Latch Music's Ezine #38
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* "The Zine" content is contributed by Dave Latchaw and colleagues who use the Internet to promote their musical projects. You can check out previous issues at "The Zine" Archives.
- Article: "Technique" by Dave Latchaw
- Guest Artist: Dan Alleger - Masterful piano playing.
- Featured Web Site: KeithJarrett.org
- Featured Web Video: Jazz Café - Damberd, Ghent (Belgium)
- CD Pick: Robert Walter's 20th Congress "Giving Up The Ghost"
Technique
by Dave Latchaw
- Technique
- 1: a practical method or art applied to some particular task
2: skillfulness in the command of fundamentals deriving from practice and familiarity; "practice greatly improves proficiency" [syn: proficiency, facility]
Our goal needs to be to perform the music we are playing effortlessly, and to achieve this goal we must master the necessary techniques. I use the concept of playing effortlessly as a guide to gauge whether one has achieved an appropriate amount of technique to play any given style of music. The type of technique needed will vary, and the music you choose to play will dictate the amount of technique you need to sound effortless in performing that music. I believe that playing effortlessly goes hand in hand with having a good performance. Sounding and looking effortless makes you seem more connected to the music, which will give the listener a better experience. Being able to play scales, arpeggios and exercises does not necessarily make one a good musician, they are only part of the story. Playing an instrument and making music can be two different things. One can learn to do cartwheels up and down their instrument, which can be impressive, but if they are not connected with the music they are playing, it will feel cold and distant. We have all seen the master technician play and sound like a machine. We all want to have a great technical performance, but if the human spirit of connecting to the music is not there the performance usually seems incomplete.
There is not one universal "technique" for all musicians. For instance, the skills needed to play in an orchestra will be different than what's needed to play jazz. An orchestral musician needs to be able to play a passage of music at a specified tempo, style, volume, etc., and be able to do it that way exactly, every time. Jazz players may have favorite riffs up their sleeves, but what is important to them is to have the technique needed to pull off ideas that come to them on the fly. Then add in to the equation that keyboard players need different skills than horn players, who need different skills than string players, and so on. All of these players can benefit from understanding the techniques and disciplines of their own style of music and instrument, plus all the others. Crossing over and learning techniques from other styles of music and instruments rather than just staying in your own musical element can open up a wider range of opportunities. The greater the variety of techniques one learns, the more they are able to bring a broad range of capabilities to any given musical situation. So often, it's easier to knock other styles of music than to learn the techniques and disciplines that go with performing it. Of course we don't all dig every kind of music, but we should try to appreciate what's involved with performing each different type of music, and learn from it.
With the music world so competitive, the more angles you have covered the greater your chance of success. Musicians who learn to play by ear have developed a technique that is very useful for them, but ear players can be presented with situations that make it necessary to read. The ear player that has also learned to read will have more musical situations presented to them because of their multiple capabilities. Musicians who learn to read what they play have also developed a technique that is useful, but the reading type of musician should also develop their techniques for playing by ear. Looking for things that you are musically weak on and improving those issues will make you a better musician.
The great thing about music is that it can be a never ending experience of improving one's technique. That can vary from player to player. Some players find a niche that is acceptable in their playing career, and may not feel the need to improve their technique. Their situation may only involve maintaining the technique they already have, which they are content with. Nothing wrong with that, but music is so big that there will always be some musical technique one can spend time working on.
How much technique? It's up to the individual. But remember, complacency stifles growth. Stay curious about music!
Dan Alleger
#1 Where on the Internet can people find out more about you and your music?
I have a bio, photos, and a few MP3's at www.danalleger.com.
#2 Who were some of your early musical influences, and how did they inspire you to develop your own voice?
That's a loaded question! I was always into classic rock music, and especially a fan of Pink Floyd. David Gilmour's guitar soloing was a big influence since he is an extremely melodic player. Once I got into jazz music, I started listening to Oscar Peterson early on, and was really into the blues base in his playing. When I was introduced to the music of Keith Jarrett, however, everything changed. Keith can play so melodically, and can somehow make even simple harmonies incredibly beautiful. I also really respected the fact that he could play standards so beautifully and then go crazy vamping over one chord for 20 minutes. Chick Corea's use of rhythmic displacement has also played a roll in how I approach soloing. Those are a few people I can think of immediately, but of course there are so many more. So in terms of developing my own voice, all those elements have contributed to my playing objectives - melodic, soulful, and rhythmically interesting.
#3 What was it like to study with Enrique Graf and Joanne Brackeen, and how does that training carry over to your playing today?
Studying with Enrique Graf changed my life musically and otherwise. Since he is a well known classical pianist, I went to study with him strictly for the purpose of developing better technique and exploring the full capabilities of the instrument. What I learned was not only a whole new world of piano repertoire, but an entirely new way to approach my practicing and performing. I've noticed that when I am now playing with a group or especially solo, I am very conscious of the sound and the voice leading. I've also noticed that some of the reharmonizations I employ are reminiscent of progressions used in late classical and romantic music. In terms of articulation, I find that I use the same approach playing bebop that I use when I'm playing Bach. Joanne Brackeen's teaching style was entirely different. Most of our lessons involved playing two pianos and feeding off each other. Sitting next to such a master was amazing. She taught me to really listen and escape the trap of getting too caught up in theory and methods that so many people become slaves to when improvising. She was also a big fan of playing in odd meters which turned me on to reworking standards in a new way. I have found that since I studied with her, I feel much more free to explore abstract harmonies and push the envelope of playing outside. In addition, I find that her influence definitely comes through when interacting with a group - it's not just a goal of making it musical, but something organic that is fed by carefully listening to each player's contributions.
#4 How important do you feel it is to study both the classical and improvisational disciplines?
Very important. Having delved into classical repertoire, I can say that it is not only important in terms of developing good technical skills, but also understanding the roots of the music we make today. It's no secret that the great baroque, classical, and romantic composers were often masters of improvisation, and you can often hear this in the compositions. There are some pianists who spend a lifetime studying the ornamentations used in baroque music, and I had the good fortune of studying some of that as well. Those elements can be carried over and applied when improvising in a jazz context, whether through melodic embellishment or otherwise. Examining the harmonic language and progressions used by composers like Chopin or Brahms can open a whole new vocabulary to be carried over to jazz music. By the same token, I personally think it would be appropriate for more classical artists to study improvisation. Granted, improvising in a classical context is quite different than sitting in at a session. But there are so many parallels that can be carried over successfully. I know this is true for me, especially when memory slips occur playing classical music. Having a knowledge of theory and improvisation, I've been able to cover myself by simply improvising over the harmonic progression in the piece. However, this can also backfire, as it did once when I played a Charlie Parker line in the middle of a Beethoven Sonata to bridge a memory gap!
#5 What is your practice routine?
I almost always begin a practice session by playing Bach or Beethoven. I play slowly, deliberately, and with a concentration of directing weight and balance to my fingers. This usually works well to get the fingers moving with ease. I generally spend a little time working on tunes that cover different periods. I'll start with a blues, generally working my left hand to provide different grooves. Then I choose a bop tune and work it at a few different tempos. I'll pick another key at random and play the same tune in that key. I find that this is a great way to give any tune a fresh twist as different ideas tend to come out in different keys. I pick another tune to work on harmony, and explore ways to reharmonize it. Then I'll spend time working on more contemporary music, concentrating on chord voicings, lines, and varying meters. I almost always conclude by returning to classical repertoire, usually something late classical or romantic.
#6 When playing in solo and group situations, what do you want listeners to get from your performance?
Mostly, I want it to be musical and different than what they can hear by going to the club next door. I believe that even the most over-played standard can be played in a way that is inventive and inspiring. My goal is to have the listener leave wanting more, with a deeper curiosity and love of jazz music.
#7 As a music educator, what do you try to achieve with your students?
I think it is really important to expose my students to as much music as possible. I was fortunate to have teachers who would take the time to put on a record during the lessons simply for the sake of hearing something new. Those are some of my best memories of studying, and it shouldn't be any different for my students. I also put a good amount of emphasis on studying classical repertoire, mainly for work on proper technique and learning the extents and the limits of the instrument. I find that one of the most important components of teaching is simply to educate the student about the right way to practice, as that is generally the most difficult thing to learn. My main objective for my students is to help them avoid the wrong turns or missed opportunities that I experienced years ago.
#8 What future projects should people look for?
I am currently composing tunes for a new trio recording that will take place within the next few months. I also collaborate with a Danish pianist named Thomas Walbum, and we have discussed doing a two piano jazz recording as well. My main focus these days is composition and putting together dynamic arrangements that really showcase the strengths of the band as a unit, not just as individuals.
KeithJarrett.org
It is rare to find a serious musician who isn't familiar with Keith Jarrett and his music. KeithJarrett.org is a useful site to learn more about him and keep up with his creative activities. There is information on upcoming concerts, past concerts, Keith Jarrett news, a fun list of links, and my favorite - the transcription and midi file area. Keith Jarrett is a must for all studying, advancing musicians. Spend some time at KeithJarrett.org.
Jazz Café - Damberd, Ghent (Belgium)
Since 1750, there has always been a café called "Het Damberd/Le Damier" in the very same spot in the city of Ghent, Belgium. For the last 25 years, it has been a jazz café. You know this is a cool place when on the front of their web page they have written, "HIPISTOSHUTUPWHENTHEMUSICIANSPLAY". When there are spaces between the letters it reads, "HIP IS TO SHUT UP WHEN THE MUSICIANS PLAY", which is a great vibe and attitude for a jazz club. Check out the great streaming videos from this great club. It's a cool chance to see David Fiuczynski, Mingus Amungus, Cosmic Dapp Theory and more. Go to http://www.damberd.be/html/video.htm and check out these videos.
Robert Walter's 20th Congress
"Giving Up The Ghost"
"Giving Up The Ghost" is a good time toe tapper. Robert Walter's vintage keyboards and traditional R&B and jazz roots with electronic and reggae dub elements takes you on a sonic adventure exploring the eternal groove. One can appreciate the inspiration of Herbie Hancock's Headhunters, James Brown and P-Funk with this recording. This music will be a hit with people who are into jazz, soul, blues, roots rock jam bands. Robert Walter proves you can play cool music and have people listen and have a good time. Music is supposed to be fun! Check it out today.
Musicians for "Giving Up The Ghost"
Robert Walter - Hammond Organ, Fender Rhodes, Piano, Synthesizers, Samples, Effects
Cochemea Gastelum - Alto Sax, Amplified Alto Sax, Flute, Bass Clarinet, Effects
Will Bernard - Guitar
Chuck Parada - Percussion
Joe Russo - Drums (tracks 1,3,6,7)
George Sluppick - Drums (tracks 2,3,4,5,8,10,11,12)
Chris Stillwell - Bass (tracks 1,2,3,7)
Mike Fratantuno - Bass (track 9)
Tracks for "Giving Up The Ghost"
- Glassy-Winged Sharp Shooter
- Aquafresh
- Convex+Concave
- Circle Limit
- Bygones Be
- Dump Truck
- Easy Virtue
- Clear All Wires
- Bet
- Underbrush
- Sacred Secret
- Giving Up The Ghost
Click here to learn more about "Giving Up The Ghost"
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