Copyright 2009 Chris Punis & Learn Jazz Faster LLC http://learnjazzfaster.com/monsterjazzformula.htm
Cover and Interior Design: Chris Punis 2010 by Chris Punis All rights reserved. No part of this book may be reproduced in any form or by any means without written permission from the publisher and Chris Punis. Chris Punis Learnjazzfaster.com Printed in the United States of America
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The 21 FAQ Series
Contents
1. How can I learn tunes faster? 2. How can I get more out of my practice time? 3. How do I know what to practice? 4. Did I start too late? 5. Do I have what it takes to become a jazz musician? The myth of talent. 6. How do I get more jazz gigs? 7. How do I tap into my creativity? 8. Why do other players seem to get better faster than I do? Part 1 9. Why do other players seem to get better faster than I do? Part 2 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. Why do other players seem to get better faster than I do? Part 3 How Do I Develop My Own Sound, My Own Style? What are the essential steps to becoming a jazz musician? How Can I Play More Musically? How Do I practice everything there is To Practice? How do I find a good jazz improvisation teacher? How come I sound better in the practice room than on the bandstand? I am a classically trained musician but I just cant seem to get this improvising thing How can I develop my swing feel? How Do I Master the Fundamentals of Jazz? How do I learn by ear? Why Dont I Feel like Im getting better fast enough?
together?
4. Repertoire- jazz is a language of music built on and around tunes. You should constantly seek to expand your repertoire by learning tunes from the whole library: standards, jazz tunes and modern tunes. 5. Ear-training- this is your ability to recognize musical elements by ear (pitch, harmony, rhythms, forms, articulation, dynamics etc) and respond on your instrument. 6. Improvisation- this is what its all about--creating art in real time. Topics for improvisation would include chord-scale soloing, rhythmic values, phrase lengths, pacing, motive development, etc. Again, Im gonna plug Hal here. Check out his books, How to Improvise and Ready, Aim, Improvise for a comprehensive list of improvisational topics and exercises to master them. Now lets talk briefly about two of the most important areas. Technique and improvisation. Technique is most important in the beginning and intermediate stages of your development. There is just no way around it. You gotta have control of your instrument in order to become a player. Now many cats continue to practice technical exercises, even after they have already achieved technical mastery. But the closer to the beginning you are as a player, the more technique heavy your practice sessions will be. Improvising on the other hand is more relevant as you become a more advanced player. In fact as you become an advanced player much or most of your practicing should deal with jazz improvisation. But that doesnt mean you should neglect it in the beginning. There is always a way to incorporate improvising into your practicing. For instance if you are working on major scales you could use a major scale as source material for improvisation. In other words you could play around, play being the key word, with just the notes of the major scale. While playing around you would look for melodies that catch your ear. Think of it as experimenting. And youre using just the notes of the major scale to do it. You are experimenting and searching to find melodies that you like. You can begin to develop your vocabulary this way and this experience will help you later when you go to apply these scales to improvising over chord changes. Now when putting together your practice plan and practice routine a good rule of thumb is to choose just 3-4 of the 6 fundamental areas to work on for a three-month period. For instance you might choose technique, improvisation and eartraining. Then you would choose exercises and topics for each that are appropriate to your current abilities and goals. Once you decide on your plan it is important to stick to it. It is almost always detrimental to change topics on a whim. Follow your plan through. It is equally important to practice the same topics each and everyday. Man, I cant tell you how important that is. So many young cats get distracted by a fancy new book or some new concept they run across. Dont fall into that trap. Stick to what youre doing until youre done. Now heres another important point. Be sure to always be moving forward with each topic. Decide on a specific goal for each practice session and each topic. For instance if you are working on major scales as part of your technique practice, be sure to clearly define the goal for today. That might
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
mean being able to play the G major scale up and down two octaves, with quarter note rhythms at a tempo of 120. But once you achieve that goal you must move on. You could increase the tempo, play it over more than two octaves or move on to another scale. Just be sure to push the envelope a little bit each session. And remember a good teacher is an invaluable resource, especially earlier in your development. Im gonna cover more about finding a great teacher in an upcoming lesson, but for now here are a few tips. Find some local players whose music you like and ask them to recommend a teacher for you. Do some research, ask around, ask your musical friends and ask prospective teachers for references. If you dont trust your teacher, if they dont inspire you, if they dont help build your musical confidence or you are not seeing the results with music you want, then switch teachers. You dont owe them anything. This is your music were talking about here. This is important. As with all skills you will get better at designing practice routines over time. Just make some choices and stick with them. Its really that simple. Then evaluate the results and use that information to make even better choices when putting together your next practice routine. Over time your practicing will become more and more fine tuned, you will get faster and faster results and you will be on your way to achieving your bigger musical goals.
Another great tool and habit is to keep a practice journal. Each day before you start your session, write down the desired results, like we talked about, for that session. At the end of the session write down a few notes. Did you achieve your results? What still needs work? What did you learn? What was your big take-away. Then you use those notes to plan your practice session for tomorrow. Using a journal will keep you focused and moving forward. It is also an excellent place to record ideas and to keep track of your progress. If you look back through your practice journal for the last few months, you will realize that you really did make significant progress with your playing. And lastly, be sure to prepare your space ahead of time. I dont mean to sound like your dad here, but clean damn practice room. Get it ready to practice before you start. Make sure you have all of the material you need, like your instrument, metronome, recording device, manuscript paper, pencil, recorded music etc. Having to stop in the middle of a session to find something you need not only wastes time, but breaks your concentration and the musical mindset. It takes time to get back into the right mindset after being interrupted. While all of these ideas are heavy in and of themselves, combined they can bring you huge results with your playing. But by far the most important thing is to make sure you are constantly learning, constantly advancing. Each day walk out of that practice room having learned something or improved something in your playing, no matter how small. Over a few weeks and months these small improvements will add up into serious musical progress.
As you learn more and more tunes you will be able to learn new ones faster and faster. As you improve with this and your ears get stronger and stronger you wont have to break the tunes down quite so much. Just let your ears be the judge. The goal is to practice the tune until you essentially own it. Like you own happy birthday or some other tune youve been hearing your whole life. And repetition is the key. Repetition creates memory. Literally, repetition will hard wire the tune into your brain. And the only way to really be free and improvise on a tune is to get the tune hard wired into your brain. One of the reasons that a lot of the great bands sounded so great is that they played the same book, or the same tunes on the road, night after night for months or even years. After awhile they could play the music in their sleep. And thats when the magic happens. Once you have learned several or many tunes from lead sheets and your ears are becoming more and more aware you should start learning tunes by ear, from recordings or from another musician. Remember this is music. It is all about the ears.
experience lot of self-doubt, then forget about practicing more, or finding the right book or teacher. You need to start with that foundation of self-concept. Then everything else will fall into place. Luckily self-confidence and self-concept are not fixed. They change. They go up and down. And there are proactive things you can to strengthen them. Here are just a few ideas. #1 Eliminate negative self-talk. The way you speak to yourself and others, and the way you think has a profound impact on your life and your confidence. Pay attention to your vocabulary and begin to make adjustments as you notice self-defeating words and phrases. Here are some examples of self-defeating Words and Phrases: I wish Ill try I hope I cantthats a big one I should If only I might Examples of powerful success words and phrases: I will I can I must I know I believe #2 Focus on Solutions. The cats focus on musical solutions not musical problems. They view problems merely as challenges that need a solution. And they get busy searching for that solution. They believe that a solution exists and they believe they can find it. The opposite of this is a whiner. They complain about life, how hard it is to become a great player and come up with every reason in the book as to why they cant become a great player, i.e. I started to late. Again, pay attention to how you talk, how you think. If you catch yourself complaining or whining, pause and look for the solution. There is a solution to every musical problem. Focus on what you want to achieve and think about how you can achieve it. Drop the negative shit. As writer Richard Bach once said, Argue your limitations, and surely they are yours. #3 Visualization. Using your imagination is an extremely powerful way to reprogram your mind, literally. Spend time each day visualizing yourself as the player and person you would like to be. See yourself acting confidently and imagine what that feels like. The more details you bring to the visualization the better. How are playing? How do you feel? What does the room look like? Constantly hone and refine your visualization until you reach a close-to-perfect model of who you want to become. Than practice and repeat this process everyday. Studies have actually shown that the brain cannot tell the difference between reality and imagination. As you visualize yourself as the player you wish to become your brain will create new connections, connections of confidence and strength. Gradually over time and through repeated practice of
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
visualization these connections will become stronger and more plentiful and the old connections of self-doubt will begin to weaken and fade. I should note though that its not enough to just visualize. You must combine that with real action, i.e. practice and other musical activities. After a short period of time, a few weeks or so, you will begin to see results in your real life. Now, Id like to point out that ALL jazz musicians experience some level of self-doubt at some point in their life. The difference is that great players work through that fear. They confront it and learn from. They observe it and they grow and they move forward despite it. There is no more important and crucial goal and commitment you can make than to strengthen your confidence. By making a commitment to increase your level of confidence you exhibit courage and begin a powerful process. With this process and this approach to life you WILL achieve your goals, improve the quality of your life and youll take your music as far as you want to.
4 Stay on Their Radar Once youve built up a sizeable network of musicians it will be impossible to play sessions with all of them, or attend all of their gigs on a regular basis. They may simply be too busy to play sessions, or you may be. But you still need to stay on their minds. Ask them to become your friend on facebook or another social networking site. Then keep them posted about what youre up to. Let them know about your gigs and other projects. Also, occasionally drop them a line, send them a text or give them a call simply to say Hi, and see what theyre up to. Stay in touch. The more genuinely interested in what they are doing the better. To sum that all up: Be on the scene. Constantly meet new people. Be an organizer. Stay on the radar. Follow these four simple steps and the gigs will start to flow.
Become a vinyl head. If you dont already, start buying vinyl records. Im not one of those audiophiles who thinks that vinyl sounds better than CD. It certainly sounds different from digital music. But I personally like them both. I buy vinyl because of the music that is available there that isnt available on CD. There is a ton of old music that is out of print but still available in used record stores. You can find a lot of great old stuff, cheap. You can also pay $87 or more for one record if youre a serious collector. But there are a lot of records available for a few bucks or even a dollar. And again, theres stuff you just cant find on CD or iTunes. There is really no reason not to buy records. Exercise your creative muscle. Im gonna get a little metaphysical on you here. Many musicians and artists are romantic types. They are attracted to a mysterious side of art, a magical side. Well, I hate to break it to you, but there is no mystery or magic to creativity. Creativity doesnt happen because of some ancient Greek goddess named Euterpe (The muse of music). Creativity happens because you create. Life is creativity. The universe is creativity. Therefore all of us are creative. Sorry to get a little out there on you, but to create you only need to take action. Get in the habit creating something everyday. Write something, anything. It could be a one bar melody, it could be a rhythm, it could be a groove. Just create something. You cannot wait for some idea to strike out of thin air. You must take action. Just do it. Overtime this creative process will become easier and easier. Feed your creative fires with the past. Youll discover that a lot of the hippest new music actually was conceived of and played in your grandfathers day. The most creative people are the ones most steeped in the tradition. Youll discover new ideas and new musical avenues that you can explore. You will never run out of music to check out or ideas to cop. Become a serious student of jazz. Become a life-long student of the tradition.
Why do other players seem to get better faster than I do? Part 1
Have you ever known that player who everything just seems to fall into place for? They get better and better at a seemingly breakneck speed and they leave everyone else in the dust. Well, I certainly knew a lot of people like that when I was at Berklee. It used to drive me frickin crazy. I felt like I was working hard as hell, but just spinning my wheels. And thats precisely what prompted me to try figure out why. Why do they learn and improve so fast? What do they do differently? Could I do the same things and achieve the same results? Or were those guys just simply more talented or luckier? For the last 9 years since I got out of Berklee Ive worked to figure that out. To crack the code so to speak. Over the course of that time it became very clear to me that talent played a very minor role in the success of a jazz musician. Sure you need to have at least a basic affinity for music. But if you are truly moved by music, you love it and you get it when you listen to it, then you probably have all the talent you need to go as far with music as you wish. I also realized that luck has basically nothing to do with success. But I did start to notice some patterns. I began to realize the things that they did differently than all the other jazz musicians at Berklee. As I applied these concepts and habits to my own practicing I began to get the results I wanted. Just remember this: If you do the things that other successful people have done, eventually you will get the same results. Self-conceptNow, I did touch on this in a previous lesson. But since I know that self-concept is EVERYTHING, Im gonna go into it a bit more. Self-concept is basically your own understanding and definition of your self. Its the way you perceive yourself. All of your beliefs about yourself are determined by your self-concept: beliefs about what you and are and are not capable of, beliefs about what you are and are not worthy of in life. This is powerful stuff. These beliefs affect every aspect of your life. Its all-important to achieving anything in lifefrom badass jazz skills to a satisfying relationship to a desirable income to a healthy body. Your self-concept will determine the choices you make, the actions you take, the people you meet and even the level of concentration you are able to bring to the practice room. With a strong self-concept you will take the risks and chances necessary to move forward with music. You will make mistakes, fall down and experience failures. But you will pick yourself up, dust yourself off, learn from the experience and move on. In fact people with strong self-concepts and confidence recognize that mistakes and failures are a necessary part of the process. They learn to embrace them. So how does this apply to playing jazz? Simple, you must believe in your core that you CAN become the kind of player you wantthat you CAN achieve the success with music that you want.
Writer Napoleon Hill once wrote: Whatever the mind can conceive and believe it can achieve. All right, Im gonna show you how much of a nerd I actually am. Lets talk about your brain for a second. Every belief you have, every habit you have and in fact your entire self-concept is literally wired into your brain, in the form of neural connections. Over the years all of your thoughts, experiences and emotions have been building up and creating an extremely complex web of interconnected and integrated neural connections. And a negative self-concept, as abstract of a concept as that is, literally exists physically in your brain. Its all in the connections. You might be saying now, Great Chris, that sucks. Thanks for telling me that self-doubt and fear is wired into my brain. I might as well just quit playing. Not so fastThere is a concept in neuroscience called The Plasticity of the Brain. This simply means that the brain is changeable. In fact its changing whether we like it or not. Every thought we have, every emotion we experience literally creates new connections. Every time you say to yourself, Im not good enough, or Ill never be that good, or I just dont have what that player has, you change your brain. And the more we repeat these thoughts and emotions the stronger and more plentiful the connections become. Until eventually they become habits. But these habits are breakable. All you need to do is create new, positive habits to take their place. We can do this by first observing the way we speak to ourselves. Is our inner dialog positive and confident? Or is it negative and self-defeating. Once you begin to develop an awareness of this dialog you can begin to overwrite it, by catching yourself in the moment and literally replacing the thought with a more positive one. You become what you think about most of the time. Pay attention to your thoughts. Your thoughts determine where you get in life. Think about what you want to achieve, how youll benefit by achieving it and how you will get there. Practice visualization, keep a journal, write and rewrite your goals every day. Write down why you will benefit from achieving your goals and what steps you can take to get there. Do these things religiously day in and day out. Over time you will literally be reprogramming your brain. After a few weeks this stuff will begin to manifest in your life. You will begin to feel different, think different and as result you will act and be different. And your music will show it.
Why do other players seem to get better faster than I do? Part 2
[Success Mindsetfocus on wants, not on fears] Successful cats have what you might call the mindset of success. They think about what they want most of the time. They think about all of the reasons their music will benefit by learning those skills. They dwell on all the reasons why they CAN achieve the goals with music they desire. They look for solutions to obstacles and challenges. They believe that a solution to every challenge must exist and that they can find it through patient and consistent practice. The flip side of this is the Loser Mentality. These people tend to focus on their fears. They think about the problems they have with music and obsess about the obstacles they face. They focus on all of the reasons they CANT achieve their goals. They have a negative outlook on the world and believe that successful people are lucky and talented. Instead of looking for solutions to their challenges they look for more problems and reasons Why they CANT. Obviously, you want to stay as far away from that loser mentality as possible. Here are a few things you can do to instill and encourage that success mindset. Begin by deciding exactly what you want. Choose a goal with music. Make sure it is believable. It should stretch your abilities but not by too much. Define it with as much detail as possible. If youre new at this, choose a short-term goal like a month or so. Or even shorter. Then make a list of all the ways in which your music and playing will benefit by achieving this goal. The longer the list the better. This will give you motivation to stay the course. Get you fired up. Then make a list of everything you would have to do to achieve that goal. What skills will you need? What are all the actual steps you would need to take to achieve this goal? Remember to break the goal down into tiny steps, steps that you can see yourself completing each day. Now put the list in order. As you think of new steps, add them to the list until you have what is essentially a step by step road map to your goal. Now think about why you CAN achieve this. If negative thoughts come into your head, simply observe them, see them for what they are, false, and let them go. Immediately replace them with reasons why you CAN do it. Finally, get to work. Work on your plan everyday until you nail it. Each time you nail a goal your confidence will grow. As you hit goal after goal you will begin to set bigger and bolder goals and the process will continue from there. Remember: What others have done, you can do too.
Why do other players seem to get better faster than I do? Part 3
When I was at Berklee I was what you might call a frustrated jazz musician. I worked hard for sure; I spent hours and hours in the shed everyday. But I never seemed to move ahead as fast as I wanted. And of course there were these players in school who seemed to just get it. Music seemed to come easy to them. They got better and better and they improved faster and faster. Well, after a few years of frustration I decided it was time to figure out why I was spinning my wheels and they werent. Over the years I studied many great players attempting to discover what it was that they did differently. What was it that made them great? I realized overtime that what they did in the practice room and how they did it was a major factor that determined their success with music. It gradually became clear through observation, trial and error, talking to teachers and reading about great players that there were big differences between what they did and what I used to do.
I would jump around from topic to topic every few days. They would practice the same topics everyday until they really got it. They would follow through. I would have a ridiculous practice routine with 13 different topics. They would only practice a few things everyday, but they would go deep into those things. I would repeat the same exercises somewhat mindlessly everyday; I wasnt moving forward. They made small progress each and everyday. They were working towards tiny goals or results; they were moving forward in music little by little every single day. I was more concerned with getting through my long list than I was with learning. They had only a handful of topics so they were focused and they followed though, nailing the topic and taking a step forward with their music What I learned from these observations was the power of consistent practice and what I call results based practice. Heres how it works. Each day when you approach your practice room you want to take a moment to be as clear as possible about the purpose of the practice session, about the desired result. Many, many students approach the practice room with no idea about what they will practice or what the point of it is anyway. But there needs to be a point, a purpose, a result. Suppose that you really dig Miles Davis. Something about his phrasing and lyricism really hits you where it counts. So your goal is to grasp and internalize his approach to soloing from, say, one particular record that you like. Ill use Kind of Blue as an example since pretty much everyone loves that record. You decide, as part of your plan to understand and internalize his approach, you will transcribe and learn several of his solos from Kind of Blue. You decide that youll start with his solo on Freddie the Freeloader.
Your final goal here might be defined as such: Upon completing this goal you will be able to: Play the solo on your instrument, from memory, along with the record, in tune with Miles, matching his articulation, dynamics and rhythmic feel. Now thats no small task. But its a worthwhile task. And with the right practice habits and approach, its a task you will be able to hit faster than you might think. Now I need to make an IMPORTANT NOTE here: Your goal must be realistic for your current situation. And your timeline for your goal must also be realistic. Your goal must be challenging but doable. You must believe that it is possible. So if youre just starting to play, the goal of learning Miles solo by ear might be too far a stretch. Youll need to create a goal thats realistic for your situation. Maybe you buy a transcription of the solo and work on learning just the notes and rhythms. Conversely, if youve already transcribed and memorized 15 Lennie Tristano solos this goal will be quite feasible, perhaps even in a short period of time. Now theres a lot going on in that goal. First you have to figure out the notes and rhythms. Then the articulation, dynamics and feel. If you try to do that all at once you will most likely end up frustrated with some pretty crappy results. But if you break it down into a tiny bite size result that you will achieve today or tomorrow, and you continue in that fashion eventually you will arrive at your desired goal. Thats consistent results based practice. So for day 1 you may decide that your target, your desired result is to learn and transcribe the rhythm of the first four bars. If you get that together fast, you move on to the next four. If you dont get it today, you continue tomorrow. Then you move through the entire solo, little by little until you have all the rhythm memorized and/or written down. Then you start with the pitches. The result now may be to figure out the pitches of the first phrase. You continue with this process, going step by step until you reach your final target: Play the solo on your instrument, from memory, along with the record, in tune with Miles, matching his articulation, dynamics and rhythmic feel. Now heres the cool part. It wont take as long as you think to go through the entire process this way. Its not as tedious as it sounds. Once you REALLY get the rhythm from the first four bars, the second four bars will come faster. And the next phrase even faster. You will be laying down your foundation and solidifying your musical skills. As your foundation grows stronger you will move faster and faster through the material. If your first Miles solo takes you one month to get through with this method, your next one might only take you two weeks. And with each solo you will find yourself digging deeper and deeper into the music and hearing more and more of the incredible detail and nuance that is contained within his music. If you were to complete this process with the entire record you would learn more about phrasing, tone, articulation, musicality, development etc then most musicians cover in 5 years. And it would probably take you a matter of months.
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The greatest players in the world are the ones that are willing to do what others are not. Like follow this disciplined and deep path into Miles music, and take it to completion. Theres no magic or extra talent or luck or circumstances that make it possible . They simply do things differently than the mass majority of mediocre players. And if you do the things that great players do you will get the results that great players get. Plain and simple.
Oh, and as an aside, if you want to develop an original voice in jazz, make sure that shows up high on your list of values! 2. Its all about your ear Music is an aural art form. No ends, ifs or buts. You must have killer ears just to play jazz. And even stronger ears to become an original voice. You want to assimilate every thing you ever work on with music into your musical mind. There it will all marinate in your own delicious musical stew. The more sonic ingredients you add the more creative will be the final results. So practice eartraining with everything you do. Whether its technique, music theory, harmony or whatever. Always seek to hear more detail in what you are playing or listening to. Dig deep into the music: the rhythms, the time-feel, the notes, the timbre, the dynamics, the articulation, the harmony, the interaction and the relationship between these elements as well. Listen to a ton of music. Analyze it, deconstruct it, write about it, and teach it. But always listen with the goal of hearing MORE, of digging deeper. When youre studying theory always seek to assimilate the sound into your musical mind. Music isnt math. It doesnt matter if you can look a page and say thats an interpolated II, or those are contiguous II-Vs or thats a Minor 7 Flat Five chord or thats modulation or whatever if you dont know what those things sound like and you cant apply them to your music. Once you understand the theory behind it, you must play it on your instrument over and over until the sound is clearly engrained in your ear. Then you experiment with it. Play variations on it, play it in other keys, improvise with it or write a tune with it. Just practice applying the theory and hearing the sound of it. That brings us nicely into 3. Be a scientist and an artist The theory and science behind music is very important. The greater your understanding of how things work the more likely you will come up with some new connections or variations. A great jazz musician uses both side of his/her brain. Dont be afraid to don the scientists hat regularly. Analyze and experiment. Dissect the music you are working on, chop it up and combine it with other elements of music. Like a mad scientist. Analyze tunes, analyze recordings and analyze your own music. Look for patterns and connections. Look for relationships and look for opportunities to create. As you discover new relationships, hear new connections and unearth commonalties in music, use that newly learned intellectual material to be creative. Flex your artistic muscles at this point. Break the rules and find new ones. Use your newfound knowledge to express yourself, your feelings and thoughts. The monster jazz musician is very well rounded in this area. 4. Feed Your Creative Well-Spring with the past Again, creativity doesnt happen in a vacuum. And unless youre the exception to the rule, either does an individual voice. The more you feed your creative wellspring the better. Become obsessed with tradition. Realize that it holds everything you need to feed your music and take you further. Study all the great musicians. Study the in-between lesser-known guys. Listen to
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
lots of different music. Dig as deep into the history of jazz as possible. The Great Bela Bartok wrote that only from the entirely old can the entirely new be born. Study different traditions besides jazz: Classical, African, Indian, Persian, Latin, Other American styles and so on. You dont need to master them all; in fact you cant, so dont even try. But you can pull little nuggets of musical gold out of these other traditions that you can bring to your own musical voice. The more you feed your musical mind and ear the better. And finally 5. Ask your self What else is possible? How can I take this further? What can I combine with it? Get in the habit of always looking for possibilities and opportunities. Creativity is often much simpler than many people think. It often begins with a question. What else can I do? What if I do this or that? Is there any other way I can apply this musical material? A good practice would be to have a list of these questions hanging on your practice room wall. Refer to it everyday and with every topic you are working on. Force your self to come up with a few answers, the more the better. A good method is to start with a blank piece of paper. At the top of the paper, write the question. The basic question would be this: What are 20 ways that I can [Blank] Then you fill in the blank with your musical topic. Now, begin writing answers until you have at least 20. The key here is to push yourself past the obvious answers. Coming up with 20 answers may seem hard at first. The first 5 or so will come easy. Numbers 5-15 will be more challenging. And numbers 15-20 may have you wanting to pull your hair out. But stick with it. Often the last 5 are the most creative answers on the list. The more you use this tool the better youll get at it. Eventually you will have trained yourself to easily generate ideas and to notice possibilities and opportunities. Typically the most creative people are simply the ones that are looking for possibilities. Theyve trained themselves and/or learned to be receptive to ideas but to also proactively seek them. Theyre not waiting for creativity to come and smack them in the head with cool ideas. They take action. Apply these five principles to your music: your practicing, your listening, your improvising, your writing and your performing and soon your own true voice will begin to emerge. The farther you go down this path the more clearly your personality will shine through and the more original your musical voice will be.
done before. They make contributions either to the music or to their instrument that are unique enough to stand on their own. These stages dont necessarily happen neatly. In other words its not really black and white. Players may jump around from stage to stage. A player who has already entered into the innovation stage may decide to dig back into the imitation stage to deepen their roots and creative resources. Likewise a player in one of the first two stages may prematurely discover something truly unique, or innovative without having quote un-quote completed the first two stages. Now lets move on to five of the core necessary components of playing jazz. The fundamentals- If you havent already, you will someday realize that fundamentals are of the utmost importance. The more solid your foundation in music is, the higher you can take your skill. By fundamentals I mean the basic principles of music theory as they apply to your ears and your instrument. This includes intervals, chords structures, fundamental harmony, keys, scales, meter, rhythmic subdivision, pulse, and so on. There are a ton of resources available to learn this stuff. I would however recommend the guidance of a teacher or perhaps even better would be formal music courses. While it is possible to learn this material in a relatively short period of time, a few short years really, it can seem quite overwhelming. Structured courses on this material can prove to be extremely beneficial. Instrumental technique- it is absolutely necessary for a jazz musician to have great control and flexibility with his/her instrument. Again there are many, many resources available by many reputable teachers that deal with developing instrumental technique. These sources deal with scale patterns, arpeggio exercises, etudes, and other methods to improve your facility and control. Again I would recommend a teacher, specifically to avoid developing bad habits and for overall direction and focus with your practicing. Also, transcribing, analyzing and performing the music of the greats is one of the best ways to improve your technique. Improvisation- this is, of course at the core of jazz. The music is all about improvisation. To become a great improviser you must practice improvising. At least a minimal degree of instrumental control and musical knowledge is necessary to start improvising. Work on topics like chord scale solos, guide tone lines, bass lines, balance of dynamics, articulation, pacing, balance of rhythms, etc. There are two excellent books I would recommend for the practice of improvisation. They are Ready, Aim, Improvise and How to Improvise. Both books are by the great jazz educator, and my mentor Hal Crook. Again transcribing and learning to play the music of the greats is an invaluable practice when learning to improvise. That leads us on to Studying the tradition- it is absolutely imperative that you study the tradition. You must immerse yourself in the music. Listen to it for fun. Study the great recordings. Transcribe. Analyze. Spend a considerable amount of time studying a few of your favorite artists. Choose certain tracks to listen to over and over. Listening to music in your car on the way to work or while doing the dishes does not constitute studying the tradition. Build time into your practice routine to do nothing by listen and study. The farther back you go in music will determine how far forward you can go. Become a
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
student of jazz, all of jazz. Study the early pioneers like Louis Armstrong, Count Basie and even earlier. Study every one from the early cats to the modern cats: study Duke, Parker, Dizzy, Monk, Tristano, Sonny, Miles, Mingus, Wayne, Coltrane, Ornette and so on. Tunes- jazz is a musical style that developed around tunes. The more you know the better. Learn every standard you can get your hands on. By ear is best but a real book can be a great resource as well. Aim to learn 1 or 2 new tunes per week. Organize standards sessions where you get together with other players and just learn and play standards. There is so much musical information that you will naturally absorb simply by learning and playing lots and lots of standards. See lesson 3 of this series for a detailed step by step method for learning tunes quickly. Experience- While you can learn a lot in the practice session, from the fundamentals, to instrumental technique to the basics of improvisation, at some point you must start getting real world experience. Attend jam sessions, organize practice sessions at your house, hustle some gigs even, if for no money at first, play recitals, etc. In the earlier years of your development you should seek out and take every playing opportunity you can. It could be different styles, different genres of jazz. Play it all. Gradually as you get more and more experience you can begin to focus your playing to projects and gigs that are more in line with your career and musical direction. I can not over emphasize the importance of experience. There is just so much about jazz that you cannot learn in the practice room, like interaction with other players, locking up with the rhythm section, responding to unexpected musical events, and on and on.
back up the soloist. Look for space in their solos to fill. When they are playing more actively leave space. In general look for ways to bring balance to the music. Did you just play something loud? Try changing the dynamics and play soft. Did you just play something busy? Now play something sparse. Overtime your musical instincts will become quicker and more fine tuned and your playing will become more memorable. Youll begin to get more attention from the band and the audience.
1. Determine your goals with music. What are the desired results? 2. Determine the actions needed to get there. What do you need to practice? What skills do you need to acquire? 3. Determine what information you will need. What books will you need? What records will you need? What teachers should you seek out? Ok, that sounds simple, but how do I choose my goals. There are s o many musical topics to choose from. It all starts with figuring out whats important to you, what your values are. I touched on values in an earlier lesson. But this is such an important idea that Ill go over it again here. Your values are your priorities in music. The clearer you are about your values the clearer you will be about what to practice. And a good starting point is to figure what it is that you like about your favorite players. What is it in their playing that draws you to them. Put on your favorite recordings and just listen. Ask yourself what it is that you like so much about this recording or a particular player. As ideas come to you write them down. Write anything that comes to mind. Dont judge your answers or edit them yet. This will give you real insight into what it is thats important to you. Be sure to be honest with yourself. Do YOU really like that player or that music or is it one of the hip records that your teacher or peers told you youre supposed to like. Im talking about finding what it is in music that really gets your wheels turning, gets your blood pumping. Make a list of all of these things that move you about music. When youre finished listening you can add to your list if you like or repeat this exercise with another recording or player. Next, choose the top 5 7 and put them in order of importance. In other words, if you could have one but not another which one would you choose. Just to clarify, something like learning all the major and minor scales in all twelve keys would probably not be a value. It is a necessary condition for achieving other things in music, but in and of themselves you probably dont care about scales. You are most likely not inspired by scales. Thats not why you got into jazz in the first place. You care about things like powerful swing feel, or beautiful and lyrical Melodies, or seamless interaction and deep communication between the musicians. Now remember. Your values will change and grow as you change and grow as a player. This list is not set in stone. You should review it from time to time and make any changes you see fit. In fact, print a copy out and tack it to your wall. That way you can always use it as a litmus test to see if you are operating in harmony with your own personal values. From this list of values you can now create your musical goals. What would you like to accomplish with your music within the next year? A year is a good timeframe for a long-term goal. While it is a good idea to have a long-term visionlike 5, 10 yearskeep your goals to a year or so. Otherwise it becomes way too hard to conceptualize all of the details. Then again, one year is farther than most people think into the future so even that may be a stretch. At first you may decide to start with a shorter time frame like one month or even one week.
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
Next you need to turn that goal into a step by step plan. If you have any aversion to making plans like many of us creative types who prefer to fly by the wind, remember this: plans are simply tools to keep you moving forward. Nine times out of ten the way your plan unfolds turns out dramatically different from how you wrote it down. Thats fine. Its just a tool. Use it and enjoy the results of its power. Heres a quick, but deceptively powerful way to make a plan using the backward planning method. You start with the end goal in mind. Describe it in as much detail as possible. The clearer you are about your goal the more likely you will hit it. What will it look like? What exactly will you be able to do? When do you plan on hitting it? The next steps are easy. You simply work your way back to today, where you are right now in relation to the goal. What step will you have to achieve right before you reach your goal? What will you have to achieve right before you reach that step? How about the next step? Continue this simple process and work your way backward. The steps that come just before you reach your goal will be bigger and less detailed. The steps that are closest to today should be as detailed as possible. So that you can answer the question What exact result am I going to get in my practice session TODAY? As you move forward towards your goal, you will make adjustments to this plan. You will flesh things out into greater detail as you approach them. You might add steps, drop steps, change directions slightly or adjust the order. Dont worry about making the perfect plan. Perfect is the enemy of good. And good in this case is good enough. Just by adding this framework to your practicing you will move forward at a faster rate. For me and many of my students, that rate was faster than ever before when we applied these tools and strategies to our music. So after having completed this plan, your practicing will be greatly focused and youll find tha t you begin to move forward faster and faster. This is a deceptively simple concept. But learning jazz should be simple. I know, I know. Theres so much to learn and practice! But remember, you cant possibly conceptualize or take responsibility for your entire ascension from beginner or intermediate jazz musician to jazz master guru all at the same time. Your brain will simply explode! But what you practice today and this week should be simple, simple enough for you to dig in deep and to attain mastery. That means really simple. Thats a lesson that I learned from a variety of places but most notably from checking out Bill Evans. He taught that in practicing, less truly is more. By digging into the simple concepts in a very real and true way you provide a musical foundation that you can take as high and far as you want.
studying with them you may rethink or modify their teachings however you see fit. But to get the most from the lessons and to fully absorb and master their concepts you must trust them completely. 5. An excellent teacher will build your musical confidence. In other words they will make you aware of your progress and they will believe in your ability to learn; and you will know it. They may kick your butt from time to time, but thats their job. They should help foster a feeling that you can and must advance in these trouble areas. 6. An excellent teacher will teach you how to teach yourself. They will give you suggestions and guide you on the process, but they will not do all the work. They will not simply regurgitate exercise after exercise week after week. They will teach you how to take responsibility for your musical development and how to take steps to advance it. They will teach you how to practice, how to put together a practice plan and how to learn. 7. You want your jazz teacher to hold you accountable. Thats one of the reasons we go in the first place. A teacher can and will serve as a coach, a person to help keep you on track moving forward. If they let you off the hook too often it will only be to the detriment of your playing. Jazz teachers are not in the business of making friends. Theyre in the business of teaching jazz. They must hold you accountable to your assignments and musical projects. 8. An excellent teacher will be able to clearly explain why they have you working on a specific topic. They will be able to explain how it fits into your overall development, why you need to practice it now and how your playing will benefit from the mastery of this topic. Dont except the old Because I said So, Thats Why line. If they cant explain why, you say SEE YA. 9. An excellent teacher will also be able to clearly explain any critique they might give you, good or bad. If they say your performance of a given topic was poor they will be able to point out specific reasons why. And they will be able to suggest exercises or activities to improve. Likewise if they say a performance was good, they will be able to tell you why, with specifics and ways to take it even further.
How come I sound better in the practice room than on the bandstand?
Inconsistency is a big source of frustration among up and coming jazz musicians. Why do we sometimes sound good and sometimes we dont? Why is it that we can be killin in the practice room and show up for the gig and completely blow it? Well, like everything else in music this effect inconsistencyhas a cause, or perhaps several causes. In this lesson will cover 2 of the most common causes of inconsistent playing. Then well go over some practical things you can do to solve this problem once and for all. Cause #1 The tunes, grooves, tempos, changes or other musical material that throw you on the bandstand have not been truly absorbed and mastered. You may be able to play through a tune or a lick in the practice room a few times correctly. Then you try to play it live and you just cant seem to pull it off. Solution: Practice to mastery. Practice your topics until you own them. The goal with all of your practicing is to become so familiar with the topics that you can play them over and over and over, correctly, without having to think about them. Strive to gain the kind of comfort and effortlessness you have with a skill like say, using a fork to eat your dinner. I would venture to say that you could use a fork equally well whether you are in your kitchen by yourself or out at a fancy restaurant having dinner with your significant others parents for the first time. Even under this stressful situation you probably wouldnt stab yourself in the eye with your fork, at least not by accident. It works the same for musical skill. The only way to reach this level of proficiency is with focused, relaxed and consistent practice and lots and lots of repetition. Cause #2 You may not be prepared to deal with the unpredictable nature of a gig or other live performance. The practice room is like a laboratory. It is a controlled environment. Usually its just you and your ax, maybe a metronome, and maybe a play along recording. A gig is controlled chaos. You dont know what the other players are going to play. They may play something that throws you off, or they may make a mistake with the form. All the stuff you feel good playing in the practice room in a controlled and predictable environment can go to hell when the unexpected happens on the bandstand. Solution: The solution is to get as much experience playing with people in live situations as possible. That is, plain and simple, the only way to ever learn to kill it on the bandstand. Schedule as many practice sessions with fellow musicians as possible. Once a day or more. Experience is the only way to learn to deal with the controlled chaos of the bandstand. If you dont have any gigs attend as many local jam sessions as possible. Talk about learning to deal with chaos. You really never know what will happen in that environment. You may end up playing with a highly advanced player who downright schools you, or you could play with a newbie who drops a beat every two bars; or who plays so out of tune youd rather they scratch their fingernails
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
on a blackboard. Learn to embrace these challenging situations as the incredible learning opportunities that they are. One sign of a great jazz musician is not simply being able to play correctly and accurately all the time. Its also the ability to get themselves into and then out of hot water, and to do it gracefully with style.
I am a classically trained musician but I just cant seem to get this improvising thing together?
Ok, this is a more common problem than you might think. Ive met many players who are solid players with what they do but they just cant seem to get anywhere with improvising. Its very common in the classical world. Even though improvisation was once a respected part of the classical tradition, it often gets over looked in classical music training these days. Even a player who can burn through Chopin or Stravinsky will often freeze when you take the sheet music away. The reason is simply that they have never successfully started the process of learning to improvise. And if they did, they certainly didnt stick with it long enough to make any real progress. But, its never to late to get on this path, and with a few simple concepts the path to improvisation may be a lot shorter than you think. Before I go on just know this. It works both ways. There are plenty of solid jazz musicians who freeze when you PUT the music in front of them. Again they have simply not put the time in and stuck with reading long enough to become adept at it. If youve got classical chops on your ax and you are a strong reader you are ahead of the game. You should be proud that you applied yourself and developed those skills. With those skills it wont be as big a deal to learn to improvis e as you might think. Ok Ill give you the hard part first. You will have to allow yourself to be a beginner again. This may prove quite challenging at first. After all, you may be used to being an advanced classical musician, respected and admired by your peers. Your ego will not enjoy feeling like youre back at square one. But, thats the only way. You have to allow yourself to be yourself. You have to allow yourself to play at the level where you really are with jazz improvisation. And if youve never gotten anywhere with it then you are at the beginning. Embrace that fact and several things will happen. First of all you will feel liberated. A great pressure will be lifted. Second you will able to get busy learning to improvise. However, you should take great comfort in the fact that you will most likely not stay a beginner for long. Your already trained ears, excellent instrumental control and your developed sense of musicality will all make it possible for you to learn this new approach quite easily. While a true beginner will have to deal with all of these things as well as improvisation you will already have a lot under your belt and youll be able focus your attention on improvisation. So, if you can now accept that you are a beginner in the area of jazz improvisation you can start at the beginning. That means simplifying. You must practice the same rudimentary forms, structures and application of theory that a beginning jazz musician does. Remember though that you will whiz through this material. Obviously a huge part of the jazz imrov tradition involves playing over tunes. Just be sure to start with simple tunes and structures. Try starting with the blues. The simpler the harmonic context is at first, the better.
Copyright 2010 Chris Punis & Learn Jazz Faster LLC
Also, start by improvising entirely using chord-tones. Dont feel that you have to be hip or modern. Youll get there. Just be patient and enjoy the ride. Youre in the position of knowing how to practice and how to learn music. Just apply those attributes to learning jazz and youll be fine. One thing to remember is that jazz musicians are masters of music theory. They have that stuff at their fingertips, literally. They do not practice things like scales and arpeggios simply for technical purposes. They practice that stuff because it is the language they improvise with. So dig out your old theory books, or buy some new ones, and work through it all on your ax. You want to get to the point where you can instantly play any interval off of any note, and any chord type in any key in any inversion. The more internalized you have this stuff the better. Obviously I cant cover music theory in depth in this short video, but I hope you get the point. Again because of your already well-developed musical skills you will be able to cut through this stuff pretty quick. Remember though, the fastest way to get this stuff together is to do it the right way. In other words, take your time and really absorb this material. Trying to rush through it will actually take more time in long run. Of course, if you really want to learn jazz improvisation you must immerse yourself in the music. Listen to as much of it as you can. Listen for fun in your car or while you hang out with your friends. But also be sure to schedule time for focused listening into your practice plan. Choose one or two tracks to focus on at a time, and listen to them dozens if not hundreds of times. You want the sound and feel of jazz to seep into your mind and ear. Add a specific focus to your listening session and you will move forward even faster with this stuff. Focus on time feel, or vocabulary or articulation or another topic. Be sure to choose listening material that is related and integrated into your practicing. If you are working on playing over the blues, choose a blues to listen to for your focused listening sessions. The next step would be to start to memorize the music you are listening to. After many repeated listenings begin to sing along with the soloist. Work up to the point where you can sing along pretty accurately with the soloist. You know the pitches, the rhythms, the phrasing, articulation etc. Immerse yourself in the music. Once you have the sound of the piece in your ear, the logical next step is to transcribe it, memorize it and practice it on your instrument. The goal is to be able to play the solo along with the recording and have there be as little difference between you and the original soloist as possible. This is not the creative phase of jazz per se. This is the imitation phase of learning jazz. If the tune you choose to transcribe a solo on is the same tune as the one you are working on with your improvisation practice you will most certainly see improvement in your playing on that tune. Repeat this with a few versions of the same tune and you will begin to hear new things when you improvise and you will begin to build a jazz vocabulary. Take it one step at a time and stick with it. If you really put your mind to it and follow through with it, you will be able to improvise a lot sooner than you might think.
where you put the upbeat. It could fall anywhere from straight, in other words right in the middle of the beat to right before the next beat, like a double time feel. 6. Study, play, sing and meditate on the resolution points. Each 8th note, in other words each 8th note in a bar (1, 1+, 2, 2+, 3, 3+, 4, 4+) They all have a different feel. Much the same way every note in a major scale has a different sound and function. Some notes are stable, some build tension to a varying degree and pull your ear in one way or another. The rhythmic resolution points are the same way. 2 feels very different from 1. The + of 1 feels very different from 4. Begin by simply clapping and repeating each point along with a metronome. Stay on each one for a good amount of time, while counting out loud, before going on to the next. Then bring that to a note on your ax. Once you are comfortable with each point experiment with starting a phrase on each of the points, or resolving your phrase to each of the points. 7. Practice playing very slowly. Nothing can increase your awareness of your time feel better than playing slowly. And I mean slow. Quarter note = 40, 50 or 60. These tempos will be very unforgiving to any inaccuracies in your playing. Practice simple exercises at first, then move on to melodies, tunes and improvisation. When you can play comfortably and locked into the pocket at a very slow tempo playing medium or medium up will be a breeze. This may seem torturous at first, but it is well worth the trouble. This will teach you a ton about your time, among other musical things. 8. Practice playing ahead, on, and behind the beat. Another great way to strengthen your time and to add color to your own rhythmic playing is to get control of beat placement. In other words where you play the beat or pulse as related to another source, like the metronome. Try practicing phrases, tunes and exercises along with a metronome and play slightly behind the beat or slightly ahead of the beat, as well as right on the beat. When you get to the point that you can maintain a consistent time-feel slightly behind or ahead you will be able to do some really cool rhythmic shading. Youll be able to create tension and release, which is basically how music works, at will. And it will of course solidify your pulse. A strong pulse is essential for a solid swing feel.
Also check out lesson 10 of this series for an overview of results based practicing. That approach can greatly focus your efforts with the fundamentals and speed up the learning process. But listen. Ultimately you just want to know this stuff. It doesnt matter how you get there. If youre not the kind of cat to spend hours repeating the basics, then try to find other ways to make it more fun. One way is to practice with another musician. You can practice drilling each other on the basics, like the beboppers. Choose an interval to work on. One of you names a pitch and the other spells the interval. Again, on paper, say it out loud and play it. This can be more fun than repeating this stuff by yourself. Another way to nail the basics is to teach them to someone else. In fact, many people really get this stuff down by teaching it. As you explain intervals to someone else and drill your students youre really just honing your own skills. So get into teaching as early as possible. I dont mean you have to have a professional teaching gig. Just find another musician, who knows less than you do, that wants to learn. Ill just briefly mention that I know there are some courses available online and software available that might help you learn the basics. You know, programs that can drill you on the basics. This approach is probably a little more interactive and somewhat like a game. I have never actually used any of this software, so I dont want to recommend anything. But Im sure if you look around online a bit you might find something cool. I personally dont find the repetition thing to be a drag. I think of it as a musical meditation. But everyone learns differently. And the goal is not to do it the right way. Its just to get the results. Stay the course with the fundamentals and you will be laying a foundation for great musicianship. The stronger your foundation the further you can take your music.
4. Dont just transcribe pitch and rhythm. Incorporate the other elements of music into your transcription habits. Elements like accents, dynamics, articulation, etc. There is a broad pallet for musical expression that goes beyond simply notes and rhythms. 5. Learn tunes by ear instead of the real book. Get out of the habit of relying on real books and lead sheets to learn tunes. Yes, they are great resources, especially on gigs. And theyre good for practicing sight-reading. But you will absorb the tunes on a much deeper level if you learn them by ear. Besides, the tunes in the real-book are usually just someone elses transcription. Often the changes are simply the changes played on the recording that person used. And often theyre downright wrong. So use classic recordings by the great players to learn tunes. I would recommend you learn and memorize them by ear first, then write them down, analyze them and shed them some more. 6. Listen to music until you own it, then pick up your ax. Repeated focused listening is the best way to assimilate and learn music. Choose a phrase to start with and listen to that phrase over and over and over. It will become clearer and clearer as you repeat it. Figure it out in your minds ear first, then literally play it in your mind on your ax, or picture the artist playing it. When you can do that, you should be able to just pick up your ax and play. This way is much more effective than noodling around on your instrument until you find the right notes. And it will have the effect of planting that phrase in your ear. And as with everything else you will get faster and faster at this. To the point where listening to music will automatically feed your vocabulary new ideas and keep your creativity fired up. 7. Organize eartraining practice sessions. A great way and a fun way to practice eartraining is to do it with a friend. Create drills that you can play for each other. And be sure to have a purpose for your practice session. For instance you could work on interval drills. One person could call out an interval name, like ascending minor 6th then play a note. The other person would than sing or play a minor 6th above that note. Or you could test each other with intervals. One person could play an interval on the piano and the other person would have to name it as quickly as possible. Remember that training your ears is no different than any other skill. With time, patience and thoughtful practice your ears will become stronger. And as your ears become stronger you will become a more solid and artistic player. Learning music will actually get easier as your ears improve. Its all about the ears, man. I cant emphasize that enough.
Put away sometime each week or month to review the recordings and to look back through your journal. You will see and hear progress. Celebrate this progress. Celebrate your victories, no matter how small. This practice will keep you motivated. Remember though, the quality of the hours in the practice room, at sessions and on the bandstand determine how fast you will advance. If you want to progress faster, focus on making that time more productive. Become an obsessive goal setter. Decide exactly what you want. Make a plan to achieve it. Work on that plan everyday. All great achiever in music and all fields are obsessive goal setters. They are constantly setting goals, achieving goals and setting new ones. This is what keeps them moving forward. Practice consistent results based practice. Have a specific desired target or result that you want to achieve each day. Make it small, and make it something you can do. Challenging but doable. Apply that law of accumulation. Just make sure you learn something, improve something each and everyday. Take that same results based approach to practice and apply it jam sessions and practice sessions with your band or peers. Bring that level of focus to your group playing. If the players you are with arent interested in getting better, improving something each time you play then find new players to play with. If youre really struggling with jazz, and you dont know where to start I would highly recommend you find a great teacher. A teacher can be an invaluable resource for keeping you focused and moving forward. They have to be great though. Check out lesson 15 of this series for more information about finding a teacher. Get as much experience playing live as possible. Go to jam sessions, sit in whenever possible and start to book your own gigs. There is almost always some bar or coffee shop that will give you a gig, even if youre not a monster jazz musician yet. Great practice and learning habits combined with experience determine how far and how fast you will go with music. Celebrate your progress often. But be patient. Enjoy the journey, and pat yourself on the back every now and then. As my mentor Hal Crook Says, The Process is the Thing. Dedicated to Your Musical Success, Chris Punis