iPad as Vehicle for Authentic Musical Expression: Empowered Leadership Through Creative Thought and Self – Expression

Special needs population participation in music activities is becoming widely recognized as a powerful means to develop social skills, critical thinking and executive function. In this webinar, Adam Goldberg demonstrates innovative ways to take students with disabilities on a journey of self discovery that opens doors to pathways of self–acceptance, self–confidence, and Empowered Leadership. PPT found below.

 

 

Transcript: 

- [Voiceover] Welcome, everybody, to the CTD Cafe webinar. We're pleased to have Adam Goldberg joining us today. He is a teacher of instrumental music and music technology at New York City Public School 177Q and an Apple Distinguished Educator. We're gonna be talking about iPads as a vehicle for authentic musical expression, empowered leadership through creative thought and self-expression. I'm gonna go ahead and pass it over.

- [Voiceover] It's a pleasure. Thank you to everyone at CTD for inviting me. I'm really excited to share what my students are capable of as empowered by technology. I just also have to thank Nolan for all his good technical work. If anything goes wrong, it's my fault cause Nolan has it down. Yes, as was mentioned, I've been teaching at the same school, P.S. 177, actually, this is my 21st year now. Wonderful things started happening when I started to implement more and more technology, emphasizing the fact that I was using it as a tool. I was always trying to get the most musically out of my students, and I was trying to have my students and what I was doing serve the music. I'm serving my students and I'm serving the music.

I found that the better the technological tools got, the better servant I could be to both my students and the art form of music. I found more and more how incredibly powerful music is to enable all of my students and empower all of them as really wonderful music makers. This is my student band. We used to be called the P.S. 177 Technology Band, but then the district decided that we all have to say P177, we can't say P.S. anymore. That's just a slight technicality, but I mention it so that if you're searching for us later on, Googling us, it may be more effective at this point to search for P.S. 177 Technology Band, but technically, we're the P177Q Technology Band.

This picture says so much to me. We were invited to be exemplars of what special-needs students are capable of because they play music really well. I do demand a standard from them, but I'm able to demand something more from them because of the supports of the technology. As you look at each one of the faces of my students, you see there's a incredible amount of expression going on there. Each student is such an individual expression of exactly who they are. It's a beautiful thing to see. You'll notice the contrast between the students' expression and the adults' expression. I guess that says when we get older, maybe we're less expressive in that way or maybe we kind of conform a little bit more to everything else.

It's a great opportunity when we have young people, to really start to empower them as leaders. The whole little phrase there in the title of my webinar, which is "Empowered Leadership," is so important cause it's wonderful what my students are doing with music, but what happens beyond that, and how do we use the music to really create viable citizens, and therefore, viable leaders. We are living in a democracy, and if we are exercising our voices as citizens together, then we are the ones who become the leaders, or we make it such that whoever is leading has to listen to us. We must give all of our citizens a voice, and it's a beautiful thing that now we have these technologies that are empowering more and more of our citizens to have that voice.

Especially for me and for, I think, everyone here, I think that goes especially more so with our special-needs population. We're gonna load the video performance of "Nessun Dorma," which was videoed live at the U.S. D.O.E. in Washington, D.C. That's right, so I'll have to unshare my screen. Let's see if we can do that. Okay, stop sharing. I think it's a good thing that I couldn't hear it. I know you guys could. That's my favorite part of that, is at the end when they can celebrate. Usually I get kind of emotional. I've seen it and heard it a thousand times. It's helping, actually, that I didn't actually hear it this time. The fact that they can get the support from the audience, and they're going to Washington, D.C., and pretty much everyone there is a stranger, and yet they feel this love. That's the greatest reward.

Onward to this whole idea of empowered leadership. There'll be a slide coming up later that talks about how you have to learn for follow before you can lead. Really, leadership sometimes is more about following. We'll get to that with "Redesigning Leadership" by John Maeda, which I'll mention, also. All of this stuff is related to what's coming next, which is how I got my students from just being able to follow, and they're playing every single note. It's just like they're reading a score. By the way, the iPad can serve, you notice they're not reading music. They do have great memories, but the visuals of the iPad and the way I can set up apps, it's almost like the interface becomes the score. The visual cues are all there.

I'll try to explain that later when I show you an app that's like Midi Touch, which is called MIDI Designer Pro. If you have Midi Touch already downloaded on your iPad, then by all means, go ahead and use it, but unfortunately, I have just recently heard that it's not available anymore in the App Store, at least not in America. I don't know why, but I'll be mentioning MIDI Designer Pro. It does the same thing. It's actually even more powerful than Midi Touch. If you're not sure what I mean, let me see if I can share my screen one more. Sorry about that. If you're not sure what I mean by MIDI or Midi Touch, a MIDI signal sends no sound, but it sends information to another device that makes sound. Basically, what you're doing with a MIDI device is you're triggering another app or instrument or device that does make sound. That gives you a tremendous amount of power. If you're interested in learning more about that, you can please connect with me.

My Twitter is @adam_g88, as in the two digits, 8, 8. So adam_g88. Connect with me there and send me a message, and I'll be happy to work with you and explain more. Within an hour, there's only so much detail I can go into. This next slide here, imagine showing students who probably have not seen any abstract Expressionist art. I come in one day and I have my students sit down, and I put this Jackson Pollock painting, the image of it, on a large screen. I say, "Check that out, guys. "What is that? "What's going on there? "That's a real painting. "Can you tell me anything about it?" I was really surprised at the really perceptive and creative answers that I got from students who we're not supposed to be expecting these things. I don't know.

My point is that we are and that they're capable of a lot of creative thought, and even abstract thought. Even one of the students said, "It looks like they splattered the paint." A pretty maybe simple observation for us, but for someone who's never seen anything like this before, very perceptive, I think. One student said that it looked like a spider web, which I thought was really cool. A person, I think because of all the gray in the background, said that it looks like the beach. In New York, actually, some of our beaches look a little bit like this when they're getting a little full of litter. Back to this whole idea of correlating the visual. That's really the point of this project was, okay, so let's show them this really abstract Expressionist painting, and then transfer that the iPad and say, "You can paint with the iPad, "and I'll be showing you some apps later "that directly correlate visual "and almost like painting motions, "and what happens on the screen visually "with the music."

This project went so much better than even I expected, and I learned so much about what my students are really capable of from just trying this. That was the first step, was to just show them this painting and talk about it a little bit. It went really well. This all became a part of a course that I was able to have published by Apple. That's the name of the course. If you have an iOS device, you can just download the iTunes U app. It's free. Then you can go into that app and just put in the course code, the course enroll code, which is in bold letters right there at the bottom of the screen.

The enrollment is free, the course is free. You can keep it as long as you want, and unenroll if you want or keep the course. That goes into the detail of how you might build a course like this because the objective was to correlate abstract Expressionist art with free jazz improvisation. They both kind of were happening at the same time, and the philosophies of both were, and are, so similar. It's interesting because I always try to emphasize with my students, whether they're the students in my band or all of the other students in my school that I work with, I always say, "Don't be afraid "about mistakes. "Don't ever stop if you make a mistake. "Don't go back to try to fix your mistake "because most people don't even realize "you made a mistake. That's really kinda part of this whole process of making music, is just getting past the mistakes and moving forward.

Let's see, yes, that's one of my favorite correlations right there. There's Miles Davis talking about not fearing mistakes. There's Jackson Pollock's quote, which is really, in a sense, saying the same thing. Another quote that I emphasize as part of the course is where Jackson Pollock says, and I provide a link to this really awesome documentary on Jackson Pollock that has a lot of his narrative, and he talks about his whole process. One of the things he said, which correlates directly with what I'm trying to accomplish in any music, but especially if we're talking about any type of improvisation and especially free jazz improvisation, he said, "Because a painting has a life of its own, "I try to let it live."

There ya go, talking about there are no mistakes. Just let everything just happen and let it be organic. Of course, that applies even more so, I think, to live music making than it does to painting. To me, it was like this perfect marriage of the two art forms, and how I could get my students to really become much more creative and independent with their own musical voices. I, of course, did use the technology of the iPad to support that. I'm gonna get into a little bit more about how I did that soon. This is from one of my favorite movies.

There's this one guy, it doesn't necessarily apply to my students, but this one guy, Devon Miles, was an incredible talent, but he really knew it, and he wanted to make sure everyone else knew it. The band director, the wise teacher Dr. Lee, kinda calls him out on that one day and shows him up, and says, "You have to learn to follow before you can lead." Going back to my students' first performance that I just showed you where, sure, they were following me, but at the same time, they were learning a lot about leadership. In the next clip that I'm going to play, this is actually from the course "iPad as Expressive Sound Canvas."

There's an audio version of this, and then the video, which is a different performance, so you'll hear the difference in the way they play. I wanna play the video for you. Nolan, it's gonna take a little longer for this to buffer, so if you could, oh, yes, here we go. You'll see that the same app, ThumbJam, that Toby used for "Nessun Dorma," that's being used actually by four students simultaneously. I didn't tell them anything about well, when should you play or when shouldyou stop playing. I just said, "You guys have to listen to each other." Again, this is really the democratic process in a musical context. Giving them all of this freedom, and yet, the responsibility to have to really work together and listen and not overplay and not sit out too much. They figured out, they are figuring out a way to really let the music live. Every time they place this, it's different. Every time they're expressing themselves and creating in a new way. Keep it going. The idea of trying to do this whole four minute and something second version.

Let me go back and share my screen. The whole idea of trying to do the whole thing was that I thought there was so much really, really good interaction going on. At the end, one of the students, for the first time, it was the first time he did this, he decided to try to play three notes at once on one side of the interface, and use the other side to play a melody along with it. It was just so awesome. This is what has been happening with this piece. You can kinda see, if you download the course, the audio recording of "Number Five Sound Canvas," that was done, it's coming up almost on two years ago now.

This video recording I just did this past June. You'll notice, really, a lot more quality listening and interaction going on. Both versions are good, but I think you'll notice the difference because every time they do this, they learn more and they get a little more adventurous. I especially love Rachel, the one female in the group, she's actually our lead female vocalist. But again, because the iPad is such a great platform, she comes through as really maybe the most inventive and experimental kind of voice in the whole group, even though she's not really an instrumental player.

By the way, I should say that my other students do play other instruments and sing. The person who's playing the drum app actually can play a live drum set. Toby, who was playing the lead on "Nessun Dorma," he is really actually a very good keyboard player. We have all these other abilities going on, but the iPad is that one thing that kind of springs everything and allows my students to just jump forward musically. Let's see. Yes, this whole idea about allowing my students to be a part of this creative process musically, it fits in with this guy, John Maeda, who is a graduate of MIT. He's involved with different corporations over the years. He wrote this book called "Redesigning Leadership," which, to me, speaks beautifully to the journey that my students are on.

Hopefully, at least a direction that we all wanna consider for ourselves as educators and/or leaders and/or citizens. What I love here, this is right from the book, the John Maeda book. What I love is under traditional leadership, halfway down, there it is right there, the orchestral model. Then, the creative leadership version of that is the jazz ensemble. I'm sure you can understand how that works. We're having that top-down, follow-the-conductor type thing, and there's nothing wrong with that. It may be an essential part of the learning process for some. But eventually, we wanna get to the point where we all can have this conversation. That's right below jazz ensemble, it says, community and conversation. We can have a community in harmony.

That's great, but how long is that harmony gonna last unless we're continuing the conversation? In the conversation, there may be some dissonance. I don't know, I think music can be a little too bland if everything is always in perfect harmony. We want some of that dissonance. I just love these correlations. If I had more time I would go over more of the comparisons between the traditional and creative leadership models, but this gives you an idea. Now, I'll just put this on the screen a little bit. I will try to go over some of these apps. We're doing pretty well on time. It looks like I have almost a half hour to just demonstrate apps.

Again, I'll emphasize if I'm doing stuff that you want more information about, I'm really just gonna go over general stuff right now, but if you want more information about going deeper into apps or other apps that I'm not covering now, that may or may not be on this list, and there's another list here, the next slide, please feel free to reach out to me. Let's see, one more time, ah, no. We're gonna keep screen sharing on and I'm gonna go into Reflector. There ya go, you see my iPad. Very good. Maybe we can make it a little bit larger. Actually, let's see. Can I do this? Yes, let's do that. Looks better than my desktop. I mentioned, I'm gonna go into just explaining about ThumbJam and how I can make that work so that my students are empowered to create all these harmonies, but before I do that, I'm gonna go back and mention how I referenced some of these apps where you can actually paint, and the colors and the motion, the lines and so forth that you're creating correlate with the music.

This is an app called iKaossilator. Korg is a company that's been making electronic music instruments for decades now. The iOS platform has become a great place to take these two or $300 hardware devices and turn them into an app. Then you can get that app for 20, 30 bucks. Last time I checked, I think iKaossilator was $20. You know what? That's really expensive for an app, for a music-making app. That's really on the high end. I'm not a fan of getting free apps. Generally, one or two of them are worthwhile getting, but just like everything else, you get what ya pay for. In this case, $20 for what you used to have to pay a few hundred dollars for right on your iPad and you can take it with ya anywhere, I think it's a great deal. Let's see.

I'm tapping on that little spinning circle there, and I'm just gonna clear all the parts because I wanna show you how this works. I'm gonna just start running my finger along in this little square, and you'll see where my finger is going, based on what you will see happening with the yellow color. This is what I mean about the visuals and the audio going together. The aural and the visual, I should say, going together. You'll notice in the center going horizontally across, there's a palette of colors. That's exactly what it is. It's almost like a painter's palette. If I tap on blue, it's gonna give me a different instrument. Going on and on to all the different colors. The last one is a drumbeat.

What I'm going to do, and this is what I have some of my students who, they really can't keep a steady beat, they're not just at that place yet, there's not much else before the technology came into play with my students. Those students, I had a hard time finding things for them to do in my music classes. But now I can have a student who, before, would have been a little bit on the sidelines, and now I can have them press this big red record button. Now when they play, they make their little beat, and then when they stop moving their finger, every move that their finger made gets recorded along, of course, with the accompanying sounds.

I see that some people can't hear it. My apologies. I probably didn't have my volume up enough. Let's try again. I'm gonna clear that part, and then you're gonna see me record it again. Press the red button for record, and let's get some drums. Good, thank you, Jackie. I see here it's telling me sound is much better now. That's good, excellent, thanks. We can, of course, add to this by. Let me stop it and try to remember that you may not be able to hear me so well while I'm talking over the music. I'm gonna go on. This happens, my students don't have to pause. They keep doing this in real time. They add one part and layer another and layer another and layer another until they have all five parts going.

The next part is gonna happen like this. Cool. We got two parts, and now, again, we're having students who weren't participating that well in music. Now, all of the sudden, they're becoming composers. They love the visuals and they love the fact that they hear both at the same time. Don't forget that this may not apply across the board, but with many of our special-needs students, the multisensory approach is extremely powerful. That's exactly what's happening here. I'll put in one more part, but you get the idea. Just for fun, we'll record a bassline. Lots of fun. Again, I don't wanna go too deeply, but that very quick, repetitive loop, that can get redundant real fast, but you can adjust each one of the colors in the palette to go for as long as four full bars. I can just say the yellow one, we don't want it to go only 16 16th notes, we want it to go 64 16th notes. Now we'll have a little longer type of a melody. Just an idea of the flexibility and the power within just a simple app like this. Let's go, simple, simple to use. I think that's the whole key. There's a lotta complicated stuff going on underneath the hood, but that's.

- [Voiceover] I'm sorry to interrupt.

- [Voiceover] It works.

- [Voiceover] Can you hear me? Wanna see if you can turn the volume up a little bit? A couple people said they couldn't hear. Actually, a few people.

- [Voiceover] Okay, all right. Apologies.

- [Voiceover] Thanks.

- [Voiceover] Will do. Apologies for the audio. I'll try to remember to. It's up pretty high now. It's up all the way. I hope that works better for everyone. Also, I guess my own volume here. That actually shouldn't matter, but we'll try. Here's something much more like what my students were using for "Number Five Sound Canvas." This is ThumbJam. Let me just double click so you can see that. There's the icon for ThumbJam at the bottom of the screen. ThumbJam has a long history. It started out on iPhone before there even was an iPad. That's why it's called ThumbJam cause ya hold it, ya hold the phone with one hand and you can actually play the interface with your thumb. It's become much more sophisticated and powerful over the years. They keep updating it. Again, it's not that expensive. It's certainly not a very cheap app. I don't know, maybe it's 12, $15, I'm not sure. Worth every penny and then some, I think.

There's different ways to set this up. There's a lot of flexibility. On the left side, there's a column with all those different buttons. The fourth one down that almost kinda looks like an open book, I'm gonna tap on that. You'll see that I have two splits. I can choose anywhere from one to four splits. For this little adventure, I thought it was enough to give each student just two different splits that kind of encompass two different kinds of harmonic and melodic expressions over that one bass pairing, which was just like a simple C-dominant chord. Hopefully, you'll hear it. The way I set this one up sounds like this. We use a blue scale on this side, on the left side.

Then on the other hand, I have just a totally different type of harmony. It's almost like a flat nine with a sharp five. Kinda almost like an Eastern, kinda bluesy thing combined. But when you allow your students to kinda play in between those two and listen to each other, they learn a lot really fast. You can hear it by the way they start to make their own choices. It may not come out that great cause there's a lotta latency with running Reflector, but I'll just try to do something similar to what one of my students might do. You can see the relationship between the two sides.

Again, the latency is kinda making it hard for me to make really good musical sense out of it. You can see how, again, when you offer up those two different types of harmonic and melodic structures to the student, that you're giving them the palette, the musical sound palette, if you will, to be able to experiment and open their ears. Of course, it doesn't have to be a harmony that's this sophisticated. We can just kinda go, we can, if I go into Scales here, this app is great for just learning all the different scales and modes, many of which, I thought I knew a lot of modes cause I studied jazz, but I'm like, what is that? What is this mode? There's so many of them.

To kinda keep it simple, we could just go with a major pentatonic scale. What happened was only one side changed because that was the side that was selected. If you'll notice on the very, very top, there's kind of like a little orangeish, thin line. That shows you which side of the interface is selected. I'm gonna tap on the other side, and you'll see that orange line move. Whatever side is selected, obviously when you make changes, that's the side that you're changing. Now we just have a simple, it's a simple pentatonic scale. Just one pentatonic scale can fit over a whole bunch of underlying harmonies, or vice-versa. You can have one harmony and use several different pentatonic scales to provide melodic and harmonic interest. There's a lotta ways to handle just kind of a simple thing like this. I really encourage you to allow your students to experiment and open their ears and keep emphasizing the whole listening aspect of all of this.

Let's see, I'm looking at time. Just quickly, hopefully, this'll work. I told you I would try to show you a little bit about MIDI Designer Pro. I'm going a little fast into the apps. There it is, MIDI Designer Pro. That's what the icon looks like. Hopefully now this is gonna work. We already did all that. Okay, good. It's triggering. You'll recognize the sound. The sound is from that ThumbJam app that I was just using, but now I'm not playing ThumbJam, I'm triggering ThumbJam via MIDI Designer Pro. Those two little buttons, I'm sorry. Let me see if I can change the orientation quickly. Oh, that's nice, now it's upside down. Just quickly, can I flip it? Automatic. If it's upside down, I guess it's better to have just like that. That's just Reflector, that's not the app. That's just Reflector kinda not quite seeing what I'm doing here. You guys will be able to see. I'm playing button one and then I'm playing button two.

Just like on ThumbJam, the way I slide my finger, I can do the same thing between buttons. Instead of setting up an interface, and that's certainly one way to do it that really empowers a lot of students, where you can set up ThumbJam so that it's only certain notes in a certain scale. I didn't show you that much about ThumbJam, but you can reduce the range to the point where it's only within one octave. You could even assign a bassline to a student where he's just playing the root and the fifth, and going back and forth. That provides a bassline for a song. You can do, even to a greater level of support and differentiation, you can do the same thing using a MIDI app, like Midi Touch, where you can set up these buttons. So briefly, I'm gonna show you how that's done. It may seem a little awkward at first.

To be honest with ya,I don't use MIDI Designer Pro. Of course, I'm used to using Midi Touch. I'm still kinda learning how to navigate it myself, but the idea is that you can really have a tremendous amount of power over what students can play and where you can place these triggers to make it as playable and accessible as possible. If I tap on where it says More, which is kind of, it should be on top, but it's on the left side there, if I tap More and I tap on Design. Now if I double tap on button two, you get a window. It shows you different properties. I could pick the label. I can change the name of the label. I can call it anything I want. I can call it D. I can call it hold this for four beats. You understand what I'm saying?

There's a tremendous amount of supports that can be built into the programming of these apps. I can change the color to correspond with sections of a song or certain rhythms that I want to be played, so on and so forth, certain note values. We can do that, or on momentary, momentary just means when ya tap it, it's gonna play, and it's gonna stop playing as soon as ya take your finger off. You can put it onto toggle. You tap it once and it plays, and it holds the note for as long as you want until you tap it again. Then it toggles off. I'll leave it on momentary. It even gives you a little test note there. Here is the meat of everything where you can decide what note you want that trigger to play. Now I have this set to E, but I have the full range of 127 MIDI notes available to me.

Those are the basics. There's a ton more, especially with MIDI Designer Pro, which is actually much more powerful that Midi Touch. There are a ton of things that you can do in order to empower your students. If ya use your imagination and whatever musical knowledge and background you have, you can just really go to town. If you don't have much musical knowledge, that's why I have this next app that I'd love to show you. This is just so cool. I'm looking at the time. I could do this all day. I did wanna set it up and give you the impetus of what are we doing, why do we have our students doing music? What's so powerful about music? Hopefully, that whole thing about creative leadership I thought was very, very important. Hopefully, that will provide impetus for you to really get involved and get deep into all that can be done with these apps in terms of empowering students as music makers.

This is an app called Figure. I'm sorry, I have to keep doing this cause I don't want ya to miss what the icon looks like. It makes it easier to find in the App Store and everywhere else when it's on your iPad, especially. I'm gonna go into pattern. Ya get this thing, and I have it on lead, but I could pick the bass or the drums. I'm gonna play the lead. Let's see. Let's turn up the volume. I'm looking at some of the notes here. I'm seeing still, thanks, Daniel. Hi, buddy. Daniel Veal and I are virtual friends for now. Hopefully we'll meet one day soon. That's good that that's coming out good. I'm wanna change. If ya notice what I did up here, I'm just changing. These are all different sounds that you can pick for your lead.

I'm gonna go to something that's a little more interesting called mouthy lead. That's nice, but why is it so monotonous? Because the rhythm says eight. To me, eight means eighth notes, yes? That's good cause it means that way, it means the same thing to the people whocreated Figure. Let's do a rhythm of seven. What's that gonna sound like? All I'm doing, it may be hard to understand just by seeing the Reflector, but I'm just holding my hands on that orange part of the interface and sliding it along. Now I'm gonna add something to that. I'm gonna just keep doing the same thing. Yes, I realize you can see where my finger is going, but I just wanted to clarify, I'm just sliding my finger.

We have lots of students who this is a wonderful thing for them. Their eyes light up because, wow, I'm making this music now. Certainly, yes, there's so much about UDL and differentiating to the needs of the student. I'm not gonna give some of my students that have a good sense of rhythm, I'm gonna have them play the rhythm, but the students who can't, obviously, how much empowerment is this, that now they can sound like this. They love it. Outside of that fun aspect, because they're participating in that, they're getting a more internal stimulation, if you will, in terms of what they need to do to play the rhythm themselves because they're a part of an ensemble. They're just not doing this stuff themselves and looking around the room and falling asleep. They're participating with the rest of the group. Every classroom I go to, I create a little ensemble with. They're really experiencing what this thing called beat and rhythm is really all about.

I've had some really good success with that, with students who, all of a sudden, now they can play a steady beat where they couldn't before because of playing apps like this. If I change the number. This is, by the way, of course, also a great exercise for a lotta my students in using two hands at once, getting both sides of the brain going. When they hear that they don't have to just stick with that one rhythm the whole time, that they can actually change it by moving that number for the rhythm, that gives them the impetus to make the effort and the motivation and that positive feedback that's gonna keep them trying. Really very, very powerful stuff.

I see that it's already a little after five. Let me see. Just to close out, just two little, a very effective app for some of my younger students. Something's happening with Reflector. Don't do this to me now. That's a little better, kind of. Ya can't see the lines now, so I'm gonna just quit out of it quickly and get back in. Oops, it was right there. I don't know why it's doing that. You'll have to take my word for it that there's lines that indicate the pitches, almost like a keyboard would, but it's just the lines that delineate each pitch. On the X, Y axis, you're getting pitch and, of course, different tambours, just like a synthesizer except ya don't have to turn knobs. Ya just move your finger in different parts of the interface. Of course, it goes without saying that all the kids love the robot.

Last very quick. Here, another super cool one. NodeBeat HD. I'm gonna tap create. You kinda already got a little preview, but again, the same idea of these lines. This is a little bit like the lines in Bebot, and so many other apps have these little lines that delineate what note, what actual pitch you're playing. That's just cool enough right there. Ya can go into the settings and, again, change the mode and change the scale and change the type of sounds. But if I add some of these larger, the larger square and circle, you see it's pulsing out at a certain beat, but then again, the tempo can be changed, but it's pulsing out to nothing, so I need to take some of these smaller circles. I have to turn it down just for a second, just to say another amazing thing with my students. Some of them create these incredibly beautiful and symmetric and complex geometrical patterns, and I'm like, wow, how did you do that?

Of course, at the same time, it winds up making really cool music. This is another just super fun thing that opens doors to a lot of other possibilities. The square one is just for drums, but now we can add some of these larger circles. They're gonna generate pitches. You can still play along. That's just some of the fun. I'm starting to look at some of these. I apologize because I should have been looking more carefully at some of the comments being made. Thanks all for participating and checking out some of my work and my amazing students.

Sound Drop, yeah, I love Soundrop. It's not working that well on new iPads. I'm sure developers have to, it's hard sometimes to keep up with all the changes, new iOS and different iPads. I'm sure a lotta people are kinda drooling over the iPad Pro, but that takes a whole nother level of programming now for someone who wants to create apps for them. I'm just grateful for those developers who do take the plunge, and especially those who keep updating because there's just incredible, incredible music to be made by all.

That's the greatest part. It really is a democratization of not just music, but of society. If we're doing this with music, then that's already bringing us forward and bringing us along. It gives all of our students a chance to become modern leaders in a 21st-century environment. Please be in touch with me. Please try anything. If ya even just try one of the apps that I showed today, then that's a great thing. Thanks, everyone, so much, and again, thanks, CTD and everyone involved. Really appreciate that. Daniel, thanks. Yes, Amy Burns, awesome. Yes, there are a lot of awesome music educators using technology in very powerful ways. The iPad thing is kinda my specialty area, but other teachers are doing pretty amazing things, too, with other technologies as well. Thanks. The Mac Pro video articles, thanks, Daniel. Another resource, I write about some of the same things that I was talking about here. I feature different apps and different articles, and I talk about how I use those apps with my students.