Steve Raybine: December 2009

Friday, December 25, 2009

Music: Sacred versus Secular

Steve Raybine:

Blog #45:

Christmas Special 2009:

Music: Sacred versus Secular

The holiday season is the time for celebrating with our family and friends. For many people within the Judeo-Christian world, it is the time to celebrate the sacred in their lives. Alternatively, other people primarily enjoy the secular aspects of the season--the winter solstice and the world transformed into a veritable winter wonderland. Therefore, I thought this might be a good time to examine the sacred and secular aspects within music, especially when many people are predisposed to examining their innermost thoughts and feelings about the spiritual and secular aspects of their life.

Numerous musicians, past and present, have expressed experiencing a spiritual epiphany about music within their lives. Some of them, are my favorite musicians such as: John Coltrane; Duke Ellington; Dave Brubeck; and many others. As we know, Johann Sebastian Bach was a devoted church musician and many other prominent and less-prominent musicians throughout the history of music have also devoted a significant portion of their musical lives to being church musicians. Although I can't necessarily quantify the magnitude of their spiritual devotion as expressed through music, I can reasonably assume that they inspired many parishioners on a religious and/or spiritual level with their musical talent. It is relatively common occurrence for many musicians to proclaim their love for God with their music. Again, I can only assume that via music, they experience moments of inner enlightenment.

As a composer, I can honestly tell you that I have indeed experienced some greater force within myself as the result of my composing. These moments were very special and meaningful to me and indicated the transcendent quality of music--the sacred, as it were. Moreover, I have also experienced similar moments as a performer, which reinforced the transforming quality regarding the power of music. I believe that music has the capacity to illuminate people and bring them closer to what may be considered the spiritual or sacred part of themselves.

In contrast to the special spiritually-oriented moments I've experienced as a musician, a great deal of making music would be categorized as business-as-usual--executing my craft to the best of my ability, which I'll refer to as the secular aspect of being a musician. I practice, perform, compose and teach music on a daily basis because that is what I do, as do millions of other musicians. Although there may be brief moments of the transcendent power of music that occurs, which I've come to recognize and appreciate, I'm doing my work, which I've been trained to do. So, the secular or more job-oriented aspect of music finds its place in my life and the lives of many working musicians.

May you all seek out and find the sacred musical component in your secular lives this holiday season. May the glorious sound and power of music illuminate each and every one of you. Peace.

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Thursday, December 24, 2009

Don't Count Me Out

Steve Raybine:

Blog #44:

Don't Count Me Out

In music, accurate counting is all-important! Musicians that do not count correctly and accurately will consistently make unwanted errors within the music. So, how does someone develop counting skills that are precise? Initially, I would recommend counting out loud in conjunction with a metronome, which will provide a consistent beat or pulse. The metronome will force you to not rush or drag when you are counting and playing. Later on, counting internally should be sufficient when used with the metronome. Then, it is important to develop and maintain an awareness of the time values specific notes and rests receive in 4/4 time signature for instance and be precise when executing them.

I have seen several persistent counting errors develop with a variety of students over time. Firstly, let's discuss the inherent problems associated with quarter notes and quarter-note rests. In 4/4 time signature (common time), quarter notes and quarter rests receive one (1) beat of time value. The common error is to give the quarter notes and rests only1/2 of a beat or the value of an eighth note. You must count one complete beat (1-and) when playing a quarter note or accounting for a quarter-note rest. Again, developing an awareness of the time allotted to a quarter note and/or rest and counting accurately in a consistent manner will prove successful.

The next most common counting error involves the half note and half-note rest. In 4/4 time signature, students tend to rush through a half note and treat it like a quarter note, which receives only one beat. Remember this: the half note and half-note rest should receive two complete beats of time value (1-and-2-and). Again we see the inaccurate tendency to give the notes and their rests only half of their value. Don’t rush through note-and-rest values--maintain your composure and your mental focus and count accurately!

There are numerous other counting errors than arise in a variety of time signatures using various note and rest values. Just remember: when you make a mistake in counting, it’s a mistake that is no different than playing the wrong note(s)—they’re all unwanted errors. Counting inaccurately is a mental error. So, stay mentally sharp and avoid those common mistakes.

Wednesday, December 23, 2009

Be Dynamic and Use Dynamics

Steve Raybine:

Blog #43:

Be Dynamic and Use Dynamics

One of the most compelling elements of music is dynamics! Within a spectrum that ranges from extremely soft (ppp)/pianississimo to extremely loud (fff)/fortississimo, dynamics indicate how softly or loudly the music should be played. When dynamics are executed intelligently and accurately as indicated within the music or at the player’s discretion (if dynamics are not included within the music), the composition comes alive, as it never has before. Without dynamics, music is lifeless. With dynamics, however, the same composition is transformed into a personalized musical statement that embraces and reflects the musician's innermost feelings and his/her connection with the music.

It is important that all beginning and intermediate students become accustomed to playing their weekly-assigned exercises, etudes and repertoire pieces with dynamic(s) precision. It is essential that once dynamics are introduced into the player’s musical vocabulary and playing style, that awareness and accuracy of dynamics become an important part of how the music is interpreted by them from that point on. Musicians' that use dynamics within their pieces will always sound more musical than those individuals that do not use dynamics or are very inconsistent with their use of dynamics. Remember: dynamics enable you to play more musically and playing musically is the ultimate goal of every serious musician! So, be dynamic and use dynamics when you play—it will be appreciated by your audience(s) and will make you a more sensitive, musical and brilliant player.

Tuesday, December 22, 2009

Overcoming Bad Habits

Steve Raybine:

Blog #42:

Overcoming Bad Habits

The best way to overcome a bad habit is to never develop any bad habit(s)! This is, of course, very unlikely when you consider how many techniques one incorporates into his/her playing style. Bad habits are not necessarily BIG bad habits, but can be relatively small in scope. However, once any bad habit becomes established into one’s playing or counting, it can, and often does, present a more significant problem over time.

If you develop a bad habit(s), the first step in correcting the problem is recognizing what it is. Once the problem has been identified, you can begin the process of unlearning/correcting it. At this critical juncture, I highly recommend consulting a knowledgeable and skilled professional teacher/performer. His/her insights will prove invaluable in providing the appropriate guidance that will help you to overcome the bad habit.

The process of correcting a bad habit will often take a substantial period of time depending upon the severity of the problem. At this point, it is imperative that the student receives regular lessons and remains positive and patient if at all possible. When any of us has a problem, our natural inclination is to expect/want immediate satisfaction. However, if you can understand that correcting the bad habit may take some time, you might be able to remain more patient and upbeat throughout the entire process and ultimately become less frustrated.

In order to overcome the bad habit, you must be ever so careful and methodical in executing the corrections that were recommended by your teacher. Proceed SLOWLY with keen awareness and attentiveness when working through the bad habit. Videotaping your practices and/or having someone observe you when you’re practicing may prove to be extremely helpful. If you take your time and slow down the entire practice regimen for a while, you may be able to accelerate the correcting process. This often means reworking more fundamental exercises, which can be targeted at your bad habit. After a period of time, I think that you will see positive results and the correction of the bad habit. Remember: most musicians develop a less-than-desirable habit at one time or another during their studies/career, but it can be overcome with patience, determination and a good attitude.

Copyright 2003 Steve Raybine

All Rights Reserved

Monday, December 21, 2009

A Key to Music is the Key Signature

Steve Raybine:

Blog #41:

A Key to Music is the Key Signature

What is a key signature? Is it a key with your signature on it--NO, it is not! Does it represent something essential to the music that you are playing--MOST DEFINITELY!

A key signature is placed next to the respective clef signs (treble and bass). Its purpose is to inform you what key you are playing in, which means that there will be a certain number of sharps (#'s) or flats (b's) that you must account for when playing the music (the key of “C” major or its relative minor, “a” minor has no sharps or flats in the key signature). For instance, if there is an f# in the key signature (one sharp), you are playing in the key of “G” major or its relative minor, “e” minor. In addition, with f# clearly indicated within the key signature, whenever you come upon an f within the music, you must play an f#, not an f natural. The only exception to this would be if there was a natural sign next to the f. In this instance, you would play an f natural, not an f#, because a natural sign cancels out the accidental (f#) in that measure only. In the next measure, the f# is restored because it exists within the key signature.

When you are playing any piece of music, first CHECK THE KEY SIGNATURE to find out if there are any sharps or flats that you need to play--don’t keep playing f natural when you are supposed to play an f #or alternatively, play a b natural when you should play a b flat. A key signature exists so that you don’t have to read endless sharp or flat signs in every measure--it would become tiresome to your eyes and frustrating to you. The key signature is an efficient system, which enables the music to be free of needless symbols. So, be tuned into the right key--the KEY SIGNATURE!

Friday, December 18, 2009

Don't Mess with the IRS

Steve Raybine:

Blog #40:

"Don't Mess with the IRS"

The following is a letter I wrote to the American Federation of Musicians (AFof M), Local 70-558 in 2007 regarding my tax audit. The letter was published in the Musicians Local 70-558 newsletter.

Members of the American Federation of Musicians (AFof M), Local 70-558; now that we are in the final phase of tax season 2006, let me share a brief story with you. In late November 2006, I received an official letter (duplicate letter to my wife) from the IRS indicating that I was going to be audited. Apparently, the numerous payments I made and legally declared on my Miscellaneous Income tax forms for 2004 and 2005 to musicians; a variety of promoters; a CD duplication business; recording studios and engineers; graphic artist; etc., while making and promoting my CD, Bad Kat Karma, was the proverbial "red flag" that propelled me into a tax audit--one of the results of being self-employed and in business for yourself.

The next 3 ½ months of my life were "consumed" with finding and substantiating these 1099 payments; depreciation on instruments and/or music-related items (they went back 7 years, my friends); and my teaching and performing income and CD sales versus all of my personal and business tax declarations for 2005 (the most expensive year involving my CD, Bad Kat Karma). Here's the bottom line: this is very serious stuff, everyone! If and when the IRS decides to audit you, all I can say is, I sincerely hope for your sake that you've kept extraordinarily "ACCURATE" records, because you will have to verify and justify every parameter of personal income and tax declarations you've made in exacting detail. If you haven't, trust me, you will deeply regret your imprecise records.

I was fortunate that after this lengthy tax odyssey and my exhausting preparation for all the information requested from the IRS, I am due a very small refund. Although we have been told throughout our lives that music is an "art form," which I believe it is, it still is and will remain a very serious business and I recommend that you treat it as such. Don't ever forget these words: "Don't Mess with the IRS!"

Thursday, December 17, 2009

Do You Hear What I Hear?

Steve Raybine:

Blog #39;

Do You Hear What I Hear?

To coin a popular phrase from a holiday song, "Do you hear what I hear," is also a relevant question from a music theory perspective. I have been asked numerous times by my jazz improvisation students how I am able to sing my improvisations while soloing on the vibes. I tell them that I hear the music I'm singing and am able to instantaneously recreate it on my instrument.

When I was a younger and in the early phase of my improvisational studies, being able to simultaneously sing and play an improvisation on my vibraphone was a completely foreign experience to me. However, the summer before my senior year in high school, I attended the famous Berkelee College of Music in Boston, Massachusetts. During one of our group drumset lessons with the esteemed drummer and educator, Alan Dawson, he introduced the concept of 'singing' your drumset solo while playing it. Over the years, I applied that philosophy to my vibe soloing and today I tell my students, "If you can say it (or sing it), you should be able to play it."

Utilizing your 'natural' instrument (your voice) as the melodic centerpiece when executing an instrumental improvisation is no easy feat. When I do this, I'm essentially 'scat-singing' (vocal interpretation of a jazz solo) an improvised solo as I play it on my vibes. Learning to scat sing is a rather lengthy process as you take vocal syllables (vocables) and creatively manipulate them rhythmically and melodically with a variety of jazz articulations (legato; staccato; accent; heavy jazz accent) over the prevailing song structure. Assimilating the style of the pieces (swing; latin; funk; etc.) is absolutely essential in becoming a skilled "scatologist." 'Scatting' instrumental solos became popular during the Bebop Era of jazz in the 1940's by jazz practitioners such as alto saxophonist, Charlie 'Bird' Parker and trumpeter, John Birks 'Dizzy' Gillespie. I can't overemphasize the importance of listening and analyzing skilled jazz instrumentalists' and vocalists' solos, as this will greatly accelerate your understanding of jazz phrasing and interpretation.

Music students often spend a great deal of time developing their aural skills--the ability to hear pitches; intervals; chords; etc. Some people are blessed with perfect pitch or refined absolute pitch, which makes the analytical listening experience much easier for them. However, with practice and training, it is certainly possible to develop a more musically-refined 'ear.' If you desire to hear and perform music on a more profound level, you will need to receive training in sightsinging (solfege) and other ear-training exercises.

Wednesday, December 16, 2009

Flexibility is the Name of the Game

Steve Raybine:

Blog #38:

Flexibility is the Name of the Game

When you are in business for yourself, you need to be flexible if you want to maintain your clientele. For instance, if you are a private music instructor, your students' complicated schedules or an illness will result in them either missing a lesson or asking to be rescheduled at another time. In order to accommodate them and their families, it is wise to try to provide a make-up lesson or reschedule the lesson at another time. Granted, because the student and teacher both have complex schedules, it is sometimes impossible to arrange a make-up lesson. However, your student(s) will certainly appreciate it if you at least make a sincere attempt to provide an alternate time for their lesson. Private lessons are costly, and when someone has prepaid and misses the lesson, it is a financial and musical loss to that individual. Therefore, remember to be mindful about trying your best to accommodate the student(s) if they desire a make-up lesson or a rescheduled lesson time--it's the considerate thing to do. However, when a student cancels their private lesson at the last minute for some reason other than a personal emergency, I don't consider making up the lesson.

If you are a music performer and hire musicians to play in your band, flexibility can't be emphasized enough. More times than I care to remember, I have had my sidemen present me with the following scenarios:

1.) They double-booked a gig and told me they can't play my gig. Note: they usually relay this information to me at the last minute when it's too late for me to find an adequate replacement. In order to not 'burn my bridges' with one of my best sidemen, I try to remain calm about this small calamity and not react with hostility--I am reasonably understanding and flexible as long as this is not an habitual occurrence.

2.) My sideman shows up late for the gig. There is no excuse for this, but sometimes unfortunate circumstances arise that may cause someone to be late for the sound check or the gig. I try to be flexible--at least until I hear their story and evaluate its merit.

3.) My sideman forgets his music (if he needs it) or part of his instrument. You might wonder how a professional musician can make such obvious mistakes, but it has happened, unfortunately. Remaining flexible during a frustrating moment can help to diffuse an otherwise argumentative and volatile reaction. By the way, I always carry extra musical parts for all of my songs to each engagement.

4.) My sideman gets sick at the last minute or there is a family emergency and he can't make the gig. What good does it do to react in a hostile or negative manner? Unfortunately, unforeseen circumstances happen and it is in your best interest to remain calm and flexible--you can't control all situations.

5.) One of my sidemen complains about attending a non-paying rehearsal for a relatively low-paying engagement. Although this is one of my most frustrating situations to deal with personally, I try extremely hard to remain flexible and understanding of their disagreement or complaint with my request. Once again, however, if this situation occurs too frequently with any one individual, I will undoubtedly cease to employ them in my band.

There have been other situations where being flexible has been important such as:

1.) Filling in for a musician when they can't make their performance ('subbing' as it's known in music industry parlance).

2.) Donating my performance fee to an organization (charity) that benefits from my appearance, but doesn't necessarily have the funds to pay me my usual fee. Instead of turning them down, I accept the gig while providing a charitable service to an association that helps other people in need of assistance.

3.) Lending my advice to someone for his or her musical project at no cost to them. Essentially, doing someone a favor without expecting monetary compensation for my professional expertise.

4.) Having a musical contractor ask me to provide additional performance time over-and-above the agreed-upon contractual parameters for a gig. Also, being requested to present a clinic at the venue where I'm performing. In actuality, either of these scenarios are relatively common, and I always try to accommodate the requests of my employers whenever I can.

5.) Being flexible when one of my clients doesn't pay me my fee in a timely manner. This situation causes me much frustration, but sometimes, in order to keep the client, I am more lenient in my acceptance of the late payment than I would normally choose to be.

Remaining flexible in the music business is essential. If you want to work and to retain your clients in the music business, you need to be able to adapt to a variety of people and their respective situations. If you act like a 'prima dona' and rarely fulfill the special requests of people you work for or with, you'll probably go out-of-business in a very short time. Ask yourself this question, "Do you appreciate it when someone 'cuts you some slack' and is flexible with you when you need a favor or have a special request?" If so, the next time someone asks you to be a little 'flexible' with them, try to understand their predicament and be generous in your response--good things will come from it.

Copyright 2007 Steve Raybine

All Rights Reserved

Tuesday, December 15, 2009

Do You Want to Go Into Business For Yourself?

Steve Raybine:

Blog #37:

Do You Want to Go Into Business For Yourself?

Business is primarily about one thing--making money! Ask yourself this question: Are you the type of person who can implement a business plan; work with a diverse group of people; develop and maintain a clientele; work long hours; pay your own Social Security tax, pension plan and health benefits with no paid vacation? Oh, and if you're also self-motivated; organized; methodical; industrious; talented; honest and friendly, then maybe you might make a living in the business world.

I'm a self-employed person in the music business. I'm a music teacher; performer; composer/arranger; clinician and author. I maintain a private teaching studio where I instruct approximately 45-50 students per week, 48-50 weeks per year. I have a Doctorate Degree in Music, which gives me a prestigious academic credential that most freelance musicians do not have. My current student clientele consists primarily of elementary, middle and high school students, although I do teach some adults. Students pay me on a monthly basis and I require timely payments--not weeks late. If students are unable to make their lessons, they are still expected to pay for the lesson. I do try, however, to make up the students' missed lessons if it is convenient for my schedule. I typically give 110% of my best efforts for each lesson, which is commonly rewarded in my Christmas bonus. I work hard for my students and I expect them to reciprocate in kind--it is a collaborative effort of the highest quality. In general, I eschew redundant teaching methods in favor of more progressive procedures, which I have found to be more effective and productive for students. As I've always said, "Teaching is either the most exciting endeavor or the most boring one--it is dependent upon the teacher, not the student!"

The performing part of my career involves gigs at a variety of venues including clubs; corporate functions; festivals; private parties; schools; etc. I actively solicit work as a performer and negotiate my own fees--both as a soloist and band leader. I do receive performing offers based upon my reputation, but they are generally relegated to local situations versus the regional and national performances that I apply for. For most freelance musicians, procuring quality engagements that pay well is often quite difficult. It requires tireless promotion and negotiation of fees, which are based upon your skill level and the going market value. Needless to say, I don't get every 'gig' I apply or negotiate for, but I often remain a viable option to the promoters within the selection process. Being a 'competitive' freelance performer in contemporary music requires talent and a "tough-as-nails" attitude. As I've mentioned in other writings, I'm a strong advocate for being payed for my performing skills--not playing for less than the American Federation of Musicians (AFM) compensation scale. Remember, I'm in the business of making money, not losing money!

I also make money from selling my CD's at concerts and on the internet and some radio-play royalties. One of the parts of my career I work hardest on is trying to promote and sell my original music. One of the so-called 'perks' of playing concerts for large audiences is the opportunity of making substantial CD sales. With the extensive amount of illegal copying that occurs and decreased CD sales nationwide, selling a lot of CD's is not as easy as it once was--DVD's have unfortunately often supplanted CD sales. However, viable performers still need 'product' (CD's) to sell in order to procure some of the gigs that they are applying for.

So, after hearing my brief story, do you still want to go into business for yourself? Do you realistically think that you can compete with the finest musicians in your area(s) of musical expertise? Do you have something "special" to offer students and audiences that will enable you to generate income from your talents? Are you an effective communicator--can you speak to people on a personal and professional level? Only you can answer these and many other pertinent questions, but I advise you to do so in a very clear and objective manner. Otherwise, you may commit yourself to a career choice that you are not qualified for, which may cause you much frustration and personal and financial disappointment.

Copyright 2007 Steve Raybine

All Rights Reserved

Monday, December 14, 2009

A Great Music Teacher is a Necessity

Steve Raybine:

Blog #36:

A Great Music Teacher is a Necessity

Over the years, I've seen many of my students (elementary, middle, high school and college) develop into truly stellar performers. The young musicians that began or have continued their music studies in my teaching studio have become some of the outstanding musicians in their respective schools', as well as in the city, region and country. Needless to say, I'm exceedingly proud of all of them and of their many musical accomplishments, which began as the byproduct of our music collaboration as student and teacher.

Here's the bottom line: every successful music student (past or present) has benefited from excellent and superior music instruction. I believe a student's progress is generally commensurate with the teaching ability of the instructor. As an instructor, I set very high standards for my students. Although I try to keep music fun for them, I work very hard at helping them to harness and develop their innate musical talents. Moreover, I've been fortunate to have the ability and knowledge to not only further my students' musical skills, but to inspire and challenge them to become successful people in any career field that they've chosen to pursue.

For my music students, I'm their teacher; their motivational 'life coach'; their mentor and hopefully, their friend. We develop a bond with one another based upon mutual respect; honor; integrity; understanding and friendship. In essence, we're a team that's committed to musical excellence.

When I was much younger, I needed some great teachers to help me develop my musical skills, just like my students need great teaching now. Teaching is an inspired profession when it functions on the highest possible level. This is what I aspire to provide for my students and what they and all other students deserve--anything less is unacceptable.

Friday, December 11, 2009

Be a Hit, Don’t Quit!

Steve Raybine:

Blog #35:

Be a Hit, Don’t Quit!

In today’s overly-programmed world, it is easy to feel overwhelmed by endless academic requirements and numerous school and extra-curricular activities. It goes without saying, that as a student, it is essential that you always complete your school assignments and fulfill your various school-related obligations first. As I’ve mentioned in previous communications, talented people generally have multiple interests and skills in a variety of areas—a concept that I fully support! However, budgeting your time is of critical importance, as it takes time to develop specialized skills in multiple areas.

Many of you have spent a considerable amount of time and effort developing your musical skills—not to mention the monetary investment that your parents/guardians have made paying for your lessons. Music is a life skill—something that you can enjoy and participate in now and throughout your lifetime. You don’t have to become a professional musician in order to express yourself musically as you get older. You can play for your own enjoyment; get together with friends and JAM in your favorite musical style; perform in your church; play in local bands and orchestras; play for musical theater productions; compose and perform your music with your computer software and even share your musical talents with your own family one day. And very importantly, you can participate in community musical events and many of the school music ensembles TODAY!

The one “key element” in using your musical talent is simply not to quit! You’ve been given a great gift—the opportunity to develop and to use your musical talent in your own unique and special way. If you continue on your musical path, I promise you that your life will forever be enriched by the music in your own soul and the music that you share with others. So, be a hit and don’t quit!

Friday, December 25, 2009

Music: Sacred versus Secular

Thursday, December 24, 2009

Don't Count Me Out

Wednesday, December 23, 2009

Be Dynamic and Use Dynamics

Tuesday, December 22, 2009

Overcoming Bad Habits

Monday, December 21, 2009

A Key to Music is the Key Signature

Friday, December 18, 2009

Don't Mess with the IRS

Thursday, December 17, 2009

Do You Hear What I Hear?

Wednesday, December 16, 2009

Flexibility is the Name of the Game

Tuesday, December 15, 2009

Do You Want to Go Into Business For Yourself?

Monday, December 14, 2009

A Great Music Teacher is a Necessity

Friday, December 11, 2009

Be a Hit, Don’t Quit!

Steve Raybine

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