“If you hear a voice within you say, “You cannot paint,” then by all means paint, and that voice will be silenced.” Vincent Van Gogh.

“Just Play: Creating is, in essence, play. Make a practice of playing each day just for the sake of playing.” Forrest Kinney, page 30 “Creative Life.

Applied theory:

I teach music and composition from the first lesson, in an approach that I call applied theory.

Theoretical concepts flow naturally from, and lead to, opportunities to improvise, play with understanding, develop a musical memory, and create new musical thoughts. This works from absolute beginners, of all ages, to advanced (VCE and beyond).

Relevance for the school curriculum:

I teach students to notate in both the traditional manner, by hand (as this promotes greater understanding) and using notational programs, such as Sibelius, the most used program in VCE music. I have taught this both in my private studio and in secondary school music classes.

A composition portfolio: Create your own video game music:

Here is an example of a composition unit that I created for one of my years 9 and 10 elective music classes: Students composed four different melodies about characters that they had imagined and notated this both by hand and using Sibelius (a notational program used by most schools). They then composed an electronic sound scape about an event in their imaginary game, using Mixcraft (Garage Band also works) and added this soundtrack to a creative commons video clip that matched their sounds. The final step was to add Foley (sound effects).

Theory and Composition:

Not compartmentalised:

The theory is not put in a separate compartment from the playing, as in many traditional approaches, but rather supports the playing, even making reading of complex works easier.

Exploration and Creativity:

The teaching of a weighted technique is linked to creative exercises, initially based on the pentatonic scale, that encourage exploration of the piano, as a child might explore the world with finger paints. It is about musical colour and expression.

Some students have gone on to notate their compositions and save them in a musical portfolio, for future reference.

The approach is summarised by the late Forrest Kinney in the following words:

“When I teach people to create music at the piano, I show them short, musical patterns- “words” of the musical language- and ask them to “speak” with these musical words, “finger paint” with their colours, explore the feelings they evoke (part omitted) … this way, even a first-day beginner can be creative.” Forrest Kinney, “Creativity Beyond Compare” page 29.

Theory for exams:

Exam based theory is available, matched to such examining boards as the AMEB, ABRSM. ANZCA. Trinity College and Saint Cecilia’s. VCE is done on request. I have found that students perform better in exams because of the creative approach that I have taken with their playing from the beginning.

Unlike many traditional teachers, I do not use books that were written over 80 years ago, with an outdated pedagogy. I use the latest publications, with the latest pedagogy reflecting exactly what the examining boards require. For example, when teaching AMEB theory I use the recently published, integrated theory books, written by Andrew Raiskums.

What other composers and creative artists have to say:

“If your music comes from your heart and soul, and if you feel it inside yourself, it will affect others in the same way” Robert Schumann.

“Music induces nightingales to sing, pug dogs to yelp.” Robert Schumann.

“The flame that is naturally clear always gives the most light and heat.” Robert Schumann.

Creativity is the firing of my soul. Mozart.

I do not want art for a few any more than education for a few, or freedom for a few. William Morris

Everything in the universe has a rhythm, everything dances. Maya Angleou

‘No bird soars too high if he soars with his own wings.” William Blake, quoted by Forrest Kinney, page 21, “Creativity Beyond Compare.”