After my LACF blitzkrieg in January, I’m slightly hesitant to post another concert review here, considering myself neither a music critic nor concert review blogger.
But last night’s Mountain Goats concert at the Barbican, featuring Owen Pallett and Anonymous 4, was one of the best I have ever attended – and brought me such joy I can’t help but want to share it.
Transcendental Youth
A few months ago, I got hugely excited on seeing this blog post over on mountain-goats.com. John Darnielle describes the chance to work with Owen Pallett and Anonymous 4 as being like a “kid in the candy shop, after hours, with the go-ahead to have all the candy I like” and I can see that. At the time it was planned for New York only, but the addition of a performance at the Barbican in London made me hugely happy.
As a keen self-taught pianist I’m always excited to find innovative new web sites or apps that try to help you learn piano. I’ve written previously about OnlinePianist, which recently launched a more slick and powerful version of their interactive tutorial app.
Another richly rewarding site is freepianomusic.org. I must confess that at first my web developer brain saw the SEO-friendly domain name and site content, lots of mention of free material and free sheet music, and Google Ads embedded here and there and was a little suspicious… There are so many junk sites out there just trying to drive traffic and earn advertising revenue (especially in the area of guitar tab and sheet music) that the jaded skeptic in me suspected this might just be another of those.
I was pleasantly surprised though to discover that there’s valuable content here. Though the category links in the sidebar may give the impression the site is a treasure trove of free sheet music in fact it’s more of a ‘jumping off point’, with most of the sheet music pages linking out to online stores to purchase the actual downloads. There is however a lot of guidance and information provided, along with useful links to other resources (including the superb free book Fundamentals of Piano Practice).
I enjoyed taking the “Piano IQ Quiz”, learning a little something about Percy Mayfield and Grieg along the way. Hopefully more interactive elements will be added in future!
Not only does the site have a lot to offer, but it turns out (more…)
To many of my generation, classical music is unfamiliar and, sadly, unappealing.
I was lucky enough to get a fair bit of exposure through my childhood music education, but must admit that I still feel very ignorant of the standard classical corpus. I have a lot of respect for classical repertoire and those who play it, but it’s been rare that I find a piece I’ve really felt an emotional connection with. As a church chorister, there were certain pieces that I particularly enjoyed singing, and some which became emotionally resonant just through being a frequent part of that phase of my life. There have been some classical pieces outside of church music which I’ve loved. For example, much of Carmina Burana, Rodrigo’s superb guitar concertos and some of the pieces I played on saxophone (e.g. Mussorgsky’s “The Old Castle” from “Pictures at an Exhibition”).
In fact, I know enough to recognise the blunder of even using the term classical as such a catch-all, especially since all the pieces mentioned above sit firmly outside the classical period (1750-1830). But to most people my age, ‘classical’ music is just a synonym for pre-20th century, orchestral, old-fashioned, boring…
But surely there must be a future for these works which have stood the test of time, beyond just the dedicated performers and the (ever-dwindling) crowd of elite music appreciators who pay to hear them play live?
The progression of classical music into the Romantic, Impressionist and increasingly dissonant styles of the 20th century led to some strange and interesting aural innovation – but perhaps at the cost of becoming even less relatable to members of the general public. How many people d’you know who enjoy listening to John Cage or Edgard Varèse? A few years ago the Washington Post ran an experiment where world-renowned violinist Joshua Bell performed anonymously in a subway station – and barely drew a second glance from passers by.
So what is the future for classical music?
Well, I’m far from qualified to try to offer an answer to that vast and imposing question. But I think a part of it must be re-establishing the connection between the classical composer or performer, and their audience.
Classical Music on the Social Web
I wanted to share two particular examples I’ve recently found encouraging.
The startup world loves “bootstrapping”: the idea that you get a business off the ground not by seeking investment and outside funding, but by starting to sell products or services and then gradually growing the business using your own income. It comes from the expression “pull yourself up by your bootstraps” and just means that you’re using whatever resources you have to hand to get yourself going. I’m a bootstrapping fan myself; it’s how I’m running Easy Ear Training so far.
Lately I’ve been thinking about bootstrapping in music learning, and specifically ear training.
There may not be an obvious connection to you, but if you’re a musician you’re probably doing this to some extent already – just without realising it!
There’s a huge wealth of history to music tuition, and no shortage of teachers to tell you “this is how you learn X”, “this is how you practise Y”. And I wouldn’t for a second want to dismiss the value there.
But there’s another way too. This is the attitude of bootstrapping. Of “do whatever works”.
Bootstrapping your music education
If you want to be a concert pianist or reach the top of the profession in your chosen instrument or talent, you need to be careful. You don’t want to learn the wrong fingering for a scale, or develop poor embouchure early on – because the more you practise the wrong method, the more ingrained it becomes, and the harder you have to work later on to fix it. As a saying I recently came across puts it: “Practise makes permanent”.
That suggests that a “do whatever works” mentality is wrong-headed, and will only cause you pain later on.
But I think that attitude is far too motivated by fear. (more…)
This week I was introduced to a fantastic new website for learning songs on the piano, by a blog post over at Music Matters. It’s called OnlinePianist.com and the idea is to teach you songs visually by showing the keyboard fingering on screen while a MIDI version of the song plays.
Now the graphics and sound quality may be a little ’90s, but put aside any snooty reactions – because there’s real value here. The focus is on pop music, songs that are in the charts at the moment (which, sadly, makes me realise once again how little I pay attention to chart music!) But I managed to find some Nirvana, and some Green Day. Check out this example video of Green Day’s “When September Ends” for a glimpse of what the site’s all about:
An example song tutorial at OnlinePianist.com: Green Day's 'When September Ends'
Learn by seeing, learn by doing
As you’ll see from the video, the arrangement (marked “Intermediate” difficulty) is fairly simple, but clearly recognisable. The options to adjust tempo and isolate each hand’s part make it easy to dissect any tricky sections and break down learning into manageable chunks.
Every student learns differently, but I’d say there are two main camps of instrumentalist: (more…)
About Me
My name's Christopher Sutton and this is my personal blog. You can learn more about me here.
My name's Christopher Sutton and this is my personal blog. You can learn more about me