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by chapman0216
Feb 4, 2017
Is anyone currently working on NBCT Renewal in EMC Music?
by Srdan Kozlica
Dec 13, 2016
I am often asked about or in a situation to talk about why it is necessary to study music theory and study/practise scales, arpeggios and chords. To the majority of students, whether children or adults, these theoretical and technical issues seem to be unnecessary and of not so strong importance to some of the learners and thus a path which could b...See MoreI am often asked about or in a situation to talk about why it is necessary to study music theory and study/practise scales, arpeggios and chords. To the majority of students, whether children or adults, these theoretical and technical issues seem to be unnecessary and of not so strong importance to some of the learners and thus a path which could be avoided almost entirely or at least partially in favour of a "more direct" way of learning. While this could be the case at the very beginning or in some special cases or situations, or perhaps with only some people at some specific stage of their development, it is also true that in a really successful piano and music learning these very knowledge and skills are essential. Why is this so? It pretty much works in two ways, in the sense that the music theory and the piano technique are stemming from the music itself as well as the music pieces are created, constructed and based on various elements from the music theory and various piano playing techniques. In both cases, all of that works simultaneously, goes hand in hand with each other and thus forms an organic unity. However, that organic unity requires us to get to know better its constitutive elements and that is precisely the reason why we have to deal with the theory and the technique during the formative periods in our piano /music education. In the lessons, I often encounter students struggling and many times it is due to a lack of the aforementioned knowledge and skills. Also, more often than not, they seem to be almost completely unaware of the real reason why some particular place in the piece of music they are learning is not working, despite of their multiple repetitions of the place in question. In a way, learning the pieces to play without the general technical and theoretical back up, is almost like learning the piano from scratch as if being a nearly total beginner, whereas when having the general theoretical and technical back up, we learn much faster and more successfully and therefore all the effort input in the general backing up pays off more than well :) One last thought, even the scales and arpeggios will go much better if we understand them very well from the theoretical standpoint. I hope to inspire all the learners with this article and help them in achieving their musical goals quicker and more successfully!
I am looking for schedule ideas to go from a full time to part time elementary music. If you teach part time elementary music what is your schedule like?
by Hilde Binford
Jan 17, 2017
K-12 school teachers are invited to apply for the four- week Summer Institute for School Teachers on Johann Sebastian Bach and the Music of the Reformation Church from June 26 – July 21, 2017. The Institute will take place in Bethlehem, Pennsylvania, home of the first Bach Choir in the United States.
The Institute is hosted by Moravian ...See MoreK-12 school teachers are invited to apply for the four- week Summer Institute for School Teachers on Johann Sebastian Bach and the Music of the Reformation Church from June 26 – July 21, 2017. The Institute will take place in Bethlehem, Pennsylvania, home of the first Bach Choir in the United States.
The Institute is hosted by Moravian College and is funded by the National Endowment for the Humanities. The 25 Summer Scholars will arrive on Sunday, June 25, 2017, and leave after noon on Friday, July 21, 2017. The first day of the Institute is Monday, June 26, 2017. Each Summer Scholar will receive a stipend of $3300. All stipends are taxable and intended to defray travel and living expenses.
The primary focus of this Institute is to understand the intellectual and musical worlds of J. S. Bach. In addition, taking as points of departure the 600th anniversary of the death of one of the first pre- Reformation martyrs associated with the Moravian Church, Jan Hus (d. 1415), and the 500th anniversary of the beginning of the Lutheran Reformation with the nailing of 95 Theses on the door of the church of Wittenberg (1517), this Institute will explore the music of the Lutheran church (particularly Bach’s) and other 18th century Reformation churches and examine its reflection of both societal and religious changes. Participating teachers from a wide variety of disciplines will gain a deeper understanding of Bach's musical universe and a more profound awareness of the various approaches to interpreting his music and setting it in context.
For more information, please our website, [link removed].
Contact Info: Hilde Binford, PhD
by Veronica Haro
Jan 7, 2017
Steady beat, Rhythm and Tempo ABRSM Grade exams are very well known in United Kingdom. They cover different aspects of music learning such as pieces, technical requirements (scales, arpeggios and broken chords), sight-reading and aural. As students I think all of us have experienced some difficulties on aural learning when trying to find the steady...See MoreSteady beat, Rhythm and Tempo ABRSM Grade exams are very well known in United Kingdom. They cover different aspects of music learning such as pieces, technical requirements (scales, arpeggios and broken chords), sight-reading and aural. As students I think all of us have experienced some difficulties on aural learning when trying to find the steady beat, usually misunderstanding it with rhythm. I often find this on my students. My general advice as a teacher and musician is to explain these very clearly as many times as you need from almost the beginning.
by Piano Lessons WKMT
Dec 18, 2016
Sight Reading and Learning-what's the distinction?
In the previous month, I have seen a ton of situations where taking in a piece is fundamental and when sight perusing turns out to be more vital. So what is the distinction?
For an instrumental player in an ensemble, sight perusing is fundamental (they require their sheet music ...See MoreSight Reading and Learning-what's the distinction?
In the previous month, I have seen a ton of situations where taking in a piece is fundamental and when sight perusing turns out to be more vital. So what is the distinction?
For an instrumental player in an ensemble, sight perusing is fundamental (they require their sheet music forever) It's hard to remember sections of music that happen at better places particularly after 28 bars of not playing! Fundamentally the same as for an accompanist who more often than not won't have room schedule-wise to take in the music and should have the signals accessible (for the accompanist and the soloist).
For orchestral compositions gatherings and soloists by and large; to get the most out of a bit of music: to comprehend where the correspondence of the music is offering and to discover and bring out where the unobtrusive changes are. This originates from taking in the music all the more completely. To have the greatest effect from a bit of music-to take a heading, make it energizing. We couldn't do this by sight perusing as even we, the performers, don't know where the music is going. Obviously there is a sure level of "scholarly" by a symphonic player and accompanist (if there are trickier entries) however by and large it will be perused through on a bigger scale. Piano Lessons London by WKMT
So where are the real contrasts and how might we enhance both? In the first place, we have to perceive how they contrast:
When we sight read, we have a short measure of time (in occasions such as exams, a moment) to take a gander at the music we have never observed. We don't have the advantage of time to learn so we can just organize the most troublesome parts. At that point think and react quickly; perusing in front of ourselves.
With taking in a piece, we have room schedule-wise to take a gander at the specialized and masterful points of interest in addition to set aside our opportunity to practice it. We can listen to and appreciate what we are playing. We realize what's occurring next so we have the opportunity to 'appreciate the occasion' and translate as we come.
We can see they are both totally unique aptitudes. It is difficult to take in a piece by always sight understanding it. There is a lot of data to process all in one go and we can get negative behavior patterns in the way (which takes more time to change).
In invert, there is insufficient time to take in the subtle elements for a sight perusing piece. Before we know it, we come up short on time.
Both aptitudes can be progressed:
Sight Reading - Piano Lessons London by WKMT
The more keys that is we know-the scales, arpeggios and harmonies that have a place with it-the more we can take an informed figure in the matter of what happens next. We have the advantage to anticipate and see what happens next. We can see the course the means and skips are heading in the scales that they have a place with. Search for where the examples of stepwise and appeggiated developments are.
Learning
With learning, we do need to take additional time and practice gradually. The most essential is the means by which to pace it. So we separate it. Segment by area, express by expression, even note by note. We sort the notes out (a considerable measure like taking in a dialect), then expressions together lastly the areas. Do it a little bit at a time, similar to the last bits of a confuse. The outcomes will be much clearer when the piece is remembered we can concentrate on simply the music as we hear it and expand the nature of our playing.
by Juan Rezzuto
Dec 8, 2016
Feel free to check this amazing article about singing lessons by Ann Marie White, Teacher at WKMT London [link removed]
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