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By Michael Hoag

Starting to learn to play the guitar can be a difficult experience both mentally and physically. You don’t know what a chord is, how to get there, how to get to the next chord, and on top of all that it hurts your fingers after seemingly two seconds. Considering many sacrifice their blood, sweat and tears trying to adapt to this odd expression of art, the least we can do is make our first days a little easier. Now, I won’t say there is a 100% right guitar for every beginner on this planet. But I will give you options. But what are the options?

Acoustic guitars vs. Electric guitars: What should I choose?

There’s sort of an age-old debate to the answer of this question. Okay that’s a bit dramatic, but my point still stands. But which is best? Let me give a quick rundown.

Acoustic: 

• Needs little to no equipment to be used in a way considered performance worthy.
• A lot of stylistic diversity
• Hurts a lot at first and is hard to press the strings (especially if cheaply made), but makes building the callouses needed faster than playing the electric guitar 
• It is easier to play if strings are nylon.
• Design can allow for beautiful resonance and acoustics (pun partially intended).

Electric guitar: 

• Needs generally much more equipment to be used in a performance worthy manner.
• Also lots of stylistic diversity but only through amps. In other words, you have to buy more in order to reach the guitar’s full potential
• Easier to press the strings down at first when using, but makes building callouses take longer/not as effectively.
• Impressive acoustics are only available when using amplification technology, but generally have the ability to carry their sound much farther than acoustic when amplified, especially in open areas/stadiums.

Those are the facts most relevant to beginners. Personally, when I started learning how to play guitar, I chose acoustic because I knew the finger strength building naturally involved with the acoustic guitar would be beneficial for me in the long run (a notion I still stand by). However, that’s what worked for ME. It also helped a lot that I was forced to play guitar because I took guitar as a school course. I can certainly see why anyone would choose the electric guitar, especially if you are only half committed to playing in the first place, and some recommend it to kids who are first starting out. It’s easier to play overall, can carry pretty far, and it sounds however you want it to (if you have an amp that changes settings). There’s also a natural messiness that works with the electric guitar, hiding errors and all. Either way, no matter what guitar you choose, perseverance is what matters. Good luck!

By Michael Hoag

It’s a question that everyone wants to know the answer to…what voice type am I? Great question! I can’t answer that because I don’t know who you are, but I can give you information that will help find out the answer. Tread carefully now though, the concept of voice types and how to ‘diagnose’ or recognize them is one of the most hotly debated topics in music. Don’t believe me? Look up any video on the subject, maybe even on what voice type a pop singer possesses, and you will find a mixed bag of answers. It’s a rocky path, but it’s one I enjoy taking, so without further ado let’s begin.

Actually before we begin, let’s answer some questions and give some disclaimers. 

What really is a voice type?: A voice type is a classification of a singer’s voice based on its strengths within the range, and comfortable tessitura.

What is a tessitura?: Tessitura is the range where most singing is done, which in this case includes the ‘comfortable’ higher and lower extremities of one’s voice and focuses on the middle voice. Someone’s tessitura is not their full range, but it is a range of notes that singers are often expected to hit consistently as part of their voice type/development as well as ‘money’ notes. Tessitura can actually get slightly higher or lower depending on what genre that is being sung and how developed a singer is. For example, an operatic soprano has a higher tessitura than a pop soprano because opera singers need to project their voice farther than a pop singer does, so in order to avoid confusion, I’ll talk about both.

Are the subdivisions within the voice types?: Yes, but only really in opera, and we don’t really need to know them today. In general the main two sub divisions are dramatic (dark sound, booming voice) and lyric (light sound, medium volume voice, more common).

Am I an alto?: That is something I can certainly say no to, as altos are actually not a voice type, but rather a choir part, singers that sing this are often simply just not sopranos.

Will I be able to tell with no training?: Maybe, but it’s best for one to go to a professional voice coach to help determine such as well as get the training to reveal their range. Even the slightest bit of technique can activate whole new layers of the voice.

Can a voice type change?: Yep, aging/ training can cause the voice’s strengths to change over time. Also, some of the voice types mentioned for most don’t come in until later in life. There are exceptions, but we’re talking about the masses.

Okay, now we can finally start. Here are the voice types we’ll be looking at today: (Female) Soprano, Mezzo-Soprano, Contralto, (Male) Tenor, Baritone, and Bass. There are others (Countertenor, Male Soprano, Female Baritone, Castrati.) But they are either too rare to find consistently recognizable characteristics/examples, or they don’t exist at all anymore.

Soprano: The very highest voice of all. These voice types are extremely common ( if not the most common) in the female singing world, and is the voice type that many females start out as. In opera, there are many subcategories in this voice type, being so common. Yet, they all have one thing in common: high notes. Sopranos, especially when well developed, demonstrated an ease up into the highest extremities of the voice, with great projection even compared to the rest of their voice.

• Opera tessitura: C4-C6 
• Examples: Leontyne Price, Joan Sutherland, and Kristin Chenoweth (yes she can sing opera) 
• Pop Tessitura:  G#3-E5/F5 
• Ex: Ariana Grande and Jennifer Hudson 
• Sopranos can sometimes be able to go way lower than expected of them, but not with the same quality and consistency associated with lower voices.

Mezzo-Soprano:The middle voice of the female voice triad is also very common, especially in pop music. Being the middle of the pack, it’s no surprise that mezzo sopranos often do their best singing in the middle sections of their voice, where their tone quality and projection often shine the most.

• Operatic tessitura: G3-B5 
• Examples: Joyce Di Donato and Elina Garanca 
• Pop tessitura: F#3-D5 
• Examples: P!nk, Lady Gaga, and Adele
• Many of them go higher, but the tone quality is often not nearly as good as that of a soprano, hence why the tessitura is lower.

Contralto: The lowest and rarest of female voices is the contraltos. Known often for their androgynous sound in opera, many of them don’t even blossom until their late 30s, often seen as mezzo-sopranos beforehand. 

• Operatic tessitura: F3-A5
• Examples: Ewa Podles and Clara Butt
• Pop tessitura: E3-C5 
• Examples: Nina Simone, Carley Simon, and Brandy 
• They tend to actually possess the ability to sing much higher than expected of them, but that doesn’t mean that it’ll sound good.

Those are all of the female types, and now onto males! 

Tenor: The highest of the male voicetypes, it’s a force to be reckoned with. Tenors are actually probably the most unnatural voice type out of this list. What do I mean? Well, most tenors, opera or pop, have to train to sing in a higher placement than what is natural for most singers. Oftentimes, they start out as higher baritones and work their way up technically.

• Operatic Tessitura: C3-C5 
• Examples: Luciano Pavarotti, Plácido Domingo, and José Carreras
• Pop Tessitura: E3-C5
• Examples: Stevie Wonder, Bruno Mars, and David Phelps.
• C5 is the ultimate tenor high note. Can they go higher? Kind off. Operatic Tenors don’t ever really venture beyond high C because of the fact that operatic tenor roles are built off of the high C already, and delivering a successful C#5 or D5 can be extremely difficult and taxing for even the most advanced tenors. Pop tenors are a different story, with them often being able to sing the tessituras of low or even middle voice females at times (though they may experience extreme tone changes after C#5/D5). A GREAT example of this phenomenon is Tevin Campbell.

Baritone: Sitting in the middle of male voices. There are many examples of these guys in the music world. There are many variations of this voice type however, from baritenors to bass-baritones. Still, one thing for certain, their strength lies in the middle of their voice. 

• Operatic Tessitura: A2-G#4/A4
• Examples: Samuel Ramey and Gino Quilico
• Pop Tessitura G2/A2-F4/G4 (there’s a lot of variation) 
• Examples: Frank Sinatra, Nat ‘King’ Cole,  and John Legend
• With it being so common, its ‘sound’ is not exactly easily stereotyped. Often baritones will train themselves to sing the upper and lowest extensions of the two voices they sit between, but at the end of the day, they’re middle voice rules.

Bass: Operatic basses, like contraltos, have a tendency to sound pretty terrifying as they go down the scale. Obviously their greatest strength is the lows, but their repertoire can get quite rangey in general whether it be pop or opera.They can sometimes sing tenor notes actually, but they can sound….weird.

•  Operatic Tessitura: E2-F4
• Examples: William Thomas and James Morrison
• Pop tessitura: E2-E4 (not much of a difference lol)
• Examples: Johnny Cash, Josh Turner, and Melvin Franklin.
• Basses actually often sound very bright in pop music. You’d think they were a higher voice if it wasn’t for the fact that they all always seemingly have to do an insanely low note. But, that’s where they’re comfortable, so who can blame them?

WHEW! We finished all of the voice types. Now that we’re done though, what does this mean for those who want to find out what they are? First, you MUST go to a vocal coach, they will demonstrate how to access and increase your tessitura, so that your true voice type and range are revealed. This guide in many ways only scratches the surface of the voice types characteristics, which includes weaknesses, as well as many technical hiccups, something a voice coach should be well versed in. An important thing to note is that, while these voice types may aid your musical identity, they do not completely define who you are as a singer, especially in skill level.

So your child is showing an interest in music, and you’re thinking it may be time to start music lessons? That’s wonderful! Starting music lessons for young children is a great way for your child to develop skills that will serve them well in their future. Learning music improves cognitive function, builds fine motor skills, encourages creativity, and instills a sense of pride and accomplishment. But where to begin, and what should you expect when starting music lessons for your child?

Every child is unique, but there are some things you should keep in mind to ensure your child has a positive experience with music. Consider the following when making the decision to enroll your child in music lessons:

THE RIGHT AGE 

We’ve all heard stories of child prodigies who start music lessons at very early ages, and it’s easy to think that the sooner your child starts music lessons, the better. Your child’s readiness has a strong influence on whether music lessons are enjoyable, or just another chore. We want all children to develop a lifelong love of music, so making sure they are ready is an important first step. Parental involvement and assistance in lessons for the younger student is incredibly important. No matter how intuitive or talented a young musician is, if the parents aren’t helping out with structure, it’s hard for them to grow.

FOCUS

Young children’s ability to focus varies based on the task at hand and their natural temperament. Focus can range somewhere between 5-20 minutes, and breaking down larger tasks into smaller steps can increase engagement and lesson retention. Also providing breaks may help the younger students manage any fears they may have when facing a new task. Being flexible with the length of a task can often reduce frustration.

CHOICE OF INSTRUMENT

For young children that are still developing fine motor skills, piano or ukulele are the recommended first instruments. Both of these options are good for little fingers. Piano lessons and ukulele lessons include learning to read music, which can help your child transition to another instrument in time. Piano lessons can include voice lessons at the same time if the student shows an interest in singing. Alternately, drums may also be an option, which introduces rhythm and counting. Whichever instrument is chosen, your child should spend some time learning before making changes. It’s possible your child may become interested in trying new instruments in the future. Over time, the teacher will get a better sense of whether the instrument selected is a good fit for the student’s learning style and interests.

PRACTICE TIME 

Practice time varies by age. For all students, consistency is very important to make progress on any instrument. At around age 5, 10 minutes of practice a day is about the equivalent of an hour for older children and adults. Ten minutes can be scheduled around other school and family activities pretty easily. Practice time should be part of your child’s daily routine whenever possible. For older students, the instructor will advise on how much practice is reasonable to continue learning between lessons. Making practice a priority ensures your student gets the most out of their lessons.

REALISTIC EXPECTATIONS OF PROGRESS

As with most endeavors, a student will get as much out of music lessons as they put in. It’s important to never create high levels of demands that may stress or discourage the student. At the same time, teachers and parents should foster the idea of how interlinked practice is with progress. For example, a student who practices an hour a day consistently will out pace another student that practices 2 hours a week. Parents and teachers should encourage practice, but recognize that not everyone has the desire or time to put in a consistent daily practice. This is absolutely fine as long as expectations are tempered.

At Paper Moon Music, we help children and adults alike explore the world of music in their own way. Our university trained teachers customize lessons to each student’s interests and goals, including considering the student’s musical and learning styles. Every student receives private, one-on-one lessons, allowing the student and teacher to get to know each other and build rapport. Our Recitals are a great way for young students to showcase their progress in a supportive environment. We encourage students to ask questions and suggest pieces they would like to learn. Our studio offers many different musical instrument lessons including guitar, bass, drums, banjo, ukulele, piano, and violin, as well as voice lessons. We’d love to have you and your child join us and experience the joy of music.

Music students often find themselves debating whether or not they should take a break from their lessons during the summer months. While it may seem like a good idea to take some time off from practicing and studying, it’s actually not a good idea to stop your music lessons altogether. In this blog post, we’ll explore the 5 reasons to continue your music lessons during the summer.

      1. Retain and Improve Skills

One of the main reasons why music students shouldn’t stop their lessons during the summer is that it’s important to retain and improve the skills they’ve learned throughout the year. Taking a few months off from playing an instrument can result in a loss of skills and knowledge. When students resume their lessons in the fall, they may find that they’ve lost some of the progress they made during the previous school year. By continuing to practice and study during the summer, students can ensure that they maintain and improve their skills.

      2. Get Ahead of the Game

Another reason why music students shouldn’t stop their lessons during the summer is that it gives them an opportunity to get ahead of the game. During the school year, students are often bogged down with homework, extracurricular activities, and other responsibilities. By taking advantage of the summer months, students can get ahead on their music studies and make significant progress that can help them stand out in their classes or music ensembles.

      3. Focus on Weak Areas

Summer music lessons can also provide an opportunity for students to focus on areas where they may be struggling. During the school year, music teachers often have limited time to work with each student individually. However, during the summer months, teachers can provide more one-on-one attention to help students improve in specific areas, such as sight-reading, technique, or music theory.

      4. Explore New Genres or Styles

The summer is also an excellent time for music students to explore new genres or styles of music. During the school year, students are often focused on a specific genre or style that’s required for their classes or music ensembles. However, during the summer months, students can take the time to learn and practice new types of music that they may not have had the opportunity to explore before.

      5. Stay Motivated and Inspired

Finally, summer music lessons can help students stay motivated and inspired. During the summer months, students may be tempted to take a break from their music studies and lose their motivation to continue playing. However, by continuing their lessons, students can stay engaged with their music studies and remain inspired by their progress and accomplishments.

In conclusion, there are many reasons why music students shouldn’t stop their lessons during the summer. By continuing their studies, students can retain and improve their skills, get ahead of the game, focus on weak areas, explore new genres or styles, and stay motivated and inspired. So if you’re a music student, consider continuing your lessons during the summer months to ensure that you make the most of your music education. We actually see an uptick in our student registration over the summer, as everyone has more free time to work on those things they truly have a passion for.

If you’re thinking of learning to play the piano, congratulations! You’re in for a fun and rewarding journey. But before you dive into the world of keys and chords, you need to choose a piano. With so many options available, it can be overwhelming to pick the right one for you. In this post, we’ll guide you through the process of choosing your first piano.

1. Determine your budget

The first step in choosing a piano is to determine how much you’re willing to spend. Pianos come in a wide range of prices, from hundreds to tens of thousands of dollars. While you don’t want to spend more than you can afford, keep in mind that a quality piano will last you many years, so it’s worth investing in one that will meet your needs.

2. Decide between an acoustic or digital piano

The next step is to decide between an acoustic or digital piano. Acoustic pianos are traditional instruments that use strings, hammers, and pedals to produce sound. Digital pianos, on the other hand, use electronic means to produce sound. Both have their pros and cons, so it’s important to consider what you’re looking for in a piano before making a decision.

3. Consider the size and weight of the piano

Once you’ve decided on an acoustic or digital piano, you’ll need to consider the size and weight of the instrument. If you’re planning to move the piano around, you may want to opt for a lighter, more portable option. If you have a dedicated space for your piano, you can opt for a larger, heavier instrument.

4. Look for a good touch and sound

When choosing a piano, it’s important to pay attention to both the touch and the sound of the instrument. The touch should feel comfortable and responsive, while the sound should be rich and full. Try playing a few different pianos to find one that feels and sounds right for you.

5. Get professional advice

Finally, it’s a good idea to get advice from a professional piano dealer or teacher. They can help you navigate the various options and find a piano that fits your needs and budget. They can also offer you advice on the best brands and models to consider.

In conclusion, choosing your first piano can be a big decision, but with a little research and some expert advice, you can find the perfect instrument for you. Good luck and happy playing!

Come on by and hang out with us during our monthly Open Mic at Pier to Point Wellness! I you want to perform be sure to reach out to Nate@papermoonmusic.com to get on the list of performers.

Recently we visited the guitar building workshop of Guitarras Sevillanos in Tijuana. That’s a pretty famous name in the region for custom built stringed instruments including classical and steel string guitars, vihuelas, guitarrones, the Cuban tres, and more. We are having a small “octave” guitar built which will look just like a small nylon string guitar but will be tuned up one octave, for more of a ukulele sound. Many of our teachers and students own instruments from Sevillano, so it was a real treat to get to meet luthier David Sevillano Vargas, the third generation of Sevillano builders, and commission a guitar from him. If you have a chance you should definitely pay them a visit!

Here are some photos from our November 19th concert at the Point Loma Assembly with Italian Classical Guitarist Flavio Cucchi and our own Alex Meyers. It was a great show that was enjoyed by all that attended!!!!

Look for his next album of Chick Corea’s “Children’s Songs” on the Naxos label out in January 2018

Paper Moon Music and Rock and Roll San Diego present an evening with Italian classical guitar maestro Flavio Cucchi on Sunday, November 19th at 7:00 pm at Point Loma Assembly.    Don’t miss this eclectic program of classic and contemporary works from Vivaldi to Chick Corea and beyond!   Tickets:  $15 in advance and $20 at the door. Purchase tickets at:  flavio.brownpapertickets.com