March 11th, 2013
Everyone knows they should learn tunes straight from recordings and not from a lead sheet, but it’s not that simple. Figuring out what’s happening melodically and harmonically is super challenging for most people, and it’s so convenient just to print out a lead sheet.
Forget the lead sheet. Anything you learn with your mind and not your ear will not stay with you unless you constantly review it. Anything you truly learn with your ear will stay with you for a lifetime. Here are some things that if put into practice, will make you wonder why you hadn’t been learning tunes from recordings all along.
First impressions matter
In terms of the way you relate to a tune, first impressions are everything. Many people today think All the Things You Are, Just Friends, and Stella By Starlight are lame boring songs. Even though these are some of my favorites, surprisingly, I can relate to this attitude because many tunes still sound far from exciting in my mind. But why? Why do certain tunes have no spark, no energy, no life? Why do some tunes feel impossible to solo over?
It’s all about first impressions: how you were first introduced to the tune. Was it an assignment? The first time you heard it, was it from a play-along track? Or had you never heard it, and just played it from a lead sheet?
As you first conceptualize a tune, it becomes an entity with a certain vibe to it … Read More
March 5th, 2013
Music is meant to be heard live.
There is no substitute for the visceral experience of sitting in an audience and soaking up a great live performance. Not only hearing the music, but feeling the physical vibrations of those melodies, chords and rhythms. Seeing the interaction between musicians as they collectively create music in the moment and experiencing the excitement of the audience.
This is what improvisation is all about.
As a performer, experiencing a great live performance is like a shot of adrenaline for your musical motivation. When you witness music at its highest level, you can’t help feeling like you need to rush into the practice room. Your inspiration is immediately renewed and you suddenly have a new focus for your musical direction.
Any way you look at it, there is no substitute for the atmosphere of an intimate live music venue. You can rub shoulders with the greats and be in an environment where people not only love jazz, but are often serious about pursuing it themselves.
All of this live music sounds great, but what if you don’t live in New York City, the jazz capital of the world? What if you don’t even have a venue for live jazz within a 100 mile radius of your home? Are you just out of luck when it comes to experiencing this music?
Of course not! It’s 2013 and the world is a much more connected place. Thanks to the web, there are some key resources to utilize … Read More
February 24th, 2013
“You have to know the rules before you can break them.”
You’ve probably heard this well-intentioned phrase before. It’s as common and overused as “Practice makes perfect” or any of the countless other sayings that we encounter when it comes to learning a musical instrument.
As students of the music we get bombarded by these catch phrases on a daily basis. Teachers show us their personal philosophy for musical improvement, we take away quotes from masterclasses, books and videos, and even our friends give us helpful pointers.
Despite our best efforts, most of this information flies by us unnoticed without any tangible impact on our playing. But you don’t have to stop there, just dig a little deeper and you’ll discover that there’s some valuable truth behind those words:
“You have to know the rules before you can break them.”
If you find yourself stuck with improvising, this phrase can be a game changer. However to create growth, you have to begin by reading between the lines. What exactly are the “rules” and what does it mean to “know” them?
Anyone can hear this statement and think, “yeah, that makes sense,” but to take that message to heart and then apply it to your own playing takes a completely different kind of person.
What does it mean to Know?
Before I started high school I attended a week long jazz camp with about 30 other aspiring improvisers. Five days of big band and combo rehearsals as well … Read More
January 28th, 2013
Learning language is vital to your success as an improvisor. Without it you’re truly lost. You may know a scale, a chord, a concept…but without the fundamental ideas of what to do with these tools, you’ll aimlessly wander through the harmony. These fundamental ideas are gleaned from learning and studying language.
A reader recently wrote in, “I’ve been transcribing and learning language from my favorite players, but now I feel like I’m just repeating the same stuff over and over. How do I get beyond this?”
For starters, make sure you’re learning language not licks, and that you’ve spent ample time making lines your own. If you’re doing those two things, you should already feel like you’re not playing the same stuff all the time.
But, how do you set yourself up from the get-go feeling like when you learn a piece language, you’re going to open many doors, not just one door to one line, in one particular situation? The answer lies in how you understand the line, and what you do with that information once you know it.
The inner workings of jazz language
Whenever you study a piece of jazz language, whether it’s a line you just transcribed, or it’s something you learned months ago, always ask yourself, “What makes this specific line special?” Really dwell on it and ponder the answer. In some cases it’s immediately obvious and in others, it may taking some more thinking.
The point is, you need to realize early … Read More
January 21st, 2013
Recently I’ve been studying and transcribing a lot of Miles from around 1956-1957. Albums like Cookin’, Relaxin’, and Workin’.
More than the notes or the harmonic devices in his solos, the one thing that sticks out about Miles is his sense of phrasing. This is what sets him apart and why so many listeners connect with his sound. Miles could play anything he wanted, but he always plays musically.
It takes an advanced and honest musician to improvise a melody that they are hearing in their heads amid the wash of constantly moving chords and time. And it takes an even more mature musician to not play all the scales, and patterns and language that they’ve practiced for hours.
Most people don’t realize how much work and focus it takes to get to the point that you can free yourself from the theory and play something that you’re hearing and feeling.
This idea of phrasing and creating meaningful musical statements is one aspect of improvising that is missing from a lot of players’ solos. Improvising is not just using scales or inserting a pattern into a chord progression, in the end it’s all about creating music and performing personal melodies.
What is a musical phrase?
When you improvise a musical phrase, you essentially become a composer, creating new melodies on the spot over an established chord progression. Therefore, studying or at the very least becoming familiar with the elements of composition is essential for creating a … Read More
January 14th, 2013
It’s a new year.
I guess that means we should be making some resolutions right about now.
New beginnings, a fresh start and all that other good stuff. For most people making “resolutions” translates into sitting down and writing out a list of goals. It’s not a bad exercise to do every now and then and anyways, it feels good seeing those big goals on paper that you’ve always hoped to achieve.
But honestly, how often are resolutions actually followed through?
You’ve probably made dozens of resolutions over the past few years. Most of the time these hopeful goals just fall to the wayside and wither away, but every now and then we actually stick with one and complete it.
Have you ever wondered why those goals are the ones that we stick with? When you make those resolutions and set out to pursue these goals do you actually have a choice in the matter or is it a game of chance where you just roll the dice and wait for the results?
To get the answer just take a look in the rear view mirror. Every skill that you posses today is the result of a goal that was successfully accomplished in the past. Whether it’s a sport, a musical instrument or some specialized knowledge that you’ve acquired, these goals weren’t accomplished in one sitting, you worked on them consistently for years.
From your perspective today it can seem like you’ve always had these skills, but they started out … Read More
December 11th, 2012
There is one important part of practicing and learning any musical instrument or musical style that many players are unintentionally missing.
A necessary skill that’s so obvious it often remains hidden in plain sight. It seems to be the same across the board from absolute beginners to college music majors. It doesn’t matter if you are studying classical music or are working on improvisation.
This essential piece of practice often gets overlooked, taken for granted, and sometimes even skipped altogether. Yet it’s an activity that can be one of the most beneficial and enjoyable things you can do for your playing. If done the right way, it can entirely change your conception of music and even speed up the learning process.
So what could this “thing” be? You practice your technique, you play some etudes, you do a few ear training exercises, you’ve studied your theory, you run through some tricky chord progressions, you review a few tunes you’ve learned…but you’re still missing it.
Any guesses? It’s listening.
Now you may be thinking I listen all the time. I listen when I’m walking to class, I listen to music at the gym, and I turn on a record when I’m reading or studying. However, are you just hearing music in the background or are you actually listening to it? (…and yes, there is a difference.)
Furthermore, is listening a part of your daily practice routine? Do you set aside time each day to listen to a tune that you … Read More
November 4th, 2012
We’ve presented tons of exercises on how to practice ear training, but many require that you have someone to train with. So what do you do when you don’t have a partner?
When you have no one to practice ear training with there’s just as many exercises you can do and better yet, you can really take the time to iron out your personal weak spots. Here’s a few of my go-to exercises that are super simple and super effective.
Exercise #1: Interval pre-hearing
I love this exercise, in fact, I think it’s even more valuable for learning your intervals than if you had a partner! With a partner, you get into such a guess-and-check mindset, feeling rushed and often forget that the point is to absorb the sounds you’re hearing on a deeper and deeper level.
By ourselves, we can take our time, relax, and let the sounds echo endlessly.
To do the interval pre-hearing exercise,
- Choose any interval and direction to focus on, for example, let’s choose a major third, ascending.
- Next, play any note on a piano, or if you don’t have one, any tone will do, even if it’s hitting a spoon against a glass! (Yes, you can practice ear training anywhere even with very minimal equipment).
- Once you play the note, hear it in your mind as clearly as you possible ca. Let the sound resonate in
… Read More
October 24th, 2012
I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.~John Cage
At some point as an improviser, whether you welcome it with open arms or avoid it like the plague, you’re going to be faced with the chance to compose. That’s right – you, alone in a practice room writing your own music.
You may be excited to explore this creative opportunity or maybe the idea of staring at a blank sheet of staff paper immediately induces fear and doubt. Whatever your initial reaction, the opportunity to compose your own music will always there and if you truly want to move forward musically, there are a number of practical reasons that you should give composition a try.
You may want to perform some of your own music for once, rather than another long set spent rehashing worn out standards. You might have an assignment for one of your classes or a request for an upcoming gig. Or maybe for some strange reason you have this melodic fragment that keeps ringing in your ears everywhere you go.
We all have different musical backgrounds. Up to this point you might’ve tried your hand at a few originals or maybe you’ve sketched out a simple chord progression and left it at that.
However, if you’re like a lot of improvisers, composing music remains this elusive task that you keep meaning to do, but never seem to get around to actually starting or finishing – and this … Read More
September 9th, 2012
People have been writing in a lot lately asking us what’s okay and what’s not okay to transcribe. With all the different styles of jazz and genres of music, people are entirely confused as to what’s acceptable to transcribe.
I have to admit, upon receiving these questions, I was a bit confused. I thought to myself, “How can somebody not know what to transcribe?” We talk constantly about how to pick solos to transcribe. It all boils down to this: you need to love what you’re transcribing.
But as the questions continued to pour in, I began to realize that people arrive to transcribing with a handful of assumptions which keep them shackled upon their quest as an improvisor.
The first assumption: I’m only allowed to transcribe Bebop
Jazz is made up of a span of about 5 or 10 years, right? So wrong. There’s a whole history of this music before and after the so-called “Bebop” era. And while were at it, let’s talk about all these jazz “periods.” Jazz is commonly split into all these neat little boxes with nice little names. Swing, Bebop, Hard Bop, Modal, Free…and the nice little names go on…
And then each musician is then stuffed neatly into each one of these categories. Charlie Parker goes here, Cannonball there, we’ll put Trane there, and let’s throw Miles here. Okay, done! That’s jazz!
Hindsight is 20/20
Looking back, we seem to think that jazz happened in this neat orderly fashion. It did not. So-called … Read More