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I have a similar problem. In my public speaking class the advice I received from everyone was that I didn't speak loud enough, even when I thought I was speaking loud and clear with confidence. I'm currently reading Set Your Voice Free by Roger Love. It's a fantastic book. I haven't gotten to the exercises yet, but have learned so much already! Here's an interesting fact:
> The human voice is set up to speak or sing twenty-four hours a day without getting hoarse or strained or creating any physical problems. If yours can't, it's because you're doing something wrong. [page 11]
I highly recommend this book! I initially got it from the library, but purchased it from Amazon because the library book didn't have the accompanying CD.
In college we were taught to sight-read everything we could get our hands on, and never read anything more than once (unless we were preparing a piece for performance).
We also separated note and rhythm reading by creating random note exercises (all quarter notes, literally written on the page randomly so there was no musical pattern we could predict by ear. Then when you’ve read them once, turn them upside down and they become new exercises. Trade with friends.
Reading rhythms only by playing a single note or clapping helps you learn to read rhythms without worrying about notes.
Paul Hindemith’s Elementary Training for Musicians is an excellent resource as well (pay no attention to the part where he says that if you can’t do these exercise by the time you’re a teenager you should find another career :-)). Exercise from this book were used in our sight singing exams.
All of the above should be a part of your daily practice.
Good luck!
if you are up to dig deeper in the classical western harmony, I would recommend Aldwell - Harmony and Voice Leading (https://www.amazon.com/Harmony-Voice-Leading-Edward-Aldwell/dp/0495189758). it's a bit too classical but that's a great book to learn all nuances about how western harmony works and how to create beautiful lines like great masters do
The text we've used for years is Robert Ottman's
https://www.amazon.com/Music-Sight-Singing-Robert-Ottman/dp/0131872346
If they don't have basic note reading proficiency, they're probably not going to get accepted.
Now, "opposite clef" reading can be shaky for many. That's done in Theory class and Group Piano class.
Transposition is covered in Theory too, though later again in specialized courses like Marching Band Techniques, Conducting, Methods courses (which all reinforce alternate clef reading too).
>would you require that they re-learn movable do
Yes. They'll have to or they'll likely fail the class.
Some people audition with "1 2 3" but they generally use "moveable 1" and just use numbers. A few sing note names, and a few will just sing on "la" or something, but ultimately, to pass the class you're going to have sing Moveable do.
I’ve been really working on enhancing everything about my singing and happened across “The Voice Book”.
I’m only a couple chapters in but they give pics and exercises for posture and supporting your voice. Just a couple minor changes to my stance and I can immediately see/feel/hear the difference in my voice.
Below is the link for it on Amazon. Hope it helps!
The Voice Book: Caring For, Protecting, and Improving Your Voice https://www.amazon.com/dp/1556528299/ref=cm_sw_r_cp_api_i_xEGoDbJ4RPZ2V
The one regret that I have about my undergrad music education is that I didn't get to take Baroque Counterpoint. But I did study Renaissance (species) counterpoint.
The Baroque Counterpoint course at my alma mater used Keenan's text.
I can also see that this is another text that people recommend.
Fux is essential, Kennan's book is also pretty great.
It may help to get hold of an aural training or sight singing book used at university departments. Something like this is affordable and will give you a structured method: https://www.amazon.com/Music-Sight-Singing-Robert-Ottman/dp/0131872346
>I received a degree in music composition a few years ago, but we actually didn't delve very deep into Schenkarian Analysis in the program (in fact we barely glossed over it). There was one class on Form and Analysis, but I wish they had offered like 4 to be honest because I think it's immensely important.
This was my experience in undergrad too. It was not until I started my Master's that we got into Schenkerian analysis and substantial discussions on form. I teach my undergrads sonata theory and Schenker lite because I feel that would have helped me when I was doing my Bachelor's.
> You mentioned focusing on theme types, and I think that's a very good call. There are two major things I'm focusing on right now that I feel is a major shortcoming of mine: making distinctly different parts sound cohesive, and having long term harmonic goals. There are tons of other things I also need to improve, but this is my focus for now.
Yeah. The first chapter of Caplin: Classical Form is on Google Books. Being aware of melodic shape is also a good idea. I recommend the first chapter of Kennan: Counterpoint to get you started. Of course, composition is a laboratory and you'll do the majority of your learning by doing.
Yes it does, but you would have to study harmony a bit more first. Take lessons or read the excellent 'Harmony and Voice Leading' by Aldwell and Schachter: https://www.amazon.com/Harmony-Voice-Leading-Edward-Aldwell/dp/0495189758
Good luck!
The whole major=happy/minor=sad is too simplistic and too black & white in my opinion. I think it's just an easy way to describe it when your starting out with music. Of course minor has more dissonance since the third is closer to the (unstable) 2nd/super tonic and the major third neighbours the perfect fourth, which gives the feeling of moving towards a stable sound. But there are still plenty of happy songs in minor and vice versa.
I found the book Harmony and Voice Leading to have some interesting info about this discussion.
Good advice--but if you are interested in music theory, have a look at Paul Hindemith's Elementary Training for Musicians:
>Paul Hindemith was one of the 20th Century's preeminent composers, and was also known as a superb teacher. This book is not a textbook on harmony or composition. Rather, it is a collection of exercises intended to develop basic musicianship skills, including note-reading, and rhythmic and melodic sight-singing and dictation. The exercises start off deceptively simple and increase rapidly in difficulty. For example, a typical rhythmic exercise might have two separate rhythmic lines to be performed by each hand tapping, or by singing one of the lines and clapping or tapping the other. Melodic exercises are often accompanied by a contrasting rhythm line. Exercises are presented in alto and tenor clefs as well as the more usual bass and treble. Determination is the key to success with this book. Many of the exercises must be practiced assiduously--slowly at first, then faster as skill improves. Anyone who completes at least half the book will have improved his or her musicianship level significantly.
Another fun, painless way to practice reading music again is to watch Youtube videos with sheet music graphics. The more you practice, the more you'll see in them--choose the pieces you like best, and work entirely at your own pace. Good luck and happy listening!
Memory Lane is a fun song to play that took a little while for me to learn. The version I learned is from this songbook Elliott Smith Songbook https://www.amazon.com/dp/1423440137/ref=cm_sw_r_cp_awd_A4I3wbV3DB693
Sorry about your teacher.
WTC is awesome - maybe don't go THROUGH it per se, since the level of difficulty vary a lot. The Inventions and Sinfonias are a bit more consistent, and I think they're at a great level to practice bringing each line out, which is really the point.
As for getting comfortable with counterpoint in general, The Riemenschneider is essential. There are 69 chorales at the end for which only the figured bass is provided and you have to improvise the other three parts. It can be tough at first, but your musicianship will skyrocket if you can get the hang of it.
I was actually just recently made aware of the Lomax songbook while looking into the history of I Know You Rider... Trying to decide whether I want a kindle version or a $$ hardbound or both. I know what I am doing in 2016...
Ottman Music for Sight Singing and Edlund Modus Novus (for atonal sight singing) is what they used with us in school and it did a lot for me.
Voice is something that you can totally work on. You can sign up for a signing classes, or voice classes, and voice coaches. There is a ton of resources on the web. I can recommend this book as well: http://www.amazon.co.uk/gp/product/0316441589 (the paper version includes a CD with exercises).
The good news is that if you have a weak voice, it might be very easy to improve with just a few exercises and a few sessions. Squeaky voice would be harder to improve, but still doable.
As for the confidence - if you can afford it, check out counselling / therapy. It can do wonders, and as a 32 year old one of my biggest regrets was not going to a therapy 10 years ago...
Just remember - both with working on your voice, and on your self-esteem, that it's all about finding the right way to work on that. You might have to go through a few books/coaches/exercises before you find the one that fixes you. Too many people try just one and say: "oh, reading/therapy/exercises are not for me".
Three final confidence boosters I'd add - dance (Salsa, Tango, whatnot), yoga, and learning public speaking (see Toastmasters). Those things will teach you to be in control. And if you can move or speak, it doesn't matter how tall you are. (I wouldn't recommend gym - gym may boost your confidence, but might not improve your social skills, whereas dancing and speaking will!)
for general music theory, you want this book, which for some reason is very difficult to find for sale online: