Study Your Music Score

Score study, or studying the sheet music, is a useful way to practice music away from your instrument. Here are some tips on how to practice using scorestudy. Things to take note of:

• time signature changes

• key signature changes

• hand position changes

• the overall form (more on this later)

• tricky rhythms

• chords (especially) cadences

• patterns

• dynamics

• expression markings

Mark anything that you need to pay special attention to. Depending on your learning style, you may want to colour-code these, or make up some short code.

With regards to form, beginner students can look for repeating patterns. Intermediate and advanced students can label the sections as they know them (e.g. A section, B section, Exposition, Development, Theme 1, etc.).

I find it especially helpful to tap and count tricky rhythms away from any of my music instruments. Slowly and then gradually building in speed.

If you need more tips on how to scorestudy, don't be afraid to ask your music teacher.

Concert Review of CJO's A Perfectly Frank Christmas 2012

The Calgary Jazz Orchestra performed a sold-out concert at River Park Church in Calgary, Alberta on Sunday, December 23, 2012. From “You Don't Know Me” to “Frosty the Snowman”, the CJO presented varied palette of big band jazz, Frank Sinatra standards and Christmas favourites. The warm up act for this Christmas show was the University of Calgary Jazz Orchestra, directed by Dr. Jeremy Brown. The jazz group performed Fred Sturm's arrangement of Radiohead's “Bodysnatchers”, Bobby Watson's “Fuller Love” (Arr. Dan Keberle) and Jerry Nowak's “Frosty the Snowman”.

Christmas Classics and Sinatra Standards at CJO's Christmas Concert

The emcee for the 2012 edition of “A Perfectly Frank Christmas” was CJO bassist Kodi Hutchinson. In addition to playing for various ensembles, Kodi is the host of “A Time for Jazz” on CKUA Radio.

The jazz band performed seven songs in the first set: “O Tanenbaum”, Harry Connick Jr.'s “It Must've Been Old Santa Claus”, Cole Porter's “I've Got You Under My Skin”, Frank Loesser's “Baby It's Cold Outside”, Jay Livingson & Ray Evans' “Silver Bells”, Jerry Herman's “We Need a Little Christmas”, Eddy Arnold & Cindy Walker's “You Don't Know Me” and Jule Styne & Sammy Cahn's “The Christmas Waltz”.

One highlight was Desiree Arthur's and Johnny Summers singing “Baby It's Cold Outside”. Their voices blended together very well, weaving and soaring. Dr. Jeremy Brown on sax and Al Muirhead on trumpet, danced and intertwined during the interlude. Desiree is from New West Symphony & Chorus.

Another focal point was crowd favourite, Hazel Proctor. The 2007 Senior Star Competition Winner simply shone with “Silver Bells”. Her rich, warm tone drew cheers and whistles throughout her performance. Egor Ukoloff's piano solo traversed the keyboard with crunchy chords and sparkly runs. Al's trumpet solo started with a simple melody which became more embellished with each pass, while Dean Yeat's trombone solo created waves that started gently but grew in intensity.

“You Don't Know Me” gave the audience a preview of Johnny's upcoming jazz CD release, entitled “Piano Sessions”. A very soulful, intimate mood was set by his vocals and the rhythm section. This was soon followed by the saxophones playing a slow gospel riff against runs up and down the piano.

Egor's solo created a myriad of colours. He began with easygoing chords played against a dancing melodic line. Chords, shakes and glissandos helped to build the intensity. This number showcased Johnny's wide dynamic and vocal range – from soft and intimate to powerful and impassioned.

The CJO closed with a “The Christmas Waltz”, which opened with the saxes before leading into Johnny on vocals with the rhythm section. The muted trumpets gave way to arpeggiated chords in the piano. Shane Statz's sax solo set an easygoing pace, weaving a meandering line before the ensemble swelled to a fortissimo, followed by silence. Kodi and Johnny led the Waltz's transition to a faster tempo. The changes in the texture made this an enjoyable arrangement to listen to.

Heebee-Jeebees, Toe Tappin' Swing and More Christmas Hits Performed by the CJO

The Heebee Jeebees, a Calgary-based a cappella group, opened up the second set of The Calgary Jazz Orchestra's “A Perfectly 'Frank' Christmas”. The group opened with an upbeat version “Santa Claus is Coming to Town”.

The CARA Award winning quartet continued with a Flintstones inspired rendition of “Rockin' Around the Christmas Tree”. Johnny Summers joined the quartet in singing “I Pray on Christmas” as Egor Ukoloff played along to this medium gospel number.

The Calgary Jazz Orchestra performed five songs in the second set, including Harry Connick Jr.'s “Frosty the Snowman” and “Song for the Hopeful”. This was followed by Sammy Cahn's “Come Fly with Me”, Hugh Martin's “Have Yourself a Merry Little Christmas” and Jack Fox's “Zat You, Santa Claus?” Desiree Arthur returned to the stage for “Song for the Hopeful” while Toe Tappin' Swing moved fluidly along the floor in time to “Come Fly with Me”.

One highlight was Al Muirhead's arrangement of “Frosty”. Greg Baker laid down a fast Latin groove on the drums, accented by “squeals” from Johnny's trumpet, which soon gave way to his vocals. Dean Yeats played a really funky countermelody against Johnny's embellished solo. The entire jazz orchestra joined in to chant “Thumpity-thump-thump”.

Another fun number was “Come Fly with Me”. The entire ensemble cast a playful and nostalgic mood with this medium swing number. Matthew Isenor and Robin Nunnally of Toe Tappin' Swing cut the rug with their nimble footwork and twirls.

Before the final number, the audience learned about “Call a Tune”, which members of the CJO sometimes play at the end of a gig. One musician calls out a tune. They choose a key and a tempo, then everyone present plays or sings along. This led to impromptu performances of “Happy Birthday”, “Jingle Bells” and “White Christmas” involving the audience.

The Calgary Jazz Orchestra closed with “Zat You, Santa Claus?” This medium swing tune showcased catchy lyrics. It featured Johnny Summers on vocals and trumpet, Brian Walley on trombone and Kodi Hutchinson on bass.

The Calgary Jazz Orchestra received a standing ovation, complete with cheers, whistles and shouts for an encore. The CJO complied, performing “O Holy Night”.

The next CJO performance is on February 23, 2013 at 18 Degrees of Jazz Gala for Big Brothers & Big Sisters. For more information on the Calgary Jazz Orchestra, visit the CJO's website. Tickets may be purchased online or in person at Anacrusis Music.

The Calgary Jazz Orchestra performed to a packed house on Sunday, December 23, 2012 at River Park Church in Calgary. Big band arrangements were done by Al Muirhead, Paul Ashwell, Greg Baker and Johnny Summers. Guests included the UofC Jazz Orchestra, Desiree Arthur, Hazel Proctor, the Heebee Jeebees and Toe Tappin' Swing.

This Christmas show, packed with stock Sinatra songs and Christmas music, was extremely entertaining, diverse and well played. Most, if not all members of the audience, were singing, tapping and cheering for more.

Virtual Choir 4.0 Announced

Last week, Grammy-winning composer/conductor Eric Whitacre announced the next Virtual Choir Project: "Bliss". This piece is from his 2010 West End musical entitled Paradise Lost. It is quite the departure from previous virtual choir projects. An exciting one. Some choristers may grumble, but I personally think that this will introduce a new group of singers to the beauty of choral music. "Bliss" is a fusion of classical, techno and something else that I'm still trying to put my finger one. Another difference between VC4 and previous projects is the need for a Kickstarter campaign. As Eric Whitacre's Virtual Choir continues to grow, so do the expenses. VC3: Water Night cost over $100,000 to create. Hence, the Kickstarter campaign. Since it's launch last weekend, the VC4 kickstarter project has raised over $18,000. Not too shabby. Without further ado, here's Eric Whitacre on the VC4 project: In light of the tragedies from last week, any opportunity to come together as a global community in the name of peace, is a welcome one.

Music Practicing 101: Organized Practicing

On behalf of music students and music teachers everywhere, I'd like to send out a huge thank you to piano teacher Josh Wright. He put together these two videos about organized practice.One thing my students hear me say - a lot - is to figure out how much time they can dedicate to practicing for a particular day, set their practice goals for that session and determine how they will assess whether they've met their goals."Mindful practice" is also key to practice efficiency. Let's face it, if you're paying attention to what you're doing, you'll meet your goal a lot sooner than if you're just noodling around, waiting for that timer to go off.For those still trying to figure out how to set up music practice goals and how to organize their practice time, look no further:

Organized Practicing - Part 1

Organized Practicing - Part 2

Music Practicing 101: The Three Different Ways Drill

When I was a young music student, I was often told, "Fix your trouble spots" or "This spot needs extra practice. Drill that spot 10X". However, one thing I've noticed, is that my concentration wanes after drilling something five times. I think that's even a bigger challenge for music students today as they are inundated with so much more information.I like the number "3". This week, I've had my students drill their trouble spots three times. However, the catch is that they must play it three different ways. For example:

• use three different registers

• use three different surfaces

• use three different levels of dynamics

• use three different types of articulation

• If you play more than one instrument - try it on three different instruments

My students and I have noticed that they are more focused for those three times since they are playing that spot differently each time. They are actively listening to what they are doing. 

The end result? In most cases, the problem spot was ironed out after drilling the spot only three times. 

In some cases, you may need to drill a spot up to five times. In that case, you'll make it the "Five Different Ways Drill".