AboutBill Pere Expertise Can answer questions on : Technical aspects of lyric and music compostion; How to give and receive objective critique; Arranging and production; Concrete vs abstract imagery; Use of metaphor; Rhyme techniques; Song Structure; Collaboration; Songwriter Associations; Promotion; Guitar technique;
Experience President of the Connecticut Songwriters Association; Named Independent Artist of the Year,by the 2003 national Independent Music Conference; 30 years as a professional singer-songwriter; 13 original CD's released;
Have had songs placed on other artists' CD's. Twice named Connecticut Songwriter of the Year.
15 years as Executive Director of the LUNCH Ensemble. Have attended more than 200 presentations by top industry professionals and have critiqued thousands of songs. Have written and produced dozens of stage plays and hundreds of concert events; Have coached hundreds of aspiring songwriters, and collaborated with several award winning writers. Have written commissioned songs as an Official Connecticut State Troubadour. Music Director of youth choirs and music camps.
Organizations Connecticut Songwriters Association (President); LUNCH Ensemble (Local United Network to Combat Hunger -- Exec, Director); CMEA (Connecticut Music Educators Association); Folk Alliance; Association For Psychological Type; Songsalive;
Education/Credentials Masters Degree Molecular Biology; Certified MBTI Practitioner (Myers Briggs Type Indcator); Connencticut Secondary Public School Teaching Cerftificate;
Awards and Honors Independent Artist of the Year, (2003 national Indie Conference); Official Connecticut State Troubadour, appointed by CT Commission on the Arts, 1995 ; 1982 and 1992 CT Songwriter of the Year; 2000 Award for 20 years of Outstanding Service to Songwriters;
2002 CSA Award for Outstanding Contribution to Education through Music; Numerous awards for outstanding community outreach through music; 1997 Citation from Connecticut Legislature for exemplary dedication to community outreach through music. 1995 Renaissance Award for multiple music achievments in a single year. Invited Presenter and Mentor at various Music Conventions
Question I used to take piano as a kid, when I was 6 years old, up until around 15.
During that time, I studied a lot of piano theory with my teacher as well. I
have since stopped, but I want to get back into piano. Not only that, but I am
not 19 now, and I feel like I've really figured out what I want to do in life. I
want to be a musician. I've always been apart of music my whole life, but for
some reason, I was always pressured into look at music only as a *hobby*
instead of a possible career. I would love to learn new instruments as well and
of course, musical theory, so I can compose, learn music easier, and actually
call myself a *true musician*. My question is, what's the best way I can go
about re-learning music theory. I learned quite a bit when I was younger. I
stopped at level 5. How do you think I can rebuild those skills, technical
knowledge about musical theory? Are classes at college usually very helpful
for these sort of things?
Thanks.
Answer <<...... My question is, what's the best way I can go about re-learning music theory. I learned quite a bit when I was younger. I stopped at level 5. How do you think I can rebuild those skills, technical knowledge about musical theory? Are classes at college usually very helpful for these sort of things?>>
Andrew,
Thanks for your question. The first thing to keep in mind is that you don't have to "re-learn" -- only 'wake up' the things you learned before . It's all still there, just needing to be used to start coming back to the front of your memory.
Truly understanding music theory is an extremely valuable skill for any musician, and it's amazing how many musicians don't actually have a real grasp of it. There are many dimensions to music theory -- Harmony/counterpoint, rhythm theory, orchestration, acoustics/physics, neurology and psychology of music. And if you write songs with lyrics, then there is a huge area of lyric/linguistics to cover as well.
So I encourage you to learn as much as you can, in four different ways:
-- Take whatever courses are offered at college (music theory, acoustics, psychology, etc)
-- Find a good private teacher who can take you beyond what is taught in formal classes
(school courses usually focus on classical music theory. You also need to know
contemporary stuff as well, like jazz, rock, aleatory, etc). Don't just settle for any
teacher -- interview them to make sure they can teach you waht you need.
(see below).
-- Read any book you can find in the field. I've listed some references below.
-- Learn by listening: Listen to pieces you like, and analyze them. Follow along with
a score (e.g. Norton Scores) and look at how the effects you like are being created.
Then imitate what you like in your own compositions.
Make sure you master the following:
-- scales, keys
-- intervals (names and what musical distance it represents)
-- circle of fifths
-- relationship of chord names to the notes in the chord
(you should instantly know what notes are in any chord)
-- rules for making each type of chord
-- the overtone series
-- ranges of all instruments and voices
-- contemporary as well as classical music vocabulary
-- duple and tuple rhythms, and compound rhythms
-- principles of orchestration and arranging
Also, you should understand modes, but don't need to spend a lot of time with them as long as you understand keys and scales.
For reading,
-- Get a general music theory book for your basic reference
-- "On the Sensations of Tone" by Hermann Helmholtz (this is a classic work on acoustics)
-- "This is Your Brain on Music" by Daniel J, Levitin
-- "The Technique of Orchestration" by Kent Wheeler Kennan
Be patient with your learning, but always be ready to learn, as lessons in music happen every time we hear a sound. Best of luck in your pursuits.
Sincerely,
Bill Pere (www.billpere.com)
President, CSA
Official CT State Troubadour
IMC Indie Artist of the Year
Founder, LUNCH
