A couple tips gleaned from his blog:

• Mental Rehearsal: Harness the language of the right brain and the subconscious and practice doing it right in the mind first.
• Record Yourself: Something I advocate in Turbocharge Your Playing.

It’s a major upgrade. Logic Studio is a full suite of apps including Logic Pro 8, MainStage, Soundtrack Pro 2, Studio instruments and effects, and the entire GarageBand Jam Pack library. Almost 40 gigs of content!

The user interface of Logic Pro has been completely redesigned. Its new single-window workspace fits the streamlined design of Apple’s other applications. If you’re a GarageBand user, the upgrade will be much easier to manipulate.

MainStage is built for live performance. Keyboardists and guitarists alike will be able to perform with confidence even in the most demanding conditions. It’s a major step to bringing your software instruments and effects to the stage with an interface that gives you just enough information to get the job done.

My major complaint with Logic Pro 7 was the user interface. It wasn’t nearly as fun or easy to use as GarageBand. All of that has changed. I love the new and sexier Apple-centric design.

Watch my introduction to the new Logic Pro 8 template chooser.

If you’re a Logic user and want more tips and tricks, check out Logic Studio Training.

I popped my thumb back into place and grabbed some ice from the bar. There was no pain but it immediately began to swell. I couldn’t play the piano with my right hand for an entire month! A year later, I still didn’t have full mobility. Now, two years have gone by, and I’m fine but I can feel the scar tissue. I don’t want to see anything like this happen to you.

It goes without saying that your hands and fingers are vital to you. Protect your playing with these hand and finger safety tips.

Playing and Practicing Safety Tips

• Always warm up before you practice and play your instrument.
• Take lots of breaks from practicing your instrument to stretch and relax your hands and fingers.

Real Word Safety Tips

• Take time to identify potential hand and finger hazards like unprotected or faulty machinery, equipment and electricity.
• Use hand tools. Do not use your hand as a tool.
• Be careful around irritating substances like chemicals and corrosives. Use the appropriate hand protection.
• Be mindful that temperature extremes cause hand and finger stress.

Here’s a few more hand and finger safety resources:

• Tips for Left Handed Musicians
• Musicians and Injuries
• Musicians and Weight Training

Be careful out there!

read more

The Christmas season, my favorite season of the entire year, is ALMOST here — and courtesy of Jermaine and HearandPlay.com, I have a PERFECT gift idea that YOU or one of your relatives would LOVE to see under the tree (…or better yet, on top of their piano)!

Jermaine just let me know about his brand new 3 H-O-U-R Christmas course, Christmas Keys Vol.1 – “Conquering Christmas Classics”, which has just been released.

After he takes you through his UNIQUE song learning process, you’ll not ONLY know how to conquer those songs but tons of other Christmas songs since most songs follow familiar patterns.

Christmas Keys Volume 1 is LOADED with tons of powerful tips, easy-to-do tricks, and techniques that will have you playing like an expert by this Christmas season – GUARANTEED!

In this course, you’ll…

• Learn how to play every song, step-by-step, with no guessing (whatsoever) or any information left out! By the end of this course, you’ll have what it takes to fully play all of these Christmas songs by ear!
• Learn several variations of each song so you can play these Christmas classics a different way very time!
• Beginners: How to play an entire song with only three-fingered major chords (…also known as “major triads”).
• Discover the power of “inversions” and how changing one note in your chord can totally alter the way a progression sounds!
• How to add fuel to your bass by understanding how “power” chords work in holiday music.
• How to play Go Tell It On The Mountain in a churchy praise style! I’m talking about bass lines, runs, fill-ins, and more (…similar to our other GospelKeys courses)!
• And tons more!

Click here if you’re ready to finally learn your favorite Christmas songs by ear:

Please note: Due to the high demand and moderate supply, this incredible offer for Christmas Keys will only be around for a short time. So…

…Don’t waste time! Order TODAY!

Click here for more details

• The proper way to hold a guitar — you could be causing serious injury!
• Tips for buying a new guitar — You really need to arm yourself well before you try haggling with your local guitar salesman.
• Light speed guitar tuning techniques.
• How to read tablature — in a few short minutes — and discover its weak points.
• How to get ‘that’ sound – aka Jimi Hendrix.
• Super slick chord progressions.
• Gain access to free music learning software.
• Complete with pictures and video — so it’s easy to make the connection between strings and fingering!
• And much, much more…

Enter your first name, valid email, phone number, and current guitar challenge – then click the “Free Instant Access!” button (All information is kept 100% confidential).

The time has come for Ultimate-Guitar.Com to get an MPA letter. Surely, that was not something good, but the request to remove all tabs in 10 days. What does it mean? Nothing. We are legal. We are not going to shut down the website.

Let’s give our support to Ultimate Guitar! It’s not ethical to exercise so much control over musical knowledge. Fight back. read more.

1. Get a cheap instrument.
   You probably have an idea of what instrument you want to play already. Don’t waste your money on the best instrument money can buy. Check Craig’s List and eBay for a working instrument. You probably don’t even need to spend $100 bucks no matter what instrument you’re thinking of playing. Then, when you’re ready to upgrade, return the favor by putting it up for sale for the next generation of newbies.
2. Just play.
   The saying goes: there are no mistakes, only opportunities. Don’t worry about sounding bad or making mistakes. And don’t try to sound like your favorite guitar shred master at this stage in the game. Just mess around without any idea of sounding good. Just make sound.
3. Begin to learn the fundamentals of music.
   After 15 days, if you’re still interested in your instrument, begin to learn the fundamentals of music. A great place to start is MusicTheory.net. Make a commitment to study music theory for the next 15 days. A single lesson should only take 5 to 10 minutes.
4. Find a music teacher.
   If after another 15 days you feel like you still want to continue, find a local music teacher. Interview teachers as if you were hiring an employee. You pay them so they work for you. Ask lots of questions and make sure they feel like a good fit. Expect to pay around $50 a lesson and ease into a regular schedule of weekly to biweekly lessons.
5. Study music theory.
   If after 45 to 60 days you still feel motivated to continue on your musical journey, make a dedicated commitment to study theory. For conventional training, a university setting can’t be beat. For alternative options, try a home study musicianship course. The most comprehensive home-study musicianship courses that I believe in are available at Elite Musician Society.
6. Find people to play with.
   Your musical journey will maintain motivation and gain speed if you’re not alone. Check Craig’s List for beginning musicians who are looking to play with people. Teach each other what you know. Learn a couple of simple songs together. You can also search for group lessons to get your feet wet.
7. Keep studying, keep practicing, and keep playing with people.
   In order to keep progressing, remember the 80/20 rule: 80% of your success comes from 20% of the things you do. Resolve to spend more of your time doing more of the things that contribute the greatest value to you and your music.

Good luck!

These performers fit into a wider group of people in the self-made instrument scene, which is particularly vibrant in the San Francisco Bay Area.

“It is one of the main centers for people who make their own instruments and create their setups,” says Pamela Z.

This is partly because of the Bay Area’s high density of tech-savvy tinkerers, but also because of the experimental music courses taught in local colleges like Oakland’s Mills College — which spawned pioneer Steve Reich — Stanford and UC Berkeley. Rent Romus says it is one of the richest areas in the United States for experimental sound.

The summit is being recorded in audio and video, which will be available after the event for those who live elsewhere in the world.

Full article: Musicians Get Out of the Groove

Table of contents for Piano Voicings

1. Piano Voicings Part 1: Left Hand Voicings
2. Piano Voicings Part 2: So What Chords
3. Piano Voicings Part 3: Fourth Chords
4. Piano Voicings Part 4: Upper Structure Chords
5. Piano Voicings Part 5: Kenny Barron Voicings
6. Piano Voicings Part 6: Clusters

Clusters usually span no more than a fifth and include both half steps and whole steps. Clusters increase tension and when preceding open chords can make them seem wider. Clusters also sound good when rolled.

Table of contents for Piano Voicings

1. Piano Voicings Part 1: Left Hand Voicings
2. Piano Voicings Part 2: So What Chords
3. Piano Voicings Part 3: Fourth Chords
4. Piano Voicings Part 4: Upper Structure Chords
5. Piano Voicings Part 5: Kenny Barron Voicings
6. Piano Voicings Part 6: Clusters

Kenny Barron voicings are composed of two perfect fifths in each hand and separated by a minor second:

This symmetrical voicing can also be played with a major second between the two hands creating a completely different chord quality. Notice the increased tension from the #11 at the top:

Showcasing the sounds, music, and instruments of artists and artisans from around the globe. From gourd music to electronic odysseys, harp guitars to industrial insect metal, from the beautiful to the bizarre.

Check out the Pikasso.

Table of contents for Piano Voicings

1. Piano Voicings Part 1: Left Hand Voicings
2. Piano Voicings Part 2: So What Chords
3. Piano Voicings Part 3: Fourth Chords
4. Piano Voicings Part 4: Upper Structure Chords
5. Piano Voicings Part 5: Kenny Barron Voicings
6. Piano Voicings Part 6: Clusters

Upper structure chords consist of a triad-or triad inversions-over a tritone. Here’s a chart of common upper structures:

(Click to enlarge in a new window)

Table of contents for Piano Voicings

1. Piano Voicings Part 1: Left Hand Voicings
2. Piano Voicings Part 2: So What Chords
3. Piano Voicings Part 3: Fourth Chords
4. Piano Voicings Part 4: Upper Structure Chords
5. Piano Voicings Part 5: Kenny Barron Voicings
6. Piano Voicings Part 6: Clusters

Fourth chords create harmonies reminiscent of McCoy Tyner’s playing. Stacked fourths have a wide open texture and are complimented very well by pentatonic scales. Begin on the third of a major scale and keep adding fourths as your taste dictates. Most voicings include a tritone as well as fourths. Fourth chords, similar to So What chords, can be moved around all scale degrees creating either new chords or variations on the root.

(Click to enlarge in a new window)

Table of contents for Piano Voicings

1. Piano Voicings Part 1: Left Hand Voicings
2. Piano Voicings Part 2: So What Chords
3. Piano Voicings Part 3: Fourth Chords
4. Piano Voicings Part 4: Upper Structure Chords
5. Piano Voicings Part 5: Kenny Barron Voicings
6. Piano Voicings Part 6: Clusters

So what chords get their name from the song of the same title on Miles Davis’ record, Kind Of Blue. This voicing consists of a series of three perfect fourths with a third on top:

So what chords can be moved up and down all scale degrees of all modes very successfully. Try harmonizing melodies using so what chords:

(Click to enlarge in a new window)

Table of contents for Piano Voicings

1. Piano Voicings Part 1: Left Hand Voicings
2. Piano Voicings Part 2: So What Chords
3. Piano Voicings Part 3: Fourth Chords
4. Piano Voicings Part 4: Upper Structure Chords
5. Piano Voicings Part 5: Kenny Barron Voicings
6. Piano Voicings Part 6: Clusters

Left hand piano voicings enable you to play the basic progression of jazz harmony, II-V-I, with good voice leading while freeing your right hand for soloing. The most important notes in these chords are the third and seventh because they determine the chord quality. The root and fifth of the chord don’t require much attention because they are implied by the rest of the chord. Here are the basic left hand voicings in first position:

Here are the left hand voicings in second position:

Try substituting the tritone (augmented 4th/diminished 5th) for the V chord. This substitution is sometimes called a Valt (#5,#9) chord (depending on the root in the bass):

Try altering other scale degrees:

The Theme – Oscar Peteson Trio

And if you haven’t had enough…

Solo Blues

My sax teacher, Nathan Davis, used to tell me, “Go without practicing one day, and you know. Go without practicing two days, your friends will know. Go without three days, and everyone knows.” Good advice.

When you implement a practice schedule, here are some critical points to focus on:

• Ritualization – Beginning a practice schedule can be difficult. But if you push through it, it will become a very valuable habit.
• Objectivity – There’s no sense in beating yourself up over mistakes or for not being at the level you think you should be. Take an objective approach to mistakes and progress and your practice time will be more productive and enjoyable.
• Singularity – Work on one thing at a time. Focus your energy for better results.
• Organization – Keep detailed notes of your strengths, weaknesses and your progress. Frequently check your practice history to see how far you’ve come and how far you need to go.
• Prioritization – Work on most difficult things and areas of needed improvement first. It may be good to warm up with your greatest strength in order to build your confidence level before embarking on more difficult endeavors.
• Emotional State – Take a moment before beginning your practice routine to check yourself. Simply being aware of your emotional and mental states will help you transcend them and be better equipped to handle the pressures of mastering an instrument.
• Constant and Never Ending Improvement – Quincy Jones said, “Standing still isn’t staying neutral. It’s moving backwards.” Never allow yourself to stagnate.

For Saxophone Players:

• Breathing – Practice taking deep breaths by filling the diaphragm with air and with minimal shoulder movement and physical stress. Pull as much air as you can into the lungs and allow the abdomen and rib cage to expand. Hold the breath for a few seconds and exhale completely. You can add resistance to the abdomen by lying on your back and placing something on the abdomen such as a large book or two. Not only is this a good exercise for strengthening your diaphragm and increasing lung capacity, it also increases blood flow and improves your lymphatic system.
• Mouthpiece Alone – Since the tone and pitch of the saxophone comes primarily from the larynx, it’s a good idea to strengthen this connection by practicing on the mouthpiece alone. Play scales and intervals over the range of at least a tenth and avoid biting the mouthpiece or using too much pressure. Let the larynx do the work.
• Overtones – Use a minimum amount of embouchure movement to execute each overtone. Place the emphasis on laryngeal activity. Also concentrate on intonation and timbral quality. Working on your overtones will help you create a warm, big tone.
• Long Tones – Check embouchure positions in regard to quality of tone. Practice long tones chromatically, stepwise and intervallically. Occasionally, crescendo and decrescendo using pre and post tones and checking intonation constantly. Concentrate on evenness of sound and breath. Try to pre-hear the intervals.
• Miscellaneous – Experiment with position of tongue for both sustained notes and for tonguing. Practice single, double and tripple-tonguing at various speeds, levels of intensity, and using all combinations of tongue and reed areas. Try out expressive and coloristic devices. Explore.
• Reading – Practice sight reading both classical and jazz solo transcriptions. Play exercises and patterns for finger dexterity and smoothness in all ranges.
• Scales, Arpeggios and Intervals – Practice legato at quickest overall speed in various articulative and rhythmic configurations. Always use a metronome!

And finally…

Write down your goals. Begin with long range goals (5-10 years), then medium range goals (1-5 years), and finally short range goals (3-12 months). After considering your goals and the steps it will take to achieve these goals, create a weekly goal schedule. Keep a diligent journal of your practicing and you’ll be sure to improve. Once a year, reevaluate your goals and their progress. Remember, when it comes to goals, the sky is the limit!

Good luck and never give up!

Get your turbocharged practice schedule for free: