Not familiar with the alto clef?
It’s not a very common clef, so don’t worry. The key is knowing that the middle line of the staff is C. From there, you can work all the other notes out. For more information, check out my guide to the alto clef here.
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Answers
Ready for the answers? Keep scrolling down, and you’ll find them.
Here they are:
- Bad
- Edge
- Decaf
- Beaded
- Beef
- Egged
- Babe
- Cafe
- Defaced
- Beg
- Facade
- Cabbage
- Feed
- Cage
- Badge
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Answers
Ready for the answers? Keep scrolling down, and you’ll find them.
Here they are:
- Cab
- Edge
- Beaded
- Beg
- Deaf
- Baggage
- Faded
- Egg
- Defaced
- Cafe
- Dad
- Badge
- Aged
- Babe
- Facade
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Answers
Ready for the answers? Keep scrolling down, and you’ll find them.
Here they are:
- Bad
- Bead
- Edge
- Faded
- Ace
- Beef
- Decaf
- Feed
- Dad
- Baggage
- Deaf
- Deface
- Cafe
- Cabbage
- Caged
Thankfully, there are a few little hacks that can make it so easy to know what key you’re in you’ll kick yourself for not learning this sooner.
Need Help With Key Signatures?
Learning key signatures can be tricky! If you’re finding them hard to memorize, I’ve created a free set of Key Signature Flashcards to help make it easier.
DOWNLOAD MY FREE FLASHCARDSWorking Out Sharp Keys
Sharp keys are so easy to work out with this little tip.
All you do is look for the last sharp in the key signature. (The last sharp is always the 7th note of the major scale).
That means you can find the key by going up one half step (semitone) from the last sharp.
Let’s take the key signature with five sharps as an example. We find the last sharp, which is A#.
We then go up one half step from A#.
A# > B
This means that the key signature with five sharps is B Major.
Let’s do one more example, this time for the key signature with three sharps.
Again, we find the last sharp in the key signature, which is G#.
We then go up one half step (semitone) from G# to find the key.
G# > A
This means that the key signature with three sharps is A Major.
Simple!
Working Out Flat Keys
Working out flat key signatures is slightly different but equally easy.
All you do is look for the penultimate flat in the key signature (the one before the end).
The note that this flat is on tells you which key you’re in.
For example, let’s look at the key signature with six flats. We find the penultimate flat, which in this case is Gb.
That means that this key signature is Gb major. It really is that easy.
Let’s do one more example, this time for the flat key with four flats.
Again, we find the penultimate flat, which, in this case, is Ab.
That means that the key signature with four flats is Ab major!
These hacks work in all clefs, not just the treble clef.
Want to have a go at our quiz and see how well you’ve understood this concept?
Try our key signature quiz in the treble clef below.
Practicing with a metronome will help you maintain a steady tempo and precise rhythm, much like a ruler helps an artist draw straight lines. Just as artists erase their guidelines for a clean final drawing, you’ll eventually want to perform your piece without the metronome.
If you’re ready to follow this advice but don’t know where to start, this article is for you!
1. Set a Tempo
The first step is to set your metronome at the tempo (or speed) you want to play.
You’ll have to choose a number corresponding to the number of beats per minute (BPM) your metronome will click at. The higher the BPM number, the faster the metronome will click.
When practicing a new piece of music, start slow and gradually increase the speed as you get more and more competent.
Recommended Course
If you need help improving your practice routine, check out this course from Music Matters. It will give you the tools to get the most out of your practice sessions and improve your playing quicker.
IMPROVE YOUR PRACTICE2. Find Your Goal Tempo
Before you decide what tempo you’ll practice at, it’s a good idea to get a sense of how fast the music should be played in a performance.
Your music should include a tempo marking — whether it’s a specific BPM or a descriptive word that encompasses a range of BPM.
Some tempo markings will include both!
Here are some common tempo descriptions and their BPMs:
- Larghissimo — extremely slow (< 24 BPM)
- Grave — very slow, solemnly (25–45 BPM)
- Largo — broadly (40–60 BPM)
- Lento — slowly (45–60 BPM)
- Adagio — slowly, with great expression (66–76 BPM)
- Andante — at a walking pace (76–108 BPM)
- Andantino — slightly faster than andante (80–108 BPM)
- Moderato — at a moderate speed (98–112 BPM)
- Allegro — fast, quickly, and bright (120–156 BPM)
- Vivace — lively and fast (156–176 BPM)
- Presto — very, very fast (168–200 BPM)
3. It’s Okay (Even Recommended!) to Start Slow
Remember that the written tempo is the goal, but you do not have to be able to play at this speed right away!
If you are comfortable playing at the written speed, go for it! However, if the music is really fast, it’s recommended to start at a slower tempo.
Lining up your notes and rhythms with the metronome at a slower speed is way more helpful than playing at full speed right away. As you get comfortable, you can gradually increase the tempo to the written speed.
4. Select How Many Beats (Optional)
Some metronomes will allow you to choose how many beats are in a measure, so it can help you keep track of each measure.
How many beats you set the metronome to will depend on the time signature of the piece.
If your piece is in 4/4, you can set the metronome at four beats. It can even emphasize the first of every four beats. This way, you can keep track of the beginnings of each measure as you’re playing.
Next: Read Our Post on the 10 Most Important Traits of Good Musicians.
5. Feel the Beat
Before you start playing, it’s important to take some time to feel the beat.
Listen to a few metronome clicks, and maybe even tap along to the metronome with your hands or feet.
Internalizing the pulse will help you stay together with the metronome while you play. It’s also important for when you take the metronome out of the equation later.
6. Line Up Your Rhythms
When practicing with a metronome, it’s helpful to divide your music into sections.
The length of a section should depend on how comfortable you are with the music — it could be one phrase or until the next tempo change.
As you play, listen to make sure your beats are always lining up with the metronome. If you get off from the metronome, stop and try the section again.
Make sure you can play each section comfortably with a metronome before bumping up the speed or moving on to the next section.
7. Subdivide
Sometimes, there will be so many small rhythms within a beat that it’s hard to line them up with the normal metronome clicks. In this case, you can subdivide.
Subdivision is the splitting of beats into smaller units. For instance, if you have a bunch of 16th notes to play, you can try setting your metronome to the eighth note rather than the quarter note.
This will double the amount of metronome clicks, giving you more opportunities to check and stay aligned.
Once you can easily play a section with the subdivisions, it should be much easier to go back to playing with the big beats!
8. Record Yourself
A great tip to make sure you are truly lined up with the metronome is to record yourself playing with the metronome and listen back. This helps you catch details you might miss while focusing on playing.
It’s also useful for checking your timing once you play without the metronome. You can tap along to your recording or use the metronome separately to verify your tempo and rhythms.
If there’s a section that isn’t quite right, practice that section with the metronome some more.
9. Be Patient!
Remember that practicing with a metronome is not a one-and-done deal! It takes repetition to get good at playing along with the metronome, and you have to be patient with gradual tempo increases.
Even once you can play a piece at full tempo without the metronome, you may have to go back and touch up some sections with it once in a while.
Ready to Get Started?
Now that you know how to practice with a metronome, you can get started using our online metronome!
Our metronome includes all the features mentioned in this article, including emphasizing downbeats and subdivisions.
]]>Imagine how tricky it would be to have a bunch of instruments in different keys playing together. If the conductor says, “Everyone, play an A!” which A should they play?
That’s where concert pitch comes in. Concert pitch is the standard pitch used for performances, set at A=440Hz.
It’s like a universal language for musicians so that when the conductor asks for an A, everyone knows exactly which pitch to play, no matter what instrument they have.
Some instruments, like the piano or the flute, are already in concert pitch. We call these “concert pitch instruments.”
But others, like the clarinet or the trumpet, have a different “written pitch” on the page than the “sounding pitch” that comes out.
These are called “transposing instruments.”
The History of Concert Pitch
Before the 20th century, there were no real standards for pitch. Tunings varied a lot depending on where and when you were playing.
Even famous composers like Mozart and Handel had their own preferences (Mozart was known to have liked A=422Hz, while Handel preferred A=423Hz).
But as concert venues got bigger and radio broadcasts became popular, people realized we needed a universal standard. In 1939, everyone finally agreed on A=440Hz as the concert pitch, and we still use it today.
Transposing Instruments
Instruments that are not in concert pitch are called transposing instruments.
Transposition is simply taking a melody, chord sequence, or whole piece of music and changing the pitch of the notes while keeping the relative intervals between them the same.
Usually, a composer will write out the transposition for each instrument’s part. That way, you can just play what’s written on the page, and the notes that come out will be correct in concert pitch.
However, if you are playing music that was not specifically written for your instrument, you might have to do the transposition in your head.
Most people who play a transposing instrument have a basic ability to transpose to concert pitch in order to tune and play scales with their ensemble.
The Keys of Common Instruments
Here is a list of instruments found in band and orchestra and the keys they are tuned to.
When a Bb instrument plays its C, the note that comes out is a Concert Bb. As you can see, transposing instruments are mainly found in the wind family.
Concert Pitch Instruments
- Piccolo
- Flute
- Oboe
- Bassoon
- Trombone
- Tuba
- Violin
- Viola
- Cello
- Double Bass
- Piano
- Guitar
Bb Instruments
- Clarinet
- Bass Clarinet
- Soprano Saxophone
- Tenor Saxophone
- Trumpet
Eb Instruments
- Alto Saxophone
- Baritone Saxophone
F Instruments
- French Horn
- English Horn
*Some instruments can be made in different keys. For example, the clarinet is listed in its standard key of Bb, but you could specify which type of clarinet by saying “Bb clarinet,” “A clarinet,” etc.
Why are Instruments Tuned to Different Keys?
You may be thinking, “Wouldn’t it be easier to make all the instruments in concert pitch?” It seems intuitive that way, but here are a few reasons why an instrument might not be in concert pitch:
To Make the Music Easier to Read
One reason we have transposing instruments is to make music easier to read.
Depending on an instrument’s range, writing all the notes in concert pitch might cause the music to have many ledger lines.
This can be annoying–both for the player to read and for the composer and/or publisher to fit onto the page.
To Keep Fingerings Consistent
Another reason instruments are in different keys is to keep fingerings the same for instruments in the same family.
For instance, soprano and tenor saxophones are in Bb, while alto and baritone saxophones are in Eb.
If we were to make them all in the same key, saxophone players would have to switch fingerings when switching between these instruments.
To Help with Tuning
Lastly, some instruments are in different keys to make them easier to tune.
Each instrument–especially wind instruments–has its own tuning tendencies. Some notes tend to be sharp, while others might go flat.
While it’s the player’s responsibility to adjust accordingly, having an instrument in a different key might help with tuning issues.
Summing Up
We hope that you now have a better sense of what concert pitch is and why not all instruments are in concert pitch.
If you have any questions about things that we haven’t covered, feel free to get in touch, and we’ll get back to you.
]]>Canons vary in complexity. There are simple rounds, then there are intricate compositions. But they are all beautiful for their rhythmic and melodic interplay.
Here, we’ve collected 10 examples of famous canons in music. Have fun reading!
1. “Three Blind Mice”
The popular English nursery rhyme “Three Blind Mice” was first published in 1609. Historians believe the “farmer’s wife” in the lyrics refers to Queen Mary I, also known as “Bloody Mary.” It became part of children’s literature in 1842.
As a canon, “Three Blind Mice” demonstrates musical imitation. When sung, singers are divided into groups. As one group begins singing, another follows a short while later, echoing the melody.
What you get is a delightful overlapping effect. The canon form adds an element of playfulness and charm to this beloved nursery rhyme.
2. Canon in D By Johann Pachelbel
Our next canon is one of the most famous in music. Canon in D was created by the German Baroque composer Johann Pachelbel.
Pachelbel’s Canon is famous for its serene melody and simple, captivating bass line. Its remarkable structure features a repeating bass pattern called a ground bass, or basso continuo.
The instruments enter one by one. The layering effect leads to a cascade of sound, with each one building upon the preceding instruments.
3. “Frère Jacques”
The beloved French nursery rhyme “Frère Jacques” is a prime example of a canon. This musical composition features multiple voices singing the same melody but starting at different times, adding richness to the melody.
The song is about a friar named Jacques who oversleeps and fails to ring the bells for matins, a Christian service held during the early morning hours. Due to its simple and repeating lyrics and playful melody, this song lends itself perfectly to a canon format.
4. “Row, Row, Row Your Boat”
Now we go to “Row, Row, Row Your Boat,” a beloved children’s nursery rhyme and a perfect example of a canon. It comes from American folklore and is often sung as a round (called perpetual canon), where each voice begins the same melody at different times.
This creates an overlapping effect, with one voice starting as another finishes, leading to a continuous, harmonious flow of music. Singing it as a round adds depth and encourages participation, as the repetitive lyrics make it easy for anyone to join in and keep the rhythm and melody.
5. Symphony No. 9 In D Minor, Op. 125 (IV: “Fugato”) By Ludwig Van Beethoven
The final symphony of Ludwig van Beethoven, Symphony no. 9, was composed between 1822 and 1824. It consists of four movements, with the fourth commonly known as Ode to Joy.
This movement features two canons on the main theme and “Seid unschlungen, Millionen!” Here, the singers repeat the melody in overlapping succession. Different sections of the choir enter at staggered intervals.
The use of canon in Ode to Joy serves multiple purposes. First, it enhances a sense of unity among singers. Second, it adds complexity and texture to the music.
6. “Dona Nobis Pacem”
The traditional Latin hymn “Dona Nobis Pacem” translates to “Grant Us Peace.” There was debate over who composed it, with some saying it was Mozart.
The song’s canon format allows a seamless and continuous piece of music that builds in complexity as more voices join in. The repetition of the melody in the canon emphasizes the song’s message of peace and unity.
The canon format highlights the collective desire for peace and is a reminder of music’s power to bring people together.
7. “Sumer Is Icumen In”
Dating back to the 13th century, “Sumer Is Icumen In” is a medieval English round that celebrates the arrival of summer. This piece is known for its celebratory mood.
It consists of two sections: the opening verses and the rota, or round. The former describes the sights and sounds of summer, while the latter consists of the repeating melody sung in a canon.
As more voices join in, the melody overlaps and intertwines, creating a mesmerizing and harmonious effect.
8. “Alleluia” By Randall Thompson
Written in 1940, Randall Thompson’s “Alleluia” showcases the composer’s mastery of the canon format. The word alleluia is sung repeatedly in a canon structure, creating an uplifting effect.
The song begins with a single voice singing the word alleluia, followed by another voice a few beats later. More voices join in, with the melody being repeated in overlapping succession.
What makes “Alleluia” notable is its simplicity and elegance. Despite consisting of only one word, Thompson’s use of harmony and counterpoint lends the piece emotional resonance.
9. Fidelio, Op. 72 By Ludwig Van Beethoven
In Ludwig van Beethoven’s opera Fidelio, the use of canon occurs in the quartet from Act I, known as “Mir ist so wunderbar” (I feel so wonderful). This showcases Beethoven’s skillful use of the canon format in the operatic context.
In the quartet, the four characters express their conflicting emotions through intertwined melodies. The canon occurs when each character sings their own version of the same melody but with different lyrics and emotional nuances.
The use of canon in this piece highlights the complexity of the characters. It also adds texture and richness to the music.
10. “Deo Gratias” By Benjamin Britten
Our last example of famous canons in music is “Deo Gratias” from Benjamin Britten’s A Ceremony of Carols. This choral composition consists of 11 movements and was composed in 1942.
“Deo Gratias” is Latin for “Thanks be to God.” It is one of the most celebratory movements in the collection and features overlapping melodies sung by different voices to create a rich and harmonious texture.
Britten’s use of canon in this song shows his ability to create technically sophisticated and emotionally resonant music. “Deo Gratias” is performed during Christmas concerts and choral performances.
Summing Up Our List Of Famous Canons In Music
In wrapping up, songs that use the canon format offer a glimpse into the intricacies of musical composition. From traditional lullabies to classical masterpieces, the canon format has lent rich and harmonious musical textures.
This list is by no means exhaustive, and we are always looking forward to our audiences’ input. If you know other songs that use the canon format, let us know, and we’ll add them for you!
]]>It was really interesting to see all the responses, so I thought I’d write it up and share what the most common age to start is.
Just a few things to note before we get into the results:
- I have a small sample size – Only 334 people have completed this survey so far. I will update the data as I get more results to make it more statistically significant.
- These are self-reported ages – I can’t verify the responses.
- Some people reported their school grades – I’ve used the average age for that grade in these cases.
- Some people said from birth – I’m not sure you can start learning an instrument under the age of one, so I’ve listed these responses as two years old.
- I’m not a statistician – I’m a musician and maths was never my strong point. There will probably be errors in my numbers – please correct me (kindly) if you see any!
Add Your Age To The Survey
I’d love it if you would add your age to this survey. Complete this simple form, and I’ll update it with your age shortly
COMPLETE THE SURVEYRight, with that out of the way, here are the results so far as of May 2024. I will update the results as we get more responses.
The Results
So, the results were slightly surprising to me, although they were generally in line with what I expected.
The highest reported ages were:
- Five years old – 49 people (14.67%)
- Eight years old – 41 people (12.28%)
- Seven years old – 40 people (11.98%)
- Nine years old – 33 (9.88%)
- Four years old – 25 (7.49%)
Breaking it down by decade, we get the following:
- 2-9 years old – 225 people (67.36%)
- 10-19 years old – 68 people (20.35%)
- 20-29 years old – 1 person (0.29%)
- 30-39 years old – 3 people (0.89%)
- 40-49 years old – 2 people (0.59%)
- 50-59 years old – 7 people (2.09%)
- 60-69 years old – 11 people (3.29%)
- 70-79 years old – 13 people (3.89%)
- 80-89 years old – 3 people (0.89%)
- 90+ years old – 1 person (0.29%)
It’s really great to see 35 people (10.47%) of people starting to learn over 50 too. It seems that once the needs of raising a family and having a career start to dissipate that people have more time to devote to things they wish they had done as a child.
Another wonderful thing was the number of people STARTING to learn an instrument over the age of 80. There was even one person who started at 91! Incredible.
They are a testament to the fact that it’s never too late to start learning music!
Anyway, thanks for reading this far. I’ll update this post once I get to 500 responses, so please complete the survey above if you didn’t participate in my FaceBook post or email newsletter.
And below are all the results in a table.
Table of Responses
| Age | Responses |
| 2 | 4 |
| 3 | 9 |
| 4 | 25 |
| 5 | 49 |
| 6 | 24 |
| 7 | 40 |
| 8 | 41 |
| 9 | 33 |
| 10 | 20 |
| 11 | 13 |
| 12 | 15 |
| 13 | 6 |
| 14 | 1 |
| 15 | 6 |
| 16 | 2 |
| 17 | 2 |
| 18 | 0 |
| 19 | 3 |
| 20 | 0 |
| 21 | 0 |
| 22 | 0 |
| 23 | 0 |
| 24 | 0 |
| 25 | 1 |
| 26 | 0 |
| 27 | 0 |
| 28 | 0 |
| 29 | 0 |
| 30 | 2 |
| 31 | 0 |
| 32 | 0 |
| 33 | 0 |
| 34 | 1 |
| 35 | 0 |
| 36 | 0 |
| 37 | 0 |
| 38 | 0 |
| 39 | 0 |
| 40 | 1 |
| 41 | 0 |
| 42 | 0 |
| 43 | 0 |
| 44 | 0 |
| 45 | 0 |
| 46 | 0 |
| 47 | 0 |
| 48 | 1 |
| 49 | 0 |
| 50 | 1 |
| 51 | 0 |
| 52 | 0 |
| 53 | 0 |
| 54 | 2 |
| 55 | 1 |
| 56 | 0 |
| 57 | 1 |
| 58 | 0 |
| 59 | 2 |
| 60 | 2 |
| 61 | 0 |
| 62 | 2 |
| 63 | 1 |
| 64 | 0 |
| 65 | 3 |
| 66 | 2 |
| 67 | 0 |
| 68 | 1 |
| 69 | 0 |
| 70 | 3 |
| 71 | 1 |
| 72 | 3 |
| 73 | 1 |
| 74 | 1 |
| 75 | 1 |
| 76 | 0 |
| 77 | 1 |
| 78 | 1 |
| 79 | 1 |
| 80 | 1 |
| 81 | 0 |
| 82 | 2 |
| 83 | 0 |
| 84 | 0 |
| 85 | 0 |
| 86 | 0 |
| 87 | 0 |
| 88 | 0 |
| 89 | 0 |
| 90 | 0 |
| 91 | 1 |
To find out, we asked our audience to share their thoughts on the most important skills or traits for musicians. Here are the common themes.
1. Listening Skills and Having a Good Ear
The most common answer was to develop a good ear and listening skills.
They allow you to connect deeply with the music, understand its intricacies, and communicate effectively with other musicians.
One of the best ways to help get better is by doing ear training exercises. There are multiple ways to train this skill, but a few that I do are:
- Practice identifying notes by ear to improve your pitch recognition skills.
- Listen to intervals and practice naming them to hear harmonies.
- Identify chord types when you hear them (major, minor, diminished, etc).
- Break down songs to understand their structure, chord progressions, and melody lines through analytical listening.
Honing these skills will help you to become a more well-rounded and adaptable musician.
Recommended Tool
If you want to improve your ear, I highly recommend checking out Tone Gym. I use it every day to practice my relative pitch and interval recognition.
IMPROVE YOUR EAR2. Dedication, Discipline, and Commitment to the Craft
Have you ever marveled at musicians who seem almost superhuman in their abilities? Well, behind those scales and solos are tons of time and tough love for practice.
Becoming a great musician isn’t just a walk in the park—it’s more like a marathon. It takes sheer dedication, unwavering discipline, and rock-solid commitment.
Set aside time every day to hone your skills. Remember, the greats played till their fingers bled—not literally, but you get the gist.
Keep a practice schedule as regular as your favorite TV show’s time slot. And stick to it even when the couch looks more appealing than the keyboard.
Set goals. Maybe you’re eyeing that complex Bach fugue or aiming to nail the blues scale at lightning speed. Whatever it is, set a goal for yourself and keep working towards it.
3. Patience and Perseverance
Have you ever wondered how your favorite musicians make it seem so effortless? You should know it’s not just “natural talent.” It’s a result of a lot of patience and perseverance over weeks, months, years, and even decades.
Have you heard of the “10,000-Hour Rule”? It suggests that mastery of a skill requires at least 10,000 hours of practice. Learning an instrument is no exception to this and will require a lot of patience.
- Set realistic goals – Small wins lead to big gains over time.
- Embrace the grind – Each practice session builds your skill.
- Learn from mistakes – Instead of getting frustrated, let errors be your guide.
Remember, whenever you feel like quitting, think about why you started. Your future self will thank you for the time you spent honing your craft today.
So, grab your instrument, and with each note you play, be reminded that patience and perseverance are your keys to getting better at your instrument.
Recommended Course
If you need help improving your practice routine, check out this course from Music Matters. It will give you the tools to get the most out of your practice sessions and improve your playing quicker.
IMPROVE YOUR PRACTICE4. Knowledge of Music Theory
Although there are a number of famous musicians who can’t read music, at least a basic knowledge of music theory will undoubtedly help you as a musician.
Understanding music theory is like knowing the grammar of a language. It’s all about the rules and tools that help you to communicate your musical ideas clearly.
Have you ever wondered why certain chord progressions just simply sound right? It’s music theory at work!
- Scales & Keys: Know your major and minor scales, as they’re the foundation for most music.
- Chord Progressions: Learn how chords move from one to another to create a flow.
- Harmony & Melody: Understand how these work together for a pleasing sound.
- Rhythm & Time Signatures: Get the timing right, and you’ll have your listeners tapping their feet.
Get My Music Theory Book
Want to learn more about music theory? I’ve written a beginner’s guide to music theory, which you can download here for only $5.
LEARN MUSIC THEORY5. Ability to Read Music and Sight Read
Understanding music theory and being able to read music are not the same thing. But, learning to read music, and more specifically, getting good at sight reading, is a really useful skill for musicians to learn.
If you’re at the beginning of your musical journey, you’ve probably picked up a piece of music and felt like it was a secret code or another language – and it is.
But, being able to read music notation is an essential skill for all musicians. It’s the blueprint that guides you on what, how, and when to play.
But what about sight-reading? Sight-reading is reading and performing music at first sight without preparation. It’s a real-time test of your reading proficiency and musicianship.
Here are a few tips to improve these skills:
- Start Simple: Begin with easy pieces to build confidence.
- Rhythm First: Work on nailing the rhythm before adding pitch.
- Daily Practice: Like any skill, the more you practice, the better you get.
- Use a Metronome: This will help you maintain a steady tempo.
- Scan Before Playing: Look for key signatures, tempo markings, and tricky sections beforehand.
Remember, patience is key. These skills are a marathon, not a sprint. Every time you decode a new piece, you’re a step closer to becoming a more capable and adaptable musician.
6. Creativity, Imagination, and the Ability to Improvise
Creativity and imagination are essential for transforming simple notes into captivating melodies. It’s what separates the greats from us, mere mortals.
The ability to improvise and spontaneously create music is crucial for musicians, especially in genres like jazz. But it’s important for all musicians, no matter their genre of choice, to practice improvising.
Practicing improvising stretches your imagination and allows you to experiment with sounds and rhythms. You’ll learn more about your instrument and uncover new ways to play it.
To nurture creativity, musicians should explore different genres, collaborate with challenging peers, and listen to diverse musical styles.
By embracing their unique creativity, musicians can push boundaries and create truly memorable performances.
7. Good Timing, Rhythm, and the Ability to Keep Tempo
Back when I first started playing jazz, I used to go to this jam session at a club in London called Charlie Wrights.
I was an 18-year-old fresh-faced student and not very good. But I knew it was important for me, so I would sit in with the band and get absolutely roasted by the other musicians. It was amazing but really hard.
The other musicians didn’t like playing with me, though, as I was terrible at playing in time – a key skill for a double bass player!
The best way to practice your time keeping skill is by using a metronome. Use one EVERY time you practice.
- Practicing scales? Use a metronome.
- Practicing a chord progression? Use a metronome.
- Practicing repertoire? Use a metronome.
It’s essential. You can pick one up from your local music store, but I’ve also got a free online metronome that you can use here.
8. Flexibility and Adaptability to Different Styles and Genres
I’ve noticed a lot of tribalism in terms of genres in music. People who like classical won’t listen to jazz. People who like heavy metal won’t listen to modern pop.
But, having flexibility and adaptability to different styles and genres is a great skill for musicians to have.
I’d recommend that you listen to different genres regularly. It’ll open up new techniques, new chords, new sounds and help you become more rounded as a musician.
Another good thing is to collaborate with musicians from other genres. Again, you’ll be exposed to a different way of thinking with regards to creating music and you’ll learn loads.
Remember, music is a language, and the more dialects you speak, the more conversations you can join.
9. Humility and the Willingness to Learn and Grow
Ever noticed how the best musicians often seem so down-to-earth? That’s no coincidence.
Humility is your secret weapon in the music industry. It opens up doors and keeps your mind receptive to new ideas. You might be talented, but there’s always room for improvement.
Some things to strive for in this context are:
- Self-awareness: Understand your strengths and weaknesses.
- Improvement and innovation: Stay abreast of new techniques and styles.
- Collaboration: Work effectively with others, valuing their input.
Ask yourself, are you open to constructive criticism? Do you seek feedback actively? This is what paves the way for growth. Keep in mind, every successful musician was once a beginner.
Remember, you’re never ‘too good’ to learn something new. Let your guard down, embrace the learning curve, and who knows? You just might surprise yourself with how much you can achieve.
10. Ability to Communicate Emotions and Connect with the Audience
Music is more than just playing the right notes in the correct order. At its core, it’s about communicating emotion, and this is what separates the good from the great.
Even if you’re just playing for yourself, imagine you’re performing the piece for an audience. Introduce dynamics, rubato, and soul into the music, and not only will it sound a lot better, but you’ll enjoy playing more!
A quick tip: Practice your performance by recording yourself to watch back later. This helps you see what your audience sees and sharpen your emotional communication skills. Remember, your goal is to make every note you play matter. This deep connection is the hallmark of a truly remarkable musician.
]]>The four different types are:
- Single Bar Line
- Double Bar Line
- End Bar Line
- Repeat Sign
Let’s get into them.
Quick Definition
Bar lines are the vertical lines that separate measures of music. Each type of bar line tells you something about where you are in the music – whether it’s the end of a measure, the end of a section, a repeated section, or the end of the piece.
Single Bar Line
Single Bar Lines are the most common type of bar line found between each measure of music.
They help us divide up notes to make them easier to read.
A single bar line is written as a thin vertical line that goes from the top line of the staff to the bottom.
Side Note: What Is A Measure?
A measure (also known as a bar) is what is in between the bar lines. It represents a small unit of music containing a specific number of beats.
You can use them as a reference to count measures or find the measure you are looking for within a piece of music.
Double Bar Line
A Double Bar Line indicates the end of a section in a piece of music.
You’ll often see this kind of bar line before a change in the key signature, tempo, time signature, or mood.
A double bar line is written as two thin vertical lines (that are the same thickness) next to each other.
End Bar Line
Next, we have an End Bar Line, which indicates the very end of a movement or piece.
When you reach an end bar line, you can stop playing or take a break before starting the next movement.
An end bar line looks like a double bar line, but the second line is a lot thicker than the first.
Repeat Sign
Sometimes a composer will want to repeat a section of music. Rather than writing out all the notes again, they can use a Repeat Sign which tells the musician to repeat what they’ve just played.
It’s written as an end bar line, but with two dots on either side of the middle line of the staff.
- A repeat sign with the dots facing left is an end repeat.
- A repeat sign with the dots facing right is a start repeat.
When you see an end repeat sign, you should go back to the previous start repeat sign and play the section again from there.
If there is no start repeat sign before it, you should play the section again from the beginning of the movement or piece.
Why are Bar Lines Important?
Besides being crucial to reading sheet music, knowing the different kinds of bar lines will also help you structure your own practice and communicate with other musicians.
For example, you can use the double bar lines to help you decide on a section of music to practice, since it indicates big changes in the music.
This vocabulary also makes it easier to explain your ideas to other musicians. During a rehearsal, you can say, “Let’s start at measure 7!” or “Can we play softer in the first repeated section?”
This is a clear way to communicate where you are referring to in the music.
Summing Up
Now you have the tools to identify the different types of bar lines and apply this knowledge to your musical practice.
If you have any questions, feel free to reach out and I’ll get back to you as soon as possible.
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