Summertime in 5 Keys
Playing in different keys is an invaluable skill. Try playing just the melody in the following keys with the recordings. Modify your note and rhythm choices to fit in the best you can.
The assignment is to play and mimic the melody with the recordings. You will learn jazz rhythm, jazz articulations and phrasing. And how to manipulate a melody. Have fun. David
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Steps to successDay One
1. Dust of the metronome. 2. Set it at 60. Also known as 60 BPM 3. Practice counting aloud to the metronome: 1-2-3-4, one number per click. 4. Continue counting aloud and clap measures 1 to 9. 5. Continue counting aloud and play the right-hand notes measures 1 to 9. Counting aloud is imperative for success. 6. Add the left hand and repeat measures 1 to 9. 7. Move the metronome to 70 BPM and repeat the passage. 8. Call it a day. Day Two 1. Repeat yesterday's steps with the whole notes 2. Reset the metronome to 60. 3. Practice counting aloud to the metronome: 1-2-3-4 one number per click. 4. Continue counting aloud and clap measures 10 to 14. 5. Continue counting aloud and play the right-hand notes measures 10 to 14. Counting aloud is imperative for success. 6. Add the left hand and repeat measures 10 to 14. 7. Move the metronome to 70 BPM and repeat the passage. 8. Call it a day. Day Three 1. Repeat yesterday's steps with the half notes 2. Reset the metronome to 60. 3. Practice counting aloud to the metronome: 1-2-3-4 one number per click. 4. Continue counting aloud and clap measures 15 through 18. 5. Continue counting aloud and play the right-hand notes measures 15 through 18. Counting aloud is imperative for success. 6. Add the left hand and repeat measures 15 through 18. 7. Move the metronome to 70 BPM and repeat the passage. 8. Call it a day. Day Four 1. You know what to do. If I can help you learn to count aloud while playing, call me. David Why use a metronome?
How to use the metronome.
If I can help you learn to count, call me. David When the melody goes up crescendo. When the melody goes diminuendo. The change will be small unless the composer indicates otherwise. The other exceptions are clearly marked in the score. The last note in a melody before a rest is played gently unless the composer indicates otherwise. Please check out the following recording. If I can help you, call me. David
The three most neglected aspects of music study. Theory: knowing what you are doing makes everything easier. The knowledge and application of theory allows us to discover and understand the notes which leads to insight and artistry.
How you think about the drum set, what you have heard, and what you understand about the musical past of the instrument determine how you play the instrument musically. Ed Soph, master teacher History: Different eras of music sound different. Why? The study of the history of your instrument and the history of music in general will answer that question and help your interpretations.
Now the big one. Ear Training:
The list goes on. Some folks have it easier here than others, but I can confidently say I started with a tin-ear and over time developed it to a remarkably high degree. I can help you too. Call me. Here are my thoughts for acquiring jazz chops.
1. Learn and memorize tunes by ear. 2. Join a band and play as much as possible. 3. Transcribe like crazy. 4. Record everything you do. 5. Learn more tunes. 6. Technique with a metronome. Various tempi. 7. Play Bach, Debussy and Faure. 8. Keep up your lessons. 9. Join a second band that plays only original music. 10. Write some original music. Bonus. Read and explore the history of jazz prior to school. If I can help you call me. David David How to practice the piano.
What do I practice is the perennial question? Here are some of my thoughts gleaned from decades of my personal practice and observing countless numbers of students.
If I can help, call me. I've been teaching online for over a decade. David Jazz is primarily about rhythm and articulations, those tricky bits that are impossible to notate. Harmony is like math, fun for many and much easier to get your head around for most. Or so beginners believe. But when the moment of truth arrives at a jam session theory goes mostly out the window and instinct kicks in. Adam Maness explores this theme in his video "Why do I still suck". Jorge Mabarak, on Facebook, puts it well, theory is a tool. I propose that rhythm is the key. And ear training is the secret to unlocking the mystery. Here is a practice time breakdown that may work for you:
If I can help, please call me. David The rankings follow the descriptions:
In my experience of teaching jazz, I would rank these traditional methods in the following order:
Jazz attracts adults of a certain type. Likely just like you. Professionally successful, academically trained, and determined to figure it out. The kind of person who sets goals, allocates resources, makes time, gathers intelligence from books and the internet, and then applies focus to solve a problem or pursue an opportunity. Alas the kind of learning traditionally associated with professional success can lead a student off in the wrong direction when learning to play jazz. First, music is a manual skill which requires many years of practice to play at even a basic level of competence. Second, playing jazz is an aural skill. Manual skills and aural skills are not traditionally part of most people’s education. So, a mindset shift must occur. Those professional skills will come in handy though; I’ll just help enlarge them. (Authors note I own more than 100 drum books, I’ve listened to hundreds of hours of podcasts on drumming, I’ve subscribed in the past to a Jazz education subscription service promising great masterclass from my jazz heroes, and I live on YouTube. Furthermore, I own too many drum sets, snare drums, and cymbals. So, I understand.) What can I do for you?
In short, I will present material to you in a logical fashion based on your specific circumstances and provide weekly feedback. Old fashioned teaching in a modern 21st c. multi-modal manner. Call me. David Playing well ultimately means playing by ear.
Adult piano students tend to rely on their visual and analytical strengths. The parts that lead to professional success. Their tactile and auditory sides are often weak. “Tactile, what’s that?” “Playing by ear? I’m no good. Or really?” They either have little confidence, or they are unaware of how to use this skill already in their possession. Piano studies are traditionally a visual study based around the authority of the text. Obedience and deference are the watchwords. But to realize your musical dreams and reach your aspirations this side will have to be developed and refined until you can confidently rely on it. A classical pianist executes a game plan. Every note has been planned and rehearsed. They have tried different approaches and made their decisions. They have learned every note by heart to a point where they can play with the music. What they hear they can execute. What they hear is based on years of study, practice, transcription, coaching feedback, concert attendance, theory and history studies and lots more. A jazz pianist plays what they hear in their head. They never execute an idea and say, "dang, where did that come from?' No way, their minds are singing just slightly ahead of their hands. What they hear they can execute. What they hear is based on years of study, practice, transcription, coaching feedback, concert attendance, theory and history studies and lots more. Playing imaginatively by ear requires a rich reservoir of musical ideas and experiences. I can get you started by helping you play by ear. Call me, David 4 hours of practice: No Grinding. Top 5 tips for practicing any musical instrument
Playing
General and Jazz Specific Theory
If you would like some help, call me. David Working through the Four Star Books is recommended. An effective book, but, hardly that exciting. So... Sometimes we work out by ear famous Rock era "licks" or motifs from well know melodies. The famous opening melody uses B, C#, and D. Have a listen and give it a go. Classical motives are fun too. Opening motif is in C minor, starting on G. Da da da DAAA, da da da DAA
Have fun. David |
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail. AuthorI'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher. Categories
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