audiot

yep, i wanted to add a few words to the last entry of this series. first of all, the doing-it-very-slowly-thing is especially for learning new things. then, it’s not only about doing it slowly but also about doing it well aware and concentrated. so to avoid any misunderstandings, i wanted to clean that up. learning something new on a drumset is a great example because with this instrument, the moves you make are huge compared to a guitar for example. big moves mean you can easily see what exactly’s going on. maybe you want to hit the hihat with your right stick and then hit the lowest floortom afterwards. that’s quite a long way for poor mr. stick. now, if you practice this at normal playing tempo, chances are, your motion is far from perfect. you mostly concentrate on getting this done in time. doing it slomo, however, gives you nice visual feedback on what it is you’re doing. you will immediately see, if the motion is unbalanced, weird, wacky, whatever. and you will be able to correct that aka replace it with a nice round beautiful motion that will not only help you staying in time, but also look a lot better to bystanders :-) – it will sound better (trust me on that), feel better and your hands, arms, shoulders, back, neck will thank you. and one more thing: you will be able to play this a lot faster once you really figured it out and got rid of all wackyness.

of course this goes for any instrument, drums just happen to show it more clearly…

a while back i linked to a site where a guy (Cliff Bolling) – who’s about to digitize all his old records  – put them up for free downloading. then, a few days later, the site was gone – i thought forever. but now i tried the link again….and it’s working! so go ahead, get yourself some of that culture… and once again: go Cliff !!!

hehehe, just did a little more ‘research’ on funny a capella vids and found this one. this time it’s real, the guy you see is really singing. the quality is not that great but who cares anyway. and again there’s a lesson, you need to watch this until the end though. if the whole thing sounds good, do the single parts really matter? first he does the bassline and it’s, well, let’s call it subperfect. then he adds the harmony and still it’s not really good, but you get an idea where it’s going. but as soon as the melody enters, it’s fine. even if the time’s off and some notes are as well, it’s still fine. so my question stands: if the finished product is good, do the single parts matter?

p.s. stuff like this is awesome vocal practice! lots and lots of notes, changing very fast. you need great precision to do that right. you get to practice bass- and harmony-lines and learn how they’re connected. and best of all: it’s a lot of fun!

with more than 3.150.000 hits there’s a good chance you’ve already seen this – but just for the heck of it…

here’s a guy that did an a capella youtubeo with John Williams‘ music – and it’s very cool! but, as you already know, this is a serious blog – no fun and games here – so i’m posting this for a good reason. the lesson to be learned here: one gets easily fooled if he doesn’t possess the force :-) actually the guy you see in the vid doesn’t sing this, you can find the a capella group responsible for that right here, it’s called Moosebutter, by the way there’s a video of those guys doing the same song live on their homepage… have fun

yeah, and i’m sticking to it. i know, i know, these times recommend speed – maybe above all. but learning doesn’t. so the next tip would be: do it sloooooooooowly!

i’d like to mention a picture i got from Vera F. Birkenbihl (yep, her again). imagine you trying to learn a task, like playing guitar for example. learning means new nerve tracts are being built in your brain. so you have a piece of music you want to learn. and now let’s take a look at your brain. there are the guys up there that build new nerve tracts and then there are the puppeteers, those who move your muscles. on the other hand you have only a limited amount of processing power (guys). what does that mean? right, the more puppeteers you need, the less guys are left to build those nerve tracts needed and vice versa. so the slower you play it, the less puppeteers you need, the more guys are available to build the new datahighways. makes sense? cool. this is of course in no way simplified or otherwise manipulated, it’s exactly what happens in your brain…

lots of people try to learn new things by doing it way too fast and repeating it over and over and over again. but this is not efficient at all. almost all the guys are busy playing the puppet (you) and that leaves almost nobody left to build the nerve tract, which is just another term for learning. learning = building new nerve tracts. maybe you know the feeling of practicing hours and hours and still don’t get the results you want. chances are, you made exactly that mistake. the next time, try doing it slooooooooowly – as slow as it gets. overdo this.

there’s one more advantage to this: if you play every single note slowly and well aware, you will play a lot more precise or cleaner, without unnecessary movements etc. and because you’re doing this while the builders are already at work, they include this too. you’re learning better technique as a bonus without any additional effort – how cool is that?

ha! to tie in with yesterday’s entry, here’s the next tip:

no.2 get the big picture.

you can’t tell which one comes first, because it depends. if there is a big picture available (like a song for instance), then you should of course concentrate on that before you break it down. in this case it’s best to provide your brain with an overview and then go from there. but there are situations when there just is no big picture (those are usually the ones where mr brain up there smoothly glides into standby-mode). scientists, for example, need to work with things and understand things without knowing what the end result will be or how it’s all connected. in a situation like that, you need to deal with what you have by using the breaking-it-down-technique, so you can then work on unveiling the big picture. this also happens with music. think drums: you can learn and practice rudiments to achieve certain skills like precision or speed and then later discover that other things, you never understood before, make use of exactly those rudiments… it’s impossible for you to get an overview of all rudiments including all possible uses for them in the first place. so you work on one at a time and then discover what you can do with them…

now, what’s the priority?

no surprise here, if it’s possible to get the big picture first, then by all means do so – it makes the following a lot easier. to give you an example: if you’re reading a book (apart from novels of course), it really helps to focus on the table of contents first. give your brain the chance to see what it will be dealing with, where the journey goes. that way, it will be prepared, open for things to come and a lot less stroppy…

never fight your own brain – it’s a fight you can’t win :-)

finally i’m back online, the provider solved the problem without (and now the funny part) even knowing what the actual problem was and (even better) how they solved it, yay. anyhoo, as long as it’s working again, i give a rat’s a$$ about how they did it…

well, i was thinking a lot about teaching and learning lately – as you can read here for instance – so i’m gonna give some learning tips that might be useful to you (at least i hope so…). please remember 1. that not everything works for everyone of course and 2. that you need to try it before you can say it does or doesn’t work. this is not about music exclusively, so check it out on other things you want to learn as well… i’m only giving one tip at a time to give you the chance of thinking about each one and checking it out. there’s plenty of ’20-tips-on-how-to-entries’ in the blogs out there but i usually feel overwhelmed with them and just read them through instead of really working with what’s said there. and by the way, this one-tip-at-a-time-strategy is the first tip i’m giving you:

no.1 – the larch :-) anyone remembering that one?

seriously, the first basic tip is – whatever it is you want to learn, break it down into very small steps and do one at a time. if it’s about a guitar solo for example, depending on how complicated it is, you could even go down to single notes. most of the time, tough, it’s most useful to have small phrases of maybe one or two measures. once you’re able to do the first piece, learn the second one and then combine them with a focus on the crossover-section. for singers it’s usually lines (not what you think!), but also words or single notes are possible. don’t panic! you will get pretty good at this quickly, so the pieces become a bit larger, which saves you time. but no matter how good you become, the breaking-it-down-technique remains.

now, why does this work? it’s quite easy, because our brain likes things it can manage. if you overload it with a whole mass of input, it loses track of it and needs time and energy to sort things out first, to find a pattern, to make sense of it. learning things that don’t make sense to us is almost impossible, we might be able to repeat it so many times that we can recite it, but we’ll forget it again soon or just won’t be able to put it to use (instead of just blindly reciting). so if we don’t understand what we’re trying to learn, it’s only wasted time and effort. but to make sense of it, it needs to be divided into small pieces of input, so our brain has the chance to figure it out. as soon as you know/understand what it’s really about, it’s just mechanics from there.

don’t confuse this with getting the big picture, which i will talk about in the next entry…

damn, this is the second day in a row. for some reason my internet connection is not working. the provider found out the problem’s on their end but that’s about it… i really hope you can read this message, because i’m writing on a tiny handheld device and post it through an email-account. no idea if this even works.

please stay tuned, i’ll be back

and thanks for reading

this is something that lots of musicians don’t think about. and if they do it, it’s often for the wrong reasons. i know a lot of musicians who teach, but most of them do it for the money and that’s just wrong. you shouldn’t become a musician to make money and you shouldn’t become a teacher for that reason either. if it’s money you seek, work as a banker (maybe now’s not the right time to start…), lawyer, doctor or whatever else. if you’re a musician because you want to make money, you’re either a moron or Paul McFriggin’Cartney. don’t get me wrong, if you happen to make money as a musician, that’s great! if you make a living by playing music – awesome!!! this is the no.1 dreamjob. period. but if you are even thinking about money during ‘work’ – you’re in trouble.

well, why teaching at all then? first of all, to spread the art – to enlighten – to help others grow. not your cup of tea? alright, the next reason is for the me-people out there: to learn something! ahuh. i’m serious, since i started teaching (back then it was for the wrong reasons, i admit) i have learned so much, it’s still hard to believe for me. when i started, i thought ‘hey y’all, i’m so good at what i’m doing that i’m gonna show you how it’s done and you’ll pay me to bathe in my wisdom.’ ugh.

the first thing i learned though, was that i was not half as good as i thought. i guess today i’m half as good as i thought back then (and that’s a lot :-) :-) :-) ). then i learned that teaching is more than just talking about how you do it – you need a plan, a concept. you need to set goals and you need a way to achieve them – and, most important, you need to have a plan b for everything. because in almost ten years of teaching, i never ever had a single student whom my concept worked on without adjustments. every student is different, especially when it comes to the voice. so by adjusting, improvising and figuring out new ways to deal with problems you’ve never encountered before, you learn. and not just as you would learn from a book or something – more like new horizons. we always get used to things, it’s our nature. but that means once we have found our way of doing something, we don’t think about it anymore – and therefore, don’t learn anything. but dealing with problems we never had ourselves forces us to think and to make up alternatives and that’s how we learn.

i would even venture to say that teaching is the next step in learning music. once you’re a decent player/singer, it becomes the next thing to do.

i should mention that not everybody makes for a good teacher, and if you simply don’t like the idea, then you probably shouldn’t teach. but there’s still two things you should do. first, learn about teaching – or better: learn about learning. learn how learning really works, that alone is worth so much… and second, create a concept on how you would teach someone. yes, even if it doesn’t come to it….

and who knows, maybe you even make some money ;-)

this is most intriguing. at the moment i’m reading a book (only available in german i’m afraid), called “Musik im Kopf”. it’s about what exactly happens in our brain when we’re hearing music…

i’m so into this book right now, that i can only give you a short did-you-know-post here. but fear not, this book makes for a lot of great new ideas, which will without doubt find their way onto this site. so here goes:

did you know that the purpose of the first movie ever was to complement audio playback? that was in october 1889 when Thomas Edison showed an experimental celluloidfilm to add to music and speech coming from his phonograph. as someone who strongly believes that movie soundtracks (the real ones, not the chartsparade-crap) are still underestimated as part of the whole artwork, this gives me a certain satisfaction, hehehe…

oh, and another interesting fact i found in the same book: one violin generates 0.001 watts, while a whole orchestra provides 27 watts. that leads to the very relevant question: how many violins to change light a lightbulb? yes, about 40.000 – but you knew that already, right?

take care…