Swing rhythm has to do with eighth notes 🎵: it is the long-short “lazy” feel you hear in jazz tunes, as well as country, rock, folk and other music styles. Think about the songs Heart and Soul and Happy Birthday; both have eighth notes that “swing” because they are uneven, with a long-short feel. Swing is not notated in your sheet music; the eighth notes 🎵 in a piece meant to be played with swing rhythm look the same as usual 🎵. The word “Swing” is sometimes written as a tempo marking at the beginning of a swing rhythm piece, but sometimes it isn’t 🤪. You need to train your ear👂to tell whether a song is to be played in swing rhythm. You can do this by practicing my swing rhythm exercise below, and by listening to your song on Youtube.com and discerning whether the song uses even eighth notes🎵or eighth notes that swing🎵. Try playing all 12 scales with me, using Swing Rhythm in this video:
I hope you find these videos on Swing Rhythm helpful! Swing is one of those mysterious unwritten rules of music theory that isn’t always taught. Someone must explain it to you, or you will never quite understand why Happy Birthday sounds kind of jaunty and uneven.
Leave a comment below and tell us about your experiences with Swing Rhythm! I really appreciate comments!! You help others in the community of adult piano students when you ask a question or share an anecdote, so please don’t be shy!
P.S. Amazon has put my Piano Powered, BOOK 2 on a crazy sale ($3.93 instead of $19.95!) I don’t know how long it will last, so click to order now. It is almost the same as my Upper Hands Piano BOOK 2, but altered slightly for younger Adults and Teens:
P.P.S. More free sheet music is on its way August 1st, so be sure to subscribe to this blog in the top right of this page. Thanks!
I hope you had a lovely Valentine’s Day spent with someone you love, or doing something you love to do! (Like eating chocolate?! Playing some beautiful pieces?) Congratulations to the winners of my Giveaway for 20 of The Music Remedy books No. 1 and 2! I so appreciate your enthusiastic support and I hope you enjoy your books. Here are the winners:
Thank you all for your support! I hope you are enjoying The Music Remedy books, and are finding the music to be both beautiful and revitalizing!
||: Beginners you might want to take a look at my post on Repeat signs. It takes awhile to remember repeat protocols! :||
🤏Intermediate piano players would do well to review this finger exercise for a few weeks in 2022!🤏
🏃🏿 You also might want to review these ideas I posted years ago about Aging Well. Now that the numbers of new Covid Cases are going down (hopefully we won’t have a big Super Bowl surge here in Los Angeles) we can begin to be social again soon. Being social is one of the three main components of Aging Well. 🏃🏿
🌹 Stay warm, cozy and musical for the rest of February. If you haven’t already, be sure to print and play my free arrangement of My Love is Like a Red, Red Rose.🌹
Recent studies showing how the brain acquires and stores new information can revolutionize our practice habits. Using these new findings, we can learn how to play our instruments faster, and retain the information much better.
We often get frustrated wondering why we played a musical passage over and over, then forgot it the next day. Only to remember it again the day after. “What’s going on in my brain?” you might ask. Recently our blog friend Nancy asked for practice suggestions after she observed: “sometimes after playing a piece, or even practicing scales or chords several times I start making more mistakes…”
Here’s a paragraph from the book that we will keep referring back to [underlining and asterisks mine]:
Most of us believe that learning is better when you go at something with single-minded purpose: the practice-practice-practice that’s supposed to burn a skill into memory….While practicing is vital to learning and memory, studies have shown that practice is far more effective when it’s broken into separate periods of training that are spaced out. The rapid gains produced by massed practice* (repetition) are often evident, but the rapid forgetting that follows is not. Practice that’s spaced out*, interleaved* with other learning, and varied* produces better mastery, longer retention, and more versatility.” (p.47)
Now let me define the underlined terms for you.
*Massed practice is when we play something over and over again. It seems to get easier in the short run, but repetitive practice alone does not get your music embedded into your long-term memory.
Cramming for exams is an example. Rereading and massed practice give rise to feelings of fluency … (p. 3) and it may get you through the next day’s midterm. But most of the material will be long forgotten by the time you sit down for the final (p.48).
Alternatives to massed practice:
If you are working on a difficult musical passage, do play it over until you feel that you understand what is going on in that passage. Play it, and analyze the music. Do the notes go up or down? Are they moving in half steps or larger intervals? What is happening in the accompaniment? What chord is being played broken or in block form? Trying humming the melody while playing the accompaniment. Try clapping the rhythm while counting. Then play it again. Once you have practiced the musical passage and feel that you understand it, move onto something else. If you played early in the day, practice it again before you go to bed. You will learn a new musical skill better if you Sleep On It!
The next day you will probably forget much of it. In fact “we lose something like 70 percent” of what we’ve just learned, very quickly. (p.28)
*Spaced practice means that we need to leave time in between our practice session for some forgetting to set in. After we forget something, it is more difficult to relearn it. But that difficulty makes us learn it better!
Learning is deeper and more durable when it’s effortful. [Repetitive] learning that [seems] easy is like writing in sand, here today, gone tomorrow. (p. 3)
Spacing out your practice might feel less productive than “massed” or repetitive practice. However, you’ll see that eventually, spacing out practice really works better.
Spacing out your practice feels less productive for the very reason that some forgetting has set in and you’ve got to work harder to recall the concepts….What you don’t sense in the moment is that this added effort is making the learning stronger. (p 48)
Spaced practice is more effective because in order for us to store new skills and information into long-term memory, we require a process of “consolidation.” Consolidation is the brain connecting new information to prior knowledge, which may take several days.
The increased effort required to retrieve the learning after a little forgetting has the effect of retriggering consolidation, further strengthening memory.” (p.49)
How long must the intervals between practice be?
[Long] enough so that practice doesn’t become a mindless repetition. At a minimum, enough time so that a little forgetting has set in. A little forgetting between practice sessions can be a good thing if it leads to more effortful practice, but you do not want so much forgetting so that retrieval essentially involves relearning the material.The time periods between sessions of practice let memories consolidate. Sleep seems to play a large role in memory consolidation.
*Interleaved practice means that you should alternate practicing your troublesome musical passages with other skills such as finger exercises, sight reading, clapping and counting phrases, analyzing the musical structure, playing scales, practicing chords, reviewing old pieces, listening to your pieces on iTunes or Youtube etc., playing with your eyes closed, exercising your body, taking deep breaths and snack breaks….and other activities!
Here is another interesting revelation for me that the best athletic coaches know: you don’t need to learn your exercise or musical passage perfectly before practicing something else.
Interleaving the practice of two or more…skills is a more potent alternative to massed practice. (p 49) In interleaving you don’t move from a complete practice set of one topic (or skill) to go to another. You switch before each practice is complete….It’s more effective to distribute practice across…different skills than [to] polish each one in turn. (p.65)
*Varied practice means practicing under various circumstances. Practice on different pianos or keyboards whenever possible.Practice in front of othersas well as alone. Play with the TV on. Practice while standing up and dancing. Practice when you’re hungry or when you’re tired. When you first wake up and before you go to bed. Practice with one hand behind your back. Try playing the bass notes with your right hand and the treble notes with your left (with hands separately!). Turn the music upside down and practice a few measures that way! Practice everything an octave higher or lower. Play backwards, from the end towards the beginning. Practice with or without the pedal (whatever is different for you). Play air-piano 🙂 reading the notes while playing in the air. Memorize a few measures. Practice while swaying your body with the beat. Practice with a metronome. Play the accompaniment while you sing the melody. Practice while tapping your foot to the beat. Try lifting your feet while you play. Practice in candlelight. Practice while chewing gum. Practice while smiling. Practice while crying or chanting or humming. Get the picture? This is great for the brain, helpful forperformance anxiety, and leads to increased musical mastery.
Varied practice…improves your ability to transfer learning from one situation and apply it successfully to another…Recent neuroimaging studies show that different kinds of practice engage different parts of the brain….(p.51). Like interleaving, varied practice….helps learners reach…to higher levels of conceptual learning and application, building more rounded, deep and durable learning….(p 65)
There’s one more thing I want to add before letting you go back to your piano playing, Take some time to think about your music between your practice sessions. This is a process called *reflection:
One difference between those who do and don’t [learn] is whether they have cultivated the habit of reflection….Reflection can involve several cognitive activities that lead to stronger learning: connecting [prior knowledge] to new experiences, and visualizing what you might do differently next time….Reflection is a form of retrieval practice (what happened? What did I do? How did it work out?), enhanced with elaboration (What would I do differently next time?) (pp.27,66)
Keeping a notebook at your piano is a great strategy. Write down what your musical challenges were today so that you can revisit them tomorrow.
Though now we have the scientific proof to back it up, this information has been known for a long time! The philosopher Aristotle wrote,
Exercise in repeatedly recalling a thing strengthens the memory
If you have being paying attention (I hope you haven’t nodded off– this is a long post!), you know that you will need to reread this post many times before you remember the information! Remember to *space out your readings over several days, *interleaving it with other studies, *varying the circumstances under which you read it, then *reflecting on what it means to you and your practice. If you don’t do these things, you will forget about 70% of this information by tomorrow!
Thanks to our blog friend Nancy for asking the questions, Do you have suggestions for practicing techniques? How much repetition is good? which inspired this vast tirade of mine. What are your thoughts?
If you study piano with me, you learn and practice chords. Chords are the foundation of all music (except for atonal or very modern pieces). If you were to analyze your music you would find chords in every measure. Therefore, knowing your chords helps you to understand the music which in turn helps you to learn it better and faster. Today I’d like to start with the four basic triads (3-note chords): MAJOR, MINOR, DIMINISHED and AUGMENTED.
They say that music is mathematical and I’d like to show you why. All chords are formed according to specific patterns or formulas.
Click here to watch my demonstration of chord formulas.
MAJOR: 4 half steps from root to middle note (3rd) , 3 half steps from middle note (3rd) to top note (5th). In C: C E G
MINOR: 3 half steps from root to middle note (flatted 3rd) , 4 half steps from middle note (flatted 3rd) to top note (5th). In C: C E-flat G
DIMINISHED: 3 half steps from root to middle note (flatted 3rd) , 3 half steps from middle note (flatted 3rd) to top note (flatted 5th). In C: C E-flat G-flat
AUGMENTED: 4 half steps from root to middle note (3rd) , 4 half steps from middle note (3rd) to top note (sharp 5th). In C: C E G-sharp
You can use each formula for each of the 12 keys – for example, you can figure out that an A-flat Major chord is A-flat C E-flat by counting the half steps. Try this starting from a few different keys. Watch the video again if it’s not quite making sense yet. Thanks for watching!
Today I want to show you a new exercise I have adapted from an exercise by Theodore Leschetizky [lesh-uh–tit-skee]. Leschetizky (22 June 1830 – 14 November 1915) was a polish pianist and composer, and a well-known piano teacher. He had studied with Carl Czerny, who had in turn studied with Ludwig van Beethoven. Leschetizky was famous for saying:
No art without life, no life without art.
Leschetizky taught that in order to create a beautiful sound on the piano, you must study your music thoroughly and gain control of your fingers through exercise. His finger exercise isn’t easy but it’s fun to play and yields great results. Click here to view my demonstration video: