Tim Price Blogging For D'Addario Woodwinds- SKYPE SAXOPHONE STUDY WITH TIM PRICE

SKYPE MUSIC STUDY WITH TIM PRICE These SKYPE sessions with Tim Price are informal and relaxed, yet highly structured. If you are a novice improvisor or even a pro who has always felt there was more to learn, you'll truly enjoy these lessons. Hands-on "Real World" Learning , you'll more than simply learn-you'll do. By gaining new knowledge you'll create momentum that can transform your musical future. You'll sustain results. You'll discover multiple ways to produce real, sustainable results. Imagine.... The sound and ideas musically you've always dreamed of with no barriers or boundaries. Being able to put to use songs, concepts, ideas and expand your playing by HARD WORK, knowledge rich with success and achievement, and a deep sense of musical fulfillment. UNCHAIN THE POWER IN YOUR JAZZ PLAYING... move beyond limiting beliefs and blocks, and accomplish goals and realize true musical desires, turning improvisational dreams into reality. Play better as a performer that produces a quantum difference with solid and knowledge in your musical agendas. These "hands on" lessons teach you to have the courage to dream of even more and the knowledge,to make it real. This is where inspiration and serious study converge to produce results that will change your playing. These are the topics of study that Tim Price has studied and developed for decades. Tim Price is developing a custom teaching program where you'll discover and implement change using the same tools, techniques that have been tools of the masters. Study = Results Now is the time to....change your playing and get results. Its time go to the next level. Act now! The techniques that SELMER and RICO clinician Tim Price integrates into his jazz curriculum for his personal students worldwide are available here. Right now-ON LINE right on SKYPE! Check out the various SKYPE Lessons, listed here, and E mail Tim @ timpricejazz@aol.com to get billed thru Pay Pal and get started now. Thank you and good luck, Tim Saxophone instruction - ANY LEVEL How to play what you hear in your head Chord/Scale relationships & their use Scales INSIDE scales Important books, records & cassettes Jazz NOMENCLATURE & notation Ear Training exercises--the importance of them, how to do them Thorough discussion/demonstration of the Blues & Blues Scales Articulation-styles, how to practice them Discussion of SWING, BOSSA NOVA, BOP, pop and rock How to BUILD a solo Use of Play-A-Long recordings--group/individual assignments II-V7-I PROGRESSION HOW to practice/WHAT to practice How to practice a song so you really know it Piano voicings for non-pianists What to listen for in a jazz solo Jazz theory and proper application Tim Price Live Online Lessons Personalized Lessons in your home. Using Skype. Learn on line from recording artist, author and jazz educator. ( New School Jazz Dept. and Long Island University, and Selmer & Rico clinician) I will listen to you play, make suggestions & offer practice regimens. My online lessons will focus your practicing for maximum progress towards creating immediate results. My approach is simple. It combines discipline, creativity & with musical knowledge. Your playing is examined in real time, on line, by Tim Price.Then you are assisted to reach a new goal right there from Tim ! Take advantage of Tim Price's 35 plus years of teaching, performing, recording & writing experience. Step by step online videos to help you improve your playing at a logical pace. On screen spoken help explaining how to reach your next level. Technical Considerations Lesson Types Other Notes Technical Considerations In order to take advantage of this new lesson format you must ensure you have the following at your disposal; A web cam capable of use with Skype Broadband Internet access Skype A PC or MAC capable of running all of the above Lesson Types Tier 1 - jazz saxophone lesson I always ask my students what their favorite music is, are and what their goals are. I have goals for them, too, but almost everyone has some personal goals. Use the visualization of what's inside you as a player-learner and let that bloom to the best you can. That provides everything. Life expands every day, day to day. If you let it, music does the same thing as well. My study plan is very organized and there is a high level of results at all levels. I try to encompass all the styles that are happening today, all the way from technique on the early levels to what's going on today. Although I work with all music, my focus is on what's happening now—with you as a student- which keeps me on my toes. It's really kind of the foundation that all musicians strive for. Tier 2 - Gear Lesson This is a gear lesson. This is to work out the kinks with a new mouthpiece or to pick some gear that accents the best intentions for you for where you are at currently as a saxophonist. Any level any age any genre. If you've got a problem and you need an answer and a second set of ears, this is for you. You email and we set up a time to meet on skype, after PAY PAL payment goes through. Technology is a huge part of what we do. To be successful, you have to be savvy with technology. The better your sound, the better your chance of getting heard and hired. That's why a large part of learning the applications, so students can create and edit their own sounds. Knowing the proper tools as mouthpieces and reeds via the right horns are essential. Tier 3 - Beginner and Intermediate Students This lesson is geared only for beginning and intermediate students looking for someone to teach them. If you can't find a teacher or your schedule is so busy that this seems like the best avenue for you to take, check it out. Guaranteed results. This is a forty minute lesson payable for four lessons at once. You email me at Timpricejazz@aol.com and we set up a time to meet on skype, after PAY PAL payment goes through. Other Notes of interest Sometimes in this complex digital world, unforeseen technical problems may arise. In this case we will work together to find a solution. What makes my teaching distinctive is that I'm a professional— I do what I teach. My approach is centered, focused on helping each student develops professionally as a musician as well as develop as a person. How can I assist you? Let's get started now! FEE - Contact Tim @ Timpricejazz@aol.com for most current fee info. Thank you, Tim

Tim Price Bloggin' For D'Addario Woodwinds- Thoughts about Jimmy Lyons.

~ JIMMY LYONS ; Today was his birthday~, and he was a source of energy, knowledge, soul & common sense...and more to the music we call jazz. Records like=Other Afternoons ...Riffs Jump Up....Something in Return..Burnt Offering Wee Sneezawee..Give It Up...With Cecil- Into the Hot- Mixed- Student Studies- Akisakila- Spring of Two Blue J's- Dark to Themselves- Cecil Taylor Unit- 3 Phasis- Live in the Black Forest-One Too Many Salty Swift and Not Goodbye- It Is in the Brewing Luminous- The Eighth- Winged Serpent-The Great Concert of Cecil Taylor-Conquistador- Unit Structures- Nefertiti, the Beautiful One Has Come...That music & more has to NEVER be forgotten and MUST be listened to by everyone, always. This man's depth as an artist but also someone who had the_deep roots_in Bird, blues & beyond- and composing-conceptions. Jimmy was someone that is always in my ears, he told a story when he played. At the time 1982, Jimmy Lyons wrote this support letter for me below this- to get some grants from the Pa Council on the arts- Which helped me a lot- As I got over 6 grants through the years to do my own music- and produce it. Positive energy- and thanks to Jimmy Lyons for the friendship & inspiration & more- this man was infinite! I was studying with him and his bassoonist wife Karen Borca. Karen was amazing and gave me a rebirth in bassoon playing just hearing her! Quite as it's kept- she is one of the real masters and innovators! Beautiful soul Karen Borca is, Going to their home in the Bronx- after I spend over a decade in road bands, was just what I needed. Doors opened in my thinking and it was something very inspiring. Jimmy was the ultimate! Being around Jimmy was amazing and enlightening- he was one of the real innovators in modern music. GO LISTEN TO HIM....YOU HAVE TO KNOW MORE ABOUT THIS ARTIST. I sure miss him too- he left the planet to early and was a spirit to always listen for. Bright sun upon his spirit. Tim Price- Bloggin' For D'Addario ;

Tim Price Bloggin' For D'Addario Woodwinds- Happy Thanksgiving,

....Be grateful for what you have to get more of what you want. I believe what we consistently focus on and believe to be true, we create in our lives. Therefore it is so important to take inventory of what you already have from time to time. By being grateful for what you have in your life you are telling yourself, I have abundance in my life. That I am deserving of abundance in health, finance, relationships or whatever. By doing this you are telling your subconscious that you are deserving of more of this thing that you are grateful for. I suggest that this not be taking lightly. In my opinion, your thinking and your beliefs are the basis of all that we have in our lives and all that we will create for our future. So, it’s kind of important.What we focus on we create. If you are thinking about what you don’t have in your work, relationships, finance, or health, you are telling yourself that you don’t have enough. This can be a self-perpetuating cycle of creating more of the thing that you are trying to avoid. It can be hard to see that in the moment. You mind’s natural defense mechanism is saying, I don’t want this therefore I am resisting it. Logically it makes sense, but the more time we focus on what we don’t want the more we are creating that exact thing. So, enough about that, what do you want? Focus on the positive, the flipside of the thing you are trying to avoid or push away. Focus on the positive.Instead of thinking of what you don’t want or how you don’t have what you want, think about what you do have and having more of it will open up- what we focus on we create. By thinking positively about your musical horizons and life you are attracting more and opening up to the possibility of more. Now don’t take my word for it, you have to experience it for yourself. Otherwise, it’s just another interesting idea. In a nutshell, acting grateful can actually make you grateful.Be Thankful for Family...For many people, gratitude is difficult, because life is difficult. Even beyond deprivation and depression, there are many ordinary circumstances in which gratitude doesn’t come easily. This Thanksgiving, don’t express gratitude only when you feel it. Give thanks especially when you don’t feel it. As for me, I am taking my own advice and updating my gratitude list. It includes my family,cats, friends and work. But also the dappled complexion of my bread-packed bird. And it includes you, for reading this column.- - HAPPY THANKSGIVING- Tim Price,,,

Tim Price Bloggin' For D'Addario Woodwinds- Remembering two Scorpio creators- Don Byas & David S. Ware

THIS BLOG- WE CELEBRATE DON BYAS. In honor of the tenor saxophonist’s 100th birthday, this RICO blog will celebrate his legacy.Born Carlos Wesley Byas in Muskogee, Oklahoma.“Don” earned his moniker as the leader of a Benny Carter-influenced band, “Don Carlos and his Collegiate Ramblers,” while he was still experimenting with the alto saxophone. He later moved to Los Angeles to perform along the West Coast with artists such as Lionel Hampton, Eddie Barefield, and Buck Clayton. In 1941, Count Basie placed Byas’ name on the map for New York jazz musicians and enthusiasts with a concert that was broadcast live on-air, and this led Basie to officially substitute him for Lester Young as the lead tenor saxophonist in his band. Around the same time, he gained a reputation for regularly performing in after hour jams with such pre-notoriety artists as Johnny Griffin, Dizzy Gillespie, and Thelonious Monk. Byas left Basie in 1943 to pursue a career as a leader and occasional sideman until 1946. While on a tour of Europe with Don Redman in the fall of that year, Byas made the somewhat spontaneous decision to stay there permanently, and soon after moved to Paris where his recording career took off. After officially parting ways with unfavorable working conditions in America, Byas spent much of the rest of his life leading quartets and quintets around France and the Netherlands, touring throughout the continent and performing at numerous festivals. Byas passed away in 1972 at the age of 59. Don Byas Quartet 1946 ~ Cherokee http://www.youtube.com/watch?v=C4uWYN2sULE This is a jam session , usually played fast (quarter note= 250 b.p.m. or more). The many long, sustained pitches and slow harmonic movement make it a vehicle for virtuosos desiring to display their technique by playing lots of very fast notes. The harmonic progression of the first eight measures is a variation of the descending series of changes found in songs like “I’m Gonna Meet My Sweetie Now” and the last eight measures of “Charleston” while the second eight measures of the first “A” do a turnaround that delays the resolution: I – II7 – ii7 – iiim7(b5) –VI7(9) – ii7 – V7(+5). The second “A” eliminates the four chords between the first ii7 and V7. The “B” section contains an interesting–and highly logical--descending progression that starts on biii9, which is the ii7 of the bII. This, in turn, becomes minor, functioning as the ii7 of the chord a step below it, and so on, until the V7 of the original tonic. In the original key, it is as follows: Dbm9 – Gb7 – B; Bm9– E7 – A; Am9 – D7 – G; Gm9 – C7 – F7(+5). This same kind of chord progression is heard in “Laura” and “How High the Moon.” Simple. Yes? At that tempo- you gotta work and shed. THIS VERSION....Will never get stale or be out dated. It is a benchmark in jazz playing- and should be heard by anyone with a vision about improvising. It sounds modern to this day! Happy birthday Mr. Byas and you are respected deeply for ever brother Scorpio. MY BLOG TODAY IS DEDICATED TO DAVID S. WARE....I knew David from 1969 on.David S. Ware was born in Plainfield, New Jersey, grew up in Scotch Plains, New Jersey, graduated from Scotch Plains-Fanwood High School, and briefly attended the Berklee College of Music. He moved to NYC in 1973, where he participated in the loft jazz scene, and later worked as a cab driver for 14 years in order to focus on his own group concept.[4] In the early 1980s, he returned to Scotch Plains with his wife Setsuko S. Ware. Ware's debut album as a leader was recorded in 1977 – together with pianist Gene Ashton (aka Cooper-Moore) and drummer Marc Edwards – and released by HatHut Records in 1979. He performed and recorded with the groups of pianist Cecil Taylor and drummer Andrew Cyrille in the mid–late 1970s. His formed his own quartet in 1989. The group was originally composed of Ware, pianist Matthew Shipp, bassist William Parker and drummer Marc Edwards. While Shipp and Parker were members for the group's entire existence, the drum chair was later occupied by Whit Dickey, Susie Ibarra, and Guillermo E. Brown. The David S. Ware Quartet performed across the U.S. and Europe, and released a series of increasingly acclaimed albums spanning the 1990s on the independent labels Silkheart, DIW, Homestead, and AUM Fidelity. Saxophonist Branford Marsalis signed Ware to Columbia Records in 1998 for a three-album contract.[5] In 2001 jazz critic Gary Giddins described Ware's quartet as "the best small band in jazz today."[5] In 2007, after 17 years together, the quartet was disbanded following the release of the album Renunciation and a final European tour that spring. Ware proceeded to perform concerts and record albums with a series of new group configurations: a new quartet featuring guitarist Joe Morris, William Parker, and drummer Warren Smith; a special trio celebrating his 50th year of playing saxophone (in 2009) with Parker and Smith; a 2-volume series of solo saxophone performances; and finally with his last quartet, Planetary Unknown, featuring Cooper-Moore, Parker, and drummer Muhammad Ali. His final concert performance was with Planetary Unknown on August 27, 2011 at Jazz festival Saalfelden in Austria. The recording of that concert was released in July 2012 on AUM Fidelity.Ware was first diagnosed with kidney failure in 1999, and, following nearly a decade of undiminished creative activity while on a strict regimen of peritoneal dialysis, Ware underwent a critically necessary and successful kidney transplantation in May 2009.[6] The organ donor was Floridian Laura Mehr, who responded to an urgent email message sent out to nearly 1,000 of Ware's fans.[7] He returned to the stage that October, and continued to perform and record highly acclaimed work for the next two years, even as he endured serious complications brought on by required immunosuppressant medication.[8] He finally succumbed to an aggressive blood infection[9] and died on October 18, 2012 at Robert Wood Johnson University Hospital in New Brunswick, New Jersey, aged 62. Very sad, and beyond words.ONE OF THE HIGHEST EVER....In his field of pursuit.His bands were always the greatest- forward thinking in the essence of today David was one of the ones....really had something of his own. First time I heard him he was playing " Django"...in 1969 in his style.I first got to play with David S. Ware....in one of Charlie Mariano small ensembles at Berklee....It was amazing. Charlie would always play- and sometimes turn out the lights and we'd do crazy blowing and playing. David S. Ware would shake the walls playing and Charlie would be sitting on the floor smiling as David went to the cosmos. David and I used to talk about those times ALL the time!Those memory's for me are paramount and infinite.We had decades of friendship & I was humbled when he asked me to do liner notes for "Third Ear Recitation ". Really beyond any words now- he fought hard too. RIP David S. Ware.....you were an ocean of infinite inspiration in this life. THIS MAN....Was unified by spontaneous invention that are staggering in their complexity and intuitive concordance, skill, hard work,transcendental spirituality and conviction,he was an inspirational and improvisational tour de force of improvisation and mastery in the art form.One of the biggest tenor saxophone sounds in jazz- and a artist that also played stritch, saxello, flute and bass clarinet.David was a strong presence for jazz,humanity and enlightenment. . TILL NEXT WEEK ~ ~ ~ Be kind to each other and listen to David S. Ware and Don Byas. They are assets to this music, life and the legacy of all things in saxophone and music.~ If your a saxophonist and not aware of these giants you are missing a huge part of jazz history and creative individuality~ TIM PRICE

Tim Price Bloggin' For D'Addario Woodwinds; GIVE ME FIVE, With special guest Mindi Abair.

It has been my contention that the most valuable viewpoints come from those who do. Thus, it’s logical to assume that any artist who is surviving in this field, and doing it with success, is doing something right. The energies we all put into our craft; The years of apprenticeship and the intense commitment to the horn, and the pure love of playing it are paramount to the art form. This section of my D'Addario Woodwinds Blogs by Tim Price, to all intents and purposes is a sort of portable omnibus of sax / woodwind creations. Musically, verbally and spiritually. The music these players create and talk about is a privilege to be a part of. The music always has an infinite history and fertility, inexhaustible vitality, and at the same time, a seductive power of temptation - which inspires all of us who play – and offers the open-ended invitation to create as much as we can. The results, the waiting, the practicing at all hours, the talking of the music and constant study gives the music a breath of spirit, endless in motion and evolution. This will always be a source of awe and wonder to the fan or player. The legacy of the sax is a never ending landscape, at all times finite and infinite, both temporal and spiritual. The following observations, experience and serious reflection are an effort to bring you all closer to the vast dimensions of sax history, stars, life and times via the generous reminiscences of these artists. The following blog is the first of this series called " GIVE ME FIVE"... it will bring a similar devotion to what the horn and it’s history is about, but all create a different picture via personal viewpoints in experiences, achievements and success. Mindi Abair is my first person in this series- she's not only a great friend but someone I thought would be perfect...to start this series with. Sit back- enjoy the questions and thank you for your attention! TIM- 1- The last few records you’ve made have had a different feel to them. How have the last few years of your life affected your current music? MINDI- I look at each CD I release as a snapshot of where I am in my life. I write from my experiences, and that translates differently to the music with each chapter of my life. My first few solo records were pretty shiny pop. I had come off the road touring with The Backstreet Boys, Mandy Moore and Duran Duran. I was immersed in super pop. A few records into my solo career, my music started to feel a bit more organic and rootsy. My In Hi Fi Stereo CD definitely hearkened back to the soul of the 60’s and 70’s. And more recently, I had a few years of being immersed in a lot of rock ‘n’ roll. I was the featured saxophonist for 2 seasons of American Idol. I joined Aerosmith for their summer tour as their first saxophonist since 1973. I also got the chance to play with Bruce Springsteen for one night at the Beacon Theater right after Clarence Clemons (a huge influence for me) passed away. I took all that energy and power and put it into my own career. I made “Wild Heart” and it was very rock influenced, with songs like “Kick Ass” that featured Joe Perry from Aerosmith. I also wrote with Gregg Allman and Booker T. Jones, and featured them on the songs we penned together. Other CD guests include Trombone Shorty, Waddy Wachtel and Keb’ Mo. I approached every song and every note with sheer abandon, and dove in headfirst to the music. That record made me rethink my live band, and I made some changes. My friend Randy Jacobs joined me on guitar, and after sitting in with his band The Boneshakers one afternoon at the Newport Beach Jazz Festival, we took his whole band out as my band. Hence, Mindi Abair and The Boneshakers Live in Seattle! I decided to just roll tape one night in Seattle because this band was so killer, and it turned out to be magic. That’s what you’re hearing on my new cd. I’ve recorded, toured and collaborated with so many artists representing so many styles of music. I’m the luckiest person in the world to be surrounded by such talent and true artistry. I don’t care about labels or boundaries or preconceptions with music. I just want to play and create and keep moving forward. TIM - 2. How did you choose to play the saxophone, and what players influenced you early on? MINDI- -My earliest influence was my father on saxophone. I grew up on the road with his blue-eyed soul band “The Entertainers”. Then he turned to rock ’n’ roll, putting together touring rock bands and also joining Mark Farner on tour. He was a high energy player, and he always looked like he was having a blast up there playing. He’d knock his knees together and shimmy and shake and growl on his sax. I thought that was so cool. I wanted to play saxophone and have that much fun. I love the days when saxophone was as integral an instrument as the guitar in popular music. Think back to early blues and rock ‘n’ roll. I mean, Junior Walker and King Curtis topped the Pop Charts, not the jazz charts. Saxophone has been relegated to a jazz instrument now, and I hate that. I miss the grit and the power of that era of saxophone. I’d like to be a part of bringing that spirit back to music and to the modern idea of saxophone. Many early influences for me were not saxophonists. I was a child of the MTV era. I wanted to be Tina Turner and Blondie and the Wilson sisters from Heart. I watched Aerosmith and Springsteen give 1000% every night. I felt so much emotion in every phrase they sang. I thought Joe Perry was a gunslinger with a guitar. I learned all kinds of moves from him! I didn’t know the difference between pop and jazz or any other style. I just knew how the music I was listening to made me feel, and I loved it. My father gave me a David Sanborn record, and he turned out to be the missing link for me. I realized that I could be the “lead singer” on a saxophone, much the same way that Tina Turner was the lead singer in her band. That made complete sense to me. In college I immersed myself in jazz because I became a fan of it once I knew what it was. I bought every Miles Davis record I could find. I would spend hours transcribing Cannonball Adderley’s solos, and I even played the part of Wayne Shorter in the Berklee Wayne Shorter ensemble. I feel that all of these influences emerge in the music I write and play, and I love that. TIM 3. Your new mouthpiece with Theo Wanne is coming out in January. How involved were you in the process? How did this partnership come about? And what inspired you to create your own signature mouthpiece? What other mouthpieces do you play of his in addition to this new mode ? MINDI- I had been playing the same mouthpiece for around 10 years. But I never had a backup. I don’t have to tell any sax player how scary it is to not have a backup mouthpiece! I’d tried to create one with the guy who made it, and we were never successful. So I was looking for a replacement. I tried so many mouthpieces over a number of years and realized that none of them gave me what I wanted. I met Theo Wanne and we had an instant connection. He was a mad scientist with mouthpieces, and just a great guy. I loved his mouthpieces for tenor, but I didn’t love his alto mouthpieces. I let him try mine. He loved playing on it. We decided we’d try to make a model using his technology to create what I needed in a mouthpiece. It took us getting together numerous times at his offices in Bellingham, on the road backstage at my shows and on tour with Aerosmith, and various hotel rooms around the country to perfect what we felt was the ultimate powerhouse mouthpiece. We were both dedicated to making the perfect powerhouse alto mouthpiece that was easy to play and control, but could cut through any rock band and have beautiful nuance. We finally did it, and I’m so proud of it. It debuts at the NAMM Show in January 2016. Go try it. It’s killer! I play my signature model 6 on alto. I play the Datta on Tenor. TIM 4 . The one thing I have always noticed about your playing is, you have a really beautiful soulful feel. Your choice of notes is amazing- talk about how you arrive at this kind of destination as an artist. Thank you! What a nice compliment. At Berklee, most of the saxophonists wanted to be John Coltrane or Charlie Parker. I loved the more soulful melodic players like King Curtis or Junior Walker. I didn’t relate to playing tons of souped up scales and arpeggios to achieve that jazz prowess. I would practice playing along to soul and gospel singers. They had heart, and great phrasing, and I always walked away feeling inspired. I just wanted to play a melody and make someone feel. If I could do that, I would feel like I’d achieved what I was going for. I found that in the jazz world, many times simplicity is frowned on. But in the rock and pop worlds, if you play with “feel” and “abandon” and live every note, it is applauded. For me, it’s not about being the burning busy player. That’s not who I am. It’s all about feel and what you add melodically to the song. I love and relate to that. TIM 5. Talk about some projects coming up in your future, ideas and agendas. Also thank you Mindi for doing this- it's a total pleasure to call you a friend. You are a unique soul in today's music. MINDI- I just released my first LIVE CD. I’m having a blast getting it out there in the world and touring to support it. It’s Mindi Abair and The Boneshakers LIVE in Seattle, and it’s fun to break down the boundaries of a few genres with this band. It’s definitely a blues/rock leaning record… with a lot of mojo. We’ve opened for Buddy Guy, We’ve played Sturgis (yes, the huge Harley rally in S. Dakotah). And we’ve played many of the jazz festivals, Seabreeze, Berks Jazz, Newport Beach Jazz. This next year, it’s all about opening that door even further and continuing our touring. I’m starting to write for a new CD. We’ll see what that becomes in the next few months! -- Thank you Mindi, these are some exciting times for you and your music- Your assistance in the start of a special blog- called- GIVE ME FIVE - in my D'Addario Blogs is a great way to start! You are truly a inspiring artist and in addition a great friend as well. The best to you...keep on. ~ TIM PRICE http://www.mindiabair.com http://www.twitter.com/mindiabair http://www.facebook.com/mindiabair http://www.mindiabairjewelry.com Buy Mindi Abair & The Boneshakers Live in Seattle

Tim Price Bloggin' For D'addario Woodwinds- Ideas, thoughts and stuff to shed.

Creative thinking is the process which we use when we come up with a new idea. It is the merging of ideas which have not been merged before. New ideas are formed by developing the current ones within our minds. This evolution HAS to be brought on by practice. Ongoing creative thinking is the continuous investigation, questioning and analysis that develops through education, training and self-awareness. Ongoing creativity maximizes both accidental and deliberate creative thinking. It is a quest for improvement which never ends. It is an acceptance of and a looking for continuous change that differentiates between ongoing creativity and mental inflexibility. Ongoing creativity takes time and practice to become skillful. Ongoing creative Keep the channel open, and try your best.You'll learn something special. Been talking to my students about the many aspects of the creative mind set. Trying to just expand more ideas and thoughts.See you next week- enjoy your music- TIM PRICE Here's some things that I'm coming up with ; Creativity is the bringing into being something which did not exist before, either as a product, a process or a thought. Right? So let’s apply this to ALL levels of saxophone playing, thought and improvisation. You would be demonstrating creativity if you: · Played something which has never existed before. · Reapply an existing lick or concept into a new area musically. · Develop a new way of looking at something (bringing a new idea into existence). · Change the way someone else looks at something. We are all creative every day because we are constantly changing the ideas which we hold about the world about us and our relationship with it. Creativity does not have to be about developing something new to the world, it is more to do with developing something new to ourselves !! When we change ourselves, the world changes with us, both in the way that the world is affected by our changed actions and in the changed way that we experience the world. It’s a thought process. It’s past a mouthpiece change..it’s a MIND SET !! Creative thinking is the process which we use when we come up with a new idea. It is the merging of ideas which have not been merged before. New ideas are formed by developing the current ones within our minds. This evolution HAS to be brought on by practice. Ongoing creative thinking is the continuous investigation, questioning and analysis that develops through education, training and self-awareness. Ongoing creativity maximizes both accidental and deliberate creative thinking. It is a quest for improvement which never ends. It is an acceptance of and a looking for continuous change that differentiates between ongoing creativity and mental inflexibility. Ongoing creativity takes time and practice to become skillful. Ongoing creative thinking soon becomes an attitude not a technique. The first step to take is to learn the creative thinking techniques so that you can use them deliberately to come up with new ideas. You will then be at an immediate advantage to those who do not know how to use them. You should then practice them to increase your skill at ongoing creative thinking. With practice you may even find it unnecessary to use specific techniques because you may soon have too many ideas without using them at all. The first step to take is to learn the creative thinking techniques so that you can use them deliberately to come up with new ideas. You will then be at an immediate advantage to those who do not know how to use them. You should then practice them to increase your skill at ongoing creative thinking. With practice you may even find it unnecessary to use specific techniques because you may soon have too many ideas without using them at all. Musical forward motion.... Being a complete musician goes well beyond the notes.It involves more than just getting a degree, playing your instrument, and those aspects. More so, it includes, the day to day life of travel, prep before you travel, making sure your ducks are in a row on the daily agenda.Gas for the car, bus ticket, clothes and schedule. Anything short of that in todays environment is a loss on the player-performers game card. Yes, it's past the mouthpieces, or a five digit Selmer and the demo CD that your uncle Ralph paid for. It's called- day to day life. Here is a day in my life- as of May 13th. I thought I'd share this with you all dear readers, hope you enjoy it. I continue to explore and learn all I can in the quest to develop my own musical voice. This is an account of a day in my life, and what’s behind the music via a profound the effect on my musical psyche.As I said, being a complete musician goes well beyond the notes. Keep on your path and do something good for somebody. Be well and remember compassion is essential with each other. See you next week. - Tim

Tim Price Bloggin' For D'Addario Woodwinds- - MUSIC IS AN OPEN SKY

Thinking on your feet ; Creativity is the bringing into being something which did not exist before, either as a product, a process or a thought. Right? So let’s apply this to ALL levels of saxophone playing, thought and improvisation. You would be demonstrating creativity if you: · Played something which has never existed before. · Reapply an existing lick or concept into a new area musically. · Develop a new way of looking at something (bringing a new idea into existence). · Change the way someone else looks at something. We are all creative every day because we are constantly changing the ideas which we hold about the world about us and our relationship with it. Creativity does not have to be about developing something new to the world, it is more to do with developing something new to ourselves !! When we change ourselves, the world changes with us, both in the way that the world is affected by our changed actions and in the changed way that we experience the world. It’s a thought process. It’s past a mouthpiece change..it’s a MIND SET. Some, call it conception! Creative thinking is the process which we use when we come up with a new idea. It is the merging of ideas which have not been merged before. New ideas are formed by developing the current ones within our minds. This evolution HAS to be brought on by practice. ( smile) Ongoing creative thinking is the continuous investigation, questioning and analysis that develops through education, training and self-awareness. Ongoing creativity maximizes both accidental and deliberate creative thinking. It is a quest for improvement which never ends. It is an acceptance of and a looking for continuous change that differentiates between ongoing creativity and mental inflexibility. Ongoing creativity takes time and practice to become skillful. Ongoing creative thinking soon becomes an attitude not a technique. The first step to take is to learn the creative thinking techniques so that you can use them deliberately to come up with new ideas. You will then be at an immediate advantage to those who do not know how to use them. You should then practice them to increase your skill at ongoing creative thinking. With practice you may even find it unnecessary to use specific techniques because you may soon have too many ideas without using them at all. Expand more ideas and thoughts... Daily practice also allows me to imprint the material in my mind until it becomes instinct. One long practice session will not do this. For most players, useful techniques can only be acquired through repetition. I always try to work new materials into songs, lines and grooves that I like. For me it's sort of like upgrading my musical mind so that my playing becomes reoriented in the directions I choose. Increasing familiarity with they materials is a good thing. It's like learning a language--music is a language. Through diligent , consistent daily work, a tangible musical substance is incrementally developed. First of all, you develop physical stamina through the repeated effort. Also , from day to day, you accumulate ideas and expand on the themes of your practice. If you are working Major chords; the first day you might just work on arpeggios, the next day you might see some connection with other musical sources, such as songs, or through or whatever is interesting to you. By continuing to work with focus on the same things from day to day, you will find that your level of proficiency has risen and expanded to include all these other sources. Your practicing every day results in the acquisition of technique, musical intelligence, improved tone, and stamina. Just the quest to continuously find something to practice will increase you creativity. There are so many variations of scales melodies, and melodic patterns. So many sounds to make, articulations, songs to learn, music to listen to and analyze, technical problems to sort out. The only limitation is your focus and creativity. For example: let's say that you have adequately practiced your horn and now want something else to work on. You could sit down at the piano and transcribe a song, learn a song by ear that you may have previously learned by wrote. This , is one of the most beneficial practices you can do. Ear training, learning songs, listening to other players, hearing bass lines, melodies or whatever. Ok. Now you've spent a few hours and learned a tune the way its supposed to be played. You know the tune inside and out, in essence a great organizational mind skills study too. However your mind works. Don't overload-otherwise nothing sticks. Your capacity will increase. Keep the channel open, and try your best.You'll learn something special. Been talking to my students about the many aspects of the creative mind set. Trying to just expand more ideas and thoughts. Here's some things that I'm coming up with ; Creativity is the bringing into being something which did not exist before, either as a product, a process or a thought. Right? So let’s apply this to ALL levels of saxophone playing, thought and improvisation. You would be demonstrating creativity if you: · Played something which has never existed before. · Reapply an existing lick or concept into a new area musically. · Develop a new way of looking at something (bringing a new idea into existence). · Change the way someone else looks at something. We are all creative every day because we are constantly changing the ideas which we hold about the world about us and our relationship with it. Creativity does not have to be about developing something new to the world, it is more to do with developing something new to ourselves !! Enjoy and remember as Sonny Rollins said- " MUSIC IS AN OPEN SKY". .