Rizz’s blog

The Abreu Fellows of El Sistema model came to play with the ORCHkids all week. The kids had quite an experience.

The Baltimore Symphony has an outreach program called ORCHkids which is fashioned after El Sistema. I teach for this program in a west Baltimore city school. The very popular 60 minutes episode on the difference El Sistema is making with underprivileged youth in Venezuela was broadcast in spring of 2008. Now, they're coming to my school. That's right. 60 Minutes (and Bob Simon) is coming to our program to document the seeds of the El Sistema attitude begin to sprout in Baltimore. It's a very exciting development.

The first grade students last year learned to audiate (hear in their minds, predict) I, V7, IV and V7/V in major; i, V7, iv in minor.

In a school not more than 1/2 a mile away from the school that hosted a very special music program last year, the children are notably different. Most of the Pre-K sings in tune even without having had any formal music instruction. I expected 70% or less to use their singing voices consistently, but not 80% to sing in tune! 

Quincy Jones on "Arts Education in America."

That's what I'll be doing twice a week this fall. I plan to keep you updated on the children's musical progress after we start the school year. The Baltimore Symphony Orchestra started their ORCHkids outreach program last year (http://www.bsomusic.org/main.taf?p=3,17). Now most of the kids have moved to a new school where I'll be teaching their younger schoolmates musical readiness skills. This will be hard-core ear training for the youngest.

The economy is taking its toll and some schools are cutting music programs. Some parents get music lessons for their children. What percentage? Maybe 10%?

Of the remaining 90%, who has children who would have excelled in music, but no longer have a program offered in their school? And many of these children already have disadvantages from being in inadequately funded schools.

Here's where I ask you for your ideas. What would you want from an online music service? Think of the 2-way interaction: forums for your questions; a wiki for collaborating on the content you want; video and audio content; live chat/video; tons of possibilities.

Is this something to consider in the new technological age we're in?

I'd love your thoughts.

My daughter sings better than anyone in the family. I wasn't always confident that she would be musical. She was always expressive, but not always in tune or with the beat. She's always had a lot of style.

It doesn't matter when children start singing in tune. Sometimes it's as early as 3 or 4, but often not until 5 or 6. My daughter was still not consistently singing intune until almost 7 years old.

It does matter that we sang and had fun all these years. The best fun we have is when we improvise together. We made up the "Poopy Blues" a couple years ago. She never forgot it. The second verse is the "Ploopy Bues" or the "Bloopy Poos." It's all the same imagery and we giggle about it.

Sing and have fun. That's the best a family can do.

Around the Seder table makes it just a little more special.

How about 6 years old?
I'm not kidding!

Children as young as 6 hear these harmonic functions, name them, and discriminate among them.
I've done this in minor too.

I've had 4 and 5 year olds hear tonic, dominant and subdominant. We don't call it that, but they can discriminate among them when presented to them in context and WITHOUT the theory.

In fact, I believe that the theoretical approach, in which most of us music teachers were trained in, actually inhibits ear training.

What's that mean when young children can do what some college music majors can't?

This: A national workshop presenter of a major music education approach (in this case, Kodaly) teaches a workshop and incorporates an Irish song. She says the song is in Mixolydian (sounds like it supposed to come to a "rest" on the tone SO of the do-re-mi scale). The song has one sharp in the key signature which makes G “DO” of the do-re-mi scale. Now the song ends on D, which is the last note of the melody. D is “SO” of the do-re-mi scale. With me so far? Now most songs end on the sound (or a special tone) that is the “ending tone” or “resting tone.” Mary Had A Little Lamb, London Bridge, Twinkle Twinkle, etc. all end on a last note of a melody which is also the resting tone—the one that feels like you’ve reached home. It comes to a rest there. Usually, songs do end on the resting tone.

Well, this Irish song ends on SO but the resting tone is easily heard as being DO. It’s not really a subjective matter. If one listens to the melody and the accompaniment that goes with the song, it’s very clear that the song is in major tonality (sound like it “rests” on DO). After two years of instruction, some of the children that I teach (2nd graders) can not only hear the difference between mixolydian and major, but also identify unfamiliar songs as mixolydian or major. What’s this say if our leading music educators can’t do what 2nd grade children can? It says to me that we music educators have been trained to understand music theory, not to understand music. Notation is only supposed to be a reminder of what we already can hear in our minds. It’s incomplete.

I can go on, but can you hear where I’m going?

Tell me I’m not crazy.