There is a relationship between sight singing, aural skills, sight reading, theory, memorization, theory, music history, and musical competency. Undergraduate musical programs have strengthened these skills and demonstrated the clear relationship between them and musical competency for hundreds of years. 

Clearly, studying with a music teacher such as I will not take the place of undergraduate study. However, I can prepare the student for those studies. And more importantly however, I can help strengthen those skills in my adult hobbyist musicians. 

Programs such as the Royal Conservatory of Music (RCM), and the Faber's series called Piano Adventures, and others, have well thought out curriculums, in a logical order, that cover all these important areas.  

The pictures below have links their content. All the information is free and does not require registration etc. However, some, but not all, will require you to purchase them at your local store. I do not take a commission from any sale. 
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If I can help you, call me. 

​David

Tips for playing piano beautifully.
 
Concert artists have dedicated years learning to play the piano beautifully. They have studied and mastered all the elements of their craft: repertoire, technique, aural skills, sightreading, performance practice, historical awareness, idiomatic knowledge, and more. However, they all had to start somewhere. So here is a starting point for beginners and intermediate pianists looking to elevate their interpretive skills.

1. Playing the score accurately is the obvious first step.
2. Observe the dynamic markings from your first reading of the work.
3. Where the melody rises in pitch, play a gentle crescendo.
4. Where the melody falls play in pitch, a gentle diminuendo.
5. Locate any tempo changes.
6. Take a breath at a repeat sign.
7. Generally, the last note under a slur is played softer, unless the score indicates otherwise.
8. Practice with a metronome with pieces that are based on dances like minuets, gigue etc. Many contemporary pieces written in the last few decades work as well with metronome practice. However, most Romantic era music does not. Therefore, this excludes most of Chopin, Liszt, and Debussy.
9. Translate directly into the score any text you find in languages you don’t understand. These terms will always tell you how to play the piece.
10. Most of these points can be overridden by markings in the score. 

 
This is a starting point for expressive playing. To develop a more sophisticated understanding one must transcribe the performance practice of professionals from different eras performing your pieces and compare the results. For example, when comparing performances of the first 8 measures of Scarlatti’s Sonata in E K380 over decades of recordings you will discover the diverse ways the musicians interpret the trills.  Most start above the principle note, but not everyone. The intensity, tempi, and dynamics vary as well.
If I can help you further, call me.
 
David

Tips.

1. Count aloud throughout.
2. Count one measure before you begin.
3. Practice counting and clapping first.
4. Record yourself clapping and listen back to evaluate your success or lack thereof.
5. Play one hand and count aloud. Record yourself playing and listen back to evaluate your success or lack thereof.
6. Play two hands and count aloud. Record yourself playing and listen back to evaluate your success or lack thereof.
7. Do this and similar exercises for the rest of your piano career.

If I can help you, call me. 

David

I wish these apps had been available when I started playing piano as I was not a gifted ear player. In fact, I struggled. On top of this my teachers didn't stress aural development either because they were readers first. So, my development was glacial. Thankfully, things have changed. 

How did I develop my aural skills? In college I was given proper ear training. Later, I took up the drums, learned countless tunes by ear, and wrote them down. For the last decade I've been teaching online where I don't always see students' hands clearly. My ear has learned to hear individual notes out of place. 

If I can help you, call me. 

​David
revised 2024

This is a perennial favorite of music students. Let's look at a few key terms and concepts. 

Canon is a melody that accompanies itself at a staggered interval. Row, row, row your boat is a well-known example. In this canon the melody, played by the violinists, follows itself in two measure intervals. 
Ground Bass is the violoncello melody that repeats its 8 note pattern throughout the piece.
Cembalo or continuo is the chordal accompaniment that is improvised behind the violins. In this video it is played by the organ and the lute. Notice that the cembalo left hand outlines the ground bass. 

Other notable orchestral canons can be found in J.S. Bach’s Musical Offering. The canons in that suite of pieces feature 2 violins chasing each other around accompanied by the continuo.

Have Fun. 

David

This is a lesson given to a student this week.

Louis Armstrong, on the topic of how to improvise, said something to the effect, "memorize the melody, mess with the melody, and then mess with the mess." For beginners, this is the best advice I've ever come across. It is truly the shortest distance between A and B. Or jazz newbie to intermediate jazz student and beyond. 

Prerequisites:
The student can already play. Therefore, it is a question of what to play and less of how to play it.  
Warmup:
Two octave scales: C, F, Db, Bb, Eb
Four note broken chords: C, F, Db, Bb, Eb 
Two octave arpeggios: C, F, Bb, Db, Eb
Please use a metronome and practice different tempi, dynamics, and articulations.
Etude
Being able to play the broken chords is an important starting point in improvisation. 

This African rhythm permeates the popular music across the Americas, often utilized within a jazz framework. It features in the introductions of Scott Joplin's "The Entertainer," Green Hill's "The Charleston," and Teddy Wilson's "Chinatown." Jelly Roll Morton referred to it as the "Spanish tinge," audible in his piece "The Crave." Additionally, it's known as the Habanera Rhythm, as showcased in the introduction of "St. Louis Blues."This rhythm continues to resonate today, blaring from the vehicles of the youth. 

Mastering the melodies of jazz standards can greatly reduce time and frustration. The principle is simple: you'll be able to play with the correct rhythm and articulation right from the start. As your understanding of jazz theory deepens, having these tunes memorized provides a practical framework for application, since grappling with theoretical concepts is challenging when also struggling with the piece itself.

David

A student writes, “Hey David, I wanted to check my learning strategy with you. My goal right now is to play better at the jams I attend. Most of them are funky with someone creating a groove, and everyone jumping in.
I noticed the keys players are all very good at hearing the bass and figuring out the progression— or finding a groove within a set progression. At my level, I’m usually asking others what key we’re in (although it doesn’t always work since it changes) and then playing the root chord and inversions of it. I’ll sometimes create groove lines from the respective blues scale, but that’s about it for my understanding.
Taken together, I’m thinking the number one thing I need to work on is: Ear training.
For that, I’m thinking I focus on training my ear to understand:

• Major ii, V, I in every key
• Major I, vi, ii, V, I in every key
• I, IV, V in every key

Does this sound like a good start to being able to jam with others in the scenario described above?
Thanks!

My response.
Yes, this is a good start. Here are some more ideas to consider.

1. Ear training consists of the following elements: chord and interval recognition, identifying chord progressions, learning tunes by ear, learning licks by ear. Furthermore, practicing your scales, chords, and other keyboard techniques using a metronome will be immensely helpful in learning to play with other musicians’ time feel. This is another aspect of ear training—staying in place.
2. Keyboard skills. Always be working on basic piano skills separately.
3. Repertoire knowledge. There is an old say that goes, “they that know the most tunes wins.” Practice jamming with songs that have less than four chords in them. Here are some searches to get you started. You can approach these tunes in several ways. For one chord tunes, just look up the title without looking at the key. See if you can figure out the key, ditto with the 2 chord pieces. The list below was created from the first link. I can't guarantee that each piece has only one chord, they came from the internet afterall, but it's a start. 

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• pop songs with one chord - Search (bing.com)
• pop songs with two chords or less - Search (bing.com)
• pop songs with three chords or less - Search (bing.com)
• pop songs with four chords or less - Search (bing.com)

Have fun.
 
David

FYI: Page two contains the diminished 7th chord.

Question: What are the elements I need to consider, as a musician, to improve my aural skills?

Answer: To improve your aural skills as a musician, you should consider the following elements:

1. Pitch recognition: the ability to identify and match the correct pitch
2. Rhythm: the ability to accurately identify and reproduce rhythms, including meter, tempo, and note values
3. Intervals: the ability to identify and recognize different distances between two pitches
4. Chords: the ability to identify and recognize different chord progressions and chord qualities
5. Melody: the ability to recognize and remember melodic lines
6. Timbre: the ability to identify different instrument sounds and voice qualities
7. Harmony: the ability to recognize and understand chord progressions and harmonies
8. Form: the ability to recognize and understand musical structures, such as verse-chorus form and sonata form.

Practicing regularly, engaging in listening exercises, and taking lessons from a qualified teacher can all help to improve your aural skills.

------------------------------------
Sounds like the Royal Conservatory of Music curriculum to me. 

​David

​The teacher practices Jazz
 
Last weekend I went to my first jazz jam with my Vibraphone aka my Malletkat GS Grand. We were a quartet of Tenor Sax/Flute, Vibes, Bass, and Drums. I survived with my dignity intact, but I’ve a few discoveries and confessions to share.

1. My skills on the piano are not necessarily transferable to the vibes.
2. My four-mallet chord playing will need further work.
3. I was unable to execute the solo lines I could hear in my head.

On the plus side, I knew all the tunes from years of playing and teaching jazz piano plus my jazz time and feel is strong.

Here is the practice regime I began to follow to improve my jazz experience.

Tune: Satin Doll by Ellington/Strayhorn

1. I practiced the melody, by ear, with the original recordings on YouTube. I discovered that after 45 years, that I’m dragging some notes. They are now corrected; I’m locked into the sax melody.  
2. I reviewed the piano licks played on the head by Duke Ellington.
3. I figured out bits of his piano solo.
4. I practiced all the broken chords like I instruct my students and I quickly discovered that this took a lot longer than I anticipated.
5. I practiced what I’ve learned by playing along on YouTube. 
6. I’m ready for another piece next week.  My goal is to learn a tune a week for 52 weeks. 
7. I'm continuing with my mallet study books to develop my manual skills. 

If I can help you with your jazz piano journey, call me. 

David

BTW: In the era of Ai content generation, a human wrote this blog. 

What to listen for.

1. Tempo
2. The constant dynamic shaping of the melody.
3. The varying articulations of legato, staccato, and detached playing. 
4. For pauses at the end of sections. 
5. The starting dynamic level at the beginning of each section.

Questions.

1. Does the artist return to the original tempo when the music returns to the theme of the first section?
2. Can you mark in any notes that they accent or linger on?
3. Can you mark in tempo changes?
4. Do they pedal?

Activity.

1. ​Learn the first 8 measures of each section by ear.

Follow-up.

Yesterday my student and I listened to the first two measures of each recording. What a revelation. The differences in the performances became more obvious with each listening and these differences were large. I invite you to try the same. 

Have fun, 

​David

Super video demonstration but...

Let's consider the assumptions he is making about you the student/listener. 

1. You can play your instrument.
2. You have experience playing music in multiple keys. Though jazz is mostly in C, F, Bb, Eb, and Ab and related minor keys, he goes farther afield.
3. You can play jazz.
4. You can play by ear.
5. You are familiar with the seminal recordings he references.
6. You are familiar with the songs he is playing.
7. You understand musical rudiments, including key signatures, intervals, time signatures, transposition, cadences and much more. 
8. You have advanced solfege and piano skills so you can play bass lines and sing the melody over it.
9. You understand harmonic theory and are able execute chord progressions in time, with a beat, and use the appropriate jazz facial expressions.
10. You know of Ray Brown and his significance.
11. You understand following terms and their musical significance: melody, bass lines, transposition, diatonic, tonic, major 7th intervals, root-7 root-6 movement, Bebop shells 3rd and 7th, the tritone, 5ths, half-steps, interval inversions, 5 in the key of G, lineage of the tune (?), perfect 4ths, non-diatonic ii-Vs, half diminished, 3 of a key, original "changes", "Miles, " Ab7#11 chords, keys, closely related keys, major 3rds, major scales, circle of 5ths, root movements, ii-V of IV, bridge, "key of music."
12. In Peter’s defense, he offers practice suggestions around 9 minutes mark. 
13. On the other hand, as all Vloggers do, he downplays the complexity of what he is doing. Sigh.

What is my job?

I prepare students to understand and execute what he is talking about. The first thing we will do is assess your situation and then we'll draw up a logical plan. 

1. If needed, I will teach you to play your instrument. We will work through a solid canon of piano works that explore multiple keys. 
2. I will teach you to play jazz.
3. I will teach you to play by ear. Can you play jingle bells by ear? If so, great you are on your way. If not, I will help you get started. 
4. The most important jazz recordings. I will introduce you to 100+ years of jazz recordings. If your knowledge is a bit spotty, start here: The 100 Jazz Albums That Shook The World | Jazzwise and Double Time Top 100 Historically Significant Recordings article @ All About Jazz. It is important to note the absence of early jazz recordings on these listings. Jazz has a history spanning 3 centuries, but jazz education seems stuck in, at best, a 30-year period from 1945 to 65. The first list has a number a modern recordings from the last 40 years. 
5. I will help you get your theory together.
6. We will do solfege together. I use both moveable doh system and the number system. Solfege is widely taught in Europe, but unfortunately not so much in North America. 
7. We will study jazz harmony when you've got your theory together.
8. Ray Brown is an important bassist.
9. Working on steps one through nine will answer all the questions you may have from step 11 above.
10. I will teach you how to practice.
11. I will encourage you to get outside feedback and advice from other sources. 

Call me, 

David

BTW: in 2017, I studied with Peter Martin in Rome Italy at the ROMA Jazz Workshop. I was in Rome studying jazz drumming with Greg Hutchinson. Greg played in Ray Brown’s last group. ​Peter is a great guy and a very skilled musician. When I grow up, I want to play piano like him. 

Updated 2024

If you are curious about this, click here. 

Creating a "roadmap" gives you a visual representation of the form or structure of a performance. You will discover the: who, what, when, and how much in the recording. This is valuable information. You will learn to count, recognize the instrumentation and more. You will begin to develop an awareness of how musicians organize their performances and recordings. 

First Steps. 

1. Pick a favorite piece
2. With a pop song listen for the following sections and their order; introduction, verse, chorus, bridge, ending (tag). With a jazz piece, notice how many times they play the "head" or main melody and then note the order of solos. How many times do they play the head after the solos? 

Second Steps.
1. Make a note on your "map" of dynamics.
2. In a jazz piece, count how many times each musician solos on the form. 
3. Do they trade "fours" with the drummer? If you are unsure what this means, click here.

Third Step.

1. Make a note on your "map" of anything interesting you pick up or hear. 

Have fun. 

David

Here is a more detailed roadmap that includes a guide to my drum part. 

Sight singing is fun when we sing along with something great like the fifth symphony of Beethoven. We might call this tympani karaoke. 

Trivia question: What does C jam blues and the Tympani part for Beethoven's 5th symphony have in common?

Tempo:

1. Lang Lang: Half note =112
2. Wuja Wang: Half note =100
3. Cory Hall: Half note =113
4. Qi Zhang: Half note =110

None of the artists played with a completely steady beat, in other words, the tempo varied both from section to section and within sections. 

There is much to learn from listening to each of these recordings, especially the counter-lines played by John Lewis. I would encourage you to learn, by ear, the diverse ways musicians approach the simple blues melody. 

​David

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

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. 

Mimic the melody, as interpreted by each recording below. Chords will come later.