Category Archives: Practicing Music

New Jazz Etude: Suspended Shapes Over The Coltrane Matrix

There are so many harmonic, rhythmic and melodic possibilities to be found by exploring the iconic jazz harmonic progression commonly known as the “Coltrane Matrix”. In this particular etude, I aim for a rather angular sounding line by using the shapes of suspended chords (“Sus” chords) that fit readily within the diatonic harmony of the matrix.

If you look at the first four notes in the example above, you’ll recognize an A7 Sus chord (A, D, E, G) in retroversion (G, E, D, A, in the example). These notes fit well over the CMaj7 chord, then connect, via half-step movement to the next shape, which is an inverted F7 Sus chord (which would be F, Bb, C, Eb in root position). You might note here that there are no tensions in this shape over the Eb7 chord that are “leaning” for resolution to the AbMaj7 chord. Instead, the energy of the movement comes from the tonal contrasts between the two shapes over these two chords.

The second measure begins with an inverted Bb7 Sus chord (over the AbMaj7) that moves to an F# Sus2 chord (F#, G#, B, C# in root position) over the B7 chord. (Again, no strong harmonic tensions over the dominant chord here.)

There is a considerable leap (a minor 7th) between the last note of the second measure and the first note of the third measure, which adds to the angularity of the line. I use an inverted G#7 Sus chord over the Emaj7, which is close to the color and shape of the F#Sus2 chord over the B7. (I did this to add rhythmic interest/tension into the line.) Over the G7 chord I use an inverted version of the same chord the line starts with (A7 Sus).

This continues into the last measure over the CMaj7, where the first four notes is identical to the first four notes at the beginning of the line (the A7Sus). By moving up to the B natural to end the melody (in contrast to moving to the Bb, as in the first measure), the line ends with a sort of “open-ended question” quality to its sound (not quite “resolving”, in a certain sense).

This is most definitely a “modern” sounding concept here. It’s less concerned with voice leading in resolution (which might be more common to the bebop language) than it is with expressing the energetic quality of these shapes. If you play this over a backing track, you’ll notice that there are no strong dissonances, that if “fits” well over the changes. Yet it has a highly unusual, almost “outside” quality to it. A bit of a paradox. In essence, it is replacing the natural angularity of the harmonic movement with the angularity of suspended shapes.

If you’d like to explore some of the possibilities of this important harmonic progression (The Coltrane Matrix) in greater detail, please consider my e-book, The Coltrane Matrix: 40 Unique Melodic Ideas in All 12 Keys. Click the link below to download a free pdf copy of this etude.

Suspended Shapes Over The Coltrane Matrix-pdf

You’ll Never “Waste” Time Practicing As Long As You Are Doing This

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As an Alexander Technique teacher who is also a dedicated musician, one of the professional roles that I enjoy most is that of a practice coach. I get immense satisfaction (and joy!) in helping musicians discover and implement new ways to optimize their practice time and efforts.

Some of the musicians I coach come to me with considerable consternation about how much time they’ve “wasted” practicing in misdirected and inefficient ways. While my aim is to help them become more constructively directed and efficient, I have to be very clear from the start that they’ve most likely never wasted any of their practice time.

You see, learning to practice wisely and efficiently is not a straight line. It’s a process that unfolds over time through exploration and reflection. It goes without saying that sometimes you are going to work on things in practice that just don’t yield the results you are hoping for.

Or that you’re sometimes even going to work on things that make things worse, rather than better.

Or in a better case scenario, you’re going to work on things that actually do ultimately help you, but just not in the most direct and efficient way. (This is the category that many of my clients fall into.) There’s a lot of “two steps forward, one step back” in this case.

One of the main reasons you would probably seek out a great teacher of your instrument is to learn how to optimize practice efforts. To avoid the “two steps forward…” phenomenon.

And to be sure, that’s what a highly skilled teacher can help you with.

But with or without the help of a teacher, here’s something you can do, something you can aim for in your attitude, that will make it so that you’re never wasting your time as you practice.

Quite simply:

Whatever you practice, do with genuine curiosity and inquiry.

You might be thinking after reading that, “Well, yes, of course! Obviously!” But you might be surprised at how easy it is to lose either or both of these qualities when practicing.

In fact, one of the most insidious ways you can lose these qualities is when you’re practicing is when you’re working on something that you are 100% certain are practicing “correctly”.

Musicians too often go into “auto pilot” mode when working on basic things such as holding long tones, or practicing technical exercises. “As long as I’m going through the ‘physical’ process of practicing this, I’m on the right track with it.”

Yet these are the very types of activities that can be improved upon the most with more dynamic curiosity and inquiry.

As I’ve stated in many of my other posts, the quality of anything you practice is directly proportional to the quality of attention you bring to it as you practice.

So rather than looking at the “absolute best” way you can practice something, ask yourself this question instead:

“How can I optimize my experience with what I’m practicing right now, right in this practice session, right in this moment?”

This question can help you to form to other types of questions: “Why’ questions, and “what if” questions.

“Why do I practice this at this tempo?” Why do I practice these arpeggio patterns in this particular sequence?” “Why do I raise/tense my shoulders when I play into the upper register?” etc.

And,

“What if I practice this at a tempo that is more manageable (or challenging, as the case may call for)?” What if I practice these patterns in a different sequence today, so maybe I can learn something new about them?” “What would happen if I didn’t raise/tense my shoulders as I play into the upper register?”, etc.

It’s not about finding the “right” answer to these questions as much as it is inquiring in a genuinely curious way. As long as you keep asking questions, you’ll keep finding greater efficiency, ease and satisfaction when practicing.

And if you seem to be getting stuck in your progress in working on something, whether in the moment, or over time, you can ask yourself these three simple questions in order to help you clarify your intentions and optimize your efforts:

1.“What is it that I want?” (Your intentions about what you would like to happen, about what you’d like to be able to do on your instrument. Make this as specific and lucid as possible!)

2.“What seems to stopping me from getting what I want?” (Identify the problem. Is it simply needing more time? Is it something that you’re doing with your body that is taking you away from your skill and coordination? Is it your attitude? Keep asking/experimenting until the answers emerge.)

3.“What do I need to do differently?” (This is where you take action. Change course, strategize, reflect, assess, redirect efforts, etc.)

Bear in mind that these questions (like the other questions I mentioned earlier) are meant to be dynamic and flexible. And what keeps them that way is your passion and intellect.

So don’t feel like you’ve wasted an afternoon in practice trying something completely new, no matter how shaky the results are. As long as you’re curious and inquisitive, you’re never wasting your time. Just redirect your efforts and continue to go on from there. Refinement, not perfection.

Don’t Overlook This Important Element For a Satisfying Musical Life

A Common Attitude That Too Often Interferes With Optimal Practice

“I should be able to…”

“I should be able to attack the notes in the lower register with the same consistency as the other registers.”

“I should be able to play these scale patterns at a much faster tempo than I am currently able.”

“I should be able to memorize new music much more quickly than I normally do.”

And so on.

And of course, nearly all of the “I should be able to…” assertions are accompanied by something like this:

“…especially for how long I’ve been working at it.”

So why is this a problem? After all, should you not aim precisely for what you want when you practice? Should you not have high standards?

Well of course you should! On both accounts!

So what’s the potential problem then?

In the simplest sense it’s this:

“I should be able to” places you immediately into the realm of expectation, too often taking you away from the reality what’s actually happening in the present moment.

This phenomenon leads to two closely related negative outcomes:

1 Misdirected effort.

2 Frustration.

Misdirected effort, because when you get stuck on “I should be able to do this”, you limit yourself to discerning what’s already there. In essence, you lose your entry point into where and how you need to direct your practice efforts.

For example, let’s say that yesterday you were able to play this particular piece at quarter note equals 176 bpm on the metronome, but today you can’t get anywhere near that tempo without the whole thing falling apart.

What should you do?

Well, more often than not, if you insist upon continuing the tempo at which you can’t play it, you just end up cultivating imprecision. You end up engaging in an activity that is just outside of your reach.

Both skill and conception get “approximated”, as the great pianist, Bill Evans would say. (“Garbage in, garbage out”, as my brother Ed, a highly skilled cabinet maker, would say.)

And of course this obviously leads to frustration, both in the short-run and in the long-run. (“But I’m working so hard to improve!”)

But if you first acknowledge what is already there, taking note of what you can already do (or can’t do), you discover for yourself this ever essential entry point.

And from this entry point you can also begin to examine your current conditions and explore and ultimately discern why you’re perhaps not able to do today what you could do yesterday. You can ask yourself questions:

“How am I perceiving time/rhythm today?”

“How am using my body? Am I free and mobile, or rather rigid and planted? Where am I holding on too much?”

“Where is my attention going? Is it flexible and dynamic, or too narrowly focused on one small part of the process (or on one part of my body, at the expense of neglecting the whole)?”

“How clearly am I conceiving of/imagining the dynamic nature of the music itself?”

And so on…

If you give yourself time and attention to notice, you’ll usually find where things are going amiss. Then you can ask this very constructive question:

“Where would I like to place my attention so that I can increase my odds of a better outcome?”

This question brings both your consciousness and your efforts back into the present moment, and back on track for optimal practice.

And from there you can aim for doing the best you can do in the moment, the best you can do in that practice session. You can bring things back within your reach.

In a broader sense this kind of shift in attitude can also help you to build a more constructive overall practice process and strategy that you can continue to develop for the rest of your life.

F.M. Alexander, the founder of the Alexander Technique described this attitude of “I should be able to” as part of an “end-gaining” process.

When you “end-gain”, you focus only on the desired result, without sufficient consideration to whether your efforts (the quality of process you use to pursue your result) are best suited to actually achieve the result.

Alexander encouraged us to give the “quality of process” (something he described as the “means-whereby”) top priority in pursuing our results.

In fact, when talking about experiencing a desired outcome in any activity, Alexander said:

The experience you want is in the process of getting it. If you have something, give it up. Getting it, not having it, is what you want.

“Getting it, not having it…” is what I’m after whenever I practice. And that’s why whenever I’m having a “bad” day practicing (more specifically, when I’m playing below my normal abilities), I welcome the experience. Seriously.

“Bad days” are a golden opportunity to learn more about myself, and to learn to trust and rely upon my process.

This leads to both continued growth and confidence as a musician.

So how about replacing “I should be able to”, with:

“I’d like to be able to”,

and,

“I think I can find a way to”

and,

“I believe in my ability to redirect my attention and efforts to be able to.”

So aim high. Every day. But be kind to yourself and find that optimal entry point in everything you practice. In my experience both as teacher and as student, I believe this shift in attitude can empower you to do miraculous things!