MY APPROACH TO STUDYING JAZZ & IMPROVISATION. Wim Dijkgraaf 2014 v1.2

Transcription

1 MY APPROACH TO STUDYING JAZZ & IMPROVISATION Wim Dijkgraaf 2014 v1.2

2 What music is to me interaction

3 What jazz is to me interaction

4 You will sound like what you have studied and mastered the music you listen to the musicians you play(ed) with how you develop as a person

5 Your ultimate goal is sound fresh every time, always -> endless creativity study and play without fear -> carelessly playing! no longer think music but live music -> flow! freedom and fun not to replicate but to innovate -> be the next you

6 An endless journey music is a journey of a life time; there is no end you will always be a student of music, just like anyone on the same journey what you like today, you will probably dislike in the future -> your musical taste is dynamic enjoy the journey, embrace the result don t make music too important -> nobody really cares if you play or not except yourself

7 Mastery you have mastered something if you can play it effortlessly -> without thinking, without feeling resistance, effortlessly! you have to familiarize yourself with something music itself is not difficult -> you are just not familiar with it yet first master, than forget

8 The key to mastery is Limit your WIP WIP = work in progress Limit what you study! Mastery is your goal Master small things -> building blocks Build on top of building blocks that you already master

9 What to master? Musical lego bricks -> building blocks The process of instant composing -> building with the blocks Craftsmanship -> reading music, music history, composition, arranging, other instruments,

10 Types of building blocks technique melodic harmonic rhythmic & time feel repertoire

11 Examples of building blocks technique melodic harmonic rhythmic repertoir staccato embelishments arpeggios pacing tunes vibrato high register low volume horizontal coordination chromaticism large intervals synthetic scales outlining 3rds&7ths upper structures density odd meters quotes styles substitutes swing feel forms etc. etc. etc. etc.

12 Pitfall: Lack of focus

13 Solution: a practicing board Work Items on post-it's Your overview of Work Items: Ideas To Do Doing Done

14 Online practicing board

15 IDEAS: which ideas? transcribed solos, books transcribe what you resonates with you find new ways to use building blocks like no-one has done yet choose your building blocks carefully -> ask a mentor the blocks should be connectable -> how useful is your idea? ask other musicians, independent of their instrument

16 TO DO: What to study? Build on top of building blocks that you master Select what is related to what you recently mastered (Re-)Order your TO DO list from time to time Pick the one that feels best / inspires most

17 Pitfall: too many things

18 Solution: limit WIP max. 4! Set yourself a rule: Maximum x work items in the DOING queue

19 DOING: feedback

20 DOING: Effortlessness goal never to be sacrificed: can sacrifice goal: guidelines 1. always play effortlessly 2. add any other variable 3. don t add more than 2 variables can sacrifice goal: can sacrifice goal:

21 Pitfall: disconnected building blocks

22 Solution: Re-use & connect the blocks should become connected -> you are creating! connect Doing with what you have Done also work on the connection between types of building blocks technique melody harmony rhythm repertoire

23 building blocks & instant! composing harmony concepts of tension and release motives melody flow of concert construct / composition phrasing/ articulation time feel rhythm instrumental technique forces depth variety logic timing ease balance energy chaos

24 Pitfall: hurry

25 Solution: definition of done When to move from DOING to DONE? Do you really master it? Is the sounding result valuable to you? find out how others use the building blocks you study Do you really master it as the masters do? What is your definition of done?

26 My Definition of Done I test my mastery of a building block against: does it come out convincing and natural? can I play it without hiccups - fluency? can I let the material swing? am I able to use the material creatively? can I play it at a high enough tempo - x bpm? can I play it over various time signatures? 4/4, 3/4, 5/4, 7/4, can I play it over various styles? swing, latin, afro, cuban, can I apply the material over tunes that I know?

27 DoD <> perfectionism perfectionism is a by-effect that takes years Years of what? not years of practicing but years of usage! perfectionism -> mastery comes from using the building blocks, not from endless study DoD should be aimed at internalization, not at perfectionism perfect should mean natural -> imperfection is natural too

28 Repeat regularly repeat

29 Ear training everything IS ear training -> listening, playing, studying, transcribing, reading, don t remember the facts (movements, note names, theory, ) remember the sound -> check if you can sing it do you recognize the sound in recordings you like?

30 Musical development Play other instrument(s) - piano! play in a group, lead your own group Discover styles Arrange, compose MIDI Mockups, sound libraries Drum libraries & drum tracks Mix & Master Be part of a scene; visit gigs, concerts, jam sessions, master classes Dance, act, read, meditate, Does music come from music?

31 Music and Your Brain

32 Personal development

33 Why music? What is the relevance of what you do? What is the meaning of music to you? What does your music speak"?

34 Enjoy the journey!