Some of the most powerful moments in music occur when the song or piece shifts from one key to another, or modulates. A modulation usually takes the melody higher, and the trip to the new key can be as brief or extended as the composer chooses. It is a tricky technique that will take a lot of practice to master.
This is probably why Autotune infuriates so many serious musicians: those variations in pitch aren’t mistakes in the performance; they are the performance. If you clean up those “errors” and quantize everything to the “correct” pitches, all you’re left with is dry, robotic music.
How do I know if a piano is worth restoring or not? We posed this, and other questions, to a piano restoration expert.
Notes on a page are not music. We musicians sometimes need to be reminded of this. It’s easy to lapse into an autopilot practice regimen, in which you sit down and play your sheet music for a half hour without ever really hearing the sounds you’re making.
In the hands of a master, difficult things look effortless. This is especially true for music, and it’s especially true for conductors. But anyone who’s ever stood before an entire orchestra that’s waiting on your cue—whose fate is in your baton—knows it’s no easy task.
Jim Oshinsky believes that every musician should improvise from the start, but that’s not usually the case.
As a partner at the Dallas School of Music (DSM) and one of the founders of the online music site Discover Learn Play (DLP) I get lots of questions about practicing, especially when new students begin at DSM, or online at DLP. Parents want to know how long their kids should practice each day and adult learners are anxious […]