Category: MTMS Blog Posts

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.

Blending, Beatboxing, and Barbershop

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.

Meanwhile, 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 instead of 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 rather 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—while some saw large groups, whereas 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.

While 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.

Additionally, 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. And A Capella artists achieve it all without a single instrument in sight.

October is here, and at MTMS our theme is A Cappella! Are you excited? We are. A cappella started with the four-part harmonies of African American men somewhere near the 1850s. Over time, it grew into barbershop quartets, doo-wop, and even the pop arrangements you hear in Pitch Perfect.

What makes a cappella special? The human voice performs the bass lines, harmonies, and even percussion. With today’s technology, one person can layer their own voice and build an entire piece by themselves.

The history of a cappella stretches back nearly two centuries. You’ll hear references to The Music Man when barbershop is mentioned. The style may be old, but it keeps evolving. Groups like the Barbershop Harmony Society and Sweet Adelines International welcome mixed-gender groups and new ideas.

A cappella music finds its way in jazz, gospel, pop, country, rap, and contemporary music styles. Today, performers sing just about everything with nothing but their voices. That makes a cappella one of the most versatile kinds of music.

This month, ask your student what they enjoy most about a cappella. You might be surprised. And don’t forget to share your own favorite a cappella songs. Exploring different music lessons and styles is part of the fun!

With school back in session, many of our students are returning to their band and orchestra programs — and we love seeing how their private lessons carry over into those ensembles. To get a better picture, we asked some of our students to share their experiences. Here’s what they had to say:

Xavier (cello, New Albany Orchestra & Columbus Cultural Orchestra) enjoys how each group gives him something unique. New Albany has introduced him to non-traditional techniques, while the CCO has opened his eyes to music from Black and minority composers, even blending classical with rap and pop. With practice and dedication, he’s improved his bow work and overall technique. He says lessons make him a stronger player — and that dedication is the key to keeping up.

Allie (viola, Gahanna Lincoln Orchestra) loves the moment when the whole group locks in and the music just clicks. Her favorite memory? When her teacher wore yesterday’s pants as a cape! Private lessons have boosted her tone, pitch, and confidence so much that she now sits first chair. She’s also learned to lead and sight read with ease. “The people you meet along the way will forever impact you,” she says.

Olivia (violin, Minerva Park Middle School) cherishes meeting fun and creative teachers and students. One highlight was playing in her very first ensemble and hearing the audience cheer. Lessons have helped her get ahead on notes — especially the higher ones — and boosted her confidence. With a metronome at home, she stays on tempo and says the key is simple: “Start early and have fun!”

Theo (violin, GLHS Chamber Orchestra) appreciates playing songs he actually enjoys — even alongside upperclassmen. Lessons have sharpened his counting, sight reading, and music theory skills, helping him feel ready for his first big performance. His advice? “If you don’t love your instrument, switch! You have to love it to keep going.”

Addie (percussion, Gahanna Lincoln Freshman Band; piano, Gahanna Middle School West Jazz Band) finds that every group experience makes her grow as a musician. Lessons have strengthened her rhythm, sight reading, and overall musicianship. She believes lessons are a great way to learn more, while being part of a group helps you meet new friends who love music too.

Evan (violin, Pickerington Central Orchestra) loves the unique experiences and inclusiveness of orchestra. Playing at a college concert filled with diversity and creativity was unforgettable. Lessons have helped him refine tricky bow and finger techniques, while rehearsals have improved his timing and tone. His takeaway? “Follow your heart and never give up.”

Ethan (violin, school orchestra) uses what he learns in music theory lessons to better understand his orchestra music. Playing with peers is a highlight, though keeping up with the group’s tempo is a challenge.

Kate (clarinet, New Albany 8th Grade Band) loved competing at King’s Island and enjoys the sense of community her band provides. Lessons have sharpened her tone and sight reading, and even when challenges arise (like not hearing her section), she’s learned to practice through it — and come out stronger.

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Wrap-Up

What shines through from each of these stories is that private lessons and school ensembles work hand-in-hand. Lessons provide the technical skills, confidence, and encouragement, while band and orchestra give students a chance to connect, collaborate, and perform together. Whether it’s learning tricky rhythms, gaining leadership skills, or simply enjoying the music, our students remind us that the journey is as rewarding as the destination. Here’s to another great year of making music — together. 🎶