Category: musician

Noted Guitarist Praises “New Ears Resolution”

This review of the Second Edition of “New Ears Resolution” was posted by the wonderful guitarist, singer, and educator Trevor Hanson http://trevorhanson.com/trevor/ .  Trevor is highly respected for his work in both the jazz and classical fields and has a large following in Western Washington State.

  1. Basic concept: great.  The basic concepts and the way you have organized their presentation are very useful.  You have many good insights and analogies to help get students on board, even if they have had little formal training.  There’s no question that moveable-do solfege is a tremendous learning aid, and you’ve done a good job at making it accessible and understandable.  The early parts of your presentation assume that the reader has little or no background in music theory.
  2. Combining essential skills in small lessons.  By combining ear training, scale/harmony theory, and repetition and presenting the material in small, easily manageable chunks, you’ve provided an excellent framework for learning that doesn’t overwhelm the student.  Many theory books cover this material in just a few pages – making it difficult for students to achieve a working knowledge of (and quick memory for) these essential elements.
  3. Familiar tunes as examples. Linking little phrases to familiar tunes is very helpful.  This is how most of us recognize intervals, patterns, and progressions.  By providing examples, you save students time, since recognizing a short quote is often difficult.
  4. Audio files.  Listening to and playing along with the audio files is a huge advantage.
  5. Scale/chord material.  Your presentation of the scale modes is very good.  I really like the clear examples showing how each mode can be derived from the Ionian, the examples showing how each modal color can be used, and the charts/audio exercises that contrast these elements.  I found your discussion of Locrian m7(b5) and Phrigian sus(b9) even more useful.  I ran out of time before getting a chance to look at Bill Green’s approach to the blues scale and V7#9#5 chord, and am looking forward to examining this section.  These are all really important topics that most musicians just have to figure out by experimentation.  You have provided a logical starting point for studying these elements.

Sincerely,
Trevor Hanson
www.TrevorHanson.com

Combining the Blues Scale With the Minor Scales

There is a lot of talk in improvisation texts about the three minor scales (which start on LA), the Dorian mode (which starts on RE), and the blues scale (which can begin on either one).   However, the reality is that master jazz improvisers glide freely between all five scales with additional nuances interspersed.  Below is a lick to illustrate this principle.  Listen to the mp3 recording while looking at the chart.  Try practicing this lick in all 12 keys.  If you have difficulty, try slowing it down or looping the hard section with the FREE DOWNLOAD  Best Practice.   Or contact me for a FREE chart of the lick in 12 keys by filling in your email below.  Your address will NOT be used for any other purpose, and it will NOT be saved.   Better yet, if you want to learn to play jazz by ear, download New Ears Resolution.

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Want Larger, More Enthusiastic Audiences?

What you practice is what you will perform.  A joyful practice session produces a joyful performance.  If you “practice joy” instead of merely “practicing scales,” the joy in your performances will be contagious, and your audiences will grow larger and more enthusiastic.
Now here’s the rub: Any teacher of improvisation will tell you, “You have to master scales to be a great improviser.”  But you hate practicing scales!  Your mind grows numb.  You can’t wait for your practice time to be finished.
The challenge is to keep your imagination joyfully engaged AND, at the same time, increase your technical mastery of your axe.  Can you do both?
Over the years, I have assembled a book of 300 licks that both challenge my technical ability and — AT THE SAME TIME — keep my heart and my imagination fully engaged.  Most of them evolve as I work them out in all 12 keys;  others are borrowed from the solo transcriptions of the masters.  Below is a recording and a chart for 1 such scalar lick which I just finished practicing.  Try it!  Can you play it in all 12 keys? If not, contact me using the contact form below for a free chart.  Better yet, download New Ears Resolution to learn how to play any melody by ear in any key.

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You Can Learn to Play by Ear with “New Ears Resolution”

New Ears Resolution has helped hundreds of musicians learn to play by ear over the past 15 years. And now, the Second Edition offers scores of new innovations designed to make your learning experience more enjoyable, effective, and thorough.

Download “New Ears Resolution” for just $9.99.  Click here.

OR   Purchase the physical book and CD via PayPal for just $19.99 plus shipping.  Click here.

Whether you work with a jazz combo, rock group, or big band, or just play for your own pleasure, “New Ears Resolution” will help you become the musician you have always wanted to be.

i’ve taught this method for years and have used it in my own performances.  i’ve researched extensively in order to improve its design and have thus developed a comprehensive approach to the art of playing by ear.

HOW IS “NEW EARS” DIFFERENT FROM OTHER METHODS?

Continue reading “You Can Learn to Play by Ear with “New Ears Resolution””

Effortless Mastery

Here is an exercise to develop your rhythmic precision, finger dexterity, and improvisatory diversity.

In Kenny Werner’s book “Effortless Mastery,” he states that in order for a phrase to sound relaxed & swinging, it must be played effortlessly.  How do you play a line like the one below and make it sound effortless?  You must sacrifice one of these qualities:

  •   playing it fast
  •   playing the whole phrase
  •   playing it perfectly

Try looping little sections (as few as 2 notes) until they flow effortlessly.  Use your metronome in order to keep the groove going smoothly.  Start slowly and gradually extend the length, speed, and precision of what you are able to play effortlessly.

Think like a Composer

New Ears Resolution is not only designed to teach you to play by ear;  this discipline also encourages you to think more intelligently about the material you are playing.  Rote memorization of a song is not only tedious & laborious, but that process also cheats you out of the joy, wonder, and beauty implicit within the composition, the qualities which make a great performance so special.  When you approach a piece with “new ears,” you are beginning to understand its underlying logic in the same way the composer did while creating it.

Below is a simple illustration of this process.  The example is a Mixolydian phrase.  Try playing it in all 12 keys.  On the first line, the phrase is presented as if it were in C major.  On line 2, the same phrase is shown once again, this time as if it were in F major.  Which line helps you to better understand the phrase?  I welcome your comments.

Can You Learn to Play by Ear?

New Ears Resolution has helped hundreds of musicians learn to play by ear over the past 15 years. And now, the Second Edition offers scores of new innovations designed to make your learning experience more enjoyable, effective, and thorough.

Whether you work with a jazz combo, rock group, or big band, or just play for your own pleasure, “New Ears Resolution” will help you become the musician you have always wanted to be.

i’ve taught this method for years and have used it in my own performances.  i’ve researched extensively in order to improve its design and have thus developed a comprehensive approach to the art of playing by ear.

HOW IS “NEW EARS” DIFFERENT FROM OTHER METHODS?

“New Ears Resolution” is a hands-on method. Learn to play by ear by playing, rather than studying abstract theory! It’s fun, and it’s practical.

The audio contains 26 enjoyable play-along tracks in many different styles: swing, bossa, bop, rock, folk, country, jazz waltz, ballad, and fusion.

The 78-page book includes charts for each of the 26 exercises along with clear, simple instructions and lots of handy tips on how to succeed on the gig or in the jam session.

HIGHLIGHTS OF THE SECOND EDITION

Learn to use these scales:

  • Major
  • Natural Minor
  • Harmonic Minor
  • Melodic Minor
  • Blues Scale
  • Extended Blues Scale

Learn to use the following modes:

  • Ionian
  • Dorian
  • Phrygian
  • Lydian
  • Mixolydian
  • Aeolian
  • Locrian

Learn to improvise over these chords:

  • Triads
  • Major Sevenths
  • Dominant Sevenths
  • Minor Sevenths
  • Minor 7 Flat 5 (Half Diminished)
  • V7(b9)
  • sus b9
  • V7#9(#5)
  • Diminished
  • Augmented

Learn how to navigate key changes (modulations) smoothly and effortlessly.

Learn techniques for improvising.

Learn about harmonic context.

Understand how to play over these progressions:

  • The ii-V-I progression
  • The I-vi-ii-V progression
  • The 12-bar blues progression

Learn the art of melody embellishment.

Learn how to play polytonal passages.

Master rhythm and learn to swing!

Click here to purchase “New Ears Resolution using logo_paypal_106x29

Only $19.99 plus $6 shipping ($10 international)

You can also download the New Ears Resolution course from FastSpring for only $9.99USD.  Click here for details.logo-fastspring-sm

CAN YOU LEARN TO PLAY BY EAR? YES YOU CAN!

How do i know? Because I have taught over 100 musicians to do it over the past 15 years. These are musicians of all ages and levels of ability on various instruments, and you can be one of them.

Playing by ear is a thrilling experience. With this skill, your instrument can reproduce any song you can whistle or imagine, in any key. You can write down melodies while sitting on an airplane, without consulting a piano. How is this wonderful feat accomplished?

There are two ways a person plays by ear. Either you are born with perfect pitch or you learn to play by ear using relative pitch.

One in 10,000 people is born with perfect pitch. These rare individuals can hear any note and tell you what that note is. Some folks say perfect pitch can be learned, but I am very skeptical of these claims.

Relative pitch – by contrast – is the ability to name any note once you have been given a reference pitch. You figure out the second note by calculating its distance from the given note. I can teach you to do this.

In order to improvise, you must be able to transfer any melody you hear (on the radio, in your memory, or in your imagination) to your fingers and your instrument.

How do You Do It?

My “New Ears Resolution” ear training method is based on the “movable Do” system as elaborated by my teacher, Alvin Learned. Al was Dean of the legendary Westlake School of Jazz, which trained many of the leading Los Angeles musicians of the 1950’s, including Paul Desmond, Les McCann, and Billy May.

By playing along with the “New Ears” audio tracks, you learn to discern the relative position of various notes in a scale, and you become adept at finding any scale degree on your instrument in any key. The difference this makes in your playing is immediate & dramatic!

Visualize two typists, one laboriously “hunting & pecking” for each letter, the other effortlessly “touch typing,” spinning out error-free paragraphs. Now imagine two musicians, one painstakingly searching for each note (by trial & error), the other soaring through a melody as if it had been carefully memorized.

A very talented and ambitious young student told me he was trying to memorize one tune per week in all 12 keys. I responded, “That sounds like a mountain of work, and it will take you 10 years to build a repertoire!”

When you play a song by ear, you do NOT memorize the sheet music. Rather, you hear the tune in your imagination, calculate the tune’s formula in real time, and translate the formula into actual notes in any desired key on your instrument, also in real time.

This may sound like it would consume a staggering amount of brain power, but the process becomes amazingly simple, once you have worked through the exercises contained in the “New Ears Resolution” package. The 26 exercises on the CD (or mp3 download) start out quite simply and grow increasingly complex as your ability and confidence grow.

You will play along with the 72-minute audio a minimum of three times.

  • The first time, you read through the charts given in the “New Ears” book while you play along with the audio track. This also helps refine your sight reading ability.
  • The second time, you play along with the recording without looking at the book. You are now playing the exercises by ear. This increases your confidence.
  • The third time through, you improvise variations as you play along with the recording. This builds your improvisatory vocabulary.

While this method is primarily designed to teach you to play by ear in all 12 keys, many other benefits are derived from practicing with the “New Ears” recording.

  • Your sight reading grows stronger.
  • Your tone develops.
  • Your intonation improves.
  • Your rhythmic sense increases.
  • You begin to develop an improvisational vocabulary.
  • Your confidence blossoms.

While the majority of my students incorporate the “New Ears Resolution” ear training method within a series of 12 or more one-hour private lessons, scores of self-motivated students have found they can learn on their own from the book & audio tracks.

The brand new, comprehensively redesigned Second Edition answers numerous questions which more than a hundred students have asked me over the past 15 years.  Its 26 audio tracks and 78-page book are packed with helpful tips to prepare you for the gig & the jam session.

Students who encounter questions or road blocks along the way need only send me an email, and the issue will be promptly addressed.

Click here to purchase “New Ears Resolution using

logo_paypal_106x29

Only $19.99 plus $6 shipping ($10 international)

You can also download the New Ears Resolution course from FastSpring for only $9.99USD.  Click here for details.logo-fastspring-sm