Memorizing vs. Understanding

Learning How to Learn

        To quote Maimonides, “Give a man a fish and you feed him for a day; teach a man to fish and you feed him for a lifetime.”  As a band teacher, I have witnessed learning without understanding (in my own program and the programs of other teachers).  Students learn a song (or group of songs) and then perform them in a concert.  However, the students are simply physically performing a rote activity that was instilled through repetition.  The students are still totally reliant on the teacher when attempting to “learn” a new song.  They have learned how to play a song, but not how to learn songs.  Understanding is the key to learning how to learn.  This leads to an eventual state of independence from the teacher. 

Acquiring vs. Applying Knowledge

Initially, the role of a teacher is both to acquire valid sources of knowledge for the student and aid the student in applying the knowledge.  We never become independent from the need to acquire knowledge.  When we learn how to learn, we become independent from the need for an intermediary who explains how to apply knowledge.  With an increased understanding of application comes an increased discernment of good and bad sources of knowledge.  This leads to an increased ability to seek out good sources of new knowledge (better ability to acquire) which leads to more application (the process is a cycle).

Specific Teaching Method Being Challenged

I have had a commenter question my approach to teaching the possible pitch names in music.  He insists that all names which are redundant due to enharmonic equivalence should be omitted, and that I should teach only 12 pitch names.  However, when we insert these 12 tones into the realm of music theory a problem occurs.  Although there are only 12 tones (pitch sounds) in music, there are not only 12 possible pitch names.  The language of music contains multiple names for each tone depending on the context of the situation.  If a person only knows 12 pitch names, what will happen when the music they are reading asks them to play a pitch name that they haven’t learned?  In the accompanying video, I provide several examples where a 12 pitch name approach may cause confusion.

I have selected to teach pitch names a certain way for a specific reason.  My goal is to help students understand concepts, not to have them just memorize information.  I do not want students to memorize the 21 possible pitches in my illustration.   I don’t want them to even memorize 12 pitches.   I want them to understand where all of the possible pitches come from (why they exist).

If anything is being memorized, it is the seven letters of the musical alphabet (which are the 1^st seven letters of the English alphabet).  Each letter can be either sharped or flatted.  This concept leads to an understanding of the existence of every possible pitch name.

The best example of the concept I am explaining today is in my lesson called Memorizing Scales.  I teach memorization in this lesson, but it is based on an understanding of the formation of key signatures (I still use the 21 possible pitch graphic).  The 1^st time I used this graphic was in my lesson called The Musical Alphabet, where I teach about enharmonic equivalence.  Even in my Chord Progressions lesson, I implement the practice of teaching for understanding instead of rote memorization.  I believe this practice is why so many people have found this lesson helpful.  

        This Learning Music With Ray video compares and contrasts teaching (and learning) styles that emphasize memorization against ones that emphasize understanding.  The primary reason for this video is to respond to a question generated in the comment section of my Chord Progressions lesson.  I do not want my viewers to be confused about the teaching methods that I used in my lessons.  I hope that this video helps to bring clarification. 

Worship Piano Rhythmic Patterns (introduction)

                All music (including worship music) contains a groove.  Groove is the musical rhythmic pattern that pushes the listener through the piece.  Groove differs from beat in that a beat is a sterile repeating pulse or click that establishes the tempo of the piece.  It has no sense of musical identity or character.  A groove is a rhythmic feel or pattern that does have a sense of musical identity or character.  Although groove does help to establish the tempo, it also establishes the style of the piece.

Like the strum and pick patterns of a guitar, a piano/keyboard can be played with different rhythmic patterns.  These patterns can help to establish the groove.  Accents and dynamics play a large role in establishing groove.  The ability to maintain a stable performance of repeated notes with little no dynamic variation may be desirable in some classical performance situations.  However, in many other styles accents and dynamic contrast often add to the musicality of a groove.  In the accompanying video, I demonstrate several examples of this on the piano.

Piano/keyboard players need to listen to the groove of the piece (and/or the other instruments) and perform in a style that fits that groove.  Rhythmic patterns and performance details (such as dynamics, articulation and other forms of expression) that complement the other aspects of the groove should be accentuated in the piano/keyboard part.  This includes the selection of register on which the performer chooses to play.  Since the piano/keyboard has the largest range of all the instruments in the band (or other musical ensembles), we have the ability to select a register that will complement the overall orchestration of the song.  We can avoid crowding registers that already contain a good deal of sonic information.  We can also fill these areas in moments when the arrangement is sparse, or when we are called upon to take the forefront. 

In the case of keyboard playing, different grooves and styles may also call for different sounds.  Since this instrument has the ability to change its sonic character, why not use this to help complement the arrangement.  Certain sounds will blend better with the other instruments in the arrangement.  In addition, certain sounds will complement the groove of the song better than others.  In the accompanying video, I demonstrate several examples of this on the keyboard.

                This Learning Music With Ray video discusses the implementation of rhythmic patterns in worship piano playing.  The concepts covered can actually be applied to any style of chord based piano playing.  The main focus of the lesson is to provide a detailed understanding of the definition and function of groove within music.  I discuss the difference between beat and groove.  I also provide musical examples of a simple chord progression being played in different musical styles.  With each example, I discuss the elements of the groove that help to determine which piano rhythmic patterns would complement the performance.  

Time Signatures 2

In our last lesson we discussed the basic concepts pertaining to time signatures.  There are several additional concepts that extend beyond what was covered last time.  Today we will take the time to discuss these concepts and obtain a more thorough understanding of time signatures.

Common Time

The most common time signature found in music is 4/4.  Because it is so common, the other name we use as an abbreviation is common time (they mean the same thing).  The symbol used to indicate common time is a C in the place where the time signature normally is. 

Other Base 4 Time Signatures

As we mentioned in part 1, a time signature can have any number on the top.  The most common top numbers in a base 4 time signature (beside 4) are 2 and 3.  However, more complex types of music may use other numbers (ex: Take Five – from the Dave Brubeck Quartet).  In these cases it is important to remember that the quarter note gets one beat (and the other rhythms are counted accordingly).  The top number dictates the number of beats found in each measure, so a song in 5/4 would be counted 1-2-3-4-5 / 1-2-3-4-5.  This type of counting may feel more awkward since it is less common.  However, repeated use will cause a performer to become familiarized with these uncommon time signatures.

Cut Time

Another time signature that uses the symbol of a C is cut time.  Here the C is marked with a slash to indicate that it is cut.  This is an abbreviation for 2/2 since each number of common time has been cut in half.

If we understand how to simplify fractions, then we realize that 4/4 and 2/2 are mathematically equivalent to each other.  So, why do we have cut time?  Why not just use common time?  When we are keeping the beat to a fast song in common time, we reach a point at which it becomes difficult to tap or clap any faster.  At this point, it is easier to tap every other beat (1 & 3) instead of every beat.  When we do this, we are really tapping 2 beats per measure and giving the half note a value of one beat.  This results in the creation of cut time.

Other Base 2 Time Signatures

The same rules apply in base 2 time signatures as far as the top number is concerned (any number can occur).  The most common number is 2 due to our need for cut time (as described in the last slide).  Any other time signature can be adequately covered in base 4.  However, other base 2 time signatures can occur in theory.  In these cases, simply count the number of beats per measure indicated by the top number, remembering that the half note receives one beat.

6/8 Time

            6/8 time is actually very similar to 3/4.  Both of these time signatures contain 6 eighth notes per measure.  However, they group the eighth notes differently.  In 3/4, the eighth notes occur as 3 groups of two.  In 6/8, they occur as 2 groups of three.  Because of this, 6/8 can also be view as a triplet form of 2/4 time.

6/8 In 2

Since 6/8 time contains 2 groups of 3, performers may count only the 1^st and 4^th beat when the tempo gets faster.  The reason for this type of counting application is similar to the use of cut time explained earlier.  We call this “counting in 2” (it’s like a triplet version of 2/4).           

                                

Other Base 8 Time Signatures

     Since base 8 time is like a triplet form of base 4, most other base 8 time signatures contain top numbers that are multiples of 3 (3/8, 9/8, 12/8…).  However, other top number can occur in base 8 time signatures (in theory).  In these cases, simply count the number of beats per measure indicated by the top number, remembering that the eighth note receives one beat.

Mixed Meter

            Another complex occurrence in music is the existence of multiple time signatures within a piece.  This is called mixed meter.  Mixed meter usually exists in a regularly occurring pattern that fits into a larger meter.  For example, a repeating pattern of two measures of 2/4 and one measure of 3/4 may be used as a replacement for an overall pattern of 7/4.  Mixed meter can also occur with random changes, however this is less common.  Music is usually composed of patterns.  The more random a piece of music is, the more difficult it becomes for the listener to follow.

This Learning Music With Ray video is a continuation of our lesson on time signatures.  In it, I discuss special cases such as common time, cut time and 6/8 time.  I explain the reason for the creation of these cases and the relation of cut time and 6/8 time to other time signatures.  I also discuss more challenging time signatures (such as 5/4 and 7/4).  Finally, I cover the topic of mixed meter (having multiple time signatures).