Start with the Voices

“Tell your truth, find your voice, sing your song.”  Unknown

From the beginning of our life to the end of our life we express ourselves with our voices. At the beginning we experiment with our voices until it becomes speech and we communicate verbally, as well as with our body, from the beginning also. Crying babies get attention. They get fed or changed or held. In music, naturally, we also begin with our voices. This is an easy lesson that most get very quickly. They use these voice all of the time. Basically, we are just teaching them the labels of the different voices; making them aware of them. Here are some practice games that I use to help the students be aware of the labels for the different voices.

The five voices that I teach are whispering, talking, singing, calling and inner. The last is quite important for music in several ways. Music uses the inner voice to count rhythms as we sing or play. It uses the inner voice to stay in tune and sing or play with good sound. Music uses it to count times when we are silent while others play or sing. There are more reasons to use our inner voice to make music than we have time to explain. So, it’s important for children to recognize this voice from the beginning.  All of the other voices are part of our everyday life and you can invent games or use everyday activities to point out these voices. Below are some suggestions for games and opportunities to briefly reinforce the label for these voices.

I Love You Game.- Hug your child and whisper “I love you”, then tell them to whisper “I love you.”. Do this with your child for talking, and singing, also. Then tell them that you are going to say “I love you” in your head, but be silent on the outside, using your inner voice, and that they should say it inside their own head while you are hugging. Call it the “I love you” hug. Afterwards, ask them if they said “I love you” in their head while you hugged. If they tell you they did, smile and congratulate them for using their inner voice.  (If they don’t get this right away just keep practicing it.)

Calling voice is best used outside. It is sometimes called their Outside voice because of this. I usually teach this in the classroom by having them call good morning (or afternoon) to the teacher. But you can use this label on the playground or in a park by telling them to call to you if they need your attention. It is also a good time to reinforce the difference between calling and talking, by having them call to you when they are farther away from you and talk when they are close to you. After being at the park (or anywhere, really), on the way home in the car, you can talk to them about the different voices they used that day; whispering to their friend, calling to you from the playground, talking to you as they paused for a snack break, singing with a song on the way to the park, the inner voice “I love you.” hug they gave you before they ran off with their friends.

The volume and the quality these voices have are the very beginnings of dynamics (how loud a song is performed) in music. In our Amarant Music series all of this is taught and reinforced with a weekly video and four days of games and songs to teach all that I have described here. Please visit our website and learn about the exciting things we have to offer for homeschoolers or anybody wanting a comprehensive education in music.

 

5 Great Reasons to Learn Music – Part 4: Social

99.2% of parents find when their child becomes involved in a music program, the parent/child relationship improves. They also find behavior, communicative and social skills become more positive.

(Source: Board of Studies, New South Wales Australia, 2004)

Music Enhances Linguistic Skills. Music — specifically song — is one of the best training grounds for babies learning to recognize the tones that add up to spoken language.

(Source Sandra Trehubn, University of Toronto, 1997)

When I recruited for band, back in the day, one of the first things that I used to talk to potential band students about was family. Specifically, the band family they would have when they joined band. Students were often apprehensive at the least, maybe even very nervous about going into middle school. They wondered if they would make friends. They wondered if they would fit in. I would always assure them that being in band meant you had an automatic place to fit in. And, lo and behold, band did just that. We always called our band a family, all working for the same goals and striving together to be the best we could be. Making music together, whether in a middle school band, singing in a choir or playing together in a garage band is very social. It transforms people who barely know each other into people who are working together and, often, playing together.

Unlike in the article I wrote about the culture of music where I talked about relating music to the cultures people already belonged to, the tribes of music that gave people of the same culture a way to relate to one another, being social with music brings people of different cultures together. A woman from Romania can sing in the same church choir as a woman from Mexico and suddenly they are of the same family of musicians. They belong with on another in a group that is working for the same goals. In Amarant music we are using music from all over the world. All children, of all cultures will be singing the same songs, from Japan, Korea, New Zealand (Maori), Australia, France, Germany, America and Latin America, to name a few.   We will come together by singing and playing with music from many places but as one people. It becomes our music family.  When we learn these songs together, we have a common social arena. We fit in. We have a family. We belong. Imagine being part of that family, of growing up learning music with all of the others that are learning the same thing, having a common language with them (music), having the same experiences they had, having the same fun. Just learning music makes you part of that group of people. You can then be able to communicate in the same language they do-music! The social part of learning music is often the one that keeps people for life. I have played in many a community band with people well into their 80’s. We played music together, we socialized with each other, we had fun.

 

Amarant Music is interested in teaching the language of music to children so they can become part of that family of people. People who can not only listen and sing with their favorite song on the radio, but who can use their language of music to socialize in many different ways. If you, too, are interested in this, visit our kickstarter page to support this opportunity for our children to be part of this musical family.

 

 

Solfeggio – Should We Teach this to Young Children?

Solfeggio is the do-re-mi of music. You remember the song Do-Re-Mi from the movie Sound of Music? That song is a great example of the use of solfeggio. (If you haven’t heard it, by all means, find it and listen to it. It is so fun.) Maria, from the movie, teaches the children she is in charge of how to sing using do-re-mi. Solfeggio can be very complicated, there is a movable and fixed solfeggio that can get really complicate, but for our purposes we are going to start simple. So, the answer to the question in the title, is – of course.  If we start young it gives us the ability to get complicated later.

  1. Higher and Lower. Solfeggio is just the singing version of intervals (please see my  blogs Teaching Intervals – Part 1 and 2). Do to Do is an octave and Do to So is a 5th. We start teaching solfeggio the same way we start teaching intervals, with higher and lower.  In solfeggio we start with simple songs that are written with just Mi and So. They are very simple and we start by singing them together, getting them into our ears. Get out your xylophone and play the fifth note. It is a So. Then play the Mi, which is the 3rd note from the bottom. Play with these notes letting your child build a song with them. When they have played a bit with just these two notes, start by asking them to play the note that is higher (So/5th), then the lower one (mi/3rd). Make a game of it. When your child can play this game and get them right most of the time, switch. You play the note and sing So and let them show you with their body if it is higher or lower. Then do the same with Mi. Again, make it a game and have fun with it.
  2. Sing and improvise songs with So and Mi. Now we can really have fun with these two notes. Play and sing a 4 note combination of Mi and So and have them repeat it after you, then trade places. Let them sing and play combinations of 4 notes and you repeat after them. Make sure to praise their little songs. Tell them that they are writing their own songs. Go on to let them put together four of the four note groups and sing and play their songs to them with Mi and So and maybe even make up some words to go them. Have fun playing and singing these small songs with your child. Bond with them.

 

Amarant Education has these and other steps built in to our videos. We even start to teach Kodaly hand signs with the Mi and So, we add La and we teach the notes on the staff for all intervals.  If you would like our music education system for 40% off our opening price please see our Kickstarter.

 

 

5 Great Reasons to Learn Music – Part 3: Personal Satisfaction

“70% of those who were involved in music say that it was at least somewhat influential in contributing to their current level of personal fulfillment.”
Harris Interactive Inc.  (2008).  MENC Executive Omnibus Results Summary

That’s not very surprising, is it? Who doesn’t like music? Whether it is on a passive level where we just listen to music selections with a broader more informed understanding, or where we keep participating in musical activities throughout our life, people find that having learned music is integral to their personal satisfaction. From this we can conclude, personal satisfaction with having learned to be literate in music is an important reason to learn music.

I have played in many community orchestras and bands as well as paid positions in different musical venues. In most of these gigs I knew people in their 70’s and 80’s who played very well.  They had been playing all of their lives in some form or another and made a living doing other things. When I lived in Los Alamos, NM,  I played in a community band that was peopled by more scientists that worked at the national labs than any other players. These very busy people took great pleasure and much of their spare time to practice and play in that band. This tradition goes back all the way to  Oppenheimer and his group of scientists. Oppenheimer played in a string quintet with others that worked with him.  It would be safe for me to say that it was a great contributor to their personal satisfaction with their lives. It was socially and personally fun. For them, it was a life long pursuit.

Loving music is a great reason to learn it. We all love music, and if I have my way everyone will be able to learn to be literate in music. Music is everywhere and yet so many don’t know about what they are hearing.  They know if they like it or not. They feel a connection to the type of music that moves them, as well as the tribe of people who also love that type of music. It gives us connections to a group and a sense of belonging to that group. Imagine if your child could learn to be literate in music by the 5th grade. The connections with others could be two-fold. They would be able to talk with their tribe of music lovers with more knowledge and deeper understanding. Their personal satisfaction would multiply from having learned to be literate in music.

Learning to read and be literate in music affords us a wonderful opportunity to express our creativity.  Everyone likes to be creative. That is why hobby stores are so prevalent in our world.  Being creative with music is already a very popular pastime. People show their creativity by singing and playing in community groups. They go online and remix music that they love. There are so many song writers both online and off. They spend lots of money and time expressing their creativity through music. Again, imagine the creativity these people could express having been given a chance to be literate in music. Some would go pro, others would work at other things but use their knowledge of music to have greater personal satisfaction in their lives by being able to express their creativity through music.

One of the best, most far-reaching reasons to learn music is to increase our personal satisfaction with our lives. Isn’t what it’s all about? Giving ourselves and our children a better life.

One of the reasons we created the Amarant Music system is that we believe this premium music system will increase the personal satisfaction and educational opportunities for all children.  We want all children to be literate in music and have the benefits that accompany this literacy. If you agree, please visit our Kickstarter page and help us to get this to children around the world.

 

 

 

 

 

 

Teaching Intervals: The Why and the How – Part 2

In the last post the children learned to recognize notes that were the same and different and higher and lower. Now it is important to learn the musical terms for higher and lower; to label them.

  1. Label unison and octave. Once your child is reliably showing they understand same and different and higher and lower it is time to label the intervals they have been learning. Go back to playing notes that are the same and different and letting your child dance to the appropriate tones. This time instead of saying same or different for the two notes say both same and unison, and different and octave. So, if you play the octave, say that they are different and then say they are an octave.  Now when your child dances low and high have them say octave. Do the same with unison. If you play two notes that are the same (high or low) have them dance to the appropriate notes and say unison. You should be interchangeably using unison for same and octave for different until your child has learned these intervals.
  2. Higher and lower using the fifth. Fifths are just five notes in a scale (c-g) so if you don’t have the notes written on your baby xylophone, the two notes would be, counting from the longest one up, 5 notes up or a G.  Follow the same higher/lower and same/different sequences that you did with the unison and octave intervals. This time only use the fifth and unison as you do the dancing. Also, change from the stretched out dance of the octave, to having the hands out in front of them.  This gives a middle feel and helps to associate with the middle sound of the G. For the lower sound, they are still crouched down low and for the upper sound in these exercises they are dancing with their hands out in front of them.
  3. Label fifth and unison. Just follow the same directions as you did for labeling the octave and unison.
  4. Compare fifths and octaves. Once the fifth and unison and octave and unison have been mastered, it is time to be able to hear these intervals when they are played together.  Now that your child has labeled unison, fifths and octave, play them in their interval forms to practice same and different. For instance play two unison tones then an octave. Are these the same or different? Then two unisons and a fifth. Are these the same or different? Keep going with unison and one or the other intervals for same or different. (two sets of unison, two sets of fifths, two sets of octaves, unison and fifth or unison and octave). When you see that they are mastering this concept add the last comparison, fifth and octave (1 and 5, and  1 and 8). Mix all of these together until they can hear all of the intervals as well as label them unison, fifth or octave. These are complex concepts that take some time to work up. Please, be patient and always make it a fun game. Think of other ways they can show you with their bodies which interval is being played. As always, bond with your child and have fun.

 

Amarant Education is a music learning system that helps your child learn in the most organic way possible. Our curriculum is built with the idea of fun and unconscious learning in mind. We explore a topic, label a topic and practice a topic, before moving on to the next topic, so there is much fun and play in what we do. Our videos are interactive and our mini exercises are either singing songs or playing games or both.  These are not baby sitting videos as they require an adult to help the child learn.  We encourage the bonding time you have with your child (plus you will be able to learn music literacy also.) If you like this post, please go to our Kickstarter page to see a more in-depth explanation of our unique music teaching system. Who knows, you might want to donate to get 40% off our consumer product as well as some fun prizes.

 

 

4 Steps to Introduce Tempo to Your Child

Like dynamics, tempo is also very easy. The tempo of a song is just how fast a song is played and is very intuitive for your child because they already have a good idea of the concepts of fast and slow. It is easy to introduce and label tempos in music for your child because of this understanding.

  1. Make it personal to your child. We used our voices to introduce dynamics to our child. This is very similar because we are going to use the child’s body to introduce and reinforce the ideas of tempo to them. Talk about running (fast), walking (medium), tip toeing (slowly) and galloping or skipping.  Do these with your child. Ask them which is faster? Which is slower? Let them feel the tempos at which all of theses things happen.  Take it farther by giving tempos to the life around you. The man and woman taking a slow leisurely walk in the park; the man jogging in the park; the little girl skipping along the path.  How are these tempos different? Which are faster and slower? Do the same with vehicles; airplanes, trucks and cars, bicycles and tricycles. What are their tempos? You can probably think of many more ways to study the tempos of the life around you.
  2. Play and sing songs of different tempos. Gradually start talking about the songs you sing and listen to, referring back to your talks of tempo in life. Do you think this is a fast or slow song? (start with these two and get into the subtleties of medium and fast or slow later)  Does this song feel like it is skipping? (some songs, like Skip to my Lou and This is the Way We Wash Our Clothes, have a triple or skipping feel to them. Faster triple feel has a galloping feel to it.) Listen to the music around you and see how it feels faster and slower.
  3. Move and sing to songs of different tempos. It is the natural next step to start moving with the songs. Skip along with Skip to My Lou, or A Tisket, A Tasket. Gallop with the theme from the Lone Ranger. Jog with the theme from Spongebob Squarepants. Rock a pretend baby slowly with Rock A Bye Baby. Of course you can think of many more movements to pair with your own songs.
  4. Relate tempos with musical terms. There are so many terms in music to be extremely precise in what a composer wants to express when he writes music. I teach lento, andante, allegro, and vivace at the beginning because they are common terms and they fit with the speeds we have been practicing; lento (slow), andante (literally walking in Italian), allegro (fast), and vivace (very fast). Gradually and interchangeably use these terms when practicing with or talking about the music you love. After a while they will be using the terms to describe the music they hear also.Give your child that head start in the world of music literacy.

 

If you would like to have a system that teaches 4-7 year olds this and much, much more visit our Kick Starter page and you can get a years worth of level 1 lessons for your child for 40% off our after production price. It is the only time you can get our product for this price so hurry and catch it while our kick starter project is active.