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
Friday, February 23, 2007
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
Wednesday, December 27, 2006
TIME TO PRACTICE
Hoday!
Some of you have asked what does "Hoday" mean. Well it's a mix between Howdy and How-Day. Get it? I know, it's a wierd sense of humor. Anyway...
No matter if you're practicing for an upcoming jazz gig or a classical music recital this is the time to think about next year and how you want to approach your profession. A lot of success comes out of mental preparation and visualization. If you can see yourself performing you can practice while putting yourself in that environment. Yes, I'm talking about pretending! If you pretend your actually sitting in front of a musical jury, or an audience then you can remember how you did it in practice when you're actually performing!
By doing this, you will eliminate much of the nerves because you can mentally put yourelf back into the practice studio and take yourself out of the environment that is making you nervous - make sense? It does for me and it has done so for many years. I continually pretend that I'm playing for huge audiences so that I can think about how I want to act in front of them.
I have, in the past, been complimented on how I seem so happy on stage because I'm always smiling and acting like I enjoy being on stage when in reality I'm usually ready to upchuck 90% of the time! And the beautiful part of visualizing performances is that after a time it becomes second nature and the nerves somehow fade away as you act like you been there before. You become this calm and easy-to-get-along-with person who comes off as professional, confident, and inspirational. I'm not saying that I inspire people but I do see people who lash-out at others because they're simply nervous.
So now is the time to project who you want to be in front of the audience. Make sure people know that you're sincere about your passions by having successful performances. Nothing speaks louder about yourself than when people see you perform. Don't let anyone walk over your desires, it's OK to goof around with friends but they will respect you differently when they see you on stage. Visualize your performance while practicing and you might just find yourself in those real performances and you will thank yourself, be less nervous, and be ready to give the audience what they want - sincerity and honesty. It just happens!
Thanks for Reading
Showa!
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