Music Courses

Music courses are a great way to learn about virtually any area of music; history, theory, instrument instruction -- you name it and somewhere music courses specialize in it. Though generally found through colleges, universities or high school programs, music courses are also offered via one-on-one instruction with a private teacher or community-based workshops. Some churches even offer music courses as a complement to their choirs; the music courses may be offered to the general public, but they're often geared toward the choir members and congregation.

Music courses offered by colleges are generally far more in-depth than other music courses and are usually only available to degree-seeking students (though some colleges offer music courses as part of their continuing education programs). Lower level college music courses often focus on an amalgamation of music theory and history, teaching individual theory concepts based on the historical period to which they are particular. As the music courses grow in skill level so too does the number of specialized topics. Advanced music courses are available for nearly every historical music period and are sometimes based on one particular movement. Advanced music courses for theory grow increasingly more difficult and slowly teach every detail found in modern music theory; it's during the theory music courses that students intending to major in music have their skills challenged the most -- some even refer to these music courses as a weeding out period.  The photo to the left and above is a young me in front of the Westlake College of Modern Music, a school for jazz musicians right on Sunset Blvd. in Hollywood.

Instrument-based music courses are equally as tough at the college level, though they usually assume a working knowledge of the instrument before the class begins. Those wishing to learn an instrument, therefore, are better off with private music courses or music courses offered by a community orchestra or social group. These music courses will focus on the basic details of learning an instrument, starting from the very beginning. Fingering, theory and music reading will be covered, in addition to the occasional bit of history. Students of these music courses may then wish to move on to college-level music courses after completing a few years of private instruction.

What does it really mean to "play by ear?"

To play by ear is to learn a piece of music (or, by extension, an instrument) by simply hearing it over and over again. A number of musicians, many of them self-taught, began their music education in this manner; it's often an invaluable way to learn the mechanics of song and chord structure. Ever sat down at a piano and picked out "Twinkle, Twinkle Little Star"? Or what about grabbing a guitar and suddenly stumbling into the opening licks of Deep Purple's "Smoke on the Water" or Nirvana's "Smells Like Teen Spirit"? If you have, you can play by ear. It's an unbelievably common practice, even among non-musicians who just peck around at an instrument if it happens to be in the room. Even classically trained musicians that have spent their lives learning to read music are sometimes encouraged to play by ear; it's a technique that hones that inherent musical sense found in so many thriving musicians.

A great number of self-taught musicians started their training by learning to play by ear. Instead of picking up a book or taking lessons, they just slowly picked out the chords of a song until the entire thing was mastered. Then they moved on to another song. And another. Gradually, they learned their instrument just by their ability to play by ear; each song presented a new chord or a new technique to figure out and conquer. It's a method used mostly by popular musicians, particularly rock musicians who learned the nuances of composition and performance simply by knowing how to play by ear.

Though classical musicians are generally educated based on tons of music theory and sight reading, some methods tout the benefits of knowing how to play by ear. The Suzuki method of musical training, for instance, espouses the idea that learning music is the same as learning a language; it's acquired by years of hearing it coupled with formal training. Just like we pick up our language by listening to our parents and subsequently attending school, the Suzuki method teaches young children to play by ear before they begin formal training. The Suzuki school of thought on learning how to play by ear has proven to be fairly effective, but it is sometimes considered harmful as the children progress in their education; to play by ear at such an early age (and long before formal training) has the potential to damage the child's ability to actually read music instead of just picking out the notes or melodies.

What is a "Chord Substitution?"

A Chord substitution is precisely what the name implies: the substitution of one chord for another during a chord progression. It's a technique often found in jazz music (but other genres, as well) used to add a little extra pizzazz to a piece of music. Chord substitutions contribute to the element of surprise; it keeps the progressions from becoming predictable, without compromising the overall tone of the piece. Instead of playing a constant, consistent G chord, for instance, musicians will sometimes use chord substitutions to replace that G with a G6 or Gmaj7, depending on the song and the effect desired. Chord substitutions are a great way to add a kick to an otherwise monotonous progression.

There are many things to consider when working with chord substitutions. First of all, chord substitutions will be especially easy when the two chords share a number of common notes. C major, for example, can be easily substituted with A minor because both of these chords contain a C and E. But it isn't just enough to share common notes; the common notes in chord substitutions are best received when they drive the chord. The first two notes of a chord (including the root) are what give a chord its defining characteristics. If chord substitutions contain these notes in an insignificant place, the substituted chord won't be as interchangeable. Let's consider C major and A minor again. These chord substitutions works because the two common notes, C and E, are the two most important notes within the C major chord. The root note, C, shifts in these chord substitutions, but it is still present enough to keep the chord's essential quality. But it's important to mention here that, rules and regulations aside, chord substitutions are really in the eye of the beholder; if you think it works and like the sound the chord substitutions have created, feel free to explore it. There's no rule in chord substitutions (or music, for that matter) that can't be broken.

What does the word "Melody" refer to in music?

The melody is the tune of a song or piece of music. It is the part you whistle or hum – the part that carries the words, if there are any.

Melody is possibly the most stigmatized concept in music theory. For something to be melodic, many people believe that it needs to be slow and pretty; it's a word that carries a heavy connotation. Melody (at least the current version of the word) is beautiful, and anything that deviates from that is simply not melodic. Strictly speaking, however, melody has nothing to do with beauty or abrasiveness. Melody is just a series of notes or pitches played in succession, notes that can be heard as a whole. Simply sitting down at a piano and banging out a couple of notes does not a melody make. A melody needs to be heard as a single entity in order to be considered a melody. And even the most dissonant of musical phrases is still a melody if it fits that requirement.

The modern idea of melody differs from that of early western classical. Melody is heavily used in rock and pop music, and those genres usually base a song on one or two melodies only: the verse and the chorus. Of course, there are some subtle deviations along the way, but a catchy, radio-friendly pop song will repeat the same melody over and over to make it memorable for the listeners. Early western classical music didn't have the same concern with airplay and demographics, so a strictly repeated melody wasn't the norm. This type of music used melody to introduce a theme, moving on to vary that theme in several different ways. The basic melody was still there, but it had the potential to became nearly unrecognizable as it shifted and changed. The sonata form is a stunning example of this concept of theme and melody restatement.
Melody is also extremely important to jazz musicians, especially those that specialize in improvisation. Though there are several types of improvisation, melody is frequently used as the song's base. Improvisers will set a pre-determined melody and allow the lead instrument to jump forward from that melody. It creates a wonderfully rich piece of music that shows how quickly (and interestingly) a melody can evolve.

Is there a difference between keyboard chords & piano chords?

No.

Keyboard chords are chord played on a piano or any other keyboard-based instrument, such as a synthesizer or digital piano. The differences between keyboard chords and chords of other kinds are minimal; in fact, the only real distinguishing factor is the instrument on which they are played. By virtue, keyboard chords are exactly the same as guitar chords. The keyboard may be played differently than the guitar, but the basic chord formation remains the same.


Keyboard chords, like all other chords, consist of three or more notes played together. The notes don't necessarily need to be played at the exact same time, however. Broken keyboard chords, or arpeggios, are three or more notes that are staggered as opposed to simultaneous; as long as the notes are close enough to be heard as a whole they're still considered keyboard chords.

The names given to keyboard chords are based on either note number or interval type. Keyboard chords classified by note number are given names like trichord (three notes), tetrachord (five notes) or hexachord (six notes). Keyboard chords named by interval type are given names such as tertian (keyboard chords based on a third), secundal (keyboard chords based on a second) or quartal (keyboard chords based on a fourth). It's also possible to name keyboard chords based on both qualities; for example, tertian trichords are keyboard chords consisting of three notes a third above each other. These type of keyboard chords are extremely common, often a staple of rock and pop music.

Keyboard chords are extremely versatile and can be altered in a number of ways. Lowering the pitch by a half-step produces diminished keyboard chords (notated by the abbreviation "dim"); likewise, raising the pitch by a half-stop creates augmented keyboard chords (notated by "aug"). Inverted keyboard chords carry a bass note other than the root, and seventh keyboard chords are those that add to the triad a note that is a third above the chord's fifth. Extended keyboard chords are variations on seventh chords, created by adding notes that go beyond the seventh interval into a ninth, eleventh or thirteenth.

Improvisation: How To Color Without Crayons

Improvisation -- Coloring Without Crayons

Improvisation (also known as improvising) is the act of making something up as you go along -- an act with which we all have a little experience. Remember playing House or Doctor as a child, letting the game go wherever your mind would take you? That was improvisation. No rules, no boundaries, just the limitless potential of your imagination.

Similarly, musical improvisation is the act of writing a song while performing it, a technique found most often in jazz and bluegrass (but can be traced back to renowned classical improvisers like Handel and Bach). Of course, it's a little more complicated than an imaginative children's game. Though improvisation is a highly creative and flexible technique, it requires great skill on the part of the musician. A musician involved in an improvisation must have a detailed knowledge of chord structure and complicated scales and modes. The musician must also have an intuitive ability to structure a song on the fly; great improvisation thrives on its ability to sound not improvised but rather wholly composed. That illusion, the ability of a song to seem anything but spontaneously made up, is part of improvisation's allure.



There are two basic forms of improvisation: structured improvisation and free improvisation. Structured improvisation, though a contradiction in terms, is the most common of the two. In this form, musicians will use a pre-determined series of chord changes, usually held down by the rhythm section, as the song's base. The lead instruments in the improvisation (also pre-determined) then have the freedom to create new melodies and harmonies from these pre-determined chords. The flexibility of this improvisation form is dependent on the flexibility of the chord changes, and the musicians involved must be able to play exactly what they hear in their heads, as some complicated changes may not allow for large deviations.


Free improvisation, on the other hand, is far more like a game of House or Doctor -- it has no rules. Instead of focusing on harmony or melody, free improvisation focuses on the feeling and texture of the music and the way the instruments complement each other. This form tends to be far more experimental and rarely adheres to one style or genre or music -- it is, quite simply, what it is. Notable musicians who play free improvisation include Conny Bauer, Evan Parker and Hans Reichel.

How many notes does it take to make a chord?

One note played at a time is termed a unison; two notes together form an interval; three or more notes form a chord.


Chords are at the very crux of music theory -- or music alone, for that matter. Chords are three or more notes (or pitch classes; strictly speaking, notes are the written form of pitches) played together. But these notes don't necessarily have to be played simultaneously. Broken chords, or arpeggios, are three or more notes that aren't played at the same time but closely enough to be heard as a group or whole. And even the three-note rule is open to exception. Power chords, frequently used in rock music, consist of only two notes, but they still function as chords because they work, diatonically, in the same way that a major or minor chord would.



Chords are most often named based on their number of notes or the type of intervals involved. Chords classified by note number are given names such as trichord (three notes), tetrachord (five notes), and hexachord (six notes). Chords classified by interval are given names such as tertian (third chords), secundal (second chords), and quartal (fourth chords). Sometimes chords are named based on both qualities. Tertian trichords, for example, are chords with three notes, each a third above each other. These type of chords are actually the most common in western music, found frequently in rock and pop.



These chords aren't the only chords possible, however. There are several specialized chord types that seem to defy strict categorization. Inverted chords are created by adding a bass note that is not the root note. Seventh chords can be made by adding a fourth to a triad -- a third above the chord's fifth -- which makes the highest note a seventh from the root. Extended chords are those with notes that extend above a seventh, such as a ninth or an eleventh. But it's important to mention that no extended chord can go above a thirteenth. By that point, the notes included will have already been played somewhere in the chord, taking it back down to an eleventh or thirteenth.

What's the Difference Between a Regular Piano & an Electric Piano?

An electric piano (also known as an electronic piano) is an electronic, keyboard-based instrument made to sound like a piano; in fact, the instrument was created to provide musicians with a more portable version of the hefty upright or grand pianos. The sound of an electric piano, however, is not an exact replica. All versions of electric piano carry their own unique sound, which has made many of them extremely sought after (even though some types are extremely rare). An electric piano falls somewhere between an acoustic piano and an organ, but defies the sound properties of both. While it carries the same basic features as a piano -- full 88 key keyboard, various pedals and weighted keys -- the sound is more comparable to an organ than to any type of piano. An electric piano is actually a rudimentary, un-evolved version of the modern digital piano -- it was created with the same concepts of portability and function in mind -- but it's hardly seen in that light. Like many rudimentary, vintage things, the electric piano has only grown in popularity with its age; the electric piano, like early video game systems, is now a cherished and highly used piece of pop culture.

The term electric piano isn't always used in this specific a fashion, however. Often, electric piano describes the more modern digital pianos or synthesizers; it has similarities to both. Like a digital piano, an electric piano focuses on portability and piano-like qualities. It includes pedals and weighted keys, two very piano-like elements, and strives to create the same vibrant sound. And like a synthesizer, it is strikingly electronic and easily distinguishable from any type of acoustic instrument. But unlike either the digital piano or synthesizer, the electric piano produces a very rich, vivid sound. Audiophiles sometimes cite the electric piano as the best-sounding electronic instrument ever made; it maintains it's electronic qualities without sounding tinny or canned, like some modern electronic instruments. For that reason, it is often used where an electronic element doesn't need to be overwhelming; the electric piano makes its electronic point without compromising the richness of the ensemble.

What are the functions of "rests?"

Rests are musical notations that mark a fixed period of silence. The silence, or open space, in a piece of music is equally important to the placement of the notes. A system of carefully placed rests has the ability to make or break a song and to completely alter the its mood or theme. The types of rests and their values mirror that of the notes they are replacing and can be used in a multitude of ways.

Multi-measure rests last for several measures. They are marked as whole rests with the number of silent measures noted above them. Multi-measure rests are typically only used when the piece requires more than eight whole rests in a row.
Four-measure rests last for four measures and are occasionally marked as multi-measure rests. Though it is generally considered more correct to use a multi-measure rest with only eight rested measures, it's not at all uncommon to find four-measure rests marked as such.
Double-whole rests (or breve rests) last twice as long as a whole note. They are represented by a black vertical rectangle between the second and third lines of a musical staff.
Whole rests (or semibreve rests) represent one whole note. This is usually meant as four beats, but whole rests are often used in 3/4 time as well. In this case, whole rests represent a whole measure as opposed to a whole note. They are notated as a black horizontal rectangle under the second line from the top of a staff.
Half rests (or minim rests) are half as long as a whole note. They are represented by a black horizontal rectangle above the third line from the top of a staff.
Quarter rests (or crochet rests) last for a quarter of a whole note. Their notation is the most distinctive and commonly used; it's a nearly indescribable curvy line stretching over the staff's middle three lines.
Rests continue to be notated up to one sixty-fourth of a whole note and can also have their value shifted by placing a dot next to the notation. Dotted rests last the length of the original rest, plus one half. For example, dotted half rests last three beats and dotted quarter rests last one and one-half beats.

What is "Composing?"

In the simplest terms possible, composing is the act of writing a song. Composing is the most vital part of music, and while most musicians are able to read the music written by a composer, few actually believe themselves to be proficient in composing. It's a tricky form, especially when a composer is given the task of composing for an entire orchestra or band as opposed to simply one instrument, such as individual piano or cello compositions.

Strictly speaking, the terms composing and songwriting are completely interchangeable. They do, after all, mean exactly the same thing: writing a song, or a part of a song, from start to finish. But the words' connotations are radically different. While songwriting is an informal practice, confined mostly to the popular musical genres, composing is the province of the classical musician. Those interested in composing must not only be able to perfectly read music, they must be able to notate it equally as well. Songwriting, while a valuable form in its own right, is rarely used as a means to write down music for others to read; those writing the songs are frequently writing for themselves or for others to whom they can simply play the song. Composing, on the other hand, is usually intended for an individual other than the composer -- and for widespread consumption, at that. Great compositions will migrate from orchestra to orchestra, eliminating the possibility of the person composing the music to physically play the song for other musicians.

Composing often requires formal training (though it in no way has to; several great composers have had no formal training at all) and many would-be composers attend music school for years prior to the start of their careers. A music school focused on composing will educate its students in massive amounts of music theory as well as individual instruments. Most composing students are encouraged, if not required, to study and proficiently play more than one or two instruments aside from piano, which is a given.