Summer Fun with Music Lessons!

Summer is here! It’s the season of beach holidays, vacations, mixed-up schedules, lazy days, sunburns, and hopefully loads of fun. Oftentimes, we use summer as a time to rest and relax, which is an essential practice. However, keeping up with private lessons over the summer can make a huge difference in the musical education of your student. Below, I will outline some huge benefits of keeping a student in lessons over the summer.

Perhaps the biggest asset to keeping up with music lessons over the summer involves learning loss. When outside of a formal education setting for an extended period of time, students lose the ability to utilize the skills they’d been building up. This can result in those skills diminishing or even disappearing. When returning to lessons in the fall, skill loss can create the need to re-learn those skills. This is not, on the whole, a bad thing. Review can do wonderful things for a student! However, some students may find this process frustrating. Additionally, much of learning an instrument involves muscle memory and the building up of techniques (and calluses, for string players) that take lots of time to perfect. Taking a step away from an instrument for an entire summer means the loss of this muscle memory. If one considers instrumental practice similarly to an athletic activity, there is just as much a need for “summer conditioning” in music as there is in sports—the difference is that musical conditioning can be as easy as keeping up with a practice schedule or at least occasional lessons.

Another helpful piece that comes from taking summer lessons, especially for a student whose schedule is filled with extra-curricular activities, is getting ahead! Keeping up with summer lessons, instead of just combatting learning loss, can boost a student’s skill acquisition. Students who have a loaded schedule during the year can benefit from keeping up with some sense of balance over the summer. Time management and a sense of accomplishment during these long summer days are certainly a bonus! Plus, getting started on performance prep over the summer prepares students for less stress during the school year. The summer is also an excellent time for experimentation. If a student is considering learning a new instrument or taking up a new musical style or genre, this is a great time to try something out with that extra flexibility. Perhaps this would even be the perfect time to get a start on composing or writing new music!

To conclude, taking lessons over the summer can be a wonderful way of keeping your student engaged in music. Summer lessons can lead to:

  • Less learning loss! No more worrying about rebuilding technique or calluses once the summer ends.

  • Getting ahead for a busy school year. Start on that performance preparation early to avoid stress later!

  • Stay on track with time management and a regular sense of accomplishment.

  • Take time to experiment—try out a new instrument, a different style of music, or composition!

Thank you for taking the time to read, and I hope you have a fabulous summer! Enjoy those summer lessons!

Author: Charissa Garrigus

You Too Can Be a Video Game Composer!

Looking for new things to try out this summer? This blog will discuss some easy, free digital music composition resources to get you started!

You don’t have to be a professional audio technician to make great digital music!

A New Summer Pursuit?

As the school year begins to wrap up, many of us may be on the lookout for new and engaging resources to entertain our kiddos and/or students this summer. Let me recommend digital music composition! As a general music teacher, I have experimented with lots of different activities and lessons over the years in an attempt to teach important skills and standards while keeping students excited about music. Using digital music creation sites has been wildly successful in that area, and has allowed some students who aren’t a part of performance ensembles to shine.

There are numerous free resources that educators can use to demonstrate digital music composition for their students. I generally pair these activities with information on film scores or video game history, as it creates a touchstone for students to understand the importance of soundtracks. It can also give them a jumping-off point when making their own tracks. I try to keep assessments pretty general so that students have lots of opportunities to write what they enjoy or sounds good to them. But, I do give some parameters so as to avoid the “curse of the blank page.”

Below, I will include a list of the sites I have used along with the age ranges and technological capacity that tends to be necessary. Most of these sites are convertible between Mac or other devices, but some programs (such as Garageband) are exclusive to specific brands.

Teaching students the relevance of soundtrack music is a wonderful way to take something most kids do (watching movies, playing video games, etc.) and turn it into an educational experience. I like to encourage meeting students where they are—when we discuss the genesis of 8-bit music in 7th grade, students already understand at least some of what we discuss since they encounter these things in their daily lives. That way, when asked the age-old question “When are we going to use this in our real lives?” one can point out that they already do! Does the music in a video game make the experience more immersive? Imagine watching a favorite show or movie with no music—would Darth Vader be as scary without his theme song?

I also believe that allowing students to take the reins and be creative goes a long way in building lifelong musicians. In the music classroom or studio, we have the capacity to allow for hands-on work and individual artistry that isn’t available in many other classes. With composition, I try to provide the tools and some examples and then give students time to experiment and play around with the sounds. As previously mentioned, providing guidelines is important, but I try to keep them minimal so as to allow students the individual capability to create.

Pretty much all of the music composition resources below can be accessed with any sort of computer—no plugins or synth keyboards required!

Digital Music Resources Anyone Can Use!

I have used nearly all the following resources in my middle school general music classes. Some might be a bit tricky to use with elementary students (depending on age and capability), and most offer a free option. I’d recommend familiarizing yourself with the ins and outs of the site before assigning or using it in lessons just in case there are questions from your students. Have fun!

  • Chrome Music Lab: https://musiclab.chromeexperiments.com/Experiments This site is free and very easy to use. There are numerous “Experiments” available, and this is a fabulous site to use for scavenger hunts. The Songmaker experiment is a very simple clickable song creator that does allow for an exportable URL. However, that URL does have to be kept somewhere (I usually have students email it to themselves) or the work will disappear.

  • Beepbox: https://www.beepbox.co (or just google Beepbox) This site is a fantastic way to discuss Chiptune music. The interface is a bit more complex than Chrome Music Lab, and there are many more instrument and customization options. I’d recommend really digging into the site on your own before introducing it to students. Simply scrolling down on the landing page will also show instructions and include some links to songs that have been created. I love using this website after talking about video game music.

  • Audiotool: https://www.audiotool.com/ This site is free, but it does require a signup. I had limited success with Audiotool when using it with my middle school students as it’s not quite as user friendly as other sites. However, this is a great resource for your more advanced students, or those who are looking to get deeper into digital music creation.

  • Musescore: https://musescore.org/en This is more of an app than a webpage, but it’s a free notation and composition software. Once again, a bit more advanced—think free version of Sibelius or Finale. I’d recommend this software if you have students wanted to write music of a more classical genre. There is playback included, but the instrument quality isn’t incredible. Still, a great resource to have in a back pocket!

Try it out!

Technology is here to stay, and its integration into education and music is going to continue to increase. Might as well make the best of it and enjoy the process! There are many other options out there for digital composition: Audacity, Garageband, and Protools, to name a few. Use whatever works best for you, and have fun with it! You might just learn a thing or two yourself along the way.

 

If you are interested in any of the resources I’ve used in lessons and classes myself, feel free to contact me at my Vibe email. I’m always delighted to share. Happy composing!


-Charissa Garrigus, Instructor at Vibe Music Academy

The Importance of Performance

Musical performance can seem like an unnecessary hassle, and can generate feelings of trepidation and worry. However, they are very important to developing a musician’s abilities.

Why is it important for students to participate in performance?

Perhaps the number one argument for the inclusion of performance into any student’s musical study is that it builds confidence. Having a measurable goal for a student to work towards (i.e. “I want to perform the first movement of a Beethoven Sonata”) is essential in any form of practice. How can a student demonstrate their learning if there isn’t some sort of assessment in place? Attaining that measurable goal can help a student recognize his or her skills, in addition to providing that essential assessment factor for the instructor.

The thrill of applause is another excellent benefit students acquire when engaging in performance. Music is, at its core, an expressive art form. Performing enables students to connect with others on a completely different level. Students who perform gain essential skills that can aid them with later public speaking or presentation requirements in school and beyond.

Performance can also be fun! There is no feeling of accomplishment greater than doing something hard and being successful at it. Participating in a performance isn’t easy, that is for certain. But, knowing the difficulty and accomplishing one’s goals anyway helps solidify a sense of self worth and enduring success, musical and otherwise.

Connecting with an audience through musical performance can help students develop many important skills!

Helpful Tips for Dealing with Performance Anxiety

Performance anxiety is a common issue many musicians deal with. Some have more problems with it than others, but most performers have experience with some type of nerves before a concert. Making use of some of the following tips can help musicians prepare for and hopefully combat some of the effects of these anticipatory nerves.

  • Practice! The more you prepare for a concert or event, the easier the actual performance is likely to be and the less likely you are to make a mistake.

  • Get plenty of sleep and try to avoid too much caffeine. Jitteriness and racing thoughts are common symptoms of performance anxiety and can be increased with too much caffeine intake.

  • Breath is a wonderful medicine! Practice taking deep breaths before you begin playing. This can help lower the heart rate and slow numerous other symptoms of panic.

  • Try to focus on the positives. Performing can be fun! Making music with a group or soloist is a wonderful way to connect to others and the satisfaction you will feel at the end is worth it!

    These tips won’t always work for everyone, but it’s worth trying them out! Check out the following websites if you are interested in reading more about performance anxiety’s causes along with some strategies for conquering it.

https://www.webmd.com/anxiety-panic/guide/stage-fright-performance-anxiety

https://psychcentral.com/health/how-to-break-the-cycle-of-performance-anxiety

https://adaa.org/understanding-anxiety/social-anxiety-disorder/treatment/conquering-stage-fright

Performing can be so much fun!

No matter how you look at it, the point of musical performance is positive. It serves as a method to demonstrate and share successful skill acquisition. Concerts are excellent ways to measure goals and achievement, for both performers and their teachers. Finally, performing in musical events assists musicians in confidence building, interpersonal connections, and self expression!


-Charissa Garrigus, Instructor at Vibe Music Academy

A Brief History of the Ukulele

Many people associate the ukulele with Hawaii, and rightly so. This instrument has featured regularly in Hawaiian folk music, films about the Hawaiian Islands, and so much more. However, this instrument has a fascinatingly varied history! In fact, the name “ukulele” itself even has different translations.

Believe it or not, the ukulele itself was not invented in Hawaii. It is a direct descendent of the cavaquinho, a four-stringed guitar-like instrument popular in Portugal and and the Portuguese island of Madeira. Hawaii was a hot spot for immigration during the late 1800’s, and Portuguese immigrants sailing on the ship Ravenscrag brought this instrument with them when they arrived in Honolulu in 1879.

The story goes that when the ship’s crew member João Fernandez played his cavaquinho for the local people, they were fascinated by how quickly his fingers moved along the strings. So, they named this instrument a “ukulele,” which translates directly to “jumping flea.” When Fernandez played, his fingers jumped so rapidly along the strings they almost appeared like fleas to the lookers on!

However, there is another possible origin for the name of the instrument. This was the meaning assigned to it by the last monarch of Hawaii, Queen Lili’uokalani. She described the ukulele as “the gift that came here,” referring to the immigrant origins of the cavaquinho.

Perhaps at this point it is important to say that the cavaquinho and the ukulele are not in fact the same instrument. João Fernandez and several of his companions did settle in Honolulu as carpenters and produce these instruments for the local people. However, somewhere along the line the cavaquinho got mixed together with the rajão (another stringed Portuguese instrument) and became something else entirely. The exact date at which the ukulele became its own is unknown, but the instrument was officially presented in 1889, and was a favorite of both King David Kalākaua and the later Queen Lili’uokalani. The playing of the ukulele became a staple of royal ceremonies, and as such started to become a Hawaiian symbol. Additionally, the instrument is traditionally crafted of koa, a native wood that symbolic of nature and earth.

Queen Lili’uokalani was a huge proponent of the ukulele, decreeing it the national instrument of Hawaii. She played this instrument (among several others) and even wrote the famous song “Aloha ‘Oe” to be performed on ukulele. It is greatly due to her influence that ukulele has become such a hallmark of Hawaiian culture.

Source: Hulton Archive/Getty Images

Queen Lili’uokalani

Nowadays, the ukulele has become a staple of popular music. Many famous artists from Jason Mraz, to Twenty One Pilots, Taylor Swift, and even Panic at the Disco have featured the ukulele in their songs. This is a delightful instrument to play, very easy to learn, and extremely portable. The nylon strings and small size create a folksy sweetness when strummed—the ukulele has even become a bit of an aesthetic choice to some! Indeed, many schools have switched gears from teaching recorder to teaching ukulele as the skills can translate a bit better to casual music making.

Thus, the ukulele has travelled a long way from the shores of Portugal, to the beaches of Hawaii, and now into the vernacular of pop singers and songwriters alike. This delightfully versatile instrument promises plenty of innovation in years to come, and remains a joy to performers and listeners alike.

Image Source: Herald Scotland News

(Having A) Practice

(Having A) Practice

There are many common idioms in the English language, and I’m sure you’ll recognize this one:

“Practice makes perfect.” 

Most likely, you’ve heard it all of your life…especially if you’re a musician. What we have been taught about practice is that its sole purpose is to get as close to perfection as possible. It’s a means to an end…it’s the destination, not the journey (we did start this article with the subject of idioms, after all). 

And yet…is this a sustainable, accurate, or worthy attitude to have towards practice?

Fear and Loathing on the (Jazz) Campaign Trail

Fear and Loathing on the (Jazz) Campaign Trail

Stage fright is a real hurdle to hop, but the fear and loathing I want to talk about is that of cold-calling, talking to strangers, and asking for favors, i.e. developing a more proactive approach to networking. For the most part, we cannot sit at home, even if we’re practicing up a storm getting better and better, simply waiting for the phone to ring (for a gig or an in-person playing session). If we want to be part of a playing scene, It’s necessary to flex our social chops just like we do our musical instrument “chops.”

You Are What You Eat

You Are What You Eat

If you want to build your own shed, you’ll probably need some tools. If you don’t have any tools, or if you don’t have enough tools, you’ll need to get some new ones. In other words, you’ll need to build your toolbox. But even if you eventually have the best tools available, there’s no guarantee that that, in and of itself, will assure you finish the building project with the best shed!

The Shed and the Toolbox

The Shed and the Toolbox

If you want to build your own shed, you’ll probably need some tools. If you don’t have any tools, or if you don’t have enough tools, you’ll need to get some new ones. In other words, you’ll need to build your toolbox. But even if you eventually have the best tools available, there’s no guarantee that that, in and of itself, will assure you finish the building project with the best shed!

Philosophy of Choral Tone

Philosophy of Choral Tone

Philosophy of Choral Tone

Establishing a firm foundation of choral tone with a choir is one of the greatest challenges choral conductors face. Where do we start? What can we physically and mentally do to create good tone? How do we achieve the “appropriate tone” for each individual piece? The list goes on infinitely, yet always circles back to the actual sound or the choir’s tonal qualities.

I believe there are major pillars to creating choral tone, and the stronger a conductor is in their direction, the better the product in performance. To quote Howard Swan, “Choral tone is dictated by (a) the conductor’s knowledge of the singing voice; (b) preference for blend, rhythm, phrasing, balance, dynamics, or pronunciation; (c) interpretation and style; and (d) the conductor’s ability to communicate.”

Generally speaking, the first area criticized after hearing a choir performance is tone. Tone is an all-encompassing term that touches on nearly every vocal decision and technicality a director makes. We can build a foundation of tone with every single thing we do in rehearsal – starting with warmups. “Just like a runner training for a race, those who are not gifted with the kind of deep, rounded vocal folds that naturally produce a beautiful tone can develop them through the right kind of training.” Warmups are not only the exercises we do go get our voices moving, but they are also the building blocks to our technique of singing. If you don’t get the sounds you want out of your choir during warmups and reinforce that in the music, how can you expect them to learn, apply, and repeat? I was always taught that it is not “practice makes perfect”, but rather “perfect practice makes perfect”, and when considering tonal creation, this is no exception.

How can we successfully teach our singers, ensuring that they are capable of physically creating appropriate choral tone on their own? Confidence is key. Once the students learn this skill, they will be able to progress further in their music-making and enjoy the experience on a deeper level. Beginning with the basic understanding of sound production is a great way for conductors to approach choral tone with their singers. The director’s knowledge of vocal anatomy, phonation, placement and the singer’s formant are all extremely important in the development of healthy singing. Do you have an ideal choral sound?

In my experience as a high school choir director, and also as a professional choral singer, it is incumbent upon the director to ensure that the singers actively listen amongst their sections and across the ensemble. Our ears are equally, if not more, important than our voices when creating balance, blend and beautiful tone. The consideration of individual vocal qualities, voicing sections and reinforcing listening skills are vital to a choir’s consistency and excellence – this was extremely evident in LSU A Cappella last year.

An issue that constantly arises in the music realm is that of individual choirs having a tone they are “known for.” To me, this is not as much a compliment as a backwards insult. “As educators, we must bring to our singers all styles of music.” We cannot call ourselves great teachers, conductors and musicians if we are only capable of creating one sound. In my opinion, a great conductor can create a multitude of sounds with their choir(s) and do so authentically. We must explore various time periods, cultures, languages, styles, interpretations and sounds.

Let’s state the obvious: our society has changed immensely in the past few decades, and especially the past few years. We are now in a time where choirs are not only expected to sing with beautiful tone, but also with sounds that are stylistically appropriate and entirely inoffensive to the culture from which the piece was derived. As complicated or frightening as this may seem, these changes could also mean more diversity in programming, allowing us to be more well-rounded and experienced musicians. Navigating the complexity and nuance of challenging repertoire strengthens the need for choral directors to focus tonal execution.

My ideal choral sound is one that is culturally and historically accurate, healthily sustained and pleasant. It is so important to approach a piece of music with respect and appreciation before attempting to introduce it to a choir. The conductor’s research and knowledge are more important now than ever before.

Shannan O'Dowd Masten
MM Choral Conducting
Louisiana State University