Learning to play music through the abundant online content may appear enticing. The internet offers an endless stream of information, complete with detailed camera angles and ongoing discussions.
However, the pitfalls become apparent quickly. Much of this content lacks structure, leaving learners to sift through it in search of useful lessons. Moreover, an overly intellectualised approach bombards students with information in a short span of time. While some argue that students should digest and apply this material independently, many learners tend to passively consume cerebral content, clicking from one video to another instead of picking up their instrument and truly digest the acquired information.
This scenario highlights the dilemma of our Google era: “I don’t know, I can’t do it, but I can look it up.” Having unlimited information at our fingertips raises questions about the true value of learning. Is it more worthwhile to master two songs per week or receive a folder containing chord changes for the best 2000 songs of all time?
Learning to play music involves two key aspects:
Physical connection: This entails developing a trustworthy and natural relationship with the instrument. Traditionally, this connection is fostered through structured written material, often accompanied by one-dimensional etudes or exercises. For those aiming to perform written music, this method suffices initially.
Musical content: Beyond physical mastery, musicians must conjure up musical ideas. In the 20th century, popular music often required different skills: playing by ear, memorising music, improvising, and creating original parts. These skills were often acquired empirically or through oral tradition, a path shared by non-Western music.
Despite this, a divide existed between musicians trained in these different ways. However, some artists bridged the gap, excelling in both approaches.
Playing by ear is a crucial ability for any musician. While classically trained performers excel with written material, they may lack this skill. Visionaries like Kodály, Orff, and Suzuki recognised its importance, yet widespread acceptance remains elusive.
The obstacle lies not in musical imagination—many can sing melodies, harmonies, and variations by heart—but in ear-hand coordination. Neglecting this essential coordination hinders musical expression.
The solution is clear: teach ear-playing, using the voice as a direct link between external music and the inner musician. A methodology centered on ear-hand development ensures a harmonious flow of musical expression.
Hein Van de Geyn, April 2024