Workshop Re ections Casey Stracha

5th may Workshop - Performances & Feedback

First Band - Shen etc

During this session, our band explored different tempos and experimented with slower
dynamics. Our instructor, Dan, encouraged us to mess around with tempos, aiming to
discover new musical possibilities. It was noted that the entire band, except for the drum
and bass players, struggled with dragging the tempo. To address this issue, Dan
suggested rolling the chords (slow strumming) as a technique to overcome dragging
tendencies. This advice proved helpful, providing a solution for maintaining a consistent
rhythm while slowing down

Louisa's Discussion
Louisa's contributions to the discussion centred on playing with conviction and being
aware of one's musical "bubble." However, her commentary lacked persuasiveness and
constructive guidance. Although the concept of playing with conviction is crucial, it would
have been more bene cial if she had provided speci c examples or practical exercises to
help us cultivate a deeper connection to our music and project it convincingly

Callum's Feedback
Callum expressed dif culty in distinguishing between the guitar and piano parts within the
band. He proposed the idea of creating more distinction between the two instruments by
assigning separate parts. Additionally, he pointed out that the " oaty" section of the piece
sounded messy in contrast to the riff part. To address this, Callum suggested focusing on
locking in the subdivisions more precisely. This feedback highlighted the importance of
paying attention to detail and the role of individual instrument parts in contributing to the
overall coherence and clarity of a performance

Jamin's Band
In Jamin's band, Dan shared an insightful tip regarding soloing in long songs. He
emphasised the signi cance of thoroughly mastering the 1 and 3 chords in a lengthy piece
to ensure con dent and precise changes during solos. This practical advice enabled us to
approach soloing with greater con dence and ensured that we had reliable anchor points
throughout the performance

Callum's Advice
Callum offered valuable advice regarding soloing, suggesting that we should not worry
about playing every chord or feel compelled to incorporate every available change into our
solos. This perspective encouraged a more thoughtful and intentional approach to soloing,
allowing for space and dynamics within our improvisations

Conclusion
Performance classes provide a unique environment for growth and exploration as
musicians. In this particular session, we explored various aspects of musical performance,
ranging from tempo and dynamics to instrument differentiation and soloing techniques.
The feedback and insights shared by our instructor and fellow musicians served as
valuable learning opportunities, helping us re ne our skills and develop a deeper
understanding of the nuances of jazz performance
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 Re ecting on this experience, I have come to appreciate the importance of

experimentation, attention to detail, and the balance between structure and creativity in
jazz performance. As I continue my journey as a jazz guitarist, I will integrate these
lessons into my practice and performance, striving for greater musical conviction, clarity,
and expression. Performance classes have undoubtedly played a pivotal role in shaping
my growth as a musician, and I eagerly anticipate the further development that awaits me
in future sessions.

26th May - Bill Cunlith Guest Tal

Introduction
This session was led by Bill Cunlith, an accomplished pianist who has performed
alongside renowned musicians like Buddy Rich and Joe Henderson, stands out as a
remarkable learning experience. In this re ection essay, I will explore the insights and tips
shared by Bill during the workshop, focusing on the importance of learning tunes, soloing,
and navigating the jazz scene

Bill's Musical Journey

Bill began by sharing his personal journey, recounting how he was initially unaware of jazz
in his early twenties. He had learned popular songs by ear during middle school, received
classical training, and played in musical pit bands as well as rock cover bands. It was not
until he discovered the music of Oscar Peterson that he realised the allure and beauty of
jazz. Bill's story serves as a reminder that one's musical journey is unique and that
exploration and exposure to different styles can lead to transformative experiences

Importance of Learning Tunes

During the workshop, Bill emphasised the signi cance of knowing tunes thoroughly, as
opposed to relying on reading sheet music. He shared his own audition experience for a
university big band, where he did not initially get in. The band leader advised him to listen
to the music and learn the tunes. This encounter taught Bill the value of immersing oneself
in the repertoire, understanding the melodies, and internalising the songs. Learning tunes
by ear enables a deeper connection to the music and enhances improvisational skills

Bill's Method for Learning Tunes

Bill provided a structured approach to learning tunes, beginning with mastering the melody
by ear. He emphasised that the solo should be built upon the foundation of the melody,
embellishing it with enclosures and other improvisational techniques. Furthermore,
understanding the root movements, basslines, and lyrics of a tune contributes to a
comprehensive grasp of its structure and essence. By singing the bassline and the
melody, one can develop a strong sense of the harmonic foundation and the melodic
contour of the composition

Improvisation Techniques and Blues Progressions

Bill delved into improvisation on blues progressions, sharing various techniques to add
avour and tension to solos. He highlighted the importance of resolving tensions,
illustrating concepts such as the tritone substitution (b2-1) and incorporating 2-5-1
progressions. The use of outside notes was encouraged, with an emphasis on resolving
them effectively. Bill's guidance on adding variety, using digital patterns for complex tunes,
and exploring blues scales opened new avenues for creative expression and musical
development
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Utilising "Vehicles" and Resolving Tensions

Bill emphasised the importance of incorporating "vehicles" or melodic patterns that can be
readily applied in improvisation. He highlighted the usefulness of digital patterns such as
1235, 3579, and 5791, among others, particularly for fast and intricate tunes. By mastering
these patterns, musicians can navigate complex progressions with con dence and uidity.
Bill also stressed that tension and dissonance are acceptable in improvisation, as long as
they resolve effectively, providing a sense of resolution and musical satisfaction

Conclusion
Bill Cunlith's performance class was an enriching experience, offering valuable insights
into the art of jazz guitar playing. His emphasis on learning tunes by ear, understanding
the structure and essence of compositions, and incorporating various improvisational
techniques has profoundly in uenced my musical approach. Moreover, his guidance on
resolving tensions, utilising "vehicles," and exploring digital patterns has expanded my
improvisational toolkit.
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