Try Something New. Be Creative. Improvise. Keep Learning.

Today’s edition of Musician’s Motivator looks at ways we can build up our creative resiliency.

Try Something New.

Last week, I asked our goddaughter, Bree, what she wanted to do on our weekly date. She suggested a treasure hunt. Great idea, Bree! I don’t think you have to be 14 to appreciate a treasure hunt. We mid-century citizens of the world can enjoy them, too.

I did some googling and found letterboxing.org. This site lists treasure hunts by area (city, zip, neighborhood) and also by date placed. I found one in SE Portland that had been created in August, 2009.

A treasure hunt provides clues for the hunter to decode. In letterboxing, the found treasure consists of a small blank booklet, rubber stamp, and stamp pad. You bring your own personal rubber stamp to mark in the booklet and use the stamp in the found treasure stash to mark in your own log book. Since we were newbie letterboxers and didn’t have our own personal rubber stamps, we wrote messages and drew pictures in the booklet at each found treasure.

Be Creative.

At a future get-together, Bree and I will create a new treasure hunt and add it to the letterboxing website for others to enjoy finding.

Improvise.

My students have been learning how to improvise, as in creating music on the spot! This is in preparation for the Spring recital, Sonata Improv. Each musician will prepare a solo, a fully-notated piece of music; and add an improvised section to the piece.

Improvisation is such a daring act. And yet, not so scary when approached gently. We’ve been working on exercises to get the improv muscle strengthened. Each week, I’m pleasantly surprised at the new musical creations that come out of their instruments. Rather, the music that *they* create!

Keep Learning.

Last Saturday, I enjoyed a performance by Belle Voci, a 24-voice women’s vocal ensemble. They sang a great variety of styles and languages. In addition to English, they sang in Latin, French, a West African tongue, German, Spanish, Italian, and Estonian.

It was the Estonian piece that has stayed with me. Since hearing it, I have undergone a journey of learning about Estonian music. Lauliku Lapsopõli is an Estonian folk song arranged by Veljo Tormis for female voices.

A solo voice begins the piece, singing the haunting melody in a clear, high voice. Soon she is joined by more and more voices layering tight, high harmonies above her. The sounds are exquisite, evoking images of high mountain snow and ice for me.

However, the lyric speaks of summer and birds and ducks, and how the singer learned so many songs.

“When I was very little, al’leaa,
I grew so prettily, al’leaa,
I was but one night old, al’leaa,
just two days old,
mother took my cradle to the meadow,
put my crid on the heath,
put a duck to rock the cradle,
the bird of summer to push me.
The duck had many words,
the bird of summer had lots of songs,
the duck sang many songs to me there,
the bird of summer, it spoke to me a lot.
That is where this child learned the songs,
this crazy one [got to] know the words,
all of them I placed on paper,
all of them I hewed into a book.
That is why I have so many words,

that is why I have lots of tunes.“

Ongoing Process

When I was at the library on Sunday, I checked out a CD of orchestral music just because it had the word Estonia on the jacket. It is the music of Norwegian composer, Edvard Grieg, performed by the Estonia National Symphony Orchestra, conducted by Paavo Järvi. Trying something new.

How are you flexing your creative muscle? By trying something new? By continuing to learn? By improvising? All of these? Oh, that’s great to hear!

Thanks for reading! The next edition of Musician’s Motivator will be out on Wednesday, March 24, 2010.

If you liked this, you may also want to read:

• How To Develop A Curious Practice
• The Amateur of Music and Beginner’s Mind
• Head And Heart Of Music

Bookmark:

Jacks Be Nimble, Jacks Be Quick!

A musical game of jacks enhances learning through play.

Have you ever played jacks? It’s that game of agility and speed played with a small rubber ball and a set of 10 six-pointed jacks.

The rules are simple enough, but the achievement of “threes-ies” can take many hours. Scatter the jacks on a flat, hard surface. Toss the ball into the air, pick up one jack and catch the ball after only one bounce. A game of Ones-ies is completed by picking up all 10 jacks, one at a time in the process described above.

Twos-ies, as you might guess, is played by tossing the ball into the air, picking up two jacks and catching the ball after only one bounce. Continue tossing the ball and picking up two more jacks until all are picked up.

Oh, and use the same hand to toss the ball, pick up the jacks, and catch the ball.

Using Multiple Senses

I was mulling over how we musicians use our senses – in particular, sight, sound, and touch – in learning and playing music. When a student is struggling with reading music and recognizing notes, I instruct them to do a multi-sensory exercise that goes like this:

• Look at and point at each individual note.
• Say aloud the name of the note as you point to it.
• Notate the music on a separate piece of staff paper, and say the name of each note as you notate it.
• Finger the note on your instrument while saying aloud the note name and looking at the note in the music.
• Play each note while looking at it on the staff and say the note name in your head.
• Sing each note while pointing to it or fingering it.
•    

This method of learning is very effective. Students often see results right away as their confidence in note-naming and note-reproduction increases. Because they are using multiple senses in the exercise, the learning attaches in a number of places in the brain. Recalling the material later is quicker and easier.

Sing, Say, Play

Suppose that each learning variation above might be a different jack from the game of jacks. Saying the name of the note as you point to it could be your Ones-ies. Threes-ies might be something like saying the name of the note as you point to it and then singing the pitch. I’ve prepared some suggested guidelines, and created some audio files and written music for you to use to get going. Read through my suggestions below, download the files, and play some Musical Jacks!

Gather your gaming materials

1. Download and print the music (PDF) for your particular instrument.    
   • Musical Jacks Treble Clef C Instruments
   • Musical Jacks Bb Instruments
   • Musical Jacks Eb Instruments
   • Musical Jacks F Instruments
   • Musical Jacks G Instruments
   • Musical Jacks Bass Clef C Instruments
2. Download the audio file (MP3). The files are provided in both bass and treble range. Choose whichever range is more comfortable for your voice. I also created slow and medium tempo files; 60 BPM and 100 BPM.        
   • Treble 60 BPM (7.7 MB)
   • Bass 60 BPM (7.7 MB)
   • Treble 100 BPM (4.6 MB)
   • Bass 100 BPM (4.6 MB)

Ones-ies, Twos-ies, Threes-ies…

I came up with eight different ‘jacks to pick up.’

1. Sing La: sing the pitch sounded on a syllable of “la” or “ma.”   
2. Speak: speak the pitch name.   
3. Point: point to the note on the music.       
4. Sing Pitch: sing the note name on pitch, i.e. “cee-sharp.”   
5. Notate Treble: on a treble clef staff, draw an empty oval (whole note) on the appropriate space or line.           
6. Notate Bass: on a bass clef staff, draw an empty oval (whole note) on the appropriate space or line.          
7. Finger: position your fingers as you would to play the pitch on your instrument. Pianists should touch the appropriate key with alternating left and right index finger. String players should position left hand on the fingerboard and right hand or bow on appropriate string.        
8. Play: play the tone on your instrument. Pianists, play the indicated key with all five digits of alternating left and right hands, in rapid succession.

Suggested Game Play

Set the printed music on the stand, sit with your instrument on your lap or otherwise handy, and have your MP3 player within easy reach to start and stop the audio file.

Decide which ‘jack’ or how many ‘jacks’ you want to do for each pitch and start the audio file. I just played a few rounds of the game and completed fours-ies comfortably. My fours-ies were Sing La, Point, Speak, and Sing Pitch Name.

It will quickly become obvious to you once you start playing that not all jacks are created equal. For example, you can Point and Speak simultaneously and then Sing La and Finger simultaneously. But you wouldn’t necessarily be able to Notate and Play at the same time.

I can see the strategists among you are already planning how to do all eight jacks in 4 seconds. Go for it! And let the rest of us know about your Musical Jacks successes.

Comment now

Which jacks are easiest to do? Which are the most fun? How many jacks did you complete in one round? What other variations of the game have you come up with? I invite you to share your stories with me and the readers of Musician’s Motivator. Make a comment on my blog or drop me an email: meg@meggrace.com.

Thanks for reading! The next edition of Musician’s Motivator will be out on Wednesday, March 10, 2010.

If you liked this, you may also want to read:

• Brain Benefits from Noteworthy Music Practice
• Dive Into The Unknown
• 4 Ways To Get More Fun Out Of Practice

Bookmark:

Look to your past and find your musical genealogy

Knowing and understanding our past helps us in the present. Making sense of moments in world history, we learn from humanity’s past mistakes and strive to do better or, just differently, in the future. We can also learn from the successes and continue that which was beneficial.

Genealogy, the study of family history, is a more personal way to understand the past and thereby know ourselves more completely. This knowledge of the past helps us be more fully present in our daily lives.

Visiting in the parlor room

I enjoy a phone visit with my parents each week. We live 3,000 miles apart and the phone line has become our parlor room. Our weekly calls enable us to maintain a rich, loving relationship. Our conversations often lead to stories of the past, whether it is a story about mom’s grandmother or dad’s great uncle or some other ancestor.

Singing and playing musical instruments was quite common among my forebears. One hundred years ago, music was an integral part of family life. Children sang in educational and sacred settings, and took piano lessons. Adults played in community orchestras and bands or sang in casual groups. I suspect when you ask your parents and extended family about their musical experiences, you will hear some great stories. Today, I learned a little more about my musical genealogy.

On my mother’s side…

My great grandmother had five children and encouraged, well, made them each take up an instrument. That’s them in the photo above. The eldest, my grandfather, played violin and sang soprano in a boys choir. The youngest, my great uncle Hans, played the saxophone. Great uncle Tony played the trombone.

My grandfather then passed that love of music on to my mother and all her siblings. Uncles Bob, Fred, and Allen all sang in community variety shows and in college glee clubs. As a matter of fact, it was in college glee club where my uncle Allen became friends with a young tenor named Jim.

Allen and Jim became friends and went out on double dates together. On one of those double dates, Allen invited his sister, Loretta, to be Jim’s date. Loretta and Jim hit it off pretty well; well enough to continue dating and eventually marry.

And that’s how my parents met; brought together through music. Not only do I have many ancestors with musical backgrounds, you might say music gave me life! If not for glee club, … well, I don’t want to think about it.

And on my father’s side…

There is a fair amount of music experience on my dad’s side too. Not only did Dad sing tenor in glee club, he also played violin as a boy. His aunt Alice was a music teacher and a Catholic nun. When Sister Rose Madeline visited my family, she would pass out sheet music to us kids and conduct us in song. Since my sister, Mary Beth, and I both played instruments and had some musical experience, Sister Rose expected us to be able to sight-read the harmony part. But we couldn’t. At least not yet.

Let’s Have A Singalong!

Family gatherings of all the grandparents, aunts, uncles and cousins always had some singing. After a meal, song lyrics were handed out, sometimes some sheet music too, and we’d sing. As Mary Beth and I got older, we accompanied the singers on flute and saxophone.

Mission Possible

Alright, readers, your assignment, should you choose to accept it, is to explore your musical genealogy. Ask your parents, grandparents, cousins – any living relatives:

1. What musical experiences did you have growing up?   
2. Which instrument (or voice) did you play?
3. Tell me a story about music when you were in grade school.
4. What’s your most intense musical memory from your twenties?
5. What is your favorite song or piece of music?
6. What song did you dance to at your wedding?

For my parents, it was Wonderful One by Paul Whiteman. At their 50th anniversary party, Mary Beth and I performed a vocal and sax arrangement of this song for them.

Comment now

What’s your musical genealogy? I invite you to share your stories with me and the readers of Musician’s Motivator. Make a comment on my blog or drop me an email: meg@meggrace.com.

Thanks for reading! The next edition of Musician’s Motivator will be out on Wednesday, February 24, 2010.

If you liked this, you may also want to read:

• The Amateur Of Music And Beginner’s Mind
• Blueprint to Brilliance
• Who, Me? Creative?

Bookmark:

The idea of improvisation scares the beejeezus out of many musicians, especially those who learned to play their instrument side by side with learning how to read music. Knowing how to read music is a valuable skill. But when you stop and think about how you learned to speak your native language, you will realize that you learned to read well after you learned to speak the language.

This philosophy of learning is appropriate to learning the language of music as well. Today’s edition of Musician’s Motivator addresses how you can develop your musical speaking skills. For today, you can give your music reading skills a rest!

Benefits of Improvisation

It’s not just for jazz musicians. Bringing improvisation into your regular practice will enhance your ability to listen. And not just to music. I have found that as a result of practicing improvisation, I bring another level of awareness to conversations I have with people.

Regular musical improvisation naturally increases your attention in musical settings as well; whether you are in a musical group as one of the players or in the audience listening. In symphonic band rehearsals, I hear more of the other instruments playing. I have been pleasantly surprised by the sound of the tuba and bass clarinet playing softly in unison while I was counting measures to my next entrance; or noticing the oboe trilling above a clarinet choir. As an audience member, listening to the recent Washington Wind Symphony performance of Bach’s Toccata and Fugue in D Minor was a treat, enriched by my own regular improvisation practice.

But Wait, There’s More!

Another benefit to regular improvisation is enhanced creativity. You will find that a little bit of creativity, no matter how small, begets more creativity. It’s like smiling at strangers on your morning walk. They usually smile back!

After establishing a regular improv practice, you may find yourself drawing more, re-arranging items on your dresser aesthetically, wearing more colorful clothing, climbing a tree, writing a short story for your children, or planning the planting of your front garden area. All this as a result of improvisation!

A habit of improvisation practice also leads to composing and arranging music. After all, improvising is just that – composing music. It just needs to be written down.

How To Practice Improvisation

Here are two exercises that anyone can do to develop the improvisation muscle. They are from my forthcoming book, Truly FUNdamentals – The Most FUN Musical Warmups Ever!

1. Take Three
2. On The Air!

Take Three

Choose any three tones that you can play on your instrument. Play those tones using any rhythm and note values. Play only those three pitches. You may include the upper and lower octaves of those three tones. Remember to use rests in your rhythms! Long note values, short note values, various articulations – all are welcome. Give yourself plenty of time to explore these three notes.

On The Air!

Turn on your radio and play along. Many radio stations specialize in one genre of recorded music. You can chose from jazz, pop, oldies, classical, folk, rock, opera, and many others. I recommend that you start with a style of music you like and with which you are familiar.

1. Pick your channel.
2. Raise the volume sufficiently so you can hear the radio music over your own instrument.
3. Listen!
4. Match the predominant tones first. This will help you establish the key center.
5. Play the melody (if it’s a song you know) or play a blending melodic line.

If radio is too old-school for you, try these online music resources: Pandora, and Musicovery.

Speak Up

Share your improv fun on my blog or drop me an email: meg@meggrace.com.

If you liked this, you may also want to read: Fueling Up At The Inspiration Station. A few months back I wrote about this exercise designed to get you playing and making music on a regular basis. Fifteen minutes of blowing into your horn, an experiment to make practice happen.

• Other recommended articles: Who, Me? Creative?
• Is There Music in The City Skyline?
• Drawing Down The Music

Bookmark:

What if each pixel in an image corresponded to a specific pitch? What if the brightness level of a pixel determined the length of the note? What if the RGB value of each pixel created three-part harmony?

Seeing Music In Color

Music has many mathematical elements contained therein. The idea to apply pitch to pixels is the concept behind the free software, RGB Music Lab, by Kenji Kojima.

I downloaded RGB Music Lab to try my hand at composing with a picture. During my travels in Turkey last April, one of my traveling companions took this photo of me. Hmmm… I wonder what music I look like, er uh…can I see how I sound?

In this image, I am boating on the Bosphorus Strait, the waterway separating Europe and Asia.

Pixelated Composing

To get started composing, open RGB Music Lab and drag an image onto the right panel, on top of the Mona Lisa image. The program reads the pixels row by row, from the top left to the bottom right pixel, and generates your music.

The settings can be fine-tuned on many levels. For my first piece, I kept most of the default settings and only changed instruments to 3 saxes (Sopr, Alto, Tenor) and increased tempo to 160 BPM. The result is a one minute and 24 second piece. It’s very twitchy, not at all what I imagined this image would sound like! Listen, if you are into twitchy music.

Reduce The Input

I wondered if I took just a snippet of the image; in this case the part of my face centered on my eyes; how would the song change? It turns out, I can’t just change one thing! In addition to changing the image, I adjusted the tempo, the intervals, the tonality, and the instrumentation. Now, this is getting interesting! The result is a 16-second piece, Eyes!

Now to really speed it up! Ooh, I like this two seconds of music.

A Monochromatic Soundscape

In much the same way that a composer works on her project by tweaking and massaging a beginning musical idea or phrase, I continued modifying the image source. After all, it’s the pixels and their RGB values that are providing the foundation for the sound of these compositions.

When listening to Eyes!, I found the last few rows of pixels were more interesting to me than the rest of the music. These rows were very monochromatic in their palette. For that reason, I cut a piece of the monochromatic water from the image and brought that into RGB Music Lab.

This time, I set the instrumentation to voices by choosing #54 Ooh Choir. There are 142 different instruments with everything from clarinet and trumpet and tuba to Rain and Gunshot and Dog. There are nine different types of drum kits, and about that many types of guitars, pianos, and basses.

I also changed the tonality to F harmonic minor. You can choose from major and minor scales, pentatonics, blues, and Gypsy scales. Or you can create your own scale! For a free program, Kenji Kojima has included many features.

In-Depth Free Program

You can have some serious fun exploring all the different settings. I wanted to continue playing with this application and enjoy the sound combinations produced. But if I did that, this edition of Musician’s Motivator wouldn’t get written!

Here is the final (for now) version of Bosphorus Strait by RBG Music and Meg Grace. Enjoy!

If you choose to download this program and compose with your own images, I’d enjoy hearing the music you create. Please send me a link to your composition or send the file itself. Also, let me know whether I can share it with my readers or keep it to myself.

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