What Is the Best Age to Begin Singing Lessons?

There is a difference between formal vocal lessons and singing for fun. Singing in childhood helps to develop aural and rhythm skills. I started singing to my children invitro and never stopped. They could sing in harmony by age three. By five my youngest had developed an amazing sense of pitch and could play an instrument by just picking it up and blowing the correct notes. Singing helped them develop a great sense of pitch and rhythm. (Steady beat is one of the most important skills children should develop.)* I also believe it also helped with creativity.

For formal lessons on average, (for most children,) age 11 is a great time to develop proper vocal skills. The voice cannot be pushed though as it does not fully develop until late teens or early twenties.

Having said this, proper singing can be developed at any age. I have students that did not start lessons until mid to late adulthood and have developed to a high level. So age 11, in my opinion, would be the earliest to begin formal training.

Performing in musicals, singing in school choirs, taking lessons and possibly working toward competitions are all important.

Several of my voice/choir/theatre students have gone on to perform on Broadway and one has a Tony. One of my students is a prolific folk singer and has many awards and albums to her credit. I have had students go on into opera and perform at La Scala or the Met.  Several are musical theatre/pop/jazz/blues singers and instrumentalists and make a great living doing what they love.

Music reading is so important if a student is serious about being a singer. Developing a sense of pitch, intonation, breath support, tessitura, and rhythm are all important. However, being able to read those rhythms, pitches, dynamics, languages and other symbols are key to being a good musician.  I highly recommend serious students study voice and another instrument like piano, guitar or both in order to learn to read music, understand music theory and truly become a fine musician.

Laurie Beth Frick

*Steady beat – Researchers link ability to keep a beat to reading and language skills

https://news.northwestern.edu/stories/2013/09/the-importance-of-keeping-the-beat/

Practice by taking a break!

I am fascinated by how the brain learns. I recently read an article in Scientific American that explained a simple concept but one that I know works. They referenced how a pianist practices a piece of music. Then detailed that if you work on a passage for a short while and then rest your brain by doing something completely different, the brain will continue to work on the concepts.

This is an interesting way to view how you practice for both voice and piano. Long practice hours are not as efficient as short bursts of repetitive practice, resting the brain then returning.

After working on a piece for a short while and then going to put on a load of laundry, I find that I am silently singing the passages over and over in my brain. The studies they referenced show that the brain actually works on the passages 25 times faster than in actual practice.

Wow – the phrase “less is more” really comes into play here.  The next time you practice, sing or play a few passages over and over working for accuracy of rhythms, notes, intonation, phrasing, dynamics, etc. Take  a short amount of music at a time (chunking) the phrases.(See “The Art of Practicing” blog that I posted earlier. https://lauriebethfrick.com/?p=424  Then go do something else for a few minutes. Come back later and repeat. When you return for the next practice session, you should find that the music is easier and more accurate than during the previous session.  Practice might “make perfect” but “taking a short break” in the middle of practice sessions increases and speeds up learning.

Reference article: Scientific American July 7, 2021

https://www.scientificamerican.com/podcast/episode/your-brain-does-something-amazing-between-bouts-of-intense-learning/

Laurie Beth Frick

Piano Purchase Tips 101 or “What Should I Buy?”

 

  As the K-12 music supervisor for a school system in Michigan for several decades, I purchased, kept the inventory and maintained (with our tuner) all of the pianos for the district. They ranged from grands, to uprights to electronic pianos for our high school piano labs. In total, I would guess that I have purchased/inventoried over 200 pianos.

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I tell you all of this my readers, so you understand that I have some background in piano purchases and also an understanding of most of the brands and types of pianos and keyboards. I hope I do not give you “too much information” as my husband is fond of saying when I go on and on about a subject. However, I have been asked numerous times to recommend a type of piano for my students. So here are my Piano Tips 101.

Tip #1 – A piano keyboard has 88 keys. No matter what you purchase, you should always go with 88 keys. (61 or 76 keys are not appropriate for a pianist.) Composers can use the smaller keyboards as controllers. Not pianists.

Tip #2 – The instrument needs to be “touch sensitive.” “Are the keys ticklish?” you ask. Well, you can tickle the ivories, but new pianos do not have ivory keys like pianos made before 1940.  They are made of plastic (which a good thing for the elephants.) Touch sensitive means there should be weight to the key and it should have depth. You should be able to play soft, medium and loud. Light keys will not build the strength in the hands needed to be a good pianist

Tip #3 Please do not purchase a used piano from a private party without having a tuner accompany you to check it out. If the sound board is cracked, the piano will never stay in tune. It will drive you crazy and me crazier and you will end up tossing the piano. It is worth the $100-120 to check out the piano. Remember you will also have to pay to move the piano unless you purchase from a reputable dealer. Then moving it is included in the price.

Tip #4  Never put a piano in a damp basement. Again, it will not stay in tune or it will rust out.

Tip #5 Acoustic (real) pianos are the way to go if you have the space and can afford a really nice instrument. The action (for building hand strength) and sound are worth the expense.

Tip #5 Acoustic (real) pianos are heavy to move and you usually need a mover to move them. (Unless you know two or three burly guys with large muscles, a dolly, a ramp and a van. They should also be insured so you might as well hire a piano moving company.) Acoustic pianos also need to be tuned once to twice per year. (Tunings range approximately  from $100-140. If you have the instrument “voiced” add a little more. However, there is no other action like a beautiful grand piano or new console/upright if you can afford it.

Tip #6 Some electronic pianos like my Kawai have nice actions and are a good electronic keyboard. They are pricey when purchased new and you will spend as much as you would on a new acoustic piano. However, they are lighter to move and never need tuning. You can also hook a computer to them and use software to compose. They have tons of bells and whistles such as changing keys. (Great for vocalists.) Built in metronome, headphones capability and varied instruments sounds are also included. Many can also record. They have come a long, long way from my Ainsley Dinatone. The touch of higher end electronic pianos is very much like an acoustic spinet piano. (I actually used my new Kawai CA79 to record/video the “Maple Leaf Rag” on my Youtube channel – Laurie Beth Frick)

Tip #7 For student beginners, either an electronic piano with 88 keys that is touch sensitive or an acoustic piano that stays in tune are both great options. Someone that is serious about playing well or professionally always needs the action of a good quality acoustic piano to build hand strength.

I have not mentioned brands other than the ones that I owned.

  • There are low end used acoustic and electronic pianos (a few hundred dollars) to high end new pianos. ($200,000+) and everything in between.
  • Most new acoustic console pianos run $4000-9000.   “Good used” console pianos are always much less expensive ($1000 +) but again be very careful to check out the piano. Pianos that are listed for free should usually be avoided.
  • Inexpensive keyboards ($200-400) are usually not appropriate for a beginning pianist, but can be used for the first year to see if they wish to continue. They are also great for college dorm rooms.
  • Good new electronic pianos with cases, pedals, benches run $2500-4,000 new.  Sometimes you can find a great price (under $1000) on a good used electronic that is not very old. (An option is to place this electronic piano in a bedroom with headphones as it is compact and great for quiet practice.)
  • New grands can run $20,000 and up. (The lower end is for the “baby grand” around 5 feet.)  Higher end grand pianos are in the $75,000-200,000 range. (They range from 5’7”to the 9’concert grand)  You can purchase many of these pianos used for a third of the price of a new piano, but make certain they are in great shape or reconditioned with new hammers, strings etc. Remember, you get what you pay for.
  • Acoustic Pianos will usually hold their value. New pianos do depreciate at first but sometimes you can sell for more than you paid for new and used if held long enough.
  • Electronic pianos lose value. The inner workings are always changing and everyone wants the “latest and greatest” just like a cell phone or computer.

A great acoustic piano is an investment. If you maintain it, it will last 80 or more years. Electronic pianos last about 10 years on average. The cases peel and the actions lose their spring. (I did have a couple of Yamaha Clavinova electronic keyboards in my lab that lasted over 20 years.)

My recommendation is to go with a good piano/keyboard that is within your budget, appropriate for your playing level and fits your space. It is also a piece of furniture so if looks are important to you, then many different finishes, styles and colors are available.

Final Note: Playing a piano is important as the strings and action needs to be exercised.  A piano that is not played and left in a corner totally unloved will stiffen and corrode. (Just as our bodies do if we do not move and take care of ourselves.) Taking lessons at any age is great for the soul and helps to keep your brain young. Love your piano and play it often. It will reward you with the enjoyment of making music for a lifetime.

Laurie Beth Frick

Music Practice & Discipline

When I think about discipline, I suppose what comes to mind is a routine that balances home life, family, job or school. In order to keep everything running smoothly, order is in place rather than chaos. Discipline is: following through with commitments; always be trustworthy; finding time to meet everyone’s needs; turning in homework or reports on time; not being lazy; establishing a time (routine) for everything important.  I could go on and on. Most people struggle with this balance. However, study after study has shown that MPBD “music practice builds discipline.”

From my perspective, discipline for me happened organically. Day after day, year after year, I would practice and then start my homework. This became my routine. It became part of me. After I left for college at age 17, I had morphed into a disciplined person. I thank my mom for encouraging and supporting me. Without her gentle reminder to “go practice” and her always telling me how much she loved to hear me play or sing, I am not certain that I would have accomplished as much as I did.  As a kid you are pulled in so many directions. I am glad that I was pulled toward the right one.

Practicing takes concentration and mental discipline. It is hard work that takes many, many hours of concerted effort. Learning to play or sing at a high level is a slow process. However, it gets easier and easier and more and more fun. You find that you can get your hands working together. You can figure out the rhythms. You can play or sing those triplets evenly. You can play those chordal patterns or sing those large jumps.  Over and over, you chunk those musical sections. Over and over, you finger those passages hands alone, then together. Over and over, you practice your technique. They say it takes 2000 hours of practice to become an expert in a subject. Those 2000 hours of music practice also develops discipline. Every hour counts.

Discipline is built one day at a time, one song at a time. “MPBD”

To all parents of budding musicians, remember the best thing you can do is support and encourage your child. Music has so many positive effects on all of us. (Building self-esteem, increased mental acuity, math and reading skills, and of course, it builds discipline.) You can help magnify those effects by being involved. Listen, help and support your child’s music study. They need your encouragement!

To any adult reading this, continue to practice your craft. and/or start to grow as a musician. Dig that clarinet or trumpet out of the closet. Dust off your piano. Practice vocal warm ups and sing those songs that you love. Take lessons!  It will help you de-stress and recharge. Not to mention that reading music keeps your brain healthy and active. My next T-shirt is going to read:

“Music Study is a Natural Alzheimer’s Deterrent”

See the source image

Laurie Beth Frick

MINOR KEYS (NOT FOR THE FAINT OF HEART)

I promised that I would follow up with a blog about minor keys. I hope that you remember how to find the major key in a song. (Please re-read the blog from two weeks ago if you need to refresh your memory.) However, here is a brief reminder: the last sharp to the right is the 7th scale tone. Go up ½ step to find the major key (this works for #’s only.) For b’s, just go to the second flat from the right and name it.

What is a minor key you ask? Composers write music to evoke emotion in the listener and performer. To make a song sound sad or pensive, a minor scale can be used. The 3rd note of the minor scale is a minor 3rd (3 half steps) above the key note instead of a major third. (4 half steps). This “lowered” third sounds darker and is used in many cultures to express a feeling or emotion. It is also used in jazz or the blues.

Keep reading if you dare….

Ok, so a minor key has the same key signature as its relative major key. If there are 3 flats in the major, there are 3 flats in the relative minor.  However, the minor scale starts 3 half steps below the first note of the major scale. Another way of saying this is: the minor scale starts on the 6th scale tone of the major scale. Are you confused yet? I thought you might be so, keep reading at your own risk…

Let’s look at this in depth:

See the source image

C major has no sharps or flats right? The relative minor of C major is: A minor.

They both have the same key signature. However, A minor begins on A instead of C.

So to find out if the song is in a minor key or a major key, look at the last note of the song.

Remember that 99.999% of the time, it ends on the first note of the scale. So if the song ends on A and has no sharps or flats in the key signature, then it is in A minor.

There are three forms of the “relative” minor:  natural minor, harmonic minor and melodic minor. “Relative” means same key signature. (Of course, it could also mean your cousin, your aunt or your little sister.)  

The natural minor is the same scale as the major but it just starts on the minor note.

The harmonic minor has a raised 7th. So in A minor, there is a G#.

The melodic minor has a raised 6th and 7th scale tone ascending. So in A minor you raise the F# and G#. However, the descending scale is the natural minor. (no additional accidentals.)

Many people need to see the scale to understand these concepts. Look at each scales and you should see the differences between the 3 forms of the minor scales.

THIS IS THE NATURAL MINOR – NO ADDITIONAL SHARPS OR FLATS OTHER THAN THOSE IN THE KEY SIGNATURE.

RAISE THE 7TH SCALE TONE IN HARMONIC MINOR

RAISE THE 6TH & 7TH SCALE TONES IN MELODIC MINOR SCALES.

Note:  Remember that for the melodic minor scale, when descending, you play the natural minor scale.

Final note for people that have read this far and really like the feeling of hitting their head against a wall – There are also scales called “parallel majors and minors.” They have different key signatures but start on the same note. Like C major and C minor. One has no sharps or flats and the other has 3 flats and is related to Eb major.

 (I will stop now as too much information can cause you to over-eat jelly beans this weekend! Oh, that was me while writing this blog 🙂

See the source image

As always, have fun when practicing and remember to listen to your own performance. After all, whether written in a major or a minor key, music is to be heard, it is not just notes on a page.

Laurie Beth Frick

What Kind of Music Do You Like?

I have often wondered why someone is drawn to a particular kind of music. What has played the largest role in musical development? One’s Culture? Family traditions? Introduction to a type of music as a child? The musical influences from friends?  School music programs? Church upbringing? Private Musical training? etc.

Why does someone seek rap over country, classic rock over soul, classical over hip hop, or Broadway over pop?

I personally love many genres. I am told this is not true with the majority of people.  My musical taste changes on almost a day basis depending upon my mood. I switch between classical (both instrumental and vocal), pop, Broadway, folk rock, jazz, Latin and country almost daily. However, I do not like hip hop, rap (except “Hamilton”) or metal.  

What types of music do you like? Why do you think that you are drawn to these genres? (types of music).  Why do you think you developed an interest or passion for a certain kind of music?  I would love to know your thoughts.

Best,

Laurie Beth Frick

MAJOR KEY DETECTIVE GAME

or “What Key Am I Playing In?”

When I was first learning to sing and play the piano, I would look at a piece of music and get overwhelmed as to how to figure out the key signature. For those of you unfamiliar with this term, the key signature is basically the scale (or series of consecutive notes) that the piece is written in. The composer adds raised notes (sharps – #) or lowered notes (flats – b ) to help you know which keys to play or sing. The key signature comes at the beginning of the piece right after the clef sign. (Treble clef, or Bass clef).  There are other clefs but not for voice or piano.

Question: Ok. So how do you figure out this important but somewhat elusive scale?

Answer: Look at the last note of the piece. “Really?” “YES!” “Why?” Well, 99.99999% of pieces end on the first note of the scale that the piece is written in.  “Ok, then what do you do?”

Go back and look at the key signature. Sometimes there are no accidentals (#, b) so the piece is in C major or the relative minor which is “A” minor.   Adulting is hard but being a kid = so much harder!

“But what IF there ARE #’s or b’s!!!@%!!”     I would get really upset.

“Don’t cry Laurie” I might tell my young self.  I can explain but it will require being a detective and playing the MAJOR KEY DETECTIVE GAME!!  (Cue HERO music!)

Note: Now, review the lines & spaces of the treble clef to play along.

(Spaces – FACE  /  Lines – EGBDF)

FOR MAJOR SHARP KEYS – Remember, look at the last note of the piece. Then look at the key signature. If there are sharps – (#), then go to the last sharp to the right. Go up ½ step to the next key and name it. Does it match the last note? If so, that is the first note and name of the key/scale.  If not, it is the relative minor. (I will explain minors in another blog.) Can you find the answer?

Answer:  the last sharp to the right is on the 4th line of the treble staff so it is D#. Go up ½ step to E. That is the major key. (E major) See if it matches the last note of the song. Did you find it?

FOR MAJOR FLAT KEYS – If there are flats – (b) in the key signature, then the second flat from the right is the name of the key (if a major key.) Just name it.  Does it match the last note? Great! If not then it is also the relative minor key.  What is the answer?

Answer:  There are 3 flats. The second flat from the right is Eb. Is the last note an Eb? If so, that is the scale the piece was composed in and there are 3 flats. EASY PEASY.  You are now a: Drum Roll –               “MAJOR KEY DETECTIVE!”                   Thanks for playing. 😊

Laurie Beth Frick

The Art of Practicing

The Art of Practicing

“Practice Makes Perfect” & “Practice, Practice, Practice.” We have all heard variations on these expressions.   Practicing takes time, effort and patience. 

So how do you practice a piece to get the most out of the session in the least amount of time and also see progress?

It took me years to really understand this process.  My husband is in the technology field. There is an expression that asks, “How do you eat an elephant?” Answer: “One bite at a time!”  This is such a great analogy for practicing.  I call this process “chunking it” as that is how I approach a piece.

After sight reading through the selection, I go back and take small sections. I work for notes, rhythms articulations, phrasing, etc. I might work on a two-measure phrase for 10 minutes. However, at the end of that time, I know those two measures backwards and forwards. I know it in my fingers, in my head and in my heart and soul.

Now putting that difficult passage into the rest of the piece takes time and work. However, if you play through the mistakes and not stop to correct them immediately, it takes so much more time to undo the damage. Learning it correctly the first time saves hours and hours of what I call “backwards practice.”

Definition of: Backwards Practice: learning a passage “incorrectly” and then having to “unlearn it.” Such a time waster!  The connections in your brain have been wired incorrectly and now have to be rewired! That takes so much more time and effort.  Imagine if you did that while building a house. You would be wiring incorrectly and then having to tear everything out and then redo it! Thank goodness you can not set your brain on fire while practicing incorrectly. However, it still would be frustrating, time consuming and not fun!

So the next time you start a new piece, take it in very small sections and learn it correctly. Trust me, you will learn it in 1/10th of the time and enjoy the process so much more.  So, I will “practice what I preach” and “chunk” my next performance piece. I post a new piece on YouTube every Friday so I had better get to work!

Laurie Beth Frick – YouTube  (click for hyperlink)

Music Sight-Reading Game

The Music Sight-Reading Game

When I was in high school, I was a pretty decent pianist. However, I was not a great sight-reader. I remember being asked to accompany the choir during one of our rehearsals. I had never seen the score before and I was overwhelmed with trying to keep up with the conductor.

When I was accepted as a piano performance major to the University of Michigan, I took a sight-reading class by the renown Karen Keys. (Such a great name for a pianist!) I learned that you never look at where you are, but rather where you are going. You also read intervals (not notes) and rhythms simultaneously. As a teen, I tried to understand this “method.” It took quite a while but it finally kicked in. I treated the method as if it were “a game.” I spent a great deal of time trying to “win” against myself. I actually hear the music before I play it now so that it moves along without mistakes or pauses.

Personal note: When I first met my husband, he said that I sight-read music better than most people in the world played. I will always thank Professor Keys and my own belief that I could learn this skill/game.) It was also incredibly useful during my many years teaching in public education while accompanying for my choirs, soloists, musicals, etc.

So, here are the rules to begin the LBF Sight-reading Game:

  • chose a piece one or two levels below what you can presently play well. Look at the key signature.

Note: (I have made several of my students take the key signature “oath.” It goes something like this: “I promise to always look at the key signature before starting to play a piece, so help me.” (I always answer, “Yes, I promise I will help you.” I know, bad music teacher humor.) 

  • Now, study the piece for large intervals, complex rhythms or weird symbols. (i.e. characters that might jump out at you unexpectedly!) cue: scary music
  • Review any key changes, meter changes or clef changes.
  • After a few minutes of this, start counting a slow tempo. You do not need to play “up to tempo” when sight-reading at first. However, you do need to “keep the tempo” and play all the way through the piece. If you make a mistake, keep counting and just skip the one, two or three beats of notes that you missed. You can come back and work on the piece later.

I promise if you do this consistently and keep your eyes moving at least one or two beats ahead, you should grow in your sight-reading abilities. This method also helps you to learn your repertoire much faster. You should spend much less time practicing the same pieces over and over and be able to learn many more pieces. Oh, and remember to have fun!  After all it is “just a game.” 😊

Laurie Beth Frick

Sea Chanties & the Pandemic

Sea Chanties & the Pandemic

I was the choral director at a high school in Birmingham, Michigan. The men always sang at the concerts and they almost always begged for a sea chanty, comedic song or folk tune. “Drunkin’ Sailor” was a favorite. When I think about how the guys bonded over these tunes, I am starting to realize why ‘Sea Chanties” have become so popular for guys on sites like TikTok.  They invoke the feeling of togetherness, being on the high seas or just being able to express themselves musically and with abandon come to mind.

Music brings people together and helps them feel a part of something larger than themselves. Comradery is missing during periods of isolation and singing with one’s “mates” no matter how off key or loud is freeing.

Hearing all of those male voices singing together and having fun is an experience that I miss. Of course, my guys sang in four-part harmony, totally on pitch and with proper diction. That part is missing from TikTok. Oh well.

Singing & the Brain

WHY SINGING MAKES YOU HAPPY & LESS STRESSED

 I have often heard my voice students say that they love to sing and that singing makes them happy.   I have wondered about this for many years as I feel the same way. What is it about opening your mouth and emitting a musical sound that can change your mood and elicit such a response?

The very act of taking a deep breath and controlling it as you exhale is a known method to help the body relax. Try it. Take a breath to the count of 2, then slowly exhale to the count of 6. Repeat. As you do this tighten your tummy muscles so that the air does not go out quickly but is released in a slow, smooth exhalation. Now do this while singing one tone anywhere in your speaking range, but on a pitch.

For centuries, people have used this technique to meditate. Cultures all around the world have used either the breath or a controlled tone to actually change the brain waves and this helps them relax and go deeper into their consciousness. (I have personally practiced T.M “transcendental meditation” for decades and understand the benefits.)

I have degrees in music performance, music education and also in counseling. The brain is so amazing and we have so little knowledge of everything that it can achieve.   My belief is that the simple act of learning to control the breath while singing, can do so much for our stress relief, physical health and also give us clarity to help us achieve our life goals. Singing is probably one of the healthiest and happiest activities on earth!  

(Music & the Brain)

Your Brain & Playing Music

So it has been shown that the benefits of playing music help your brain more than any other activity. Learning a language is good but does not use as much of the brain. Playing word games is also good but again, not as much brain matter is used at the same time.

I tried to figure out why study after study has shown this to be true. If you think about it, you are actually doing a zillion things at one time when you play a musical instrument. You are reading rhythms, figuring out the notes, applying the fingering, reading the tempos and articulations, applying the dynamics and using your arms, breathing or hands to create the sound. In addition, you are making split second decisions all while trying to create an artistic or musical sound.

At this point in my life, it is just second nature and a part of me. The music written on the page is pretty much like I am reading a wonderful book and getting involved in the plot but also adding my part of the story. I would love to share this feeling with everyone. It is pretty cool!

Laurie Beth Frick