growth you need. Only you can know this. If, for example you are in rehearsal with others, you must accomplish everything you can in the time of that rehearsal. While practicing alone, you may need to move short terms goals to long term goals.
You can use the lesson of time management you learn in practice for every thing you do. Remember, if you are not having fun, you are doing something wrong: change. This does not mean that you stop practice, instead change how you practice. It does not mean to do only those things which feel good, sometimes we need to experience the right kind of stress to learn. This may feel like a drag on you, but we need to do these things to improve and the best way is to make it fun. After a while some things get old and useless, we no longer need these as they serve no purpose. Some things even become harmful and excessive. Learn to change before you over stress, hurt or fatigue yourself. Always look for opportunities to learn.
Throat, Larynx, Voice Box, Tongue, and Soft Palette.
December 29, 2009, 5:05 pm
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The vocal folds, or vocal cords, are the part of our larynx that vibrate creating sound in our voice. When these are made to vibrate, they make sounds such as we wish, like ah, ee, or oo, The mouth assists in this process. But, the folds are critical in the quality of sound production. Not only this, but they gauge the air flow as it leaves the lungs. Therefore, when we play brass, the vocal cords determine the shape and flow of the air stream.
A simple exercise will show this. Open your mouth and say, “Ha.” Now, take one hand and form it in a circle, with your thumb over your index finger. Bring that hand up to your lips, placing your lips on your fingers, and then blow air through the opening in your hand. You should feel a slight difference at the throat. That is, the throat will feel less restricted. This is because the air passes through the larynx with less tension. The tension that forms with many sounds we make is unnecessary, and much of it develops at the larynx, changing the air flow and the quality of sound.
So, the first effort arises from complete relaxation and goes on to complete relaxation maintaining an unrestricted air flow.
Most mistakes occur when the air flow is restricted in some way, a bump, a spasm, a pinch. You can hear and feel this in your playing.
Notice the tongue is attached to the throat and larynx, so when you tongue the larynx is effected. This causes tension, too, which can disrupt the air flow. Therefore, practice complete relaxation when you move the tongue. The goal is a relaxed control over this movement, so you tongue in concert with the unrestricted air flow.
The soft palette sits in back of the hard palette on the roof of the mouth. Take your tongue and scroll it back on the hard bone until you find a soft place and that is the soft palette. This plays a role in the shape of the air as the air comes up from the lungs. Therefore the shape of the soft palette determines somewhat the shape of the air stream. If you keep the soft palette lifted up and open, like a yawn, you can influence the relaxation and easy flow of the air stream. You also make room for the movement of the larynx and tongue.
Articulation and Tone Production
December 29, 2009, 5:03 pm
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Often these are mixed up in our minds. Articulation is a musical expression. Basic articulation is either connected or separated. Other examples of articulation include staccato, tenuto, accent, sfrozando, reinsforzando, marcato, slurred, legato, and normal notes, slightly, almost imperceptibly separated.
Brass technique is concerned, in part, with how to execute these articulations. We should never confuse the articulation with tone production. Our basic tone production should serve as a template, which informs us how to execute each articulation. The basic tone production is either a T, D or L, with a vowel succeeding.
(Because the vowel sound “AH” produces the most open, relaxed position in the vocal cords (folds), this is recommended for all notes. Range issues often develop when pinching occurs in the vocal folds, where the tongue is attached to the voice box, in the throat, and soft palate, so maintaining these open and relaxed is essential. Range can be developed through the relaxed movement of the voice box-tongue up and down according to the same direction as the pitch. In addition, you may manipulate the tongue, as in “AH,” “oo.” or “ee,” depending upon the range, low to high. Ultimately, the tongue shape is what is important, as it changes the flow of air in the mouth, thus the angle of air into the mouthpiece, thus the length of the sound wave or pitch. Some players play by changing the angle or shape of the lips, thus the angle of the buzz into the mouthpiece and the pitch. This adds pressure to the lip movement and tires the lips, though to some degree may be necessary to achieve the desired effect, depending upon the player. Faster air forces the air stream to a more severe angle thus assisting in the change of pitch, but this is not recommended either, for it adds tension to the playing and does not allow for soft playing in the high register, ultimately.)
So, each articulation is then learned from this basic tone production. There is no separate tone production for each articulation. Stopping of the air stream by relying on the epiglottis to stop the air flow (make the sound “ah”, then allow the air to stop and feel this natural motion) can be an accurate way to time the release of the note. Thus a staccato is a Ha. Ha. Ha. This method relies on relaxation, thus its advantage.
The loudness from our instruments comes from the velocity of the air; loudness is intensity, as the air flow in the instrument becomes intense the instrument gets louder. We need to develop the control of exhale through a relaxed motion, gradually making our ability to play a longer or shorter phrase. The volume determines the possible length of the exhale.
Buzzing, Pitch and Endurance for Brass Players
October 5, 2009, 9:42 pm
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Very often I see students who come in with tone production problems stemming from embouchure difficulties. Treating these can prove difficult, as focus on the embouchure initially turns the attention away from breath control, and encourages pressure at the lips, stopping portions of or all the buzz, unless you understand the embouchure.
The integrity of the buzz, that is the quality of never changing always moving, can develop strength and endurance in the embouchure. The flexibility of keeping the lips in place, while exercising the movement the lips make, exercises the muscles. That is the basic support of the embouchure starts from the larger muscles in the face and ends with the specific needs of lip movement for each partial and note. An important aspect of muscular development includes stretching, so, large movements such as stretching each muscle in the face develop strength and flexibility, and subtle changes in the embouchure help develop the proper tone, pitch and endurance.
Try buzzing three or four times each day for about five minutes. Buzz musical patterns, freely, and improvise tunes. Notice the movement. Often players will experience changes in the angle, or pucker of the buzz. After years of practice a player can get used to these and not be bothered by them, hung up on how it happens. However, this movement initially contributes to mistakes, as an unreliable exit for the air changes the physics, complicating tone production. Most of us, if not all, need to allow these small movements through relaxation and breath support, and practice. However, strengthening of the embouchure to sustain consistency of the air stream reduces mistakes.
Paying particular attention to the corners of the buzz, and their relationship to the intersection of the zygomaticus major, depressor angular oris, and buccinator, (right near where you form dimples) stabilizes supportive and relaxed movement of the obicularis oris (the kissing muscle, or muscle that forms around the mouth and attaches to the lips.) to allow the lips to buzz continuously. The lips themselves are not muscle and therefore, are free-moving flesh. Each muscular area needs strength, right placement and movement should encourage the proper buzz of the lips.
Remember, the direction of the air as it enters the mouthpiece determines the pitch. To achieve this difference, I feel it is best to control the direction by way of the breath and therefore through the movement in the mouth chamber, as well as with the embouchure. It is one system or motion. The spin of the air in the soft palette area, the shape of the tongue and the direct exhale direction intended from the diaphragm make this possible. Whereas you can change the angle of the buzz, the shape of the buzz, this changes the physics at the moment the air exits into the mouthpiece, thus making tone production and quality change and more difficult, until you achieve the systematic movement of the breathing, mouth chamber, tongue and embouchure.
A wonderful study on embouchure movement can be found at:
The increase of the speed of the air, though it can effect the pitch, alone does not effect pitch change. Try increasing the velocity of the air and see if that itself changes the pitch. All you will find is a change in dynamic. The reason the increase of the speed of the air works changing pitch has to do with the force of air on the avuncular ridge, which then directs the air downward when the tongue is higher as in saying, “ee,” for a high note, or in the case of a low note, “ah”, more directly into the mouthpiece. Notice in this case, the mouth chamber itself is more open, thus a more direct line to the end of the cup is achieved. When combined with the embouchure movement (see link) this completes the system.
Remember also, that the use of syllables are only an approximation of the required mouth chamber shape and therefore are best used as a guide, and not as useful as learning the right shape of the mouth chamber for the desired note. Our anatomical differences are individual.
Practice finding the right placement, in very much the same way one practices buzzing pays off with accuracy and endurance. With right placement, you need not work as hard; you tire less. Playing with improvisation, free experimentation, and musical patterns, one develops relaxed and certain control over tone production in a variety of venues.This may be a result of the freedom and subsequent relaxation which comes from that state. Each type of practice develops security in various challenges of tone production.
Lastly, a good, healthy, exercised, breath, completes the brass players readiness to apply his musicianship to making music. As breathing is essential to brass playing, this is covered elsewhere in this blog.
Practice, Practice, Practice
September 8, 2009, 11:35 pm
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With brass playing, everything is understood through our breathing. No matter the quality of the breath, what quality that may be is what you get. All of your understanding in brass playing flows from your understanding of the breath to control the instrument, including how you experience notes, (keys,) rhythms, expression (articulation, dynamics, tempo, phrasing.) These are the foundation of music. You will never understand these by leaning about them once and moving on. You must hear them over and over again, examining them curiously, playing with them variously and practicing them endlessly. To be a good player you must, therefore, learn to control the instrument of the breath, by the breath and for the breath. The rest that is musical follows.
When I meet with a student who does not practice the routine, it is obvious. This is why you hear the repetition that the routine is so important. The fact of the matter is, until a student puts in enough time and effort into playing the instrument, the student has NO means whatsoever to understand how to play the instrument. In my opinion, the routine helps establish a breadth of experience in controlling the instrument in a variety of musical ways. This is what creates a quality player.
When I have students asking me to help them play their parts, they are failing and getting frustrated. This is because they have NO MEANS to understand, and no experience to help them understand. Only practice will help them to understand.
Do not be scared to practice.
When I come across a student who does practice regularly, I find after a while the conversation shifts to much more material concerning the music and the subtlety of making music.
I once experienced a number of good beginning students all at once, Each had wonderful potential. I watched almost all of them leave the studio over the course of a summer. The single impression I got from this experience as I saw the spark go out of each of their eyes was they did not accomplish practice of the routine. It is so obvious, as I remind students of the notes and how to play them, as I see how they play the first exercises the same way as when they started playing. Each of those students then thought, “This isn’t working out.” Or, ‘This is more than I bargained for.” They all left.
Usually, these problems are not really problems. They happen only because the students and their families are not disciplined enough to respect the process of practice and the reality that success happens over time.
Often, in lessons, I allow all kinds of mistakes and make them myself. I let it all show. Only later, when appropriate, do I encourage focus on accuracy. This is because the game is played through our mistakes. It is through the grace of forgiving these mistakes, playing with them, experimenting with learning, learning how to learn, that we eventually become excellent.
Students: beware of insulting yourself with your lack of practice. In the long run, it is your own success that matters. The lessons of music cannot be understood until the practice is.
Short term lessons are a long term problem.
September 1, 2009, 10:40 pm
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Often, students arrive at their first lesson hoping to be told how music they play in band goes, in order to please their band director and place better in band activities. Their focus is obviously geared to specific band pieces. How do I play this? Perhaps, students and parents feel that if those pieces can be played well, they will get the music experience do better in school and move on to other things later.
This is at best a recipe for a bad relationship with the private music teacher and at worst an opportunity for failure in school band programs.
The lesson of music cannot be accomplished over a summer. It is not well suited to short term immersion learning, nor is a student a beneficiary of music and all it has to offer, with this attitude.
In fact, music skills are inherent as aptitude, that is an ability to discriminate sounds. However, those skills are latent and not usable in music performance without necessary muscle and mental development. Growth understanding music skills, such as rhythms, tones, connected or separated sounds, is a function of process, or several areas of learning over time. Reliable performance is available to a player only with practice over several years. Thus, talent comes per forma, or through the form, as muscle and mental development occurs: over long term investments of time and effort.
It is through this experience, that students develop the skills and understanding that music is famous for giving us: discipline, determination, diligence, respect, reliability, responsibility, correction, construction and creativity, social acumen and time management.
The investment of lessons only pays off over a long period of time. Short term expectations are like short term investments of any kind. Please do not put your private music teacher in such a position: it is unfair to your child.
Time Management in practice and the development of transferable skills.
August 24, 2009, 5:39 pm
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Recent research confirms much of what artists have thought for centuries in terms of the value of the arts to human behavior. Skills learned from music and other arts transfer well to other endeavors. Students in middle and high school programs score consistently 50 points higher on standardized tests then their counterparts outside of music programs. Over 90% of students in music programs go on to college and other forms of higher education. There are good reasons for this to consider.
Basic attention to daily practice build skills of staying power, discipline, diligence, determination. Practice also attends to skills of correction, construction and creation. Skills of reflection, responsibility and respect also develop as students practice, play in ensembles, and attend to lesson responsibilities.
It is easy to assume these skills develop from experience in other subject areas, and they do. What is unusual about music is that we use more areas of the brain than any other activity. Music requires us to synthesize more complexly than any other activity. The resulting synergy is significant, as the product concerns complexities, beauty, harmony, and successful social interaction. The mind when exercised in this way achieves a sense of what works, in real time and with a sense of beauty, joy, happiness, when done well.
Time management is important for anyone. However, music growth occurs over time, it is a time intensive activity. Both activity and vacation achieve most efficiency. Time away from an activity gives perspective, rest, vacation, even if over a 24 hour period. It is impossible to play all the music ever written each day, remaining up to date requires skills of dispatch, culling what is critical to success, To develop the skills of time management, deciding to practice efficiently each day, develops a student with these critical skills, too. In fact, the more consistent you are with practice, the better decision making process a student develops, making each activity in the person’s day more effective. These are skills of excellence.
As the school year progresses, consider these skills primary to your success and make decisions according to these goals, instead of shorter term goals that appear once or twice in your life and disappear.
In the pursuit of happiness, your success relies on your ability to achieve in a variety of situations. The skills of music making support this for each developing student. The latest news about the brain tells us of neuroplasticity, or the brain’s ability to change according to your behavior. Without activity, the brain prunes its cells leaving only those used and allowing those unused to whither. In other words, practice of skills keeps your brain cells active and your behavior determines what brain cells remain in use. During the developmental years, especially, but also for any one of any age, the best thinking in the vernacular is: use it or lose it. The synergistic advantages of long term use far out weigh the temporary advantages of accomplishing merely requirements.
So, take advantage of the opportunity music gives you. Find a reliable practice schedule. Practice at the same time every day, or set four or five times during the day when you have the option to practice. Consider the morning, during dinner preparation, before or after meals, before bed, as a break from homework or other activities. Variety of behavior helps all behavior, quality behavior enhances result. Consider the discipline of practice an opportunity to structure time management skills, to make your time spent efficient.
In the long run, as you improve your skills and become more efficient, you will find more time available for all kinds of activities, including leisure activities. And, as you improve you will find more fun in all things you do.
Short Term Memory and the Struggle to Perform
“The relationship between short-term memory and working memory is described differently by various theories, but it is generally acknowledged that the two concepts are distinct. Working memory is a theoretical framework that refers to structures and processes used for temporarily storing and manipulating information. As such, working memory might also be referred to as working attention. Short-term memory generally refers, in a theory-neutral manner, to the short-term storage of information, and it does not entail the manipulation or organization of material held in memory.” Wikipedia.
This phenomenon is helpful to understand how we learn music. Since there is NO possibility of self-reflective, or critical thought during the short term and since performance occurs in the moment, there is no benefit to the anxiety during performance.
In other words, spending your time criticizing yourself during play acts directly in opposition to our biological make up. Since our brain only processes the critical longer term, it is to our benefit to PLAY and ENJOY the playing as we perform, whether in the practice room, at a lesson or before an audience.
While performing, we collect the experience in long term memory. After performance is then the time to criticize, to reflect, to decide what to do to improve.
The experience you have when you play and worry is the struggle the brain has coping with your instructions to criticize your short term experience. You are asking yourself to do something you are not designed to do. So, it feels uncomfortable.
Instead, relax as you play, enjoy the experience and after you are done, review and make decisions then what to do to improve your performance. You will feel less pressure, less tension, less anxiety and have more fun. You will progress faster in the long run this way, too.
Counting, keeping track, micro and macro Rhythm
Until counting of each rhythm remains secure throughout performance, the expression of music stays insecure. A micro rhythm, defined as any note length, stabilizes the phrase. When heard clearly, then macro rhythm, or the rhythm of the measure and eventually the phrase, becomes obvious. Without secure rhythm, the performer cannot hear the phrase, thus the performance sounds uneven, difficult to understand musically.
Put simply, learn the basic count, keep track of the rhythm, the measure and ultimately the phrase. Learn these in this order. One device to learn this technique involves practice of the beat, then double or triple the beat, then the measure, then the half phrase and then the complete phrase.
Even a movement has a rhythm to it, though this is much more difficult to feel and to become aware of.
Practice like this helps in the preparation of say an audition piece. In fact, one can use the same system to memorize a piece, assisting in the ultimate performance, whether or not you actually play the piece memorized.
It also helps the expression of the piece, just as study of a phrase, then sentence then paragraph then section or chapter helps to understand the meaning of writing.