arrange • compose • conduct
Don’t outsource your rhythm: own it. Who might you outsource your rhythm to? A drummer. A fellow ensemble member. A conductor. The only outsourcing that’s worthwhile is a metronome in the practice room. And even then, you should still be engaging actively with the rhythm, so that when the metronome […]
Music theory (or as I prefer, music literacy) seems among the primary focuses of music school and, to a lesser extent, many secondary music programs. Setting aside the hegemony of focusing almost universally on Western tonal theory, maybe we can ask, “What’s it for?” Why are we pushing music literacy […]
One of the things I love about attending masterclasses and clinics from master musicians is that I can glean new words to put around musical ideas. Sometimes the words are harder than the ideas – I can grasp a concept, but not succinctly describe it. Hearing someone else’s words can […]
We learn to practice a specific way of listening in music school. Listen to assess. It’s the first stage of an important recursive cycle that is essential to the growth we have to achieve with a music degree. Listen to assess. Assess for flaws. Correct flaws to grow. Repeat. It’s […]
I’ve said more than once that the world needed a proper history of The Real Book. And Adam Neely did a great job with his video about the handmade viral sheet music collection of the 1970s. But never did I imagine something made with the loving care that Roman Mars […]
I’ve written before about how the insufficiency of Roman Numeral analysis leads to problems when voicing chords. But it seems to me that chord inversions change the character of chords so significantly that we should regard inversions as equally important to the the Roman Numeral. The little 6 is just […]
Dragging is a common problem, and one that is typically responded to with instructions to practice with a metronome, to physicalize the rhythm, or even just, “keep better time.” All of those instructions overlook the signal that dragging is giving us. The cue we should take whenever we start dragging […]
When you look at a finished skyscraper, you can’t see the I-beams and other aspects of its steel skeleton. But without them, the skyscraper wouldn’t stay together. When young musicians interact with a new piece, the structure – the bones – of the piece are similarly invisible. But bringing this […]
Jazz chord symbols and nomenclature developed as a shorthand, like figured bass before it. Well-executed, it enables an interpreter to play a piece without needing to read a densely notated score. They also allow players to freely improvise and create within rhythmic, melodic, and voicing frameworks. Because it’s so freeform, […]
When we teach dynamics, students learn that forte means loud. In Italian, forte more precisely means strong. But I think even that doesn’t do enough. Dynamics are relative – a forte passage in a vocal jazz piece might feel very different from a forte passage in a Gospel piece, for […]