Tag Archives: #flippedlearning

How to Practise: Arban Double Tonguing Exercises Nos. 77-86

Improve your Single as well as Double Tonguing.

It’s best to start practising them at a single tongue tempo. Indeed perhaps single them and then with the sound of singles in your head practise your double tu and ku (particularly the ku).

Try single tonguing at Tempo 50bmp AND THEN Double Tonguing being careful to get the Doubles as equally crisp and even  as your singles.(excuse the Christmas Carol Pun)….Good King Wenceslas….:) If you find it difficult to go all the way to F just stop where you need to , start again….your muscles will develop the strength to reach the higher notes the more practice you do. DO NOT force the sound out by using too much pressure or altering the shape of your embouchure.!


Now try it at 60 bpm:

There is a temptation to use double tonguing too soon , at speeds, which would be better single tongued. It is therefore very useful to use use these exercises to quicken your single tonguing technique as well as your Double Tonguing.
If and when you get the App test yourself on how quickly you can single tongue…you should aim for perhaps 100/ 110 semiquavers( 16th Notes).
Here’s  110 bpm:

Available for:
iPhone and iPad from the App Store


eto Practice Thoughts (Trumpet/ Cornet): Listening, tuning and breathing

  • The volume of your phone or Tablet my not be loud enough . Why not use  a set of headphones and just use one ‘ear’.
    Having said this you will find that you WILL hear the part you are practising if you play a wrong note….your mistake will be highlighted and stand out from the correct recorded performance.
  • It’s not only wrong notes that will stand out but also your tuning, your intonation.
    If you play out of tune you will notice it, so do your best to adjust.
  • A good way of practising in these cases is to practise slowly…even though you may be able to play the notes easily. Slower practice will allow you time to adjust your tuning and also strengths you embouchure muscles.
  • Breathing properly effects your tuning and sound. It’s worth viewing this 8 minute video explanation of ‘how to breathe’ as a trumpet player. It’s by the great Australian player James Morrison.
  • have fun with practise and see links to our current trumpet apps as below:

Links to Trumpet/ Cornet Apps Apps:

  1. Arban No. 1;iPad; iPhone;  Android Tablet…
  2. https://itunes.apple.com/us/app/arban-study-no-1-advanced-trumpet-practice/id624151228?mt=8
  3. Arban Triple Tonguing;  iPad; iPhone
  4. https://itunes.apple.com/us/app/arban-triple-tonguing-exercises-1-4/id1021099892?ls=1&mt=8
  5. Arban Double Tonguing;  iPad;
  6. Arban Slurs;  iPad
  7. Arban Single Tonguing;  iPad
  8. Carnival of Venice; iPad
  9. Solo from So What; Desktop; iPad
  10. Jazz Level 1; Desktop; iPad
  11. Arban No. 10; iPad

How to Practise: Arban Triple Tonguing Exercises 1 to 4


Developing your Triple Tonguing technique takes a great deal of hard work…..a great deal of hard physical effort…OK not as painful as working toward a 26+ mile marathon or weight lifting but similar in many ways.

You’ll need to be consistent in your practice and don’t expect quick results…

It would be foolish to attempt or expect to run anywhere near the 26 miles on day one ..or even month one.
You don’t start by lifting the heaviest weight you can!

Build up your distance and lifts with sensible, planned repetitive routines.

Even with the physical demands of running and weight lifting there are some vital subtle techniques that are to be recognised and adhered to. It’s not all wam bam...let’s get as strong as we can.

The VITAL subtlety when Triple Tonguing is practised is that with each of the three tonguing motions…the triples…MUST be of the same length and crispness.

The ONLY way this can be achieved is by practising slowly and only moving on to a faster tempo when each one of the triple tongues sound as if it is a controlled single tongue.

This is where the eto App can really help. The app presents numbers 1 to 4 of the Arban Cornet Method Triple Tonguing Exercises. ALL the exercises can be heard at tempi from 50 to 240 beats a minute and the ‘printed’ music  can be seen with a realtime Beat Counter ‘moving’ in perfect sync above the notation acting as your personal conductor.

I’m now going to create and publish a few demo videos to show how this would work.

First of all, as suggested, start very slowly making sure each element of the triplet is even and crisp…. This is playing at 60 beats per minute…you could start at 50bpm.

You could then , when absolutely ready..move on to 70 bpm:


Then 80 bpm:

The tempi rise in increments of 10 beats per minute :

Here’s 150bpm:

and 190bpm:

The tempi available are 50 to 240 bpm inclusive…

You can start and finish according to your needs and experience….but plenty to keep you practising for quite a while:)

You will probably already own an Arban Cornet Method but in case you do not, there is a link to a pdf of Exercises 1 – 4 within the App.

Here is the link on iTunes to our app:


This app is also contained within two further discount app bundles description on the iTunes page. Enjoy!

I shall occasionally be sharing some extra tips about this App and hope to eventually have a full series of How to Practice ….for all eto Music Practice Apps.

If you have any questions or comments or suggestions for the Trumpet/ cornet repertoire you might like to practise via our Apps, please let us know via the comment box  at the bottom of this post.

Thank you for getting in touch!



Why use eto apps to practise?

eto Music Practice apps are not designed to dilute the value of  and need for lessons with a teacher.

We are ourselves, musicians, music teachers and music technology experts with a history of playing and performing music.


We produce and publish as musicians; the technology is second to the music!

We are absolutely not detracting from the value of music lessons…we encourage teachers to use our apps  and experience for themselves the way our apps motivate and help practice.!

The primary intention of the apps is to motivate and enable students to practise between lessons.  whatever age level of ability.

Our apps provide the music notation, a beat counter and control over practice speeds, as well as the ability to repeat bars  or sections.

We welcome and invite suggestions for new music to include.

Here are our current apps : https://itunes.apple.com/gb/developer/eto-music-practice-ltd/id624151291

Let us know what you think:


Helping Hearing Impaired to Practise a Musical Instrument

Eto music practice ltd is a small private producer and publisher of music practice apps based in Llandysul, Ceredigion, Wales. The apps are used in some 35 countries and our school choir apps have been used by some 3,000 schools in England and up to 150,000 school children.

Helping hearing impaired with music practice

I was thrilled when my colleague Robert Winter copied me into an email thread about a news piece he had watched on ITV Wales News.

It concerned a young lady of 16 who played the clarinet…very well. Amazingly well considering she is profoundly deaf.

She expanded in her interview how she hears/ senses the music she plays through her fingers and vibrations and a link to her hearing support.

I immediately felt a sense of almost guilt at the time….when younger…I avoided practising my trumpet!

The outcome was/ is that Robert has written to an organisation called Fixers who help Poppy and others in similar circumstances. He offered Poppy an opportunity to choose..if she wanted…our eto Music Practice Apps to work with and to see if they help or aid and have advantages over sheet music. The audio on each app is correct for all music notation, whatever the instrument,  will certainly help students to understand the hearing and feeling of the ‘correct’ notes as well as learn to read music notation.

We also produce a range of practise/ rehearsal school choir songs, and our belief is that these will considerably help those hearing impaired children singing with their school choir.

From what I understand,  and I am hoping, is that our Apps on iPad or iPhone, with full audio,  synced to the Beat Counter above the music notation, can be ‘plugged’ into a variety of different hearing devices and would indeed enhance Poppy’s practice sessions. The app functionality also allows students to have control over their practise tempi/ speed. This allows the student to learn at their own pace up to performance tempi and repeat any bars, as they wish, in order to practise. We also believe our music player could be developed and we are open to ideas and suggestions?

We hope that the eto music player has a key advantage as it also provides audio and accompaniments, unlike sheet music. This obviously has some enourmous advantages for the hearing impaired. We at least hope it adds a little extra help!

If it does indeed help, we at eto will be thrilled and would certainly love to work with others in this field, so please, just let us know on the contact form below.

We don’t know yet how well this will work and how many benefits this will offer…let’s wait and see…fingers crossed….(but not when you are practising:) !

Eto music practice apps:  https://itunes.apple.com/gb/developer/eto-music-practice-ltd/id624151291

Poppy’s story : http://www.fixers.org.uk/news/15784-11226/deaf-stereotypes.php

Apps for hearing impaired and deaf young people: http://www.ndcs.org.uk/family_support/technology_and_products/apps_for_deaf_young_people/apps_for_deaf_young_people/index.html


How eto is making music archives accessible!


Making music accessible!

We all know that there are some quite unique and brilliant music archives all across the globe, covering every genre and age of music. Some are very large National Collections and some private smaller archives, preserving their music for future generations. They give us the music that we listen to and enjoy and tell us even more about the composers and performers that we admire.

My concern here is that many of these great pieces of work never get to see the light of day. Perhaps more importantly, many are not known to us, the music fans, performers and teachers.

Often these pieces of gold are just simply residing on printed music sheets, resting on the shelves waiting to be discovered.


To hear and inspire….

For most of us, the hearing of a piece of music can inspire. Maybe this leads us on to learn to play the piece, or perform, or simply listen and enjoy and then seek out further works by the same composer or artist.

There are for me two worrying facets to such archives simply residing on archive shelves. If it has previously been performed it may not be by an artist or orchestra that we are aware of, or knew had recorded the piece. Secondly, If it has not been performed and recorded recently, it may only exist on sheet music. It may take a long time to be heard and performed again, or even lost to the contemporary world swamped by what’s popular and what is not.

eto Music Practice Ltd fully understands the need for protection and preservation of composers and publishers rights. But we also understand the need to make all music, not just great music accessible to all, and in many cases, to an all NEW audience!


Copyright protection…

Our music player has unique properties. Yes it shows the music notation and arrangements in full. However this music notation cannot be downloaded or copied. ( so NO photocopying of the sheet Músic!)

Our unique beat counter and facility to listen to the different parts in any arrangement as well as hear and see the music at various practice tempi, simply brings the music alive. This encourages music practise, performance practise and rehearsal or even simply enjoy playing along at home.

The eto music player has been designed to operate as a desktop player, for apps on iTunes and as android Google apps and for tablets and phones, not just PC’s.

There is an easy option here that the sheet music, traditionally sold by most publishers can be included in the app, or not included, but added as an additional in-app purchase. The customer benefits from having the eto player play the music that they can hear and practise to, at their own learning tempi, as well as provide all parts and fully bring alive the sheet music.

For the school, workshop and at home….

The eto music player can be used on whiteboards in school, or in a music workshop or at an orchestra rehearsal. The music can be practised on tablet or phone or PC so the next rehearsal is indeed just that, not just hearing all the players learning their part in rehearsal, which can waste time for everyone.

If the thought of having your valuable music published on apps and globally available makes you shudder,  then think of two aspects.

Firstly the eto music player makes the music much more widely accessible and available globally. Secondly, the use of the music can be much more strictly controlled to single users. Indeed, with the new limited online music licence now available from PRS/MCPS eto can provide a music player for you which can only be accessed by single user subscriptions. This means globally available via your website, but all rights protected and all music protected by the eto music player. So much more secure than sheet music! ( although as we said, this can be added in, or as an extra purchase, so no loss of income for sheet music sales !)

We are happy to advise and provide guidance on the management and control of your copyright content and how we can make this accessible to a new global audience.

Alongside the production and publishing of the music content, all in-house, in all formats, we also provide global marketing and PR for the music to ensure you reach a global audience. It is in both of our interests to see your music widely heard and used!

Just get in touch…..



How to Practise: Kumbaya for 4 Part Choir

Direct Links to the App Store and Google Play:
Available as an App for iPhone and iPad
Available as an App for Android Phones and Tablets

On August 18th 2017 a choir of over 4000 pupils from Years 3 to 7 will be performing this imaginative choir arrangement of Kumbaya with a distinctive ‘Aussie feel’.

For those lucky enough to take part please take note of what your music director, Donna Marwick-Obrien suggests.
The App is designed to help you learn which-ever part you are allocated. I hope you find that when you get together for the concert you will really know your part and have a great time.

The choir needs to sing in 4 parts.

All 4 parts are available on the App therefore you could split your choir as you wish, or even suggest that choristers swop parts occasionally…..so that as many that wish can have a chance to sing the melody.

It could be that your choir is split into 4 groups. In the first two verses, two of the 4 sections could sing the solo (melody) part and then split in Verse 3, so that some carry on with the solo(melody) and others take on the Descant line.

You can choose:

  • To view and hear each part with a beat counter above the notation acting as conductor.
  • Adjust the volume of each part to suit your needs as you learn your part
  • Practise with the full band accompaniment

There are four verses.

Verses 1 and 2 are in three parts:
Part 1 (Solo) : has the recognised melody 
Parts 2 and 3: 
these provide lines which are both harmonic and simulate Aussie rhythms.

Here is the opening of Verse 1:

Here are two examples of the beginning of Verse 2 illustrating how the Harmony parts can be displayed. The volume of the parts can be easily balanced using the available faders. This will help hear each individual part more clearly when you are learning it.

Each Part can be heard on its own even. This is with the band …but they can also practise without the band.

During Verses 3 and 4 Parts 1 , 2 and 3 carry on with  similar lines but now a 4th part enters .

Here is the beginning of Verse 3 showing how the Descant part comes in ..I’ve balanced the volumes so it can be heard…but eventually, when you are ready, the part you are learning can be turned off and you can practise holding the part on your own…This will give you a lot of confidence when you go to the full choir rehearsal/s.

This new part is in some ways a Descant line providing additional harmonic timbres but in a  ‘shouting/ response’ style. This adds another different element and  ‘feel’ to the piece.

Choose a Start Bar to practise from different  places. Also chose an End Bar and set Repeat to practise awkward sections over and over again.

In other words choose whatever combination of practice tools you need.

The effect will be that you will be able to learn your part so well that you can  perform exactly as your conductor wants and really enjoy the performing.

This is the history of Kumbaya.
According to Alpha Dictionaries.com”Kumbaya, my Lord” was first recorded by an out-of-work English professor, Robert Winslow Gordon, in 1927. Gordon went on a search for black spirituals and recorded a song “Come by Here, My Lord”, sung by H. Wylie. The song was sung in Gullah on the islands of South Carolina between Charleston and Beaufort. Gullah is the Creole language featured in the Uncle Remus series of Joel Chandler Harris and the Walt Disney production of Song of the South. “Come by here, my Lord” in Gullah is “Kum by (h)yuh, my lawd”

American missionaries took the song to Angola after its publication in the 1930s, where its origins were forgotten. In the late 1950s the song was rediscovered in Angola and returned to North American where it swept the campfire circuit as a beautiful and mysterious religious lyric. That is why the song is associated with Angola in many current printed versions.

In the US, however, the song was associated with Boy Scouts, Girl Scouts, and other campers sitting around a campfire in perfect harmony.

Direct Links to the App Store and Google Play:
Available as an App for iPhone and iPad
Available as an App for Android Phones and Tablets

How to Practice: Arban Characteristic Study No. 1

Available for iPad and iPhone at :


and now on android:


Or for Desktop: http://www.etomusicpractice.co.uk/shop/

This iconic study has been practised and helped to develop the technique of many thousands of brass players since the 1860s. Its part of what many call the Bible of Cornet and Trumpet Practice; the Arban Cornet Method. It appears on many examination syllabi.

I remember, many, many years ago playing it for my first audition for the National Youth Orchestra of Wales.. I was about 16 years of age and pleased with myself that i could play it quite quickly…somewhere around 90 beats a minute.

I was soon brought down to earth by the orchestra’s conductor …a very experienced and eminent conductor Clarence Raybould. Play it slowly he said …which I did…no slower…slower. Eventually he had me playing it t about 30 beats a minute.
At this speed it was far more of a test of stamina, breathe control, certainty of pitch and tone.
I learnt a hard but invaluable lesson which I’ve  never forgotten…the way to play fast is to play slow.
Indeed it probable had a great deal of influence on my thinking all these years later whilst developing eto Music Practice.

The App allows practice of the whole study in tempo increments of 10 beats a minute starting at 30 going all the way to 100.

You should aim to be able to play it all through totally correctly at the speed you choose to start practising.

The audio will help you hit the correct pitches and you will be helped to keep in time by the visual beat counter …as well as the audio.

In fact you will find that the audio helps most if you play a wrong note/ pitch. You will hear it …and you can correct yourself .

It is sensible to divide the study into bars or sections and set Repeat.

You could start very simply with:

  1. Tempo 30
  2. Start bar 1; End Bar 2
  3. Set Repeat
  4. You will see the Count In beats
  5. Play the two bars…the audio and Beat Counter will fade in bar 3
  6. The Count In will then automatically begin again
  7. You play these two bars until you can play them perfectly.
  8. When ready you could go to Start bar 3 End bar 4…then
  9. Start Bar 1; End Bar 4…when ready
  10. Start bar 5 End Bar 6…then Start Bar 1 ; End Bar 7

You may choose to build up your speed of playing before going on to the next bars/ section OR practise the whole of the Study at one tempo.

There is nothing wrong with…… and indeed a good argument….. for being able to play it ALL the way through at the slower speed speeds.

You would find that your stamina and pitch control will really develop using this method.

The worse thing to do is to push yourself on without being in total control of the notes at a particular tempo.

Don’t worry if it takes some time to be able to do this…there are no short cuts if you want to really control your playing.

To give you a taster, and for some fun, I’ve prepared some movie demos with the first two bars paying at 30 to 90 beats per minute. In the App you can set an automatic Repeat. The App also gives you the challenge of 100 bpm!.

Just replay the movies for practice if you wish…Enjoy, improve and test yourself….:)

Arban Characteristic Study No. 1 Bars 1 and 2 at 30 bpm.


Arban Characteristic Study No. 1 Bars 1 and 2 at 40 bpm.


Arban Characteristic Study No. 1 Bars 1 and 2 at 50 bpm.


Arban Characteristic Study No. 1 Bars 1 and 2 at 60 bpm.

Arban Characteristic Study No.1  Bars 1 and 2 at 70 bpm.

Arban Characteristic Study No.1 Bars 1 and 2 at 80 bpm.

Arban Characteristic Study No.1 Bars 1 and 2 at 90 bpm.



And now on android https://play.google.com/store/apps/details?id=air.com.wp.piano.arban1&hl=en

Or desktop:



eto is a vitally important music practice tool


Why is the eto music player so much better than others?

eto music practice allows many ways to customise your practice session to make it help your individual practice needs. BUT there are two particularly special, vitally important practice tools which make practising with eto quite unique.
A seamless method of scrolling the music notation: When you read a page of printed music and arrive at the end of the bottom line of a page you would have to turn the page. If you have a few bars rest and you are not playing then that’s OK, BUT, if you should be playing at the same time as you need to page turn it causes problems.
When you arrive at the end of the bottom line whilst practising with eto you only need to look up to the top left corner of your screen to find that the necessary music notation is there to be seen.
In other words the page has already been turned for you.
Another vitally important result of this method of scrolling is that the you will ALWAYS have sufficient bars of music displayed so that you can read ahead…which is ESSENTIAL.
No other practice software provides such a useful and convenient facility.
A real time Beat Counter: I have always told my pupils that the better you are the more you should count…not less. When you read music, particularly sight reading music for the first time, it is vital that you know EXACTLY where you are in the bar. This means you should be ‘counting’ the beat in the back of your mind. With practice and as you improve you will find this becomes a reflex action, instinctive…you do it without having to think about it. This is true, or should also be true of all physical aspects of playing an instrument.
To help you develop this skill eto provide a Real Time Beat Counter which appears above the stave. Each beat number appears exactly at the correct time and position at whatever tempo you choose to practise. You have the option of switching it off if you so wish.
eto therefore has used contemporary technology to provide extra practice tools; including some which are not possible just reading from the printed page.

What are the benefits of beat counter, scrolling, reading music, practising music on the eto player compared to others?

Apart from those two unique features described above here is a list and description of some others.

Choose a Start Bar: If you need to start your practise from a particular bar other than the beginning then you can enter the number of the bar from where you wish to start. When you click the Play button the Beat counter and sound will start from the bar before your chosen Start Bar. This gives you a bar ‘for nothing’; a ‘count in’ bar.
Choose an End Bar: whether you start from bar 1 or have chosen a different Start bar the music would normally play and display to the final bar of the piece. However you can choose a different End Bar
Repeat: if you Click the Repeat icon the music will start at your chosen Start Bar play until your chosen End Bar, and then start again, with a ‘count in’ bar from your chosen Start Bar. The music will repeat until you choose to Stop it.
Choose tempo: Click on the + or – signs to lower or raise the tempo at which the music is played and displayed.
Using these three choices allow you to customise your practice session to your own particular needs. You can identify the bars or sections which cause you difficulty and staring at the slower speeds you can play them over and over …with or without an accompaniment.

How can it be used by music teachers, home learners and those just for fun?
eto can help anybody who wishes to practise a musical instrument.

There are a special few, a very small percentage who have been born with a particular gift and desire to play.

The vast majority however need as much help and encouragement as can be provided.

Those who teach will have experienced two general problems with many ..perhaps not all..but certainly many of their pupils.

  • How to motivate their pupils to practise
  • How to ensure they practise correctly between lessons.

eto has tried to help solve these two issues.

Practising can be a lonely boring experience.
To counteract this:
The practice tools proved by eto seem to keep the pupils company. Their minds are more focussed and time will go more quickly …but will be used very efficiently and the practice session will be longer. The longer they practice the more they improve . The better they are the more enjoyable playing…and practising becomes.
Being able to use their computers, phones or tablets whilst practising provides a link to other activities. Practising can become a ‘norm’
Most eto practice apps provide accompaniments for the tunes or exercises They are more fun to play without diluting the effect.
Particular targets can be set by the teacher…By next lesson practise a particular section or number of bars at a certain tempo. Whilst practising repeat each section a particular number of times.
Practise can be monitored by parents. Beacuse the ‘correct’ performance can be heard and the Beat Counter can be followed parents, even if they are not players themselves, can better monitor and therefore help their children to practise. This is also true for non-specialist music teachers at school. Practising between Instrumental Teacher visits could be monitored.

Who are you? Cenfyn Evans eto creator #musictechnology





We were lucky enough to drag Cenfyn away from the trumpet, although in the pic he’s playing mellophone, and have a few moments to see where it all began. The eto music player is now used in some 35 countries for instrument practice, but also across some 3,000 school choirs and at least 150,000 voices. Probably the most successful learn to read and play music and learn to read and sing music app in the world.

From a studio in the little village of Pontsian near Llandysul, West Wales, the eto music player is respected across the world.

How was this achieved?

1) When did you first realise you had a talent for music?
Piano lessons started when I was about 9 years old…..similar to children of my generation in the mining valleys. Most parents wanted to give their kids the opportunities they didn’t have as they grew up in the 1920’s… But my particular enjoyment and ability musically showed itself when I had the opportunity to play bugle in the Boy’s Brigade at our local Chapel. Playing the bugle tunes and calls came quite easily to me and from bugle came trumpet a couple of years later. By the way in that same Bugle band ……on drums…… was Chris Rees (AKA Chris Slade)…former original Tom Jones drummer now with AC/ DC
2) Did you have a music family background?
Yes. both Mam and Dad were involved for as long as can remember in the Amateur Musical Theatre companies in the Rhondda…and eventually they both sang in the Amateur Chorus of the Welsh National Opera Company.
3) You are from the Rhondda Wales, how did that influence you?
Hugely, with three world class Brass Bands within a 5 miles radius, similarly Mixed and Male Voice Choirs, Musical Theatre Companies; all amateur but of a professional standard. From the age of 14, I began playing in the accompaniment orchestras for the annual concerts that these groups worked toward……one week it may be The Mikado or Carousel…then perhaps a Messiah. This is not to mention that there were Dance Halls where everybody did a ‘Strictly Come Dancing’ for fun. I cut my Dance Band and Jazz Trumpet teeth in the 16 piece Top Rank Big Bands. But the back bone of my practical music education was the fantastic opportunity and encouragement we had via the Glamorgan Education Authority Music Service team of Peripatetic Instrumental Teachers ….free weekly lessons and residential courses every school holiday where we had a chance to rehearse the Classical Orchestral Repertoire.
4) You had a successful professional career in playing as a session musician and in bands, can you tell me about those days?
Because of the variety of opportunity I have already described I found that I could quite easily cope with a mixture of musical styles; Classical, Brass Band , Wind Band, Dance Band, Small Ensemble Jazz, Big Band Jazz, Soul Horn Sections, Keyboards in Rock/ Pop Bands. Since most entertainment was ‘live’ there was a lot of work available. I enjoyed the variety of styles; Soul, with the Four Tops, many Bach’s B Minor Mass performances particularly enjoyable at Llandaff Cathedral, Small Combo Jazz with my own Quintet and Keyboards with the Progressive Rock Band Hieronymous Bosch.
5) How did you move from a performer into teacher and music technology and highlights of where and when?
For a while after completing my Music Studies at University I taught Brass and Woodwind Instruments in schools during the daytime whilst performing whatever style I was asked to do in the evenings. After a few years I was invited to become Music Director of a National Theatre Company in Wales. The ‘memory bank’ of music styles I had developed held me in good stead when I needed to compose incidental music for plays.. I particularly enjoyed creating specific atmospheres which enhanced the drama on stage. At the time, Mid 1970s, the music was played live but eventually the company bought me a synthesiser..this was the beginning of my Music Technology journey….
6) The eto music player was actually created by you some time ago in the 80’s. Can you tell me about that?
I became fascinated by how music technology could enhance traditional music making and skills and noticed how captivated children were becoming with Computer Games. I wondered whether this fascination could help motivate them when they practised musical instruments. The eto concept was born…but it was called MUPADOS (Music Plays And Displays On Screen). It captured the imagination of many academics and was given rave reviews but it wasn’t easy to ‘justify’ music making with computers….(I have all the reviews). In 1983 we took part in a joint venture with Warner Bros. and published a series called Micro Maestro.
7) How has this now developed given broadband and apps?
Music Technology became my speciality……..or rather the application of Music Technology…composing, and creating virtual performances. Having ‘kept up’ with the rapid advance of technology, about 4 years ago I realised that the original MUPADOS concept was still relevant.
The speed of data processing allowed both sound and graphics to be manipulated far more. Perhaps most importantly music and computers were now totally accepted and everyone had a computer, Tablet or Mobile Phone.
8) You now sell the home learning music practice apps in some 35 countries globally and more recently school choir practice apps to some 3,000 schools in England. What comes next? Our aim is to increase our catalogue so that we can help offer the opportunity and encouragement at an affordable price to ALL those who want to play a musical instrument.
9) What can we learn and how do we learn from using the eto apps…?
eto Apps are the result of my life as a student, a teacher; a musician with experience of performing and composing a wide variety of styles. I had completed my school and university studies long before there was any conception of music technology as we know it today. I embraced the new technology and developed ideas as to how how it could help traditional music making; particularly practice.
Best used with a teacher eto Apps will help individuals practise IN BETWEEN lessons.
Very often teachers and parents are frustrated because not enough, or incorrect practice is done from week to week.
The pupils themselves are more likely to practise more and properly because they will have a recording of what they should practice. These recordings can be played at various speeds. Users can begin to practise slowly and build up to the final tempi.
Where appropriate there is an accompaniment to each of these which give further encouragement.
Individual bars or sections of the music can be chosen and repeated.
In others words your practice session can be customised to your own needs.