Monday, December 24, 2012

Video summary: Hal Galper: The Illusion of an Instrument

Hal Galper is a jazz pianist, composer, and bandleader who has worked with such musicians as Cannonball Adderly, Chet Baker, and John Scofield. In addition to his great renown in the performance realm, he is also widely recognized as a tremendous educator.

Many of his ideas and musical advice can be accessed easily, thanks to the power of the internet and the bounty of YouTube.

One video, titled "The Illusion of an Instrument," caught my eye, and it turned out to be a compelling 9-minute mini-lesson which helped draw a connection between music and the mind. As I watched, I took notes and paraphrased the big points:
  1. Music-making is a process-oriented event (not information-oriented).
  2. The components of performance are:
    • Mind
    • Body
    • Emotions
  3. George Kochevitsky: In order to play something, you must be able to hear it first.
  4. André Watts: [Music-making] all depends on the intensity of your concentration and the vividness of your aural imagination.
  5. Playing precisely what you hear in your mind is a matter of strengthening the aural impulse in your brain. So, instead of simply imagining a musical line in your head, or instead of singing the line, think of SCREAMING the line in your head. This will strengthen the aural impulse in your brain, and it will add a level of confidence and clarity to your playing.

For more elaboration, watch this thing.

Thursday, November 29, 2012

Two measures from a Passepied

Here's a two-bar excerpt from the Passepied from Debussy's Suite Bergamasque. I found the harmonic progression interesting, so I typed it up and put the analysis in for your viewing pleasure. The two-bar phrase is repeated several times, eventually leading into a modulation to E major (hence the indication of a new key in the second bar).

This passage has a haunting quality to it, helped by the German augmented sixth chord. (For more on German sixths, click here.) Here's a link to this piece, linked with a time stamp which should take you to the first appearance of these two bars.

Monday, October 29, 2012

Debussy: Suite Bergamasque

Over the summer and continuing on through this semester, I've been preparing Debussy's Suite Bergamasque. The suite is comprised of four movements: Prelude, Menuet, Clair de Lune, and Passepied.

I'll perform the Passepied for juries at the end of the semester, so my focus has fallen mostly onto that movement. "Passepied," French for "passing feet" is a type of danceusually in a fast triple meter. Debussy's Passepied is not in triple meter, however it certainly has a lively tempo, kept alive by the constant eighth note pulse provided by the left hand.

In quickly browsing the web for more information about the suite, I found this interesting little tidbit of information (admittedly, from the extremely reputable source, Wikipedia). Check it out:


How neat is that?!

Here's a wonderful performance (pianist, Bruno Canino) of the suite in its entirety. Enjoy.

Sunday, September 9, 2012

The Genius of Monk

"A genius is the one most like himself."
Thelonious Monk

For years now, this famous document filled with curious scribbles, titled "MONK'S ADVICE," has been making its rounds on the internet. (One blogger discusses Thelonious Monk and some of the document's background here.) I've noticed the document pop up time and time again, and each time I read it, I get something new out of it. Today, the "genius" quote popped out at me.

Throughout life, we are constantly influenced by outside sources. We may emulate a personal hero, mimic a musician's melody, or draw knowledge from a famous quote (like right now, for example). Through imitation and emulation, we shape ourselves (musically and personally).

Outside influences push and pull us in many different directions. Sometimes these forces challenge us and change us for the better; other times they confuse us and throw us off of our path. At these times, I think it's important to look inwardly and go with your gut. Or, for you saps out there, go with your heart. Stick to your essence.

Alternatively, if you prefer rhymes:
"Today you are You; that is truer than true. There is no one alive who is Youer than You."
—Dr. Seuss
Musically, this means you should pursue the music that interests you the most. Do your best to branch out and become versatile, but realize that it's okay if not everything gels perfectly with your style. Realize that you have your own style.

For Monk, this meant embracing his own crazy, unorthodox style: percussive, fragmented, and completely unique.

Sunday, September 2, 2012


What is an interval?

An interval is the distance between two notes.

An improper method of measuring intervals on the piano. (There is no "inches to semitones" conversion.)

The smallest interval (in Western music) is the half step, also called a minor second. As you increase the number of half steps between two notes, the interval gets larger until, eventually, you arrive at an octave (12 half steps apart).

Each interval has its own distinct sound, and this aural aspect of intervals will be the focus of this post.

The following is a list of all the intervals (within the range of one octave; not beyond) and some examples of their corresponding aural identities.

Intervals and Their Aural Identities
  • Unison (0 half steps): likely the easiest interval to identify aurally. It's the interval that's created when two people sing the same pitch. It's the interval that piano tuners try to achieve between all three strings of one key.
  • Minor 2nd (1 half step): a small, very dissonant interval. In solfeggio, it's the distance from ti to do.
  • Major 2nd (2 half steps): appears in the first two notes of a major scale.
    • Musical example: in the first line of "Happy Birthday," the interval from "-py" to "birth-" (and back down to "-day")
  • Minor 3rd (3 half steps): often used to establish a minor tonality and express sadness or grief. In a minor scale, it appears in the leap from the first note to the third note.
    • Musical example: the first two notes of the guitar riff from Deep Purple's "Smoke on the Water"
  • Major 3rd (4 half steps): often used to establish a major tonality and express happiness or joviality. In a major scale, it appears in the leap from the first note to the third note.
  • Perfect 4th (5 half steps): a rather stable, consonant interval.
  • Tritone (6 half steps): this interval presents itself either as an augmented 4th or as a diminished 5th. It it is so dissonant that, dating back to Medieval times, it has been dubbed "diabolus in musica" (the Devil in music). Since the interval has historically served as a symbol of evil, people often associate its sound with danger and the unknown.
  • Perfect 5th (7 half steps): a very stable interval.
    • Musical example: the "Winkie Chant"  from "The Wizard of Oz"
  • Minor 6th (8 half steps): in a second inversion minor triad, the distance from 5 up to 3 (solfeggio: mi up to do).
  • Major 6th (9 half steps): in a second inversion major triad, the distance from 5 up to 3 (solfeggio: sol up to mi).
  • Minor 7th (10 half steps): the inversion of a major second. In a dominant (major-minor) seventh chord, it appears in the leap from the root to the seventh. In this context, the minor 7th has a strong pull toward resolution (as in the following musical example).
    • Musical example: from "Somewhere" (Leonard Bernstein's "West Side Story"), the first two notes (There's... a...)
  • Major 7th (11 half steps): the inversion of a minor second. In a major seventh chord, it appears in the leap from the root to the seventh. In this context, the major 7th wants to resolve up to the consonant octave.
  • 8th/Octave (12 half steps): the leap from a note up or down to the next occurrence of the same note name.  The frequencies of two notes an octave apart have a ratio of 2:1.

Symphony of Intervals

I'll leave you with this video (audio only) of a symphony's pre-concert tuning and warm-up. Intervallically speaking, listen for the unisons created immediately after the tuning note is sounded, then listen for all other intervals as each musician warms up individually and deviates from the initial unison. The swirl of different tones and timbres is rather enchanting.

Tuesday, August 28, 2012

Augmented Sixth Chords (German)

Here's the second installment of the ultra-popular Augmented Sixth Chords series. If you missed the first installment (about Italian sixths), be sure to check it out before learning about the German sixth!

(Or as the Germans call it, the __(click)___.)

And, that's that!

Monday, August 20, 2012

The Major Scale

Half Steps and Whole Steps

In Western music, an octave is divided into 12 notes. The distance between each of these notes is called a half step. Two half steps make up a whole step.

When you play a C to a C on the piano using every key (black and white), you are playing a chromatic scale, made entirely up of half steps.
By varying the arrangement of whole steps and half steps, we are able to create different scales. In this post, we'll look at a very popular scale, the major scale.

The Major Scale

The major scale is made up of two tetrachords. (A tetrachord  is a set of four notes.) Each tetrachord follows the pattern "whole, whole, half." Next the two tetrachords are joined together by a whole step. So, the complete interval pattern of a major scale is "whole, whole, half, whole, whole, whole, half."

Major scale, on the staff.

This interval pattern (W, W, H, W, W, W, H) is true for all major scales. Note that, in major scales, the half steps occur between scale degree 3-4 and 7-8.

Tip: In the key of C, the major scale turns out to simply be every white key on the piano (C to C).

Sunday, August 19, 2012

Creston Chunks: Measure 4

[This post is part of my Personal Practice Project: Creston Chunks.]

Paul Creston's Sonata for Eb Alto Saxophone and Piano is 123 measures of interesting stuff. With (almost) no single measure repeating itself anywhere in the piece, each measure has its own special stuffsomething unique to study, analyze, and get under the fingers.

(Fortunately, there are a few motifs and harmonic ideas that show up with some frequency. For example, the piano accompaniment is comprised almost exclusively of seventh chords—primarily major-minor seventh chords.) 

With this "chunk" method, you become very well acquainted with each measure. It's almost as if each measure is its own little person with something unique to say.

Some have something interesting to say (m. 4), some have nothing to say (m. 35: a whole rest in both clefs), and some have a rather offensive message (m. 9: two sets of descending thirds, each a dissonant half step apart).

Meet measure 4 (and 5):

Essentially, measure 4 is an A7 chord. The 3rd (C#) and 7th (G) of the chord is maintained in the right hand, while the left hand covers the root (A) and the 5th (E).

In addition to featuring A7, the left hand hints at another chord. By moving a half step up from A and E, the left hand is playing Bb and Eb on beats 2 and 4. Combining these raised left hand pitches with the 3rd and 7th of the right hand, and by thinking enharmonically, we are able to derive another chord: Eb7.

So, in m. 4, both A7 and Eb7 appear. This is a great example of tritone substitution. A and Eb are separated by the interval of a tritone (an augmented 4th or a diminished 5th). The term tritone substitution refers to the fact that the two chords can easily substitute for one another. Why? Keep on reading!

When you have two dominant seventh chords whose roots are a tritone apart, something very cool happens: The 3rds and 7ths of their chords use the same pitches.

Let's look again at measure 4 to explore the tritone substitution. Thinking of A7, the 3rd of the chord is C# and the 7th is G. Now, thinking of Eb7 (beats 2 and 4, with Eb/D# being the root and Bb/A# being the 5th), Db (enharmonic to C#) is the 7th and G is the 3rd.

Put another way, the 3rd of the A7 is also the 7th of the Eb7, and the 7th of the A7 is also the 3rd of the Eb7.

This explains why the right hand is able to stay on the same notes despite the fact that two different chords are being created. Since the 3rd/7ths are shared between the two chords, it's up to the left hand to differentiate the chords by playing the root and 5th of the chords.

How exciting!

To summarize, measure 4 is pretty great. It exemplifies the tritone substitution beautifully (and it's quite fun to play).

Saturday, August 11, 2012

Michael Cera: The Human Metronome

Lost and Found

I found my metronome today! This is huge news. Really. 


I thought it was hundreds of miles away, but my 'nome was actually less than a hundred inches away from my bed.

Good Time

Before this glorious day of 'nome's return, I had been relying on some alternative sources to find tempos and maintain good time. If you're ever without your trusty metronome and you need to keep good time, consider some of these options:
  1. Internal sense of rhythm. (Knowing how long things take.)

    Meet George Michael.
    The man.
    His sense of rhythm is as impeccable as his taste in flowery shirts.

    In the TV series Arrested Development, the undeniably cool George Michael (played by Michael Cera) is looking for a spot in his family's band when he highlights the importance of having a good internal metronome.

    always on time

    "It's knowing how long things take." Brilliant.

    In a practice room, luxuries like iPods, Ghardetto's, George Michael, and external metronomes are permitted. However, in a performance setting, you must leave these items behind. On stage, all you're left with is your internal metronome.

    So, it makes sense to develop it. Devote some practice time toward working without a metronome. Re-introduce the metronome every so often to check and see how well your internal metronome fared. You can find some tips to help develop your own internal metronome at my post about Victor Wooten's grooviness.

  2. A clock.

    A clock? Sure! A clock keeps steady time, doesn't it? It's exactly like a metronome. Except it's likely much larger than your 'nome, it hangs on the wall, doesn't necessarily make noise, and really only gives you one tempo. But other than that, it's a fine substitute for a 'nome.

    Bear with me nowwe're about to get into some rather intense math:
    There are 60 seconds in a minute, and a clock's second hand ticks at every second. Sooo let me run some numbers here... 60 seconds per minute x 1 tick per second = 60 ticks per minute, or 60 beats per minute.
    If you're playing a lot of 60 BPM songs, you're in luck! Otherwise, subdivide eighth notes within the 60 BPM quarter notes to get 120 BPM, a common benchmark tempo. Of course all of these "calculations" are extremely simple and obvious, but the point is that in a no-metronome situation, you can use the clock to at least get a ballpark estimate of your desired tempo.

  3. Your favorite songs.

    Think of some songs that you can easily hear in your mind just by thinking of them. Then, determine the tempos of these songs and devote the information to memory.

    This way, the next time you see a piece of music which calls for ~120 BPM, you can simply think of "Stars and Stripes Forever." (The recording I linked to is actually closer to 125 BPM, but the "march tempo" generally hovers around 120 BPM.)

    Or, you can think of Arrested Development's catchy theme song to approximate tempos around 175 BPM.
Those are just a few ways to help you keep the beat when you are away from your metronome. What are some methods you use to keep your time-keeping sharp?

Honing your internal metronome takes time, but it's well worth it. If you're successful, you could rival even the best time-keepers, like George Michael.

Here's a sample of his best work:

Thursday, August 9, 2012

Augmented Sixth Chords (Italian)

The Italian sixth chord is the simplest type of augmented sixth chord, and I will stick to just this type for this post. I decided to post this entire lesson as a series of images. You can click each image to enlarge it.

One Man Band

The Film

I recently stumbled upon an animated short film by Pixar that I had never seen before, “One Man Band.” The short, like all of Pixar’s films, does a beautiful job of telling a simple story—a story which entertains but also teaches several musical/life lessons. (My sole, petty complaint is that I wish Pixar had hyphenated the title (One-Man Band). Other than that, superb little film.)

Here it is:

In the video, a street musician by the name of “Bass” is upstaged by a newcomer, “Treble,” at his usual busking spot. With only one audience member—a little peasant girl with only one coin to spare—the two musicians compete against each other in a musical duel, with hopes of winning the girl’s appreciation (coin).

As you may expect, the girl is not impressed. Instead, the showy duel completely disgusts the girl.
She is noticeably annoyed and disappointed as the musicians crescendo into the climax of their aggressive duel. In the next moment, the girl’s only coin is lost down the drain, and the musicians go silent.

In the final scene, the girl surprises Bass and Treble with her violin chops—an impressive cadenza which earns her a handsome sum of gold coins. 

Lessons Learned

The film is more than just a couple of dudes playing a ridiculous number of instruments at once. It’s rather parabolic, and it contains several important lessons about music (and life in general).

Here are a few:
  1. Music not about competition. (Duet, not duel.)
    To be successful in a musical career, to some degree, may mean being better than the other one-man band. But if you focus too much on being better than another musician (“defeating” them), you start to bring hostility and antagonism into the mix—two things which have no place in music. Music is about harmony and cooperation. (Instead of a duel, Bass and Treble should have played a duet.)
  2.  Music is not about money. (Money talks, but music says nicer things.)
    The “starving artist” stereotype supports this one. Musicians who wish to continue with music professionally are well aware that it’s not where the money’s at. Those who do keep at it do so because they love and appreciate music deeply. Music’s not about vying for the peasant girl’s gold coin. It’s about creating something beautiful, pure, and true.
  3. Music is about connecting with other people. (Legato, not staccato.)
    It’s a force that should bring people closer together—not divide. A musician who plays with the goal of merely impressing the audience is thinking much too selfishly. The primary goal must be to connect with the listener. The music played by Bass and Treble was fast, loud, exciting, and technically impressive. But the men weren’t at all concerned with forging a connection with their listener, the peasant girl. As a result, the music fell flat; the characters were driven apart rather than drawn together (detached rather than connected). It is in the connections forged through music that music holds its greatest value.
Final Words ("Imagine")

This delightful 5-minute animation taught all of these lessons, without using even one word of dialogue. I credit this to Pixar’s imagination and creative genius but also to the fact that these lessons are profoundly fundamental.

So fundamental, in fact, that they’re easily applicable to every human being—musician or not: We’re not here on Earth to compete against one another, or to fight with each other, or to chase after trivial material goods. We’re here to come together and connect with our fellow human being—by living peacefully, being kind, and loving one another. (John Lennon used music to express these ideas beautifully.)

So, heed the lessons of "One Man Band"—make music for the sake of music itself, and not for the lesser purpose of winning a peasant girl's gold coin.

Friday, July 27, 2012

Grooving like Victor Wooten

Victor Wooten, Groove Master

Victor Wooten is a phenomenal musician. He plays bass with Béla Fleck and the Flecktones, but he is also an unbelievable solo bassist. If you're unfamiliar with Wooten's music, check him out. He is truly the master of the groove. ("You can't hold no groove if you ain't got no pocket!") 

Today I stumbled upon a video of Wooten explaining how he integrates the metronome into his practice routine. After watching it, my attitude toward the metronome changed drastically. Your teachers aren't lying when they tell you that "the metronome is your friend."

The metronome really is powerful tool, especially when it's used as Victor Wooten uses it. In the clip, he outlines a method of practicing with the metronome which has the goal of weaning yourself off of the metronome. As opposed to relying on an external click to provide the groove, this method helps develop your own internal sense of groove. Check it out:

Applying Wooten's Lesson

So, rather than always setting the metronome to one click per beat (4 clicks in one measure of 4/4), Wooten suggests gradually decreasing the number of clicks per measure (e.g. 2 clicks per measure, then just 1 click per measure). This way, you force yourself to rely only on your internal sense of time. The infrequent metronome clicks now act more as reinforcement of the groove. Or, if your groove deviates at all, the clicks help to correct you and get your internal metronome back on track.

After watching the clip, I migrated to the piano and tried it out for myself. I played a left hand bass line to "Georgia On My Mind" to explore the concept. Bass lines work well for this kind of practice, because they are monophonic (single melodic line) and allow for focused attention on just one aspect of music
in this case, the groove.

I started the metronome at 80 BPM (4 clicks per measure) and played a simple bass line through the form several times. Once I was comfortable with that, I reduced the 'nome to 40 BPM (8 clicks per measure). This variation took some time for me to adjust to. At times I rushed, and at times I lagged behind a bit. But once I locked into the groove, I could really tell. And I knew that I was relying more on my internal metronome than the audible clicks of the external metronome.

After this, I tried out his final practice idea from the YouTube clip. The idea here is to divide an interval of time into 5 beats, so your metronome is clicking once every 5 beats. But instead of using this clicking pattern to play in a 5/4 time signature, play over 4/4. When you do this, the click will sound at a different beat of the measure each time. That looks like this:

Before I could even attempt playing over this metronome pattern, I had to spend some time simply counting along: "One, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four." Once you have that mastered, try playing over it! It really puts your internal sense of time to the test!

The Metronome Is Your Friend

Wooten is an excellent teacher, and through these metronome practice exercises, he teaches us a couple main points regarding the metronome:

  1. Practicing with the metronome does not have to be boring/dull/static.
  2. The metronome isn't there to give you the groove. You supply the groove, and the metronome helps you check it.
So, pull your metronome out of the trash can (and give it a good wash). Resurrect that clicking machine, and try out some of these exercises.

Wednesday, July 25, 2012

Personal Practice Project: Creston Chunks

This summer I've been working on a rather difficult accompaniment, Paul Creston's Sonata for E-flat Alto Saxophone and Piano. Early on, I began the piece very methodically and thoroughly, but somewhere along the way, I got off track. My progress slowed, and I wasn't learning the music as well as I needed to.

Paul Creston
So, in the same vein as the "baby steps" method mentioned in my last post, I'm doing this "Creston Chunks" project. I'm giving myself the deadline of September 1 to learn every measure of the piece. But I'll only add a few measures each day, learning the music in chunks.

Chunking is a great way to bring focus to your practice routine. Instead of merely playing through pieces over and over (the same way every time), chunking helps you identify problematic areas and isolate them. I'm going to use this method, but apply it to the entire piece.

The reason I'm going with a chunk method for the entire piece is that there isn't a lot of recurring material throughout the whole thing. While there are recurring motifs and melodic ideas, it modulates so often that you never really play the same exact thing twice. For those reasons plus the fact that this project will give me some structure and accountability in my preparation of this piece, I shall chunk the whole thing.

The piece is 123 measures long, and from today to September 1, I have 37 days. According to the operation of division, that means I need to learn 3.32 measures a day. I'll round that up or down, depending on the difficulty of each chunk.

The goal here is to learn the piece thoroughly. So for each chunkin particular the tougher chunksI will analyze them and study them as closely as possible. Since the piece moves along briskly and since I'll be accompanying another musician, it's important that I know the music inside and out.

I'll give an update of my progress every once in a while, and I might even  occasionally post about my explication of a particular chunk. Stay tuned for updates on my Creston Chunks project!

What do you think about chunking? How do you use chunking in your own practice sessions?

The Gigantic Problem and the Simple Solution

The Gigantic Problem

As I mentioned in my introductory Q&A post, there’s a lot of information out there (in music, or otherwise).

When you look at the study of music all at once, you’ll likely be discouraged. Taken as a whole, the quest for knowledge and skill in music can be seen as a gigantic problem.

For example, a music student might be confused by strange Latin or Greek terminology, bored by the histories of old (dead) composers, or discouraged by a seemingly impossible new piece of music assigned to them by their instructor.

And even once you conquer one case of confusion, or overcome one bout of disinterest of a topic, you'll find thatwhile you were solving that problem, a new problem has presented itself. At every step of the way, you keep discovering that there is always much, much, more to learn.

You can look at this as an overwhelming, daunting “gigantic problem,” or you can look at it differently...

It's Good to Have Problems


Many people perceive a "problem" as a bad thing. This, in fact, is often a proper perceptionof course no one wants to have problems (financial, social, medical). Having a problem, in this sense, means that something is wrong.

But in the world of education, a "problem" is an opportunity to learn. In the quest for knowledgemusical or otherwiseit's imperative that you identify problems and take on challenges. Once problems are identified, steps can be taken to think critically and work toward a solution.
It's important to correctly identify the problem at hand!

There's no use in denying the difficulty of the road ahead. It is to our advantage, as learners, to acknowledge that there's a lot to learn. Take Shakespeare's words: "The fool doth think himself wise, but the wise man knows himself to be a fool." Or take any one of these Bible verse translations expressing the same idea.

Looking at the problem realistically and acknowledging that there's a long road ahead is the first step.

The Solution

The learning process—again, in music or otherwise—requires the ability to clearly identify the problem at hand and to ask the best questions to help guide your learning. As Nancy Willard said, "Sometimes questions are more important than answers." If you haven't identified the problem, you can't begin on the solution.

So, give yourself an honest assessment to identify that which you have already learned, and that which you have yet to learn.

From there, the trick is to take baby steps, and to build slowly upon a solid foundation. Learn each new chunk of information by studying and practicing in a thorough, focused manner. Shortcuts and sloppy practice will not result in a solid foundation. (If you build upon a shaky foundation, the structure as a whole will be unsound and will eventually collapse.)
"Nothing is particularly hard if you divide it into small jobs."  —Henry Ford
“It is better to take many small steps in the right direction than to make a great leap forward only to stumble backward." —Chinese Proverb
"The secret of getting ahead is getting started. The secret to getting started is breaking your complex overwhelming tasks into small manageable tasks and then starting on the first one."  —Mark Twain
As it turns out, a whole slew of successful people  have an affinity for small steps.

Baby Steps in the Practice Room

Although the above advice is nothing new or revolutionary, I have found that it's easy to forget about baby steps when I step into a practice room. I might try to take on more than I can handle, or I might slop through a piece rather than approach it with slow, focused practice.

So, the next time you step into the practice room, keep these keywords in mind:
  • Solid foundation
  • Baby steps
  • Thorough
  • Focus
"What saves a man is to take a step. Then another step." Antoine de Saint-Exupéry

Sunday, July 22, 2012

Q&A (An introduction to the blog)

Why are you making a music blog?

Good question.

Essentially, I'm making this blog because I love music, and I also love to write. A blog is a slick way to combine those two interests and to share the results with people who might care to read.

Give me more reasons.



One primary reason I've created this thing is this: there's a lot of information out there (music textbooks, recordings, videos, web sites, brainy music professors). This blog will hopefully help me (and you) sort it all out.

It will be a nice way to 1) help with my own navigation through the music world (documenting personal projects and musical development, reflecting on my own views of this or that) and to 2) help/teach/bore/excite/entertain other music-lovers and music-learners (creating mini-music lessons, sharing useful practice tips, sharing YouTube clips of inspiring, masterful performances)

Why is your blog title so vague?


I couldn't think of anything better, and I had been putting off the creation of the blog for too long to keep stewing over title ideas.

But it WORKS. I am going to be writing about music here. And I didn't want to limit myself to just one component of music: just piano music, or just music theory, or just the genre of, say, jazz.

I want to cover it all! It's all important.

So, you're writing about all of it. 


 That's my intention, yes.

Can you...narrow that down, at least a little bit?


Narrow down? Maybe not. Define? Maybe a little bit. I'll try. Content will probably fall within one of these (broad...) categories:
  • Music theory
  • Music history (biographies of people I find to be interesting and/or important, or just random tidbits of any amusing historical information I come across)
  • Videos/recordings
  • Piano lessons (bite-sized mini-lessons, but they won't actually be edible)
  • Practice tips
  • Personal music projects


Wow! What a cool bunch of broad categories.

Thank you.

You mentioned music theory. Are you going to bore and confuse me with a bunch of technical jargon?


Yes. Yes I am.

Well, no. No I won't. I'll try not to. I will be writing using technical terms to discuss music theory at times. But in doing so, I will try to be as concise, clear, and as helpful as I can be.

I can't promise that I won't bore you, because, well, some people just aren't as excited as me when it comes to, say, the German augmented sixth chord.

German augmented sixth chords? Cool! I'm hooked. How can I easily follow this blog?


You can simply bookmark the URL and put it in your bookmarks folder labelled "MUST READ." Alternatively if you use a feed reader, you can subscribe to the blog's RSS feed found at the bottom of the page.

Could you please occasionally post some of your favorite music puns to the blog?


Absolutely! [I wanted that response to be a pun in itself. In this case, it's not really a pun. But it's filled with musical terms: Ab (A-flat), sol (after fa, before ti), lute (a plucked string instrument).]

Do you encourage readers to comment on blog posts and ask music-related questions that they would like to have answered?


What a curiously specific question! As it so happens, I do encourage all of the above. 

Cool! I have one last question about the blog: What will you write about here? I forgot.


I will write about music here.
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