Whether you want to learn how to read music, or just play along with your favorite songs, our teachers will take a customized approach, and create the perfect lesson plan for you.
Our teachers design fun and creative lesson plans specifically for you. Chords, soloing, improvisation, and theory are all taught in a progressive and easy to understand manner. We offer personalized guitar lessons for all ages, styles and skill levels.
We can help beginners quickly learn the basic patterns and techniques to back up a band. Once you've got the basics, we'll help you learn interdependence and the advanced techniques of the masters.
Discover the Suzuki method for violin, and learn your favorite songs at the same time! We'll give you the proper technical foundation to make the violin sound warm and beautiful.
Whether you're a complete beginner, or have been singing for years, voice lessons can be an eye opening experience. Learn proper breathe control, body alignment and vocal placement to maximize the potential of your voice.
Learn the fundamentals of bowing and fingering to get a beautiful tone out of your cello. Our string teachers have degrees from various music programs throughout the country and are great with beginners and advanced students alike.
Increase your knowledge of upright bass (double bass), or learn this string instrument as a beginner. Our teachers offer lessons to children and adults alike. We teach the basic skills, such as rest stroke and bowing, which apply to studies in jazz, classical, bluegrass and more.
Bass guitar is the foundation of a band. Working from tabs or standard notation, beginners will be able to follow along with their favorite songs in no time. More advanced students can learn theory and how to construct bass lines.
Great for tiny fingers! The Ukulele is a fantastic first instrument for kids and budding musicians of all ages. Our lessons will teach you the fundamentals of any string instrument, while exploring styles and strumming patterns unique to the ukulele.
Learn how to read music, proper breathing technique and the standard repertoire, all while gaining the skills necessary to perform in an orchestra or ensemble.
Learn how to read music, proper embouchure and breathing techniques, all while gaining the skills necessary to perform in an orchestra or ensemble.
From beginners to advanced, we will teach the fundamentals of playing woodwind instruments, including proper breath control, tone and technique. Advanced students can learn jazz theory, dixie land melodies, and more in depth orchestral pieces.
Baby and toddlers can learn music too! Babies (0-3) join weekly classes in Fishtown, occurring weekday mornings and select Saturdays throughout the year. Big kids (4-6) join exploratory group music classes - Hands-on exploration with ukuleles, drums, and piano.
Learn the basics of guitar, violin or voice in a group setting! Classes for both kids and adults focus on a variety of beginning techniques and repertoire. As each class progresses, students will learn to perform songs as a group.
Kids will learn rock repertoire, play in a band, record in the studio and walk away with a professional quality recording. Summer camps last one week and are held at our studio.
The word Sonata is certainly one that most people have encountered at some point in their lives. But, what does it really mean? Is it just a song that lasts longer than normal? Does it have to have a piano? These questions are important for listeners, because they introduce a whole new way of hearing music for someone! For performers, understanding the form is essential to an effective interpretation.
In today’s usage, a Sonata is understood to be a piece that follows a set form. When it’s written for one instrument alone, or with piano, it’s usually called a Violin/Cello/Piano/etc Sonata. However, the same structure is also used as the building block for String Quartets, Trios, Sextets, and so on. If you write a piece for an entire orchestra that uses this structure, we use another fancy word: a Symphony. Although the entire work could be referred to as a Sonata, the first movement (and many times the fourth movement as well) normally follows a form historically referred to as Sonata-Allegro form. Here’s a brief overview of what that looks like!
The way a Sonata works is with melodies that move through different keys. More specifically, there is melodic motion from a first, tonic key to the second dominant key (otherwise known as V or five). Assuming that there is no introduction section, the action starts with the aptly named exposition section. A primary theme is presented which establishes the first key (for example, C major). It then uses a transition to modulate to the dominant key for the secondary theme. ( For example, in the key of C Major, the dominant key is G Major) From there, the music moves into the development section where the material is twisted around until it finds its way back to a repeat of the first section in the original key. This is called the recapitulation. The primary theme is heard again exactly as it was heard before. The music will then make a subtle change to the transition it used before to change keys, but it will reorient itself so that it does not modulate. It’s at this point that the most important moment happens: The secondary theme is played in the original key instead of the dominant key. It’s the dramatic climax of the work, and in the best sonatas, everything leading up to it is oriented toward achieving it.
To more easily describe this, here’s a description of the three distinct sections that make up a sonata: Exposition, Development, and Recapitulation (Recap). There is also an optional fourth section, the Coda, which composers can use to extend the end of the piece for a little bit of a fun, or even to add entirely new interpretive ideas:
The exposition is where the premise of the story is presented. The original key, which is established with the first theme, goes a long way to establishing the mood of the whole piece. As already mentioned, the sonata then transitions to a second theme in the dominant key. This move to the dominant is important; it marks a journey that the music must take. The satisfaction that the sonata offers is granted by the feeling of moving away from home (the tonic key) and then returning at the end. The way the exposition sets this up determines the effectiveness of everything that follows.
The development is where the composer is allowed to really stretch their skills and show off. The order in which you hear different melodies usually loosely follows the order in which they appeared in the exposition, but they may or may not be recognizable when they are played here. The themes are stretched, pulled, fragmented, and jumbled all together as the composer sees fit.
Where the exposition was about moving from the tonic key to the dominant key, the development is under no such rule. It can travel to any key the composer feels like, and it can arrive there however the composer thinks will be dramatically satisfying. This sometimes means that fragments of the melody cycle through the circle of fifths every measure, or maybe that it moves quickly into a strange, far-away key and stays there for the duration of the section. When composers want to really go crazy, they may even make up a brand new theme that hasn’t been heard before in the piece!
What does all of this mean for interpreting some kind of meaning from the work? The best way to explain it is probably to equate it to the middle story in a trilogy, where your characters are at their darkest points, and the stakes become clear as you prepare for the final ramp up to the climax in the third part. (E.g. The Empire Strikes Back: Han Solo is frozen and given to Jabba the Hut while Luke Skywalker loses his hand and finds out that Darth Vader is his father.)
Eventually, the development will have to settle down a bit and come back to the primary theme, just like it was heard in the beginning. At this point, you’ve found yourself in the recapitulation, or recap as we might say in modern American English. The recapitulation is very much like a repeat of the exposition, but there is one crucial difference: The secondary theme must cadence in the tonic key, not the dominant. This is how we measure the success or failure of the journey. By achieving a perfect authentic cadence (the strongest kind of harmonic cadence) in the tonic key, the second theme has undergone a transformation. It’s been brought into line with the overall goal of the sonata. It’s almost like coming home from college after graduation; sure, you’re the same person, but you’ve undergone a big process of change that turns you into the mature adult you were always meant to be.
If the cadence is successful, the only thing that’s left to do is continue to play out the remaining music from the exposition, still in the tonic key. You make it to the final bar and feel rightly proud of yourself!
On the other hand: perhaps you weren’t successful. Perhaps the second theme never quite made it to the right key and it just gets left behind as a failure. There’s a lot of interpretive power there that can range from lost hopes and dreams to being forever alone without love. This gives the Sonata a bittersweet or tragic quality, regardless of it being in a major or minor key (here’s looking at you, Brahms).
This is something that becomes more important as you move later on in music history, but the presence of a big coda can also tell you a lot about what the composer is trying to express. Traditionally, the only thing the coda is supposed to do is have a bunch of fun, with redundant cadences to celebrate the success of the journey. It gives a big dramatic finish and reinforces the eighteenth-century Enlightenment ideals that gave birth to this whole form in the first place.
However, as composers write more and more sonatas, they start to get a little experimental with things. We can give Beethoven the credit for starting this rule-breaking trend with the final movement of his third symphony. The coda he writes ends up going on for 15 minutes! It’s the equivalent of getting to the end of a superhero movie, watching the main character beat the bad guy, have a celebration, and then find out—PLOT TWIST—the bad guy is still alive and needs to be defeated again! It was an effective tool for making his material take on a larger than life quality. What he’s implicitly saying here is that his music cannot be constrained by convention. In order to truly find a solution to the puzzles he’s presented, he has to go beyond the known forms and into uncharted territory.
Sonata-Allegro form has been a cornerstone of music for 250 years, and all of the famous composers would have written very different music if this form hadn’t been in place. Understanding this form goes a long way to understanding the Western classical music tradition as a whole. This was just a very brief overview of what makes up a Sonata, and there are countless more aspects to the form and tradition that an interested learner could seek out.
As a way to apply your new knowledge of Sonata-Allegro from, check out this annotated video of the first movement of Mozart’s Dissonance Quartet played by our very own string teachers! Each section’s name will appear on the screen as it happens.
As a voice teacher, I believe all voice students should take piano lessons as well. Why? I’ll dive into specifics later, but for any music student, piano lessons offer a foundation for music that is difficult to find with other instruments – voice especially. There are unique benefits for singers learning the piano. Some of them may surprise you.
Unlike most other instruments, singers can learn their music without knowing how to read music. It’s easier to pick notes out of the air when the voice does not require pressing a certain key in order to find the pitch. Still, it is more difficult to learn a song without knowing how to read music.
Reading music will enhance your vocal abilities in a number of ways. It can help you to understand your range, and will certainly allow you to pursue more musical opportunities. Plus, your pitch accuracy will grow! Learning music by listening might mean you learn a note wrong because a singer sang it wrong on a recording. Learning notes by reading them and playing them on the piano will allow you to be much more self-sufficient and accurate.
Playing Your Exercises and Accompaniments
If nothing else, voice students should take piano lessons so they know how to play their own exercises. Sure, the internet offers a wide variety of pre-recorded exercises, but the voice is such a unique instrument, many singers need to be able to customize their exercises, especially in terms of range. Being able to play the piano will allow you to do this.
Furthermore, if you’re interested in accompanying yourself (or even becoming a music teacher one day), you’ll need to learn piano in order to do so. Some genres require different piano skills, such as understanding chord progressions. With the above said, make your goals clear when starting piano lessons.
Some students take music lessons just to enjoy themselves, and that’s great! Others, however, have longer reaching musical goals. If one of these goals includes studying music in college, for example, music schools expect all students to have a basic understanding of piano. If you don’t study piano in your younger years, a college will require you to take courses then. Might as well get ahead of the curve and start studying now!
If you do have big goals, being able to learn your own musical parts or accompany yourself will also save you time and effort when it comes to rehearsing with other musicians. A coach, for example, won’t have to teach you a song note by note. Or, if you have interest in becoming a singer-songwriter, knowing how to read music will also teach you how to write music down.
Voice teachers do not require students to take piano lessons by and large, but all voice students should consider taking piano lessons if possible, no matter their goals. I have never heard a singer say they felt their piano studies did not help their vocal goals! I have, however, heard singers say they wish they began studying piano much earlier than they did. If you’re interested in piano lessons in addition to your voice lessons but are pressed for time or funds, there are solutions. See if you can’t balance out the two studies by scheduling shorter or alternating lessons, or get in touch with a music school to see what options you might have.
As summer approaches, many students and parents have questions about managing summer music lessons. These include questions about changing schedules, vacation time, and practicing expectations. While your teacher is the best person to talk to about specifics, we aim to address your more general questions, or to help you decide which questions to ask. We also want to show you how summer music lessons can serve as a special opportunity for you.
Communicate with your teacher about scheduling
The most efficient means of managing summer music lessons involves communicating with your teacher (or your child’s teacher). Need a different lesson time over the summer? Going on vacation? Music teachers anticipate all of this, but let them know sooner rather than later. Contact your teacher as soon as you make plans or need a change.
Communicate with our office about extended breaks
It’s especially important to let our office know if you plan on taking any extended breaks, such as for a whole month or for the whole summer. If you take an extended period of time off, we will remove you from our calendar moving forward. Please contact our office at the beginning of the Fall when you plan on starting up again. We can’t promise the same time/day that you had, but we’ll do our best to work with your schedule for the Fall!
The rules of lessons still apply
It’s easy to fall into a “summer mindset” with music lessons, not applying the same rigor to cancellations and practice sessions as you would during a school year. Don’t fall into this trap! Teachers expect just as much over the summer. Plus, your music teacher is still running a business over the summer, and needs to be treated as such.
Use this as an opportunity
Many students, especially kids, are so scheduled during the school year, it can be difficult to fully dedicate themselves to music lessons. Summer allows a little more flexibility. Use it as an opportunity to get ahead in your music lessons so you can reach your goals that much sooner.
A lot of students also hope to audition for top bands, orchestras, or choirs when they return to school. If your child brings focus and discipline to summer lessons, they’ll be ready for these auditions in the fall. This is particularly important if a student plans to pursue music further, such as in college.
In either instance, take note of your goals or your child’s goals, and what it would take to reach them. Then, you and your teacher can make a plan based on your freer summer schedule.
It’s tempting to think that once the recital is over, once classes are over, then lessons are over for the summer too, or at least are more relaxed. However, summer is a unique opportunity for renewed dedication. Flexibility, time, and focus have great benefits for you or your child, so take advantage of them! Above all else, remember that managing summer music lessons is not so different from managing regular lessons. Keep that mindset, and you’ll stay on the ball through vacations, schedule upheavals, and pool-worthy weather.