And so begins the road to another CD release.
The first order of business is to demo tunes. This allows me to sit back and, with a critical ear, hear what I have written away from my instrument.
The first tune up has no title yet (you'll see that phrase a few times) so it is numbered 11112007.
This could go a few ways. It could be a solo piece, with drums (percussion?), or include a horn (sax? trumpet?).
There are artistic and financial considerations at play.
I'm projecting either a fall release or next spring.
Thursday, February 4, 2010
Monday, January 25, 2010
Monday, January 18, 2010
What is this thing called Konokol.
The way in I first introduce the concept of Konokol to students is by means of an exercise designed to ease the transition from quarter notes, to eighth notes, and sixteenth notes.
The first step is to say the rhythms. Da - da - da - da for quarter notes. Ta ka - ta ka - ta ka - ta ka for eighth notes. ta ka di mi - ta ka di mi - ta ka di mi - ta ka di mi for sixteenth notes. This is best done out of time so that the student can get used to the sounds.
Next comes the 'say and play' portion. This can be done out of time a few times but the metronome should be used fairly soon. I recommend 60 bpm.
Work on an even transition into each section neither speeding up or slowing down.
Once the student feels confident at 60 bpm two tempo changes need to be followed. Slowly increase and decrease the tempo.
Wednesday, January 6, 2010
My approach to teaching.
Having spent over two decades playing music professionally, I have many thoughts on how to best put forward my ideas on how to become a better musician.
The best players in most fields are musically literate. I am aware of, and have worked with, some brilliant intuitive players, but they are the exception. Being musically literate means one is able to clearly interpret, and communicate, the music at hand, as no matter what the style there is always a framework within which musicians work. If each player in a group has a good level of understanding of the form being played they can perform at a higher level as a group.
Two important components of being musically literate are rhythm and harmony.
After spending many years counting the traditional way (say it with me 1 e & a, 2 e & a) I was introduced to a system called Konokol that facilitates a quicker and deeper understanding of rhythm. Konokol is the South Indian classical method of counting. It is a phonetic approach and allows the rhythms to be internalized quickly and communicated easily. A good approach is to say the rhythm, say and play it and then play it. With this oral/aural approach even challenging rhythms are easy to master at a slow tempos, then speeding them up is merely a matter of mechanics. The next step, reading the rhythms, is a relatively simple process made easier by the ability to say the phrases.
Harmony is the other building block. Again it is important to focus on an oral/aural methodology. Hearing the various notes within the chord, being able to identify and sing them (not like Pavarotti more like Tom Waits ;)) is vital to deciding what to play. There are a few harmonic progressions that form the basis for allot of music, so being able to hear them clearly aids greatly in ones playing.
Reading and writing music is important as it is a good way of archiving what has been learned. Just as we learned to speak before we could read I believe that this is the best way to approach music. Take away some of the mystique surrounding the notes and see them merely as a system of communication.
After the basics rhythm and harmony have been dealt with there are many avenues that can be pursued with greater ease.
The best players in most fields are musically literate. I am aware of, and have worked with, some brilliant intuitive players, but they are the exception. Being musically literate means one is able to clearly interpret, and communicate, the music at hand, as no matter what the style there is always a framework within which musicians work. If each player in a group has a good level of understanding of the form being played they can perform at a higher level as a group.
Two important components of being musically literate are rhythm and harmony.
After spending many years counting the traditional way (say it with me 1 e & a, 2 e & a) I was introduced to a system called Konokol that facilitates a quicker and deeper understanding of rhythm. Konokol is the South Indian classical method of counting. It is a phonetic approach and allows the rhythms to be internalized quickly and communicated easily. A good approach is to say the rhythm, say and play it and then play it. With this oral/aural approach even challenging rhythms are easy to master at a slow tempos, then speeding them up is merely a matter of mechanics. The next step, reading the rhythms, is a relatively simple process made easier by the ability to say the phrases.
Harmony is the other building block. Again it is important to focus on an oral/aural methodology. Hearing the various notes within the chord, being able to identify and sing them (not like Pavarotti more like Tom Waits ;)) is vital to deciding what to play. There are a few harmonic progressions that form the basis for allot of music, so being able to hear them clearly aids greatly in ones playing.
Reading and writing music is important as it is a good way of archiving what has been learned. Just as we learned to speak before we could read I believe that this is the best way to approach music. Take away some of the mystique surrounding the notes and see them merely as a system of communication.
After the basics rhythm and harmony have been dealt with there are many avenues that can be pursued with greater ease.
Sunday, December 20, 2009
Music Geek
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.
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.
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.
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