Posts Tagged ‘music theory’

What is Music Theory and Why Should I Learn it?

Wednesday, March 25th, 2009

 

Aside from the academic study of music theory, which explores the theories surrounding music issues, such as whether or not a piece of music fits into one category or another, music theory is really the nuts and bolts of music.   It’s the way that music is composed, and performed.  Whether you are thinking about musical harmony, the way a concerto is orchestrated, and even the simple basics of how to read music, then you’re thinking about aspects of musical theory.

The first question that many people just starting out on their music journey often ask is “Do I really need to know this stuff?”  The answer depends on what you want to do with your music.  There are many successful recording artists who can’t read music never mind distinguish a symphony from a sonata.  This implies that you don’t need to have any knowledge of music theory in order to be a successful musician.  However musicians who can do this to a great level are few and far between.  Even if you are pitch perfect and can compose and play a piece of music entirely from memory, you can’t easily share this music with others unless they have similar skills.

Music theory allows musicians from all backgrounds to come together on a level playing field.  Each of them understand the piece of music in front them.  They know what key it is to be played in - vital if they want to create harmonies.   They know what time it’s in so that they can get the beat right.  The composer will have noted on the music manuscript how the piece is to be played - terminology that means slowly, softly, “with gusto” and so on.  Those who compose understand the common music forms and by understanding the range of each instrument are able to combine different combinations of instruments playing harmoniously together.  They know the instruments to work with for the kind of music they are composing, and can compose both melody and base lines that sound right whether played independently or together. 

If you have a good ear for music and know the fundamentals of how your musical instrument works, then you may have no use for music theory.  On the other hand, if you want to compose music that you’d like to share with other musicians, if you want to play with other musicians in an orchestra or band, or  if you want to be able to play a piece of music that someone else has composed and you haven’t heard played, then some basic understanding of music theory is required.

Imagine that you can look at any music score and instantly be able to sight-read it, which means you could sit down with your instrument and by reading and understanding the notations made by the composer you are able to play that piece of music in the way that the composer intended.  With little more than a basic knowledge of music theory, such as being able to read music and understand some simple, common musical terms, you could do that.  Even if that’s not a skill you would use often, as a musician, isn’t it a skill you’d like to have?

 

 

Music 101: What would I learn if I took Music 101 in college?

Saturday, March 21st, 2009

What would I learn if I took Music 101 in college?

Most major college Music 101 courses are specialized and designed for a specific program. In other words, you’ll find a Music 101 class for classical music, dance and theater, performance, or theory (among many others). Which 101 class a student chooses is mostly determined by their major. For example, a college may offer separate degree programs, including a Bachelor of Arts in Music Performance, Bachelor of Arts in Theory and Composition, or Bachelor of Arts in Music Education. In most schools, each major has a particular program of study and may have it’s own 101 class with specific points of study.

In general, a college-level Music 101 class covers a number of topics including music notation, composition, piano, performance (some whether the student plays an instrument or not), and ear training (sight singing). A significant amount of time is spent on piano studies (some colleges call the class “Keyboard Skills”) where the student learns basic composing skills, explores different styles of music, and begins their study of music theory. The student may also be asked to be a part of a choir or chorale, and study the human voice as a musical instrument.

For those students not familiar with reading music, some 101 classes include the study of basic music terms as well as the various signs and symbols present in written music. The student will also study key and time signatures, various scales, and dynamics. Normally, at the end of such a class, the student is required to demonstrate what they have learned via a written exam or by playing a piece on the piano. Along with these hands-on offerings, many colleges and universities offer a class in the physics and science of sound (which may lead to a career as a recording engineer).

In keeping up with advances in computer recording and digital media, The Julliard School of Music, for example, offers a class in Music Technology where students pursue specialized areas of study such as digital music production, film scoring, and the use of computers in performance. Other schools, such as the Berkley College of Music, includes a 101 section on the business aspects of music including artist management and promotion

For the most part, a Music 101 class will not require prerequisite studies (particularly those 101 classes that are of a general nature). All that may be needed is eligibility and the desire to learn. These classes are often a continuation of a high school (or college) Music Appreciation class, with a focus on topics such as music in culture, history of music, seeing music as an art form, and an appreciation of the process of recording and producing CD titles (albums and singles). Being able to play an instrument or having  background in vocal studies may not be necessary. This type of a Music 101 class can often be found at the community college level or, in some cases, part of a community continuing education program.

Piano Instruction: Make Sure It Includes Chords & Music Theory!

Friday, November 14th, 2008

 

Proper piano instruction is an element extremely vital to learning the instrument well. Though it’s very possible to be a self-taught piano player, piano lessons can really increase the speed and efficiency with which one learns the instrument. That’s not to say that great piano instruction makes great piano players overnight; even the most naturally talented pianists still play for years before they consider themselves advanced. But proper piano lesson instructions will maximize those years to the fullest and ensure that the student is learning the correct techniques. Though teaching styles always vary from instructor to instructor, piano instruction generally covers the same basic areas: fingering, , music reading, scales, technique, and sight reading. The early lessons will cover fingering and posture, making sure the student knows how to hold his or her hands and where to put them on the keys; series of scales practiced repeatedly will be the basis of this area. Piano instruction will then move on to notation essentials, starting with the basics of notes and key signatures and time signatures and then moving forward to more advanced concepts in rhythm, tempo and dynamics.

Many of these concepts are introduced into the piano instruction while the student is learning to read music, a practice that runs through the entire course of the piano instruction. Teachers will assign short, easy pieces to kick start the student’s music reading knowledge and eventually move forward to more advanced pieces. Sight reading, the ability to play a piece of music without ever having seen it, is sometimes placed sporadically throughout the piano instruction, after a student is fairly well-versed in reading music.

One crucial element of piano playing that is often left out of traditional piano lessons is the study and practice of chords and music theory. To learn to read music without understanding the theory behind the music and the chords and chord progressions that form the music is almost like teaching a surgeon to cut without understanding the human anatomy and it’s interrelated parts. The student will be able to play the piano from a piece of sheet music, but take that music away or have it blow off the piano and he or she is immediately in big trouble.

There is a famous story about a lady who was a concert pianist and could impress people with her playing, yet when asked to play “Happy Birthday” at a party had to decline with great embarrassment because she didn’t have sheet music for the song handy. To be tied to the written music is a shame, when learning chords and music theory adds so much to the value of piano instruction.

Given a healthy dose of music theory and chord instruction mixed in, all of the other elements of piano instruction eventually begin to work hand in hand. Piano instruction then becomes an intricate web of gaining bits of detailed knowledge little by little and understanding the music that’s being played without fully realizing that it’s being gained.

Then playing the piano becomes more fun and a joyful event that can be shared with full understanding of the theory and form that lies behind each song.

 

 

What is Music Theory and Why Should I Learn it?

Wednesday, October 15th, 2008

Aside from the academic study of music theory, which explores the theories surrounding music issues, such as whether or not a piece of music fits into one category or another, music theory is really the nuts and bolts of music. It’s the way that music is composed, and performed. Whether you are thinking about musical harmony, the way a concerto is orchestrated, and even the simple basics of how to read music, then you’re thinking about aspects of musical theory.

The first question that many people just starting out on their music journey often ask is “Do I really need to know this stuff?” The answer depends on what you want to do with your music. There are many successful recording artists who can’t read music never mind distinguish a symphony from a sonata. This implies that you don’t need to have any knowledge of music theory in order to be a successful musician. However musicians who can do this to a great level are few and far between. Even if you are pitch perfect and can compose and play a piece of music entirely from memory, you can’t easily share this music with others unless they have similar skills.

Music theory allows musicians from all backgrounds to come together on a level playing field. Each of them understand the piece of music in front them. They know what key it is to be played in - vital if they want to create harmonies. They know what time it’s in so that they can get the beat right. The composer will have noted on the music manuscript how the piece is to be played - terminology that means slowly, softly, “with gusto” and so on. Those who compose understand the common music forms and by understanding the range of each instrument are able to combine different combinations of instruments playing harmoniously together. They know the instruments to work with for the kind of music they are composing, and can compose both melody and base lines that sound right whether played independently or together.

If you have a good ear for music and know the fundamentals of how your musical instrument works, then you may have no use for music theory. On the other hand, if you want to compose music that you’d like to share with other musicians, if you want to play with other musicians in an orchestra or band, or if you want to be able to play a piece of music that someone else has composed and you haven’t heard played, then some basic understanding of music theory is required.

Imagine that you can look at any music score and instantly be able to sight-read it, which means you could sit down with your instrument and by reading and understanding the notations made by the composer you are able to play that piece of music in the way that the composer intended. With little more than a basic knowledge of music theory, such as being able to read music and understand some simple, common musical terms, you could do that. Even if that’s not a skill you would use often, as a musician, isn’t it a skill you’d like to have?

For a complete course in music theory, please click here: Music Theory Course

How important is sight-reading for piano players?

Tuesday, September 2nd, 2008

Sight reading music
Sight reading is the act of reading and playing a piece of music before having ever seen it: on sight. This technique is an important one for musicians to learn. Being skilled in sight reading makes reading a piece of music easier; the musician doesn’t have to labor over every note and re-teach themselves the common patterns. Sight reading, after a decent amount of practice, becomes like second nature.

A solid knowledge of music theory is absolutely crucial to a musician who wants to become proficient in sight reading. Besides acting as the basis for understanding the notes, a music theory education provides the ability to see patterns within the piece of music, a large part of the sight reading puzzle. Sight reading, after all, doesn’t require the musician to read every single note. Most musicians rarely see the entire piece of music, but rather the patterns that emerge from it. They understand notes and how they function in relation to each other and are therefore able to deduce most of the chords and changes — all from just glancing at the basic structure of the piece.

For example, musicians who know music theory will first determine the key of the song from the key signature, which in turn gives them strong hints about which chords will probably be used most in the song. This knowledge alone enables the sight reader to be mentally prepared when those chords occur, and to be alert for chords which are unexpected.

They will also be aware of intervals such as 3rd and 6ths and 7ths, and they will look for the form of the song - ABA, AABA, ABACA, or whatever. They will be aware of the probably rhythm patterns based on the time signture, and they will quickly scan the score for repeats, tempo signs, volume changes, and so on.

In fact, most sight reading mistakes typically happen when a piece of music takes an unexpected turn, deviates from the common pattern. These mistakes, however, are few and far between with those proficient in sight reading. An experienced sight reader will have learned to not only see patterns but also to read ahead in a piece of music while they are playing it. Looking several bars ahead to catch anything tricky or unexpected is often done while holding a sustain or resting.

Sight reading plays a large role in music education, and students are frequently tested on their ability to do it well. Some sight reading exams will allow the student a few minutes to look over the piece and prepare; he or she will be able to make notes, mark up tricky time signatures or changes. Tempo is rarely a consideration in these sight reading exams as playing the piece well is far more important than playing the piece up to speed.

Advanced sight reading exams, however, aren’t quite as forgiving. These exams give the student minimal, if any, time to prepare, and tempo is absolutely considered into the final grade. Advanced sight reading exams prepare a student for work as a studio musician, a career where near-perfect sight reading is a must. The majority of studio musicians record a piece of music after only seeing it once — sometimes not at all. A flawed skill in sight reading will only prove to be a hindrance to the working musician; it is for that reason considered one of the most important parts of a music theory education.

This does not mean, of course, that musicians can’t reach the top rungs without good sight-reading skills. After all, many top jazz pianists don’t read music at all, but are gifted with incredible ears and improvisational skills. But for most of us “normal” musicians (like me) it is a helpful skill to develop to the best of our ability. Even if we never get great at it, we can always get better!

Do you know about our online catalog for piano players?

Monday, August 18th, 2008

Online catalog for PlayPiano.com

Do you know about our online catalog for piano players? It is a rich resource for all kinds and levels of piano players, covering everything from chords to music theory to arranging, technique, practice, styles, and tons more. Visit it at Play Piano Online Catalog

Is It Really Possible To Play The Piano By Ear?

Monday, August 4th, 2008

Play piano by ear!

Playing piano by ear is the ability to play a piece of music (or, eventually, learn an instrument) by simply listening to it repeatedly. The majority of self-taught musicians began their education this way; they picked up their instrument and began playing an easy melody from a well-known song, slowly picking out the notes as they went along. And even after these musicians master their instruments or a particular song, playing by ear still plays a large role.

Many pop and rock bands don’t play or write their songs based on sheet music, they figure the songs out by playing by ear. It’s even common among non-musicians. Ever sit down a piano and mindlessly pick out the tune to “Mary Had a Little Lamb”? What about grabbing a guitar and suddenly finding yourself playing the opening licks to “Smoke on the Water”? That’s playing by ear. You’re able to play part of the song just because you’ve heard it so often.

Playing by ear is a valuable technique for many musicians; learning songs based solely on hearing them is a great way to understand song and chord structure. In fact, a great number of rock and pop musicians learned to play their instruments this way. Instead of picking up a book or taking lessons, they concentrated on figuring out the notes and rhythms to a song until it was mastered. Then they moved on to another song. And another. Gradually, they learned their instrument just by playing by ear — and in the process learned how to effectively structure a song in that particular genre.

Playing by ear is also beneficial in helping a musician develop his or her own style; sure, they’ll at first mimic the style of the song they’re imitating, but the amalgamation of the music that they’re playing by ear will help them create something distinctive, something indicative of them only.

Though classical musicians are generally educated based on tons of music theory and sight reading, some methods rely on playing by ear. The Suzuki method of musical training, for instance, claims that learning music is the same as learning a language; it’s acquired by years of hearing it, eventually coupled with formal training. Just like we pick up our language by listening to our parents and subsequently attending school, we can learn music by playing by ear and later taking formal lessons.

So can the average person ever hope to play their piano by ear? Maybe not to the degree that some extremely talented musicians do, but anyone can learn enough about the basics of playing by ear if they learn the following skills:

1.Being able to hear a tune and have a general sense of the contour of the melody — when the tune moves higher or lower as the song progresses.

2.Learning to chart that melody contour either on paper or in their memory.

3.Learning to match the melody to appropriate chords.

Playing by ear is really a combination of of three factors:

1. Using your tonal memory to recall music you have heard:

2. Using your ears and fingers to help you reproduce what you recall;

3. Using “melody contour” (the “shape” of the tune), “chord structure” (how to form the chords on the keyboard to match the tune), and “chord progressions” (the path chords take as they move through a song).

Obviously, the first 2 steps you can take more or less by yourself — you can mentally rehearse recalling a particular tune; you can sit at the piano for hours and through trial and error pick out tunes, chords, and rhythms. But the real key to playing by ear is learning how to chart the shape of a tune, learn how to construct chords, and then determine the likelihood of chord progressions — in other words, which chord comes next.

When you get an understanding of step three, you will be in a MUCH better position to understand and profit from steps one and two!

Click here: Is It Really Possible To Play The Piano By Ear?