Vocal Challenges in Children Discussed by Helene Goldnadel

Children’s voices are, or should be, instruments of natural expression. Helene Goldnadel a music teacher believes that most small children don’t need formal vocal lessons, unless there is a vocal challenge present that keeps them from singing what they want or need to sing. A child’s vocal issues usually come from trying to please well-meaning but misinformed adults, for instance:

 

  • The director of a musical production such as a choir, a play, or professional event such as a TV show may want the child to sing higher, lower, longer or louder than they comfortably can.
  • If the director knows good vocal technique and how to apply it to kids, this can truly be a vocal improvement opportunity for the little voice. If the director does NOT correctly understand the voice or how to communicate with children, this can turn into a nightmare. This is when wise parents look for corrective vocal training for their poor little one who has damaged his or her voice trying to do what has been asked.
  • Family and friends give attention and kudo’s to a child who loudly and passionately strains or screams to hit high notes. For these affirmations, the child tries to sing ever louder and higher.

 

Eventually the throat feels strained with every performance. Thinking vocal strain is normal, the child may stop wanting to sing for people. Sometimes they will be forced to anyway, this behavior mistaken for undesirable shyness. In the end, the little singer will either be carted to a good vocal coach to be re-trained or they will lose their voice and their love for singing to the point they no longer try.

 

What can be done to prevent damage or dysfunction in a child’s voice?

 

  • First of all, check to see if they are straining when they sing. Go to rehearsals and check for misguided choir directors and school teachers who sometimes encourage volume and power that little voices are not ready to generate. Add the stiffness and uniform stillness that is often encouraged in the posture and you have a recipe for disaster. If you observe a problem, respectfully bring it to the director’s attention. If the issue is not resolved and you fear your child will hurt their voice trying to please this director, pull them out of the program.
  • How can you tell if they are too loud? Does it sound like yelling? It may be cute now, but it may truly damage their voices. I had a girl who developed little blood blisters (the beginnings of nodes) by a few days of singing too loud. I’ve read that it is possible to develop this damage from just 20 minutes of over-blowing your vocal cords. (Hear that, little cheerleader??)
  • How can you tell if they are risking significant vocal impairment? See if you get them to make NON-BREATHY sounds in their head voice. Ask them to mimic Mickey or Minny Mouse. Then have them sing some little tune in head voice and see if they can clear up the breathiness. If not, they may need to be examined by a doctor- preferably one specializing in the child’s vocal apparatus. Look for vocal clinics, otolaryngologists and speech pathologists.
  • If they are yelling, the first thing to do is get them aware that their throat is feeling strained. Many times they don’t know there is another way. Have them sing at the wall with their head and heel against the wall so they can’t lean forward. Encourage them to stay flexible and to keep the chin level and floating. If they go for a high note and strain, suggest to them that they back off the volume so it feels better. Maybe put a book on their head so they won’t lift the chin too much. Very important: Ask them to sing from their eyes! Make it a game… keep them having fun.
  • Teach them the “Power, Path & Performance” vocal training method of “pulling” instead of “pushing” words.

 

The opposite vocal problem common children is having a weak voice. Shyness of personality, fear of being heard, and a dislike of the feeling of a tense throat can cause this.

 

  • First of all, talk to them and LISTEN TO THEM. Many times a child just needs to know his or her voice is valid and that someone wants to hear what they say or sing. This fosters a good relationship where they will trust what you ask them to do.
  • Next, have them pretend to sing to a stuffed animal or their real pet. Have them “sing a story”. (Try to make sure they choose songs they can relate to!!)
  • Teach them to open their arms out wide and take a breath in their belly. Then teach them to squeeze a horse or pillow with their legs for power. This tends to crack them up and is great fun. It will teach them to use the correct area of pelvic floor for power, while not squeezing in at the chest or throat.
  • And finally, help children pick good songs! Encourage them to write their own. They need to learn that singing is communication, and that what they want to communicate counts!
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Why Do You Need a Bass Guitar Instructor? Helene Goldnadel Explains

There are only two options for you to learn how to properly play bass guitar; whether you hire an instructor or download an online course. Self studying can be a good idea provided that you have a strong foundation in music; meaning, you are already playing other instruments like piano, guitar or even a violin. In this case, you have had developed listening skill. But for some, this might not be the case. There are so many advantages a formal learning medium can do to you on your initial stages of bass guitar playing. Below are some them discussed by Helene Goldnadel a music teacher and life coach:

 

Leverage

 

Without a formal education on bass guitar-which is a very delicate instrument-you will come across so many different issues. Am I doing it right? Have I tuned my guitar the right way? What kind of scales should I use? Do I even have to use these scales? Which note to strike to get this chord? You have a lot of questions in a short amount of time. Unless you have a very good and accommodating band mates willing to teach you on your convenience for free, forget about it. You will be saving a lot of precious time tinkering on your methods when there is someone who can properly and effectively teach you all the basic things you need to learn. Bass guitar combines rhythm and melody. For an untrained bass player, what might be a perfect pitch and timing could be more of a nuisance to the listener. With an instructor around, you’ll be sure that there someone who is ready to adjust your rhythms and melody as you play along. Their experience can be your advantage because you will learn short cuts and techniques which will complement your style. An experienced instructor is spot on in knowing your weaknesses and strengths real-time. Thus, you can save a lot of hours of tinkering and tweaking.

 

Structure

 

Just like in a normal class, a set of course syllabus enable you to learn an efficient way in playing bass guitar. Instead of jumping around on the web trying to know everything that pops out of your head, a formal and structured bass course syllabus will keep you on track. It will also help you measure your performance on different aspects of bass guitar; from basic rhythms, soloing techniques, correct picking, harmonizing, different grooves and styles up until transcribing your own songs.

 

Attitude

 

Sure you can play on your convenient time. You can play for hours at one time or not at all the next day. With instructors and coaches around, you will learn how to schedule your bass guitar class. In effect, it will help you develop focus, hard work and dedication on what you want to achieve.

 

If you really want to be the best, you need to learn from the best. It is always necessary to have a guiding hand to help you all throughout.

Multiple Benefits of Taking up Music Lessons

It’s not a myth that children who attend music lessons do better in school. This is based on the fact that while acquiring musical education both parts of the brain are activated, the linear and logical one, as well as that side responsible for artistic and intuitive skills. Learning music theory and rhythm is strongly related to mathematical principles, so it’s no wonder that kids who study music find easier to understand mathematics.

 

Cognitive skills, memory and focus are also enhanced through music lessons. Apart from developing a child’s mental skills, studying music also has an impact on the little one’s personality. Self discipline, confidence, creativity are important personality traits that stimulate a child’s evolution. These traits are involved in the process of getting musical education.

 

Adults can also find a long list of benefits when attending music lessons. One is never too old or too young to start taking up music lessons. Acquiring a new skill keeps the brain active, develops new methods of intelligent interaction, and brings new perspectives on human capacities. For example, if a person is dominant in their right brain side, it might seem a bit difficult at first to get accustomed to thinking in logical patterns, which are required when learning to follow simple rhythm principles. But this has practical applications in taking up real life tasks that involve motor skills, or hand-eye coordination. Being able to remain focused on staying in tune, improvising, while maintaining the same patterns can be fun, exciting, and totally rewarding for someone who enjoys playing an instrument and discovering its potential.

 

The key to obtaining satisfactory results while learning how to play an instrument is having excellent teachers. The more you begin to enjoy playing an instrument the higher goals you set for yourself. Having a creative mind is always a challenge and a new opportunity that can bring immense personal satisfaction. You can learn a lot of new things about your own potential when you are under the guidance of a real professional. Whether you are a parent or you are interested in developing your own musical education, you must select professional music teachers like Helene Goldnadel to guide along the process of achieving your musical goals. The more qualified, experienced and dedicated music teachers are, the more likely for their students to accomplish their goals.

 

It’s a well known fact that musicians are never satisfied with mediocrity and they always strive to reach higher goals. Therefore, attending music lessons could become a long term project, and it’s advisable to carefully select your trainer. Online resources can guide along the process of finding experienced music teachers. You should continue your research and choose a qualified, experienced and acknowledged teacher who can help you with your targets. Good luck with your selection and future goals!

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Popular Musical Instruments among Musicians

Picking the best musical instruments is a tough decision. Most of the music lovers do not know which one to opt for. There are many well-known and old musical instruments. Following are brief information on the most popular musical equipment by Helene Goldnadel:

1) Trumpet – The invention of the trumpet dates back to the 1500 BC. The musician has to blow air through the closed lips that leads to making of the buzzing sound. It is the result of the standing wave vibration of the instrument in the air column. Initially, people manufactured it using the brass tubing that would bend twice into a rounded oblong shape.

The commonly used trumpet is the transposing instrument. The length of a trumpet is about 148 cm. The modern instruments have three piston valves but the older one did not have valves. Some of the instruments also use three rotary valves. The valves are important as it helps in increasing the length of tubing when engaged. This will lower the pitch. It is advisable that you keep the trumpet in a case. People who do not play it on a regular basis are afraid that it will spoil the system. However, it is not the case as it is easy to keep up and you can keep it in top most condition. You need not be a professional musician if you have learnt music. You can play it on social gatherings or for your loved ones.

2) Violin – They are popular among the musicians too. Every musician wants the best-looking violins with a perfect best violin bow. You can select the bow that will give you the desired results. Violinists love to have a huge collection of bow in their home. Each of them produces different sounds. You can find varying range of depth in the bow. All the bows have unique characteristics such as quality construction and durability. The color and weight of the bow also matters. The bow are convenient to use and standard for both modern and antique violins.

3) Euphonium – This instrument is especially designed in such a way that it produces higher in pitch because the compressed air in the miniature tuba will affect the pitch generated by the musical instrument. You can easily play high or low notes on it. It is a strong and a powerful brass instrument. Playing it is fun-filled and amusing. You can learn how to play it by looking up the tutorial. It is however advisable that you learn from a teacher so that you know your basics well. You can see a broad choice of musical equipment.

Parents send their children to music classes. Researchers have also said that playing music is a good brain exercise and it keeps your child’s brain development. People who know to play the instrument look forward to upgrade it so that they can produce better music by making use of the more features.

Read also: Why the Piano Is the Ideal Beginner Instrument?

Helene Goldnadel Discusses the Criteria to Consider to Learn Music

Private stringed instrument lessons will total very costly. Fortuitously, with the progress in technological innovations, personal tuition is not any longer the sole choice to learn an instrument. There are presently a variety of stringed instrument lessons online that are even as sensible, if not higher than non-public Lessons. A good stringed instrument course will have large edges when put next to straightforward schoolroom ways.

 

For a begin the ways of instruction used sometimes incorporate some type of video lesson which might be watched over as over and over as required to grasp the fabric this is often protected with a written exercises and backing tracks to jam on to. All you have to do to select the best musicianship lessons.

 

Secondly, it’s extremely cost-efficient and convenient. There’s no have to be compelled to battle with weather or traffic to induce to the weekly lesson. Finding the best possible stringed instrument lessons may be a difficult nonetheless ultimately worthy search as a result of exploitation the proper course for you’ll build your stringed instrument learning journey a good deal additional fruitful and economical.

 

With the explosion of digital media in our era, the selection of stringed instrument lesson programs is ostensibly endless with everybody claiming to own the “best” or “fastest” on-line stringed instrument course accessible.

 

Helene Goldnadel a music teacher is of the view, the course you choose to help in your mission of learning to play the stringed instrument can rely on variety of various factors starting from value and convenience to what talent level you’re presently at and what you want to realize. So choose the best musical instrument among the guitar lessons Sutherland Shire, if you’re interested in guitar lessons.

 

As with all merchandise there are some elite stringed instrument courses that quite deserve their value, then there are lots of mediocre and a few downright awful offerings.

 

So how to realize the simplest on-line stringed instrument course? Just however can we determine the simplest from the rest. The factors for the simplest on-line stringed instrument lesson courses.

 

First, your course ought to cowl the fundamentals fully and have a whole choice of resource materials, together with however not restricted to Video Tutorials, Written notes, pictures and backing tracks (to assist in your follow sessions). A selection of the best music theory lessons is also important where one can teach better if you are local at Sutherland shire. Some sensible courses could embody discussion boards for you and alternative students to speak with the instructors and every alternative.

 

You should “check out” your chosen stringed instrument course to envision what people are expression concerning their experiences.

 

Helene Goldnadel recommends you to find a stringed instrument course that is suited to your current talent level. There are many, good, online stringed instrument courses designed with beginner stringed instrument players in mind, thus if you’re utterly unaccustomed stringed instrument taking part in, you ought to begin with a basic “Learn to play the Guitar” course, of that there are quite few.

 

Finding lessons for the additional advanced player is also to a small degree tougher. The rationale for this is often that there are lots of stringed instrument lecturers who, while there are nice lecturers, they’re solely mediocre players themselves thus once it involves teaching additional advanced techniques they start to flounder. On the opposite hand, there are several, several nice stringed instrumentalists who simply cannot teach. There are but some nice guitar players alive who may also teach, they’re rare however they are doing exist, kind of like an honest used automotive salesman.

Also read: The Immeasurable Value of Piano Lessons For Young Children

Music Education – Objective Vs Subjective

The goal of this piece is not to tout the correctness or incorrectness of either objective or subjective music education teaching styles. Rather, its attempt is to clearly depict their differences and the situations in which each, individually or in conjunction, may be beneficial for the education of students with autism. Music is, of course ultimately, an art form which is driven by a performer’s ability to emote and interpret a piece of music. Assessing an artist’s performance is, perhaps, the definition of a subjective judgment, but we are not dealing with artists…yet. We are dealing with students of an art form. A student’s performance needs to be shaped and more clearly defined, eventually allowing them to relate to the instrument as a conduit for his expression and exploration. To a certain extent this is an ever continuing process since we are all growing and changing as human beings. In respect to the early education of students, though, each response can be objectively measured and analyzed. “But, why do you need to objectively measure their performance?” you may ask. First, let’s define what objective and subjective measurements are and how they are used.

 

An objective measurement according to Helene Goldnadel a music teacher, is one which is independent of the teacher’s individual perception of what the answer is. For instance, two separate piano instructors may listen critically to a student’s performance and ultimately come to two, very different conclusions in respect to the student’s interpretation and adherence to the fundamentals of piano performance. This is not so much a misunderstanding or radical divergence in the teachers’ knowledge of core piano education principles; rather a personal and subjective assessment of the student and what constitutes a correct response. To be clear, all teaching is based on shaping and having teachers accept approximations made by a student. Teaching is very subjective in nature, while assessing the results of these teaching efforts should be objective in nature. The question then arises, “How can teachers objectively assess a student’s performance if art is fundamentally a subjective form of expression?” The answer, of course, is that the focus of early music education is much more associated with execution as opposed to interpretation. Therefore, it can be clearly and objectively measured whether or not a student independently depressed a particular key of the piano or identified a musical note correctly.

 

The reason that objectively measuring and analyzing a student’s early performance is so vital is twofold. By not initially being objective, teachers may be inclined to

  1. assign unrealistic goals and objectives for a student or
  2. create an unchallenging and stagnating teaching environment by withholding more difficult material.

 

In this discussion, concerning students with autism, both situations are possible but the latter is much more of a likely phenomenon. For many teachers, without prior special education experiences to draw on, it is quite understandably common to base a student’s future curriculum on certain challenges that the student has currently. For instance, if a student has not yet learned how to read, exploring the skill of reading musical notation may seem out of reach for them and is then withdrawn. Alternatively, another student may display fine-motor challenges which could inhibit his dexterity at the piano. In both of these scenarios the student very well might not be able to execute the skill in question at first, but this should not effect the teacher’s decision to begin instruction on that skill and measure the response.

 

As previously mentioned, when teaching (as opposed to assessing progress), instructors correctly use a subjective analysis of factors to help the student succeed. This practice is often based on a teacher’s intimate knowledge of the student, his environment, his behavioral and comprehension challenges and previously successful teaching methodologies. For instance, after objectively determining that a student has met the criteria for the current phase of instruction, a teacher decides that the next and more difficult phase of instruction should commence. Ten minutes into the lesson, the student presents behavioral challenges and the teacher subjectively determines that this more difficult phase would increase the student’s frustration level at this point and delays the introduction until tomorrow. In respect to another student, this inappropriate behavior may be related to task avoidance and the determination to continue with the more difficult phase of instruction would be made. Both decisions may be appropriate, it simply depends on the student and the situation.

 

Objectively measuring the early performances of a student at the piano is very plausible; it can be clearly determined whether or not the student depressed a certain key of the piano or played a particular note with his left hand for example. As the material systematically becomes more difficult, though and variables such as dynamics, tempo and artistry become more of a factor, it is more and more challenging to objectively assign a numerical value to the performance – which is based on the execution of each variable. This should not be surprising since the student’s performance is now (at least in part) approaching an artistic expression. At this point, a teacher should use their experience and knowledge of the instrument to make a subjective analysis of the performance. Here, the student is guided by the teacher’s individual perception of what constitutes a correct response. This determination is not only made based on the factors above, but also on the current skill level of the student, the difficulty of the piece and the environment (is this a music recital or a practice session?). An expectation of absolute perfection from a relative beginner at the piano would, of course, be counterproductive. Therefore, as the pieces increase in difficulty the subjective criteria relaxes. In early piano instruction students are being taught core concepts which are mutually exclusive. For example, the skill of identifying a note on the piano is required before teachers can begin instructing the student to play a song with correct fingering. Because these skills are mandatory and used in every piece they will learn in the future, the criteria can (and should) be set as high as possible. Later, typical music instruction involves the introduction of multiple trials of similar pieces of music. The goal is not, necessarily, to perform each one perfectly; rather to present similar pieces and develop the student’s ability to generalize the concepts which are presented in each song. By initially using the objective performance measuring techniques described above and transitioning to a more subjective analysis at the appropriate point, instructors can effectively introduce the piano to individuals from across the spectrum of autism.

 

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Musical Instruments – Good Exposure For Children

Introducing Kids to Different Musical Instruments is Necessary in Development.

 

The interests and activities of kids today are very different from previous generations. Internet exposure and television influences may have taught the youth to be smarter; but somehow, with limited teachings of cultural upbringing. Culture, such as classical music and poetry, has long been forgotten; and one way to redeem a sense of tradition in the youth is to expose kids to different musical instruments and music for a wider perspective and grasp of their future.

 

When children reach a certain age, a strong sense of curiosity is formed that the ability to absorb almost anything makes learning quite an easy process. During this stage of development, introducing your kids to different musical instruments can lead to a new found development in their lives. As children go along this trial and error phase, the exposure itself forms added knowledge on certain eras and styles in music that will serve them well in their future.

 

1) Discipline: By exposing kids to special music classes develops a sense of discipline in them. As they learn a step-by-step process on mastering playing a musical piece or instrument, the slow process gives them focus and determination through consistent and persistent training. Through this, a child can also learn to differentiate and formulate their own opinions on different sounds, pitches, and styles in music and its composers.

 

2) Skill: When recitals are nearing, to take home their music practice is usually the case. Tinkering with the instrument develops frustration which then most likely leads to interest as they are required to learn the piece. Nearing recital day, as they see development of different collateral such as recital flyer designing or poster printing, the preparation will get them hyped up to learn and master their pieces and instruments even more than usual.

 

3) Selective Musical Reasoning: During the whole development stage in music, children form their own opinions with regards to their musical preferences. With wider exposure and knowledge, developments in pitch and tone differentiation, poetic style preferences, and melody and instrumental inclination are formed. As they turn out knowledgeable, a stronger set of opinions gets them equipped for future topics and needs in the future.

 

Helene Goldnadel a music teacher is of the view that being well-versed in music is not only about appreciation and knowledge; this type of exposure brings in a new formed discipline, opinion, and taste into their lives. Also, introducing kids to musical activities keeps their interests away from destructive behavior such as high school party drugs and excessive alcohol intakes.

 

As parents, support and presence are needed also to further build development and interest in your child. One way to show support is to further expose your kids and accomplish poster printing when possible; and using the posters for intimate gatherings to showcase your child’s new found talent. These small gestures can build their confidence in performing and in their musical preference and performance as well.

 

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