Musicality World

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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/

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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!
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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/

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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/

https://www.musical-u.com/learn/play-melodies-by-ear-using-intervals-a-roadmap/
Two of the most common questions musicians have about ear training are: “how can I play by ear?” and “what’s the point of intervals?”. In this article I’m going to share a step-by-step approach you can use to learn intervals and put them to practical use to play melodies (tunes) by ear. https://www.musical-u.com/learn/play-melodies-by-ear-using-intervals-a-roadmap/

Motown is often erroneously referred to as a genre. I say erroneously because there is a loose understanding within the music world that Motown is not a genre; it is a record label. It is an important, influential record label that had, for a period, a distinct sound. If Google can become a verb and be included in an actual dictionary, I’m not sure why Motown can’t be considered a genre, but sadly, I don’t make the rules.

The Original: “I Want You Back” by The Jackson 5

Founded in 1959 by a Detroit automobile worker named Berry Gordy, the Motown label would grow to host powerhouse talent such as The Supremes, The Temptations, Marvin Gaye, Diana Ross, and Stevie Wonder. In 1969, it signed a newly-formed group named The Jackson 5. Composed of five brothers, Jermaine, Tito, Jackie, Marlon, and Michael, the band would go on to be the launching pad for the future King of Pop, Michael Jackson. Their first single with Motown was “I Want You Back”:

Song Structure (Original):

Showcasing many of the hallmarks of the Motown sound, “I Want You Back” is up-tempo and danceable, with a discernable gospel influence in the call and response sections of the vocal arrangement.

A relentless four-beat drum pattern is the engine of the Motown sound, and this pattern drives “I Want You Back”. Prominent, memorable instrumental riffs are another cornerstone of the sound, and this is introduced right out of the gate with the iconic bass line.

Throughout the song, there is a laundry list of Motown’s other trademarks, such as heavy use of syncopation, high-pitched, rhythmic octaves in the guitar, and a distinctive trebly sound, intentionally mixed to boost the song’s effectiveness over the radio.

The form is not straightforward, with several sections ending in 2/4 bars. The final section after the breakdown reintroduces the chorus, but mixes in short reprisals of the call and response section, each one preceded by a 2/4 bar. While this makes the overall structure of the song a little hard to pin down at first, it adds an element of excitement and keeps the listener engaged.

• Intro (12 bars) [0:00]
  • Bass riff (4 bars)
  • Guitar line (4 bars)
  • Vocal improvisation (4 bars)
• Verse one (8 bars) [0:27]
• Chorus (last bar is 2/4) (8 bars) [0:45]
• Call and response (4 bars) [1:03]
• Verse two (8 bars) [1:12]
• Chorus (7 bars) [1:30]
• Breakdown (8 bars) [1:46]
• Chorus/Call and response (23 bars) [2:04]
  • Chorus recall (last bar is 2/4) (4 bars)
  • Call and response (2 bars)
  • Chorus recall (last bar is 2/4) (4 bars)
  • Call and response (2 bars)
  • Chorus recall (last bar is 2/4) (4 bars)
  • Call and response (2 bars)
  • Chorus recall (last bar is 2/4) (4 bars)
  • Final response (1 bar)

The Cover: “I Want You Back” by Lake Street Dive

Formed in 2004 at the New England Conservatory in Boston, Lake Street Dive’s members found in one another a shared affinity for pop and swing era jazz. These influences are evident in the group’s entire discography, from their first release in 2006 to their latest album, 2016’s, Side Pony.

“I Want You Back” was included on the group’s 2012 album, Fun Machine, and showcases their ability to make a big impression with a very stripped-back arrangement. “I Want You Back” features Rachael Price on lead vocals, Mike Olson on trumpet, Bridget Kearney on upright bass, and Mike Calabrese on percussion.

Song Structure (Cover):

Cutting the tempo of the song from The Jackson 5’s 105 bpm (beats per minute) to 65 bpm, Lake Street Dive takes a mellow approach to the cover. This lengthens the song considerably, but their treatment never feels like it drags, largely due to subtle changes to the form.

While The Jackson 5 version has multiple short sections spaced around its verses and choruses, Lake Street Dive basically distills everything to an eight-bar phrase, giving the song a solid, steady sense of direction.

• Intro (8 bars) [0:00]
  • Bass riff (4 bars)
  • Bass with trumpet (4 bars)
• Verse one (8 bars) [0:29]
• Chorus (8 bars) [0:58]
• Verse two (8 bars) [1:28]
• Chorus (last bar is 2/4) (8 bars) [1:56]
• Instrumental (8 bars) [2:26]
• Chorus (8 bars) [2:54]
• Chorus (last bar is 2/4) (8 bars) [3:24]
• Final response (1 bar) [3:53]

Cover Walk-Through

Lake Street Dive’s mellowed-out, jazzy take on the song retains all of the soul and energy of the original while giving it a new feel that suits their style. Listen along with the song while reading the following walk-through, keeping your ears open for how the instruments interact and overlap!

Intro

Bridget Kearney opens the song with its distinctive bass riff and she keeps it true to the original. After four bars, Mike Olson enters with the trumpet, playing an adapted version of the guitar line present in the original.

Verse one

Rachael Price comes in at [0:29] with her ever-captivating vocals, accompanied only by the bass.

Chorus

Mike Calabrese joins in with percussion at [0:58] as the trumpet harmonizes the descending passage in the bass. At the end of each of the phrases in this chorus, all four members join in, singing four-part harmony.

Verse two

The trumpet plays along with the bass riff in this section beginning at [1:28], but also begins introducing improvised fills at the ends of phrases. To support Price’s lead vocals, the rest of the group joins in with vowel-sound backing vocals.

Chorus

The group treats this chorus at [1:56] the same as the first, but Mike Olson continues to add more ornamentation to his trumpet fills.

Instrumental

Here at [2:26], the group does its own take on the call and response idea. While the trumpet provides the call melody, the bass actually plays both the call and response lines. Instead of using the original’s material, however, Kearney improvises her responses, opening up the section into a miniature bass solo.

Chorus

In this chorus at [2:54], the group sticks to the arrangement established in the first chorus, while the trumpet continues to add complexity in the fills.

Final Chorus

In this last chorus at [3:24], the group stops playing their instruments for the end of the first phrase, finishing it a cappella. They bring the song to a close abruptly after the final phrase, ending with one statement of the response: “I want you back.”

Differences and Similarities

While Lake Street Dive change the fundamental feel of “I Want You Back”, they also manage to retain some of the signature aspects of the original version. The first, and possibly most recognizable of these is the bass line. Interestingly, this bass line becomes even more of a feature in Lake Street Dive’s version than in The Jackson 5’s.

In the original, the opening bass riff occurs in the intro and in the background of the verses and choruses, but because there is so much going on, it occasionally gets lost in the mix. In Lake Street Dive’s version, the changes they’ve made to the form and the sparseness of the arrangement bring this bass line to the forefront of the song.

Similarly, because there are so few elements competing for attention, Rachael Price can be subtle in her ornamentation of the melodic line where Michael Jackson had to find a way to stand out against the thick instrumentation of the original.

The Lake Street Dive cover also retains the impression of soul music, though they approach their vocal harmony differently than The Jackson 5. The Jackson 5 backing vocals occur only when Michael Jackson isn’t singing the main line. At no time do they harmonize with him. Instead, the main purpose of the backing vocals is to provide the call and response element and fill in the space between Michael Jackson’s phrases. Lake Street Dive, on the other hand, performs no vocal call and response at all, opting entirely for four-part harmony.

Currently signed to Nonesuch Records, Lake Street Dive is steadily gaining momentum. To find more of their soulful covers and a growing body of original material, their Youtube channel is well worth exploring.

Your Turn

There are as many ways to cover a tune as their are musicians who accept the challenge. Take a leaf from Lake Street Dive’s book, for example, and try mellowing out a fast tune by cutting the tempo and finding new ways to keep it interesting.

The post Before and After: Covering The Jackson 5 appeared first on Musical U.