Musicality World

https://www.musical-u.com/learn/5-things-you-must-do-during-band-practice/
How does a band get to be great at live performance? The key to performing well live boils down to how well you rehearse.

Here are 5 active listening exercises for you to try during your next band practice. https://www.musical-u.com/learn/5-things-you-must-do-during-band-practice/

Listen to the episode:

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Links and Resources

• Unlocking Your Musicality: Part One
• Unlocking Your Musicality: Part Two
• Adam Liette’s performance at the NASCAR Nextel Cup Series
• About Listening as the Route to Musicality
• About the Importance of Joy and Pleasure
• About Exploring Without Self-Judgement
• About You Being Musical Inside Already
• About Keeping It Simple

Transcript

Christopher: Hello, and welcome to the Musicality Podcast. My name’s Christopher Sutton, I am the founder and director of Musical U and this is one in a series of episodes we’re doing, following up on our Episode 100 celebration, where we asked 26 of our past podcasts guests a particular question: what’s one thing you’ve learned that could help people tap in to their inner musicality.

The answers we got back were fantastic and inspiring and everyone on the team here really enjoyed hearing the variety of ideas and suggestions that came out in those episodes.

We decided we’d love to do some follow up episodes on the common themes because, although each guest’s answer was different and unique, there were definitely a few things that kept coming up.

Today, I’m very happy to be joined by, pretty much, the full Musical U team, in fact. We’re missing Sara Campbell and our other Resident Pros unfortunately, but we do have Stewart Hilton, Adam Liette, Andrew Bishko and Anastasia Voitinskaia and I’ll ask each of them to say a quick hello so you know who you’ll be listening to.

Stewart, why don’t you kick us off.

Stewart: Hello, I’m Stewart Hilton, the community conductor at Musical U. You’ve probably seen me in emails and on the members website quite a bit. My name pops up all over the place. [inaudible 00:13:26] Outside Musical U, I play guitar in a few different groups, play golf, just have a good time with my wife, and dogs.

Adam: Hi, my name is Adam Liette. I’m the communications manager here at Musical U. I am a trumpet player and a guitar player.

Andrew: I’m Andrew Bishko. I am the project manager and content manager of the Musical U. I play several instruments. My current, most active project is playing accordion in a mariachi band with my wife.

Anastasia: Hi, my name is Anastasia Voitinskaia. My last name is very difficult to pronounce so don’t even try. I am the assistant content editor at Musical U. In my personal life, I play the piano, guitar, bass, synthesizer and, occasionally, sing.

Christopher: Rarely at the same time, I presume.

Anastasia: Always at the same time.

Christopher: That’s who we’ve got joining us today. We’re just gonna talk through this topic and what jumps out at each of us in thinking about the message in the music and inspiring your listener to feel something.

Depending on how you look at it, this is either a niche topic or something that really is fundamental and universal in music.

I’m excited to hear everyone’s different perspective on it.

This is something that Judy Rodman mentioned in her answer, talking about how all art, including musical expression, is about creating messages.

Andy Wasserman talked about the internal treasure hunt for musical gold and looking for your own, individual, unique sound.

We had Bill Hilton, David Wellerman and Forest Kinney all talking about exploring, improvisation and creating and finding your own message or finding something you want to express through your instrument.

Fiona Jane Weston, a cabaret expert, talks specifically about interpreting a song, and how to take a piece that you’re working on and really ask yourself, line by line, what is the message, what is the emotion, what am I trying to convey to my audience.

Stewart, why don’t you start us off. How have you thought about this topic of finding the message in the music and inspiring your listener to feel something?

Stewart: Well, I have kind of a good history on this, or a good bit of history. In the 90s I joined a Christian metal group because of the fact of wanting to have a message in the music. That’s kind of always stayed with me since that time. I guess I started seeing it in the 80s and how lyrics and other things would influence an audience in their life and decisions and all that. It kind of brought me full circle in to what I did through the 80s and even further. There was always something in the lyrics that always stood out to me, to make sure that you’re doing something that puts people on a good path versus a bad path or so and so.

I’ve always felt it’s had a great power. I’ve seen it even watching other places, reading history. You read about elections, there’s always music being played before a candidate gets up because they’re trying to create an emotion and get people riled up. It’s happened through even Hitler, the dictator, I forget what composer it was, but the music kind of was, I guess, kind of crazy like, maybe like a metal band, I don’t know. They said it would rile the crowd up and that’s when he would hit the stage, as soon as they were at this peak, he would come out and deliver that emotional diatribe that he wanted to say.

It’s meant a lot. I even got us to go and play music, the one group I played in, we played at a homeless shelter. I have to say, out of all the places that I have ever played, playing there probably meant the most to me than anywhere else I’ve ever played doing music. You see people at their life’s worst moment, they’re kind of at the bottom, they’re trying to build up again, they’ve lost everything. You see these guys coming in with their head down and everything like that and you would play five or six songs and you could see as we’re getting into it, they start smiling, they kind of take a break from what’s going on in life. It was really good, I enjoyed going out and talking to them a little bit. They were so thankful of just getting that break from that current situation.

It means quite a bit to me. Also, I was just thinking, we interviewed Dave Cousins. I was remembering how he talked about some of the music that they’ve done had affect on people. He discussed some woman who was going through … she was in the hospital, had 11 electroshock therapy sessions, I’m not sure exactly what for. This woman searched him out because she had been playing their music to get her through all of the sessions. That’s pretty cool. Then they went on to also talk about weddings, and you hear that a lot. It’s always neat to think you are a song that’s being played at weddings all the time. It’s kind of cool the effect and how that can influence people.

Christopher: For sure and I think there’s two sides to this topic in a way. There’s the explicit message of music and I really enjoyed interviewing Fiona J Weston because she was very much about that caberet design and lyrical interpretation and so on. I think when you have a song with lyrics, it can be fairly clear cut, this song is about falling in love, this song is about [inaudible 00:24:46], not saying that all songs are. I think it’s really interesting with this topic to think about it from both sides.

There’s the clear message in a song with lyrics and what does it mean to take music without lyrics, maybe music you’re improvising and try to find some way to communicate a message to your audience.

Anastasia, you’re someone who writes your own music as well as performing on instruments and singing, what’s your perspective on this, find a message in the music?

Anastasia: Well, when you’re writing your own music, typically what I write, at least … and I know a lot of previous podcasts guests have echoed this is, what I write is deeply dependent on how I’m feeling. It’s quite easy to communicate whatever emotion you’re feeling behind the song into the music itself.

Also, I wanted to add something in terms of playing other people’s music too and finding the message within that. I think Christopher it was you that brought up an interesting point about a piece that you were playing that was about a painting and you’re playing it and playing it but it had never occurred to you to just go and look at the painting. I found that really brilliant and that really echoed with me because I think that, even for music that’s not yours, you can either construct your own narrative or imagine, perhaps, what the piece was about. Or you can do a little bit of your own research and find out what exactly was in the songwriter or the composer’s head when they wrote the piece and you can go from there. It gives you a lot of good ideas.

My piano teacher used to do that with me. For example, I was playing a piece called Puck one time and she said, “Okay, it’s based off of this Shakespeare character. He’s kind of playful and mischievous so play like that.” I was like, “Okay, brilliant, that’s great, that’s so helpful.” Now I know the feeling that the song should have. I think you can do that for pretty much anything that you play, whether you write it yourself or not.

Christopher: Yeah, and it can be a good creative exercise. If you had chosen to try and play that piece as if it was all about hockey puck, you might have come up with a slightly different rendition.

Anastasia: Totally.

Christopher: We talk about it in our improv stuff where the idea you have in your head can express itself through various technique. What do you think on that Andrew, as a prolific improvisor?

Andrew: Well, what I wanted to point out is that there’s meaning in a vibration and Puck is a vibration. I had some friends, they named their child Puck. It was a big mistake, big mistake.

Anastasia: Oh no. Oh no.

Andrew: He’s lived up to his name and not a very good way.

Christopher: Well, a useful reminder there that we do need to be careful as Stewart’s pointing out that we do need to be mindful of the message we might be communicating intentionally or inadvertently. Aside from that Andrew, what are your thoughts on this topic as a teacher, as a performer, you must have had to think a lot about this question of finding the message in the music.

Andrew: Well, music is dynamic. It happens in the moment. When you make music, when you play a note, you can’t take it back. You can’t go retract it, you can’t erase it. It’s there and it’s done and you’re moving on. Every moment, there’s an opportunity to put meaning in to your music. One of the wonderful privileges and opportunities I’ve had is to be a teacher. In the process, I’ve learned a lot about things that I do where I can understand and explain them.

I had an experience, I was teaching, I was coaching a middle school band. They had this thing where they had three repeated notes, ba ba ba. I said, “Now, are those the same notes?” I explained to them that each one of those notes, they might have been the same pitch, but each one was different, it was a new moment in time. It was a new interaction, it was driving forward, you were moving forward into something. Ba. Ba! Ba!! It wasn’t just ba ba ba.

Every opportunity [inaudible 00:29:27] something into your music, to be present. I’m going to demonstrate. I have my native American flute. I’m going to play three notes. Okay, three notes. I can play them just bland or I can put some meaning into them. I didn’t change the rhythm. I didn’t change the pitches but by using dynamics, articulation, [inaudible 00:30:03] what have you, I don’t know if you could hear it, but for me, it was a huge difference. We have these opportunities to put meaning into our music every time.

You know, we talk about music, we’re on this, we have 100 plus episodes of the Musicality podcast. We have thousands of articles talking about music. We talk and talk and talk about music but we’re still making music. You can’t replace music with talking. There’s something in music, there’s something there that says things that we can’t say any other way. For me, the important thing is to be there, to be present.

A lot of times, we want the music to flow out of us, like it’s going to be this big, bubbling fountain and sometimes that happens. But many times, just as when we’re speaking, we’re aware of what just happened, what was just said. We’re aware of where the conversation is going to. When we make music, having this awareness: where was I, where am I, and where am I going, this interplay while you’re thinking about the music, it’s so pleasurable to be there. It feels so good, it’s so much fun and you’re audience is going to connect with that because you’re connecting with that.

Christopher: That was a beautiful demonstration and I always love the way you talk about improvisation and creativity in musical expression. We work together on our improv modules and learning improv road map and I had been reaching for this way of explaining improvisation that was about this, about finding a message, about finding a way to express yourself. I had struggled a bit because I’m a scientist, an engineer by background. To me, on the face of it, this idea was always a little bit, woo woo, it sounded a bit pretentious. It’s a bit like I feel about modern art where, okay I can understand people enjoy it, but until you can do a double blind test where everyone agrees the same thing about a piece of art, I’m not convinced it’s actually communicated what people say it does.

As I was touching on before, when there are lyrics or something, it’s clear cut and there can be an obvious message. When it’s instrumental music, I’ve always found it hard to go beyond the specifics. What I loved about your work on that improv road map was you combined the specifics, which in our case we talk about constraints and dimensions, things like rhythm and articulation and phrasing and dynamics, with this really deep idea about expressing something and about being in the moment and about finding something you are trying to use all of those specifics for. That to me was really nice to bring those two worlds together. That has stayed with me as a really useful step forwards in my own thinking about what it means to communicate a message in music.

Andrew: Thank you very much. It doesn’t just apply to improvisation. I have a lot of classical training and when we’re doing classical music, we played the same piece over and over and over and over and over again. If we’re doing it right, each time it’s different. Each time, we are discovering something new, another nuance, another articulation, another this, another that. You carry that forward into all your music making, it just makes it so much more meaningful.

Christopher: Nice.

Adam, we haven’t heard from you yet. You have, I think it’s fair to say, quite a different musical career than the rest of us on the team. You’ve had a very specific position in the U.S. military. Can you tell us a bit about that and what it’s meant to you to try to communicate a message with your music.

Adam: Absolutely. When I first graduated university, I joined the Unites States army, the band specifically. I arrived in Fort Bragg, North Carolina, the 82nd Airborne, and I was assigned as the Division Bugler. At this time, this was 2007, the war was at its peak. We had a lot of casualties from the 82nd. The entire division, all 20,000 were deployed at the time between Iraq and Afghanistan. It was my job to play Taps at military funerals. I did this all across the country, over about 18 months, I played right around 600 funerals for both active duty and retirees. That experience and what I had to put in those performances, it stayed with me for a very long time.

At its core, Taps, it’s a very easy piece of music. It’s only 21 notes over four different pitches, a Concert B flat, major scale, second inversion. Each note that you play has so much meaning. I believe it’s one of the most heartfelt pieces of music in the entire literature. It’s very different from, when we typically think of music motivating people and bringing joy to people, this simply powerful piece of music is sending someone’s loved one off. It’s the final goodbye from a grateful nation to this service member that died in the line of duty.

Some things that really I had done as a performer really embraced was the performance environment. It wasn’t a hall. There was no acoustics. We were playing in open cemeteries. I always positioned myself behind the family. They could never see me and that was the purpose. We should never be seen, just be the sound in the background. You really had to play with the acoustics of this very open field and get a feel for it, for what your sound was gonna do. The tone had to be just incredibly warm. You couldn’t have that typically bright tone of the trumpet, you had to just think of the warmest sound you could possibly do. There’s nothing biological that changes that. It’s entirely in your presence, in the moment, and how you’re pushing yourself through the instrument and expressing the sorrow of that moment, all the way down to just the way you’re releasing the note.

A lot of instruments, the note stop has a definitive starting point and ending point. When you’re playing Taps, you almost have to let each individual note kind of have its own fall off. Very difficult to master but it was truly one of the most, as I look back on my career, one of the most things I am most proud of is playing for so many funerals. I actually played a couple great, awesome public events, and we can link to one of them in the show notes, I played in front of, I think there were 5 million televised. It was a NASCAR race. That did make its way on to YouTube. I can share that one. I wouldn’t share any of these very, very private moments with anyone.

That has always stuck with me, just that moment in those cemeteries.

Christopher: Wow. Thanks for sharing that experience. It’s moving to even hear about. I think it’s such a powerful encapsulation of what we’ve been talking about. There is something ineffable about music. You can talk about the message and the meaning of lyrics and the very obvious theme of a song but you can also talk about the message and are you communicating an emotion that might be quite complex and quite sophisticated and quite dramatic even to your audience. That’s not something that’s easy to put into words. On this podcast, we talk about musical expression and some of the things you can do to feel free and creative and confident in music. There’s still a bit of a gap there between knowing those skills and being able to stand up with your instrument and convey what you want to convey.

I think it’s a really interesting case also because it’s not improvisational. You have a lot of freedom of expression in how you perform that piece. There is so much that you can put into it that is not about, oh, what will I play next. I think that’s a really useful example of listeners to think about. Whether it’s a single note or a few notes like Andrew was talking about, or it’s something purely improvisational, like some of our guests, Bill Hilton and David Wellman were talking about or Forest Kinney. Or it’s something that you know their composer had an intended meaning with, like Stewart talking about Christian music and Anastasia with her own music. I think we can’t afford to forget that there is a message or there should be. That desire to get away from robotic playing and playing mindlessly, that’s really the heart of what this podcast is all about.

I hope some of the discussion here has been interesting and provoked some new ideas for everyone listening. I think it’s something we can apply each and every day in our musical life and the exact way it comes across in your practice and your playing is gonna be different for every person. It’s something we should all, I think, have taped to our practice stand. What am I trying to get across here, not least in a performance situation, where your audience, it’s not just you and the cat.

Any final thoughts before we wrap things up on this topic?

Anastasia: I have one to share, actually. Something that Andrew said that reminded me of something that I’ve kind of always kept in the back of my mind. Especially when performing and also when writing, which is the simple fact that music will often mimic speech, whether it’s lyrical or instrumental.

Again, these things like phrasing and inflection and dynamics, these can be expressed on pretty much any instrument. If you just think about things like breathing patterns and the start of a new sentence or a new idea, I think it can bring a lot to your music. Or at the very, very, very least, prevent you from playing kind of rigidly and robotically. That’s what’s always helped me both in song writing and in playing other people’s music. Just thinking in terms of maybe words and the note being the most basic unit and what is a phrase, what is a bar? So, that’s helped me a lot for sure.

Christopher: Nice. Yeah, that’s a really great point. I think we talked a little bit about some of that in a previous episode on playing like singing, I think we called it. Why don’t we wrap up then with a few suggestions for people. That’s one really great thing people can do to experiment with expressing something through their playing.
We touched on another earlier, which is having a particular theme or character or emotion in your mind. Anastasia, you had the example of Puck, where it’s a very particularly Shakespearean character and personality and you can adopt that persona, as it were. Or like you referencing that example with Mussorgsky’s exhibition where there’s a vivid image of a castle. An image in your head can totally transform your playing.

I think you do need to equip yourself with some, what we call dimensions at Musical U, some idea of what you can do to explore. With the singing voice, it kind of comes instinctively to us to a large extent, to convey emotion. If you’re sitting down at the piano keyboard or putting a trumpet to your lips, it’s bit trickier. I don’t know, Stewart, Adam, Andrew, you all play different instruments, maybe you could share a bit about how you’ve explored ways you can express the message.

Adam, you there?

Adam: I remember when I was first learning jazz and I had this Charlie Parker [inaudible 00:42:56] book and I was trying to play Charlie Parker on the trumpet, which is just a horrible idea, it’s terribly difficult. I couldn’t quite get it right and then I had this wonderful professor, he’s like “You just gotta sing it, man! You’ve just gotta sing it. That’s how Charlie Parker did it, that’s how it named it Bebop.”

I’m like, “What?”

He’s like, “Yeah, baabebaabedop bebop bebop bebop.”

I was like, “Oh.” Literally the name Bebop came from their vocalization of their melodies. I still am not a jazz guy but I could conceptualize music a little better after that. This is an interesting point. Even Charlie Parker, one of the greats, his entire style was developed through vocalization, his melodies.

Christopher: Nice. That’s so interesting isn’t it, how that kind of bridges the gap between the two things we’ve been talking about. That’s the very explicit, singing words, and there’s this more ineffable instrumental thing. You can still use your voice to kind of connect those dots and use your instinct for how to express things on your instrument, that’s great.

How about you Stewart, on guitar, how do you think about this, if you want to convey a certain emotion?

Stewart: I hadn’t thought about it like that but I mean it’s very much right. I go through a lot of, with one band I’m in, we sometimes will take an old song, because we aren’t writing originals yet, even though we would love to start getting back into that. Using different things like, maybe I’ll strum your normal first area chords but then maybe that’s not right, maybe you want to finger pick it. Or maybe you want to do an inversion up the neck. There’s also things like, a couple times I’ve actually pulled out a slide because it just seemed like, “Oh, a slide would work much better here to create an emotion.”

Then of course, there is the lovely word, distortion, to add to things and different effects, the delay, reverb. There’s a lot of different little things but it still has to have that underlining thing. I got to see an interview with Les Paul in person once. He made a good statement. He said he’d been with, I forget who it was, but he guy had … oh, I think it was Al [inaudible 00:45:10], he’s a phenomenal player, but I’ll play him this one thing and Les Paul said he had so many effects on it, then he told Al, “Take all the effects off your guitar right now.” Al did. He goes, “Now play the same thing.” Al looked at him and goes, “That isn’t really that great.” Les Paul’s thing was start off with a great idea, then add the effects to it. Then it’ll just bring it out even more. It’s kind of a neat way of kind of looking at that, building on to those emotions.

Christopher: For sure. I was a bit concerned when you started going down that effects street because of the road often leads guitarists down, that I think you’ve hit on the key thing, which is if you start with a message or start with something that’s fundamentally musically meaningful, those can really help you shape it the way you want to shape it. That is, I think, how they should be used.

Stewart: Yeah.

Christopher: How about yourself Andrew?

Andrew: One thing, I began as a melody player and so when I’d gone to pull a [inaudible 00:46:26] instruments or accompaniment roles on the accordion or keyboard, there’s so much you can do to interact, rather than just being robot playing a groove. Where you are listening to the melody, you’re adding dynamics. You don’t have to change the notes or the rhythm of what you’re playing, although sometimes that happens. We have a recording of an older mariachi band and they’re not really that great in terms of high artistry and all that stuff but their rhythm section breathes with the melody. Having that idea that they come in and they come out and they breathe with the melody and it’s so beautiful to listen to.

I’ve added that to my rhythm in my accompaniment playing. Have always the sense that you’re always playing a melody. You’re always moving with that stream, whether you’re playing rhythm, where you’re hitting a drum, or whatever. I think that adds so much to the musicality [inaudible 00:47:37] it also adds so much to your interactivity and ability to play together and listen to other people.

Christopher: Nice. I think you’ve touched on a topic there that we will have to save for another day, which is how do you approach all of this when you’re collaborating, when it’s not just you sitting with your instrument. I think that’s a whole different kettle of fish.

I think there’s plenty there for people to take away and start playing in their own musical lives. I’ll just wrap things up with a simple kind of call to action. If nothing else, just be asking yourself this day by day. I think that’s what came across in the Episode 100 roundup, the guests you mentioned this and touched on this that it should just be a core part of how you think about music. What is the message I’m trying to convey, what am I trying to have my listener experience.

On that note, I will wrap things up. Thank you very much Stewart, Adam, Andrew and Anastasia for joining me on this one. Thanks to everyone for listening and we will see you on the next one!

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The post About the Message in the Music appeared first on Musical U.

https://www.musical-u.com/learn/5-minute-guide-to-interval-ear-training/
Intervals are an essential skill for musicians, letting you easily play by ear, create your own music and improvise freely.

But interval ear training can be confusing and overwhelming when you’re just getting started.

What if you could learn everything you need to know about intervals in just 5 minutes? https://www.musical-u.com/learn/5-minute-guide-to-interval-ear-training/

https://www.musical-u.com/learn/musical-confidence-boost/
As a musician, you might have to deal with many challenging situations that make even the most experienced performers sweat and falter. No matter where you are on your musical journey, a lack of confidence can hinder your ability to perform, grow, and succeed as an artist.

Here are 6 tricks that can help you instantly boost your musical confidence and allow you to do things you may not have been able to do before. https://www.musical-u.com/learn/musical-confidence-boost/

The harmonica is, by nature, a very expressive instrument – with hundreds of possible techniques at your disposal, you can make the harmonica sound shrill, bright, warm, melancholy, tense, jubilant, or anything in between. In fact, it’s even possible to “speak” through your harmonica, by enunciating syllables at the start of a musical phrase.

But before you can put all the possible techniques to use to create your sound, you need to have an ear that can recognize these techniques, hear how they’re used together, where they sound good, and how to incorporate them into your playing in a way that is deliberate and musical.

So let’s talk listening skills – and how they are the key for any harmonica player to develop the sound they desire. By understanding what your favorite harmonica players do, you can use their style as a starting point for developing your own style, incorporating the best aspects of your heroes.

What makes a harmonica player’s sound unique?

If you are like most people, you most likely think of sound as a product of the equipment a specific harmonica player is using – I find that this view is especially common among beginner harmonica players.

Although equipment does play a role in shaping your sound, it’s far less important than you might think. Don’t get me wrong – harmonicas, amps, and microphones in different combinations all contribute to the final sound, but unless the initial acoustic sound is good, you will only amplify bad sound. Also, don’t you want to sound good in a purely acoustic setup?

So what’s the key ingredient that really shapes the sound of the harmonica?

It’s really all about the harmonica player’s unique style – how they use note presentation, phrasing, rhythm, embouchure, and structure to build up a song. And these skills are equally useful for both amplified and acoustic playing.

Unfocused Development vs. Focused Development

As you develop as a harmonica player, you will be continuously listening to harmonica players you admire. By doing so, you are subconsciously internalizing what they are doing, and some of it will make it into your own playing style and harmonica sound. I call this unfocused development. The drawback of this approach is that you will have no control over what you incorporate, or if it is technically correct.

Shifting your approach from unfocused to focused development, and learning to control your sound, starts with ear training.

Ear training is the perfect tool to sharpen your listening skills so that you can distinguish between the different sounds you hear and break down how they are produced. By doing this, you can actively choose what you incorporate, and even tweak to fit the sound you want. The first level is to really hear the different sounds and nuances, the second step is to understand how the sounds are produced and the final step is to be able to produce the sound and compare it to the original. You cannot play what you cannot hear – it is as simple as that.

What To Listen For

Now that we know the “what” of listening to harmonica playing, let’s look at the “how”.

Earlier, I mentioned a number of musical building blocks that make up the sound of a harmonica player: embouchure, phrasing, rhythm, and so on. To really go deep with your active listening and ear training, you need to listen to a lot of songs by the player you are analyzing and make notes on what you hear.

A great way of doing this is to use a worksheet that makes it easy to take these notes, where you list out the techniques being employed. What you need to note is if a technique or building block is used “always”, “sometimes”, or “never” – but you might also notice some nuances to make a note of. The worksheet can also be downloaded as a free PDF.

To get you started, here are some building blocks you should listen for, and some factors to think about and note down in your worksheet. As you advance, you’ll notice more of your own and your ear will learn to tell the difference!

Embouchure

Most great harmonica players use the tongue blocking embouchure most of the time. It may be interesting to notice if and when the player switches to puckering instead. If the player mostly uses puckering, then how are chords incorporated?

Note Presentation

Clean notes are single notes played without any air being blown into the adjacent holes, creating a monophonic, “clean” sound. In contrast, dirty notes are a main note played with a smaller amount of the adjacent holes played simultaneously. Learn to hear the difference between the two, and the feeling that each lends to the music being played.

Chords, meanwhile, are a set of three notes (or more!) sounded at the same time. Remember that there is a fine line between a chord where holes 2, 3, and 4 are played simultaneously, and a dirty note where hole 3 is the major note being played with some degree of holes 2 and 4 played as well.

Octave splits describes two notes that are three holes apart being played simultaneously to form an octave, for example holes 5 and 8. If the harmonica is very well in tune you really have to listen deeply to spot that it is an octave split and not just one hole played stronger.

Fake splits, meanwhile, are splits that are not true octaves. For example, holes 2 and 5 played simultaneously is a minor seventh.

Musical Effects

Flutter is a technique where the tongue lets part of the chord sound below the note being played.

Tongue slap describes a technique where the full chord is played very briefly before being shut off by the tongue so that only the melody note is played.

Pull slap, similar to a tongue slap, describes a technique where all notes are first blocked before a very sharp tongue slap is performed.

Articulations are notes or chords started by articulating syllables such as “ka”, “ha”, “do”, “yah” or similar.

Tremolo lends a “trembling” effect to the music. On the harmonica, it can be done by either by the throat or by the hand.

Vibrato, or the alteration of pitch by pulses, can be done by gut, throat, or hand.

Phrasing

Musical phrasing is the art of grouping notes in different ways to add interest to the music you’re playing. It’s often inexact and highly instinctive, making it a big part of what makes your harmonica playing sound expressive.

When listening to the music, note the short phrases, long phrases, and everything in between. On which beat is a phrase started? Is it always on beat one?

Rhythm

Take notice of whether there is a steady rhythm, or if the notes dance around the beat. Are notes played on the beat? Or are they swinging? Are chords used to create a rhythm with the melody?

Tension

Tension and release play a big role in music – and there’s various ways that harmonica players achieve this. Picking out the individual notes that create this tension is a more advanced skill that will come with time – but as you hear more and more chords and scales, it will slowly become second nature.

Chord tones are the notes present within certain chords, used in conjunction with chords to create this tension. Take note of how chord tones are used in harmonica playing.

Scale tones, similarly, are the notes present in a specific scale, which all have a distinctive relationship to the tonic. Take note of how these scale tones are used for tension and resolution.

Blue notes are notes played at a non-standard pitch, usually pitched a semitone or a quartertone off the usual pitch. This gives them their “worried” feel.

Structure and Repetition

Phrases are put together in sequences to create passages of music. Listen for how phrases are repeated. Common patterns are AAA, AAB, and ABAC.

Backup Playing vs. Solos and Fills

Is the harmonica playing during vocal phrases? How is that done? Are fills (riffs between vocal phrases) used?

Analyzing the Greats

Let’s look at some famous harmonica players’ styles. Keep the techniques discussed above in mind, and listen carefully for their appearance.

Sonny Terry

Sonny’s characteristic, expressive playing uses a myriad of techniques. Here are some that you’ll encounter in “Whoopin’ the Blues”:

• A lot of rhythmic phrases with whoopin vocalizations
• Often uses partial chords and dirty notes
• Often use 3-hole splits (actually a partial chord)
• Never uses octave splits
• Uses many hand effects

Sonny Boy Williamson II

Listen to “Eyesight to the Blind” and take note of Sonny Boy’s style:

• Tongue block player
• Squeezes the tone to make a sharper, thinner tone than usually associated with tongue blocking
• Often uses pull slapping in triplet phrases

Little Walter

“My Babe” showcases the player’s technique at its finest:

• Tongue block player
• Start phrases on beat 2 more often than most players
• Plays repetitively and rhythmically as backing under vocal phrases combined with fills between vocal phrases

Developing Your Harmonica Sound

To develop your harmonica sound you must first understand what it is that you like – is it rhythmic playing, long phrases, fast tongue slap phrases, or something else? When you know what you like, you can start developing that technique yourself and incorporating it into your playing.

Here’s how:

1. Break the technique down into its components, so that you understand how to perform it.
2. Form an ideal sound in your head of how the technique should sound.
3. Play the technique, and compare it to the sound you have imagined. When repeated over time, you will be able to perform the technique better and better.
4. When you can perform the technique in isolation, put into context. That is, use it in a song or phrase you know well, and experiment with how you use it.

All of these steps are, of course, then done for each of the techniques you have identified to be included in your sound. Start with one or two, and let them sink into your playing. Try to overuse them in the beginning, until they are a part of what you normally do.

Sharpening Your Listening Skills

The bottom line: In order to understand, replicate, and build on what you hear your favorite players do, you need good listening skills. What I described above for learning new techniques is a good way of building your mental model of the harmonica while you start understanding how different techniques sound. 

In particular, ear training for recognizing intervals is very valuable. It will help you understand the layout of the harmonica and the sound you can expect to hear with various hole combinations. It makes it easier for you to make the connection between the sound of a root note and any note above or below. And best of all, it’ll get you on the fast track to learning your favourite songs, improvising, and even composing your own music.

So get those ears in tune and make them work in your favor!

Fredrik Hertzberg is an engineering manager from the south of Sweden. Fredrik started playing blues harmonica in 1987 at the age of 14. Since 2014, Fredrik has been teaching blues harmonica online, in private lessons, group lessons and in workshops.

The post Listening Skills: The Key to Developing Your Harmonica Sound appeared first on Musical U.

https://www.musical-u.com/learn/rhythm-training-101-study-syncopation/
Have you ever noticed that your favorite music seems to jump all around the beat? 🤔 They are using syncopation to create rhythmic variety and interest in the song.

Learn all about this valuable skill from Musical U! 😃 https://www.musical-u.com/learn/rhythm-training-101-study-syncopation/

Josh works on Broadway and also provides recording and arranging services both in person and online, drawing on his amazingly broad wind skills. And he came across our radar because he also produces two fantastic kinds of YouTube video, one in which he very punchily explains the must-know rules for arranging for particular instruments in a sensible way, and the other in which he arranges popular music such as TV themes for a variety of instruments – and then plays every part himself!

We wanted to know what had gone into the music education of a person who could do all this, and the conversation was truly enlightening. You’re going to hear about:

• Josh’s early days and the surprising attitude that let him quickly learn more instruments than most of us have dreamed of ever playing
• The one critical thing Josh says is the essence of his attitude to learning and which is simple – though perhaps not easy.
• And the amount of daily practice it took to juggle an endless array of ensembles and groups during his high school years, as well as the way he thinks about practicing now that lets him stay in shape on all those instruments.

We know you’re gonna enjoy this episode and we think it might provoke you to think differently about your own route in learning music – or to better understand the route you have chosen. And we must insist that you go immediately after finishing listening, and check out some of Josh’s YouTube videos. We’ll have a few recommended favourites in the shownotes for this episode.

Listen to the episode:

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Enjoying the show? Please consider rating and reviewing it!

Links and Resources

• Josh Plotner’s website
• Josh’s YouTube channel
• Game of Thrones Theme – Woodwinds Only
• This is Halloween – Woodwinds Only
• How to Write for Clarinet in 2 Minutes
• Mindset: The New Psychology of Success, by Carol Dweck
• The Dunning-Kruger Effect

Transcript

Christopher: Welcome to the show, Josh. Thanks for joining us today.

Josh: Thanks, glad to be here.

Christopher: You are a quite remarkable musician for a number of reasons, and I would love to understand a bit more about where that came from, and in particular how you became such a versatile multi-instrumentalist and arranger. If you wouldn’t mind, could you take us right back to the beginning? What was the early music education like for you?

Josh: Well, I guess the very beginning is, unfortunately, terribly cheesy. I wanted to play saxophone since I was three years old, which is just one of those super cheesy stories. I don’t know, at three I was really into the idea. I thought it was the coolest thing, and my Mom was like, “Uh, it’s a phase.” My school system lets you start picking up an instrument at 10. My Mom, it was funny, I still call her out for this, she took piano lessons as a kid and hated it, and she was like, “If he’s interested in music, maybe I should make him take piano lessons, but I don’t want to force him because I hated it and I had an old, angry piano teacher,” so I never took piano.

Still am terrible at piano, still angry at my Mom for that, but I started saxophone at 10. Then I ended up really getting into it, because I really wanted to play it. I picked up clarinet right before high school and then I dropped it, came back to it a little later, picked up the flute, I think freshman year in high school. Actually I pretty much picked up clarinet and flute in high school because saxophone parts in concert band are terrible.

They’re usually just doubling the French horn part. It’s like being the alto voice in a section. There are moments that are nice for saxophone, but not nearly as cool as flute or clarinet. No one’s writing as good for saxophone in concert band as they are flute and clarinet. I guess I have enough of an ego that I was like, “No, I want to do the cool parts.” I convinced my band director. I auditioned and they started letting me play flute.

Then I got serious about flute and I did orchestra. Obviously there’s the four-piece orchestral pieces for saxophone, so I started playing clarinet in orchestra and flute in concert band. Then by senior year I had a bunch of my friends be angry at me because I was first chair and the saxophone players stole their first chair seat. Sorry, guys, if you’re listening. Yeah, I got serious about it and I continued into college. In college, I ended up at the end of college finally picking up oboe a little bit reluctantly.

Christopher: Let me interrupt there for a second if I may and ask, because you casually mentioned, “I picked this up, I picked that up,” which I’m sure to a lot of our listeners is surprising. That sounds difficult. Learning one instrument is difficult, learning two or three must be really difficult. What were you doing to learn those instruments? Were you self-taught? Was it playing by ear? Were you reading from sheet music? Did you have a teacher?

Josh: I did have a teacher. My Mom was actually pretty great about helping me find teachers. First there was one teacher who taught me everything. Then I ended up, my high school life was a little crazy because I was taking lessons on all of those instruments. Actually I was taking lessons on all of those instruments and a jazz saxophone lesson and a classical saxophone lesson. I was very nearly actually, almost a professional classical saxophonist, but that’s actually an oxymoron.

Christopher: It’s the “professional” bit that makes it tricky, huh?

Josh: Sorry to classical saxophonists listening, but you know you guys laughed a little bit at that. No, but I didn’t want to do the education thing as much. I really wanted to perform, but I was taking lessons on all of those instruments and trying to really pretend … There’s a great quote by, oh, I can’t think who it was, a great clarinet player and doubler. Anyway, he was like, “Being a doubler is like having four girlfriends and none of them know about each other.” That’s what being a good doubler is about.

Christopher: Explain for the audience who aren’t familiar with the term, what’s a doubler?

Josh: Ah, a doubler is just someone who plays more than one instrument. The verb is always doubling. One of my pet peeves is people are like, “You’re like a tripler, a quadrupler.” No, no, no, no, no, it’s just like you’re doubling as another thing. There’s no math involved in that term.

Christopher: Got you. We’ve talked a few times here on the podcast about playing multiple instruments, and in our canonical blog post about musicality, we list that as one of the things it means to be musical, to be able to play more than one instrument. That does often take people by surprise, because I think we have this cultural assumption that if you want to get to the highest level, you really need to focus in and just master one instrument, and maybe when you’re a total virtuoso you can think about something else for pleasure.

I think that idea of the concert pianist who plays nothing but piano from the age of three to 30, has us all thinking like that is the proper way to do it. I know that for me I had a similar if smaller story to yours, in the sense that I played several instruments in high school and always felt very guilty about it. I felt like serious musicians were doing their grade eight when I was still doing grade five, and it’s because I played three instruments instead of one.

I’d love to hear what you think sent you in that direction and do you think there were any obvious benefits to you, in terms of who you became as a musician, apart from the practicality of being able to play in this band or get the more interesting part?

Josh: Sure, sure. I mean, well, I think to that point about focusing on one thing and becoming perfect at it before you move on, it really depends on what your goals are. I can’t think of a nicer way to phrase it, but if you have a blind passion, and that doesn’t have to be a bad thing, but if you’re like, “I want to play concert piano. I don’t care about anything else,” that’s amazing, because actually your life is very simple and you have a very clear direction.

Most people unfortunately don’t have as clear of a passion and enjoy lots of things. In doing that you’re going to … How do I phrase this? You want to explore other things. There is something so educational about understanding the different perspectives of different cultures, different things, so I’ve always been really interested, since I was a kid, in other cultures. I think it started out, I really liked taking French in school. Then that ended up broadening into a passion about languages, but yeah, I was always interested in different cultures.

From my experience, while if you focus on one thing, you become amazing at it, but it becomes a bit of a brittle skill. If you’re an amazing classical musician, I’ve worked with amazing violin players and it’s like, “Please swing. Please play jazz,” and it goes “dah dadah dadah dadah” and everyone’s like “Urrrggh. Noooo….” It’s because if you focus on only one thing you should be prepared to become a very brittle kind of musician.

Again, if that’s what you want, if that’s what makes you happy, that’s awesome and again, a much more clear way to live one’s life than the complexity of having a bunch of interests. I’m 3% interested in this, I’m 67% and 15. I mean, that’s a bit of a mess, but that’s a little more common than the pure passion. There’s nothing wrong with either of those. Yeah, but I’ve always loved being able to look at things from different perspectives.

I found things like … This is always better as a visual demonstration, but the way that one lays back, especially in a big band swing thing, is found in orchestral music in the way that … I find just from having played at serious levels in both, the way that the ichthys is usually not at the bottom, the conductor will throw down the baton and then it comes up a little bit and that’s where the beat is, that feeling of the beat, and even though most orchestral music doesn’t really groove, you’re still feeling the beat in a way.

That’s a very similar emotion to when in a big band they’re going dah, dah, dah, dah, ahhh. It’s like da da da da da da. It’s a very similar just pulling the music. Same emotion, different context. I feel like it strengthened me and because I studied jazz pretty seriously, it gave me a bit of a head start when I started doing orchestral things, because syncopated rhythms come a little bit later in a classical education and they’re like, “Jazz, let’s go. What are you doing?” All we’re doing is syncopated rhythms. I very quickly was able to find the similarities.

I mean, to me there’s nothing about them that’s like oil and water. You can really mix them, not mix them in a Gershwin way, but just the passion and the mindset, it’s really like saying the same thing but switching the language, I guess.

Christopher: That’s super interesting. I think it would be easy for people to assume, and this was definitely my fear when I was a teenager, that if you do spread yourself a bit thinner like that, you’re never going to get to a good level on any of the instruments. You obviously went on to study at Berkeley. Were you practicing each of those instruments seven hours a day to get to that standard? How did you manage to fit all that in?

Josh: I mean, the way that it ended up working really, because I’m actually terrible at self-motivation, honestly. I’m pretty bad at it. I’m pretty bad at regular, disciplined practice schedules, but what I am good at is throwing myself into situations where people are going to expect me to be good, and I really don’t like the feeling of other people being disappointed in me. That’s my form of internal/external motivation. Playing with ensembles, I would just be like, “Yeah, I can play a flute and do that thing,” and then I’d be there and I’d be expected to and so I did, whereas when I first started learning oboe I had no right to…

I told them that I could play… There was this amazing singer coming to Berkeley for this concert. Her name is Susana Baca. She’s a really famous, Peruvian traditional singer. She’s incredible and they’re like, “Do you want an oboe solo?” like an improvised oboe solo? I was like, “Yeah, I can do that,” after having played oboe for four months.

Oboe is not an instrument you can be even a little bit good at in four months, but it’s not the worst, because there was just so much pressure that it made it happen for me. The spreading yourself thin, it’s a tricky thing, because some people use it as an excuse. It’s a personality thing, because for some people there is a fear and everyone has this fear, a fear of seeing how good you can ever get, and a fear of knowing what your best is, because what if it’s not good enough?

You’re like, “What if I …” You don’t do this really consciously, but it’s just under consciously, really, like if I just do a bunch of things I can always have that excuse. Then it’s like, “Oh, well I never fully put myself in it so I would be that good,” and it’s like this very convenient excuse that, “Really everyone does this. I would be that good, it’s just that it didn’t work out that way.” Some people use doing a bunch of things as a crutch and that’s not a good way to do it, because that leads to just unfortunate, people who do everything, they’re bad at everything and I don’t know.

Christopher: How do you avoid that?

Josh: I mean, it’s really a personality thing. It’s not a universal thing. The problem with it, if you have a personality that tends towards excuses and giving yourself an excuse and letting yourself get away with stuff, it’s a very dangerous road to go down, or just really, I mean, in that case you can still do a bunch of things, but getting really amazing at one thing helps so much, because at some point you have to have an understanding of what excellence is.

You have to have an understanding of what being elite is, and if you have that in something it really doesn’t even have to be musical, just an understanding of the feeling of that elite focus and drive, then you can go into other things knowing that’s a standard and that’s what it feels like to actually be there, but if you never get there with anything, that can be a huge hindrance, because then you’re like, “Oh, I’m fine.”

The perfect explanation is the Dunning-Kruger effect, which is this psychological phenomenon that … The short version is that people who are untalented think they’re talented because they don’t understand the scope of talent, and a lot of people who are talented don’t think they’re talented because they understand the scope of talent. Look up Dunning-Kruger effect. That’s the easiest way –

Christopher: Yeah, we’ll definitely have a link in the show notes. I think I’ve heard it described as expertise more than talent, so people who … it’s kind of “you don’t know what you don’t know” and a lot of people think they’re better than they are because they’ve never really been exposed to what it means to know that thing in detail.

Josh: It’s always – but the opposite is true, too, because people who are really talented know how much they suck, because if you’re really good … I honestly think I’m pretty terrible at what I do, but other people haven’t seemed to figure that out yet, so I just go with it. I can go on and on and tell you why I’m terrible at every instrument I play and all the things I do and all my flaws, and they might be as legitimate or illegitimate as you think, but I guess that might be a sign that I have an understanding because I can go on and on about how terrible I am.

Christopher: Got you. I think sticking in the world of psychology, they call that the “imposter syndrome” and it’s one we’ve all suffered from.

Josh: Oh, yeah. I don’t know any professional musicians who don’t have imposter syndrome.

Christopher: You talked there about getting to the elite level and getting to the point where you can really understand what it means to be top tier in something, and for you I guess one place that came out was at Berkeley. Were there any key musical experiences before that point? I think you told your story up until high school time. From there to Berkeley, was it a matter of taking those lessons every week, studying those instruments? Was there anything else that helped you get to that elite level?

Josh: Yeah, I studied outside of school, like this weekend music school called Midwest Young Artists, which I feel like I owe most of my talent to, honestly. It’s such an amazing school. Shout out to Midwest Young Artists. I was in so many ensembles. I think what it really was that I spread myself thin and was expected to perform well and it didn’t crush me. I was able to do it. In high school, in my high school band, which wasn’t the most amazing high school, but I was in the concert band and the jazz band.

I was in the marching band for a minute and I was in a saxophone quartet. That was just at school in this other music school, which was the weekends and it also became Wednesday and Tuesday evenings, I think. There I was in their orchestra, I was in the big band, I was in a chamber ensemble that played the music of Eighth Blackbird, which is this really cool, modern, chamber ensemble.

I was playing clarinet in that and I was playing in a competitive saxophone quartet. The high school one was just fun, but the one at Midwest Young Artists, we qualified for the Fischoff … My claim to fame is that we were the first saxophone quartet to qualify for the junior version of the Fischoff Competition, which is this huge American … No, it might be international.

This was a chamber music competition and saxophone quartets are usually snubbed, but now more and more they’re not being snubbed. Yeah, I was in … I have to count. I think it was somewhere between seven and 10 ensembles simultaneously, so honestly, the skill I developed a lot, because I didn’t practice for everything, I didn’t prepare every piece of music for everything but I got really good at [bleep] in high school because I was doing all those things. Honestly, I think that is one of the most important skills going through life, is being able to not quite know what you’re doing but seem like you know what you’re doing, because it’s a very fake it till you make it. The first step at getting good at something is just convincing other people. There are different journeys, but convincing other people that you’re good at something, because once they believe it, maybe you can start to believe it. For someone like me at least, that’s my only hope, is that other people believe it and then they convince me, so I pretend.

Christopher: Do you have to phrase “blag it” in the US? Would you say to blag it?

Josh: No.

Christopher: No, so in the UK or in Ireland we would describe that as blagging it. You just show up and you blag your way through. I think that’s a valid skill to have and I definitely, I’m a believer.

Josh: I mean, it is a real skill, because that’s what sight reading is. Being a good sight reader is an honorable and important thing as a musician, but blagging, faking it, that’s cheating. Sight reading is entirely pretending you already knew the music that you’ve seen for the first time, that’s all it is. It’s just we have a word that makes it sound a lot nicer in the context of music.

Christopher: Yeah, I think one of my big life lessons as a teenager was the idea that the way to be competent is to act competent and genuinely that is what it takes. You just pretend like you are competent and over time you realize that works and you can just become a competent person.

Josh: I wish someone had told me earlier that it turns out really no one has any clue what they’re doing at all. You find out, well, your parents didn’t really know what they were doing, the President … That’s a whole other conversation. The President doesn’t know what he’s doing.

Christopher: Let’s not go there on this podcast.

Josh: No, no, no.

Christopher: Yeah, that skill of blagging it is crazy important. At the same time, I’m sure a lot of our listeners are like, “Really? This guy has graduated from Berkeley and does all of these amazing jobs in session music for TV and playing on Broadway. Really? Does he really not study seven hours a day on each of these instruments and really master each of them?”

Josh: No, it can be about that, but for me it’s about having high expectations for myself and trying not to let myself and others down. It becomes very easy to do what I do, not out of a theoretical concept of practicing but out of a practical, real world, “This is what I want to happen, and this is what I like,” clear goals. I mean, when I think about it, I say I don’t practice a lot, but it’s because I don’t do a lot of structured sitting down and playing scales and doing études, although I did at some point.

That’s definitely important, scales and études, especially when you’re starting out, very important, but at this point it doesn’t feel like practicing, even though I’ll be learning something, but it’s more like playing. This is where the English language has a bit of an unfortunate homonym here, because it’s not playing music, but playing as in approaching music with a sense of play. I’m just like, “Oh, yeah, I just want to figure this out and make this thing work and be able to do this,” but for me there’s a little bit less structure and a little bit more of a natural thing.

I was watching an interview with Jacob Collier that really resonated with me where he’s like, “Yeah, I’ve never practiced,” but he’ll sit at his computer, whatever for seven hours and be doing music but it’s not practicing. Again, it all depends on goals. If you’re trying to be a concert pianist and you’re trying to be able to play chromatic scales at blazing tempos, that requires practice. Practice can be a few different things. One of the things that practice does is build muscles for just about every instrument.

You literally need to make your muscles work better and you need to develop those. If the brain of an amazing musician got transported into the body of a non-musician, they’d be able to kind of make it work, but they wouldn’t have any technique because you just need the physical muscles. Practice is perfect for the structured thing of just … Yeah, because that’s really how your body works.

The brain is a little bit more of a wishy-washy … or it can be. Again, it’s very much a personality thing. Trying to be universal about it I think, ends up leaving a lot of people out if you’re trying to make universal rules about how to practice and how to blah blah blah. That was just a long tangent, wasn’t it?

Christopher: No, it was fantastic, but what I was interested to ask you next was, you’ve been playing all of these different styles, different instruments, and I think we’ve got a sense of how you’re approaching that. You got into Berkeley. Presumably at that point you’re like, “Right, now it’s just jazz saxophone forever more.” Were you?

Josh: Yeah. Actually I went to Northwestern University in Chicago for a year and I didn’t resonate very strongly with the jazz program, so I ended up transferring to Berkeley. I was like, “Cool, jazz, jazz, jazz. Find a good jazz school.” Then at Berkeley, I should have done more research, I guess. I mean, Berkeley has a great jazz program but the cool thing to me about Berkeley ended up being that it’s the school with the highest percentage of international students in the country.

I mean it’s only a school with 4,000 people, but by percentage it’s the highest amount of international students. Half of my friends ended up being from South America, the Middle East, friends from really all over. After two or three years at Berkeley I’d be like, “Wow, I could stay in most places in Europe, South America, a couple places in Asia.” There were a few African students at Berkeley, not too many, but Berkeley is pretty amazingly international, so I got really into Latin music.

It was really interesting, too, because I mean, Latin music is a huge umbrella. I got my mind blown by things like … Oh, man, I was so young. In Argentina, they have a rhythm called chacarera and it sounds like a waltz. I mean the waltz is also an Argentina thing, but the bass plays one two three, two three, two three, one two three, and she’s like, “It’s in three.” The rhythm goes [speaks rhythm pattern] and they all feel it in 6/8.

When the bass is going, what would be two three and three four becomes three five out of six eigths. All of a sudden it’s really hip because the bass isn’t playing one and the bass isn’t playing four, and it’s in six eight. Will these claps work on this mic? [speaks and claps example] It’s just really cool.

Christopher: It’s kind of lurching.

Josh: I might have done that wrong. We’ll fix it in post. No, no, no.

I was trying to explain it and I was like, “No, no, no, I studied a bunch of Western classical music and clearly if the bass is going two three, two three, we’re in three, and they’re also not playing one. That’s a bit of a strange … Why aren’t you playing one? I realized that I just got so excited when I got my mind blown, we’re like, “No, it’s in six. Here’s the beat.” Then especially the world, I think, of South American music really opened me up to the rest of music because while typically traditional music from South America is often harmonically fairly simple, the rhythm is so deep.

I mean, there are a lot of, for all practical purposes, un-note-takeable rhythms where it’s just like to really get exactly what they’re playing you’d have to use crazy tuplets that are unreadable and at that point, pointless, because it’s about a feeling thing. Yeah, feeling bigger beats. It was crazy, too, when I ended up doing that. That concert with Susana Baca, a Peruvian music is an even more complicated concept than Argentina, because they take that concept to six eight and three four and do it in nine a lot of the time.

There was an audience of people all clapping, non-musicians, and they were all clapping. I was like, “I don’t know what they’re clapping. I am a trained musician and I don’t know what all these people are hearing.” I was like, “What?” I could imitate them by watching their hands and trying to time my hands with their hands, but how does this relate to the music and how is the whole audience doing this and why don’t I, as a trained musician, understand a simple clapping along to this music?

That was really exciting for me to just really get my mind blown that there’s so much more out there than … There is a bit of a hubris to the Western side of music, the classical and the jazz, it’s like “We have the deepest y’know” I hate saying that. It’s like the tradition is like we’ve gotten to the base of music theory and the undercurrent and there’s a lot we’re missing. I mean, my mind is always blown by … More and more I’m getting into Hindustani stuff from India.
That stuff, harmonically there’s not that much to talk about, although the scales are interesting and people talk about the microtones. At least my understanding is, they actually essentially use a chromatic scale with microtonal ornaments that are used in a specific way. It’s not just you’re jumping from do to fa flat or something. It’s really to get to that note you’re playing another note and it’s like that systemised, but the rhythmic thing.

Again, especially in Hindustan, they have half hour forms that you memorize and crazy counting systems that if you just threw in a Western musician, even if you tried to explain it to them, they’d have to shed for years. Yeah, Berkeley being so international, it was so nice to be stripped of my concepts. I was like, “Yeah, jazz and classical music are really deep art forms,” because there really is so much more.

Also, just finding the empathy and enjoying other art forms. Eventually, I came the long way around to appreciating pop music because I was always a jazz musician, jazz musician first, classical music close second and pop was pop. I’m going to sound so pretentious, but it almost became an exercise in empathy. I found a way to enjoy pop and I was like, “Okay, what are all these people hearing?” and try to hear it like them.

I mean, you can really do that. There’s cool stuff in pop, too, but pop’s not about the harmony, it’s not really about the rhythm. It’s got this other feeling to it, but I mean, also pop’s really cool if you get into the world of production. Oh, my God, some of the best producers and engineers are pop ones and the things they can do, which is also why I have a bit of a theory. I think I probably stole this from someone, but the reason jazz and classical music aren’t that popular is because the engineers that usually do the work on them is not great.

If you spent 10 years working on how to figure out negative harmony, you’re going to lose the guy who spent 10 years making a good snare sound, because at the end of the day, if you’re talking about appealing to a large audience, presentation is the first barrier. If you don’t have the empathy to get through having a good presentation to give whatever the meat of your subject is to your audience, you’re screwed.

The problem with pop is that, for me at least, I get stuck in presentation. It’s all presentation and no substance, but the problem with a lot of modern jazz or especially the direction modern classical music is going, or neo-classical music, it’s all substance and no presentation. While it works for those who enjoy it, it displays a lack of empathy that I think is … I don’t know. For me, I like the balance of just understanding a little bit where everyone’s coming from, trying to get your message understood in a more … You don’t have to corrupt your message to make it presentable. You just have to have a little bit more empathy.

Berkeley gave me a lot just by meeting people from other countries with other languages, other perspectives, and finding out that everyone is very similar. One thing that ended up being really cool, I got into world music, which started getting me into world flutes. Then I ended up really getting into it when I moved to New York. My story of really getting into world flutes is that I moved to New York and wanted to sub on Broadway as a young musician with not a lot of connections that’s a woodwind player.

The woodwind world is really hard to break into when you’re young. You really need connections or teachers. Every instrument on Broadway at least has its own rules. Drummers and music directors, a lot of cool young people. Woodwinds is just an older group of people. They’ve already got it figured out a little bit more. I wanted to sub on Broadway and I was like, “What if I try for The Lion King, which has all these crazy flutes?”

I was already interested in world flutes, so I learned all these flutes and I got really deep into it. Back to my original point, the cool thing about world flutes that really unifies humanity is that all these cultures across the world, hundreds of years ago, invented kind of the same thing. It’s very impressive if you look at my website or something, and you’re like, “Wow, this guy plays 40, no, it’s probably not 40.

It depends really how you count with the instruments because I play bansuri in C and bansuri in F. Are those the same instruments? Is alto and tenor sax the same instrument? Is piccolo clarinet and base clarinet the same instrument? You can’t just pick those up and play them. It gets gray. I play a couple dozen instruments probably at least, but they’re kind of the same, actually. It’s really cool that for instance, there’s a technique that you find in Irish flute and tin whistle, where you’re playing a note, and to re-articulate the note, you don’t tongue it.

You very quickly hit your finger on the note below so it’s something like [sings demonstration] It’s a very Irish technique. The Japanese use the exact same technique on shakuhachi. They think of it differently, but as someone from my perspective who’s not so entrenched in the culture, I just have an outsider perspective on all these things a little bit and then trying to always have a deeper insider perspective, it’s the exact same technique.

Irish people and Japanese people 300 years ago definitely weren’t trading musical concepts and it’s cool, too, because they use those techniques. Sounds way different when you play it on ‘kuhachi versus tin whistle. Also, the Japanese shakuhachi again, it’s a really, very hard instrument to make noise out of. I can’t imagine how people … Japanese is also based off the Chinese xiao.

Either way that instrument, the way you make sound out of it, it takes a week to make noise. It’s a fun thing I do. If I ever meet a professional flute player, I’m like, “This is a flute. Make a noise.” It takes a week to be able to make a … It’s just a very, very strange embouchure. I can’t imagine how anyone invented that, but they also did the same thing in the Andes with the quena.

It’s this Andean flute in Peru and it’s almost identical the way you play it, and there’s no way that people in South America hundreds of years ago were working with Chinese and Japanese musicians on flutes. I’d highly encourage you, if you’re ever around, you’ll see quenas probably more often, because there always seem to be Peruvian bands playing in town squares somewhere.

There’s a vertically blown flute, and if you look at it, it’s just a cylinder with a hole and a tiny divot in it. To make noise on that is such a weird thing to do with your face. World flutes for me really created this unified thing. I was like, “Wow! People are all really the same.” I mean, physics demands it, but it’s always the same. The fingerings are almost very much the same. Just two weeks ago I bought a native American flute and in about 15 minutes I was like, “I could play a gig on this.”

I’ve played this instrument for 15 minutes and I’m like, “Yeah, I get it,” because it’s kind of the same. To be clear, I don’t get native American traditional music. I don’t have that depth, but I listen to it, I heard the general things that they do with it and I’m like, “Oh, I know how to do that already,” because I’ve played other instruments and it’s like a little bit of this, a little bit of this. It is really cool how amazingly similar all music … There is a unifying thread that is just like, humans are humans at the end of the day.

Christopher: That touches on something I was really keen to ask you about, which is not just different instruments but different styles of music. Part of your work is as an arranger, and I know you arrange in partly Latin styles, also rock or classical. I’d love to understand what your approach is in the sense of balance between intellectual music theory understanding and this is how a fugue works in classical music or this is what a bachata sounds like in terms of rhythms, versus just tuning your ear in and having that instinct for each of the styles. How much is it a conscious process if you were to sit down and try and write or arrange something in one of those styles?

Josh: What I do is I know a lot of music theory. It’s something that resonates pretty strongly with me, because it’s like solving math problems that are really easy. If you ever remember in school, you were doing addition at a very young age and you had it down. You had homework and it was just filling in the boxes. It felt good because you were just check, check, like “I can do this. It’s easy and it’s fun.” That’s what music theory feels like for me, so I’m very deep in it and I use almost none of it when I’m arranging.

I use it as a tool to help me fix things. I don’t use it at all, really, as a creative tool. If I’m arranging and I’m trying to arrange in a style, if sometimes I’m not feeling 100% confident, I’ll just check out some recordings I know are good, and just actually get into the mindset of “Okay, right now I’m a Latin musician, I am an Argentinian musician.” Again, I’m not, but the pretending makes it so much more than coming from a place of the outside.

Just pretend you’re an insider, do something, and then also be ready to accept criticism, obviously at the end of the day. I really just use my ear and go with my instincts. The music theory comes in, in that it’s a helpful tool for whenever I get stuck. That’s where the music theory comes in. I’m like, “Why isn’t this …? Oh, it’s a minor 9th.” You can’t write a minor 9th. They almost always sound bad unless it’s a dominant 7th flat nine chord and the root in the flat nine.

But besides that they usually don’t… but there are also exceptions that I could talk all day about theory, but for me it’s a bit of a hindrance because it creates robotic music. One thing I always hated. I actually just try to pick fights with this. I hate in most college education when they’re doing counterpoint. I think counterpoint is a huge waste of time. I think it’s a waste of everyone’s time.

It’s an interesting game to play but I don’t think it’s useful because it’s based off of the work of famous classical composers and none of the famous classical composers actually followed those guidelines. If anyone wants to send me messages and pick fights about whether or not counterpoint should be part of music education, I will gladly do that. The theory helps, it’s just a tool for analysis, and in reflection and editing, but it’s not that useful for creative.

Actually the biggest thing that theory does that I appreciate is that it gives you names for things. If anyone has read the book 1984, the evil government, one of their big things is Big Brother is trying to get rid of words to control the population. If you flip that on its head, the more words you have, the more power you have. What theory does is, it gives you names for the sounds that you’re hearing. When you have names you can think of them better and you can use them better.

When you don’t have names it’s harder to work with them, so the more words the better. The fact that when you say, “Oh, that’s a major 10th,” I’m like, “I know, it has that beautiful, nice, resonant sound that makes me feel like this.” I have feelings attached to that name and it’s so much, because without that name you’d have to play me a 10th. Also you essentially can’t speak music if you can’t speak music theory, so if you don’t want to learn music theory, collaborations will be terrible because it’ll be like yelling at someone who doesn’t speak your language and just waving your hands around trying to get them to understand something.

It’s like, “Why can’t you understand?” Because he can’t speak music. Yeah, it’s easily the most useful skill. For me, one thing I’ve actually found in my professional … especially with my studio things, a skill I’ve had to develop that I’m glad I have is that I’ve been able to learn to speak non-musician, because in my home studio business I do a lot of professional work for people all over the world.

Not all of them are highly trained musicians, so sometimes someone will be like, “Yeah, I want you to play it softly and sweetly with good frequencies, like this.” It’s like that means nothing, and especially it’ll be a thing that’s not like a lullaby. It’s just a saxophone line. It’s not a screaming solo, and I’m like, “Oh, he means play it well.” I’ve had to learn how to translate that, but that’s because I do this as a professional career, translating people not understanding music into something that I’m like, “This is what they want.”

If you’re collaborating with someone that’s a very dangerous way to do it, because a lot of people don’t speak non-musician, if you will. That’s also a language that you can never master. You can just get less bad at it.

Christopher: On that note, one of the other remarkable things about you is that, as well as finding time to acquire all of these instrument skills, you also speak several languages. I think there’s been various research done on the similarities between language and music in terms of brain development. Often we do find that people who are good at learning languages are good at learning instruments, but I’d love to hear your perspective on that and whether one influenced the other in terms of you being willing or keen or able to pick up multiple languages.

Josh: I don’t know if they necessarily influenced each other in such a direct correlation like your question suggested, but what is really useful to me about just knowing languages is that I think the most important thing one can do just as a person is constantly be learning. Pseudo-science alert, but keeping your brain … Neuroplasticity to me is just very important. The more you learn, the better you get at learning and the easier learning is.

Languages, I mean, besides the fact it’s just a cool skill to have, languages are just like an infinite pool of things to learn. You can pretty quickly learn all the capitals of the countries. Languages specifically, there’s nothing quite like it where it just creates these interconnections in your brain, different ways to express things. It keeps your brain so much more flexible in such a quick, direct way.

Even learning facts and figures, there’s no elasticity to it. It’s like a very simple thing that your brain is doing, but when you’re learning Japanese and you’re trying to be like, “Oh, the verb always is at the end of the sentence, and I have to conjugate for politeness but not for pronouns.” Something like that, it’s just so good for your brain and that I feel like allows me, yeah, just keeping flexible.

It makes picking things up easier because I have found I get into this learning mode where I pick things up more quickly the more I’m learning. There are times where I like, “Oh, I haven’t been learning a language for four months or something,” I haven’t been studying anything. Things feel a little bit slower. Learning is a skill. If there’s one thing to take from this whole interview from my perspective, learning is a skill and it’s a thing you can get better at and it’s a thing where there are techniques.

The fact that every school system in the world doesn’t have classes on learning is just a waste of everyone’s time. Knowing how to learn and being good at learning changes the game because it allows you to play a ton of instruments in a ton of styles and it not to be hard, because also any situation I’m in where there’s something I don’t know, I sometimes make mistakes twice but it’s rare because it’s really easy for me.

I make a mistake, I’m like, “Oh, that, don’t do it any more. Done.” That’s only easy because I’m always making mistakes because I’m always learning. Learning is just making mistakes, right? If you don’t know something, you’re failing at it, and then once you’ve learned it you stop failing at it, if you just are always failing at things and you get good at failing less often and less consistently. I mean, I feel like language is just the easiest thing. It doesn’t even have to be about learning the language itself. It’s more about just brain gymnastics. It’s the best kind of brain gymnastics that I’m aware of.

Christopher: I think we’ve definitely picked up a few insights about how you have learned to learn. For example, it’s clear you are not someone who shies away from a challenge or sees that there’s a whole new opportunity to learn and just stays in what you’re comfortable with. We’ve also talked a bit about how sometimes spreading yourself thin and having external accountability has helped you to really follow through. You’ve talked about how, for you it’s not so much practicing as maybe preparing is a suitable word. You’ll put in the time. It’s not drills and exercises.

I think given what you just said about the centrality of learning to learn, I’d be remiss if I didn’t at least ask, were there any particular teachings or mentors or observations that helped you become a good learner?

Josh: I think it comes down to specifically I have this philosophy of, I just really don’t like being wrong. No, no, I’m sorry. Let me start over. I want to be right all the time, just like everyone else does. In pursuit of that, I try so hard to fail and I try so hard to be wrong, because whenever you find out that you’re wrong, that gives you the opportunity to be right forever. In any debate, it’s a very emotional thing. A debate’s a better example than music, but the same principle applies.

You’re arguing with someone and you get that inkling that you’re wrong and you fight it. You’re like, “Let me just hold on to my thing and prove that I’m right even though I’m not feeling so good about this.” I’ve learned to force myself to just embrace being wrong because then I get to be right. Then I get to be more right than I used to be. I love being wrong and I love failing because then I get to suck less than I did before.

Yeah, that’s my biggest flaw. It’s seeking out failure and incorrectness so that you’re not that anymore, in pursuit of being right. Especially the easy things, whenever I’m in an argument, it’s sometimes jarring for people. They’ll be like, “Yeah dah dah dah” and I’m like “Oh. No. You’re right. Never mind. Okay, sorry. No, yeah.” It’s really more satisfying to be right at the end of the day because it’s too much work to hold on to being wrong, but it’s a very human thing.

It’s a very emotional thing to do and it feels right but it’s so much more satisfying to just … Yeah, just always thinking out … That’s what putting myself in all those situations that I don’t necessarily belong in, holding other people accountable to me because I’m going to fail, and when I fail I get the opportunity to not fail again, or at least not fail again in the same way. Just onwards and upwards.

Christopher: Fantastic, I love that. Well, I think if there’s a downside to being as versatile as you are, it’s that my job as an interviewer is incredibly hard. I have several more things I would love to ask you about, but I think we’re going to have to save it for [crosstalk 00:53:05] and maybe invite you back onto the show another time. I do want to just briefly touch on each of your current projects, because you’re doing several really interesting things.

The one that jumped out to me and that we’ll definitely link up to the show notes for everyone to go dive into is your arranging tutorials on YouTube. For example, I just watched one today on how to arrange for clarinet in two minutes and this is not to be missed. Fantastic. You’re also offering private lessons on some or all of the instruments you play, and you do session work as we’ve mentioned both in person and remotely. I’d love if you could just talk a little bit more about those projects and if anyone’s interested in connecting with you regarding those, where they can find you.

Josh: Sure. First if you want to reach out to me on my website, joshplotnermusic.com or joshplotnermusic.com/contact is my contact page. Feel free to send me a message and I’ll get back to you as quick as I can. The YouTube thing, I have a bunch of videos on how to arrange for a series of woodwinds. I’ve been away from my YouTube channel. I’m about to restart it, but the series on arranging for woodwinds came from a bit of a frustration that for each instrument there are 10 things you need to know.

I can tell you them in two minutes-ish, and it’s just there are so many common mistakes that everyone makes, like you can’t write a forte on a low note for flute. That’s not the way flutes are. You’re writing an impossible thing and you’re kind of like wasting everyone’s time. It’s things like, “Just don’t do that. And then we’re done.” So I have that. I do offer private lessons, and then I do a lot of home studio work professionally. I can record any instrument for any sort of project, yeah. On my YouTube channel I also do sometimes multi-track woodwind covers, just showing off.

Christopher: Yeah, fantastic. I think if anyone’s thinking, “Can he really record any instrument for me?” you’ve got to check out the YouTube videos. You may have seen this kind of video where you have multiple versions of the same person contributing to a musical track, but these with Josh are fantastic. He does the Game of Thrones theme and my favorite was The Nightmare Before Christmas. What’s the goal there? This is Hallowe’en? Fantastic. We’ll definitely have links to those in the show notes, so if you want to be inspired and impressed and see Josh in action, I’d say that is where to start.

Fantastic. Thank you again so much, Josh. It’s been such a pleasure talking with you.

Josh: Happy to be here.

Christopher: There was a ton of insight there, I think, for anyone who’s wondered about playing multiple instruments, anyone who thought about arranging, or really just this big picture of learning to learn. I know they’re going to be going away with lots of new ideas, so thank you very much.

Josh: Great. It was a pleasure, thank you.

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The post Becoming an Expert Learner, with Josh Plotner appeared first on Musical U.

https://www.musical-u.com/learn/the-space-between-hearing-and-singing-intervals/
At Musical U, you’ll learned some of the basic principals of solfege syllables and how to determine the tonic. Now let’s discuss intervals.

Recognizing the distinct sound of different intervals and being able to sing them back accurately in solfege will go a long way with developing transcribing skills. https://www.musical-u.com/learn/the-space-between-hearing-and-singing-intervals/