Video of the Day: iPad Seline Orchestra

A preview of my Seline post (coming soon).  A neat way to use technology to perform together!

iPad/iPhone Apps for Practicing

I have been a loyal Apple supporter since late in college, when I purchased a used Powerbook on eBay.  After that thing died, I bought my current MacBook (which I just upgraded the memory on!).  Because I love the way that Apple designs their products, I decided to buy the iPhone 3g around that time, and have since replaced this with the new iPhone 4.  Over the last few years I have found a few apps that I use constantly when I practice, or when I teach.  In today's post, I'm going to talk about some of the staples of my app collection, and some that I have either sought out because of this independent study, or have been introduced to in iPad labs.  The iPad is an extremely versatile device, and I hope to have the chance to integrate it into my curricula someday!

I have a folder on my iPhone called "Music Tools," so for the purposes of this blog I will refer to them as that.  The two music tool apps that I use the most when practicing and rehearsing an ensemble is Cleartune  and  Clockwork (both from www.bitcount.com).  Clear tune is an extraordinarily accurate tuner.  It displays a cents gauge at the top of the screen between -25 and +25.  The bottom of the screen shows the actual pitch on the top of a chromatic "wheel."  The tuner stays right with whatever pitch is sounding (no lag).  There is a small button in the middle of the screen that allows you to turn it on or off; there is also another button on the right of the screen that allows you to play any note you select on the wheel (through the device speakers).  There nine octaves (!!!) perfect for providing a reference pitch or a drone for any instrument or voice.  Some other features allow you to transpose, change temperament, or calibrate the A4 pitch frequency (for temperature changes, etc.). 

Clockwork is versatile metronome app that just happens to be from the same developers as Cleartune.  The main interface is a clock-like circle with a tempo slider underneath.  There are several tuners on the market, but what makes this one stand out for me is the ability to set the subdivisions of the beat to different volumes.  This makes using the app similar to using Boss's Dr. Beat device.  It is lacking in a wide choice of metronome sounds (no voice).  I like the click track feature which allows you to create sections within songs that define different tempi, or even gradual changes in tempo, changes in meter, and number of measures per section.  This is ideal for rehearsing different pieces of music as a whole, although it does take some patience to learn.  Also essential is the ability to tap and find any tempo.

Other than the occasional freeze up, I have no problems with Cleartune and I find it usually very reliable and always accurate, therefor I give it 10/10 for usability.  Clockwork freezes up sometimes, and so checking tempo in the heat of rehearsal can be a stressful occasion.  However there are great features and a slick UI, so I give it an 8/10.  The application for the iPhone versions as an educator are great: I always have my phone with me, so I always have my tuner and metronome.  If students have access to a practice room and an iPad, they too can have these tools, as well as the rest of their iPad arsenal (PDFs of music, recordings, website information, etc.).  Each can be used to check pitch or tempo in rehearsal quickly; students can use Cleartune in groups to tune each other, or check the pitch tendencies of their instruments.  Clockwork applications include gathering in groups or pairs and testing each other on the ability to maintain tempo or recite specific tempi.  The better your students' pitch and internal pulse is, the better.  The more access they have to these tools in order to practice more efficiently, THE BETTER!

It is worth mentioning a few free apps that are fairly comparable.  Free is good when dealing with several iDevices, so I always try to look for these in the App store.  Steinway & Sons has a beautifully designed (customizable colors) metronome app simply called Metronome.  Tempo is set via a dial, but your finger will get in the way of what tempo you are actually setting.  The tap feature is on par with clockwork, and you can set a variety of time signatures.  However, there is no subdivision of beat which is most likely the cause of the free price tag.  Gibson also makes a great free app called L&M Guitar as a promotion for their Learn & Master Guitar instructional series.  Included are a metronome (same features as mentioned, few time signatures), a chromatic tuner that can be set to different guitar tunings, a chord reference chart that shows finger positions on a fretboard, and sample lessons from their previously mentioned series.  This is a GREAT free app for students and pros alike!  I highly recommend this last one for its functionality and free price tag.

I recently downloaded a really awesome free app for my iPhone called Anytune ($4.99 with advanced features) available from Anystone Technologies, Inc.  This app allows you to upload any mp3 on your iDevice and slow it down (or speed it up) for practice purposes as well as specify sections and looping  them.  The technology allows you to change the tempo without changing the pitch, or to change the key by semitones which is helpful especially for guitarists, pianist and vocalists.  This is great for students trying to play along with a piece of music, and it is especially useful for students trying to transcribe music.  Jazz students will find this extremely helpful when transcribing jazz solos, an activity that is useful for incorporating new ideas and techniques into improvisation.  Probably the most well known software of this kind is The Amazing Slow Downer (www.ronimusic.com) available for the computer as well as iDevices.  Their app probably has more features and is more flexible, but I can't justify spending the $14.99 on an app that I don't use all that much.

The last thing I'd like to mention in today's entry is the Voice Memos app.  I'm not sure if this is available on the iPad, but I assume it comes preinstalled on the iPad 2 because of its built-in microphone.  Voice memos is the perfect way to record yourself practicing or your ensemble rehearsals.  Play it back for students to critique, or import it and send it out via email.  Only good things can come from self-critique and reflection.  Having students do this will satisfy National Standard 7 (Evauluation of music and performances).  Just like your metronome and tuner, iPhone users always have their recording device with them.  Regardless of the developer of the apps you use, having a tuner, metronome and recorder will complete your rehearsal app trifecta!

Review: Scorio (Free online music notation)

In a recent lab I had the opportunity to use the Scorio (www.scorio.com) app on the iPad.  At first I was impressed with the ability to use a touch keyboard interface to input the music notation.  However, upon further experimentation later the computer version of Scorio, I quickly that it has a lot of potential, but just misses the mark in its current form.  Much like Noteflight (see my previous review), the idea of Scorio is that users can access notation software on the internet for free and share their creations with anyone they wish.  While users can achieve this with Scorio, they will probably find that it is an arduous process, filled with frustrations and a steep learning curve (3/10 in my opinion).

Some of the features are very similar to Noteflight: notate music, share it, browse other users creations, the ability to save and print (registered users only), a user forum for discussion and improvement, etc.  There are many of the basic functions of a music notation program, such as inputting notes of various rhythms and pitches, time signature, key, tuplets, endings, text and other various musical symbols.  There is the ability to import and export music files (XML), however when trying to import a relatively large and detailed file, the import failed.  I do like the look and the layout of the site, and the drop down menus make sense (different from Noteflight's floating menu).  Even with all these features, Scorio still falls short because of the difficulty of using the notation features.

I played with Scorio for about half an hour and found some things that make using the site frustrating: after creating a new piano score (grand staff) and creating a few notes of various rhythms in both the treble and bass, I found that the ability to use the keyboard on the computer to input notes does not exist (if you type the letter 'g' on your keyboard, no G will be input into the music).  Therefor, you must either click on the staff to create notes, or use the keyboard at the bottom of the screen.  When using the on-screen keyboard, further frustrations arise.  There is no reference pitch, and no way to tell you what the current or previous note selected is on the keyboard.  So, if you or your students are unfamiliar with the keyboard octaves and their placement on the staff, you will be typing in notes blindly and hoping that the right octave is selected.  When doing this in the bass clef for instance, the notes automatically are input on the treble staff if they are in that range.  Perhaps there is a way to specify the use of ledger lines (I saw another user who had several ledger lines in their bass staff), but it is not obvious to me.  When inserting a tuplet, the beaming does not always make sense.

Another thing that makes Scorio frustrating is the inability to use the arrow keys to select and input notes.  I also cannot toggle between note selection mode and notation mode.  When playing back your work, there is no cursor that follows the music, and the music view does not change on the page as music progresses.  These really should be linked together.  There are other features that are lacking in Scorio: There is no way to plugin a usb interface, and therefor there is no real-time input of music.  I could find no way of plugging in a USB/MIDI interface for use with Scorio.  There seems to be no support for larger ensembles in the score creation section, only chamber groups or solo instruments.  Chords and text are inserted separately and is awkward.  There are no way to input expressive marks (dynamics, instructions, etc.).  This is a basic necessity and simply can't find it there. 

Perhaps I just don't get it, or perhaps my browser doesn't handle it correctly (Firefox 4 running on a MacBook).  I like what Scorio is about, free access to music notation, however the frustrations of using it (even for a experienced Sibelius user), and the lack of certain features (expression marks!) would probably turn more students away from using the program.  Developers of Scorio: if you are reading this, please let me know if I am missing something.  If I'm not, please consider fixing some of these issues.  In its current state, I do not recommend using Scorio with your students.  I don't think either Noteflight or Sibelius are a substitution for a regular notation program such as Finale or Sibelius, but they could work in your classroom.  Noteflight would be a better choice at this point in time.

Review: Noteflight (online music notation)

Noteflight (www.noteflight.com) is a widely used online musical notation program, designed to give you and your students the tools needed to compose music where there is a computer with an internet connection.  Noteflight has a free plan for individual users that offeres the notation editor with limited features: 25 scores per account, 10+ basic instrument sounds, any number of staves, 20 levels of undo history, and the ability to print and import MusicXML and MIDI.  The premium version is called Crescendo ($49/year) which offers an upgraded version of Noteflight's features, making it more like a high dollar music notation program.  Some of the premium features include: 250 scores per account, 50+ instruments, individual part printing, guitar/bass tab editor, a mixer, score templates, ability to change the color of notes and symbols, and the ability to create learning activities for groups.  For K-12 use classroom use, Noteflight Classroom ($295/year) supports up to 250 users per site, and the ability to administer one private site for your classes.  Noteflight Classroom contains all the features of Crescendo, and needs no IT setup (so you are in control!).  There is also a Noteflight District plan that is custom priced based on the size of the enrollment.

A cool feature available to all users is the Browse feature which allows you to check out what other people have written, favorite it, or comment on it.  This is great especially for younger students, or amateurs.  Your students would be able to benefit from feedback on their compositions, leave feedback on other's music, or even collaborate with someone in another school (or country!).  Like your own Noteflight notation, you can change certain aspects of the score such as the tempo, or the mixer (paid only).  However, while listening to some user compositions, the playback would often stop, only to sustain whatever note it stopped on.  The playback sounds are a bit obnoxious for most of the instruments, so this event turns an already poor sound into an unbearable one. Also, because the program functions through the internet, the speed that pieces load is entirely dependent on the internet connection.

Using the notation feature feels comfortable from the start.  You can insert text, expression marks, various pitches and rhythms, key signatures, etc., everything a student would need.  These are available in a small popup window that can be moved.  There are a few little things that bother me about the way notes are input into the score, but overall the process is easy, and it is easy to create something in a short amount of time, save it for later, or share it with your students (or to their teacher).  Noteflight keeps track of the compositional process, so teachers can observe how their students got to their destination.  Most of the notation features are fairly basic compared to expensive software, and aren't really designed to create a major work.  It would be necessary to upgrade to Crescendo to more detailed works.

The benefits to having affordable notation software in the classroom and at home are enormous.  Never before was it possible for every student to have access to such software.  Many of the National Standards for Music Education (http://www.menc.org/resources/view/national-standards-for-music-education) can be achieved through the use of Noteflight/Crescendo.  Students of all levels can compose and arrange music according to your specified guidelines (Standard 4); they can notate music that they hear or apply concepts learned from aural training software (Standard 5); they can read the music that their peers write (Standard 5); they can sing or play music that is created by you, your students, or their peers (Standards 1 and 2); they can easily listen to or playback music in the software, analyze that written music, and describe the music they see and hear (Standard 6); they can evaluate their peers' or other Noteflight users' music (Standard 7).

I would use this Noteflight in my classroom because it opens a whole new creative world to many students who otherwise would not be able to be apart of that world.  It also allows the teacher to participate in the creative process.  Noteflight can be easily integrated into any music classroom.  I do highly recommend this software for its ease of use, its affordability, and its accessibility to anyone with a computer.  It will take some time for someone who has never used notation software, so I give it a 7/10 learning curve, and a 10/10 as a teaching tool.

Review: Teoria.com (free online music theory)

Hey bloggers!  Its been a few days, but I'm back!  I've been preparing for a studio recital, as well as taking care of my 6 month old son.  Things can get crazy at this time of year!   To mix it up a bit, I'm going to give the rest of my reviews in narrative form.

In this review I'll be looking at Teoria (www.teoria.com), the first free online music theory program that I reviewed that is both written and aural theory based.  It's actually a little bit addicting to use, mainly because of the variety of exercises and lessons, as well as the ability to customize the exercises.  For example, if you are doing rhythmic dictation, it is easy to focus on just common time signatures and simple rhythms; or for the more advanced, select some compound meters and  syncopated patterns.  The program is a great challenge for all levels.  For advanced features such as grade tracking, or access to the website content offline, there is an annual fee of $20 (includes updates for that period of time).  This is the best way of tracking your students progress, turning this free online program into a powerful classroom teaching, exercise and assessment tool.

Ear training lessons and exercises include rhythm, notes, and intervals, as well as various scales, chords, and melodies.  The method of answering each question is also customizable.  You can select to answer via note name, a visual keyboard, or chord type (more simple).  Therefor, if you want your students to use keyboard skills, they can be a little more challenged this way.  Setting a timer for the exercise is also an option, as well as changing the clef that the exercise is presented in.

There are several more written theory based exercises (much more than listening).  There are three categories of Music Theory and Reading Skill:  1) Clefs, Reading, and Writing: reading and writing transposing instruments (great for students interested in composing or conducting), interval construction and ID, jazz theory (chords, scales, modes, etc.), key signatures, scales, rhythm; 2) Chords: Triads, seventh, ninth, and extended chords; and 3) Harmonic Functions: Triads, seventh chords, secondary dominants, diminished sevenths, augmented sixths, and neapolitan sixth chords.  These are customizable as well.  Each exercise is always followed by immediate feedback via a percentage (based on how many wrong clicks made in the time given), and auditory feedback (the playing of the correct form of the exercise.  This helps connect theory to practice, an extremely important function of music theory.

Tutorials (or lessons) go along with the exercises, which are designed to enhance the tutorials.  The categories of tutorials include reading music, intervals, scales, chords, harmonic functions, and music forms (not found in the exercises).  Many of the lessons are accompanied with visual and aural examples, and sometimes historical context and application.  However, the placement of each aural example doesn't always go along with the visual.  Some examples make it less obvious to be able to start or stop an example, as it is imbedded into each page via Adobe Flash (no pause button; must "right click" to select stop).  Some students would probably prefer to read and absorb information before being presented with an example.  Although controlling the example could use some improvement, the example itself is presented clearly and is fully annotated, such as the lesson on form.


Some tutorials include applets, such as the interval constructor in the interval tutorial.  This allows students to select whichever interval they like so that they can see it on a staff, and hear its sound.  These applets are great reference tools, in addition to the reference section.  The reference section contains a "clickable" dictionary of music terms, some of which have visual explanations.  It is not the strongest part of the website, and I would probably use another site like Wikipedia for detailed descriptions of terms, however it is good for a short reference and for use with student assessments.

In contrast to the reference section is the articles section, written mostly by the website's author Jose Rodriquez Alvira.  For example, one of the articles is written on J.S. Bach's The Art of the Fugue, which contains a visual/audio example of the main fugue subject, followed by examples of the other fugues, and canons.  Most of these are elaborated in sub-articles (sort of like a wiki) that explains elements of the fugues with examples.  These lessons provide either a great framework for shaping your own in-class lesson, or perhaps as a starting point (reading assignment) for your students.  These could be used in an ensemble in conjunction with learning a particular genre or style, or in the theory or general music classroom.  In addition to analyses, there are several general articles on playing, reading music, and tools for teachers.

Teoria is a cheaper alternative (or free) to some of the other programs like Musition and Auralia, although it is not as slick or flashy.  However, the content is on par and in many ways easier to navigate.  With the Teoria website, users can get the full experience of the software for free, making the free version much more valuable than most demos.  I would give Teoria a 9/10 for learning curve, and a 10/10 as a learning tool.  I recommend this program, particularly for schools or students that cannot afford other programs.  This tool can be implemented throughout all music curricula to enhance written, aural, and performance skills.