Musicality World

From Solo Musician To A Band That Works (or "How Marc Became A Potato")

Check out a trip down memory lane with Claire and The Potatoes!

Compose Creatively by Breaking the Rules

Composing music in a classical style can put restrictions on your creativity, especially if you are looking to create your own sound. Thankfully, in the age of technology, there are many ways to create new sounds – and even new instruments! https://www.musical-u.com/learn/compose-creatively-breaking-rules/

The Practice Process: Your Map To Musical Success

Paul Harris is one of the leading voices in music education in the UK and his forward-thinking publications have influenced music teachers around the world. Learn more about his book
“The Practice Process”.

The Practice Process: Your Map To Musical Success

You can't learn to swim in a barrel full of water!

I forget where I first heard the saying: “You can’t learn to swim in a barrel full of water”
What do I mean by that?
Well, just as you are only fooling yourself if you splash about in a barrel of water and call it “swimming”, so too are you fooling yourself if you manage to divorce your musical training from… music!

You can't learn to swim in a barrel full of water!

5 Steps To Setting And Reaching Your Music Goals

Whether you’re just beginning your musical journey or you’ve been a musician all your life, we all have dreams about where we see our musical skills down the road. No matter what your dream entails, we have great news for you: you can get there! All you need to do is map out your strategy.

5 Steps To Setting And Reaching Your Music Goals

Because it focuses on the expressive and creative skills of musicianship (rather than the theory or instrument skills) the Kodály approach is very closely related to the world of musical ear training.

In fact, it could arguably be seen as an approach to ear training, since it is primarily your musical ear which Kodály develops.

We’ll learn more about what Kodály can do for you, but let’s first look into the man behind the method.

The Life of Zoltan Kodály

Born in Kecskemét, Hungary in 1882, Zoltan Kodály showed musical aptitude from an early age, composing for his school orchestra in his childhood.

After completing a Ph.D. with a thesis entitled “The Strophic Structure of Hungarian Folk-Songs”, Kodály began traveling extensively, accumulating music knowledge through his trips to the Hungarian countryside and his stint in Paris, where he studied with French composer Charles Widor and discovered the music of Claude Debussy. By this point, he was becoming a prolific composer, collaborating with Béla Bartók with whom he created a collection of Hungarian folk songs.

Upon his return to Budapest, he became a professor of music theory and composition at Liszt Academy. His big musical break came in 1923, when he was commissioned to compose a piece to celebrate the 50th anniversary of the union of the two cities Buda and Pest. The resulting piece, “Psalmus Hungaricus”, catapulted him to national-treasure status, as well as giving him international recognition.

He went on to write two operas, “Háry János” and “The Spinning Room”, which also became internationally popular. His body of work was a distinctive blend of classical, late romantic, impressionistic, and modernist – rooted in the folk traditions of Hungarian music.

Kodály continued to teach at the Liszt Academy for the majority of his remaining life, and after retiring as a professor, returned to the academy as a director in 1945.

Philosophy of the Kodály Method

Growing up with political disquiet in his country, Kodály sought out a way to preserve Hungarian culture, and found the answer in music.

Having been exposed to many styles of music education, Kodály found problems with the existing methods, especially taking issue with the fact that music education started so late in most schools. One story goes that in 1925, Kodály, overhearing schoolchildren singing, was so appalled that he set out to overhaul Hungary’s music education system.

He began writing articles and essays to raise awareness of the low quality of Hungary’s music education system. He believed the solution was better-trained teachers, an improved curriculum, and more class time devoted to music in general.

Not without drawing the ire of fellow music educators, Kodály dedicated himself to the project of music education reform, creating a new curriculum and new teaching methods.

Kodály was a firm believer in the importance of heritage and culture in one’s music education; he asserted that there was no better music than that of a child’s culture to teach children basic musical literacy. To this end, the system he developed integrated the singing of folk songs in the pupils’ mother tongue.

Finally, in 1945, Kodály’s work was applied in the ways he hoped it would; the new Hungarian government started to implement his ideas in public schools. This was soon followed by the opening of Hungary’s first music primary school.

This school was so successful that over a hundred more schools like it opened in Hungary in the following decade.

It didn’t stop there; the ideas of these music schools were presented at a conference of the International Society for Music Educators (I.S.M.E.), held in Vienna. Another conference held in 1964 in Budapest allowed other music educators to see Kodály’s work first-hand, leading to a steep increase in interest and to the widespread adoption of Kodály’s principles by his fellow educators.

The Creation of the Kodály Method

The Kodály method as we know it today was not technically developed directly by Zoltan Kodály himself. Rather, it was a system that evolved organically in music schools in Hungary under Kodály’s instruction and guidance.

Kodály’s friends, colleagues, and students helped develop this method by picking out techniques found to be the most interactive and engaging to create a method that focused on the expressive and creative skills of musicianship (rather than the theory or instrument skills). Many of these techniques were adapted from existing methods, altered to fit the context of Hungary. The resulting method relied quite heavily on exercises and games, and integrated the Hungarian cultural aspects.

With its folk foundation and its creative integration of movable “do” solfege, sounded-out rhythms, hand signals, and collaborative exercises, the Kodály method can be adapted to suit children’s music education worldwide, and nicely complements more traditional and orthodox approaches to music education. And more and more adults are discovering the great benefits of Kodály.

The Central Principles of Kodály

1. Music should be taught from a young age. Kodály believed that music was among, if not the most important subject to teach in schools.
2. Music should be taught in a logical and sequential manner.
3. There should be a pleasure in learning music; learning should not be torturous.
4. The voice is the most accessible, universal instrument.
5. The musical material is taught in the context of the mother-tongue folk song.

Kodály for Children

The original method that Kodály pioneered was created with children’s development in mind. With the method, young children unconsciously learn the basic musical elements: solfa, rhythm, hand signs, memory development, singing, and more. Because the music education is already rooted in the culture they are immersed in, learning can occur both in the classroom and at home, with family. Early Kodály music education for children has countless benefits.

…and for Adults!

The Kodály method is not just for children!  Since training starts with simple steps and segues into more complex exercises as a knowledge base is created, adult musicians on every level will also find the method useful. The concepts of rhythm, relative pitch, and improvisation taught in the system are universal.

Similarities and differences with the Orff Approach

You may be acquainted with Orff Schulwerk, another music education approach developed by composer Carl Orff in the mid-20th century. Some characteristics of Kodály may remind you of the Orff Approach, but the two methods are distinct.

Similar Philosophies…

Both Kodály and Orff believed that discovering the innate pleasure and beauty of music should be a central tenet of musical education, and that music education should be social, and ideally, rooted in students’ heritage and culture.

As a result, both approaches use an element of “play” in their pedagogy. Additionally, the two philosophies can be said to have a shared motto: “Experience first, intellectualize second”, meaning that students unconsciously absorb musical knowledge through the interactive exercises. Only then are they asked to put pen to paper and articulate the principles behind the music.

…Different Strategies

Where the Kodály method uses existing music as its basis, Orff is largely improvisational. Kodály is vocally-oriented with goals of sight-reading and sight-singing, whereas Orff uses body instrumentation and simple percussive instruments with an emphasis on rhythmic development and improvisation.

It can be said that Kodály is more grounded in theory and geared towards ear training than Orff; this is seen in the way that it teaches musical notation from the beginning, whereas Orff delays this until students make sufficient progress.

Generally speaking, the Kodály method is more structured and sequential, whereas the Orff Approach is less systematic and more free-form. Each have their advantages, but the Kodály method is arguably more useful in honing a musician’s inner ear. This further comparison discusses their shared ideology while contrasting the teaching styles of each one.

How Kodály compares to traditional music education

Obvious differences include the one-on-one teacher-student relationship in traditional music lessons versus the group activities of the Kodály method.

While individual attention is valuable in music education, group learning allows for more avenues in creativity and collaboration.

Regarding lesson content itself, traditional music education focuses on teaching a specific skill set for a specific instrument, whereas the Kodály method starts with one’s own voice as the original instrument, and slowly expands its teachings to apply to any instrument.

What Principles Does Kodály Involve?

This method places an emphasis on intuitive, interactive learning. To that end, the techniques used engage the student as much as possible, integrating body movement, singing, and group exercises.

1. Movable “Do” Solfa

Solfa (aka solfège) is a system for relative pitch ear training (i.e. recognising and following the pitch of notes) which assigns a spoken syllable to each note in the scale.

Musicians who haven’t studied solfa often think of it as “the do-re-mi system”, and while this hints at its nature, it actually vastly understates its power and versatility.

The key advantage is that by learning the musical role and distinctive sound of each note in the scale, it becomes easy to identify (and sing) notes simply by recognising where they fit in the musical context.

By using solfège to teach the pitch side of musical listening and performance skills, the Kodály approach ensures that musicians have a natural and instinctive understanding of the notes they hear.

2. Hand Signs for Movable “Do” Solfa

The Kodály Method includes the use of hand signals during singing exercises to provide a visual aid for the solfa syllables. The height that the hand rests at while making each sign is related to the pitch, with “do” at waist level and “la” at eye level. The spatial distance between the hand signs of different pitches corresponds to the size of the interval.

This even further reinforces the power of the solfa system in ear training; the student associates each pitch not only with a memorable syllable, but also with a specific hand motion made at a specific level. The hand signs complement and strengthen solfa learning.

If you want to try it out yourself, the Mobile Musical School has a useful exercise for practicing singing with hand signs!

3. Rhythm

Rhythm is often a neglected area of ear training. Many students simply don’t know how to effectively develop their rhythm skills, or how to connect them to the rest of their music learning.

The Kodály approach provides a clear systematic way to think about and speak rhythms in music which very much complements the solfège system for pitch. Kodály exercises encourage the participants to aurally, visually, and physically engage with the rhythms they’re playing.

Note values are counted out loud with assigned syllables that actually sound like the rhythms they spell out. For example:

Kodály students learn to speak and sing rhythmic patterns using specific syllables, and so develop a framework for understanding rhythm by ear and performing it accurately.

4. Creativity

Although we often think about frameworks as limiting sets of rules, in fact they can provide a structure which gives you confidence to experiment.

This is the case with the solfège and rhythm systems in Kodály teaching: by having clear systematic ways to understand pitch and rhythm, the musician is empowered to be creative and confident in music.

An example would be improvising sung melodies, or changing the rhythm of a song in creative ways. These tasks can seem intimidating to a musician who has been taught in the classical tradition, but with the Kodály approach, musical tasks like these are simple and enjoyable.

5. Collaboration

At its heart, the Kodály approach is a very human and social one, involving plenty of musical collaboration. From the earliest lessons, students are encouraged to perform together and play or sing duets, rounds, and other musical forms which allow both collaboration and creative improvisation.

Examples would be students singing together and taking turns to improvise different melodies while the other sings an accompaniment, or playing clapping games where their rhythms interact and synchronise in fun ways.

How Can I Start Learning Kodály?

Though originally designed with young children in mind, the principles of Kodály are universal. Musical U has many free solfa resources. You’ll also enjoy these free Kodály-style rhythm and syncopation exercises.

There is a worldwide network of organizations that are promoting the Kodály method today. For more information about Kodály music learning and to find a class near you, visit:

•        The Organization of American Kodály Educators
•        The British Kodály Academy
•        The International Kodály Society

The Kodály method is for everyone; musicians of all levels and walks of life can find something in this spirited and hands-on approach to learning music.

The post What is the Kodály Method? appeared first on Musical U.

In our previous article, Open Your Ears to Traditional Latin Music, you learned about traditional Latin dances like salsa, tango, and samba, and the music that accompanies them. Latin pop music today brings a new spin to centuries of traditional music, adding in contemporary electronic dance music beats, synthesis, and a lively pop music sound.

Here’s “Livin’ La Vida Loca”, a late-nineties hit by the prince of Latin pop, Ricky Martin:

Global Influence

From New York to Mexico, Latin pop music exploded onto the scene in the 1990s, but its exciting dance rhythms and catchy hooks can be traced back to the smooth romantic ballads of forerunners like Julio Iglesias and Sergio Mendes. Latino millennials today can remember their abuelas swooning over the sexy Iglesias, who always made you feel as if he was personally addressing you when he spoke of sensual love and romance:

Earlier Latin love ballads incorporated the familiar musical sounds of the 1960s and 1970s, but added a unique Latin touch, with light Latin rhythms and percussion and Spanish lyrics that glorified eternal love and heartbreak. Some well-known artists are Julio Iglesias, Sergio Mendes, and Roberto Carlos.

Other more traditional singers, like Cuban legend Celia Cruz, attained almost god-like status during their lifetimes. Singer Jon Secada followed in his forerunners’ footsteps with pop ballads in the 1990s after working with legendary Cuban star Gloria Estefan, whose band Miami Sound Machine truly brought Latin pop into global popularity in the 1980s and 1990s.

Gloria Estefan

Born in Havana, Cuba, Gloria Estefan’s rise to worldwide fame mirrors the hopes and dreams of the Cuban exiles after Castro’s revolution left many fleeing their homeland because of political persecution. Many came to the United States hoping for freedom and a better life for their children and grandchildren.

Estefan’s journey from humble beginnings to pop diva showed that the United States was truly the land of opportunity. A bus accident severely injured Estefan’s back, preventing her from dancing to her own music, but the dance diva continued on. Estefan’s hit songs “Conga” and the “Rhythm is Gonna Get You” have become iconic in pop music. Her music often has playful lyrics accompanied by strong Latin rhythms and percussion. She paved the way for artists like Ricky Martin and Shakira, who took dance clubs by storm.

Selena

Another Latina, the talented Mexican-American singer simply known as Selena, had just begun to make waves in the United States when her life was cut tragically short by a former employee. Despite her early death, Selena had become a Latin icon with her albums Entre a Mi Mundo and Amor Prohibido. She is often credited for bringing Tejano music, a complex blend of Mexican traditional music found in southern Texas, to international fame.

Selena has posthumously sold tens of millions of albums, and her legacy is kept alive with the film Selena, showcasing the acting talents of Jennifer Lopez, a Latina music icon in her own right.

Heard Worldwide!

Latin pop music has been heard at the Olympics, FIFA World Cup, Hollywood films, and television from the Americas to Europe to Africa to Asia. Contemporary Latino artists include Romeo Santos, Juan Gabriel, Enrique Iglesias, Nicky Jam, Shakira, Jennifer Lopez, and Julión Alvarez y su Norteño Banda. Latin pop music today has spread into other genres like hip hop, R&B, and reggae, while still maintaining close ties to its traditional musical roots.

Musical Elements of Latin Pop Music

There are a few key musical elements that you will find in Latin pop music. While the genre spans artists from almost every corner of the world, Latin pop has several distinctive hallmarks that distinguish it from other popular musical styles.

Tradition

Latin pop music stems from the rich musical histories of the artists. Whether the music is derived from salsa, bossa nova, tango, or Tejano, strains of centuries of music passed down from generation to generation are recognizable in the genre.

Listen to Cuban-American rapper Pitbull’s “We are One (Ole Ola)”, which was the 2014 FIFA World Cup Song, and see if you can spot his influences:

Instrumentation

Latin pop music includes classic Latin percussion instruments like maracas, congas, and bongos. Other traditional instrumentation, for example, including a Mariachi band or Spanish guitar, helps give Latin pop music a distinct Latino flavor. Gloria Estefan’s “Turn the Beat Around” glorifies percussion, with an incredible mix of syncopated Latin rhythms and percussion solos accompanied by a familiar disco beat.

Language

Even English-version Latin pop songs have a smattering of Spanglish (Spanish + English), Portuguese, or even African dialects. For example, Shakira’s famous song “Waka Waka (This Time For Africa)”, performed at the 2010 FIFA World Cup, can be found in several languages, and was adapted from a traditional military song from Cameroon.

This global approach to music has helped make Latin pop music more than a provincial genre. Many of the most popular songs are sung in Spanish or Portuguese but still maintain international popularity.

Rhythm

Latin pop music often meshes traditional Latin rhythms with American pop and dance music. Gloria Estefan often incorporated a disco beat in her tunes and Colombian singer Shakira, whose father was Lebanese, adds in Arabic music to her hip-shaking Latin music. These rhythms are often syncopated with a steady beat, to keep people dancing.

Listening Practice

In Puerto Rican Elvis Crespo’s “Suavemente” you can hear the many complex rhythms of the percussion following a catchy electronic dance beat in the NYC Remix version. The original “Suavemente” has a Dominican merengue beat.

Compare the traditional version to the NYC Remix version. While you listen, think of the following:

1. What are the differences in instrumentation?
2. What are the primary differences between the NYC Remix and the original version?
3. Why do you think an artist like Elvis Crespo would create an “Americanized” version?
4. How does the NYC Remix keep true to its Latin roots?

Elvis Crespo Suavemente (Original):

Elvis Crespo Suavemente (NYC Remix):

A Contemporary Celebration of the Past

Latin pop music has grown to become an international phenomenon, blending the rich traditions of Latin music with contemporary pop to create tunes that recall the past while embracing modernity.

The post Open Your Ears to Latin Pop appeared first on Musical U.

How to Hear and Create Time Signatures

�What is the role and importance of time signatures in music?
If you’ve ever wondered how time signatures work. How to figure them out. And how to choose your own when writing songs, you’ll enjoy this article from Musical U.

How to Hear and Create Time Signatures