QUESTION OF THE WEEK ARCHIVES - Page 2

Take a look at past questions

12-20-10     This weeks question is from Agatha Joseph of Baton Rouge, Louisiana. 

Q. I need to buy a keyboard to practice on. I don't have a clue what to buy. What brand is best? How many keys do I need? What should I expect to pay?

A. Well my sister, you sound like a smart shopper. You are asking the right questions. I will try to give you some basic things to look for.

- Keyboards are a lot like cars. There are economy and luxury models. And most do basically the same as others in the same price range. I am assuming you want a low end model to practice on. The most popular low end brands are "Yamaha" and "Casio". They both are sturdy and have a good sound for rock bottom prices. You can find them in any music store and in a lot of electronics store. There is more selection and the prices are generally lower in a music store (Although "Sams Warehouse" occasionally beats everybody). If you are buying a high end one for your church or group, the most popular brands are "Korg", "Roland", and "Yamaha". I have a Yamaha "Motif" at my church. But a lot of musicians like the Korg "Triton" and the Roland "Fantom".

- Unless you are a classical musician, a full 88 keys will not make or break you. I personally like 88 keys because I prefer piano over organ, and a full keyboard just makes me feel at home. But 77 keys are just fine. Don't sweat it.

- For a low end Yamaha or Casio, expect to pay $200-$500. Any lower and they start to sound cheap like a toy. Your main cost for your keyboard is for computer memory. It is a computer, and the more memory it has, the richer it sounds...and the more it costs. A luxury model like a Motif, Triton, or Fantom will cost about $1800-$2400. A "workstation" or a "sequencer" on board will make it cost a lot more. These tools are not necessary unless you are a serious programmer. I hope this helps. If you have any other questions, let me know.

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12-13-10     This weeks question is from Sherita Hamilton of Colorado Springs, Colorado. 

Q. "I get so nervous when I play in front of people. It makes me mess up, even on songs that I do well at home. Is there anything I can do?"

A.  Good observation, Sherita. I lot of people play with anxiety. But it is a musician's worst enemy. A lot of my students learn early that they often play a song well at home, only to "fall apart" when they get in front of the teacher. Here are a few tools I give to them. They can help you too.

- Catch it early. Once anxiety gets it's hooks in you, it's harder to shake. As soon as you feel it, even on a subtle level, take a deep breath and relax your shoulders. That should start the relaxation process. In about 30 seconds, you should start noticing fewer mistakes. Place a piece of paper on the piano to remind you to "check yourself". Over time, you will do "relaxation checks" automatically.

- Watch your hands. Even if you don't "feel" anxious, your hands will tell you the truth. If your hands are "jerky" or shaking, you are anxious. Keep "letting go" until your hands move smoothly and in slow motion (like slo-mo in a movie).  This is a GUARANTEED way to make your body relax.

-  Improve overall coordinaton. A daily dose of the "Fingers that Fly" exercises for a couple of weeks will give you confidence. Make sure you use a metronome or drum beat to keep your precision. Start VERY slowly and gradually speed up. That is called a "gradient" and it is way more effective than straight practice. You will "feel" a difference in a couple of days.

- Know your material Playing songs that you don't know well can slowly steal your confidence. Practice your songs until you feel relaxed. Then do it a couple more times.

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12-6-10     This weeks question is from Alton Robinson of San Antonio Texas.

Q.  "Hi Mr. Kenerly. I'm having problems with my left hand bass, especially with songs like "Jesus on the Main Line", "Glory Glory", and other songs that require moving bass lines. How do I improve that, or should I say, have a better "bass hand"?

A.    In order to play fast traditional songs, you must develop good bass lines in the left hand. There are two ways to do it: Alternate bass or "chromatic bass" (sometimes called "running bass" or "walking bass"). Put "Bass", "Basic patterns", or "Common progressions" in the search engine to see video demonstrations of these techniques.

      Another MUST is good left hand coordination. A daily dose of the "Fingers that Fly" exercises for a couple of weeks should get that left hand in shape. Make sure you use a metronome or drum beat to keep your precision. Start VERY slow and gradually speed up. That is called a "gradient" and it is way more effective than straight practice. You will "feel" a difference in a couple of days.

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11-29-10     This weeks question is from Gregory Ingram of Hammond Louisiana. 

Q. He asks, "What is the difference between reading music and music theory".

A. Well Gregory, I can tell you already know something about music. Most people don't even know that there is a difference. We often have people come to KMS and say "I play pretty good, but I don't know what I'm playing. I need to know how to read music".  My reply to that is, "Do you want to understand what you are playing, or do you want to read music"? There are three different ways to play. Each has it's pros and cons. The true professional learns all three.

    -  Reading music is being able to play what is written on the paper. But you may not know what you are playing (theory). If the singer or band deviates in any way, you will be lost if you can't play by ear.

    -  Music theory is understanding how music is put together (Chords, scales, keys, progressions, etc.). But you may or may not be able to read notes from a page. And you may or may not be able to imitate what you hear.

    -  Playing by ear is being able to play what you hear. It could be something recorded, live, or even in your head. But you may or may not understand what you are playing. Most people that play by ear started by being so obsessed that they keep hitting the keys until they find what they want to hear. That is how I first learned. I learned to read music at school in Band and Orchestra. I learned music theory from books and classes at the community college. I now make a living by explaining music theory in everyday language. (They make music theory much harder than it needs to be in college). We also teach note reading and ear-training.

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11-22-10     This weeks question comes from...LOTS OF PEOPLE, EVERYWHERE. This question is asked so often I could have used a hundred different names. But sorting this issue out will make or break you as a musician. Here goes!

Q. I feel that I am not improving the way I'd like to. Are there anything I can do to progress a little faster?

A. There are a several things that determine how fast you progress. I never cease to be amazed at how fast some people progress and how slow others progress. The good news is YES....you can do something about it. The number one thing you can do is change your practice habits. How you practice is more important even than how long you practice.  In January we will start a detailed series that will help you make your practices more productive. In the meantime here are a few things to try.

1. Relax. Anxiety slows your learning process. We will give you relaxation tips in our practice series. (i.e. Watch your hands. They tell you if you are truly relaxed or not).

2. Improve your coordination. Coordinated hands need fewer repititions and have a better "feel". We have excellent classical finger exercises to help you.

3. Learn "Mental Rehearsing".  Go over the notes in your head without playing. It's powerful.

4. Find a place to practice where you can concentrate with few distractions. In a good practice, you will occasionally lose track of time.

5. Break it up. Perfect small chunks of the song. How do you eat an elephant? A forkful at a time.

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11-15-10     This weeks question comes from Robert Freeman of East Orange, New Jersey.

Q. I love the way it sounds when people play with chords in both hands. What is the best way to go from playing chords in one hand to playing chords in both hands?

A. I always liked it too. I set out on a mission to figure it out. It took a while. But when I figured it out...it was way easier than I thought. There are four things that you consistently see.

1. Power chords (1-5, 1-5-7, or 3-7 in the left hand).

2. Stacked chords (Move chords to left hand and "stack" majors with right hand).

3. 9th, 11th, and 13th chords from scratch.

4. And (believe it or not) copying the same chord in both hands.

    We have covered the first two. Look them up in the search engine. After Christmas we may be a video called, "Building Jazz chords from Scratch". (That is, if you vote for it).

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11-8-10    This weeks question comes from Patricia Kenerly ("Hi Mom") of Springfield Ohio.

Q. How long does it take the average person to learn to play?

A. Good question! And nearly every person that decides to take lessons asks that question. That's why your question was chosen as "Question of the Week".

First of all, I believe that ANY person can play if they have the right teacher. Teachers are different just as doctors or mechanics. Check out their track record.

There are many things that factor into how fast a person learns to play the piano. Here are a few.

- The teacher (as mentioned above).

- The learning method. Note reading takes longer than music theory. The number system is quicker than both. We teach all three.

- Practice time. The person who practices at set regular times learns quicker than the person who "fits it in" when they can.

- Temperment. A person with a relaxed, patient attitude moves way faster than the tense, frustrated person.

With that said, I have seen it take from a few months to several years. We have a guarantee at KMS that if you can't play a song in three months, your lessons are FREE until you do.Check out our videos on "Practicing Tips" to help yourself be one of those who learns in months.

-If you have any music questions, please email us or submit them on our "comments" box below. Don't forget to click the "Archives" link for previous questions. See you next week!!!

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11-1-10     This weeks question comes from Gwen Gray of Fort Worth Texas.

Q.  What is a good age to start children on piano lessons? I have a four year old grandson who really loves music. How and when do I bring out his gift?

A.  Well Gwen, this is a question we get regularly at KMS. However people are the most complex of all God's creations, and there is no simple answer that fits everyone. But I will give you our observations from 20 plus years of teaching piano.

       Children love music as long as it is "fun". However, when it is forced on them they slowly shut down. Eventually the parent gets tired of forcing and takes them out. We normally start children at age 7. If you put too much structure on a toddler, you take the fun out of the music and you lose them. By age 7 they have learned to sit in a classroom, so piano lessons are more natural. If we observe unusual discipline in children younger than 7, we make exceptions. But even then, we watch to make sure they stay engaged. As long as they enjoy it, they thrive. If they "wilt" then it is best to take a break. You may have a genius. Don't snuff it out. Get the child an electronic keyboard and just let them bang. It may sound like noise to you, but it sounds like Carnegie Hall to that child. Don't disturb him when he's in his own little music world. Let the genius develop. But if he looks at you, then join him in the singing or rocking or whatever he is doing. The music will start to take shape over time (especially if you have other musicians in your family line).

        We usually start children with note reading. You can tell note readers, because they want everything written down (so they can see it). But if God has geared them to play by ear, then note reading will bore them to tears. (You can't fight God). If the child is already picking out melodies on her own, that child most likely will play by ear. We teach notes as long as she can stand it, then switch to playing by ear. If she really perks up, then we usually will have an outstanding play by ear musician.

        -If you have any music questions, please email us or submit them on our "comments" box below. Don't forget to click the "Archives" link for previous questions. See you next week!!!

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10-25-10     This weeks question is from Gary Hardeman, from Indianapolis Indiana. He says:

Q.  Is it better to learn to read music or play by ear?

A.   Good question, Gary. Although I could said many names other than Gary. I have been asked this question a hundred times. My answer is this; "Is it better to wear a coat or not wear a coat?" And the answer is, "It depends on where you're going".

      - If you are playing for a traditional Methodist church or any place where they sing from the hymnal, you need to know how to read music. If you are in a traditional Pentecostal church, the hymnal won't help you. Even if the song was there, they would just strike out in a different key anyway.

      - If you were hired to record in the studio, some producers will have music for you to read. Others will want you to play your own way because they like your personal style.

       - If you go to college for music you will need to know how to read music. However, they will accept you and teach you to read even if you are a complete beginner.

       - If someone gives sheet music to the "play by ear" person, he is lost. On the other hand, if the sheet music falls off the piano, or if the sheet music is unavailable, the "reader" is lost. Keep in mind that only the "hits" are put to sheet music. (The publishers only print profitable music).

        So you see, there are advantages to both approaches. Playing by ear normally takes less time to learn than reading music. A "number system" is quicker than both (especially our number system).

         The ideal situation is to learn to read and play by ear. Keep in mind that it takes a lot of time and discipline to pull it off. If you are determined to learn both, it will be easier if you learn to read first. If you can play by ear, you will start to ignore the sheet music once you know how the song goes.

     We generally start children with note reading (they have more time). We start most adults by the number system. If you have been in church all your life, your ear is probably better than you realize. 

        I know that was quite a bit of information, and I could have shared a lot more. If you need more clarification on this subject, just ask.

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10-18-10    This weeks question is from Joe Holmes, from Fort Worth Texas. He says:

Q.   I notice that you mention the "Circle of 4ths" a lot. You make your students practice it a lot. Why is that?

A.   Good question, Joe. And you are absolutely right. I urge people to perfect the Circle of 4ths a because:

        1- If you perfect the Number System and the Circle of 4ths in any key, then I can teach you to play virtually any current contemporary and Praise and worship song in that key in a matter of MINUTES. I regularly teach songs over the phone to people this way. It's awesome.

        2- The Circle of 4th's is the quickest and easiest way to add extra "fill-in" chords to your songs. You will be able to add extra chords any time you get ready.

        3- The Circle of 4ths transitions very easily into jazz. It allows you to quickly play huge two-handed chords very easily.

Note: If you notice, I say "Circle of 4ths" instead of "Circle of 5ths". That's because music naturally moves by 4ths, not 5ths. I promise you; the Circle of 4ths are well worth the study.

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10-11-10     This weeks question is from Dee Dee cooks, from Bryan Texas. She says:

Q.      I have heard that when accompanying a singer/choir to use chords in the right hand and octaves and/or chords in the left hand but when soloing, play chords in the left hand and the melody in the right hand. What is your “take” on this?

A.     What you heard is absolutely correct. It's all about giving proper support to the singer. When "accompanying", you should mainly play chords and let the singer sing the melody without competing with the instrument. If you solo or play the melody, it should be mainly in the intro or in between the singers lines.

          Right hand chords with bass in the left give the best "support" to the soloist. Left hand chords with melody or solos in the right automatically put you out front of the soloist. You can occasionally do it sparingly. But if you do it too long, you clash with the soloist and give the feeling of competing or showing off. (You've heard it before).

-If you have any music questions, email us or submit them on our "Question of the week" link on our Home Page. See you next week!!!

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