Is Accompaniment Optional
Found in: Accompaniment
Shelly W., California
Today a mother sent me an email, asking if the Accompaniment Program is a requirement in the Simply Music curriculum. Her 10-year-old son has gotten to upside down triangles and Danny Boy in Db. He has been quite resistant the whole way so far, even though the chord shapes come to him easily. So the resistance does not come from this being too difficult for him. His main complaint is that it’s boring and he’s not interested.
I’ve explained the value of Accompaniment, and enthusiastically illustrated the versatility it will give him, and how it will open up a universe of songs to him. We have even used his Accompaniment skills to play various pop songs he has brought in.
When I told him how Accompaniment will enable him to play with bands or other instrumentalists with ease, because he will have learned how to transpose any song into any key, his response was that he just wants to learn songs with melodies from the foundation book (he just completed Greensleeves today).
Has anyone come across this kind of resistance? Is Accompaniment required?
Robin Keehn, Washington
There is so much more to Accompaniment I than just accompaniment! If “scale” is the skeleton of music, then chords are the “meat.” In my opinion, chords are where everything begins so a thorough understanding of chords opens the doors to improvisation and composition, enables students to interpret any piece of music (such as how the treble and bass clef are related, and the musical the progression of the piece).
Students who learn the chords actually learn what notes belong together (scale). For example, if you learn the I-IV-V of any key, you know what notes belong in that note family. If you play the I chord in the key of D, then the IV and V and name the notes, you now know what notes are played in the key of D Major. Pretty cool–and totally painless.
When students object to Accompaniment, I let them know that knowing chords is going to have a huge impact on their ability to play music, understand music, read music, improvise and compose in addition to knowing how to sight read chords and play with others. Without exception, when I explain my position (no room to argue with me and the benefits, students get on board. I’ve had some that don’t especially enjoy it, so this where it is critical to provide a singing voice or even better, an opportunity to play with a band.
We have Accompaniment Workshops in our studio, and all students are strongly encouraged (or required) to participate. We had one on Saturday and it was amazing for students and parents alike. Hearing your child play The Beatles or Coldplay, Adele or a favorite praise and worship song with a band, and do it well is very exciting and highly motivational. Every time we do this, we see the lights go on for students. This year my more advanced students had pieces prepared but I also surprised them by putting lead sheets in front of them that they had never seen before for music they didn’t know. When I met with them today, they were very proud of what they were capable of.
Finally, knowing chords really aids in improvisation… I love having students discover a chord progression and build pieces or improvise on it. It is such a key to successful improv and comp.
I hope that helps, Shelly. Accompaniment is never optional in our studio. When someone objects, I consider it claiming territory and I smile and claim it back.
Anna J., Canada
This thread has emboldened me to ask about these accompaniment workshops I know some of you run. I’d be interested in hearing about your advice with these. I’m hoping to organize one for my students this spring, but am feeling rather overwhelmed at the prospect of coordinating this as I have such limited experience with the accompaniment process myself. What advise, tips and tricks would you have as far as organizing and working with a band in this setting?
I have some parents who have indicated a willingness to play, and others that have contacts with local bands. My sense is these individuals have a HUGE impact on the overall experience –
- Any suggestions for how to go about choosing them, and preparing them for the event?
- What kind of remuneration do you provide to these individuals?
- How have you organized the event in terms of student preparation?
- Do students pay extra for it?
- What about venue? I thought it could be great fun to rent a little club venue for it, allowing them the opportunity to actually get up on stage but I don’t know what the cost for that might be.
Anyway, a mix of a smattering of questions for you and some musings I’ve had so far. I look forward to your insights and experiences!
Heather M., Australia
I have found the same problem with some kids around that age group. Because the melody is not being played, they don’t like the fact that they have to rely on someone else to sing it for them.
I wonder if it’s the Flat chord shapes that are turning him off – often kids/adults can take a few weeks to get used to the feel of those. Like anything we do – if you’re not comfortable with the feel of something, you tend to not like it.
Perhaps playing the Songs for Children may help – songs he’s more familiar with. All the children loved those that I taught, even the older kids.
Honey Dew is great if you add in some whole and half-steps before the Chord notes and Play it Tog R L for each RH Chord. e.g. C tog, RH, LH on B), then Am tog, RH, LH on G, Tog on F, RH, LH on F#, etc. Makes Honey Dew a bit more interesting – but still playing RH chords throughout.
Try making up chord progressions with I, IV, V of what he already knows, then I would show him how those chords could be broken up to create melodies.
I have fun with the PAS program orchestral recordings – Finding the key its played in – by experimenting with the I, IV, Vs.
Many songs can be played by coming back to the I, IV, V. I was playing Neil Diamond’s “Song Sung Blue” and was seeing the I, IV, V as I played it by memory.
Using the B chord as I, you can break up the chord and play it 4 times fast running up (and only up) to play “In the Mood”, then use the IV and V of the B Chord in the order according to the tune, this works really well if you know that tune. Lots of fun!
Another great thing to do, is try and create an ensemble experience somehow, so he can see how chords fit within a band set-up. Or if that’s not possible use a drum and accompaniment chord rhythm on a keyboard, using your I, IV V chords in the Rh. Make up the progression.
When you know the value of this Accompaniment program, and the way it opens up chords like you’ve not seen or known them before, it’s a bit hard not to get excited!