Here is the latest video on playing pop piano. These are tricks that can be applied to many popular songs where there is a singer or a band. It primarily focuses on the role of the piano in modern popular and rock music. Have fun with this.
This Tuesday, April 30, will be the 80th birthday of Willie Nelson. This has become a yearly holiday in my musical calendar the last five years. Andy Sells and I were playing a weekly gig across the street from my house at the Park Pub and randomly decided to do a Willie Nelson night on his birthday. That was the first time I had sung at a show for over ten years. I’m positive I didn’t sound very good. But I later discovered it wasn’t the point.
Relearning those songs triggered the awakening of a voice that I never realized I had. This musical self-discovery is still in process as I hope it always will be. But I think the right thing hit me at the right time. And the right thing was the power of Willie Nelson’s musical vision and his artistic voice.
For years I had been guided musically by voices such as Miles Davis, Bjork, Prince, Joni Mitchell, Sly and the Family Stones, Squarepusher and Bill Frisell to name a few. But as a small child I spent hours listening to vinyl and singing along with the Waylon Jennings and Willie Nelson classics. I remember strumming along on the guitar as well – but I suspect I wasn’t hitting the right chords.
Relearning those Willie Nelson songs brought me full circle musically. It brought me back to the sounds that first mesmerized me. These sounds made something gradually click for me. The light bulb faded on slowly and I began to see the connection between Miles, Bjork, Prince, Joni and all the artist I had become enamored with over the years. As I rediscovered the music of Willie Nelson, I discovered for the first time after many years the reason I always wanted to play music.
I realized I would never be a comfortable keyboard guy who could play the right part at the right time using the right sound. Those gigs (which I have done a lot of) really stress me out because I can’t relate to that role very well. But Willie’s music connected me to the source of what turns me on about playing and listening to music.
All of my musical heroes are considered rebellious because they didn’t conform to what the industry and society told them was ok. This rebellion was not contrived to get attention, to gain a following, to shock the world into taking notice. It was a rebellion that actually put us in touch with our true and most basic self. It may or may not be intellectually or academically groundbreaking. It is a sound and vision that strips away the unnecessary layers that society, politics, marketing, education, religion, the music industry and all institutions put between us and our own integrity. It is sad that this constitutes as rebellion, but I suppose this is why we need rebellion and this is why we need heroes.
Willie Nelson is a hero figure in the classic sense. He has been honest and open about his lowest points in life and shares them as equals to his peaks in life. He has used his own suffering to evolve personally and musically. He has broken down prejudices against gays, African-Americans, minorities, religious leaders and anyone who people don’t consider to have a place at the table – and has done so without shouting, screaming or being angry. He does this with quiet grace and openness.
Musically, he exudes that same grace and openness as he courageously stays in each moment. Always in tune with the room and the situation, he makes the song not just his own – but the listeners’ as well. In the music business there is always pressure to play something the same way each time. Willie makes sure he plays it the right way each time – not the same way. He moves air with his sound that penetrates us to our true self. And in my case awoke something that had been dying to come out for years.
So on yet another run of Willie Nelson birthday shows this upcoming week, I am very grateful for this true American treasure who is now turning 80 years old.
Once students establish an effective routine in practice, it is always fascinating to see what they do when they practicing. Often we practice something for a long time only to feel that our progress doesn’t match our efforts. In my opinion, this is a choice to feel this way. It is a choice in how we practice. I only say that because I often fell into the pitfall of associating the amount of time to the success of my practice. » Read more
Several students have recently come out of musical ruts because we were able to get organized with their practice and they were willing to embrace a simple practice routine. It is always frustrating when we as students or teachers think that something sounds better the previous lesson than it does at the beginning of the current lesson. In group lessons, students get frustrated when they start to lag behind the others even when they are more than capable of keeping up.
Several students have recently come out of musical ruts because we were able to get organized with their practice and they were willing to embrace a simple practice routine. It is always frustrating when we as students or teachers think that something sounds better the previous lesson than it does at the beginning of the current lesson. In group lessons, students get frustrated when they start to lag behind the others even when they are more than capable of keeping up. » Read more
Recently several of my students have found themselves on the tangible side of much hard work, frustration, hope and dedication. The tangible side being the stage when we know we are onto something. We know we sound better. We are aware there is a command developed over our art form that allows us to be more fluid, spontaneous and creative. » Read more
Practicing scales is a great opportunity to consciously shape our personal sound. For many years I would use scales to build dexterity and theory knowledge. On many levels this experience was very helpful. However, the greatest benefit I experienced from practicing scales happened when I changed my habits, focus and priorities. » Read more
The compartmentalization of musicianship can lead to several blocks and disconnects in our practice and performance. We study theory separately from technique, technique separately from repertoire and repertoire separately from improvisation. This can lead to large gaps in artistic development because we tend to pigeonhole ourselves way too soon and too often. We decide that we can improvise but can’t read. We can read but can’t memorize. We can memorize but we can’t do Hanon. We hate theory but love repertoire.
It’s as if the musical dots are discouraged from being connected!
Throughout my playing and practice career I have often consciously and unconsciously struggled with being 100% connected to what I was playing. Possessed by a faithful autopilot, my hands and body sometimes carry me through a performance or practice session. Without respecting this disconnect; we typically endlessly analyze our performances, learn new material, push ourselves in negative ways and use external motivation to improve.