August 23rd, 2010 – December 11th, 2010

This online course will cover the foundations of harmony and harmonic progressions per the requirements prescribed by RCM Examinations and the National Music Certificate Program (NMCP). The target exam session for this course is December 11th, 2010.

Classes are 45 minutes in duration and are scheduled for Mondays and Wednesdays at 8:00pm ET. These live class sessions are recorded to allow for some flexibility in the schedule.

For more information please download the Course Information Package. Please register your interest here.

Basic Conducting is designed to introduce students to the fundamental techniques of conducting. An emphasis will be placed on score study and daily practice of patterns, gestures, articulation, and releases. Musical terminology related to conducting will be discussed and quizzed. Videos will be made of individual conducting assignments along with helpful critiques of each student’s performance. This is an ideal course for high school musicians to broaden their musicianship.

This is an in-studio class taking place daily August 3rd – 13th, 2010 at 2397 Sutton Drive, Burlington, ON.

For more information, please download the Course Information Package.

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Congratulations to the following students who achieved recognition this past Sunday (February 28th) by being listed on the Hamilton-Halton ORMTA Honour Roll.

The list consists of all those who achieved 80% or above in a conservatory exam during the past year. Alon Coret also received a scholarship for achieving the top grade in his category (Gr. 6 Saxophone).

As part of an ongoing series of posts on the 2009 RCM Theory Syllabus, I’m examining the changes in the Basic Rudiments requirements in comparison to the 2002 syllabus. There are actually very few changes, so you may sense that I’ve having to dig deep to find them.

The biggest change, I suppose, is the title. Previously called Preliminary Rudiments, the old title gave the impression that the “real” rudiments started at the Grade 1 Level (old terminology), but that you needed to know a few things before you got started. The change is a good one, in my opinion. This does represent the basics of music theory, beginning at . . . well, the beginning.

Starting in the category of pitch, the first addition to the requirements is the topic of enharmonic equivalents. This is a foundational concept that must be understood before moving on to diatonic and chromatic semitones. In the past, it has likely been assumed, but I’m glad they added this to the list of concepts.

As before, the candidate is expected to be able to add time signatures, bar lines and rest to a passage in simple time, but now the requirements specify that the passage may include an anacrusis (upbeat). This is important to be aware of, lest students automatically begin counting at beat 1. Consider the possibility of beginning on beat 3 or 4!

Another topic that was assumed in the previous edition of the syllabus (perhaps under key signatures?) is that of related keys. The 2009 edition spells out the requirement of understanding relative major and minor scales. A potential question: Write the relative minor of E major in melodic form using half notes.

While the old requirements indicated that the candidate must know perfect, major and minor intervals above a given note, the new requirements clarify and expand these expectations. Students must be able to write or identify these intervals (within the octave – good clarification), but also to identify intervals below a given note in melodic form. This doesn’t present a huge challenge. The student will still base his computation on the lower note, though it comes after the higher note. These intervals are still limited to keys up to and including 4 sharps and flats.

The triad requirements are essentially the same but have expanded to include identification of broken triads in close position. Like intervals, this is simply a challenge for the eyes to gather the notes together into a group in order to identify the chord.

One small clarification exists in the transposition section. Transposition can go up or down one octave at this level. It can also move between clefs. However, it does not need to do both. In other words, the question could be worded thus: Rewrite the following (bass clef) melody into the treble clef at the same pitch. Note that this isn’t a transposition in the true sense of the word, just a clef switch. The treble clef result will have the melody located much lower on the staff than the original bass clef example.

In the Terms and Signs section, the Italian term “tenuto” has been pulled down into the Basic Rudiments requirements from the Intermediate level. The 8va sign must also be identified below the staff (ottava basso), not just above. The pedal marking “Ped” was in the old syllabus, but students must also identify the line under the staff as a pedal marking.

Overall, the Basic Rudiments requirements haven’t changed dramatically. Most of the changes in the new syllabus are merely eliminations of redundancies and some good clarifications of question format. It remains a good introductory course for those needing a solid foundation in music reading and comprehension and a good start for the RCM/NMCP theory system.

With the release of the new 2009 theory syllabus, we have entered a transition period. I am currently teaching my online classes to align with the new syllabus. The following information is from Music Matters, the official newsletter of RCM Examinations, and explains the transition:

As with all RCM Examinations syllabi, there will be a crossover year for the Theory Syllabus, 2009 Edition beginning with the December 2009 session and ending with the August 2010 session. During this time, candidates may use either the 2002 or the 2009 Editions to prepare for their examinations. Where there is a change in requirements, examination papers will present two versions of a question, in which the first option tests familiar elements from the 2002 Edition while the second option tests new elements from the 2009 Edition. History examinations will contain an expanded range of choice within each question in order to accommodate students who have prepared using either syllabus.

If this series of answers does not adequately answer your questions about music lessons, please email me.

What age should I start my child in lessons?
Immediately! OK, so a 3-month old may have difficulty reaching an octave on a piano. But there are options such as Kindermusik for teaching rhythm, musicality, and expression for toddlers. Participating in a pre-school program can contribute to the development of motor skills, listening skills, and social interaction.
For private piano lessons, I usually recommend age 5 as a good starting point. Children’s motor skills are usually ready for the keyboard at that point, and the excitement of producing music is high. While progress may not be rapid until ages 8-10, an early start is beneficial for a child’s musical development.
Interested in strings? You don’t have to wait till age 5. Programs like Suzuki are designed for children as young as 3. Be prepared, however, for the expense of a series of growing instruments that grow with your child. More than in any other musical discipline, the size of the instrument is vital to the student’s success.
Brass and woodwind instruments are difficult to start before age 8. They require the coordination and strength of facial muscles and breath support that younger students lack. But that doesn’t mean that students should wait till age 8 to study music. Students who approach an instrument having a background in piano and basic theory have a great advantage. Pre-band instruments such as recorder, fife, and Orff instruments are also beneficial.
Drummers be patient! The serious study of percussion needs to prefaced with the development of keyboard skills. The basics of rhythm are best learned at a piano. Mallet percussion demands a knowledge of the keyboard. This is so important that percussion classes that I’m familiar with are open only to those who have completed a minimum of two years of piano lessons.

How much does my child need to practice?
There are three factors that influence the amount of practice necessary. The first is the standard of progress expected. As a general rule, increased practice = greater progress. Funny how that works, isn’t it? This principle is similar to the ratio between study time and test grades.
Secondly, the student himself is a factor. Some students catch on more naturally than others, but diligence and hard work can trump natural talent.
The third factor is somewhat related. How does the student practice? What does he spend his time doing? Is he watching the clock? Listening for the kitchen timer? Is he playing his favourite pieces from 3 weeks ago? Or is he focused on the task at hand, committed to overcoming the hurdles before him?
Your teacher will likely suggest (or demand) a particular time for your child to spend at the piano. This may range from 15 minutes a day to 2 hours a day. But keep in mind that success is not measured by a clock, but by musical accomplishment.

My child wants to play the guitar (or saxophone, violin, drums, etc.) Do they really need to learn piano?
The piano keyboard is fundamental to an understanding of music theory. While piano lessons aren’t mandatory for success, they will aid the student in achieving that success. No successful instrumentalist will look back on piano lessons as a waste.

Is it possible to learn the piano by ear? If so, why bother learning to read all those complicated notes?
Yes, you can. But why would you want to? Playing by ear means you are limited to playing music that you have heard. Why limit yourself to music you already know? That’s like sitting in a library reading only books that have been read to you. Think of the thousands of books that you could experience if you knew how to read! Note-reading opens up the world of music for your personal exploration.

I’m an adult who wishes I had taken piano as a child (or did take piano and now wish I hadn’t quit). Is it too late?
That depends on your determination. It’s never too late if you care enough about it. Unfortunately, adulthood brings responsibilities that affect our priorities (like paying the bills!). But don’t let the joy of music slip by in the rush of life. If you’re resolved to learn music and can afford some time (even a little bit) regularly practicing, you can fulfill your dream.

Do we need to own a piano to take piano lessons?
Ownership is not the required part, but regular access to a piano is a must. But before you decide to borrow someone else’s, do your homework. Scheduling your practice time around someone else’s practice time, nap time, or dinner time may be a bit more complicated than you think. I would suggest watching classified ads for a used piano or visit your local music store for an acoustic or digital piano.

What type of piano should we buy?
Pianos come in many shapes, sizes, and colours. At first, the selection may seem daunting, but it doesn’t need to. The basic types of pianos are acoustic pianos (grands and uprights), and digital (electronic) pianos. Your first piano will not likely be a grand, nor does it need to be. Grand pianos are in the dreams of all music lovers (myself included), but they cost a lot of money and take up a lot of space. So if you’re a beginner, don’t feel obligated to make such a purchase.

The term “upright piano” speaks of the vertical position of the soundboard (where the strings are) contrasted with the horizontal position of a grand piano’s soundboard. Upright pianos come in various sizes (although they all have 88 keys!). But although size may be important to the home decorator in your family, the quality of the sound and the stiffness of the keys are more important factors. If you know someone who plays the piano already, I would suggest having them play a piano before you buy it and get their opinion.

Do acoustic pianos need to be tuned?
They certainly do. In fact, the vast majority of pianos in the universe are out of tune because they don’t get tuned as often as they should. “Tuning” a piano simply means tightening or loosening the strings so that every pitch is where it ought to be. That’s an oversimplified explanation that would offend most professional tuners, but it will suffice. The job should best be left to a professional tuner and not something you should tackle yourself. Check the Yellow Pages.

Is an electronic keyboard sufficient?
If you don’t want to be bothered to hire a piano tuner periodically, an electronic (or digital) piano may be for you! These instruments never go out of tune. Many piano studios are using these types of instruments exclusively. However, you will want to be cautious about scooping up the next one you see at a garage sale. They don’t all qualify. Also, you will find that after playing for awhile, you will long for the touch of a “real” piano.

Any particular brand names?
While I don’t claim to know the industry inside out, I will recommend the leaders. Roland has some quality instruments these days. Yamaha doesn’t just make motorcycles! In fact, their Clavinova line is an excellent choice. Kurzweil is an option worth looking at. Other brands may make acceptable instruments, but these three are known for their quality, while other brands focus on offering keyboards for the lowest price, while sacrificing quality.

Any particular features?
Comparing features can be tedious, but doing your homework will pay off. If you are buying a piano for the purpose of developing your keyboard skills, set the following parameters. These are a must:
• Full size keys (some sold in electronic stores have miniature size keys that will fool you into thinking that your hand can span two octaves!)
• 88-keys (Don’t settle for 61 keys. These instruments are created for a different purpose)
• Weighted keys (Keys which are tapered underneath like organ keys are not weighted. You want to simulate an acoustic piano to improve your control over the keyboard.)
• Authentic piano sound (a “patch” electronically-speaking that will do justice to the music you are studying. Some digital pianos sound tinny or hollow.)
• Sturdy stand (anything that allows the keyboard to wobble while you’re playing is not sufficient).
Plenty of other bells and whistles are available, including rhythm sections, sequencers, transposers, and 40 million built-in sounds. But don’t sacrifice the requirements above to buy a high-tech toy. You can buy one of those later.

For more information about buying and caring for pianos, visit the Piano Education Page. Some opinions expressed there may contradict what you have read here, but the article contains much helpful information.

This is the first post of a series on the new 2009 RCM Theory Syllabus. I’m hoping to highlight the changes that have been made and include some observations in relation to my online classes.

I was just studying the new 2009 theory syllabus and noticed that included in the front of the syllabus is a new exam entitled Preparatory Rudiments. It covers a subset of the Basic Rudiments requirements, including pitch, rhythm, scales, intervals, and triads.

There is no book (that I’m aware of) that covers these requirements exclusively, but all of this material can be found in any basic theory book. There is no pre-requisite for this level of study, and the exam is not a co-requisite for any level of RCM study.

So what is its purpose? My thoughts are that it doesn’t serve a great purpose for students in the RCM system who are on the road through the Rudiments requirements. The Basic Rudiments requirements are not so taxing that a student needs a stepping stone to manage them (unless they are very young, in which case a 1-hr exam may not be a good idea anyway).

I do see a purpose for this exam, however. This is a great set of requirements for those who know little about music but wish they did. Perhaps a church choir member who wants to read music? Or a parent who is trying to help their child practice their piano lesson at home? The requirement set is manageable in a few lessons and would make a helpful introduction to the topic of music reading and comprehension.

I haven’t yet packaged this into a course. But I can see a future “Introduction to Music Reading” class coming up. Let me know if you’re interested.

. . . to the following students for their success at the Rotary Burlington Music Festival in November:

I just posted the new lesson payment schedule for January through June 2010. As you know from my studio policies, I strongly prefer that monthly post-dated cheques be submitted for the upcoming session. The payment schedule can be downloaded here. Thank you! Looking forward to lessons beginning again.

Ever since the Royal Conservatory released the new names for their theory courses, I’ve been getting questions about how the new names line up with the old.  To aid those who may be confused, here is a chart comparing the new and the old.