# Got my first lesson tonight



## Bunford (Jul 30, 2012)

Just thought I'd seek approval on my new teacher. Having my first lesson with him tonight. It's initially going to be a combined piano and theory lesson, in time introducing compositional elements too. His credentials are:

Graduate of the Royal Welsh College of Music and Drama 2008-2012 

Grade 8 Piano ABRSM 2007 

Studied piano under Fazliddin Husanov, International Concert Pianist 2011 

Studied Composition with Peter Reynolds, tutor at RWCMD 2010-2012 

Studied Composition with Jeffery Wilson, Professor at JGSMD 2006-2008 

And he has already told me that he is unavailable for a lesson next week as he is performing at The Proms in Albert Hall, London, so is clearly performing at quite a high level.


----------



## Bernard Quatermass (Jul 30, 2012)

So what grade are you?


----------



## Jimbo 88 (Jul 30, 2012)

I got my education on the south side of Chicago


----------



## synergy543 (Jul 30, 2012)

Oh crickey! I hope you're not studying with Timothy Wilson? >8o 

If so, my heart goes out to you mate. 
Let us know if you survive the first lesson and how it went. :mrgreen:


----------



## Peter Alexander (Jul 30, 2012)

Bunford @ Mon Jul 30 said:


> Just thought I'd seek approval on my new teacher. Having my first lesson with him tonight. It's initially going to be a combined piano and theory lesson, in time introducing compositional elements too. His credentials are:
> 
> Graduate of the Royal Welsh College of Music and Drama 2008-2012
> 
> ...



Good for you! Being a Yank, I don't recognize all the initials, but it seems like you've got a good tutor. Get the most out of him by putting time into practicing. It will seem at first that the rewards for your efforts will be slow in arriving, but arrive they will!


----------



## Bunford (Jul 31, 2012)

synergy543 @ Tue 31 Jul said:


> Oh crickey! I hope you're not studying with Timothy Wilson? >8o
> 
> If so, my heart goes out to you mate.
> Let us know if you survive the first lesson and how it went. :mrgreen:



Yep, the one and very!

Why do you say what you did? 

It went well. I'm a complete novice at piano. Played guitar for 23 years, but self taught and know some scales, but more how to play rather than names or why they're structured as they are etc.

Just did some basics of reading music, playing some bits on the piano, did some improvising based on themes like "dreamy" or "sad". Went alright and already picked up reading notes on a staff (albeit slowly and not sight reading whilst playing fluently), note lengths, rests etc.

I also discovered that both hands struggle to work together and my pinky fingers really don't want to do what they're told!


----------



## synergy543 (Jul 31, 2012)

Bunford @ Tue Jul 31 said:


> Yep, the one and very!
> 
> Why do you say what you did?


Just messin with ya. :wink: 
You gave us all of the credentials details but no name, so Google found a match within seconds! :D 

On a more serious note, I've discovered a great study series in the U.K. you should ask your teacher about. The 3-book series is called "Melody and Harmony" by Stewart MacPherson (published by Stainer & Bell) http://www.stainer.co.uk/acatalog/educational_books.html (http://www.stainer.co.uk/acatalog/educa ... books.html)

What is interesting about this series is that as the lessons progress, he combines melody, counterpoint, harmony, basic orchestration, composition and real world music examples all together - as happens in real music. Most study books break the subjects into separate categories (counterpoint, harmony, composition). While this series in almost 100 years old, I would still highly recommend it over most others I've seen (I have most of them). I'm surprised I haven't heard of this series before, but it doesn't seem to be popular on this side of the pond for some reason.

I'm curious to know what books are you using?

In anycase, thanks for sharing about your lessons. Its great to hear what others are doing and studying is a life-long endeavor.


----------



## Bunford (Aug 1, 2012)

Because I'm a piano novice, and although capable on guitar, I can't read music nor detail scale theories and names etc.

Therefore, I'm trying to approach it from learning to play piano, theory and composition all at the same time.

This is the one he's started me off on in terms of learning the piano, reading music and some theory:

http://www.amazon.co.uk/Musicianship-Older-Beginner-Vol-1/dp/0849750318/ref=pd_sim_b_7 (http://www.amazon.co.uk/Musicianship-Ol ... pd_sim_b_7)

Though, the ones you posted do look very good and logical to combine elements throughout the one course.

As a question, is it possible to learn and be good at theory and composing without actually being able to play the piano? Just wondering as I never really thought about it before.


----------



## BopEuph (Aug 1, 2012)

Bunford @ Wed Aug 01 said:


> As a question, is it possible to learn and be good at theory and composing without actually being able to play the piano? Just wondering as I never really thought about it before.



I don't play piano, and I'm a theory nerd. I think all musicians should have a strong grasp of harmony. Classical violinists that think it's a waste of time tend to be the same ones in amateur orchestras playing part time, and wondering why they don't make much more.

I was dating a classical musician once, and we were riding in my car, and I had Sonny Rollins playing. She told me that she doesn't like jazz, it all sounds the same. Imagine if someone told her that about classical music. Those words were obvious to me that she couldn't hear the different harmonies going on in each tune. She makes probably 10k as a freelance violinist, and used to always call me up complaining about how little she makes. I'm a firm believer that if she couldn't hear a difference from blues to All the Things You Are, then a major reason she isn't a much busier violinist is because of her ears. 

Anyway, you don't NEED to play piano, but it is much easier to understand harmony with it. I play enough piano to chunk out chords, and that's it. As for composing, most musicians compose while using the instrument they're comfortable with.


----------



## synergy543 (Aug 1, 2012)

Bunford @ Wed Aug 01 said:


> As a question, is it possible to learn and be good at theory and composing without actually being able to play the piano? Just wondering as I never really thought about it before.


I mostly agree with what Nick says although I feel that strong performance ability on some instrument is essential to composing (there have been rare exceptions but they are very rare). And to understand harmony and orchestration, I think it helps tremendously to have at least fairly good basic piano skills (even if another instrument is main). Of course some will argue, but I think it would make it very hard to analyze an orchestration (for example by say, Stravinsky, Prokofiev, or Ravel) without at least rudimentary piano skills.

As for books or methods, it probably doesn't make that much difference as long as you follow through and thoroughly complete whichever course you choose (it seems many people that don't learn, stopped trying along the way).

As for the MacPhereson series, his musical examples are generally simpler to play than found in many other books but still require some piano skills. So while developing your piano skills, in the meantime, why not utilize a notation program such as Sibelius to realize study examples? And also realize orchestration examples in your DAW. It would be rather hard not to learn quite a bit utilizing the tools in this way.


----------



## BopEuph (Aug 1, 2012)

Actually, I think I completely agree with Synergy.

I assumed with these lessons that Bunford had some decent skills on another instrument. 

In short, you should be able to play at least 99% of whatever you compose on your own instrument. If you write a beautiful horn melody, and your instrument is cello, it would be a good idea to play through it on your cello.

And I heartily agree that basic piano skills help. I shouldn't say I DON'T play piano, but you'll never find me playing a Beethoven piano sonata in public. I might be attempting it in private, but I can't get through a few bars in time without working on each measure for an hour or two. 

You can analyze scores without a piano (it's taught that way in modern theory classes), since the mathematics are easy to see on paper, but you're doing yourself a great disservice if you're not isolating parts and analyzing the basic progression by being able to reduce the orchestration. In short, playing the piano while analyzing scores is a major advantage.

I didn't take my piano classes in college seriously, and barely passed them just so I could graduate. My reasoning is that I already play so many instruments at such a high level, that I didn't need to add piano to my skills. Man, was I a dumb kid!

I agree with you on methods, too. I would personally probably be attracted to thicker books, since they should be more complete. But the information in each theory book should be the same. I have always used The Practice of Harmony by Peter Spencer. It's the standard in Florida, as Spencer is a professor at FSU, and a great musicologist. I'm sure there are plenty of books at that level, though.


----------



## Matt Baron (Aug 1, 2012)

Bunford @ Wed Aug 01 said:


> As a question, is it possible to learn and be good at theory and composing without actually being able to play the piano? Just wondering as I never really thought about it before.



It certainly is, though I will echo what the other guys have said about still being proficient at some instrument. Take a look at Berlioz: he was an incredible composer/orchestrator and he never learned piano, and as far as I know he only really knew classical guitar and flute, though I may be wrong about those.


----------



## Peter Alexander (Aug 1, 2012)

> In short, you should be able to play at least 99% of whatever you compose on your own instrument.



Uh, no. Idiomatic string lines, brass lines and woodwind lines cannot be played on the piano. Since string writing is a matter of positions, leaps are possible that aren't practical at all for a pianist (or a trumpet player), as just one example.

That you're hearing 99% of what you're composing is the more apt practice and this takes time to develop.


----------



## Bunford (Aug 1, 2012)

BopEuph @ Wed 01 Aug said:


> I assumed with these lessons that Bunford had some decent skills on another instrument.



Just to clarify that I do. I'm 31 years old, played guitar since age of 9, but mainly between ages of about 15 and 27ish in bands playing live, touring UK, played festivals etc, so up to a decent level. However, completely self taught from scratch and learnt through trial and error and parroting, hence why I know how to play scales on guitar but can't name them or understand the theory behind the way they're structured the way they are etc.


----------



## Peter Alexander (Aug 1, 2012)

Bunford @ Wed Aug 01 said:


> Because I'm a piano novice, and although capable on guitar, I can't read music nor detail scale theories and names etc.
> 
> Therefore, I'm trying to approach it from learning to play piano, theory and composition all at the same time.
> 
> ...



Multitasking is highly inefficient and trying to learn the way you're suggesting will only lengthen your learning curve, not shorten it. THE first step, as titled in the US, is Music 100 and this is what you're getting now with rhythm, pitches, keys, scales and arpeggios. Master the foundation and then watch how fast you move through basic harmony as your SECOND step.


----------



## Bunford (Aug 1, 2012)

Yeah, I suppose.

I've also signed up for a part time degree I will be starting in October. It it a half Music, half creative writing degree.

The music side includes studying it from the inside. 3 modules are music and 3 are creative writing. The 3 music are:

1. An introduction to the art of music
2. Inside music: Learning how music is created and the theory behind it
3. From composition to performance: Learning how to write your own compositions and transfer it to be performed by orchestral instruments.

My lessons are really to begin the process ahead of time a bit to give me a feel of it all before beginning my degree.


----------



## BopEuph (Aug 1, 2012)

Peter Alexander @ Wed Aug 01 said:


> > In short, you should be able to play at least 99% of whatever you compose on your own instrument.
> 
> 
> 
> ...



Well, that's what I meant. But at least giving yourself some way of hearing them is a good way to go, I imagine. My main instrument is euphonium, weird as that sounds. I would play a string line on there to at least get an idea of the melody played by someone with facility. My piano playing is horrible, so I would do it on that instrument. Granted, large leaps or arpeggios are very difficult, but not impossible, and at least they can be played well enough to hear what you wrote.

I would imagine it's easier for a piano player to play any other instrument's lines than it is for the other way around. The same violin line would be easier if you were using both your hands on piano, right? 

I didn't mean being able to perform them on your instrument, but having some way to hear the lines. Although I really don't think I would care to practice a line all the time. If it's too difficult, and I can't imagine it in my head, I would probably put it into Finale and listen to the line there. I've done that plenty of times with my arrangements.

Remember, I'm not considering myself much of a composer. But I do have much experience as a theory guy and arranger. That's what I'm going on right now, until I really get proficient in this new game.


----------



## Darthmorphling (Aug 1, 2012)

Bunford @ Wed Aug 01 said:


> Because I'm a piano novice, and although capable on guitar, I can't read music nor detail scale theories and names etc.
> 
> Therefore, I'm trying to approach it from learning to play piano, theory and composition all at the same time.
> 
> ...



I went to my local music store and they had the first two volumes. These are the books I was looking for to help me along with coordinating both hands. Have you found it strange that even though guitarists use their left hand on the fretboard that our right hand seems to work better on the keyboard. I honestly thought that it would be the opposite.

I also checked into lessons and my daughter's singing lessons are going to come first unfortunately.

I skipped the first couple of pages, but started on the page 6. The lesson was very easy to get through but the exercises on the next, while not hard, required some practice to transition from one line to the next. I am going to refrain from moving on until I can play the entire page without thinking about it.

@BopEuph 

I think I am doing myself a disservice, as I decided that I wasn't going to let myself write melodies on my guitar. I found myself repeating the same patterns and thought that writing on the piano would help me get out of that rut. Unfortunately it is much easier for me to interpret my musical thought into musical form on the guitar at this point. Once written it should be easy to play it on the keyboard.


----------



## Johnny42 (Aug 1, 2012)

> That you're hearing 99% of what you're composing is the more apt practice and this takes time to develop.



This is such an important statement and it should not be taken lightly. Ear training, solfege, and a very good understanding of theory[/quote] will enable you to write music away from your instrument.
 
@ Darth,

You are not doing yourself a disservice by learning the piano. it will come in handy in your theory studies and score reductions. Then again I am a Liszt and Rachmaninoff fanatic.

@ Nick 

Did you study Schenkerian analysis at FSU?


----------



## BopEuph (Aug 1, 2012)

No, I didn't. I studied the typical basic figured-bass style analysis, and we weren't really taught to think that much about the horizontal line, but the vertical harmonies and how they lined up.

However, I had since supplemented my classical theory study with modern jazz harmony. I put the two together on my own (for some reason, I've noticed that guys who have studied both of these harmonic schools can't see the connection) and do understand Schenkarian analysis, though haven't really ever studied it.

@Darth: I agree with Johnny here; even if we're not talking about composing, the more you learn about ANY aspect of music, the better a musician it's going to make you. Even my knowledge of brass playing has helped my bass playing, and not just in obvious ways. 

Anyway, when I write, I hear it in my head first. I write it down on paper (or Finale) and play it back on one of my instruments to hear if it really works like it did in my head. If arranging voicings and I'm stuck, I'll throw things down on the paper, in that vertical way of thinking I was originally taught as a start, then make sure all the lines and the voice leadings work.

Anyway, I think I'm babbling...


----------



## Darthmorphling (Aug 1, 2012)

My post wasn't clear. I don't think learning piano is a disservice. I know that to become a composer learning piano will be a tremendous benefit. The same is true for learning more about theory. These are two things I am working on, with some serious effort, which is why I purchased the books that Bunford's teacher has him using.

What I meant was that by purposely not allowing myself to use the instrument that I have some mastery with, I am limiting my creativity. For the most part what I hear in my head, within reason, I can play on guitar. At my current piano level that just does not happen. I know it will improve in time.


----------



## Bunford (Aug 2, 2012)

Darthmorphling @ Thu 02 Aug said:


> Have you found it strange that even though guitarists use their left hand on the fretboard that our right hand seems to work better on the keyboard. I honestly thought that it would be the opposite.



Yeah, I completely agree with this. I found my left hand much 'stiffer', especially the little finger. Also have issues raising the 4th finger up for enough clearance from the keys whilst using the fingers next to it.

Learnt a bit about the carpel tunnel in your wrist, dexterity and why your 3rd and 4th fingers usually want to do the same thing, i.e. they're controlled by mostly the same ligaments and tendons.


----------



## Bernard Quatermass (Aug 2, 2012)

Bunford @ Thu Aug 02 said:


> Darthmorphling @ Thu 02 Aug said:
> 
> 
> > Have you found it strange that even though guitarists use their left hand on the fretboard that our right hand seems to work better on the keyboard. I honestly thought that it would be the opposite.
> ...



When youre playing with the left hand, quite a lot of the time if youre just playing around, its very noticeable self taught players play octaves with the thumb and the finger next to the little finger. Ive noticed that a lot over time just watching. The issue with that is, the second you do that, apart from anything else, youre left hand is at completely the wrong angle. It turns away to the left. Wrong! You will find out why over a period of time.

The only way to learn keyboard playing properly is the way youre now doing it. Scales are boring but what they do that is most important is to develop muscle memory. All playing in the end is about muscle memory and technique. You cant be thinking about individual notes especially when youre playing fast passages. Its the scales that give you the correct technique which in turn develops muscle memory.


----------



## Darthmorphling (Aug 2, 2012)

Bernard Quatermass @ Thu Aug 02 said:


> Bunford @ Thu Aug 02 said:
> 
> 
> > Darthmorphling @ Thu 02 Aug said:
> ...



I have been really focusing on finding resources that show proper hand and finger positioning. I developed carpal tunnel in my right hand from playing too much quake when I was younger so I want to make sure I develop proper technique. What i find interesting is that playing guitar seems to actually counter the carpal tunnel unless i try and play Master of Puppets to speed with all downstrokes.

As I am typing this I realized a few months of lessons are probably needed. I go back to work next week and am going to hit up our music teacher and see if she would be willing to show me at least that much. She had better as I have helped her with the computer problems she had in her class :D


----------



## Johnny42 (Aug 2, 2012)

> I have been really focusing on finding resources that show proper hand and finger positioning



Hanon (the Schirmer edition) will help you a great deal with dexterity and proper fingering for scales, arpeggios, and much more. It is a great exercise book for any pianist (from beginner to advanced). You can also get Tausig and Isidor Philip. But I recommend you start with hanon.

@ Nick


> I've noticed that guys who have studied both of these harmonic schools can't see the connection



There is some truth to that. A lot of guys and gals at my alma mater had the problem you've described. But to me, harmony is the same regardless of the genre of music (talking strictly about western tradition here). Its usage (meaning treatment of dissonances and voice leading) will differ depending on the style of music. Maybe it's because I play classical, jazz, and everything in between that I never see it to be a problem.


----------



## Ed (Aug 2, 2012)

BopEuph @ Wed Aug 01 said:


> Well, that's what I meant. But at least giving yourself some way of hearing them is a good way to go, I imagine.



As you go on to say, thats what samples and programming are for, and yes people who actually can read notation and understand whats its going to sound like can use a notation program. I mean what if you're a great percussionist, does that mean you wouldnt be able to write for anything other than percussion? What if you can only sing? Does that not count? If it does, why doesnt not playing anything? I can potter around well enough on the keyboard but I cant really play "properly. "

Synergy said having a "strong performance ability" instrument is "essential" for composing. Um, it will help, but how is it essential? The way I see it, essential means something you have to have or you cant do whatever it is. Like, its essential that I have a piano if I am to learn how to play a piano. Or, its a essential that in order to make electronic music its essential I have synth. You see?


----------



## RyBen (Aug 2, 2012)

Having decent piano technique can make a huge difference in your workflow. There's an aesthetic nature about it that allows you to experiment based on certain visual patterns, like the whole-tone scale. It's easier to comprehend certain theoretical concepts when you can see them in action visually. With V.I.'s, it's nice to be able to get the results you want live in a few takes rather than programming midi trying to figure out how to humanize it.

It's not necessarily essential for composing.. but neither is two legs for walking. You can manage. 

Edit: Also, when it comes to exercises, something that helped me immensely was playing them with triplet accents. like | DA da da | DA da da | DA da da | etc.
If you've never tried this before, you'll inevitably stumble terribly at the beginning. That's a good thing, because once you can pull it off, you'll notice big improvements. Start off playing accented triplets with scales, then try with more advanced patterns like Hannon. When you're good with triplets, try it with quintuplets, accenting every 5th beat. Later you can try 7 if you really want to spice things up.

The goal here is to even out your ability of each finger. I find that using irregular beats is magnitudes more effective than the common denominators of 2. Irregular beats help you separate intervocalic intentions with rhythmic intentions, if that makes sense.


----------



## Bernard Quatermass (Aug 3, 2012)

RyBen @ Thu Aug 02 said:


> Having decent piano technique can make a huge difference in your workflow. There's an aesthetic nature about it that allows you to experiment based on certain visual patterns, like the whole-tone scale. It's easier to comprehend certain theoretical concepts when you can see them in action visually.



Correct. However, I always get a certain kick out of watching untrained (in the classical sense) keyboard (piano if you like) players play. There's something about it that can become very productive in a way that a classically trained pianist cannot do and has lost through the almost intellectual exercise of following time consuming traditional progression.
That said, once you have the art of playing to a good standard down, improvisation becomes a lot easier.


----------



## P.T. (Aug 3, 2012)

Bunford @ Wed Aug 01 said:


> Darthmorphling @ Thu 02 Aug said:
> 
> 
> > Have you found it strange that even though guitarists use their left hand on the fretboard that our right hand seems to work better on the keyboard. I honestly thought that it would be the opposite.
> ...



EDIT;
I quoted the wrong post.
I meant to quote;
----------
What I meant was that by purposely not allowing myself to use the instrument that I have some mastery with, I am limiting my creativity. For the most part what I hear in my head, within reason, I can play on guitar. At my current piano level that just does not happen. I know it will improve in time.
--------------------
But now I see that doesn't exactly make much sense as I somewhat misread that post.
__________________

I find the opposite to be somewhat true.

I come from guitar.
Guitarists tend to use certain note sequences with a high degree of regularity because of the way the fretboard is laid out. Lots of 1st and 3rd finger across the neck.

When I started using a keyboard I broke free from that and opened up a new world of composition.

I don't know how true this is for other instruments.
On keyboard I soon found that I was playing a lot of chromatic type melodies, and generally more melodic things, whereas the guitar lines tended to be more angular.

I do better work inserting notes in the piano roll because I then do pure composition based on idea rather than instrument technique and muscle memory.
Once I have an idea, if I can't figure out how to notate it I will try playing it in because my playing is better than my notation.


----------



## Bunford (Aug 3, 2012)

P.T. @ Fri 03 Aug said:


> I find the opposite to be somewhat true.
> 
> I come from guitar.
> Guitarists tend to use certain note sequences with a high degree of regularity because of the way the fretboard is laid out. Lots of 1st and 3rd finger across the neck.
> ...



To make sure we're using same terminology, I'm using piano finger numbering. If you are, 1 is your thumb so I'd be interested to know how exactly you play guitar 

I think learning piano and theory go hand in hand. It's impossible to learn to play the piano well, without learning the theory alongside it. Composition is an additional element I'd say, and one you can tackle with more vigour once you have a strong grasp of music theory.

I can usually work things out on the guitar. However, I can see that learning music theory and composition skills, I will be able to improvise better and, in turn, write better music. Or so I hope!


----------



## Johnny42 (Aug 3, 2012)

> I always get a certain kick out of watching untrained (in the classical sense) keyboard (piano if you like) players play. something about it that can become very productive in a way that a classically trained pianist cannot do and has lost through the almost intellectual exercise of following time consuming traditional progression.



Does that statement apply to Oscar Peterson, Keith Jarrett, Chick Corea, Billy Childs, Andre Previn, George Duke, Lyle Mays, Keith Emerson, Jordan Rudess and many other unknown classically trained jazz/pop/rock pianists? Just would like some clarification on your statement.


----------



## P.T. (Aug 3, 2012)

Bunford @ Fri Aug 03 said:


> P.T. @ Fri 03 Aug said:
> 
> 
> > I find the opposite to be somewhat true.
> ...



It was a mixup.
I quoted the wrong post and then didn't proofread, so I missed the error.

I meant to quote the post above yours.


----------



## Bernard Quatermass (Aug 4, 2012)

Johnny42 @ Fri Aug 03 said:


> > I always get a certain kick out of watching untrained (in the classical sense) keyboard (piano if you like) players play. something about it that can become very productive in a way that a classically trained pianist cannot do and has lost through the almost intellectual exercise of following time consuming traditional progression.
> 
> 
> 
> Does that statement apply to Oscar Peterson, Keith Jarrett, Chick Corea, Billy Childs, Andre Previn, George Duke, Lyle Mays, Keith Emerson, Jordan Rudess and many other unknown classically trained jazz/pop/rock pianists? Just would like some clarification on your statement.



Yes. Completely. 

What do you know about Keith Emerson?


----------



## Johnny42 (Aug 4, 2012)

I don't know much except for what is written about him. I wrote a paper on Emerson for my 20th century harmony class a long time ago(Janacek Sinfonietta).

You satisfactorily answered my question. I was hoping that you would elaborate a little bit more on the subject. You and I might be thinking along the same line here, hence the reason why I wanted you to clarify your statement.


----------



## Darthmorphling (Aug 4, 2012)

Johnny42 @ Thu Aug 02 said:


> > I have been really focusing on finding resources that show proper hand and finger positioning
> 
> 
> 
> Hanon (the Schirmer edition) will help you a great deal with dexterity and proper fingering for scales, arpeggios, and much more. It is a great exercise book for any pianist (from beginner to advanced). You can also get Tausig and Isidor Philip. But I recommend you start with hanon.



The Hanon book is in public domain and a website has been set up with all of the exercises.

http://www.hanon-online.com/the-virtuoso-pianist/

There is also a PDF version floating around. I plan on starting this after completing the first two piano books I am using.


----------



## Johnny42 (Aug 4, 2012)

> I plan on starting this after completing the first two piano books I am using.



You can do the hanon exercises along with your other piano books. Just take a few minutes before you start your pieces to learn a hanon exercise. You will see a drastic improvement in your technique within a few months.

Try and see if you can get Schoenberg's Models for Beginners in Composition. You might be able to get a pfd version of it. It's a great little book. Very practical.


----------

