Alternative Sonic Instruction: Music by Ear

Q: Brandon, we met through BR when your interest in music made you think you'd like to write about it.  Like so many other musicians, though, you found yourself doing more music than writing.  I can't say I'm not a tiny bit disappointed that we lost a writer because you're good at it, but I like where your newest incarnation in your music life has taken you. Tell me about it.

A: That's very nice of you to say, Elena.  And you're right; at heart I'm passionate about the kinesthetics of music rather than associating words to sound. My new direction falls under the title: Alternative Sonic Instruction, which is a radicalized approach to the methodology of musical education. I say radicalized because most lessons on an instrument deal with the theory of scales, keys, progressions, and other classically emphasized material. My approach throws all of that out the window in favor of a training sequence focused on your ears and your musical instincts. There isn't any notation involved. 

I've always felt that music is a tool of emotional expression and not an exercise in arranging a mathematical equation that just happens to represent sound. Too many of my friends are genuinely passionate about music, but too afraid of the theory to make the jump. That's why I founded Alternative Sonic Instruction. I wanted to remove that obstacle and offer instruction based on developing a relationship with your creative identity. Whatever sounds you find pleasing to your ear will be the content of my lessons and any technical skill development will be based on your preferences as an artist.

Q: What would you say to those that fear music that's not based on theory?  

A: It's okay to be afraid, but I hope it isn't that scary. One of my main goals is to alleviate some of the pressures involved in developing instrumental ability. The only way to get people excited about music as expression is to provide the most positive and comfortable environment in which to learn. Students who view their lessons as "work" are already failing as artists, through no fault of their own. Teacher's who stress a timetable for chartable progress are tyrants not successful educators.  

I should pay homage to my inspiration, Shinichi Suzuki, who developed an approach that relied primarily on creating circumstances that are best suited for learning to take place. This includes a focus on trusting your inner creative self, learning by small steps, constructive positive encouragement, and no pressures or deadlines on progress. All of these factors had already proved essential in native language acquisition in children. He reasoned that if a child was most apt to learn complicated dialects under these conditions, that they would, in turn, serve musical training just as well. By providing an environment like this, I hope everyone feels welcome and comfortable. 

Q: Is this for the upstart who's dying to play and will put it all together later, or can you make a musician that feels and plays without knowing exactly how or why - one who can't read music?

A: This approach transcends skill level. The untrained will find it especially digestible. The well trained will find it unusually liberating. The entire process can be summed up simply as listening more clearly to your inner self. When you've accomplished this connection I believe it is possible to know exactly how to read music without knowing how to read notes. When you feel, you don't need to "know". Think of it this way, you have to learn to speak before you can learn to read, right? That's how this works. 

Q: So, musician savant?  They have this gift but can't say why?

A: The "saying why" really is important isn't it? Whether you're a genius or a novice isn't worth much if you can't find a way to articulate musical ideas to your fellow creators. But who is to say that an E chord is an E cord and not "a box with a chimney." Describing the arrangement of your fingers on the fret board is sufficient, but it isn't 100 percent perfect because it won't translate to everyone. In these cases, it is helpful to know some conceptual terminology. 

This is the only area where I bend toward a theoretical approach because that's what theory was intended for all along, as the best means to accurately communicate abstract ideas. But the main issue is that theory has been prioritized to the top of the training list when really it's a far shot off from what's really important. When it comes to understanding your instrument in your own personal way, you need to work with your own personal devices.   

Q:  If a parent wants to get their child into music for the sheer joy of it (and some disciplined practice) does your method keep the fresh interest going better than the study of notes and theory?

A: How many times have you heard an adult say: "Man, I wish I would've kept taking those piano lessons. It was just so boring at the time!" My dad says this quite frequently. Kids don't want to sit at the keyboard and play the G major scale ten thousand times over, fearing a slap on the wrist if it isn't up to standard. They want to get something out of an instrument that they're putting so much work into. That's what A.S.I. is all about, and for this reason my lessons include the opportunity to record your efforts. All the equipment is included in cost and can easily travel directly to you. 

Having a physical example of your invested labor can be very satisfying. Not only can you reflect on your accomplishment, you can show it off to your friends. It encourages you to continue discovering your inner creative voice by way of an instrument. 

Q: You're a nice guy, so I'm guessing the learning atmosphere would be laid back and serene.  Is there plenty of homework?

A: The only homework you have will be to work with the music you've been writing in your lesson. That doesn't mean strict rehearsal of the technical qualities involved. It means jamming out on music that YOU wrote. If something starts to bore you, then your homework assignment is to change it around, twist it up, and come up with something that you like. And when you come back to see me I will help you discover the sound you're searching for. 

Your homework is to maintain an actively creative mind. 

Q:  I bet there are a lot of adults out there with hand-me-down or purchased-but-never-used instruments.  How long with you before someone can expect to pull out the axe at a gathering of friends and get them all singing Dylan, Marley or Joni Mitchell?

A: I'd like to say that after one lesson you could pull this off but it's hard to account for all levels of learning acquisition. I'm going to say that after two lessons we will, at the very least, have you playing a version of the material you're interested in. By that I mean, whatever flourishes are present in the original can be reworked to fit your skill level, while still maintaining the main idea of the piece. 

The best way to remember something is by organizing the information in a personally meaningful way. In my development as an artist, I've often changed chord phrasings or keys of a song to better suit my ability. What I've learned through doing this I will transfer to you. In this way you won't become discouraged if you can't pull of a difficult chord or a ripping solo. Instead you'll be making that song your own. 

Q:  Ear is all, no?  How many people (say, out of 10) possess a good ear for perfect pitch and replication of notes?

A: As with any generality there are extremes. There are those who have the miracle of perfect pitch, but they're rare. There are those who are completely tone deaf, but they're also rare. Usually people fall somewhere in the middle of the spectrum and can develop depending on practice or lack thereof. If you want a number, I'd say 0.25 out of 10. But regardless of your ability, there is always room for enhancing your inherent talents and, in some cases, creating others you hadn't previously possessed.  

Suzuki said his goal as a musical educator wasn't to create prodigies, it was to raise a generation of "noble hearts." Alternative Sonic Instruction is as much about developing as a musician as it is about developing as a human being. The more you create, the more you'll understand what I mean.