according to the fundamentals of the Music Learning Theory and the practical application of a technique for the method (Jump Right In), children learn music in much the same way as they learn a language. although not entirely the same, by teaching patterns of sound with context, a child will have much more success in music than the current standards of teaching. for example, would you ever try to teach a 6 month old baby to read the alphabet before reading words before they could imitate sound for themselves? no!!! of course not, that idea is ludicrous. however, that's what's happening with music these days: students learn 3 notes the first week, with no context or reference to familiar music or sounds (unless their music teacher is particularly savvy). a "scale" is no more useful to music than the alphabet is to language.
back on topic of patterns having little to do with language... check out the music learning theory (ed gordon, richard grunow, chris azzara). there are tonal patterns which are separate from rhythm patterns. these patterns are based on the most basic aural knowledge of western music (tonic/dominant - macro/microbeats). children, who learn these patterns before embarking on learning a musical instrument, are much more proficient on the four vocabularies of music.
please check http://www.giml.org, and more specifically http://www.giml.org/methodology.html for a more thorough explanation of the importance of patterns in musical success.
are you joking? time to enroll in Theory 101.
(for the record, a phrygian cadence is iv6 - V. not an augmented 6 chord, because the first inversion subdominant is diatonic)
well that is certainly an original idea... (sarcasm implied) maybe your teacher has even heard of different types of "periods?" how about a parallel interrupted period? that's when the first phrase ends in a half cadence, and the second phrase - which in a parallel period is similar to the first - starts in tonic and ends in tonic. then there's the parallel progressive period where the final phrase modulates (or tonicizes) a new tonality with a deceptive cadence.
indeed, this needs not apply to small periods (sentences), but can even apply on a much larger scale to sections (paragraphs) where the first and last section contain similar material while the second section is more developmental in nature. for example, a da capo aria has the form A-B-A (intro, development, closing paragraph of an essay). these are common pieces of knowledge for trained musicians, so please don't attribute these trivial pneumonic devices to your teacher.
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according to the fundamentals of the Music Learning Theory and the practical application of a technique for the method (Jump Right In), children learn music in much the same way as they learn a language. although not entirely the same, by teaching patterns of sound with context, a child will have much more success in music than the current standards of teaching. for example, would you ever try to teach a 6 month old baby to read the alphabet before reading words before they could imitate sound for themselves? no!!! of course not, that idea is ludicrous. however, that's what's happening with music these days: students learn 3 notes the first week, with no context or reference to familiar music or sounds (unless their music teacher is particularly savvy). a "scale" is no more useful to music than the alphabet is to language.
back on topic of patterns having little to do with language... check out the music learning theory (ed gordon, richard grunow, chris azzara). there are tonal patterns which are separate from rhythm patterns. these patterns are based on the most basic aural knowledge of western music (tonic/dominant - macro/microbeats). children, who learn these patterns before embarking on learning a musical instrument, are much more proficient on the four vocabularies of music.
please check http://www.giml.org, and more specifically http://www.giml.org/methodology.html for a more thorough explanation of the importance of patterns in musical success.
are you joking? time to enroll in Theory 101. (for the record, a phrygian cadence is iv6 - V. not an augmented 6 chord, because the first inversion subdominant is diatonic)
well that is certainly an original idea... (sarcasm implied) maybe your teacher has even heard of different types of "periods?" how about a parallel interrupted period? that's when the first phrase ends in a half cadence, and the second phrase - which in a parallel period is similar to the first - starts in tonic and ends in tonic. then there's the parallel progressive period where the final phrase modulates (or tonicizes) a new tonality with a deceptive cadence.
indeed, this needs not apply to small periods (sentences), but can even apply on a much larger scale to sections (paragraphs) where the first and last section contain similar material while the second section is more developmental in nature. for example, a da capo aria has the form A-B-A (intro, development, closing paragraph of an essay). these are common pieces of knowledge for trained musicians, so please don't attribute these trivial pneumonic devices to your teacher.