September 11th, 2013
You listen to pop tunes. You probably even like them.
But hold on a second, aren’t you’re supposed to be a serious musician?
It’s OK, everyone listens to pop tunes. Just because you turn on the radio and check out the top 40 every now and then it doesn’t make you less of a musician.
Traditionally the repertoire of the improvising musician has been comprised of popular songs: All of Me, How High the Moon, All the Things You Are…and today you hear Radiohead tunes and Dilla beats. Everyone from Louis Armstrong and Miles Davis to Michael Brecker, Brad Mehldau and Robert Glasper have incorporated pop elements into their musical conception.
The beauty of jazz is that it’s naturally inclusive of any style of music and influence. All the way from the diverse musical melting pot of New Orleans to the infusion of Latin music or Hip Hop today, improvisers have been including a wide array of musical influence in their approach.
Anything is fair game for an inspired improviser and pop tunes are no exception. Remember, at one time jazz was the pop music of it’s day.
The “standards” that we spend time learning today are essentially the pop tunes of a bygone era. Part of being an improvising artist is absorbing and commenting on your current surroundings. Today, even though we don’t exactly have Irving Berlin or Richard Rogers churning out tunes anymore, we can still use pop tunes to our advantage.
If you … Read More
September 4th, 2013
From the moment we are born, the world tends to have a container already built for us to fit inside: A social security number, a gender, a race, a profession, an I.Q. I ponder if we are more defined by the container we are in, than what we are inside. Would we recognize ourselves if we could expand beyond our bodies? To be authentically ‘un-contained’ would we still be able to exist?
Expansion Bronze, electricity and mixed media
Music is sound.
We take in this sound with our ears and produce sound on our instruments.
Everything that you need to know about improving as an improviser originates from these two phrases. When you approach improvisation with the big picture in mind the entire process becomes much simpler. Coming to this realization can even change the way you improvise today.
Now I know what you’re thinking…”So I don’t have to worry about those scales, chords and theory ever again?” Not exactly.
You need to know your chords and scales, but you mustn’t stop there. Your creativity shouldn’t be limited to music theory alone, however this is much easier said than done. In the practice room analyze each chord, learn the names for each scale degree, and learn the rules for creating melodies and chord progressions, but when it comes to performing strive to move past the theory.
Remember, in the end music theory is just a method to describe sound with words. No matter what you’re thinking when … Read More
August 28th, 2013
Have you ever seen a movie where a certain character stuck with you long after the film was over? Or what about a piece of artwork that kept popping up in your mind’s eye?
Maybe you’ve witnessed a speech that had the same lasting effect or attended a concert where the performer played their instrument in such a way that it altered your own musical approach.
We’ve all experienced these moments, but what was it about these performances or experiences that stuck out for us?
In any field there are certain people that stand out and there are certain voices that rise above the masses. Nonchalantly, we often say that these individuals have character…but what exactly is character?
A quick glance at a dictionary will give you the following definition: The combination of qualities or features that distinguishes one person, group, or thing from another.
And a character is a person who embodies these distinguishing features.
A character is someone that stands out from the crowd. A character has immediately distinguishable traits. A character has a unique way of speaking or a specific vocabulary. A character has a unique sense of style. A character grabs your attention and sticks in your mind. And a character has a story to tell.
Characters of all types catch your attention and connect with you in a personal way and in an art like improvisation, this is an essential tool in developing your voice and connecting with the listener.
Characters in … Read More
August 20th, 2013
Can one note really change your ears and improve your musical creativity?
The answer is yes and I’ll show you how.
A few years ago I took a lesson with the great trumpet player, improviser and composer Ingrid Jensen. As we started the lesson, instead of the usual warm-up exercises and scale patterns I was expecting, she turned on a drone machine, a little black box that emitted a single constant tone.
For the next 10 minutes or so we played a number of different exercises along with this background tone – long tones, scales, trumpet etudes, intervals, etc. For some reason these familiar exercises that I had done hundreds of times before were transformed into something different with the accompaniment of the drone. The effect even changed the way I approached chords and tunes in my practice years later.
She later explained that she often uses a drone machine as a practice tool to enable creativity, musical freedom and focus at the beginning of her practice sessions. To clarify, a drone machine is basically an electronic synthesizer that sustains a single note, but the same effect can be achieved with other instruments or recorded tracks.
The idea of focusing on a sustained pitch is something that has been practiced for thousands of years. A drone is used in meditation (om mantra) and is played using instruments like Tibetan Singing Bowls or the Tanpura in Indian music.
The drone has been used as a calming element and focusing tool … Read More
July 28th, 2013
Learning tunes should be fun. If ever there was a secret to expanding your repertoire of tunes this would be it.
You’re more likely to pursue an activity that’s exciting, interesting, and challenging rather than one that feels like an annoying chore. At the end of a long day you’re going to put the hours into a pursuit that’s an extension of the activities that you already enjoy.
For musicians, one of the most enjoyable things you can do with music is listening. If you’re reading this right now and are serious about improving as an improviser, chances are you’re already listening to records as much as you can.
Listening truly is the starting point for your musical improvement and your growth as an improviser.
One misconception surrounding musical improvement however, is that you can only practice if you’re in a practice room with your instrument in hand. This is simply not true. The learning process can happen anywhere, instrument or no instrument, as long as your ears are open and you’re focused on improvement.
Below I’ll show you how to turn your next listening session into some time spent learning tunes – a two birds one stone approach. You may not realize it now, but you can actually figure out and memorize tunes at the same time you’re checking out your favorite records.
How is this possible? The answer lies at the piano. The piano or keyboard is one of the greatest tools we have in learning … Read More
July 17th, 2013
That’s really good. And that’s bad. That’s ugly. And that’s pretty. I like that. But I hate that. That sucks. But that’s great.
Our first instinct upon experiencing something, whether it’s hearing something, seeing something, or meeting somebody new, tends to be that of judgment. We are creatures of classification, often subconsciously fitting everything around us into an understandable compartment – judging quickly and efficiently has its purpose.
But is judging everything we experience the most beneficial initial response for our creative output?
Initial judgment can lead to learning nothing
I recently read the book Black Swan, by Nassim Taleb. The book discusses the simple idea that one rare event can have a huge unforeseen impact, and in hindsight, we tend to rationalize why it makes sense that it happened.
At one point, Taleb discusses a neuroscientist named Yevgenia Nikolayevna Krasnova and her book A Story of Recursion, that became an international best seller. Not knowing who she was, I of course googled her name instantly. Page after page, readers express their disdain for Taleb. “How could he possibly make up this character!?” and “I guess we can’t trust anything he says.”
Review after review of the book, people tear apart all sorts of things Taleb discusses, which made me stop and think. I learned quite a lot from the book; concepts that I can take and actually apply. I could throw out everything in the book because of my initial judgments about some of his content, or I … Read More
July 10th, 2013
When exactly do I become good at improvising? Is there a single point that occurs where I can finally play like I want to?
These are questions that inevitably pop up and hover at the back of your mind as you begin learning to improvise. Is all the work you’re doing now really going to pay off in the future?
If you were anything like me, when you first started learning to improvise you imagined a point in the not so distant future where you would suddenly “get it.” Sometime a year from now or maybe 5 years from now… It would be a sort of musical promised land or an instant melodic awakening where everything would fall perfectly into place.
It only had to be a matter of time, it had to be! After so many years spent toiling away in a practice room you were bound to hit that place where the odds fell in your favor and improvisation became easy.
However, this mythical point of enlightenment that contains all the answers sadly doesn’t exist. In reality there isn’t one single tipping point or exhilarating moment of insight that makes you an improviser. Rather, reaching your goal with improvisation is the culmination and collaboration of a number of different areas in your playing.
The greatest improvisers I’ve met never felt like they arrived at a destination – they were always searching for the next level and striving to improve.
Improvisation is not a destination, but a journey with … Read More
June 18th, 2013
Acrobatics is one of the most amazing things I’ve ever seen. The physical prowess needed to do even the most basic maneuvers is on par with that of the Incredible Hulk, while the necessary flexibility exceeds even that of a ballerina.
Upon seeing my first live cirque performance in Montreal, La Clique, I knew that someday, I wanted to try it.
Several years after seeing this performance, I found myself at a crossing, where the traditional gym environment and workout just wasn’t exciting me anymore.
By shear chance, in cocktail conversation, a newly acquainted friend of mine started talking about circus training centers, where acrobats and aerialists dedicated countless time to their craft. Apparently, these training centers existed throughout the country, and the one she had been attending happened to be right next to where I was living!
What better time to attempt acrobatics than now? Eagerly, I enrolled in several months worth of classes.
As the months went by, I could feel myself getting stronger and more flexible. Being a rock climber my body was not exactly ripe for acrobatics, but it was getting better. Gradually, I went from absolutely horrible, to terrible. A step in the right direction! And after several more months I felt myself go from terrible to simply bad. And that’s where I remained. Bad. Better then when I started, but still bad.
This can be a tough place to be. It’s not a plateau, but more of a never-ending abyss. A black hole … Read More
May 27th, 2013
Creativity in its most basic form is simply the act of taking something old and making it new.
Whether you’re a novelist, an architect, an engineer or an improviser, artistic creation stems from a desire to make something new within the existing confines of your craft. To put a personal stamp on your art form and to have your voice heard in some way.
For musicians this revolves around our personal interpretation of the fundamentals of music: sound, melody, rhythm and harmony.
However, creative inspiration doesn’t just appear out of the blue like a bolt of lightning, instead it slowly reveals itself through the diligent study of previous generations and the mastery of established skills. Schools of thinking must be studied, styles are to be imitated, and techniques will need to be ingrained.
“Creativity is knowing how to hide your sources.”~Albert Einstein
The study of jazz improvisation is a perfect example of the progression of creating the new from the old. This idea of continual reinvention and self expression is prevalent throughout the history of this music and you’d be hard pressed to find a lasting piece of music or style that didn’t have a direct line back to the creative work that came before it.
Take the process of transcribing a solo for instance: starting with the musical language from a previous generation, learning it slowly and eventually making it your own. An old musical language ingrained and interpreted into new musical language.
However, this concept of … Read More
May 2nd, 2013
Practice is an essential part of your journey as a musician. We all do it everyday…or at least we try our best to, however daily practice doesn’t always guarantee improvement.
Why?? Simply because not all practice is created equal. If you look at the big picture there are two basic types of practice:
- (1) “maintenance practice” in which you are doing the necessary work to maintain your current level and…
- (2) “improvement practice” in which you are breaking new ground, isolating problem areas in your playing and working on skills that you have not yet developed.
Both types of practice are necessary for performing at your peak. There is a certain amount of instrumental maintenance to perform each day to ensure that you are staying at your current level of musicianship and there is also a need to acquire new information and skills if you wish to improve as a player.
However, the barrier that most musicians encounter when striving for improvement is that they get stuck on maintenance practice. Day after day they spend hours practicing what they already know: the same exercises, the same lines, the same patterns, the same tunes.
Hours are being logged in the practice room, but the time is not being spent on the type of practice that will elevate your skills to the next level. Left unchanged, this process can go on for years where you’re just maintaining the musical level that you’ve already achieved, not learning anything new.… Read More