Tip of the Day

Play in front of a mirror every now and again... it helps you to recognize and stop unwanted tension and unnecessary movements.

When I'm playing with students and we're both amplified, it's common for me to say "tighter cup," to help them achieve a larger tone through the amp. This usually means their palms are slightly open at the bottom and that they need to close it (assuming there's no leakage due to space between the fingers or anywhere else). They commonly squeeze their hands more tightly and though it helps for a while, their hands get tired quickly and of course that's not the right technique. continue reading...

Our second most common culprit for driving the band faster and faster... and one that most musicians won't notice, even when listening to themselves on recording... is the rushing of pickups. Let's use a tune everyone's familiar with... "Juke" by Little Walter. The first lick is 2 3 4 5+ 6+ 6+. The downbeat (beat 1... the beginning of the twelve bar blues form in this case) is the first 6+... the 2 3 4 5+ leads into this 6+ target note, and is known as a pickup. This lick is played eight times. Imagine if each time you play that pickup... the notes leading to the 6+... fast every time. continue reading...

Yesterday was the rehearsal for my students of School of the Blues for their winter concert. There are always comments... and there was yesterday... that the band played faster than they wanted (from the start) or that they rushed. I audio record the rehearsals and in most cases when we review the recording, the band gave them the exact tempo they counted.

So, where does it commonly go wrong?... continue reading...

What did you hear differently with Mitch Kashmar’s “Rocker” relative to Little Walter’s original? How about Aki Kumar’s or Rod Piazza’s? What you hear in common is that they use the opening choruses of “Rocker,” some more than others, but they all start with the recognizable head and then they play “in the style” of Walter. To play in the style of another player is to have studied them well enough to be able to move and think like that player. continue reading...

Now listen to Mitch Kashmar's version of Rocker from his Crazy Mixed Up World release.

Take a listen to Little Walter's "Rocker" (he only recorded it once, so no problem accidentally purchasing the wrong version if you don't already have it). We'll be discussing this for a while.

"You're always looking for that great marriage of creativity that you can pull off technically. But if I can't pull it off technically, I'll go for the creativity... and maybe be sloppy... or some guys won't allow themselves to be sloppy, and I think they lose creativity. The Jazz musician should create on the spot and take chances, otherwise why don't you go hear a classical pianist?"

NPR: Jazz Profiles Podcast
Dave Brubeck: In His Own Sweet Way @ 2:54

Here's an example of what your harmonica practice might look like throughout the week.

MORNING
10m = Exercises: "Movement Exercises Summed" one day and "Tongue Block Study 2.5" the other
25m = Bending Study Song
25m = Tongue Blocking Study Song
(If you've completed the core bending and TB studies, then your focus would be 3rd Position, 1st Position, or whatever study songs are in your path).

AFTERNOON
20m = Improvising: Take one lick from a study song and apply the Chorus Form process

EVENING continue reading...

Dividing your practice into different times of the day is very effective. Some of you know that I'm studying the upright bass right now and am in my wood-shedding years and consistent practice is very important. Here's how I structure my practice days...

MORNING
15m = Exercises: There are finger/intonation-based exercises that require daily, habitual practice to grow.
45m = Sight Reading: Using a method book for developing fingering positions and reading skills. This requires concentration, and the morning time is when I can focus best.

AFTERNOON continue reading...