Jazz Lesson Musings

After years of thinking about it, I enrolled in jazz piano lessons this year. I was motivated by my students who are "pumped" about Conservatory Canada's Contemporary Idioms syllabus and the Teacher's Choice Study in the Royal Conservatory of Music syllabus. I was also looking for ways to "jazz" up my gig repertoire.I am currently studying with Derek Stoll, an accomplished jazz pianist and examiner for Conservatory Canada. These lessons are so different from the traditional piano lesson. We really go with the flow. I am currently picking out Christmas tunes by ear, then harmonizing them, then "jazzifying" them.

It's quite the process. Fun, but boy do you ever give your brain a workout from all the keyboard harmony. I am still trying to commit the octatonic scale to memory (I have no problems writing it, playing it from memory is another story). Theoretically, I understand what an A7 with a sharp 5 and flat 9 is but my brain and hands aren't completely in sync there either. Voice leading? Again, good with writing it down but still learning to think on my feet (er, fingers).

Some stuff is starting to stick. I'm looking forward to my next gig, where I can try out what I've been working on.

One colleague recently asked me whether my teaching style has changed. I'm getting my students to start looking at the shapes of chords more. They're all picking out Christmas songs by ear and personalizing them. I'm also getting them to analyze their chords more and more. Probably the biggest change is that I'm really, really harping on them about getting their technique up to snuff. Several have expressed an interest in improvising and embellishing their songs.

Since starting my jazz lessons, I've decided I'd like to take a Contemporary Idioms exam - for fun. Since I began teaching, my scales, chords and arpeggios and ear training are better than they ever were when I took exams growing up, so I'm relishing the thought performing well on a test in these areas. I guess I should start picking out my program and get cracking!

(c) 2008 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Scales Help at Scaleindex.com

[February 5, 2013 update: Scaleindex.com is no more. Instead, check out this article on Freejazzlessons.com on the "10 Jazz Scales You Should Know"] I stumbled upon this site while trying to makes heads or tails out of the Lydian Dominant mode (jazz musicians are probably shaking their heads at this as they know very well what Lydian Dominant is). Scaleindex.com is a very thorough site, containing scale formulas, chord analyses, note names and audio clips of everything from our standard major and minor scales to the Bebop Dominant and Hindu scales.

My student R, who likes to compose, is excited about writing in some of these different keys while my student A is currently on a modal kick with her repertoire, so she is pumped about learning how to play modes. The funny thing is, neither student is in Conservatory Canada's Contemporary Idioms syllabus. Both girls are in the traditional stream of ConCan and RCM respectively.

As for my students who need to learn the Lydian Dominant mode for their Contemporary Idioms exam, they're just relieved to have the scale formula in an easy to understand format (as am I).

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

It's Beginning to Look a Lot Busy Season

As merchandisers will tell you, there are only 32 shopping days left before Christmas.

Any musician will tell you that right after Halloween, we have mere weeks before we are up to our eyeballs with Christmas concerts and party gigs. I'm currently working my Christmas gig repertoire back under my fingers, along with some of the songs from Conservatory Canada's Contemporary Idioms syllabus. Well, I'm finding that it's one thing to stay a couple of pages ahead of my students. It's a complete other story getting their songs up to performance standard.

In the end, some of the new songs won't make the cut this season. They'll be replaced with old standbys with a twist. For instance, I've discovered that God Rest Ye Merry Gentlemen sounds very nice with a Latin pattern or a Boogie Woogie pattern and that Blue Christmas sounds neat with a Honky Tonk bass.

Be brave. Next time you practice your holiday music, add some zip to your songs by changing it a bit. You'll find it entertaining and quite enjoyable.

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Valuable Lessons for Wedding Musicians and Brides

Wedding season is winding down. Phew! Today's wedding should go well. The bride and I met months ago and got all the songs selected. I've played at this church before and last night's rehearsal was a snap.

The jury is still out on the one scheduled in two weeks. There are quite a few special requests for this one, which I didn't get until recently. Over the summer, Bride #2 rescheduled our meeting twice. She finally came with her fiance late this week.

At the meeting, she said that she wants five hymns sung. That was three more than what I was told initially. One thing I've learned is that if you want singing at a wedding, bring in singers. Don't expect the congregation to sing with enthusiasm. Most will mumble, if at all.

To make a long story short, she's going beg her friends over the weekend to form a choir and then we'll have to work out some time (when I'm not teaching, at meetings, etc.) to rehearse.

A few lessons here for brides:

1. If you plan on having numerous special requests, book your musician(s) well in advance. Yours isn't the only gig on the roster. We musicians want to make your day special by playing well. Many musicians have busy music studios. Most musicians/teachers' schedules are extremely tight. The more time you give us, the better.

2. Factor in rehearsal time and fees if you book more than one musician, such as a pianist and a singer.

3. Meet with your musician(s) well in advance. If they are not familiar with some of the music you would like played at your ceremony, they need time to prepare it.

4. If you put off booking a musician to one month or less before your wedding - good luck finding one. If you find someone willing to take you on, most likely, no special requests will be allowed.

And for musicians:

1. If the client has to reschedule once, fine. If he/she must reschedule twice, unless it was for a dire emergency, drop the client. The money is not worth the hassle.

2. If you decided to take on a client and are presented with several last minute requests, take control of the situation. Be very firm about what you require, your availability and what you are willing to do.

3. Do not bend over backwards for problem clients. You should not compromise your other loyal clients (or your sanity) for this. The money is not worth the hassle.

4. Charge for rehearsals. This is above and beyond the contracted terms.

*** Ironically, as things turned out, I choked on the third line of the Recessional at today's wedding (Jeremiah Clarke's Trumpet Tune). I drilled it a lot at home too. How frustrating. I stumbled my way back to the beginning of the piece as quickly as I could, segued into an improvisation on Canon in D and finally, segued into Houki Boshi, the Japanese pop tune I performed at the APTA Festival.

I guess I'm too used to playing Clarke's Trumpet Voluntary. I really should review the other, less requested recessionals more often, just in case.

*** (Sept. 22/07) Wedding #2 went more smoothly than I thought. To my surprise (and the bride's delight), the wedding guests did sing with enthusiasm and reverence, even on the hymns that were earmarked as just background music.

The only bumps occurred at the start when I thought the groomsmen were ready to enter the Sanctuary. They weren't, so I had to segue from Doxology to an improvisation on Canon in D; which I did so I could keep both eyes on the back door. The first bridesmaid entered too soon, so I had to make up some transitional chords in my left hand as my right quickly flipped to the bridal party's song. Other than that, everything went well.

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

On Tips and Reminders (My Personal APTA Festival Experience)

In my blog entry Sturm und Drang - Second Movement, I mentioned that I submitted my entry to the Teachers' Solo/Recital Class at the APTA Festival. My performance was this morning. Playing in the teacher's class was a unique festival experience. Gone was the churning stomach, hyperventilation and jello fingers from my competitive festival days.

The atmosphere this morning was fairly jovial. We were a little nervous but it felt more like playing at a master class at university with one's buddies. With the exception of one performer, I knew everyone else in the room - including the adjudicator, Helve Sastok.

We joked that it was far too early to perform. Musicians function better on stage anytime after 2:00 pm. We reminisced about how the 9:00 AM performance reminded us of early morning lessons and exams. We chatted before and between performances. A couple of us went in and out of the room to go upstairs to hear our own students perform upstairs. I went up to hear one of my students perform before returning to perform my songs.

Helve was wonderful as an adjudicator. She saluted us all for entering the class and praised our musicianship. Then, she got into the nitty gritty details, which is what we all wanted from her.

Teachers still succumb to the same challenges our students do onstage. Elements that were perfect during at-home practice were less secure onstage. Helve remarked that the heaviness of the bass on the piano we played on "wasn't the piano's fault". Touché - even teachers have voice balancing issues.

We even dish out the same excuses to the adjudicator that our students give us.

Helve gave us great tips on dealing with nerves while playing. If our hands and arms start to shake sit up straight and roll the shoulders back. If our leg starts to shake, shift your weight onto the buttock cheek of the shaking leg to force it to stop.

She reminded us that even though we knew everyone in the room, this was a formal performance setting. From the moment we rise from our chair to the moment we return to it after playing, we're performing. In short, no banter between songs and no critiquing your performance just after your bow.

One of my students and I played at the exact same time. We listened to her songs in between my pieces.

My Bartok Bagatelle came off stronger than I anticipated. I just need to readjust the balance between my voices in the middle and try a new practice tip for dealing with the technically challenging last three lines. I have three more weeks to tidy it up before my studio's year-end recital.

I thought my left hand wasn't loud enough in my Chopin Nocturne but overcompensated, drowning out my right hand melody. Helve had me drop my wrist in certain spots to give my thumb less leverage, make my left hand slither across the keys in the opening to keep it light, soft and smooth and take the ending much more broadly. Oh, I missed the ottava at the end of the third page. I never noticed it when I was learning it. Oops. So much for the big sparkly climax then. Once I fix those troublespots, it will certainly shine.

Onto my final song, Houki Boshi, which I partially improvised upon and embellished. Some of the themes that I had planned for ahead of time did come across as being more rehearsed than improvised however, she liked how I snuck in snippets of Pachelbel's Canon, Leaving on a Jet Plane and my Nocturne (the last done in a rumba style). Of course, she wouldn't have recognized another anime theme song I threw in. I got a few more good tips on improvisation and a reminder to provide dynamic contrast. I'll have to listen to more jazz to see how the musicians transition from the main theme to their improv.

All in all, a good experience. Sure, it was stressful making ourselves speed learn high level songs and memorize them in a short time span - on top of teaching, family, household and community commitments. Sure, our performances were not without glitches. However, there is no doubt that it was an extremely valuable experience for us, not only as teachers but as performers striving to improve. For to teach, we must continue to learn.

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.