Hoday!
I just finished a film score this week and it's on its way to The Sundance Film Festival. I had to compose 32 pieces of music in 48 hours to complete my end of the film. I composed the opening credits, transitional music, emotive music, and ending credits. What a great time and it was nice to use a little of my education of music composition.
The film is called The Stopping Place and is about a married couple who is newly retired and wanting to contribute to society by directing a home for people in need of human services. It's a drama/comedy and features a cast of new actors. Cheryl Hammer is he writer and overall director of operations.
You can get more info at their website: http://www.sweetpicturefilms.com/
Keep up with me on this and I'll post it on quicktime when I get the files.
Later
Thursday, September 27, 2007
Saturday, September 15, 2007
MORE UNLOCKING SECRETS
Hoday,
I'd like to elaborate more on the previous two blogs. I don't intend to be disrespectful to the great composers of our past. I just want to be disrespectful to those who think their music, no matter what level of composition, is original. To think that music today is original is arrogant. So why should anyone continue to compose? Well, there is an outside chance that you can come up with something never done before. Anything can happen.
Let the young have their opportunity and watch them grow. Let the old continue to try. Keep trying to improve yourself in whatever it is that you love. But always remember the masters before you that enabled you to do what it is that you do. Study your history, and give the past its unbidden respect.
Later
I'd like to elaborate more on the previous two blogs. I don't intend to be disrespectful to the great composers of our past. I just want to be disrespectful to those who think their music, no matter what level of composition, is original. To think that music today is original is arrogant. So why should anyone continue to compose? Well, there is an outside chance that you can come up with something never done before. Anything can happen.
Let the young have their opportunity and watch them grow. Let the old continue to try. Keep trying to improve yourself in whatever it is that you love. But always remember the masters before you that enabled you to do what it is that you do. Study your history, and give the past its unbidden respect.
Later
Friday, August 31, 2007
BEETHOVEN WAS POISENED?
Hoday,
Recently an article was written stating that Beethoven was poisened. http://www.playbillarts.com/news/article/7003.html
"Christian Reiter, a forensic scientist of the Medical University of Vienna, published his findings last week in The Beethoven Journal, published by San Jose State University's Ira F. Brilliant Center for Beethoven Studies."
I personally believe...that DNA can reveal evidence of lead and other substances in a person, but how can we tell that someone who died 180 years ago died from a slow death of lead poisoning? Did the medical profession in the 1820s have the ability to test for this? Was it documented? Have they tested other remains of the dead buried nearby since most people back then were thrown into a big grave site together - I'm sure this doesn't apply to Beethoven.
The music historians must love this one...proove it wrong, there's no way anything can change Duckles, go get 'em!
Later
Recently an article was written stating that Beethoven was poisened. http://www.playbillarts.com/news/article/7003.html
"Christian Reiter, a forensic scientist of the Medical University of Vienna, published his findings last week in The Beethoven Journal, published by San Jose State University's Ira F. Brilliant Center for Beethoven Studies."
I personally believe...that DNA can reveal evidence of lead and other substances in a person, but how can we tell that someone who died 180 years ago died from a slow death of lead poisoning? Did the medical profession in the 1820s have the ability to test for this? Was it documented? Have they tested other remains of the dead buried nearby since most people back then were thrown into a big grave site together - I'm sure this doesn't apply to Beethoven.
The music historians must love this one...proove it wrong, there's no way anything can change Duckles, go get 'em!
Later
UNLOCKING SECRETS
Hoday,
When it comes to music composition, theres little that can be truly original. Music theory is finite since there are only 12 tones. So how can we arrange those 12 tones to make new sounds? Steal them and re-arrange them!
Igor Stravinsky once said that he stole music from Mozart. He also said that Mozart would have wanted us to steal from him - (Balanchine DVD,D2448) And even though higher education reveals the secrets of music theory, it also reveals the facts that all music has already been written.
Pop music for example, starts on a root chord for 4, 8, 12, or 16 measures then moves to the major 4th in major, or the minor 4th in minor, and stays on the 4th for 4, 8, 12, or 16 measures and then it goes back to the root chord for 4,8,12, or 16 measures again. Sometimes it will go astray to minor 6th chord or even a 2-minor to a 5 chord. Sometimes the minor-2 chord will contain a flat 5, or maybe other altercations, but no matter what extension, it's still the same 2-5-1 movement in theory. Symphony music works the same way, no matter what extension of the chord it's still basically 2-5-1, ABA, ABACA, or ABACABA if it's sonata rondo, or some other extension of theory that has already been tried.
So all music is essentially written and leaves little room for originality. Augmented sixth chords, appogiaturas, escape tones, neighbor tones and groups, pedal points, diatonic seventh chords, neopolitans, and simultaneities, or what ever enharmonic re-interpretation you compose are also extensions of theories already used. So go ahead and analyze your favorite music and alter changes in chord and melody to compose your piece. The late and great Charles Ives even used passages from different composers building blocks of musical statements to make up one large piece (song).
There, now you have it!
Later
When it comes to music composition, theres little that can be truly original. Music theory is finite since there are only 12 tones. So how can we arrange those 12 tones to make new sounds? Steal them and re-arrange them!
Igor Stravinsky once said that he stole music from Mozart. He also said that Mozart would have wanted us to steal from him - (Balanchine DVD,D2448) And even though higher education reveals the secrets of music theory, it also reveals the facts that all music has already been written.
Pop music for example, starts on a root chord for 4, 8, 12, or 16 measures then moves to the major 4th in major, or the minor 4th in minor, and stays on the 4th for 4, 8, 12, or 16 measures and then it goes back to the root chord for 4,8,12, or 16 measures again. Sometimes it will go astray to minor 6th chord or even a 2-minor to a 5 chord. Sometimes the minor-2 chord will contain a flat 5, or maybe other altercations, but no matter what extension, it's still the same 2-5-1 movement in theory. Symphony music works the same way, no matter what extension of the chord it's still basically 2-5-1, ABA, ABACA, or ABACABA if it's sonata rondo, or some other extension of theory that has already been tried.
So all music is essentially written and leaves little room for originality. Augmented sixth chords, appogiaturas, escape tones, neighbor tones and groups, pedal points, diatonic seventh chords, neopolitans, and simultaneities, or what ever enharmonic re-interpretation you compose are also extensions of theories already used. So go ahead and analyze your favorite music and alter changes in chord and melody to compose your piece. The late and great Charles Ives even used passages from different composers building blocks of musical statements to make up one large piece (song).
There, now you have it!
Later
Tuesday, August 21, 2007
PRACTICE ALERT
Hoday,
Stop playing Mustang Sally, Celebrate, Brick House, I like the way you move, etc.
Virtually every night club band shares clones of musicians who play the same material. And it doesn't matter really what style of music we choose as even the symphony is stuck in a rut playing ever popular themes ripped off by John Williams, and others (you know who you are)!
Why, because it's easy to go from one band to another without rehearsing - (ok so the symphony has to rehearse, or should I say re-hash). Some even go as far to say that these are the tunes "people want to hear." Then there's the ever popular, "we have to play these songs so people will dance." Or, we have to play this symphony because people will come to hear it." Stop playing this music, it's boring and insulting. The CSO even went as far as to play Star Trek Movie Themes - which I would have seen but I already know every last note Goldsmith uses and the fact that they could play it only revealed that they too can do it - congrats.
I know music doesn't revolve around me but does anyone remember what it really takes to compose and practice the act until it's ready for the public? The answer is not really, but who has the time? The only problem is that groups who don't rehearse, fail. I don't know about you but I like to perform an act that is ready to perform... And the only key to this musical success is rehearsal. Rehearsal changes the songs and the act. When you make the songs interesting to the band, you make the songs interesting to the public.
Later
Stop playing Mustang Sally, Celebrate, Brick House, I like the way you move, etc.
Virtually every night club band shares clones of musicians who play the same material. And it doesn't matter really what style of music we choose as even the symphony is stuck in a rut playing ever popular themes ripped off by John Williams, and others (you know who you are)!
Why, because it's easy to go from one band to another without rehearsing - (ok so the symphony has to rehearse, or should I say re-hash). Some even go as far to say that these are the tunes "people want to hear." Then there's the ever popular, "we have to play these songs so people will dance." Or, we have to play this symphony because people will come to hear it." Stop playing this music, it's boring and insulting. The CSO even went as far as to play Star Trek Movie Themes - which I would have seen but I already know every last note Goldsmith uses and the fact that they could play it only revealed that they too can do it - congrats.
I know music doesn't revolve around me but does anyone remember what it really takes to compose and practice the act until it's ready for the public? The answer is not really, but who has the time? The only problem is that groups who don't rehearse, fail. I don't know about you but I like to perform an act that is ready to perform... And the only key to this musical success is rehearsal. Rehearsal changes the songs and the act. When you make the songs interesting to the band, you make the songs interesting to the public.
Later
Monday, August 20, 2007
CONTRIFACT
Hoday,
Yes, There is music in everything you do. Walk the down the street and march to a tune you just heard on the radio. Can't figure out how to fix something - so improvise. Have to close an important deal - use past experience. Have to write a paper - collect resource material. Must make a putt - envision.
I guess it's not really all about music but more like using human elements to just figure things out. Improvising, however is a big part of our lives no matter what it is you do. In music, we improvise by using riffs or resources from other songs. Sometimes we actually play other songs within a song - this is what is called Contrifacting.
Take for example, in most 32 bar jazz songs you could play parts of other 32 bar songs that are in the same key and use the same chord changes. The formula is all set up and all you have to do is find one that works. Contrifacting is a great way to improvise and it also pays tribute to past composers in a musical form. Professors and musicians alike will respect those who use their knowledge of music history and implement it into a song.
Some other forms that are good are found within rhythm changes. More on that, next time.
Later,
John
Yes, There is music in everything you do. Walk the down the street and march to a tune you just heard on the radio. Can't figure out how to fix something - so improvise. Have to close an important deal - use past experience. Have to write a paper - collect resource material. Must make a putt - envision.
I guess it's not really all about music but more like using human elements to just figure things out. Improvising, however is a big part of our lives no matter what it is you do. In music, we improvise by using riffs or resources from other songs. Sometimes we actually play other songs within a song - this is what is called Contrifacting.
Take for example, in most 32 bar jazz songs you could play parts of other 32 bar songs that are in the same key and use the same chord changes. The formula is all set up and all you have to do is find one that works. Contrifacting is a great way to improvise and it also pays tribute to past composers in a musical form. Professors and musicians alike will respect those who use their knowledge of music history and implement it into a song.
Some other forms that are good are found within rhythm changes. More on that, next time.
Later,
John
Saturday, August 18, 2007
DEMAND MORE
Hoday,
As students we rely on our institutions for quality education but we most likely don't get it. My most recent experience disappointed me so greatly that I fired them like an incompetent employee.
And the most disappointing factor is that these students didn't even know what they were missing. They think that they're receiving a top-notch education. They would be shocked at the material being taught at other schools.
When I began teaching undergrad music at my graduate school, I was satisfied that my undergrad institution was far superior. This school shortened the weeks per semester quarter and taught the same amount of material used in normal 16 week semesters at most schools. But all this did was cut corners and deprive students from valuable information of the music system. No wonder they don't require their own undergrads take an entrance exam - they could never pass it.
We must demand more from our professors and administration. They have lost touch with the needs of the student, they have lost touch with their purpose as educators, and they are not receptive to criticism. Be careful, what comes around - goes around. I don't know about you but when my employees don't do their job right, they get fired.
I hope that my State College will one day have a graduate program.
Later
As students we rely on our institutions for quality education but we most likely don't get it. My most recent experience disappointed me so greatly that I fired them like an incompetent employee.
And the most disappointing factor is that these students didn't even know what they were missing. They think that they're receiving a top-notch education. They would be shocked at the material being taught at other schools.
When I began teaching undergrad music at my graduate school, I was satisfied that my undergrad institution was far superior. This school shortened the weeks per semester quarter and taught the same amount of material used in normal 16 week semesters at most schools. But all this did was cut corners and deprive students from valuable information of the music system. No wonder they don't require their own undergrads take an entrance exam - they could never pass it.
We must demand more from our professors and administration. They have lost touch with the needs of the student, they have lost touch with their purpose as educators, and they are not receptive to criticism. Be careful, what comes around - goes around. I don't know about you but when my employees don't do their job right, they get fired.
I hope that my State College will one day have a graduate program.
Later
Friday, August 10, 2007
TAKE A BREAK
Hoday,
There can come a point in time when you just have to step away from a career, especially when things are not working out the way you want. Is it wrong to step away? Perhaps it's ok if you have more than one career from which can choose.
The keys are to find more than one thing in your life that you love. Stay true to yourself and stay positive. Never give up on trying to make yourself a better person no matter what you do. And for those who think they are stuck pursuing something because of destiny - think again. There's always more than one thing you can be great at if you're willing to practice and persevere.
You'll never forget the things you learned in the past, and you'll only get stronger as a person. Don't live your life only to end up not doing something you wanted to do because you were scared of the future, or scared of failure, or just plain scared. Life's too short. Find a way to change. Research it, practice it, organize assignments to achieve, practice some more, and when the opportunity comes your way - you'll be ready.
Later,
John
There can come a point in time when you just have to step away from a career, especially when things are not working out the way you want. Is it wrong to step away? Perhaps it's ok if you have more than one career from which can choose.
The keys are to find more than one thing in your life that you love. Stay true to yourself and stay positive. Never give up on trying to make yourself a better person no matter what you do. And for those who think they are stuck pursuing something because of destiny - think again. There's always more than one thing you can be great at if you're willing to practice and persevere.
You'll never forget the things you learned in the past, and you'll only get stronger as a person. Don't live your life only to end up not doing something you wanted to do because you were scared of the future, or scared of failure, or just plain scared. Life's too short. Find a way to change. Research it, practice it, organize assignments to achieve, practice some more, and when the opportunity comes your way - you'll be ready.
Later,
John
Wednesday, August 8, 2007
REAL WORLD
Hoday!
I have a beef with the higher education system.
If you're a graduate of a college such as DU or CU here in the Denver Metro area, you're exempt from taking entrance exams to enter their graduate degree programs. But if you graduate from another college, and want to attend their college, then you must take their entrance exams.
I graduated and I have the degree that proves I know the material. So why do grad students from other schools have to take entrance exams when their own students do not? Money? Perhaps it would prove embarrassing, and in some cases, down-right shameful if their own students couldn't pass the material they learned during undergrad studies - but then again they should know because obviously they received the degree - so why not test everyone, scared?
Later
I have a beef with the higher education system.
If you're a graduate of a college such as DU or CU here in the Denver Metro area, you're exempt from taking entrance exams to enter their graduate degree programs. But if you graduate from another college, and want to attend their college, then you must take their entrance exams.
I graduated and I have the degree that proves I know the material. So why do grad students from other schools have to take entrance exams when their own students do not? Money? Perhaps it would prove embarrassing, and in some cases, down-right shameful if their own students couldn't pass the material they learned during undergrad studies - but then again they should know because obviously they received the degree - so why not test everyone, scared?
Later
Friday, April 6, 2007
NEVER GIVE UP
Hoday,
As a music composer what do you do when you find yourself finished with your long or short term educational goals? What do you do when you start over again and again and again?
Well, the first thing is to evaluate yourself as a musician. Are you happy composing endless arrangements using various augmented sixth chords? Are you happy re-arranging symphonic sounds that were outdated 175 years ago? Although we must study the masters to understand the art and history of music, by the time we fully understand the last 6 periods of music, we're old!
Music today is all ABA or ABACABA form that originated from the Renaissance, to Mozart, to Beethoven, and passed down from there. It's all the same, the average listener just wants a good beat, the younger gens think they own their own originality, the older gens are complacent, ivory towers get taller, and glass ceilings get thicker.
No music is original. We listen to endless arrangements of the 12 bar blues, we hear a continual beat around 4/4 or 12/8 meter (I know, it's not a fraction, shut up), we watch un-educated singers pierce their mutational chink on television variety programs, we play low volume dinners so that people can talk, and we play for free because some young artist is playing for free at the local bar.
So what will you do? Try to get your symphony played? Try to record your great new stuff and sell it to a record company? Have your compositions played by local professors at some church or half-filled auditoriums? Teach? Perform? Play Golf?
Later,
John
As a music composer what do you do when you find yourself finished with your long or short term educational goals? What do you do when you start over again and again and again?
Well, the first thing is to evaluate yourself as a musician. Are you happy composing endless arrangements using various augmented sixth chords? Are you happy re-arranging symphonic sounds that were outdated 175 years ago? Although we must study the masters to understand the art and history of music, by the time we fully understand the last 6 periods of music, we're old!
Music today is all ABA or ABACABA form that originated from the Renaissance, to Mozart, to Beethoven, and passed down from there. It's all the same, the average listener just wants a good beat, the younger gens think they own their own originality, the older gens are complacent, ivory towers get taller, and glass ceilings get thicker.
No music is original. We listen to endless arrangements of the 12 bar blues, we hear a continual beat around 4/4 or 12/8 meter (I know, it's not a fraction, shut up), we watch un-educated singers pierce their mutational chink on television variety programs, we play low volume dinners so that people can talk, and we play for free because some young artist is playing for free at the local bar.
So what will you do? Try to get your symphony played? Try to record your great new stuff and sell it to a record company? Have your compositions played by local professors at some church or half-filled auditoriums? Teach? Perform? Play Golf?
Later,
John
Sunday, April 1, 2007
NAMING MUSIC PERIODS
Hoday Hio,
Every musical era has been given a name by which we can recall its place in time but did that name exist during that period? I mean, did they call it The Time of Antiquity during the time of antiquity? Obviously not, since their name would have occured in their present! Actually we're now in the time of our antiquity 1500-or so-years from now, or are we!
Since we began naming the periods we have stereo typed a perception of what music will sound like even before we hear it. We must, for some reason, be able to determine the time and place the piece was written in human history to truly comprehend it. Do we appreciate it more if we know when it was written and what was going on at that time? Perhaps, but I submit that a beautiful piece of music doesn't have to be recognized by time but by its own arrangement of tones that pleases our individuality.
It seems as though we need a name for every possible permutation of musical style down to the dotted 8th, 16th note. And if we hear some sort of sequence we automatically shut it down as a particular style from the past. It is true that most musical ideas have been thought out by the masters - not Snoop Dog, dig a little deeper and you'll find that Beethoven pretty much put music and its history into perspective.
So where are we and what do we call it? I submit that we're lost for words at this point, we're moving too fast, and we're trying to hard. Why should we call it anything? Why do we need to classify whether it's a symphonic, a cool jazz, or a hip hop piece? Why do we always need to justify its worthiness like our opinion matters? Sometimes I feel like none of us humans know anything when we feel we know everything! However, one thing for sure is that when I finally get my doctorates, I will know everything and you will call me Doctor! Ha!
Stop naming periods, stop comparing, keep composing, keep playing, study your history and maybe we'll come up with something that will stay around for more than 10 weeks on a pop chart. I too, however want music to grow, but I seriously doubt that by the time we notice the growth, someone from the future will be naming it long after we've decomposed! Ouch!
Later!
John
Every musical era has been given a name by which we can recall its place in time but did that name exist during that period? I mean, did they call it The Time of Antiquity during the time of antiquity? Obviously not, since their name would have occured in their present! Actually we're now in the time of our antiquity 1500-or so-years from now, or are we!
Since we began naming the periods we have stereo typed a perception of what music will sound like even before we hear it. We must, for some reason, be able to determine the time and place the piece was written in human history to truly comprehend it. Do we appreciate it more if we know when it was written and what was going on at that time? Perhaps, but I submit that a beautiful piece of music doesn't have to be recognized by time but by its own arrangement of tones that pleases our individuality.
It seems as though we need a name for every possible permutation of musical style down to the dotted 8th, 16th note. And if we hear some sort of sequence we automatically shut it down as a particular style from the past. It is true that most musical ideas have been thought out by the masters - not Snoop Dog, dig a little deeper and you'll find that Beethoven pretty much put music and its history into perspective.
So where are we and what do we call it? I submit that we're lost for words at this point, we're moving too fast, and we're trying to hard. Why should we call it anything? Why do we need to classify whether it's a symphonic, a cool jazz, or a hip hop piece? Why do we always need to justify its worthiness like our opinion matters? Sometimes I feel like none of us humans know anything when we feel we know everything! However, one thing for sure is that when I finally get my doctorates, I will know everything and you will call me Doctor! Ha!
Stop naming periods, stop comparing, keep composing, keep playing, study your history and maybe we'll come up with something that will stay around for more than 10 weeks on a pop chart. I too, however want music to grow, but I seriously doubt that by the time we notice the growth, someone from the future will be naming it long after we've decomposed! Ouch!
Later!
John
Tuesday, March 20, 2007
ll-V-l
Hoday!
OK, here's some suggestions on some fancy ll-V-l inversions. How about a ll-minor flat five to V-alt to l.
Let's tackle the ll-minor seven flat five: So if you're in the key of C major the ll-minor seven is what? D-minor. And the ll-minor seven flat 5 is what? D-minor seven flat five. What is flat five? Well you just go to the 5th scale degree of the chord and flat it! In other words the notes of the D-minor seven are D-F-A-C. The flat five is Ab. So the D-minor seven flat five is D-F-Ab-C.
Ok here's the V-alt. The V-alt stands for alternative, or V7#5#9. It's just easier to write it as V-alt, you may see this in some lead sheet chord symbols. So what is the V7#5#9 well you just go to the 5th and 9th scale degree and sharp them!
So the notes are G-B-D-F#-A#!
So all of the notes are as follows:
ll-minor flat five in C Major - D-F-Ab-C
V-alt - G-B-C-F#-A#
l - C-E-G-B
What kind of improvisation can you play? Well just use an Ab major scale over both ll-minor flat five and V-alt. Do you know what mode that is? We'll get to that later!
Play around with it and use rhythmic devices, repeated notes, short bursts, and play along with some blues tunes using their ll-V-l progressions.
If you are in another key then apply the above theory to find your notes and use the major scale of the flat five as your imnprov scale.
Later,
John
Sunday, March 18, 2007
TAKE ONE STEP BACK AND TWO STEPS FORWARD
Hoday!
Evaluating yourself is always a good thing. In music, it's easy to get complacent. And it can be hard to reach the next plateau without professional help. My single best reason for education is that it will help you reach new plateaus - even if they're not exactly what you had in mind. Sometimes it's good to take one step back to get two steps ahead.
One of the goals of every jazz musician is to become a polished improviser. We begin by learning some chord changes, and then ll-V-l changs in different keys but can we ever learn how to improvise on our own? Maybe, but there's more than playing licks you know in any song you play.
First there's knowing how to arrange your improv to the theme of the song. Many times we have a set amount of "licks" that we arbitrarily insert into whatever song we're playing. What happens when those "licks" sound redundant? How many "licks" do we need to know to speak the proper text of improvisation in conjunction with every song we play? Do we have a memorized set of licks for every song? No. We learn by experience, taking lessons, listening and analyzing music, and having a plan. A plan that includes:
• Learning the Vocabulary of Jazz Theory - ll-V-l, and rhythm changes
• Make Improvisational Phrases - Start low end high...
• Learn Call and Response - Questions and Answers
• Listen to what you are hearing - Use your ears!
• Don't Overplay - Start simple and keep it simple
• Try to improvise out of your comfort zone of memorized licks
There are a number of plans you can develop by knowing what your weaknesses are. One of my main weaknesses has always been using memorized licks over chord changes. My plan is to take the songs of Bill Evans and re-write new solos using parts of Evans' solos and then use compositional tools like retrograde, dimunition, sequencing, and others to create a phrase that makes sense over the solo time frame.
I know you don't have a lot of extra time doing this but you can start simple by choosing a simple 12 bar blues song like "All Blues" or "Freddie the Freeloader," then transcribe a solo, analyze it and re-write it. Isn't music great!
Other blues tunes to analyze are:
John Coltrane: Blue Train, Cousin Mary, Equinox
Duke Ellington: C Jam Blues
Milt Jackson: Bag's groove
Charles Mingus: Goodbye Pork Pie Hat
Thelonius Monk: Blue Monk, Straight, No Chaser
Oliver Nelson: Stolen Moments, Blues and the Abstract Truth
Charlie Parker: Now is the Time, K.C. Blues, Au Privave, Bloomdido
Later,
John
Evaluating yourself is always a good thing. In music, it's easy to get complacent. And it can be hard to reach the next plateau without professional help. My single best reason for education is that it will help you reach new plateaus - even if they're not exactly what you had in mind. Sometimes it's good to take one step back to get two steps ahead.
One of the goals of every jazz musician is to become a polished improviser. We begin by learning some chord changes, and then ll-V-l changs in different keys but can we ever learn how to improvise on our own? Maybe, but there's more than playing licks you know in any song you play.
First there's knowing how to arrange your improv to the theme of the song. Many times we have a set amount of "licks" that we arbitrarily insert into whatever song we're playing. What happens when those "licks" sound redundant? How many "licks" do we need to know to speak the proper text of improvisation in conjunction with every song we play? Do we have a memorized set of licks for every song? No. We learn by experience, taking lessons, listening and analyzing music, and having a plan. A plan that includes:
• Learning the Vocabulary of Jazz Theory - ll-V-l, and rhythm changes
• Make Improvisational Phrases - Start low end high...
• Learn Call and Response - Questions and Answers
• Listen to what you are hearing - Use your ears!
• Don't Overplay - Start simple and keep it simple
• Try to improvise out of your comfort zone of memorized licks
There are a number of plans you can develop by knowing what your weaknesses are. One of my main weaknesses has always been using memorized licks over chord changes. My plan is to take the songs of Bill Evans and re-write new solos using parts of Evans' solos and then use compositional tools like retrograde, dimunition, sequencing, and others to create a phrase that makes sense over the solo time frame.
I know you don't have a lot of extra time doing this but you can start simple by choosing a simple 12 bar blues song like "All Blues" or "Freddie the Freeloader," then transcribe a solo, analyze it and re-write it. Isn't music great!
Other blues tunes to analyze are:
John Coltrane: Blue Train, Cousin Mary, Equinox
Duke Ellington: C Jam Blues
Milt Jackson: Bag's groove
Charles Mingus: Goodbye Pork Pie Hat
Thelonius Monk: Blue Monk, Straight, No Chaser
Oliver Nelson: Stolen Moments, Blues and the Abstract Truth
Charlie Parker: Now is the Time, K.C. Blues, Au Privave, Bloomdido
Later,
John
Friday, March 16, 2007
THE NITTY GRITTY
Hilow,
If you want to know the best way to learn improvisation then start transcribing solos. I say it's the fastest way because no matter what book you're learning from, you will have to spend time reading the directions. Transcribing gets you right to the Nitty Gritty.
So how do you transcribe solos? Well first you should have a good knowledge of ear training. You should be able to identify, by ear, the tonic and dominant chords. You should also be able to identify the form of the piece. And you should be able to pick out some of the other chords in the diatonic key and whether they are major, minor, seventh, altered extensions, and some of the position of the chord inversion, ie., 1st, 2nd, or 3rd inversion, or most commonly taught as 6-5, 4-3, or 4-2 inversions in the classical theory sense. It would also be helpful to know the names of extended altered chords such as a 13th, a #5, or a minor 7th flat-5 sound. Getting to know the sounds of 2-5-1 is extremely helpful since every jazz song contains this element.
So what if you're not there yet? Then begin with simpler songs for one. There is also another tool that allows you to slow down the song and not change the pitch. Programs like "The Amazing SlowDowner" can be downloaded from the internet for about $40.00. This tool will slow down the music and allow you listen to solos at your own speed.
Once you have begun to master this art then you can transcribe the solos and begin practicing your own transcriptions, who knows you may make up something new!
There are books that offer transcribed solos and if your are a good reader then they can be helpful. I have several books of transcribed solos from Bill Evans, John Coltrane, Mile Davis, Wayne Shorter. I use them in conjunction with listening to a slowed down version and then transcribing them onto my Sibelius music program. I like to get multiple inputs to get the most personal analysis from the piece- In other words, I'm a geek!
One thing about buying transcribed solos, make sure you are buying a book in concert key if you're playing the piano because many of these books are transcribed for various instruments in their own key.
Later,
John
If you want to know the best way to learn improvisation then start transcribing solos. I say it's the fastest way because no matter what book you're learning from, you will have to spend time reading the directions. Transcribing gets you right to the Nitty Gritty.
So how do you transcribe solos? Well first you should have a good knowledge of ear training. You should be able to identify, by ear, the tonic and dominant chords. You should also be able to identify the form of the piece. And you should be able to pick out some of the other chords in the diatonic key and whether they are major, minor, seventh, altered extensions, and some of the position of the chord inversion, ie., 1st, 2nd, or 3rd inversion, or most commonly taught as 6-5, 4-3, or 4-2 inversions in the classical theory sense. It would also be helpful to know the names of extended altered chords such as a 13th, a #5, or a minor 7th flat-5 sound. Getting to know the sounds of 2-5-1 is extremely helpful since every jazz song contains this element.
So what if you're not there yet? Then begin with simpler songs for one. There is also another tool that allows you to slow down the song and not change the pitch. Programs like "The Amazing SlowDowner" can be downloaded from the internet for about $40.00. This tool will slow down the music and allow you listen to solos at your own speed.
Once you have begun to master this art then you can transcribe the solos and begin practicing your own transcriptions, who knows you may make up something new!
There are books that offer transcribed solos and if your are a good reader then they can be helpful. I have several books of transcribed solos from Bill Evans, John Coltrane, Mile Davis, Wayne Shorter. I use them in conjunction with listening to a slowed down version and then transcribing them onto my Sibelius music program. I like to get multiple inputs to get the most personal analysis from the piece- In other words, I'm a geek!
One thing about buying transcribed solos, make sure you are buying a book in concert key if you're playing the piano because many of these books are transcribed for various instruments in their own key.
Later,
John
PERFORMING OUTSIDE IN THE ELEMENTS OF NATURE
Hoday,
I keep thinking of experiences I have had and I want to share them with you.
I was performing with the Drifters and The Motown Review at the old Stapleton Airport in a 4th of July show on the runway. Well, if you ever been on an airport runway it can get a little windy.
At the morning rehearsal the weather conditions were great - warm 4th of July morning. When we went on to perform it was about 4pm and the weather had changed. It became windy, really windy. And as we began to play a big gust of wind came along and took all of my music with it! In fact it blew from behind the singers toward the front of the stage and out into the audience. Talking about wanting to get away!!!
I only had a few hours to review the music and I didn't have time to memorize the whole show. I was not happy and neither was The Drifters as they turned around at me with an angry look and continued their dance routine. Thank god the rest of the band kept playing without me!!!!!! A dream come true - they had their music!
Anyway, the stage hands somehow recovered all of my music and put it back in order per song and set list and remarkably gave it back to me by the end of the song! I was very lucky and very relieved.
So that is the reason why you will ALWAYS see buldog clips on my music stand! Another lesson learned.
Later,
John
I keep thinking of experiences I have had and I want to share them with you.
I was performing with the Drifters and The Motown Review at the old Stapleton Airport in a 4th of July show on the runway. Well, if you ever been on an airport runway it can get a little windy.
At the morning rehearsal the weather conditions were great - warm 4th of July morning. When we went on to perform it was about 4pm and the weather had changed. It became windy, really windy. And as we began to play a big gust of wind came along and took all of my music with it! In fact it blew from behind the singers toward the front of the stage and out into the audience. Talking about wanting to get away!!!
I only had a few hours to review the music and I didn't have time to memorize the whole show. I was not happy and neither was The Drifters as they turned around at me with an angry look and continued their dance routine. Thank god the rest of the band kept playing without me!!!!!! A dream come true - they had their music!
Anyway, the stage hands somehow recovered all of my music and put it back in order per song and set list and remarkably gave it back to me by the end of the song! I was very lucky and very relieved.
So that is the reason why you will ALWAYS see buldog clips on my music stand! Another lesson learned.
Later,
John
JAZZ METER and CHORD COMPING
Hoday,
Today let's talk about jazz meter by looking at All Blues by Miles Davis:
Please bear with me as I use fractions to demonstrate time signatures. As you can see this tune is written in 6/8. If we use the "1-A-Trip-A-Let-A-2-A-Trip-A-Let-A" system of counting then the emphasis of the chord comping works well on the "A" and the "Let" of "1" and the "A" and "Let" of "2", thus creating a jazz swing waltz effect.
I know that a waltz is a simple triple meter but a 6/8 time signature is often counted 1-2-3-4-5-6 so it's like two 3/4's per measure, but I digress.
Take a look at my written chord comping suggestions in measure one and two:
Notice how the rhythm of the chords are written to give the feeling of the swing waltz. Try to be smooth, listen to the song, count out the beats with Miles "1-A-Trip-A-Let-A-2-A-Trip-A-Let-A" and Swing it man!
Later,
John
Today let's talk about jazz meter by looking at All Blues by Miles Davis:
Please bear with me as I use fractions to demonstrate time signatures. As you can see this tune is written in 6/8. If we use the "1-A-Trip-A-Let-A-2-A-Trip-A-Let-A" system of counting then the emphasis of the chord comping works well on the "A" and the "Let" of "1" and the "A" and "Let" of "2", thus creating a jazz swing waltz effect.
I know that a waltz is a simple triple meter but a 6/8 time signature is often counted 1-2-3-4-5-6 so it's like two 3/4's per measure, but I digress.
Take a look at my written chord comping suggestions in measure one and two:
Notice how the rhythm of the chords are written to give the feeling of the swing waltz. Try to be smooth, listen to the song, count out the beats with Miles "1-A-Trip-A-Let-A-2-A-Trip-A-Let-A" and Swing it man!
Later,
John
PERFORMANCE MISTAKES
Hoday!
I know it's hard to believe but even I can make a mistake in a performance! So what will you do and how will you act when you're forgetting your music while performing?
All your instructors tell you to give yourself entry points, memorize by the phrase, or practice playing through mistakes but there's nothing like actually going through the experience. Yes experience is the best medicine! Each time it happens, you will learn something new that you will use to keep it from happening again.
For example, last night I dropped some of my music somewhere but by the time I realized it, I was playing with the group. Even though I had some of the music memorized - some of it wasn't because I thought I had the music to read. So what do you do? Well if your playing in a group then you could play at points that you know or try and pick up on the 2-5-1 parts to get you back into the form. But if the group is relying on you to play all of the changes? Well then you're in trouble.
Most jazz musicians should be able to perform the piece on their own and not have to totally rely on another person to get them through and most jazz musicians memorize their music regardless of how they go about doing it. If they don't sight read then it becomes a bigger challenge but it pays off in the end because they have memorized the song. I don't know anybody who can do both well, readers and memorizers have to work equally hard to accomplish both. Had I memorized the show then this error may not have happened. But I firmly believe that instrumentalists should memorize the tune and have the music in front of them for reference - but that's me.
I know it's no big deal, I know that we all make mistakes, I know, I know, I know but the fact is it's unacceptable to make stupid mistakes after 16 rehearsals! If you're like me and you probably are, you're your own best and worse critic. So when something like this happens, and it will, then learn from it. Take the next step necessary to solve the problem. For me, it will be to work on memorization and make sure that you have all of your materials needed before the performance. Learning never ends and we all pay our dues.
In a word from a wise professor, Never Give Up.
Later,
John
I know it's hard to believe but even I can make a mistake in a performance! So what will you do and how will you act when you're forgetting your music while performing?
All your instructors tell you to give yourself entry points, memorize by the phrase, or practice playing through mistakes but there's nothing like actually going through the experience. Yes experience is the best medicine! Each time it happens, you will learn something new that you will use to keep it from happening again.
For example, last night I dropped some of my music somewhere but by the time I realized it, I was playing with the group. Even though I had some of the music memorized - some of it wasn't because I thought I had the music to read. So what do you do? Well if your playing in a group then you could play at points that you know or try and pick up on the 2-5-1 parts to get you back into the form. But if the group is relying on you to play all of the changes? Well then you're in trouble.
Most jazz musicians should be able to perform the piece on their own and not have to totally rely on another person to get them through and most jazz musicians memorize their music regardless of how they go about doing it. If they don't sight read then it becomes a bigger challenge but it pays off in the end because they have memorized the song. I don't know anybody who can do both well, readers and memorizers have to work equally hard to accomplish both. Had I memorized the show then this error may not have happened. But I firmly believe that instrumentalists should memorize the tune and have the music in front of them for reference - but that's me.
I know it's no big deal, I know that we all make mistakes, I know, I know, I know but the fact is it's unacceptable to make stupid mistakes after 16 rehearsals! If you're like me and you probably are, you're your own best and worse critic. So when something like this happens, and it will, then learn from it. Take the next step necessary to solve the problem. For me, it will be to work on memorization and make sure that you have all of your materials needed before the performance. Learning never ends and we all pay our dues.
In a word from a wise professor, Never Give Up.
Later,
John
Tuesday, March 13, 2007
CHORD COMPING
Hey Yall,
Let's talk about Chord Comping. It's not to difficult to define the word when you think about Jazz history from New Orleans.
When western music blended with African American music terms such as blue notes, syncopation, swing, call and response, polyrhythms, and improvisation followed.
Comping is in a sense a sycopation of playing the chords to jazz music. Some may attribute its birth in Dixieland jazz as early musicians would use a technique named, call and response. This pattern of improvisation would speak a language played by one musician followed by another band member playing the same riff, or rhythmic pattern over the same amount of measures. During this time a pianist or guitarist often played an arrangment of chords over and and over creating syncopated chords.
Today the main instruments that comp chords are the piano and the guitar. Sometimes when both instruments are present in the same group they must listen to each other and be careful not to overplay each other but to find the space each instrument can fill. For example, when a pianist is in a certain range of the piano the guitarist can comp in a different range. Or both instruments can figure out syncopation that compliments each instrument.
When a piano is alone in the band with a quartet of drums, bass, and sax, comping can be most interesting.
Let's look at All Blues by Miles Davis.
This is a simple triple meter that offers a good opportunity of comping. Let's say you're playing a swing waltz. The first chord is Bb13. You can play the notes Ab-D-G while the bass plays the Bb walking bass. If you want to comp then hit those notes in syncopation on the "and" of "one" and then on "three" of each measure. YOU DID IT!
You have just comped! Just follow that pattern during the whole song.
The only thing is that you may get tired of playing the same thing over and over again. So when you get to the D7 chord just play it on the first beat and hold it. Then play the Eb7 and hold it on the first beat then when you go back to the beginning start your original comping again.
One of the best ways to learn chord comping is to listen and study from the masters. Once you hear something you like, try to imitate it into a song you're learning. Some of my most favorite albums are: Bill Evans Trio; Sunday at the Village Vanguard. This was the last album that Bassist Scott Lafaro made before his accidental death. Bill Evans had just put together his best trio when it fell apart sending Evans into a lifelong search for the perfect trio.
Another CD that has good comping is Wayne Shorter's Speak No Evil. Herbie Hancock plays an amazing amount of riffs and comps but seems to never get in the way of anybody else.
And of course no CD collection can be without Miles Davis' Kind of Blue. This album changed the face of jazz music forever and everyone should know the background about it. Bill Evans and Wynton Kelly dazzles us with the skills of the jazz piano.
Remember that simple is good. Simplicity allows for breathing room for the solist. When you change up your comping, it brings in a nice change to the dynamic. Advice I should remember for myself!
Later,
John
Let's talk about Chord Comping. It's not to difficult to define the word when you think about Jazz history from New Orleans.
When western music blended with African American music terms such as blue notes, syncopation, swing, call and response, polyrhythms, and improvisation followed.
Comping is in a sense a sycopation of playing the chords to jazz music. Some may attribute its birth in Dixieland jazz as early musicians would use a technique named, call and response. This pattern of improvisation would speak a language played by one musician followed by another band member playing the same riff, or rhythmic pattern over the same amount of measures. During this time a pianist or guitarist often played an arrangment of chords over and and over creating syncopated chords.
Today the main instruments that comp chords are the piano and the guitar. Sometimes when both instruments are present in the same group they must listen to each other and be careful not to overplay each other but to find the space each instrument can fill. For example, when a pianist is in a certain range of the piano the guitarist can comp in a different range. Or both instruments can figure out syncopation that compliments each instrument.
When a piano is alone in the band with a quartet of drums, bass, and sax, comping can be most interesting.
Let's look at All Blues by Miles Davis.
This is a simple triple meter that offers a good opportunity of comping. Let's say you're playing a swing waltz. The first chord is Bb13. You can play the notes Ab-D-G while the bass plays the Bb walking bass. If you want to comp then hit those notes in syncopation on the "and" of "one" and then on "three" of each measure. YOU DID IT!
You have just comped! Just follow that pattern during the whole song.
The only thing is that you may get tired of playing the same thing over and over again. So when you get to the D7 chord just play it on the first beat and hold it. Then play the Eb7 and hold it on the first beat then when you go back to the beginning start your original comping again.
One of the best ways to learn chord comping is to listen and study from the masters. Once you hear something you like, try to imitate it into a song you're learning. Some of my most favorite albums are: Bill Evans Trio; Sunday at the Village Vanguard. This was the last album that Bassist Scott Lafaro made before his accidental death. Bill Evans had just put together his best trio when it fell apart sending Evans into a lifelong search for the perfect trio.
Another CD that has good comping is Wayne Shorter's Speak No Evil. Herbie Hancock plays an amazing amount of riffs and comps but seems to never get in the way of anybody else.
And of course no CD collection can be without Miles Davis' Kind of Blue. This album changed the face of jazz music forever and everyone should know the background about it. Bill Evans and Wynton Kelly dazzles us with the skills of the jazz piano.
Remember that simple is good. Simplicity allows for breathing room for the solist. When you change up your comping, it brings in a nice change to the dynamic. Advice I should remember for myself!
Later,
John
Sunday, March 11, 2007
COLLEGE, WHAT IS IT GOOD FOR - ABSOLUTELY EVERYTHING!
Hoday!
At some point in your life, hopefully early in your life, you will realize that without college you will most likely end up playing in the bar scene. Well that gets old around age 40 and the chances of making it big in the music industry has been dried up in years past - but don't let me discourage you from trying anyway. You can learn new things on your own, take a few lessons here and there, compose and sell your songs, and keep caught up on technology, but nothing kicks you in the butt than going to college and learning everything there is to learn about music, its theory, and its history.
I have noticed the first day realization of many college students. They show up with expectations of how music should be taught. Some think that they will learn how to compose rock music, or how to sight read, or even to finally get good at performing what they want - only to find out that they will probably not get anything they expect at all - at first!
They ask, why do I have to learn how to sight sing solfege, recognize intervals, or dictate rhythm? Why do I have to learn my key signatures, meter, or how to write a 1 or 2 species counterpoint against a cantus firmus? Or why do I have to know about melismas, mass proper, Ars Nova, or fugues? Or why do I have to analyze a German 6th, or a 12-tone row? Or why do I have to learn how to play a tuba, a trumpet, a trombone, a clarinet, a flute, an oboe, a violin, a cello, a contra-bass, when I play a piano? Or why do I have to play in so many ensembles that have nothing to do with who I am as a musician? And why is everybody always judging me? And why am I learning to compose woodwind trios and string quartets when I should be learning to compose symphonies?
Well after about 4 years of that, you'll reflect back and think holy moly - now I know why!
Stay in school!
John
At some point in your life, hopefully early in your life, you will realize that without college you will most likely end up playing in the bar scene. Well that gets old around age 40 and the chances of making it big in the music industry has been dried up in years past - but don't let me discourage you from trying anyway. You can learn new things on your own, take a few lessons here and there, compose and sell your songs, and keep caught up on technology, but nothing kicks you in the butt than going to college and learning everything there is to learn about music, its theory, and its history.
I have noticed the first day realization of many college students. They show up with expectations of how music should be taught. Some think that they will learn how to compose rock music, or how to sight read, or even to finally get good at performing what they want - only to find out that they will probably not get anything they expect at all - at first!
They ask, why do I have to learn how to sight sing solfege, recognize intervals, or dictate rhythm? Why do I have to learn my key signatures, meter, or how to write a 1 or 2 species counterpoint against a cantus firmus? Or why do I have to know about melismas, mass proper, Ars Nova, or fugues? Or why do I have to analyze a German 6th, or a 12-tone row? Or why do I have to learn how to play a tuba, a trumpet, a trombone, a clarinet, a flute, an oboe, a violin, a cello, a contra-bass, when I play a piano? Or why do I have to play in so many ensembles that have nothing to do with who I am as a musician? And why is everybody always judging me? And why am I learning to compose woodwind trios and string quartets when I should be learning to compose symphonies?
Well after about 4 years of that, you'll reflect back and think holy moly - now I know why!
Stay in school!
John
Thursday, March 8, 2007
TREBLE DOMINATED STYLE
Hoday!
Shall I dare to compare something from our great musical past to something as trivial as today's pop music?
Let's go back to the 2nd Generaton Renaissance. Ca. 1433-1494 during the time of Dufay and Dunstable, the 2nd Gen-Ren changed the face of earlier music to reflect a Treble Dominated Style.
What is Treble Dominated Style? Well it's an emphasis of the top voice over the other voices that act in support. To make it simple, it's the same as the solo voice over the harmony of other voices or perhaps instrumental solists playing over the rest of the band.
There you have it - Jazz, Pop, Rock, and Country Music all contain elements of The Treble Dominated Style!
Perhaps the style did not directly influence today's music but when you look at pieces like Vergene Bella, a 15th century motet, look at how the melody rhythmically follows the text, even though the syllables of the other voices are a little complicated you can still see a solo voice over accompaniment voices. Also notice the last syllable, or the penultimate syllable, you'll see long melismas that drives to a cadence. This was the first time in history that humans began matching the melodic line with the length of text to the point of a cadence or what is also known as a climax.
Does this say that music of today originated out of music of yesturday? It certainly says that Guillaume Dufay was a prominent figure in our music history!
Later
Shall I dare to compare something from our great musical past to something as trivial as today's pop music?
Let's go back to the 2nd Generaton Renaissance. Ca. 1433-1494 during the time of Dufay and Dunstable, the 2nd Gen-Ren changed the face of earlier music to reflect a Treble Dominated Style.
What is Treble Dominated Style? Well it's an emphasis of the top voice over the other voices that act in support. To make it simple, it's the same as the solo voice over the harmony of other voices or perhaps instrumental solists playing over the rest of the band.
There you have it - Jazz, Pop, Rock, and Country Music all contain elements of The Treble Dominated Style!
Perhaps the style did not directly influence today's music but when you look at pieces like Vergene Bella, a 15th century motet, look at how the melody rhythmically follows the text, even though the syllables of the other voices are a little complicated you can still see a solo voice over accompaniment voices. Also notice the last syllable, or the penultimate syllable, you'll see long melismas that drives to a cadence. This was the first time in history that humans began matching the melodic line with the length of text to the point of a cadence or what is also known as a climax.
Does this say that music of today originated out of music of yesturday? It certainly says that Guillaume Dufay was a prominent figure in our music history!
Later
Friday, February 23, 2007
SIGHT READING TECHNIQUES
Sight reading is very important to all music. With jazz, it is important to not only sight read single line notes but to know how to read lead sheet chord changes.
For the sight reading of single line notes and written chords however, here's some techniques that may help you...
1) When you're sitting at a piano put a sheet or a towel between you and just below the music so that you can't see the keys. This will force you to look at the music and not the keys - Do your scales the same way.
2) Read the piece 3 times through for one practice session.
3) When working with a metronome start at 30% of suggested tempo mark and by the 3rd time, play at tempo. Or at least try.
4) Speak the notes in rhythm first and then play through a phrase or two to help you understand how the song goes.
5) Try playing the song with one click per measure on the metronome, and then 2 clicks per measure, and then 4 clicks per measure so that you can help your subdivding but play the piece at the same rhtyhm as when you started.
For reading lead sheet chord changes please continue with my blog as I make suggestions as we go along.
Thanks for reading
John
For the sight reading of single line notes and written chords however, here's some techniques that may help you...
1) When you're sitting at a piano put a sheet or a towel between you and just below the music so that you can't see the keys. This will force you to look at the music and not the keys - Do your scales the same way.
2) Read the piece 3 times through for one practice session.
3) When working with a metronome start at 30% of suggested tempo mark and by the 3rd time, play at tempo. Or at least try.
4) Speak the notes in rhythm first and then play through a phrase or two to help you understand how the song goes.
5) Try playing the song with one click per measure on the metronome, and then 2 clicks per measure, and then 4 clicks per measure so that you can help your subdivding but play the piece at the same rhtyhm as when you started.
For reading lead sheet chord changes please continue with my blog as I make suggestions as we go along.
Thanks for reading
John
KEEPING AN OPEN MIND
Hoday!
Recently a person, who is just an owner a music store, came up to me and gave me their opinion of jazz music and jazz musicians. She said, "jazz musicians are scum of the earth people who are basically low life people who beg, steal, and cheat." Yep, she actually said that.
A closed mind does not fully understand what it attacks. And making random judgements against any form of music mostly comes out of ignorance and allows for prejudice, racism, and overall degradation of art itself.
If there is one thing my education taught me was to have an open mind about the music I didn't understand. For example, I used to hate, yes I hated Stravinsky. Why? Because I did not understand his music and his life. I used to hate John Coltrane. Why? Because I did not understand his music and his life. I used to hate a lot of music because I did not understand it. Note the words, "used to" and "hate" because after finding out more information, I came to not only understand Stravinsky and Train, but I literally fall over myself to understand everything I can about them. And I no longer "hate" any kind of music.
Don't let un-educated, watered-down, and mainstream understanding color your judgement it makes you look like a fool and exposes a terrible weakness about yourself. If you hate a certain style of music then educate yourself and understand it before you pass judgement on it. Make an educated decision whether or not to like it but don't just hate it, that's just stupid.
All forms of music including, and especially classical music have skeletons in their closet; Henry Cowell and Pyotr Ilyich Tchaikovsky just to name two. If you can't say anything productive then don't say it at all.
-John
Recently a person, who is just an owner a music store, came up to me and gave me their opinion of jazz music and jazz musicians. She said, "jazz musicians are scum of the earth people who are basically low life people who beg, steal, and cheat." Yep, she actually said that.
A closed mind does not fully understand what it attacks. And making random judgements against any form of music mostly comes out of ignorance and allows for prejudice, racism, and overall degradation of art itself.
If there is one thing my education taught me was to have an open mind about the music I didn't understand. For example, I used to hate, yes I hated Stravinsky. Why? Because I did not understand his music and his life. I used to hate John Coltrane. Why? Because I did not understand his music and his life. I used to hate a lot of music because I did not understand it. Note the words, "used to" and "hate" because after finding out more information, I came to not only understand Stravinsky and Train, but I literally fall over myself to understand everything I can about them. And I no longer "hate" any kind of music.
Don't let un-educated, watered-down, and mainstream understanding color your judgement it makes you look like a fool and exposes a terrible weakness about yourself. If you hate a certain style of music then educate yourself and understand it before you pass judgement on it. Make an educated decision whether or not to like it but don't just hate it, that's just stupid.
All forms of music including, and especially classical music have skeletons in their closet; Henry Cowell and Pyotr Ilyich Tchaikovsky just to name two. If you can't say anything productive then don't say it at all.
-John
Thursday, February 22, 2007
12 BAR BLUES
Ok I admit that the last section may have been a little complex but most of it is extended basically from the 12 bar blues.
I think the single most important development in jazz was the 12 Bar Blues because its theory defines the form of almost every song in jazz and blues. One reason it's so popuplar is because of its interchangable form and structure. In fact the chord progressions below should get you through, but not limited to, the following songs; St Louis Blues, Shake rattle and Roll, Hound Dog, and In the Mood by Glenn Miller.
For example the basis for the 12 blar blues is that it is written within 12 measures or bars and its content is based on 4 measures of the tonic (T), 2 measures of subdominant (S), 2 measures of tonic (T), 1 measure of dominant (D), 1 measure of subdominant (S), and 2 measures of tonic (T) and then simply repeated.
But you do not always have to follow that form as long as the extension of the chords are still used. For example if you use 7th chords the structure will look like this: (T7 T7 T7 T7) (S7 S7 T7 T7) (D7 S7 T7 T7) Just make sure the 7th chords are all dominant seventh chords.
There are alterations to the chords you can also use for example: (T S T T7) (S S7 T T7) ( D S T D7) just use triads and then add the 7th when suggested.
One thing to realize is that the blues gets old quickly and you have to use chord extensions and chord substitutions to keep the song interesting. Let's look at how Freddie the Freeloader works. It's basically a 12 bar blues. (T7 T7 T7 T7) (S7 S7 T7 T7) (D7 S7 T7 T7) But in the first ending the chord is Ab7. The Ab7 suggests a chord substitution for the last two chords of the 12 bar blues. It's actually (bVll7 bVll7). It is a chord substitution. A-flat in the key of Bb is the seventh interval so Miles Davis substituted the last two tonic chords of the 12 bar blues with (bVll7 bVll7) which sounds really hip!
Unfortunately the fake books do not give you suggestion to substituted chords. These are things that are learned through other books, lessons, and experience. One day, however these will be things that are taught in your jazz theory classes at school - it will, and already is happening.
Thanks for reading
John
I think the single most important development in jazz was the 12 Bar Blues because its theory defines the form of almost every song in jazz and blues. One reason it's so popuplar is because of its interchangable form and structure. In fact the chord progressions below should get you through, but not limited to, the following songs; St Louis Blues, Shake rattle and Roll, Hound Dog, and In the Mood by Glenn Miller.
For example the basis for the 12 blar blues is that it is written within 12 measures or bars and its content is based on 4 measures of the tonic (T), 2 measures of subdominant (S), 2 measures of tonic (T), 1 measure of dominant (D), 1 measure of subdominant (S), and 2 measures of tonic (T) and then simply repeated.
But you do not always have to follow that form as long as the extension of the chords are still used. For example if you use 7th chords the structure will look like this: (T7 T7 T7 T7) (S7 S7 T7 T7) (D7 S7 T7 T7) Just make sure the 7th chords are all dominant seventh chords.
There are alterations to the chords you can also use for example: (T S T T7) (S S7 T T7) ( D S T D7) just use triads and then add the 7th when suggested.
One thing to realize is that the blues gets old quickly and you have to use chord extensions and chord substitutions to keep the song interesting. Let's look at how Freddie the Freeloader works. It's basically a 12 bar blues. (T7 T7 T7 T7) (S7 S7 T7 T7) (D7 S7 T7 T7) But in the first ending the chord is Ab7. The Ab7 suggests a chord substitution for the last two chords of the 12 bar blues. It's actually (bVll7 bVll7). It is a chord substitution. A-flat in the key of Bb is the seventh interval so Miles Davis substituted the last two tonic chords of the 12 bar blues with (bVll7 bVll7) which sounds really hip!
Unfortunately the fake books do not give you suggestion to substituted chords. These are things that are learned through other books, lessons, and experience. One day, however these will be things that are taught in your jazz theory classes at school - it will, and already is happening.
Thanks for reading
John
Sunday, February 11, 2007
CHORD EXTENSIONS
Happy days,
Let's talk about chord extensions. In the last couple of blogs we discussed seventh chords. Well the seventh interval is simply an extension of the major or minor triad with a seventh scale degree added - basically.
A lot of students come to me and ask how to read Lead Sheet Chord Changes. Many times you will see chords written like Bb13, or Am7b5 (A-minor seven flat-five), or Dm7b9 (D-minor seven flat-nine).
I suppose the easiest way to explain this is that the composer is asking for the player to alter the basic structure of a major and minor chord and add in the interval of the chord's scale degree i.e., b13=13 steps of the scale of the chord and the make it flat. For example; Bb13 is made up of a Bb triad, Bb-D-F. Then you would add the seventh which is a Ab. Then you would add the 13 note of the Bb scale which is G. The only problem with this theory is that the chord is hard to play with one hand spread all over 13 notes and may not sound correct - so we have to learn what is called chord voicing.
Chord voicing is a way to select certain intervals and invert them in a way that will speak the language and interpret the voice leading that sounds satisfactory to the result. One of the advantages of jazz music is that it has the freedom of using multiple chord extensions to all of its music. In fact, it can become a kind of battle of the chords for jazz musicians to compete with each other to find the coolest sounding extension to the same music.
Note: Whenever you see chord extensions past the 7th you generally invert the chord and voice the chord to accomodate the larger range of the scale degree.
I know this is a lot of confusing stuff right now so here's a list of how to voice certain chord extensions of the song Freddie the Freeloader: The first chord asks for a Bb7. You could play the notes Bb-D-F-Ab, but it would sound better if you used a Bb13 using the notes Ab-D-G with a Bb in the bass - or better yet let your bass player play the Bb bass and just bounce your chord with the rhythm.
The next chord is a Eb7. You could play the notes Eb-G-Bb-Dd, but it would sound better perhaps if you played an Eb9 using the notes G-Dd-F with an Eb in the bass.
The next chord is Bb7 again. Notice how easy it was to go from Ab-D-G to G-Bb-F. Your fingers hardly had to move at all.
The next chord is an F7. Well you could fumble around and play F-A-C-Eb or you could hit an A-Eb-G with an F in the bass - this is called the F9 and your fingers hardly move again.
The next chord is an Eb7 so use the same one we just used before G-Db-F
The next chord is an Ab7 so play an Ab13 using the notes Gb-C-F with an Ab in the bass - Side Note: Here's a great opportunity to do an apreggio because the chord is held for two measures. The Gb major scale works great here so while you hold the chord with your left hand play a Gb major scale over 3-octaves real fast and keep the damper down.
Another advantage to jazz music is that it allows for the freedom of improvisation. So on a part where there is two measures or more of the same chord expore your creative side of making stuff up. You can use methods of rhythm, or scales, or learn some more complicated riffs to add to your riff-repertoire!
The rest of the song is just a repeat of the chords so try it out and have some fun improvising!
Thanks for reading
John
Let's talk about chord extensions. In the last couple of blogs we discussed seventh chords. Well the seventh interval is simply an extension of the major or minor triad with a seventh scale degree added - basically.
A lot of students come to me and ask how to read Lead Sheet Chord Changes. Many times you will see chords written like Bb13, or Am7b5 (A-minor seven flat-five), or Dm7b9 (D-minor seven flat-nine).
I suppose the easiest way to explain this is that the composer is asking for the player to alter the basic structure of a major and minor chord and add in the interval of the chord's scale degree i.e., b13=13 steps of the scale of the chord and the make it flat. For example; Bb13 is made up of a Bb triad, Bb-D-F. Then you would add the seventh which is a Ab. Then you would add the 13 note of the Bb scale which is G. The only problem with this theory is that the chord is hard to play with one hand spread all over 13 notes and may not sound correct - so we have to learn what is called chord voicing.
Chord voicing is a way to select certain intervals and invert them in a way that will speak the language and interpret the voice leading that sounds satisfactory to the result. One of the advantages of jazz music is that it has the freedom of using multiple chord extensions to all of its music. In fact, it can become a kind of battle of the chords for jazz musicians to compete with each other to find the coolest sounding extension to the same music.
Note: Whenever you see chord extensions past the 7th you generally invert the chord and voice the chord to accomodate the larger range of the scale degree.
I know this is a lot of confusing stuff right now so here's a list of how to voice certain chord extensions of the song Freddie the Freeloader: The first chord asks for a Bb7. You could play the notes Bb-D-F-Ab, but it would sound better if you used a Bb13 using the notes Ab-D-G with a Bb in the bass - or better yet let your bass player play the Bb bass and just bounce your chord with the rhythm.
The next chord is a Eb7. You could play the notes Eb-G-Bb-Dd, but it would sound better perhaps if you played an Eb9 using the notes G-Dd-F with an Eb in the bass.
The next chord is Bb7 again. Notice how easy it was to go from Ab-D-G to G-Bb-F. Your fingers hardly had to move at all.
The next chord is an F7. Well you could fumble around and play F-A-C-Eb or you could hit an A-Eb-G with an F in the bass - this is called the F9 and your fingers hardly move again.
The next chord is an Eb7 so use the same one we just used before G-Db-F
The next chord is an Ab7 so play an Ab13 using the notes Gb-C-F with an Ab in the bass - Side Note: Here's a great opportunity to do an apreggio because the chord is held for two measures. The Gb major scale works great here so while you hold the chord with your left hand play a Gb major scale over 3-octaves real fast and keep the damper down.
Another advantage to jazz music is that it allows for the freedom of improvisation. So on a part where there is two measures or more of the same chord expore your creative side of making stuff up. You can use methods of rhythm, or scales, or learn some more complicated riffs to add to your riff-repertoire!
The rest of the song is just a repeat of the chords so try it out and have some fun improvising!
Thanks for reading
John
Thursday, January 25, 2007
CHORDS OF THE 12 BAR BLUS
What's a 12 bar blues? Well it's l-lV-l-V-lV-l.
In the Key of C major l=C, lV=F, and V=G.
Here's a look at a 12 bar blues C Major using 7th chords in root position:
Measure 1 Tonic = l Chord / CEGBb
Measure 2 Subdominant = lV Chord / FACEb
Measure 3 Tonic = l Chord / CEGBb
Measure 4 Tonic = l Chord / CEGBb
Measure 5 Subdominant = lV Chord / FACEb
Measure 6 Subdominant = lV Chord / FACEb
Measure 7 Tonic = l Chord / CEGBb
Measure 8 Tonic = l Chord / CEGBb
Measure 9 Dominant = V Chord / GBDF
Measure 10 Subdominant = lV Chord / FACEb
Measure 11 Tonic = l Chord / CEGBb
Measure 12 Tonic or Dominant = l or V Chord / CEGBb or GBDF
Coming soon - how to use these chord changes in a song.
Thanks for reading,
John
In the Key of C major l=C, lV=F, and V=G.
Here's a look at a 12 bar blues C Major using 7th chords in root position:
Measure 1 Tonic = l Chord / CEGBb
Measure 2 Subdominant = lV Chord / FACEb
Measure 3 Tonic = l Chord / CEGBb
Measure 4 Tonic = l Chord / CEGBb
Measure 5 Subdominant = lV Chord / FACEb
Measure 6 Subdominant = lV Chord / FACEb
Measure 7 Tonic = l Chord / CEGBb
Measure 8 Tonic = l Chord / CEGBb
Measure 9 Dominant = V Chord / GBDF
Measure 10 Subdominant = lV Chord / FACEb
Measure 11 Tonic = l Chord / CEGBb
Measure 12 Tonic or Dominant = l or V Chord / CEGBb or GBDF
Coming soon - how to use these chord changes in a song.
Thanks for reading,
John
Wednesday, January 17, 2007
ROMAN NUMERAL ANALYSIS
Hoday,
Roman numeraly analysis is probably the single most important function of music theory. It can identify how a song is composed, help you memorize music, and help you compose your own music. It can be complex and simple. As an undergrad you will be exposed to four levels of theory. Level one is usually in the first semester and level two, three, and four in your next three semesters or quarters.
As stated in the last blog roman numerals are used to identify triads of the major and minor scale. But they are also used to analyze music. For example if you look at the 12 bar blues you can identify how to play the song in any key of you understand its roman numeral analysis.
In addition if you take one of your pieces and identify the chords and the scale degree of the chord, you may just find out how the piece was composed. I wouldn't suggest analyzing your Mozart Requiem just yet however. You may be able to play it now but some pieces of music may be on a theory four level while you're still in theory one - but it's fun to try and if you get stuck, just ask!
Thanks for reading,
John
Roman numeraly analysis is probably the single most important function of music theory. It can identify how a song is composed, help you memorize music, and help you compose your own music. It can be complex and simple. As an undergrad you will be exposed to four levels of theory. Level one is usually in the first semester and level two, three, and four in your next three semesters or quarters.
As stated in the last blog roman numerals are used to identify triads of the major and minor scale. But they are also used to analyze music. For example if you look at the 12 bar blues you can identify how to play the song in any key of you understand its roman numeral analysis.
In addition if you take one of your pieces and identify the chords and the scale degree of the chord, you may just find out how the piece was composed. I wouldn't suggest analyzing your Mozart Requiem just yet however. You may be able to play it now but some pieces of music may be on a theory four level while you're still in theory one - but it's fun to try and if you get stuck, just ask!
Thanks for reading,
John
Thursday, January 11, 2007
ROMAN NUMERALs
Welcome,
One of the elements of college education you will encounter is the use of roman numerals. Western music uses the roman numeral system to identify chord qualities like major, minor, diminished. And they also identify scale degrees of the chord qualities like 7ths, 13ths, 9s, etc.
Major and Minor scales have 8 notes with 8 triads. Each triad in the scale is either going to be major, minor, or diminished.
In major, the chord qualities are as follows:
Do = major, Re = minor, Mi = major, Fa = major, So = major, La = minor, Ti or Si = diminshed
In minor, the chord qualities are as follows:
Do = minor, Re = diminished, Mi = major, Fa = minor, So = major, La = major, Ti = major
Roman Numerals to the C major scale.
C is the first note of the scale and it is major. The triad is C-E-G and it is identified as "l"
D is the second note of the scale and it is minor. The triad is D-F-A and it is identified as "ii"
E is the third note of the scale and it is minor. The triad is E-G-B and it is identified as "iii"
F is the fourth note of the scale and it is major. The triad is F-A-C and it is identified as "lV"
G is the fifth note of the scale and is major. The triad is G-B-D and it is identified as "V"
A is the sixth note of the scale and is minor. The triad is A-C-E and it is identified as "vi"
B is the seventh note of the scale and is dimished. The triad is B-D-F and it is identified as "viiº"
Roman Numerals to the C minor scale.
C is the first note of the scale and it is minor. The triad is C-Eb-G and it is identified as "i"
D is the second note of the scale and it is diminished. The triad is D-F-Ab and it is identified as "iiº"
Eb is the third note of the scale and it is major. The triad is Eb-G-Bb and it is identified as "lll"
F is the fourth note of the scale and it is minor. The triad is F-Ab-C and it is identified as "iv"
G is the fifth note of the scale and is minor. The triad is G-B-D and it is identified as "V" (remember to raise the leading tone)
Ab is the sixth note of the scale and is major. The triad is Ab-C-Eb and it is identified as "Vl"
Bb is the seventh note of the scale and is major. The triad is Bb-D-F and it is identified as "Vll"
*Note: Always raise the leading tone in minor to make a major chord. More on that later!
You will need to memorize this system because it is referred to throughout your entire musical education.
John
One of the elements of college education you will encounter is the use of roman numerals. Western music uses the roman numeral system to identify chord qualities like major, minor, diminished. And they also identify scale degrees of the chord qualities like 7ths, 13ths, 9s, etc.
Major and Minor scales have 8 notes with 8 triads. Each triad in the scale is either going to be major, minor, or diminished.
In major, the chord qualities are as follows:
Do = major, Re = minor, Mi = major, Fa = major, So = major, La = minor, Ti or Si = diminshed
In minor, the chord qualities are as follows:
Do = minor, Re = diminished, Mi = major, Fa = minor, So = major, La = major, Ti = major
Roman Numerals to the C major scale.
C is the first note of the scale and it is major. The triad is C-E-G and it is identified as "l"
D is the second note of the scale and it is minor. The triad is D-F-A and it is identified as "ii"
E is the third note of the scale and it is minor. The triad is E-G-B and it is identified as "iii"
F is the fourth note of the scale and it is major. The triad is F-A-C and it is identified as "lV"
G is the fifth note of the scale and is major. The triad is G-B-D and it is identified as "V"
A is the sixth note of the scale and is minor. The triad is A-C-E and it is identified as "vi"
B is the seventh note of the scale and is dimished. The triad is B-D-F and it is identified as "viiº"
Roman Numerals to the C minor scale.
C is the first note of the scale and it is minor. The triad is C-Eb-G and it is identified as "i"
D is the second note of the scale and it is diminished. The triad is D-F-Ab and it is identified as "iiº"
Eb is the third note of the scale and it is major. The triad is Eb-G-Bb and it is identified as "lll"
F is the fourth note of the scale and it is minor. The triad is F-Ab-C and it is identified as "iv"
G is the fifth note of the scale and is minor. The triad is G-B-D and it is identified as "V" (remember to raise the leading tone)
Ab is the sixth note of the scale and is major. The triad is Ab-C-Eb and it is identified as "Vl"
Bb is the seventh note of the scale and is major. The triad is Bb-D-F and it is identified as "Vll"
*Note: Always raise the leading tone in minor to make a major chord. More on that later!
You will need to memorize this system because it is referred to throughout your entire musical education.
John
Saturday, January 6, 2007
IN COMPOSING, LESS IS MORE
Welcome!
When it comes to writing music there are some basic elements that can be used to quickly bring the piece together. The first and foremost is to have a scheme of notes, melodic content, or rhythmic content.
One of my composition professors at Metro State gave me some great ideas that really helped bring continuity to my compositions. His plan was simple. ABAC | BACA | ACAB | CABA So what does this mean? Well, try coming up with one plan of notes like 0126 in a set theory type of motive. Then make a melodic line from those notes by using various note values i.e., quarter note, half note, whole note, eighth note - but don't forget about using rests as music too!
Once you come up with a melodic line that seems to work for you then you'll have the "A" part done. The next step is to retrograde those notes - now you have the "B" part! Then repeat "A" part. Then invert the "A" part and you'll have the "C" part.
Now you're on your way to composing! You now have a melodic line that alters itself a little and should sound pretty good. You may also alter the notes at this point and use your ear to mold it. Once you have done that then you can expand the parts by switching them around like above. ABAC | BACA | ACAB | CABA. By the time you do this, you will have enough material to start harmonizing your lines. The beautiful thing about this method is that you can apply it to all kinds of musical aspects; rhythm, harmony, melody, solo, instrumentation, counterpoint, and even symphonic composition.
Next time I'll go into ideas about how to harmonize.
Later, Thanks for Reading
John
When it comes to writing music there are some basic elements that can be used to quickly bring the piece together. The first and foremost is to have a scheme of notes, melodic content, or rhythmic content.
One of my composition professors at Metro State gave me some great ideas that really helped bring continuity to my compositions. His plan was simple. ABAC | BACA | ACAB | CABA So what does this mean? Well, try coming up with one plan of notes like 0126 in a set theory type of motive. Then make a melodic line from those notes by using various note values i.e., quarter note, half note, whole note, eighth note - but don't forget about using rests as music too!
Once you come up with a melodic line that seems to work for you then you'll have the "A" part done. The next step is to retrograde those notes - now you have the "B" part! Then repeat "A" part. Then invert the "A" part and you'll have the "C" part.
Now you're on your way to composing! You now have a melodic line that alters itself a little and should sound pretty good. You may also alter the notes at this point and use your ear to mold it. Once you have done that then you can expand the parts by switching them around like above. ABAC | BACA | ACAB | CABA. By the time you do this, you will have enough material to start harmonizing your lines. The beautiful thing about this method is that you can apply it to all kinds of musical aspects; rhythm, harmony, melody, solo, instrumentation, counterpoint, and even symphonic composition.
Next time I'll go into ideas about how to harmonize.
Later, Thanks for Reading
John
Monday, January 1, 2007
HAPPY NEW YEAR!
Good Mornin'
You have a new opportunity to learn your art and become the musician you want to be. Last year is gone so let the past be the past, it's time to look at the future and make goals and resolutions.
Like many, I tend to think of the past more than the future. So my resolutions this year is that I will not let the past affect how I will decide my future. I will not let the past affect my confidence. I will not let the past affect saying the word "no." Make a plan, write it out, and stick to it.
We only have one life to live so take the risk of not knowing the outcoming by saying yes. Experience, bad or good, is experience from which we can learn.
Had enough of the cliche's? Then get out there and play ball!
Have a great year!
John
You have a new opportunity to learn your art and become the musician you want to be. Last year is gone so let the past be the past, it's time to look at the future and make goals and resolutions.
Like many, I tend to think of the past more than the future. So my resolutions this year is that I will not let the past affect how I will decide my future. I will not let the past affect my confidence. I will not let the past affect saying the word "no." Make a plan, write it out, and stick to it.
We only have one life to live so take the risk of not knowing the outcoming by saying yes. Experience, bad or good, is experience from which we can learn.
Had enough of the cliche's? Then get out there and play ball!
Have a great year!
John
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