Peter L. Monzures
November 3, 1946 - November 21, 2007
I just wanted to stop and reflect a little on one life that meant so much to me. Did you ever have a Cousin that was your friend? When we were little, we would just run around and be free. San Diego was a great meeting place for us, whether we were small and little or all grown up!
Now, my Cousin Peter is truly free! Stay close to family, share the hugs, smile w/ the stories, laugh out loud and record it all. It goes by so quickly, this one special life.
HERE ARE THE BENEFITS!
. music develops listening skills
. music invites intuitive responses
. music strengthens aural discrimination
. music helps children (and adults) remember
. music helps children sing tunefully
. music helps children speak clearly and pay attention
. music helps children cooperate, think, & problem solve
. musical instruments provide beginning experiences in
pitch,timbre, and texture.
. music is fun and fundamental for all children
My main mission is for the advancement of music education by encouraging the study and making of music. One of my endeavors is to compile facts/quotes demonstrating the importance of music in our present culture. The benefits of music education are as follows:
SUCCESS IN SOCIETY
SUCCESS IN SCHOOL
SUCCESS IN DEVELOPING INTELLIGENCE
SUCCESS IN LIFE
Studying music encourages self-discipline and diligence, traits that carry over into intellectual pursuits and that lead to effective study and work habits. An association of music and math has, in fact, long been noted. Creating and performing music promotes self expression and provides self gratification while giving pleasure to others.
WHOLE VERSUS PART PRACTICE: A skill or piece may be practiced as a whole or it may be practiced in pieces. Part practice in the beginning stage of learning a piece often is the most effective. Later, toward the end of mastering a piece, whole practice situations come into play more often.
CHUNKING: Chunking practice is essentially "part practice" - taking chunks of a piece & working them out individually. Determine the chunks or parts to practice before combining chunks into the whole. Take chunks of a piece of music & work them out methodically.
PROGRESSIVE PART PRACTICING: In this skill, practice the first step of a skill, & then practice the second part & put it with Part 1. Then, practice part 3 & put it with parts 1 & 2 and so on. A name here makes it possible to identify the specific skill to use when practicing.
BACKWARDS CHAINING: Practice from the end to the beginning, in other words from the last step to the first in a progressive manner but in reverse order. Learn the last "chunk" or part of a piece first, & then learn the next "chunk" followed by combining those two parts. Learn the third to the last section, & then combine the three sections. And so on.
SANDWICH PRACTICE: This practice technique is used when one wants to definitely master a certain difficult section in a piece. One might practice it (chunk it) many times in a single practice session, sandwiching it between compositions or practice segments. The chunk to be learned is reinforced over and over within a single day of practice.
SHOULD SOUND PRACTICE: The premise is this; if one could play accurately up to tempo, then one would not need to practice so much. The point is not to practice up to the tempo, but to practice the sound, and then the tempo will come in due time if the practice tempo requires relatively the same practice motions as the up-to-tempo version.
STOP PRACTICE: Play single measures or two in succession, up to tempo & stopping for several beats of rest between the groups before beginning the downbeat of the next unit that is played up to tempo. Imagine what the phrase will sound like.
PENNY PRACTICE: The premise is that one plays a certain passage correctly a specified number of times in a row, moving a penny from one side to the other side for each correct playing.
PLAY, HEAR, PLAY: This practice technique, used mainly in memory security practice, requires that you play one measure, internally hear the second measure, & then pick up, in tempo, & play the third measure, followed by aurally hearing or singing the fourth measure & so on. This establishes the security in starting a work on downbeats of measures.
PLAN, PLAY, EVALUATE: The step often missing is the accurate hearing or evaluation of what has just been played, so you discriminate what and how to practice next.
ONION SKIN PRACTICE: Play a phrase & add onion skins of sound as the phrase crescendos, and take away onion skins as the phrase decrescendos. This helps you to see, hear & then achieve fine gradations in sound variance.
ADD A GROUP PRACTICE: Play each beamed group of notes plus the first note of the following group. Work on this & then continue to add groups individually until all groups are linked.
RECORD/PLAYBACK PRACTICE: One of the best ways for you to objectively hear where you are & what you need to do next is to tape-record & play back your performance. Then listen to the music just played & practice from the tape recording. You'll discern what needs to come next in the practice from objectively listening to your own playing.
These are interesting and "CATCHY" names for various practice techniques. I hope these names give some SPICE and ENERGY to your practice!
Learn to Play All your Favorite Christmas Songs by this Holiday Season!
A Way To Sit Down At The Piano
And Easily Play All
Your Favorite Christmas Classics
In Less Than 3 hours
Without Sheet Music!"
Dear Fellow Musician,
The Christmas season, my favorite season of the entire year,is ALMOST here --- and courtesy of Jermaine and HearandPlay.com, I have a PERFECT gift idea that YOU or one of your relatives would LOVE to see under the tree (...or better yet, on top of their piano)!
Jermaine just let me know about his brand new 3 H-O-U-R Christmas course, Christmas Keys Vol.1 - "Conquering Christmas Classics", which has just been released
After he takes you through his UNIQUE song learning process you'll not ONLY know how to conquer those songs but tons of other Christmas songs since most songs follow familiar patterns.
Christmas Keys Volume 1 is LOADED with tons of powerful tips, easy-to-do tricks, and techniques that will have you playing like an expert by this Christmas season - GUARANTEED!
In this course, you'll * Learn how to play every song, step-by-step, with no guessing (whatsoever) or any information left out! By the end of this course, you'll have what
it takes to fully play all of these Christmas songs by ear.
* Learn several variations of each song so you can play these Christmas classics a different way every time!
* Beginners: How to play an entire song with only three-fingered major chords (...also known as "major triads").
* Discover the power of "inversions" and how changing one note in your chord can totally alter the way a progression sounds!
* How to add fuel to your bass by understanding how "power" chords work in holiday music.
* How to play "Go Tell It On The Mountain" in a churchy praise style! I'm talking about bass lines, runs, fill-ins, and more (...similar to our other GospelKeys courses)!
* And tons more!
Click here<> if you're ready to finally learn your favorite Christmas songs by ear:
Please note: Due to the high demand and moderate supply, this incredible offer for Christmas Keys will only be around for a short time. So...
...Don't waste time!
All the best,LadyD
My life is forever changed from the fire evacuation. The thought of not knowing if I would lose my home was devastating. Being forced to evacuate at midnight was a rough start and a feeling of being displaced.
But, God, who is rich in mercy, protected me and my home. I was a true musician, grabbing my keyboard and running out the door! I rejoice in His goodness and am filled w/ compassion for the loss of so many.
I am overwhelmed by the out-pouring of so many prayers going up on my behalf. I am indeed a very blessed woman!
I just returned home to find my house still standing!
I am indeed blessed and so very appreciative of everyone's love and concern. I am saddened by the loss of so many! I'm so appreciative of your prayers.It's good to be back!
Special thank you to the firemen and the unity of San Diego Community Outpouring of Love and Support!
* How to quickly and easily form tons of jazz chord patterns and runs that are guaranteed to have you standing out from the crowd.
* Accelerate your jazz learning curve by combining 3 secret elements that the pros don't want you to know!
* How to ensure that no matter what voicings and blues licks you play, they'll turn heads each and every time!
* The 7 secrets to playing signature solos like a pro from a pro!
Here's what you'll get:
Disc 1: In Part 1, James demonstrates specific chord voicings, placement, and patterns you'll need to know to start playing jazz by ear. Not only that, you'll also learn to get both your left and right hand working together as jazz can be a little different than most styles you're used to.
2) Hear and Play Jazz 101 Disc 2: This is where James will break down all the ins and outs to the 12-bar blues... step by step! He'll also show you over 7 jazz licks and tricks that you can add to your playing immediately. What he's got in his bag of tricks you definitely won't pick up any where else.
"Why invert? I thought you'd never ask! There are many reasons. In common practice, chord progressions are not generally successions of root position chords moving one to another (except in heavy metal music, in which whole songs of only root position chords, are commonly the case). In most other types of music, progressions are made up of individual chord-tones moving independently from notes in one chord to notes in the next chord, creating melody lines, which are often called voices, because the resulting melodies could be sung or played by individual instruments. So, chord progressions (any series of chords) sound better with root position chords mixed with inverted chords, so various notes of one chord lead smoothly to notes in the next chord, with others perhaps not moving at all. This is called voice leading.
Another reason for inversion, especially important for string instruments, is to make the chord easier (or in many cases possible) to reach. Many chords- especially ones with four or more notes- are virtually unplayable in root position on instruments such as guitar and mandolin." -- Edly
I'd like to introduce you to my friend JP!
Jonathan Powell has played for and with everyone! Out here on the west coast, he's known for his uncanny ability to form two-hand chord voicings with his signature "slide techniques".
He's performed with a countless number of gospel artists, groups, choirs, producers, and more. He was highly sought after and practically recruited to come to Hear and Play Music in 2005 and has been a blessing to HearandPlay ever since.
He's the lead moderator of the HearandPlay Zone and also the head music consultant in the training department. When he's not helping thousands of musicians from the community, he's traveling around the world playing for various artists! He delivers fresh, practical, easy-to-understand techniques and principles to playing urban, west coast gospel music by ear!
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