I'm 15 or so, I've been playing a year or two. I "practice" in quotes all the time. She is cute, she sings, she needs an accompanist for the church strawberry social. I step up. I'm waaaaaay over my head. But keen to impress.

We practice, I survive. But I am about to learn the difference between the practice room and the stage. In hindsight I imagine it is like the difference between basic training and real combat.

It's a beautiful day, they haul a small piano outside on the grass. The back of the piano faces the singer and the audience. We step up. I am soooo nervous, so underprepared that my right leg starts to bounce uncontrollably, audibly, banging the underside of the piano. People are looking around for the source of the noise. I'm deadpan behind the piano.

It mercifully ends.

Lessons?

1. "Superbia et ante ruinam" Pride goes before the fall. But the show must go on.
2. Never underestimate the power of shameless audacity in a show biz career.
3. It's harder than it looks. The magic of the performing arts is the illusion it is easy.

David

Bach - The Complete Sonatas and Partitas for Solo Violin by Arthur Grumiaux

Classical students 

1. Phrasing: Notice how the performer tapers each 2 note slur
2. Chords: Notice how the performer "strums" the chord from the bottom to top note
3. Dynamics: When the music goes up in pitch so does the intensity and vice versa. This is a very common effect in classical music performance. 
4. Dynamics part 2: Phrases which rise start softer and crescendo.

Jazz Students

1. Broken chords that ascend on a 7th chord and resolve in the opposite direction. Measure 4, beat 3
2. Enclosures in measure 2, beat 1 around the note C. Measure 5, beat 3. 
3. The use of chromatic approach notes to chord tones in a broken chord in measure 3. Mozart likes these types of figures as well. See Fantasia in D minor measure 10.

Have fun. 

David

Lockdown 2.0 Oh boy!
The article above supplies some great ideas to keep us practicing. I invite you to click the photo to read the article. 

​David

Poland is a long way to travel to learn with American Jazz Masters Dena DeRose, Miguel Zenon, Aaron Goldberg, Mike Moreno, Ali Jackson, and Luques Curtis.

​It was worth every penny for such a transformational experience. Bonus, a beautiful country and people too.

Aaron Goldberg, pianist, was our ensemble leader for the week.

But first.

About seven years ago I first attended the Jamie Aebersold Jazz Workshop in Louisville Kentucky as a drummer. I was green but pumped. I was pulled out of the workshop on day one and sent to a room where two instructors waited. Bassist Bob Sinicrope started drilling me with questions. Who are you? Why are you here? Very direct.

I explained I was a piano teacher and musician from Toronto who now played the drums. I had attended Berklee College of Music back in the day… He cut me off. “Who did you study with?”

Ah, Ray Santisi.
“Ray Santisi, I’m his bass player!” We were instant friends.
Which brings me back to Poland and Aaron Goldberg.

After hearing us all play we were put into groups and assigned rooms to report to. A bunch of us showed up, nervously eying each other. Language was an issue. There were 5 Poles, 2 Russian teenager wunderkinds, 1 Chinese Rock Star, and 1 Canadian old guy. We all noticed the room was devoid of music stands.

Aaron walks in. He was a student of Bob Sinicrope! He calls the first tune: Body and Soul. No music. We sing as a group the bass line of the song after much discussion and negotiation. We get it. Then the singer, in halting English, explains it’s in the wrong key. Aaron gives us a new tonic note and low and behold we sing the bass line in a new key. He counts us in. Away we go. I’m glad I’m a drummer that day.

At the concerts during the week, we are the only group playing without music. We play with intensity and conviction born from pure terror. We nail it.

Aaron buys us a bottle of Bison Vodka at weeks end and salutes us all. 
​
Thank you Aaron for valuable insights and the vodka.

​David

Memorize these tunes as your first priority using the method below. This method is based on the wise words of Louis Armstrong and experience of Lenny Tristano. I credit the singing of the chord roots to my week of study with Aaron Goldberg of Yes Trio. What a great insight Aaron presented. 
 
Autumn Leaves https://youtu.be/tguu4m38U78    Key of Gm
Take the A train https://youtu.be/D6mFGy4g_n8     Key of C
Blue Monk https://youtu.be/_40V2lcxM7k             Key of Bb
Satin Doll https://youtu.be/Gj42JotNUko                Key of C
Blue Bossa https://youtu.be/U7eOs5lERww    Key of C minor
C jam Blues https://youtu.be/16UIKglJ56w             Key of C

1. Listen to the recordings over and over until you can confidently sing the melodies.
2. Learn the melodies of the tunes by ear.
3. Learn to sing the roots of the bass lines. See Below. Be sure to sing in key and in time. You can use a fake book here to finish what I’ve started. Add your own turn arounds.
4. Put the melodies over the bass roots. Close the fake book.
5. Learn the Jazz chords and put them under the melody.
6. Play from memory everyday until they are solid.
7. Now you can learn to improvise and play jazz.

​Benefits?

• You head is no longer in the book.
• You can play with the recordings.
• You can jam with some confidence.

Because you learned the melodies by ear, you will have absorbed the feel, swing, and articulations of jazz. Other beginners will be envious.
 
David

It is two months before the big date. What do you do? How do you practice?
​
Some thoughts:

1. Listen to great music, piano music, music in the style of your program. Over time you will begin to recognise the difference between good, great, and indifferent playing.
2. Practice technique using a metronome. If this is difficult; start by playing the scale in whole notes with the metronome playing in quarter notes. Count aloud. When this stabilises play in half notes, then quarter, and finally 8th notes. Counting aloud the entire time. This step may take some patient work over a week or two.
3. Listen to professional recordings of your program before practicing. You need the intimate familiarity of the music to the same degree we all know happy birthday. You want to easily know when an error occurs in practice.
4. Work daily on the sight-reading book exercise, pencil in hand, answering all questions. The text is the lesson.
5. If you ear testing is weak, use the online service. Codes are in inside the back cover of the sight reading book.
6. Self assess your progress by recording yourself playing your program. Note in the score on playback where the trouble bits are found. Start practicing there. Playing the pieces top to bottom before they are completed is a waste of time.
7. Do some more listening to great music.
8. Back to the theory book. The pillars of music learning are aural skills, sight-reading skills, and theory knowledge. Excelling in these 3 areas will build your confidence and put a bounce in your step.
9. Back to technique.
10. Finally, intersperse other pieces you enjoy playing into your practice time for 2 reasons. One, to remind yourself you really can play the piano. Two, playing time, clocking the hours. The 10,000-hour rule has been heavily criticized by folks more knowledgeable than me, but it still gives us a good benchmark. The steps above respond to those criticisms: Hours are fine, but how you spend your hours is more important.

​David

Listen to great music. A musical truism: "we are who we listen to".

Try this on your next new piece. 

1. Find a professional recording.
2. Listen a few times while watching the score.
3. With pencil in hand work out the fingering for both hands on nearly every note. You can skip repeated notes.
4. Now back to the recording. Listen to the 1st phrase, typically 2-4 measures. Using the fingering you wrote down. mimic what you heard. Make adjustments to match the expression of the professional. If you are playing jazz, make adjustments of the notation to match the recording. The recording is correct. Fakebooks are approximations. 
5. Continue to the end of the piece, painstakingly working out one phrase at a time. 
6. Next day start over. It will go quicker today.
7. As you go along, record your phrases and listen back. Are you shaping and articulating correctly. Don't worry about the tempo. That will come later. 

Have fun. 

David