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Decomposing the Musician - Part 1

About a week ago I published on YouTube a "Musician's Personality" quiz and the response, I have to say has been very interesting. It seems that there definitely are certain personality traits shared by the majority of musicians. Now if you want to take the test BEFORE you hear about some of the results, (it might bias your answers if you do so afterwards) you can do so by clicking this link - Musician's Personality Test

Added to this, the more people who take part, the more accurate the results will be.

So.... the two most definitive results, that emerged and that I want to discuss today were in answer to the questions;

1. Are you sensitive to other people's feelings?
2. Are you an introvert or an extrovert?

Regarding the first question, I have to be honest, I anticipated that most people would say YES, they are sensitive to other people's feelings. The result backed this up - a massive 96% of those who answered said yes. Of course many of us would not like to admit if we were insensitive and could answer not honestly, but if we think about it, being a musician requires sensitivity, it's all about communicating emotions and feelings, communication being a two way thing. Especially those of you who play in ensembles, need a high level of empathy to communicate non verbally when performing. However, is this "empathy" a pre-requirement to make a good musician, or does being a musician develop empathy. As I delved into this subject further I found an academic study by Cambridge University where Researchers looking at group education sessions for 8 to 11 year old children showed that engaging in regular music-based activities with others - from ensembles to simple rhythmic exercises - can conspicuously advance empathy development, increasing a child’s capacity to recognize and consider the emotions of others. If you are interested there is a link to this article below.

The second question produces a more surprising result. One might think that musicians are extroverts. They often play in front of large audiences, expressing themselves openly through their instrument, quite the opposite of what one would expect from a quiet, shy, retiring type. However, the survey returned a result that 92% of you who answered were introverts. It is true that in order to spend enough time practicing to become really good at music, you have to enjoy being alone for long periods. Playing music with and for other people is social, but in a highly structured way that's easier for introverts. Could it also be that we use our instruments to hide behind and we transform into an extrovert only with our instrument in hand (or in throat in the case of singers). In real life are we the one who stands in the corner at parties, not the best at starting conversations especially in larger groups of people. Please leave a comment below if this describes you, do you hide behind your instrument, but without it are you shy in social settings?

As I said at the outset, these are only a couple of the results and I will be commenting on other questions in future weeks, so stay tuned and watch out for the next in the series of "Decomposing the Musician"

Further Reading
http://www.cam.ac.uk/research/news/music-of-kindness-playing-together-strengthens-empathy-in-children

Music Theory Course

This post is to announce the start of a complete theory course that will cover grades 1-5 of most of the Music Examining boards such as ABRSM or Trinity College. It will be an ongoing process so please be patient as I add material. Links to the individual lessons will appear on the page "Music Theory" which can be found on the main menu.

Here is an example of what is to come - but please note that each lesson will not be posted here on the blog, but rather on the "Music Theory" page.

Time Values, Bar Lines and Time Signatures

Download a FREE worksheet on this topic from

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1 semibreve is equal to

2 minims, which are equal to

4 crotchets, which are equal to

8 quavers, which are equal to

16 semiquavers.

The above stave contains three Bars separated by Bar Lines.

At the end of the line there is a "Double Bar Line"

At the beginning of each bar there is a Time Signature.

The top number of a time signature tells you how many beats are in a bar, and the bottom number tells you "what type of beat it is".

For example, in the first bar there is a time signature of 2/4.

This means that there are two beats in a bar and the beats are crotchets, or put more simply there are "two crotchet beats in bar".

The second bar has a time signature of 3/4 meaning "three crotchet beats in a bar". Notice that this doesn't necessarily mean three crotchets in that bar - it could be, as above, a minim and a crotchet which adds up to the same as three crotchet beats.

In the final bar there is a letter "C" which stands for "common time". Common time is just another way of writing 4/4 (i.e. four crotchet beats in a bar).

N.B. In Grade 1 you will only see time signatures with crotchet beats. In other words the bottom number of the time signature will always be 4 (or it's marked as common time which means 4/4).

The Personality of a Musician.

It has been suggested that Musicians score significantly higher than non-musicians in certain personality traits and without giving too much of the game away, with your help I would like to take a poll   on various characteristics to see if there is a common type of personality for musicians. 

The poll is actually taken through poll cards on the video below

Questions will pop up in the video which you simply need to click one of the options. After you have voted you will see an aggregate of all the previous votes so you can compare your character against fellow musicians. Please answer honestly - all answers are anonymous and it would be nice for us to get a accurate sample.

PLEASE TAKE PART ONLY IF YOU ARE A MUSCIAN

You can of course watch the video if you are not a musician, but in this case do not vote.

I would like to get a large sample to make this experiment as accurate as possible, so PLEASE SHARE WITH ANY MUSICIAN FRIENDS

How many scales in an ABRSM exam?

This post is basically in answer to a question I received on one of my videos on my YouTube channel.

In answer to this, I would say that the absolute minimum would be one of each type of scale, and this number increases with the higher grades. It seems from experience that there is usually an easy one at the beginning to settle the candidate down, followed by more difficult ones. If you make a complete mess of one, the examiner may give you a second chance by asking another similar one. The mark for the scales is based on an overall impression, not only of how well the candidate knows the various keys, but also fluency, evenness, how promptly the candidate responds and that the speed matches the grade. So the odd mistake or one disastrous scale won't necessarily lose that many marks.

It is believed, that examiners are supposed to work their way through all the scales and arpeggios required for the grade over the course of various candidates - otherwise, it would quickly become known that a certain examiner  always asks for Bb minor etc. Experience suggest also, that they aim to ask a mix of easy and difficult scales for each person, so you would be pretty unlucky to get all the worst scales for a grade, but you are bound to get some of them.

Examiners are aware that nerves play a role in exams and may well give the candidate a second chance to repeat a scale. A  struggling candidate is usually given several chances to redeem themselves, but someone who is clearly floundering on every scale won't be asked every single one. There just isn't time, and the examiner will have made up their mind on the mark fairly early on in the process.

For more help about How to Pass an ABRSM Exam check out the playlist below.

**PLEASE SHARE WITH FELLOW MUSICIANS 

HEARING HEALTH IS IMPORTANT **

Classical Musicians at extreme risk of hearing loss.

Today I just want to make you aware of some of the risks associated with being a classical musician or music lover and there is a “hearing test” below to see how good your ears are.

In the European Union, the EU directive sets a daily noise exposure limit value of 87 dB in the workplace. If noise levels cannot be adequately reduced, hearing protection must be available and regular hearing tests must be conducted to safeguard the employees' hearing health. However a flute or the percussion instruments produce as much as 95 dB of noise. Classical musicians are exposed to high levels of noise for five to six hours daily. One recent study among classical musicians found that 15 percent of the musicians in the study suffered from permanent tinnitus, in comparison to 2 percent among the general population.

Below you can play some sample tones at different frequencies. Click on each one to test your "Hearing Age". As we age, we lose the extreme ends of the hearing spectrum so for example people under 50 years of age on average can hear 12,000 Hz. And 15,000 Hz can be heard by people under 40. The frequency of a mosquito - just under 18000Hz is usually inaudible to people of 30 years of age. WARNING - some people find this test uncomfortable and if you have a cat or a dog it might send them a bit crazy - I would recommend trying this test at half volume to start and then repeat it at a higher volume if you wish. Also this test works better with headphones or good quality speakers.


10 kHz

12 kHz

14 kHz

15 kHz

16 kHz

17 kHz

18 kHz

19 kHz

20 kHz

21 kHz

22 kHz

So now I’ve finished scaring you - you might ask so what can I do? If you are a pianist - normal practice range is about a safe 60-70db but if you have an electric piano or even use headphones, obviously you can turn down the volume.

Etymotic Earplugs

For those who play with others, either in orchestras or Rock bands for example, you might think - well I can’t wear ear plugs - I need to hear the other musicians. However there are devices called etymotic ear plugs - developed specifically for musicians which reduce the sound by 20-dB equally across the spectrum of hearing whilst preserving the richness of music. They are available on Amazon.co.uk and Amazon.com

Leave a comment below how you did on the hearing test and if you have any concerns about hearing loss as a musician or music lover.

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Is ABRSM listening?

Today's post is a follow up on a recent post related to the changes to ABRSM Theory from next year, which I reported on in an earlier post. It seems they are aware of some concerns of many and have issued a reply. I am interested whether you think their response is adequate - really listening to teachers, so please leave a comment below. It goes as follows:

A healthy debate

News of the updated exam papers has led to some debate. We know from research and recent feedback that many people welcome these changes. We also know that some teachers have concerns and I’m going to write about some of these here.

The value of theory

Learning about music theory and the way music works is such an important part of any music education. It gives students the tools they need to get the most from their musical activities, whatever they might be. Because of the value we place on music theory, we’ve recently spent time reviewing the exams. We want to ensure that they assess the right things in the right way, are encouraging and supportive, and give candidates the best opportunity to demonstrate their knowledge and understanding.

Responsibility, consultation and research

Each year thousands of candidates all over the world take ABRSM exams. As an awarding organisation monitored by official regulatory authorities, we take our responsibilities very seriously. This involves reviewing and refreshing all our assessments on a regular basis, a process which is always founded on consultation and research. We talk to experts. We listen to teachers and students. And we take into account best practice in assessment and question design – not just in the world of music but more widely as well.
In reviewing our Music Theory exams at Grades 1 to 5 we followed all these steps. The result? We’re making a number of small changes. We’re modernizing the exam papers and focusing more clearly on the building blocks of music theory – the essential tools that give students access to future musical progress and opportunities. And while there’s a small change in the skills needed in certain parts of the exam papers, the underlying knowledge students need to cover and the standard of the exams is staying the same.

What about creativity?

As part of this process we’re removing rhythm-writing, melody-writing and word-setting questions at Grades 1 to 5. Some teachers are concerned that this might reduce opportunities for students to be creative. However, while we would always encourage creativity in learning, research tells us that these questions are often answered in a way which suggests a formulaic or even ‘space-filling’ approach. So following consultation we decided to replace these questions. This has allowed us to focus more on the ‘nuts and bolts’ of music theory, give candidates extra opportunities to demonstrate their knowledge in this area, and increase objectivity and consistency in the exam marking. 

I’d also like to reassure everyone that we are not replacing these questions to make the exams easier. In particular, at Grade 5 we are continuing to ask candidates to apply their knowledge in a wider context when they answer questions on musical extracts. This is something which requires a similar approach to the melody-writing question and calls on similar higher-level thinking. So, importantly, the knowledge and understanding candidates need is not changing.

Moving up to Grade 6

There is also a concern that without melody-writing at Grade 5, candidates who want to carry on to Grade 6 Music Theory, with its requirement to write original music, might not be adequately prepared.
It might help here to explore the difference between Grades 1 to 5 and 6 to 8. In many ways, these two sets of grades have different roles to play. At 1 to 5, the focus is on developing a good grasp of the basic principles of music theory. The revised papers now reflect this more clearly. Grades 6 to 8 then give opportunities to demonstrate this knowledge in an applied and more creative way.
When making the changes at Grades 1 to 5, we’ve been careful to ensure that despite the slight shift in focus at Grades 1 to 5, the step-up from 5 to 6 won’t change. Once students have passed Grade 5 they should have the tools they need to start tackling the different requirements of the higher grades.


Why multiple choice?

One result of our research into question design is the introduction of multiple choice questions for musical terms and signs. Multiple choice questions are widely accepted as an effective assessment method and they will be familiar to the majority of candidates from their experience of taking other tests and exams. But does this mean we’re ‘dumbing down’? Absolutely not. When multiple-choice questions are well-designed, the likelihood of being able to give correct answers through guess-work is very small. We are continuing to assess a full range of terms and signs, and candidates still need to learn these thoroughly to do well in this section of the exam.

So what do you think? Does this response answer any concerns you may have had about the changes. Please do leave a comment below and let's have  as ABRSM calls it, some "Healthy debate" .

Changes to ABRSM Music Theory

About a month ago, ABRSM announced that it was changing it's music theory exams as of the beginning of next year. The announcement is title “Improving our Theory Exams”. However, are these changes are for the better or worse?

Sample questions here

The main changes from January 1st 2018 will be:

Introducing multiple choice questions for the musical terms and signs. This will be more like the style of questions used by Trinity College and by the way our Android App "Musical Terms and Signs" quizzes you using multiple choice answers. I'm sure many students will welcome this change as it will make the exam EASIER, but will it make you a better musician? In real life when you are given a musical direction you have never seen before - are you given a multiple choice?

The second change is to remove completely the writing an answering rhythm question in the lower grades and also the writing an 8 bar melody question in Grade 5. Again I'm sure many students will welcome this change. I know from my experience of teaching this section, that a lot of students found it one of the hardest parts, but my question is again, "Will it make you a better or worse musician?" Are we simply technical analysts or creative artists? Here is a comment I found on a forum discussing the changes: "One of my recent Grade 5 candidates really enjoyed and blossomed with the composition question. Early attempts were abysmal and I don't think he'd mind my saying that, but he commented later that it was one of the things he had most valued. I suppose if you are simply taking the exam as a qualifying thing, rather than looking at all round musicianship, it may matter less."

This in itself poses another question. Why do ABRSM make it a requirement to have Grade 5 Theory before doing a Grade 6 Practical exam? Isn't it because they claim to value all round musicianship? And yet they are taking away the most creative element of the theory exam!!

The third change is the removal of yet another section from the Grade 5 exam, the SATB short to open score question. With regards to this I am somewhat in agreement. The old style question was just a lot of copying out notes, but couldn't they just have made this question shorter, maybe just converting one bar from short to open score or vice-cersa?

What I find even more disconcerting is that they are not updating the workbooks in line with the new syllabus. It seems this is just to save money. Their official statement regarding these work books is;

We are not making any changes to our Music Theory in Practice books for Grades 1 to 5. They still cover all the knowledge and skills you need for our Music Theory exams at these grades from 2018. The sections on rhythm-writing, word-setting and melody writing will not be directly relevant to the exams from 2018, but overall Music Theory in Practice continues to provide plenty of valuable teaching and learning material for the exams.

As I said before, in my opinion, this is just a money saving exercise. Then regarding the book,  First Steps in Music Theory and The AB Guide to Music Theory (Part 1)  they state;

We are not be making any changes to these books. They cover the basic principles of music theory and provide a thorough introduction to the knowledge and understanding needed at Grades 1 to 5. They continue to offer valuable support for exam preparation from 2018 onwards.

Of course to change this book, it would be too expensive for the board who charge nearly £40 for a ten minute practical exam. 

If you would like to see a sample of these papers you can find them here 

How to turn pages - WITHOUT throwing your music on the floor.

We've all been there - either a long piece with multiple pages or even a shorter piece with bad editing so that the page turn arrives at the most inconvenient moment. How does one turn that page without running the serious risk of the music ending up on the floor? 

Page Turner

This is quite a luxury for some and you need to find a good one. Someone who instinctively knows when is the best moment to turn the page and also won't get in your way. Here's a little know fact. In ABRSM exams, although candidates are not allowed to bring a page turner into the exam, the accompanist of a grade 8 or ARSM exam MAY do so.

Photocopying

Generally, the photocopying of music is illegal, but in certain situations it is permitted. Obviously, in your own home, copying a sheet of music that you have already purchased to help with page turns, isn't going to be problem, but what about in an exam situation? The ABRSM's official line is;

• The making or use of photocopies of copyright works is not permitted. Application should be made to the copyright holder before any copy is made. It is the Applicant’s responsibility to ensure that candidates act within the law with respect to the making and use of photocopies. ABRSM reserves the right to withhold the exam result of any candidate where it has evidence of the use of an illegal copy in connection with that exam.

This all seems a bit of a hassle, writing for special permission to copy one sheet for a page turn.

Memorizing

If you can do it, this is the ultimate solution and in many ways better for the music itself. I personally performed all my exams from memory, it helped to get more involved with the music rather than be distracted by the notes. If memorizing a whole piece is too challenging, I have a few students now, who memorize just the first or last page of a three page piece. You could even just memorize a few bars and turn the page at a more convenient moment.

Dog-Eared Pages

This is quite an effective method and I use it all the time when accompanying for exams where I haven't had the time to memorize the piece. Also many of the videos I have put on YouTube of exam pieces use dog-eared pages. You need to be careful though, to remember to re-fold the corner of each page everytime before a performance, as a flat dog-ear isn't as easy to get hold of. Another variation I have heard of is using mini post-it notes on the bottom corner of each page, but these need to be staggered if you have more than one turn, otherwise you might end up grabbing two at a time.

Cutting your music

It sounds like sacrilege, but another alternative is cutting your music. This works best for instrumental music with accompaniment, where they may be a few bars rest here and there. You could cut just under where there are a few bars rest, or in more continuous music, where there are a few beats rest, so that you could turn just half the page at this moment. Hopefully, if the edition lends itself, you will have an opportunity in the top of the next page to turn over the bottom half of the previous. (I hope that made sense)

Technology

More recently music has been available in digital form where you can store entire an library on your ipad for example. With this it is easier to swipe a single page without the risk of picking up two pages at a time, or worse still throwing your music on the floor. Further still there are now hands free devices like "Air Turn" which connect to your tablet through bluetooth. 

The AirTurn PED wireless, hands-free foot controller for your tablet, smartphone and computer.

Let me know in the comments below - what methods you have used or if you have any horror stories of page turn fails.

Piano Technique: Seating and Posture.

In this post you will learn how to sit correctly at the piano, so that you will have full control and avoid some of the problems associated with bad posture.

First of all the position of the seat is of great importance. The height should be so that your elbows are just above the keys.

The distance from the piano is also very important. Most beginners will bring the chair close up to the table as if they were sitting down for dinner. This is incorrect. You should be far enough away so that your elbows are just in front of your body and you should sit on the front half of the chair or stool only. This will give you more freedom of movement.

The distance from the piano is also very important. Most beginners will bring the chair close up to the table as if they were sitting down for dinner. This is incorrect. You should be far enough away so that your elbows are just in front of your body. 

Also you should sit on the front half of the chair or stool only. This will give you more freedom of movement.

Next you need to think about your back, this should be straight but not tense. Imagine you are a puppet hanging from a string attached to your head. Any tension will translate into your fingers and make you play worse apart from giving you a sore back if you sit for hours in a slouched position. 

 

Moving up from the back, make sure again that your shoulders are also relaxed and not tense. I see so many students who when approaching a difficult passage, seem to completely lose their neck as their shoulders rise.

Finally when you place your hands on the keys your wrist should be level so that there is a straight line from your elbow to the first knuckle of your hand. From there the fingers form a relaxed arch shape as if you had a small piece of fruit between your hands and the keys with each knuckle rounded.

Oh and a final note - make sure your nails are not too long. Apart from being dangerous, you could rip your nail off between the cracks in the keys at high speed, it will enable you to use the tips of your fingers (one of the most sensitive parts of your body) to feel in contact with the instrument. There are no nerve endings in your finger nails. It will also avoid an annoying clicking sound as you play.

If you found this post useful please  subscribe to this blog to stay up to date with more tips on piano technique.

Choosing the right piano.

For beginner students this is a big decision. An instrument of quality is a major purchase, but then again, what are your goals. Are you playing for fun or do want to make it a career? In my experience as a teacher I have been asked to recommend an instrument many times and as I travel to the homes of the students I teach, I come across much variation in the instruments I see students learning on. In this article I will pass on the same advice that I give my students and at the end I will tell you what I personally use.

Click image for more info

Electronic Keyboard.
When I start a new student who has had little or no lessons in the past, this instrument is often the one that already exists in the home. Some prospective students even inquire about lessons  and have nothing at all yet to practise on. The benefit of a keyboard is mainly, that it is a financially cheap alternative, until you know for sure that you want to take your studies further. It is a sad fact that there are many students who don't carry on for much longer than a few months when they realize that learning an instrument requires dedication, hard work and time practising, so to spend hundreds of pounds or dollars on a quality instrument at the very early stage is probably not advisable. Added to the financial aspect, a keyboard is very portable. However, even at an early stage, make sure a keyboard is placed in such a way that you are using correct posture when playing. Try also to get one that is touch sensitive, so that you can control the dynamics.

   

Click image for more info

Digital Piano.
As a student even approaches grade 1, the above instrument would not be enough. The range of notes is not even enough to play all the pieces required at a grade 1 exam. Added to this, the keys of a keyboard are much lighter than one would find in an exam piano. The change in the weight of the keys on the day, would be so different that it would severely affect ones playing if one were not used to it. This is where digital pianos go one stage further, using "weighted keys"  to mimic the feel of a real piano. They can be a good alternative to a real acoustic piano right up until grade 8. For some people, space might be a problem, where to put a full size piano. Another advantage is, that they require less care. You never need to get them tuned, worry about temperature or humidity and generally they are less expensive than a new acoustic piano. You can also adjust volume or use headphones if you don't want to annoy the neighbours.

Click image for more info

Acoustic Piano.
Nothing can really match the responsiveness and tone of an acoustic piano and it would be a must for anyone wishing to make a career out of playing. It would even be a better alternative for any student. One would find that the keys respond to one's touch just that bit more than a digital piano, and they should be less noisy. If expense is the issue, a second hand one would be a good alternative, but get it checked out thoroughly first. Here is a few things you might want to look for:

• A neat alignment of the internal parts, e.g. hammers
• Signs of woodworm
• Rust on the iron frame
• Any cracks in either the iron frame or the sound board
• Any broken or missing strings
• Do the pedals work
• Are there any funny rattles or vibrations as you play an entire chromatic scale of the whole range of the keyboard

If in doubt get a professional piano tuner to take a look with you before purchase, better to pay his fee than waste hundreds on a bad second hand instrument.

So what do I use? Well, despite the superior quality of the acoustic piano, for reasons of space more than anything, I own a digital piano. I purchased a quality instrument, from musicroom.com , (although  the links to the illustrations in this post are from Amazon ), with which it is hard, (but not impossible) to tell the difference in tone quality  between it and an acoustic. You can check out the quality for yourself  here

The actual model is of the same as that pictured above - a Yamaha Arius YDP 142 although in a different colour.

Let me know in the comments below if you found this information useful, or if there is any other advise about pianos you wish to know.