I was doing some office cleaning and came across a notebook for a conducting class I took from Dr. Joe Scagnoli, at Ball State. I don’t recall the context of the following, but I think this may be something he put together for our class. Here are “Conducting Thoughts, Some Simple-Some Profound” from ‘Doc.’
The music is in the sound, not in the printing.
Music moves ever forward.
Teach your students to play with professional ear.
We are either sensitizing our players or desensitizing them.
Every ensemble is capable of its own independent pulse.
The music, not the meter, should drive the gesture.
The left hand is the adjective hand – descriptive.
When conducting soft passages with small gestures the facial energy must increase tremendously.
Releases are reverse preparations.
Always be aware of who in the ensemble has the pulse.
People care more about how you feel about the music than how much you know.
The music starts before the first beat is given. Set up the mood of the music.
It’s obvious from reading it that he’s specifically talking about conducting, but there are gems in there for jazz or chamber ensemble directors, and even just musicians in general.
There’s an interesting discussion going on over at James Boldin’s Horn World Blog on Dennis Brain’s embouchure. If you’re a horn player you are no doubt already a Dennis Brain fan. Whether or not you’re a horn player, if you’re a brass musician you should get to know his recordings of the Mozart horn concerti. Brain is still enormously influential to horn players, in spite of him having such a short career and living a relatively long time ago (1921-1957, he was killed in a car accident).
One reason why I’m interested in Brain’s playing is he appears to have been a Low Placement (upstream) embouchure type. Watch this video and look closely at Brain’s embouchure.
Donald Reinhardt is less known than some of his brass pedagogue contemporaries like Phillip Farkas and Arnold Jacobs. His approach to teaching brass instruments, which he dubbed the Pivot System, is often misunderstood due to confusion about his terminology and its complexity.
Long time student and friend of Reinhardt, Dave Sheetz, has just started up a blog called FixYourBrass where he will be discussing different aspects of brass pedagogy and practice that he learned from Reinhardt (and presumably some of his own take on it). If you’re curious to learn more about Donald Reinhardt go over to Dave’s new blog and post some questions for him.
Yesterday I wrote about the modern modes and explained how to work out the pitches for any given mode by finding the parent major scale. For example, a D dorian is the same thing as a C major scale beginning on D, but it’s also like a D major scale with a lowered 3rd and 7th. If this stuff is new to you you’ll want to go back and read through that article before you read this one.
Today I’m going to show the relationship between the modes and certain chords. For this post I’ll use the modes in the key of B flat major. Continue reading The Modes Part 2
In preparing for any business, trade or science, we generally need a great deal of preparation and study. In painting, literature and music, we also need to learn the tools of our trade. The artist needs paints to express himself, while the jazz musician uses tonal resources.
The above quote is how George Russell starts his book, The Lydian Chromatic Concept of Tonal Organization for Improvisation. I’m currently rereading it and plan to post on a few of the concepts he describes. Before one can follow Russell’s book, though, you need to have a good grasp of the modes. Many jazz musicians are familiar with modes and use them to derive note choices for particular chords. They are useful tools for not just coming up with good note choices, but they also can help demonstrate harmonic concepts as well. Continue reading The Modes Part 1
The Grey Eagle is a great room for live music. I’ve played with a jazz combo and a couple of times with rock bands there, but I’ve never played with a big band there. I did hear Maynard Ferguson’s band play there shortly before he died and the acoustics of the room sounded great with his, slightly smaller, big band.
Because of the nature of the beast, the AJO has a number of regular players that play with us according to availability and location of the show. This Thursday I’m particularly excited about the sax section, which will be Steve Alford, Joe Luloff, Jacob Rodriguez, Julian Samahl, and Frank Southecorvo. All five of those cats can blow some great solos, so I plan on calling out lots of sax features. I’ll probably torture them with a sax soli or two and really make them work. I’ll definitely torture the whole room with some of my original charts.
The rest of the sections are going to be good too. Trumpets on this one are Woody Dotson, Je Widenhouse, Andy Sorenson, and Steve Martinez. The trombone section is Walton Davis, Alan Greene, Linda Davis, and myself. Jeff Knorr is playing piano, Trevor Stoia on bass, and Justin Watt is on drums.
Matt Otto is a saxophonist currently based in Kansas City, but who has spent time in Japan, New York, and Los Angeles. He also has a blog with some really nice online lessons dealing with different aspects of playing jazz. Here is his latest, where he discusses a phrase from J.S. Bach’s Two-Part Invention #15 and learning to play it in all 12 keys.
Matt talks about not just learning the keys and intervalic relationships, but also emphasizes singing and ear training. Be sure to go to his page on this lesson to download the pdf file of the Bach melody he’s working with.
Now to get my metronome out and start practicing in all 12 keys…
I don’t know that I would call it exactly a “crisis” myself, at least not as described in Po Bronson’s and Ashley Merriman’s Newsweek article, The Creativity Crisis. New research looking at American’s creativity quotient (like IQ, except it measures an individual’s ability to create something original and useful) shows that CQ scores in the U.S. had been rising steadily up until 1990, when they began to consistently drop.
It’s too early to determine conclusively why U.S. creativity scores are declining. One likely culprit is the number of hours kids now spend in front of the TV and playing videogames rather than engaging in creative activities. Another is the lack of creativity development in our schools. In effect, it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children.
I would argue that TV and video games are a lot more complex than the authors give credit. Many of today’s TV shows require fans to follow very complex plots that arc over years of episodes with characters and events influencing shows seasons later. Video games today are equally complicated and not like traditional games, where the rules are established and learned from the beginning. In a video game you learn what to do by probing and figuring out what you’re supposed to do to play the game. You have to learn to think creatively in order to probe the game and work out how to play it.
One of my favorite jazz journalists, Bob Bernotas, will be interviewing one of my favorite new jazz trombonists, Michael Dease, on his radio show tonight (July 25, 2010). You can listen in online between 10 PM and 3 AM Eastern Time at www.wnti.org.
I first heard Mike’s playing when he sent his album, The Takeover, to the Online Trombone Journal to be reviewed. As the Reviews Editor at the time, I would listen to the CD and select a reviewer who had a background in that musical style to write the article. After hearing Dease’s playing and writing I decided to write the review myself so I could keep the CD.
Dease has a new album out, called Grace. I’m sure it will be worth picking up, but listen in to Bob’s radio show to hear for yourself.