The Art Of Music Practice
17/07/10The Art of Practicing a Musical Instrument
Through the Subway Sounds Program
The reason for this document is to offer suggestions to parents as to how best
to help their child practice and also to help them understand the Subway Sounds teaching process a little better. I must stress from the outset, this is not a definitive treatise on practicing, meaning, if you feel your child is succeeding in the music lessons on their own, then this will offer you little and I hope their success continues. For those who feel however, that their child is struggling or if you feel you need ideas as to how to help your child practice a little more, this contains practical information you can use to aid their learning.
General Rules
The most important rule in instrumental learning is one that applies to virtually all learning; Regular activity is more important than time spent. A child who practices only five minutes per night, five nights a week is going to produce quantum leaps in their understanding by comparison to a child who practices one night only for half an hour. Due to the unique nature of music learning, the combination of physical activity with understanding of notation, regularly keeping in touch with the sensation of sound making is imperative. The time lengths for practice may vary but I suggest regular work on their music practice is a universal rule regardless of instrument.
Children Who Do Not Have Access to An Instrument
The children who have no instrument upon which to practice can still do a great deal to increase their musicality. All the books whether they are for keyboard or guitar have a Compact Disk with all the songs are recorded. Parents can play the C.D. and help their children follow the music along as the song plays (Orchestra conductor use this very same process; it is called “Reading Through the Score”, it is extremely useful). Also, for those learning from the Subway Sounds Keyboard Music Book, the Part 1 section has a Rhythm line (a single line with musical notes on it, as averse to the five lines). On the C.D. each of the part one songs start with the rhythm line clapped through. The book also comes with a paper keyboard, which can help bring a little more realism to the activity.
Both keyboard and guitar books have extensive theoretical sections at the beginning. Regular review of these sections will aid the child immensely when their lesson time comes, and their understanding can be as good if not greater than that of children with instruments at home.
Keyboard Students Learning From the Subway Styles Keyboard Music Book
As the Subway Styles Keyboard Music Book was specifically designed for this process of group teaching where different levels of playing skills can be simultaneously catered for, all the information needed to help you is located somewhere in the book. Also the homework booklet is designed to work in conjunction with it.
The Homework Booklet is the record both of what was played during the lesson and what I would like the children to practice/look through between that lesson and next week. Often the Homework Booklet will be marked with something like the following,
Part 2, Page 5 First + Second Lines
This is a reference to the page number, which is located at the bottom of each page (in middle). From this you will be able to locate the respective track on the C.D. from the “Track Number” sleeve inserted in the back of the book. The “First + Second ” is referring to the lines/sections of music on that page.
The small “Keyboard Map” in the top left of virtually all pages is provided to help children locate notes that they may not be sure of. If there is no Keyboard Map on a page, then the “Grand Staff” at the beginning of the book (page iv) will help. The C.D. and the theory pages at the beginning of the book are an excellent aid for the children’s understanding as well as the small written section at the top (usually to the left) of the song.
Guitar Students
Regular practice cannot be stressed enough here. The guitar is a strange instrument in that it is quite an awkward thing to get used to, yet once you get comfortable with the odd sensation of playing, it is almost second nature. The tragedy is however, often children find that initial hurdle too great and give up almost before they getting started. As well as regular practice, I have two important suggestions to make here;
1. Keep the guitar in tune.
2. Maintain good technique, meaning where circumstances permit, keep the music at the same height each time, keep the guitar in the same position on the body each time (preferably sitting on the left leg).
For the first of these points, the C.D. at the beginning of the book has the six strings played individually for the very purpose of tuning the guitar. If you are not confident in tuning yourself and feel the strings sound nothing like those on the C.D., then please bring the guitar to your child’s next lesson, I will be happy to tune it for you.
The second of the two points is a little bit general but no less important. More so than the keyboard players, guitarists, particularly in their early stages of learning, must maintain consistently good technique. I recommend the strings be plucked with the right hand thumb whilst the other fingers rest underneath the strings on the body of the instrument. Also the guitar should rest on the left leg preferably and the left foot raised in some way (I have in the past used a few large books to elevate the foot). Above all consistency is the key here, do not change these factors around once you have started, it complicates things unnecessarily and makes the instrument harder to master.
Conclusion
Music can bring a great deal of pleasure to those willing to undertake the challenge of learning it. I truly believe it can bring out the best in people both old and young and I hope this document can help nurture the musician in your child.
Good Luck.
Christian Duboudin
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