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We found this review of the Flute Mastery DVD on AMAZON!
When I bought my flute I also purchased Jeff Ball’s instructional book/CD ‘Trailhead of the American Courting Flute’, which was a good introduction. After playing around with the basic techniques flute for a couple of years, I wanted to expand my techniques to explore and bring new levels of expression to my playing. As a visual learned I appreciate seeing and hearing the techniques, so I bought Kalani Das’ ‘Flute Mastery’ DVD – it was just what I was looking for so I’m very happy with the purchase and what I’m learning.
Kalani does not go into the origins of the native american flute or music theory (although he use some basic theory in naming styles of play). Rather, the DVD is a comprehensive review and instruction on techniques / music making and has 6 chapters:
– Finger techniques
– Breath techniques
– Tongue techniques
– Voice techniques
– Styles of play
– Musical Inspiration
Some of the techniques are familiar, some are variations, and some completely unexpected. Many of the finger and breath will be familiar but Kalani adds to the repertoire with simple examples and good explanations. Other techniques are ones that I’ve never heard or seen before. The voice techniques, for example, were an unexpected surprise that I’ve not seen before – I don’t know how much I’ll use them but they show the possibilities I hadn’t imagined. The Musical Inspiration chapter is ‘short but sweet’ and reviews how one might use visual inspiration and aural inspiration.
What I love about the native american flute is that it’s easy and fun to play. Kalani’s ‘Flute Mastery’ has inspired me to continue to explore and express myself. Highly recommended.
Click the cover to purchase.
Kalani shares three powerful ways you can help any group of people feel more conformable, more confident, and more authentic in any creative process. Some of ways we can facilitate success include:
Other things you can try include:
When you’re done listening, make sure you:
Special note: Portions of this podcast include music by Layne Redmond. Please visit layneredmond.com and support her memory by supporting her life work – and keeping her in your hearts and music. website
Judy Simpson, has been a working music therapists for over 30 years, helping clients make progress as she helps the general public learn about this unique profession. In this article, she describes not only what music therapy has in common with other helping professions, but more importantly, what makes music therapy a unique and powerful tool for creating positive change.
Judy Simpson, MT-BC
Director of Government Relations, American Music Therapy Association
When I started my career as a music therapist in 1983, it was not uncommon for me to describe my profession by comparing it to other professions which were more well-known. If people gave me a puzzled look after I proudly stated, “I use music to change behaviors,” I would add, “Music therapy is like physical therapy and occupational therapy, but we use music as the tool to help our patients.” Over the years as I gained more knowledge and experience, I obviously made changes and improvements to my response when asked, “What is music therapy?” My enhanced explanations took into consideration not only the audience but also growth of the profession and progress made in a variety of research and clinical practice areas.
The best revisions to my description of music therapy, however, have grown out of government relations and advocacy work. The need to clearly define the profession for state legislators and state agency officials as part of the AMTA and CBMT State Recognition Operational Plan has forced a serious review of the language we use to describe music therapy. The process of seeking legislative and regulatory recognition of the profession and national credential provides an exceptional opportunity to finally be specific about who we are and what we do as music therapists.
For far too long we have tried to fit music therapy into a pre-existing description of professions that address similar treatment needs. What we need to do is provide a clear, distinct, and very specific narrative of music therapy so that all stakeholders and decision-makers “get it.” Included below are a few initial examples that support our efforts in defining music therapy separate from our peers that work in other healthcare and education professions.
As we “celebrate” 2014’s Social Media Advocacy Month, I invite you to join us in the acknowledgement of music therapy as a unique profession. Focused on the ultimate goal of improved state recognition with increased awareness of benefits and increased access to services, we have an exciting adventure ahead of us. Please join us on this advocacy journey as we proudly declare, “We are Music Therapists!”
About the Author: Judy Simpson is the Director of Government Relations for the American Music Therapy Association. She can be reached at email@example.com
The Developmental Community Music Program is right around the corner. Find out why DCM is popular among music educators, music therapists, and drum circle facilitators. DCM teaches musicality, leadership, facilitation, and more – All in a beautiful setting with amazing people.
Treat yourself to the DCM course!
visit playsinglaugh.com to find out more and register. The course starts July 14th so don’t wait!
Kalani discusses the role of the Story Teller as it relates to the greater role of facilitator, according to the DCM approach. Topics in this episode include; Using stories to structure and set up an experience, using stories to provide context, using stories as in-the-moment descriptions of events and impressions, using stories to summarize what occurred during an event, and using stories as a tool for metaphorical learning.
With most jobs, as with most things in life, there’s often more to it than meets the eye. When someone that is not trained or experienced in a particular skill, trade, or profession makes observations about what someone else is ‘doing’ they can end up coming to conclusions that are more based on their lack of knowledge, rather than a full understanding of what might actually be going on.
Music Therapist Gabby Ritter-Cantesanu recently shared this story on a community list-serve for music therapists. Someone had posted a comment on another list, describing how they thought a music therapist wasn’t doing the best job because of lack of rapport-building with the clients. What that person ‘saw’ or ‘heard’ was likely limited to their personal level of training, experience, and orientation. Did they understand why that therapist was doing what they were doing? Or were they not seeing (or hearing) subtle, yet crucial, cues that would have given them a deeper understanding and appreciation with regard to the session? One analogy would be the person who is viewing a painting by Picasso and saying, “Look how disorganized this is. He obviously couldn’t draw very well. I know lots of people who can draw better than that.”
The following is most of Gabby’s post, used with permission. It tells the story of two therapists who come to realize that we all need to better understand the challenges and solutions that exist within our various professions.
The question “Is the observer of the MT session not seeing what the MT is doing?” hits home. And I’d like to say, this is a VERY COMMON occurrence for me. And no, in my experience they are NOT “seeing” (or hearing) what the MT is doing.
Due to the nature of my position, I do not have a lot of chatting time as I’m flying into a school, providing service and then running out to get to my next school.
I overheard our art therapist say: “I wish I could be a music therapist and do the same thing every week”, after observing my session (I worked in her office) for three weeks in a row.
What she isn’t trained to observe, and was completely missing, was the nuances in the music. This particular student with autism cannot handle change, no matter how small, without having “melt downs” that include self abuse. She gets stuck in that routine of “sameness”. To help her move through this, I do several things musically each week. This student is very musical and notices small changes in key, rhythm, tonality, etc. Each week I change things musically with her, leaving many of the actual songs the same. So, we may work on Old McDonald for several weeks, but one week we’ll sing it in D major in the typically recorded version (steady (guitar) strumming pattern, etc.). The next week, I may keep it in D major but alter the music to finger picking during “EIEIO”, etc. The next week we may play it on ukulele. By helping her move musically through small changes, she has begun to accept changes more readily and where she used to cry if I did not play music (and sing lyrics) exactly the same week to week, now I’m able to take greater risks and alter lyrics, play in minor keys, etc. You should have heard our minor version of Old McDonald with bats, goblins, mummies, etc. on the farm. The classroom is also reporting that she is accepting more changes and is able to now fully participate in morning circle time. SUCCESS!
To the art therapist, I was just playing the same songs every week. And because my students has improved at accepting changes, she wasn’t completely shutting down so it wasn’t overtly obvious that she was doing something uncomfortable or difficult. Once I sat down and explained this to the art therapist, she understood and thanked me, but had she not made that very hurtful comment, I would have never known this was her interpretation of what MTs do.
I feel observations by outsiders, without discussion with the MT, should be taken with a grain of salt because in all reality, they are not trained to recognize musical behavior so our groups can appear to be “happy happy joy joy” as Annette points out.
Many OTs I work with express the same problem with their field. It looks like a lot of fun to swing in a swing several times a day, but it is actually a student’s sensory diet requirement so that they can function within the classroom.
These misunderstandings can lead to great discussions and further understanding but they can lead to feeling like you’re undervalued/not valued and burnout. Peer supervision has been a wonderful experience for me, where I can freely vent these misunderstandings and get some validation and feedback on how to address them and move forward.
Does this type of thing happen in your work?
Leave your comments below.
Reading chord diagrams is easy when you know how. Hey – If ukulele and guitar players can do it, how hard can it be!
Once you learn how to read chord diagrams, you can quickly read just about any song you want, which is pretty cool. Let’s find out how.
A chord diagram is consists of a grid and dots. The top line of the grid represents the nut of the ukulele (the part the string go through at where the headstock connects to the neck).
The vertical lines represent the strings G-C-E-A from left to right. Imagine the ukulele is being held so the neck is pointing straight up.
The horizontal lines represent the frets. Usually there are four or five frets in a diagram.
The dots represent finger placement and often have numbers inside each one. The numbers show which finger to place on which fret. Fingers are numbered 1-2-3-4, which are the index, middle, ring, and pinky, respectively.
Here’s an example of the G7 chord as a chord diagram. See the triangle-shape and the numbers. See if you can finger out how to create this, then watch the video and see if you got it right.
NOw you can read a chord diagram? If you’re shaking your head, just watch the following video, which will explain the entire concept. (It’s way easier than learning from this post, but you had to read to this point to finger that out!)
There are wide range of small, affordable, electronic tuners available today, but what if you find yourself without one and you still need to get that uke in tune? What then? Never fear! There’s a clever way to tune up your uke without the need for having perfect-pitch. It’s called relative tuning and it’s pretty easy. Here’s what to do.
1. Choose one of the string on your uke to which you will tune the three other strings. You can use any of them, but I personally like the C string to start, so let’s start there. Make sure the C-string is not completely out of tune (really low or high). As long as it has a medium amount of tension in it, you should be fine. By the way, this method of tuning just tunes the uke to itself, so if you’re going to play with other instruments, you’ll need to tune to them. If you’re just jamming by yourself, this will work fine.
2. With the C string as your starting point (base pitch), place your finger on the G-string on the fifth fret. (The G-string is the top string). Pluck it and tune it until it matches the C string. (You’re playing a ‘C’ on the G-string.) If you’re using standard uke tuning, the strings will be an octave apart, but that’s OK.
3. Next: Place a finger on the C string at the fourth fret and tune the E string until it matches.
4. Once the E string is in tune, place a finger on the E string at the fifth fret and match the A string to it. You’re done! Easy.
Here’s a video clip from the PLAY UKULELE DVD that shows you how. Enjoy!