Reading Music in Your Comfort Zone

00-42546By Tom Dempsey

As guitarists, for better or worse, we tend to approach the instrument from a visual and/or tactile perspective. We are first introduced to fingerings, grips, diagrams, and other references that we tend to internalize from either one or a combination of these perspectives. As a matter of entry to the instrument this is not necessarily a bad thing. It is in how we approach it as students, and eventually as teachers that allows us to harness the true power of this perspective.

When students first learn how to read music on the guitar there is a tendency to be disconnected from previous knowledge acquired on the instrument. A more effective way to approach reading on the guitar is to connect to prior knowledge or skills acquired. Consider this fingering of the F major scale:


As students practice learning this scale they should also practice reading the scale. This will help to connect the eyes, brain and fingers together so that when you see that first note you will know that it is an F played on the first fret of the 6th string. In doing so students will soon be able to connect something that is familiar, a scale fingering, with something that might be less familiar like reading music. Through making this connection reading music starts to be come a more comfortable experience.

Once a student begins to feel a connection with the scale fingering of the major scale and the notes on the staff, consider presenting a melody found in the “Guitar 101” Book 2:

Guitar 101 Melody

When doing so a connection should be made to the previous F major scale fingering. This allows us to access a certain comfort zone and connect to prior knowledge. Through these types of connections we are able to feel more comfortable and confident reading music on the guitar. Once we start to move up the neck of the guitar learning additional fingerings for our F major scale we can begin to connect to those respective fingerings. In doing so we are now starting to read all over the neck of the guitar. This allows us to have a new level of freedom throughout the entire fret board.

Whether you are trying to look for new strategies to read music or you are searching for new methods to utilize when teaching students to read music consider the following:

1. Make connections to prior knowledge and skills
2. Practice scales while reading the music in an effort to create familiarity through these connections
3. Present reading examples of simple diatonic melodies
4. Connect those melodies to scale fingerings
5. Connect melodies to additional scale fingerings up the neck

When these types of methods are put in place reading music begins to become a less complicated experience. Through connecting to prior knowledge you will begin to read music in your comfort zone.

Tom Dempsey is a New York based jazz guitar performer, recording artist, and educator. He is the author of four books for Alfred Music and the co-author of both volumes of the new Guitar 101 series. Currently Tom is an Associate Professor of Music at LaGuardia Community College as well as an instructor at Jazz at Lincoln Center.

Jazz Ensemble: The 80 percent rule.

Pete BarenBregge

A jazz ensemble should always try to find its energy output “sweet spot.” What does this mean?
The sweet spot is all about playing with efficiency, and how much output or power the band can deliver. When the band can play with dynamics, have a core sound that is focused, deliver blend and balance, hear each other, and ultimately produce a cohesive and full sound as an ensemble—then you have found the sweet spot.

Often, if the band sees a fortissimo dynamic marking, that means they will play as loud as possible, at 100 percent. When that happens, that means every player is maxed out—with no room left for any nuances. In other words, you have nowhere to grow energy-wise, and that’s all you have to offer—you’re done! Instead, when the band plays, they should play at 80 percent. If they play unified attacks and releases, listen to each other, and play together as a unit, they will hardly ever exceed an output level of 80 percent of their potential. Let me be clear, this does not mean playing softer or with less intensity—you can still give 100 percent musically! This also doesn’t mean that the band should never play past the 80 percent level. There will be times when the band exceeds the 80 percent target. If the band is playing together and listening to their section and the ensemble, then every indicated dynamic and nuance and the overall band sound will be totally effective—all with the desired intensity.

Beyond the fact that when players exceed 80 percent output there is no room for nuances, the ensemble sound will be “spread.” This applies to every instrument, including the rhythm section. For example; if the rhythm players are playing too loud / too much, it will sound cluttered and the groove will typically be smothered, which means there is no space. The groove, no matter what the style is, needs some space to breathe. The saxes will be over blowing which will produce intonation problems, a distorted and poor tone, and the players will tire easily. The brass will also have intonation issues, the sound of the horn will be exaggerated, distorted with a wide sound with no center core, and players will definitely tire easily. Combine all that and the ensemble sound is “spread.” We’ve all heard bands do this and it’s not a good sound. Rhythm players will tire easily and wind players may feel tightness in their throat, hurt their ears, and more. It’s like putting the gas pedal to the floor all the time—not practical and not good.

Simply put, avoid over blowing the music. Yes, it’s loud but the sound will not carry to the back of the room because it is so spread. The goal is to back off a bit, get the same intensity, play together as one but with a solid and efficient tone that will project. The band will have more endurance, be able to execute dynamics and nuances, hear soloists, hear each other, and still be able to deliver 100 percent of the music with efficiency.

Let’s call the 80 percent concept “efficient playing.” An efficient band can deliver all the intensity it can muster and rarely exceed 80 percent. This includes all the dynamics—from fff to ppp, and any physical movements as well. The soloists will be heard, the background behind soloists will be just that, background. The rhythm section players will hear each other: the saxes and brass players will hear each other and play with better intonation. The audience will hear the nuances and dynamics, and not be overwhelmed with sheer volume. Everyone wins!

It all boils down to this: back off a notch and save some juice for that special moment. You’ll need to remind your band frequently about this efficient and more effective concept (and maybe remind certain individual players a little more often).

Enjoy the jazz!

Pete BarenBregge

Instrumental Jazz Editor

Premier Piano Course and Piano Maestro: The Perfect Combination

By Linda Christensen, JoyTunes Director of Education

A little over a year ago, Alfred Music began a collaboration with JoyTunes by including one lesson book from the Premier Piano Course inside the Piano Maestro app. Since that time, Alfred Music has become a strategic partner with Piano Maestro, adding numerous additional publications. Click here to see a full list of the Alfred Music publications available in Piano Maestro.

First, it helps to understand the organization of Piano Maestro. When you first register for Piano Maestro as a teacher, you can add all of your students by lesson day. When you open the app after that, your students for that day are listed on the first screen. You can simply choose the appropriate student and begin!

It is easy to explore on your own. Simply choose “start a lesson with any student,” see your name at the top, and choose “Explore.” Doing this allows you to use the app in the same way as the student and explore the available material.

The next screen shows the available material:

Journey mode is Piano Maestro’s built-in curriculum, based on Middle C. It is the “game” part of Piano Maestro, where the student must achieve enough stars to get to the next chapter. This is a good place to begin your exploration of the app and learn to how the game works.

This article will focus on the Library option, in the middle of the screen. This is where you will find the Alfred Music material by choosing “Library,” and then “Methods.”

But, how does one incorporate the Alfred Music and Journey material into lessons? Here is an example of how to use a Premier Piano Course Lesson Book, the online material from Premier Piano Course, and the Journey feature of Piano Maestro together. To help with this, JoyTunes has a great resource that correlates all of the Journey material with the Premier lesson books by concept. You can find that PDF here.

If you are on Premier Piano Course Lesson Book 2A, page 20, you first would need to introduce the concept of eighth notes. To support your efforts, you and the student could watch the free Premier Online Assistant instructional video with your student:

Next, introduce “Qwerty,” the piece on page 21 that uses eighth notes. You could introduce it with the book or take a different approach and learn it in Piano Maestro! After going to the methods section and finding Premier Piano Course, Lesson Book 2A, you can move the arrow over to the screen that includes page 21, “Qwerty,” and select the song.

When you select “Learn,” you see a few available options.

At the top, you can listen to the piece to hear how it sounds while following the music in the Lesson Book. Then, ask the student to go through the learning steps for the piece. The first step has the student focus on the correct notes by stopping whenever an incorrect note is played. Step 2 focuses more on rhythm by having the student play slowly with the background music. Each of the steps takes one phrase and repeats it, reinforcing section practice. When you feel the student has grasped the concept well, you can stop the learning steps and have the student play the song by pressing “Play.”

After working on “Qwerty,” you can consult the correlation chart to see what pieces use two-eighth notes in Journey mode. One piece is “Angry Birds” in Chapter 14! Go to the Songs section of the Library and search for “Angry Birds.” Start the piece and then immediately tap the top of the screen where you see a metronome. This will bring up some practice options.

You can choose options to slow the tempo, practice one hand alone, turn on the Hold On feature, or turn on the note names.

Tempo allows you to slow the tempo down as much as 50%, or speed it up as much as 125% of the original tempo.
Choose Hand allows you to isolate and practice each hand before trying hands together.
Hold On is a feature that removes the background track, adds a metronome, and stops if the student does not play the correct note. If the correct note is not played within a very short time, the app will show the student where the correct note can be found, highlighting it on the on-screen keyboard.
Note Names allows the student to toggle the note names on or off.

If you tap the small arrow at the bottom of the screen, these options are hidden and you are free to scroll through the piece looking for trouble spots, eighth notes, or other tricky measures. Since there are only four measures in the piece that use eighth notes, the student could practice only those measures before playing with the background music.

Finally, you will see many examples on the correlation chart to assign as Home Challenges for the student. To do this, make sure you are in the student profile, and select the small icon that looks like a house.

Using Premier Piano Course with Piano Maestro will help your students stay motivated and engaged in the learning process! This is a great, magical combination of pedagogy and technology! The online resources that follow will aid you in your teaching using Premier Piano Course:

Frequently Asked Questions about Premier Piano Course:

Premier Piano Course correlation with other methods:

Premier Online Assistant:

Catching Up with Anna Laura Page

Mark Cabaniss, Managing Director of Alfred Sacred, caught up recently with veteran composer/arranger Anna Laura Page to discuss her latest projects released with Alfred Sacred, plus a bit about her career and philosophies as a writer.

MC:  Hi Anna Laura!  Thank you for taking a few moments to speak with me today.  You’ve got a loyal following out there, me included.  I’ve used dozens of your pieces over the years with choirs I’ve directed and they always work beautifully.  How did you get your start in writing and when was your first piece published?


 MC:   That’s great!  I know Sharron gave a lot of writers their start.  She has such an eye for talent, and we’re all glad she discovered you!  After that first published piece, what followed?


MC:  What do you like most about composing and arranging?


MC:  Your latest publication with Alfred Sacred is a stirring arrangement of WE SING THE MIGHTY POWER OF GOD.  What drew you to this text and tune?


 MC:  You also have two new handbell publications with Alfred Sacred:  GOOD CHRISTIAN FRIENDS, REJOICE and COME THOU, ALMIGHTY KING.  Tell us a bit about each of those settings.


MC:  You and your family live in Texas…tell me about your life there nowadays.


MC:  Thank you for your time today Anna Laura!  And thank you for your substantial contributions to sacred music through keyboard, handbell, and choral music.  We look forward to many more exciting works in the time to come!



Fretboard 101—Five Octave Patterns

Nikki O'Neill

By Nikki O’Neill 

Teaching the five octave patterns is the easiest way for your students to see how the notes are laid out on a guitar. They’ll be able to find their way around the neck, play with more confidence, and broaden their creative palettes as rhythm and lead guitarists.  Here is an in-depth, step-by-step approach for teaching the five octave pattern.

The Five Octave Patterns in C

“Fretboard 101” excerpt from Women’s Road to Rock Guitar by Nikki O’Neill

Grab your guitar. We’re going to locate every C on the guitar with the five octave patterns. Some patterns include two C’s, others three C’s. Notice which strings are included in each pattern. Some have a two-fret distance between the C’s (use your index finger and ring finger to play them); others a three-fret distance (use your index finger and pinkie.)

Once we’ve played through all five patterns, they’ll repeat again in the same order until we run out of frets. Notice how all five patterns overlap each other.

Pattern #1: The two C’s are located on the second string (fret 1) and the fifth string (fret 3), two frets apart. If you play an open C-chord, you’ll find the two C’s located in the same spots.

Pattern #2: The two C’s are located on the fifth string (fret 3) and the third string (fret 5), two frets apart. Play a barred C-chord (at fret 3): you’ll find the two C’s in the same spots.

Pattern #3: The three C’s are located on the third string (fret 5) and the first and sixth strings (fret 8), three frets apart. 

Pattern #4: The three C’s are located on the first and sixth strings (fret 8) and the fourth string (fret 10), two frets apart. If you play a barred C-chord (at fret 8), you’ll find the three C’s in the same spots.

Pattern #5: The two C’s are located on the fourth string (fret 10) and the second string (fret 13), three frets apart. This C-chord shape is common and useful: the two C’s are found in the same spots.

Click the visual at the top to see the guitar neck with all the five octave patterns in C .

Exercise: Find the Five Octave Patterns in A 

Here’s another visual for the octave patterns in A. In this case, you’ll start out with pattern #2, and one of the A notes will be located on the open fifth string. The order sequence of the five patterns remains the same. Pattern #2 is shown to get you started. Now, fill in the other four patterns.

“Exercise: Octave Patterns in A” from Women’s Road to Rock Guitar by Nikki O’Neill

Why Learn Octaves?

-The fretboard will be less intimidating when you play/write a solo, riff or fill.

-Playing a melody in octaves creates a sonic change — the notes get thickened up. This can raise the energy in a song or solo. You can also emphasize a melody this way. Try using an effects pedal for even greater contrast.

-If you want to learn any scales, knowing where the octaves are makes it much easier to learn and remember the scales.

-If you’re not big on scales, you can instead improvise around the notes of the chords you’re playing. The octaves can be really helpful guideposts.

-It helps you break away from just playing open chords and barre chords. It lets you easily locate smaller chords (on fewer strings.) Smaller chords can open up space in a song arrangement; make for more creative guitar parts, and better complement the bass/keys/other guitars.

“Playing Hendrix-Style Octaves in Solos” excerpt from Women’s Road to Rock Guitar by Nikki O’Neill

Exercise: Playing a Melody in Octaves

Some octave shapes are easier to move around than others. Try this exercise and click here to listen to the audio demonstration.



About the author: Nikki O’Neill is a performing artist, guitar instructor and author of Women’s Road to Rock Guitar. The book covers rhythm and lead guitar for different rock styles, gear, song structure, how to figure out songs by ear, and more. Eleven guitarists (incl. Orianthi and Kaki King) share tips in the book. It also features a discography of great female rock and blues guitarists.

For more information, check out Women’s Road to Rock Guitar.

For additional books on related topics, also check out Fretboard Knowledge for the Contemporary Guitarist and Theory for the Contemporary Guitarist.

That Cheapskate Composer Guy

Rick Hirsh

That Cheapskate Composer Guy
By Rick Hirsch

“Where do you get your inspiration to write music?” I get that question all the time, and I’m still not sure how to answer it. There is no divine force that hands me complete tunes out of thin air . . . or even gives me a great 16-bar melody. Yet I manage to produce new music.

Why? It’s because I’m a cheapskate composer.

You see, I don’t like to write any more notes than necessary. When I uncover a little melodic-rhythmic motif with good bones I will see how much music I can squeeze out of it. I’ll sequence it, truncate it, transpose it to a different modality, invert it, slice it, dice it, you-name-it. And then I’ll sift through these ideas to see what I’m inspired to glue together into a larger statement.

My jazz ensemble piece “Chili Today, Hot Tamale” illustrates this concept well. The primary 16-bar melody is a 4-measure motif followed by three variations. A fourth variation appears as a countermelody later on. And a truncated version is used as a background figure behind soloists. In addition to saving me the trouble of having to come up with a bunch of new material, this sort of motivic construction unifies and strengthens the composition. And this specificity gives a piece like “Chili Today” a distinctive character and personality. You can listen and check it out at

This process of motivic development is nothing new. Think about the opening to Beethoven’s Fifth Symphony, arguably the paragon of compositional thrift. Or check out Oliver Nelson’s tenor solo on “Stolen Moments,” a brilliant improvisation in which he spins out chorus after chorus of motivic variation. And then there is “Hip Song” by Thelonious Monk, an excellent example of thrift by a supreme musical tightwad.”

Share this concept with your students. Have them discover that the music they play is made from small building blocks. Ask them to point out passages in their parts that are—or aren’t related to the main theme. Have fun discovering your favorite musical cheapskates.

Hands-On Learning in Choir Rehearsal

By Melody Easter-Clutter, Teacher and Author

When I first began teaching middle school in Indianola, Iowa, I recognized that my students didn’t truly understand the rhythmic concepts in their performance music. They could echo me and learn by rote, but they had difficulty reading rhythms off the page and grasping the “feel” of more complicated patterns. So, I began to experiment with movement and hands-on learning, in an effort to stimulate sight-reading skills and develop rhythmic comprehension in my students. I wanted to keep the activities short enough to incorporate into my regular choral rehearsals, as well as “fun” enough that my students wouldn’t immediately tune out the information. I used everything I could think of—hand motions, body movements, tennis balls, beach balls, composition projects, etc.

My students loved the lessons! Not only did their reading, notating, and composing skills improve, but my enrollment was impacted as well, almost doubling in two years. Teachers often forget the value of learning by moving and creating, something that is very common in elementary school but fades as students age. I found that young men particularly enjoyed the movement-based activities, and they themselves ended up recruiting other young middle school men to join choir. It was such a joy to see my students excited to come to chorus!

These lessons became the basis for my book with Anna Wentlent: Ready, Set, Rhythm! It is comprised of 80 lessons, which develop sequentially through the basic concepts of rhythm. Each lesson is about ten minutes long, and is specifically designed to be inserted into regular general music classes or ensemble rehearsals as a warm-up, “break” in the middle of class, or concluding activity before dismissal. And the timeline is flexible as well. You may choose to work through a lesson a day, every other day, once a week, or on an as-needed basis to practice particularly troublesome rhythms. Each unit concludes with a reproducible student assessment, as well as all necessary supporting documents, such as student grade sheets. Click here for more information!

A Dynamic Approach to Guitar Instruction

The Shearer Method

The Shearer Method

By Alan Hirsh & Thomas Kikta

Aaron Shearer’s books have been the benchmark of classical guitar training for over 55 years. His efforts and his students’ efforts have created some of the most prestigious guitar programs in America, earning him the title from the Guitar Foundation of America as “the most prominent pedagogue of the twentieth century.”

Towards the end of his life, he was compelled to write his magnum opus—his final say on his approach to teach the guitar.  The Shearer Method would once and for all be defined in his words and bring his experience of 70 years of teaching to the table.  This work was over 500 pages and was ultimately split into three volumes creating the opportunity for future students to experience his definitive thoughts on how to approach learning the classical guitar.

Here are companion videos and curriculum outlines for the three volumes of the Shearer Method:

Beginning Guitar—Book I Classical Guitar Foundations

To watch a video and hear music from Book I:

  • Setting seating position and optimal hand positions
  • The six-note introduction of basic technique and music reading:
    • Establishing basic right-hand technique—p on strings 2, 3, 4
    • Establishing basic left-hand technique—A on 3, C and D on 2
    • Introduce basic musical concepts—reading six notes
  • Free stroke fingers—dyads i-m
  • –Alternation of dyads i-m and p
  • Sympathetic movement—arpeggio: p,i,m; introduction to chords
  • Triads, i-m-a. (develop chords from this point forward)
  • Alternation of triads i-m-a and p
  • Opposed movement—p, i, m, i
  • Introducing a—p, i, m-a, i
  • Sympathetic movement—p, i, a
  • Opposed movement—p,i,a,i
  • Music of the Masters (simple pieces by Sor, Carcassi, Carulli)
  • Developing Scales
    • Single string Alternation i, m (m, a)
    • Single string alternation with string crossings
  • Open-position scale
  • More Music of the Masters

Intermediate Guitar—Book I, Classical Guitar Foundations and

Book II, Classical Guitar Developments

To watch a video and hear music from Book II:

  • Rest stroke and playing scales in keys
  • Developing music reading in a variety of keys across the fingerboard (this is an ongoing focus throughout the year)
  • Developing response to rhythms—all meters, including mixed and irregular (ongoing focus)
  • P-i-m chords
  • Combining rest and free stroke
  • Slurs
  • P-i-m-a chords
  • Arpeggios without p
  • Music of the Masters (simple pieces by Sor, Carcassi, Carulli)
  • Ensemble music prepared for end-of semester concert performances (not part of the Shearer Method)

Upper-level Book III, Learning the Fingerboard

To watch a video and hear music from Book III click: 

  • This is a resource for developing reading skills up the fingerboard. Material may be assigned to one student, pairs of students, or divided among large groups
  • Book may be used for learning the fingerboard or—for more advanced guitarists—developing sight-reading
  • Book organization by fixed position and available (typical and guitaristic) keys.
  • Five scale forms: 2 on 5; 2 on 6; 4 on 5; 4 on 6; 2 on 4.
  • Sequence:
    • Position II—5 major keys, 4 minor keys.
    • Positon IV—4 Major keys, 2 minor keys.
    • Position V—2 major keys, 2 minor keys.
    • Position VI—2 major keys, 0 minor keys.
    • Position VIII—4 major keys, 4 minor keys.
  • Learning module for each key:
    • Scale presentation to be learned, visualized, and memorized.
    • Harmony patterns learned, visualized, and memorized: I—IV—V—I.
    • Three two-part inventions of graded levels of rhythmic difficulty:
      • Easy (simple rhythms—quarter note half note).
      • Moderate (eighth-note subdivision).
      • More challenging (syncopations, 16th note rhythms).
    • Comprehensive Scales—the vertical connections along the fingerboard.
    • Repertoire of the Master—each of the musical selections applies multiple positions.

To learn more about The Shearer Method, click here.

Piano Teaching Tips from Catherine Rollin – Visual Imagery – A Useful Teaching Tool

Catherine RollinEditor’s Note: All technical skills referenced in this article are explained in the Technique Books of Catherine Rollin’s Pathways to Artistry series. Specific books that contain each skill are cited in the body of the article that follows.

Imagery is one of the most successful teaching tools for helping students with technique and interpretation. As a composer, I have also found imagery to be useful. In my newest collections, Museum Masterpieces, Book 1Museum Masterpieces, Books 1-4, I used art works as a source of inspiration for the music that I was writing. I spent a great deal of time thinking about the art works that I had seen in person and the images that they portrayed to me. In writing the pieces, I transferred these visual images to music and tried to reflect the artist’s thoughts through my music. At the same time, my goal was to help students elicit creative and imaginative responses to the music while developing their interest in the visual arts.

The remainder of this article highlights selected pieces from Book 1 of Museum Masterpieces. In Ėdouard Manet’s Le Fifre (The Fife Player, 1866), the viewer The Fife Playersees only a fife player, but not a military drummer (often associated with the fife). In writing the corresponding piece, I imagined a drummer playing drum rolls behind the fife player. To create the sound of a drum roll, I used a four-note cluster (g-a-b-d). To sound like a drum roll, the student will need to use three technical devices – strong fingers, a fast rotation movement, and a short push-off staccato (Technique Book 1, pages 7, 8, 14). Once these skills are mastered, the left hand of the piece has been learned as the drum roll is repeated throughout. Written in a high register, the right-hand melody emulates the sound of the fife.

The Fife Player

Le Fifre by Ėdouard Manet

Reeds and Cranes from the 19th century is a screen painting by the Japanese artist Suzuki Kittsu. When I first saw this screen at the Detroit Institute of Arts as a child, I was immediately struck by the peaceful mood that it conveyed. In the music, I used a pentatonic scale to capture this floating, tranquil mood. The Reeds and Cranesleft hand consists of two different groups of four eighth notes that repeat (G-flat, A-flat, B-flat, D-flat and E-flat, G-flat, A-flat, B-flat. Encourage the student to use strong fingers on these patterns using a rolling wrist to shift the weight gently from finger to finger (Technique Book 1, pages 7, 16). Relate the smooth rolling movement to the calm water where the swans are wading in this art work. Similarly, gently shift the weight in the right hand from note to note with a slight rotation movement to create a flowing, legato melody (Technique Book 1, page 8). Avoid lifting the fingers one by one. At measures 9-12, the clusters that move up the keyboard represent the cranes gracefully taking flight. Use a slightly detached movement based on alternating hands technique with a forearm staccato (Technique Book 3, page 18 and Technique Book 1, page 13).

Reeds and Cranes

Reeds and Cranes by Suzuki Kittsu

The piece American Gothic is based on Grant Wood’s painting of the same name from 1930. The piece employs the most iAmerican Gothicconic of harmonies to capture the sounds of American music – the movement from the I chord (C major) to the flat VII chord (B-flat major).  Other features include open fifths in the left hand and syncopation, often used in ragtime, jazz and other American genres. Ask students to follow the articulation precisely to capture the distinctive syncopations and the folk spirit shown in this American art masterpiece. Use a push-off staccato on the notes of beat 1 of measure 3 followed by an elastic wrist on the notes that following the measure (Technique Book 1, pages 14 and 6).

American Gothic

American Gothic by Grant Wood

Mona Lisa

When my three-year old niece recognized the reproduction of Leonardo da Vinci’s Mona Lisa (1503-1506) on a tee-shirt, I knew that I had to include this famous painting in this series. My goal in this piece was to use a traditional, harmonic pattern that captured the Mona Lisa’s timeless beauty.  To reflect this, I created a quasi-ostinato in the A section of the left hand that harmonizes in thirds (10ths) with the legato right-hand melody. Balance between the hands is important to project the right-hand melody.

Mona Lisa

Mona Lisa by Leonardo daVinci

A Dash for the Timber (1889) by Frederic Remington truly captures the pioneering spirit of the American West. In the music, a broken-chord rondo theme captures the excitement of galloping horses (measures 1-5). These root position chA Dash for the Timberords (D minor, C major, B-flat major, and A major) are in contrary motion with the same fingers of each hand playing at the same time.  Drop with weight into the slur and push off on the thumb for the staccato release at the end of each slur (Technique Book 1, pages 12 and 14. This will give energy and momentum to emulate the energy of the horses. The subsequent melody that follows (measures 5-22) uses a repeated left-hand chord.  Ask the student play this chord with a short, portato touch using an elastic wrist (Technique Book 2, page 14 and Technique Book 1, page 6).  Use the imagery of the horses bending at their knees for the elastic wrist – helping them to understand not to push down into the keys to avoid taking away the energy and spirit of the music. As in the broken chords, the right hand slurs in this section will end with energetic push off staccatos.

A Dash for the Timber by Frederic Remington

I hope that you will find these pieces fun to teach and that your students will enjoy the entire series! In addition to the pieces that I have discussed, Book 1 contains five additional pieces:

  • Black Square and Red Square (Kazimir Malevich)
  • Carmencita (William Merritt Chase)
  • L’étoile (Edgar Degas)
  • The Nut Gatherers (William-Adolphe Bouguereau)
  • Senecio (Paul Klee)

Art highlights from other books include:

  • Book 2: Washington Crossing the Delaware (Emanuel Gottlieb Leutze)
  • Book 2: Girl with the Pearl Earring ( Johannes Vermeer)
  • Book 3: The Great Wave off Kanagawa (Katsushika Hokusai)
  • Book 3: A Sunday on La Grande Jatte (Georges Seurat)
  • Book 4: The Kiss (Gustav Klimt)
  • Book 4: Watson and the Shark (John Singleton Copley)

Catherine Rollin
Author,  Arranger, Composer


Catching Up With Ruth Elaine Schram

Ruth Elaine SchramMark Cabaniss, Managing Director of Alfred Sacred, caught up recently with veteran composer/arranger Ruth Elaine Schram to discuss her latest project released with Alfred Sacred, another project waiting in the wings, plus a bit about her career and philosophies as a writer.

MC: Hi Ruthie!  Thank you for taking the time today to chat a bit with us.  You’re enjoying such a wonderful and successful career as a composer for church and school (and more).  What year was your first  piece of music published?

RS: Hi Mark!  I actually received my first contract in 1986, and that was from Brentwood Music, for a song that never actually got published.  But that oversight on their part gave me the opportunity to write for other projects, including the very successful “Mother Goose Gospel” series which began as a recorded product but ended up with printed songbooks as well.  My first individual song to appear in print was published in 1988.

MC: How many compositions have you had published since that first one?

RS: My current count is right at 2,100.  I know that seems like a lot, but as I tell others, some of them are very short!

MC: Wow…that’s impressive! You’ve certainly developed a loyal following through the years, and we’re honored to have your numerous contributions to the Alfred Music catalog.  Shifting gears – let’s discuss your latest children’s project – a collection of songs for children’s choir called “Something’s Fishy.”  Tell us about that collection. What’s it about and how can it be used?

RS: This collection was so much fun to write!  It can be used as a musical (by using the included introductions as narration between songs), or as individual selections throughout the year.  Each song is about some aspect of God’s creation — the diverse creatures under the sea (Something Fishy’s Going On), the enormity of space (So Big), the different types of food we can grow which includes the parable of the sowing of seeds (Seeds and Soil and Such), how we can trust God because He is always watching over us in every season (Whatever the Weather), and the myriad animals God has designed (Birds and Bugs, Worms and Slugs).  The recurring theme that runs through the work is that God created everything, particularly us, and loves each of us and takes care of us.  We’ve also included thought-provoking discussion starters and suggested related Scripture passages that you can use in rehearsal to make these songs even more meaningful and memorable for your young singers.

MC: What do you like most about writing music for children’s choirs?

RS: Writing for children is very different from writing for adults, but I really love it.  First we’re a bit limited in range, as children’s voices will sound best and be most comfortable “from C to shining C” (Middle C to an octave above).  We’ll occasionally excursion beyond that, but that is the safest range for their voices.  The lyrics need to be written as something children would *say* so they will be able to remember and understand the words.  But what I love about it is its importance: we are instilling in them truths about our Creator, our Savior, God’s Word, and Biblical concepts that will stay with them for an entire lifetime.

MC: We know you and John Purifoy have been at work on a new adult Christmas musical for Alfred Sacred.  Any teaser you want to give us about that?

RS: It’s titled “Upon a Midnight Clear” and the lyrics and melody from that beautiful carol are peppered throughout the musical.  There are wonderful arrangements of many familiar Christmas songs as well as several stunning new works.  The orchestration by Ed Hogan is exquisitely beautiful.  There are opportunities to include your children’s choir and congregation.  And the incomparable Cynthia Clawson not only contributed a song to the musical, but sang on the recording!

MC: Thank you, Ruthie, for your time today!  Your contributions to sacred and secular choral music – for children and adults – are immeasurable, and we look forward to exciting new ideas coming from you in the years to come.

RS: Thank you, Mark, and thank you for continuing to give me opportunities to make my voice heard in the world of sacred choral music!  God has given me this wonderful gift, and I want to be faithful to always use it for His glory.  Writing sacred songs is an incredible blessing, being published is an honor.  But it is also a heavy responsibility — to be Biblically accurate requires a lot of study.  I take the process very seriously and am very grateful for every opportunity to contribute works for use in Worship Services for any age singer.  I pray for the churches that use my works, especially around Lent / Easter and Advent / Christmas, and I pray that I will never write anything that would inadvertently lead someone away from the truth.  It is my goal to make Jesus *real* to people through my music — young or old; singer or listener.  Thank you for helping to make that possible!