#5 - Paul Gabrielson - Practice

Thanks to Paul Gabrielson for the great session on practice.

1.        JC Session #5 – Paul Gabrielson part 1:  https://youtu.be/plKdqjy_g2A

2.        JC Session #5 – Paul Gabrielson part 2:  https://youtu.be/ltzSqxzeYAA

3.        JC Session #5 – Paul Gabrielson Song with Marina, Milo and Dan:    https://youtu.be/aLDq63ZbDP8

Here is this week's transcription challenge ...

https://drive.google.com/file/d/0BzoGR9KaGamTRUx2dHZEdFZFdkVaV0F6akJjOHB4MzNpeXBv/view?usp=sharing

Rehearsal notes from Rimmy

Rehearsal Summary: 
worked on time feel and increasing the tempo on After You’ve Gone as well as the bridge on When Lights Are Low. 

Notes: 
internalizing time is just as important if not, more important than knowing the changes and form to a tune. 
Though nobody has perfect time, everyone can swing if they really feel what they’re playing and be confident with their own time.

Exercises:
(For time feel) Come up with a lick and stick with it throughout the tune and try to start it on different parts of the beat and worry only about your time and feel throughout the tune.

(For learning the form of a tune) play the triads of each chord on one two, and three, then when you are comfortable, play a different inversion, and then when you’re comfortable with that, play multiple versions throughout the form in a specific rotation so that you’re forced to think.

This from King

Today we took how high the moon and reviewed Tims lesson on side stepping, and closures. We also did excersises using the flat 9 in the chords of how high the moon in four note patterns. We then took the chart Sandu and talked about the minor and major blues scales. We broke the two scales down realzing they werent really scales at all just notes that could be used when making a blues line. All other notes including individual homework assignments will be on Tims google drive. 

Rodney's notes from Greenblatt group

Week 5 

• Practice chord tones from the root up
• Then Switch the order of the way you play the chord tones.
• The hippest pick up is on the and of 3
• You can do a lot with chord tones if you don’t start at the bottom. You do a lot more with chord tones if you don’t play then the same way every time. 
• Leaps of sixths and sevenths are hip and occur a lot
• You can play chord tones in any order and also you can leave them out. 
• Playing Good unison is hard but extremely crucial to sound mature. It is also quiet difficult without like instruments. Especially rhythm and horns
• Write notes into your parts that you like. You should write it in especially if you have blowing changes
• Pay attention to the chord changes and the changing notes. Chords changes a progression and they have leading tones and things like that. 
• Learn turn around for both horn players and rhythm players. If someone gets lost, then they will be able to hear where they are through turn around and chord changes. 
• Teaching is about the student and not about the teaching musician. 
• Virtuoso playing and virtuoso playing is completely different. You can be an amazing musician but not an amazing teacher. that does not mean you can’t be both 
• Devote 5 minutes to only vocabulary. Learning it and developing how much vocabulary you have.
• Practice the process of transcription