“I've
“I've never never come come across across a a person person whowho could explain what, and how to practice could explain what, and how to practice as well as he can.”
as well as he can.” ―When
―When I I first first saw saw Chris Chris play play at at a a jam jam here here inin
Boston, I thought, that's the guy I want to take Boston, I thought, that's the guy I want to take lessons with. Luckily for me, he's as good a lessons with. Luckily for me, he's as good a teacher as he is a player.
teacher as he is a player.
Chris has a very logical and straightforward Chris has a very logical and straightforward approach to learning music. Since taking approach to learning music. Since taking lessons with Chris I've learned to maximize my lessons with Chris I've learned to maximize my practice time, working on multiple topics practice time, working on multiple topics through one exercise. I've never come
through one exercise. I've never come across aacross a person who could explain what, and how to person who could explain what, and how to practice as well as he can.
practice as well as he can.
I would recommend Chris to anyone looking to I would recommend Chris to anyone looking to take their understanding of music to a deeper take their understanding of music to a deeper level, I don't know anyone who will give you a level, I don't know anyone who will give you a more honest, and p
more honest, and passionate education.‖ assionate education.‖ Mike Tucker
Mike Tucker — —Drummer Drummer and and BandBand Leader
Leader — —Boston, MABoston, MA
______________________
______________________________________________________
"Chris‘ ‗Monster Jazz Formula‘ is a detailed and "Chris‘ ‗Monster Jazz Formula‘ is a detailed and
motivational approach to reaching your goals motivational approach to reaching your goals as a jazz musician. This is not just a book for as a jazz musician. This is not just a book for novices - reading through Chris Punis' books novices - reading through Chris Punis' books prompted me to rethink my own concepts and prompted me to rethink my own concepts and approaches to teaching and practicing - after approaches to teaching and practicing - after 20 years of professional playing and teaching! I 20 years of professional playing and teaching! I highly recommend this book and plan to highly recommend this book and plan to introduce it to my own students and fellow introduce it to my own students and fellow musicians."
musicians."
Joel Yennior
Joel Yennior — —Trombonist with GypsyTrombonist with Gypsy Schaeffer, Either/Orchestra and
Schaeffer, Either/Orchestra and Instructor at the New England Instructor at the New England Conservatory
Conservatory — —Boston, MABoston, MA
"Chris is certainly the best jazz music "Chris is certainly the best jazz music teacher I've ever had
teacher I've ever had, but he's more than, but he's more than that: he's one of the best teachers I've ever that: he's one of the best teachers I've ever had--in any subject." He has a special talent had--in any subject." He has a special talent for taking complex topics and breaking them for taking complex topics and breaking them down into the simplest possible parts.
down into the simplest possible parts.
Chris also has a wonderfully open-minded Chris also has a wonderfully open-minded approach to musical concepts, critically approach to musical concepts, critically examining conventional wisdom and examining conventional wisdom and encouraging his students to do the same. He'll encouraging his students to do the same. He'll certainly offer answers to his students' certainly offer answers to his students' questions, but he always urges them to pursue questions, but he always urges them to pursue their own path, to find their own musical way. their own path, to find their own musical way. It is Chris' holistic approach to learning It is Chris' holistic approach to learning jazz--focusing not just on technical concepts but on focusing not just on technical concepts but on all of the emotional and psychological all of the emotional and psychological components of learning jazz as well--that components of learning jazz as well--that makes him an ideal guide to the world of jazz. makes him an ideal guide to the world of jazz. Chris' lessons have been a huge help for me. Chris' lessons have been a huge help for me. Jazz is such a rich and deep tradition, and it's Jazz is such a rich and deep tradition, and it's easy to get lost or overwhelmed when you try easy to get lost or overwhelmed when you try to study it. One of the things I like best about to study it. One of the things I like best about Chris' approach is that he doesn't oversimplify Chris' approach is that he doesn't oversimplify the whole process by telling you what to focus the whole process by telling you what to focus on. Instead, he helps you decide what you on. Instead, he helps you decide what you want to focus on. And then he shows you how want to focus on. And then he shows you how to go about learning those things the right to go about learning those things the right way.
way.
One of the most important aspects in One of the most important aspects in becoming a great jazz musician is developing becoming a great jazz musician is developing your own voice, and Chris really helps you do your own voice, and Chris really helps you do that in the learning process."
that in the learning process."
Ken Hiatt
Ken Hiatt — — Accordionist, Accordionist, Band Leader,Band Leader, Teacher
Teacher — —Waltham, MAWaltham, MA
A
“I've
“I've never never come come across across a a person person whowho could explain what, and how to practice could explain what, and how to practice as well as he can.”
as well as he can.” ―When
―When I I first first saw saw Chris Chris play play at at a a jam jam here here inin
Boston, I thought, that's the guy I want to take Boston, I thought, that's the guy I want to take lessons with. Luckily for me, he's as good a lessons with. Luckily for me, he's as good a teacher as he is a player.
teacher as he is a player.
Chris has a very logical and straightforward Chris has a very logical and straightforward approach to learning music. Since taking approach to learning music. Since taking lessons with Chris I've learned to maximize my lessons with Chris I've learned to maximize my practice time, working on multiple topics practice time, working on multiple topics through one exercise. I've never come
through one exercise. I've never come across aacross a person who could explain what, and how to person who could explain what, and how to practice as well as he can.
practice as well as he can.
I would recommend Chris to anyone looking to I would recommend Chris to anyone looking to take their understanding of music to a deeper take their understanding of music to a deeper level, I don't know anyone who will give you a level, I don't know anyone who will give you a more honest, and p
more honest, and passionate education.‖ assionate education.‖ Mike Tucker
Mike Tucker — —Drummer Drummer and and BandBand Leader
Leader — —Boston, MABoston, MA
______________________
______________________________________________________
"Chris‘ ‗Monster Jazz Formula‘ is a detailed and "Chris‘ ‗Monster Jazz Formula‘ is a detailed and
motivational approach to reaching your goals motivational approach to reaching your goals as a jazz musician. This is not just a book for as a jazz musician. This is not just a book for novices - reading through Chris Punis' books novices - reading through Chris Punis' books prompted me to rethink my own concepts and prompted me to rethink my own concepts and approaches to teaching and practicing - after approaches to teaching and practicing - after 20 years of professional playing and teaching! I 20 years of professional playing and teaching! I highly recommend this book and plan to highly recommend this book and plan to introduce it to my own students and fellow introduce it to my own students and fellow musicians."
musicians."
Joel Yennior
Joel Yennior — —Trombonist with GypsyTrombonist with Gypsy Schaeffer, Either/Orchestra and
Schaeffer, Either/Orchestra and Instructor at the New England Instructor at the New England Conservatory
Conservatory — —Boston, MABoston, MA
"Chris is certainly the best jazz music "Chris is certainly the best jazz music teacher I've ever had
teacher I've ever had, but he's more than, but he's more than that: he's one of the best teachers I've ever that: he's one of the best teachers I've ever had--in any subject." He has a special talent had--in any subject." He has a special talent for taking complex topics and breaking them for taking complex topics and breaking them down into the simplest possible parts.
down into the simplest possible parts.
Chris also has a wonderfully open-minded Chris also has a wonderfully open-minded approach to musical concepts, critically approach to musical concepts, critically examining conventional wisdom and examining conventional wisdom and encouraging his students to do the same. He'll encouraging his students to do the same. He'll certainly offer answers to his students' certainly offer answers to his students' questions, but he always urges them to pursue questions, but he always urges them to pursue their own path, to find their own musical way. their own path, to find their own musical way. It is Chris' holistic approach to learning It is Chris' holistic approach to learning jazz--focusing not just on technical concepts but on focusing not just on technical concepts but on all of the emotional and psychological all of the emotional and psychological components of learning jazz as well--that components of learning jazz as well--that makes him an ideal guide to the world of jazz. makes him an ideal guide to the world of jazz. Chris' lessons have been a huge help for me. Chris' lessons have been a huge help for me. Jazz is such a rich and deep tradition, and it's Jazz is such a rich and deep tradition, and it's easy to get lost or overwhelmed when you try easy to get lost or overwhelmed when you try to study it. One of the things I like best about to study it. One of the things I like best about Chris' approach is that he doesn't oversimplify Chris' approach is that he doesn't oversimplify the whole process by telling you what to focus the whole process by telling you what to focus on. Instead, he helps you decide what you on. Instead, he helps you decide what you want to focus on. And then he shows you how want to focus on. And then he shows you how to go about learning those things the right to go about learning those things the right way.
way.
One of the most important aspects in One of the most important aspects in becoming a great jazz musician is developing becoming a great jazz musician is developing your own voice, and Chris really helps you do your own voice, and Chris really helps you do that in the learning process."
that in the learning process."
Ken Hiatt
Ken Hiatt — — Accordionist, Accordionist, Band Leader,Band Leader, Teacher
Teacher — —Waltham, MAWaltham, MA
A
The “Secrets” to becoming a Monster Jazz Musician.
The “Secrets” to becoming a Monster Jazz Musician.
What you now hold in your hands is just a snap shot of my years of extensive research, practice, What you now hold in your hands is just a snap shot of my years of extensive research, practice, performance, trial and error and studies with many of the
performance, trial and error and studies with many of the top teachers in the top teachers in the jazz world.jazz world.
Up till now, this information has been virtually unknown to students of jazz. Practically a ‗Secret‘. Up till now, this information has been virtually unknown to students of jazz. Practically a ‗Secret‘. You s
You see, many ee, many of the of the top players top players don‘t actually don‘t actually ‗know‘ how ‗know‘ how they got they got to the to the level they level they are at are at now. Ifnow. If they do, they don‘t know how to articulate it to their students (or they don‘t want to).
they do, they don‘t know how to articulate it to their students (or they don‘t want to).
They might be able to tell you what they do now, or how they approach jazz. But they can‘t tell you They might be able to tell you what they do now, or how they approach jazz. But they can‘t tell you
how they got there. how they got there.
These ‗secrets‘ are certainly not taught in music school. I‘ll be honest, school
These ‗secrets‘ are certainly not taught in music school. I‘ll be honest, school and me are like oil andand me are like oil and water. Sure, I know how to play the game and pass the classes. But, I have some pretty harsh water. Sure, I know how to play the game and pass the classes. But, I have some pretty harsh opinions of the education world. I might offend some of my readers who still hold loyalty to our opinions of the education world. I might offend some of my readers who still hold loyalty to our
‗trusted institutions‘. ‗trusted institutions‘.
But I‘m not here to be nice or politically correct or to make friends with the establishment. I‘m here But I‘m not here to be nice or politically correct or to make friends with the establishment. I‘m here
to shed light on some of
to shed light on some of these major problems with learning jazz. And to hthese major problems with learning jazz. And to help you become the playerelp you become the player
you‘ve always wanted to be. you‘ve always wanted to be.
There‟s a very big idea inside and many
There‟s a very big idea inside and many people people have used it to become „Monsters‟ once they have used it to become „Monsters‟ once they grasped the concepts that you are about to grasped the concepts that you are about to receive right here for free.
receive right here for free.
Who is Chris Punis?
Who is Chris Punis?
You
You might might know know me me from from my my free free online online e-e-course ‗Twentycourse ‗Twenty-one-one
Great Ways to Become a Monster Jazz Musician‘ or ma
Great Ways to Become a Monster Jazz Musician‘ or maybe youybe you
already own ‗The Monster Jazz Formula‘. Or you might be familiar already own ‗The Monster Jazz Formula‘. Or you might be familiar with my work with Charlie Kohlhase‘s Explorer‘s Club or the band with my work with Charlie Kohlhase‘s Explorer‘s Club or the band
Gypsy Schaeffer. Gypsy Schaeffer.
To be honest, I‘m not really in the limelight right now. I‘ve spent To be honest, I‘m not really in the limelight right now. I‘ve spent
the last few years working behind the scenes trying to really figure the last few years working behind the scenes trying to really figure out a simple system for learning and a simple system for success out a simple system for learning and a simple system for success with jazz that anyone can use to realize their musical dreams. In with jazz that anyone can use to realize their musical dreams. In
fact, unless you‘re from Boston or the East Coast you‘ve probably fact, unless you‘re from Boston or the East Coast you‘ve probably
never seen me perform, you might have n
never seen me perform, you might have never even heard of me.ever even heard of me.
But rest assured, on the following pages you‘ll get to know me and But rest assured, on the following pages you‘ll get to know me and find out why I feel it‘s so important for you to listen to these ideas about success with jazz.
find out why I feel it‘s so important for you to listen to these ideas about success with jazz. “Ok, but why do I care abou
“Ok, but why do I care about getting to know you?” t getting to know you?” you may ask. you may ask. Touché. Good question. Touché. Good question.
I strongly suggest that you print I strongly suggest that you print this book out right now, and this book out right now, and read it
The reason is this: I know from personal experience that my frustrations are pretty much universal in the jazz world. My story resonates with my students and can help them uncover problems and challenges of their own.
If I come right out and say ―you have such and such problem, you have such and such frustration,‖
that can make people put their guard up, become defensive and miss the very important ideas that are presented here.
This way you can sit back and enjoy, err, I mean observe the sufferings of a fellow jazz musician. If something resonates with you, maybe I can assist you in solving that problem or frustration. Only you can be the judge of that.
On the following pages I‘m going to spill the beans about jazz education and dispel many of the
myths and misconceptions about becoming a great player. I‘ll shed light on why most people never become Monsters and give in to their frustrations and fears, only to spend their lives wondering ‗what if‘.
Or even worse, become music teachers themselves, only to ‗spread the pain‘.
In a just a second I‘ll tell you all about my own struggles and failures with jazz. I‘m going to tell you
about my deep dark secrets, how I almost gave up after years of spinning my wheels.
Believe me, I don‘t really want anyone to know this much about me. But I really believe deep down that it‘s the only way to really help you with your musical struggles.
You see the fact that you‘re reading this means that you and I are probably a lot alike. For as far back I can remember, I have always wanted to be a jazz musician, one of the cats.
From the first time I heard ‗Trane and Miles I knew I wanted to be a player. I knew in my heart of hearts that I wanted to do ‗that‘.
But let‟s start at the beginning…
Way back when I was 13 years old, before I ever heard of ear training, practice habits, swing feel or modern harmony, I fell in love with the drums. Actually, I was fascinated with the drums long before that. But I was 13 before I ever got to see and play a drumset. My best friend‘s older brother got a
drumset and I would follow him home everyday after school and beg him to let me bang on them.
‗Bang‘ being the key word.
When I sat behind this seemingly giant set of silver Slingerland drums my imagination would take over. The sound of the drums got my blood pumping, got me excited. It was nothing short of amazing, powerful and awe inspiring. I would imagine myself playing in front of a roaring crowd
I‘m telling you this corny story of my childhood to illustrate a point. Do you remember the first time you played your instrument? I bet you were fascinated, excited and enamored with it to say the least. I bet it just looked and felt amazing in your hands. And the sound was just pure electricity. Music was so much simpler back then. We would play around,
play being the operative word, and figure things out that sounded great to our virgin ears. We had no expectations, no judgement.
We didn‘t know how much we were ‗supposed‘ to know to be a ‗real‘ musician. We hadn‘t acquired any music school baggage yet.
We played for the sheer joy, for the experience.
Well, that soon would change. As I started taking drum lessons and playing in the school band, little by little the requirements were piled on one after the other, week after week. As soon as I barely got through one lesson another was thrown on the pile.
Then another, and another and another…
Slowly but surely the joy and electricity were stripped away and replaced with judgements,
expectations, rules and standards. But back then I didn‘t know this was a problem. I wasn‘t aware of
what was really happening. I was digging myself into a dark musical abyss of un-mastered material and half-learned concepts.
Then I discovered jazz. I fell in love with it, with the sound and the story. The sound was something
I‘d never heard before. It was rich and stimulated my ears like nothing else. And the ‗characters‘
were no less enticing. They were one part cool and one part rebel. They were different. They did
their own thing. And their music was simultaneously hip and sophisticated. It wasn‘t long before I knew that that‘s what I wanted to do. That‘s who I wanted to be.
Soon I found myself in music school, studying jazz. This ‗problem‘ I wasn‘t even aware of yet was
only intensified. The workload increased. 10 fold. I was bombarded by musical concepts, theory, technique, harmony, improvisation, ensembles and on and on.
I just couldn‘t keep up. And the fact is that most people can‘t. But that didn‘t stop me from thinking that I ‗should‘ be able to keep up. So I practiced and studied more and more.
I developed an addiction to practicing in fact. I would put practicing before everything else in my life. I lost girlfriends, had no social life and even gave up a free trip to
Italy all in the name of practice.
I practiced 8, 9 even 10 hours a day on some days. I never mastered anything, but I kept trying to go further and build on this weak foundation. There was just soooooo much to practice, I had to try to
fit it all in. I didn‘t have much time after all. I was already 18 years
old! But soon I was ‗already‘ 20. Then ‗already‘ 22. Then ‗already‘ 25. Instead of building a magnificent musical ‗castle‘ on top of a sturdy
and unbreakable foundation, I was building a rickety shack made of
“I just couldn‟t keep up. And the fact is that most people can‟t. But that didn‟t stop me from thinking that I „should‟ be able to keep up. So I practiced and studied more and more.”
a hodge podge of materials held together with duck tape and kite string and all resting on quick sand.
Somehow I knew that something was wrong, that something wasn‘t working. But I thought it was
me, not my methods. And I sure as hell didn‘t have time to stop and figure it out. There Was Still So
Much To Practice!!!
With every day of practice, study and class there was more information about jazz and music piled on top. Just to keep things interesting I added learning piano to my list.
It was around this time that I really started to question whether I ‗had it‘ or not. So I would practice harder.
I read or heard somewhere that Bird, Trane and other top players all practiced 6, 8, even 14 hours a day. So I thought that‘s what I must do too. I never tried to find out how or what they practiced. I
just knew that logging hours was mandatory for top jazz musicians. So I pressed on further into the downward spiral to utter confusion and defeat.
And of course most teachers were of no help. They just fed the fire by throwing more information, more tests, more homework, more papers, and more practice topics.
I don‘t blame them though. They didn‘t know they were adding to the problem. For many of them
they view it as their job to give you more work, so you get your money‘s worth. For others that‘s exactly how they were taught so that‘s all they know. And for those for whom music happen to come
really easy or who happen to stumble on to the right path and take the right actions and make the
right choices they didn‘t even know the problem existed.
Soon I was beating myself up about a variety of things:
I wondered if I had it, if I had enough talent.
I wondered if I came from the right background. I was a white kid from the suburbs who
had no other musicians in his family and grew up listening to rock music. What right did I have to think I could learn to play jazz?
I would even beat myself up for not feeling music intensely enough when I listened to
it. I was so cluttered up with expectations that I couldn‘t even enjoy listening to music anymore.
I wondered if I was creative. Imagine that. Creativity, which I now believe is a birthright,
simply the combination of trust, receptiveness and the result of feeding the creative well spring,
eluded me. But how could I be creative when I hadn‘t truly mastered much at all, and I was so
tripped out all the time about whether I was creative or not. Truly a vicious cycle.
I wondered if I was disciplined enough. Most people can‘t discipline themselves to exercise
for 20 minutes three time a week. Here I was locking myself in a practice room for 6-8 hours everyday, and I wondered if I was disciplined. Crazy!
If I had a bad gig, I felt terrible. If I had a good gig, I wondered if it was a fluke. I actually
purposefully would NOT tell people about my gigs and recitals. I was afraid I would blow it and look like an idiot on stage.
Unfortunately, I could go on and on about these things I would beat myself up about. But I don‘t
want you to think I‘m a total basket case!
But the truth is, if most people were to lay their fears and
insecurities out on the table we would all look like basket cases!
When I was at Berklee I was surrounded by people just like me. We had all accepted the false belief
that jazz was hard. That it was supposed to be a struggle. That if you weren‘t a tortured artist, you weren‘t a real artist.
One by one I watched many of them drop out of school and out of music all together. Even top players who we might think have it all together feel these same pressures.
But luckily something inside me wouldn‘t let me quit. Believe me I thought about it. I just hated the idea of wondering ‗what if‘ for the rest of my life more than the idea of continuing my dysfunctional
music education.
Finally something happened that shook me to the core. Ever since arriving at Berklee I wanted to take an ensemble with the great Hal Crook. Finally after three years I was able to register for one of his ensembles. I showed up, got my ass handed to me and was promptly thrown out of the ensemble. This was a major turning point in my life.
Hal Crook did what only a great teacher could do. He was completely honest with me. He was blunt and to the point but compassionate at the same time. He basically told me that I wasn‘t ready for the class. That I didn‘t need to be a better drummer; I needed more experience playing jazz with people. Here was this master trombonist and master teacher telling me that I didn‘t need to practice as
much, I needed to PLAY.
Something clicked in my head. Now I knew I was doing something wrong and I had a great teacher affirm that conclusion. And for the first time it dawned on me that I might be able to figure out what that was. And then
learn to do the ‗right‘ things.
This began a fantastic journey up out of the musical abyss of frustration and failure and ever closer towards realizing my musical dreams.
First of all, I did just what Hal prescribed. I scheduled every session I could with every player I knew. I didn‘t have as much time to practice now, so I
chopped my practice routine down to what I thought were the bare essentials. I was practicing less than ever but improving at a faster rate than ever before. I was starting to get results.
Soon I found myself approaching the top players in the school to play sessions. And a funny thing happened. Most of them said yes! I had this false assumption that I needed to be great player before I could ask them to play. Boy was I wrong. You see the top players just wanted to play jazz too. All I had to do was ask. They were ready and willing since most everyone else was too busy hammering away in the shed or procrastinating in front of the TV.
I began to feel good about music again. I was inspired again.
But that‟s not the end of story.
I still knew that something I was doing in the practice room wasn‘t working. But now I was ready to
figure out what. I began a search to find out what the top players did differently. I began to block out what most of my other teachers were dumping on me and got busy learning jazz for my own sake, paying attention only to those teachers who I thought were really valuable to MY situation. I read everything I could get my hands on. I read biographies of great players. I read books about success and achievement. I read about learning, practicing, art, self-esteem and personal improvement. I was on a mission.
The next year, after playing a ton of sessions and radically altering my practice habits I called Hal Crook up and told him I still wanted to be in his ensemble. He scheduled a session with a bass player and myself and I nailed it. He invited me to play the following semester. I went on to study with him privately for the next 8 years.
I took workshops with Kenny Werner, Danillo Perez, Joe Lovano, Jeff Watts, Pat Martino, Ran Blake, Rashied Ali, among others.
I even went so far as to hire groundbreaking psychologist and father of the self-esteem movement, Nathaniel Branden, as a personal coach. Every two weeks for two years we would talk on the phone about topics as diverse as success, goal achievement, confidence and personal improvement.
Out of all this a vision for my music started to grow. It was crystal clear to me now that my whole approach to learning jazz was a dead end street. I threw out all of my assumptions about learning jazz and gradually became clearer and clearer about what worked.
After many years I‘ve been able to funnel this all down into a system for musical success that I use
with my students as well as for my own practicing, studies, rehearsals and gigs.
I did my time in the ‗music abyss‘ and I couldn‘t be happier to be out of it.
Now, don‘t get me wrong, I‘m not ‗there‘. Music is an on going process and there‘s still plenty of
things I could improve and learn. I have learned to embrace the fact that I‘ll never get ‗there‘. I love
the fact that there will always be music to learn and areas to explore. And now I can use these tools to move ever forward with music. To be excited about your future and what opportunities the universe might throw your way is a fantastic feeling. And a feeling that is very different from falling into that abyss of jazz confusion.
If any of that sounds familiar to you or hits a chord then you‘re in luck. In a few moments I‘ll be
going into depth about the ‗undesirable effects‘ I discussed above (you know the abyss), I‘ll reveal
the root causes and tell you about the solutions.
So why am I sharing this all with you?
First of all, I care deeply about jazz. I care about the jazz world. It‘s my life.
I‘ve seen my own frustrations mirrored in the experiences of many of my students. I‘ve witnessed
them having breakthroughs and epiphanies and seeing the truth for themselves.
There is nothing more gratifying for a teacher than to see his students learn, put the pieces together for themselves and simply IMPROVE with their music.
When students tell me or write emails to me to tell me about there own struggles and how they saw
themselves in my story I feel connected. I feel like I‘m making an impact. When they tell me how they were inspired or moved, or that they had an epiphany it feels awesome. They did the work, they
made the effort and they found the answer. I know it‘s them, not me. But if my ideas, teachings or
writing about jazz can be a catalyst for great change in a person‘s musical life than I am a happy
person.
Secondly, there is no reason in this day and age for a person to not realize their potential. The tools are there for anyone to take and use for their own development. I feel much gratitude that I happened upon these tools. Now I feel a responsibility to spread the word. I want to tell the whole jazz world about this. I want to change the way music is taught in most learning environments.
Don‘t get me wrong there are many fabulous teachers out there who really do care and really do
make a difference. But they are far and few between. Or they‘re stifled themselves by ineffective and
harmful educational institutions that simply perpetuate these problems by feeding the fire of information overload, confusion and failure.
To be honest, when I first thought about teaching this stuff and writing and creating courses I was
very apprehensive to say the least. I didn‘t want to take time away from my own playing, performing
and practicing. But I realized that I had to. I just had to share it.
Besides, believe it or not, sometimes I feel like I might get more out of teaching than the student. Teaching and articulating ideas so someone else can understand them is one of the most powerful ways to learn.
There‘s one more reason for me writing this book. My personal vision and mission in life is to be a
major voice in the jazz world. To make a real contribution to the world of jazz.
I realized that playing music and creating my own art was only one of the ways I could realize that vision.
By helping other jazz musicians who were in the same boat I was, I could impact the jazz world far greater than just by my own music alone. If I can help create 10, 50, 100 even 1000 more successful
and contributing jazz artists I could impact the world in a more positive and profound way than I ever imagined. Let me help you to become one of them too.
So without further ado, let‘s get into the meat of the matter. Shall we? The Jazz Musician‟s Lament:
Paying too high a price for musical success that never comes
If I asked you right now, ―What one thing determines the level of success you‘ll achieve with your music?‖ How would you answer?
Your Talent? Your Intelligence? Your Skills? Your Strengths? Your Creativity? Your Persistence? Your Discipline? Your Knowledge? Your Teachers? Your Technique?
Your willingness to practice 20,40 even 60 hours a week?
What if I told you it was none of the above?
What if I told you that your talent, creativity, technique, strengths and discipline do NOT determine how far you will go with your music?
Now don‘t get me wrong. These things are important but they are almost never the deciding factor in
why some players become great players.
Why? Because these things only determine your potential with music. They do not guarantee that
you will become the player you want to be or how far you‘ll go with your music.
The fact is, there are literally thousands of musicians who possess all or most of these traits and yet fail to realize even a tiny fraction of their potential.
My point is that your potential in music and your actual success in music are two very different
things. You don‘t get the gig because of your potential. You don‘t become ‗one of the cats‘ because
you have potential. Potential alone can‘t make you a Monster Jazz Musician or guarantee that your
music will go down in the history books.
Now, ask yourself this…
Are the actual results you‘re achieving with your music—your growth and your quality of gigs —equal to your potential? Do you believe your current levels of musical growth, your gigs, your band, your
experiences on the band stand, are all that you‘re capable of?
If you can honestly answer ―Yes!‖ to those questions —if you know in your heart of hearts that you
have already achieved everything that you‘re capable of, if you‘re improving in music at the fastest
rate possible —then please stop reading this book right now. There‘s nothing here that will help you.
But if you‘re like most jazz musicians…if your answer to these questions is ―No!‖… If you are fully
aware that you have only achieved a tiny fraction of your musical potential, then this book is going to be a godsend to you.
Because by the time you finish reading this book I‘m going to give you an ―Ah-ha‖ moment that will explain why you‘re not getting the results you want, why you‘re not the player you want to be.
You‘ll understand precisely why you‘re practicing more and more and improving less and less as a jazz musician. Or why you might be paralyzed by the music, overwhelmed and unable to practice and
advance in any real way, why you‘re a chronic procrastinator.
And this will be a giant step forward for you, a giant step to opening the floodgates of musical
advancement and achievement. You‘ll be able to get busy improving and hitting your musical targets
one by one.
While other frustrated jazz musicians continue to bang their heads against there own limitations, this simple realization will empower you to sky-rocket your music into the stratosphere as if those limitations —real or imagined —simply don‘t exist.
Specifically, I‘m going to show you how false assumptions and false beliefs are more responsible for
your hindered musical progress then anything else. Becoming aware of these things may be difficult to stomach at first. But once you see them for what they are you are going to be free and able to achieve your big musical vision.
I‘m going to show you specific tools and strategies that you can apply immediately to your music so
you can begin getting results right away. I‘ll show you how to take ‗your foot off the breaks‘ and get
real momentum happening to carry you further and further forward.
If you aren‘t already aware of it, information overload is becoming a major problem in the world today. We are constantly bombarded by new information. It comes at us from all directions. This
problem is systemic in the whole world not just the world of jazz. But within jazz it‘s a very real thing.
It was a problem even 50 years ago, but now it‘s downright out of control.
Musicians don‘t need more information about music, they need a way to deal with what they already have. There‘s already thousands of books about composition, harmony, eartraining, technique, styles, rhythm, improvisation, and every other topic and sub-topic of music you can think of. Then there‘s
DVDs, online courses, blogs, youtube videos, music sites. There are schools and lessons, workshops and clinics. Then of course there are thousands if not millions of recordings to check out and learn. (Which consequently is where you should be focusing much of your attention anyway).
I‘m going to show you a way to deal with this ‗exploding brain‘ feeling, the feeling of overwhelm and
exhaustion. Once you know how to sort through this mountain of ‗stuff‘ and keep only what‘s truly
valuable to YOU, music becomes easy again. You might even fall in love with music all over again. I know —you‘re skeptical. You‘ve heard thousands of big promises from teachers, books, sites and so on. But please hear me out. If I can deliver on even one tenth of this promise to you, the time spent
to read this book will be the best investment you‘ve ever made.
And you won‘t just benefit today. You‘ll benefit for the rest of your life. In fact these ideas and
concepts will only become clearer and clearer to you over time. You‘ll only become better and better
at using the tools and strategies. This will create momentum in your music the likes of which you may not have ever seen before.
Have you ever wondered why you aren‟t making the progress with
music that the other players around you are?
Has your frustration level reached high enough levels to begin doubting whether there‘s something
wrong with you?
Have you ever asked yourself …Why am I not a better player?
…What am I doing wrong?
…What‟s wrong with me?
…Will I ever succeed in music?
And have you ever found yourself wondering…
“Why is becoming a jazz musician so hard?”
Frankly, if you‘ve ever asked yourself these nagging questions before, you are NOT alone.
Just about every email I ever get from my students telling me about their biggest challenges are from people struggling to keep their head above water. They are overwhelmed and even angry that
They wonder if they have what it takes.
They wonder if they are practicing the „right‟ stuff.
They don‟t know where to begin or how to choose what to practice. They are frustrated that their playing is so inconsistent.
They are frustrated with certain problem areas in their music that they‟ve bee n struggling with for years.
Sometimes they even feel like it‟s not fair that some players got all the luck and talent and left them with their confusion and frustration.
They are downright pissed off that they can‟t seem to get it together!
Until, just a few years ago I wouldn‘t have been able to give you an answer to these problems. I was
just finally beginning to figure out how to get results with my own music!
But I decided to try to put it all together so others could learn from my experience (and plentiful frustrations!). Now, as I tried to organize this into something that would be truly beneficial and easy to use for other jazz musicians I quickly realized that this would be a Tall, Tall order.
It took me much longer than I ever could have anticipated to put all the pieces together. The culmination was something I created and call The Monster Jazz Formula . You may have heard of it.
In a moment I‘ll tell you more about ‗The Formula‘ but I don‘t want to take up too much time with
that now. First let‘s take a good, hard look at how NOT realizing your full potential is effecting your life. Then we‘ll move on to the root causes and the solutions.
Practicing ever more and ever faster; advancing ever slower
Many jazz musicians approach learning jazz as if it were a race —one that keeps getting harder and harder —with no end in sight. We want to be so much better than we are right now. We are in a hurry to figure it all out. We reason that once we get a certain level of musicianship we will be happy. That the gigs will fall into our laps and we will live happily ever after as one of the cats.
We practice more and more but always come up short. We go down this path and that path, buy this book, that book, take lessons with this teacher, that teacher. We practice this topic for awhile then that topic. We constantly change directions. We may even get to the point where we are changing our practice routine daily and never achieving any results with any of it, certainly not any results that come out in our playing effortlessly with inspiration like it‘s ‗supposed‘ to be.
Perhaps we have become so overwhelmed by this process that we become numb, like zombies. We
By going deeper and deeper into this musical abyss we get ourselves into a vicious cycle, a self-perpetuating cycle. By switching topics before ever achieving any kind of mastery we never
experience what‘s possible with mastery. We lose, if only temporarily, our creativity and our innate ability to learn. Our playing is inconsistent to say the least. And we struggle. But the struggling becomes a way of life. It becomes our reality. We expect this struggle even. Since we struggle and never achieve mastery we never play at a level that‘s ‗good enough‘. We assume we must be
practicing the wrong things or not enough of them. So we switch. Again not achieving mastery. And so on goes the cycle.
As our frustration increases we seek out the ‗magic bullets‘. We know there must be that one thing that will make us a Monster. If only we had that magic bullet everything would be great and we would become one of the cats, garnering the respect of our peers and the admiration of the audience.
So we jump into learning to play ―Giant Steps‖, or maybe we figure that the hippest players are
masters of cross rhythms, or maybe we try to master every single permutation of every single chord
structure we‘ve ever heard of in every single key. If we can get that down than surely we will hav e arrived. We practice things that are way too advanced for us, way too broad or way too vague. We
never go deeply into any one topic, any one small area of music. So again we don‘t achieve mastery
and we perpetuate our cycle down into the abyss.
We completely lose sight of the point of music in the first place: To express ourselves, create and connect with other people.
This is a very painful place to exist. Each time we perpetuate this cycle we chip away at our self-esteem and confidence. This can have the effect of rippling out into our whole lives. This brand of ineffective and fear centered practice can literally effect the quality of our entire life.
We can begin to obsess about music. It‘s all we think
about. We might even go so far as to put it before everything else in life. We can lose sight of the REAL priorities in life, the important people in our lives, like our girlfriends, boyfriends, wives, husbands, children, siblings, parents, friends and so on. We might sacrifice
our social lives to practicing. And even turn down a free, all expense paid trip to Europe like I did.
Now don‘t misunderstand me. Becoming a great player does require commitment and some sacrifice. It‘s just that the things we should sacrifice are things like television, or getting high and watching
Jackass, or watching dancing babies on youtube, or reading trashy magazines. We don‘t sacrifice our
I read an interview with Wayne Shorter once where the interviewer asked him to talk about his ‗life‘
as a jazz musician. Wayne said something along the lines of ―Music isn‘t my life. My life is my life. Music is just a part of it.‖
But how many of us lose sight of our lives and become obsessed with becoming a great jazz musician to the detriment of everything else.
The level of stress and pressure that musicians and artists can put on themselves can be ridiculous.
This pressure can literally lead to depression, health issues or even substance abuse. It‘s no secret
that the art world is full of drug addicts and alcoholics.
But there is another way. There is a healthy way that can actually lead to more fulfillment in life and Monster Music Skills! There is a mindset and a set of healthy beliefs that can put you on this path. There are tools and strategies that pioneers before us have figured out, that we can use ‗right out of box‘ to achieve our musical goals.
Believe me, the Healthy Way is infinitely more desirable than living and practicing and performing down in that deep dark musical abyss.
Looking back on it, I can‘t believe how long I endured those frustrations myself before I said,
―Enough is Enough!‖ It is my hope and intention to short cut that process for you. So you can
achieve your musical goals faster than you ever thought possible. And have a life while doing it.
Now let‟s talk about each of these major problem areas in depth and surface the causes. Major Musical Challenge #1
The Myth of Talent —fear of not „having it‟.
Probably the most wide spread and debilitating problem with jazz musicians is the fear that they
don‘t have enough musical talent. Now talent is a very slippery concept to cover. How do you
quantify talent? How do you know if you have enough of it?
The truth is, if you love jazz —in other words you ‗get it‘ when you listen to it, it resonates with you —
then you most likely have all the talent you need to go as far with music as you wish. This fear of not having it can become a self-fulfilling prophecy. In other words a fear of failure can actually create the real failure. Self-doubt can keep you from doing the right things, taking the right risks and following
through on your plans and goals. If you believe you aren‘t talented enough you will most certainly create that reality for yourself. I believe it was Richard Bach who wrote ―Argue your limitat ions and
surely they are yours.‖
The great jazz piano player Bill Evans actually believed that he was not particularly talented with music. So he had to rely on his analytical musical mind to dissect the musical ideas and concepts that he was attracted to and build his music piece by piece through patient and thorough practice and
study. And look what he did with music. He‘s one of the Giants! Today, to think that Bill Evans was
Evans chose to focus on his goal of playing great jazz, rather than focus on his limitations. Instead he
did what‘s called leveraging your strengths. He focused on specific areas of music that he was
naturally inclined to explore. He explored those areas as deeply as he could and the rest is history.
His methods might have been a complete disaster for a more ‗natural‘ player like Lester Young and
vice versa.
The Law of Dharma or Purpose of Life.
This law states that each and every one of us possesses a unique set of abilities and a unique way of expressing them. If you ponder that idea for a moment and then consider some of the most original voices in jazz —Thelonious Monk, Charlie Parker, Louis Armstrong, Duke Ellington, Billie Holiday, Ornette Coleman —it becomes quite evident that these pioneers of jazz discovered their musical purpose. They gave back to the world ten times over in the form of beautiful, inspiring music. Not all of them had blazing chops or virtuosic control of music. But they did have a profound understanding and intimate knowledge of their true voice.
So what‟s the solution to this problem?
Remove the word talent from your vocabulary. It doesn‘t matter. How does the saying go, ―The bars are packed with talented people.‖ Instead, focus on finding those things in music that really hit you
where it counts, that flow to you and out of you almost effortlessly. You don‘t have to be someone you‘re not. Through consistent and purposeful practice and observation you can surface your
strengths and then get busy leveraging them to put you on the path to becoming a one of a kind jazz
musician, A Monster. That‘s what you really want in the first place, right?
Major Musical Challenge #2
Information Overload: AKA Exploding Brain Syndrome.
Information overload presents a serious challenge. But it‘s also one that‘s not quite as elusive as talent. You can use simple tools and strategies to deal with this one. We‘ll get
to these tools in a second.
Information Overload rears its ugly head in several ways. First of all, there is an incomprehensible amount of information about learning jazz available to us. Think back to how it must have been to learn to play music in the
20‘s or 30‘s. Students of jazz would have only been
exposed to a tiny fraction of the musical ideas floating around the world today. They might have been able to hear a small sample of the music being played at the time on the radio. Maybe they got their hands on one or two
books from the classical tradition or some sheet music. There were few if any books about learning jazz so that wasn‘t a problem.
A student most likely learned by watching and emulating local jazz musicians, playing the music with peers and perhaps taking lessons with one of the local professionals. Their choices for what to practice were, again, tiny compared to the overwhelming choices that exist today. Over the years jazz musicians took the art form in incredibly diverse directions. Slowly but surely there were more
players. Recording and duplication processes improved dramatically and with these improvements the number of records available to study increased exponentially.
More and more teachers began to analyze the music and create methods to teach it and to write books about every musical topic under the sun. Soon there were many different styles of music and
many different approaches to learning it. It‘s amazing to think that players in the 50‘s came up
against this challenge of information overload too. They had to deal with the music of Louis Armstrong, Count Basie, Charlie Parker, Miles Davis, Duke Ellington, Charles Mingus, John Coltrane
and all of the other thousands of great jazz musicians.
Jazz slowly made its way into the formal education world and with it thousands more books and resources were created and became available to the student of jazz. This process has continued to grow out of control to where we are today; there are many thousands of books, DVDs, methods, teachers, classes, courses, workshops, lessons and of course opinions. Most Teachers and authors also make a wonderful case as to why ‗their‘ particular book or approach is the right one.
And almost all of this information is available to you right on your computer thanks to the Internet and the World Wide Web. This problem is only going to get worse as more and more people produce information at dizzying speeds and this information gets passed around cyberspace as fast as it can be created. (Yes I am aware of the irony of creating more information about information overload.) Now on the surface, all of this information appears like a valuable resource to learning. And it is, IF you know how to filter through it all and find the truly valuable gems that are relevant to YOUR situation.
Now, so far I‘ve just talked about information overload as it relates to the jazz world. Obviously jazz
musicians aren‘t the only ones busy creating more information. Everyone is. Now we have cable TV
with hundreds of channels. We have Internet television, peer to peer networks, youtube, thousands of news sites, millions of blogs. We have cell phone calls, text messaging and email. We have the web available on our cell phones and even music and videos. We have mp3 players that can carry months worth of music. We can download sheet music, order any book on any topic we can think of from amazon.
It‘s no wonder we are overwhelmed and swimming in a sea of information trying to keep our heads above water, let alone about trying to advance as players and really say something with our music. Attention is becoming a scarcity. We are fragmented, distracted and disconnected. But attention is
one of the most important things you have. Where you put your attention and the quality of attention you focus there will determine exactly where you go with your music. Attention is a precious asset many waste daily. If you focus on the wrong things you will not be successful. If you focus on too
So how the hell do we deal with all of this?
There are two things we need to do to deal with this challenge and to move towards our goals. One is to create a musical foundation to help us choose what‘s important and sift through the mountain of
information. The other is to protect and defend our attention. We need to develop bulldog instincts to
fend off people (and devices) that try to steal our attention and our time.
Let‟s talk about foundation first.
In a quick nutshell the way to deal with all of this information can be distilled down to three steps. 1. Determine your goals with music. What are the desired results?
2. Determine the actions needed to get there. What do you need to practice? What skills do you need to acquire?
3. Determine what information you will need. What books will you need? What records will you need? What teachers should you seek out?
“Ok, that sounds simple, but how do I choos e my goals. There are so many musical topics to choose from.”
It all starts with figuring out what‘s important to you, what your values are. Your values are your
priorities in music. The clearer you are about your values the clearer you will be about what to practice. And a good starting point is to figure what it is that you like about your favorite players. What is it in their playing that draws you to them. Put on your favorite recordings and just listen. Ask yourself what it is that you like so much about this recording or a particular player. As ideas come to
you write them down. Write anything that comes to mind. Don‘t judge your answers or edit them yet. This will give you real insight into what it is that‘s important to you.
Be sure to be honest with yourself. Do YOU really like that player or that music or is it one of the hip
records that your teacher or peers told you you‘re supposed to like. I‘m talking about finding what it
is in music that really gets your wheels turning, gets your blood pumping. Make a list of all of these
things that move you about music. When you‘re finished listening you can add to your list if you like
or repeat this exercise with another recording or player.
Next, choose the top 5 – 7 items from the list and put them in order of importance. In other words, if you could have one but not another which one would you choose.
“If Everything in Music is Important
Then Nothing is Important.”
Just to clarify, something like learning all the major and minor scales in all twelve keys would probably not be a value. It is a necessary condition for achieving other things in music, but in and of
themselves you probably don‘t care about scales. You are most likely not inspired by scales. That‘s
not why you got into jazz in the first place.
You care about things like powerful swing feel, or beautiful and lyrical Melodies, or seamless interaction and deep communication between the musicians.
Now remember. Your values will change and grow as you change and grow as a player. This list is not set in stone. You should review it from time to time and make any changes you see fit. In fact, print a copy out and tack it to your wall. That way you can always use it as a litmus test to see if you are operating in harmony with your own personal values.
From this list of values you can now create your musical goals. What would you like to accomplish with your music within the next year? A year is a good timeframe for a long-term goal. While it is a good idea to have a long-term vision —like 5, 10 years —keep your goals to a year or so. Otherwise it becomes way too hard to conceptualize all of the details. Then again, one year is farther than most people think into the future so even that may be a stretch. At first you may decide to start with a shorter time frame like one month or even one week.
Next you need to turn that goal into a step by step plan. If you have any aversion to making plans
like many of us ‗creative types‘ who prefer to fly by the wind remember this: plans are simply tools to
keep you moving forward. Nine times out of ten the way your plan unfolds turns out dramatically
different from how you wrote it down. That‘s fine. It‘s just a tool. Use it and enjoy the results of its
power.
Here‘s a quick but deceptively powerful way to make a plan using the backward planning method.
You start with the end goal in mind. Describe it in as much detail as possible. The clearer you are about your goal the more likely you will hit it. What will it look like? What exactly will you be able to do? When do you plan on hitting it?
The next steps are easy. You simply work your way back to today, where you are right now in relation to the goal.
What step will you have to achieve right before you reach your goal? What will you have to achieve right before you reach that step?
How about the next step?
Continue this simple process and work your way backward.
The steps that come just before you reach your goal will be bigger and less detailed.
The steps that are closest to today should be as detailed as possible. So that you can answer the
As you move forward towards your goal, you will make adjustments to this plan. You will flesh things out into greater detail as you approach them. You might add steps, drop steps, change directions slightly or adjust the order.
Before you get started though, go through your plan and apply a little dose of good old fashioned
logical thinking. Go through it step by step and check for ‗dependency‘ between the steps. Ok, I know that doesn‘t sound like fun but it‘s easier than it sounds.
Simply ask ―do I really need to complete this step in order to reach the next step, or am I adding unnecessary steps.‖ Ask ―Does this step really need to come before this step in order to move forward.‖ If you find two steps in the plan that don‘t seem to be connected than you may be missing
a step. See if there is something that must happen in between these steps in the plan.
So to recap you want to make sure that the order makes sense and that you aren‘t adding anything
extra. It‘s like my grandmother used to tell me when she was cooking pasta and meat sauce ―You have to cook the onions just enough. Not too much, not too little.‖ It‘s the same with plans.
Don‘t worry about getting it perfect. Perfect is the enemy of good. And good in this case is good enough. Just by adding this framework and forward momentum to your practicing you will move forward at a faster rate. For me and many of my students, that rate was faster than ever before once we applied these tools and strategies to our music.
In a moment we‘ll talk about the law of the straight line and go into more depth about this. But a
very common pitfall for jazz musicians is to add unnecessary steps to their practicing.
So after having completed this plan, your practicing will be greatly focused and you‘ll find that you
begin to move forward faster and faster. This is a deceptively simple concept. But learning jazz
should be simple. I know, I know. There‘s so much to learn and practice! But remember, you can‘t
possibly conceptualize or take responsibility for your entire ascension from beginner jazz musician to jazz master guru all at the same time. Your brain will simply explode!
But what you practice today and this week should be simple, simple enough for you to dig in deep
and to attain mastery. That means really simple. That‘s a lesson that I learned from a variety of
places but most notably from checking out Bill Evans. He taught that in practicing less truly is more. By digging into the simple concepts in a very real and true way you provide a musical foundation that you can take as high as you want. Do that kind of practice for a few years and you get Bill Evans.
That‘s sounds good to me.
The other side of information overload.
So a minute ago I mentioned that you needed to develop a bulldog mentality to fend off interruptions
of your attention and time. I wasn‘t kidding. Every time you are interrupted during practice—in addition to the time stolen from you by the actual interruption —you lose time trying to get back into
Let‘s start with people. Most people are not striving towards a goal. They are not attempting to
become an artist. They are not aiming at mastery. And they do not value their (or your) time. Therefore, they will steal your time and interrupt your practice sessions without flinching.
Now I‘m sure most of them are not trying to sabotage your practicing (except maybe that musicia n
who lives across the street and hears how fast you‘re improving with your new plan and your new
practice habits;-). They just don‘t get it. Well it‘s your job to educate the people around you that you
are never, ever, ever, ever to be interrupted during your practicing. Maybe if your house is on fire
you can let them interrupt you. But only if it‘s a serious fire—one that would burn the house down or
reach your practice space before you‘re finished practicing.
Now let‘s talk about devices. Twenty years ago you had two likely interruptions, someone might knock on your door, or the phone might ring. Now there are dozens of ways people will try to contact you.
You still have a door and the phone still might ring. But now you have a cell phone too. And you have a computer. You have email (probably multiple email addresses), you have instant messaging, you have RSS feeds, you have desktop updates, you have google alerts, you have text messaging, you have video phones on your computer, you have skype, you have myspace, facebook, twitter, etc, etc. Turn Every Single Last One of Them OFF! They will destroy your practice sessions. When you sit down to practice. You are there to do one thing and one thing only. PRACTICE. You are there to get some specific result that will take you that much closer to your dreams. If it‘s that important they‘ll
call back (or text, or email, or whatever).
Major Musical Challenge #3
Practicing Harder; Advancing Less
Many jazz musicians find that the results they are getting from their practice sessions are incongruent
with the effort they are putting into them. In other words they practice their butts off but don‘t
achieve the musical ability they want so bad. And they are not getting these results nearly fast enough.
Once you have a foundation for your music, once you know what your goals are and what your
musical priorities are, you still need to deal with the actual practice session. I‘m talking about your
practice habits. Now you know what to practice. Next we need to learn HOW to practice it, and achieve the result we want.
Results Based Practicing.
This concept is already implied in the goal and values concept. But I think it needs further explanation because understanding and applying this one principle alone will propel your music forward faster than you probably believe is possible.
Each day when you approach your practice room you want to take a moment to be as clear as possible about the purpose of the practice session, about the desired result.
Many, many students approach the practice room with no idea about what they will practice or what the point of it is anyway. But there needs to be a point, a purpose, a result.
After completing the exercises from the values and goal planning section, you are now clearer about where you are going. So, you take that information and use it to decide exactly what you are going work on today. The point is to learn something or improve something in your music each and every single day.
Suppose that you really dig Miles Davis. Something about his phrasing and lyricism really hits you where it counts. So your goal is to grasp and internalize his approach to soloing from say, one
particular record that you like. I‘ll use Kind of Blue as an example since pretty much everyone knows
and loves that record.
You decide as part of your plan to understand and internalize his approach that you will transcribe
and learn several of his solos from Kind of Blue. You decide that you‘ll start with his solo on Freddie
the Freeloader.
Your final goal here might be defined as such: Upon completing this goal you will be able to:
Play the solo on your instrument, from memory, along with the record, in tune with Miles,
matching his phrasing, articulation, dynamics and rhythmic feel.
Now that‘s no small task. But it‘s a worthwhile task. And with the right practice habits and approach, it‘s a target you will be able to hit faster than might think.
IMPORTANT NOTE: Your goal must be realistic to your current situation. And your timeline for your goal must also be realistic. Your goal must be challenging but doable. You must believe that it is possible. So if you‘re just starting to play, the goal of learning Mile‘s solo by ear might be too far a stretch. You‘ll need to create a goal that‘s realistic for your si tuation. Maybe you buy a transcription of the solo and work on learning just the notes and rhythms. Conversely, if you‘ve already transcribed and memorized 15 Lennie Tristano solos this goal will be quite feasible, perhaps even in a very short period of time.
Now there‘s a lot going on in that goal. First you have to
figure out the notes and rhythms, then the phrasing, articulation, dynamics and feel. If you try to do that all at once you will most likely end up frustrated with some pretty crappy results. But if you break it down into a tiny bite size result that you will achieve today or tomorrow, and you continue in that fashion eventually you will arrive at your desired goal.
So for day 1 (That‘s today) you may decide that your
target, your desired result is to learn and transcribe the rhythm of the first four bars. If you get that together
Make Your Goals Realistic, Challenging but Doable. Then Get
Busy Nailing Them One ‗Result‘ at a
Time. Be Sure to Improve One Thing or Learn One Thing Each and Everyday.
That‘s the Way to Skyrocket Your
Musical Abilities into the Stratosphere.
