The Wiz - So You Wanted To Meet The Wizard Sheet Music | assistancedogseurope.info
Piano Wizard is revolutionary with our piano software method. Let's dispel They are actually reading sheet music but don't know it until it is revealed in the next step. Piano Wizard .. Especially if all you want to do is play and enjoy music. The wizard of ads: turning words into magic and dreamers into millionaires / by Roy H. .. Insights into ◇ why you're so lucky ◇ the sad predominance of pessimism. ◇ living a . support what you say with illustration and example, meet me in .. If you want your advertising to be more productive, you need .. Loud music. The Wizard Of Oz Meets The Wiz, Part 2 (Featuring: So You Wanted to See the Wizard / A Brand New Day [Everybody Rejoice]) - 3 (Medium) Music by Harold.
Like Bach, we could not and would not abandon musical notation, whatever it's drawbacks, because the treasures buried in its archaic code are priceless. Well now we don't have to, they are also accessible. It does not let you compose. There are other programs that do, and we will have one of our own soon that is fun and intuitive, but Piano Wizard does not do that.
Piano Wizard is a fun way for those that want to learn to play the piano, especially musical pieces and songs, and even to learn to read music as well.
We do that well. The game does NOT let you edit musical pieces, or even view them in musical notation, except in the course of playing the game. Later on, we will have a super-duper version of the game that let's you do that, BUT, Piano Wizard is a fun way to unlock the greatest music ever written, for you to learn and enjoy.
Piano Wizard does NOT teach you to improvise, does not even let you improvise. Piano Wizard is a fun way to understand musical structure, through example and unique views of musical interrelationships in motion. Piano Wizard does NOT teach you musical theory, or "correct" fingering, No such thing, what works for a small child won't work for a large adult, and each piece is unique in sequence and structureThe game lets you or your teacher put in the best fingering for YOU the game does not "explain" music or musical notation.
For these things we have a musical resource page at our website where you can find out more than you ever wanted to know about these topics, and our only warning is that this takes years to understand why exactly it doesn't make sense, then it makes sense, sort of.
We try and skip that, and get you playing and seeing and experiencing the music firsthand, we'll let the theories about the theories of what Czerny was thinking Beethoven was thinking Bach was thinking dizzy yet? It is fascinating, but it is not gospel, and don't let anyone tell you different.
Let the music speak to you directly is our suggestion.
Piano Wizard is a fun way to see what others have done and how they have solved problems and created beauty. Why we don't teach you musical theory, or about musical notation. First of all, this being the traditional approach, there are literally hundreds of books, lessons, teachers, websites, and other resources out there where you can learn that better than we could teach it.
Second of all, it is more confusing than helpful. Third, it is historically embedded with multiple layers of code, added on with each generation or era to deal with the newest complexities and theories of the latest generation. These were no more than working theories about how to organize music, and how we hear music. It is as culturally arbitrary as Arabic scales or Javanese tunings, and at the end of the day, it is OLD theory.
We use the conventions and theory of Mozart, Haydn and Beethoven's students to explain music that has evolved tremendously. Chopin muddied the waters of harmonic theory, and Debussy absolutely negated them, atonal and ethnic music ignored it or never new about it, and yet music has not only survived, it has evolved and exploded in a wonderful hybrid of styles and flavors.
The theory is only useful to a limited extent in "explaining" music, and in fact leads to a great deal of confusion.
It is as if we tried to explain modern English grammar and vocabulary a language salad if ever there was one with ancient Latin Grammar cases. It sort of works, because we have Latin as one of our roots, but it really confuses too, if you don't realize it is just an arbitrary model that didn't even really explain Latin.
Fourth, because there is an underlying simplicity and logic to music that one gets to after years of study, where consonance and dissonance are yin and yang, where pattern and deviation are yin and yang, and where pitch and time are yin and yang, and music is the eternal interplay of all of them and more, and all the theory in the world is just, well, not really helpful at getting to the core of music and music making.
Especially if all you want to do is play and enjoy music. MOST musicians cannot read music fluently, that is how bad it is. At best they decipher it. Forget the rest of us until now.
Those that can read, tend to read a melodic instrument, like a flute or clarinet, not a harmonic instrument, like guitar or piano. Melody is sequential, like language.
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Harmony, and rhythm, are simultaneous, multiple streams of information coming at us at once. THAT is challenging, and what takes years of practice to learn.
We can help you enjoy the practice, and take you gradually to the farthest depths and highest mountains of musical notation, in an enjoyable fun journey through the greatest music ever written. A secret treasure chest of musical literature, wide open for you to enjoy for the rest of your life. Finally, we don't teach you about theory to read music, because at the end of the day, fluency is unconscious, automatic association, fluency is where a child STARTS their studies of language theory.
A child of one can understand passive comprehension more than they can say. They begin to speak, they get corrected, or not and begin to learn the most complex languages in the world reasonably well by the time they are five, with or without guidance or training, just by doing. So, active speaking came second, after comprehension, in the natural learning process that we all have hard-wired into our brains.
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Then, we teach them to read, again passive, then to write, activeand after a year or two more we teach them the parts of speech, and then to diagram sentences, conjugate verbs, un-dangle prepositions. With "traditional" music training most early age music teachers do NOT use this method anymore, but it's backward logic still prevails.
Then, the poor kids, we only let them play what they can decipher, and given the complexities of musical notation, that is some pretty lame stuff. Here, just play "Chopsticks" so your mom will keep paying me. Unfortunately, our generation went through a lot of this. Mine taught me through the magic of improvisation.
Still, when it came to reading music, the dread illogic, the tedium, the constant negative feedback necessary to correct your mistakes, was an abject failure. Very common problem it turns out.
But there is another way, many other ways in fact. We believe that Mozart incorporated music as a native language, because of the young age and interactive manner that his father taught him.
When a five year old writes a sentence, he is only mildly precocious. When Mozart wrote minuets, he was doing the same thing, but with music. Later what would be a paragraph for a child became sonatas for Mozart, what was an essay or short story became symphonies. When someone tells you a funny story, you can repeat it, even improve it and embellish it, keeping all the underlying structure of the joke in place, perhaps improving on it.
Mozart did the same with pieces he heard. You might write out a letter to someone in your mind, and then put it to paper later. Mozart did the same with music. Beethoven's father wanted him to be a child prodigy too, but started him later, 4 or 5, and the precious window of time, when the brain is developing and acquiring language, the non-nurturing manner that his father used, may have been the difference between 41 symphonies and 9, between effortless composition and torturous multi-year projects.
We believe that because the game is almost pre-lingual, needing only to be able to identify the colors, and we can get children playing at 2 and a half, three years of age, we can help foster a new generation of children for whom music is a native language, both playing and reading.
The game enters different ports into the mind because of the use of colors, we see the change as soon as we add note names or fingerings, it becomes more abstract, a layer comes in that wasn't there before.
That is why we don't teach theory. We can always do that. When can we share the mind of Bach with children? Immediately, transparently, now, with no filters.
Let the music speak to them, in its language, and we believe that musical miracles will result. While we don't teach you theory or even the note names, they are there, on the Visual screen, if you want them, but we don't teach them.
We don't teach you that the first space on the top staff is "F" but we show you, and condition you to see that and play the correct key. F is as arbitrary as lime green. If it helps you, great. But we CONDITION you, through the game, to see music as a flow, of pitch across time, we show you new patterns with the colors, we let you see that purple keys are no harder to hit than yellow keys, and later, we condition you to see the staff, in relation to the keyboard, and we subtly show you how the one-to-one map of the notes to the keys on the piano is DIFFERENT when it is in musical notation mode.
Just another level of the game, just a few less clues as to which note to hit when. We reveal to you a primary reality, a primary and simple structure. The secondary layers can be very useful, it is the language and vocabulary of teachers and theorists, and we recommend it's study, for your edification, but we assume your true goal is to be a musician, and to live close to the true musical pulse. The theory is great, interesting, fascinating, but only if you understand the primary, and can find your way back there if the secondary layer of theory turns into a dead end, which it will, sooner or later, whether it's jazz, Bossa Nova, Phillip Glass or Debussy.
And when you are ready to take that next step, we can offer you advanced lessons at Piano Wizard Academy Virtual Campus. We suggest you think of music theory as a kind of musical grid, an arbitrary division of the continuum of music, like color divisions and names on the color continuum, and like color theory, useful to a certain extent, but ultimately it is your artist's palette and taste that will matter the most.
We got a sound effects record but it was crap, so we hired a proper old fashioned metal cash register with all the scroll work on the sides, and I pressed the buttons while Rick Price, bass dropped the coins in. It was exactly what I wanted. Besides, Woody could play anything, so he and I set up two huge double drum kits in the studio. Roy was amazing about drums.
He hired loads of unusual percussion instruments, shakers and scrapers and maracas, then he threw them all into a big bass drum case and shook the case to see what it sounded like.
That first day, we recorded until 8am the next morning just to get the drum sounds he wanted. Rather than close-mike everything in a booth, he used ambience mikes to get a big Phil Spector -ish sound.
The Wiz Live! - So You Wanted to Meet the Wizard (Highlight) #TheWiz The Wiz Live!
Luckily, the band got very good at reading it. The vocal tracks were the most important thing. We always tried to get a sort of party vibe when we recorded the vocals. I would do a lot of the high and low vocal parts. I can still smell every breath of vodka in that record. He occasionally nibbled a bit, and he would take the odd pill mixed with a bit of booze.
He wanted a choir of children on the track, and he insisted it had to be Birmingham kids, even though we were recording in London, so I got the job of sorting it out. I lived near Stockland Green School in Slade Road, which always amused me because in the end we battled it out with Slade for the No 1 spot. I was just 12 and she was worried about what might happen to me with these rock types, but I said I would never ever talk to her again if she stopped me.
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One day at assembly, the music teacher auditioned us by having us sing hymns unaccompanied in front of the whole school. It was incredibly embarrassing but I knew that if I wanted to meet Wizzard, I had to do it. When it came time for Roy to lay down his vocals, they went out for a curry and I stayed behind.
We sent the roadies out to bring some fans into the studio. These were the kind with motors which whirr round. We had the place decorated with tinsel, silver balls and fairy lights round the speakers, all the party gear. We got the December atmosphere all right. It was so cold that we played in scarves and overcoats — just what the song needed.