Work In Progress. An Inclusive Research Project. Suzy Tucker, Roxanne Sutherland, Kath Alldis, Vicky Brown, David Burns & Stuart Ralphson. June . Read A Work in Progress by Connor Franta for free with a 30 day free trial. Read unlimited* books A Work in Progress - Connor Franta. me. On Being a Musician by Chick Corea INTRO TO THE INTRODUCTION I thought I should add a few comments to explain how the idea for this book evolved. Chick Corea – 6 July 02 (slightly revised 10 May 13) page 3.A Work In kaz-news.info On Being a Musician by Chick Corea My next.
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A Work in Progress PDF Summary: A memoir by Connor Franta - an approach over a life that surpassed every expectation. Download the free. Want to read all pages of A work in progress pdf-Download just visit this link: http ://kaz-news.infoe/isbn/?id=DLTo8IoqV0EC A work in progress. Employment support – help to find, prepare for and progress in work – is a vital media//kaz-news.info
Practically they are part of your family. Good Friend: An individual you can have a one-on-one conversation for hours and catch up with from time to time; someone who you share adventures with, but not your deepest struggles and secrets. Strangers: Everyone else and all your possible best friends in the future. We are tempted to use this term — friends — too easily, too often. The truth that stands behind this number is less important.
I think we can all agree that: What matters is meeting like-minded people who get you, accept you, and will do anything for you. On the other hand, mediocrity is a disease that leads our souls to ignorance and to a life without meaning.
In real life, those big dreams seem to be unrealistic. YouTube star Connor Franta shares his life lessons with the audience beyond the camera in a profound way describing the proper way of functioning. You will be introduced to the methods of Midwestern upbringing process — in a family of four children and a class consisting of only five other kids.
The intention was not to make you feel sorry for his life-struggles with personal identity, acceptance of body image, sexual intercourses; and his ultimate determination to finally go for his creative and artistic side in his twenties. This situation created the now famous YouTuber, philanthropist, businessman, tastemaker, and above all personal.
Can we find the line between fiction and reality? So make the most of it. Take a long walk at dusk in the park. It will clear your mind and shift your perspective.
Stop worrying about what you miss out! If you really want to be elsewhere, then be there! Move on. Remember your end goal. Most of the time we forget why we are doing something by getting fed up with some aspects of our existence. Eyes on the prize at all times! Start crafting your own vision into something tangible — it nurtures your being like nothing else on this Earth.
Repetitive phrases — vamps or riffs — also work well when the melody or soloist is playing phrases that are particularly loose and flowy. A contrast. Take a Phrase from the Soloist Occasionally taking a motif from the soloist and weaving a comp from it can make very good musical sense and knit various parts of the orchestration together in a harmonious way.
On Being a Musician by Chick Corea 3 Kinds of Comps Here are three different kinds of comps named in the sense of different types of communications: 1.
Any kind of communication game that we get into in verbal communication can be translated into music terms — and many more that are never used in verbal conversation. A comp can be an originated statement or a new theme as a contrast or parallel melody. Some Dixieland playing is like this.
Chick Corea 15 Aug. Then, I would go to the piano and play those sections or phrases over and over, paying full attention to controlling the tempo and phrasing until I could execute that section or phrase, now, with the control of tempo and phrase that I want. Playing alone, solo, is one kind of time — playing with another or others is another kind of time.
Of course then, playing with others requires some agreement about what time it is — what the feel is — and simply how to hit beats together that are intended to be hit together. Just a comment about making music with metronomes: I feel they can be helpful in noting the general speed of a piece of music — like indicating the metronome number marking on a written score. I also find it helpful to notice when a machine-like evenness is unmusical and where it becomes necessary to accelerate or decrease the speed of a phrase or alter the placement of a single note to get the desired musical effect.
Basically when creating time is done causatively, and is the intent of the player, then no more can be asked for at that point.
A Work in Progress by Chick Corea 2
Learning to create simple and steady basic rhythms and grooves is at the basis of controlling melodic phrasings properly. This, I find, can be worked on to a degree by just repeating the phrase while calmly getting in good control over it by shaking out the kinks that turn up and continuing to intend the ideal flow. I find that creating time tempo is best accomplished by simply putting it there — or creating it intentionally.
Playing Lightly on Fast Tempos I find that the trick of playing fast tempos or fast streams of notes with good time is to play very lightly with a feathery touch on the piano or any instrument.
Of course, this is all very personal. The faster the tempo or phrase, the more easily and lightly I try to execute. Chick Corea 14 Aug. And I find that gaining skill writing music is like gaining any other skill. The most effective way to improve is just to do it a lot. Now having said that as a truth and a simplicity: To create a game I must first conceive of one. I can think of times when trying to compose something was a great effort.
What band? What rehearsal? What gig?
What occasion? And times when the ideas just flowed one after the other were always times when I had a good understanding of what the end result was to be: a sure date to rehearse, to perform, to record.
I can recall that some of my first productive periods of composing were during times I had working ensembles to rehearse and perform with. With a little trio I had while in high school, I wrote and arranged a lot of music.
We rehearsed more than we actually performed, but the anticipation of playing at the rehearsals was enough to encourage me on. Each band I worked in gave me the possibility of playing music that I would write.
MUSICIAN HAT by Chick Corea
Composing music without then realizing its performance to listeners seems a waste and a lonely experience — unless, again, one is practicing or doing exercises.
So the composing part is the part where I envision the game to be played — and often the players who will be playing with me. Then write the notes. On Being a Musician by Chick Corea Stretching the Definition I like to also extend the idea of composing to wider areas and views of life.
For instance, I can start with a smaller or larger idea. To write one melody that might someday be finished and fit into a completed song is the smaller end of the spectrum.
Or even the creation of a band that would create over a series of recordings and tours.
If I use the simple definition above, it works out. Now to more practical matters: Piano Scores Sometimes when I start a composition, I find it handy to write down the first musical idea I find. I just quickly jot down the idea without attempting to fill it in any further. I then can use this 2-stave piano score form through to the end of the piece.
I set formalities of proper notation and page format aside and just work quickly to get all the pertinent ideas down on paper, knowing that I can go back and edit it into a final form as a later step. I just try to capture the ideas in writing as they come as quickly as possible. I often take the first ideas that I invent.
I find that pondering too long with choices between this motif and that usually goes nowhere and also makes me groggy and tired — so I take one of the first ones that come along and — just go with it. I must say though that this approach is definitely inferior to having firmly decided on the overall result and game first. The best condition is when all these factors are just one action: compose. Sometime these little bits yield fruit later and sometimes not — but I find it good practice to write them when they appear.
Which, actually can be another fruitful way of composing — just improvise into a recorder or sequencer and write that down as the composition.
I have found success with that approach. I know many friends, including Joe Zawinul, who have also used that approach. On Being a Musician by Chick Corea Putting it to Score Paper When the idea, or tune, or section is relatively complete in form — with a beginning, middle, and end — I then put it to score paper.
In the past, because of lack of time or laziness, I would often not then write a score, but use my sketch and other written bits to write parts from. This, more than not, usually resulted in some added confusion later on. Since there was no original score, it became difficult to check which notes were correct or what was the correct sequence of sections I had come up with, etc.
At a later date, the score would have to be compiled from the scrap written bits of the sketch es. Writing the Score I use the written score as the basic guide for the form and shape of the composition. Even if there are parts and details yet to be added later, penciling in what I already have and spreading it out it in time on the score from beginning to end sets the basic framework.
The piece can then be viewed graphically in time as a whole piece — and the holes and spaces can then easily be filled in. Allowing for Performance Interpretation When setting the melodies down that the players will read and play from, I try to write the phrases as simply as possible — and only add grace notes and slurs and expression marks where they must be to have that melody be what I want.
I find that the simpler the notated phrasing, the more it invites the players to evolve their own interpretation and own the music. For me, this is always a desired part of the musical result, especially when the artistry of the player is great.
On Being a Musician by Chick Corea Use of Chord Symbols I use chord symbols as a direct invitation to the player to improvise and add notes and embellishments. I use the chord symbol to indicate the scale that is intended to accompany the notated melody notes.
The notes that make up a chord can be written out note for note or can be improvised by the player — as when the music sheet has a chord symbol and melody note only. Altered notes notes that are raised or lowered from their key position that are in the written melody I almost never also include in the chord symbol i.
I use chord symbols for a quick appraisal of the harmony and scale of the part it applies to. They invite improvisation. Ron Hubbard from the book, Art is a definition of art that I find very true and useful.
Pencil and Eraser I always use pencil and eraser for my sketches and scores. This way I can always quickly erase something, change it, and therefore keep things looking relatively uncluttered. After a score and sketch are done, I have them immediately Xeroxed, in case the original penciled score is smudged or lost.The 2.
A Work in Progress: A Memoir
My formula is: the least amount of accidentals per number of notes is the best way to go. Until that day in August when I stumbled across a little website called YouTube and posted my first video, when no one was looking and no one was interested.
Yes, our apples are the shit, and we carry that prestigious title with the utmost pride.