In the realm of percussion, the goal for every music educator is to create a percussionist who is also a well-rounded musician. As teachers, we dream of a highly disciplined group of students in the back of the band hall who are every bit as accomplished as their brass, woodwind or string counterparts.
Yet all too often we are roused from this wonderful dream by the eardrum-shattering sounds of the dreaded bell kit. Many of us experience the sound of a dozen or more first year percussionists playing on these tiny hearing-loss creating devices and say, “There has to be a better way.”
Now there is. The tabletop xylophone has taken the place of the bell kit and has become a useful tool to help create young percussionist-musicians. Here’s why:
Sound Quality
Yamaha XY-1030PR with optional stand.
Because bell kits have such a high-pitched and displeasing sound, some students (and their parents!) have been so turned off that they have been discouraged from practicing altogether. And even if they do persevere, students often strike the bars in a very timid fashion — a stroke that doesn’t create the correct technique or muscle memory. Designed specifically for easy playability and handling, the Yamaha YX-1030 tabletop xylophone offers full-size bars made of real Pao rosa wood for a true characteristic tone. As a result, students using the proper stroke with this instrument will create the desired sound from day one. Proper strokes are analogous to tone production in wind instruments. If students are practicing on a beginning instrument that does not promote this, they will be creating poor performance habits. The YX-1030PR can be played with a full stroke since it produces a superior sound to other alternatives.
A Boon to Technique
Mallet percussion reading and technique is vital to the development of every young percussionist-musician. For beginning players, the ability to keep their eyes on the music and be able to hit the bars accurately is enhanced by full-sized bars. Bell kits, with their tiny bars and mounting screws, are very difficult to hit with any consistency or exactness. The larger bars of a tabletop xylophone such as the Yamaha YX-1030PR more closely imitate the peripheral vision playing situation of a full-sized instrument and create the proper muscle memory, vital for accuracy. Students who practice playing scale patterns on a tabletop xylophone will have little or no trouble transferring to a performance instrument. This cannot be said of a student who practices on a bell kit.
Because most tabletop xylophones (including the Yamaha YX-1030PR) are three-octave instruments, students in their second or third year of instruction can perform virtually all of the études found in band method books, concert band literature and District Honor Band audition music. Students can practice all of their major scales in two-octave patterns, as is often required of auditions. Even beginning four mallet technique can be started on a tabletop xylophone.
Home Use
The ability to give students an instrument that enables them to do focused, deliberate and accurate practice at home is an immeasurable advantage to any alternative currently available.
Any beginning student with a tabletop xylophone under his or her bed or stored in the closet has a fully functioning tool for high-quality practice in just seconds. The YX-1030PR has a frame with rubber feet that can be stored upright in a limited space and set up just about anywhere. (There’s even an included drop cover.) The advantage of this favorable at-home scenario over the bell kit option — or attempting to find practice time on a school owned instrument before or after school — is profound. Students will become self-reliant with their practice habits and excuses for not practicing will be eliminated.
Use in the Classroom and Practice Room
In addition to being a useful tool for beginning students, the tabletop xylophone is also a huge asset in the classroom. A few additional sets of instruments such as the YX-1030PR in the classroom can allow entire classes of percussionists to perform at the same time — a cost-effective way to have enough mallet resources for every student. In addition, small practice rooms that may not be able to fit a full-sized instrument can certainly fit a three-octave xylophone. A school outfitted with these instruments creates even more opportunities for their young percussionists to hone their skills.
Click here for more information about the Yamaha YX-1030PR tabletop xylophone.
Click here to read about and download the Yamaha Mallet Resource Guide, which provides information about music fundamentals, along with exercises, scales and études for students.
The light starts to change in the fall — the sun’s rays become more slanted as they peek through the changing leaves, the sunsets creep up earlier and earlier. It signals the start of spooky season, and for those of us who place Halloween at the pinnacle of our holiday traditions, we delight in the longer shadows.
Make the most of this liminal season with your music students, by creating lessons that delve into some of the world’s greatest sound mysteries. Mystery sounds can be used to teach pitch, tone, frequency, perception of sound, how acoustical waves move, and other interesting topics. Plus, it gives music educators an opportunity to play with humor and history, weaving them into music curriculum. Here are a few ideas to get you inspired.
The Groaning Mummy
The staggering, bandage-draped mummy that lurches at kids has been a familiar trope for generations. Learning about real-life mummies can be memorable too, although most mummies are, well, quiet.
Not so with the mummy of Nesyamun, an Egyptian priest who lived 3,000 years ago and first unwrapped in England in 1824. Also called the Leeds Mummy for the museum that houses the mummified remains, Nesyamun has contributed to science in a rather unusual way.
Using CT scans of the mummy’s mouth and throat, scientists created a 3D printed larynx, then used computer software and a loudspeaker to recreate what Nesyamun’s voice sounded like during his lifetime.
The results were a less-than-enthused sound: “Ehhh.” Who knew the ancient world was populated with Larry David types?
The sound bite is so small because “this acoustic output is for the single sound for the extant vocal tract shape; it does not provide a basis for synthesizing running speech,” explain the researchers. Still, this is an excellent opportunity to discuss the human vocal tract and how air and movements cause the sounds that we call speech and singing.
Here’s a video from LiveScience that has Nesyamun’s sound repeated, as well as slowed down, making it easier to hear it clearly.
The Death Whistle
Another archaeological dig, this one in 1999 in Mexico, brought to surface an unusual ceramic, palm-sized instrument, clutched in the hand of a male skeleton.
It was dubbed an “Aztec Death Whistle” because it is shaped like a skull. Was this ancient Mexican sound generator used in warfare to terrify opponents with its shrill noise? Maybe. Or was it used for other purposes, such as religious ceremonies, since it was discovered at a temple associated with Ehecatl, the wind god?
Research continues, but many replica “Aztec Death Whistles” have made the rounds on Amazon and social media, with 3D printed or ceramic models popular, so your students may be aware of them. Here are some materials for creating a music lesson about this intriguing pre-Hispanic instrument:
Read about how a contemporary musician reinterpreted the whistle into the composition “Death Whistle,” for the piccolo.
Ghostly Seneca Drums
If mummies and death whistles are a little too intense, here’s an idea for younger students.
For hundreds of years, residents and visitors of Seneca Lake, one of the Finger Lakes in western New York, have been reporting strange sounds. Sometimes called the Seneca Drums, or the Lake Drum, the Lake Gun or the Seneca Guns, this auditory phenomenon is a “deep, hollow, distant, and imposing sound” like a cannon going off in the distance, reported the famous author James Fenimore Cooper in 1850.
The indigenous population of the area chalked it up to the voice of Manitou, or Great Spirit, and incorporated the sound into some of their mythology. Modern scientists have proposed that the sound may be a bursting of natural gas bubbles that were previously trapped in the glacial lake’s bottom.
Ask students, what ghostly drums would sound like? Have them create their own patterns and tempos.
Seneca Drums can also be a jumping off point to talk about the drums, flutes and rattles used by native Americans from that region, including the Iroquois nations of the Seneca and Cayuga. PBS has a learning module featuring renowned Iroquois flute maker and musician Tsa ne Do ‘se that includes a nine-minute video, background reading suggestions and support materials for students.
Spooky Animal Sounds
Another fun sound exploration for younger students is to delve into the bizarre sounds found in the animal kingdom.
Weird animal sounds offer up ways to talk about topics like pitch, volume and timing. Can your students mimic the sound? Can they create a movement that accompanies the sound? Can they draw a picture of an imaginary monster that could be associated with the sound?
Hopefully these ideas have inspired you to make the most of spooky season and conjure up some fall sound mysteries for your students.
Music directors often lament that they wish they had more time for score study. This usually means that they wish they could get away from administrative tasks and the non-musical items of their job. At a recent clinic, a student asked a college band director what the hardest part of being a music educator was. The professor said, hands down, taking time away from teaching and getting into the music because of administrative tasks. Many people feel like these administrative tasks are never-ending.
I am here to tell you that they are correct. These tasks are never-ending, and you’ll never completely finish that to-do list. This is good news! If these tasks are never-ending, then you know that they’ll always be there when you need to get back to them.
Yes, of course, I know that these items are necessary to our job, but so is preparing our lessons by score studying. My advice on these items is simple and direct: Put the needs of you and your ensemble before the other tasks get attention.
So, let’s put score study first and make sure that we are more prepared for our students than ever before!
Step 1: Prepare Your Space for Score Study
Set the stage for the next day: Unless you have considerable time today, prepare your materials for tomorrow. Ensure a clean workspace.
Gather your materials: Set out your scores, pencils, highlighters and small Post-Its. Have access to fingering charts or diction guides, a metronome and a physical musical dictionary.
Duplicate scores: Purchase two original copies of scores. Keep one at school and one in your bag or use one as a mark-up copy. This benefits you if you have guest clinicians.
Optional equipment: If you have a small keyboard, have it available. If not, consider using a Yamaha Harmony Director.
Step 2: Initial Score Preparation
Number measures: If the score is not numbered, write in measure numbers for the complete score. You can pay students a dollar a score to number them if you’re short on time (district policies permitting).
Identify keys: Identify and write the keys below the score.
Check for errata: Search for any errors in the score and parts using the search term “NAME OF PIECE errata.” Mark in these changes if applicable.
Step 3: Define Musical Terms
Translate terms: Go through your score and pencil in every translation that you don’t immediately remember.
Teaching considerations: Think about how you would define and teach these terms to your students. Consider how to manipulate instruments or voice to ensure proper tone and intonation, and how articulation or diction may need to be altered.
Step 4: Plan for the Next Day
Set up your workspace: Close your score and set it in the middle of your desk, on top of your keyboard or mouse. Congratulations, you’ve just done a little bit of score study today.
Photo credit: Adobe Stock/Anthony Brown
The Next Day: Score Study Session
1. Enter Your Workspace:
Time allocation: Enter with enough time to study, starting with just five to seven minutes.
Minimize distractions: Do not turn on your computer, put your phone on do not disturb, and potentially put your phone away in a drawer.
2. Tasks for Day One:
Read program notes: Read through the program notes in the score and underline or highlight important items. Summarize the piece in two sentences or less.
Play or sing one line: Using your keyboard or humming along, play, hum or sing the entire first line of the score. Place a small checkmark next to this line at the beginning.
3. Continued Study:
Daily practice: If you have more time, continue to the next line of music. Keep going through the piece, plunking out or singing/humming the notes.
Sectional study: For long pieces, break them up into sections and study them progressively.
Step 5: Observe and Mark
Identify similar lines: Note similar lines across different instruments or voices.
Highlight melodies: Use highlighters or pencils to mark melodies, countermelodies and other significant parts. Be consistent with your system.
Step 6: Harmonic Analysis
I thought harmonic analysis went away after college. Turns out, it can bring an ensemble to the next level!
Start simple: Identify tonic (I) and dominant (V) chords. Mark them either underneath the score or in the middle if it’s a larger score.
Accidental sections: Pay extra attention to sections with accidentals as they may indicate modulations or unique chords.
Step 7: Rinse and Repeat!
For tougher pieces, I go back and do this process again. The nice part about starting it again is that it usually becomes quicker the second and third time. This also allows you to check your work and make sure those chords are analyzed correctly.
I often find new musical ideas I missed the first time!
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Summary Checklist
Prepare your space: Clear your desk and have all your materials available. A good score study session begins the day before.
Protect your time: Schedule score study sessions, and do not allow interruptions. If necessary, find a quiet place away from your usual workspace.
Number measures and check errata: Ensure your score is numbered and any errata are marked.
Play or sing through lines: Go through each line of the score multiple times.
Harmonic analysis: Identify tonic and dominant chords on the first pass.
Score studying is important for being a good music educator. I don’t know of anything else that helps you really understand the music you’re teaching. By following these steps, you can make sure you’re using your time well and balancing the admin stuff with the crucial practice of score study. Remember, small and consistent efforts lead to big improvements in your teaching and your ensemble’s performance. Embrace these strategies, and you’ll find yourself more prepared and less stressed, which is a win-win for both you and your students.
Above all else, the music students in the Abington School District in Pennsylvania, love to perform, wherever and whenever they can. When COVID lockdowns threatened their performance opportunities, music industry teacher Kevin Longwill found a solution that grew into even bigger and better performance opportunities than anyone could have imagined.
Longwill, who teaches music classes for Abington’s middle and high schools, originally taught students digital recording as a way to keep them engaged in music while school was virtual in 2020. During the years since, digital music instruction has grown into a program called Modern Music Makers, also known as M3. This co-curricular music program for middle and high school students has four total divisions: management, media, marketing and mentorship. Through M3, students develop a variety of skills in performance, songwriting, technical production, show development and other facets of the professional music industry.
A Process of Adaptation
When COVID lockdowns began in the spring of 2020, Longwill noticed the impact virtual schooling had on his music students. “A lot of our kids were losing one of the things that makes music fun — playing music with their friends,” he says.
After watching videos of virtual music ensemble performances, Longwill was inspired “to bring back the ensemble experience, whether or not you’re in the same room.”
Longwill then approached the Abington administrators, explained he had a background working in technology, and asked if he could start teaching his students how to record. “Not only did this provide the opportunity for kids to make music together again, but it also would teach them a new form of digital literacy,” Longwill explains.
After receiving administrative approval, Longwill began a project where each student recorded a part of a song, then passed the file onto another student, who would then add their own recording to the mix, and then continue down the chain. During that first year, 25 students participated in the collaborative recording. The following year, that number grew to 60.
Longwill used this opportunity to teach students how to work with a digital audio workstation, or DAW, and give them the basics of editing individual tracks.
A second round of adaptation was necessary when school came back to being in person full-time. Some students started to lose interest in the recording project because they no longer needed to record their parts in order to perform together. Longwill, who was recognized as a 2024 Yamaha “40 Under 40” music educator, still saw the benefit to music technology, so he decided to pivot the program’s focus: The program evolved to incorporate live performance and the production skills which align to its development, while also retaining the original focus of create music in digital platforms.
There’s More to Music
During the past four years, these digital music classes became the M3 program, which has expanded to include different areas of music industry experience — from a show’s lighting, video, and sound design, to the logistics behind booking your own gigs as a musician. Additionally, the program continues to help students develop their individual and small group projects through recording, mixing and editing, and ultimately distribution through their record label, M3 Records.
Longwill describes M3 as a co-curricular program, meaning that certain pieces are offered as elective classes students can take for a grade, while the program also offers pieces outside of school. Many students participate in both.
Curricular pieces of the program include four music technology classes: Music Tech 1, Music Tech 2, Honors Music Technology 3 and a class called AMPD, which stands for Advanced Music Production and Design.
Longwill describes the AMPD class as intense, with students producing work equivalent to a thesis. “It’s like a capstone class,” he says. “We really dig deep into music technology and literacy plus songwriting, the music business and preparing students for the real world.”
Even students who aren’t interested in music performance can participate in M3, which includes instruction on the multimedia parts behind a concert. Longwill cites big stadium concerts as his inspiration; one of his goals is to teach students how to put on an entire show, operating every element from the lights to on-stage visual and audio effects.
School music programs have the potential to be as varied as athletic departments. Longwill compares the kids in his M3 program to student athletes: “You can be on the basketball team, the soccer team, the tennis team. There are so many options,” he says. “But with school music programs, there’s band, chorus or orchestra — it’s very much one big group.”
He explains that with M3, “There’s a huge portion of kids who like playing guitar or making beats. There are even kids who don’t want to do any of these things but are interested in being a part of the show or the studio.”
Longwill’s goal is to make sure all these students are equally involved with the music department. “Everyone can be part of our school music community,” he says. “Everyone is welcome to have a seat at the table.”
Learning Leadership
To prepare students for life after high school, the M3 program fosters skills that help ease students into more adult leadership positions. For example, some students have begun booking their own shows, both for ensembles they’ve formed with other M3 kids, and for their own solo performances. “We supervise them in doing that and provide them with whatever they need to be successful,” Longwill says.
Students also work at M3 fundraisers to help pay their own expenses, such as the cost of renting a performance facility. Longwill recalls that one of his student groups scheduled a performance at a local pizza spot. “Aside from just confirming the venue, they ran the whole thing themselves,” he says. “Once you start to develop these skills, you can further expand on them.”
Another student booked a performance at a local music hall with 150 seats, which she sold out. Longwill supervised the process, but the student took the lead in reserving the venue and finding other students to collaborate with as supplemental acts in her show.
Having different M3 teams — like marketing, media and mentorship — allows Longwill to play to each student’s strengths. “We have some kids who are super invested in social media,” he says. “Working on the marketing team gives them a chance to do something constructive with it, instead of doom-scrolling.”
M3’s mentorship program connects high school and middle school musicians in a mutually beneficial partnership. “If you’re a 6th-grade guitarist, and you have a senior coming down to work with you, you have someone to look up to,” Longwill says. “The high schooler can see that this is where they were four or five years ago, and then they can bring that focus back when they’re working with their peers.”
Giving high school students extra leadership roles has helped them improve focus during their own rehearsals. “If you’re the one running a rehearsal for someone else, and you see someone goofing off, you take things a little more seriously,” Longwill says.
One Big Happy Concert
Whenever Longwill asks his students what kind of high school music experiences they want, the answer is always simple: They want as many opportunities to perform as possible.
Longwill has considered taking students on a Disney trip to perform, but he’s found that M3 students prefer more of a “touring lifestyle” — they want to attend events where they can perform every night.
Longwill noticed that a lack of performance opportunities was a widespread problem for teen musicians. “You can play in your school auditorium. You can play in front of your parents and friends,” he says. “But you’re not really going to get a chance to expand your audience.”
Similar to his approach during COVID, Longwill had to get innovative once again to solve this problem. His solution was the Modern Music Invitational, an event that brings multiple high schools together so students can perform for one another.
The Modern Music Invitational combines the nightly performances of a tour with daytime clinics and speaker sessions of an educational conference. Both Friday and Saturday nights give students opportunities to perform. On Friday night, students in solo and small groups can sign up to perform, while Saturday features masterclasses from professional musicians, studio engineers, and others actively engaged and working in the industry, while Saturday night features a massive band concert where all participating schools get to perform for one another.
The MMI, which takes place on the Abington High School campus, is in its second year. During the first year, eight schools participated, with a total of about 350 students. So far, the 2024 invitational has 15 schools registered, totaling more than 500 students. “At the conclusion of every show, I sit back awestruck at what the kids just did,” Longwill says.
Longwill hopes the M3 Invitational will continue expanding, even if it means looking for larger venues to host it in future years. “The invitational is a thousand percent the highlight of my career so far,” Longwill says. “Just to see that many kids playing for and with each other … that is as authentic as it can get with what they want to do.”
As we saw in Part 1of this two-part posting, knowing how to play jazz on bass involves many of the same steps as mastering a new language: Knowing the basics, learning to express yourself, consistent practice, improvisation, conversation and putting yourself out there.
Here in Part 2, we’ll discuss what it takes to achieve true proficiency in the practice room, rehearsal hall, studio and onstage.
LEARN THE STANDARDS
As you play with other musicians, you’ll develop a repertoire in much the same way a frequent traveler gathers knowledge about the cities and countries they visit. Great musicians know a wide range of standards and many ways to approach them; listening closely to the way other bass players have handled these tunes is an illuminating (and often humbling) experience. Although there are hundreds of standards in the jazz canon, being familiar with jazz harmony, common chord progressions like ii-V-I, and common turnarounds will help you see how many tunes are related to other tunes.
DEVELOP TECHNIQUE
The goal of learning any new language is to be able to express yourself as fluently as you do in your native tongue. Becoming a serious jazz bassist requires holding up a magnifying glass to your fingering, picking hand and fretting hand, as well as your control of dynamicsso you can use various playing techniques appropriately. Paying close attention to the economy and ergonomics of your hands will help you play what you hear in your head.
PRACTICE, PRACTICE, PRACTICE
Taking a language class can add structure and regularity to your learning experience, but you have to do the homework too. In a previous posting, we discussed how to get the most out of your bass practice sessions, but if you’re planning to learn how to play jazz (which is one of the more challenging genres), the slow and steady climb has just begun. Trying an ironclad “twenty focused minutes a day, seven days a week” practice routine might seem daunting at first, but doing it for six months can be incredibly rewarding.
SOLO
Collective improvisation is the heart of jazz, and taking a solo is your chance to comment on the main melody of the song. In jazz, soloing is the rule, not the exception. It’s not unusual, in fact, for bass players to solo on every tune. “Trading fours,” in which you dialogue with the other musicians in a four-bar back-and-forth, is both conversational and fun. Depending on the situation, it could be a show-stopping spotlight where everything else fades away, or as casual as an off-hand comment over dinner with friends. Get inspired by planning your solo and analyzing great jazz bass solosto hear how technique, improvisation and expression come together.
SIT IN AND JAM
Testing your language skills by talking to native speakers is one of the best ways to get better, and sitting in at a jazz jam session gives you the feeling of playing in a band without actually being in one. One caveat, though: If you get up the nerve to join a band onstage, make sure to observe the proper etiquette. If all goes well, you might meet future bandmates too.
JOIN A BAND
If you’ve done your language-studies homework, you’ll be improvising as soon as you land at your foreign destination, greeting strangers, checking into your hotel, hailing cabs and finding restaurants. In the same way, playing with a band shows you how far you’ve come … and what to work on next. Ideas that might have seemed abstract in the practice room — such as navigating charts, transposing songs to a new key and following song structure — will come into sharp focus. You’ll also get practice in communicating your ideas, supporting the rest of the ensemble, effectively using dynamics, rehearsing with purpose, choosing the right instrument, and eventually gigging.
GIG
For many jazz musicians, playing live is what it’s all about. Although knowing the setlist and having good group communication are crucial, there’s nothing like the full-body experience of playing for jazz fans, many of whom harbor a deep love and encyclopedic knowledge of the genre.
RECORD
If you’ve already been recording yourself during practice sessions, you’ll have a head start on this one. Going to a recording session is its own kind of gig, but without the audience reaction (unless it’s a live recording), and with a microscope on your fills, your technique, your relationship to timeand your tone.
PLAY OTHER INSTRUMENTS
The Yamaha SLB300 SILENT Bass boasts excellent upright tone.
The acoustic bass, also known as an upright, is central to the sound of classic jazz. Many players play both acoustic and electric, but even if you only play electric, you may be asked to emulate the sound and feel of an upright bass. If you can, take an upright for a spin — the sheer physical effort of playing acoustic may inspire you to play just the essential notes, which is a useful perspective to bring to electric.
In addition, we bassists are constantly interacting with the drummer, so spending even a little bit of time behind a drum set can secure that bond, and it can also help you get rhythms, “odd” times and syncopation in your body and in your ear.
If you only have time to spend on one instrument, make it keyboard or piano. Jazz harmony (music theory that applies specifically to jazz) and concepts like the circle of fifths, voice-leading and chord substitution make a lot more sense on keyboard. You don’t have to be a virtuoso, but being able to spell out chords and play basic progressions on pianoor other kinds of keyboardsexpands your ears and dramatically increases your chances of playing harmonically interesting bass lines.
If you can get around on bass, drums and keyboards, you’ll be in great company: Drummer Jack DeJohnette also plays piano; pianist Chick Corea knew his way around drums; and besides being one of the all-time great jazz bassists, Jaco Pastorius also wrote and arranged at the piano (that’s him playing both bass and drums on Weather Report’s recording of his tune “Teen Town”).
STAY OPEN
Like mastering a new language, truly understanding jazz is a lifelong pursuit. Taking these steps on your own and with other musicians will give you the tools to be able to play jazz on bass, but keeping your ears open to your own unique pathway is crucial to becoming expert. Welcome to the journey!
Although guitars are inanimate, silent objects, without our physical touch, their appearance and playability may shift over time due to changes in heat, humidity, and general wear and tear. These changes may be so subtle that you don’t notice them in the short term, but you will almost certainly hear and feel them over a long period of time.
In this posting, we’ll explore some of the maintenance protocols that can be employed to keep your beloved guitar(s) sounding, looking and playing just the way you like. As a bonus, when you keep a close eye on your six-stringed counterparts, you connect with them on a higher level, but if they are not firing on all four cylinders, your playing may suffer too.
General Maintenance Tips
Keep guitars out of direct sunlight and away from heat sources. Sunlight can fade and bleach your guitar’s finish. The direct heat may cause glue between components to soften and can also dry out the moisture content of your guitar, which may result in cracks in the wood.
Try to maintain a constant temperature between 66 – 77° F (19 – 25° C) and ideal humidity levels between 40-50 percent. I know we can’t all have humidity-controlled rooms, but just be aware that extreme temperatures and geographical climates will affect wood instruments. (Check out this blog posting for more information.)
Place your guitars on stands or hanging wall brackets that have a neck support and rubber retainer, as shown below. Leaning a guitar against a sofa, amp or wall can be disastrous! Keeping your instrument in eye-view will also inspire you to pick it up more often.
Keep guitars in tune and at a concert pitch of A440Hz to maintain the correct string tension. If they are tuned too low or high, it can put unnecessary strain on the neck, bridge, and top of your guitar.
Replace broken or rusty strings immediately and trim excess string lengths at the tuning peg with wire clippers.
Use string cleaner, pre- and post-practice sessions or rehearsals. Cleaning strings will remove oil, sweat and acidity placed on them by your fingers. This will also prolong string life and facilitate smooth articulation.
Regularly apply a small amount of guitar polish with a soft lint-free cloth to the back of the neck, body, top and headstock and rub gently. I always feel more inclined, and inspired, to play a nice, clean guitar.
Re-string your guitars with a full set of new coated strings (these last a lot longer than uncoated strings) on a regular basis. Stretch the strings and tune to concert (A440Hz) pitch. How often you re-string your guitar will depend on how much you play, the type of strings you use, hand strength, pick dynamic and the makeup of your bodily secretions. (Some people destroy strings daily!)
Quarterly Maintenance
Place guitars in their cases with a Humidipak sachet for a few days to reduce, increase or maintain correct humidity levels. D’Addario manufactures three Humidipak products (Restore, Absorb and Maintain) that you can place in your guitar case or the sound hole of an acoustic guitar. Gauge your need for this based on how dry or humid your playing environment is.
D’Addario Humidipaks.
Placing a Humidipak in the sound hole.
Inspect your guitars for any cracks or disfiguration in the form of swelling on the top, back and/or sides. Guitars that are too dry may crack, split along the seams and permanently disfigure due to failing glue joints. Guitars that contain too much humidity may start to sound dull and lifeless. In addition, tonewoods may swell up due to excess moisture, causing problems between the instrument’s main components.
Sight down the neck from the headstock and ascertain if the neck reliefis within your preferred parameters. These changes can happen so gradually you don’t notice it for a while. If you work with a luthier, have them take specific measurements of your perfect setup. That way you can have them dialed back in if the playing action changes.
Tune any guitars that you haven’t been playing regularly and check their intonation using open chord voicings, and by fretting each of the six strings at the twelfth fret (one octave higher). Neck relief will definitely affect the intonation of your strings, as can worn frets, especially in the areas of the fretboard you play in most. Using different string gauges or a worn nut and saddle can also have an adverse effect on tuning stability and overall intonation. If you are hearing tuning discrepancies, even with new strings that are in tune, have a luthier check the open string intonation and fretted notes.
Semi-Annual / Annual Maintenance
Apply a fretboard conditioner or lemon oil to the fretboard, and let it soak in. Remove the excess conditioner or oil with a soft, lint-free cloth. Unless you have an electric guitar with a maple fingerboard, it’s highly likely your fretboard will be unfinished rosewood, ebony or other hardwood species. These close-grained hardwoods are extremely resilient to atmospherics and other contaminants like finger sweat, grease and oils, which is why they are used so often. However, a semi-annual, or annual application of a fretboard conditioner and/or string lubricant will keep your fingerboard in tip-top shape … and feel good under your fingers too.
Restring the guitar and make sure all the strings are holding their pitch. If any of the strings are getting caught in the nut or bridge, have a luthier recut the nut slots. Strings will wear down the bridge and nut slots over time, so it’s worth keeping an eye on those coupling points to maintain smooth, resistance-free movement for all six strings.
Check the neck relief for minimal neck bow, and, if necessary carefully (and slowly!) adjust the truss rod using the Allen wrench that came supplied with your guitar. (You’ll usually find the truss rod adjuster underneath the headstock plate cover, as shown below.) Turning it clockwise reduces a concave bow; counterclockwise reduces a convex bowed neck. Go just a quarter turn at a time, and re-check until set. If you are unsure on how to adjust the neck relief, have a qualified repair shop or luthier do this for you. It’s well worth having your guitar checked once a year anyway.
The Video
This video features the Yamaha FSX3 Red Label acoustic guitar, played through the company’s innovative THR30IIA desktop amplifier, designed especially for acoustic guitars. Maintaining your guitar as described above will allow you to articulate the arpeggios, chord spreads and the nice clean slide guitar parts I play in the video. Note that the complex finger moves further up the fretboard could also run the risk of intonation problems if the strings are old or rusty. In addition, all the parts become harder to play if the action is set too high at the nut or bridge, or if the guitar has an exaggerated neck relief.
The Guitar
The Yamaha FSX3 is a concert body-sized acoustic guitar that sports a mahogany back and sides, along with a solid spruce top. When I initially received this guitar, I had it set up to my exacting specifications, substituting a slightly lighter set of strings than those that come standard with the instrument.
My FSX3’s playability has remained constant since that setup, which I think is partly due to the solid tonewoodsused in the instrument, along with regular string changes and humidity maintenance.
The Wrap-Up
Modern instruments have usually undergone rigorous quality-control checks before they leave the manufacturer, and may undergo even further adjustments at the guitar store before you purchase it. But regardless of those initial setups, personal alterations may still need to be made to get your guitar playing just the way you like.
It’s definitely worth taking the time to assess and do some routine maintenance of each of your guitars on a regular basis. A well-maintained instrument will last a lifetime, or at the very least will protect your investment for years of playing pleasure.
Julie Anne Russell is known for her off-the-wall concert ideas and her playful methods of teaching music, which she says, result from dreaming really big.
“I make it fun,” Russell says, describing her teaching philosophy. “If it is fun, I can teach the nitty-gritty.”
Russell, who has been the orchestra director at Blythewood High School in South Carolina for about six years, says, “The music is real. It’s just done in a more lighthearted way.”
Skip Ad Concert
Russell’s zaniest idea was the “Skip Ad” concert, which she put on two years ago. The idea came to her when she was sitting in her office and listening to music on YouTube, which was interrupted by a forced ad break. Viewers must watch these ads for a few seconds before they can click on “skip” and return to their video.
Russell had an epiphany: Why not create a concert that feels like watching YouTube for the audience? She and some students learned to play songs that the kids’ parents loved when they were young like “Ghostbusters” and “The Final Countdown.” Students painted a tall, skinny poster and decorated it like the recommended video stills on YouTube.
During the concert, audience members could choose what happened next. In order to the next piece, they had to watch an ad or donate money to the school’s music program and skip the ad. Students studied ads like those for Liberty Mutual insurance and medications, and made up their own funny ads. They even created an ad for a make-believe musical medicine called “Orchestrina,” which could help if you were feeling blue, needed a tune-up or were feeling out of sync with friends. The side effects of Orchestrina? Better posture, better test scores and friends that will last forever.
“We tried to make it as weirdly accurate as possible,” Russell says with a chuckle at the memory. “The kids just loved it!”
Family members did, too, including little brothers and sisters who usually have a hard time sitting through 90 minutes of classical music; they welcomed the novelty breaks.
Choose Your Own Adventure
Another unique concert was based on the classic book series where readers create different stories by choosing plot options. This suited Russell because she likes to give students and even audiences choices.
“I’m a big ideas person,” Russell says. “I love having a very small idea and having students in my office, saying ‘Why don’t we do this?’ Students will throw out ideas, and we end up with this interesting idea.”
In December, Russell, who was recognized as a 2024 Yamaha “40 Under 40” music educator, invited Blythewood alumni to perform at a concert. She had her students hold up signs after each piece; one said “Circus” and the other sign said “High Seas.” An audience member would choose a sign, and the orchestra would comply and play the type of music the sign represented. Then, the alumni would talk to current students about the adventures they had chosen for their lives after high school. This inspired Russell’s students, she says.
“We have a great time in orchestra; we have a really phenomenal program,” Russell says. “However, my main goal is to shape musicians who are appreciators of music. These kids are not necessarily going to conservatory, but they can hear about how music played such an important role in the lives of alumni. The concert was really fun, and at the end, we had all 91 students plus graduates circle around the auditorium.”
Music educator Julie Anne Russell and her son after a concert that promoted children’s literacy.
Childrens’ Book Literacy
Russell’s dedication became even more evident during the pandemic, when daily life was upended in 2020. Teaching a subject that doesn’t do remote learning as well as some other subjects, Russell realized how hard she would have to work to retain students in the orchestra. “How do I convince parents to have their kids stay the course?” Russell asked herself.
She wanted parents to tell their children who wanted to quit orchestra to say, “No, this is a good thing for you.”
“I have never met an adult in my life who says, ‘I am so glad my mom let me quit playing the cello,’” says Russell. She repeats this comment at every concert.
Russell wanted to get all of her students into the same place at the same time playing the same piece of music, and for them to work with a professional. How would she accomplish this? Russell and a teacher friend wrote a grant and brought in Netta Hadari, a renowned violinist and conductor from Connecticut, who worked with the kids as they each composed their own short pieces based on a children’s book. Each student wrote out the music by hand.
“We were able to tie in literacy — not just musical literacy, but how well were they able to understand the book and the literature side of it,” Russell says. “It was a huge undertaking.”
Through this project, Russell showed parents the progression their children will experience if they keep playing an instrument.
“Students were able to schmooze with some professionals,” she says. “All around, it was probably one of the most exciting things I’ve done in my life.”
Giving Back
Russell carries on the school’s Painted Fiddle Project, which began in 2009 when one of the orchestra parents, who is an artist, made wooden fiddles and sold them at concerts. In 2018, one of her students asked if she could revive the program as a senior project, and Russell enthusiastically agreed.
Russell and her father, Jim Wilson, cut out fiddles from maple plywood and members of the school’s National Honor Society painted the fiddles and auctioned them off at each concert. The proceeds support the orchestra program, and at the end of the year, the school donates money to the University of South Carolina’s string projects as a way to give back to the community.
Thanks to grant money, Russell’s students also had the privilege of participating in a workshop and enjoying a concert by Violins of Hope, a group that collected violins, violas, and cellos after World War II. Many of the instruments belonged to Jewish people before and during the war, and families of Holocaust survivors donated many of the instruments. Learning about this period of history was moving for Russell’s students.
Beyond These Walls
Russell’s motto is “beyond these walls,” because of the ubiquitous nature of music. “Music is not just something we do during my 40-minute class; music is all around us,” she says. “Past the walls of our building, there is so much more.”
Her passion for music goes back to her teen years, when a teacher play a record by the band They Might Be Giants. “It just stuck with me my entire life,” Russell says. “He said, ‘Everything in music theory is happening here.’”
Now, Russell gets to teach the next generation, with kids who are consuming so much music ranging from Taylor Swift to Kanye West. The variety is wonderful, as many people think of music education as limited to Bach, Beethoven and other classical composers.
“They have their AirPods in all day long,” Russell says. “They really want to show that that there is so much more than Top 40 and dead white guys.”
Anyone who owns a guitar knows how much joy this beautiful and functional work of art can bring to us through music. Learning to play the guitar is not only a serious investment in your development as a musician, but it is also a commitment to take proper care of the instrument itself.
Think of yourself as an artisan whose tools — your instruments — are an extension of the hands that use them. A well-maintained instrument will provide the potential for flawless performances and a lifetime of service, as long as you employ a few regular maintenance checks and guidelines.
If you’re a guitar educator, you are responsible for the health and safety of multiple instruments in your classroom. I’d suggest taking stock of each instrument in the breaks between each school quarter, so that any repairs, string changes and adjustments can be made before classes resume.
Most of the maintenance tips below can be implemented by the instructor, parent or student, however, it’s a good idea to find a local luthier or guitar store for help with detailed repairs or adjustments.
I always recommend keeping your guitar on a guitar stand that supports the neck of your guitar. A stand with a rubber neck retainer is also useful to prevent the guitar from falling from the cradle. I advocate a guitar being out of its case for a couple of reasons.
You’re more likely to practice if the guitar is visible, and easy to pick up and play, plus the guitar will gradually adjust to the room temperature, and naturally acclimate to its environment. A well-acclimated guitar will generally afford better long-term tuning stability.
Never leave instruments in direct sunlight or near heating sources like radiators. Extreme heat can weaken the glues used in construction, dry out the tone woods, and cause premature color fading of the finishes.
It’s important to note that an extremely dry guitar may start to show signs of cracking along the top, back and sides.
Conversely, a guitar with high levels of moisture content may start to sound less resonant, swell and disfigure, causing glue joints to fail, and protective finishes to lift away from the tone woods. This can leave the guitar permanently damaged, even after repair.
Humidification
Generally speaking, the perfect environment for a guitar is 66-77 °F (19-25 °C) and the ideal humidity levels between 40-50%.
Unless you have a dedicated studio, these ranges are harder to achieve, especially in classroom located in states with extreme weather patterns and seasonal challenges.
The good news is that guitar humidification is available for individual guitars by way of D’Addario Humidipaks. These small humidification bags can be placed in your guitar case or hung inside the guitar sound-hole of an acoustic guitar when it’s not in use.
Humidipaks are two-way humidity-control packs that automatically maintain the ideal humidity level for your guitar.
There are three types of Humidipak.
Use Humidipak Restore if your instrument is dry and needs additional moisture,
Use Humidipak Absorb if you are in a high-humidity environment and need to reduce the relative humidity of your instrument.
Use Humidipak Maintain if you are looking to sustain the proper levels of relative humidity within your instruments.
I recommend putting your guitars in their cases with the appropriate Humidipaks for a couple of days to correct any imbalances. Do this on a regular basis, and you should achieve stable humidity levels within all your instruments.
Strings
String maintenance is critical. I recommend coated strings because they last longer, provide resistance to oil and acidity from the player’s sweat, and prevent premature rusting of the unwound strings.
As strings age, three very important aspects to playability — intonation, tuning stability and clarity — diminish.
Elixir and D’Addario both provide excellent coated strings for acoustic and electric guitars. They may cost a little more than regular strings, but they’ll last five times longer and sound consistently better during that time.
String lubricant and cleaners like the D’Addario XLR8 are excellent for wiping down guitar strings before and after a practice session. They also provide smooth, squeak-free glissandi during position changes along the fretboard.
Keep some on hand at all times.
Classical guitars equipped with nylon strings require regular cleaning, and string changes. Nylon strings won’t rust, but the wound strings (E, A, D) may start to deteriorate after the windings become worn.
Fretboard Care
Fretboard tone-woods, such as rosewood and ebony, can be found on most acoustic, electric and nylon-stringed guitars. These close-grained hardwoods are usually left unfinished and will require moistening with a hydrating oil on a semi-annual basis to prevent them from drying out.
Many guitar manufacturers recommend lemon oil for this purpose. You can also use D’Addario Hydrate fretboard conditioner.
I recommend applying a small amount of this fretboard conditioner every other time you change strings. Simply apply the conditioning oil with a soft cloth, let it sit for a few minutes and remove any residue. Buff to finish.
Electric guitars with maple fretboards are usually finished with polyurethane or nitrocellulose lacquer. These fretboards can be cleaned with a good quality furniture polish during every string change.
If you use lemon oil to condition your fretboards, avoid making contact with the other finishes, as this may damage them.
Intonation
Ensemble guitar teachers always stress the importance of stable tuning within a classroom environment. There are many factors that contribute to stable tuning, such as perfectly tuned, clean strings; well-installed strings that don’t slip or get caught in the nut; and the intonation of the instrument itself.
New strings can be lightly stretched before use to reduce detuning while being played. Nylon strings will take longer than steel strings to settle in. If a particular string or multiple strings consistently go out of tune, check for a few things.
Check that the string is seated properly on the saddle and in the correct nut slots. Strings may also get stuck in a poorly cut nut slot, and then release, which detunes the guitar while it’s being played. Have a luthier cut the nut slots cleanly, allowing the strings to pass through them without sticking.
Make sure the strings have been installed with a suitable winding around the tuning post. I recommend winding the string around the tuning post three times.
If the nut slots are cut too high, it may cause students to push down too hard on the strings to obtain clean, buzz-free chords. This will make the strings go sharp, especially the B string. Have a luthier re-cut the nut slots so that they are closer to the top of the first fret. Also, check that the overall string action (height of the strings from the fretboard) from the nut to the saddle is playable. Reducing the playing action can dramatically improve a student’s progress and the overall intonation of the instrument.
Check that the neck relief on each guitar only provides enough “relief” (a tiny concave bow away from the strings) to allow for the strings to resonate without buzzing. You can check this relief by sighting down the fretboard from the nut to the bridge. Hold down the low E string at the first fret and last fret. Sight down to the middle of the string and make sure there’s a small gap between the bottom of the string and the top of the fret wire. The truss rod on your guitar will allow you to reduce or increase the neck relief using a small Allen, or hex, wrench. If you aren’t used to making these adjustments, have the guitar serviced by a professional.
Cleaning the Finish
I clean my guitar finishes every couple of weeks to remove the daily dust, finger grease and sweat that may build up on the surfaces during regular practice sessions. There are many proprietary guitar polishes on the market, but you can also use a good quality wood and furniture polish. Cleaning your guitar will bring you closer to loving it and keep you aware of any other issues or maintenance concerns that may arise.
The Wrap-Up
Modern instruments have usually undergone rigorous checks before they leave the manufacturer, and they may receive more adjustments at the guitar store.
Personal alterations on a per student basis may still need to be made. Keep a keen eye and ear out for student struggles, ensemble tonality, tuning stability, and the overall playing environment in which your guitars reside.
Take the time to assess each guitar on a regular basis, and pair that with some simple routine maintenance checks within the school holidays.
A well-maintained instrument will last a lifetime, and so will the joy and academic benefits of a music education.
As a parent, you want to help your child to grow and develop into a well-rounded person. And when many parents think about preparing their kids to excel in school, they tend to focus on how to advance their reading, math and science aptitude, or on getting them involved in sports and gymnastics to help develop their strength, coordination and team building. Often overlooked are the arts, and specifically playing a musical instrument.
Which instrument to start with is largely a matter of personal taste; certainly, if your child shows an affinity for one particular instrument, it’s good to encourage that interest because it makes it more likely they will accept music lessons with enthusiasm. But if there’s no particular leaning, piano is a great choice for kids, as it is easy to produce a satisfying sound right away: No having to figure out how to blow properly into a wind instrument, or learning to bow a stringed instrument. (While drums are certainly a fun activity, not every family wants to endure the tumult of a kid bashing on a drum set every day!) In addition, piano is a part of many styles of music, so your child will be able to participate in lots of musical activities as they grow and develop.
Here are four things parents can do to help support their child in starting to learn piano.
1. Create a Musical Environment
This one’s easy: listen to piano music in your home, and talk about how much you enjoy it. All the major music streaming services have playlists of piano music. You can search for them by using terms like “classical piano,” “pop piano,” “jazzy piano,” etc., or simply enter the name of your favorite pianist. Making piano music part of your everyday life shows your child that it is a cool and positive activity.
Similarly, make it a point to watch films and TV shows that feature the piano. Baby boomer parents likely remember watching this classic Bugs Bunny piano performance. The inimitable Chico Marx often got a piano feature in Marx Brothers films, and many pianists cherish his visually playful technique. And everyone enjoys this classic scene from the movie Big. Clips like these help to associate piano playing with fun.
2. Introduce Your Child to Musical Games
A great way to bring music into a child’s home life is through the use of musical toys and software games. Who hasn’t had fun as a kid playing Simon®? Be sure to focus on the notes, not just the colors, so your child will try to listen to and follow them.
There are some excellent software titles that let children get involved in making sounds as they play, and this can nurture their creativity and enjoyment of music-making. A few that I like are:
The next logical step is getting your child lessons. For small children (younger than eight), it is very important to find a teacher that specializes in teaching young kids. As every parent knows, youngsters have short attention spans, so a teacher needs to be skilled in dealing with that age group. At this stage of a child’s development, the most important thing is to stimulate their interest and enjoyment of music, not just try to teach them notes and fingerings. Ask at your child’s school for recommendations, visit your local music store and/or ask other parents to find someone proven within your community.
It’s important that you be involved in the lessons as well. You’ll need to know what the teacher is teaching, and what the assignments are so you can act as a surrogate to guide your child through their activities. This is actually a great thing — you are sharing precious time with your child focused on a creative activity! Just bear in mind that most kids — especially the young ones — can’t be depended upon to put in the necessary practice time, so you’ll need to actively encourage them. (20 minutes or so each day is plenty.)
4. Help Design Creative Lesson Activities
Kids need positive reinforcement and fun stimulation during both their lessons and practice time. When they play a piece well, give them lots of praise! Some teachers like to give stickers, stars or small gifts for good work. A young child will only practice a piece a few times before getting bored, so it’s important to find ways to keep things interesting. Have them move to different ranges of the piano to hear how it sounds higher or lower. Ask them to play the phrase very slowly, and then a little faster; as quiet as they can, then loudly. If you have a digital piano, you can also change the sound to that of another instrument to let them hear how different it sounds. (This is usually a surefire way to hold their attention!) And remember: Your child’s practice doesn’t have to involve only playing the piano. Have them stand up and play games like clapping different rhythms, marching in rhythm, or singing to help to vary their activities and keep them from being bored.
When I gave lessons to small children I would make up accompaniments to their pieces so they could hear the song sounding like rock and roll, boogie-woogie or other styles of music. I would ask them what their favorite song was, and I would teach it to them in a simplified fashion so they got direct and relevant involvement with playing music. What is most important in the first year of lessons is to create a positive, fun and rewarding experience for the child so they want to continue playing piano. More technical aspects, such as learning to read music, along with proper hand position and fingering, can come later, after the teacher (and you!) have made playing and lessons a positive experience in your child’s life.
Each violin, viola, cello and bass is crafted using parts that are able to fail in a particular way that, if caught quickly, can be easily repaired by a qualified luthier (stringed instrument repair person).
Tuning
Most skilled players will begin tuning their instrument by loosening the fine tuners as far as they can, allowing them to utilize the pegs to their fullest advantage and then fine tuning the instrument to true pitch and keeping the player from over-tuning and possibly breaking the strings. (read the blog post, “How to Restring a Violin”).
Tuning also gives the player a great opportunity to assess the instrument!
Check that the pegs are turning smoothly and fit properly.
Are the strings wound on the legs properly (evenly spaced with no overlap)? Are any strings dented or frayed?
Ensure that the fine tuners and the tailpiece are working properly.
Cracks and open seams are relatively common on stringed instruments. Changes in humidity and temperature effect both the tonewood and the adhesive used to connect the front, back and sides. Catching these issues early is vital to repairing them effectively.
Be sure to check over all glued contact points. This includes all seams, the fingerboard, nut and saddle.
Look for splits and cracks along the wood grain surrounding the soundpost contact points (front and back of the instrument).
Check pegs and neck for warping, twisting or splintering wood.
Using a clean, untreated microfiber cloth to gently remove rosin from your instrument after each use can greatly improve instrument health and allow you to regularly check for any issues that may arise.
Bridge
Orchestral stringed instruments utilize maple bridges that are made to fit each individual instrument. An improper bridge fit can cause serious damage! The inside of the instruments are hollow, with only the soundpost distributing the pressure of the strings pushing on the bridge to keep the violin (or viola, cello or bass) from collapsing in on itself! Check to make sure the bridge is well-maintained and positioned properly on the top of your instrument to ensure pure tone and longevity.
Check to make sure your bridge is positioned properly. The bridge should be set along the arched top in the middle of the fingerboard, with the “feet” centered between the notches of the “f” holes.
Look for any visible decay in the wood of the bridge. Is the coloring nice, bright and flamed? Is the wood holding its shape or is it warping/curving on the top or sides? Is the maple firm and not soft and squishy?
Make sure the feet of the bridge fit flush against the top of the instrument. Any gaps can create a difference in pressure, affecting not only tone but structural integrity.
Look at the height of the bridge. Does it look too high or too low? Are the strings really hard to push down the closer you get to the bridge? Do the strings buzz when you press them against the fingerboard?
Soundpost
The soundpost is a small, carefully crafted maple dowel located on the inside of the instrument close to the bridge. The soundpost has two functions; it works as a support for the top of the instrument and it also controls sound! Having a properly fit and placed soundpost is integral for the stability and tone of your stringed instrument.
Always check that your soundpost is upright and in its proper position just behind the treble foot of the bridge.
In the case of a fallen soundpost, you may hear or see it rolling around the inside of the instrument. Immediately loosen all the strings and remove the bridge from the instrument to prevent cracks and visit a qualified luthier to refit the soundpost.
Bow
Stringed instrument bows are just as important to care for as the instrument itself! Bows should be thought of as an extension of the instrument, not an accessory. Keeping your bow in good working order will ensure easy playing and good technique.
Tighten the hair on the bow to playing tension using the screw at the bottom, making sure the hair tightens and loosens smoothly.
When tightened, look straight down the stick from the screw to the tip. There should be a slight curve upward toward the tip. Any side to side curvature or warping should be checked by a luthier.
The hair on the bow should be full and light colored (unless using black hair on a bass bow). Look for any frayed or missing hair and discoloration (usually rosin build-up) near the frog and tip.
Check the tip plate. Is it cracked or missing?
Check the frog for cracks and dings.
Always loosen the bow hair when not in use. Leaving the hair tightened can cause hair breakage, over-stretching, stick warping, frog and tip damage, or even cracking in wooden bows.
Stringed instruments should be evaluated by a luthier twice per year even if no problems are apparent. The general rule is to have this done in June and January as playing habits, temperature and humidity levels can affect these sensitive instruments. Remember, happy instruments make happy players!
I routinely witness music educators taking to social media to vent about a lack of support from school administrators. I have been there. Early in my career at an independent college-preparatory school, a newly hired headmaster attended my first choral concert of the semester and slept through a good deal of it. Much to my surprise, he called me into his office the following school day to tell me that the hour-long concert was “too long and too religious.” There was no conversation or space to provide rationale, only directives about what would be different moving forward.
The concert was in fact dominated by secular music and none of the sacred selections were devotional in nature (the only sacred repertoire on the program was a Mozart motet in Latin, a Mendelssohn anthem in German and an African-American spiritual), so I was not anticipating a need to defend my curriculum to a disapproving employer that morning! After stomaching the criticism, which was opposed to every measure of success that I had been taught, I left the meeting feeling frustrated and at an impasse.
Whether the particular frustration is regarding course offerings, scheduling, budget, administrative red tape, district-wide initiatives, program expectations, enforcement of policy and procedures, or teacher evaluations, music educators will undoubtedly experience some of these vexing encounters. The good news is: There is much that can be done to ensure a thriving relationship with your administration and mitigate unsupportive encounters!
Though the tenure of the administrator in my example was short-lived, I learned a valuable lesson. Quality teaching alone is no guarantee of administrative support. This particular interaction could have been averted if I had done some intentional advocacy work on the front end. Now, I’m in higher education, and I encourage my music education students to foster a close-knit relationship with their future administrators in several ways.
Dr. Hutton conducts a performance of Handel’s Israel in Egypt oratorio.
VISIBILITY
Because educators in the performing arts teach content that is specialized with methods that also require a specific set of skills, they are too frequently left alone and trusted to “do their thing” — particularly if they are well-qualified and well-liked. Early on in my career, I perceived this hands-off approach of my administration to be an indicator that things were going well. No news is good news! Also, who wants a micromanager for a boss? However, I learned that this approach can create several hurdles:
Educators in the performing arts can often feel isolated without colleagues in the building who truly understand their needs, their curriculum or their approach.
With distant leadership, successes may go unnoticed while challenges may linger.
When issues arise, a trusting relationship based on direct experience is not established.
As I matured in my career, I realized the importance of keeping my instruction visible to administrators in a proactive, almost pestering, manner. At that independent school, I had never been observed in my music instruction, not a single lesson after my initial interview. As a result, my evaluators knew nothing of what I was doing apart from secondhand accounts or attending performances.
Inviting administrators into the classroom became a cornerstone of my advocacy strategy. Rather than waiting for required observations, I extended personalized invitations on a regular basis, encouraging them to witness firsthand the dynamic interactions and learning experiences taking place within the music program. And I asked that it be documented (which would become wonderful artifacts for future employers). In this way administrators will track growth, not only the final product. This proactive approach not only provided leadership with direct insight into the curriculum and pedagogy, but it also fostered a sense of investment and appreciation for the work being done.
Sharing the achievements and successes of my students became another vital component of my advocacy efforts. From simply announcing every student honor and recognition to highlighting every milestone of our choral program, great and small. I made a concerted effort to keep administrators informed and engaged. Do not be afraid to brag on your accomplishments and celebrate them publicly to demonstrate the tangible impact you are making. Flood your administrators’ email inboxes with the amazing things you and your students are doing and take-over the school announcements with kudos for your music students.
Outstanding choral student receiving an achievement award.
INVOLVEMENT
In addition to classroom engagement, I seized opportunities to involve administrators in my program’s special events, such as serving as chaperones for a choir tour that included attending a performance of “Hamilton” (my principal jumped at the opportunity). Personally invite them, and provide comp tickets, to the honor choir concert. Take your choir to their office to serenade them with “Happy Birthday!” Ask them to be a “practice audience.” These experiences will not only allow principals, assistant principals and deans to witness the passion and dedication of your students, but they will also foster personal connections and emotional ties to the music program. And if it so happens that on the bus to the choral festival you have an opportunity to highlight a tangible need — so be it! By bridging the gap between the administrative office and the music room, I was able to cultivate a supportive relationship that championed the success and growth of our program.
Dr. Hutton rehearsing Nevada All-State 2022 Tenors and Basses.
EDUCATION
Over time, I recognized the importance of taking initiative to educate administrators about the rationale for my curriculum and pedagogical approach. Before the year gets going, request a meeting to talk through any areas that could potentially cause heartburn. Why is it of value to learn and perform a mass movement by Franz Schubert? Why is a retreat for my Advanced Choir worth the investment? How will a subscription to a sight-reading technology impact the musical literacy of the 9th graders? Why might a co-curricular concert take priority over an extra-curricular sports practice? I worked to debunk some of the misconceptions regarding music education and, at the same time, garner their support and understanding. Through intentional dialogue, I was able to convey my expertise as well as the value and impact of music education on student development.
An ACDA reading session geared toward future choral educators.
ALIGNMENT
I initiated annual conversations with administrators to discuss their goals and expectations for the music program, aligning them with my own objectives and aspirations. This collaborative approach not only ensured alignment of priorities but also provided a platform for mutual understanding and accountability. By actively involving administrators in the planning and decision-making, I fostered a sense of ownership and investment in the success of the music program. It is incredibly valuable to sit down, dream and visioncast. I proactively highlighted opportunities for growth and development, drawing attention to initiatives implemented in other schools that weren’t yet an opportunity at my school but could be adapted or adopted to enhance our program. By keeping leadership abreast of emerging trends and best practices in music education, I positioned myself as a proactive and forward-thinking educator, dedicated to continuous improvement and advancement.
In reflecting on my journey as a choral director, I have come to appreciate the transformative power of advocacy in building strong and supportive relationships with school administration. For me, advocacy meant keeping music education visible, involving administrators in every way I could, proactively educating them and aligning their goals with mine. Make the administrator’s office a space you frequent often — 90% of this time should be on your own initiative and 10% on theirs. In this way, I have experienced success cultivating a culture of support and collaboration that has enriched the educational experiences of my students. As music educators, we must recognize the importance of advocating for our students, our programs and our profession. And we must strive to foster meaningful partnerships with school administration that will ultimately strengthen the fabric of our school community.
Imagine that you are moving to a new country and want to learn the language. You might watch videos to absorb the country’s history, culture and current events or take a course that connects you with other students. With regular practice and guidance, you’d eventually be reading, writing and having conversations with native speakers, well on your way toward true proficiency.
Jazz is a language, and learning it requires many of the same methods. In this first of a two-part series, we’ll explore several important steps bassists should take if they want to master this challenging musical genre.
LISTEN
There are many branches of the jazz tree, from bebop and big band to free jazz and fusion, so exploring different styles and eras will help you decide what appeals to you. Get to know the history of blues and jazz (blues was the foundation for jazz). Make playlists of the artists and songs you like, and listen closely to your favorite rhythm sections. Even in the same subgenre, bass players can take vastly different approaches to tone, timekeeping and harmony. If you’re already knowledgeable about a particular bassist or school of jazz, begin to articulate what inspires you and what skills you’d like to develop.
EXPERIENCE IT IN PERSON
You can learn a lot by watching videos and reading books, but there’s nothing like experiencing jazz in a live setting. Go to shows and jam sessions so you can hear local players work on their craft, and make it a priority to catch touring jazz musicians who swing through town. Check out the audience at any jazz club, and you’ll most likely see students like yourself learning about improvisation (the cornerstone of jazz) in real time.
FIND A TEACHER
Another benefit of going to see live jazz is that you radically increase your chances of meeting an experienced bass teacher. Not every great musician knows how to teach, but if someone makes a strong impression on you, they probably have knowledge to share.
Teaching yourself to play jazz on bass is possible (especially if you avail yourself of the many online resources out there), but if you’re on the fence about taking lessons, remember that a good teacher can support you when things get tough, keep you accountable, steer you away from bad habits, and introduce you to concepts you might not have otherwise encountered. In addition, a good curriculum will pace your learning with well-planned structure, which is the surest way to progress.
WALK BEFORE YOU RUN
Once you’ve begun studying, it can be tempting to shoot for the stars, but as any experienced teacher will tell you, it’s important to have a solid grasp of the basics like roots, fifths and octaves. Understanding notes, intervals, scales, chords and chord progressions will strengthen your foundation as you learn to read, play walking basslines, solo, and become familiar with the jazz repertoire.
KNOW YOUR ROLE
Being in a rhythm section is an important task. We bass players serve as the bridge between harmony (most clearly defined by chordal instruments like guitar and piano) and rhythm (drums and percussion). Doing our job well means outlining the harmony with chord tones and laying the foundation, usually by playing the root of each chord (in addition to related notes to form an interesting bassline). We’re also intimately connected to the kick drum, where you and the drummer are partners in keeping time.
LEARN TO READ MUSIC
Reading music is a crucial part of being a jazz bassist. You may not always be expected to instantly read and play complex figures at fast tempos, but knowing how to quickly scan a lead sheet, or, more specifically, a jazz chart for essential information — things like the key signature, the “head” (main melody), unison lines, modulations, turnarounds, repeats and the overall form — is a must. Charts are the most basic way jazz musicians communicate the shape of a tune, and if you don’t know how to swiftly get all the info you need, you’re setting yourself up for failure. Sure, if you have “big ears,” or if you closely watch the pianist’s hands, you might be able to fake it (which is another ability entirely), but reading a chart is beyond useful when it comes to playing jazz; in many ways, it’s the price of entry.
In addition, developing your sight-singing, a skill frequently mentioned alongside sight-readingand ear-training, will allow you to look at a chart and hear the melody in your head; knowing common chord progressions (like the ii-V-I), song forms (like AABA, ABAC, and 12-bar blues) and common phrases goes a long way too.
PLAY LICKS
If you were learning a new language, you might start with short phrases like “please,” “thank you” and “where’s the restroom” before working your way up to, “I’m looking for the best inexpensive vegan pizza place near my hotel that’s open after midnight.”
Similarly, learning jazz licks — bite-sized melodies, intros or phrases that connect chord changes — will sharpen your ears while helping you get jazz phrasing under your fingers. A technically challenging lick can inspire you to practice until you get it, which can be quite satisfying; learn to play it in all twelve keys, and you’ll have a new addition to your solo tool bag.
TRANSCRIBE
Just as important as figuring out the notes being played is taking the time to decipher how and why a bass player took a particular approach. In the old days, this process involved repeatedly playing a short section of a record until you could hear all the details, but software has made it easy to slow down and loop a piece of music while amplifying the bass part. Learning to hear all the elements of a performance is perhaps the best way to deeply absorb jazz basslines played by the greats and add those skills to your musical vocabulary.
TRAIN YOUR EARS
Like reading music, ear training is an essential skill for jazz musicians. Learning to identify song structures, intervals (the space between notes), chord qualities and harmony and chord progressions will make all the difference to you as a performer, accompanist and soloist. There are many ways to train your ears, so find a method that works for you and stick with it.
In Part 2, we’ll continue the journey with some more helpful tips for learning to play jazz on bass.
Benjamin Bergey’s brand-new degree program — the hybrid major called Music and Peacebuilding, offered at Eastern Mennonite University in Harrisonburg, Virginia, since 2021 — will graduate its first student this year, with four more students nearing completion. Yet as word has spread, more and more students are interested in this unique degree program that combines a traditional music education with elements of diplomacy, facilitating dialogue and conflict transformation.
“The hardest part is getting people to know that it’s here,” says Bergey, an Assistant Professor of Music and Director of Orchestra and Choirs at EMU. “Once people are aware of it, they say, ‘Hey, that’s awesome.’”
A Tool for Intercultural Competence
The program, which Bergey started and built, combines two areas of study to form a powerful tool for intercultural competence. Music and Peacebuilding can prepare students for a variety of careers, as many organizations are using music to help people in high-conflict areas, he says.
“It can be useful in any scenario where there’s people,” Bergey says. “And where there’s people, there’s conflict. That’s not inherently a bad thing, but it’s just a fact.
“I’ve found that this is actually an emerging field,” says Bergey, who was recognized as a Yamaha “40 Under 40” music educator in 2024. “On the peacebuilder side, people who have already done this have long known the benefits of using the arts in their work. But musicians haven’t necessarily had similar training to see how peacebuilding theories and frameworks can benefit our work as well.”
Finding Common Ground in High-Conflict Areas
Seeing a need there, Bergey became interested in incorporating peacebuilding training into music education. While working on his doctoral degree at James Madison University, he researched the subject for his dissertation while spending time in Jerusalem during 2017; he also went to the Middle East to study abroad in 2010 during his undergrad years.
Bergey studied groups in Israel and Palestine that used music to bring together Arabs and Jews by making, learning and sharing music as well as engaging in professionally facilitated dialogue. In particular, Bergey spent time observing the Jerusalem Youth Chorus, which has both Jewish and Arab teenagers from different parts of the city who meet together at the YMCA in downtown.
Choir members first sing together, then have dialogue about a variety of topics and then end their sessions with more music. This provides a bonding experience for these kids, whose cultures have major clashes.
“They find humanity in each other and realize: We like similar things, and some words in our languages are more similar than we realize,” Bergey says. “It’s a really fascinating experience that they have, and they turn out to be quite formative.”
According to Bergey, music provides a fun common ground for kids, and it helps soften the conflict in heated discussions. “They want to learn about each other and why one might feel a certain way about something,” he says. “Some sessions are not all happy and butterflies.
Making music together can help break perceptions of dissimilarity because of a shared experience, which can build empathy. “With this act of music-making, people at least have a better shot at more fruitful dialogue and creative collaboration,” he says.
The Social Aspect of Music-Making
Bergey now practices what he learned in the Middle East by leading retreats and meetings where people combine music with peacebuilding. One common activity is hosting a drum circle, where Bergey and students go into a community park and set up buckets to serve as drums. They invite anyone to come and participate, with or without a music background. People sit in the circle, talk to each other, and play the buckets like drums, which is a cathartic, fulfilling experience, he says. Even just realizing that there are other humans in the circle promotes empathy.
“Seeing a bunch of random people come together like this is pretty awesome,” Bergey says. “It’s musical empathy and preventive peacebuilding, pre-conflict. It’s the ability to build human connections or social capital prior to any conflict.”
Students who get a Music and Peacebuilding degree at EMU can use these relational and music skills in a variety of jobs, Bergey says. Some work for nonprofits, while others work in education. Some might go on to graduate school for music therapy, he says. Whatever Music and Peacebuilding graduates do, they are “able to use these theories and to understand the social aspect about how people work and how to mitigate conflict,” Bergey says.
EMU Chamber Singers at the Basilica of the Shrine of the Immaculate Conception in Washington, D.C.
The Impact of Belonging and Philosophy
For Bergey, his faith has influenced his career significantly. It is important to create a sense of belonging at the school, and Bergey brings that into his classrooms.
“For me, it’s important to have a space where people feel they can bring themselves and have their voices heard — and in choir, it’s literal voices,” he says. “It’s a very vulnerable act to let others hear your voice. Creating that space where people can do that is a very human, moral and kind thing. And I feel it leaves the world better than we found it.”
Bergey echoes this sentiment in his philosophy about music education. “For me, teaching music is about providing opportunities for everyone to contribute and learn and be a part of that expression. To do that, we need to be able to recreate space for each person to bring their authentic self and to realize how we together are creating something that is better than any individual part,” he says. “That’s the beauty.”
Whether you’re looking to have your child start a new learning-enriching activity or you’re a retiree who is up for a new challenge, here are some amazing benefits that come from playing piano.
It Can Make Your Child a Better Student
Parents take note: When your child learns a musical instrument, they become a better student all around. There are numerous studies that have verified this astonishing fact. For example, a Psychology Today article citing research done at the University of British Columbia in 2019 states that “Students who learned to play a musical instrument in elementary [school] and continued playing in high school not only score significantly higher but were about one academic year ahead of their non-music peers with regard to their English, mathematics and science skills … These exam-based statistics were consistent across the board, regardless of socioeconomic background, gender, ethnicity, or prior learning in science, math, and English.”
This extends to language skills too. “It appears that some of the auditory skills learned from piano playing enhance specific aspects of the perception of spoken language, even beyond that gained from additional experience in reading,” writes renowned cognitive neuroscientist Dr. John Gabrieli in an article here on the Yamaha blog. “The benefits from music (which has no direct relation to language) [are] similar to those from reading (which relates directly to language).”
You Can Start Learning It At Any Age
Unlike some other musical instruments, piano is something you can learn — and learn well — at any age. In his Yamaha blog article “Express Yourself,” musician, bestselling author and cognitive psychologist Daniel Levitin says that, “For older adults, the instrument I recommend is the piano (or any similar keyboard, such as organ or synthesizer). The reason is that getting a good tone out of a keyboard is not at all difficult: anyone can sit down at a piano and play a C-sharp as well as a Rubinstein, an Alicia de Larrocha or an Elton John. Putting the notes together is the challenge, but it’s a challenge you can start addressing right away. The other advantage of the piano is that it’s easy to visualize scales and chords — they’re all there in front of you, laid out linearly.”
In fact, according to the Tonara article “Learning Piano as an Adult: What Are the Benefits,” learning piano as an adult has some distinct advantages. “Kids are usually relieved of all the stress that comes with adulthood,” the article explains, “and they might not notice this particular benefit, even when they grow older. But learning piano as an adult can be beneficial for this particular issue. Even simple piano lessons for beginner adults can help you deal with stress.”
It Can Make You Healthier
Personally, I’ve found playing piano to be the ultimate stress reliever. And when I say “play,” I mean simply playing, with no particular end goal in mind — in other words, just enjoying the process of “noodling around.” I find that by allowing my fingers to glide over the keys without the pressure of having to create something or improve my technique, I can let the instrument take me somewhere for the musical joy of it.
“As humans, we are hard-wired for music,” says Barry Bittman, MD, Chairman and CEO of the Yamaha Music and Wellness Institute, a non-profit organization engaged in education and research, “Music gets through where words do not pass. Recreational music-making reduces the impact of stress on many levels and allows healing to begin. It actually alters gene expression pathways in patients with coronary heart disease.”
The Tonara article cited above confirms Dr. Bittman’s observation, stating that “getting into an instrument as an adult can stimulate your brain in so many ways. Your neuroplasticity can see some significant improvements, meaning that your brain starts making new connections and remapping the old patterns.”
Whenever I sit down at the piano, it feels as if my brain does indeed light up with excitement. I simply feel better after playing, even if I only idle over the keys for a short period of time. That may be because I only started to learn to play piano a few years ago (I’m a lifelong guitarist); my training on the instrument is minimal enough that I don’t know exactly what I’m doing. As Zen Master Shunaryu Suzuik once said, “In the beginner’s mind there are many possibilities. In the expert’s mind there are few.”
So whether you want to learn a single song for your own pleasure or go deep into performance technique, playing the piano has healing benefits for your (or your child’s) mind, body, spirit and soul. Best of all, it’s fun!
Anyone who’s ever seen me perform live knows that I often use a capo. If you’ve watched any of the acoustic video performances on my YouTube channel, it’s likely you have seen me employ a capo there too.
Why do I favor this simple device so much, and why do I think you should know how to use one? The answer is multi-faceted, and there are some surprising uses that you may not have even thought of!
In this posting, I’ll share some basic applications and best practices for using a capo, and also explore the different types of capos available.
Origin of the Name “Capo”
The Italian phrase “Da Capo” means “from the beginning”; it also can mean “the head.” When used in sheet music, it’s a verbal signpost instructing the player to go back to the beginning of the piece and start all over again.
In physical terms, a capo temporarily replaces the nut of your guitar, allowing you to raise the pitch of your open strings without retuning them.
From low to high, the open strings on your guitar are normally tuned E-A-D-G-B-E. Place a capo at the first fret, and you take all those tones up in pitch one semitone, to E#-A#-D#-G#-B#-E#. It’s like moving the nut of your guitar up one fret.
Now let’s explore the many amazing uses for this powerhouse guitar accessory.
Open Chords
We’ll employ the following simple chord progression to illustrate what a capo does to chords played in open position (that is, those containing open strings):
II: C G/B I Ami7 Fma7 :II
Let’s say you’re learning a song that uses these chords, but the original pitch is too low for your voice. Place a capo at the first fret, and the same chord shapes are now one semitone higher in pitch, changing the key from C to C#, which may be a much better fit for your voice:
II: C# G#/B# I A#mi7 F#ma7 :II
Now take the capo away and try to learn and play the new chords without it. As you can see from the illustration below, it’s not impossible, but also not practical, or even attainable for a novice that only knows a handful of basic chords. What’s more, two of those new chords require a barre technique (i.e., laying your index finger across a fret), making them much harder to play … and why would you do that if you can simply use a capo to achieve better results within seconds?
In essence, then, a capo allows you to play any series of chords in multiple keys without needing to know how to transpose or learn new chord shapes. Using a capo will often affect the sound of your guitar too, since open strings tend to ring out differently (usually becoming more “jangly”) when raised in pitch.
The Importance of a Capo in Live Performance
Most guitar players who sing will agree that playing and singing is much easier when the chords are all in open position.
When we sing in live performance, we face the audience, and our mouths are faced towards the microphone. This means you can’t always look at your guitar’s fretboard. Try playing an Ami7 as a barre chord at the fifth fret without looking at the fretboard. Not easy, is it?
Here’s another scenario to ponder: You’re at your gig, and a female singer asks if she can sit in and sing a song with you. You have no objection, but the female voice is generally pitched a fourth above where male vocalists sing. No problem: Simply take your capo and place it at the fifth fret, and you’ll now have the same chord shapes pitched a fourth above the original key … without having to transpose in your head to new and possibly unfamiliar shapes.
Open Tunings
As noted earlier in this posting, the open strings on guitar are normally tuned E-A-D-G-B-E (from low to high). Open tunings are those where open strings are tuned to a specific chord, which creates a lovely drone of complementary tones. Popular open tunings for guitar are drop D, open G and open E. These all require detuning several strings to another pitch.
Drop D
Here, you detune the first (lowest) and sixth (highest) strings down a whole tone, from E to D, yielding the following notes:
D-A-D-G-B-D
Open G
This is similar to drop D tuning, but with the fifth (A) string also lowered a whole tone (to G):
D-G-D-G-B-D
Open E
In this tuning, the fifth (A) string is raised a tone (to B), and the third (G) string is raised a semitone (to G#):
E-B-D-G#-B-E
Any of these open tunings can easily be changed to another open tuning by using a capo. For example, if you place a capo at the third fret on a guitar in open G tuning, you’re now in open B♭ tuning, as shown below, but still with all the wonderful open-string drones. Try tuning to open B♭ without a capo!
Open B♭
F-B♭-F-B♭-E♭-F
Playing New Chord Shapes With a Capo
Using a capo is a great way to create alternative, second, or even third guitar parts with a series of new chord shapes. For example, start with this chord progression, played in open position. (I’ve denoted the scale position those chords occupy within the C major scale below the progression using roman numerals, where I = the tonic [root] chord, V = the fifth [in this case played over the seventh degree of the scale], VI = the sixth, and IV = the fourth.)
II: C G/B I Ami7 Fma7 :II
( I V/VII VI IV)
You’ll need to play different chord shapes to maintain the I – V/VII – VI – IV relationship. For example, if you place a capo at the third fret, you’ll need to play these chord shapes to attain the same pitch as the original chords:
II: A E/G# I F#mi7 Dma7 :II
If you move the capo up to the fifth fret, you’ll need to play these chord shapes to attain the same pitch as the original chords:
II: G D/F# I Emi7 Cma7 :II
The diagrams that follow show how the capo raises the pitch of those new chord shapes; below each are the chord name and the new pitch it represents when using the capo at the indicated fret location. For example, when the capo is at the third fret, I’m employing an A major shape for the I chord. That’s because the capo raises the pitch of both the open and fretted strings to create a C major chord when the A major shape is used. (Essentially. the capo is playing the barre of this chord shape.) Similarly, when the capo is at the fifth fret, I’m using a G major shape for the I chord; the capo raises the pitch of both the open and fretted strings to once again create a C major chord, this time when the G major shape is used.
Why is this worth doing? Well, the new shapes provide a higher pitch, as well as different chord voicings to the original sequence, which creates very musical results. (“Voicing” refers to the order of notes from low to high within a chord.) This is a great way to separate frequencies in a dense mix, add interest to two-guitar parts and capitalize on alternate techniques — for example, strumming the original chords and fingerpicking the higher voicing, or vice-versa.
By the way, guitar parts can be layered multiple times using this capo technique giving you many different sonic options to choose from. The three options shown above are used in the video later in this posting, so you can hear how these alternate shapes, used in combination with a capo, affect the overall sound.
Nut Height
The more you press down on guitar strings, the higher the pitch goes up, so you should always check your guitar’s nut height and intonation to make sure all notes are in tune when fretted.
I prefer to have the string height at the nut cut as low as possible so that it takes less pressure to fret the notes while still allowing for a clean buzz-free tone in open position. Often, the reason your acoustic guitar is out of tune when using a capo is because the nut height has been set too high.
Adjustable Tension Capos
The capos a lot of singer-songwriters use on their guitars during live performance are spring-loaded and have a set tension, which means you have no control over the amount of pressure applied to the strings. I always cringe when a performer places one of these types of capos on the desired fret location and starts to play their song … even though the guitar is now way out of tune.
Instead, I suggest purchasing a capo that allows you to adjust its tension. Typically, it will feature a rotary dial that you turn to increase or decrease the tension of the capo without compromising tuning stability. These adjustable capos are great for multiple guitars too, including electric, and you’ll soon acclimate to the amount of tension needed to keep your personal guitars in tune.
An adjustable capo.
There are also partial capos that only depress specific strings (chosen by you). These allow the player to create interesting tunings. They’re great for experimenting, but I’d recommend first getting used to a capo that transverses all six strings.
Different Capos for Different Guitars
The capo is usually associated with steel-string acoustic guitar applications, but it can also be used on electric guitars, nylon-string guitars, banjo, mandolin and even ukuleles. However, it’s important to take into account the fretboard radius of the instrument on which it will be employed.
Vintage electric guitars often have 7″ or 9″ radius fretboards, which means there is a pronounced curve to the fretboard. So, if you are using a capo designed for an acoustic guitar with a flatter radius, you’ll have to tighten it to depress the low and high strings. This can cause tuning problems on the middle strings. Once the outer strings are in tune without rattling, the middle strings are often too tight, causing their pitch to go sharp.
That’s why you should try and find a capo that matches the radius of your guitar(s). This means you may need to use one capo for acoustic guitars and a different one for electric guitars.
In addition, electric guitar strings are usually thinner (i.e., they have lower string gauges) than acoustic guitar strings. You’ll find that the B string, in particular, has the lowest tension compared to the other five strings. Over-tightening the capo may sharpen the B string to the point where it’s noticeably out of tune with the other strings. If this happens, try detuning the B string back to pitch without loosening the capo.
It’s also worth noting that, in contrast to electric and steel-string acoustic guitars, nylon-string guitars have an almost flat radius. If you plan on using a capo on your classical or nylon-string guitar, purchase one designed specifically for a flat radius. These kinds of capos are readily available.
The capo on the left is designed for nylon-string guitars; the one on the right is designed for steel-string guitars.
The Video
In this video, I play the chord progression using the two capo positions described in the “Playing New Shapes With a Capo” section above.
I start by strumming the progression on a Yamaha FSX3 acoustic guitar using open position chord voicings:
II: C G/B I Ami7 Fma7 :II
I then move the capo to the fifth fret and fingerpick the chords on the FSX3 using the new shapes described above.
II: G D/F# I Emi7 Cma7 :II
Next, I place the capo at the third fret and pluck the new chord shapes, this time using a Yamaha SA2200 semi-acoustic electric guitar.
II: A E I F#mi11 Dma9 :II
Finally, I add a simple but melodic solo motif (played on the SA2200) for a complete arrangement. I coil-tapped the humbucking bridge pickup for the chords and solo lines to provide extra clarity and punch.
The Guitars
The FSX3 has a really well-balanced low-end response, so overdubs stay clean and tight. Its three-way Atmosfeel pickup system also translates well when recording direct to a DAW (Digital Audio Workstation), as I did in the video above.
Yamaha FSX3.
The excellent SA2200 semi-acoustic electric is one of my favorite guitars. Not only is it a pleasure to play, it imparts a warm, “woody” tone thanks to its design, large body dimensions and acoustic chambers, along with its soft maple center-block construction and Alnico V (coil-splittable) humbucking pickups.
Yamaha SA2200.
The Wrap-Up
A capo allows for instant key changes while using the same chord shapes, or retaining the same key using new and exciting chord shape substitutes further up the fretboard. There are also chord voicings and open-string tunings that aren’t available without the use of a capo, plus it can subtly alter the sound of your guitar by making it more “jangly.”
A capo can be used to inspire great musical effects when you understand how to transpose harmonic structures using the major scale formula. Personally, I’m never without a capo at a recording session, gig, or when I travel. It truly is an essential part of my guitar-playing toolkit … and it should be part of yours too!
What began as a Girl Scout Gold Award project with one of her high school students turned into a 501(c)(3) nonprofit that gathers young female musicians for an honor band that performs an annual concert, fights gender-based inequality in music, and fosters friendship.
In 2021, Kacee Sanders, director of band at DuPont Hadley Middle School in the Nashville area for two years, started working with Mya Foley, who was an exceptionally bright music student from Sanders’ previous job teaching high school. Sanders served as project adviser for the Girl Scout, who graduated in 2023 and is now a freshman at Middle Tennessee State University. Both Foley and Sanders are percussionists, and they noted that percussion instruments stereotypically are for boys. Why should they be?
That question led to another one Foley and Sanders discussed: What if that whole section were women? Better yet, what would a whole ensemble of women musicians be like?
“There are some weird band stereotypes that have evolved in some places,” says Sanders, who shares this firm belief with her middle school students: “It’s about what you like and what you want to play!”
Sanders says, “There is no ‘boy instrument,’ and there is no ‘girl instrument.”
An Honor Band for Women
Foley and Sanders came up with the idea of putting together an honor band — featuring woodwinds, brass and percussion instruments — for young women in their undergraduate college years and teenage girls in high school from states in the Southeast. The participating band members rehearsed their individual parts remotely, and then put on a symposium concert in December 2022. It was intended to be a one-time event, but something special happened there.
“We had this collective moment as we were cleaning up after the concert,” Sanders recalls. “We had this moment sitting around the table, and we said: ‘This was incredible!’ None of us had ever experienced being in a room of only women musicians. We were all overwhelmed with the emotion. We all agreed this can’t be the only time this happens.”
The women behind SWIMS: Kacee Sanders, Mya Foley and Dr. Brittan Braddock.
Launching SWIMS
Sanders, Foley and other participants agreed to repeat the symposium. In the summer of 2023, they officially founded the Southeastern Women in Music Symposium (SWIMS). Sanders is the executive director of the young organization. With the proceeds from the first symposium, SWIMS commissioned Ashley Knox, a previously unpublished female composer, to write a song for the next symposium. The group performed Knox’s piece — “Daydream,” which Sanders describes as a beautiful and intense ballad with a grand ending involving every musician — at the December 2023 symposium. SWIMS will only use pieces composed by women, Sanders says, and concerts include of wide mixture of types of songs.
To recruit new members, Sanders and her fellow SWIMS leaders reach out to every high school and university band director in Tennessee, Georgia and Alabama, to ask for recommendations. After registration closes, SWIMS pushes out the music to the young musicians digitally. They rehearse on their own for several months, and don’t play together until the end-of-year symposium.
SWIMS plans to continue to host the symposium every year. Sanders hopes to see more musicians join, and to split the group into two ensembles based on ability level with the top ensemble requiring an audition. Sanders, who is a 2023 Yamaha “40 Under 40” music educator, is optimistic about growth: The first year, the group had about 20 women musicians participate. Last year, it practically tripled to 75.
Independence in the Classroom
Sanders’ teaching philosophy is to prod her young musicians — who, in the early adolescence of middle school, are rapidly changing — to maturity and self-reliance. “Within my classroom, I feel that my primary goal is just to be the person to initiate the rehearsal,” she says. “It is my ultimate goal that my students are developing into independent musicians and independent singers.”
One of Sanders’ techniques is grouping students for brief section meetings, which they run themselves. She doesn’t appoint any student leaders; the students themselves collaborate and create a hierarchy, she says.
“This provides students a lot more ownership, and also their maturity as musicians skyrockets,” Sanders says. “It’s so special being able to see them really come into their own as humans. That’s why I love the band room; here, these students find who they are.”
Sanders feels such a passion for her career as a music educator — especially watching the progression and growth of youths, both as musicians and as people.
“Seeing student growth and watching students grow from the first time you interact with them to when they leave your classroom is, by far, the most rewarding part of being a band director,” she says. “Most of the students who are in band will not go on to play professionally and that’s totally OK, but seeing them grow as humans and seeing the incredible people in these chairs … It is so worthwhile to see people really find themselves here.”
Is your child joining band or orchestra for the first time? Embarking on this rewarding journey brings many things to consider for your family. To help you navigate the experience, we’ve gathered insights from seasoned band and orchestra parents to create a list of tips for surviving your first year.
(Be sure to check out the ‘Meet the Parents’ section below to read and hear firsthand experiences from the parents themselves.)
TIP #1: BE PREPARED TO PARTICIPATE
Joining a school music program not only builds lifelong skills but also creates a sense of belonging and community, allowing your child to grow their musical abilities and develop meaningful connections. Equally important is the participation and commitment of parents, who provide a stable and supportive foundation for their children to thrive. Your level of participation has a direct impact on their level of commitment. What’s more, active parental involvement enhances a child’s enthusiasm for their musical endeavors, instilling a sense of pride and motivation.
Parents who show interest in their child’s musical education help create a positive learning environment, reinforcing the values of dedication and practice. Studies and testimonies have shown that students with engaged parents are more likely to excel academically and develop better social skills, making parental support in music programs an essential component for a child’s overall growth and success. Participating in the parent community, whether by volunteering to build props, supporting the band mom or hosting team sleepovers for a group of hungry teens, can significantly enhance the experience for both you and your child. This involvement helps create a fun, supportive environment that fosters camaraderie and a sense of belonging within the group.
Here are some helpful ways you can expect to participate to make it a more rewarding experience:
Attend all performances at concerts, recitals and competitions
Participate and even help facilitate fund raisers
Bring snacks to events for all the students
Volunteer to carpool with other parents
TIP #2: COMMUNICATION IS KEY
Building a support network by staying in touch with music teachers and instructors while also encouraging your child to connect with their teachers and peers is crucial. Understanding the expectations for both you and your child can greatly benefit the entire group. This sense of responsibility and teamwork not only enhances the group’s performance but also creates a supportive and accountable environment among the students.
During peak seasons, such as performance and competition times, it is important for parents to stay connected and communicate with one another. This ensures that everyone is informed about schedules, changes, and requirements, fostering a sense of community and teamwork. Staying in touch allows parents to coordinate support efforts, such as carpooling, volunteering, or sharing responsibilities for events and rehearsals. Moreover, the shared experience and advice from seasoned parents can be invaluable for newcomers, helping them navigate the complexities of peak season with greater ease. By maintaining open lines of communication, parents can help strengthen the overall cohesion and success of the ensemble.
Here are some ways to establish relationships with the school music community:
Utilize school communication tools and platforms to connect with other music parents for advice and support
Join parent-teacher associations or music booster clubs
Encourage your child to communicate their progress and challenges
Engage in the band/orchestra parent community to support each other throughout peak seasons
TIP #3: STAY ORGANIZED
As with any sport or extracurricular activity, organization is key. For your child, this means consistently attending practices and performances while balancing schoolwork and other activities. Practice schedules can vary depending on the instrument and ensemble requirements. In time, your child will learn the importance of time management and how to do it on their own. But booster parents and band moms (and dads) can also play a significant role in maintaining organization by keeping track of rehearsal and performance schedules, coordinating transportation, and managing communication among parents, students and instructors.
Parents should utilize tools like shared calendars, reminder apps and group messaging to stay on top of important dates and deadlines. Keeping detailed records of your child’s progress, music pieces and performance attire can help avoid last-minute scrambles. Additionally, staying organized allows you to better support your child’s musical journey, ensuring they have the necessary materials, time for practice, and a balanced routine.
Here are some ways you can help your child to stay organized:
Establish a daily routine that includes practice time
Use a family calendar to track rehearsals, performances and deadlines
Encourage your child to use planners or digital calendars to manage their time
TIP #4: CREATE A SPACE FOR PRACTICE
Creating a dedicated practice environment for your child can significantly enhance their learning experience and overall musical development. It minimizes distractions, allowing your child to focus entirely on honing their skills, and also helps them establish a routine, thus promoting discipline and consistency — both essential elements for progress in music.
By providing a well-organized and supportive practice area equipped with necessary instruments and materials, you encourage regular practice and demonstrate the importance of your child’s musical pursuits. Ultimately, this nurturing atmosphere helps your child build confidence, improve their performance, and foster a lifelong love for music.
Here are some ideas for a productive practice environment:
Designate a room or area for practice. Their room, garage, basement or other quiet space will suffice.
Schedule a family “concert” where your child gets to perform their pieces. This provides a goal to work towards and makes practice sessions more meaningful.
Incorporate technology by using an interactive music app (such as Tomplay) that allows them to loop difficult passages and record their performances, then play them back in order to evaluate and improve their skills.
TIP #5: KNOW THE BASICS
While you don’t need to be a musical expert, understanding the basics of your child’s instrument can greatly benefit you. Once they have decided on an instrument, do your research to make sure they get one that fits them and is high quality so it’s built to last. You can get helpful advice from their music instructor or your local dealer to find the best instrument for your child and whether it makes more sense for you to buy or rent.
The next step is to make sure your child knows how to care for their instrument. To maintain the playability and lengthen the life of their instrument, it is critical that they learn to incorporate a regular cleaning and maintenance routine. This will go a long way in helping you avoid costly repairs and at the same time enable them to stay engaged with their instrument as it will be easier to play and will sound better.
Becoming a first-time music parent is an adventure filled with a mix of excitement, anticipation and learning opportunities. It involves navigating new experiences such as understanding the dynamics of band and orchestra programs, supporting your child’s musical journey, and engaging with a vibrant community of parents and educators. It’s a rewarding activity marked by attending performances, learning about different instruments, encouraging practice routines, and being part of fundraisers and events that support the music program. Above all, it’s about witnessing your child’s growth in their musical ability and sharing in their joy and achievements.
MEET THE PARENTS
Eric
Eric Aparicio, a band parent for eight years, had two high schoolers who started on the cymbal line and moved to the drumline. His daughter also played saxophone for a year in jazz band, and his son is self-taught on guitar.
Eric recalls his daughter organizing study sessions for her bandmates to ensure that everyone met academic standards. She understood that the success of the ensemble depended on each member’s dedication, both musically and academically. Through their active involvement and strong commitment, Eric and his wife played a vital role in their children’s musical achievements. Their dedication and organization provided a solid foundation, fostering personal growth and success for their children in band.
Eric and his wife also formed lifelong friendships through their involvement. Eric reflects, “I truly enjoyed it — the social aspect, watching the kids achieve, and seeing them find a safe place where they all belong. High school can be tough for teenagers. It was also wonderful to see the kids grow and mature. I have two lifelong friends that I met in band, and I know they’ll be my friends until my last breath on this earth. The more that you engage [as a parent], the more you’re going to really enjoy the experience. And the more you enjoy the experience, the more your child’s going to get out of that experience.”
While Eric’s children did not pursue careers in music after high school, the connections they made through their musical experiences have left a lasting impact. His daughter, now a police officer, attributes her strong sense of discipline and leadership to her time in band. Eric’s son maintains friendships with his former bandmates, one of whom was even his best man at his wedding. The relationships and skills they built continue to enrich their lives in meaningful ways.
Dave
Dr. Dave Gerhart and his wife have lifelong careers in music and are parents of two middle schoolers who showed an early interest in music. Both children started on piano, one son now plays cello and the other plays both piano and violin.
Dave remembers that when his kids were growing up, he and his wife encouraged them to play and explore music, and not in just one genre. “In mom’s car they listened to classical music and dad’s car was everything from Caribbean to rock.” He feels that playing music should come naturally and not forced. When his children began creating music, he recalls, “they just kind of wrote stuff. They saw what mom and dad were doing [as musicians] and started creating their own music, then they’d play it for us, similar to writing a story [and reading it back].”
Although Dave’s children are still in the midst of their musical journey, he has already observed a notable increase in their confidence, musical growth and overall character development. He fondly remembers when his son volunteered to wash dishes, a responsibility he embraced during summer music camp. Above all, Dave is thrilled that his children have found a passion and have dedicated significant time and effort to improve their skills.
Finding representation in the professional world that mirrors one’s own identity is a profoundly meaningful experience. Growing up, I was fortunate to have a strong female role model in my mother, a dedicated police officer. However, when I began my musical studies at the collegiate level, I quickly noticed the scarcity of women in my field. As I delved deeper into my studies, I discovered a greater number of women pursuing similar paths than I had initially realized. Although it was heartening to know they existed, opportunities to collaborate with and learn from female peers were limited until I began my doctoral studies at the University of North Texas.
At UNT, I had the privilege of working with Tanya Darby and Raquel Samayoa, two formidable women who excel in a field historically dominated by men. Witnessing them was not only empowering but also served as a testament to the progress toward gender equity. However, it also underscored the ongoing need for further advancement. It was during this time that I made a personal commitment to showcase and celebrate the successes of women in my profession and to amplify their voices, thereby showcasing to the world the wealth of talent that exists within our ranks, ultimately inspiring future generations.
The Women Composing for Trumpet Competition
In 2020, the world faced many struggles with COVID running rampant and everything shutting down. In addition to that, two hurricanes — Laura and Delta — made their way directly through Lake Charles, Louisiana, the home of McNeese State University, where I taught. The campus suffered severe damage, and students, faculty and every member of the campus were displaced. Even with all this chaos, I made it a point to continue the mission I set for myself and started seeking opportunities and funding. This led to my first large-scale project, The Women Composing for Trumpet (WCFT) Competition. I applied for and was awarded the Juliet Hardtner Women in Arts and Humanities Professorship. Through this, I received funding to start a competition that would celebrate the music of some incredible composers.
The WCFT Competition was created to add to the list of “standard” trumpet repertoire composed by women. While there are many incredible compositions by women for solo trumpet, the only one that is considered standard by the trumpet community is Concerto for Trumpet and Orchestra by Alexandra Pakhmutova, written in 1955. It was my goal to bring light to this matter through the WCFT Competition, as well as give modern women composers the opportunity to contribute to this list of standards and be recognized for their accomplishments.
Once the vision and mission were clear, I compiled a panel of judges comprised of avid advocates for women in the trumpet community including Dr. Pancho Romero, Dr. Raquel Samayoa, Dr. Peyden Shelton and Dr. Ellen Shinogle. Compositions were submitted from all over the world, providing further evidence of the fact that high-quality music written by women does, in fact, exist, and must be showcased and celebrated. I was thrilled to be able to give the award of $2,000 to two grand prize winners: Madeline Lee (“Wind O’er the Highlands”) and Katie Jenkins (“Radiate”), as well as a recording of their work and a publishing deal with Murphy Music Press. The runners up received an honorable mention and included Maria C. Fuller (“Resolution from Fractals”) and Dorothy Gates (“Unseen Things”).
To further celebrate the winners and other extraordinary works for trumpet composed by women, I held an online benefit concert. Having the concert online not only made it available to everyone since we were still experiencing the effects of the pandemic, but it also made it accessible so we could share this music with as many people as possible. The WCFT Benefit Concert included musicians from all over the world including Mary Bowden (Seraph Brass), Robert Garrison, the judges from the competition and more. All funds raised from the concert were donated to the International Women’s Brass Conference with the hopes of helping to provide more support to women brass players across the world.
Since the announcement of these winners, trumpet players across the country have sought out these works to perform. It is my goal to bring the competition back every five years or so to keep working toward this mission, as well as showcasing more extraordinary women composers and musicians.
Powerful Women in Music Concert Series
I remained inspired by what was made possible through the WCFT Competition, and with COVID restrictions lifting, I knew that this was the time to do something in person. I applied for another grant and was awarded the Juliet Hardtner Women in Arts and Humanities Professorship for the second year in a row to fund what I called the “Powerful Women in Music Concert Series.” The objective of this project was to continue to initiate ways to change the fact that underrepresentation of women is prominent in the music profession by featuring women soloists and groups of women performers from various genres, backgrounds and ethnicities.
The first featured artist was Caeley Jackson, trumpet player with the United States Navy Band. Throughout her career, Jackson had toured with the Orchestra of the Americas throughout Poland, Ukraine, Scotland and Germany. She also performed on tour with Seraph Brass, an award-winning all-female brass ensemble. During her residency for the concert series, Jackson gave lessons to music majors and non-majors, as well as provided an in-depth masterclass to the entire music department. This masterclass inspired the students especially with the discussion about how musicians who are a part of military bands can be section players, principal players and soloists as well, resulting in endless options for what is possible with a career in the military. Her concert at the end of her residency included not only our collaborative pianist HaeJu Choi, but also our guitar professor, Jay Kacherski. Her choice in music exposed the students to an incredibly high level of musical artistry through many different genres and styles including pieces originally for trumpet, as well as transcriptions.
Directing the Jazz Ensemble at McNeese State University gave me the opportunity to incorporate the Powerful Women concert series into the curriculum and involve my students. Alexa Tarantino was my first choice when it came to choosing a high-level musician who would be an inspiration for my students. She tours worldwide with Cécile McLorin Salvant, Wynton Marsalis and the Jazz at Lincoln Center Orchestra, and the Alexa Tarantino Quartet. She is also passionate about music education and represents Jazz at Lincoln Center as a visiting educator for various programs with students of all ages and levels. Tarantino was immediately excited when I reached out about this initiative, and provided an inspiring masterclass for the Jazz Ensemble before diving straight into a concert that not only featured her as a soloist, but also many of her original works.
The final feature for this concert series was Calypsus Brass. Founded in 2021 and now a non-profit organization, this professional chamber ensemble performs new works recitals, creates high-level professional recordings for composers, and works with chamber musicians at all levels. The five founding members are avid performers and educators who tour around the world, give masterclasses and recitals. This groundbreaking musical group, founded by five women who earned doctoral degrees in music, is committed to recording and performing works of historically marginalized composers. To further this mission, Calypsus Brass is proud to be the ensemble in residence for Rising Tide Music Press, an organization that publishes and promotes Black, Brown, Indigenous and Asian musicians in their first 10 years of professional-level work as composers and arrangers. Calypsus Brass provided the longest residency for the Powerful Women in Music Concert Series and gave masterclasses to each of the specific brass studios, as well as an in-depth discussion with the brass methods class. Their residency closed with a concert that featured many new commissions including works by Zoe Cutler, Katahj Copley and Cait Nishimura.
The impact of the WCFT Competition and the Powerful Women in Music Concert Series in inspiring and showcasing women musicians across the world have been a resounding success. It’s evident that the music profession’s commitment to this cause remains steadfast. Moving forward, I am dedicated to sustaining this momentum, striving to create even more opportunities for women in music to ensure their voices are celebrated and heard on a global scale. It is my hope that together we will continue to advocate for diversity, inclusion and empowerment in the music community, paving the way for a brighter future for all musicians, regardless of gender.
“By failing to plan, you are preparing to fail.” — Benjamin Franklin
Music teachers spend a lot of time at school, and many of them don’t live near their schools. Situations will occur, and it’s best to be prepared. For personal medical emergencies, make sure that you know where the nearest hospital or quick care is located. However, there are plenty of days when I have needed supplies for non-emergency situations. I recommend having the following items at your disposal. Consider storing them in a drawer, cabinet or even a small crate in your car.
1. Dress clothing: Consider having a set of dress clothing in your office or in your car if you are a traveling teacher. I have used these on occasion when a district employee came over for a picture with the group, and I was dressed for marching band rehearsal or instrument repair day. An extra set of dress clothing can also help in case you spill or tear your clothing right before the concert.
2. Deodorant: Keep a stick in your desk drawer for those times that you feel “unsure.” Or, keep one in a travel bag. It’s not recommended to keep one in your car. I am still cleaning out melted deodorant from the center car console.
3. Non-perishable food: Somedays, you may forget your lunch or your lunch money. Consider having a few cans of soup or some other prepackaged food that you can rely on for those days. If you have a school lunch line that allows you to prepay, you can also put a few dollars on here and use this as a backup plan.
4. Water bottle: Some people bring water bottles back and forth. If you are able, consider keeping an extra one at school, or even one that you exclusively use at school in order to cut down on the items you have to travel with.
5. Travel hygiene items: In addition to deodorant listed above, consider other small travel items for “just in case events,” including a toothbrush, toothpaste, or, if you’re a contact lens wearer, contact lens solution.
6. Flushable wipes: I’m not going to go into any reason why. I’ll just say to always have freshness as a priority.
7. Lint roller: Helpful for making sure you are presentable for your concert, board meeting or parent meeting.
8. Feminine hygiene products: If your school doesn’t supply these in the bathroom, throw a few in your desk drawer.
9. Hairbrush or comb: Again, we’re just making sure that we’re presentable for our professional job.
10. Pain relievers: such as ibuprofen or aspirin. Just be sure to not keep these accessible to children.
11. Backup shoes: If you often wear dress shoes to school, consider having a backup pair of comfortable shoes for days that end up having quite a bit of walking. If you’re attending a festival, definitely bring comfortable shoes for those off-stage moments. On the contrary, if your footwear is typically casual, have a quick set of nicer shoes for the moments listed above.
12. Coat/jacket: If possible, I recommend having an extra one that you can either hang in your office or keep in your car. It can help you manage sudden weather changes in the event you have to leave the building during the day.
13. Safety pins: I’ve had a few instances of buttons coming off clothing or small tears. A safety pin helped me at least get through the day.
14. Cell phone charger: I typically keep one connected in my office. For traveling teachers, consider a cord connected to a standard plug, or even a rechargeable power bank.
15. Instrument repair items: I keep crochet needles, small screwdrivers and even plastic drinking straws around to help with instrument repair emergencies. For even more on this, check out my article on Instrument Repair Hacks.
And what’s the most important thing to have? A realistic expectation that you’ll never be able to plan for everything, and that’s fine. The best stories never start or end with “everything went to plan!”
Effects pedals offer dozens of ways to subtly (or radically) shape your bass tone, making it easy to put a distinctive stamp on your playing. With the right effects, you can recreate the sounds of other instruments, introduce sound effects, and even accompany yourself.
We’ve covered the top 10 bass effects before, but if you use more than one pedal, the order in which you place them (that is, the signal chain) can make all the difference. In this posting, we’ll explore some of the many options available to you.
TUNER
Plugging your bass into a tuner at the beginning of your signal chain (i.e., before any effects) is pretty much a universal rule, as it ensures that the tuner accurately determines your pitch. Many bass players choose tuners that are buffered bypass or true bypass, which means that when the pedal is not engaged, the bass signal completely bypasses the pedal’s internal circuitry, thus avoiding potential noise. The two most important goals for effective pedal sequencing — preserving the strength of your bass signal and avoiding unwanted static and hum — begin with the tuner.
DYNAMICS AND PITCH
As your signal makes its way from your bass to your amp, pedals that need a hotter signal function better closer to the source: your bass. Wah pedals fall into this category, as do compressors, which fatten your signal and make it more even; limiters, which provide a more drastic form of compression; sustainers, which help your notes ring out longer; octavers (also known as “octave dividers”), which generate notes an octave below what you are playing, thus adding anything from extreme bottom end to a bit of menace; harmonizers, which add intervals to your notes; and pitch shifters, which can lower or raise your pitch. Synth bass and envelope filter pedals also work best when placed soon after the tuner and before other effects.
DIRT
Fuzz, distortion and overdrive need plenty of signal, too, so it’s common to place them after a compressor or other signal booster. Explore the full spectrum of dirty options: An overdrive pedal like Ampeg’s Scrambler Bass Overdrive can conjure the sound of a gently overdriven tube amp, while an aggressive pedal with lots of buzzy highs makes it easy to completely obscure your clean bass tone. Develop an ear for the way other combinations — like octave divider/distortion and fuzz/compression — might or might not work for you.
EQ, VOLUME AND NOISE GATE
If you’re playing an active bass and have used your onboard bass preamp to add bottom and/or mids to your dirt pedals (which usually contain lots of high-frequency information), an equalizer (EQ) pedal can help you dial things in before your signal reaches the time-based effects. It’s not unusual to add a boost, preamp or volume pedal here, and it’s also common to add a noise gate after your dirt pedals to tame unwanted noise by cutting off the signal whenever it drops below a certain threshold.
TIME-BASED EFFECTS
These effects — which include chorusing, phasing (“phase shifting”), flanging, tremolo, ring modulation and “repeater” pedals (which can provide anything from echo to a version of tremolo to a looper) — need a bit less signal than dynamics, pitch and dirt. Some players add a compressor before these pedals so that their tone is even, while others prefer the dynamic variation and detail that comes from low compression settings or no compression at all. Many bass players have made great use of chorusing, flanging and phasing as standalone effects (as, for example in the O-Jays classic “For the Love of Money”), but placing these kinds of pedals later in the signal chain allows them to add a bit of shimmer to the sound coming from any pedal(s) earlier in the chain.
DELAY, ECHO AND REVERB
Like time-based effects, delay is less dependent on pure signal. Placing it near the end of your signal chain gives you the opportunity to expand your fully effected signal; similarly, reverb and echo can add a sense of space and ambiance to your overall sound. Most (but not all) players prefer to put delay before reverb; try it both ways.
REMIX AND LOOPER
This family of effects — which includes slicer, stutter, glitch, reverse, sampler and looper pedals — makes the most sense at the very end of your signal chain. That said, adding an effect to whatever you’re looping and remixing can work too. A reverb or pitch-shifter after any of these pedals, for example, can dramatically alter the original sound.
MIX AND MATCH
Expressed in shorthand, an ideal sequence of the most commonly used bass pedals might look something like this:
Alternatively, you can prioritize sending a strong signal to your dirty pedals before adding complex flavors and controlling volume before it gets to your amp, like this:
Not having a compressor means that you can preserve the full dynamic range of your playing, from delicate chords and flamenco-style strums to thunderous plucks and slaps.
Pedalboard order is a matter of personal preference. Using good cables and your amp’s effects loop are two more ways to avoid degradation of signal, or as bassists usually put it, “tone suck”; also consider trying an effects switcher (sometimes called a “loop switcher”), which will give you the ultimate freedom in pedal sequences. By experimenting with your signal chain, you can find what works for you; consider these tips as a starting point that gives you the best chance to maintain a strong bass tone, avoid unwanted noise and give each of your pedals a chance to shine.
For school districts that chose to utilize distance education in 2020, pivotal in-person experiences were missed, such as rehearsals, concerts, field trips, recruiting and a general presence in the community. If you’re like me, memories of scrambling to get my entire curriculum online are quickly fading. At this point, coworkers remind me of the afternoons we spent coercing students to turn on their cameras to prove that they were actually drumming along to an activity. This conversation makes me realize that elementary schools only have two more years of “COVID students” — wow! Of course, middle and high schools have a longer road to travel, so let’s look at where the students impacted by distance education will be during the 2024-2025 academic year.
2024-2025 School Year
March 2020
2020-2021 School Year
12th
7th grade
8th
11th
6th grade
7th
10th
5th grade
6th
9th
4th grade
5th
8th
3rd grade
4th
7th
2nd grade
3rd
6th
1st grade
2nd
5th
Kinder
1st
4th
Pre-K
Kinder
3rd
3 years old
4 years old
2nd
2 years old
3 years old
1st
1 year old
2 years old
Kinder
Birthyear
1 year old
This chart shows where next year’s students were in March of 2020 when most schools shut down as well as the following school year. Many approaches were taken with distance education, including different return dates, so it’s impossible to describe the impact on every American student, but this information can help you conclude how much of each school year was missed in your area.
My school district — Clark County in Nevada — participated in distance education from March 2020 to March 2021, returning in a hybrid model for volunteer students for the remainder of the 2020-2021 school year. My 4th and 5th graders at that time did not get my normal send off to middle school, and according to the chart, they will be freshmen and sophomores in high school in 2024-2025.
Photo by Raw Pixel / Adobe Stock
High Schoolers
Though I would love to focus on the elementary music teacher perspective, my interest in this topic takes me to high school. Recruiting and retention have been the hot topics since in-person learning has returned because the pre-COVID system worked so well. The transitions from elementary to middle school and middle school to high school have been a well-oiled machine of promoting the benefits of continuing your music education and the perks of being part of your musical family. Next year’s high school students missed these important hand-off years from school to school.
Look at the chart. Next year’s seniors were in 7th grade when schools shut down, and they missed the end of their middle school years, were recruited to join music classes during the online era and returned to in-person education as freshmen in high school. Their experience in online music classes may have stifled them from rejoining music in high school.
Next year’s sophomores missed the end of their 5th grade year and were recruited to start a brand-new instrument via Zoom in 6th grade, not experiencing a live rehearsal until 7th grade.
But it’s not all bad news.
Yes, I’m excited that in two years, elementary school students will not even know what COVID is. And in two years, high school freshmen will have had in-person music classes since 6th grade. These students will have more ensemble time during their formative years than the students older than them, which will hopefully positively impact their tuning, intonation and listening skills.
Middle School Students
Middle school students are in a gray area where they missed the middle chunk of elementary school, but they all had a full year of 5th grade before transitioning to middle school, resulting in a successful recruiting campaign to join a music ensemble. Of course, they missed a large chunk of elementary music curriculum but signing up for a music ensemble is more than half the battle when it comes to recruiting.
My current 5th graders missed the end of 1st grade and all of 2nd grade. Though that is a large deficit, they have received the most amount of preparation and recruiting out of any students since 2020 because the middle school band can again travel to perform at the elementary schools, demonstrating all the available fine arts options. As much as I want to comment on the social-emotional skills that still need to be polished, I don’t have a degree in psychology to back up my theories.
Photo by Prostock Studio / Adobe Stock
Elementary School Students
In 2024-2025, students entering 1st, 2nd and 3rd grades joined the public school system after in-person learning returned. Should they be absolutely normal? Probably. But it doesn’t take a Ph.D. to know that although these children weren’t in school, they were still raised in homes that were impacted by a global pandemic. My current kindergarteners have absolutely no fear walking up to my smart board and commanding it around like a giant iPad. I can only guess that increased screen times and access to phones and tablets are the root of this new efficiency. Instead of ridiculing, I can now ask students to perform tasks on the board that I wouldn’t have attempted five years ago.
The bottom of the chart shows that next year’s kindergarteners were born during the COVID quarantine. I have a coworker who gave birth twice during the COVID protocols in the hospitals — something she doesn’t recommend. Though her children were born with limited guests and strict contamination guidelines, their lives at home since have been quite the opposite. The following year gave her family more time to be at home with the babies, her in-laws a reason to stay in Vegas while they worked remotely, and my friend had a chance to be near her children more than if she was working in-person. This was not everyone’s experience, but it is a ray of positive hope that today’s youngest students might have received more facetime with their families during these early years than any generation before.
My daughter experienced a similar upbringing, where my wife and I were home for over a year, playing dolls and dressing up with her, making meals together, and generally living together in our house 24/7. When it was time for her to start kindergarten, saying goodbye at the gate was devastatingly rough as it was the longest time we had spent apart since birth.
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I encourage you to reflect on where your students were during distance education and ask yourself if there is a noticeable gap in their musicianship, emotional wellness or maturity. Just kidding, we already know that we were all affected by COVID. Give yourself some grace. If you’re able to let your pandemic memories fade, I am happy for you. I hope the new school year begins with tons of potential and happy music-making.
When it comes to learning an instrument, fine motor skills are key. It takes quite a bit of skill to play the keys on a French horn, for example, or move fingers quickly on a clarinet. Want to improve your music students’ fine motor skills? Steal a page from the P.E. teachers and incorporate physical exercise into your rehearsals.
Everyone from elite athletes to physical therapists have been using a tool called “exercise priming” — the concept that movement can help prime the brain for skill development.
Boost Neuroplasticity
Now, research from the University of Copenhagen has given further validation to the idea of exercise priming. Its 2024 study found a 10% improvement in a person’s ability to remember a learned motor skill, such as playing the violin, if they have exercised before or after playing the instrument.
“This is probably because physical activity increases the brain’s ability to change, which is a prerequisite for remembering,” wrote the study’s co-author, Jesper Lundbye-Jensen, of the university’s Department of Nutrition, Exercise and Sports. The brain’s ability to change is also referred to as “neuroplasticity,” which means that the brain rewires, literally adapting its neural networks in response to stimulants.
Older research had previously found that music lessons themselves have a positive effect on neuron development. For example, a 2010 study from Northwestern University found that music training prior to age 7 boosted neuroplasticity and allowed for better auditory processing.
Exercise Before and After Learning
The new study from the University of Copenhagen used riding on a fitness bike as the form of aerobic exercise. Participants biked enough to raise heart rate — but not at a too intense rate (think exertion, not exhaustion). The study found that exercising either before or after learning a skill both improved results, but results were even better when the subjects exercised before and after.
While the study’s participant pool was limited to men ages 18 to 35, the researchers believe the skill-boosting effect applies to other ages, such as children, adolescents and older adults, too.
Interestingly, the study specifically excluded professional musicians. That’s because “people with extensive experience in practicing motor skills typically start at a different level,” wrote Lasse Jespersen, Ph.D., the first author of the study. “While the motor task used in the research study were unknown to all, involving experts would have changed the dynamic from the get-go. But that doesn’t mean they wouldn’t benefit from the effects we’ve shown.” In fact, Jespersen says a future study on people with elite-level fine motor skills would be fascinating.
Tips to Build Fine-Motor Skills
So, based on the information that physical exercise helps build those vital fine-motor skills your students need, how can you extrapolate this for use in your teachings? Here are some ideas:
Let’s start with adult students. For example, you could suggest to your piano or cello student that they do their daily workout — whether it’s cardio like a brisk walk or strength training — either just prior to practicing their instrument or just afterward. Explain the research behind your request and ask for their feedback to see how they feel after trying the technique.
Do you teach band or chorus? Have the group do some squats and arm circles prior to starting rehearsals.
For wigglier, smaller children, throw a dance party. Play music and encourage freestyle dancing or teach simple choreography for the group to get blood pumping prior to settling down to the instruments. Smaller kids are less likely to feel self-conscious, too, with movement requests like, “Everyone do five pushups!”
Short on classroom space? Have kids run in place or even hop on one foot — whatever you can do to raise their heart rates a bit.
If your school setting permits a “school without walls” lesson, try this: If the weather is nice, are there ways to spend a few minutes on playground equipment before segueing into a music class under the shade of a tree?
Check in with administrators and your fellow teachers about creative class pairings that might benefit all. For example, can recess be directly before or after music class for some students? Could gym glass pogo-sticking or hula hooping lead to a better music class, and vice versa? Moving around schedules will obviously work better for some schools than others but is worth exploring.
Another idea, if budget permits: use classroom movement materials such as wobble stools or standing desks, encouraging movement throughout the day, not just in music classes.
Whatever physical activity you incorporate into your music education, be sure to periodically change up the activities, and consider students who may have challenges with movement and need accommodation.
I recently spent six weeks traveling through Indonesia, Australia and the Philippines. The trip involved ten flights, two inter-island ferry transfers and two speedboat rides, plus multiple Tuk Tuks (a motorized three-wheel taxi), regular taxis, shared van transfers, and of course, lots of walking. (Sometimes running to make the next connection!)
On my way to Bali.
In this posting, I’ll tell you about that amazing experience and describe the preparations I made in advance, along with some general tips for taking your guitar on the road.
Choosing the Right Guitar to Take on the Road
Like most people who travel, I’d planned on taking one small suitcase for clothes, plus a backpack for my computer, phone charger etc. But, unlike many folks, when I travel, I usually end up performing too, so I also needed to take along a guitar that I could plug into any PA system or amp. Obviously, the physical size and overall weight of the guitar had to meet airline carry-on guidelines. (More on this below.) I also often write songs on the road, so having a guitar that was tonally inspirational was important too.
After careful consideration, I chose to take a Yamaha CSF-TA TransAcoustic guitar with me. This remarkable instrument is small and easy to play, is relatively lightweight, and comes with a durable hard bag with adjustable shoulder straps. Best of all, it sounds incredible, with onboard effects and a piezo undersaddle pickup system. In short, it filled all my requirements.
The parlor-size Yamaha CSF-TA TransAcoustic guitar.
Checklist Before Departure
In preparation for the trip, I put new coated Elixir strings on the CSF-TA and put a spare set in the case. I also made sure to place a supply of picks, a capo, a headstock tuner, a small pair of wire clippers and string cleaner in the guitar pouch too.
I knew that Indonesia and the Philippines would be extremely hot and humid, while Australia would be hot, with a dry climate. For that reason, I put humidi-packs inside the sound hole to regulate the instrument’s humidity. This also automatically adds/removes moisture from your guitar as needed while it’s inside the case.
I also took into consideration the fact that, if the flight crew would not allow me to take the guitar on the plane and it was instead put into the hold of the aircraft, the surrounding temperatures would be much colder than in the cabin areas. What’s more, I knew that the guitar would be going from hot taxi rides to air-conditioned hotels within short periods of time. Given all these temperature extremes, the shorter scale length of the CSF-TA would likely provide a better tuning platform than a full-size guitar.
Air Travel Tips
We’ve all heard horror stories about how the airlines treat guitars, and baggage in general, and I have personally had several bad experiences of my own. Here’s some advice to anyone who wants to take a guitar with them on their travels:
Smaller domestic flights and aircraft throughout the U.S. and Asia generally have smaller overhead bins. Think ahead when you fly and see which aircrafts you’ll be flying on. The larger the aircraft, the larger the overhead bins, and therefore the better the chance of taking your guitar into the main cabin. The smaller the guitar, the better the chances are too.
If you have a full-size acoustic, soft bags generally raise eyebrows less than a hardshell case. That being said, if your guitar is worth thousands of dollars you’ll have to decide if you trust a gig bag to protect your investment.
Pay for priority boarding if you can afford it. First come, first served … and if my guitar is in the bin, I win. (Note that underpants won’t get crushed in the hold if another passenger runs out of space in the bins.)
I never offer to check my guitar when I’m at the bag drop and check-in desk, but comply when asked. Check-in counter staff are generally very nice, but often tell you that their policy is to not let guitars on the plane and that you’ll therefore need to check your guitar in. I’m always polite and ask them to label the guitar with a fragile sticker and have the guitar walked to the plane with the other oversized items. In the United States, some airlines will allow you to take your guitar to the gate and “gate-check” the guitar. This is where wheelchairs and baby strollers, etc. get left before boarding. The staff there will walk the guitar down to a special area in the hold for these items. They’ll also bring it up to the same area for you upon de-planing. This means the guitar won’t go on the conveyor belt and dumped alongside other heavy bags, where there is a potential risk that it could be mishandled by ground staff.
Fighting with the staff won’t get you anywhere, but you’ll also find that a lot of the decision-making comes from the airlines’ staff manager. I asked the flight crew manager in Denpasar, Bali if my guitar could go in an empty seat and she said yes, provided that it was an empty window seat. Score.
If your guitar is put in the hold, collect it promptly upon arrival, and open the case to make sure nothing is damaged. Report any damage to the airline staff before you leave the airport.
Foot Traffic
As many of you know, navigating airports, changing planes, and general travel requires a lot of walking and dodging other passengers. Having a small, lightweight guitar in a gig bag with shoulder straps is a godsend in these scenarios. One hand is likely wheeling a suitcase, one shoulder can carry a backpack, and the other hand or shoulder can carry the guitar.
Just remember that no travel is without timing issues, check-ins, boarding, de-planing, immigration, passport control and customs lines. How you juggle the gear you travel with can reduce the frustration when you’re trying to find boarding passes, visas and hotel information.
The bottom line is this: Plan ahead, and double-check everything.
Water Travel Tips
One of my favorite locations in the Philippines is the beautiful and secluded resort, Cauayan Island. The day started with a taxi ride in Cebu; a small plane hop to El Nido, Palawan; a shared van ride to the boat docks, and then a speedboat to the island.
Cauayan Island, Palawan, Philippines.
Travel by inter-island ferry is very common in the Philippines. Most luggage can be checked in and stored outside the cabin, although the undercover outside storage compartments looked a bit fragile to me. Fine in good weather … not so good in torrential rain on the ocean.
I took my guitar and backpack onto the ferry, but found there weren’t any overhead bins; onboard luggage is instead placed at the front of the cabin. This is fine in calm weather, but remember: other passengers have heavy bags there too. Place your guitar upright and without anything on top, just in case it gets rough on the open seas.
And, if you check your luggage, make sure not to lose your ticket! It’s absolute chaos at the arrival port, so stay aware, and make sure you keep an eye on your belongings at all times.
Land Travel Tips
I found that most taxi drivers were very helpful; however, they would always want to put my guitar upside down in the trunk of the car. My advice is to take the guitar into the back seat with you, where it’s climate controlled, and you can personally handle it with the care it deserves. I also did this on any shared van transfers … assuming, of course, that space allows.
I had such a blast riding around in the Philippines in the open air Tuk Tuks. You really get to experience the local way of life on the roads between towns and in the city streets and provincial rural areas. Again, I put my guitar on the back seat with me. There’s limited space back there, so I suggest you hire a personal driver rather than a shared ride.
Never leave your guitar in a hot automobile! Glue can soften in extreme heat, and delicate parts may warp beyond repair if heat damaged. Likewise, avoid extremely cold climates for prolonged periods of time.
Climate Changes
As expected, Asia was hot and humid, but the CSF-TA remained stable and held its tuning well from location to location. Australia was hot and dry during the daytime, but temperatures could drop quite a bit during the evening.
My CSF-TA guitar is over three years old and has acclimated to mild temperatures and moisture changes; however, the humidi-packs definitely help when you keep the guitar in the case … which is something I’d recommend whenever it’s not being played.
The Video
I performed at several locations during my trip. One morning my niece in Australia asked me to sing everyone a song at breakfast time. She filmed me singing one of the cover songs I play at my gigs — John Mayer’s “Say” — using the CSF-TA without any of the onboard effects engaged. This video shows my impromptu performance captured on a smartphone, along with some of the stunning locations from my travels.
The Guitar
The parlor-size Yamaha CSF-TA TransAcoustic guitar features a solid spruce top, along with a mahogany back and sides. Many players may find the smaller body size and short scale much easier to play than a dreadnought guitar, and it’s certainly easier to travel with. It also has a built-in piezo pickup and allows the user to add two types of reverb and variable amounts of chorus without the need for amplification or pedals.
On the beach with my CSF-TA.
The Wrap-Up
It’s always great to perform in another country, or at least capitalize creatively on the inspiration you’ll find at new destinations. However, airports are getting busier, and travel isn’t as luxurious as it used to be (unless you have a private jet or travel first class, both of which are unavailable to most of us).
I’m happy to report that my CSF-TA survived multiple temperature changes and other challenges during my recent journey, and I’m confident that, with careful forethought and detailed planning, you can travel comfortably with your guitar too, keeping it perfectly safe while dealing with all the rigors of the road.
Imagine this: What if a tough moment only ruined a couple of hours of your day instead of the whole week? That angry parent email comes in at 8:10 a.m., and you’re over it by noon. Or that rehearsal was a complete disaster, full of interruptions, instruments seemingly falling apart as you look at them, and your soloists and back up soloists are absent; by the next period, you’re back on track? Or your group is about to take the stage at a festival, and your snare drummer sends another student up to you to break the news that they definitely have their sticks, but they left the snare drum back at the school? Wouldn’t it be great to move on and not have to stop yourself from giving dirty looks to Mr. Air Drummer?
Stress-Free Doesn’t Exist
Stress and conflict only occur when people are involved. If you are going to be around people, stress will be present.
We can stress ourselves out by wishing for a situation that will never happen. We must release the desire, wishes and ambitions for a stress-free life because it doesn’t exist. The kicker is that the quicker we accept this, the better we will be able to handle the stress that comes our way. We need to have some stress. It tells our body when situations require our attention. What we don’t want is a full system overload where every decision becomes stressful. We typically find that new or unfamiliar situations that require our decision can cause a lot of stress.
The First Time is Always the Hardest
Remember that first time you stepped in front of the classroom? You were bubbling with anxiety, speaking with a little shake in your voice and trembling as you held the whiteboard marker. The next day? A little better.
Talking to a good friend or your significant other? Easy. It’s like we’ve always known each other. But that first conversation or approach? A knot in our stomach, and an endless supply of “what if” questions running through our brains.
The same can be said for any situations with conflict or that require a decision. Posting those audition results the first time? Nearly debilitating for some. I don’t know if this ever gets to a point of feeling good, but it does become manageable and even predictable. Or that first meeting with a parent. You’re 20 years old and speaking to a 40-something parent who entrusts you with their most prized possession. That’s a little nerve-wracking. But it keeps getting more manageable each time you interact. You notice that you still get a little nervous before parent-teacher conferences, but it’s only the hour before as opposed to all day. We’re looking for progress everywhere we can get it.
Rehearse for Stress and Conflict
If it’s always going to be hard the first time, then we can manage stress and conflict by rehearsing, just like we prepare for a concert.
My colleagues and I love playing the “what if” game.
“What if a parent bursts in right now and demands to see us in rehearsal because we didn’t perform a piece the parent performed in high school?”
“What if the principal asks us to give the solo to the school board member’s son?”
“What if our star students all get caught up in a test scandal, and they’re out for the festival tomorrow?”
We can go on for days, and some of these become pretty humorous, but they all have a common theme: an issue that has must be solved that may not have a clear-cut solution. We talk these issues out, workshop a few different solutions, understand the repercussions and ultimately come up with a few scripts that could play into the Breath, Reflect, Respond method (see below).
We find that situations typically come up in the following categories: students, administrative, colleagues, parents and community. Talk with a friend and play “what if.” You may find that your collective responses help you to approach these situations in ways you didn’t think of.
You may also find that some of the most off-the-wall scenarios you come up don’t even hold a candle to what really happens! I wish I had thought about what I would do when I found out that students were sneaking in George Foreman grills to cook breakfast sandwiches behind the lockers and sell them for a quick profit, and how this might be an OSHA issue and a violation of the school’s food-service contract. But this particular “what if” never came up.
Breathe, Reflect, Respond
In most cases, we don’t have to respond as quickly as we think. Emergency situations, yes, but let’s make sure we define what a real emergency is. Some broken bones or a true safety situation? Absolutely. A parent who demands, “We need the fundraiser information now!”? Nope. At least, not my emergency.
Let’s say two students come up to you. They’re fighting over who gets to play the piano today, or they’re arguing over playing the solo, who sits on the end or who gets to take the classroom pet home today (which is a stuffed frog named Nothing But Treble). If you’ve dealt with this before, you probably have some initial solutions, and realize how much of a nothing situation this is. However, if it’s your first time, these situations can absolutely drain your energy while they filleth your cup of stress. So, try this.
Breathe: That’s right. Breathe. As long as the kids aren’t being a safety risk to themselves or others, just take a breath. In through the nose, out the mouth. Find a word that brings you some peace and say it in your head as you exhale, like water, beach, wind. My word is “cabin” because when people are arguing around me, I think about being alone in a cabin in the snowy mountains for some peace and quiet. That, or I imagine that they are in the cabin for a time-out.
Reflect: Now, we’re going to reflect based on the information we have. In new situations, if possible, you want to give yourself some time. It helps to have a script before entering this phase.
“Hey, thanks for bringing this to my attention. I need to think about this and then I’ll get back to you, OK?”
If you have a class coming up or some more urgent matters, write down the issue with some notes. This will help you to remember the details later, but the primary goal is to just get it out of your head for now so you can free up space for other issues.
Then sit down and reflect on this. How long? It depends on the issue. For a small disagreement, I tend to spend no more than 10 minutes ruminating on the issue. Larger situations may need an hour or two with some deliberation amongst colleagues. Huge issues? Most often these need to become the responsibility of someone above me, such as an administrator.
Respond: It’s time to either invite the parties back to discuss further, or I just deliver the decision. I understand that some unpopular decisions may lead to a little more stress: parents emailing to disagree with the decision, for example. If that happens, I handle that situation. I respond based on my core responsibilities — a primary focus on safety and education, along with the moral, ethical and legal obligations tied to these responsibilities. That’s a mouthful, but it’s important because educators are responsible for acting with authority in some gray areas.
Sometimes we need to breathe-reflect-breathe-breathe-breathe-reflect-breathe-again-then-respond!
Plan For Five Things to Go Wrong
So, we have given up on wishing for stress to just disappear, and we’re rehearsing how to deal with stress. Now, we can begin to expect it. One trick that has greatly helped me is planning for at least five things to go wrong each day. Just knowing that things won’t be perfect and that challenges will come up that will require my expertise and response puts me in a much better place. I’m not always calm, but I’m not out of control and don’t have to spend energy regulating myself.
What about when the sixth thing goes wrong? That’s when I start stressing a little bit. We all need to let it out at some point. Just make sure that you directly communicate to a colleague that you need to vent.
Expecting a small number of things to go wrong helps immensely when traveling with a group or participating in any new experience. If you’re new to the profession, at least double this number. Don’t expect things to be perfect. Besides, no one ever sits around the dinner table talking about how things went to plan. Our most interesting stories and interactions come from the unexpected and our ability to respond in the moment!
Here are some more sample scenarios to consider. What would you do in the following situations?
The Box Cutter: You discover that one of your most reliable students has a box cutter in their backpack during a routine check. This student works at the local big-box store overnight to help support their family. The school’s policy is very strict on this. Also, you have a concert tomorrow, and this student has an important solo that no one else can cover. How do you handle this situation?
One possible answer: School policy states that teachers must report these items, regardless of intention. Chances are, the school will still enact their consequences; however, the teacher can still share the student’s story with counselors, administrators and other decision-makers to highlight the student’s character. Policies are important, but they should be applied with context in mind. Unfortunately, we must act as our school requires.
The Field Trip Sabotage: An upset colleague attempts to undermine a meticulously planned music field trip. How do you address internal conflicts without compromising student experiences?
One possible answer: This is a case of two colleagues who care about their classes and programs — you and the upset colleague. Try to understand and acknowledge their feelings. In this case, I would speak directly to the colleague — no email or phone call, just set up a meeting. Try to find common ground and address any valid concerns. Keep the focus on what is best for the students.
Inclusion Causing Discontent: Striving for inclusivity, a student with special needs joins the ensemble. Other students, however, feel this is a distraction and want to quit. How do you approach this situation responsibly and ethically?
One possible answer: This can be a difficult situation for everyone involved. I would consider speaking with the concerned students. Work together to come up with solutions, such as having a peer buddy or even adjusting rehearsals while still making sure that you are working on behalf of all students in your classroom. In some cases, it may be worth working with the school counselors to make adjustments to where students are placed to ensure success at all levels.
The Battle Over Budget: You and your colleague face off in a heated debate over the allocation of a limited department budget. How do priorities align with program needs?
One possible answer: Some decisions are above our heads. If you are not a department chair or someone involved in allocating the expenses, then there is not much you can do. In the case above, one music teacher received more money than another for their program. I would be open to hearing the colleague out and potentially look for solutions where you can work together. In this case, I find it helpful to work with the other colleague and let them know how they can request funds in the future from administration.
The Overzealous Music Booster: A music booster parent bypasses the director, making decisions that could alter the course of the program. Where does the line between support and overreach lie?
One possible answer: It’s great to have support, but there’s a fine line between helping and overstepping. The director makes the decisions. This could start off as a friendly conversation to thank them for their support while reminding them of the importance of following the proper channels. Encourage parents to share ideas with you, but let them know that not every idea will be able to be enacted. Unfortunately, if there is pushback, you may need to speak to administration about this.
Whether you’re a seasoned saxophonist or a passionate learner, here’s a curated list that promises to infuse your summer with the soulful sounds of the season. From the bouncy melody of Miley Cyrus’ “Flowers” to the classic charm of Ella Fitzgerald’s rendition of George Gershwin’s “Summertime” to the uplifting beats of Pharrell Williams’ “Happy,” this playlist is your perfect companion for the season.
And with our partner Tomplay, mastering these melodies for the summer is a breeze! Tomplay is a digital sheet music app and online platform designed for musicians. It offers a wide range of interactive sheet music for various instruments, including saxophone, trumpet, clarinet and more. Tomplay distinguishes itself by providing features that enhance the learning and practicing experience for musicians, such as :
Synchronized Professional Accompaniments. Musicians can effortlessly listen to and perform alongside professionally recorded piano accompaniments
Tempo Adjustment. Users have the flexibility to modify the tempo of audio accompaniments, tailoring practice to their skill level
Passage Looping. Musicians can loop specific sections of music, for more focused and efficient practice
Self-Recording. The app offers a self-recording feature, allowing users to record their performances and review their progress
Annotation Tools. Musicians can annotate scores with fingerings, bowings, customized highlights, text additions and more
Sharing and Collaboration. Users can easily share their annotations and recordings with their music teacher, promoting collaborative learning between lessons.
Each song in the list below is accompanied by a link to its Saxophone Sheet Music page, which includes a professional recording of the song, synchronized with the sheet music to enhance your learning experience.
1. Flowers by Miley Cyrus
“Flowers” is a song by American singer Miley Cyrus, released in 2023. You may have already heard it, as it broke streaming records. The lyrics of the song are directly inspired by the singer’s personal story. Stemming from her breakup with actor Liam Hemsworth, this ‘revenge song’ highlights a strong and independent woman who is recovering from a difficult breakup and learning how to love and accept herself. Its upbeat melody and affirming message have made it a favorite for summer playlists, inspiring many to embrace their strength and inner beauty.
Practicing the melody on the saxophone can be a great way to bring the song’s vibrant energy to life. On Tomplay, you can find various arrangements of “Flowers” suited to different skill levels, whether you play soprano, alto or tenor saxophone. The platform allows you to adjust the tempo to your liking and provides a professional audio recording to guide your practice, making it easy to master this hit and share its empowering vibe with your audience.
2. Summertime by George Gershwin (as performed by Ella Fitzgerald
Composed by George Gershwin with lyrics by DuBose Heyward, “Summertime” was first performed in 1935 as part of the opera Porgy and Bess. Gershwin created the song to capture the essence of a lullaby, drawing on elements of African American spirituals and folk music. Singer Ella Fitzgerald, known for her impeccable vocal style and improvisational prowess, recorded her iconic rendition of “Summertime” in 1958, solidifying the song’s place in jazz history. Since then, the song has been covered by over 25,000 artists!
Tomplay features like self-recording and loop passages allow you to master this classic.
Released in 2013, “Happy” by Pharrell Williams quickly became a global sensation with its infectious melody and upbeat lyrics. The famous singer crafted this song for the soundtrack of the animated film Despicable Me 2, and it went on to top charts worldwide, spreading joy and positivity wherever it was played. The song’s catchy rhythm and cheerful vibe have made it a staple of summer tunes.
Playing “Happy” on the saxophone is a great way to channel its exuberant energy and bring smiles to your audience. Tomplay offers various arrangements for different skill levels. Slow down the tempo and speed it up as you work on the piece to perfect this amazing hit!
“Sunny,” composed and performed by Bobby Hebb, was released in 1966 and became an enduring classic celebrated for its uplifting melody and positive lyrics. Hebb wrote the song in response to personal tragedies, including the assassination of President John F. Kennedy and the death of his brother. Despite these dark inspirations, the song conveys a message of hope and resilience.
Discover multiple arrangements of “Sunny” with Tomplay. The sheet music is suited to different skill levels, complete with a top-notch accompaniment track. Annotate your scores and use the on-screen saxophone as a visual aid to get to grips with the piece.
“Manhã de Carnaval”, also known as “Black Orpheus,” is a bossa nova song composed by Antônio Carlos Jobim and Luiz Bonfá for the 1959 film Black Orpheus. It recounts the Greek myth of Orpheus and Eurydice set during Rio de Janeiro’s Carnival. The story follows Orfeu, a charming musician, and Eurydice, a young woman fleeing a mysterious stalker personified as Death. They fall in love, but tragedy strikes as Eurydice dies while escaping her pursuer, and Orfeu, stricken with grief, ultimately meets a tragic end himself. “Manhã de Carnaval” was one of the first compositions to bring bossa nova to an international audience, helping to popularize the genre outside Brazil.
Tomplay provides multiple arrangements to accommodate all proficiency levels and allows you to perform the rich melodies of this song with a professionally recorded orchestral accompaniment.
“Sittin’ on the Dock of the Bay,” composed by Otis Redding and Steve Cropper, was recorded song just days before Redding’s tragic death in a plane crash in 1967, and released the following year. The song captures a reflective mood, with Redding’s soulful voice conveying a sense of longing and contemplation as he watches the tide roll away. The signature whistling at the end was added as an impromptu fill-in because Redding hadn’t yet written the final verse, and it has since become an iconic element of the track.
The soulful melody of this wistful song is perfect for the summer!
“Despacito” was composed and performed by Luis Fonsi featuring Daddy Yankee in 2017, and quickly became a global phenomenon. This reggaeton-pop fusion is characterized by its infectious rhythm, with an upbeat tempo and romantic lyrics that celebrate the sensuality and passion of Latin music. The song became the first Spanish-language song to top the Billboard Hot 100 since “Macarena” in 1996. Its popularity surged even further with a remix featuring Justin Bieber, making it one of the most-streamed songs of all time.
Master this modern hit on the saxophone alto, tenor or soprano with Tomplay. Simply hit the play button and start playing along with a high-quality accompaniment track.
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Whether you’re jamming to summer hits or practicing new pieces, Yamaha saxophones provide superior quality and playability. Plus, with your purchase or rental of a Yamaha brass, woodwind, string or mallet keyboard instrument, you’ll receive three months of free premium access to Tomplay, offering over 80,000 sheet music titles with backing tracks to play along to. Elevate your musical experience this summer with Yamaha and Tomplay … and let the summer festivities begin!
In just five years, the Winter Guard International (WGI) indoor winds program at Westfield High School in Indiana, has progressed from competing in Scholastic A Class to competing in Scholastic World Class, in a transcendence that occurred during one of the most trying times for competitive band programs: the COVID pandemic. Because the program has progressed so quickly, some students have had the unique opportunity to perform in three different competitive classes — A Class, Open Class and World Class. In 2019, 8th-graders performing for Westfield competed in A Class; now, in 2024, those same students are high school seniors, spending their final year competing in World Class.
“I can’t think of other examples of programs that have grown so fast that students have had the opportunity to be there for every season to get to World Class,” says Westfield Director of Performing Arts Andrew Muth. “The kids bought into excellence.”
Muth attributes his program’s rapid growth to long-term planning, short-term goal-setting and a mindset focused on tackling one obstacle at a time. “What is excellent today isn’t excellent tomorrow,” Muth says. “The standard is going to grow and evolve.”
From Pandemic to Performances
Westfield’s indoor winds program first began during the 2019 school year. After just one year of competition, the 2020 COVID lockdowns ended the following season early. When students returned for the 2020-2021 school year, rehearsals faced a series of modifications, including requirements for students to wear masks, stand five feet apart and fill out health forms on an iPad to confirm they had no COVID symptoms before entering the rehearsal space.
The pandemic posed an obstacle to Westfield, as it did to every band program in America. However, despite a year of lost practice and competition time, the pandemic helped the students at Westfield develop a resilient mindset to come back even stronger.
Muth explains that band rehearsal was the highlight of the day for students and music teachers alike. Everyone was excited to return after months without practice. “For me personally, going to rehearsal, working with everybody, that felt normal. Even though we wore in masks, even though we were socially distancing, even though it wasn’t exactly how we wanted it to be, we were working on something together,” Muth says. “It felt so good to come back and do a rehearsal, even five feet apart in masks.”
A season without band served as a motivator. Muth, who was recognized as a 2024 Yamaha “40 Under 40” music educator, and his students learned a lot about how important it is not to take the band experience for granted. “We knew at any point our season could be done,” he says. “So, we were going to make the most of every single thing we did.”
Concepts like gratitude for each performance and taking responsibility for each day of practicing are not unique to the COVID lockdowns. Even years removed from the quarantine, Muth still stresses the importance of breaking down each piece of performance to its details. If each piece of the puzzle fits into place, it will create a whole. As a result, the Westfield indoor winds program has many pieces that work together like a well-oiled machine.
The first puzzle piece is nailing down each detail of the show with music selections, staging and costuming. “There’s no such thing as too detailed,” Muth says.
The next piece is making sure the band staff is working in tune with one another. Because of Westfield’s growth, the indoor winds staff has expanded from three members back in 2019 to 13 in 2024. New staff members include a recently hired choreographer, plus indoor winds alumni who Muth hired to help out.
The third piece of the puzzle is perhaps the most important, the students. Success for students, just like for staff, comes down to the details. Muth challenges his students to give their best effort during every step of the process, not just during their performances. “This includes [being] good at unloading and loading the trailer in the parking lot of the show,” Muth says. “We’re good at walking into warmup and setting up. We’re good at getting on the floor. We’re good at performing because obviously that’s the main goal, but everything matters. There’s not a detail of what we do that isn’t important.”
Parents are the last piece to complete the puzzle. If parents are fully on board with the commitment that the indoor winds program requires, they play an important role in helping the students perform to their full potential.
As the program has grown, parents’ initiative has grown as well. While five years ago, parents were volunteering to learn the process, parents are now making their own suggestions for improvement. Without being asked, Westfield band parents regularly take on tasks like setting up pre-performance meals in the parking lot, organizing uniform dry cleanings between shows, and noticing when to alter uniforms to fit better. “They’re constantly raising their own bar, just like the kids are,” Muth says.
Marching One Step at a Time
In addition to the importance of teamwork, Muth emphasizes that progress is slow and gradual, but it’s important to embrace every step of the process. “It’s an old saying, but it’s true: Rome wasn’t built in a day,” Muth says.
Muth doesn’t focus on making the first performance perfect; instead, he looks to establish good habits and patterns for long-term growth. “We’re a slow burn, and we know that,” he says. “The Westfield band you see in week one is not the band you’ll see at the end of the season.”
Part of Muth’s growth as an instructor has come from understanding the hierarchy of the band’s priorities. “When I was a 23-year-old band director, I wanted to fight every fight and die on every hill,” Muth recalls. However, during his teaching career, Muth realized: “It’s about the war, not the battle. You can’t die on every hill. You must take it in parts and pieces.”
Setting Goals
Those parts and pieces often go back to the basics — a regular focus on improving marching technique and music rehearsals. For Muth, those pieces also include being willing to delegate more tasks among staff. “I’ve let go of a lot of things that I used to be responsible for,” he says.
Instead of trying to lead every piece of the program himself, Muth spends time training staff members to take on more responsibility. “We’re not only educating our students,” he says. “We’re educating our staff.
Goals for students must be tangible, measurable benchmarks. “Students can say, ‘I want to play better. I want to move better,’” he says. “But what are some larger, big ticket boxes that we can check?”
For example, during the program’s third year, Muth and his students set a goal to make it to WGI finals. After accomplishing that goal, Westfield won Open Class during year four. “It was never the goal to win,” Muth says. “The goal was to be in a place where it could happen, where we had the level of training and excellence where [winning] was in the cards for us.”
To reach those goals, Muth recommends forming mentorships and alliances with other schools and their band directors, plus going to watch other schools’ rehearsals. “I haven’t yet met a successful band director who is not willing to let you come in, watch the rehearsal and see how the sausage gets made,” Muth says.
Watching other bands rehearse can help a band director identify areas where their own band has similar struggles. “It’s eye-opening. You’re like, ‘Oh! They’re telling their kids to play in the key signature and get their toes up just like we’re doing,’” Muth says. “It contextualizes it for you and makes you realize that you’re not alone.”
One of the fastest and least expensive ways to step out of your comfort zone and explore new territory is to change the way you tune your bass. Electric bassists have inherited E-A-D-G tuning from the upright bass, but there are many other options. In this posting, we’ll explore a number of them, but first, a little history.
STANDARD TUNING
Basses (and the bottom four strings of guitars) are tuned in fourths, which means that each string is four semitones apart. Most other stringed instruments, including cello, violin, viola, mandolin and tenor banjo, are tuned in fifths: Cellos and violas are tuned C-G-D-A, while violins and mandolins are tuned G-D-A-E.
In the 1800s, the upright bass was tuned in fifths, too, but many players found that this made it harder to shift positions. Today, acoustic bass players who have gone back to tuning in fifths say the strings have richer overtones and fit in better with the rest of the string section; they also find the interval of a tenth is easier to play. In addition, the C-G-D-A tuning gives them a low C without the special extender they’d need to use on a standard-tuned bass. (See the “Go Low” section below for more information.)
BE OPEN
Classical composers have been employing alternate tunings, which they called scordatura (“mistuning”) as far back as the 17th century. They prized being able to use the power and resonance of an instrument’s open strings, and when composers wrote in unusual keys or with nonstandard tonalities, they sometimes asked that string players adjust their tuning to play the composition. Many contemporary songs written on guitar, in fact, are in E, A, D and G because many of the notes in these keys can be played on open strings.
Another reason musicians re-tune their instruments is to make difficult parts easier to play; if a particular lick is a big stretch on adjacent strings, for example, tuning one of the strings up or down by a half-step makes it one fret easier to reach.
GO LOW
Some bass players outfit their instruments with piccolo bass strings designed to be tuned an octave higher than normal, yielding the same pitches as the lower four strings of a guitar. This can offer interesting possibilities in a solo context, but it’s safe to say that tuning down is more prevalent than tuning up.
One of the most common reasons to reasons to tune down is to access lower keys and go below a bass’s normal range. In metal and hard rock, many guitarists (and their accompanying bassists) tune down a half-step, use D standard (a four-string tuned down a whole step to D-G-C-F), C standard (C-F-B♭-E♭, a major third lower than usual) or B-E-A-D tuning (the standard tuning of the lowest four strings on a five-string bass) on a four-string.
But this kind of so-called “drop tuning” is hardly confined to metal. As far back as the 1980s, Anthony Jackson was tuning his bass down to C standard on sessions with Chaka Khan, and Ross Valory was using B-E-A-D tuning with Journey. In addition, many gospel and R&B bassists tune down to accommodate songs in flat keys.
The more strings you have, of course, the more options there are. Common variations on standard five-string B-E-A-D-G tuning include F#-B-E-A-D and E-A-D-G-C, and some gospel bassists tune their six-string instruments to A-D-G-C-G-B♭ for especially thunderous impact.
In these tunings, you can still use standard scale and chord fingerings, but that changes if you detune just one string. “drop D” tuning means lowering the E string to D and leaving all the other strings just as they are. To achieve this quickly during live performance, some bassists use an extender, a lever that can drop their E string as far down as B.
USE THE RIGHT STRINGS
With all these possibilities, it can be easy to forget that your bass is made of wood that expands and contracts. Lower tunings can work with a standard .45 – .105 gauge four-string set, but if you go all the way down to B-E-A-D, it’s simpler to use the lowest strings of a standard five-string set, with a low B that’s .125 gauge or thicker. Several companies sell heavier-gauge strings for down-tuning (.50 to .110, for example), lighter gauges for piccolo bass (such as .20 to .52) and mixed sets that can accommodate a wide variety of tunings. In rare cases, you might need to buy a single string that deviates from the rest of the pack.
TAKE IT TO A TECH
If you’re serious about exploring a substantially lower or higher tuning, I strongly suggest you take your bass to a professional tech who can tweak your truss rod, dial in your string height, check your intonation, and adjust your nut for new string sizes.
START SMALL
Experimenting is fun, but you can also be strategic: Can your lowest string match the lowest note of the song? Is there a passage that could be easier to play if you change the tuning of one or more strings? If tuning down to D standard feels too extreme, just tuning down the E string alone might do the trick. If you have more than one bass, consider keeping one bass in a particular tuning. For inspiration, listen to bass players like Michael Manring, who has explored alternate tunings more thoroughly than most.
Sometimes, it’s the seemingly insignificant moments that hold the greatest lessons. I was watching a cooking and travel series called “The Chef Show” that featured actor, director and aspiring chef Jon Favreau and renowned chef Roy Choi. During a mundane scene of the men chopping onions or making some stock, Favreau asks, “Are there any shortcuts?”
Choi responds, “If you cook with shortcuts, it will taste like shortcuts.”
This statement struck a chord with me and turned into a guiding principle for me personally and professionally. I noticed that anytime I took the time to work at something — spend the time to plan things out — it didn’t feel like I cut any corners. However, when I took shortcuts and skirted around things, occasionally I would get lucky and no one would notice, but ultimately, the shortcuts were obvious.
Confronting Conflict Head-On
Take conflict resolution, for example. Avoiding difficult conversations, whether with colleagues, students or administrators, might seem appealing. Our minds often persuade us to steer clear of potential discord. However, reality is starkly different. Facing tough situations directly not only resolves them more effectively but also prevents any lingering stress that comes from avoidance. A challenging conversation today can save weeks of underlying tension. In my book “Harmonizing Ethics and Education,” my co-authors and I don’t promise to eliminate stress; rather, we provide techniques that can help you manage conflict so that instead of ruining an entire week or more, it’ll only ruin a few hours.
Think about things that loom in the back of your mind. Maybe it’s a tough situation with a colleague or administrator, posting audition results or working through a challenging section of the music. These are often the things we want to avoid, want others to do for us, or even just hope that they work themselves out. But deep down, we understand that the actions we want to avoid are necessary.
Our brains may say, “I’m conflict averse. I don’t want to have this difficult conversation with my colleague because I don’t think it will go well.”
Reality: You need to have this tough conversation. In fact, avoiding it may lead to more discord and unresolved tension.
Our brains may say, “I don’t want to spell this out and spoon feed it to the kids — they just need to practice this transition section!”
Reality: You need to spell it out and spoon feed it to the kids because they won’t practice.
As long as you work with people, there will always be some stress involved. Why not choose a shorter burst of intense stress (that measures a 6 out of 10) that lasts a few hours to a day instead of dealing with a low-grade level of stress (maybe a 3 or 4) that lasts several weeks or even months. The intense burst may tire you out and stress you out quite a bit, but I believe that consistent stress or conflict that isn’t managed over multiple weeks or months may be more detrimental than larger, focused bursts. Think about the times you had an argument with someone that actually led to more understanding and even brought you closer to someone.
The Detailed Craft of Score Preparation
The principle of avoiding shortcuts manifests clearly in score preparation. Learning a score on the podium is a shortcut with tempting immediacy. Yet, the true understanding comes from immersing yourself in every part of the score and understanding what the students are truly doing.
I worked with one of my student teachers recently on shortcuts — or rather, not taking them. We always start with score prep. What is the shortcut? Learning the score on the podium. What is the simmering process? For us, it’s taking the score and playing every single part on the piano. That’s what I said. Every. Single. Part. And do it three times. What does mean? For a band score, we start with the flute or piccolo part, and we play the whole part on piano. Then we move to flute two and do the same thing. Then we go to oboe, and so on.
Then we do it again. And then one more time.
Does it get boring and mundane? Absolutely! By the end of this laborious process, we have spent so much time with the score — even specific parts of the score — that our understanding of it, the intricacies of why it was written that way, and our ability to detect errors and suggest solutions has become much more efficient than simply figuring it out on the go. The result? You end up really feeling like you know what you are doing!
From a professional standpoint, it feels really good to hear an issue and say, “Alto twos: check your part. It sounds like we’re a step off. Try this instead.” Standing in front of an ensemble as a new teacher with no score prep can feel like opening a car hood after hearing a clunk, and going, “Yep, there’s an engine in here.”
Best- and Worse-Case Scenarios
Addressing common shortcuts directly, such as avoiding conflict or neglecting detailed score preparation, illustrates potential pitfalls. Best-case scenarios might offer temporary relief, but worst-case scenarios can lead to significant setbacks. The aim is to encourage a mindset that seeks thoroughness and dedication, recognizing the long-term benefits over the fleeting allure of shortcuts.
Missed call times, loss of trust (in one case, I know of a director who showed up to a college with his band for a clinic on the wrong day. Two years in a row!).
Spending even more time and resources to fix the issue and other issues that arose from not addressing the original issue.
Does it Get Easier?
Yes! On one hand, spending more time in this process does make it and the journey more enjoyable (after all, the more onions you cut, the less you cry; but only if you remove the bulb and don’t nick it with your knife). The other advantage with not taking shortcuts at the beginning is that your skills improve a lot. Yes, you are playing the long game, but you are truly investing in your skills. Sure, there are those people who can read transposition for F horn right away, but chances are that most just spent a lot of time doing the work, and you only see the final result.
Spending more time on these items actually may help you find the other “shortcuts” and processes that help. Spend time playing through every part by a specific composer. What do we now see? Patterns on how this specific composer voices parts. The process then becomes more enjoyable. You can fly through a part without worrying about the transposition because you’ve worked through it already. Your skills improve on plunking out parts and you don’t have to go back to fix things.
You understand that going through the extra process of confirming with the district office that your buses will in fact be here in two days to take you to the festival saves you the added stress of wondering exactly where they will be on Saturday.
By embracing this “no-shortcuts” approach, we not only enhance our skills and resolve conflicts more effectively but we also discover a deeper satisfaction in our endeavors. The long road might be more demanding, but it is undeniably more rewarding.
Last year, I was lucky enough to get to play and write about the latest flagship Yamaha acoustic guitar: the FG9.
Having the chance to experience this extraordinary handcrafted instrument literally changed my opinion on what an acoustic guitar should look and sound like. That said, both FG9 models (the FG9 R and FG9 M) have fairly large dreadnought bodies, and my personal wish would be for a smaller size. With the recent release of the FS9 MandFS9 R concert body guitars, my wish has been granted!
FS9 M (left) and FS9 R (right).
Both models have the same design aesthetic as the FG9, so it should come as no surprise that they sound and look just as incredible as their larger cousins. Let’s take a deep dive into the reasons why these all-acoustic guitars (which, like the FG9, have no onboard pickups) are, in my humble opinion, instant classics.
Tonewoods
Both FS9 models feature solid Adirondack spruce tops with tapered edges (a feature that allows the body to vibrate more efficiently), a one-piece bolt-on solid African mahogany neck, an ebony bridge and fingerboard, bone nut and saddle.
The FS9 R features a solid African rosewood back and sides, while the FS9 M features a solid African mahogany back and sides. These two tonewoods have slightly different sonic characteristics … but they both sound great!
FS9 R.
FS9 M.
Design Aesthetic
Yamaha kept the design aesthetic for the FS9 deceptively simple. The solid Adirondack spruce top and sound hole are outlined with a beautiful rope motif, while the distinctive fingerboard inlays resemble traditional Japanese Kumiki woodworking.
The company’s logo at the top of the guitar is also Adirondack spruce, and the truss rod cover is unfinished ebony to match the fingerboard and bridge. The scratch plate has a tortoiseshell pattern. One of the nicest touches on these fine instruments can be found on the neck heel by way of the spruce inlay and “FS” logo marquetry.
Technical Specifications
FS9 concert-body guitars have a slightly shorter scale length than their dreadnought counterparts: 25″ versus 25 9/16″. The string spacing and nut width have remained constant, however, at 11 mm and 44 mm respectively. They also offer the same high-precision Gotoh SXN510 Cosmo Black open-geared tuners found on the FG9.
In addition, like the FG9, both FS9 models come supplied with a hardshell case.
Playability
I’m a big fan of the FS9 for several reasons. First, I find the smaller bouts provided by the concert-body size easier to manage when strumming. Secondly, the picking hand placement feels more comfortable to me; essentially the smaller size allows your shoulder to find a more natural resting place. Of course, this is relative to your physical size, but I think most players will find this aspect easier to manage than on a dreadnought or jumbo guitar. And, while it’s true that the FS9 does not have a cutaway — neither does the FG9 — the fact of the matter is that acoustic guitarists rarely play above the 12th fret, so I honestly don’t miss it at all.
The slightly shorter scale length on the FS9 (as compared to an FG9) also reduces string tension somewhat — a very desirable attribute for players with less hand strength, or those who spend a lot of time on their dedicated instrument.
I found the neck to be extremely comfortable to play; in fact, I didn’t really need any time to adjust to its dimensions and string spacing. The fret edges are beautifully dressed, to the point where you don’t feel them at all during changes in position.
In addition, the satin-finished neck allows for easy slides and glissandi along the fretboard without it ever feeling sticky or sweaty. I’m so glad guitar manufacturers like Yamaha are aware of how much players appreciate these finer details … as they should on a premium guitar like this.
Tone
I recently spent a couple of weeks with the FS9 M in my studio, which gave me time to make some comparisons with my other acoustic guitars.
I was expecting the mahogany back and sides to emit less bass-end response than my rosewood guitars, but that wasn’t the case at all. In fact, I found the FS9 M bass response to be well-tailored to the size of the guitar. In addition, the midrange response was clear and musical, and the top end added just the right amount of sparkle to chords and arpeggios without ever sounding too bright.
Of course, what the player hears, compared to a listener ten feet away, is often completely different … but I think most players would lose themselves in the quality of tones coming from this guitar and fall in love with what it can do to inspire your musical performances, songwriting and recording sessions.
I thought the best way for me to see if the guitar would work well for songwriting was to record how it sounded both with a pick and my fingers in a multi-track recording. I also wanted to see if the FS9 would sound good when applying other acoustic guitar techniques and stylistic approaches like bottleneck slide and single-note lines, so I produced a track using the FS9 M exclusively to capture what this guitar can do in a real-world recording session with a rhythm section plus male and female vocals. You can hear and see the result in the video below.
The Video
Here, I’m playing a Yamaha FS9 M on an original song, “Rain Down On Me.” I think this presentation gives you a good idea of how the guitar sounds in a modest home studio setup, for what I consider a singer/songwriter acoustic guitar demo.
After the song concludes, I discuss the guitar specifications, show photographs of both the FS9 M and FS9 R models, and present isolated strumming and fingerpicking sound samples from the FS9 M.
The Wrap Up
FS9 concert body guitars are a terrific addition to the pinnacle “9” range of Yamaha all-acoustic guitars. They are extremely expressive instruments that allow the player to precisely create dynamics with either their fingers or a pick … without ever losing details across the low, mid and high-end frequency ranges.
Experienced guitar players will appreciate the versatility these instruments offer; the ability to seamlessly transition between articulate arpeggios, finger styles and strumming, all in one musical passage, is rare on many acoustic guitars. Add the clarity of solo lines, fills and bottleneck slide to the mix and you have an acoustic workhorse worth double its weight in gold. Singer/songwriters will appreciate the overall size, light weight, ease of playability and the harmonic support the FS9 provides to either male or female vocals.
So if you’re looking for a dedicated acoustic guitar that will sit front and center both in your studio and onstage, look no further than the excellent FS9.
Music education degree programs are unique in the breadth of content areas addressed and in the intensive study of music and music performance — all intended to prepare graduates to teach and meet state licensure requirements. In most states, music educators are certified as PreK-12 music content specialists. This includes, but is not limited to, instrumental band, orchestra, choir, general music, modern band, music technology, composing, conducting and more. Within a four-year undergraduate teacher-preparation program, there is no way for teacher educators to address all these content areas. It’s no wonder that many undergraduate music education majors learn best through hands-on learning experiences that connect theory to practice.
Through all the coursework, performances and eventual pursuit of a career in music teaching, it is essential for undergraduates and novice music teachers to reflect on challenges and personal motivation along their journey. Below are nine recommendations for pre-service music education majors as well as novice in-service music educators to consider as they navigate their degree programs and enter the teaching profession.
1. Collect Resources
According to research, it is essential for music education majors to actively engage in learning opportunities to explore hands-on music education. These opportunities will make learning memorable but may not be able to address all areas of need surrounding a particular topic or area of interest (Vaughan-Marra, 2017). Alongside these experiences, maintaining organized materials and resources from coursework, professional development sessions, conference attendance and workshops will be invaluable during in-service teaching.
2. Connect with Teacher Preparation Programs
Professional development does not stop with the completion of an undergraduate degree. Music educators continue to learn alongside their students in their classrooms. This learning can expand to supporting pre-service music education majors when in-service music teachers connect with teacher educators. This can be through hosting fieldwork or practicum courses or through coordinating to bring an ensemble or class to a local university. Music educators working in higher education settings often welcome the opportunity to visit school sites of alumni, work with PreK-12 music makers, and support professional development that directly impacts teachers with their students. Novice music educators should contact local universities to request clinics or professional development with the help of faculty.
3. Connect with Professional Organizations
Music education degree programs often encourage students to participate in collegiate chapters of state, national and international professional organizations. Active members of collegiate chapters get opportunities to network with in-service educators as well as participate in additional professional development.
While fieldwork and practicum courses require visiting a range of schools and communities as part of undergraduate teacher preparation, new in-service music teachers may find it challenging to schedule time to observe colleagues or master teachers during their first years in the profession. Though it can be challenging to plan for substitutes or request funding for professional development, many districts encourage teachers to seek professional development throughout the school year. When possible, taking time to visit another school site or observing colleagues teaching similar content areas will help music teachers develop ideas that they can bring back to their own classrooms.
5. Connect with Music Teacher Mentors
Successful new music teachers demonstrate a willingness to connect with mentor teachers. In music education, finding content-specific mentors can be challenging due to a lack of consistent contact opportunities with music colleagues. A music teacher mentor can help a new music teacher navigate their first five years in the profession. This may include the social-emotional support needed to communicate with administrators, colleagues and parents. It may also include invaluable support in the classroom that helps refine teaching. When combined with rehearsal and lesson review, mentoring can evolve into rich opportunities to refine teaching.
6. Set Professional Goals
Most students set goals toward completing their undergraduate degree programs, but it’s also helpful for them to have a sense of what type of teaching position or career path they want post degree completion. Some new music teachers begin with goals related to their first teaching position. Though it can be helpful to narrow interests to help support learning during the degree program, it is vital for music education majors to remain flexible to different ways a future teaching assignment may be constructed. In addition to teaching assignments, I recommend including goals for pursuing an advanced degree. Expanding learning to areas such as philosophy, research and curriculum design change as music educators teach within their own classroom (Conway et al., 2021). There is no better way to reflect upon or grapple with these ideas than within a robust master’s program.
7. Consider Your Motivation to Learn
“Motivating Students to Learn” is a framework by educational researcher Jere Brophy (2004) . Within this framework, how students approach learning experiences and identify meaning and intended benefits are most important. He contends that this is a way of bridging casual exploration with focused learning. During an undergraduate music education degree program, majors may face challenges related to projects and curriculum requirements that are less interesting or personally enjoyable. Students who reflect upon practice sessions, coursework and required assessments through the degree program as learning opportunities are more able to develop professional goals and utilize strategies for learning in ways that extend beyond other forms of motivation such as rewards, grades or praise alone.
8. Understanding Feedback
Part of professional growth includes learning to understand the ways feedback can be approached. Musicians, like athletes, develop habits around how they prepare for and accept feedback. Due to the personal nature of musical performance and self-expression, it can take years for young musicians to develop self-reflection skills that support a growth mindset around their musical development.
Similarly, music education majors and novice music educators will face challenges related to their own learning, lesson planning and teaching, as well as the challenges and successes of their own students. Throughout their undergraduate degree program, music education majors may consider the ways that they are most receptive to feedback. This will enhance communication skills with faculty and peers, and it will constructively impact their performance. Though feedback can produce an emotional reaction, it is powerful to remember that feedback is information, and music education majors should look at systematic practice to demonstrate what is currently absent to the assessor. If a novice music educator can develop a growth mindset regarding their own learning, they will model this with their future students as they participate in music performance-based assessments.
9. Refine Your Adaptive Expertise
Hatano and Inagaki (1986) define adaptive expertise as the flexibility an individual has in relation to work and content areas of specialization. Routine expertise functions as the predictable patterns of behavior or habits. In music education, these forms of expertise are developed through coursework but also by working with students. Routines are vital for educators because they help teachers refine their self-confidence in their curricular choices. Having said this, adaptability is potentially more critical for music educators to develop due to the breadth of content and areas of specialization within the profession.
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How music educators approach their own learning may impact the experiences of their students and how they develop curriculum. Starting within the undergraduate teacher preparation experiences, music education majors must consider how they navigate the development of their expertise both routine and adaptative. This lays the groundwork for future opportunities to learn in their classroom and includes how music educators pursue professional development throughout their career. Undergraduate teacher preparation is the first step into the profession. From there, connecting with professional organizations, music teacher mentors, colleagues for collaboration and advanced degrees like a master’s in music education or paralleled programs, help music educators refine and evolve with the needs of their students, school district and community. Music educators who are willing to adjust, listen, try new ideas, while also balancing these skills with prior knowledge, will flourish in the profession.
Hatano, G., & Inagaki, K. (1986). Two courses of expertise. In H. Stevenson, H. Azuma, & K. Hakuta (Eds.), Child development and education in Japan (pp. 262–272). New York: W.H. Freeman.
Angela Ammerman recalls the serendipitous moment in 2018 when a colleague talked about going to Thailand to teach music to children at Hope House Children’s Home. She spontaneously said, “I’ll go!”
Ammerman, who’d always felt compassion for children in difficult situations, packed up violins and flew with them to Thailand, where she spent 10 days at the rescue home for abused, abandoned and neglected children. She taught children in grades 4-12 how to play the violin. However, Ammerman faced a major obstacle: The kids didn’t speak a word of English, and she didn’t speak a word of Thai. How could she teach them when she couldn’t communicate with the kids verbally?
Spoiler alert: At the end of their time together, kids were playing Canon in D and performed a little concert for the community.
Finding Ways to Communicate
How did Ammerman make that happen? She figured out a way to communicate with the students, who spoke tribal dialects, through body language and using a lot of call and response. Ammerman would stomp her feet, one foot at a time, to demonstrate the proper posture for playing, and use arm gestures while playing the violin, so that kids would start to associate those movements with the instrument.
She would teach students a few key music words in English, like “Bravo!” which she would say when they did things correctly. The children caught on to her modeling and repeated after her. Soon, the kids would say “Bravo!” themselves as a happy word. The older kids would help teach the younger kids, using the same methods as Ammerman.
Ammerman also made the effort to learn a few words of Thai dialects, and she tuned in to the kids’ sound effects. One quirky thing the Thai students did was tease each other with what sounded like “Ding, ding, ding!” in reference to scorpions. Ammerman used that running joke by making the same sound in her violin lessons.
“That brings the connection between the violin and who they are socially together, so that they see themselves in my lessons — and now, they are part of the curriculum,” says Ammerman.
The results were phenomenal. Ammerman recalls an especially touching story about a young girl, who had experienced trauma and wouldn’t speak, progressed socially; by the last day, the girl was playing with good posture rather than hunched shoulders. Another child, after days of practicing, told Ammerman: “I’m not feeling tired and sleepy anymore.”
At the end of the last day, Ammerman taught the Thai students to say: “I love violins!”
“They said it to me, and I just lost it,” she says. “All these things are very clear signs to me that their confidence was being boosted.”
Working with the Youngest Students
Ammerman, who now lives in Fredericksburg, Virginia, uses almost identical techniques when teaching young music students at Art Time 4 Kids. Her youngest classes range in age from toddlers to babies, who absorb the music they hear.
Like she did in Thailand, Ammerman pays attention to what her students say. She takes the natural babbling and sound effects the children make with their own friends and families and makes an effort to put those same sounds to music.
“All of a sudden in a music class, students start to speak the words they’ve been working on,” says Ammerman, who uses exaggerated lip and mouth movements, and intentional eye contact with struggling students. “Parents and grandparents are floored.”
Both families and Ammerman — who also guest conducts with high school orchestras — see a strong progression in language skills as students learn via music.
“I see it and I hear it from parents all the time,” she says. “Overwhelmingly, parents will tell me over and over again: ‘I can’t believe the development since our kids started these music classes.’”
Teaching All Ages
Ammerman, who completed her Ph.D. in music education from George Mason University in 2018, has enjoyed a lifelong passion for music. She’s wanted to teach music for as long as she can remember, and a college professor’s impact on her confirmed her desire to pursue teaching after graduation.
“I knew that I wanted to teach teachers,” Ammerman, who was recognized as a 2024 Yamaha “40 Under 40” music educator, says. “The impact you have teaching the teachers is exponential!”
When she first started teaching, Ammerman’s dream job was teaching music in elementary school, so she started there. Then, she moved to teaching orchestra in middle school and high school. When she and her husband had their son, who is now 3, Ammerman became fascinated by early childhood development. Because she wanted to stay home with her son more, Ammerman started teaching one day a week at Art Time 4 Kids.
“It’s the most crucial time in a child’s life,” she says about ages birth to 3. “If we can impact them at this stage, the benefits are phenomenal for the rest of their life.”
Outside of teaching the little ones, Ammerman also works as an adjunct professor at George Mason University. She teaches two days a week online, and on Fridays, she goes to the Fairfax campus in person. She teaches a radical age mix of students during a typical week, but Ammerman says she loves the variety of this hodgepodge of classes, and she feels like she has come full circle.
“It’s fascinating and so fulfilling,” she says. “I’ve become fascinated with development over time and the trajectory of life.
“If you asked me what my favorite age is, the answer is: I love them all,” Ammerman says. “What many don’t expect about teaching is that teachers truly get more out of teaching than the kids. We learn so much from them.”
Angela Ammerman shows a student the proper way to hold a bow.
Shifting Gears
She has become good at dramatically shifting gears quickly: On some days, right after teaching the early childhood classes, she logs on to teach a virtual college class in professor mode.
No matter the student’s age, Ammerman says that music education should, above all, be fun. “To me, the biggest thing is that it doesn’t feel like work,” she says. “Music is so much fun and it just feels like you’re playing.”
Another key element of music education happens when music is a social activity. “I know we can enjoy music independently, but music is more fun when we are together,” she says. “I believe so firmly that that sense of belonging is a key component.”
Learning to play shuffles is a fundamental skill for any drummer, which makes it indispensable for bass players too. In this posting, we’ll show you how to get into the shuffle groove.
SHUFFLE VARIETIES
There are many different varieties of shuffles, but they’re all rooted in the blues and are all triplet-based. Shuffles can be identified by feel (i.e., the “half-time shuffle,” which places the snare on beats 2 and 4), associated with a drummer (such as the “Gadd shuffle,” named after famed Yamaha Artist Steve Gadd), tied to a region (the “Texas shuffle”), named by genre (the “jazz shuffle”), or even by its association with a record label (the “Motown shuffle”). Here are some of the most popular shuffles and the dynamic duos who helped make them famous.
THE 12/8 SHUFFLE
The slow pulse of legendary bluesman Muddy Waters’ “Mannish Boy” is (arguably) in 12/8 time, but the weight of the quarter notes makes it easy to feel as if it’s 4/4, with implied triplets coming from the drums. Notice how bassist Charles Calmese only plays on the song’s signature riff, leaving plenty of space for drummer Willie Smith to lay down the groove.
The big, bad feel of “Mannish Boy” is the foundation for many tunes, including George Thorogood’s “Bad to the Bone,” though here, bass player Billy Blough hugs drummer Jeff Simon’s kick drum and doubles the main riff. This 12/8 shuffle also underpins songs like Tears for Fears’ “Everybody Wants to Rule the World,” which perfectly syncs Curt Smith’s synth bass line with Manny Elias’s drum part.
THE PURDIE SHUFFLE
With its syncopated ghost notes on the snare, Bernard Purdie’s signature shuffle has inspired countless variations. Chuck Rainey’s bass parts have accompanied the Purdie shuffle as far back as 1970, when the two musicians played on Aretha Franklin’s “Heavenly Father.” Perhaps the best-known examples of Purdie-Rainey synergy are Steely Dan’s “Home At Last” and “Babylon Sisters,” both of which benefit from interactive bass parts that support the band’s jazzy harmony while accentuating each song’s reggae-ish lilt. (Be sure to check out this minus-vocal clip of “Home at Last,” which allows you to hear all the instrumental parts especially clearly.)
THE BONHAM BEAT
On Led Zeppelin’s “Fool in the Rain,” bass man John Paul Jones leaves lots of room for this prototypical example of drummer John Bonham’s trademark shuffle. Even when Jones leaves his main C major part for a Latin-flavored break, he’s still right in time with Bonham’s rock-solid shuffle; the samba-ish section halfway through the song gives them both a chance to jam, and Jones stretches out, right up until they return to the half-time shuffle. Although he introduces new touches and revisits the Latin flavor in the last minute of the track, Jones never loses his connection to Bonham’s thunderous groove. (Check out this isolated bass/drum clip.)
THE “ROSANNA” SHUFFLE
Drummer Jeff Porcaro said his approach on Toto’s “Rosanna” was a combo of the Purdie shuffle, the Bonham beat and the Bo Diddley beat. As you can hear in this isolated rhythm section track, Toto’s then-bassist David Hungate, a studio veteran, pairs the complexity of Porcaro’s part with a straightforward bassline that hugs the kick on hits, matches the drummer’s dynamics and livens things up with a slap bass part. As the song reaches its conclusion, Hungate mirrors the kick for maximum effect. “Rosanna” is a masterclass in dynamics, simplicity and a rhythm section working closely together.
THE TEXAS SHUFFLE
Double Trouble, the magical combo of bassist Tommy Shannon and drummer Chris Layton, is best known for supporting Stevie Ray Vaughan. A shining example of the Texas shuffle can be found in Vaughan’s “Pride and Joy,” where Shannon’s bassline bounces right along with Layton’s precisely sloppy feel. The kick, snare, ride and bass part are tied so tightly together that hearing the isolated bass track is a revelation.
THE GADD SHUFFLE
The smoothly swinging jazz shuffle most associated with drummer Steve Gadd — a backbeat and ghost notes on the snare coupled with a steady bass drum (sometimes four on the floor), along with signature hi-hat and ride moves — is an invitation to play strong quarter notes and walking basslines with tasteful ornamentations. In this video, Gadd demonstrates several shuffles, one played with fellow studio legend Will Lee on bass (and harmonica). And on David Grusin’s “Shuffle City,” Gadd and bassist Anthony Jackson balance iron-clad time with ultra-creative improvisation.
SHUFFLE SUCCESS
When it comes to shuffles, repetition and simplicity are powerful tools. As demonstrated in the audio clips below (all played on a Yamaha BBP35 bass), try different note lengths: If the drummer is playing the ride cymbal, long bass notes can match the cymbal’s sustain, while short notes can accentuate a chunky hi-hat/snare/kick groove.
Playing quarter-note walking basslines like these can allow you to “float” over a shuffle, while matching the kick keeps things grounded, as demonstrated in these audio clips:
You can also learn how other bassists handle shuffles in genres outside blues and jazz by listening to playlists like this one, which provides a fascinating overview of half-time and four-on-the-floor shuffles in pop music. And don’t forget to search YouTube for examples of grooves (like the ones demonstrated in this video), isolated tracks, instrumental versions and bass-less versions of songs that catch your ear. They’re all great approaches to mastering the art of shuffling on bass.
Ah, the piccolo — the little woodwind that is quite possibly the most joked-about orchestral instrument. However, the piccolo has always held a special place in my heart despite its reputation for being difficult to play, shrill, and piercing. I enjoy controlling the highest of the high-end into mellow pianissimos.
I first learned to play the piccolo out of necessity. On a fateful day when I was a first chair flute player in 9th grade, my band director handed me a small case. I spent the rest of the rehearsal endlessly blowing air and not making a sound. That was my first sign that the piccolo was very different from the flute.
While many flutists double on the piccolo, the little instrument has a separate history and setup from its larger counterpart.
Here are five things you probably didn’t know about the piccolo.
1. It Has a Conical Bore
The piccolo’s unique internal shape changes the core of its sound. Many conical-bore woodwinds, such as the medieval double-reed instrument called the shawm, were originally used to project very loudly over noisy or spacious environments. The sound of instruments like the shawm and piccolo can travel long distances, even when played outside.
Most flutes, on the other hand, are nearly entirely cylindrical with just the slightest taper on the far left side of the instrument at the end of the headjoint.
While some metal piccolos have cylindrical bores, most professional piccolos have a conical bore, which changes the soundwave it produces. The result is a unique timbred instrument with a rich and even range of sound.
Other instruments that have conical bores include the French horn and saxophone.
2. Its Name Causes Confusion
The word piccolo simply means small, but the instrument’s older name, the flautino, caused some confusion because it was the name of another small woodwind. The flautino was an instrument that came before the piccolo; it was a small recorder that was often used in the Baroque era.
This means that there is a chance that the piccolo part in Handel’s “Rinaldo,” which is believed to be the first classical piccolo part to be written, might actually have been played by a small recorder instead.
It’s difficult to decipher whether composers intended for the pieces to be played by the transverse (piccolo) or the vertical recorder, both known as flautino. Similarly, small duct flutes called flageolets were also sometimes described as flautino.
The piccolo has had many other names, such as flauto traverso oder à l’octave (transverse flute at the octave), ottavino (which means eighth in reference to the instrument being eight notes higher than the flute), and petite flûte (little flute).
Often described as a flourish or “garnish” instrument, the piccolo commonly represents the fleeting motif of a bird or cricket. The piccolo represents bird calls alongside the violin in Ravel’s “Daphnis et Chloe.” Similarly, in Stravinsky’s ballet, “The Firebird,” the piccolo represents the mythical creature taking to the sky. And in Telemann’s “Grillen Symphony,” also known as the “Cricket Symphony,” utilizes the piccolo to create a quirky feeling.
The piccolo has also been used to represent wind, water, howling, and lightning in various compositions. Operatic music from the 1800s often used the instrument for special effects with one of the most notable examples being the lightning in Verdi’s “Rigoletto.”
Other common uses for the piccolo include in operatic overtures (especially Rossini) and even for military entrances (such as in Mozart’s opera, “Die Entführung aus dem Serail”).
4. Its Use Changed Over the Centuries
The precursors to the piccolo, which were called military transverse flutes, were used in military battles starting around the Middle Ages. This iteration of the small flute had just 6 open holes. Eventually, instrument makers began adding keys. By the early 1700s, the instrument had grown into something close to the piccolo we know today.
It was around this time that composers like Handel and Vivaldi began using the piccolo in concert music. The first known concert piece to use the piccolo was supposedly Handel’s “Rinaldo,” which premiered in 1711, but due to the confusion over the instrument’s name, the first piece for piccolo may have been a bit before or after this time.
Beethoven is also known for being one of the first composers to use the piccolo in a symphony. The last movement of Beethoven’s “Fifth Symphony” has bombastic brass music. This section of music was the piccolo’s first cameo in a symphony.
As the piccolo became more common in orchestras (and orchestras grew as the romantic era approached), the instrument began doubling violins and adding soaring melodies or countermelodies on top of the flute. The use of the piccolo is a far cry from its original intention, which was to signal an incoming army/battle.
5. It Was Commonly Found in D-flat
When people think of the flute, they picture the C concert flute, but there are alto flutes (G) and the much less common flute d’amour (in Bb or A). The piccolo usually comes in C today, but one special piccolo, the Db piccolo, was made for a specific purpose — playing in bands with brass (think Sousa marches).
Before flutes and piccolos were standardized, the Db piccolo was common in military bands. You may even see the rare Db piccolo today, as it is much easier to play difficult excerpts like the solo in “Stars and Stripes Forever.” The Db piccolo is more friendly because brass bands often played in keys with multiple flats, so the fingerings and transitions were easier.
Every player knows that mastering an instrument takes years of practice and dedication. But what if the key to unlocking your full potential as an instrumentalist lies in your voice?
Singing isn’t just for singers. When instrumentalists incorporate vocal techniques into their practice routines, they don’t merely hone their vocal abilities, they build fundamental skills and deepen their emotional connection to music. Here’s a look at how singing can improve your overall musicianship.
A BETTER GRASP ON PITCH, RHYTHM AND HARMONY
Renowned vocalist and vocal coach Jaime Babbitt has sung with legends like Barbra Streisand, Willie Nelson, Leon Russell and Miley and Billy Ray Cyrus, as well as on hundreds of national TV and radio spots for major brands. She is a sought-after lecturer and educator and the author of the book Working With Your Voice: A Career Guide to Becoming a Professional Singer. Babbitt feels strongly that singing enhances pitch accuracy and intonation while also fostering a deeper rhythmic awareness.
Jaime Babbitt.
“From a rhythmic standpoint, it can open one’s mind a lot, no matter what type of instrument they play,” she says. “If they play a chordal instrument, there are times when keeping both vocal and musical rhythms steady is tough and takes practice, but boy, does it solidify your polyrhythmic chops.”
For musicians who play chordal instruments like piano or guitar, singing can deepen an understanding of melody and harmony, even unlocking new songwriting possibilities. “I tell my voice clients it would behoove them to learn a chordal instrument, as I believe it solidifies their relationship to pitch,” Babbitt explains. “Why wouldn’t the converse be true for instrumentalists?”
MAKING A DEEPER CONNECTION WITH MUSIC
Singing isn’t just about hitting the right notes — it’s about connecting with the heart of music itself. “Singing is of the most emotional acts one can perform in this life,” says Babbitt. “Look at the place singing has held throughout history, from one culture / era / epoch to the next. We sing for joyful occasions, sorrowful occasions and everything in between!”
By tapping into the emotional power of singing, you’ll infuse your playing with greater depth and expression, and you might even open a path to more meaningful storytelling in your songwriting.
GREATER CONFIDENCE
Does singing improve stage presence? “I think that depends on the person,” says Babbitt. “For some, it can be a distraction, especially if their instrumental chops have been around far longer than their singing chops. That might be more anxiety-producing than anything. For others, having another avenue of expression can be fiercely liberating.”
According to Babbitt, the degree of improvement comes down to three factors: How much time you can devote to practice, what your realistic commitment level is and where your financial comfort level is with regard to hiring a vocal coach.
USING THE BODY AS AN INSTRUMENT
Being able to conjure notes with your body requires a different skillset — and a different mindset — than playing notes on an instrument, so embrace a beginner’s perspective.
“From my experience with musicians, just because they can play the notes doesn’t mean they can always sing the notes accurately,” Babbitt explains. “When you try to intonate yourself physically, it’s a process happening inside your body, versus using, say, a violin bow. Without the muscle memory of knowing how to use your body to form pitches — how you physically have to do a million things to produce a particular note — you have to get used to that to produce sound with your body.”
Babbitt adds that those who play non-fretted or non-keyed instruments — strings or trombone, for example — tend to have a more fluid relationship to vocal pitch. “They should try not to be surprised if there’s a bit of sliding around the pitch!”
Because of bone conduction and body resonances, your voice sounds different inside and outside your head, which can be a psychological barrier. “Musicians often don’t like the timbre or sonic quality of their recorded voice compared to the voice inside their own heads,” says Babbitt. “Vocalists don’t always like it, either, believe me! It’s just that they’ve had so much more practice getting used to it.”
Getting comfortable with the sound of your voice from every vantage point means spending time actively listening to both your “inside” voice and your recorded voice. This is where having a good vocal coach/teacher can really make a difference, according to Babbitt, especially with regard to healthy, efficient and in-pitch sound production.
INCORPORATING SINGING IN PRACTICE
If you’re new to singing, start with basic vocal exercises to familiarize yourself with your vocal range and capabilities. Breathing exercises, pitch-matching exercises and vocal warm-ups can help you establish a solid foundation for vocal development.
“Alternate playing a line, then singing it,” Babbitt suggests. “If that’s challenging, start with an ear-training app that matches pitches. Many apps will record you so you can start to hear when you’re closer or farther off.” Then move to interval training, singing the root to the second, root to the third, root to the fourth, etc. “Find mnemonic devices by associating songs you know that contain those intervals,” Babbitt advises.
Experiment with playing and singing simultaneously to get comfortable with pitch relationships, sharpen coordination and dexterity and improve improvisational skills. “Just as Ella Fitzgerald was an instrumentalist, I think musicians can become like Ella!” Babbitt says. “If they play chordal instruments, they can take a page from the George Benson playbook and sing their lead melodies. If they play non-chordal instruments, recording themselves playing scales and then singing over those scales can be a great exercise too.”
Vocal exercises can help wind players improve their breath control, stamina, tone and phrasing. Babbitt’s favorites are called SOVTs: Semi-Occluded Vocal Tract exercises. These include straw phonation (making sound through a straw), lip and tongue trills, and humming. “They’re the best things that ever happened to me and to my own vocal practice and I swear by them,” says Babbitt, who also recommends taking advantage of free online resources such as ear-training apps, singing apps and beginner tutorials. She suggests singing along to karaoke tracks using the free Transpose Chrome plug-in to vary the pitch of any YouTube video, and she’s a big fan of yoga and meditation. “Everyone thinks yoga is great for flexibility and longevity, and it is, but ultimately, it’s about the breath,” she says. Working with a coach can accelerate your progress and ensure that you’re practicing effectively.
FOCUS ON THE POSITIVE
Finally, focus on the positive. “People are so easy to point out what they are bad at,” Babbitt says. “They’ll sing a song, and then we’ll talk about it and they’ll go right down the list of what sucked. I urge them to always look at what they’re doing well because that’s what you’re going to learn from. When you’re doing something like singing, which requires muscle memory, if you do something that that wasn’t good, why would you keep reinforcing it? Look at the things that you’re doing well and capitalize on that.”
Incorporating singing into your instrumental practice isn’t just about mastering a new skill — it’s about realizing your full potential as an artist. With dedication and practice, you’ll harness the transformative power of your voice, build confidence and reach new levels of musicianship in the process.
Award-winning musician and educator Jeremy Bartunek has released two full-length albums and co-composed five musicals. But perhaps his greatest accomplishment happens when a struggling child overcomes performance anxiety because of his leadership.
Bartunek, who directs the children’s choir for grades 1 to 5 at Greenbriar School in the Northbrook 28 school district located north of Chicago, became concerned about how many students he saw who became terribly anxious about performing in the winter concert. Even though they were recruited to do this every year in December, these kids felt pressure and experienced social anxiety about performing for an audience of other kids. They would seek soothing from the social worker or just stay home on concert day. It clearly wasn’t a sustainable situation.
“It was not good or healthy,” says Bartunek, a quarterfinalist for the2024 GRAMMY® Music Educator Award. “¬¬So many kids were physically unable to perform in front of their peers ¬¬— it was burning out the social worker and the school counselor.”
Knowing that the fear stemmed from a lack of confidence, Bartunek knew that he needed to work hard to earn the children’s trust. That trust would help him foster confidence in his students as the semester unfolded in a new school year.
“The last thing anyone wants is to have kids having panic attacks in the school counselor’s office on the day of the show,” says Bartunek. “I’m trying to identify them early.”
Stage fright stems from different reasons, such as students’ inherent personalities, their home life and past experiences. The key is to treat them well. “I foster an environment of respect — throughout my kids, throughout my classroom,” Bartunek says. “I respect them as learners. Even when they see me walking through the hallways, I am always setting an example.
Playing Games
Bartunek likes to use playful games to connect with children. For example, instead of reading books silently, he has students sing the words to the book out loud with expression — just like reading a book out loud, but with singing.
“Working through that process gives kids confidence so they realize that they know what they’re doing,” Bartunek says. “Some kids are stronger readers than others, but they all know how to read.”
Bartunek, who was recognized as a Yamaha “40 Under 40” music educator in 2024, extends this melody-tinged speaking to conversational singing, which is fun. He will sing, “Hello, how are you?” in any tune, instead of saying the words, and the kids respond in kind. That often gets them laughing, which put them at ease and helps them develop their musical sense.
“My goal is to have kids singing for 80 percent of the class period,” he says. “That’s where your musicianship comes from: your singing and your ear.”
Preparation
Bartunek finds that preparing students for performing and talking them through their fears is a good way to help them cope.
“I tell them ahead of time: ‘You’re going to do this in front of your peers and you might be nervous. How do you feel?’ And I work with them,” he says.
“They know they are in a safe space,” says Bartunek, who is working on a doctorate degree in musical arts from Boston University remotely. “We acknowledge their feelings and discuss them. I’ll say: ‘What does that feel like? That is an interesting feeling, isn’t it? Does anyone else feel that way?’ That way, students find out that other kids are in the same boat.”
Anxious kids often ask Bartunek: “Can we just sing in front of you?” But that’s not a good idea, he says. Students may sound great in private with him, but they still are unable to get up on stage and perform in front of their peers, so one-on-one practices do nothing to solve the problem.
Bartunek’s techniques have worked well. This year, out of his 5th grade class of 60 students, every single one of them tried out for a singing solo in the musical, and many of them are involved in his “Something More” chorus. This group of about 45 students in 4th and 5th grade are highly committed to after-school music rehearsals and performances around the community at least once a month.
“At the end of the day, I want everybody to be on stage and singing,” Bartunek says. “I know that not everyone is going to be a star, but if I can give them the courage and desire to get up there and try their best, then I’ve done my job.”
Teaching Philosophy
Bartunek, who received a Golden Apple Award for Excellence in Teaching in 2020, is passionate about nurturing the inner musician in each child, which is very important in elementary school because only some kids take music electives in middle school and high school. “Every person is musical; everyone can do it,” he says. “I believe that the best musicians should be teachers, and the best teachers should teach the youngest students. The early childhood years are so important. There is a chance that for the six years I have with these kids, I’m the only musical influence in their lives.”
According to Bartunek, there are four things that students need in music class: well-trained minds, well-trained hands, well-trained ears and well-trained hearts.
“All four of these things need to be developed in young children — everything follows from that,” Bartunek says.
I have been teaching junior high band in the public school system for 12 years. In that time, I have discovered what it takes to be a strong leader in my classroom while also having a deep understanding of the students in front of me. Here are five specific points that highlight essential aspects of being an effective director.
1. Embrace the Daily Grind: A Labor of Love
Teaching band is not for the faint of heart. Many music educators enter the field because we have a passion for playing our instrument, and we want to pass that on to our students. However, when you are in the day to day of the job, you realize that sometimes this is the smallest part of what you do. I recently told a student teacher, “This job is a daily grind. It is hard, but the end result can be worth it.” Their response, “That isn’t very encouraging.”
They aren’t wrong, but it is reality. From early morning rehearsals to late-night planning sessions, our dedication to fostering a love for music is what sets the foundation for success. Young music educators or those considering the field must recognize that it takes a lot of hard work, and it is this consistent effort and passion that you invest in your students that makes a lasting impact.
2. Discover and Refine Your System
Every successful director understands the importance of having a system. This has nothing to do with lesson plans and rehearsal schedules. It’s about understanding your students’ needs, creating a positive learning environment and setting clear expectations. First, take time to discover what methods work best for your unique group of students — it could be a specific teaching technique, rehearsal structure or communication strategy. Then, refine your system to maximize efficiency and create a cohesive learning experience for your students.
Here are a few examples of what I do:
Communicate in various languages. I get much more involvement from families if I reach out in a language that they are comfortable communicating in. ChatGPT and Google Translate have come a long way. Sure, there are a few grammatical errors, but these provide a fantastic starting point.
The daily expectations remain the same. Every. Single. Day. Yes, even during what I call the “dark days” of January/February.
Provide the pencil. How many times do we fight students on supplies? If it is the expectation and your student population does not meet it, provide it. If it is that important to you, make it happen. Show them with your actions that you are serious. Rehearsal does not start until a pencil is on every stand. Trust me, they will learn.
Keep your personality in your classroom. Do I do a daily pencil check? Yes. Do I sometimes put on the opening ceremony theme for the Olympics and slowly raise a pencil and wait for all students to do the same? Yes. I still require the pencil, every day.
3. Consistency is Key: Stick to Your System
Once you have identified a system that resonates with your students and enhances their musical development, consistency becomes paramount. Students thrive in an environment where expectations are clear, routines are established and the director’s approach remains steady. While it may seem tempting to experiment with new methods, resist the urge to constantly reinvent the wheel. The wheel is fine — you know what works, so just do it. Sticking to your tried-and-true system not only fosters a sense of security for your students, but it also allows them to focus on honing their musical skills without unnecessary distractions.
What’s that you say? You just went to a conference, and you are all fired up to completely change your program, which you know will be the key to what you consider success? Stop, look at what you currently do and pick one item to change. That is the only item you change this school year. Reevaluate in May.
You must give change time to settle in and then look at the results, good or bad. You wouldn’t receive an antibiotic from a doctor and not finish the full dosage. I suggest six months minimum of consistency before revisiting the decision/implementation.
Here’s a true story: Three years ago, I took a look at “Important Ingredients: A Daily Warm-up and Development Method for High School Symphonic Bands.” I quickly realized that younger students could do this as well. Why did I pick this particular method book? One of the best directors in my area not only wrote it, but he implemented it into his program. When someone is consistently going to the top festivals in your state and being recognized, it speaks for itself. “Important Ingredients” is a 24-page packet of everything your students need to reach an extraordinarily high level of musicianship. My 8th graders are playing scales with just intonation and every single student could tell you how they need to adjust the scale degrees. We have been working on it since August. Each year, I add in one — yes just one — more exercise for daily or weekly focus for every grade. There is a major (and minor) scale sheet in the book that breaks down scales. You must read the director companion to understand it is meant to be read vertically measure by measure instead of left to right. Is it hard? Extremely. Are my 6th graders already reading key changes better than my 8th graders? Yes. When they become 8th graders, I can only imagine their potential.
4. The Ensemble is a Mirror: Understand Your Impact
When I assess my career in music education, I always have one specific phrase in mind, which one of my mentors, Brian Wis, shared with me: “An ensemble is a direct reflection of the director.” Every single thing — from classroom management to how our students play — is on us. This is a lot, but it’s also amazing. We have complete control over the outcome of our group. Don’t believe me?
I used to be a yeller in the classroom, I was very quick to raise my voice. When I transitioned to a new school where I was the head director, I kept a piece of paper on my stand that said, “Don’t get louder, get closer.” That piece of paper stayed on my stand for three years. It was a daily reminder to pause and react differently. Now, I have a different reminder on my stand that says two things: “Be the awesome teacher they expect you to be EVERY DAY” and “If they are not engaged, DISENGAGE.” This helps me stop when the students are off. Before, I would continue speaking and teaching even when the students were off track. Remember, from students’ playing ability to how they enter your classroom is on us.
It is essential to recognize that your ensemble is a direct reflection of your leadership. The mindset you bring to rehearsals, the expectations you set and the passion you convey all contribute to the overall success of the ensemble. Understand that the collective sound and performance of your students are indicative of the guidance and inspiration you provide. Accepting this responsibility can be challenging, but it’s a crucial aspect of being a strong director. Embrace the opportunity to positively shape the musical journey of your students and take pride in the growth and achievements of your ensemble. Students see it, too, and it matters. We don’t have to be perfect and we don’t have to be the total package right away — we just have to work at it consistently.
5. Mindset Matters
In just about everything in life, mindset plays a pivotal role in shaping the overall experience. Some music teachers may struggle to accept that the ensemble’s success is a direct reflection of their mindset. Have there been days where you were upset and came into the band room in a foul mood, and your students gave it right back to you? Have you ever been upset that your partner didn’t unload the dishwasher? Were you passed over for a district leadership team position? Did you take it out on your kids? Sounds ridiculous on paper, and we would never plan to do this, but these things do happen. This is the difference between students who have trouble managing their emotions because of their age and teachers who should be managing their emotions.
Cultivate a positive and growth-oriented mindset, not only for yourself but for your students. Encourage a culture of continuous improvement, where mistakes are viewed as opportunities to learn and grow. Foster a supportive community within your band, where each member feels valued, and the pursuit of musical excellence becomes a shared goal.
The journey of a music educator is marked by dedication, consistency and a profound impact on students’ lives. The ability to find joy in the routine and accept the challenges with resiliency is what defines a strong director. So, embrace the daily grind as a labor of love, discover and refine your unique system, and understand the profound connection between your mindset and the success of your ensemble.
As we have discussed throughout this series, music programs in high-need schools serve as anchors for creativity, discipline, community, collaboration and musical excellence. We also know that resource allocations and student demographics continue to shift, so sustaining these programs is a challenge. Music education at its core is about fostering creativity and strategic thinking. In the final article of this series, I urge all music educators to prioritize sustainability in all music programs, particularly within high-need schools. Please consider the following best practices as we highlight indicators that ensure music program longevity and sustained success.
Be Adaptable
One thing we know is that change is constant. Rather than be in a position where we must react to changes in our school, administration, students or larger community, we should watch trends and plan for numerous combinations of possible futures. By educating ourselves on the social, political and economic factors that directly impact our schools, we can become proactive and use these shifts to sustain our programs. By posting open forums to community stakeholders, offering listening sessions for our colleagues and parents, and elevating student voices within the organization, we can help our programs move forward even in times of change and uncertainty.
I have recently seen music programs create their own governing boards, create succession plans and develop resources for emergency operations all in order to “future-proof” the organization. Seth Pendergast explores the structural, interpersonal and intrapersonal factors that can contribute to program sustainability in his article “Understanding Participation in Secondary Music Classes: A Literature Review.” These and other strategies can help music teachers feel confident that when they leave their program, there is a blueprint in place for future teachers to access for continued success.
Empower Students
Though I credit much of my initial professional development to my alma mater, Florida A&M University, it was actually in various leadership positions while in high school at Columbia High School in the metro Atlanta area where my spark for teaching was first ignited. Every time we approach the podium, we have the opportunity to empower our students to lead in numerous ways. Whether it was serving on committees for different aspects of the program, leading rehearsals and conducting at concerts, or developing our motto or mission statement, my high school and college directors prioritized placing us at the center of the operations of the program. That’s why I tried to do the same with my students. We never know how those experiences can change students and spark their interest in someday becoming a music teacher. National Association for Music Education (NAfME) recently released “A Blueprint for Strengthening the Music Teaching Profession,” which details the major phases of music teacher recruitment, training, placement and support throughout the early years of working in the profession. We as teachers stand in a critical position to inspire the next generation of music teachers.
Another vital aspect of student empowerment comes through engaging in our own continuous improvement. When we listen, have discussions with our students and use their feedback to lead substantive change, we show how much we value them not only as musicians, but as people. These interactions serve as the foundation for effective peer-to-peer learning and authentic approaches to program improvement that can increase engagement and enhance student achievement.
Exceed Expectations
One of the goals I had for myself as a K-12 teacher (and it remains a goal for me) was to always “over-deliver” and exceed the expectations of our community stakeholders. I would take time each year to assess my program, see how we were excelling, and research what other programs in our district and around the country were doing that we could incorporate. Then, I would share my ideas with my students and parents so that they could see what the next level of success could look like for us, so long as we were willing to work for it as a collective. My students and parents would sometimes show me what other local programs were doing or places they were going, and we would work together to create vision boards and discuss how we could pursue and achieve it.
Having buy-in from the community and school administration, along with equity among students and parents through shared decision-making, can help to fuel even greater success. I believe that my students and parents always had their sights set on what was next, and this energized me to continue to strive for the highest in musical excellence.
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Sustainability is not merely a goal, but a journey toward ensuring that music programs in high-need schools thrive and enrich the lives of students for generations to come. Throughout this series, I have attempted to highlight best practices in recruitment, retention, fundraising, teaching, learning, musicianship, access, diversity and community building. I know that each of our schools can create vibrant and inclusive music programs that adapt to change, empower students and exceed even our highest expectations for success all while instilling a lifelong love for music in our students. Let us commit ourselves to sustainability through our work as music educators as we continue to mold minds, move hearts and change lives.
On a recent vacation in Bali, the manager of the resort I was staying at surprised me one night by asking if I would perform a few songs, impromptu, for the guests at the beach restaurant.
The resident performer handed me his guitar. I sat down, adjusted the microphone height, and got ready to launch into a few of my favorite tunes … and then it dawned on me that the strings were unplayably high up off the fretboard (some were rusty too) and the intonation was way off, yet I was now obligated to perform for everyone.
In these scenarios, all you can do is figure out a way to simplify chord voicings, shorten the song length, and smile through the pain and dissonance. There are also times when you inherit a guitar from a friend or relative, find one at a pawn shop, or play a brand new one that just isn’t set up the way you’d like it to be.
In this posting, I’ll tell you about some simple adjustments that can make any acoustic guitar really nice to play. A couple of caveats, though:
These steps have to be taken ahead of time. There’s really nothing you can do in the short term to remedy rusty strings, high string action or a less than optimal neck; and
If in doubt as to your fix-it abilities, I strongly suggest having any work undertaken by a professional luthier.
1. Adjust the Action
A guitar action refers to how close the strings are to the fretboard. If the action is too high, it may take an inordinate amount of effort to press the strings down, thus making the instrument virtually unplayable — especially if you’re a relative newcomer and have not yet developed sufficient hand muscle strength. If it’s too low, some notes may buzz or may not ring out correctly. The optimum is somewhere in the middle, though some players (especially beginners) prefer that the action be set as low as possible.
If the action seems off, start by looking down the neck from the headstock to the bridge saddle on both the bass side (i.e., where the low E string is) and treble side (high E string) of the neck. Luthiers call this sighting the neck.
Neck sighting (bass side).
Neck sighting (treble side).
Check to see how much space (“neck relief”) there is between the strings and the fretboard. Ideally, the neck will be relatively straight, with a tiny amount of concave relief. This will allow the strings to be fretted everywhere along the fretboard without buzzing. Place a capo at the first fret, then place your first finger on the sixth string (low E) past the last fret. With your other hand, tap the middle of the string to see if there is a small space between the bottom of the string and the tenth fret. This will determine if there is enough concave relief on the neck to allow the strings to vibrate freely.
If, however, you see a large concave bow away from the middle of the strings, there’s too much relief and you’ll have to add tension on the neck to alleviate the problem. If the bow is convex and touches the strings, you’ll need to relieve tension on the neck so the strings won’t buzz and rattle against the fretboard.
These adjustments are made by adjusting the guitar’s truss rod, a metal rod that runs inside the entire length of the neck and fretboard. Depending upon the model of acoustic guitar, Allen key truss rod adjusters are located either inside the sound hole, at the headstock under the plastic cover plate above the nut, or less commonly, at the heel of the neck.
Truss rod adjuster inside the sound hole.
Truss rod adjuster under the headstock cover.
Turning the truss rod clockwise will straighten a concave bow by adding more tension to the neck, while turning the truss rod counter-clockwise will relieve a convex bow and reduce tension. Note that these adjustments have to be made very slowly, no more than a quarter turn at a time, or you risk doing permanent damage to the guitar neck. Again, if in doubt, give this task to a qualified luthier.
2. Adjust the String Height
Even if the neck is straight, the strings might be too high. Ideally there should be just enough space between the strings and fret wires to slip a regular business card between them without sticking.
Guitar nut slots are sometimes cut to allow for rattle-free fretting of chords in open position, but in my experience, this can make the action too high. If necessary, a luthier can re-cut the nut to adjust string action. (This is not a do-it-yourself job!)
It’s not uncommon for the string action at the bridge to be set too high for most players. Of course, this depends on your hand strength, playing dynamic, the thickness of the string gauge and the type of music you play. (Bluegrass players, for example, often prefer higher actions.)
The good news is that the bridge saddle simply comes out of the bridge housing slot, enabling a luthier to sand the underside of the bridge, reducing its height until a desirable playing action is obtained. The bridge saddle string slots can also be re-cut to accommodate larger string gauges. (Again, these are not do-it-yourself jobs.)
If you are reducing the string gauge (see below), sometimes a new saddle or nut blank can be cut to replace the existing saddle and nut.
3. Put on Lighter Strings
It’s true that heavier strings (i.e., those with larger gauges) will give you more volume, and subjectively, better tone. That said, I have found that the string gauges used on most acoustic guitars (usually 12-53 or 13-56 gauge) are way too heavy for beginners or finesse-based players. Lighter-gauge strings will also have a lower tension to them and often allow you to set your playing action a little lower.
I want to play my guitars, not fight them, so I choose lighter-gauge strings for my acoustic guitars. Personally, I like 11-52 gauge phosphor bronze strings. I think choosing ease of playability over volume and tone is the best way to go … at least to begin with.
4. Adjust the Intonation
Intonation refers to the accuracy of tuning across all strings at all frets. A well-manufactured acoustic guitar should have perfect (or at least good) intonation right out of the box.
However, if you’ve changed string gauges as suggested above, you may find that the nut and saddle slots need to be cut in order to compensate for any intonation discrepancies. Again, this is a job for a luthier.
You should make a point of telling the luthier what string gauge you’d prefer prior to any work being done. That way, they’ll adjust everything based on the string gauge, nut and saddle heights you prefer. I even tell my luthier how gently I play the guitar and ask them to set everything up to accommodate my light playing touch.
5. Check the Tuning Pegs
Check that the tuners are working properly by tuning each string up, and then down again. You’ll want the strings to stay in tune without slipping, and to be able to finely adjust the tuning of each string in small, smooth movements.
If the strings slip out of tune, it may be that the tuning peg itself needs replacement, but quite often it could just be an insufficient winding of the string around the post. Check out this blog posting and video for more information.
The Video
In this video, I layer four distinct guitar parts on a Yamaha FSX3, much like that of a looping performance. Each part was recorded direct to my DAW (Digital Audio Workstation), demonstrating the sonic versatility of the instrument.
Note how my right-hand finesses the strings with light spreads and percussive subdivisions to accent each chord change. I also wanted to define the bass movement in each chord, so I added a simple bassline on the low E-string using sixteenth notes.
The third, arpeggiated guitar part utilizes chord fragments from the first guitar part … proving that even the most basic overdubs can be extremely musical.
The melody line is a simple melodic motif using the C major scale, making sure that the melody line resolves to the chord tones of the last chord within the progression (G major).
The Guitar
I’m a huge fan of Yamaha Red Label Series guitars — in particular, the FSX3 model. Its concert body size is perfect for me, allowing my picking hand to rest comfortably on the lower boutof the guitar without stress to my shoulder.
Yamaha FSX3.
In addition, the satin-finished neck of the FSX3 is slim and fast, giving a similar feel to that of my electric guitars. This allows me to transition between acoustic and electric with minimal adjustments to my fretting hand.
The solid mahogany back and sides, combined with the solid spruce top, provide clarity and warmth for both strumming and fingerstyle playing. Red Label guitars are treated with the proprietary Yamaha A.R.E. treatment (Acoustic Resonance Enhancement), allowing the tonewoods to resonate freely, much like that of an older, played-in instrument.
Acoustically, the FSX3 creates a wonderful volume balance between the guitar and my vocals. What’s more, its Atmosfeel three-way pickup system combines a body sensor, microphone and piezo undersaddle pickup to create extraordinary plugged-in acoustic tones.
FSX3 Atmosfeel controls.
The Wrap-Up
Sometimes we find an acoustic guitar sitting in the corner of a second-hand store, or in the attic of our parents’ house, that seems at first glance to be unworthy of our time or effort. Yet small body cracks, missing binding, and aesthetic wear and tear usually won’t affect its tone or playability. And with the right attention to specific details and a little tweaking (possibly with the assistance of a qualified luthier), even the roughest diamond in the rough can often be restored to its former glory and become one of your go-to instruments.
I’ve often struggled with my health, particularly during stressful times. I also noticed that the least healthy periods of my life occurred when I was starting or changing jobs. At the beginning of my teaching career, I was in what I considered a healthy spot, but I quickly resorted to eating poorly, giving up exercise and not taking care of my mental well-being. This pattern followed me in all my subsequent job changes. The positive outcome of realizing this pattern? With some healthier habits, asking for help and keeping myself in check, I could get back to a place that was both healthier for me and beneficial for those in my charge.
Below are five tips to keep your health in check during your teaching career.
1. Failing to Plan is Planning to Fail
Teaching and leading extracurriculars or coaching is demanding. Without a solid plan for meals, exercise and mental health, it’s easy to fall into unhealthy habits.
Meal prep and fast-food options: I couldn’t always afford to live in the town where I taught, so I often had long drives to and from school. Meal prepping became a lifesaver, particularly with my long commute and after-school rehearsals. The convenience of having a healthy meal ready meant I was less tempted by fast food (and it was easier on my wallet). However, when things were stressful and being so far from home, I didn’t have the option to turn around if I forgot my lunch. So, I made sure to create a list of menu items from local restaurants and fast-food chains as a “just-in-case.” For me, this consisted of Jimmy John’s Unwiches or high-protein, low-carb meals. This little emergency plan helped me avoid dietary pitfalls and maintain my energy levels throughout the day.
Ask for help: I also helped myself by looking at my schedule each week and determining whether I could actually get all my work done. If not, I did the toughest thing I could imagine: I asked for help. Students, music parents, friends, etc., were always willing to help as long as I was clear with my requests. This had the added benefit of building some positive connections. This planning kept me from scrambling at the end of the week.
2. Finish Your Medicine!
I had a position once where administrative issues were consistent. During this stressful time, I contacted my school’s employee assistance program and scheduled some therapy sessions. Just when I thought I was “fixed,” I would stop only to be in the same boat a few weeks later. I learned that following through, and maybe even going to a few extra sessions than I thought I needed, helped me truly understand the ebb and flow of my stress, anxiety and mental health. So, when you think you’re on top of things, stay the course just a little bit longer. And, a little routine maintenance every once in a while never hurt anyone.
3. Establish Boundaries and Stick to Them
I’ve experimented with setting boundaries and found a lot of different things. Sometimes I was public with my boundaries, which allowed others to support me, but there were some people who wanted to test me to see if I really meant it. Other times, I kept my boundaries private, which was easier at times because I didn’t have to explain myself. Yet, some people wanted to dig in to find out why I was making a certain choice when it came to my time. You will find out what works for you at your specific time in life and school.
My first boundary was based on that phrase that some of us heard growing up: “The bell doesn’t release you; I release you!” I was never a fan of this, as this wasn’t how scheduling worked for me. My desire to finish the “perfect phrase” is not more important than a kid getting stressed out about being late to the next class. So, I started setting a boundary of only working during my scheduled contract time or specific scheduled times for my stipend/extracurricular work.
Try this: Make rules and schedules and stick with them for a week. You may be surprised at how efficient you can be. Or, you may be surprised to find that there are some items that just don’t get done and can wait until the next day or even the next week. I always rushed to answer emails from my administrators to show them how good of a communicator I was. I then realized that the good administrators understood that my job was teaching, which always came first. If I responded to them in 24 hours, or even if I sent an email that stated, “I’ve seen this message and I’ll respond tomorrow,” it was always understood.
4. Too Much, Too Soon
Would you rather succeed at one item or fail at three? If you are attempting change, chances are it’s much harder to handle multiple items. As teachers, we believe we can do it all! However, we don’t want to get burned out, and becoming disappointed or stressed can have a negative snowball effect.
During my first year of teaching, I had a goal of being healthier and I did not meet this goal. I focused on three main goals: lose weight, gain strength and change my eating habits. Those are three substantial goals! As you can imagine, I lasted maybe a week before failing at all three.
Consider gradual change. “I will take a walk outside or on a treadmill for 10 minutes per day for 20 days.” That’s it! It may not seem like a lot but imagine the state of mind you’ll be in on day 20. I would bet that you would then be in a stronger position to add “eat one healthy meal per day for 10 days.” And so on.
5. Go Away!
You can’t miss something if you’re always there. My schedule left little time to relax at home because I was often at school. I found some balance in stepping away from school during breaks, either driving to a quiet spot or taking a walk. Other times, I took a day or two each month to schedule some coffee visits with friends or phone calls with mentors during the time in between school and a rehearsal. These times took some effort to set up, but I found myself a little more recharged after I stepped away from my classroom. It’s easy to get excited about teaching and all the possibilities, but we have to take action to protect our passion from burning out.
The Takeaway
Our health is important, but taking care of ourselves is a time-consuming task, and it can be especially stressful when we feel like we have to do so much work. Many health issues don’t happen overnight, and the same can be said for improvement. With some planning, patience and perseverance, we can be in a healthier place for ourselves and those in our charge.
String players in classical music — most notably, violinists — have been using harmonics for hundreds of years. More recently, acoustic guitar players like Lenny Breau and Tommy Emmanuel have employed harmonics with great sensitivity and melodic imagination. And ever since Jaco Pastorius set the bass world on fire in the 1970s with dazzling harmonics in songs like “Portrait of Tracy,” “Okonkole y Trompa,” Weather Report’s “Birdland” and Joni Mitchell’s “Coyote,” bass players have used these bell-like tones to add sparkle and spice to their lines.
NATURAL VS. ARTIFICIAL
Natural harmonics are chime-like sounds that occur at the halfway point of each string — on bass, that’s the 12th fret — where you’ll find a “node,” a spot on the string that doesn’t vibrate. It’s the same note as the open string, only an octave higher. Dividing the string again, the node at the seventh fret gives us a note that’s an octave and a fifth up from the open string. (On the G string, that’s a D.) Finally, the fifth fret produces a note two octaves up.
There are many places to play harmonics, but some of the strongest harmonics begin at the third fret and occur at odd-numbered frets. Many basses, including all Yamaha models, have fret markers at the third, fifth, seventh, ninth, 12th and 17th frets, which are great spots for harmonics. The illustration below shows the most robust and commonly used natural harmonics on a five-string bass. The patterns repeat beyond the 12th fret: The 15th and 19th frets have the same harmonics as the third and seventh frets, and the 17th fret mirrors the fifth and 12th frets.
Natural harmonics at the third, fourth, fifth, seventh, ninth and 12th frets.
Natural harmonics happen on open strings, whereas fretted notes that produce harmonics are called artificial (or “false”). To play a natural harmonic, touch the open string lightly at the desired fret, as shown in the video below of me playing a Yamaha BBP35 five-string bass:
To produce artificial harmonics, fret any note, then tap or “pinch” the same note on the same string an octave higher (12 frets away), as demonstrated in this video by Yamaha Artist Billy Sheehan playing his signature Yamaha Attitude Limited 3 bass. (Billy also demonstrates the technique at the beginning of this video.) The great thing about artificial harmonics is that you aren’t limited to natural nodes — you can generate them anywhere on the fretboard.
TUNE UP
Many bass players use natural harmonics at the fifth and seventh frets to get in tune. If you’ve never done it, try it! It’s easy and reliable.
As shown in the video below, start by using a tuner to make sure your G string is in tune. When you’re ready, place your fretting-hand index finger on the G string directly on top of the seventh fret. Press lightly while playing the note with your picking hand. You’ll hear a D harmonic. Now play the fifth-fret harmonic on your D string, which is also a D harmonic, and tune your D string until they match without hearing any audible beating between the two tones. Do the same on the rest of your strings: Tune the seventh-fret harmonic on your D string to the fifth-fret harmonic on your A string, and then tune the seventh-fret harmonic on your A string to the fifth-fret harmonic on your E string. If you have a 5-string, tune the seventh-fret harmonic on your E to the fifth-fret harmonic on your B.
With a little practice, tuning a bass using harmonics becomes easy, and it’s especially useful if you’re playing alongside a piano that’s out of tune: Simply tune the A at the seventh fret of your D string to the piano’s A below middle C, then tune the rest of your instrument to match.
Dead strings and too much low end get in the way of clean, chiming harmonics, so don’t hesitate to put on fresh strings and dial in some highs; if your bass has two pickups, use the bridge pickup when tuning.
Here’s a video of a short improvisation played on a Yamaha TRB bass that uses natural harmonics with fretted notes in-between. (While Yamaha no longer makes the TRB, the TRBX is its contemporary 34″ scale cousin.)
LISTEN AND EXPERIMENT
Now that you’re familiar with harmonics, listen to how innovative bass players like Victor Wooten, Squarepusher, Randy Coven and Alain Caron have used them, and then marvel at how a violinist like Hilary Hahn employs harmonics in an orchestral setting.
As you begin to explore, listen for the many other, more subtle harmonics available on your bass, in addition to the natural ones shown in the illustration above. An easy way to find them is to simply move your fretting-hand fingers lightly over a string while playing with your picking hand. You’ll discover that you can play each open string’s major triad — for example, D, F# and A on the D string — by playing at the fifth, fourth and third frets, and again, at the 12th, ninth and seventh frets. Finding the distance from a harmonic to its matching fretted note can help you map harmonics on the fretboard. At the fourth fret, for instance, the harmonics are a fifth away on the next highest string. Try playing two or three harmonics at once to form ringing chords. Add effects like reverb, chorus and distortion to make them really stand out. As you experiment, new sonic vistas will be revealed, and your basslines will be greatly enhanced.
Most historians agree that the piano was invented in the early 1700s by Bartolomeo Cristofori, but its lineage actually goes back much further than that — all the way to ancient times.
Let’s take a look at the long and fascinating evolution of the modern piano — one of the most popular musical instruments ever created and a mainstay of so many different kinds of music, from classical to jazz, pop and beyond.
Progenitors of the Modern Piano
The development of the modern piano can be traced to 2650 B.C., when a Chinese instrument called the ke was introduced. It had strings strung over a movable bridge on a wooden box that could be plucked to produce various tones.
In 582 B.C., Pythagóras began experimenting with musical sounds and mathematics, inventing the monochord. Some 400 years later, a movable bridge was added to the monochord allowing for increased intonation. By approximately 1000 A.D., clavis (keys) were applied to the monochord, used to prick strings on a scale division. (You can hear the meditative sound of a monochord in this video.)
Some time in the 14th century, a successor to the monochord — the clavicytherium — made its first appearance. This instrument was also played with a keyboard, but had its strings arranged in a harp-like triangle.
Although the piano is best classified as a string instrument due to the fact that the sounds come from the vibration of strings, it can also be classified as a percussion instrument because a hammer strikes those strings. In this way, it is similar to a hammered dulcimer, an instrument that originated in the Middle East around 900 and spread to Europe in the 11th century.
Hammered dulcimer.
The hammered dulcimer is a type of zither that uses small mallets called hammers to strike wires stretched across a simple resonating box. It was widely used throughout Europe during the Middle Ages and can still be heard in some modern folk music today.
Because it was the first instrument to use strings, a soundboard and hammers to produce musical tones, the hammered dulcimer is considered by many to the direct ancestor to the piano. However, there were to be several intermediate stops along the way.
The Clavichord, Spinet and Harpsichord
One such instrument was the clavichord, which first appeared in the 14th century and became popular during the Renaissance Era. The clavichord used the same stringed components of the hammered dulcimer, but it incorporated a keyboard that triggered metal blades, called tangents, to strike the strings. It had more strings than the clavicytherium (for a range of four to five octaves) and had pins fastened to the keys; eventually, a cloth was placed between the strings that acted as a damper. Lap versions of the instrument were played on tabletops while others were built on stands varying from 3 1/2 to 5 feet in width. However, because clavichords were not loud enough for large performances, they were mostly used as practice instruments or for composition.
Clavichord.
In the early 16th century, adaptations of the clavichord led to the introduction of a new instrument called the spinet, named after inventor Giovanni Spinnetti, though it was later called a “virginal” by musicians in England, often housed in an ornate cabinet. This was a longer-stringed clavichord with tangents that pricked the strings using a quill fastened to a jack. Unlike the clavichord, the spinet had no expression or way to manipulate the pressure or strength of the tone.
The limitations of the spinet resulted in numerous attempts at modification so as to obtain greater volume and depth of tone, with many European instrument makers introducing spinets in a case shape similar to that of a harp. This triangular harp-like appearance is essentially the shape of grand pianos today.
In 1521, a new keyboard instrument called the harpsichord was introduced as an offshoot of the spinet. When a harpsichord key is pressed, a quill plectrum attached to a long strip of wood called a jack plucks a string to make a sound. Its invention began as an experiment to improve the sound quality of the spinet, and its longer strings produced the desired volume, but the string plucking on the larger scale increased the intensity of the wiry and harsh tone.
Early harpsichord, c. 1521.
Later period harpsichord.
Over the years, many attempts were made to improve the sound of the harpsichord, such as lengthening its case and the use of leather buffs and stops to soften the tone. By the end of the 16th century, harpsichords with dual keyboards were introduced, making it easier to play complex two-handed musical arrangements. Nonetheless, the instrument had serious limitations. Though the harpsichord is louder than the clavichord, its volume cannot be varied: The strings are plucked with uniform loudness no matter how hard or soft the player plays, and they are immediately damped when the key is released. However, its system of strings and soundboard, as well as its overall structure, resembles that of the piano, which is why many people view the harpsichord as the immediate progenitor of the modern piano.
Introduction of the Piano
Born out of the need to improve the sound quality of the harpsichord, the piano combined many ideas that had first been tried on the clavichord and harpsichord. Inventors began adding hammer actions to restore the smooth tone of the clavichord on the frame and case design of the harpsichord, but the individual generally recognized as the father of the piano was renowned harpsichord maker Bartolomeo Cristofori, whose gravicembalo col piano e forte, or “harpsichord that plays soft and loud,” was unveiled in 1711. Eventually, the name was shortened to fortepiano or pianoforte, and then, finally, piano.
The first pianos were actually very similar to a harpsichord, with one crucial difference. In a harpsichord the strings are set into motion by plucking (as in a guitar) and the loudness of the resultant sound is independent of how forcefully a key is depressed. In a piano, the strings are struck with a hammer and Cristofori invented a clever mechanism (called the piano “action”) through which the speed of the hammer and hence the volume of a tone is controlled by the force with which a key is pressed. This allows the player to vary the loudness of notes individually — something that was not possible with the harpsichord — and gave the piano new expressive capabilities that were soon exploited by composers such as Mozart and Beethoven.
The Cristofori action.
Little is known about Cristofori’s life, but the few surviving examples of his work provide evidence that he refined the design of his piano over the years. Three of his instruments survive today and can be seen at the Metropolitan Museum of Art in New York City (shown below), the Museum of Musical Instruments in Germany, and the Museum of Musical Instruments in Italy.
An original Cristofori piano.
The first pianos were made by hand, and the music written for them was initially mostly confined to the aristocracy. However, the instrument became popular with the general public following the French Revolution in 1789, and demand increased. This led to the rapid industrialization of piano manufacturing. In addition, the music that had previously been enjoyed in the courts of aristocrats was now being performed in concert halls that were built to hold a thousand or more people. This, in turn, led to a desire for pianos with louder volume and longer sustain. The strings were strung under higher tension, and a sturdy iron frame began to be used to support them. The age had arrived when pianos could no longer be made completely by hand.
The Square Piano
In 1760, the square piano was introduced by Johannes Zumpe in London, England as a smaller alternative to the wing form design of the early grand pianos (see below). It was essentially a clavichord with metal strings, a hammer action and a reinforced frame.
A square piano.
In 1781, the position of the hammer action was changed to improve the resonance and make the sound louder (previously a downfall of the square shape). Further changes were mostly regarding the material from which frames were being made to achieve a better tone. The English makers were attempting all-iron and iron hybrid frames to allow for heavier strings and louder, more sonorous tone emanation, while German makers were devoted to traditional wooden frames, claiming the sound was too metallic and wiry when the strings were connected to an iron frame. Square pianos remained popular for the next 100 years before being supplanted by upright pianos.
The Upright Piano
Even as the square piano was rapidly rising in popularity, several unconventionally-minded inventors began experimenting with an upright piano. The first one is believed to have been made in Austria by Johann Schmidt in 1780 but the first upright with diagonal strings was introduced by British inventor Robert Wornum in 1832, and his design was to change the landscape forever. German manufacturers later improved on Wornum’s upright by building an iron frame with three strings for each note, which produced a robust sound and improved the overall tonal quality.
Since it took up less space than a grand piano, the upright piano — often elaborately decorated — quickly became popular. By 1860, nearly all square pianos in Europe were being replaced with uprights thanks to the increasingly industrialized city planning that mandated smaller, more compact pianos for urban spaces and in-home enjoyment. At around this time, American piano manufacturers began to shift their attention to developing uprights that could accommodate the square piano market. By 1880, the upright piano had completely replaced the square piano in America.
The first piano to be made in Japan was an upright model built in 1900 by Torakusu Yamaha, founder of Nippon Gakki Co., Ltd. — later renamed Yamaha Corporation.
An early Yamaha upright piano (c. 1904).
Upright pianos continue to be a popular choice for pianists with smaller budgets and tight spaces, making them perfect for schools, practice studios, homes, and public places like cafes and nightclubs. Models such as the Yamaha U Series (the most popular upright piano in the world), as well as the YUS Series (which incorporate many features from the company’s flagship CF Series grand pianos) and b Series are held in high regard by performers, teachers and students alike, and are found in many top music schools.
A modern Yamaha upright piano.
The Grand Piano
The early pianoforte designs utilized a “wing form,” similar to that of a harp laid down horizontally. By the late 1700s, manufacturers were beginning to understand the advantages of that design for superior sound quality, volume and engineering. The grand piano came to the forefront of piano making in 1776.
The natural horizontal plane utilized by the grand piano lent itself to the best action (the mechanism of the piano that causes hammers to strike the strings when a key is pressed) and string orientation for optimum playability, volume and tone. English inventor Robert Stodard’s action created for the first “Grand Pianoforte” in 1777 set the baseline for future grand pianos. Three years later, Viennese manufacturer Johann Andreas Stein and his daughter, Nanette Stein-Streicher, improved upon the original grand piano design to create a tone so desirable that Mozart, Beethoven and other composers wrote pieces specifically to be played on their instruments. This new action combined a forceful, direct strike with a slight wisp across the string that created an elegant tone that other makers could never achieve.
When pianists began competing with embellishments such as trills or fast arpeggios, or by repeating fast passages, there was an increased need for more responsive instruments. The revolutionary new action that answered that need and made it possible to repeat notes in rapid succession was invented in 1821 by Sébastien Erard of France. His double escapement repetition mechanism was a major development, and one that is in use, in a refined form, to this very day. The Erard mechanism allowed the pianist to quickly repeat a note without having to fully release the key. Up until its introduction, when a key was depressed, the hammer rose and struck the string but was not ready for the next keystroke, until it had fallen back to its at-rest position. Erard’s invention made it possible to prepare for the next keystroke even though the hammer had not completely fallen back.
The Erard double escapement mechanism.
In 1838, Erard added to his accomplishment with the invention of the capo tasto, which was a pressure bar that increased the rigidity of the strings, providing a counter-pressure to the hammer, thus improving the tone. This bar is now standard on nearly all grand pianos today.
By about the middle of the 19th century, the principles of the piano mechanism, and the devices that comprise it, had reached a certain level of perfection. Thereafter, the efforts and goals of piano makers would turn almost entirely to improving quality. Piano strings became even thicker and were wound with wire, and as a result the overall tension also increased, necessitating their need to be strung on a cast iron frame.
Many case improvements followed. In the 1860s, English manufacturers began adding veneer to a wooden frame that was made from power machines, as opposed to the previous method of hand-planing the case to the desired thickness. This was more economic and guaranteed a consistency to the case-making that ensured quality of sound and desired acoustic properties.
A modern Yamaha grand piano.
Yamaha has a long and rich history as one of the world’s leading manufacturers of pianos. The company released their first grand piano in 1902, one of which was sent to the 1904 St. Louis World’s Fair, where it received an Honorary Grand Prize. Today, we offer a wide range of models, ranging from “baby grands” (under 5′ in length) like the GB1K, GC1 and GC2, to larger instruments like those in the CX Series (the most recorded piano in history) to stunning 9′ concert grands like the flagship CFX. (For more information, see the “Yamaha Pianos” section below.)
Yamaha CFX Concert Grand.
Key Range Expansion
The first piano invented by Cristofori had only 54 keys. Most of the keyboard music of J. S. Bach can in fact be played on the 49 notes of the first pianos, but composers soon wanted more, and instrument designers responded. By Mozart’s time in the late 1700s, most pianos had 61 notes (a five-octave range). They expanded to 73 notes (six octaves) for Beethoven in the early 1800s, and eventually to the 88 notes (7 1/4 octaves) we have today. Liszt was the first major composer to make unrestrained use of the expanded note range and increased sound volume that resulted. (Curious as to why a piano has 88 keys, and not more? Read this posting.)
Yamaha Pianos
As mentioned previously, the first Yamaha pianos were an upright built in 1900, followed two years later by the company’s first grand piano. By the 1920s, many well-known pianists were taking favorable note of Yamaha instruments, among them Arthur Rubinstein and Leo Sirota. In 1950, Yamaha released the FC concert grand to great acclaim. Eight years later, Yamaha set up a grand piano assembly line at its Hamamatsu headquarters. By 1965, the company was producing more pianos than any other manufacturer.
In 1967, the CF concert grand piano was unveiled, along with the C3 grand. Their successors, the CFIII and the CFIIIS, were released in 1983 and 1991, respectively. CF Series concert grand models made their debut in 2010, followed seven years later by premium SX Series grand pianos.
The latest line of Yamaha pianos is represented by the next-generation CFX Concert Grand, introduced in 2022. It incorporates advanced A.R.E. wood-curing technology, along with new means of connecting joints to minimize vibration loss. In addition, its soundboard has been completely redesigned and reshaped to improve the mid-bass frequencies crucial to producing a warm, rich and resonant tone.
The player piano (sometimes called a “pianola” or a “reproducing piano”) was first invented in 1896, giving people a way to have a self-playing piano in their homes during the early and mid-20th century. Composers used a special “arranging piano” to punch individual notes of songs onto a master roll. The roll would then be used to trigger full songs on the piano, with motors instead of the human hand depressing the keys.
With the debut of the Disklavier in 1987, Yamaha took a quantum leap forward. (The term “Disklavier” is a combination of the words disk [as in floppy disk] and Klavier, the German word for keyboard; at the time that the first Disklavier was introduced, recordings were stored on 3 1/2 inch floppy disks.) A Disklavier is a real acoustic piano outfitted with electronic sensors for recording and electromechanical solenoids for player piano-style playback. Sensors record the movements of the keys, hammers and pedals during a performance, and the system saves the performance data as a Standard MIDI File (SMF). On playback, the solenoids move the keys and pedals and thus reproduce the original performance.
Yamaha Disklavier.
Disklaviers also allow the user to change tempo or key with the touch of a button, thus facilitating learning even complex piano pieces. They have been used extensively in music education, including colleges, universities, conservatories, community music schools, K-12 institutions and private studios. Yamaha has also converted numerous performances recorded by prestigious composers such as George Gershwin into MIDI data, allowing those performances to reproduced with complete accuracy decades or even centuries later.
Modern Disklaviers include an array of electronic features such as a built-in tone generator for playing back MIDI accompaniment tracks, as well as built-in speakers, MIDI connectivity that supports communication with computing devices and external MIDI instruments, and additional ports for audio input and internet connectivity — there are even Piano Radio and Disklavier Premium Pass streaming services designed for the instrument.
In 2016, Yamaha introduced its seventh-generation Disklavier system, the ENSPIRE, available in numerous piano sizes ranging from 48-inch uprights to a 9-foot concert grand. There are three variations in the ENSPIRE line: CL, ST and PRO. The CL is a playback-only model, while the ST and PRO models add recording and SILENT Piano™ functionality. PRO models are also capable of capturing and reproducing up to 1,024 steps of key-on and key-off velocity articulations, as well as 256 steps of incremental pedaling.
From 2650 B.C. to 2024 A.D.— that’s over 4,600 years of development. No wonder the piano is one of the most beloved instruments of all time!
For many, the term “color guard” conjures up images of soldiers in dress uniform standing briskly at attention or marching in step.
But for many high school and college-age students, color guard is less about regimented military marching and more about creative, choreographed performances featuring dance, movement and athletic manipulation of flags, sabers and mock rifles.
Color guards are often part of high school and college marching bands, which typically perform during football season. The organization Drum Corps International (DCI) also provides an opportunity for color guards to join drum corps that compete in the spring and summer. And thanks to Winter Guard International (WGI), color guard participants get to shine independently between January and April every year, without being tethered to a drum corps or marching band — executing their elaborate routines to recorded music.
“There are great color guards that perform with drum corps and in almost every high school and college band,” says Dennis DeLucia, a member of both the DCI and WGI Halls of Fame, a judge at WGI competitions and a longtime Yamaha Artist. “But winter color guard is an activity unto itself.”
The History of WGI
According to the WGI website, its purpose is “to create a standard set of competition rules, establish a unity in judging techniques, and provide a national championship event,” but some historical context is helpful to understand how the organization came to be.
“Competitive drum and bugle corps started as a VFW and American Legion activity right after World War I, when both organizations were enjoying huge post-war enrollments,” explains DeLucia. “All the competitions were sponsored and governed by those organizations, and the rules were military-based. For example, in percussion, you were prohibited from using accessories like cowbells, maracas and tambourines, which were all deemed illegal. You weren’t allowed to use mallet percussion. You were playing on snare drum, single tenor drum, bass drum or cymbals — and that was it.”
Starting in the 1960s, many people involved in drum and bugle corps wanted to loosen the rules, which eventually led to the founding of DCI in 1972. “The first thing that DCI did was abandon all the rules set forth by the military organizations,” DeLucia says. The success of DCI helped spur those involved in winter color guard activity to form their own governing body, and in 1977, WGI was born.
WGI Structure
WGI, whose tagline is “Sport of the Arts,” is not just for color guards. It also oversees competitions in two other categories: Percussion and Winds ensembles; the former are essentially indoor drumlines, while the latter are comprised of brass and woodwinds with stationary percussion support. (DCI competitions only allow brass instruments.) The participants in these categories also perform choreographed routines, but play their own music live rather than using recordings.
The Percussion category incorporates the marching percussion and front ensemble (“pit”) components of a marching band. Winds ensembles also march but have a freer reign over instrumentation. “Winds were added a few years ago to include ensembles that wanted to use brass and woodwind instruments and feature them rather than percussion,” DeLucia says, “although many groups use grounded percussion at the back of the gym floor — timpani, mallet percussion, or a drum set.”
WGI is organized into a rather complex set of classifications. Within each of the three categories — Color Guard, Percussion and Winds — are two divisions: Scholastic and Independent. Scholastic groups are connected to high schools, while groups in the Independent division comprise non-affiliated organizations. “They are individual organizations that run their programs like nonprofits,” explains DeLucia. The Independent groups have to fundraise for their equipment, whereas the Scholastic groups can use the instruments owned by the high school to which they’re connected.
Here’s how WGI describes the various classes within each category and division:
Regional A Class – Novice programs and performers with basic skills (Color Guard only)
A Class – Beginning programs and performers
Open Class – Intermediate level programs and performers
World Class – The most advanced programs and performers
Concert Class – A Class, Open Class and World Class (Percussion only)
Most WGI participants are high school or college age. “It’s similar to DCI in that you age out at the end of your 21st year,” says DeLucia. However, there’s one exception: World Class Color Guards, who abandoned the age rule a few years ago.
Despite the different skill levels, multiple classes sometimes compete at the same event. “When I judge a WGI show,” DeLucia says, “I might judge eight A Class Scholastic, six Open Class Scholastic, four World Class Scholastic, and three independent classes.”
WGI Judging
Each WGI category has its own set of rules and judging criteria. Generally speaking, judges look for factors such as quality of sound or movement, overall presentation, complexity of equipment or instrumentation, and visual effect.
The factors that judges evaluate in Winds competitions include Clarity of Program Concept, Artistry, Musicianship and Audience Engagement. Color Guard competitions are based on performance, movement, equipment and effect. Those judges compartmentalize the difference between the movement of the groups with their bodies and the equipment that they use — the flags, rifles or sabers that they are holding in their hands and throwing — plus the total effectiveness of the program.
DeLucia gives this example of the General Effect judging category in Percussion competitions: “The General Effect judge sits at the top of the stands or near the top and evaluates the whole product. One of the things he or she will assess is whether the performance elaborates on its stated title — say, ‘Rhythm in Blue.’ Does the show reflect the title? Does the visual interpretation match what the judge sees and hears? They’re judging the whole thing together as one performance, whereas the other judges in that competition have specific areas they’re evaluating.”
WGI Competitions
The WGI season begins in late January and is organized as a tournament that starts with regional competitions and culminates with the World Championships in Dayton, Ohio in April. Even with the winnowing down that happens in the regionals, 300 Color Guard, 200 Percussion and 40 Winds ensembles end up at the World Championship events, which occur at various Dayton area venues. Champions are crowned in each of the categories, divisions and classes.
DeLucia points to many benefits for participating in WGI. “First of all, it’s a goal-driven activity. It teaches about the seriousness of purpose, plus it’s a collaborative effort: Students must master their individual tasks in order for their section — and ultimately the entire group — to succeed. Participants learn how to rehearse, travel, perform and help each other reach their common goal.”
There are other aspects, too, according to DeLucia. “Boys and girls participate equally, with shared responsibilities, as do both honor roll students and those who struggle academically, because at the end of the day, it’s about the artistic endeavors. In addition, the camaraderie and bonding among the kids and staff is so powerful that it forms the basis for social life in school and beyond. Seniors welcome and care for incoming freshmen. Lifelong friends are made.”
The Future of WGI
DeLucia is optimistic about the future of the organization. “I believe that the WGI model will prosper moving forward,” he says. “It’s mostly scholastic-based, giving guards and drumlines a home in which to rehearse, recruit and perform. This is important to both school districts and to the parents’ groups that raise money and support their children in every way imaginable, through fund-raising, transportation, help with props and costumes, etc.”
As DeLucia points out, kids interested in color guard or indoor drumline have easy access to online resources like FloMarching, with WGI providing a solid national governing body for those with a psychological predisposition to participate in competitive art. But perhaps the most compelling argument for WGI’s future success is the simplest one of all: It’s exciting, challenging, inclusive and fun … and nobody sits on the bench!
There are many reasons why you might need or want to change the strings on your violin. They could be broken, dull-sounding or “false” (hard to tune), or maybe you just want to change up the feel and tone of your instrument. We’re here to help!
How to Choose Your Strings
There are many different types of strings you can choose from, and each has its own unique sound and playability factors. Choosing the right set may seem complicated, but once you understand how violin strings are made it’s much easier to choose the type that fits your particular playing style.
Violin (and viola, cello, and bass) strings consist of a “core” that is wrapped with metal winding. There are three main types of violin strings: gut core, steel core and synthetic core. Each has its own unique tone and feel.
Gut Core
Gut strings have been around since the very first stringed instruments were made, thousands of years ago. They were originally called “catgut” strings, but no cats were ever harmed! Instead, they are made from the intestines of sheep, and modern versions will have metal windings around the core. These type of strings have a rich, warm, tone with complex overtones. Mostly used by professionals, more sophisticated, nuanced bowing is needed to command the slower response of gut strings.
Examples: Eudoxa, Oliv, Passione.
Steel Core
Steel core strings have either a solid or stranded steel core. They have a brilliant, clear, and crisp sound with a very stable pitch. Their fast response makes them a popular choice for beginning players.
Examples: Helicore, Zyex, Spirocore.
Synthetic Core
These type of violin strings were first introduced in the 1970s and utilize a core of nylon or other synthetic polymers. Think of them as a cross between gut core and steel core; they are more stable in pitch than gut strings, with fewer overtones, but are warmer and smoother in tone than steel core strings. Their versatility makes them popular with all types of players, from beginners to professionals.
Examples: Dominant, Evah Pirazzi, Infeld.
Helpful Tips and Tricks
Here are a few things to keep in mind each time you change your strings.
Make sure you purchase the correct size strings for your instrument. If you play a 3/4 violin, you’ll need 3/4 size strings.
Be careful not to overtighten your strings. If it’s your first time changing a string on your own, it’s best to do so with a teacher or stringed instrument expert such as a luthier standing nearby to help if needed. Violin strings can be a bit pricey, so it’s always a good idea to err on the side of caution!
Change strings one at a time — do not remove them all at once, because that can cause your bridge or soundpost to fall. If this happens, immediately loosen all strings and consult a string expert as soon as possible. A fallen soundpost (you’ll see or hear a little dowel rolling around inside of your instrument) can cause numerous problems, including top or back cracks, which can be very complicated (and often very expensive) to repair.
Wipe down your strings after every use with a clean untreated microfiber polishing cloth. Gently removing the oils and rosin this way will help prolong the life of your strings and ensure good tone and playability.
If you notice that your strings are pushing against the side of the peg box or if the instrument is difficult to tune using the pegs, it’s a good idea to take the instrument to a string expert. They may need to rework the pegs to provide optimal smoothness while turning. You should never need to force a peg into the pegbox to tune your violin — all that should be required is just a bit of gentle pressure. The pegs are fit with such precision they are not glued in place, but over time (and depending on storage and humidity conditions) they will need regular maintenance to keep them in peak condition.
If the strings you are replacing are not broken, save them! It never hurts to have an extra string or two on hand in case you break one during a performance and need a quick fix.
All strings have a “secret code” to tell you what they are. The colors of the top and bottom of the strings (called silking) are different for each string and will tell you the manufacturer, brand, and string itself (E, A, D or G for violin). There are many websites with this information, so utilize those resources!
Check Out the Video
If you’re a beginner, changing your own strings might seem intimidating, but the video below demonstrates how easy it can be. As you can see, all you’ll need is a set of new strings, a digital tuner or tuning fork, a wire cutter and a clean, untreated microfiber cloth to remove the fingerprints and rosin when you’re done. Happy playing!
I’m often asked what the differences are between Yamaha Pacifica and Revstar guitars. The short answer is: Quite a lot. Although they are both double-cut instruments, that’s really where the similarities end.
Pacifica PACP12.
Revstar RSP02T.
In this posting, we’ll discuss the main differences between the two, and why you might choose one over the other. But before we start, it should be stated that both the Revstar and Pacifica guitar ranges have multiple variations within their respective lineups. I’ll lean into any of those details when I feel they are important.
Tonewoods
Pacifica and Revstar guitars have a vastly different body styling, as well as varying tonewood combinations, which is a big part of the reason why they sound so different from one another.
Pacificas utilize a finely sculpted alder tonewood for the body. Alder is lighter than the mahogany used by Revstar guitars and has a more open grain pattern within the timber. This provides a softer, open, airy character to the tones it produces.
600 Series Pacifica guitars like the PAC612VIIFMX also feature a flame maple veneer. This veneer may change the tone slightly, but it is used more for its visual appeal rather than any tonal distinction.
PAC612VIIFMX.
Revstar guitar bodies are mahogany with a maple top (sometimes called a cap) — a classic, tried and tested tonewood combination. The mahogany adds weight and warmth to the sound, while the maple brings clarity and bite.
Pacifica Standard Plus / Professional chambered body.
Revstar chambered body.
The bodies of Pacifica Professional and Revstar Professional guitars are also treated with Yamaha I.R.A. (Initial Response Acceleration). This unique process applies specific vibrations to release stresses between the instrument’s components, giving the guitar a played-in sound and feel even when brand new. I’ve played guitars with and without the I.R.A. treatment, and you can definitely feel more responsiveness, resonance and sustain in the former.
Weight
If you play seated for extended periods of time, or stand up for three-hour gig engagements, the weight of your go-to guitar may be worth considering. In general, Revstars are slightly heavier than Pacificas, but this will vary between models.
Neck
All Revstar guitars have mahogany necks and rosewood fingerboards. These are both extremely dense tonewoods that impart a warm tonality.
Pacifica guitar necks are crafted from maple, which provides a brighter sound than mahogany. Some Pacificas are also available with rosewood fingerboards, and this adds a touch of the aforementioned warmth to the overall tone.
The satin finish and full “C” shape on the necks of the new Pacifica Standard Plus and Professional models feels really comfortable and should be welcoming to most guitar players. The medium fretwork is stainless steel, which makes them bright, durable and well-intonated. I also like the 10″ to 14″ compound radius employed by Pacifica Professional necks; it really does make a difference to the fretting hand when making chord shapes in open position, and for sustaining full-tone bends above the twelfth fret.
Revstar guitar necks are relatively chunky and feel very positive in the hands. I really like the jumbo frets on these guitars too — a personal preference of mine. Revstars also have a neck-through-body design. This is meant to improve resonance between those two elements by eliminating a neck pocket and metal screws. However, this also means that a neck reset or replacement is not an option without a lot of work.
Pacifica guitars, on the other hand, employ a bolt-on neck construction. If coupled correctly with a nice snug joint, the resonance between the body and neck should be just as good as that of the neck-through-body design employed by Revstars. The new Pacifica Standard Plus and Professional models also sport a complete redesign to the neck heel, allowing for even greater access to the upper frets.
Scale Length
Revstar guitars have a 24 – 3/4″ scale length. This allows for a lower string tension and brings the first fret of the guitar closer to the guitar player.
Pacifica guitars have a 25 – 1/2″ scale length, adding a little more tension to the strings than Revstar, along with a slightly longer distance between the nut and bridge.
Scale length does not affect the tone, but it will have an impact on playability (see below), so it’s well worth trying out both scale lengths to see which one feels best to you.
Bridge
The bridge systems used by these two guitars are very different. Revstar bridges are either wraparound stop tailpieces (as in the Revstar RSP20 model shown below), or utilize a bridge-and-trapeze tailpiece design like those on the Revstar RSP02T. (The “T” in the model number represents the trapeze tailpiece design.) I find that there is actually a subtle tonal difference between the wraparound bridge and the trapeze tailpiece-equipped Revstars, so that may also be something to pay attention to when deciding which model is best for you.
Revstar RSP20 bridge.
Revstar RSP02T bridge.
Most Pacificas come with a two-point Gotoh or Wilkinson tremolo bridge, the exception being the PAC611HFM model, which has a hardtail bridge. The hardtail design functions similarly to the Revstar bridges, while the tremolo systems have the strings going through the body of the guitar, which in my opinion drastically changes the tone, adding more treble to the sound of the instrument, albeit in a very good way.
Pacifica two-point tremolo bridge.
Pacifica hardtail bridge.
It’s worth mentioning that tuning a Revstar (or a Pacifica with a hardtail bridge) to an altered tuning will be relatively easy since the bridges of those guitars provide a relatively stable environment across all strings, regardless of which ones you detune down or up.
If you prefer a tremolo bridge, detuning your guitar between songs may be problematic. Even just dropping the low E string to D will cause the other strings to go out of tune, and it may take several moments to get everything back into pitch — something definitely worth considering if you use open tunings during live performance!
Pickups
Electric guitar pickups, of course, play a major role in how the instrument sounds. Humbuckers and P90 pickups produce a fat, warm tone ideal for jazz, rock and blues, while single-coils are brighter and cleaner, but also cover the complete genre spectrum between pop and dirty blues grit.
Humbucker (left) and P90 (right) pickups.
While various Revstars and Pacificas are available with humbuckers and P90s, only the new Pacifica Professional and Standard Plus models offer the unique sound of the Reflectone humbucker and single-coil pickups designed by Yamaha in collaboration with audio manufacturer Rupert Neve Designs. This innovation really does evolve the Pacifica tonality into new territory, with clarity, definition and balanced delivery across all six strings that is quite remarkable.
Reflectone pickups.
The HSS (humbucker/single-coil/single-coil) pickup combination offered by Pacifica Professional, Standard Plus and PAC600 Series guitars may well be the most versatile tonal configuration available in one guitar. If you are using a single guitar to play multiple styles of music — a situation where tonal versatility is crucial — one of these workhorses could be a perfect fit for you.
Tonality
If you’re looking for a great two-pickup guitar that delivers a fat and focused tone for playing rock, blues and jazz, you really can’t go wrong with any of the Revstars. Can the Revstar cover other styles too? It certainly can, and if you want the open “airy” sound of single-coil pickups, the RSS02T and RSP02T with P90s would be a great choice.
Pacificas also cover a lot of ground stylistically, and thanks in part to their three-pickup design, are incredibly versatile instruments. You’ll find the tones brighter and less mid-rangey than a Revstar, and if your style requires chordal shimmers or tremolo effects, you’ll definitely love the smooth-action Gotoh or Wilkinson tremolo found on the new Pacifica models; in addition, their locking tuners will help keep everything buttoned-up nicely in the tuning department.
Playability
Both Revstar and Pacifica guitars are eminently playable, though each has its own signature “feel.”
Revstar guitar necks feel very positive in the hands, with jumbo fret wires that make fretting easy. In addition, their lower string tension is really nice if you like a spongy, more relaxed feel on your six-string.
The new Pacifica Standard Plus and Professional models have a smooth satin finish on the back of their necks that makes it easy to glide between fretboard locations, and their neck joint gives you easy access to the 22 stainless steel frets. In addition, the compound radius on the Professional fretboards allows for clean chordal fretting in open position and choke-free bending in the upper regions of the neck.
The Videos
Here are four videos that demonstrate the tonal differences between various Pacifica and Revstar guitars, as well as the tonal and aesthetic differences between models. You may even notice a difference in how I approach playing each of these guitars!
Pacifica Professional
Pacifica 612VIIFM
Revstar Standard RSS20
Revstar Element RSE20
The Wrap-Up
Over the years, I’ve played multiple Revstar and Pacifica models, and have always found the tones I needed for the gig in all of those instruments. However, when it comes down to specific requirements and tones for a performance, session or video, I’d likely choose one over the other, if I had them both on hand.
If you are a player that likes the straight-ahead rock ’n’ roll Cafe Racer spirit and aesthetic of Revstar guitars, you’ll love the many vibrant finishes and pickup combinations Revstars offer.
On the other hand, if you need the ultimate tonal versatility that comes from the combination of a humbucker, dual single-coils and tremolo system, the rich legacy of Pacifica guitars — and the advanced technologies the new Professional and Standard Plus models offer — should definitely be on your radar.
Ultimately, it comes down to choosing the guitar that best suits your musical needs and also makes you proud to be its owner. Pacifica or Revstar? You can’t go wrong with either.
Some of the first known musical instruments, dating back to prehistoric times, were objects struck by hands and fingers to enhance story-telling through use of rhythm and melody. Since the introduction of castanets (over 3,000 years ago) and finger cymbals (over 1,000 years ago), finger drumming has come a very long way and has taken some huge leaps, most of which happened in the past 40 years.
Castanets and finger cymbals.
Acoustic percussive instruments that incorporate some level of finger dexterity, such as congas, djembes, tablas and cajons, have long been a part of music, with electronic hand-controlled drum devices first appearing in the mid-1960s. MIDI drum pad controllers made their debut in the 1980s, but the 1990s and early 2000s saw an explosion of these devices as DJs and musicians began using them extensively in the hip-hop, R&B and Electronic Dance Music (EDM) scenes.
Today, drum pads and other beat-making devices played with the fingers are a part of almost every musical genre. The number of these kinds of products available on the market today is staggering, and for someone looking to get into finger drumming it can be a very daunting world to jump into. Many such devices are either complicated to use or require the purchase of additional products (such as a computer, speakers, and, in some cases, additional sounds), and those that are all-in-one — meaning they have built in speakers and preloaded sounds — tend to cost a lot of money.
Until now.
Enter the FGDP
The recently released Yamaha FGDP finger drum pads includes the FGDP-30 and FGDP-50 models, each of which provides standalone all-in-one solutions in a very affordable package. Let’s take a deep dive into these unique instruments.
FGDP-30 Finger Drum Pad.
FGDP-50 Finger Drum Pad.
Key Features
Both FGDP models are extremely portable and lightweight. Even the larger FGDP-50 measures in at just 8.77″ x 8.77″ x 2″ h (223 × 223 × 51 mm), meaning it can easily fit in a backpack or small bag. Both models have built-in speakers and a headphone jack, so there is no need to purchase an additional sound system. In addition, a rechargeable battery provides up to three hours of nonstop untethered playing, allowing you to take the FGDP anywhere and play it anytime you want, without worrying about where to plug it in.
To make these devices even more self-contained, they come with dozens of preset kits (39 in the FGDP-30 and 48 in the FGDP-50), so you can start playing right out of the box without having to purchase or download any sounds. These kits are configured using the 1,500 Voices (sounds) built into FGDP-50 or 1,212 Voices built into the FGDP-30; the Voices are a mixture of recordings of actual Yamaha acoustic drum sets, electronic sounds developed for Yamaha DTX Series e-drums, and additional sounds created exclusively for the FGDP.
Both the FGDP-50 and FGDP-30 are compatible with the free Yamaha Rec’N’Share app so you can play along with your favorite songs, record your sessions, and share your performance with your friends and/or on your social channels.
There are also several advanced features that are only available with the FGDP-50. For example, while both offer USB ports, the FGDP-50 also has a Host to micro-USB terminal that allows you to import up to 100 of your own sounds and samples — even stereo ones such as complete musical phrases. Samples can be as long as 600 seconds if mono (300 seconds if stereo). This same port also allows for the transmission and reception of MIDI message to or from a PC or smart device for recording performances in a DAW.
FGDP-50 connections.
Another feature unique to the FGDP-50 is the ability to assign Note Repeat to pads. This enables more dynamic playing and allows you to loop a sound, either by holding down the pad or by setting the pad to start and stop the loop on each hit. For instance, say you want to set a hi-hat to continue playing every quarter note: simply set it to note repeat and it will continue to play the hi-hat sound (synced to the BPM of the onboard metronome), freeing your fingers to play other pads while the hi-hat continues to play until you press the pad a second time. You can also add Humanize features to this, which creates subtle variations in terms of how quickly the note is played and how loud or soft it is played, making your beats sound more natural and less computer-generated.
The FGDP-50 also allows you to save more user kits and call them up with the touch of a button. These “Registrations” (four on the FGDP-50 vs. two on the FGDP-30) save preferences, pad settings, custom-built kits and any changes you make to voices, such as tuning, adding effects, reverb, chorus and more.
A Better Way to Play
In addition to all these great features, FGDP finger drums are also extremely easy to use, thanks to their unique advanced ergonomic design. Yamaha engineers began by studying what comes naturally to a percussionist’s hands when playing. For example, it was found that most finger drummers place the hi-hat and ride cymbal sounds on the top row, so that they can be accessed by the middle and ring fingers. The snare is commonly played with the pointer finger, so the snare pads were usually placed directly in the middle, and the bass, most often played by the thumb, was placed at the bottom.
FGDP ergonomic design.
Accordingly, all the FGDP pads were configured that way, though breaking from the industry standard grid shape (something that does not feel natural to many users when playing) and instead placed in a more intuitive curved position, enabling more fluidity and less pecking when playing.
The FGDP pads are also ultra-sensitive and highly responsive, allowing you to create more expressive drum beats that include things like flams and ghost notes, and to place accents on notes when desired. Because you can assign any sound to any pad, you can configure the FGDP in a way that works best for you. Some of the default settings even have multiple “mirrored” pads with the same sounds assigned, so you can perform incredibly fast drum rolls and fills without loss of control, and while avoiding something known as “machine gunning” — the term for when a drum roll is played quickly on an electronic drum set and the notes all come out at the same volume, thus sounding like a machine gun.
In short, these great new products have everything you need, bringing the world of finger drumming to established and aspiring musicians alike with a slew of unique, accessible and easy-to-use features … and at a cost that is within reach. Check out the video below for more information.
Throughout this series, we have highlighted the important role that music education can play for students in high-need schools. In order to impact as many students as possible, we must discuss the critical tasks of retaining students and fostering program growth. I know this can be a daunting task, particularly in small and rural schools with fewer students to attract. However, by being intentional with our efforts, music programs of various sizes and in diverse settings can become exemplars for student participation on their campuses, leading to more students joining and remaining in the program throughout their matriculation.
Photo by Monkey Business / Adobe Stock
Create an Inclusive Curriculum
Music education thrives in environments where students can engage in a variety of music-making experiences. The opportunity is always there to recruit students from diverse backgrounds, create ensembles that include instruments from non-Western influences, and assess student learning styles to personalize instruction. By showcasing students in different ways and celebrating individual progress, our programs can begin the process of building sustainability from the ground up.
In David Pope’s article, “Building a Music Program in a Title I School,” the author offers sound strategies for recruitment, retention and mitigating financial barriers to music education. Fostering a safe and supportive culture within the program is crucial, where students feel valued and encouraged to express themselves freely. In addition to ensemble offerings, we should also explore diverse genres and musical styles that go beyond our traditional repertoire and state music lists as we try to reflect our students’ cultural backgrounds and interests.
Photo by Kimoshi / Adobe Stock
Empower Students and Parents
Program expansion begins with students and their families. In his article “Reaching Students by Building Relationship and Community,” Matthew Spradlin shares the importance of building an environment where students feel safe and free to explore a full range of music-making possibilities.
I was a high school band director in the metropolitan Atlanta area, where competition among school marching band programs was fierce. We did not always receive large numbers of students from our middle school feeders to enroll in band, so we made sure to have a beginning band option for any high school student who wanted to be in the band but didn’t know how to play an instrument. Students who had an interest could enroll in either the fall or spring semester. We would pair these students with veteran musicians in their section, and pair the students’ parents or guardians with one of our band parent team leaders. By building strong relationships with students and parents early in the process, we were able to grow our program from within.
We allowed student leaders to organize workshops on instrument care and maintenance, host social events and activities to bring interested students to the band hall, and they planned fun events like family karaoke and game nights. We would also invite parents to observe rehearsals whenever they had a chance. In addition to these activities, my staff and I also worked hard to give ownership of the program to the parents and students. This provided us the opportunity to collectively build a culture for the program that was a shared vision amongst us all. Finding ways to connect with students and their siblings, parents and other family members in numerous ways helped to create a sense of shared ownership.
Photo by Monkey Business / Adobe Stock
Build Community Through Student Achievement
As my programs grew and began to be recognized as a unit, I started to think of ways to honor and celebrate my students intentionally and publicly for their individual contributions. I regularly organized student performances both within and outside the school so all could witness firsthand how skilled our students were as individual musicians. I highlighted student accomplishments in our monthly school newsletter, through social media and through local media outlets when students were selected for district, state, regional or national-level ensembles. Doing this also helped to raise funds within the local community, which allowed students and their families to be able to travel and participate in these prestigious events. By encouraging and supporting participation in these activities, I was able to showcase the program’s excellence and inspire younger students in the program to strive for the highest.
Delton Brown’s recently published doctoral dissertation, “High Musical Achievement in Underserved High School Band Programs,” examines in great detail the importance of cultural responsiveness, director-student relationships and promoting high music-making expectations in underserved communities. Because I made a consistent effort to highlight our students’ accomplishments to our school administration, community leaders, parents and other stakeholders, advocating for the need for school music programs in our community became a shared vision.
Photo by MD Media / Adobe Stock
Retention is Possible
By implementing these best practices, music programs in high-need schools can become vibrant hubs for high levels of student achievement learning and community engagement. As we innovate our curricula, empower students and their families, and build our programs through highlighting our students’ accomplishments, we must always remember the reasons why we do this important work.
As music educators in high-need schools, not only do we provide an outlet for musical creativity and emotional expression, we also create an environment where we can transform communities and impact students through the power of music education. The positive impact of music-making on academic performance, social-emotional development, access to higher education, future career opportunities and social mobility are well within reach for all our students. Let us continue to seek ways to sustain and expand our programs for generations to come.
As music educators, we realize that we will not see the results of our efforts until years after students leave our care. It’s like someone sitting in the shade of a tree that was planted decades ago. We need patience to instill behaviors that will take time to germinate. This article is about delayed gratification for teachers.
Waiting for the Harvest
Fields of green turn to blue, yellow, orange, red and pink during the spring in Texas. Families and friends make pilgrimages to parks and nature preserves across the state to take family photos and make memories — a part of one of the state’s favorite traditions. Thanks to the vision of Lady Bird Johnson — the namesake of our school — our world is more beautiful today than when she planted her wildflower seeds so many years ago.
Lady Bird Johnson in a field of wildflowers in Texas. Photo from LBJ Library / Robert Knudsen
Spring is also contest season for band programs across the state. UIL Concert and Sight-Reading evaluation is one of the culminating experiences of the year for students and directors. The event can be one of the most magical musical journeys, but it can also be a lonely and very stressful time for directors and a grind for young performers. The quest for that perfect performance and the oh-so-coveted Sweepstakes Rating, complete with photos to share on social media, can weigh heavy on everyone involved — something so beautiful, yet so daunting at the same time.
Lady Bird found her joy and inner peace in the fields of wildflowers and gifted us with her words of wisdom: “Where flowers bloom, so does hope.” She knew wildflowers had the power to inspire smiles, comfort and hope.
Sometimes, when we are in the weeds of UIL season, students can seem disinterested, lethargic, apathetic and even grumpy. Rehearsals, sectionals and pass-offs can overwhelm everyone involved in the process. As directors, we seek that same peace Lady Bird found in her wildflowers, but it can be so elusive. Even experienced directors can find themselves bogged down by the process. Worse, it can feel downright defeating when we perceive that our students don’t appreciate our work, care for and investment in them. I remind my students many times between Christmas and spring break, “We are on the same team” or “I am on your side,” as I challenge and push them toward another level of excellence. It’s not easy, especially with their scowls forever burned into my mind. Still, your work matters even on your worst days. Your students may not appreciate it now, but you profoundly impact their lives. Teaching is planting seeds, seeds that do not reap a harvest overnight.
The author as a child on his family’s cranberry farm.
Lessons from the Farm
My family grew cranberries for Ocean Spray for many years. I felt a sense of peace and joy as a child working on the farm — my favorite time of year was harvest. I enjoyed seeing the fruit come out of the bogs before we shipped them off to Ocean Spray. As I grew older, I learned to appreciate the different phases of the growing season a lot more.
In the winter, we flooded the bogs and the plants went dormant. As we drained the bogs in early spring, the plants came back to life from their winter slumber and required plentiful sunshine and fertilizer. From there, we waited for the summer’s bloom. At each phase of the plants’ development, protecting them from dangers like insects, frost, intense heat, flooding and drought was essential. The plants required us to bring in bee hives for pollination in June. Eventually, in late summer, the fruit set and eventually ripened, and then we harvested.
Many of the lessons I learned on the farm relate to my career as a music educator. Much of our time is spent cultivating and nurturing students. The proper growing environment is vital, and we must realize that growth takes time. In some ways, our work teaching students may be more like nurturing a tree that grows to provide shade. If you’ve ever planted a young tree, you know that it can take decades to see the results. When we look at a mighty oak or a tall pine, we know it started as a sapling.
Proper Growing Environment
Too much darkness and plants won’t grow; too much sunshine can kill plants. Too much or too little water, too much or too little fertilizer, too much or too little attention — finding the right balance is everything. When a flower doesn’t bloom, you fix the environment in which it grows, not the flower. The same is true with students — the environment in which they make music is everything.
If your students aren’t growing as musicians and people, consider why. In farming, we discuss how plants can be stressed under extreme conditions. Without care and maintenance, weeds will grow, and the garden will fall into disrepair. I believe students respond the same way. A careful balance between high standards and an environment where students can thrive and still be kids is needed.
As the band director, your tone and approach will determine the growing environment. Not everything is under your control, but because you craft the response to the situations you and your students encounter, you significantly impact their music education.
The author with a student who is planning to become a music educator.
What Do You Want?
When all is said and done, and your students graduate from their program, what do you want for them as people? What values do you hope to instill in your students? Students join your class to enjoy music-making with their peers. But along the way, certain values come from pursuing music at a high level.
Ideally, our students learn:
to add more beauty to the world through their art.
that the best performances inspire joy and tears and sometimes joyful tears.
delayed gratification working through those hot summer days of band camp.
to embrace lessons from the pain of failure and defeat when things do not go their way at a competition or an audition.
conflict resolution, teamwork and how to nurture relationships.
relationships take work; lasting relationships take lasting work.
to view the world as something larger than themselves, learning that they play a role in the team but that the team does not revolve around them.
to take risks and not only to dream but also how to pursue those dreams to make them a reality.
kindness goes a long way in easing the tensions of this sometimes bitter earth.
Our students learn countless lessons by participating in band, but they do not learn these lessons in one class, one day or one season. The best lessons take time to germinate. Sometimes, students are grumpy. Sometimes, they will not understand why you hold them accountable or why you make the decisions you do. Students will often butt heads with their directors and challenge their peers. Sometimes, teenagers make poor choices. Practice patience, keep the faith and keep going.
Teach Self-Reliance, Discipline, Accountability and Gratitude
Everyone is familiar with this saying: If you give a person a fish, they’ll eat for a day. If you teach a person to fish, they’ll eat for a lifetime. Teach students to fish. If you do everything for them, including protecting them from failure, they will never learn self-reliance. Sometimes, they fall off the bike. Be there to help them get back on.
You must teach students the skills necessary to be successful on their instruments when you are not around. Children also need to learn skills essential to manage time and studies when you are not around. Band provides students with an opportunity to learn the pain of discipline or the pain of regret early in life. Learning to work toward a goal when the original motivation has left is a powerful skill. Students who learn to be accountable to themselves and their peers for their actions are equipped with a skill that will enable success for a lifetime.
Other life lessons include teaching students how to keep a calendar and schedule their days, how to say “please” and “thank you,” how to write thank you notes, and how to show their peers that they value them through their interactions.
Help students learn perspective. Teach them to love their neighbor and country, even when they don’t love everything about both. We are so fortunate to be in a place where we can practice our craft and share the love of music-making with one another.
Tough Questions to Ask Yourself
Hope is not a strategy when growing plants or people, but there is a degree to which students will respond to your expectations of them and the high standards you set. Principal John Mehlbrech used to tell the Johnson High School faculty, “Dare to stand above the rest.” At faculty meetings, he often showed a picture of a tree growing higher than the trees around it from a forest near the school. It reminded me of the Hyperion tree, or coast redwoods, the tallest trees in the world that grow in California. This photo led many of us to ask ourselves some tough questions.
Does our environment encourage students to be the best version of themselves? Do we nurture students’ musical talent and encourage them to dream big and take risks? Do students feel ownership in our program? Do they feel empowered, and do they know that we believe in them?
Often, children will exceed expectations if they have a coach who maintains high standards and provides the right environment to grow. Farmers must provide fertilizer and water, pull weeds and bring in bees to pollinate. Missing any of those steps could lead to crop failure. Our students require substantial investment in their well-being to flourish, too. With students, harvest may not happen on a traditional cycle. Some kids may take years to mature before they reflect on their experience with you and find value in your instruction or message.
The author with three former students who are pursuing careers in music education, and a colleague who instructs future music educators at Texas State University.
Teach Them Well
One of my dad’s favorite songs is Crosby, Stills, Nash & Young’s “Teach Your Children,” and I guess it’s one of mine, too. The song’s basic message is that by teaching your children well, they will grow and thrive; and to teach them better than you were taught. My parents were my best and earliest teachers. I know they did everything they could to prepare me to serve the world better than they have.
I hope that I, too, have passed these important lessons along. As I watch several of my former students from Johnson High School now serving as band directors and one about to embark on the journey to become a music educator, I cannot help but reflect on their growth from 7th grade until now. While we did not see eye to eye on every step of our time together, we remain important figures in one another’s lives. When I see their smiles as teachers and performers, I know that they are thriving. Though my role in their lives has changed, I will still be here to help them navigate challenges and periods of extreme stress and celebrate their successes. With the proper care, our collection of musical wildflowers will continue inspiring hope for generations.
Board games have been around since ancient times, but they continue to find new audiences. In the digital age, if a tabletop game is a hit, an online version is sure to follow. Research company GWI reports that interest in online board games has grown by 29% since 2020, and the market for these products grew from about $7 billion in 2017 to an estimated $12 billion in 2023. In the fourth quarter of that year alone, there were some 134 million total views of board game-themed videos on TikTok.
Whether played via web, console or handheld device, online board games connect friends and strangers from around the world with the added bonuses of no setup, no cleanup and no board-flipping.
Here are some of the most popular titles.
1. Dune: Imperium Digital (2024)
Hot on the heels of the theatrical release of Dune: Part Two comes Dune: Imperium Digital. The online version of Dire Wolf’s 2020 tabletop game recently went live on digital distributor Steam® and in the Microsoft Xbox®, Google Play (Android) and Apple App (iOS) stores. Imperium takes players to the desert planet of Arrakis, where various factions fight to control the flow of “spice,” a rare and invaluable substance. Players must balance political and military gains to emerge victorious after 10 rounds of solo or multiplayer gameplay. Preview it here.
2. Monopoly Plus (2014)
Monopoly Plus is one of many digital adaptations of Hasbro’s classic board game, but Plus is the latest major cross-platform release in the series, which originally debuted for Windows, Xbox and Sony PlayStation® in 2014 and was later ported to Nintendo Switch™. The Asobo Studio production offers both online and offline modes and brings the Monopoly board to life with animations depicting the development of acquired properties. It received generally favorable reviews with one oft-cited gripe: In online multiplayer mode, if the host player rage-quits, the game is over. Preview it here.
3. Codenames Online (2020)
In mid-2020, the developer of this title, Czech Games Edition, quietly added a free digital version of its hit party card game, Codenames, to its website. Word spread quickly. Codenames Online attracted more than 1.6 million players in its first six months and remains popular today. As in the original, teams attempt to guess hidden words related to revealed words — but only their team’s words, not their opponents’. It’s more straightforward than it sounds and twice as fun. Play it here.
4. Ticket to Ride: The Computer Game (2023)
Aspiring railroad barons have flocked to the board game Ticket to Ride since was introduced in 2004. Little wonder: Players compete to lay tracks and connect cities, earning points along the way and bonuses for the longest contiguous routes. The franchise has been digitized several times, starting with Ticket to Ride (2008), a video game for Windows and MacOS, Xbox and PlayStation, followed by two iterations of Ticket to Ride: The Computer Game: A 2012 Twin Sails Interactive production was later sunsetted in favor of a 2023 successor developed by Marmalade Game Studio. Preview it here.
5. Gloomhaven (2021)
The original Gloomhaven was an instant classic. Released by Cephalofair Games in 2017 and set in a dark, forbidding fantasy world, the board game combined many of the best aspects of card- and dice-driven play. Flaming Owl Studios rolled out the digital adaptation of Gloomhaven for Windows and MacOS, Xbox, PlayStation and Switch starting in 2021. Players around the world have been forming bands of mercenaries to fulfill quests and vanquish monsters ever since. Preview it here.
6. Clue (2023)
No list of online board games would be complete without Clue, the culmination of a decades-long effort to create a definitive online version of the Hasbro murder mystery puzzler that debuted way back in 1945. Just like the original, the digital rendition gives players the evidence they need to determine which of six suspects did the deed, in what room, and by what means. Developed and produced by Marmalade Game Studio, it’s available on Steam and for Xbox, PlayStation, Switch, Android and iOS. Preview it here.
7. Terraforming Mars (2018)
To make Mars habitable, we have to raise its air temperature and oxygen level and build a self-sustaining ecosystem. Those are the three core objectives to Terraforming Mars, available as 2016 tabletop and 2018 Steam, Android and iOS game published by FryxGames and Twin Sails, respectively. Following the premise established by the board game, players take on the roles of corporations sponsored by a unified Earth government. They must work together to succeed, but only one can claim to have contributed the most to the Red Planet’s cause. Preview it here.
8. Carcassonne – Tiles & Tactics (2017)
Carcassonne is a series of tile-based board and electronic games named for a walled city in Southern France. Two to five players draw and place tiles to complete a medieval landscape filled with cities, fields, roads and rivers and populated with each player’s “followers.” The tabletop game made its debut in 2000, initially published by Rio Grande Games and, since 2012, Z-Man Games. Among the franchise’s digital adaptations is Carcassonne – Tiles & Tactics, a 2017 hit for Frima Studios and Twin Sails on Windows, Switch and Android/iOS. Preview it here.
9. Pandemic: The Board Game (2013)
Inspired by the 2002 SARS outbreak, Matt Leacock created Pandemic, a board game in which players must work together to contain and find cures for four deadly diseases cropping up around the globe. Published by Z-Man Games in 2008, its success would inspire Pandemic: The Board Game, an online version released by Twin Sails for Android/iOS in 2013, followed by versions for Windows and Steam in 2018, then Xbox and Switch in 2019. Pandemic remains playable but was delisted by Twin Sails in 2022, purportedly to clear the digital decks for a new and improved game. Preview the Xbox/Switch version here.
10. Wingspan (2020)
Birdwatcher Elizabeth Hargrave wanted to play a board game based on her hobby, so she designed one. She pitched the concept to Stonemaier Games, which in 2019 released Wingspan, a card-driven, water colored, nature-themed tabletop that stood out — critically and commercially — from its sci-fi and fantasy counterparts. Players manage resources, build sanctuaries, accomplish in-game objectives and learn a lot about birds. Monster Couch released a highly faithful online adaptation for Windows/MacOS, Xbox, Switch and Android/iOS in 2020. Preview it here.
Ready to level up your online board game experience? Check out these Yamaha mixers and headsets designed for gamers and streamers.
One of the easiest and most direct ways to modify your bass sound is with your picking hand. Changing its placement and/or exploring alternative picking/plucking techniques can be a fun and productive way to quickly access other tonal worlds without touching your amp or stepping on a pedalboard. In this posting, we’ll show you how.
ZONES OF INTEREST
Start by placing your picking hand as far away from your bass’s neck as possible, right near the bridge. Pluck any note using your index and middle fingers. Notice how tight the string is, how thin-sounding the notes are, and how much rounder the tone becomes as you move toward the neck and onto the fretboard with your plucking hand. You can learn to use these tones strategically: Play near the bridge and bridge pickup for focused tone, near the neck and neck pickup for fuller tone, and directly over the fingerboard for the tubbiest tone.
As you can see in the video below, moving the picking hand and alternating between plucking and playing with the thumb causes significant tonal variation and inspires slightly different E minor choices on a vintage Yamaha BB2000 with old strings and the tone knob halfway up. For this and all following videos, the tone selector switch will remain in the middle, with both the neck and bridge pickups making an equal contribution to the sound.
HEAD ON UP TO THE FRETBOARD
As you’ve undoubtedly noticed, the tension of each string is greatest (tightest) close to the bridge and looser as you move toward the neck. What happens, then, if you move your plucking hand right onto the fretboard? Gooey goodness, of course!
If you’re looking for clarity and definition, this isn’t the tone for you. In conjunction with your fretting hand and tone knob, however, this approach can do a convincing simulation of certain synth bass, fretless and upright tones.
Start by turning your tone knob all the way down so that the highs are completely rolled off and your bass is at its thumpiest. Place your plucking hand near the end of your fretboard and play the A on your E string while pressing down all the strings with your plucking hand. Use your fretting hand to slide into notes, bend strings, and play double-stops and chords.
In the first of the two videos below, playing over the fretboard with the tone knob rolled off all the way results in a warm, fretless-like tone for this B♭ minor part.
In the second video, we revisit the previous E minor flavor, but this time, we turn the tone knob up to restore the high frequencies and move the plucking hand a little closer to the headstock.
Also check out this video for a demonstration of how moving closer to the bridge or neck affects bass tonality when using a pick.
SLING THAT THUMB
Instead of playing with your index and middle fingers, try using your thumb to pick the notes instead. It might be awkward at first, but you’ll notice that playing with your thumb allows you to put weight behind the notes, plus it gives you a more focused tone. If you listen closely, you may find that your index and middle fingers have two subtly different tones, and that your thumb can be consistent. With practice, you can gradually pick up speed with just your thumb. Go easy in the beginning — your thumb may not have the callouses that your other fingers have. In the video below, watch as the thumb and fretting-hand hammer-ons do most of the work on this B♭ minor groove, occasionally joined by the index finger. Other thumb-playing approaches, such as the “chucking” technique pioneered by Bernard Edwards, are pathways to new tones, too.
THE PALM MUTE
Here’s a sure-fire way to old-school bass tone. In the 1950s and ’60s, some electric basses came with flat-wound strings and foam mutes, and the resulting sound — percussive and somewhat staccato — became associated with James Jamerson and other early bassists. (Listen to Marvin Gaye’s “What’s Going On” and then the isolated bassline to hear a great example of the signature Jamerson sound.) This muted approach can also be used to evoke the tone of other bass instruments, such as synth bass, upright bass and electric uprights like the Ampeg Baby Bass.
To add this sound to your vocabulary, start by placing the left side of your hand against the strings and plucking the open E string with your thumb. Notice how fast the note decays, and experiment with palm pressure to hear the variations that are possible. In the video below, notice how the notes of an E minor bassline plucked by the thumb are short and fat. Be sure to explore some of the many YouTube videos on palm-muting such as this one.
FOCUSED VS. FRETLESS
Moving your plucking hand and/or using your thumb can make all the difference to your tone. Alternating between focused and fretless flavors, for example, can be accomplished by simply changing the placement of your plucking hand, as shown in the video below.
It’s great to have tonal options like these at your command without having to use effects. Have fun and experiment!
So much of the music we play on piano and keyboards has easy rhythms, allowing for smooth coordination between the hands. But there are times when you will encounter a piece of music, or even just a section within a song, where the rhythm gets a little more complicated and your two hands need to play very different parts at the same time. In those instances, you may stumble a bit and find that you can’t seem to get the parts feeling comfortable. Each hand by itself is easy enough, but when you try to put them together you hit the proverbial wall.
The most common reason for this is that the passage involves what is called syncopation: rhythms that fall between the strong beats of the measure, and where the two hands don’t always play the same beats at the same time. The answer to mastering these phrases is to learn how to count through the section, analyze how the two parts relate to each other, and then combine the two hands slowly while counting. Let’s explore how to do this.
Choose The Lowest Common Denominator Rhythm To Count
When you encounter these kind of problematic phrases, you will want to start by learning each hand separately. Work out your fingerings and practice at a slow tempo until each part feels comfortable. Then look and see what rhythms are being used for each hand; specifically, whether any notes are being played on sixteenth-note subdivisions, or just eighth notes. This will determine how you will approach counting in your head.
Eighth notes are counted by saying “one and two and three and four and,” dividing the quarter note into two equal subdivisions, as shown in the first measure below:
The second measure shows how sixteenth notes are counted by saying “one e and a, two e and a” and so on. The lower staff shows how each eighth note is being divided into two subdivisions, and how each quarter note is being divided into four.
Syncopating the Left Hand
Let’s look at some musical phrases to learn how to approach this task. This first example is a basic rock piano rhythm, with the left hand providing some simple syncopated accents:
Since everything is eighth-note-based, the counting is easy. The next thing to look for is how the hands relate to each other: Identify when the hands play on the same beat, and whether any note occurs only in one hand, and on what beat. In the example above, the right hand is playing on every eighth note, and the left hand plays along with the right hand on select beats. Piece of cake!
A good next step is to try tapping out the rhythms on your leg or a tabletop so you can work on the rhythm and hand coordination without worrying about playing particular notes, as shown in the video below. This is an especially good way to help children learn about rhythm.
Once that feels comfortable, you can go back to your keyboard and work on the passage some more.
Now let’s try a slightly more difficult example. This is a variation of the previous one, but here the left-hand accents have been changed:
Notice that the second left-hand accent has now been placed on a sixteenth-note beat just after the second downbeat. This means you’ll need to count sixteenth notes throughout the example, as shown above. In addition, that second left-hand accent occurs by itself, in-between the steady right-hand part. Work on it first as a tapping exercise, and try it at progressively faster tempos.
Here’s one more variation to help you get comfortable with this type of syncopated rhythm:
Now the third left hand accent is also syncopated, landing on the last sixteenth of beat three. Here’s the hand tapping workout:
Syncopating the Right Hand
Let’s flip the hands now, making the left hand the constant while adding syncopation to the right hand, like this:
Pay attention to how the right hand plays the first chord together with the left, in contrast with the next chord, which occurs between the left-hand beats. The same happens for the next two chords, and the last chord plays with the last eighth in the left hand. Tap it out first to get comfortable before playing the notes on your keyboard:
This next example gets more interesting harmonically and moves the left hand around:
Here, only two chords occur between the left-hand eighth notes: the second chord in each measure, which falls on the last sixteenth of the first beat. Here’s the tapping version:
Playing Two Different Parts At The Same Time
Often when playing keyboards live, you’ll not only be asked to play two different parts, but you’ll be required to play two different sounds at the same time — for example, playing a synth lead line part while also playing piano, or two different synth sounds.
The example below is modeled after a popular dance tune from the early 2000s. The left-hand chords would typically be played with a synth dance piano sound like this:
Notice how only the first chord of each measure is on a downbeat (a “strong” beat). Every other chord occurs on the weaker in-between beats, mostly on the and, or second eighth note of the beat. This gives the part a highly rhythmic and bouncy feel.
Now add the right-hand part to it, which is a steady stream of eighth notes played with a synth sound:
Pay attention to the second chord hit in each measure. This occurs on the last sixteenth of the beat (the “a” in your counting), and is the only time the two hands don’t play together. Practicing tapping the rhythms will help you get the feel of the rhythm.
This last example is modeled after an early ’70s funk classic, and would require you to play chords in your left hand using an electric piano sound, while playing brass lines in your right.
Here’s the left-hand part:
Notice again that most of the chords are played on an offbeat, with only the D9 and the C9 played on a downbeat (beat three).
Here’s what the two hands look and sound like when you add the brass part:
This is a tricky part to coordinate, so it’s important that you pay close attention to when the hands strike together and when notes occur in-between. The illustration below uses red highlights to show the notes that are played on their own, as opposed to when the hands strike together:
Working on tapping out the rhythms will certainly help you to get comfortable with this one!
Follow these suggestions for analyzing the relationship between the hands, finding the right way to count and tapping the rhythms first, and you will master even difficult syncopated phrases much more easily.
In 1961, inventor John Burgeson created the first-ever computerized baseball simulator game. In the decades since, there have been literally hundreds of video games released that, at least in part, are based on his concept. And although every baseball fan can’t play in the majors, anyone can practice their sliders and home-run swings on their gaming consoles.
As spring training approaches, it’s time to continue along the path that Burgeson set out by enjoying these nine classic baseball video games. Batter up!
1. R.B.I. BASEBALL (1987)
This title was the first of its kind to include licensing by the Major League Baseball® Players Association (MLBPA). As a result, it was the first video game to use the names of real players, including superstars of the era like Nolan Ryan and Andre Dawson. Although it did not include actual team names, there were eight squads from cities like Boston, Detroit, New York and others. Making it even more realistic, the virtual players boasted various skillsets (some were speedy on the basepaths, others had a great fastball). For gamers of a certain age, this is the Holy Grail of baseball titles. Preview it here.
2. KEN GRIFFEY JR. PRESENTS MAJOR LEAGUE BASEBALL (1994)
This game from Software Creations® did feature the names and stadiums of real MLB® teams, including the Chicago Cubs and Seattle Mariners, though unlike R.B.I. Baseball, it didn’t offer the names of actual players, with the exception of the title’s namesake. In the 1990s, Ken Griffey Jr. was the star of stars on the diamond and his inclusion in this game made it a must-have. Available for consoles like Super Nintendo®, there was a later release on Game Boy™ that did include real players, but even the original provided the groundbreaking feature of allowing users to save their stats during their season. Preview it here.
3. TRIPLE PLAY 97 (1996)
In the mid-to-late-1990s, video games began to look more realistic. Gone were the cartoonish, rudimentary baseball images of players and in came graphics that looked almost like a real-life matchup. This title from EA Sports® was at the forefront of that movement. Not only was it one of the best baseball video games of its time, it was one of the best video games of any kind, period. Triple Play 97 featured real players, real teams, announcers, crowd noise and more, providing a life-like immersive experience. Preview it here.
4. BACKYARD BASEBALL (1997)
Most sports video titles are known for taking themselves and their subject pretty seriously. More and more, they aim to be as accurate as possible in terms of the look, feel and pace of the actual pro game. But not this one! There is accuracy, to be sure, but it’s of a different kind — that of a child’s imagination. The premise here is: What if you and your school-aged friends got together for a game at the park? From homespun uniforms to cute trash-talking, this one is as fun as a Saturday afternoon with friends. Preview it here.
5. MLB SLUGFEST 2004 (2003)
This offering from Midway Home Entertainment® leaned into the fantastical. Users could play as real-life teams, including the Kansas City Royals or St. Louis Cardinals, or they could play as a band of ninjas, with swinging samurai swords in place of baseball bats. Similar to basketball games like NBA Jam or football games like NFL Blitz, it allowed players to enjoy an extreme version of the sport that was at times part-wrestling match. Preview it here.
6. MVP BASEBALL 2005 (2005)
Though MVP Baseball is nearly two decades old, it might just be the best baseball video game ever. It not only features real players and teams, but it also was granted licensing from Minor League Baseball®, meaning users could play with a franchise’s farm team. Now that’s detail! But it also presents the game within the game, as users could make trades, manage rosters and navigate player injuries as if they were a real-life team’s coach or front-office executive. Compared to everything that came before, this is mind-blowing stuff! Preview it here.
7. MARIO SUPERSTAR BASEBALL (2005)
Love baseball and also love the Super Mario Bros.™ world of characters? Then this game is for you. Here, you don’t have to know contemporary pitchers or hitters; you just have to step up to the plate with folks like Luigi, Wario or Princess Peach. Originally created for the Nintendo GameCube®, it’s actually one of several Mario Bros.-themed sports games, including Mario Power Tennis and this title’s sequel, Mario Superstar Baseball. As colorful and light-hearted as you might expect, this is a game for all age groups. Preview it here.
8. SUPER MEGA BASEBALL 3 (2020)
Somehow realistic and over-the-top at the same time, this title combines the oversized cartoonish nature of some baseball video games with the lifelike gameplay of others. While the first rendition was released in 2014, Super Mega Baseball 3, the third in the series, came out in 2020 and is one of the more popular games to date. Available for consoles like Nintendo Switch™ and PlayStation 4®, it includes a franchise mode where users can control not just a batting lineup but a whole fictional team, like the Sharks or the Heaters. The game can also be played online against opponents all over the world. Preview it here.
9. MLB THE SHOW 20 (2020)
Some may see this game for the first time and confuse it with an actual Major League Baseball contest — it’s that realistic. Created by San Diego Studio® for PlayStation 4, this title features minor league baseball players as well as those in the majors. Users can play online against other opponents or just bask in the realism it offers. It’s hard to imagine video games getting more lifelike than this one. Even the onlooking fans in the stands seem real with their own individual movements and appearances. Add in varying weather conditions, day and night games and real-life ballparks, and you have just about everything you need to completely replicate the actual in-stadium experience. Preview it here.
Yamaha Artist and percussionist Maria Finkelmeier’s “Superhero Butterfly” is a dazzling fusion of live music performance, visuals and technology. Inspired by her daughter’s Halloween costume, the multidisciplinary piece celebrates the beauty of holding multiple identities as truth.
Finkelmeier, like her work, has many identities: digital media artist, sonic explorer, musician, composer, educator, entrepreneur. A trailblazer in experiential art, she blends music and technology to craft large-scale performative works that provoke reflection and encourage connection.
Whether performing at Carnegie Hall or Fenway Park, Finkelmeier incorporates unconventional sounds and vibrant visuals to transform iconic places into settings for immersive experiences that transcend genres. Through her company, MF Dynamics, and as a professor at Berklee College of Music, she empowers emerging artists, cultivating community and collaboration while providing them with the tools to thrive in their creative pursuits.
We recently caught up with her to discuss her background, work and advice for young artists looking to enter the field.
ESTABLISHING A UNIQUE VOICE
You’ve been a percussionist since grade school. When did you start composing?
I took a couple of composition classes throughout my years at Ohio State University and the Eastman School of Music, but getting out of school and stepping foot in the real world was when I started to say, “I love music, I love making noise, I love percussion, but what am I going to say with this?” I was in my mid-20s when I sought mentorship in composition and improvisation and really started to focus on my voice as an artist and not just as someone who plays music.
Who were your early influences?
When I really got into composition, I was living in northern Sweden. I was on one hand a really big percussion nerd listening to NEXUS Percussion and trying to understand what ragtime music sounded like and why that is important to our industry, but I was also listening to a lot of avant-garde experimental music. There was this really big scene in Sweden where people were using electronics and non-metric ideas.
INVITING ENGAGEMENT
Why is it important for you to bring observers into your performances?
I’m not a songwriter, so a lot of times when I am creating a piece of work it is a bit more abstract. I love that place because it allows an audience member to put themself in the world that we’re creating. But I also feel like it is helpful to invite them to be a part of the process, so they see themselves in what we’re doing.
That’s parallel with how I’ve thought about my work in general: Art should represent the world that we’re living in, so I don’t want to see that differentiation between the person onstage and the person in the video or the person who is creating; I want us to all see it interwoven. I feel that by telling the stories of now, it has a deeper impact. It allows that audience member to have a more emotional connection with that experience.
Do you find that invites engagement beyond a single performance?
That’s the goal. I’ll give you an example. I created this project called “Threads of Assumption” with three other artists: Martha Rettig, Sofie Hodara and U-Meleni Mhlaba-Adebo. Sophie and Martha are designers and U-Meleni is a poet. We came up with this idea together to talk about bias from a multimedia perspective. We had our own stories to tell, but we wanted to invite people to think about bias, to think about their lived experience.
We sourced 44 conversations, and I used A.I. to turn the data that represented their emotions into music. U-Meleni turned the data into poetry, and Martha and Sofie turned the data into weavings. We built this massive loom and had people choose a color of thread that represents their lived experience and weave them together.
To do this, we brought on a partner that had video conferencing software in which we could record conversations, using an algorithm called LIWC — a language-learning and emotion analysis that allowed us to understand the sentiment of the conversations and see them as datasets. I got a whole bunch of numbers to play with, which was so fascinating as a musician.
The reaction we got from the audience was, “You were telling my story; I heard my story,” except we weren’t telling anybody’s story because it was all generated using artificial intelligence and data. The fact that we could represent so many people in the audience was really important. I hope they left with that and that they think about it in the future.
How did you view music’s role in the project?
The instrumental music was the most abstract expression in that space. Participants could see and feel color and feel the threads and they could weave it. And that was a very tactile experience. Words have weight, but music, where does that fit in? In hindsight, it became the glue that made these different artistic expressions come together.
The data was organized by negative emotion, neutral emotion and positive emotion. I used the positive numbers as melodic information; the neutral emotion became the harmonies; and the negative emotion became the really low bass lines. I essentially let the data tell me what pitches to use. Then I had to organize it all. It was a really interesting realization that the data and the stories really were leading the choices, but it did take the human to make it music.
It sounds almost like the process removes the cultural context from composing.
Totally. I feel like in music, as in math, there’s so many connections there. And I think I still probably hold some weight in cultural context, just in [terms of] my own education and in my own voice. But still, it did eliminate the individuality of the music. It really did make music that was composed by the 44 participants who shared their stories.
BEING ONE OF MANY
What led you to launch your company, MF Dynamics?
MF Dynamics is essentially a group of like-minded curious people coming from different spaces to create performance and public art projects integrating technology, but everything’s grounded in music. I grew up playing in orchestras, and marching band was a huge part of my life, so I have always understood the sense of being one of many and the power that we can create when we’re working together. I also knew I couldn’t be a master in motion tracking and artificial intelligence and digital art, but I can be curious enough to find the right people to join in.
One of your Berklee courses focuses on creative entrepreneurship. What are some ways artistry and creativity inform entrepreneurship?
I think musicians are innate entrepreneurs. For example: How do we listen as musicians? We are used to listening to many layers of music being performed. We’re used to listening and looking at body language to get cues to connect. We’re used to taking the energy of the room to advance it, to move it in different ways. Well, that’s what an entrepreneur does. An entrepreneur looks at the world and says, “Okay, I see that there’s an issue. I want to try to fix it. Here are the skills I have to move forward, to encourage others.”
A NOTE TO A FORMER SELF AND ADVICE FOR A FUTURE GENERATION
What’s next for you?
I am working on a project I’m calling “Former Self.” I am stepping into this part of my life where I’m owning my role as a mother, as a professor, as a business owner, as an artist, as a composer, as a professional. I thought it would be interesting to use all these tools that I’ve built over the years to create a work that’s a note to my former self. It’s starting with music and growing from there.
For example, I’m going to create a process in which an audience can write notes to their former selves and text them to me, and they become part of the performance. I’ll motion-track the performances as I play so we will see the moment visually, and it will hopefully become a really interesting 360-degree look at a group of people’s lives together in that moment.
What advice would you give young artists who aspire to a career like yours?
It’s really important to know that each voice is special and has something to contribute to our society, and to follow and feel empowered by that. I think that we get overwhelmed by digital media, by social media, by this idea that there’s so much out there already, but for young creatives, young entrepreneurs, it’s important to know there’s space for you. We’re making space for you, and we’re inviting you in!
When you think of cello and its distinctive mournful tone, you probably think of classical music. What many people don’t realize is that it’s equally well-suited for pop music. In fact, many modern (and even some not so modern) record-makers have turned to and rely on this beloved four-stringed instrument for its richness and depth in musical expression.
Don’t believe me? Check out these eight songs. Proof positive that cellos rock!
1. “Mad World” – Seal
This gift from the band Tears for Fears employed a lot of electronic elements when it was first released in 1982. Since then, more introspective versions have emerged, most notably from British singer-songwriter Seal. His cover features a crying cello in the introduction that goes on to complement his vocal delivery in the verse and finally moves into the chorus to heighten the intensity of the message. The addition of the cello’s aesthetic to this passionate tale allows the listener to dive deeper within themself and better appreciate the emotional impact of the lyrics. Listen to it here.
2. “Good Vibrations” – The Beach Boys
Brian Wilson’s use of cello in this iconic song defies the instrument’s somber reputation. Played with rapid-fire staccato bowing technique, the relentless cello line lifts every chorus to new heights (though they are most clearly heard in the outro to the song), creating an unforgettable low-end counterpoint to the laconic legato theremin part layered above it. There’s no understating the contribution these cellos make to what has proven to be one of the most uplifting feel-good songs ever recorded. This scene from the biopic Love and Mercy brings the “Good Vibrations” cello session to life. Listen to it here.
3. “Blue Jay Way” – The Beatles
Although The Beatles, with the help of producer George Martin, used cello on a number of their recordings (“Eleanor Rigby,” “Yesterday” and ”I Am The Walrus,” among them), none feature the instrument more prominently than “Blue Jay Way” — a white cello even makes an appearance several times in the video. George Harrison wrote this plaintive song while waiting in a house on the Laurel Canyon street of the same name for a friend to arrive. Like the “fog upon LA” he sings about, the cello dances in and out of the track several times, almost mournfully laughing at the drone of George’s dry plea for company. Listen to it here.
4. “Wonderwall” – Oasis
This mesmerizing Oasis hit starts with acoustic guitars strumming a four-chord Beatle-esque progression. Verse one is sparse and tasty, but when that cello kicks in on the second verse, the song becomes undeniable. It continues playing throughout the entire rest of the tune, never outstaying its welcome … and why should it leave? It’s too good, the commanding thread that holds the song together. Hard to imagine that this record would have been so successful without that added cello. Listen to it here.
5. “Where Did You Sleep Last Night” – Nirvana
In this haunting and ominous live Nirvana performance of the traditional folk song, the cello (played by Lori Goldston) creates a brooding world that effectively accompanies Kurt Cobain’s brand of moody lament — this time about a cheating lover. It makes its entrance like angry footsteps coming to find her at the start of the second verse, then becomes more severe as the song continues and Cobain’s rage intensifies. Listen to it here.
6. “Taxi” – Harry Chapin
The cello is featured prominently in the bridge of this 1972 classic Harry Chapin tune. Sung by a “cab driver” recounting an old flame to whom he randomly gives a ride, he recalls their young love, their disparate dreams and the separate paths they pursued in their life journey. What better instrument than a cello to take us down that nostalgic road and connect us more emotionally to his story? Listen to it here.
7. “Don’t Lose Your Faith In Me” – Robben Ford
The artist is asking for forgiveness and a second chance, and the cello is sympathetic. Producer Susan Rogers writes about the making of this track in her book This is What It Sounds Like, explaining that although Ford had a good singing voice, it wasn’t his strong suit. She knew she had to compensate with instrumentation that offered a timbre that would shine the light on sincerity in his vocals — a timbre that wouldn’t get in the way. The cello, along with its stringed cousins, did just that, surrounding and embracing Ford’s voice like a warm blanket. It’s as if the strings forgave him within a song that is asking for forgiveness itself. Listen to it here.
8. “A Thousand Years” – Christina Perri
In this romantic confession of love performed by Christina Perri, a gorgeously played cello enters on the introduction and continues to punctuate the song in gentle 3/4 time. Later it joins its other stringed companions (violins, violas), adding texture. All strings are lovely, but you can count on a cello alone to hold up the bottom end and carry the weight of a profound love being expressed in song. Listen to it here.
Open position, or cowboy chords as I call them, are one of the most important things that a guitar player should know. They are used in everything from classical guitar literature to Green Day songs, and they work when playing in a group or when playing by yourself. In this article, we will discuss how to teach your students to be to masters of open chords.
Chord Chart
An open position chord shape is a predetermined voicing that uses open strings to express the root and quality of a chord. A chord chart shows the finger locations on the guitar neck to create the corresponding shape for a chord. On a chord chart, the vertical lines represent the strings and the horizontal lines represent the frets. Strings that are not playing in a chord have an X over them and strings that are played open have an O. The number inside of a finger position marker shows which finger in the fretting hand should be used to play the notes of a chord. You can use this guitar worksheet to test students’ understanding of chord charts,
I usually start with having students play chords that use only the top three strings because this allows students to be successful while they are getting their fretting hand dexterity together. Download this PDF of three-string chords. (The ukulele has a similar interval construction, so these shapes work on that instrument as well.) After students have had experience playing basic three-string chords, I move them to chord voicings that use all the strings. Here is a PDF of those chord voicings.
I would guess that most guitars end up in closets because someone got frustrated with their sound while playing chords. That’s why scaffolding successful is so important for students when working with chords; you never want to have them feel frustrated and leave the instrument. I have found what works best is to address left-hand technique as soon as students start playing chords. Here are my technique rules:
Thumb on the back of the neck.
Curl fingers.
Use fingertips.
Keep fingers hovering over the frets when they are not being used.
Highlighting these rules and praising students who are demonstrating these techniques will set them up for success when playing chords. It takes mindfulness to build good technique and if you can help the class be mindful and recognize when they do things correctly, they will not develop poor habits. As everyone knows, breaking a bad habit is extremely difficult.
By giving students a pathway to build and check their chords, you allow them to troubleshoot their own problems. Instruct students to build chords one finger at a time starting with the top three strings. Use positive playing pressure by squeezing the string between the thumb on the back of the neck and the fretting finger. Add additional counter force by using the guitar body and neck as a fulcrum against your torso. If all the rules of the technique are followed, the notes should ring out clearly.
Check a chord by playing each note separately, which will point out notes that are unintentionally muted by poorly placed fretting fingers. If you or your students are having trouble getting some notes in a chord to play, try moving the fretting finger closer to the bridge side of the fret, which will allow an easier connection.
Some things to note: Putting too much pressure on the string will cause a note to go sharp, and placing the finger on the fret will result in a dead sound.
Picking
Right-hand technique is often overlooked and overshadowed by the difficulties in the fretting hand, so I introduce picking as early as possible. Holding a pick is a subjective and personal process, so I keep my instructions fairly simple for students. I tell them to grasp the pick between their thumb and index finger with the tip of the pick perpendicular to the thumb. Keep an eye out for students who use too much pick pressure and/or place the pick too far into the strings. This will cause the chords to sound splatty and distorted. As far as sourcing picks, I’ve been getting 600 packs of them from Amazon for less than $30. I also use a pick punch so students can make picks out of old IDs and expired gift cards.
Getting Students to Read a Lead Sheet
The great part about open chords is that everyone uses them and most of the songs that students listen to have been recorded using the same shapes that they will learn. After students have success playing a few chords, they can start playing songs that they know.
There are two main forms of notation that show when chords are played: 1) chord and lyric sheets and 2) lead sheets.
Chord and lyric sheets show when chords change related to words. The issue is that students must know the song in order to play it. If the song needs to be slowed down to assist with playing, it is almost impossible.
In a lead sheet, the harmonic rhythm (when chords change) is shown related to music time either above slashes in a rhythm section chart or above a melody written in standard notation. Work on reading lead sheets with your students away from the guitar by having them identify the beat in which chords change and having them say the letter of the chord change in musical time while listening to the original recording. Try it with this lead sheet library.
Chord Progression
The hardest part about playing chords in a song is changing shapes to follow the progression. I like to have students watch live performances of acoustic guitar players who use open chords in their songs on mute and have them pay attention to what their fretting hand looks like when moving from chord to chord. Often students will sacrifice quality technique to move from chord to chord and their tone will suffer.
Put a progression on the board and give students time to isolate their fretting hand only, making sure that the movements between shapes are efficient and meaningful. Have students identify notes that start the same between chords and for them to make “flight paths” for the other notes to ensure the smallest amount of movement. Another tip is to have students move all their fingers at the same time and place them on their new shape locations together. The goal when practicing should be to make their fretting hand look like that of a pro but played back at a slow speed.
Differentiation
If your beginning guitar class is like mine, you will have some students who have been playing guitar for a long time, others who struggle with basic concepts and everyone in between. It’s important to differentiate to provide enrichment and remediation when teaching chords to keep everyone engaged and challenged at the same time.
One of the ways that I differentiate is to adjust the rhythm in which students play the chords. For students who are struggling, I might have them only play the chord on the change.
G / / / | Em / / / | C / / / | D / / / |
In this example, I might have them only play on beat one of every measure. The chord voicing can also be simplified to use only the top three strings if they are still having trouble. Finally, have students choose one or two chords in the progression as the ones that they are going to play. When the class plays the progression, have them only play those chords.
The rhythm can also be used to address students who have more experience. Instead of playing on the change, students can play on every other beat, on every beat, or they can strum the subdivision. Finally, students can pick or strum the chords using different arpeggiation or strumming patterns.
This level of differentiation allows students to work on the same song at multiple different levels, which makes it easier to have students play together and address issues as an entire class.
Dynamic Charts
Chords are part of a lifelong study as each new shape is added to their “vocabulary” to use for different styles. The traditional way of learning new chord shapes is to learn them from individual chord charts. There are a couple of downsides to this method: 1) it is difficult to recall these shapes and 2) a new chart is needed for each new chord quality.
When I introduce six-string chords, I use what I call dynamic charts, which shows the chord tones located within the shape and highlights the location of the major chord. There are five main shapes, and If you teach students how to apply the formulas to a chord chart, they are able to generate up to seven different chords from each. I use dynamic charts in my Fretboard Fundamentals course.
This style of chord chart takes more prep time for students, but they end up with a much richer vocabulary of chord voicings and a basic understanding of chord theory that can be used for more advanced study. Note: I sequence these types of chords in the middle of my beginning guitar course, when students have already played three-note chords by reading traditional chord charts, learned the notes on the E and A string by playing bass, and applied those notes to learn power chords.
Above is a dynamic chart for a D chord, it can be used to create the shape for a D, Dm, D7, DM7, Dsus2, Dsus4 and Dm7 chords.
Tuning is one of the most important things taught in a guitar class. Developing intonation awareness is easier on a fretted string instrument than any instrument in a wind ensemble or orchestra, and it can be taught in a fun way without causing string breakage. Everything played in a guitar class is going to sound better if all students are in tune, which will encourage further practice and growth individually or as a large group.
Develop Tuning Awareness
Tuning awareness should start early on in the learning of guitar. Students must know the parts of the guitar and the open string names first and then they can learn how to tune.
Try this activity to develop tuning awareness. Make sure all the guitars are tuned before the class starts. Have students find the tuning peg that is connected to the low E string. Play an E drone on the classroom speakers (this is the YouTube video I use). Tell students to hum along with the drone so that they hear and feel what it’s like when they are in tune. Have them play the low E string and instruct them to turn the tuning peg clockwise one quarter of a turn to lower the pitch. Turn the drone off and have each student play their flat E string. Turn the drone back on and instruct students to tune up to the E string by going counterclockwise to make the pitch higher. Turn the drone back off and check each student’s pitch by having them play it out loud. There will be some students who are better at this than others, but this gives them the ability to understand how much movement is necessary to make a pitch adjustment.
Take five minutes at the beginning of each class to work on tuning by ear. Repeat the steps for the low E string for the A, D, G, B and high E strings. As you watch students detune and re-tune their instruments, call out students who are doing a good job of being careful with their adjustments to positively reinforce the fact that large movements can result in string breakage.
When students tune a string that is too high, instruct them to go slightly below the pitch and tune it up. This ensures that string windings in the tuning machine don’t slacken up, which could lead to the guitar going out of tune during playing. Some students tend to continually re-attack the string while tuning. Instruct students to play the string first and then make tuning adjustments. If students are re-articulating the string while tuning, it can cause the string to sound sharp which will result in inaccurate tuning.
I teach my students a song so they can memorize the intervals between the open strings. Turn on the E drone and sing the pitches of the open strings from high to low using the words “We Tune GuiTars By Ear.” Students can make up their own words to the tuning song, but the goal is for them to auralize the intervals from the strings from high to low. Have them sing the song against the drone while playing the strings of a tuned guitar so they can reinforce this connection between the pitches they are singing and the open strings.
You can gamify tuning by ear by having students split into groups of two have them detune each other’s guitars. The rule is that they can only de-tune a string by a quarter turn. When students have their guitars back, play an E drone so they can sing the song and check their strings. Have them identify which strings are out of tune and in which direction they are out of tune. Students must work together to get both guitars in tune to present to the class.
You can also model this by having a student come up and de-tune a presentation guitar at the front of the room while you check it and talk through the process of tuning it by ear
Using a Tuner
After guitarists have learned to tune by ear, I introduce them to a tuner. Students must know the letter names of the open strings and how the musical alphabet works before using a tuner. I put examples on the board and ask them which letter is higher or lower than string names to prepare them for strings that register as a different letter on a tuner. I like using Snark Clip-on tuners because they are inexpensive and do not require a microphone to register the pitch. in a large classroom with many players, it can be difficult to have students isolate their own instruments.
To use a clip-on tuner, connect it to the headstock of the guitar and play a string. See what letter is being registered on the tuner compared to the open string name. If the letter is higher or lower than the open string name, make large adjustments to the tuner to get it to the correct letter. You can always sing the tuning song to make sure you are tuning the correct octave. Once the letter that is being registered is the same as the string name, follow the visual cues to get the pitch into the center. Remember to remind students to tune below the pitch and then back up to the correct pitch to ensure tuning stability.
Instruct students to turn off their tuners when they are finished so they do not waste the batteries. I buy a few extra 2032 lithium batteries just in case the tuners die out. Have a location in the room where these tuners are stored. I use a music stand next to my board and have students clip them to the bottom of the stand.
There will be times when students are not able to use a clip-on tuner, in that case I require them to download a tuning app, such as the tuner from Yousician called Guitar Tuna, which can be accessed via a free app or online.
Tuning Mindfulness
Students ask me when they should tune a guitar. My general answer is: “When it’s out of tune!”
Some guitars will go out of tune quicker than others depending on the age of strings, the weather or how well the guitar is set up. Encourage students to develop mindfulness about their intonation while they play. Remind them to check tuning between songs. Model how to talk to each other about tuning in a supportive way and without being adversarial. This will help a class or ensemble stay in tune together without the need for instructor intervention. Give praise to students who are actively monitoring their own tuning or the tuning of the group, which will give these students a boost in confidence and remind the group of the expectations.
Things To Watch For
Some students may have learned tuning techniques using adjacent strings as reference points. The fifth fret of the E string should be the same pitch as the A string, for example. This works to get a guitar in tune with itself, but the guitar might not be in tune with a tuner. If you see students trying to tune like this, encourage them to at least check one of the strings with a tuner so that they can ensure that the guitar will be in tune with the rest of the class.
If a guitar cannot be tuned, change the strings. If you’re still having trouble with the instrument, , take it to your local music shop to get it properly set up. It could be an issue with the nut slots, the truss rod, the bridge saddle height or the bridge saddle intonation.
When I first started teaching classroom guitar, I was deathly afraid of allowing students to tune their guitars. With a scaffolded approach like this, it has offloaded my need to tune guitars, and it makes everything the students play in my classroom sound great!
Pop guitar is incredibly enjoyable and can serve as an excellent entry point for instrumental music programs at the middle and high school levels. It provides opportunities for student choice in selecting music literature and can offer nearly immediate success, even for students with no prior musical experience.
While the advantages of pop guitar are apparent, it’s important to consider potential drawbacks as well. As a professional guitar player, private instructor and classroom guitar teacher, I have witnessed the consequences when students exclusively rely on tutorial videos on YouTube, tabs, lessons from music stores or learning from friends in a product-focused manner. While they may learn how to play songs, there’s often a disconnect from rhythm, chord theory, aural skills and understanding notes on the fretboard.
It is possible to introduce pop guitar playing as an introduction to guitar with a process-focused, structured curriculum that addresses these vital topics while enabling students to authentically play the songs they know. Here’s the sequence I use for my beginning guitar students. This curriculum, Fretboard Fundamentals, is available through ShedtheMusic.
Step 1: Establishing Good Technique and Playing Simple Chords
Bad habits are easy to form but hard to break. My first step with beginning guitar students is to ensure that they can successfully play something simple with proper technique. We begin by learning the notes of the open strings and how to play basic three-note chords.
I composed a song called “What You’re Going to Do” that focuses on the fundamentals of good left-hand technique and provides guidance on practicing and performing. The song encourages finger placement close to the fretboard and offers immediate success for beginners. Students learn and perform the song using a recording, a backing track or in pairs for assessment. Extra credit if they sing along while playing! It’s important to normalize singing from the beginning.
Step 2: Understanding the Guitar Fretboard and Notes
The next stage is teaching students how to locate notes on the guitar fretboard using the chromatic scale. Each fret represents a half step, so students can think of the fretboard as a chromatic number line.
I explain that moving up from a fret sharpens the note, and there’s no separate pitch for E sharp and B sharp. We start by identifying all the natural notes on the low E string and then proceed to identify flats. I also introduce landmark frets, such as the 12th fret, the 5th fret (matching the string above) and the 7th fret (matching the string below).
Once students can find these notes, we apply them to play the root notes of chords and simulate playing bass lines. I use audio-synced scores (made in a notation software) and lead sheets, allowing students to jam along with their favorite tracks while reinforcing their understanding of the fretboard’s notes. After covering the low E string, we repeat the same process with the A string, teaching students how to cross between the two lowest strings without shifting positions.
Once students have mastered the E and A strings, I proceed to teach them low E and A string riffs by ear. I have a collection of famous riffs recorded at different speeds to facilitate learning. Students can use these riffs to play for friends and begin developing a connection between their ear and the instrument. This unit culminates in a composition task where students create a metal riff using the low E and A strings and record it.
A smooth transition from notes on the low E and A strings is to introduce power chords. The power chord shape offers students a chance to play chords while reinforcing their understanding of the notes on the low E and A strings. Because power chords have no chord qualities, students do not need to worry about shifting them when reading lead sheets. I incorporate power chords into songs selected for students, often working in small groups where they can play bass and chords together. Again, extra credit if they sing along.
To teach basic rhythms using power chords, I provide lead sheets with augmented rhythmic notation. Students can also challenge themselves by working through lead sheets of well-known songs written with rhythm section notation. Additionally, students can learn famous riffs using power chords with recordings available at different speeds.
This unit culminates in a pop-punk recording project where students create a chord progression, use power chords and bass, and incorporate a drum loop into their own pop-punk songs within small groups. Students enjoy the creative aspect, including writing lyrics and designing album covers and coming up with band names to enhance their experience.
Step 4: Teaching Open Position Chords (Cowboy Chords)
The next phase of instruction involves teaching students open position chords, often referred to as cowboy chords. Traditionally, students learn these chords from chord charts, but I prefer to show them how to alter chord qualities by identifying specific chord tone locations within each chord shape. These dynamic chord charts enable students to find major, minor, major 7, minor 7, dominant 7 and other voicings using a single chart.
The class reads songs that feature cowboy chords together, and I introduce techniques for adding movement to chords through right-hand picking patterns. This unit culminates in a singer-songwriter composition task where students create a verse-chorus pop song using open position chords. Here is a PDF of dynamic chord charts with a chord quality chart to share with students.
Step 5: Introduction to Soloing with Emphasis on Blues Language
The final unit in my introductory class focuses on soloing. If you listen to most guitar solos recorded in the last 70 years, you’ll notice they are often based on the blues language. While the blues scale pattern is traditionally used to teach blues, I’ve found that students often lack intent and phrasing when learning this way. Instead, I guide them in playing blues through call and response activities and provide a lick library for students to learn in a manner similar to how we learn spoken language. Students are provided with listening lists of blues masters and instructional videos on playing bass and chords at various levels of difficulty. This unit culminates in a blues composition or performance where students work in groups of three, taking on the roles of bass player, chord player, and soloist. The 12-bar blues structure is repeated three times, allowing each student to play each role in their small group. I’ve found that teaching blues language in this manner significantly enhances students’ soloing abilities. Following this sequence, students are well-prepared to learn how to read notes in standard notation. They can apply their knowledge of the chromatic scale to each string, making it easier for them to excel in advanced guitar study.
Authentic Instruments
In order to implement this curriculum in an authentic way, you must have authentic instruments for your students to play. For the majority of playing, my students use classical guitars like the Yamaha CG122MSH or the Yamaha C40II because of their ease of use and ability to play without being amplified. We do, however play electrics and basses as much as possible. The Yamaha Pacifica 112V is the perfect classroom electric guitar. It is easy to play and it sounds great with all styles of much. A Yamaha BB434 bass helps round out the electrics by giving students an opportunity to feel what it’s like to play bass lines on a really high quality instrument. Throw in a Yamaha Stage Custom Bop drum set (great sizes for a small room) and you have a band!
It’s important to have a halo guitar in the room as well. The new Yamaha Pacifica Standard Plus is the perfect instrument for that. It’s the guitar that the teacher can play most of the time to demonstrate new concepts and ideas, but it can also be used by students for capstone projects, recording or just as a treat! This instrument is a pro level piece of gear that can be used in a modern band, jazz group or anything in between.
Guitar is one of the most ubiquitous instruments in the world. Chances are there are guitar players in your school and there are definitely students who want to learn guitar. The type of student who is interested in guitar is not usually in the traditional band, choir and orchestra program. They are their own breed; they are guitar players.
Starting a guitar program is a great way to provide a musical opportunity to students who would not usually receive it while broadening their experience and enriching the music department at your school.
In this article we will explore different ways to start a program at your school.
Start with the End in Mind
There are multiple pathways that can be taken to start a guitar program, but the best place to start is to figure out what aligns with your personal educational philosophy and what addresses the needs of the students in your school.
In addition to choosing a pathway, it’s important to consider what type of instruction you want in your classroom. Do you prefer direct instruction, flipped learning, asynchronous or a combination? Some methods are more tailored to specific types of instruction than others. These are the four main categories of guitar pedagogy that are used in schools.
Classical ensemble: A classical guitar ensemble is run like a band or orchestra. There are multiple players assigned to different parts, and they play in large or small ensembles. Here are some resources that will help with the planning and implementation of a classical guitar ensemble program:
Modern band: The modern band movement is fairly recent and it focuses on the study and performance of student-selected songs. In most modern band programs, rhythm section instruments (bass, guitar, drums and keyboards) are taught at the same time where students are put into bands. Here are some resources to help with starting a modern band program:
Method Books: The method book style of instruction is similar to beginning orchestra or band. There is a sequenced book for student that scaffolds individual and ensemble playing. Depending on the publication, these examples might be bespoke exercises or licensed music that the student will know:
Hybrid: I choose to combine elements of the above teaching methods to create a comprehensive system that develops the whole guitar player. It is called Fretboard Fundamentals and is available for free through ShedtheMusic. It combines the student choice and enjoyment of playing guitar in a group like modern band while teaching notes on the neck, improvisation, composition and chord theory. This method is student-centered and project-based with video walkthroughs, project prompts, embedded interactive scores and fillable PDF worksheets, making it great for direct instruction and/or flipped learning.
After you have selected the track that aligns best with you, the next step is to garner interest from the student body, start a club and/or propose a class to the administration. Remember, there are guitar players at your school, and if they were anything like me in high school, they would love to have a class to get better playing their instrument. In order to get these students on board and to figure out what they are interested in, you need to find them.
Here are some strategies that I’ve have successfully used in getting the word out. Find some guitar players in the band, choir or orchestra and have them play in a place at school where there is a lot of foot traffic (for example, the school entrance or the cafeteria). Following these performances, send out a call for a jam hosted at the school. Put the jam in the announcements and post flyers all over school. Ask students to create a post on social media. Set up the jam to be as cool as possible: have snacks, set the mood with lighting, have backline (drums, bass amp, guitar amp, PA) and supply instruments. Be open to anything during the jam and observe. Finally, provide a method of communication after the event, have them sign up with their name and email or have them join a Remind. Turn your jam session into a regular club and offer performance opportunities. While working with these students, test out elements from the different methodologies that you considered and get their feedback.
It is possible to go straight to the administration and propose starting a guitar class, but it helps to get students excited about it first. Either way, the administration will require data, so poll students in and outside of the music department about taking the class. Look at music programs at surrounding schools and make note of what types of guitar classes they offer. Figure out what your short-, mid- and long-term goals are with the program and how it will fit within the current music department. If you have created a club, gather data about the students in the club: what activities are they in, are they in the current music program, do they get in trouble a lot, what are their grades like? It also helps to have an artifact from the guitar club to bring to the administration: if you had a performance, share a video recording of it or invite admin to one. If you lay out an easy-to-follow plan for the administration that is well thought out and is in the best interest of the students and the school, it will be difficult for them to say no.
Where to Get Instruments
It is much easier to source guitars than most other instruments because they are relatively inexpensive and most students already have one in the family. If you do not have a budget, ask staff, students and the community for guitar donations. You will be surprised at how many instruments you can get this way. You can supplement these instruments with guitars that students already have at home. Host a fundraiser with your guitar club and/or set up a Donors Choose for the program. Once you grow the program, you will want to ask the administration for a budget. You should plan on eventually getting a full class set of instruments that are high quality that are all similar.
Once you are ready to make a purchase, the best place to go is your local guitar shop. Not only will they be able to work with you to provide high quality instruments for your program at a good price, a local guitar shop will be able to help with repairs and storage of the instruments. It is also possible to provide a discounted rate for gear from a local shop to your students if you create a relationship with them. Not only will a local guitar shop help with the purchasing and maintenance of new gear, they will be able to help assess and repair donated or existing instruments that the school may already have. A Sound Education in Brookfield IL is the local guitar shop that I use for my school. They have helped the school out in so many ways and they give my students a great deal on new and used instruments.
What Type of Guitar to Get
There are many different types of guitars and each can be used in different scenarios. The majority of instruments that students are familiar with and/or have at home either are steel string acoustic or electric guitars. While these instruments are great for specific uses, I find that a classical guitar is the best for beginners. These guitars are traditionally played fingerstyle, but they also work a pick which will adapt them to most playing styles. The strings are nylon and slightly farther apart than acoustic and electric guitars, making it easier for less experienced hands to get a successful sound. You want students to feel good about sounding good from the beginning! If you are limited to steel string acoustic guitars, you can have them restrung with ball-end nylon strings. These strings have the same benefit of classical guitar strings, but will work on acoustic guitar.
My favorite classical guitar for a beginner is the Yamaha CG122MSH. It has a solid top, and sounds/plays like a much higher priced instrument. A close second would be the Yamaha C40II classical guitar. They are a budget model that will stand up to the daily wear and tear that the instruments will encounter. If you want to give students an authentic experience playing guitar in a pop context, they need to be able to play electric guitars. For electric guitars, I recommend as much of a Yamaha Pacifica or Revstar as you can afford. The quality of these instruments is second to none for the price point, and they will give your students a positive playing experience. It’s good to have at least one bass in the stable, and I recommend a Yamaha BB series. They are very versatile and can be used in everything from a jazz band to a pop punk combo. Get quality amps to use with your electric and bass guitars.
Where to Store Instruments
Once you have instruments in the room, where will they be stored? Acoustic guitars are easily damaged and there are a few things you can do to keep them in good condition to make them last a long time. The most important thing you can do is to provide a simple to follow pathways for students to get guitars during class and put them away that keeps them out of the way from movement within the classroom. I tend to avoid single stands like these because they are easy to trip on. Wall hooks are nice and the ones by Hercules have a locking mechanism that will keep the instrument in place once it has been put in the holder. Hercules also makes a great multi-guitar rack that can be adjusted for different types of guitars. My favorite classroom solution for guitar storage are the classroom guitar racks from guitarstorage.com. They offer a great way to store instruments in the room, but they can roll to different locations in the school.
If you plan on bringing the guitars out of the guitar class, there needs to be a way to safely transport them. All of the guitars should have rigid gig bags or hard-shell cases. Try to avoid super budget gig bags that can be found on Amazon, these will not protect the instrument from most impacts. Yamaha CG-SC soft-case gig bags are amazing for classical guitars because they have backpack straps, are rigid, and they have a pocket at the front to carry music and accessories.
Starting a guitar program is a very exciting time for you and your students. In order to personally prepare for it, start playing guitar. Find a private guitar instructor and start taking lessons, access some of the method materials that are outlined in the first section of this article and begin working through the material yourself. Play along to the music that you like, write some tunes, start a band, and most importantly- have fun sounding good!
I’ve always been an advocate of choosing a guitar that is the right size for your physical frame, hand size and intended application. If you’re a singer/songwriter, it’s also important to find an acoustic guitar that doesn’t overpower your vocals.
In this posting, I’ll take a look at the various acoustic guitar body types and sizes, and discuss the differences in sound and practical applications for each. To simplify the nomenclature, let’s break it down into four main categories: small, medium, large and extra-large.
Small Body Types: Travel, Junior, Parlor, Classical and Flamenco
Travel / Junior
The smallest acoustic guitars are travel and junior guitars. These instruments are perfect for the young beginner who’s learning to navigate the fretboard for the first time. Their short scale length (the string distance between the nut and bridge) allows for lower string tensions, while their compact size allows the guitar to sit closer to the player’s body, and for the picking hand to easily transverse the body bout (the curved areas at the top and bottom ends of the instrument).
These are also a great option for semi-pro and professional players who want a guitar to travel with on airplanes or a tour bus. These instruments often have a reduced bass response due to their compact size, but they generally project well for fun practice sessions.
Yamaha guitars in this category include the 3/4 size JR2, APXT2 and APXT2EW models.
Yamaha JR2.
Yamaha APXT2.
Yamaha APXT2EW.
Parlor
Parlor guitars provide a great blend of portability, playability and tonal excellence. Again, their shorter scale length (in this case, 23-5/8″) allows for lower string tension, making them ideal for beginners, and the smaller body size works well for fingerstyles and acoustic blues.
These guitars will project well when strummed too, but I’d recommend taking a gentler approach to retain the clarity the body shape provides. Their reduced bass and accentuated treble response allows them to stand out well in a mix when recording multiple guitars, making them perfect for studio musicians.
Yamaha parlor guitars include the CSF1M and CSF-TA models. The latter even has built-in reverb and chorus effects due to its use of TransAcoustic technology.
Yamaha CSF1M.
Yamaha CSF-TA.
Classical/Flamenco (Nylon-String)
These nylon-string guitars come in several distinct sizes. There are three types of “school” classical guitars: 1/2 scale (smallest), 3/4 scale and 4/4 scale (full size). They enable students of all ages to take up guitar, then graduate to the next body size as they grow in stature and performance levels … all while retaining the same familiarity to the instrument.
The body size in standard classical and flamenco nylon-string models remains constant, but their tonewoods will vary between solid cedar and solid spruce tops, and mahogany versus rosewood back and sides. Rosewood and cedar provide rich, warm tones with lots of bass, while the mahogany and spruce variations enhance the treble, and at the same time add clarity to the low end.
Yamaha classical guitars include CG/CGX Series instruments and the CG-TA TransAcoustic model.
Yamaha CG102.
Yamaha CGX102.
Yamaha CG-TA.
Medium Body Types: Concert and Grand Auditorium
Medium-size steel-string guitars include those with concert and “grand auditorium” bodies. Both have wider shoulders and a lower body bout than those instruments in the small guitar category.
In my opinion, these are the best guitars for those who want to be able to articulate fingerstyle and chordal strumming on the same instrument. Tonally, they are very balanced across the low, mid and high frequencies, and their manageable size and shape works well for players of any age. Some medium-body guitars are also available with a cutaway, which allows for further access to the upper frets. These cutaway options don’t reduce the size of the guitar in the lower body bout or instrument depth, but due to the diminished sound chamber, may speak softer in terms of volume and bass response.
Yamaha concert-body guitars include STORIA, AC Series and APX Series instruments, as well as the URBAN Guitar by Yamaha (designed by country music star Keith Urban). These instruments also feature a shorter scale length for lower string tensions. Couple that with a narrower body depth than most other medium-body guitars, and you have a comfortable instrument for just about any style of music.
Yamaha STORIA 1.
Yamaha AC1R.
Yamaha APX600.
URBAN Guitar by Yamaha.
Other Yamaha steel-string models with medium-size bodies include the FSX3Red Label and LS-TA TransAcoustic guitars.
Yamaha FSX3.
Yamaha LS-TA.
Some nylon-string guitars may also fall into this mid-size category — in particular, instruments that come fully equipped with preamp and pickup systems like Yamaha NCX and NTX Series instruments. These guitars will appeal to both accomplished nylon-string players and electric and steel-string players looking for the tonal beauty of a classical-style instrument. Both models have cutaways, but the NCX is wider in the upper shoulders than its smaller sibling, the NTX.
NTX Series guitars also feature a slimmer non-traditional neck profile and nut width, with an oval sound hole and thin line body depth that provides a more contemporary sound and overall feel. NCX guitars feature a traditional neck and body depth, with a circular sound hole. The fuller body depth results in more richness in the low end than the narrower NTX model.
Yamaha NCX1.
Yamaha NTX1.
Large Body Types: Dreadnought and Western
Dreadnought guitars, which are full in both the upper and lower bouts of the body, are always steel-string. Singer-songwriters and bluegrass musicians in particular favor these bold instruments for their powerful, articulate sound, where projection within the context of an acoustic combo is paramount. Yamaha flagship FG9 and FG-TA TransAcoustic guitars are the perfect representation of this type of instrument.
Many guitar manufacturers recommend lemon oil for this purpose. You can also use 
