Hi David! I think your article is great, and really well-written. My comment probably goes along with your point 1, but I thought I would share it anyway. I taught high school music for the first time last year near Sacramento. There was no music theory class, so I established a music theory club. It started strong but quickly dwindled and died completely by spring break. Music theory is essential no matter what aspect of music one is studying. Guitar students with no understanding of theory cannot get away from memorized licks or the all-too-familiar I-ii-V-I progression.
Inevitably they came back the next day with the same question, refined, wanting to understand all the jibberish I threw at them the day before. I gave them the very basic triads for the necessary chords in F Blues, and let them run with it.
Most students had a great time just with three notes per chord, but when I gave them the whole scale and explained how to use it in improvisation, several lightbulbs went off at once. Many students said this was their favorite week of the trimester. Simple things in the band rehearsal, like why the third in a triad needs to be carefully adjusted in order to remain in tune, took our band from a below-average performing group into a well-received intermediate band.
Learning scales and arpeggios was monotonous for most, but greatly improved finger dexterity and sight reading skills. I always loved music theory, and wish I had stubbornly completed my counterpoint class to complete my major.
But even without the degree, music theory is definitely one of the most important skills I learned as a musician. Thanks a lot, Felicia! I wonder how much aural skills you get to with your high school students in addition to the tuning issues you mentioned.
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Stay in touch! I had a high-school trombone student who studied privately with me this past year.
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After a few lessons I decided I wanted to give him a more meaningful experience. I decided that I wanted to add a music theory element to my lessons, and started writing single-sheet assignments that I would bring every week. I like to keep the parents informed about what I cover in lessons, so I was also forced to to wrestle with the challenge of explaining music theory and the values of music theory to someone who was not a musician. The big reason why I wanted my student to study music theory — and the best way I find to articulate it — is that I wanted to do my best to equip him to be a leader among his peers.
Good leadership stems from a thorough knowledge base, and the total comprehension of a subject matter. I feel that the reason all of us should study music theory is to enable us to be leaders in our field. For my high-school student, I believe that giving him the basic knowledge base to be a leader in one field is giving him the potential to be a leader in all fields, for the very reasons you listed above — to think critically, see how different things are related, etc.
A lot of students at high-school age but also at college age are incredibly self-conscious. Many young instrumentalist have never sung before, and will be fearful of singing in front of other people.
Those are good points, and I think they both fall under the umbrella of mastery. His first instruments were the clarinet and the alto saxophone. When he was eighteen years old, he changed to the tenor saxophone that would become his main instrument.
Play-along w/Harmonic Analysis
During the undergraduate studies, he played in several combos which include jazz bands, Brazilian jazz combos, big bands, as well as dancing bands. Because jazz has exerted a great influence and attraction in his musical formation, he developed during his undergraduate years a research project entitled The Harmonic Concepts of Bebop. In , he won a scholarship from the Brazilian Government to work on this project, whose purpose was to investigate how bebop harmony was developed and its influence on Brazilian music. In the beginning of , on scholarship given by the Brazilian Government, he investigated the jazz influence in the way of playing Brazilian music on the saxophone, entitled The Brazilian Saxophone Language.
He interviewed several Brazilian saxophonists who perform Brazilian music intensively.
This research will be published soon. He also taught saxophone and music appreciation at high schools and conservatories of music in South Florida. Based on polyrhythm and crossing-rhythms structures, his compositions would be the main purpose for his doctoral research at the Campinas States University, in He is active in numerous jazz combos and bands as saxophonist, composer and arranger, leading his own jazz groups: MC3, MC4 and MC5.
In the Federal Capital, begun his music studies, associating with other instrumentists and singers of his generation to develop his first works. Returning to Brazil, he became one of the most requested Brazilian instrumentist for recording works, shows and workshops, also developing performances abroad, as instrumentist and making arrangements. Access: www. Drummer, Pianist, Composer and Arranger. The self-taught musicianis famous as one of the biggest drummers of Brazil.
Plays piano and arranges since he was Lived and played in France for 12 years. Creative musician, used polyrhythmics elements to renew and adapt some of the traditional Brazilian rhythms. His importance in the Brazilian Instrumental Music of the XX and XXI centuries happens through this change inside the rhythm concept and more elaborated compositions construction with melodies and harmonies, result of his studies as a pianist.
The acquaintance with these young musicians is primordial to the experienced musician, who keeps his regular assays, producing a high quality music and a excellent receptivity. The trio also played a very successful show in the Brazilian House Museum. Rodrigo Morte. In , he earned the DownBeat magazine student music award in. Commercial Conditions. Any change and or impossibility must be informed to the Souza Lima Production Department writing to: producao souzalima.
With 30 years of tradition, a student body with eighteen hundred students every semester, and 60 qualified teachers in jazz and classical music, Souza Lima is divided in two parts the Conservatory and International College. Our facilities include 45 classrooms, 12 of them are studios for ensemble classes, Harmony, Ear Training and other Theory classes. Souza Lima has an audio and a production department as well, with 5 studios, graduating audio engineers for about 5 years already. All teachers are players performing regulary, in the Brazilian scene.
Souza Lima produced events since 1. We have master classes every month in our concert Hall, with capacity for people.
Related Jazz Theory and Practice: For Performers, Arrangers and Composers
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