Unlocking the Language of Sound: Why Music Theory Matters

In the world of music, we often hear that “it’s all about feel” or “just play from the heart.” And yet behind every moment of spontaneous artistry lies a deep, underlying structure: a language of sound that gives shape, meaning, and power to musical expression. That’s where music theory comes in — not as a restrictive rulebook, but as a toolkit for freedom, clarity, and creativity.

At Michelle Tuesday Music School, we believe that theory is not optional — it’s essential. Whether a student’s first lesson or their fiftieth, understanding why chords move, why melodies breathe, and how rhythm propels drama, opens doors. Let’s explore why music theory matters, what it does for musicians, and how embracing it can shape a richer musical life.

1. The Foundation: Understanding the ‘Why’ Behind the Notes

Music theory gives musicians insight into how sound works. Learning about scales, keys, intervals, chords and rhythms is like studying grammar for the language of music: you don’t have to memorize every rule, but knowing enough enables you to communicate clearly and powerfully. One article puts it this way: “Music theory provides the fundamental principles that govern how music works… it’s akin to learning the grammar of a language; once you know the rules, you can communicate more clearly and creatively.” Musicians Institute

When students at the Tehran Conservatory combined theory study alongside their performance training, researchers found they gained deeper understanding of pieces, higher confidence, and improved creativity. Science Publishing Group

2. Sparking Creativity (Not Stifling It)

A common myth: “Music theory will kill my creativity.” The truth? It actually unlocks it. When you know what makes a chord progression move, or why a modulation hits emotionally, you can choose to use it — or break it — with intention. As one resource states, theory allows you to experiment with unconventional progressions, rhythms and modulations. Musicians Institute

For your students—especially those in band/orchestra or voice at Michelle Tuesday—this means they can go beyond playing “what sounds good” and start inventing “what could be great.” They become not just interpreters, but creators.

3. Better Communication & Collaboration

In any ensemble setting — band, orchestra, choir, or studio — having a common language makes things smoother. With theory, musicians can talk about “secondary dominants,” “plagal cadences,” or “modal interchange” and know exactly what is meant. This kind of fluency improves rehearsal efficiency and supports collaboration.

Moreover, this shared language helps students articulate why a musical choice was made, deepening their understanding and enabling meaningful communication with teachers, peers, and ensemble directors.

4. Faster, More Efficient Learning & Performance

Imagine a student learns a new piece. Without theory, they might rely purely on imitation and repetition. With theory, they understand the form, the harmonic roadmap, the rhythm patterns—and can navigate the piece with foresight.

Resources show that students with solid theoretical grounding can learn more quickly, recognize patterns, transpose with ease, and anticipate changes. For example, one article highlights that early exposure to music theory helps guide students’ musical understanding throughout their lives. Southeastern Oklahoma State University

At MTMS, this means a clearer path: if a student knows their key signatures, they won’t be surprised by a modulation; when they understand form, they’ll know where repeats and developmental sections lie.

5. Deeper Emotional Expression

Music isn’t just notes—it’s feeling, emotion, connection. Theory gives musicians tools to express intention: major vs. minor modes, tension vs. release in harmony, rhythmic drive vs. breathing space. For example, understanding how a minor key or modal shift evokes certain moods empowers performers and composers alike.

As one study observes, music speaks to the brain in complex ways — “neurons will fire in new ways … helping to shape communication pathways over time.” Harvard Medicine Magazine

When your students internalize these structures, they aren’t just playing the notes—they’re communicating.

6. Broadening Musical Horizons

When you know how music works, genre becomes less of a barrier. Whether your student is working in classical, pop, jazz, musical theatre, choral — theory is a bridge. It helps them see how forms and functions overlap, how different styles borrow, morph, innovate.

One resource states that theory exposes learners to a wider array of styles, inspiring new ideas and helping develop a distinctive voice. Musicians Institute

At MTMS, this means your young adults in band & orchestra, or voice students, can explore everything from musical theatre to pop songwriting to jazz voicings with confidence.

7. Why Instructors & Schools Should Emphasize It

For music schools like ours, teaching theory isn’t an afterthought—it’s a strategic investment. Educator perceptions of theory’s relevance are backed by research showing that teachers view theory skills as crucial for student progression. Digital Commons

Yet the challenge remains: many curricula emphasise only performance and neglect the theoretical side. Incorporating theory alongside practical work leads to well-rounded musicians. The Tehran Conservatory study calls for a balanced integration of theory and practice. Science Publishing Group

8. Practical Tips for Students & Teachers

Start with the fundamentals: key signatures, intervals, scales. These are the building blocks.
Link theory to repertoire: when students learn a piece, ask them to identify its structure, form, chord progression or rhythmic pattern.
Apply it creatively: composition exercises, improvisation prompts, rearranging a piece in a different mode or meter.
Use technology: interactive apps or software to reinforce theory with ear training, notation, and analysis.
Make it musical: Theory isn’t dry—it’s alive. Use listening examples, live demonstrations, and student-driven exploration.
Integrate theory & performance: never treat theory as separate from playing. Always bring it back to the instrument, the ensemble, the voice.

Conclusion

In short: music theory is not a barrier. It’s a bridge. It’s the language of sound that empowers musicians to understand, create, express, and collaborate. For your students at Michelle Tuesday Music School, mastering theory means more than passing tests — it means stepping confidently into a world of musical possibility. When they understand why music works, they gain the freedom to make it work for them.

Whether building a solid foundation, sparking creativity, improving collaboration, or deepening expression, theory plays a vital role in every stage of musical development. Let’s not relegate it to an optional elective—let’s make it a core part of our journey together.

A Cappella Through the Ears of Kids: Blending, Beatboxing, and Barbershop

Student Voices: What We Learned About A Cappella Music

Last month in the Music Lab, students explored A Cappella—music made only with the human voice. They listened to different performances, watched videos, and learned pieces of history. Their observations were thoughtful, honest, and often very detailed. Below is what they noticed in their own words.

What Students Heard in A Cappella Music

Only Voices — No Instruments

Many students quickly noticed that A Cappella has no traditional instruments at all.
“No traditional instruments used—just body and human voice.” — Aleksander S.
“No instruments are used.” — Kristofer S.
“They only used voices.” — Wynn F.
“It was all mouth singing like beat boxing.” — Olly C.
“Non-instrumental.” — Haley N.
“No instruments.” — Aaron RT.

Some students also pointed out that voices can copy the sound of instruments:
“Vocals can mimic different instruments.” — Sebastian A.
“They made instrument sounds with noises.” — Lukas S.

Layers of Voices Working Together

Students heard how each part of the group adds something different.
“Each part has a different pitch (bass, tenor, soprano).” — Nubung R.
“Need multiple voices.” — Penelope H.
“You need different types of people to hit different vocal ranges.” — Sebastian A.
“They all sang together but at different times.” — Beatrice V.

Another common idea was how well the voices blended:
“I liked how different voices blended together.” — Hayden C.
“They sing very on-key.” — Aaron RT.

Sebastian V. described group roles clearly:
“There were 2 or 3 main singers, 1 person doing sound effects, and 1 person singing deep notes.”

Beatboxing, Sound Effects, and Vocal Creativity

Another big discovery was beatboxing and mouth-made percussion.
“They used beat boxing.” — Kristofer S.
“Beat boxing instead of music.” — Penelope H.
“At least one person needed to beatbox for percussion.” — Nubung R.

Covers, Lyrics, and Song Choices

Students enjoyed hearing songs they already knew.
One song was from the Coco movie. — Owen C.
Another was a holiday song, Carol of the Bells. — Owen C.
“Each song was a cover of an existing song.” — Nubung R.
“I liked the lyrics about friendship.” — Wynn F.

Students also noticed how expressive the singers were:
“They act with their voices.” — Ellie M.

They paid attention to performance details as well:
“One song had background colors changing rapidly.” — Owen C.
“I liked the moves. Some of them were spins.” — Wynn F.
“They wear fancy clothes.” — Beatrice V.

Observations About Group Size and Roles

Some students saw larger groups, while others saw small ones.
“In each song, there were 4 or more people singing.” — Aeson H.
“You don’t need a large group for A Cappella.” — Sebastian A.

Students also pointed out how roles can differ:
“There’s usually one person who sang more and the others were doing the background.” — Ellie M.
“At least one person needed to beatbox for percussion.” — Nubung R.

A few students even noticed performance challenges:
“The audience can sometimes make it hard to harmonize.” — Aeson H.
“Strangers were singing with them.” — Aeson H.

History Moments the Students Discovered

Students learned that A Cappella has a very long history.
“A Cappella started in the church and monks would chant it.” — Ellie M.
“A Capella originated from stuff they did in religious churches.” — Haley N.
“A Capella has been around since the 13th century.” — Olly C.
“A capella has been around a long time.” — Kristofer S.

They also learned how barbershop fits into the story.
“It started in barbershops.” — Sebastian V.
“Barbershop is part of A Capella.” — Haley N.
“There used to be barbershop music. Barbershop is sung by a quartet.” — Owen S.
“Barbershop was a common classic in the 1950s and 1960s.” — Wynn F.

Students shared what the word itself means:
“A cappella means chapel in Italian.” — Sebastian V.
“A Capella in Italian means cathedral.” — Ellie M.
“Definition of A Capella is just singing.” — Ellie M.

They also noticed how wide the style can stretch.
“A cappella can be many different genres.” — Wynn F.
“A cappella has been done in all genres.” — Kristofer S.
“Any song can be acapella.” — Noah G.
“Some music almost sounds like yodeling.” — Owen C.

One student connected it to personal growth:
“A Capella singing helps ear training and confidence.” — Owen S.

A Final Note: Students Really Paid Attention

Even smaller details stood out during the lessons.
“It’s not all words.” — Haley N.
“Some were very high-pitched.” — Noelle
“A lot of them were in 4-piece harmony.” — Noelle
“The drum section sounds interesting in certain parts.” — Nora W., comparing her video
“They weren’t going up and down at the same time.” — Ellie M.

All together, the comments show how closely students listened. Their reflections highlight the creativity of A Cappella and the many ways voices can join together to make something big, colorful, and exciting—without using a single instrument.

Student Voices: What We Learned About A Cappella Music

Last month in the Music Lab, our students spent time exploring A Cappella—music created entirely with the human voice. They listened to performances, watched videos, and learned a bit of history. Their observations were thoughtful, funny, and surprisingly detailed. Here’s what they noticed, in their own words.

What Students Heard in A Cappella Music

Only Voices — No Instruments

Many students immediately recognized that A Cappella uses no traditional instruments at all.
“No traditional instruments used—just body and human voice.” — Aleksander S.
“No instruments are used.” — Kristofer S.
“They only used voices.” — Wynn F.
“It was all mouth singing like beat boxing.” — Olly C.
“Non-instrumental.” — Haley N.
“No instruments.” — Aaron RT.

Some students noticed that voices can even stand in for instruments:
“Vocals can mimic different instruments.” — Sebastian A.
“They made instrument sounds with noises.” — Lukas S.

Layers of Voices Working Together

Students picked up on how A Cappella groups blend different parts and ranges:
“Each part has a different pitch (bass, tenor, soprano).” — Nubung R.
“Need multiple voices.” — Penelope H.
“You need different types of people to hit different vocal ranges.” — Sebastian A.
“They all sang together but at different times.” — Beatrice V.
“There were 2 or 3 main singers, 1 person doing sound effects, and 1 person singing deep notes.” — Sebastian V.

Several students noticed how well the voices came together:
“I liked how different voices blended together.” — Hayden C.
“They sing very on-key.” — Aaron RT.

Beatboxing, Sound Effects, and Vocal Creativity

A favorite discovery was that A Cappella groups use beatboxing and sounds made with the mouth to replace drums and instruments:
“They used beat boxing.” — Kristofer S.
“Beat boxing instead of music.” — Penelope H.
“At least one person needed to beatbox for percussion.” — Nubung R.

Covers, Lyrics, and Song Choices

Students enjoyed recognizing familiar songs:
One song was the Coco movie theme. — Owen C.
One was a holiday song, Carol of the Bells. — Owen C.
“Each song was a cover of an existing song.” — Nubung R.
“I liked the lyrics about friendship.” — Wynn F.

They also noticed how expressive the singers were:
“They act with their voices.” — Ellie M.

And some paid attention to details like visuals and performance style:
“One song had background colors changing rapidly.” — Owen C.
“I liked the moves. Some of them were spins.” — Wynn F.
“They wear fancy clothes.” — Beatrice V.

Observations About Group Size and Roles

Students disagreed a bit—some saw large groups, others saw small ones:
“In each song, there were 4 or more people singing.” — Aeson H.
“You don’t need a large group for A Cappella.” — Sebastian A.

They also noticed that different people take different roles:
“There’s usually one person who sang more and the others were doing the background.” — Ellie M.
“At least one person needed to beatbox for percussion.” — Nubung R.

Some even pointed out challenges performers face:
“The audience can sometimes make it hard to harmonize.” — Aeson H.
“Strangers were singing with them.” — Aeson H.

History Moments the Students Discovered

Students learned that A Cappella has a long history, stretching back to early vocal music:
“A Cappella started in the church and monks would chant it.” — Ellie M.
“A Capella originated from stuff they did in religious churches.” — Haley N.
“A Capella has been around since the 13th century.” — Olly C.
“A capella has been around a long time.” — Kristofer S.

They also connected it to barbershop singing:
“It started in barbershops.” — Sebastian V.
“Barbershop is part of A Capella.” — Haley N.
“There used to be barbershop music. Barbershop is sung by a quartet.” — Owen S.
“Barbershop was a common classic in the 1950s and 1960s.” — Wynn F.

And some learned what the word means:
“A cappella means chapel in Italian.” — Sebastian V.
“A Capella in Italian means cathedral.” — Ellie M.
“Definition of A Capella is just singing.” — Ellie M.

Others absorbed how broad the style can be:
“A cappella can be many different genres.” — Wynn F.
“A cappella has been done in all genres.” — Kristofer S.
“Any song can be acapella.” — Noah G.
“Some music almost sounds like yodeling.” — Owen C.

One student even noticed personal growth benefits:
“A Capella singing helps ear training and confidence.” — Owen S.

A Final Note: Students Really Paid Attention

Even small observations stood out:
“It’s not all words.” — Haley N.
“Some were very high-pitched.” — Noelle
“A lot of them were in 4-piece harmony.” — Noelle
“The drum section sounds interesting in certain parts.” — Nora W., when comparing her video to A Cappella
“They weren’t going up and down at the same time.” — Ellie M.

Together, these comments show how observant students can be when engaging with a new style of music. Their reflections highlight the creativity of A Cappella. They show the many ways voices can come together to create something big, bold, and memorable. This is all achieved without a single instrument in sight.

Pop Legends of the 2010s: Taylor, Ed, Justin & the Song That Broke the Internet

🎤 Pop Icons of the 2010s

The 2010s reshaped pop music in unforgettable ways. Streaming and social media changed how songs reached listeners everywhere. For many of today’s students, this decade’s music defined their childhood and their playlists. Let’s look back at a few of the artists — and one viral hit — that made the 2010s pop scene so memorable.

🌟 Taylor Swift: From Country Darling to Pop Powerhouse

Taylor Swift began the decade as a country star known for her storytelling. Songs like Love Story and You Belong With Me made her a household name. In 2014, she released 1989 and stepped fully into the world of pop.

With hits like Shake It Off and Blank Space, Swift showed she could reinvent her sound while keeping her heart in her lyrics. By the end of the decade, she had become one of the world’s most influential artists. Her career reminds young musicians that growth and change are part of every creative journey.

🎸 Ed Sheeran: The Singer-Songwriter Who Brought Heart Back to Pop

Across the ocean, Ed Sheeran was writing songs that would fill stadiums. His music was simple, honest, and full of emotion. Using only a guitar and a loop pedal, he built entire soundscapes on stage.

Sheeran’s hits like Thinking Out Loud, Shape of You, and Perfect blended pop, folk, and R&B. His rise proved that heartfelt songwriting still has a place in pop music. At MTMS, we love showing students how much can be done with one instrument and a little creativity.

Sheeran’s hits like Thinking Out Loud, Shape of You, and Perfect blended pop, folk and R&B. His rise proved that heartfelt songwriting still has a place in pop music. At MTMS, we love showing students how much can be done with one instrument and a little creativity.

🎤 Justin Bieber: From YouTube Discovery to Global Superstar

Justin Bieber’s story began online. A young teenager uploading cover songs soon became a global sensation with Baby. The fame was fast and overwhelming.

Over the years, Bieber’s music matured. His 2015 album Purpose featured songs like Sorry and Love Yourself, blending dance beats with emotional lyrics. His journey from child star to adult artist shows that musicians grow alongside their music — learning, stumbling, and evolving along the way.

🖥️ Rebecca Black and the Viral Sensation “Friday”

Then came a song the internet will never forget: Friday by Rebecca Black. Released in 2011, it became one of the first viral music sensations. Millions watched, shared, and laughed — for all kinds of reasons.

Rebecca Black faced harsh criticism, but she turned that moment into something powerful. She built a career on her own terms and released new music that reflected who she really was. Her story shows young artists that even when things go wrong, perseverance and self-belief can turn it all around.

See the song Friday here.

💿 Why the 2010s Still Matter

The 2010s transformed how we experience music. Artists used YouTube, Twitter, and streaming platforms to connect directly with fans. Pop music became more personal and more global than ever before.

Taylor Swift wrote her heart. Ed Sheeran shared his soul. Justin Bieber found his voice. Rebecca Black found her courage. Their stories remind us that music is always evolving — and that every artist, no matter how they start, can find their place in the melody.

Recital Photos

We had such a wonderful time celebrating our students at this season’s recital! 🎹🎻 Thank you to all the families, friends, and teachers who helped make it such a warm, music-filled event. Enjoy some highlights from the day!

Meet the Wot: Thailand’s Spiral Flute Finds a Home at MTMS

At Michelle Tuesday Music School, we’re always looking for ways to expand our students’ understanding of music from around the world. This fall, we’re thrilled to announce that we’ll soon be adding a wot (pronounced wote) — a Thai spiral flute. Lessons and demonstrations will be available once the instrument arrives and is fully set up for student use.

What Is a Wot?

The wot is a traditional wind instrument from northeastern Thailand (the Isan region) and Laos. It’s made of multiple bamboo pipes arranged in a circular or spiral shape, forming what looks like a ring of flutes joined together. Instead of pressing keys or covering holes, the player blows across the top of each pipe to produce different pitches.

The wot produces a bright, airy, and melodic tone that’s often used in Thai folk music and traditional dance ensembles. Because of its circular design, players rotate or tilt the instrument as they play, creating smooth transitions between notes.

A Bridge Between Cultures and Sounds

Adding the wot to our school’s instrument collection allows students to experience how music connects across continents. Many students are familiar with woodwinds like the flute or clarinet; the wot offers a new perspective on how airflow, pitch, and resonance can be shaped by design and tradition.

By studying the wot, students can explore:

How bamboo instruments are tuned and constructed in Southeast Asia
The relationship between breath control and tone production
The rhythmic and melodic structures of Thai folk music
How circular or rotational playing techniques can influence phrasing

This cross-cultural exploration supports MTMS’s goal of encouraging curiosity, creativity, and respect for musical diversity.

What to Expect at MTMS

Once the wot arrives, our Music Lab instructors will introduce it through demonstrations, guided listening, and hands-on activities. Students will have the chance to:

Hear traditional Thai melodies played on the wot
Try basic techniques for producing sound and shifting between notes
Compare the wot’s design to other wind instruments
Learn about its cultural significance in Thailand’s Isan region

As interest grows, MTMS plans to offer introductory lessons for students who wish to study the wot more deeply — blending world music traditions with the school’s signature approach to individualized, discovery-based learning.

Why It Matters

Every new instrument added to the Music Lab expands the creative possibilities for students. The wot introduces a sound and playing style not commonly found in Western music education, reminding us that music is a global language with countless dialects.
By engaging with instruments like the wot, students not only develop musical skills but also gain cultural understanding — an essential part of becoming well-rounded musicians.

Stay Tuned

We look forward to unveiling the wot at Michelle Tuesday Music School in the coming weeks. Students and families are invited to visit the Music Lab, ask questions, and explore this fascinating new instrument.
Follow our newsletter and Discord updates for the official arrival date and lesson opportunities!