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Entries from January 1, 2013 - January 31, 2013

Tuesday
Jan292013

9 Tips for Amazing Guitar Practice Sessions

This is a guest blog post by Auckland Guitarist/Educator Dylan Kay.

Originally published as "The How of Practising".

***


There’s always a lot of discussion about “what” to practise, but you should also consider “how” to practise. Here are some things I’ve discovered to be valuable.

1. Goals

Be realistic about the amount of time you can practise each day and what you want to achieve.

• Write a list of your goals.
• Work out what you need to practise to achieve them.
• Decide what’s most important now, and make a start.

Remember that this is a lifelong thing. You don’t have to do it all by next week.

2. Consistency. Persistence. Motivation.

Keeping motivated is hard. Especially as most things you practise will only start to bear fruit after many months. But persistence and consistent practice is the key to achieving your goals.

One great piece of advice that keeps me motivated is to “practise what you love”. We can’t practise everything - focus on the things you really enjoy practising.

3. Healthy practice

We are upper body athletes, and need to treat our practice sessions as seriously as any other athlete regards their training sessions.

• Warming up (check out the BAPAM warmup exercises),
• Drinking plenty of water whilst practising
• Do stretches after the session.
• Stand up to practise sometimes. Not only does it prepare you better for gigs, but it also helps to counteract poor seated posture.

If you are having problems, you might want to check out the Alexander Technique.

4. Use a metronome

Wherever possible. (That means just about all the time). Work on your sense of time and groove as you practise other material.

5. Plug in

Playing electric guitar “acoustically” might keep the neighbours happier, but you’ll find you tend to pick harder...

6. The Internet

All the information and material you could ever need is available somewhere on the Internet. This is both good and (mainly) bad. 

• There is a very real danger of becoming overwhelmed and thinking that you somehow have to keep up with it all.
• The key to making fast progress is how to apply and integrate this material into your playing. The raw information itself is useless without this.

7. Distractions

• Turn off your phone.
• Log off the Internet and Facebook.
• Find somewhere quiet to practise.
• You might even start by meditating for a few minutes to get focused.

Don’t be distracted from your goals by what your friends are practising, or that latest cool guitar DVD, or something you found on YouTube.

Remember that this is between you and the instrument. Don’t worry about what anyone else is working on or doing. Take it at your own pace.

8. The perils of study

It is easy to get trapped in a cycle of studying all the time and being a “student”.

• Remember to take time every day to just “play”.
• You should actively seek “your” music – what is that unique thing that you have to say on your instrument?

The most important tip for practicing is simply this –

9. Turn Up and Do It.

About:


This is a guest blog post by Auckland Guitarist/Educator Dylan Kay. He was educated in Berklee College of Music, the Guitar Institute and Oxford University. A former faculty member of Guitar Institute in London, he now performs and teaches in Auckland, New Zealand. His guitar lessons in Auckland site is here: http://www.aucklandguitarschool.co.nz/

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Monday
Jan282013

Jazz Guitar Lesson #4: Soloing With Triads

It's 2013 and it's the year of epic guitar! 

To help more guitarists, there will be weekly free guitar lessons posted on the site. These lessons will include:

  • A Video Lesson
  • Audio MP3 Version of the Lesson
  • FREE Downloadable PDF with notated examples & TAB

Every month will alternate between:
1) Jazz guitar
2) Fingerstyle guitar
3) Beginner guitar   

January 2013 is jazz guitar month! The focus will be to help aspiring jazz guitarists learn their craft better. 

If you'd like more tips before next week's lesson, check out my Jazz Guitar 101 page here: http://www.azsamad.com/jazzguitar101

This is a part of a 4-part lesson series in January 2013:
Part 1: Walking Bass Lines For Jazz Guitar: http://www.azsamad.com/jazz1
Part 2: Jazz Guitar Chords: http://www.azsamad.com/jazz2
Part 3: Jazz Guitar Triads: http://www.azsamad.com/jazz3 

Here's the 4th lesson. Enjoy! 

Audio Version:
 

[Click here to download the 'Soloing With Triads' PDF File]

[Click here to download the 'Soloing With Triads' PDF File]

[Additional Resources]

Jazz Guitar 101: http://www.azsamad.com/jazzguitar101
[Blog Post with PDF] [15 Jazz Guitar Chords You Must Know]

If you missed the first 3 weeks of lessons, check them out here:
Part 1: Walking Bass Lines For Jazz Guitar: http://www.azsamad.com/jazz1
Part 2: Jazz Guitar Chords: http://www.azsamad.com/jazz2
Part 3: Jazz Guitar Triads: http://www.azsamad.com/jazz3 

*****
[ACTION STEPS] How can you learn this better?

1) Learn the solo
2) Write your own solo using the triads
3) Learn the triad arpeggios in different positions and fingerings
4) Learn this on another song and write a solo on that song 

Other songs to check out:
Stella By Starlight
Have You Met Miss Jones
Beautiful Love
The Days Of Wine and Roses
Fly Me To The Moon  

---------

Join my newsletter for a FREE 7-song acoustic guitar MP3 compilation
& to be updated of new blog posts, videos, upcoming shows & exclusive content.

 

100% privacy and I promise never to spam you.
_________

 

 If you liked this post, please Like it or Tweet it! =)

Monday
Jan282013

How To Play Great Jazz Guitar Chords

Are you overlooking these 4 essential concepts when you play jazz guitar chords? 

Most guitarists simply grab random chords when they read a lead sheet or chord chart at a gig. They play one chord that they learned from a website, another from a YouTube video and a few from some that a friend showed them. 

This is okay if you’re just playing for fun but, if you’re looking to sound exceptional, there’s a better way.

The very best players study in-depth to create more options when they perform. As a result, their playing sounds unique and interesting. This represents part of the puzzle. 

Here are 4 key concepts that will make your comping more organized and sound awesome.  

1. Density 

This is how many notes in a voicing. 

Sometimes when comping it’s better to use less notes, for example in fast tunes, most player will choose to use 2 or 3-note voicings. Using less notes allows for the player to outline the harmony, yet still be flexible to change chords fast and fluidly. In other situations, like in a jazz  ballad - it’s desirable to use more notes since you can sustain the voicings longer. 

PRO-TIP: When a song is fast, play 2-3 note voicings. When a song is slow, use 4-5 note voicings that you can sustain. Include voicing with open strings.

2. Texture  

This refers to how the notes are spaced.

Having an open voicing will create a different texture than using close voicings. On some instruments, open voicings will sound better. Depending on the composition or the melody, a comper may choose a different texture to complement the piece. 

PRO-TIP: Open voicings are easier to play on guitar and close voicings are easier on piano. Therefore, these sound idiomatic on the respective instruments. However, playing them on the opposite instruments can make your voicings sound refreshing.

3. Color  &  Mood  

This is what does the choice of notes makes you feel. 

Often, this part is left out of most jazz comping guides because it’s harder to explain. It’s funny because it’s actually the most important aspect for a professional comper. In a melancholic ballad, darker chords with more extensions may be the best choice and in a lighter groove-oriented piece, sparse open triads and interval may be the correct choice.

PRO-TIP: By studying pieces that envoke similar moods, we can emulate the voicings choices made by the heroes we love. On the other hand, we can always choose to mix and match ideas from different pieces we’ve studied. For the modern jazz musician, experimentation is essential to develop a personal voice on the instrument. 

4. Context  

Context is when & why one voicing would work best in a particular style, groove or moment  in a piece. Closely related to color and mood, this is a consideration that guides the choice of color & mood in comping. Also, this could be the performance context as well for example whether you’re performing solo, in a duo, with a singer or in a trio.

PRO-TIP: Experiment using the same voicings in different situations & on different instruments - discover what works best for your music, in your setting and circumstances.

_________

What to do now?

1. Pick a jazz standard that you really love. Here are 5 examples of classic tunes that are worth studying: 

  • Stella By Starlight
  • Autumn Leaves
  • All The Things You Are
  • Misty
  • You Don’t Know What Love Is 

2. Consider the 4 concepts: (Density, Texture, Color & Mood and Context) and decide on what you want to do on a tune.

For example: 

Song Title: Stella By Starlight
Density: 3 note voicings
Texture: Open Voicings:
Color & Mood: Dark
Context: Solo Guitar 

3. Write one chorus of voicings that reflect these choices.
4. Record these voicings with no rhythmic variations (i.e. one or two voicings per bar)
5. Record a version that includes rhythmic interpretation, like how you would actually play it in performance
6. Listen back to the recordings, comment & critique.
7. Use the elements you loved in your live performances.
8. Repeat steps 1 to 7 on different songs or with different choices of the 4 concepts. 

Good luck and hope this helps accelerate your development as a modern jazz guitarist!

Related Posts: 
[BLOG POST] 7 Things For Jazz Guitarists To Practice 
[BLOG POST] The B.O.P. of Learning
[VIDEO LESSON] How Do I Understand Modes?

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Join my newsletter for a FREE 7-song acoustic guitar MP3 compilation
& to be updated of new blog posts, videos, upcoming shows & exclusive content.

 

100% privacy and I promise never to spam you.
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 If you liked this post, please Like it or Tweet it! =)

Wednesday
Jan232013

The Satay Trio

 

[The Satay Trio]


Ingredients:
Az Samad: Guitar
Fung Chern Hwei: Violin
Cheryl Tan: Vocals

Event: The Satay Trio
Date: Friday, 1 March 2013
Time: 8pm
Cover Charge: RM40
Duration: 2 Sets of Music (45 minutes per set, 90 minutes in total)
Venue: FreeSpace, L1 - 35 & 36, Level 1, SStwo Mall, 40 Jalan SS 2/72, PJ
Facebook event page: https://www.facebook.com/events/525774120776310
Website: http://www.azsamad.com/sataytrio

Press:
1. [The Malaysian Insider] Ready to be serenaded by The Satay Trio? 
2. [We Are Malaysian Made] The Satay Trio: Satay Calm and Play Some Music 
3. [I.M. Magazine] Satay Calm And Listen To This Trio  
4. [Poskod.my] Event: Satay Trio at SStwo 

Photos:

1. Satay Trio Promotional Photos (FB Photo Album Link)
2. Media Interview: The Malaysian Insider speaks to The Satay Trio! (FB Photo Album Link)
3. The Satay Trio @ Readings at Seksan's (FB Photo Album Link)

Az Samad: Guitar
 
Guitarist-Composer-Educator Az Samad has recorded with Grammy Winners Flaco Jiménez & Max Baca; graduated & taught at the prestigious Berklee College of Music; performed in the United States, Europe & Asia; and appeared on 16 CDs ranging in styles from Tex-Mex, Contemporary Jazz to solo acoustic guitar. His works have been described as “richly textured, poetic and atmospheric”. Previously based in Berkeley, California; Az now lives in Kuala Lumpur.

http://www.azsamad.com/

Fung Chern Hwei: Violin

Born and raised in Kuala Lumpur, Malaysia, Fung Chern Hwei absorbed a large amount of musical information since young in his surroundings that is filled with Chinese, Malay, South Indian, and of course, "Western" culture. After a long search for violin teacher since he was 4 years old, he finally found one when he was 8 and since then thrusted himself into the world of violin and never looked back.

Upon finishing his masters studies at the Aaron Copland School of Music in New York, Chern Hwei chose to stay back to pursue his musical career, playing different genres of music, absorbing yet even more musical languages and expressions. Styles that he plays frequently includes western classical, jazz, Middle Eastern music, tango, early music, rock, and hip hop. He recently self-released his debut album, “From The Heart”.
Artists that he was fortunate to work with include Uri Caine, Ryuichi Sakamoto, Stanley Clarke, Tony Bennet, Bobby McFerrin, Steve Wilson, Elliot Sharp, Billy Martin, Roberta Piket, Dave Taylor, Ivo Perelman, Linda Oh, Jenny Lin, Mikael Karlsson, Dana Leong, Makoto Ozone, Paquito d'Rivera, among others.

Chern Hwei is currently the first violinist of Sirius Quartet, a string quartet based in New York City that performs and teach actively in the U.S, Europe and Asia.

http://chernhwei.webs.com/

Cheryl Tan: Vocals

Cheryl Tan is a jazz vocalist and actor. Trained in multiple disciplines, she believes in utilizing the entire breadth of sound available to her to create a unique vocal palate rather than accepting the limits of genre. Tan has studied under Chris Dingman, Connie Crothers, Anthony Braxton, Noah Baerman, Alvin Lucier and Jay Hoggard. She once got to sing with Chick Corea and Bobby McFerrin. Tan has been heard in New York, Japan, San Jose, Singapore and Malaysia with such diverse collaborators as hip-hop group Blue Belts, the Sam Friedman Quartet, OperaOggiNY, Michael Veerapen, John Thomas, Az Samad, Daniel Foong, Zahid Ahmad and more. 

https://www.facebook.com/cheryltanyinyi

Come for the show! Tell your friends, maybe? =)
Official FB Event Page: https://www.facebook.com/events/525774120776310/

---------

Join Az's newsletter for a FREE 7-song acoustic guitar MP3 compilation
& to be updated of new blog posts, videos, upcoming shows & exclusive content.

 

100% privacy and I promise never to spam you.

_______

 If you liked this post, please Like it or Tweet it! =)

Monday
Jan212013

Jazz Guitar Lesson #3: Jazz Guitar Triads

It's 2013 and it's the year of epic guitar! 

To help more guitarists, there will be weekly free guitar lessons posted on the site. These lessons will include:

  • A Video Lesson
  • Audio MP3 Version of the Lesson
  • FREE Downloadable PDF with notated examples & TAB

Every month will alternate between:
1) Jazz guitar
2) Fingerstyle guitar
3) Beginner guitar   

January 2013 is jazz guitar month! The focus will be to help aspiring jazz guitarists learn their craft better. 

If you'd like more tips before next week's lesson, check out my Jazz Guitar 101 page here: http://www.azsamad.com/jazzguitar101

This is a part of a 4-part lesson series in January 2013:
Part 1: Walking Bass Lines For Jazz Guitar: http://www.azsamad.com/jazz1
Part 2: Jazz Guitar Chords: http://www.azsamad.com/jazz2

Here's the 3rd lesson. Enjoy! 

Audio Version:
 

[Click here to download the 'Jazz Guitar Triads' PDF File]
[Click here to download the 'Jazz Guitar Triads' PDF File]

[Additional Resources]

Jazz Guitar 101: http://www.azsamad.com/jazzguitar101
[Blog Post with PDF] [15 Jazz Guitar Chords You Must Know]

If you missed last 2 weeks of lessons, check them out here:
Part 1: Walking Bass Lines For Jazz Guitar: http://www.azsamad.com/jazz1
Part 2: Jazz Guitar Chords: http://www.azsamad.com/jazz2

*****
[ACTION STEPS] How can you learn this better?

1) Learn to play the arpeggios
2) Learn to connect the arpeggios and compose/improvise simple solos
3) Learn to use the triads over different songs
4) Learn 2-octave triad arpeggios (for intermediate jazz guitarists)
5) Learn 3-octave triad arpeggios  (so you really learn to move across the fretboard!)

Other songs to check out:
Stella By Starlight
Have You Met Miss Jones
Beautiful Love
The Days Of Wine and Roses
Fly Me To The Moon  

---------

Join my newsletter for a FREE 7-song acoustic guitar MP3 compilation
& to be updated of new blog posts, videos, upcoming shows & exclusive content.

 

100% privacy and I promise never to spam you.
_________

 

 If you liked this post, please Like it or Tweet it! =)