Here I am on my first night off in a while and what am I doing? Exploring the world of Hexatonics and Melodic Minor Scales.
I was reading Peter Hum's Blog where he mentioned the death of Charlie Banacos who taught about Hexatonics and I remembered a previous post about a web site by Peter Martin who had posted recently about the aforementioned Melodic Minor Scales.
After some thought I have scratched out some exercises that will get me started off for PRACTICE MONTH aka January.
More to come on this and other geekiness soon.
Sunday, December 20, 2009
Wednesday, December 16, 2009
Can there be too much of a good thing?
It is the middle of the Christmas season and I am neck deep in Christmas music. There are times at gigs where it is hard remember whether I played a certain tune or one with similar melody, chords, groove and subject matter. An effort is made try to change things up a bit but, to be honest, it can get a bit tiring. The same tunes day after day.
I resolve to have more tunes in the book for next year and to search out the true gems that exist within the Christmas repetoire. Current examples of enjoyable tunes are: 'Cool Yule', 'Emmanuel God With Us', 'The Man With The Bag', 'Trois Anges Sont Venues Ce Soir', and 'Twas In The Moon Of Wintertime'. I found some of the music from 'The Nutcracker' that will be in the book next year.
Still smiling but looking forward to perhaps playing in a minor key.
Merry Christmas.
I resolve to have more tunes in the book for next year and to search out the true gems that exist within the Christmas repetoire. Current examples of enjoyable tunes are: 'Cool Yule', 'Emmanuel God With Us', 'The Man With The Bag', 'Trois Anges Sont Venues Ce Soir', and 'Twas In The Moon Of Wintertime'. I found some of the music from 'The Nutcracker' that will be in the book next year.
Still smiling but looking forward to perhaps playing in a minor key.
Merry Christmas.
Thursday, September 10, 2009
Acquiring the abstract.
There has been some discussion amongst my fellow musos as to the state of music. Much has been made of the downturn in the economy and there is some degree of nervousness in the air. I see what is happening now as a time of opportunity and I put forward a point of view that has been under the radar for some time now.
Art, in general, but specifically music, is a part of the fabric of civilized society. You hear, see and touch things every day that are a result of the creative process whether it be music in a film, the design of an auto or, the feel of a shirt. These are concrete examples that were conceived and designed by many people, not a few of whom are artists. There is another level which art exists and affects us all.
Most people can recall an event where, after witnessing art (hearing a concert, viewing a painting/sculpture), there was an emotional response. If there happened to be more people in the room that response may have been magnified and manifested as a physical response (smiling, crying) as well. This is the benefit of art. On our own we can feel something within us that has been triggered by an abstract representation. When we are lucky enough to be with others who have been affected as well suddenly the group has a moment of shared experience which can be very powerful.
There is a realization that we have too many TVs, cars, kitchen gadgets (well maybe not that), clothes etc. The purchase of these material items felt great at the time and have provided some basic pleasure, but what is the long term outcome? As an example, you can drive their car to a store, buy the latest Blue Ray version of a movie, go home and make popcorn in their popcorn maker, or microwave and watch said feature on a wide screen high definition TV while wearing silk pyjamas. Some of the art that does exist in this scenario is the design of the car, writing the script and music, acting and various scene and costume sets in the movie and the design of the pyjamas. All good and worthy of a degree of attention but removed from your immediate experience.
Now I put forward another scenario. You agree to meet friends at a venue (bar, concert hall) that has live music, make a great dinner (I strongly suggest that here is where the kitchen gadgets really come to their own), go to the show/pub/whatever, listen and react to what you are hearing, talk about it with your friends (not during the performance please). What has happened? You set up a time to be with people (a community), had a nice dinner (creative experience) and talked about what you where hearing (community interaction). I suspect that in six months time you may still be talking about this experience as opposed to movie night in.
So there you have it. Go forth and experience art first hand and acquire something abstract.
Art, in general, but specifically music, is a part of the fabric of civilized society. You hear, see and touch things every day that are a result of the creative process whether it be music in a film, the design of an auto or, the feel of a shirt. These are concrete examples that were conceived and designed by many people, not a few of whom are artists. There is another level which art exists and affects us all.
Most people can recall an event where, after witnessing art (hearing a concert, viewing a painting/sculpture), there was an emotional response. If there happened to be more people in the room that response may have been magnified and manifested as a physical response (smiling, crying) as well. This is the benefit of art. On our own we can feel something within us that has been triggered by an abstract representation. When we are lucky enough to be with others who have been affected as well suddenly the group has a moment of shared experience which can be very powerful.
There is a realization that we have too many TVs, cars, kitchen gadgets (well maybe not that), clothes etc. The purchase of these material items felt great at the time and have provided some basic pleasure, but what is the long term outcome? As an example, you can drive their car to a store, buy the latest Blue Ray version of a movie, go home and make popcorn in their popcorn maker, or microwave and watch said feature on a wide screen high definition TV while wearing silk pyjamas. Some of the art that does exist in this scenario is the design of the car, writing the script and music, acting and various scene and costume sets in the movie and the design of the pyjamas. All good and worthy of a degree of attention but removed from your immediate experience.
Now I put forward another scenario. You agree to meet friends at a venue (bar, concert hall) that has live music, make a great dinner (I strongly suggest that here is where the kitchen gadgets really come to their own), go to the show/pub/whatever, listen and react to what you are hearing, talk about it with your friends (not during the performance please). What has happened? You set up a time to be with people (a community), had a nice dinner (creative experience) and talked about what you where hearing (community interaction). I suspect that in six months time you may still be talking about this experience as opposed to movie night in.
So there you have it. Go forth and experience art first hand and acquire something abstract.
Sunday, August 16, 2009
It's all worth it.
I was chatting with a fellow muso today about players that we know that have made an impression on us over the years. There was much agreement on who we found to be inspirational until he told me the following tale (shortened here).
A musician of note had been touring internationally with a group of high level players when one night he declared that he had enough of this stuff, packed up in the middle of the gig and left.
This to me demonstrates what I consider to be wrong with more than a few performers today. The player was known for being into experimental music and may not have been the best choice for the gig but, he knew what the gig was and took it on. I would not wish to cast aspersions upon anyone for expressing them selves in music but, if it gets in the way of the gig then the player needs to find another element, in what they are doing, to explore. Even parts that can appear simplistic can be raised to another level on the bandstand by changing ones approach.
I have been guilty of passing on some music during my time. Sometimes it is a specific tune or style. The justifications can be varied but ultimately they say more about me than the music.
All this to say we should all take a moment to consider why we are musicians. Is it to satisfy some idealized need within ourselves, to play with other musicians, to entertain an audience? Perhaps a combination of these.
Back to enjoying the heat of summer, at last.
A musician of note had been touring internationally with a group of high level players when one night he declared that he had enough of this stuff, packed up in the middle of the gig and left.
This to me demonstrates what I consider to be wrong with more than a few performers today. The player was known for being into experimental music and may not have been the best choice for the gig but, he knew what the gig was and took it on. I would not wish to cast aspersions upon anyone for expressing them selves in music but, if it gets in the way of the gig then the player needs to find another element, in what they are doing, to explore. Even parts that can appear simplistic can be raised to another level on the bandstand by changing ones approach.
I have been guilty of passing on some music during my time. Sometimes it is a specific tune or style. The justifications can be varied but ultimately they say more about me than the music.
All this to say we should all take a moment to consider why we are musicians. Is it to satisfy some idealized need within ourselves, to play with other musicians, to entertain an audience? Perhaps a combination of these.
Back to enjoying the heat of summer, at last.
Wednesday, July 29, 2009
Transportation
One often overlooked factor in a musicians life is getting to the gig. Different instruments require different modes of transport. If you play a smaller axe such as trumpet, sax or violin you can walk, bike or use public transit depending on distance, times and availability. Larger instruments decrease your options. A vehicle is required and, depending on what you play, it tends to be larger than most.
Early on in my career I had a few different hatch-back cars that did the trick. As long as it was just me and my equipment I was good to go. Things changed when I got together with my wife as we would go to gigs together and needed a few more bits of gear. Enter the minivan.
The minivan certainly has lots of room for equipment and people which is good as before long we had two more passengers. The joke in our house was that we needed a vehicle that could hold an upright bass and a family of four, sometimes together. We went through two minivans, our second one stopped working in our driveway the other day. What to do?
The solution is the purchase of two hatchbacks. This offers the most flexibility as they are each large enough for two people and equipment, if more equipment is needed we take along the other car, if we are on different gigs (hey it happens) no worries and, if one is gigging the other can still operate the family taxi service and take the kids to activities as need be.
All this type about cars should not diminish the fact that there are some who have very hip and cool ways of getting around sans emissions. An example for us all I think.
Early on in my career I had a few different hatch-back cars that did the trick. As long as it was just me and my equipment I was good to go. Things changed when I got together with my wife as we would go to gigs together and needed a few more bits of gear. Enter the minivan.
The minivan certainly has lots of room for equipment and people which is good as before long we had two more passengers. The joke in our house was that we needed a vehicle that could hold an upright bass and a family of four, sometimes together. We went through two minivans, our second one stopped working in our driveway the other day. What to do?
The solution is the purchase of two hatchbacks. This offers the most flexibility as they are each large enough for two people and equipment, if more equipment is needed we take along the other car, if we are on different gigs (hey it happens) no worries and, if one is gigging the other can still operate the family taxi service and take the kids to activities as need be.
All this type about cars should not diminish the fact that there are some who have very hip and cool ways of getting around sans emissions. An example for us all I think.
Wednesday, July 22, 2009
What Goes In
My children get exposed to allot of music through my own playing, concerts we take them to and what is available to them via recordings.
There is a strong tendency to parade around the house singing what has recently been heard. We are currently being serenaded by songs from The Beatles, ABBA, Tchaikovsky, Mozart and Beethoven.
Recently they have discovered a case of old cassettes. I predict an explosion of melodies to issue forth within the coming weeks.
There is a strong tendency to parade around the house singing what has recently been heard. We are currently being serenaded by songs from The Beatles, ABBA, Tchaikovsky, Mozart and Beethoven.
Recently they have discovered a case of old cassettes. I predict an explosion of melodies to issue forth within the coming weeks.
Thursday, June 18, 2009
Upcoming gigs.
I have several gigs coming up with various artists.
Saturday June 20, Bianca Pittoors (7:30 - 10:30 PM) at Cafe Paradiso (199 Bank St., Ottawa).
Sunday June 21, Alicia Borisonik (3:30 - 6:30 PM) at the Shenkman Arts Centre (245 Centrum Blvd., Ottawa - Orleans).
Thursday June 25, Kim Kaskiw (Noon - 1 PM) at the Wolrd Exchange Plaza as part of the Ottawa Jazz Festival.
Tuesday June 30, Marc Nelson (8 - Midnight) at the Aylmer Legion.
Wednesday July 1, Johnny Vegas (10 PM - 1 AM) at Maxwells Bistro (340 Elgin Street).
Throughout the summer Thusdays (5 - 8 PM) and Sundays (11 AM - 2 PM) at Metropolitain Brasserie (700 Sussex Dr.) weather permitting.
Saturday June 20, Bianca Pittoors (7:30 - 10:30 PM) at Cafe Paradiso (199 Bank St., Ottawa).
Sunday June 21, Alicia Borisonik (3:30 - 6:30 PM) at the Shenkman Arts Centre (245 Centrum Blvd., Ottawa - Orleans).
Thursday June 25, Kim Kaskiw (Noon - 1 PM) at the Wolrd Exchange Plaza as part of the Ottawa Jazz Festival.
Tuesday June 30, Marc Nelson (8 - Midnight) at the Aylmer Legion.
Wednesday July 1, Johnny Vegas (10 PM - 1 AM) at Maxwells Bistro (340 Elgin Street).
Throughout the summer Thusdays (5 - 8 PM) and Sundays (11 AM - 2 PM) at Metropolitain Brasserie (700 Sussex Dr.) weather permitting.
Wednesday, June 3, 2009
The Full Monty
Well it is pit time again. This show looks to be fun. The music is good, the band is clicking and the singers seem solid.
For the unenlightened the plot revolves around a group of unemployed workers and their revealing idea on how to raise some cash.
For the unenlightened the plot revolves around a group of unemployed workers and their revealing idea on how to raise some cash.
Friday, March 13, 2009
Not in the pit.
I have been playing bass for a production of "Nunsense the Mega-Musical" put on by Orpheus at the Centrepointe Theatre here in Ottawa.
The music is light and fun to play and the band is good. We are; musical director Brother Patrick (Gabriel Leury), pianist Sister Mary Melody (Cheryl Jarvis Woods), synthesist Sister May Ruth (Ruth Kwan), drummer Brother Peter (Pierre Huneault), woodwindist (yeah it's a real word) Brother Michael (Mike Mullin) and me, bassist Brother Thomas.
The band is on stage for the enire perfomance. This means that we are in costume (Nuns habits for the women and Friars robes for the men) and there is a bit of interaction with the actors. As many stages as I have performed on in my career the jury is out on how I feel about being onstage during a theatrical production of this nature. There is a certain comfort level of the anonymity of the pit but, it is cool to see more of the action on stage.
Bonus points to Orpheus for the sense of community that is on display backstage and the bonza nosh that appears in the green room.
I will be playing for their upcoming production of "The Full Monty" (June 5 - 14 at Centrepointe). We shall once again be in the pit and our garb shall consist of a sock. Black, of course.
The music is light and fun to play and the band is good. We are; musical director Brother Patrick (Gabriel Leury), pianist Sister Mary Melody (Cheryl Jarvis Woods), synthesist Sister May Ruth (Ruth Kwan), drummer Brother Peter (Pierre Huneault), woodwindist (yeah it's a real word) Brother Michael (Mike Mullin) and me, bassist Brother Thomas.
The band is on stage for the enire perfomance. This means that we are in costume (Nuns habits for the women and Friars robes for the men) and there is a bit of interaction with the actors. As many stages as I have performed on in my career the jury is out on how I feel about being onstage during a theatrical production of this nature. There is a certain comfort level of the anonymity of the pit but, it is cool to see more of the action on stage.
Bonus points to Orpheus for the sense of community that is on display backstage and the bonza nosh that appears in the green room.
I will be playing for their upcoming production of "The Full Monty" (June 5 - 14 at Centrepointe). We shall once again be in the pit and our garb shall consist of a sock. Black, of course.
Tuesday, February 17, 2009
Onward
Now that 'practice month' has drawn to a close I go about my usual gig preparations.
I have a unique gig this Thursday (Feb. 19) at the Chelsea Pub (http://www.chelseapub.ca/).
I will be in a duo setting with drummer Mark Rehder (http://www.drumbent.com/) and we shall be performing 'New Standards' as well as my own tunes.
Usually we have a sax player but there's no cash for a third so Mark and I will be on the spot to keep things interesting for 3 sets. I will be playing the Baliset with full gear and doo-dads, as well as singing. Mark will have some electronics to compliment his drum kit as well, so we anticipate a fun evening.
For those who are curious as to what qualifies as a 'New Standard' it is entirely subjective. I have mentioned before that I mine fake books for tunes but, I also listen to a wide range of music. When I hear something that strikes me I transcribe it, modify it and put it in my personal gig book. This has led to having songs such as "Don't Let It Bring You Down" (Neil Young), "Ordinary Miracle" (Sarah McLaughlan) and "Local Hero" (Mark Knopfler) in my repertoire.
I have a unique gig this Thursday (Feb. 19) at the Chelsea Pub (http://www.chelseapub.ca/).
I will be in a duo setting with drummer Mark Rehder (http://www.drumbent.com/) and we shall be performing 'New Standards' as well as my own tunes.
Usually we have a sax player but there's no cash for a third so Mark and I will be on the spot to keep things interesting for 3 sets. I will be playing the Baliset with full gear and doo-dads, as well as singing. Mark will have some electronics to compliment his drum kit as well, so we anticipate a fun evening.
For those who are curious as to what qualifies as a 'New Standard' it is entirely subjective. I have mentioned before that I mine fake books for tunes but, I also listen to a wide range of music. When I hear something that strikes me I transcribe it, modify it and put it in my personal gig book. This has led to having songs such as "Don't Let It Bring You Down" (Neil Young), "Ordinary Miracle" (Sarah McLaughlan) and "Local Hero" (Mark Knopfler) in my repertoire.
Monday, January 19, 2009
Practice Month. A bit further on.
Onward
While I have not posted on this subject for a while I am still at it.
One of my occasional pursuits is "tune farming". This activity consists of me going through fake books and trying out new (to me) material. This latest harvest has yielded a good crop. "Little B's Poem" - Bobby Hutcherson, "Loose Change" - Hal Galper, "Luny Tune" - Larry Young, "Paris Eyes" - Larry Young, "Triple Play" - Hal Galper and "When Love Is New" - Cedar Walton.
These tunes are now subject to a good going over using ideas gleaned from several books including "Forward Motion" - Hal Galper and "Almanac of Guitar Voice-Leading" - Mick Goodrick.
Other practice pursuits have been working on legato bowing out of the Simandl book for upright bass as well as plugging away at John Patitucci's "60 Melodic Etudes".
While I have not posted on this subject for a while I am still at it.
One of my occasional pursuits is "tune farming". This activity consists of me going through fake books and trying out new (to me) material. This latest harvest has yielded a good crop. "Little B's Poem" - Bobby Hutcherson, "Loose Change" - Hal Galper, "Luny Tune" - Larry Young, "Paris Eyes" - Larry Young, "Triple Play" - Hal Galper and "When Love Is New" - Cedar Walton.
These tunes are now subject to a good going over using ideas gleaned from several books including "Forward Motion" - Hal Galper and "Almanac of Guitar Voice-Leading" - Mick Goodrick.
Other practice pursuits have been working on legato bowing out of the Simandl book for upright bass as well as plugging away at John Patitucci's "60 Melodic Etudes".
Tuesday, January 6, 2009
Practice Month Continued
Day two.
Situation controlled and focused...........
Today was fretless (no worries) day.
The focus today was on sight-reading using the first Bach Cello Suite, "Standing In the Shadows of Motown" transcriptions of James Jamerson basslines and "Bass Bible" by Paul Westwood.
As I play a six string bass a conscious effort was made to play across the strings, as opposed to the more linear approach that is a hold-over from the upright bass.
Situation controlled and focused...........
Today was fretless (no worries) day.
The focus today was on sight-reading using the first Bach Cello Suite, "Standing In the Shadows of Motown" transcriptions of James Jamerson basslines and "Bass Bible" by Paul Westwood.
As I play a six string bass a conscious effort was made to play across the strings, as opposed to the more linear approach that is a hold-over from the upright bass.
Monday, January 5, 2009
Practice Month
Well I have been somewhat lax in my posting but, I endeavour to improve.
So with that in mind I will unveil what I am working on this January (aka practice month).
Throughout the year I gather interesting looking method books and make notes of ideas from previous practice periods. Much of my time is spent preparing for gigs and maintaining my chops so new ideas are recorded for later study. As I balance my time between basses and Baliset I look to and develop ideas that have applications on either axe. Some of these ideas are for soloing others are more compositional in nature.
Today I focused on bowing on the upright bass. The three books I worked from were: "New Method For the Double Bass (F Simandl)", "60 Melodic Etudes (John Patitucci) and Cello Excerpts from Bach's Overture in D.
My goal is to improve my intonation which had been slipping as of late. The results will be revealled after much sweat has been poured forth.
More soon.........no really I mean it this time.
So with that in mind I will unveil what I am working on this January (aka practice month).
Throughout the year I gather interesting looking method books and make notes of ideas from previous practice periods. Much of my time is spent preparing for gigs and maintaining my chops so new ideas are recorded for later study. As I balance my time between basses and Baliset I look to and develop ideas that have applications on either axe. Some of these ideas are for soloing others are more compositional in nature.
Today I focused on bowing on the upright bass. The three books I worked from were: "New Method For the Double Bass (F Simandl)", "60 Melodic Etudes (John Patitucci) and Cello Excerpts from Bach's Overture in D.
My goal is to improve my intonation which had been slipping as of late. The results will be revealled after much sweat has been poured forth.
More soon.........no really I mean it this time.
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