Cool Vid on polyrhythms especially for drummers

Just thought I’d share a cool video that showed some basics of polyrhythms

Hey are you bored? Or just cruising the web for no reason? Well why not try out This free ear training site helps you to develop good ears. Exercises: Intervals , Scales, Chords,…
www.good-ear.com/

Test yourself and keep going until your get 50 correct, try doing intervals, chords, and scales.

Too easy you say, then do 100 next time, and do more categories….. I’ve been doing at least 50 before I can do anything else on the net first thing everytime.

Just went through all the books handed to me Monday 7th March, overall ok…. Some exceptional work, some very dissapointing. If you are worried about doing enough work or practicing, or revising enough at home, then you are probably doing no where near enough and giving no where near enough time towards this course. It demands alot (music 1 and 2 course) and you need to ask yourself “can I deliver” do you have the discipline to spend time at home revising the work we have done in class? Do you practice EVERYDAY?? Do you listen to music everyday? Have you listened to any of the podcasts I have posted? Have you asked me for any advice? extra activities? to listen to your piece and give you feedback? I have all the time for people who have time for themselves, I am not going to chase you all the time.

REVISION – Read every single note in your book that we have done in class that daywhen you get home, your brain looses around 20% of that information if not revised that day, then 40% everyday there after. How much will you remember in 4 days without any revision?? Any of the material you are stuggling with needs to be concentrated on even more, I still use ‘flash cards’ to learn new material when researching.

PRACTICE – Performance practice is vital, you need to do it everyday!!! It takes an average of 4 hours a day for 10 years to become a musician at concert standard. What kind o musician do you want to be. As I have said 4 hours one day a week is silly, half an hour a day will do you more benefit, and practice perfect technique (I am going to do a class on this). Your practice should also be split into the important parts of performing on your instruments for example, GUITAR – scales, etudes, sight reading, chords, performance piece, improvisation.

THEORY – You need to do theory on your own as well, I advise if you are struggling with the theory in this course so far that you acquire the ’Master Your Theory’ books available from most book stores, and work your way through them… Don’t be embarrassed to start form the beginning, I still revise them and do the activities.

COMPOSITION – Compose at least 1 bar of music a day, whether it takes you 15 miuntes or an hour. Make sure it is perfect, I mean just how YOU want it, don’t waste your time composing something that is terrible just to be able to say “yeah of course I composed today” knowing that you didn’t put any effort into it.

LISTEN – Make it a habit to listen to music for the sake of music and REALLY LISTEN, pick out instruments, tonality, time signatures, rhythmic dictations. Enjoy your listening though, and broaden your musical horizon, make it a point to listen to music that you would never listen to without being asked to, if you want a whole bunch of ideas of music to listen to then bring in a usb and a whole bunch of music may ‘magically’ appear on it.

Daily practice is the key, not just performance practice but making all these things a part of your daily routine, alongside brushing your teeth and showering should be these things above.

“You should only practice on the days you eat” – Carl Orff

The is the information we went through in regards to the Stevie Wonder Listenings.

Aural Question Walkthrough – ‘So What the Fuss’ – Stevie Wonder ft Prince

Imitation – ‘Uptight’

Riff – ‘Superstition’

Melodic Ostinato – ‘Higher Ground’

I IV V Progression and Imitation in unison – ‘Living for the City’

Melodic contour, intervals, arpeggios – ‘Sir Duke’

Podcast 5 Stevie Wonder Listenings

you will receive this sheet in class, but here’s a recording of that information for all to access.

podcast 4 Answering an Aural question

This is simply all the information from the sheet I handed out in class last lesson when we did a practice HSC question based on ‘Whole Lotta Love’

podcast 3 pitch worksheet

Just to make sure you are aware the performance assessment has been pushed back to week 6, which starts Monday 7th March.

There should be no excuses about performance pieces, I have given lots of feedback, and attempted to approach everybody individually about their performance piece. I have offered rooms before school, and you only need to approach me about using them after school to see which days are the best. Please don’t wait till the last minute.

I will be away from class Friday to attend a composition workshop, so I don’t think there will be any practical as I cannot leave you practical work for a covering teacher, I’ll try to leave something interesting as well as informative…. no promises.

there are 3 options in regards to listening to the podcasts I have created for the senior music students 2011.

1) listen to them on this blog, make sure you press the play button, don’t click on the link it doesn’t work for some reason

2) sign up to my podcast feed through itunes. If u have itunes click on ‘advanced’ then ‘subscribe to podcast’ and paste this in the box that appears     feed://mrriddle.edublogs.org/feed/

3) lastly you can bring me a blank audio CD or usb and I can load them up that way

they are not compulsory, but I am giving you more access to more resources as we move through the course together. So there shouldn’t be any excuses about either access to content or a lack of content being presented to you.

Podcast 2

Second attempt at loading this podcast, I’m still getting used to recording them at good levels

Blog 1

so these will be listed here, and I will attempt to create a podcast channel probably through itunes.

Pardon my lame teachers voice on this first pod, this one concerns some of the areas of pitch, mostly scales and chords.