Musical Instruments

Buying A Guitar

2006-11-15T09:17:00.000-08:00

by Sanjay Johari

A guitar should be purchased with due care to avoid any problems with it in future. Identifying a good instrument is an important guitar lesson.

Should you purchase a new or an old instrument? You should consider purchasing an old instrument only if you trust the source. The sound quality of musical instruments generally improves with playing, which is a plus point for an old instrument. You can also get it at a lower cost unless it is an antique piece or some other value is attached to it. But there may be mechanical damage in the guitar which is not easily detectable. You have to really use your judgment. When in doubt, go for a new one. You can get a warranty for a period in a new guitar, but you will not have this comfort in old instrument.

New guitars may be mass-produced or custom made. The mass-produced instruments will be less expensive. Custom made guitars come in wide price range depending upon the material, skill and effort put into their construction. You can use one rule of thumb in deciding which one to buy - if you can discern the superiority of sound quality in a custom made guitar then you can consider purchasing it. Otherwise purchase a mass produced one. You can purchase custom made guitar later when your ears are better trained.

Before purchasing you should see all its parts critically. I am giving here my views on what you could look for in a new piece.

It is always good to prepare a checklist for purchasing anything which is somewhat costly. Based on the considerations given below you can prepare a checklist of your own which will help you to remember all the points you have to verify.

Overall Appearance - Guitars come in different colors, designs, sizes. You can select a piece to your liking. Inspect thoroughly to satisfy yourself that there are no visible defects.

Body - This is the hour-glass shaped part with sound hole in the front. It is where strumming is done. It is hollow from inside and provides resonance when strings are played. The resonance enhances the sound volume and makes it "rounded". The body is designed to provide resonance over entire range of notes played on the guitar. You should check the sound quality with each string played at different notes.

Neck - This is the long piece attached to the body over which your finger moves to play chords. On the other end on the neck there is the head in which tuning posts and tuning heads are fixed. Neck should be examined carefully for any warping or twisting.

Fret Board - This is the piece glued over the neck on which strings are pressed to play chords or individual notes. The distance between fret board and strings is critical. If the strings are too close you do not get "clean" notes. On the other hand if the strings are too far away you have to press harder to play the notes causing greater strain to your fingers. Also, the string gets stretched while playing. Ideally, pressing the strings over the fret board should not stretch it. But if the strings are too far above the fret board, they get sufficiently stretched while being pressed to change the original tuning of the string.

Strings - You can have a choice of strings made of different material. They come in two broad categories - metallic and nylon strings. Nylon strings are easier on the finger tips. There are also "heavy" and "light" strings which vary in cross section. All these strings have different sound quality and "feel" while playing them. You can take your pick.

The position of strings on the guitar is also an important criterion. Finger sizes vary widely in individuals. Your fingers should comfortably reach and press the last string. The distance between the strings, and the width of the fret board should match with the size of your fingers.

Tuning Heads and Posts - For each string there is one set of tuning post and head. They stretch the string for tuning it when you turn the tuning head and keep the string in that stretched position for playing it. You should ensure that the movement of the tuning heads should is smooth, and the tuning posts retain the stretched string. The string should not become loose while playing.

After you have considered all these points you should play the instrument, or get the salesperson to play it. See how it sounds, how it feels. You should be satisfied with its overall performance before you decide to buy it. When you buy a good guitar which is to your liking you will be motivated to take you guitar lessons more seriously.

Musical Instruments Your Kids Will Stick With

2006-11-15T09:16:00.000-08:00

by William McRea

You understand that learning a musical instrument has a lot of benefits for your children. It helps them learn about music, helps them function in a group setting, enhances their self esteem, and also develops their creativity. In fact, they have even expressed a desire to learn an instrument. The problem is, you worry that they wont stick with it and you will have wasted time and money.

Well, one of the biggest reasons kids do not stick with an instrument is because they do not consider it exciting or cool enough. Yes, you may have purchased a shiny new trumpet for them, but if they are a fan of rock music, this instrument wont seem exciting for them. In fact, you will probably battle with them constantly to get them to practice until you both eventually quite.

Want to avoid this scenario? Then why not choose musical instruments your kids will stick with? Here is some advice that will help you make a wise choice. These are all instruments your child will stick with because they are not considering geeky or uncool.

Acoustic or Electric Guitar

Your child has a choice between the acoustic and electric guitar and both appeal to a variety of musical genres. For example, if your child loves to sing and play at the same time, an acoustic is a good choice. If they love rock music, an electric guitar is a good choice.

Consider what kind of music they like and it will give you a clue as to which to buy for them. Keep in mind that if they are serious about learning the guitar, they will probably want both an acoustic and an electric eventually. They will stick with this because they can play music that appeals to their personal taste.

Bass

The bass is also another good instrument to choose from because it is also considered "cool". All the popular bands have a bassist, and if your child has aspirations to be in a band with some friends, this may be a good choice. Basically any type of band be it a jazz band or heavy metal group needs a bass player.

Drums

Drums are also another instrument that kids stick with. Drummers stand out. They are responsible for keeping the beat and if they are off beat, the entire band will sound terrible. They are depended on. To a parent, it may seem as if the only thing the drums are good for is generating a lot of noise. But, they actually hold all the benefits of learning any music instrument. This is a good choice for someone who has a sense of rhythm.

A Day at the Symphony

2006-10-30T14:20:00.000-08:00

Twice a year, I take my daughters to the symphony in Portland, Maine. We live in rural Maine, so a trip to Portland takes a good part of the day, but it is always a treat. Thankfully, the Portland Symphony Orchestra gives a special school day educational presentation twice each year: once in the spring and once in the fall. On those days, school children from all over the southern part of state of Maine are brought in on school buses to the beautiful Merrill Auditorium in downtown Portland. Each time there is a special theme which teaches children something new about music, musical instruments, and other related subjects. One spring, the theme was modern composers of the musical scores in popular movies. We were treated to the symphony playing the themes from Jurassic Park, Star Wars, Jaws, and Titanic, just to name a few. Another time, the theme was jazz music, complete with dancers and clap-alongs with the audience. One of our favorites was when the symphony devoted the entire morning to the music of Beethoven, and the beloved story, Beethoven Lives Upstairs was read aloud by two actors who acted out the story as they went. It is safe to say that each time we visit the symphony during one of these special performances, we are never disappointed.

Today, we went to the symphony once again. As always, the Portland Symphony Orchestra first sent us, as homeschoolers, a compact disc with all the music we would be hearing that day, as well as a set of paperwork detailing the music, the composers, the theme, and of course, the instruments. The packet was sent to us several weeks in advance, so we had plenty of time to become familiar with the music and understand what we were going to hear. The conductor we had seen and grown to love over the past several years had recently moved on to a different job, so we were curious about the new conductor. But we were pleasantly surprised when we arrived, as we always are.

There was a guest conductor at the symphony on this day, and he was wonderful with the school children in the crowd. He began by explaining that the symphony has four parts to it: the composer, the conductor, the musicians, and the audience. He then went on to illustrate each of these details as the forty-five minute presentation proceeded. After delighting us with the Marriage of Figaro K. 492, be Mozart, the conductor brought out a composer of classical music and had him explain to the children how he became a composer, and what it means to him. We were treated to one of his modern classical songs which was quite different from the Mozart we had just heard. Then, we heard Dvorak's symphony number 9 in E Minor, and the conductor explained that it is his responsibility to decide how fast, slow, loud or soft as song will be played. He then talked about the musicians and what they like to play; he went on to have them play Ravel's Mother Goose Suite: The Enchanted Garden, which is a favorite of the musicians. We were treated to a violin solo for Wieniawski's Polonaise brillante number 1, op 4 D major. Lastly, he spoke about the audience and their participation. At this point, the orchestra played a rousing rendition of Offenbach's Overture to Orpheus in the Underworld, to which we all clapped along on designated parts.

The morning was wrapped up with an all time favorite: Rossini's William Tell Overture. Looking across the expanse of Morrill Auditorium, one could see school children delighting in the music, bouncing up and down, and loving every minute of it. The children were encouraged to feel the music, participate with the clapping, and respond to the conductor and to the music. They learned that popular music they hear on the radio is not the only music that can make them smile and make them move. The Portland Symphony Orchestra's children's program today was a wonderfully educational experience, but pleasurable as well; which is as music should be. And the best part is that we can go home and continue listening to the compact disc, remembering our day, appreciating the music, and looking forward to the next time we get to go to the symphony.

Beethoven and the Origin of the Western Romantic Music

2006-10-14T06:32:00.000-07:00

The roots of the romantic music in the west can be related to the broader scene of the politics and economy of western world between 1789 and 1830. It was an age of revolutions; three revolutions had occurred by the end of the 18th century: the Industrial Revolution, the American Revolution, and the French Revolution. As a result of these radical changes, the middle class came in possession of significant political power. Like the emergent economics, they liberated musicians (and music) from the customary system of elite patronage. The newly handed freedom and independence allowed the musicians to follow their eccentric and individualistic modes of expression, especially when music was now more accessible to them due to affordable musical instruments produced by the new industrial techniques.

The greatest musician of this time, in fact one of the greatest geniuses of music ever born, was the German composer Ludwig van Beethoven (1770-1827) who spent most of his life in Austria. Beethoven's musical works represent both the acme of Classical music and the introduction of Romantic music. A distinguishing feature of Beethoven's musical compositions in the Classical style is the length of his works; in the Classical forms of sonata, symphony, and string quartet, he extended the usual length of composition to double or three times. Beethoven's music was not only more expressive than previous Classical music but also carried greater warmth and variety of feeling. Beethoven is also credited with notable innovations in music like the introduction of program music (portrayal of a particular setting or narration of a story in music) and using choral voices in symphony. While Beethoven 's uniqueness of individualistic expression is stamped on all his compositions, his musical career can be divided into three main phases.

In the first phase, from the 1790s to 1803, Beethoven essentially remained a Classicist, owing dominantly to the influence of Joseph Haydn with whom he pursued his studies in Vienna. What Beethoven contributed to the Classical style at this time was increase in length of the first and third movements and also a more lively touch to the middle movement.

It was in the second phase, from 1803 to 1816, that Beethoven sired Romantic music by inculcating his own voice in older forms of composition while also giving more richness and depth to them. His representative work of this phase is his third symphony, called Eroica (Heroic). The length and complexity of this composition and its grandeur, seriousness, and dignity all make it a really heroic piece of Romantic music.

In the third phase of his career, from 1816 to 1827, Beethoven created music of greater freedom and deeper contemplation. Its consummation came in the form of his Ninth Symphony, the finale of his longer works. The mastery with which he used a choral finale to present in musical form von Schiller's poem Ode to Joy still remains a wonder of the musical world. It is also a composition, which testifies to Beethoven's faith in God and humanity.

Beethoven remained a prolific composer in all musical genres and, besides his nine symphonies, he produced two Masses, two ballets, an opera, 16 string quartets, 32 piano sonatas, five concertos for piano, one concerto for violin, and many chamber and choral compositions.

Another great composer from Vienna came by the name of Franz Schubert (1797-1828) who raised the song to the level of a great art by the beauty of his melodies and simplicity of grace. Schubert's perfection of the art song, was closely related to the revival of lyric poetry. Using the text by Goethe, Shakespeare, and other poets, Schubert composed music for more than six hundred art songs.

Finally, the name of the French composer Hector Berlioz (1803-1869) is worth mentioning in the development of Romantic music. He created a wonderful piece of program music in 1830, called Symphonie Fantastique (Fantastic Symphony). This work musically illustrates a story, which Berlioz described in written notes accompanying the music. The story takes the form of an opium dream telling how an artist hopelessly loved an unfaithful woman, eventually dying for her. While the symphony remained rather conventional in form, it was adorned with an original, recurring musical theme called an idée fixe (meaning 'fixed idea'). Every section of the symphony contains this theme in a modified form, so it unites the symphony in an innovative style. Berlioz's Symphonie Fantastique reinforced the fashion for program music in the Romantic period.

Western Music in the Eighteenth Century

2006-10-06T04:05:00.000-07:00

The greatest gift of the 18th century to musical history is the incomparable genius of Mozart, a name that can a fortiori be regarded as the greatest genius of music that time ever saw. The intellectual scene of the whole 17th century had been loaded with scientific discoveries and philosophies that, at the first glance, appear dry and devoid of artistic beauty. Owing to this investment in the intellect, the 18th century in Europe emerged as a time of enlightened thinking. People had the general belief that human reason can and should reform the society; hence the name the Age of Reason for this period. It was in this age that western music saw a classical style characterized by refinement and elegance.

Owing to the powerful political force of France, French became the trendsetter in music in the early 18th century. Rococo style music was actually preceded by the same style in art and design during the reign of Louis XIV. Contrary to the complexity and formal structure of the Baroque music, French Rococo music was centered on a light and charming sound. The
name style galant (gallant style) given to this kind of music represents its qualities of opulence and playfulness with simplicity in harmonies and grace in melodies. Harpsichord was the perfect instrument for producing Rococo music. Its strings produce the desired delicate and refined sound upon plucking. Instruments like brasses and woodwinds were coming in use around this time and violin was getting a more perfect form by the craft of Antonio Stradivari.

In the first decade of the 18th century, Bartolommeo Cristofori invented the first piano. He fitted the harpsichord with a mechanism that allowed the player to strike the strings with hammer than plucking with fingers. This mechanism gave the player the freedom to manipulate the loudness of the sound-something not possible to do on the harpsichord. The loudness of
the sound depended on the force with which the keys were pressed. Two Frenchmen, Francois Couperin and Jean-Philippe Rameau, emerged as outstanding composers of Rococo music. His finest works, many of them dance pieces, exhibit extraordinary rhythmic skill. Rameau gained more recognition as a composer of dramatic operas. Following Jean-Baptiste Lully, the Italian-French composer of operas, Rameau's works centered on ballet sequence with a large corps of dancers. Hippolyte and Aricie (1733) is regarded as the best of his works.

In the second half of the 18th century, Rococo music was replaced by the new Classical style that allowed more openness to serious expression. The Classical music placed a special emphasis on form and structure. The form that surpassed all others in versatility and use was the sonata in which every musical piece is written in three main sections. The first section, called the exposition, states the melodies and themes. The same material is then developed further in the second section, called the development. In the third stage, the recapitulation, the themes are restated with greater richness in harmonies and more complex associations.

Whole compositions were also based on the sonata form, the symphony for example, which is a composition for orchestra. The concerto (composition for a solo instrument and orchestra) and the sonata (a piece for a small group of instruments) were other works based on the sonata form. Such pieces usually came in three movements: key, tempo, and mood. All these followed
the general principles of the sonata form. However, composers were free to express their own ideas, adding length and depth to their works. What was retained by the Classical music of the preceding Rococo style was its love of elegant melodic lines
and clear, simple harmonies.

The first master of the Classical style was Franz Joseph Haydn who, with his 104 symphonies and over 70 string quartets, is regarded as the driving force in the development of the sonata form. His chief contribution, perhaps, lies in showing the independence of each instrument from its group. Nevertheless, Haydn's prodigy is tame before the great genius of the Classical style, Wolfgang Amadeus Mozart (1756-1791). Music started writing music when he was only six. He eagerly adapted the musical currents of his time into his works. Nearly a decade of his life was spent in as a court musician (something he never came to terms with) and for the last ten years of his life, he remained a freelance musician. His life was rather short but he contributed a huge body of works to music. His greatest mastery was in composing music with seemingly effortless lines of melody that arose spontaneously from the opening bars to the very conclusion. The Marriage of Figaro remains one of his many unforgettable operatic compositions. The discipline and harmony of Mozart's works embody the true spirit of the Enlightenment.

Buying the first classical instrument for yourself or your beginning young musician

2006-10-05T17:47:00.000-07:00

The decision has been made--after months of agonizing over which instrument to learn, you or your loved one is ready to have one in his or her hands to start playing with. There is more to choosing the right instrument than comparing the shine of different models at your local school-level music store.

Let's start with which store to go to. If you live in a small town you may not have a lot of choices. But if you have options, take a look in each one. Personally, I prefer smaller, friendlier stores to flashier glitzier ones because the employees usually have more common sense related to music and can help you to understand what you are getting yourself into. However, if you have to choose between a semi-flashy store and a lower-key store full of guitars and drum sets with one saxophone and a clarinet hanging behind the counter, go with the flashy one because they will have more experience with instruments of the "classical" variety, whereas the other store is geared (just as legitimately) more toward rock-band guitar-lugging types. You will not just be buying an instrument here; you will be coming back for accessories, music, maintenance, and advice, so you want the focus to be on the kind of music you will be making.

Now, hopefully the store has a variety of instruments for you to look at. If they plop one on the counter and imply that you have to walk out with that one, don't trust them. You should be able to at least touch (and smell) a few instruments (new or used) and maybe even play them. Granted, if you have no experience buying instruments (and especially, your child certainly doesn't), you may not care TOO much, but if you were buying a professional instrument, for example, you would expect to play each one (even several that are exactly the same, from the same brand) and choose the one you like, for any reason. So even though you are not a professional, and your price range may be considerably constricted, keep in mind that equipment is important in any field and music is no exception. Believe it or not, a terrible instrument can turn you or your child away from music without your even realizing the problem, due to frustration with poor sound quality, sticky keys, frequent breakage, or just a plain cheap look and feel. A quality instrument makes you feel better when you play, and makes you play better, even in the earliest stages. Don't get too crazy though, you are a beginner, and you don't know if playing an instrument is going to work well for you or your child, and a modest to medium investment is enough to get you started. I'm just suggesting that you think twice before buying the cheapest item available.

Some brands make only one instrument; some make them all. Clearly, the companies who make only one instrument are focused on that instrument and do the best job. They are also the priciest, and sometimes even professional-grade instruments. However, brands like Selmer and Bundy make extremely cheap student models of most orchestral and band instruments. These may be a place to start, but if your checkbook allows, avoid the cheapest one, or buy an intermediate model from one of these companies instead of the most basic. Their instruments are not terrible; but their value to you as a beginner is going to decrease exponentially with time, whereas a mid-grade model will stay with you a little longer before you will feel the need to upgrade. Also, don't forget to consider used instruments. Sometimes used instruments can be in serious disrepair, but if not, many older models are of generally higher quality than some new models you can buy in today's market. They may also have a price advantage. If you buy a used instrument from a music store they will have checked it out and it should be in good working order; if you buy one privately take a good look, and as if you were buying a car, get it looked at by someone who knows what they are talking about before paying up. If the instrument passes inspection, private buying can offer some of the best deals, despite drawbacks that include availability in your area at the time you need. Naturally, the internet adds greatly to coping with this type of problem.

And don't forget, the instrument itself is not the whole story. You will also need accessories. Some of these are optional, but many of them are not. Although this adds to the price tag, buying accessories can add to the fun. If you have a woodwind, you'll need reeds, cork grease, cleaning swabs, and anti-stick key powder for starters. For brass, you'll need a polishing cloth, mouth piece, and slide/valve oil. A saxophone needs a neckstrap. Strings need resin and extra strings. And for any choice of instrument you may need a music stand, beginner books for learning, a case cover, a liar, a metronome, or a tuner. The employees at the music store will be happy to point out everything you might need.

Last, even though you are a beginner and your instrument may not be exactly of a professional quality, don't neglect regular maintenance for your instrument. Maintenance makes you sound better, feel better about playing, and prevents you from long breaks while an uncared-for instrument is in the shop for a costly repair. Ask the people in your local music shop what to do and get in the habit of simple, straight-forward cleaning and maintaining very early.

The Legacy of the Baroque Music

2006-10-02T23:15:00.000-07:00

The years between 1600 to 1715 in the European history are grouped into a distinct historical period called the Baroque Age. Succeeding the Renaissance, the Baroque age is now remembered for its glamour and grandiosity. Opulence and expanding horizons characterize this time of life in five great military states of Europe: England, France, Russia, Austria, and Prussia. In literature the Baroque Age is the most noted one for a unique sensibility (called Baroque Sensibility) that can be regarded as 'seeing the life in the present moment'. It was an age of anti-unanimity.

Parallel to literary zeitgeist, the music of the Baroque Age was not dominated by a single musical sound (which had been the case in the Renaissance). There was no single ideal shadowing the whole musical scene of the age. However, the distinctive qualities of this period's music have been studied and it has been concluded that they follow four main trends.

First, the central feature of the Baroque Music was the development of major and minor tonality. This development was actually a legacy of the early 1500s at which time it had been introduced by the music of Josquin de Prez. Today we can regard this as the initiative toward modern music. The second most prominent feature of Baroque Music was mixing of genres, a trend that permeated literature and arts as well. The third characteristic of the period's music was an exaggeration attained in the expressiveness that entered music at the end of 1500s. This exaggeration played a pivotal role in stressing meanings and emotions in the musical texts. Finally, the Baroque Age was truly the age of virtuoso musicians and singers who excelled
in performing with great technical skill, vivid personal style, and a variety of musical instruments.

The most quintessential symbol of the music of this age, beyond doubt, was the opera. Originating in Italy in the late 16th century among Florentine poets and musicians (who had aristocratic ties), opera saw its first great composer in form of Claudio Monteverdi who based his earliest opera Orfeo (1607) on the legend of Orpheus, the ancient Greek poet-musician. This composition combined drama with dance, music, elaborate stage mechanisms, and painted scenery. Monteverdi added to the opera's appeal by giving a powerful chorus to the end of each of the five acts of the drama.

Shedding its aristocratic coat, opera became a popular entertainment by the 1630s. Ancient myths and histories of noble men and women still remained the main focus of opera and so did the trend of brilliant singing bel canto (or 'beautiful song'). To add charm for a wider audience, composers of opera added elements like farcical scenes and stock characters (notably humorous ones) from Italian comic theatre. By the end of this age, opera was loaded with signs of Baroque nature like improbable plots, inadequate motivations for the characters, and magical transformations.

Export of opera to the rest of Europe owes to the winding down of the Thirty Years' War (1618-1648). It was only in France where composers defied Italian influence and created an independent type of opera. What aided this independent development were the grandeur of Louis XIV's court and the French taste (which was rather restrained against the more opulent Italian taste). Still, the founder of French opera was an Italian, Jean-Baptiste Lully (1632-1687). Under Lully's direction (who became a French citizen and court composer), French opera attained its distinctive features of dignified music, the full use of choruses, inclusion of ballet, and above all, a French text. Lully's influence continued to dominate French music well until 1750.

The acme of Baroque Music came after 1715 in the protestant northern Europe, owing to the contributions of two German composers: Bach and Handel. Johann Sebastian Bcah was certainly the greater of these two masters. A devout Lutheran, he created a body of sacred music that was equally appealing to all nationalities and religious creeds. His works exhibit an unsurpassed inventiveness and masterful manipulation of major and minor tonality. They employed all the baroque musical genres. The most memorable achievements of Bach include the Passions(precisely, Saint Matthew Passions, composed around 1727), the musical settings of the liturgy for performing on Good Friday (the most gloomy day for Christians). It remains, at once, more dramatic than most operas and is a self-contained sublime religious experience. But Bach also left a legacy of secular music in the form of orchestral works and works for various instrumental groups. Bach's The Well Tempered Clavier (comprising 48 preludes and fugues) posed a heroic challenge for keyboard performers. Even today, these remain an essential part of the piano repertoire. It contributed immensely to the standardization of the pitches of the notes of the musical scale and of the tuning of keyboard instruments. The six Brandenburg Concertos (written for the duke of Brandenburg) today remain as Bach's most popular secular works. These are characterized by tunefulness and rhythmic variety and were composed for the type of ensemble existing in the German princely courts of the time.

George Frideric Handel, who lived 1685-1759, was famous for his Italian style operas. Regarded as more cosmopolitan than Bach, Handel eventually made London his abode and composed 36 works of opera in that city. The success of his opera rested on the brilliant way in which his music allowed the singers to show their skills. However, modern audiences generally do not find these to be of significant appeal. What made his name eternal in opera music is his creation oratorio, an opera-like form but performed without stage action. Based on biblical texts and sung in English, the popularity of Handel's Messiah (an oratorio) rests on its baroque qualities i.e. emotionally moving choruses and the joyous embellishments permitted to soloists in their arias.

Two Synthesizers, A Computer And A Drum Machine

2006-09-06T14:22:00.000-07:00

By Simon Woodhouse

To most people (me included until I did a bit of research), the synthesizer is a modern instrument born sometime during the 1970's. Jean Michel Jarre's Oxygen, released in 1976, was my first exposure to synthesizer music. It was weird but good, and I especially liked the cover of the album, with its creepy picture of the Earth's surface being peeled away skin-like to reveal a skull underneath.

As with a lot of new inventions, it's hard to nail down exactly who came up with the synthesizer first, but a guy called Thaddeus Cahill invented something called a Dynamophone in 1906. This was a two hundred ton monster designed to transmit sound along telegraph wires. Things have come along way since then, thank goodness.

I bought my first keyboard back in the early 90's. Unsure of what I really wanted one for, I chose one of those all-singing, all-dancing Casio things that came with loads of really terrible, pre-programmed rhythms, and not very realistic sounds. But it was relatively cheap and enough to get me started on learning scales and chords. In my early teens I'd been a fan of artists like Orchestral Manoeuvres in the Dark and Gary Numan, both of whom took what Jean Michel Jarre had done, made it a bit more poppy and added vocals. What I especially liked about this type of music was the way it didn't require a whole band of musicians to produce it. It wasn't dependant on the same old bass, drums, guitar formula that seemed to have been around for ages.

I stuck with the Casio for a while, but soon became bored of its tinny sound and plink-plink rhythms. So I sold it and bought an entry-level Roland keyboard. This was much more like it. To start with it didn't have any built in speakers, so I had to get an external amp, and thus was able to make a lot more noise. After a while I bought a small Boss drum machine, and followed that with a Tascam four-track tape recorder. I'm not sure how many hours I spent messing around with this set-up, but it was a lot. Even though none of the equipment was particularly brilliant, it allowed me to create entire pieces of music from the bottom up. I could programme my own rhythms into the drum machine, tap out my own bass lines on the keyboard, and using the Tascam, gradually add more and more layers of sound until I had something almost coherent. I stuck with this set-up for quite a while, until I discovered there was technology out there that could make the whole process a lot easier.

I bought my first sequencer around about the mid 90's. For anyone who might not know, a sequencer is a handy bit of kit you can connect to a keyboard, and use it to record the notes you play. But unlike the four-track tape recorder, a sequencer records the notes electronically and can transmit them back to the keyboard. So once you've recorded a bass line, the sequencer will play it back and thus free you up to play the chords and the melody. My first sequencer was an eight-track Alesis model, bought second hand from my local music shop. It worked very much like a tape recorder, in that you pressed the play and record buttons both at the same time, and then played the keyboard into it. But it also allowed me to edit what I'd recorded, though this was a bit tricky as it only had a tiny LCD display. Nonetheless I stuck with it for a good couple of years, during which time I also bought another Roland keyboard.

Toward the end of the 90's I got my first PC. It didn't take me long to realise that what the sequencer did reasonably well, the PC could do a lot better. Back then the main name in sequencing software was Cubase, a product created by a company called Steinberg. I bought the most basic version of Cubase, but even that was enough to show me how much easier things would be on a PC. In much the same way as with the standalone sequencer, I recorded straight into the PC. Now however, I could edit my stuff on screen and have Cubase present it to me like sheet music. There was also another advantage to this set-up - samples. Even back then there were plenty of sites on the internet offering no end of sampled material. I mostly used little snippets of dialogue on the tracks I was creating, rather than sampling pieces of music, which I preferred to create myself. Mini discs had also just come into being, so I got rid of the four-track and started to record digitally instead. Then CD burners arrived and I was able to produce my own little albums.

Unfortunately I had to sell all this equipment a couple of years ago, so now I'm left with nothing. But if I were to start again, I think I'd concentrate more on investing in some decent software, rather than doing as I did before and relying on hardware. A PC is such a powerful tool in itself, there's really no need to have separate keyboards and drum machines. And an extensive use of samples means you don't even have to be able to play an instrument either. But having said that, there's something very appealing about a keyboard. The shiny keys and the knobs and sliders, they just beg to be touched and fiddled with in a way that a PC never does. So perhaps a bit of balance is needed – some decent software but a keyboard too, if only for old times sake.

Guitars in Rock

2006-08-26T22:33:00.000-07:00

I am a big fan of music of all kinds but especially rock music. There is one feature in rock music that I love and can either make a song for me or break it; a great guitarist. The guitar is an essential element in music and can define a band’s sound. As I write this, I am listening to the Black Crowes and I gotta tell you, Rich Robinson and Mark Ford are two of rock’s best guitarists. Even before Chris Robinson starts to sing, you can tell right away that the song is from the Black Crowes because of that guitar sound. Rich’s sound is very sharp and right to the point, while Mark’s is creative and a bit more flowing, yet the two sounds really compliment each other on the band’s tracks. A perfect example is “Sting Me,” off the band’s second album. The liner notes of that album in fact, tell you when you are listening to the album on headphones, which side you will hear Rich’s guitar and which side you will hear Mark’s guitar. Regardless, the sounds blend into a bluesy, upbeat feel that helps make give the Black Crowes their sound so many people love.

My personal favorite is U2’s the Edge, but I am a bit biased on this because I have been a fan of that band since I was 12. The Edge has a unique sound that few other guitar players can even come close to matching. Every U2 has a different feel to it, which all stems from The Edge’s guitar, yet every album has a sound that makes it distinctly U2. I’m still not sure how he accomplishes this, but it’s truly a marvelous thing to listen to. The Edge, from what I understand, tours with over 40 different guitars and each one is tuned for a different song. The Edge ranges from electronic to straightforward rock and he can mix it up some with a bit of a country sound (like some of the stuff on The Joshua Tree). If you listen to the early U2 albums, especially War, you get a rebellious, angry sound. Part of that sound comes from Bono and his lyrics and the passion in his voice, but the other part is from The Edge’s guitar. He makes the rebellion in those songs come to life with his guitar. And then he can switch it up and become very passionate and almost romantic, especially in songs like “One” and “With or without you.” Every album The Edge is reinventing his guitar sound, yet keeps that one particular element that makes U2 songs easy recognizable.

Let’s travel for a moment across the Atlantic to Britain and evaluate some of their rock legends. I myself am an Oasis fan. Those Brits know how to make angry, bloke music fun! Noel Gallagher is not the world’s greatest guitar player, but he has a very distinct style. His guitar licks always come across as angry and even a bit swirly sounding. It makes for high energy, fun, straightforward rock. Oasis’s first album, Definitely Maybe features songs in this nature, especially songs like “Supersonic” and “Cigarettes and Alcohol.” But Noel is just carrying on the great British tradition of angry guitars. Pete Townsend from The Who is another master of this quality. Once again, high energy, loud, angry rock music with aggressive guitar licks and a high energy level. It’s not wonder the Brits love to smash their guitars! The Psychedelic Furs, on the other hand, had a guitar sounded that not only defined their style of music, but also helped name the band too, in my opinion. On all the stuff I have heard by the Furs, they have a very swirly, poppy, funky guitar sound that was created by a lot of synthesizers, but still truly unique.

Think for a second about some other guitar greats. These people are worshipped literally throughout the music world as rock gods and often, their contributions to music are more recognized than their lead singer’s. Peter Frampton and Eric Clapton and Jimi Hendrix-wow; can you get any better than that? And what do people remember them for? Jimmy Page, Keith Richards, and Slash are all the same way. Say their names and people automatically know what band you are talking about and can pick that band out easily on the radio. It’s because these people have created a niche for themselves in music and have crafted a sound that is truly unique amongst others. Each of these people also has influenced other generations. Back to Britain, the Kinks were probably the first angry rock guitar band. Their work influenced The Who, who changed the style up a bit and added their own flare to it. The Who influenced Oasis, who did the same thing?

I listen to the radio lately and while I hear lots of catchy songs I like, I keep thinking that much of what’s played sounds the same. There is not much distinction anymore in sounds and much of the stuff is poppy, synthetic music with no soul. Guitars and great guitar players help create soul in music. And while there is a plethora of rock music on the radio today, all the bands are trying to sound similar to each other so they get air play. Or they sound like a cheap rip off of a former band. Think about it, though, next time you listen to the radio. Why do bands like the Rolling Stones and U2 and The Who and Kinks and even the Black Crowes stand out amongst bands, even today? What makes them easily recognized? What gave them the ability to survive many years in the music industry and not fall into that one hit wonder bin in music stores? They all have one similar quality- they all have really great guitar players. The Edge, Keith Richards, Pete Townsend, and Rich Robinson all standout amongst average bands because each one of them helps to give soul and personality to his band. They tinker with the sound and reinvent and try again until the sound is just right. They create a distinct sound of their own and are often imitated and usually influence other musicians. But they each bring the most essential element of rock to the mix- the guitar.

Gaining Music Appreciation

2006-05-02T05:09:00.000-07:00

When I was a little girl, I had absolutely no interest in going to the symphony. I was not a regular attendee of the symphony, but my parents took me once or twice; enough for me to decide, in my childish, ignorant, limited knowledge, that it was a complete waste of time, unless one was looking to take a musical nap. The symphony meant we had to dress up, putting on the church clothes that I hated wearing even to church. Dressing up was always a painful event, complete with tights, hair ribbons, and wearing a slip under my dress. My dress-up shoes hurt my feet and I would rather have taken a beating that look like I did. Still, my parents decided a few times during my growing up years that I needed to learn some culture, and they dragged me and my younger brother off to the local symphony. As I grew, I had no interest in classical music. My piano teacher tried to incite my interest, but I told her in no uncertain terms that I was not interested and that I would only play popular music.

As the years went by, I had a very minimal knowledge of classical music. I remember when the movie, Amadeus, came out, giving a history of the life of Mozart. I enjoyed the movie and I even recognized a few of the songs by Mozart. I never stopped to wonder if my musical awareness was complete; I did not care. Then came the guy I dated in college who was a music major. He played the saxophone and he could give Wynton Marsalis a run for his money. My friend was a very gifted musician who could play jazz, popular, and yes, classical. By osmosis, he taught me that classical music could be enjoyed. I did not think much about it, but I started recognizing that there might be something to it.

Fast forward several years later when I was married (not to the musician) with three small children. My husband was in the Navy and we were living temporarily in Rhode Island. We were staying in an attic room that overlooked the ocean, waiting to get into Navy housing. I will never forget the day: it was about sunset, and very rainy and windy. The room where we were staying was decorating with dark wood paneling on the walls and on the slanted ceiling. There were small antique lamps around the large room, and it was furnished with cozy rockers and day beds. I sat in a rocker next to a window that had billowy white curtains, and gazed out at the wind and rain. Somewhere in the house below us, classical music was playing. It was then that the love for classical music in me was born. I do not remember what the piece was, but it was perfect for the day, my mood, and the atmosphere of the attic room. I switched on the small clock radio in the room and tuned the dial until I found a classical station; it happened to be the same one I could hear below us. Looking back, I like to think it was Beethoven, as it was a soothing, gentle piece, but I could not be sure. I just know that it was right; the music was like a warm blanket snuggling around me, and a hot cup of tea in my hands.

Today, I am giving my own children a different musical education than the one I had. I realize that I never gained an appreciation for classical music because I never heard it other than at the symphony twice each year. If I had heard it on the radio, in the classroom, or on the piano in my own home, it would have become familiar to me and I might have learned to like it before I turned thirty. Yet, I am just thankful I finally discovered it later in life. Like my parents, I take my own children to the symphony several times each year, but I also play CDs for them daily, to the point that they go around the house humming whatever tune has been playing that morning. When it is time for them to learn a piece on the piano, they beg me to find music like they have been listening to: Mozart, Schubert, Beethoven, Debussy. I am thankful they have an appreciation - to me, it makes life complete.

Classical Appreciation at its Best

2006-03-18T09:29:00.000-08:00

I have always been a fan of Mozart. Using the word, fan, when talking about a classical composer, seems a bit odd, but the fact is, he is my favorite of the classical composers. His lilting piano concertos and generally upbeat tempos are cheerful and delightful, especially through long, cold, winter months when the trees are bare and the grown is either brown or white with snow. The music of Mozart brings to mind leafy, green trees, flitting birds and butterflies, and buzzing life within nature. It gives one the desire to fling open the shutters and windows, and allow the sunshine to flood the room.

In raising my children, I have desired to give them an appreciation of classical music. While their peers and the media have pushed pop, rap, and rock music, I have attempted to balance that input with other musical genres, especially classical. I'm no fool - I knew they would most likely prefer the more current, popular music, but I simply wanted them to recognize, appreciate, and possibly even enjoy a variety of classical pieces. So when they were very young, I began playing classical music in the mornings while they worked on their homeschool lessons. Sometimes, when one of my favorite Mozart pieces was played, I would stop them in what they were doing and have them listen closely with me, as I pointed out what the song made me envision, as well as how it made me feel. Before long, the children, at ages eight and nine, were recognizing pieces they had previously heard, and they began to describe ways the music made them feel. I was delighted to hear my youngest say that Mozart's "A Little Night Music" reminded her of her cat when she jumped and chased insects in our back garden; and I was moved when my middle daughter asked to learn Beethoven's "Moonlight Sonata" on the piano.

My daughters knew very little about the piano, so I began showing them the basic notes and before long, my daughter was picking up the tune. I found a rather easy rendition of sheet music for "Moonlight Sonata," and my daughter seemed to devour it, practicing in every spare moment. Oddly, my youngest had the same desires. While she was more interested in playing rag time and peppy popular tunes, I found them both vying for piano time, and even arguing about whose turn it was. I was amazed, remembering my own complaints at being forced to practice the piano.

As the months went on and they began learning more and more, I found a cheap CD at a local discount store that was loaded with classical piano pieces. The composers included Bach, Beethoven, Strauss, and of course, Mozart, among many others. Each song was played only on a piano, with no other instruments involved. I brought this home to my daughters, and to my delight and awe, they wanted to listen to it constantly, even in the car when we were running errands or going to afternoon activities. They soon picked out their favorites on the CD and began asking if I could teach them this or that song. The all-time favorite of them both was Mozart's fast moving, "Turkish Rondo." As we listened to it, I knew it was much too difficult for two young girls who are now just twelve and thirteen. It wasn't so much their age, but their lack of ability; but still they pressed. We searched the local library but couldn't find the sheet music, but finally we found a book at our local bookstore that had a rendition of "Turkish Rondo" that looked exactly like the version on the CD.

Before I knew what was happening, both girls began practicing tirelessly, determined to play the song. I am pleased to say now, that only a few short months after purchasing the book, my youngest has mastered the first third of the song and is well on her way to learn the rest, while my middle daughter has mastered the right hand of the entire song and is well on her way to bring in the left as well.

Now, when I want to hear one of my Mozart favorites, I simply let my daughters listen to it, purchase the music, and wait for them to learn. After that, I have classical music ringing through my home, to my delight.

The Beauty of Instrumentation

2006-02-27T20:07:00.001-08:00

I think back often to the day I was supposed to begin taking piano lessons. I was eight years old, and I believed that I would become the next great concert pianist. Okay, I did not believe that, but I did imagine that I would be good at playing. The problem was that all of my friends had already begun to play the piano. Some of them had been playing for three and four years, and I felt dreadfully behind.

When that day came, I got sick. I vomited. I ran a fever. I have never dealt well with that kind of stress.

I had to skip that first lesson, but I approached the next week without really thinking about what I would be doing at the lesson. I found that I really enjoyed playing the piano. I took lessons until I was about 12. When I was 11, I began to play the flute. I took lessons in both instruments for a year until I dropped it to focus on the flute. In high school, I played the flute in concert band and the piccolo in marching band. I also played the oboe in high school for two years.

Now I am thinking of picking up a new instrument. I imagine that I will begin to play the guitar. I do not have a piano in my home and will not have one until I am living in a permanent location. Moving a piano can be a rough proposition. Still my flute is one of the parts of my life that will always be with me.

The desire I have to play the guitar has been around for a while. I am not certain why I am interested in playing the guitar in particular, other than that I have developed a fascination with folk music, but I do know why I want to learn to play another musical instrument.

I love the spirituality and sensuality that comes with playing an instrument. Learning to make music from something that seems so simply put together puts us in touch with nature in a way that I cannot explain. When you are learning to play an instrument, you will find that you will favor certain notes or chords. On the flute, I favor certain soft melodies because they allow me to think quietly while I am playing.

I cannot tell you the number of times that I have gone to one of the instruments that I play when I have been upset and played until I felt better. It is one of the ways that I have learned to calm myself. Even now, I have discovered that if I am feeling bad about my life or have had a rough day, then I know that I can step into my bedroom and get out my flute. Playing a beautiful melody in quiet solitude is one of the many ways that I have learned to relax myself.

I have been pricing guitars, and while I am not certain about quality, I am thinking of starting out with a basic level guitar. Buying an instrument is a process, and there are a number of issues that you should consider first. The quality is, of course, key. Sometimes less expensive instruments can still be of decent quality for a beginner, but other times the instrument will have issues with playing. Guitars come in all price ranges, beginning at basic $60 models and going up to hundreds of dollars.

I think that purchasing a first instrument that is in the roughly $150 range is a good place to begin. I will be able to get a feel for the instrument and see if I like it. If I do, then I will be willing to get something a little pricier.

My ramblings about the beauty of instruments is just to make it clear how much music can add to a life. It is something that is a lifelong gift. No matter where I go in my life, I will be able to play the instruments that I have learned and take the elegant music with me. Music truly is an international language as people of all tongues appreciate its glory.

By Julia Mercer

Selecting an Instrumental Music Teacher

2006-02-27T20:07:00.000-08:00

When you are selecting a music teacher for your child, there are a few issues you should consider. Before you begin, be sure that you are clear about the price of the lessons and the length of time that the lesson will take. Also be sure that the teacher knows that your child is a beginner. Some teachers prefer to work with students who already have the basics down, so you will need to be clear about how much musical experience your child has.

Then you should ask about the experience the teacher has in playing the instrument in question. At the very least, the person should have some professional or college level performance skills. Some people will have played in college and have spent a great deal of time studying the instrument they are teaching. Other people will play in symphonies or orchestras and have the backing of years of professional experience. Be sure that you are finding someone who knows the instrument well.

Ask about the expectations that the teacher has for the student. Some teachers will expect drastic progress, but you may only want your child to learn to play the piano a little for the family. You need to find the level of expertise and expectation that will be comfortable to your child. Also find out if the person will be teaching care techniques. Young musicians in particular need to be shown repeatedly how to care for an instrument, but some teachers expect those lessons to be taught at home. Again, expectations should be clear on both sides when it comes to taking care of the musical instrument.

Okay, here is a big one. Find out if the person teaches musical theory. Among the people I knew who took music lessons, I have found that the people who learned theory in the very early stages stayed with music longer. They were better able to sight-read and to play difficult pieces, and they had an appreciation for the art of crafting musical ensembles. You should be sure that you are sending your child to a person who will instill in the child a love of music for its own sake. Pretend that your child will be learning the saxophone. Your child may play two years and decide that the saxophone is a terrible instrument and will not work for his or her playing ability. That may be okay, but where you want to be clear is that your child should still take a love of music from the experience, and that comes only from learning about its history and theory.

When you think that you have found the right person, let your child go to a few lessons. Explain to the teacher that you are only committing to three lessons because you want to be sure that you are making the right choice. The teacher should understand that position although teachers in demand will be less likely to turn down students who are sure things for someone who may not stay long. At any rate, you should make sure that your child has a few lessons to see if he or she will mesh with the teacher. Nipping any personality or teaching style issues in the bud will help to ensure that your child will learn to play and will want to stick with it.

You should be willing to address any problems that your child has with the teacher directly, but in reality you should be willing to step back and permit the teacher to be in charge of the learning. Unless you are an accomplished musician yourself, accept that the teacher knows more about the teaching of music than you do. If you have done a good job finding the right person, then you should be confident that the teacher is making good teaching decisions.

Music lessons are a rite of passage to many parents, and they often push their children to learn to play an instrument. I will admit that I am one of those parents. My children will take some form of instrumental music lessons, and they really have little choice in the matter, at least in the beginning. But I will be sure that they have a wonderful experience in the process.

By Julia Mercer

Online Piano Lessons

2006-02-27T17:29:00.000-08:00

Online options for many things in life can be wonderful. The other day, though, I was on a message board I frequent. Though I do not intend to home school and my son is too young anyway, I am interesting in the concept of learning at home. So I read home schooling boards. A mom posted a link to a place that offers online piano lessons. She has a piano, she said, and she thought it would be neat for her children.

Having taken four years of piano and playing for another decade on other instruments, I was intrigued by how something like that would work. So I zoomed over to the site and checked out the tutorial that was available.

The basic process goes as follows. You click on a lesson for beginner, intermediate, or advanced. You will see a picture of a few piano keys. Then you can read a few sentences about that lesson and begin to work on learning it. You will be able to play on your own piano at home by following the instructions on the screen. At some point in the lessons, you can apparently crank up your speakers and hear what it is supposed to sound like.

Now if you were deserted and really wanted to learn to play the piano, I guess you could try out these lessons. I am just not sold on the idea, though, for a couple of reasons. I shared these reasons with the moms on the board, so I hope that they will take them into account.

For starters, you just need a teacher there. Many parents have these awful images of mean old ladies in buns rapping their knuckles when they screw up an arpeggio, but the reality is that piano teachers can be very helpful. Mine was wonderful! I think about her often to this day.

One of the problems with the online lessons is that no one is there to rap your knuckles on a figurative level. No one is there to tell you if you are not doing something right. You can listen to the sample, but if your playing does not sound the same, then you cannot tell what you did wrong. There is no guidance there, and playing an instrument is an area where you definitely need some guidance.

A second problem is that the lessons teach piano theory in an odd way. That is because many of the concepts in basic theory need someone there to explain them. I had to do theory books until my knuckles bled (okay, maybe not, but it felt like it), but I was a better musician for it. When I met musicians who had never learned theory, they had trouble with sight-reading and advanced playing because they were really short-cutting it all along. Teaching theory through the lessons online is tough. Instead you are counting keys and numbering notes instead of really learning them the way that you should.

In the end, too, there is only so far one can go with online piano lessons. Instead of working on a beautiful symphony piece, you will be listening to your speakers and trying to figure out what you are doing wrong. If parents want to sign up their children for piano lessons, and I strongly suggest that they should, then those lessons should be with a real live person.

This person would be able to critique the playing ability of the student and move the lessons along at an appropriate pace. Instead of just plodding along, the student would have to learn, and a teacher can be there to provide encouragement and motivation.

Plus a teacher will plan a recital, and that is one of the best parts of playing the piano. I always loved sharing my music with other people. Even now I enjoy sharing it with my son, but I am not sure that someone who learned to play online would have the skill to play in front of an audience. And although music is soothing to the soul for the player, it is even better when it is shared with other people. So for my children, online piano lessons are out, and the old lady with the bun is in.
By Julia Mercer

The Power of Band

2006-02-07T04:34:00.000-08:00

When I was in high school, I was rarely aware that band was a nerd adventure at other schools. I went to a small school, and almost everyone participated in band or sports. There was little animosity between the groups of students.

Of course, it helped that we had an award-winning band. We brought in money to our school through community donations, and we brought prestige because of our quality musicianship. I went to college on a music scholarship, and it was there that I realized other band students had not had these positive experiences. They h ad been the source of ridicule, made fun of for their love of music and for being the so-called good kids.

Band was the place where I learned many lessons about life and friendship, and I hope that other people can share that love. First band teaches responsibility in a way that other high school activities cannot. At least the classroom cannot. In band, we were required to maintain higher than a C average. That rule was for our band, not sanctioned by the school district or state. Instead our band director demanded academic excellence from us, and we were happy to comply. Band students who needed extra help in certain subjects got that help from other band students. We lived by the edict that we were only as strong as the weakest member, and we applied it to music as well as other activities.

Band is a year-round activity, more so that even football. Instead of practicing only a few months out of the year, we began the year in August and practiced full force until after concerts and competitions the following April. Between May and July, we had tryouts for dance teams, captains, and drum majors, and many of the section leaders and others went to camp. We worked throughout the summer to get routines down for the coming year. Many people think of band only in terms of what they see on football fields, but we have concerts, marching competitions, symphonic competitions, break-out groups (like jazz band), and individual competitions and tryouts as well. People in band learn about responsibility, and they learn about dedication.

Band teaches punctuality. Running a lap around the football field for every minute one is late to practice is no picnic, so we learned quickly that we should show up on time. People who are late or absent to certain practices are likely to lose their spots in the lineup. Instead they will be stuck doing errands and getting dropped items under bleachers while everyone else is playing and on the field. Personal attention to detail is rewarded in the band setting.

Band teaches community. When one of our members had an accident that paralyzed him, we stuck by him. He remained a member of the band, with the people in his section wearing his initials on their wrists to honor him. When he returned, he was welcomed back into the fold. Although he could not participate at his former level, our band director found a way to participate. We found a way to get him to games and into the stands or onto the concert stage even if that meant that other members had to carry him. There was no way that we would allow one of our own to be left behind.

Being in band means being part of something that is larger than ourselves, and that is always something valuable to learn. Instead of thinking of ourselves, as is possible even with some sports, band students learn that they as individuals are not as important as the unit as a whole. While there is room for individual accomplishment, there is not room for individual ego.

The lessons I learned in band remain with me today. I was a dedicated an involved college student and remain that way in my community today. Being in band is about much more than learning how to play an instrument. While my musical talents still serve me and make me a happier person, they do not define my time with my high school or college bands. Instead it is the other lessons that define what I gained from this most valuable educational experience.

By Julia Mercer

Piano Lessons?

2006-02-07T04:32:00.000-08:00

Whether or not to give a child piano lessons seems to be some sort of dividing line for many parents. Some parents believe that they should not force their children to do something just because it is a standard of childhood while other parents believe that piano lessons are a viable part of learning. Which group is right?

Well, it depends on why you want your child to take piano lessons. I must admit that as a former musician, I tend to side with the pro-lessons parents. My son will take music lessons although I am not set on those lessons being for the piano. Instead I want my son to understand that music is an important part of life.

Learning to read and play music can help children in a number of ways. First, they will be able to speak the language of music. When other people make musical references, my child, and others who have been exposed to music education, will understand what is going on. Piano lessons necessarily involve theory and a bit of cultural learning as well. That means that those children will know about Beethoven, Mozart, and other famous composers. They will understand musical references.

Music itself is a universal language, which is another benefit for children who take piano lessons. Being able to play a lullaby for a baby or to dash out a polka can be useful. Learning to play piano helps children to become aware of music and of the various sounds and how they affect mood.

Knowing about music does add a bit of culture. Although we are not much for pretension, there are certain expectations in both wealthy society and educated society (which sometimes overlap and sometimes do not), and one of those expectations is that one knows a bit about music. By giving my son a grounding in musical fundamentals early in life, I will help him to understand a bit more about culture.

There also is the chance that my son will love music and that it will become one of his passions in life. I hope that if he has such a talent, I can recognize it early so that my husband and I can nurture it. Keeping my son away from piano lessons simply out of principle could deny him the opportunity to recognize his own ability to play well.

These benefits are not all-encompassing, however. I do not believe that a child should be forced to continue in an activity, particularly when the parents selected that activity in the first place. I also believe that finding the right music teacher is an important component to piano lessons, and I will not overlook that issue when I am looking for someone who will be able to give lessons to my son.

Still, I believe that piano lessons are a sort of rite of passage in childhood. Many children have to suffer through at least a year or two, and the reality is that it does not cause them any grave harm. My son will be among those children, but unlike others, I hope that he will remain a fan of playing for much longer than one or two years. I hope that it becomes a lifelong hobby for him.

Parents who force the piano issue can cause damage, however. Children who were made to go to lessons despite their crying, whining, and otherwise protesting often find that they do not enjoy the thought of music even as adults. To create such animosity in a child over piano is a travesty because these adults will never be able to enjoy the beauty and elegance of quality music.

If a child is adamant about not going, find out why. Perhaps the child is just stubborn, in which case the parents must proceed with caution. In many cases, however, the problem can be solved. Perhaps the child does not like the teacher. Perhaps the time does not work well. Perhaps the series of books being used does not resonate. Finding the reason for a dislike of piano lessons can go a long way in solving the problem. Children should be given the opportunity to learn and should be pushed in that direction, but they should not be forced if it will cause permanent trauma.

By Julia Mercer

Helping Your Child Learn An Instrument

2006-02-07T04:31:00.000-08:00

If your child wants to join the band, there are a few issues that you, as a parent, must keep in mind. First you will need to pay for the instrument. It is very rare that a beginning band student will be playing an instrument that is so expensive that the band will have instruments to loan the students. (That often happens in higher grades with more expensive instruments.) As a parent, you will need to have an idea of what you can afford as far as an instrument. If you cannot afford something brand new in cash, do not fear. There are plenty of ways to finance the instrument.

You also will need to help your child decide what instrument to play. If you have little or no familiarity with musical instruments, that may be a tough order. On the other hand, you should approach band as a group effort because you will get to hear the wonderful sounds of your beginner band student. Most band directors help the beginning students to determine what to play. If given a range of choices, you should help your child by allowing him or her to research the various options and then make a decision.

After your child has decided, you will need to purchase the instrument. Beware that instrument salespeople are salespeople. They will try to convince you to get everything under the sun for the instrument. While you do not need to get everything, there are a few items you should consider. Your child in the early years can make it without a stand, but you should go ahead and get one if you can afford it. They cost very little, and you will find that they will help your child. You also should get the basic cleaning supplies for the instrument your child will play. If your child is playing a cork instrument, for example, you should stock up on cork grease so that it is available when needed.

Be sure that you read up on the instrument as well. Having a musical instrument is kind of like having a dog. Although your child promises that he or she will care for the dog, and indeed calls Fluffy his own, you ultimately will be responsible for the care. The same concept applies to musical instruments. You should know how to take care of the instrument, including the cleaning, and be sure that it gets done on a regular basis. Be sure that you are with your child the first few times she cleans the instrument so that you can learn together. After that, the child should take charge, but you should be diligent in watching for lapses.

Understand that your child has to practice. Many parents believe that their children can learn to play an instrument within the classroom setting only. That is untrue. Learning in a classroom is possible but to hone a sound requires much outside work. You should be sure that you do not discourage your child from playing. The sound will not be good at the beginning, but you should still do you best to encourage your child.

You may find it necessary to set up ground rules for practicing, and that is okay. You can require your child to practice in a room far from hearing distance of other family members. (Make this rule nicely so as not to discourage your budding musician.) You also can require that practicing be done within certain hours, so that everyone can expect it and then get a break.

Your most important job as a new band parent, however, is to be supportive! Listen to your child play even if it does not sound good. Go to the requisite band concerts. Take an active interest in how your child is doing. Ask about new music and ask to hear her play often.

Playing an instrument can be a major act of self-esteem gathering for a young child. Middle school can be a particularly cruel time, and as a parent, you should be prepared to show your child how much you enjoy his interest in music by being as involved as you can in the process. Music is for life; encourage the love.

By Julia Mercer

Learning Music - Naturally

2005-12-03T17:41:00.000-08:00

I am constantly delighted and amazed at watching the young musicians in my household learn and excel at their chosen instruments. Since I grew up playing the piano, and inherited a piano from my parents, the piano has been around as long as my two daughters can remember. They both began wanting to play by the time they were five or six years old, but money was tight and I was not motivated to find them a piano teacher. Since we homeschool, I decided I would help them learn; after all, I took ten years of piano lessons as a youngster. But I found that I was lazy. My daughters wanted more lessons than I was willing to give.

Finally, I simply put pieces of masking tape on each piano key (the entire white keyboard) and wrote the lettered note for each corresponding key. In addition, I found fairly easy sheet music for many of the songs my daughters enjoyed singing (many from our church) and simply wrote the letter above each note. This became like a game of breaking codes for them. They used to take turns sitting for hours, picking out the code on the sheet of music, and playing it on the piano. Much to my surprise, they kept at it and actually learned several songs, all the while, requesting that I "fix" more sheets of music for them to learn.

I continued this haphazard method of piano teaching for the next few years, and somewhere along the way, both girls began to learn the notes simply by osmosis. Soon the day arrived when the worn pieces of masking tape with the faded letters were peeled off the piano keys. Not long after that, the girls informed me that it probably wasn't necessary that I continue to write the letters over the notes on the musical score sheets. The girls continued to excel, mostly on their own, only asking me for help when it was needed, which wasn't often.

Then came the day when my younger daughter began asking to have violin lessons. After a year of persistent asking, I finally rented a violin and found for her an unconventional violin teacher. No sheet music is used; rather, all the learning is done by ear, which, in my daughter's case, works beautifully, as she is an auditory learner. I began working with her at home more on the bit of music theory I know, and she learns by ear from the violin teacher. As I see it, she is getting a great balance.

My older daughter is still very committed to the piano and doesn't show interest in other instruments, which is fine. But now the two are asking for "real" piano lessons, and at ages 12 and 13, I won't hold them back any more. If they still love their musical instruments this much, I think it's safe to say that music has become part of their young souls, as it is for many of us - we know who we are. As we move forward in this adventure of raising them up and watching them excel in music, I am thankful for the gift of being a parent - and the gift of having access to musical instruments.

Music to Touch the Heart

2005-11-27T16:08:00.000-08:00

I wonder how many musical souls have been nudged and touched by holiday music? We are surrounded by music all year long, but somehow the traditional sounds of the Christmas season seem more noticeable than the background of the other parts of the year. I also know many music students who practice for months to be ready and able to play some version of their favorite songs by December. People who normally don't give music a second thought will burst into song this time of the year, and the background music seems a bit more insistent at the malls and stores.

Christmas music dates far, far back into time. Some of the hymns that we sing today can be traced back to nearly one thousand years ago. I was quite surprised, for example, to discover that the song "The Friendly Beasts" was a French carol from the eleventh century. People have been singing the story of Christmas for a very, very long time indeed. I'm sure older hymns exist, but perhaps not too many in common usage.

These songs are an important part of our musical and cultural heritage, and we need to keep them alive! In our hurried society, we tend to push carolling and hymn singing to the back corner. When we do sing, many times we only sing the first verse of each song. This is very sad, because the songs tell stories, and they need all of their verses to express the complete thoughts that they were intended to convey.

For example, did you realize that "Jingle Bells" has not one or two, but four verses? It describes a time of gaity and sleigh rides from nearly one hundred years ago, and it tells of young people falling in love in the frosty winter time. It's a grand sentiment, and one that easily gets lost if you don't know all of the verses.

We need to teach these to our young people. We need to help them know that the "Ukranian Carol" actually has words, and that "We Wish You a Merry Christmas" is more than the chorus that we sing so commonly. There are verses to that song too!

Christmas music is an important part of anyone's musical education. Music teachers need to help their students learn and understand this part of our musical heritage. Children and adults alike will get great pleasure from mastering these songs and being able to accompany singers at holiday events. Singers will feel confident as they go carolling this season if they know the tunes and the words. It's an important thing!

So if you are a music teacher, take these next few weeks to help your charges learn the holiday music. There are many, many levels of arrangements suitable for all instruments and skill levels. Help your students to learn and enjoy the carols and holiday songs. If you are a parent, find a way for your child to get in touch with these pieces of music. You can listen to recordings, sing together, or go carolling with a larger group. However you manage it, use the Christmas season to put more music into your life. You'll be very glad that you made the effort.

Music for Christmas

2005-11-20T04:10:00.000-08:00

The holiday season is fast approaching, and some parents will be considering getting musical instruments for children. It's a great idea! Music training has been shown to improve academic understanding, build character and positive work traits, and to provide a lifetime of enjoyment. Music builds math skills, listening comprehension, and much more. The benefits are enormous.

However, your child's musical experience will not reach its full potential if you make the wrong choice for that first musical instrument. You need to carefully match the youngster's desires, motivation, physical abilities, and age to a quality beginner instrument. Most importantly, perhaps, is ensuring that the instrument you purchase is of good quality. Purchasing a low-quality instrument is not only a waste of your money, it also may scar your offspring for life and close a door that should be kept open, no matter what. A poor quality instrument will actually interfere with your student's ability to learn and enjoy the instrument, which I'm sure is the goal that you're trying to reach.

One local music store posts a sign each year during the holiday gift-buying season. It says quite clearly, "Beware of I.S.O's" in large, bold print. Of course, this prompts customer questions. The sales clerks are always glad to explain. "I.S.O's" are "Instrument-Shaped Objects." They are poor quality instruments that look just fine on the store shelves, but any experienced musician would shun them due to their workmanship. Be very careful that you do not accidentally purchase an I.S.O. this Christmas for your child.

It's easy to fall into that trap. Local discount stores sell musical instruments that are advertised for beginning students. Often, they are stacked in boxes in a prominent area of the store, and nearby, parents can read posted information about the benefits of musical training for children. The benefits are real, but the instruments are not! Their bargain prices give away their secret. These pieces are not well-crafted by known musical instrument manufacturers. They are mass produced items that look like trumpets, flutes, guitars or drum sets.

The low-quality musical instrument often does not have the high quality finish of a more expensive model. It will be more prone to crack, rust, scratch or corrode. The moving parts are not built to withstand the day to day use that a higher-quality instrument is meant for. You will quickly find that the instrument is difficult to play and has a poor tone quality. And perhaps most devastating of all, it will be difficult or nearly impossible to tune and to keep in tune. Talk about frustrating! Your hard-earned money will be spent on a piece of equipment that will actually frustrate your student instead of becoming a tool for a lifelong hobby or even a vocation.

You will be much better off, if you truly want your child to reap the benefits of music education, to purchase a quality instrument from a reputable music dealer. If you are on a tight budget, consider buying a used instrument instead of a new, inexpensive one. There are bargains galore, both in the newspaper and at the stores. All you need to do is have an expert, someone who plays that type of instrument, try it out and tell you if it is right for your child. You will spend less money in the long run, because you will end up with a piece that your child will actually be able to use, instead of a piece of equipment that will frustrate and hold your child back.

So do consider the gift of music this Christmas, but also beware of I.S.O.'s, as the store sign says. Make your purchasing decisions wisely, with the advice and help of an experienced muscian. Buy a quality instrument, new or used, for your child to learn on. You will be glad that you did, and your child will be far more likely to learn to play and continue to play long after the other presents under the tree have been forgotten.

My First Musical Instrument

2005-11-02T09:55:00.000-08:00

I was digging through my memorabilia the other day, and came across my very first musical instrument. It was the first thing that I learned to play with any facility and the beginning of musical training that now allows me to play piano, guitar, banjo, autoharp, harmonica, organ, and a few miscellenious other instruments with varying degrees of success. It's a shiny, albeit old-fashioned melody flute. It is still in its brown leatherette case and looks just as interesting as it did when my parents coughed up their $5 back when I was in fourth grade and all of the fourth grade families were required to make such a purchase. It miraculously still has the companion booklet of music as well! And wonder of wonders, I can still play the thing.

In case you're not familiar with this little gem of an instrument, a melody flute is a simple, flute like instrument with open holes similar to a recorder. Unlike the recorder, it is held sideways and has a mouthpiece that you blow into to make the sounds. There are seven holes in the top of the instrument that you cover in different combinations to make the notes of a two octave scale that with practice can produce a pleasant piping sound.

I clearly recall the day that we trooped into music class and received our melody flutes. The booklet of music was crisp and new, and the leatherette case was a bit stiff because it was so fresh. The melody flute was a gorgeous shiny silver color, and cold to the touch, since it was truly made from metal instead of the plastic versions that children receive today.

And oh, the cacaphony when all of the fourth graders took out their flutes and simultaneously tooted and squeaked to find out what the new instruments sounded like. I can hardly believe that Mrs. Wyrick, the music teacher, had the patience and wisdom to allow the experimentation. It must've driven her nearly mad-musical tone was so important to her, and it was completely missing from those first few moments with the melody flutes.

We played with our flutes in music class for an entire semester that year. The class progressed from shrill squeaks and whistles as we tried our best to play Hot Cross Buns to actually making some fair music by the end of the eighteen weeks. I remember that there were always a few hapless students who couldn't seem to get the knack of playing the little instrument and were forever hitting wrong notes no matter how hard the class tried. In retrospect, I feel sort of sorry for them-they obviously were having no fun at the activity and could hardly wait for music class to end for the day so they could return to doing things that they felt more competent at doing. I assumed at the time that they simply didn't practice enough to develop the necessary skill, and I felt quite impatient with their lack of progress. Now that I'm an adult and am several decades removed from the experience, I'm not so sure. Some people never could master what I saw as simple music, and some children didn't have the support (some call it parental nagging) at home to ensure success. Whatever the case, I feel bad now that their expeirence was so unpleasant since it likely turned several off from music all together for the rest of their lives.

But for myself, the whole experience was magical. The notes seemed to find their way out of the flute on their own and the songs actually sounded like music in short order. I remember proudly marching out onto the stage of the gymnasium in my white blouse and black skirt complete with saddle shoes to perform for the parents on the night of our grand finale. Fifty or sixty kids, armed with melody flutes! What a sound! At the time it sounded marvelous to my ears and my parents dutifully clapped and cheered with the rest of the families. Now that I've sat on the receiving end of several such concerts, I have a more realistic idea of what they really sound like. They sound like a bunch of kids trying their best not to squeak, who have worked really hard to master their first steps into playing music all by themselves.

And for that reason alone, I feel that these little programs in the schools are vital. No, I don't believe that the fourth grade melody flute or recorder or flutophone concert is likely to be the cultural event of the season or make the concert hall of fame in any given year. What it does do, however, is light a spark in some small children and encourage them to pursue further musical training. It helps a few to see that making your own music can be fun and that it is possible to learn to create an island of beauty in a chaotic world.

Melody flutes and instruments like them will probably never see the light of day except in memorabilia collections like mine, but my melody flute stands for the beginning of a lifetime of enjoyment of music and the love of making it my own. It started me off on a life-long pursuit of a hobby and a way to express myself. No, I wouldn't burden anyone else with my rendition of Hot Cross Buns on the melody flute, but I will confess to trying it out while no one was around to hear. It's like riding a bike, I discovered. I can still play the melody flute almost as well as I could at the end of the fourth grade. And it's still kind of fun!

Music is to be Enjoyed

2005-09-16T06:49:00.000-07:00

One of the best parts of knowing how to play an instrument is having the opportunity to play some of your favorite songs, just for pleasure. Whether you play the piano, violin, guitar, clarinet, saxophone, or any other melodious instrument, once you have the basics down and can pick out notes on your instrument of choice, you'll soon find that you can play at least basic, simple versions of some of your favorite songs.

When I was growing up and learning to play the piano, for the first several years I was not given the opportunity to play songs I knew or liked. I was forced to play made-up melodies that really were only glorified scales or fingering techniques. I would hear songs sung at my school music class that I enjoyed, but it didn't occur to me to try to pick out the tune on the piano. I heard songs at church or on the radio that I would love to have played, but I didn't have the sheet music. You see, I was taught by the book; that music is learned only by reading the notes. If I had an ear for music, I didn't even know it because I was taught that the only way one can play an instrument is by looking at the notes on a page. So I begged my mother to buy sheet music for me to use. At the age of 9 or 10, I came home with the popular pop songs on the radio during the late 1970s: Andy Gibb, Shaun Cassidy, Peter Frampton. Remember them? Needless to say, my piano teacher rolled her eyes and told me that those songs were not meant to be played on the piano. Still, on my own, I tried picking out the tunes, reading the difficult music of course, and I could hear a bit of the melody.

Years later, I finally had a teacher who indulged my likes and dislikes, but that's a different story. Today I have learned to play by ear. While this is still a foreign concept to my brain, I'm teaching it and it is learning. I also have boxes of sheet music, much of it from my high school days, and much of it I've bought as an adult. I've taught myself to play many of my favorite songs; songs by John Denver and Neil Diamond, songs from some of my favorite musicals such as Les Miserables and Phantom of the Opera, and of course I have learned all my favorite Christmas songs. Where piano was a drudgery and a painful experience when I was a child, today it is a delight to my soul. I don't have time to play often, but when I do, it transports me to a higher plane, where I can relax, smile, and enjoy the moment or the memories.

I've taught my own children to play piano by ear, and then they learned to read music later. One of my daughters is being taught to play the violin in much the same way. Consequently, she loves the music she plays and for her, practice is fun, not a chore. We need to keep music in perspective. It is a beautiful thing to be enjoyed on any instrument; when it stops being fun, perhaps we need to re-evaluate our methods.

An Unorthodox Method for Learning Piano

2005-09-16T04:25:00.000-07:00

When I was growing up, the only method for learning to play an instrument was by starting with learning to read music. Theory was just as important as ability or sound or method. Rather than teaching me to play a little song for fun, my piano teacher taught me, at the age of six, to memorize the notes on the page and to do scales up and down the keyboard. I learned "Every Good Boy Deserves Fudge," so I could remember the lined notes of E,G,B,D, and F, and I learned to spell "FACE" so I could remember the notes between the lines: F,A,C, and E. This was interesting for about five minutes and then I wanted to play a song. My mother had taught me a few songs on the piano: "Twinkle, Twinkle Little Star" is one that comes to mind, and "Yankee Doodle," but my piano teacher said that it was important to first learn the tools before putting them all together; much like when teaching a child to read, we begin with the letters and their sounds - phonics.

Yet music is different. Music is not something to be mastered, not be everyone anyway. Music is meant to be enjoyed. It is as much an emotional experience as it is a technique. While reading can also be a source of great enjoyment and emotion, reading is also key to our survival in society. We need to read in order to buy groceries, drive a car, and hold a job. We don't need music for our very survival (though some would argue that we do) so we need to remember that learning music should be fun - at first, anyway.

Fast forward years later to when my daughters first wanted to learn to play the piano. My 15 years of lessons gave me a gift for which I'm very thankful. I am by no means great, but I can read the music and sit down and play a piece with some practice. I have many songs committed to memory and I especially love the ability to play when Christmas time rolls around. When my daughters began to show interest in the piano, I simply showed them a few little songs to play and planned to teach them the theory at a later date. But before I knew it, they, at the ages of 8 or 9, had mastered the little songs I'd shown them, so I gave them more. They began bringing me sheet music they liked that they'd heard me play, and asked if I could show them how to play it. Since it was advanced, I simply wrote out the notes in letter form above the musical notes, and then taped letters onto the actual piano keys. My daughters loved this and caught on very quickly. They soon could play songs I thought they had no business playing.

It wasn't long before my daughters took the taped paper letters off the piano keys. Somewhere along the way they had learned the notes and could read music. I'd been so busy doing other things, I'd neglected to teach them, but they managed to teach themselves. Somehow, my haphazard method had worked and today they play beautifully. Perhaps one of these days I should sit down and teach them the theory?

Keep School Music Programs Alive!

2005-09-15T04:23:00.000-07:00

The results are in: numerous studies are now complete that show the many academic benefits of musical training. Newspaper and magazine articles abound that tout the information that researchers first suspected and now know for a fact: students who are involved in music lessons or training do better in school. They also perform better on standardized tests. It's such a huge advantage academically that it's almost criminal NOT to provide musical training for children in some fashion. It seems to help most children achieve more.

And yet, in this time of budget cuts and fiscal crises, many schools and districts are considering major cuts to their music programs. In many parts of the country, music teachers at the elementary level are gone already. Band programs are underfunded. Music is disappearing from our schools at a time when we best realize (and can PROVE) the value of musical education to academic success.

Because of its artistic nature, music has been thought of as a frivolous "extra," to be taught only when there was extra time and money. Reading, writing, and math are the vital parts of the curriculum. Social studies and science rank right up there. These things are what a person truly needs to get on in life and to be successful in college and beyond. The core programming, as it is called in many areas, covers these areas well. However, music has been proven to affect how children learn and how readily they master concepts in this core programming. It's probably as vital as these other subjects, simply because it can help children perform better across the board.

Can we afford to risk the natural outcome of this situation? Education in the United States is supposed to be an equalizer. Anyone can access the free public system, and therefore, anyone can become educated. But who can afford the expense of private music lessons? That's right, those who already possess economic advantage. Even if schools cut their music programs, families who can afford to do so still have the option of sending children for private musical training. Families who do not have as much disposable income are less likely to do the same. So we are left with two distinct groups of people: those who are maximizing their potential through music and those who do not have the opportunity to do so. That's a scary situation. It's not exactly what the founding fathers had in mind, is it? Our country is supposed to be an equalized sort of a place. We are supposed to make sure that educational opportunities are available for all. Removing music programs from schools is counterproductive to this goal, since we would be effectively denying access to a tool to reach potential to the segments of our society that most need help to reach academic goals.

So what is the solution? How can we, the public, convince the financially troubled schools that music is as important as the other core subjects? It's not a political football that can be handed off or traded or fumbled when the money gets tight. We must speak out in order to change the perceptions. We, the public, must make our voices heard through public forums, through conversations with our elected officials, and through our votes. Check in with your local Board of Education. You will find that many of these members, though dedicated and well-meaning community leaders, are not professional educators. I am. And you can research the subject and educate yourself as well. You can arm yourself with convincing data that supports the importance of musical education as a part of the school programming. You have the power to lay the evidence before your local school board and convince them that this is not the area to cut in times of need. And support your local school's music programs. Most are already participating in fundraisers of one sort or another, so when those students come knocking on your door, buy a piece of overpriced candy or some wrapping paper or a magazine subscription if you can. And if the overpriced merchandise of the fundraiser is out of reach for your budget, think about simply giving a smaller donation. I'm quite sure that the music program or the volunteer arm of the music program is set up to accept donations such as this, and you can make them in any amount that suits your budget. Even a dollar or two would help immensely if everyone would take the time to contribute. Keep the music programs alive in your local schools and you will be doing a huge favor for countless students. Together we can make a big difference!

Musical Education

2005-08-18T16:33:00.000-07:00

An important part of music education is variety. Children need exposure to as many types of music as is humanly possible. By exposing young people to a wide array of music, we build connections in their brains that extend far beyond musical notes and rhythms. Music expresses feelings, builds cameraderie, and educates about cultures. In order for children to get the full benefit, though, they must have the opportunity to hear and make a variety of music. It only works when children are exposed to the music regularly.

Classical music is an important genre to which every child should be exposed. Its rhythms and patterns will help your child's brain build understanding of math and even language concepts. Classical music pieces and themes from them abound in our culture and media. Listen carefully to commercials, popular music, and even cartoon series theme songs, and you will hear snatches of these pieces. In addition, familiarity with classical music opens doors to history and geography as you discuss when and where the pieces were composed. Classical music also lends itself to inspiring visual art. Encourage children to create paintings, drawings or other masterpieces that express the music and the images that it creates in their minds.

Ethnic music is another wonderful avenue to explore. Help your child to find music that reflects his or her heritage. See if you can use the music to show the youngster their background. It is also very educational and enlightning to learn about the music of cultures from other parts of the world. Take a musical tour and learn about the songs of countries far from your home. Listen to the wide variety of instruments, singing styles, rhythms and musical patterns.

Popular music is another genre that your child should be familiar with. The music on the radio that others their age listen to forms a common bond that is difficult to emulate in other ways. Generation upon generation of young people the world over have shared their music, and it generally has not pleased the adults in the area.

Those silly old camp songs are also very important in a child's development. Something about singing those goofy tunes helps children relax and make friends. Even the shy children will find something to enjoy when the group sings camp songs.

Don't forget the songs of your faith, as well. These beautiful bits of music not only feed your child's mind, but also nurture the spirit. Truths are held in their words, and the music makes them memorable. It's astounding, but even senior citizens that are suffering from dementia seem to be able to hang onto those songs that were learned long ago as children. Give your child the gift of faith that can be gripped throughout life by taking advantage of the power of music.

Music is, most of all, a form of self-expression. Teach your child to sing, play an instrument, clap to the beat, move to the music, or otherwise respond to music. Teach the simple instruments, like harmonica and recorder. If you have the means, allow your youngster to take lessons on an instrument that he or she can enjoy throughout life, like piano or guitar. Encourage the child to join band or choir in school if the opportunity presents itself. The habit of making music will lend enjoyment and substance to life long after your child is grown and gone.