When learning to play Brazilian jazz it is best to go to the primary sources, the original and other seminal recordings recorded in Brazil, both past and present. At the end of this sample of Brazilian recordings is a fine recording by Kenny Barron, who it must be said, has listened to the original recordings. Practice routine? Spend an afternoon playing the melody with the recordings, mimicking as much as possible what you hear. Then add the chords. David
0 Comments
The following is a series of exercises to help you "experience" intervals, taking them out of the theoretical and into the practical. I recommend that you transpose these passages as you learn new patterns. David The Major 3rd, Minor 3rd, and Perfect 5th is just theory until we hear them, experience them, and then apply this understanding to our playing. The following exercise is one way to "experience" these intervals.
To freshen up your technique and reengage your attention, try the following articulation and dynamic patterns. Remember technique is how musicians learn to control their instrument, build their interpretations, and execute beautifully.
1, Legato 2. Staccato 3. Legato in the right hand and staccato in the left. 4. Legato in the left hand and staccato in the right. 5. Crescendo to the middle and then diminuendo to the top. 6. Play one octave in quarter notes, then two octaves in 8ths, then three octaves in triplets, finally four octaves in 16th notes. 7. In contrary motion. This can be challenging when playing broken chords or arpeggios. 8. Scales played in formula patterns 9. Use a metronome, vary the tempo. 10. Play with your eyes closed! 11. Play with emotion. Check out last week's blog with Hilary Hahn for ideas. Jazz has been around for 120+ years. It has gone through many different periods: early jazz, swing, bebop, model, free and more. Now it is 2022, what now? The hoary old standards are wearing a bit thin, but just in time, and to the rescue, the next generation of meta-modern musicians has arrived. I'm in awe. Here is a small sample of performances that got "2 thumbs up" from my young teen jazz students this week.
I've used a simplified "lick" from a Wynton Kelly recording of Autumn Leaves. You may recognize it. Here is a method to integrate this, or any other "jazz lick" into your playing. First, play the lick as written, then write out the lick in the keys of C, Eb, F, G, Gb using the following steps. Materials needed:
Prerequisite knowledge required:
Steps:
Have fun. Playing your technique (scales, chords, and arpeggios) with emotion is an important part of learning to play well. These guys, with Hilary Hahn, will give you some fun pointers.
This exercise will work on any instrument. You should vary the tempo of the metronome as your skills increase. Counting aloud is imperative. No counting in your head or mumbling. Speak boldly and clearly as you play. The first two measures are counted only. You begin playing in measure three.
Good luck Learning tunes from a fake book is the hard way to go about things. Here is the Bill McBernie method of jazz practice in which you play by ear to multiple recordings. I could recall the basic outline of the tune "A foggy day" from playing it years ago. That helped. (If you don't know the tune, you must listen until you can sing along.) Below are the recordings and the order in which I played them. Some were played numerous times as I recalled more of the melody and figured out the key. The song was played in the keys of F, C, Eb, and Bb. I played along on vibes, not piano. I focused only on the melody . As the practicing progressed, I began to recall and understand the chords. Today I was playing it on the piano, from memory, with the chords. David
I started part-time teaching in 1982 and in 2007 I went full-time. That is a few generations of students that have passed through my studio. What have I learned?
If I can help you get started, call me. David Successful practice will mean different things on different days.
The first step is being clear on what you will practice. Then comes the how. No one can do everything in one practice session, so priorities must be set. If I can help you prioritize your practice; please call me. David Here is one profile of a successful student who thrives on boundaries, discipline, and competition.
Mei diligently practices the following activities:
If I can help your Mei; please give me a call. David
Listening and Analysis The following exercises were created for a professional student. These exercises will work with almost any kind of music. If you choose classical music, I suggest music of the Baroque, Classical or Romantic eras as the scores are easily found online. If you choose pop music, the website www.musicnotes.com has the first page of every pop song that they publish, which you can use to check your answers later. The following lesson is meant to be done without reference to the written scores or your instrument. The scores are only consulted at the end to check your work. You will need: a pencil, blank manuscript paper, YouTube access, and ear buds. Listen to the first 10 seconds or so of the piece you’ve chosen. Rewind and listen again. Then start in. Repeated listening will be required. Meter
Tonality
Tempo
Dynamics
Instrumentation and orchestration
Next step is to sit with your instrument and figure out the melodies that you are hearing. Then, at the piano, check your chord progressions. After you have answered these questions download the score and compare your answers. Have fun. If I can help you, please call me. David
Play your technique (scales, chords, and arpeggios) allegro and pianissimo or quickly and softly. The first challenge will be not to slow down or tense up. The second challenge will be to maintain an even tone.
If I can help you, please call me. David. I recently attended the Louisville Jazz Workshop at the University of Louisville in Louisville in Kentucky. The legendary bassist Rufus Reid gave a stunning solo recital. His playing was exciting, imaginative, dynamic, and colourful. Later that day he shared his practice tips with the audience of jazz students. He stressed that no matter how long our practice session might be students need to include the following:
• Technique. Practice the basics and get on top of your instrument. Make sure you can keep the beat, the count, and the groove. • Style. Practice producing a “good sound”. Play your instrument in "a nice way". Be creative with your approach. • Repertoire. Learn the jazz standards by heart. Listen to the jazz canon, and then play along with these recordings. • Patience. He stressed being reasonable with yourself by not pushing past your actual ability. It takes time to learn to play both your instrument and the jazz idiom well. Thank you to Frank for the note outline. Watching my students perform is always a pleasure.
David Piano students often ask me, “what should I focus on in my practice sessions?” Here is my reply.
Pieces, etudes, theory, sightreading, ear training, history, technique, ensemble skills
Here is my top 10 list of skills to work on ahead of camp. You don't need to be an expert, but you will need some familiarity with the following skills and activities.
1. Comping and voice leading chords. 2. Practice sightreading simple chord charts like blues in Bb and F, Summertime, Killer Joe, etc. Click out the Aebersold picture for some suggestions. By clicking on the image, you will go to a product page. I don't take a commission. 3. Play along with recordings. 4. Record yourself and listen back. 5. Practice playing louder because drums are loud. 6. Practice your right-hand broken chords for every tune on the Aebersold list. 7. Use a metronome on everything you play and practice. 8. Learn to clap and count aloud eighth note jazz rhythms. 9. Listen to jazz daily. 10. Sign up early to camp because piano spots go quickly. What tunes should you practice? If I can help you, call me. I've attended a dozen jazz camps over the years as a pianist and drummer. David What do we gain by learning Jazz and Pop Standards by ear?
1. We acquire an intuitive understanding of jazz and pop rhythm. 2. We learn the feel of the music, which is something that can't be notated. 3. By playing along with recordings we learn to stay in place. 4. We learn how to solo by acquiring ideas (licks) that we can use in other pieces. 5. We learn how to play our instrument idiomatically by hearing it played in context. 6. We begin to appreciate the depth and scope of jazz and pop history and its eras and players. 7. We learn how to mess with a melody. A first step to soloing with finesse. "Learn the melody, mess with the melody, then mess with the mess" Louis Armstrong If I can help you on your journey, call me. David Revised August 2022 |
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
All
|