SELF-DISCIPLINE, STRONG SELF-MOTIVATION, ANALYSIS, and RESEARCH
We musicians always dedicate many hours to our studies, analysis, research, practicing in developing our musicianship and music culture.
I have been always admiring the discipline of some musician (classical, jazz, etc...) whose extraordinary hard work done with a strong motivation, a true study, and mostly with a high level of creativity. Other musicians instead seemed to play only by instinct making inexplicable things. Both of them are great. Anyway, there is "something Magic" you can't explain and rationalize and mostly -in my opinion- in the harmonic reachness of the jazz/blues music.
My method is a blended version of both things, "in medio stat virtus", trying to blend the rational part (through studying/analyzing) with the spontaneous (new ideas that come up) part of the brain.
The discipline and the technique are just a starting point in Music(SP), not all, they're just the base. Indeed the study should also be interesting, pleasant, true, and focused as during the practice/training of the musician, as towards the public.
I consider myself not only a musician but also a researcher, scholar, a self-taught open-minded musician that wants deeply understand many with a cyclic method, never being satisfied.....A deep study, research of unique and particular resources, a personal sound, and a continuously updated knowledge are essential nowadays as never before".
MY TEACHING METHODS - piano techniques, memorization, customized approach, repetition at deadlines, deliberated practice, analysis techniques, improvisations, reharmonizations
- SONG'S STRUCTURES - MEMORIZATION (in many keys) - autotests
- IN THE STYLE OF (Gershwin, Tatum, Morton, C.Corea, M.Petrucciani, C.Parker, Bill Evans, Michel Camilo, Herbie Hancock, Kenny Barron, Bud Powell songs and their improvisations, phrasing, and way of thinking)
- REHARMONIZATION TECHNIQUE (Propose your proper harmonization of a Standard
- CREATIVE PLAYING (propose your version of Standards/Songs)
- IMPROVISATION and PHRASING (tonal, modal, atonal, pantonal, panmodal,etc..)
MY STRONG SUGGESTIONS - TO STUDY basic STRUCTURES in many keys:
BLUES - RHYTHM CHANGE - SONGS
1) The blues form and its variations
2) The RC and its variations
3) Coltrane Matrix and its modulations
A) starting with:
- CROM - SCALAR - CHORDAL
- CHORDAL IMPROVISATION (CH),
- EASY INTERVALS (INT)
- SCALES (SC)
- BLUES SCALE and BLUE NOTES
B) and then with
- DIMINISHED SCALES
- HEXATONIC SCALE
- APPROACH NOTES
- PASSING TONES
- FRAGMENTS OF INTERVALS
- NOTE DI VOLTA, CIRC (NV )
- DOUBLE CIRC. (dC)
I developed a true passion for Jazz music studying by myself and then letting evolve this form through seminars, courses, concerts, gigs...adding a personal individual style and cultivate this study also as a form of individual expression, Art.
The jazz music is also a philosophy, a way to life approach, a process, that uses all vastity of the colors/emotions available. It has and uses a reach palette and He's never satisfied always searching for new solutions and variations.
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