Music, Education, and Technology

In an industry where CD sales are tanking, the Children’s Music genre is up 38% over last year. Sales went from 12.3 million to 17.1 million units, according to Nielsen SoundScan.

Here’s a link to the article by Sam Wood from the July 27th issue of the Philadelphia Inquirer entitled “A Fine-Tuning for Kids’ Music: Something to Sing About.”

The Barenaked Ladies released their debut children’s record this past Spring and the response has been very positive by parents, kids, bloggers (including me), and the media.

As I mentioned in an earlier post, it seems lots of well-established mainstream artists are crossing over into the children’s music market. However, I strongly believe to be a children’s artist is to be a role model and there are responsibilities that go with playing in this genre.

This week, BNL lead singer Steven Page was arrested for cocaine possession.

They’ve canceled their Disney tour and probably hosts of other family shows. I don’t envy the parents who have to explain to their children “why” the show they were looking forward to is canceled.

I hope, going forward, artists will avoid participating in the children’s music genre if they can’t be responsible role models to kids.

Everybody’s doing it. Crossing over to the kid’s music scene seems to be a right of passage these days for rockers with a toddler or two at home. Dan Zanes (formerly of the Del Fuegos), They Might Be Giants, and many others have made the leap. On May 6, the Barenaked Ladies joined the fray and released their debut children’s record, “Snacktime.”

“Our collective kids now outnumber the band more than 2 to 1,” explains vocalist/guitarist Ed Robertson. “We set out to make a record that would be entertaining for them…not strictly a children’s record, but a record that children would really enjoy. Making the focus about what our kids like was a truly liberating process and fun for the whole band.”

Here’s a music video based on their kid’s song entitled “7, 8, 9.”

I’m a big fan of BNL and also of high-quality music for children. To me, this album represents the best of both!

Three “M”s to maximize the experience!

Do you remember the very first concert you attended as a child? Whether it was a symphony orchestra, a rock band, or a sing-along with your favorite children’s artist, your first-time concert experience was probably a memorable one. There is nothing like the sound of a live musical performance, the excitement of the crowd, and the connection felt between the performers and the audience. If you are getting ready for your child’s first concert, here are some fun things you can do—before and after the concert—to help make it an even more meaningful experience.

Prelude
Three “M”s, to focus on before the concert: Music, Milieu, and Manners.

1. Music: Getting to Know You!
The best way to maximize the concert experience is to listen to the music several weeks before the show. Buy the artist’s most recent CD and actively listen to it together. Familiarity is bliss! Although the saying isn’t an elegant one, it’s true. (Can anyone say “oldies” collections?) Take some time to help your child get to know the music she will be hearing at the concert. Dance to it, sing with it, and discover your favorite pieces together. Read stories or articles about the band or composer. Draw pictures of what the band might look like on stage performing. Your child will feel more connected to the overall concert experience if she’s gotten to know the music ahead of time.

Talk about the band, the musicians, and their instruments. What kind of group will it be? Is it a concert band, orchestra, jazz band, folk group? What are the names of the instruments will you be hearing? What instrument families do they belong to? What styles of music will the band be playing? Do you have other recordings in those styles? Listen to them together and compare.

2. Milieu: Here at last!
What is this place going to be like? Talk about the concert/theater setting. It is a very different place for first-time concertgoers. Explain that there will be musicians on stage. They will be playing and singing through microphones that are connected to a sound system with speakers. Explain that the sound system enables vocalists to use their regular singing voices and still be heard by everyone in the audience; even the ones seated way back in the last row.

In addition to the sound system, talk about the show’s lighting system. The lights will project different colors on stage to support the songs. Speaking of lights, be sure to share that they will probably flicker on and off when it’s time to be in your seats, and they will dim as the show begins.

Talk about who you will see on stage. (conductor, instrumentalists, singers) Who will you interact with before the show? (ticket-taker, the usher, the snack vendor) Explain that there will be other people there to see the show sitting in front of you, behind you, and on either side of you. Being aware of the surroundings ahead of time will help your child to relax and enjoy the show.

3. Manners: Excuse me, Pardon me, Excuse me…
Talk to your child about concert-specific manners known as “concert etiquette.” The time to clap, for example, varies by the style of music being performed. Some of us have learned the hard way that you don’t clap in between movements of a classical piece, but in a jazz concert, you clap in the middle of the song each time an instrumentalist finishes a solo. Talk about what’s appropriate for the concert you’ll be attending. There are other concert etiquette considerations such as when it is ok to talk and move about. Will there be an intermission? What is a standing ovation? Why does the band come out and play another song after they’ve already said goodbye? The more your child knows about the rules of the concert game, the more comfortable she’ll be, and the better the overall experience.

Postlude: The Reviews Are In!
Once the show is over, it’s time to put on your critics hats and review the performance together! Talk about your favorite part of the show. Was there a least-favorite part? Were there any surprises in the show? Would you recommend the concert to your friends? Why or why not? Compare/contrast the concert to the recordings you listened to at home weeks before the show. How was the live performance different from the recorded version? Which did you like better? Why?

I hope these tips help you to maximize your child’s first concert experience. Studies show that experiences in music are important to developing the whole child. Attending musical performances are an important part of those experiences, and so much fun to share together.

Enjoy the show!

The Rewards, Challenges, and Opportunities

Throughout the course of my 25-year career in music and music education, I’ve been a music educator, choral director, arranger, author, publisher, and college administrator. I recently entered the world of children’s music and have added children’s recording and performing artist to the roster with Debbie and Friends. The rewards, challenges, and opportunities are among the greatest I’ve encountered in my entire musical career.

A Rewarding Experience
The rewards of a children’s music artist are incredible. The feedback from your audience is real; children have not learned the fine art of being “polite” when they don’t like something. So, if they don’t like your music, you will know right away. But, if they are into your music, it’s real and they will relish and participate in the musical experience with reckless abandon!

The other reward is fostering an environment where parents, grandparents, caregivers, and children engage in musical experiences together. I’m often told stories of how my songs are an integral part of a family’s routine and they enjoy singing the songs together.

The Challenges
Performing music for children and their families has some inherent challenges. Here are some practical tips to ensure a successful program.

1. Know Your Audience!
Don’t ask a group of two year olds what the opposite of “hot” is, or the opposite of anything. It’s beyond their skill level. For audiences with a mixture of age ranges, I have something for everyone and tend to dedicate a song to a given age group and invite the others to join in and help the younger ones, for example. This seems to work very well.

2. Attention Span
No matter how well your show is going, there will come a point where the “natives get restless” and the meltdown begins. You can postpone the inevitable for a while by keeping everyone actively involved and participating. Be sure to have a great deal of variety in your set…mix it up. Some songs standing and moving, some songs sitting, all songs should contain active participation. Any combination of movement, dance, call-and-response, and lots and lots of singing will do! Young children love the variety and they need to be free to move!

3. Boundaries for Safety (The Baby Mosh Pit)
If you lay the ground rules from the beginning, kids and parents will follow them. During set up, I place a line of colored masking tape on the floor in front of me, parallel to my keyboard and my percussionist’s set up. I usually start the program by saying, “We have just one rule. Please don’t cross the “safety line” (pointing to the tape) because there is a lot of equipment back here and things could topple over. We sure don’t want anyone to get hurt! Parents, thanks for helping to make sure everyone stays safe. Now let’s have some fun!” Setting this one rule enables you to remain focused on the music and interaction with the children, and puts responsibility on the parents to help. Before I had a safety line my shows were often filled with me having to redirect kids throughout the performance.

4. Logistical Considerations
Movement activities can be a challenge in a tightly packed room full of kids and adults. Provide verbal cues that help to keep things safe. For example, when you need everyone to stand up or sit down, try saying: “Stand up right where your feet are.” Or, “Sit down right where your feet are.” For songs with gross motor cues, ask them to run in place, walk in place, carefully do the “hokey pokey” and turn themselves around without bumping into anyone. Also, give fun verbal cues: “When you hear me clap three times, “freeze like a statue.” Another device that works is to describe what’s coming up with a very soft voice. This makes everyone work hard at listening. The key to logistic considerations is anticipating what effect your activity may cause, and create strategies that provide a safe environment.

Opportunities: Show “Business” Tips
Performing is your best opportunity to establish a relationship and make long-lasting connections with the parents/caregivers in your audience. In addition to putting on a great program, you should tend to two very important aspects of your business: 1. Promoting your CD(s), and 2. Adding families to your email/mailing list.

1. Sell Your CD(s)
Mention your CD throughout the program. Point out that song you all just had so much fun singing together is on your latest release. Tell a quick anecdote about the recording project. Did neighborhood kids sing on some of the recordings? Are there lots of different styles or instruments represented? Did something funny happen on the way to the recording studio?

Have a table set up with copies of your CD prominently displayed. Mention you will be selling the CDs after the show, price and the form of payment you’ll take. Cite quotes and endorsements from parents and kids. You have a captive audience and if they are loving the program, they’ll want to recreate that experience for their family at home.

Be sure to have some sharpie pens handy for autographs!

2. Build Your Mailing List
Your fans are your lifeline. It’s important to grow and maintain your email/mailing list. Pass around a sign-up sheet at your program and mention it a few times. Be sure to tell parents that you will not share their email address with anyone, and that you will only be sending out email updates once a month regarding shows, CD releases, and related news. Send an email later that very day, thanking them for being at the show, and for signing up. If you have anything special you can give them, do it! Examples include: a PDF coloring page based on one of your songs, an mp3 of a new song in progress, music activity page, etc.), and a reminder of where they can buy your CD.

Of course, everyone has to find their own way and some of the suggestions contained within may not suit your personal style. Please take what works for you. Performing music for children and their families is one of the most rewarding musical experiences I’ve ever had. I encourage anyone interested in exploring this wonderful genre to give it a try!

How does a brand new, unsigned artist get Amazon and CD Baby to stock up on a new release, and then immediately sell through by the dozens?

In addition to an integrated marketing plan that includes press, radio, and touring, good old-fashioned word-of-mouth is a marketing power-tool, especially when fueled by the reach of an email address list that contains trusting colleagues and friends.

Here’s an example word-of-mouth email that my brother sent to 100 of his colleagues and friends, upon the release of my children’s music CD
Debbie and Friends Story Songs and Sing Alongs:

“Pardon the bcc: email but I am compelled to share with you the best kid’s music CD in existence! Now I acknowledge I am biased and possess no musical talent – BUT I’ve listened to a ton of this stuff and no one has done it better than my sister Debbie with her most impressive newly released CD. Please consider buying it (via the below link) for your kids, friends, nieces/nephews, grandkids! It is great to give as birthday present or stocking stuffer! I’d appreciate it if you would forward this along to some others who might be interested! You can also click on the link at the very bottom to learn more about the remarkable musical career Debbie is in the midst of! Thank you!
Best regards, Bob”

As a result of this email, my Web site traffic, Amazon, and CD Baby orders went crazy for two solid weeks. The people who received my brother’s email message went on to buy and then recommended my CD to some of their friends, and the activity continues to flourish. One heartfelt email message written by my brother ignited a flurry of activity and helped to support other promotional efforts that were underway.

This word-of-mouth (email) approach has been replicated by other friends, neighbors, and family members who love the music and want to share it with their contacts. I’m more convinced than ever that word-of-mouth marketing works, whether promoting a new CD, a music program, or any endeavor you are passionate about. Enthusiasm is contagious and word-of-mouth (email) marketing works!

P.S. Thanks Bob!

How can you put your music in front of people who are searching for better-known artists of your genre? Create an iMix with their music and yours combined!

What is an iMix? Think of it as a playlist that you share with the entire iTunes community. It’s designed to help the listener, but it is also a wonderful promotional vehicle for artists.

I am a children’s music artist under the name of Debbie and Friends and have a new CD that needs some buzz. Part of my marketing strategy includes creating iMixes that combine my music with better established, highly-searched children’s music artists that, like me, cater to the pre-school demographic.

Here is my first kid’s music iMix (my songs are listed on tracks 4, 7, and 12):

Higher-rated iMixes get more visibility, so it’s important to send it to as many folks as possible! For example, promote the iMix link on your blog… ; )

I’ll report back on the results after a few weeks. In the meantime, I’d love to know how some of you are planning to use iMixes to promote your music.

Good luck!

As a children’s musician I have the wonderful opportunity to share music with kids and their families. We sing, dance, laugh and have a great time making music together. The songs we sing are songs I wrote and before these songs see the light of day, I run them though a 10-point kid-tested checklist and do rewrites accordingly. The 10-point check list came from studying the music of wonderful children’s artists who came before such as Shari Lewis and Buffalo Bob Smith. Also from listening to and attending shows of today’s great children’s artists including Bob McGrath of Sesame-Street fame, Steve Songs, Ralph’s World, Dan Zanes, Vanessa Trien, and many others. The items in this 10-point checklist fall into two main categories: Child Development Considerations and also Music and Production Considerations.

10-Point Kid-tested Checklist

1. Vocal Range and Melodic Intervals

2. Tempo

3. Age-appropriate Skills

4. Language

5. Message

6. Active Participation

7. Song Quality

8. Recording Quality

9. Arrangement

10. Diversity in Style

Child Development Considerations

1. Vocal Range and Melodic Intervals: When writing music for children it’s important to remember that a natural, comfortable range for a young child’s voice is from middle C to G (a perfect fifth above). This range can be extended by a few notes on either end as a child goes from preschool into the primary grades.

In addition to the vocal range, the melodic intervals should be appropriate for the target audience. Does the melody move largely by step or by leap? Are the intervals natural for children to sing—such as the minor third—or unnatural such as a tritone. Of course, a tritone may have its place in a song, but it’s important to be mindful of the challenge and make the rest of the melodic intervals accessible whenever possible.

2. Tempo: A resting heartbeat for a young child is faster than that of an adult. The normal rate is 70 to 90 beats per minute in adults, and 90 to 120 in children. Therefore, songs that an adult would perceive as up tempo might feel more like medium tempo to a young child. This is an important consideration when developing music for a specific energy level.

3. Age-appropriate Skills: Five-year olds know the concept of opposites and can rhyme; two-year olds typically can’t, but they love to make the Itsy Bitsy Spider go up the waterspout with their fingers. Be sure to challenge and engage your audience with opportunities for active participation that address the appropriate skill level for the developing child. Child development publications are helpful resources for this information.

4. Language: Is the vocabulary appropriate for the age-range of the children?

5. Message: Is there a moral to the story or is it nonsensical (both have their place in children’s music). For songs with a value-based message, how will you set that up in the song and then reinforce the message?

6. Active Participation: Children’s music is all about actively engaging kids from start to finish. Are there singing and movement parts for them to do throughout the form? How will you keep them actively engaged in a meaningful way throughout each song for an entire set?

Music and Production Considerations

7. Song Quality: Kids songs should be comprised of the same high-quality standards expected from any other genre.

8. Recording Quality: Give the families who listen to your music the same production values in your recordings as you’d expect from your own favorite recording artists.

9. Arrangement: Do the song sections build? Is there an ebb and flow to the piece? Is the instrumentation interesting and appropriate? Are there hooks and surprises along the way? Where are the memorable moments in the song?

10. Diversity in Style: Stylistically, for a children’s music composer, the world is your oyster. You can write in whatever style is best suited for a given song. It’s not uncommon for a children’s CD to have pop, rock, swing, folk, show-style, and more. Experiment with style. Kids love it!

That’s it!

The true test, of course, is in the actual sharing of songs with children. If they don’t like it… you will know right away! Children are brutally and beautifully honest. If they do connect with your music… you’ll know that right away, too!

Rewriting is the name of the game with songwriting, especially when writing music for children. Keep refining your music to the 10-point checklist and test it out in live performance. When it’s “just right” you’ll know!