Category: Uncategorized

https://www.musical-u.com/learn/how-to-play-chords-by-ear-roadmap/
Have you wished you could hear a song and instantly know what the chords are? To be able to pick up a guitar or sit down at a piano and play along – or maybe improvise a solo over the top? It is possible to learn to recognise chords by ear, and if you take the right approach you might be surprised how quickly you can start doing it. https://www.musical-u.com/learn/how-to-play-chords-by-ear-roadmap/

https://www.musical-u.com/learn/improve-your-musicality-with-audiation/
Being able to analyze music aurally and process everything you hear at once is a very important skill for a musician. Learning to hear more parts at once and comprehend what is happening in each of those parts simultaneously can be done with what’s called “audiation”.
https://www.musical-u.com/learn/improve-your-musicality-with-audiation/

https://www.musical-u.com/learn/compose-creatively-breaking-rules/
Composing music in a classical style can put restrictions on your creativity, especially if you are looking to create your own sound. Thankfully, in the age of technology, there are many ways to create new sounds – and even new instruments! https://www.musical-u.com/learn/compose-creatively-breaking-rules/

We were thrilled to have the opportunity to speak with Cliff about his musical beginnings and how his songwriting process, and career have grown.

First of all, thank you, Adam, for doing some homework.

You know, my beginning in all of this was sort of accidental. I began with a degree in political science, I took the law school entrance exam, and decided to take a year off.  I thought it was going to be a time of applying to law schools, then going to law school and joining polite society.

I had been classically trained at piano for about ten years, from 8 to 18, then I quit when I went to college. Then I taught myself to play guitar and found that I loved it. Just found that I loved it and couldn’t get enough of it and just wanted to do it more and more. A lot of the stuff from the engineering side to the guitar side is just self-taught, but I did have a musical background, for which I’m very grateful but it’s not essential. I have some friends who are serious hit songwriters that don’t know a lick of theory, but I am grateful that I have it.

So in that “year off”, I lived in France and got a little gig in a French café and played six nights a week. I thought, “Huh, I like this. If I go to law school now, I will probably not go back to music. However, if I try music and it doesn’t pan out or doesn’t make me happy the way I think it will, law school will still be there.” That was 25 years ago.

Or, as I like to call it, playing guitar for drunk people.

Oh, my. You really did do your homework! I didn’t know that I ever discussed that. Yes.

Adam, for most people – when you’re beginning as a songwriter – your creative process is completely haphazard and entirely inspiration based. I had gone to study on the east coast, I went to school in California, but I had an internship in Washington D.C. and I took the guitar with me.

I was missing my girlfriend, which is why we do anything. I was in love and I was moved to write her a song, so I wrote this song and it really came out of nowhere. It wasn’t something I had planned to do, it just kind of happened.

It was a gift… I’m a thousand plus songs in now and I still really do think of songs as gifts.

This one was just a gift to me that then I was able to give to someone else.

That’s how it started. If I’ve learned anything over the years it’s that you cannot count on making a living at this. You can’t count on falling in love every time you need to write a song. You actually have to learn how to make your inspiration and there are a lot of devices that you can use to become consistently creative – but back then it was just raw inspiration.

That’s a great question because the more that you write, the more that becomes an issue.

I started out writing songs by myself, for myself. After I moved to Nashville, I started writing with other songwriters. We were songwriters, not artists, so we were writing songs in the hopes we could find an artist to record the song that we had written.

At this stage in my evolution, I write with artists who are also songwriters – for their records.

Early on, inspiration was strictly based on what I was feeling. Then when I sat down with a co-writer our inspiration was either whatever was in the room that day – or was there an artist that we were hoping to write something for, and how we could craft it for that artist.

But the greatest part about writing with an artist and for an artist is that my inspiration comes from being a very good listener: my job when I sit down with an artist is to shut up. Just get a sense from them, “What is it that they’re interested in? What moves them?”

It’s amazing to me. It’s constantly humbling what someone I have never met will trust me with in terms of their life story. Anything from the loss of a loved one to the deepest love they’ve ever felt – you just never know what you’re going to get.

On the other hand, it could be something quite simple. I’ll give you an example. I had a collaborator once sit down, and she said to me, “Look. I’m a little bit tired of singing about love.” I looked at her and I said, “That is the first line of your song.” And it was.

An inspiration can be exactly that simple. It can be as simple as an offhand comment in the course of the first 20 minutes that you sit down and chat before you dig into writing. Or it can be sort of more of an evolved thought that they bring in. But one of the things that I very rarely do anymore, is come in with any preconceived notions of how the song is going to go because ultimately, since I’m a songwriter and not an artist, it’s really up to the person that I’m writing the song with and for to guide that conversation. Now, I will make suggestions, I will listen to what’s being said and help form those thoughts, but it’s very rare that I come in with a thought that, “This will be the song for today.”

That’s a very long answer to your short question. Inspiration has a lot to do with the process of collaborating.

Well, it’s a joyful process for me – I really do love the active collaboration. It’s something that I came to a little bit slowly. I was/am a little bit of a control freak, and so when I initially started writing songs I could not imagine including anyone else in that process. But one of the benefits of writing many, many songs is that you start to learn what you’re good at and what not so much.

One of the things I’ve learned is that I write melodies kind of like I sing: fine. My melodies are fine, and when I sit down with someone who has a real gift for melody not only does the melody sound better, but the lyrics sound better. That is the benefit of knowing what your strengths are and knowing where you should defer to your collaborator.

Every artist is different. I’ll give you an example because, apparently, I want you to like me and I’m going to name drop now, but I had an opportunity to sit down with Mickey Hart, the drummer for the Grateful Dead and write some songs with him for his project.

Now, this is a guy who has been full time in music for 50 years, 5-0 years. The thing that was the most surprising to me – for people who don’t know what his creative process is like – is how actively engaged and how passionate he is about this 50 years down the road. It’s like it was his first experience sitting down to write. He was focused, he was interested, he was completely immersed in the process, and this is a guy who’s almost 70. That, for me, that was deeply inspiring, and something that most people might not expect.

I think there’s this image of the industry as a bunch of people who do a lot of drinking, a lot of drugs, and then trying to find inspiration in that. This guy was all business and really, really focused, and really joyful in his process. It was great.

Totally my pleasure. Not something I ever expected. That’s the benefit of being in the industry long enough to have relationships with people who have relationships. I was brought in on this project because I happened to have a piece that they were missing, and so I got included. It was great. It was very flattering.

It’s a reasonable question and it’s totally impossible. Instead, let me tell you my favorite story around one of my favorite songs.

I was put together with an artist who had just signed what they call a “development deal”. What that means is that the label likes what they’re hearing, but they’re not ready to commit to a fully funded album project. They’re willing to put this artist together with some other writers and maybe try a couple of recordings and see how it all works out. That’s what a development deal essentially is.

Through a mutual friend, I was put together with this artist, a guy named Spencer Day, and Spencer had signed a development deal with Universal Records and we sat down and we chatted for about 20 minutes, and we wrote a song. I’ve done this, by now, literally over a thousand times. We both felt good about this song, but you know, I feel good about a lot of songs.

Spencer brought it back to the label, the label liked it, he did it in his showcase for the label, everything looked like it was going great, and then Spencer called me and said, “Listen, I have some bad news. It turns out that the label is no longer interested and they dropped me.” And he said, “And I would fully understand if you didn’t want to write with me anymore now that I don’t have a record deal.”

To which I replied, “First of all, that’s not how this works. We’re going to write together because I think we’re doing good work. Period. End of discussion.”

Spencer has the quality that artists have to have if they’re going to have any success at all: he picked himself back up after receiving a devastating blow.

When you think you’re that far in and then the label says “no”, that’s devastating. He decided he would make the record himself, which is brave. He recorded our song, but here’s my favorite part: while he was making the record in the studio next door was a record exec from another record company, from Concord Jazz, and this particular exec, a good friend of mine now named Nick Philips, said to Spencer, “I love what you’re doing. Would you consider signing with our label?”

From “I lost my deal” to “I’m going to make the record myself” to “I signed a record deal with Concord, they released our song as a single, and it went to number one on the jazz charts.”

We wrote it for the right reason. We did this because we were moved to do it and karma decided to give us a little nod this time, but it’s totally unpredictable. The industry is completely unpredictable and given that that’s the case, you better be doing this because you love it.

I think the hardest thing to remember when you’re starting out – because you’re so passionate about what you’re doing – is what a long road this is. If you’re lucky, you’re going to be doing this for a long time.

Now, that’s a blessing and a curse. Because what that means on one level is, “Hey, you get to do this and you’re passionate about it for a long time.” But the flip side of that and the thing they don’t talk to you all that much when you’re starting out is, “It’s going to be a long time before any of your stuff starts to land.”

The piece of advice that I would have given to myself is, “The success will come if you stick with it and you’re patient.” Because there are kind of milestones … This is something we’d talk about a lot when I lived in Nashville full time, but there are milestones in a songwriter’s career and about two years into living in a major music city, whether that’s Nashville or New York or Los Angeles, that’s when it hits the fan. That’s the moment where you realize, “Okay, I moved here because I was a hero in my town and everybody thought I should move to one of the big cities to do music.”

And then you realize what your place in line is. At about two years, you realize exactly how much more you have to learn and how much better your craft has to become before you can get anywhere. That’s devastating. That’s really hard because you’re excited about this thing and you’re beginning to realize just how long it’s going to take.

The next moment is in about five years when good things start to happen. Where you’ve gotten to the point where you’re actually writing consistently better songs, maybe all of a sudden a publisher gets interested in your writing, or any number of things will start to happen that are encouraging. That’s a long time to wait before things start to get good, so to speak. I only halfway joke when I say that the first 20 some odd years in the industry are the hardest.

The piece of advice that I would give is to be patient – and, really, it’s a lot easier to be patient when you love what you’re doing.

Transform your own music career

These days, Cliff Goldmacher is reaching out beyond music industry circles to help anyone who’s ready to transform their songwriting. We especially love his free no-nonsense tip sheet “A Dozen Quick Fixes to Instantly Improve Your Songs“.

The post Songwriting: Inspiration and Collaboration, with Cliff Goldmacher appeared first on Musical U.

https://www.musical-u.com/learn/make-music-with-apps/
Creating music is no longer out of reach, even if you can’t play an instrument or don’t know a thing about reading and writing music notation. Grab your digital device and unleash the musician in you with these top 5 music making apps. https://www.musical-u.com/learn/make-music-with-apps/

https://www.musical-u.com/learn/10-steps-learn-play-violin-ear/
Are you ready to branch out from sheet music to start learning songs you like or tunes you’ve heard by ear? Playing violin by ear is a skill that can take years to get comfortable with, so it’s a good idea to start experimenting with it early on.
These 10 steps will help you get started!
https://www.musical-u.com/learn/10-steps-learn-play-violin-ear/

https://www.musical-u.com/learn/compose-creatively-breaking-rules/
https://www.musical-u.com/learn/compose-creatively-breaking-rules/

There are countless ways to approach the journey of learning music. The most common traditional methods of learning music adhere to the idea that theory and a set curriculum should underlie one’s music education.

Others, however, believe that the experience of playing music itself is where the real learning takes place.

About Zoltan Kodály

Hungarian-born Zoltan Kodaly (1882-1967) was a composer and music educator who was responsible for pioneering a method of learning music that was interactive, community-oriented – and above all – fun.

Appalled by the state of music education in his country, he set out to create a new curriculum and develop new teaching methods for young students that would integrate their culture and heritage into their music learning.

Eventually, the Hungarian government began to implement his ideas in public schools. Soon after, the first primary music school opened in Hungary. The success of this first institution led to the opening of over 100 more like it in the following decade!

Inspired by his teaching methods, Zoltan Kodály’s colleagues, students, and friends went on to create the Kodály method, an approach to learning music that integrated principles from Kodály schools and existing techniques that provided a hands-on music education experience.

The Central Principles of Kodály

1. Music should be taught from a young age. Kodály believed that music was among, if not the most important subject to teach in schools.
2. Music should be taught in a logical and sequential manner.
3. There should be a pleasure in learning music; learning should not be torturous.
4. The voice is the most accessible, universal instrument.
5. The musical material is taught in the context of the mother-tongue folk song.

The Kodály Method is for Children and Adults

Kodály’s original method was created with children’s development in mind; the aim was to complement children’s developing brains and aural skills, teaching them certain music skills at the time when their brains were growing.

With the method, children learn solfa, rhythm, hand signs, and singing in a logical and intuitive way, and at an early age that allows for easy skill acquisition.

However, this method is still incredibly useful for the adult brain. Its principles are universal in the world of music, and can benefit musicians of any level, especially the concepts of relative pitch, rhythm, and improvisation.

Comparing the Kodály Method and the Orff Approach

Both Zoltan Kodály and Carl Orff believed that music education should be hands-on, interactive and rooted in students’ culture and heritage. In both methods, the experience of music is of higher importance than intellectualizing music. However, while the two schools of thought behind the methods have a similar philosophy, they have different approaches.

The Kodály method uses the human voice as the primary instrument, using singing as a vehicle to teach sight singing and sight reading. Conversely, the Orff approach uses simple percussive instruments to teach students about rhythm and improvisation. One could say that Kodály is the more structured and sequential of the two, while Orff is more free-form.

Each has its advantages, but Kodály is particularly useful for ear training, and its teachings can be transferred over to any instrument!

Comparing Kodály to Traditional Music Education

By its very nature, Kodály stands in stark contrast to traditional music education; while typical lessons involve one-on-one coaching, a predetermined curriculum, and a foundation in classical music, the Kodály method is mostly designed for groups of students, has a more flexible road to learning` with no concrete levels, and is taught using the folk music of the students’ culture.

The Kodály way of learning allows for more creativity and collaboration than in traditional music lessons.

What is Taught in Kodály?

The principles included in the Kodály method were chosen carefully for their simplicity, versatility, and usefulness in memorizing pitches and rhythms. They include:

1. Movable “Do” Solfa

   Solfa (or solfège) is a system for relative pitch ear training; it assigns an easy-to-remember syllable to each pitch. Many know it as “The Do-Re-Mi System”, but this doesn’t even scratch the surface as to understanding how useful it is.Learned correctly, solfa will enable you to recognize intervals, sight-sing, and easily write the melodies you hear in your head on paper.In a nutshell, solfa gives musicians a deeper understanding of the theory underlying the music they’re playing.

2. Hand Signs for Movable “Do” Solfa

   To further strengthen the student’s association between the solfa syllables and their corresponding pitches, each one is accompanied by a different hand sign. Each pitch’s hand sign is made at a height that corresponds with its degree in the scale; for example, “do” is made at waist level, and “la” rests at approximately eye level.The result? The student associates each pitch not only with a syllable, but also with a specific hand. The hand signs complement and strengthen solfa learning.

3. Rhythm

   The Kodály approach to understanding rhythm is rather like its way of teaching pitch. Different syllables are assigned to different note lengths. These syllables have been carefully selected in a way that make it easy and intuitive to count them out loud.

4. Creativity

   The easy-to-follow associations that Kodály develops empower musicians to be creative and confident in their musical practice. Kodály students will eventually progress to improvising melodies and changing the rhythm of songs in creative ways.

5. Collaboration

   Collaborative learning, collaborative practice! The Kodály method is meant to be communal and group-oriented, giving ample opportunities for the exchange of ideas between musicians.

How Can I Learn Kodály?

Now that you’ve seen how this interactive way of learning music is not just for children, check out websites of associations such as the Organization of American Kodály Educators, the British Kodály Academy, and the International Kodály Society to find a Kodály class near you!

If you want to test the waters, start integrating some principles from the Kodály method into your practice. Try the solfa method of learning relative pitch, use syllables to improve your understanding of rhythm, and of course, get your musically-inclined friends involved in your practice. And if you want to delve even deeper into the history and philosophy of the man behind the method himself, check out our full-length guide to the Kodály method.

After all, the idea that music is for sharing is at the heart of the Kodály method!

https://www.musical-u.com/learn/master-rhythm-inner-inchronicity/
A tightly-honed sense of rhythm is important for all musicians because rhythm is the gas in the music engine. Regardless of genre, having good rhythm skills can help you to sound more professional, synchronize with other musicians and be the creator of the all-important groove that draws in your audience. https://www.musical-u.com/learn/master-rhythm-inner-inchronicity/

https://www.musical-u.com/learn/time-to-practice/
Time hides from us. But there are pockets of time we can utilise to practise in an entirely different way – without our instruments. Check out these ideas for practising and improving your musical form while you’re on the go, even without touching your instrument. https://www.musical-u.com/learn/time-to-practice/