Surely, music is of diverse styles, yet I would like remind students to come back to basics, and build up .
A solo opportunity is rare for the talents, but a supporting role is in need everywhere . So once you learn to perform as a quality supporting role, you sure can find your place.
Do not feel shame to come back to the basics. For honestly speaking. when I graduated from conservatory, I was questioned on my basic ability to count beats, and when I was in my postgraduate, I was questioned about meaning of basic meters.
Be hold in mind, what we believed as perfection, may just due to our ignorance. A constant study brings constant challenges , for some , of more ego , always means challenge of self esteem, even without a word of insult. Remember all the champions are technically sound.
As I said, music has its rules, upon which the music would come out very naturally as the prerequisite of a champion soloist. Awareness on the basic structure is of prime importance . A structure is generally parallel and vertical to form a basic 3D dimension. just like the structure of architecture is pillars and beam, in music , it's bar and pitch.
You can then group musical elements into these two classes. For example, a drum is usually rhythmic, but not melodic. A second melodic line is not rhythmic. Understanding of structure, helps song writers to handle their texture, and may further bring more creative ideas.
I'm happy though people may need reminder from time to time for the basics, everyone that paid $5 has been willing to learn. There are also people that has not paid, but eager to learn, and those took my money to show their eagerness to learn. In fact, nothing is hidden for anyone's take. But the cheaper my service sells, the least they really interest in learning.
I'm happy last time when I point out the basic accuracy in the beats, some can find a way to assist their study, such as metron or tuner, and I find them using also the electronic piano's rhythmic facility as metron. Let me remind you again, in current stage you do need such facility for accuracy.
Rhythmic assistance is factually so common for pop singers. Factually, for decades, there's an unchangeable fashion and fever of 2/2 meter. What's lost in the education and habit of fashion, however, is difference between upbeat and downbeat. So I say it's 2/2, of downbeats all the time, or reverse upbeats and downbeats has been a second very fashionable pattern , when the downbeat always comes at the second beat of the bar. With such outstandingly flexible rhythmic pattern, one will never break balance, like always walking on two legs. So 2/2 has become most popular unfading fashion .
I can hardly calculate how many pop tunes are based just on these two patterns, however, a change is regularily in need for freshness. When existence of heavily formulated lines become limitation of creativity, how can you build the curves in architecture? In the other hand, if you can do this well , how can you say a drunkard art is not great music? But that doesn't mean I have said drunkard is art, and basic discipline is surely needed .
actually I secretly said, if we place downbeat in the second , or third beat of 3/4 meter,+ extra maybe, if may gradually creat a drunkard music,
which is the favourite of Jonah. You know he had that kind of loony tune already
For the instance of a supporting role in a band, one is always to play their seperate part, simple notes , but sometimes bars after bars without downbeat but upbeat, or upbeat in every beat. For a more elaborative arrangement, surely it's a performance ability that a supporting role needs to be developed. And that based upon their basic capability to count the downbeat in their heart accurately. And as they are in supporting role, they will have no extra assistance, for example a conductor is not used in a pop band, when people are led by soloist. Learn to follow the lead is such an important thing.
If you are using electronic piano as a tuner to assist your pitch exercise, use harmony is a very common way to practice.
A skilled supporting role learns how to provide perfect harmony, which is vertical (up-down), or blend, to maximize the result. Surely they need to learn when to project and when to submerge. The same pitch in chords of different nature is of different colour. Such subtle difference in basic chords like major and minor chords, without changing the top pitch, to provide abundant colours is of great value of study.
Choice of timber, both instrumental and vocal is of great use . Using different timbers needs the consideration of proportion of each part of role. And such control of proportion need delicate performing skill. Experimental music often test and expand the boundary of people's understanding and concept of a timber of instrument or vocal.
Most commonly, and paralleled, the blend comes in melodic duets and in intervals . A supporting role needs to sing frequently a sub melody that attach to or below the solo, and that provides a first challenge , as a less melodic melody is always harder. But as we know, a lower line should not become a fixed old pattern. Yet , come back to basics, even to achieve this you need basic pitch.
While the more competent are open to more options to showcase their skills , for example, the changing of keys, is common in the training course of sight reading and singing. And occasionally, appearance of dissonances, and learn the difference of harmonic dissonance and dissonance out of tune.Yet the harmonic dissonances are only within technical capability of two champion singers, as they measure and adjust their proportion automatically . In the other hand, they do have the capability and pride to sing a pure solo, with more notes of also proportioned measures. Etudes are generally good exercises of measure.
So I once remind you come back to the basics now, so you can build up beyond the boundary later. And I will always come back to check your basics ? - simply pitch and bar. And decide what kind of assistance you need according to your own level.
When you see that bar and pitch, that parallel and vertical line, you then can see as a cross. This means structure. And do not forget that everyone in a supporting role is a part of music, and it's everywhere. But there's only one soloist.
For the instance of a supporting role in a band, one is always to play their seperate part, simple notes , but sometimes bars after bars without downbeat but upbeat, or upbeat in every beat. For a more elaborative arrangement, surely it's a performance ability that a supporting role needs to be developed. And that based upon their basic capability to count the downbeat in their heart accurately. And as they are in supporting role, they will have no extra assistance, for example a conductor is not used in a pop band, when people are led by soloist. Learn to follow the lead is such an important thing.
If you are using electronic piano as a tuner to assist your pitch exercise, use harmony is a very common way to practice.
A skilled supporting role learns how to provide perfect harmony, which is vertical (up-down), or blend, to maximize the result. Surely they need to learn when to project and when to submerge. The same pitch in chords of different nature is of different colour. Such subtle difference in basic chords like major and minor chords, without changing the top pitch, to provide abundant colours is of great value of study.
Choice of timber, both instrumental and vocal is of great use . Using different timbers needs the consideration of proportion of each part of role. And such control of proportion need delicate performing skill. Experimental music often test and expand the boundary of people's understanding and concept of a timber of instrument or vocal.
Most commonly, and paralleled, the blend comes in melodic duets and in intervals . A supporting role needs to sing frequently a sub melody that attach to or below the solo, and that provides a first challenge , as a less melodic melody is always harder. But as we know, a lower line should not become a fixed old pattern. Yet , come back to basics, even to achieve this you need basic pitch.
While the more competent are open to more options to showcase their skills , for example, the changing of keys, is common in the training course of sight reading and singing. And occasionally, appearance of dissonances, and learn the difference of harmonic dissonance and dissonance out of tune.Yet the harmonic dissonances are only within technical capability of two champion singers, as they measure and adjust their proportion automatically . In the other hand, they do have the capability and pride to sing a pure solo, with more notes of also proportioned measures. Etudes are generally good exercises of measure.
So I once remind you come back to the basics now, so you can build up beyond the boundary later. And I will always come back to check your basics ? - simply pitch and bar. And decide what kind of assistance you need according to your own level.
When you see that bar and pitch, that parallel and vertical line, you then can see as a cross. This means structure. And do not forget that everyone in a supporting role is a part of music, and it's everywhere. But there's only one soloist.
Is this Jonah again, as before I search for it I said," hey Jonah , I'm looking for a cross of light, can you prepare that for me?"
