One of the things that I like most about music is that it gives you an alternate expression of the things that you see, feel, taste, touch, and hear. It's like an OTHER sense. In fact, if you followed the root words starting with "music" and worked backwards, you would eventually end up at "soul" - or the deepest part of who you are. So it is that music is often times an expression out of the deepest parts of who we are. In fact, it is usually a response TO something... which is why love songs will never cease to be written as long as there are human beings on the face of the earth. :)
When I stand on the rocky crags of a shoreline, the wind in my face and massive waves pounding at my feet, I can practically feel "thunder" in the ground before me. A mist covers me and I see a prism of colors fleeting before my eyes. That does somethings in my SOUL.
At times I have taken in the view of a rainbow, wrapping itself like a cloak about the shoulders of a dying storm. Never in a hurry, but never remaining a moment beyond what lends to it's mystery. It fades as fast as it came. And it does something in my SOUL.
I have traveled over miles of sand before. Through the rise and fall of endless ridges and valleys and have pondered that it is so often referred to as the wasteland. And yet, in the midst of 40 square miles of sand I found a tiny, yet absolutely beautiful purple flower, blooming in the most unlikely of places and conditions. No idea how long it had been there or how long it would last, but in the middle of what all others would consider utter lifelessness... well, there it is - one of the most beautiful expressions of life! In a way, it was the contrasting harsh conditions of the waterless and seemingly lifeless terrain with the delicate and well-formed flower that gave that little dessert dweller the beauty it possessed. It did something in my soul.
I have stood on a mountaintop near midnight, well above 14,000 feet high in the Himalaya and gazed at stars that were so bright and seemed so close that you could just reach up and pluck them out of the sky. It was unbelievable, like a dream that you wish never to be awakened from. It was as if the stars had decided for a night to come down to earth and surround you for just one brief display of their majesty. I will never forget that night as long as I live. It did something in my soul.
So here's my question: what moves you? What evokes a response from down in the deepest parts of your being? What speaks to your soul? Chances are that if you find that, you'll find the realest expression of music you could ever imagine. Find inspiration. Express that in whatever you play/sing/tap/strum/move to and you're sure to have an experience way beyond what anyone can ever teach you.
I thought it'd be interesting to hear from peeps about what inspires them to play. So...here we go - open up the dialogue, add your thoughts and let's all have a go of it!
Joe Couch, Lucci Music, Inc. Guitar Instructor
Copyright 2010 www.luccimusic.com
Monday, October 18, 2010
Thursday, September 9, 2010
The "music" of teaching...
This article assumes that you are a musician, a teacher, a student, or a combination of the aforementioned and have possibly hit some sort of plateau in your musical abilities. So, let us appropriately start by amplifying that there are many methods to teaching, there are many methods to learning, there are many diverse musical styles, and there are many ways to play. Generally speaking, no one can assume that one's teaching methods are the best, but (note to reader) please do assume that we are on to something... a refined learning process maybe, a new way to engage maybe, but most definitely our students are showing compound development in their musical strides! This begs the question, "how did we get there?"
So, to begin this blog, I want to ask you, the reader, a more underlying question: Are you seeing compound development? If so, then how did you get there and are you reaching it fast enough? Or, are you stunted in other areas of musical growth? I remember distinctly once that I was showing a student how to invert their major seventh chords. We had a good lesson (so I thought), but when the student came back the next week, had a frustrated look on his face and said, "I really don't understand the point of all this." See, a musician (student) can learn all the theory in the world, but then what does he/she do with it? A student can learn all the technical exercises, but then how does that make their music "sound better"? You get the point? So here is what we make of this: it is simply "application".
Application is key and teaching must be utilized as so, to be fully effective. If the musician (student) does not know how to utilize what they are learning then their time was, for a lack of a better word, misguided. With that said however, the learning process is still multiplied, and we want it "squared" or compounded. Let me humor you, the reader, with another question… Have you ever noticed how you, the musician, (or your students) sometimes may be lopsided in abilities? Some are amazing at theory, but have a hard time with a good quality sound. While others might have fast fingers, but when it comes to rhythm/timing, they are sloppy. And yet some can hear the music and even play it, but have bad technique or care too little about theory.
To battle this lopsidedness, I have found (and Lucci Music instructors all teach from this same perspective) that there are three fundamental areas of music that if learned collectively, develop compound musical growth (with application of course)
As the reader, you may have noticed that there are two fundamentals that contain "ear training", and yes those are different types of ear training which I will discuss in a later article. Any musicians (students) that have a healthy balance and application of all three of these fundamentals will grow to be a well rounded if not exceptional artist. Let the reader take note that: There is no substitute - only void and plateau - for a lack of one or more of these fundamentals. So, what does this have to do with teaching? (I was once told to stop asking so many questions… I figured they were just voices in my head) Well, to get to the point I want you, the reader, to understand really why Lucci Music is so special. Part of it can be summed up in the following teaching method we use: The three fundamentals should be part of each student’s daily repertoire. None of these three concepts should be taught without application. If the student does not know how to apply a concept, then that specific concept will fall by the wayside. The other part can be summed up in that the instructors at Lucci Music are young, full-time professional musicians, which may be beside the point, but none-the-less relative, I think, to the compound development of our students and our school (the quote “those who can’t do, teach,” does not apply here!)
So, reader, I want you to understand that our methods are continually being improved upon, and in no way do we claim we have "the best" or "the right" teaching style, and/or methods. We do however, care immensely about our students' education! With that said, I just want to leave you (the reader) with one last thought. If you consider this article, and understand that these concepts will enable you (and/or your students) to attain compound development in your practice and learning, then seek it out in a mentor, teacher, friend, or through whatever learning method you can find. And remember: teaching is not just about giving information; it is also about engaging your students to understand concepts so they can apply those same concepts to their everyday lives.
So, to begin this blog, I want to ask you, the reader, a more underlying question: Are you seeing compound development? If so, then how did you get there and are you reaching it fast enough? Or, are you stunted in other areas of musical growth? I remember distinctly once that I was showing a student how to invert their major seventh chords. We had a good lesson (so I thought), but when the student came back the next week, had a frustrated look on his face and said, "I really don't understand the point of all this." See, a musician (student) can learn all the theory in the world, but then what does he/she do with it? A student can learn all the technical exercises, but then how does that make their music "sound better"? You get the point? So here is what we make of this: it is simply "application".
Application is key and teaching must be utilized as so, to be fully effective. If the musician (student) does not know how to utilize what they are learning then their time was, for a lack of a better word, misguided. With that said however, the learning process is still multiplied, and we want it "squared" or compounded. Let me humor you, the reader, with another question… Have you ever noticed how you, the musician, (or your students) sometimes may be lopsided in abilities? Some are amazing at theory, but have a hard time with a good quality sound. While others might have fast fingers, but when it comes to rhythm/timing, they are sloppy. And yet some can hear the music and even play it, but have bad technique or care too little about theory.
To battle this lopsidedness, I have found (and Lucci Music instructors all teach from this same perspective) that there are three fundamental areas of music that if learned collectively, develop compound musical growth (with application of course)
- Theory / Ear Training
- Technique
- Performance / Ear Training
As the reader, you may have noticed that there are two fundamentals that contain "ear training", and yes those are different types of ear training which I will discuss in a later article. Any musicians (students) that have a healthy balance and application of all three of these fundamentals will grow to be a well rounded if not exceptional artist. Let the reader take note that: There is no substitute - only void and plateau - for a lack of one or more of these fundamentals. So, what does this have to do with teaching? (I was once told to stop asking so many questions… I figured they were just voices in my head) Well, to get to the point I want you, the reader, to understand really why Lucci Music is so special. Part of it can be summed up in the following teaching method we use: The three fundamentals should be part of each student’s daily repertoire. None of these three concepts should be taught without application. If the student does not know how to apply a concept, then that specific concept will fall by the wayside. The other part can be summed up in that the instructors at Lucci Music are young, full-time professional musicians, which may be beside the point, but none-the-less relative, I think, to the compound development of our students and our school (the quote “those who can’t do, teach,” does not apply here!)
So, reader, I want you to understand that our methods are continually being improved upon, and in no way do we claim we have "the best" or "the right" teaching style, and/or methods. We do however, care immensely about our students' education! With that said, I just want to leave you (the reader) with one last thought. If you consider this article, and understand that these concepts will enable you (and/or your students) to attain compound development in your practice and learning, then seek it out in a mentor, teacher, friend, or through whatever learning method you can find. And remember: teaching is not just about giving information; it is also about engaging your students to understand concepts so they can apply those same concepts to their everyday lives.
Matt Lucci, Lucci Music, Inc. President | Music Director
Copyright 2010 www.luccimusic.com
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