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The Jazz Musician’s Great Paradox

Posted by admin On May - 9 - 2008

The great paradox young and less developed musicians always seem to be in a hurry to get somewhere. They are certainly not happy where they are, but someday they will “arrive” and live happily ever after. They will become great players and then their life will begin. Wrong. Even if this methodology worked and they somehow became great players, they still wouldn’t be happy. It still wouldn’t be enough.

Even worse is the fact that being in a frantic hurry to achieve their goals (although they probably don’t even have clear goals) is akin to shooting themselves in the foot before running the Boston Marathon. Herein lies the paradox. Going fast usually means slow progress or even complete paralysis. Going slow, conversely, usually means faster progress. Slow and steady wins the race.

Bill Evans, the great jazz pianist, was once asked what he practiced when he was coming up. He answered, “As little as possible.” Many young players practice as much as possible. And they scramble along from topic to topic trying to get there as fast as possible. I’m not saying that becoming an accomplished musician doesn’t require a lot of practice, a lot of time in the shed, and study of a lot of topics. It does. But how and why you practice is sometimes more important than how much and what you practice.

Becoming a high-level, advanced jazz musician, a prerequisite for “monsterdom,” is actually pretty easy. It requires trust above all else, coupled with discipline, excellent practice, excellent teachers, experience, taking chances and, of course, taking action. With trust you can move ahead surely and swiftly-taking the time to thoroughly learn the material, acquire excellent skills and lay down the solid foundation required to build greatness.

Trust-Based Practice

You are already there. You are at exactly the point in your progress where you are supposed to be. If you accept this fact and trust yourself, you will not be in a hurry. If you are not in a hurry, you will be able to summon up the necessary discipline to acquire excellent skills. You will take chances. You will make mistakes, fall down, pick yourself up and continue on your path.

Your dreams, vision and goals will feel inevitable. You will feel invigorated, inspired, strong and confident. You will move through life with purpose and poise. You will walk tall. You will become a magnet for opportunity. You will actually become a monster jazz musician faster than you ever thought possible-if you let go of your fear, trust yourself and move slowly but steadily forward, knowing that your goals lie ahead and that you will come to them when the time is right.

Fear-Based Practice

Fear is the opposite of trust. Fear paralyzes many people and holds them back from ever achieving their goals. Fear makes us practice things that are beyond our present abilities. Fear makes us practice too many things at once. Fear makes us doubt ourselves and change directions and practice topics too soon. Fear keeps us from taking chances. It keeps us locked in a practice room. It keeps us down. Fear makes us afraid of failing. We become afraid of rejection (from the audience and our peers). And we even become afraid of success (of “making it” and then being found out to be a fraud or a mere mortal). Fear makes us live unbalanced lives, forget our values and, in worst case scenarios, really screw things up. Like destroy a relationship or become an alcoholic or an addict.

The good news is you have a choice. You are responsible for and in control of your own state of mind. You can decide to act from a place of fear or from a place of trust. Decide today to become more aware and conscious of your thinking and your state of mind. Choose to act from a place of faith and trust. Soon you will keenly know the difference between fear and trust. You will see the subtle ways in which fears manifest themselves and hold you back. Soon you will see fear coming around the corner, and you will be able to stop it before it arrives. Your practicing will become more focused. It will become more pleasurable and inspired. Your whole life will begin to change. As the great success guru Brian Tracy once said, “Change your thinking and change your life.” Trust will ripple through your whole life, making your gigs more inspired and bringing boundless opportunity to your doorstep.

Action Step

Take a mental “snapshot” of yourself when you are performing at your best. How do you feel? I would bet you feel confident, calm, inspired and trusting. Try to notice as many details of the experience as possible. Later you can consciously return to this state. This skill of “transmuting” will become easier and easier with practice. Before you practice, take a few minutes to center yourself and return to this state. Do the same before a gig or any other time of the day, for that matter.

Action Step

Visualize your snapshot in your imagination. Take a few minutes each morning or before practice and visualize yourself in a confident, inspired and trusting state of mind. Imagine as many details as possible. How do you feel? Are you relaxed? What are your emotions? How are you performing? Visualization is a powerful tool for change. Experiment and create your goals in your mind first.

Chris Punis is an active jazz musician in the northeast. He is founding member of the critically acclaimed group Gypsy Schaeffer and a member of renowned saxophonist Charlie Kohlhase’s group The Explorer’s Club. Chris is also an accomplished jazz educator. For more information about his teaching methods, visit http://www.learnjazzfaster.com


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Tags: jazz, jazz musician, jazz pianist, musicians

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Identify Music Phrases

Posted by admin On May - 3 - 2008

Musicians often disagree about where phrases start and finish. This is because there is often more than one possible INTERPRETATION. When you play music, try to hear which notes belong together. Phrases may be the same length, or start on the same beat of a measure. Songs may have a phrase for each line of the words.

  • IDENTIFYING PHRASES: Musicians often disagree about where phrases start and finish. This is because there is often more than one possible INTERPRETATION. When you play music, try to hear which notes belong together. Phrases may be the same length, or start on the same beat of a measure. Songs may have a phrase for each line of words.
  • ANSWERING PHRASES: In some music, pairs of phrases of the same length sometimes seem to match each other. The first phrase seems to ask a question, and the second phrase to answer it. (Does this sound like a pattern for the Blues?) For example, the second phrase may seem to answer the first by ending on the tonic when the first phrase did not.
  • RHYTHM PATTERNS: Phrases often have a strong rhythm structure. A pattern may be repeated or varied within a phrase, between phrases, or even throughout a whole piece.
  • MELODIC PATTERNS: Phrases often contain patterns of notes that are repeated exactly, or changed by transposing them to a different pitch or varying the intervals.
  • SHOWING PHRASES: Composers usually do not show phrases in their music. Instead, they show how to play notes within phrases, using signs such as SLURS and STACCATOS. It is up to each player to decide how to phrase the music. Signs such as BREATH MARKS or BOWING can help do this.
  • PHRASES THAT MODULATE: Sometimes a phrase may end in a different key from the one it began in, such as the relative minor or major key. This is called MODULATION. For a tune to modulate clearly, it has to use a note that is in the scale of the new key but not in the scale of the original key. The end result is very professional!
  • Each artist has the unique gift of using dynamics in the song they are performing. What an incredible gift we have to color in the lines, to add our interpretation of musical phrases and give our audience a music idea to listen to. (Phrases that are smooth as glass or as crunchy as peanut brittle!)

For more information on music phrases and music resources that can benefit your playing, please visit my website.

I love the piano and I hope this information will help you to play the piano well with more feeling with expression!

Diana Rogers

http://ladydpiano.com/Music.html

http://ladydblog.com/

http://www.freewebs.com/ladydpiano/


Learn How to Play with step-by-step piano lessons

Supported by video and audio files. Rocket Piano is organized into 3 high quality books taking you on a journey from beginner to advanced in your gospel piano playing.

learn piano online free image

Click here to find out more

Tags: breath marks, composers, intervals, melodic patterns, modulation, music signs, musicians, phrases, pitch, play music, rhythm patterns, strong rhythm, tonic

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How to buy a keyboard (Part 1)

Posted by admin On March - 19 - 2008

You want to learn to play a keyboard or maybe your partner or your children want to learn and you need to buy a keyboard but where do you start.

If you follow my recommendations, buying your first keyboard will be an easier experience. Prices for keyboards range from about £100.00 to £5000.00 or more. In this article, we will deal with keyboards that are more than adequate for beginners. As a beginner, there is no point in spending thousands of pounds on a keyboard because you will not be able to use the more advanced features that are included on these keyboards because you can’t play yet.

Before you go and buy your keyboard, you should consider
that the keyboard you buy is going to be the first of many or the first and last keyboard you ever buy.

So the first thing you need to think about is budget. For a beginners keyboard I would personally not spend more than £500.00 but would be looking in £100.00 to £300.00 range. Obviously, you need to set your own budget within this range. When you have set your budget, you need to decide where you are going to buy your keyboard.

I would defiantly recommend buying a keyboard from a music shop. I know you can find cheaper keyboards on the internet from various mail order companies and eBay but there are many advantages to buying from your local music shop. The first advantage being that you can hear and see the keyboard you are about to buy. Also generally, the sales staff in these shops know what they are talking about and can play the instruments and show you how they work. Many music shops can also offer keyboard lessons and provide sheet music to get you started.

When choosing your keyboard, it’s important you like the look of it and like the sound of it. There are various manufacturers to choose from, the main ones being Yamaha, Casio and Roland. Many musicians have there own preferences as to which make they prefer, including myself, however, I would urge you to make your own mind up, after all you have got to look at it and listen to it.

So to recap:

Set your budget.

Buy from your local music shop.

Make sure you like what you see and hear.

In part two I will tell you what keyboard features you should expect for your money and maybe some features you don’t need.

Mike Shaw is an organist and keyboard player and owns music websites, http://www.mikesmusicroom.co.uk, http://www.keyboardsheetmusic.co.uk and http://musical-instruments-uk.mikesmusicroom.co.uk/

Tags: advanced features, casio, ebay, keyboard lessons, keyboard music, keyboards, mail order companies, music shops, musicians, roland, sheet music, yamaha

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