Thursday, November 24, 2016

Sound Cloud - All the Things you are

Years ago I was reluctant to publish things to Sound Cloud and similar sites. Maybe I didn't feel things were "good" enough. Now I use it as a tool to share my work in progress, and receive feedback from people. It's a bit like a musical sketchbook or diary - putting out there things you are working on.

Here is a track from the end of yesterdays piano practice. Was pleasantly surprised and some lines came that I genuinely wasn't expecting.

https://soundcloud.com/mattav/piano-solo-on-all-the-things-you-are

Monday, November 21, 2016

29 things Micheal Brecker wants you to know - www.bobreynoldsmusic.com

Saxophonist Bob Reynolds http://bobreynoldsmusic.com/ has done us a big favour here and written a nice article on advice Micheal Brecker has given through his 1984 series of interviews at the University of North Texas. I have already posted on these youtube videos before, but this is the first time I'm seeing such a comprehensive and well written guide to the things he had said.

Bob mentions at the end - 'If you know another musician who would benefit from this please pass it along' - well, these are extremely valuable for saxophonists or any student of Jazz. Like the Sonny Rollins videos I posted recently, it is rare to see the greats talk so openly and well about their art, and the practice that goes on privately. These really are a must see.

http://bobreynoldsmusic.com/michael-brecker-on-guitars-drums-transcribing-and-dancing/

Sunday, November 20, 2016

Maintaining practice when busy

One of the things I find hard is maintaining a practice routine when things get busy. Rehearsals, traveling, not to mention numerous other things that come up, can put you off track and it's sometimes hard to be focused - particularly at times when you need it most.

Here is a list of things that one can do at any time. Fifteen minutes here and there can make a big difference. Simply keeping your mind sharp and focused on the things you are working on can really help a lot.

1. Rhythmic work: This is a very important part of my work and I try to do at least 15 - 30 mins a day. It can be done anywhere and I have a book of patterns (mainly Carnatic) that I work from. I take it everywhere. You just need a metronome and something to tap on.

2. Transcriptions: I try to do both writing things down and learning things purely by ear. Of the two I find the latter more difficult yet more satisfying and beneficial for my general work in music. Writing things helps both my ear and as well as my written rhythmic vocabulary, and learning solos from memory is beneficial in a multitude of ways. With modern phones and tablets this is quite easy to do. Keep a stock of material and a nice "slowing down" app and you are good to go.

3. Visualising chords and scales: I still am slower at mentally picturing certain scales and chords so I work on seeing these "harder" scales as quick as the "easier" keys. Sometimes I also write out scales to help this, and also visualise playing them on the sax. Often on lead sheets I'm using for gigs, I'll write out certain notes above the chords to help me visualize certain scales and chords while playing.

4. Singing or humming melodic and rhythmic ideas over tunes: I use aebersolds to tryout certain rhythmical and melodic ideas. Personally, if I can't sing an idea in my head I can not play it on the sax so this is very beneficial work.

5. Listening: This influences me a lot and the more I listen, the better my musical vocabulary. I try sometimes to do a more focused listening where I will only focus on certain ideas in a piece, i.e. bass line or piano comping etc.

6. Composing: I like to compose and arrange a lot, and do have periods when I do quite a bit, but I see that if I could do a little bit each day I would go much further. Now I try to keep a book that when an idea comes, even if it's a small phrase I write it down with the hope that I may eventually use it. I also use the phone quite a lot to simply record a quickly a snippet when it comes to mind.

7. Memorising tunes: My aim here is to memorise and understand a chord structure of a tune in such a way that I can be more comfortable while soloing. The better I know a piece the more free I am, and am able to go away from fixed ideas I may have.

Thursday, November 17, 2016

Jazz Fonts - Making Lead Sheets

Following yet another frustrating morning trying to make readable lead-sheets of my new compositions, I re publish this post from Saxindia regarding Jazz Fonts:

Unless you have purchased a program for notating chords this is a surprisingly difficult task. Even in word, fonts such as the 'Fakebook' type used in the old Real books seem to be closely guarded secrets or fairly expensive to buy. I've tried writing chord carts in I Real Pro too but I found that pretty unfriendly to use.

After a morning searching on the web this is what I found. I hope it makes your life easier in case you want to jot a few chords down in on a word processor.

An excellent explanation on Music Fonts by piano teacher Joy Morin:

http://colorinmypiano.com/2012/04/23/music-fonts/

The only fully usable chord font I could find found at Klarlied music. Thanks to Alan Humm.

http://klarlied-music.com/Fonts/chordsfont.html

Another good explanation on free Music fonts by Matthew Hindson. Includes a Saxophone fingering font!!:

http://hindson.com.au/info/free/free-fonts-available-for-download/

Please let me know if you find more. I will update this post as necessary.



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This I found later by Clemens Neiderberger - Realbook fonts for the LaTex document publishing system. Works pretty well. The fonts are included in the Zip file.




Thursday, November 10, 2016

Jeff Schneider Videos

I really like these videos. Lot's of valuable information for improvisors by saxophonist and composer Jeff Schnieder. I've already incorporated some of his licks and patterns in my daily practice routines.  I also like the way they are presented. Understandable and to the point for beginners or advancing players, with plenty of enthusiasm thrown in to get you interested in working on them right away. They are a pleasure to watch.


Thursday, November 3, 2016

10 four note scales to play over D7#9

Those two tricky chords at the end of Miles Davis' 'All Blues' - D7#9 Eb7#9. If like me you have run out of ideas of what to play here, below are some simple four note ideas that might help. They are worked out from various sources, including Jerry Bergonzi's melodic structures (recently reviewed) as well as transcribed solos.

D F A B - Minor 6th scale (Mark Levine)
Bb C D F - Major pattern (Jerry Bergonzi)
C Eb F Gb - Half diminished pattern (Jerry Bergonzi)
C D Eb F - Minor idea based on Eb melodic minor
D F G Ab - Half diminished pattern (Jerry Bergonzi)
F Ab C D - Minor 6th
F G A C - Major pattern
F# G# A# C - Whole note idea based on Eb melodic minor
F F# G# A# - Major pattern  starting on the major 7th
F A C D - Major 6th

The great thing about four note patterns is that they can easily be transposed for a kind of motivic, sequential approach on the following Eb7#9 chord.

The list of this kind of devices can go on. There are many more depending on what kind of sound you want.

* I have made recordings of most of these patterns on both Sax and Piano. Anyone wishing to hear them contact me by mail and I'll send them to you.



Tuesday, November 1, 2016

Reharmonization of Blue Bossa

Here is a small re harmonization of Blue Bossa I did recently. I was experimenting with minor b13 chords and their sound. Feedback welcome.

https://soundcloud.com/mattav/blue-bossa-arranged-matt