Promise Delivered!

Hey guys,

So I promised to share a sound recording of Perhaps, Perhaps, Perhaps with you and so I'm making good on that today.

Now, let me just say, once I heard the score played by an actual band, I was able to hear the flaws in the score much more clearly. So here's what I hear that needs tweaking:

• The trumpets are too soft. Can't hardly hear them at all. 
• The Saxophonists got confused and thought they were supposed to provide the solo. Though, it's a killer solo, it's actually meant for trumpet. 
• I had forgotten the Piano and Guitar part at home. No big deal, but, there was a really cool piano part that is now missing from the recording. :(
• I felt it was fast. You can hear the trumpets playing their parts super fast. 

Now for what's right:

• IT Works! Yay! Forgive me if I pat myself on the back a little, I am a little proud of that. The last score I tried to write for big band ended in catastrophe! I was so broken by the humiliation, I didn't try this again for 4 or 5 years. So glad I did!
• I love the song and even though I feel I'm a little pitchy (due to excitement), it sounds amazing.
• River Cities Jazz Band - The band I get the honor of working with is such an open, accepting group. Thank you to them for allowing me to contribute in this way. 

If you are starting out in arranging and composing and have fallen flat, don't lose heart! And certainly don't wait 4 or 5 years to get back up on the horse. Go back to the books! Learn and try again. I am certainly glad I found the book, Jazz Composition and Arranging in the Digital Age. 

Keep moving forward. Keep working on your next latest and greatest. That's where I'm headed. :)

Bench Marks

Happy Veteran's Day! 

Let me take this moment to say thank you to the men and women of our nation who served their country selflessly. 

GOD BLESS YOU!!!

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So, what's the buzz? What's happening? What's the crazy lady up to now? 

Well, first let me tell you a few exciting things... 

I got one of my new original songs put into a show! And, a good friend of mine recorded a portion of it for me on their phone so I could share it with you.

Yeah, I know the video clips off abruptly, but I'm still thrilled that it's available. Here's a pic of me in my costume. I love the wig. It's my favorite thing. 

This Friday, I will be singing with the River Cities Jazz Band , an arrangement of Perhaps, Perhaps, Perhaps that I did. I'll bring my go pro, so that you can hear it from start to finish. So, I'm hoping to share that with you after the weekend. 

In other astonishing and fun news, I'm writing a show! A sort of musical with many elements to it. I'm super excited about it... Can you tell? 

I've written shows before, and I just love the process. It's so amazing to have an idea in your head and heart and be able to connect with other people because of it. That's what I really hope to do, speak an amazing message into people's hearts and watch them carry it into their future - in a positive, helpful way. 

So.... What about my music theory studies? They've been put on hold for now. I'm so busy writing that I'm learning as we go, but am so thankful that I have this blog to look back on as a reference and guide. 

We're on our way! Full steam ahead. We are making progress. I even have this reminder on my phone's lock screen. 

KEEP MOVING FORWARD! You can do it. I know you can. Write, learn, grow. Life is amazing. Make the most of it. 

The Process of Composing

Where've I been?!

Writing! Scoring! Arranging! Composing!

And getting kids ready for school.

Right now, I'm sitting alone in Familiar Grounds of New London writing to you, while my kids are swimming. And believe me, I'm thankful for the break.

So, back to the writing. I have nearly completed a score that I hope to go into a really cool project I'm working on. Oh man, I am so excited. But let's backtrack and look at what the process looked like.

Composing a New Song:

• Remember that I said that I don't using other people's material. Copyright law is nothing I want to tangle with. It's a pain. So, I had to come up with an original idea. That was first.
• Next, I worked on the just the bones: Writing lyrics, putting chords where they belong, figuring out a cool riff here or there and how I wanted the song to start. I recorded my voice to help me remember how I wanted it to go. 
• Then I worked on putting the beginning drum part into the computer program Sibelius. This is not easy. It's a pain. Then the other instrumental intro.
• Start putting in the melody. Get 1st verse and intro done. By this time you're pooped. 
• Keyboards are next. Just play and go. Worry about fixing the way the computer puts the midi instrument in later. Clean up is easier then. Enter the chords that go with the key part.
• Then, Move into other instruments. From the chords you can establish harmonies for the different instruments. don't be afraid to use unison. KISS rule very important here.
• By this time you're thinking you bit off more than you can chew... Don't worry, it's a process. Put it away, come back later or tomorrow - - But you MUST COME BACK.
• Work on chorus if there is one. Repeat process up to this point to complete. 
• Now, things start to get slightly easier. You have your first verse, intro and chorus done. From here you can borrow, copy, alter and play. Hard work may come at bridge, but it will seem easier - Especially if you have an instrument solo or reuse a part.
• Continue repeating these steps until you reach the end. Remember to look in text books to make sure you have correct punctuations and notes for instrumentalists. 
• Go back and clean up song. This make take a bit. Sometimes it's a difficult transition. 

NOW! 

The most important step! Do not skip this step. 

You need this step. This is a very, very important step! 

Ready?

Contact an expert and have them look over your score. They will be able to tell you if you have any holes, missteps, or if it's back to the drawing board. They'll also be able to tell you of some tricks for the future. 

This is what I have done. I contacted Jack Whitney, former Jazz Professor at UW-Madison, who happens to live in my area. He writes charts for many bands, and performed on trombone with many combos to orchestras. A great guy to know if you're starting to write more complicated stuff. 

I'll let you know if it turns out. I'm hoping so. I also hope to find some musicians to perform by the end of the month. 

Yay! Progress! 

I will continue to press on. Thanks for cheering for me! :)

Unison Camouflage

As a newbie myself to this wonderful world of jazz arranging and composition, let me just say that I am amazed at how often instruments play in unison for these arrangements. You just don't realize when you're hearing it unless you really listen and take nothing for granted.

Because the different instruments have different timbres, this can camouflage itself within the same pitch and slightly fool the ear if you're not really listening. Now, you may be thinking... "Of course I can tell if things are playing in unison or playing in harmony. Why can't you?"

I can, but when you're not playing close attention, things are moving by so fast and you're not really listening for it, I'm saying, yeah, you can miss it. Especially if it's spaced out by a few octaves with the different instruments. I may sound like harmony even though it's not.

Remember, there are overtones and undertones at play here. These will go a long way towards the harmonics.

Also, keep in mind that while the instruments have their own timbres, the players don't all sound the same either! I'm a trumpet player, so we'll go with them. Here's a picture depicting 3 trumpets playing together. They're the same in every way, except for the separate players styles or sound. Let's say, one has a clear tone, the other has a raspy tone, and the third a fat blat-type of tone. That would give the same note three distinct sounds and fool the ear slightly.

You can see they're all the same, just their color is different. 

Now, let's look at some different instruments. 

Let's say this is a trumpet, saxophone, and trombone playing in unison. See that the different tone qualities make for a unique sound with each instrument. If we displace the sound by an octave or two, how much more would our ears be fooled momentarily by the depth of sound. 

The simplicity of this on the part of the arrangers is genius. We can create sounds that bring the full representation of harmony without actually writing it. Sometimes, if written well and spaced correctly by the different instruments, our minds will create the missing pieces all on their own! 

"Wait, are you saying my brain will actually fill in the harmony if I hear tones played between an octave or two?" 

Yes! I am. 

Now, don't get me wrong. We definitely can't do without writing harmony. If this technique is used too often, the ear catches on and it gets boring. But if used sparingly and wisely, this simple technique can enhance the quality of music.

As new arrangers, we tend to overdue it. Thinking we need to fill every section with tons of harmony and all of the instruments playing at the same time. But this is a mistake. 

Follow the K.I.S.S. rule. It will save you from yourself. 

Deep breaths. We're getting there. Chugging up the mountain. I think I can. I think I can....

Guide Tones - Monotony or Melodic Mastery

Some of you may have been saying, "Come on, girl! When are you gonna talk about Guide Tones!"

And some of you don't care. So, I may be only speaking to a select few today....

BUT WHO CARES!!!

So guide tones. guide tones.... hmm... Where to begin.

From what I understand, they are the notes that provide stabilization and move the melody forward. So, in a chord, the guide tones would be be the 3rd and 7th usually. I say usually because you can also use the b9th, 11th, b5th, etc... yeah, pretty much anything goes. But most commonly, it's the 3rd and 7th. And because of this, if you use them too often they can make a piece boring. The ear will get used to their movement and start to tune them out.

Here the guide tones are in green. The first red note on the left (F) is the tonic of the chord, and the second is the 5th (C).

They are very common in Jazz and were made popular by guitarists Grant Green, Jim Hall, and pianist Red Garland (so Wikipedia says...).

In this example you can see how the guide tones can switch from chord to chord. Notice how from the first Dm7 to the G7, the F note stays stationary, but it's placement within the chord has changed from bein the 3rd to the 7th. Also note, that the movement between the chords of the notes and their values has only changed by a half step, whole step or not at all - Except in the case of last to chords, where the E note jumps to a G: a range of 3 half steps. (Not the norm, but doable)

If you would like to see a video series about guide tones, I watched this guy's. He's very thorough, but kind of droning and monotone in voice. It amazes me when musicians can sound like a bored accounting teacher or sociology professor. If you have passion in your music, then put it into your voice as you explain things.... PLEASE! For the love of all that is good!!! I had one prof. in college where he was so monotone, I had to pinch myself and slap my face to stay awake in his class!!! I'm NOT KIDDING! I looked like this guy!

Ok, I digress. Here's the video:

As with all things, know that this is a journey. Anytime we face a bump in the road, we can overcome it with a little more umph and, if necessary, help from our friends. Thank you to Mr. Brodbeck for his work on the videos. They did help me understand guide tones.


Remember also, that the use of guide tones is up to your own discretion. You can over use them. Also, I learned in the final video, that just like almost everything in jazz, the rules given are bendable if not totally breakable - SO HAVE FUN! And don't worry about the rules. If it sounds good, DO IT! If not, fix it.

Stay on Target! Stay on Target! You can and will make an absolutely fantastic piece of music. Just keep moving forward!!!

Melodic Devices - Making Heads and Tales of them

Tales? Don't you mean "tails". Yes, I admit that I used the expression and different spelling to throw you for a proverbial loop, but hear me out! Melodic Devices do, in a way, tell a tale and are sometimes used at the heads and tails of music passages --- or throughout --- to help us enjoy a piece more.

"It's kind of cool... I must say."

For example, what you may call a hook in a song, is technically called a sequence. Like Mr. Grimly, pictured above, you may also consider it a "catch phrase". It's familiar. It makes us love or hate the song... Much in the same way you may love or hate Ed here. Either way, it makes the piece memorable.

There are several different types of Melodic Devices:

• Motivic - (meaning a motif or pattern)
• Motivic repetition - repeats the rhythm of a set amount of notes (2 measures, 4 measures, etc...) Not necessary bumped up together. 

• 
  
• Phrase repetition - repeats the exact notes and rhythm for the notes, however the structure surrounding (ex: the chords) may change.

• 
  
• Diatonic Sequence - plays motif on different pitches within the key

• 
  
• Exact Sequence - perfectly spaced notes within a motif, but not dependent on the key of the piece (whole step up, half step down, half down, whole up - repeat starting on different pitch)
• Transformation - Alter intervals or rhythm of motif to prevent overuse of an idea
• You can change the pitches and keep the rhythm or change the rhythm and keep the pitches.
• Embellishment - a simple motif that pops in and out of a piece. It usually is like a nuance to the piece. 

Where did I get this info? Well, I went back to Ted Pease's book to see if I judged it too harshly and I did. It has a lot of exercises in it that help practice the concepts taught. It's kind of a workbook/textbook. That's very helpful. So, sorry Mr. Pease for judging your work to quickly. It's actually a great piece of work. 

That's how we roll here. One moment we're racking up the knowledge, the next we're eating crow. 

Mmmm.... Crow.

But, we don't let these little setbacks stop us! We plod ahead, bumps and bruises all along the way.

 Never give up! Never surrender!

That's Not A Grace Note!! It's an Appoggiatura

 When I first read about in appoggiatura I thought what the heck is this? It didn't make any sense - at least not in the way it was explained. Truly, sometimes I think that trying to learn music theory out of books is like slapping a posted note to your head, pouring ink on the ground and rolling around in it in order to remind yourself to go to the doctor on Wednesday.

However, let me take a stab at it in every man's language and see if I can do better.

An appoggiatura is a lot like a grace note. The difference is, grace notes are played before the beat and appoggiaturas are played on the beat. 

This is a little more difficult than it sounds. The purpose is to create tension in a piece that resolves quickly. Depending on what note is before an appoggiatura, will determine how it's played.  

Now, because I learn best by watching and listening, I'm going to assume you do too. So here's the best explaination I have found on it. Enjoy! 

I also copied his chart, so that it can be referred to. 

The appoggiatura, it's not a grace note! 

It's played different -- so know the difference!

Ah, music theory,... now would you please excuse me while I get out my inkwell and post it notes. I have a doctors appointment coming up, and I don't want to be late.

The Road To Discovery

So as previously confessed, I tried my hand at score writing about five years ago. It was a horrible disaster!

I thought I could get by without a solid grasp of the terminology, note articulation, or music theory. I had a computer and notation software and an aptitude for creating music. I quickly realized however, that without the skill set previously mentioned, I was basically shooting in the dark.

I proudly handed out my score to a group of 18 competent musicians. They began to play what can only be described as the worst noise I had ever heard. I stopped them and broke down in tears. What happened?

It sounded wonderful on the software I had. Everything sounded in tune and seemed to fit rhythmically and harmonically. It was so confusing as to why it didn't work that I set aside my dreams of being a composer until now.

I was as clueless as this guy:

Lol! I love Don Music!

Anyway, it wasn't just that I didn't have a firm grasp on my music theory and the like, it also had to do with my use of the software. I have Sibelius, and I like to just troubleshoot my way through programs. I grew up in a home where we've had computers since I was a little girl, starting with a DOS machine. Yes, that long ago.

Back to 5 yrs ago, I had Sibelius playing back the music exactly as I had played it into the computer. Instead, I should've change the settings so that it played it back exactly as it was written. That way I would've found a lot of mistakes. Also I didn't understand a lot of the settings and Sibelius nor how to navigate the program beyond surface level. 

Now, I have Jazz Composition and Theory and Practice by Ted Pease. I can tell you I did not find the book helpful towards my efforts. The book is meant to be used in a classroom setting with the course from Berkeley music college. (I actually had to dig into my library in order to find it. Now that I have, I may dip back into it, but it's very rudimentary to me now.)

It also doesn't have the one thing that  Jazz Composition and Arranging in the Digital Age by Richard Sussman and Michael Abene has:

Hints and help guides for using Finale and Sibelius software.

Placed throughout the text of the book, these tips are on how to use both versions of scoring softwares. This invaluable addition to the book puts it leagues ahead of the competition. Also, with the addition of a website that can be updated, potentially makes the text relevant for years to come. It's helped me so very, very much. (No, I don't get a kickback from them for saying any of this.)

So, now I'm less like this. 

Thankfully, the dent in my forehead from slamming it into the keys is healing nicely. 

And like all things, one must learn to walk before one can run. However, I will say that I'm so close to sprinting now that I'm writing and composing a new piece I hope to share with you soon. 

Keep on going! Even when your crawling, you're progressing forward! 

Solfege Schmolfege...

Yeah, that's what I was like in college. All that talk of solfege and the like. I could have cared less. The closest I got to that stuff was with this broad:

Ah yes, I grew up listening to her sing her Do-Re-Mi's and thinking, "That's me. I'm going to sing just that." And I can do a pretty good mock up of Julie Andrew's too. Same timbre, accent and everything. That's what you get when you mimic the greats. 

But, I never did get a firm grasp of what solfege was. So when they handed me a sight-singing book in college I thought, "I don't think I need this." 

And for the most part, I was right. I hear a melody line once and I've got it. No need to be able to sight read. Great ear. Could sing you a scale or mode backwards or forwards. Have taught voice for years. Never used it. Not once. Know breath mechanics backwards and forwards, but this is on the low end of the need to know scale. 

But now that I want to up my piano skills, play on the fly, and compose/arrange? I see the fruit of it. I see how it can take all the guess work out of pitches and ranges so that I'm not spending so much time trying to figure out what I want to do - or how far apart those harmonies and intervals are. 

Cause that's what we're really talking about here boys and girls.... Intervals. 

Now, we've already talked about intervals a bit. When we talk about chord structures, it's really just a composite structure of intervals that make up chords. 

For example, a major chord is I - III - V (1st, 3rd and 5th of the scale). 

Easy! Simple! You got this! 

But! If I give you the tonic note of a chord, can you sing for me the 3rd? (or Mi for our solfeggi peeps)

You say, "Sure" 

Now pick a different note. Could you sing the 3rd down from that? 

AHA!!! Now, we may have stumped you a little bit. Not only do we have to build the scale from the ground up, but we must also be able to build it BACKWARDS! 

So, for you newbies, work on it and figure out pitches in only the major scale intervals. Take one practice session and say that for a day, you will only practice the interval of a major 3rd more 2nd. Practice all over the black and white's so that the interval become solid forwards and backwards. 

For those more advanced: Try the minor thirds and augmented fourths backwards and forwards. It will challenge you, but it will be worth it.  Here's a chart:

Notice, I still don't like solfege. I'm not using it. I still think it's flipping stupid. However, this makes sense in a lot of ways, yeah? You have to know the numbers of the notes within a scale to read chords, right? The 7th, the 9th, etc.... Get used to it. That's the way it is. 

Remember, once you learn something like this and can rapidly recall it when it is most needed - In practices, or when you're writing or whatever. 

Practice, repeat, practice repeat... Learn it. Love it. Earn from it!

Rhythm Nation... No, not nation, Notation.

Nothing against Janet Jackson, but let's stick to jazz, shall we?

As mentioned previously in other posts, I use Sibelius as a notation software. I like it for it's ease of use, but not everything is cut and dry with the program. For example,

these are "beat slashes". Sibelius doesn't seem to call them anything, but thanks to a quick internet search, I stumbled upon a handout from an IAJE conference in 2007 that describes jazz rhythm section notation (thank you, Tom Rudolph). You can find it here, along with a host of other helpful guides.

So, let's go through the process of making these little beauties in Sibelius:

1.

 

Create the rhythm you want the instrument to do. In 4/4 time, 4 quarter notes would be common, so that's what we have here. 

2.

Make sure the "Properties" window is open (Window > Properties). It has a header of "No Selection" because a measure hasn't been selected to alter. When you do select one, it will say "Edit Passage"- which is weird that it doesn't just say "Properties". In the image, it's the menu window on the left side.  Select "notes" from that drop down menu. 

3. 

Select the measure you'd like to convert to beat slashes and then select #3 from the dropdown menu in notes. 

4.

Your notes will instantly convert! 

Well, that was easy, right? 

Sure, if you have foreknowledge of what to do, but finding this stuff in Sibelius is a real pain at times. You can search the help menu all day, but if you don't know what to call them in the first place, you might as well go swimming with sharks. 

A little help Avid?

Well, I guess that's why I'm studying this stuff.

Hey listen, Godspeed. We're making headway and that's nothing to smirk at!

Keep moving forward!

Artists Are People Too!

Ah yes, I've heard people say many times over, "I wish I had your talent!"

It's extremely flattering. It's very generous. It's also very humbling.

I often ask people what they do for a living. They may say, "I'm a bookkeeper" or "salesman" or "nurse."

All those professions take discipline to make happen. I am a musician/writer. It takes discipline to be what I am too.

Often, I will say to those people, "Wow. I wish I could do what you do." And it's true. I'm terrible at accounting - failed the course. I don't sell things very well. And the nurse thing? Ugh... Blood and stitches and puss? Bleh! I admire those people. I could not do that and it isn't easy to do those trades either. But it's what they may have been built for.

This is what I was built for: writing and music.

Now, because this doesn't offer me a steady income unless I want to teach or become a worship leader, I will need to become good at designing a business around what I do. How do I make myself sellable?

Well, I'm terrible at self-promotion. I feel a lot of shame whenever I do it.

I need help at marketing. I get myself to a certain level and then stalemate.

I don't know what to charge. Haven't thought it fully through I guess.

I need a LOT of encouragement. A LOT. A LOT. A LOT.

What's a girl to do?

Enter Marie Forleo:

I like this woman for a number of reasons: 

1. She's positive 
2. She's encouraging. 
3. She's quick to the point. 
4. She's quirky - with a great sense of humor.
5. She takes everything that's in long winded self-help books and consolidates it. 
6. She teaches productivity and business sense.

As I try to make this experience as positive and painless as possible, I know I'm going to run into road blocks and places where I stumble. Having an encouraging voice can make all the difference in the world to someone like me... An artist/business woman. 

So, thank you Marie, for encouraging others to do and be more. And if YOU have something to share with the world, DO IT! We need more positive messages out there. The world needs your talent. 

Recording on the Fly

When I was younger, I'd use my mom's tape deck to record.

If this wasn't the exact one, it looks a lot like it. 

I loved to plug in one of her microphones and sing and make up songs. Sometimes, I'd even have some friends help me! I even have one of my birthday parties on tape. It was the height of cooldom for me. 

Then, as I grew older and wanted to keep my song ideas to write them down, I tried just writing the words on paper. I found out quickly that was not the best way to keep song ideas. If I left them for a day or even half a day, I would forget what I had come up with! So frustrating! Ugh. 

But as an adult I was able to invest in a small digital device:

WHAT THE???

That's not digital! Well, ok, I did have one of these too as a kid. And it was great for recording in my room. 

No, I meant one of these: 

Ah yes, that was great.... Until I accidentally pushed the wrong button, wiped the memory card and lost all my ideas! DOH!

But since the invention of the cell phone, I have always had my song ideas in my pocket with me. And now that I have a smart phone (an iPhone 6 currently), I can record on the fly with ease. Why with ease? I'll tell you. I use Voice Recorder Pro 7.

Why do I love this app? Look at all the options! 

Impressed? I am. It's pretty handy. 

When you open it up, you have to press record twice. The first time to set the options you want. You will see this screen. 

I love that you can speed up or slow down the recording. When you're songwriting, sometimes what starts off as a slow song needs to be sped up. 

When you're finished recording, the file will save as a series of numbers. The name, will be the time and date of the recording.

As you can see from the photo, that can all be changed to reflect the song name or whatever you want.

There's so many advantages to this app, I haven't even messed with them all! Just today I found silence detection! 

Now, I've tried lots of songwriting and recording apps, but this is the one that I find the most adaptable and useful for my needs. 

Keep writing... Keep going... Record, reflect, rediscover and plot a course towards success! 

And get the right tools for the journey.

Reverse Engineering: Not Just for Mad Scientists

"Igor! Throw the switch!"

"Yes, Master!"

Zap! Kapow! ZZZZZZIT! 

"It's Alive! It's Alive!!! MWAHAHAHAHAHAAAAA!" 

Yes, I've been experimenting again. 

     Actually, it was a challenge to see if I could map out about 8 bars of the rhythm section in a difficult piece of music. Hopefully, I'm not too far off the mark. I'll put the original and the finished piece next to each other so you can hear them and critique the piece should you wish to. 

     I chose the song, "Jump, Swing Blues" by Rick Krive.  Here's the full piece:

I transcribed measures 5-12 of the piece, and only the rhythm section. This area, being the beginning of the song is rather sparse, but the rhythms are challenging -- At least to a non-drummer they are. Here's my best shot:

(click image to enlarge)

Here's where you can listen to the original and the scored chart above. Please note, that electronic instruments will not be as emotive or dynamic as when people play. 

Jump Swing Blues - Original

Jump Swing Blues - Score Playback

Well, that's all for now, my fellow mad scientists.

Join us again next time, when we dissect something else fun and thrilling!

Oh No, Mr. Weenie! More on Modes

"Nein! Nein! You can't make me go back zare! I have done all of zee modes and scales before and I'm sick of zem. Give me zomesing else to do. Nein! NEIN!!!..... Oh, alight."

Yes, Mr. Weenie, we must go back to the modes and scales, at least for a quick replay of what is needed to be said. It won't take long, I promise. You might even learn something.

As you can see from the image, I've changed our sheet on Modes just slightly to list the flats (or sharp) that will go with each mode if you think of them in a major scale.

What? What you talkin' 'bout Willis!?

Well, the Ionian scale is basically a major scale, that's why there are no flats or sharps listed next to it on the sheet. We're going to base all of the other modes on the Ionian (or major scale), to help us find the others with ease and on the fly. 

For example, it can be helpful to think of a major scale in relation to the whole and half steps it takes to complete the scale, i.e. whole, whole, half, whole, whole, whole, half. 

But this gets much more convoluted when getting into the modes. For example, the Aeolian is whole, half, whole, whole, half, whole, whole. Who wants to keep that in their brain? 

So, by taking the major scales (those scales we practiced over and over and over and over again when learning our instruments) and thinking of what flats or sharps with each mode needed to alter them - we make the chore of learning modes, much much easier. 

So, let's go with the Lydian mode for a second. 

 Starting on F, we won't play the Bb so we're sharping the 4th to make it a B natural.

 Now let's try a G Lydian mode. 

If we look at the major scale, G has one sharp, F, but in the Lydian mode we will also play a C# to make the 4th note sharp (keeping with the Lydian Mode.)

See? Not that bad. When we memorize the differences in the modes based on the major scales, it makes a light chore out of some hefty lifting. You can teach an old dog new tricks... Right, Mr. Weenie?

Hope this helps! 

Destined to be Dynamic!

Jazz is and must be, above all else, dynamic.

Have you ever heard one that isn't? BLECH, right? Or when it's half-way done? Yuck!

You get this mash between elevator music and a grade school band. It's enough to make one tone-deaf! (or at least wish they were)

Well, perhaps I am being a bit harsh. But it's important to have some effect, some razzle-dazzle in a piece. Otherwise you may as well watch paint peel. (oooo - aaaahh)

Today, I was in Chapter 12 of Jazz Composition and Arranging in the Digital Age, where we look at dynamics, articulation and brass mutes. Now, I'm not going to get into all the articulations, because I've already covered where you can read about them in a past posting called, What does - > ^ • mean, anyway? Let me articulate that for ya.

But here's what I learned:

1. Brass instruments will sound louder than woodwinds, so give brass a "mf" and the sax players "f" when you want the to sound the same. 
2. Jazz players seem to have more issue with the duration of quarter notes than eighth notes as far as dynamics go. 
3. At times, jazz musicians disagree about how certain dynamics should be played, for example: >  may be argued to be played the same as just a >, though they are different articulations. 
4. Mutes can change the pitch of instruments when in the upper and lower registers, however there is a safe range to stay in and experienced players can compensate. 
5. Brass players need ample time to insert and take out mutes - 4 to 8 measures is good. Be sure to put a warning a few measures earlier of "to mute" and specify which mute, to allow them ample time before putting in the device. Then when playing simply specify the mute. 
6. Another way to dampen the sound of brass players without them using a mute is to have them play into the stand. 

Some of this may seem awfully simplistic and silly to write about, and truthfully, it is kind of a "duh, of course!" moment for me. However, it is really easy to forget some of this stuff in the throws of creative passions. 

I certainly know how it feels to just want that song to be played without regard for crossing t's and dotting i's. It's alive and it must be heard! My soul is on fire until the world can hear this masterpiece of my design. My creation! Darn the torpedoes! Full steam ahead! And then, CRASH AND BURN! AH THE HUMANITY!!! What a World, what a world... (Enter Celine Dion Singing My Heart Will Go On...)

Alright, so my favorite thing about this chapter has got to be all of the online listening through the book's website. Lots of examples. I would give you the website, but you have to buy the book to listen. But, there's always youtube and don't forget the blog post that I presented earlier in this post.

Have fun out there! Troubleshooting isn't all bad, it may save your piece.

And A-way we go!

Columbo, Finger Exercises and Approach Tones

Columbo.... Really? 1968 Columbo?

Yes! I'm hooked. Thanks to netflix, I am able to watch Peter Falk portray that iconic character as I practice my bass runs. Because let's face it, my brain doesn't have to totally be switched on the practice the licks. It's more muscle memory than anything.

So, I sit at my piano and watch an episode (about 1hour and 15 mins in length) and work on runs with my getting-more-flexible-by-the-day left hand.

Some of you may say, "Yes, well, that's all very fine and good, but what about your Jazz Theory? Are you keeping up with that?"

Put your minds at ease. Yes, I continue to study. This morning it was 6:40am when I found myself reading about the finer points of the craft. I truly feel like I'm gaining some great knowledge with the book and by finding helpful friends who post to Youtube.

Like this guy, who is teaching about Approach Tones:

He's a bit long winded, but give him a break - he's very thorough. For the newbies, that's a good thing!

Alright, so now you know my secret: Columbo. When I finish with that series it will probably be something else. And with tastes as eclectic as mine, who knows what it could be! 

**** Just a side note: If you focus on the obstacle in front of you, you'll never see the way around or through it. Focus on what you can do, not what you can't. That will come in time, and with a sledge hammer. *****

Cheers!

Thank You Mr. Sussman!!

My last post may have seemed a little melodramatic to some of you, but today, I'd like you to know that music theory is very confusing... Especially when you try to discuss it with others.

Remember, music is not just a nice tune you hear on the radio, but a language, mathematics, and a science (hence the name, music theory). So, like all of those disciplines, sometimes we get a little fuzzy in our discussions about what we're exactly talking about -- especially when people are at differing levels of education or proficiency. 

Back to my last post. I began discussing it with a friend who is a guitarist and they felt that you would actually interpret the "Cmix" chord to be played as if you were in the F scale and then transpose to the mixolydian mode. This confused me a great deal. In fact, everything he said confused me more and more the more he talked. 

So, I asked some friends. Some thought they knew. Others didn't have a clue. So, I turned to the internet and I found the homepage of one of the authors of the book that I've been studying out of: 

Not only did I get a prompt reply from Mr. Richard Sussman, but he was very kind and courteous. He explained that yes, I did have the correct conclusion, that a "Cmix" chord was the Mixolydian Mode beginning on C (or C scale, if you like). Here's his direct response:

"Generally in jazz chord nomenclature, if you designate a mode such as C mix, G dorian, F phryg, etc. you’re not indicating a specific voicing, but rather that you can improvise using any notes of the designated mode built on the indicated key, for example a mixolydian mode starting on C, etc."

But what of my friend the guitarist? We will have to have further discussions, because it's a concept that seems to be confusing many musicians and certainly I don't want to be misinformed, but I don't want to lead others down the yellow brick road of mental gymnastics that leaves you baffled and no closer to answers.  But I'm thankful to him for making me dig deeper. This has certainly helped me. 

No harm. No foul. I'm grateful for all the lessons - from my friends and Mr. Sussman. 

Never stop learning!!!

It's A Conspiracy Theory!!!

It's true! They're trying to trip me up, I tell you!

You say, "Amy, Amy,... Let's be level headed about this. Why would they want to do that?"

I don't know. I couldn't say. All I know is, all of a sudden THIS

Showed up in the piece I was studying in the book, Jazz Composition and Arranging In the Digital Age. 

The first time I was thrown a curve ball, I thought, "Oh, I must have forgotten when they talked about that." The next time, "Gee, this is weird. When did they talk about this?" 

BUT NOT THIS TIME!!! They didn't cover what this chord symbol means. Not once did they mention it before. I caught them red-handed trying to mess me up! 

However, you will be happy to know that I have figured it out again. And thank goodness, because there's not a lot out there on this topic either. 

This is not a Cm9 chord trying to be cagey with roman numerals. Oh no, actually, this is a C chord where the player needs to switch his thinking to the Mixolydian Mode. 

Remember this? 

So, here's how this works. Here you see the Mixolydian Mode in G, because if you play only the white keys in the G scale, you will play the mixolydian mode. But of course, you will need to adjust for any other scale you play, i.e. C or A or whichever other scale. For more on modes click here.

The reason they use this is to allow for soloists to know where they can go within the key. Trust me, if you're in the midst of a solo, you want to know everything you can before going into it - lest you look very, very foolish. 

So, brush up on your modes! I know I'm trying to. 

In the future if you see "Cmix" or "Gdor", which are usually typed as "C Mix" or "G Dor"(G in Dorian Mode) or any other mix of Chord and Mode, remember this blog or get the book: The Structure & Analysis of the Modern Improvised Line 

Jazztimes - A Great Site

In all my scuttling around, trying to be a better musician, I would be remiss in my studies if I didn't look to my betters for guidance and wisdom. I mean, greatness isn't born in a vacuum, right? So, I looked about and found:

I like this site for several reasons.

1. Articles on professionals in the biz.
2. Articles on education.
3. It covers the globe. 
4. It shows upcoming festivals, gigs, etc...
5. Reviews on books, movies, concerts...
6. And so, so, much more.

Here's what I don't like, no breakdown of the music. No in depth look into what makes the arrangements great. 

In a way it makes sense, Jazz is (to a degree) about improv. But! For the larger ensembles, we do need to see what makes them great. How they pull together the sound to become AWESOME, well crafted, bands. 

However, I am looking at Downbeat magazine too. They have a transcription article, so I have hope that it will be able to fill the void. Though, the site is very much in need of help, imho. 

Oh well, back to my left hand training! Oh the agony and fun!

Disciplining Hands

I've been playing around with my bass notes, like I promised.

It's proving to be more challenging though. My left hand seems to think it's just fine the way it is, thank you very much, and would like me to stop exercising it by doing boring bass runs.

"Fine!" I said, "Then you guys will like this... How about playing the melody in the left hand and the chords in the right?! Take that, ya obnoxious little twerp."

So, I wasted no time in putting my left hand to work, and you know what? It actually did a pretty decent job!

However, then my right hand started whining. "What is this? You can't just make me play chords! You'll be hearing from my union. I strictly play melody lines and fills!"

Ugh... They're so temperamental.

I'm confident though, that this shift in dynamic and responsibilities will be good for them. Though my left hand is aching and my right hand is sad, they will be better for this.