Being Open-minded: What is Music?
30/05/07 01:40
What is Music?
This is an incredibly difficult question to answer. It's like asking what is food? or what is amazing? Neither of which can draw on definite definitions. However, we can apply meaning to certain things about music. First off, music is an art, and we all know that art is incredibly subjective, so it's not hard to say music is subjective. People listen to music everyday, but is that all the music in the world? Of course not. Does music even have to be from human beings? Couldn't someone just admire the music of a storm? or the rain forest? or whales? What I'm trying to say is that music is everywhere if you listen to it in the frame of 'music.'
Like splattered paint against a canvas, there are regions of music that are not meant to be pretty or pleasing. Some is actually quite irritating or tense, causing an audience to cringe or even frown at the music. This brings us to the first counter question; does music have to be pleasant? The answer is no. In fact, some of the deepest music is rooted in harsh melodies/ sounds. What do you think would convey the blues more? A man playing the 12 bar blues chorus after chorus? or a man that just plays two notes, that sound like weeping? Even the simplest melodies can have the most profound impact on the listener. Of course, the 12 bar blues are pleasant, fun to dance to, and even great to listen to, but the sadness can't be felt as hard as something that is definite and genuine.
Popular music says a great deal about our culture and our society. Simplicity sells. Not minimalism, but simplicity (ohh, we're not there yet). 5 note solos over three chord pieces seem to be the magic numbers. Any less and it's 'annoying,' any more and it's 'just too much.' Most people like music they can dance to and have fun listening to. Whether the lyrics are interesting, the music behind it is interesting, both, or there's something about the artist that attracts them to it, people who listen to popular genres of music are truly missing out on the wealth of music that's out there. Of course, this isn't a music appreciation course, this is just some understandings towards some age-old questions.
This brings me to my second counter question; what makes music 'valid' in the ears of a listener? Most often, people are expecting music to have a refreshing melody, pleasing harmony, a set rhythm, a cool groove, correct intonation, and image (from the band members). However, music doesn't always have these qualities. Is it still music? Of course it is. From my understanding, if any music can convey a complete thought either within the structure of the piece (harmony, melody, form, line, process etc.) or within the idea of the piece (sadness, a great structure, bugs etc.), then the piece is definitely music. And yes, a song completely composed of incomplete thoughts is, in that of itself, a complete thought, so it counts too.
What I'm getting at is that it is not the instrumentation, the era, the genre, the sound, the prettiness, its acceptance in society, or even the instruments that define 'Music' from 'Sound,' but the presence of a complete thought within the piece, somewhere that validates it. In a way, one can say that "Music, is the discipline of Sound."
More to follow in the coming weeks...
This is an incredibly difficult question to answer. It's like asking what is food? or what is amazing? Neither of which can draw on definite definitions. However, we can apply meaning to certain things about music. First off, music is an art, and we all know that art is incredibly subjective, so it's not hard to say music is subjective. People listen to music everyday, but is that all the music in the world? Of course not. Does music even have to be from human beings? Couldn't someone just admire the music of a storm? or the rain forest? or whales? What I'm trying to say is that music is everywhere if you listen to it in the frame of 'music.'
Like splattered paint against a canvas, there are regions of music that are not meant to be pretty or pleasing. Some is actually quite irritating or tense, causing an audience to cringe or even frown at the music. This brings us to the first counter question; does music have to be pleasant? The answer is no. In fact, some of the deepest music is rooted in harsh melodies/ sounds. What do you think would convey the blues more? A man playing the 12 bar blues chorus after chorus? or a man that just plays two notes, that sound like weeping? Even the simplest melodies can have the most profound impact on the listener. Of course, the 12 bar blues are pleasant, fun to dance to, and even great to listen to, but the sadness can't be felt as hard as something that is definite and genuine.
Popular music says a great deal about our culture and our society. Simplicity sells. Not minimalism, but simplicity (ohh, we're not there yet). 5 note solos over three chord pieces seem to be the magic numbers. Any less and it's 'annoying,' any more and it's 'just too much.' Most people like music they can dance to and have fun listening to. Whether the lyrics are interesting, the music behind it is interesting, both, or there's something about the artist that attracts them to it, people who listen to popular genres of music are truly missing out on the wealth of music that's out there. Of course, this isn't a music appreciation course, this is just some understandings towards some age-old questions.
This brings me to my second counter question; what makes music 'valid' in the ears of a listener? Most often, people are expecting music to have a refreshing melody, pleasing harmony, a set rhythm, a cool groove, correct intonation, and image (from the band members). However, music doesn't always have these qualities. Is it still music? Of course it is. From my understanding, if any music can convey a complete thought either within the structure of the piece (harmony, melody, form, line, process etc.) or within the idea of the piece (sadness, a great structure, bugs etc.), then the piece is definitely music. And yes, a song completely composed of incomplete thoughts is, in that of itself, a complete thought, so it counts too.
What I'm getting at is that it is not the instrumentation, the era, the genre, the sound, the prettiness, its acceptance in society, or even the instruments that define 'Music' from 'Sound,' but the presence of a complete thought within the piece, somewhere that validates it. In a way, one can say that "Music, is the discipline of Sound."
More to follow in the coming weeks...
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The Philosophy of Practice
29/05/07 01:43
So, you want to learn the saxophone, or any other
instrument? Well, needless to say, you’re going to
have to work hard to get good at it, harder if you
want to be great at it, and you have to live, eat,
and breathe it if you plan to master it someday.
Well, how do we work on our mastery of our
instruments, you say? Practice, Practice,
Practice....
There is much philosophy to the often tiresome and difficult ritual of practicing, but it must be done to progress in any idiom. A few rules to live by:
1) “Are you practicing as hard as your competitors?”
Don Jaramillo
2) “The only shortcuts in life come from doing something right the first time.”
Dr. Bruce Eskovitz
3) “Make music become an art, not a system.”
Sean O’Kelley
Each of the following rules are thus explained. Rule number one explains the sincerity of the competitive spirit between you and your fellow players, if you aren’t working harder than they are, they have an advantage over you, and will probably get more gigs than you and perhaps make more money than you. But rather than spying on your competitors, spend that time evaluating yourself and practicing. Rule number two refers to the common routine in practicing of trying to cut corners and make shortcuts. Well, in the long-run, that is not the least bit productive or efficient. Simply because learning something the right way first means taking special care and giving attention to what it is to be learned. Eventually you will be tried for your knowledge, and if you don’t know something as well as someone else, this puts YOU at a disadvantage. Lastly, music is art, if you are not being creative with it or trying to make a statement with it, you are merely being technical and lifeless. Bring something of your own to each and every practice session.
Learn to question yourself all of the time: Is this what it’s supposed to sound like? Am I in tune? Am I in the right tone color? Am I in time (good pulse?)? Is this the easiest I can play this? What do I need to do to play this better than before?
Practicing versus Performing
When you practice, you are working on things that you otherwise don’t know... so don’t play the things you do! So what if it sounds bad, that’s the point! You play the things that sound bad and work on them in order to make them sound good. When everything starts to sound good, you are ready for rehearsal. At rehearsal, before the director (or your boss) comes up to the stand, you should go through your proper warmups and then maybe hit the spots that you want to be sure will be flawless (a.k.a. the harder parts). However, once the director is on the podium, you are performing and you must know how to play everything correctly. After a successful rehearsal or so, with regimented practicing, you are ready to perform. When you perform, you are playing the things you know very well, don’t try to play things you don’t know (that was what practicing was for). Countless people (myself included) have mistaken practicing for performing on numerous occasions. Avoid it at all costs.
Approaching the dreaded ‘Warmup’
You’ve just gotten your horn out of the case, it’s all put together, you put it to your mouth... what’s the first thing you do? Of course, you play the hardest lick you know. However, once you’ve gotten your jollies from that, now what? The best things to do sound the simplest and impress your friends the LEAST, deal with it.
1) Get air in the horn by playing some major and minor scales. A neat trick is to pick a random Key (A), play all the scales, modes, arpeggios, patterns and sequences that you can in major and all three minors (harmonic, melodic, natural). Then follow that up with the same exact thing in the key above it (A#) and the key below it (Ab). When you’ve finished, you will have trained your fingers in such a way that they feel as though you were playing all 12 major scales. Randomize the keys though, don’t keep playing in any particular key (strive for the one’s you don’t know so well).
2) Play long tones. Starting on the lowest note, play until you run out of breath, getting louder and softer as you go. Then do the same thing on the next note up. Repeat until you are at the highest note you know of. Play in front of a tuner and really strive to keep each tone in tune throughout the crescendo and decrescendo. Play from Bb to C (Altissimo) sax players since you will use these notes for the majority of your playing.
3) Play over tones. Finger low Bb and make the saxophone play an octave higher, a fifth higher than that, a fourth higher than that, a major third higher, a minor third higher, and a perfect second higher. Do the same on B natural, C, C#, and if you can, D. Then, match the overtones to their corresponding pitches and tones. That full-bodied sound you eventually hear is the true sound of your instrument, if you match that, you will have great tone and your tuning will become more consistent as you learn to alter pitch with your tongue and throat, not your lips and teeth.
4) Sight-read something. Find a jazz etude book or the Charlie Parker Omnibook, open up to a page, take a deep breath, set the metronome to about 2/3 the actual tempo, and play through it, making mental notes of places you falter. Keep going! When you’re finished, assess the problems (if any), and read it again. If successful, read it again at tempo, if not read it at the reduced tempo.
Practicing Material
Focusing on the Jazz idiom, there are several ‘sure-shot’ methods to practicing effectively when you’re finished with warmups and scales:
1) Song Transcription: Take a favorite song (preferably the type of music you like to play or want to learn), listen to it over and over again, be able to sing it (with or without lyrics), transcribe the solo and make it so that you sound just like the person on the recording.
2) Internalization: Even I have difficulty with this, but play the song to the point where you know the changes in and out, you can solo on quarter notes or longer and can hear the rhythmic harmonies in perfect pulse (a capella). The point is to gain the deepest understanding of a song. Having this understanding, it becomes difficult to solo poorly.
3) ii-V7-I Transcriptions: Take the transcribed solo and locate the ii-V7-I’s, learn to play and understand them in all 12 keys. Incorporate them in your solos.
The more charts you know, the more versatile you are as a player. As far as learning to phrase your solos, study the Lennie Niehaus Jazz Etudes and pay attention to the articulations while maintaining a good sense of ‘swing.’ As a Jazz Saxophone player, it is necessary for you to listen to music constantly. Go out and buy CDs of artists you want to sound like. Listen and analyze the music; little licks you liked, the tone, artistic style. Be sure to pick the songs apart. Adopt everything you like and incorporate it in your playing.
From the Classical Viewpoint
Familiarize yourself with the Ferling 48 Etudes, buy Marcel Mule books and practice them slowly, working your way up to tempo. Become anal about everything you do with music. Pay strict attention to dynamics, articulation, texture, tone, how the parts blend with other parts (if any), phrasing and especially intonation. Play every note on your saxophone against a tuner and write your own fingering chart according to the most in-tune notes. THEN, practice your scales and arpeggios with the new fingerings. In college, you’ll be expected to prepare ‘Jury’ pieces, which are essentially recital pieces you play in front of faculty members (like a final exam for musicians). You will be expected to know these pieces in your own personal repertoire, should you ever apply to any professional ensembles.
Simply put, it is going to be worth your while to take music seriously. Admit that there will be great weeks and bad weeks, but as long as the overall motion towards success is consistent, you’re doing well. Understand that analyzing your own playing and comparing it to the ideal saxophone sound are key elements in your ‘quest for success.’
There is much philosophy to the often tiresome and difficult ritual of practicing, but it must be done to progress in any idiom. A few rules to live by:
1) “Are you practicing as hard as your competitors?”
Don Jaramillo
2) “The only shortcuts in life come from doing something right the first time.”
Dr. Bruce Eskovitz
3) “Make music become an art, not a system.”
Sean O’Kelley
Each of the following rules are thus explained. Rule number one explains the sincerity of the competitive spirit between you and your fellow players, if you aren’t working harder than they are, they have an advantage over you, and will probably get more gigs than you and perhaps make more money than you. But rather than spying on your competitors, spend that time evaluating yourself and practicing. Rule number two refers to the common routine in practicing of trying to cut corners and make shortcuts. Well, in the long-run, that is not the least bit productive or efficient. Simply because learning something the right way first means taking special care and giving attention to what it is to be learned. Eventually you will be tried for your knowledge, and if you don’t know something as well as someone else, this puts YOU at a disadvantage. Lastly, music is art, if you are not being creative with it or trying to make a statement with it, you are merely being technical and lifeless. Bring something of your own to each and every practice session.
Learn to question yourself all of the time: Is this what it’s supposed to sound like? Am I in tune? Am I in the right tone color? Am I in time (good pulse?)? Is this the easiest I can play this? What do I need to do to play this better than before?
Practicing versus Performing
When you practice, you are working on things that you otherwise don’t know... so don’t play the things you do! So what if it sounds bad, that’s the point! You play the things that sound bad and work on them in order to make them sound good. When everything starts to sound good, you are ready for rehearsal. At rehearsal, before the director (or your boss) comes up to the stand, you should go through your proper warmups and then maybe hit the spots that you want to be sure will be flawless (a.k.a. the harder parts). However, once the director is on the podium, you are performing and you must know how to play everything correctly. After a successful rehearsal or so, with regimented practicing, you are ready to perform. When you perform, you are playing the things you know very well, don’t try to play things you don’t know (that was what practicing was for). Countless people (myself included) have mistaken practicing for performing on numerous occasions. Avoid it at all costs.
Approaching the dreaded ‘Warmup’
You’ve just gotten your horn out of the case, it’s all put together, you put it to your mouth... what’s the first thing you do? Of course, you play the hardest lick you know. However, once you’ve gotten your jollies from that, now what? The best things to do sound the simplest and impress your friends the LEAST, deal with it.
1) Get air in the horn by playing some major and minor scales. A neat trick is to pick a random Key (A), play all the scales, modes, arpeggios, patterns and sequences that you can in major and all three minors (harmonic, melodic, natural). Then follow that up with the same exact thing in the key above it (A#) and the key below it (Ab). When you’ve finished, you will have trained your fingers in such a way that they feel as though you were playing all 12 major scales. Randomize the keys though, don’t keep playing in any particular key (strive for the one’s you don’t know so well).
2) Play long tones. Starting on the lowest note, play until you run out of breath, getting louder and softer as you go. Then do the same thing on the next note up. Repeat until you are at the highest note you know of. Play in front of a tuner and really strive to keep each tone in tune throughout the crescendo and decrescendo. Play from Bb to C (Altissimo) sax players since you will use these notes for the majority of your playing.
3) Play over tones. Finger low Bb and make the saxophone play an octave higher, a fifth higher than that, a fourth higher than that, a major third higher, a minor third higher, and a perfect second higher. Do the same on B natural, C, C#, and if you can, D. Then, match the overtones to their corresponding pitches and tones. That full-bodied sound you eventually hear is the true sound of your instrument, if you match that, you will have great tone and your tuning will become more consistent as you learn to alter pitch with your tongue and throat, not your lips and teeth.
4) Sight-read something. Find a jazz etude book or the Charlie Parker Omnibook, open up to a page, take a deep breath, set the metronome to about 2/3 the actual tempo, and play through it, making mental notes of places you falter. Keep going! When you’re finished, assess the problems (if any), and read it again. If successful, read it again at tempo, if not read it at the reduced tempo.
Practicing Material
Focusing on the Jazz idiom, there are several ‘sure-shot’ methods to practicing effectively when you’re finished with warmups and scales:
1) Song Transcription: Take a favorite song (preferably the type of music you like to play or want to learn), listen to it over and over again, be able to sing it (with or without lyrics), transcribe the solo and make it so that you sound just like the person on the recording.
2) Internalization: Even I have difficulty with this, but play the song to the point where you know the changes in and out, you can solo on quarter notes or longer and can hear the rhythmic harmonies in perfect pulse (a capella). The point is to gain the deepest understanding of a song. Having this understanding, it becomes difficult to solo poorly.
3) ii-V7-I Transcriptions: Take the transcribed solo and locate the ii-V7-I’s, learn to play and understand them in all 12 keys. Incorporate them in your solos.
The more charts you know, the more versatile you are as a player. As far as learning to phrase your solos, study the Lennie Niehaus Jazz Etudes and pay attention to the articulations while maintaining a good sense of ‘swing.’ As a Jazz Saxophone player, it is necessary for you to listen to music constantly. Go out and buy CDs of artists you want to sound like. Listen and analyze the music; little licks you liked, the tone, artistic style. Be sure to pick the songs apart. Adopt everything you like and incorporate it in your playing.
From the Classical Viewpoint
Familiarize yourself with the Ferling 48 Etudes, buy Marcel Mule books and practice them slowly, working your way up to tempo. Become anal about everything you do with music. Pay strict attention to dynamics, articulation, texture, tone, how the parts blend with other parts (if any), phrasing and especially intonation. Play every note on your saxophone against a tuner and write your own fingering chart according to the most in-tune notes. THEN, practice your scales and arpeggios with the new fingerings. In college, you’ll be expected to prepare ‘Jury’ pieces, which are essentially recital pieces you play in front of faculty members (like a final exam for musicians). You will be expected to know these pieces in your own personal repertoire, should you ever apply to any professional ensembles.
Simply put, it is going to be worth your while to take music seriously. Admit that there will be great weeks and bad weeks, but as long as the overall motion towards success is consistent, you’re doing well. Understand that analyzing your own playing and comparing it to the ideal saxophone sound are key elements in your ‘quest for success.’