Creativity Through Transcription

Photo by Will Boisture

Creativity Through Transcription

(from the 2011 Winter Edition of The Illinois Music Educators Association Journal)

Creativity–a source of contemplation, angst, and enjoyment is something that the musician always seeks. I often am having to police myself about playing material that I have played countless times before in a current solo. Depending on the environment, there can be an incredible opportunity for a soloist to develop a solo that is both new/fresh for himself and for the musicians around him. Getting to this point however does not happen overnight. In fact, developing and continuing to develop an arsenal of vocabulary you can draw upon and incorporate in your playing over changes is vital to being able to move toward the ability to “un-cuff” yourself from the stranglehold that chord changes can present to the musician who desires to truly be creating in the moment. 

During formative years, my creative vocabulary was extremely limited. Reaching out to a number of mentors and teachers, I quickly learned that, through the process of transcription, I could instantly find ideas and lines to take and add to my growing library of information. This was crucial for me, for it was the first time that I found myself playing ideas, phrases and lines that were what I had been listening to and hoping to play, but previously had not. 

Chances are good that when I am not practicing my instrument, I am listening to music. This was especially true of my routine in high school. It cannot be stressed enough how important it is to be an active listener. Critical listening enriches one’s understanding of the music and the history of it as well. When I started transcribing I did not transcribe entire solos; rather, I would transcribe lines that I liked and then would practice these lines in all twelve keys. 

The topic of transcription seems to be one in which many different viewpoints exist amongst teachers and players alike. For many, the idea of going about transcription as described above would leave the player with a less meaningful understanding of the player’s soloing. Where I completely respect this concept, I know that my ear at age 12 was not ready to take on the process of transcribing an entire Bird solo. In fact, it was all that I could do to lift a single line from one of the master’s solos–but how satisfying it felt when I did! 

When I was 14, I had the good fortune of attending Birch Creek Summer Jazz Program. My mentor, Doug Stone gave me the assignment of transcribing Dexter Gordon’s solo on “Second Balcony Jump.” This would be the first full solo that I would transcribe from start to end. It took me almost an entire week to get through it, but as a result my ears and my ability to recognize how harmony worked improved drastically. There is an immense amount of joy that can come from going through the pains of transcribing a solo, and the information that you grab from whatever you study is something that you can keep for your reference for the rest of your life. 

The key for me staying sane and motivated while transcribing is to be aware of two very important things: 1) the harmony of the tune from which the solo is transcribed, and 2) the difficulty of the solo in relation to your ability on the instrument. The former is of the utmost importance, for there is much less to be gained from transcribing a solo to which you do not know what chords the notes you are transcribing go over. The latter of the two ideas is relatively self-explanatory and that is to say that you should be realistic. Do not dive into something beyond your ability. This will cause only frustration and will inevitably be a waste of your valuable practice time. 

Once you have done a sizeable amount of transcribing and you have processed the information along with the recording (ad nausea), the final and perhaps most rewarding/creative part of transcription can be achieved. What I speak of is the chance for you take the information you have learned and start to put “your own spin” on it. Thus, the information no longer owns you, but rather you start to own it; respecting where and who it came from, while putting your own stamp on it. In theory, through this process it is then possible for one to have the tools necessary to construct a great solo; one that can develop in the moment and have maximum potential to be uniquely distinct and creative. 

In closing, I would urge anyone curious about the language of the music to dive in head-first with awareness of the parameters previously discussed, keeping in mind that everything you do with transcription is an investment; one that will undoubtedly deepen your understanding of the language and the masters who created the history of the music before us. You will be empowered, through this remarkable repertoire, with the chance to create yourself. 

Until next time,

Adam Larson

Nurturing the Creative Musician

Nurturing the Creative Musician

The musician was Michael Brecker. The band? The Brecker Brothers. Three minutes and twenty seconds into the track entitled “Night Flight” my life was changed forever. Having only started playing the saxophone a year prior to hearing this recording, I had no idea it was possible to play saxophone that way – the sound, technique, rhythm, harmony – simply astounding! This particular solo played such an important role in my early development – in its provision of something that cannot be taught, only felt – and that is inspiration.

Over the years I’ve found that whether it’s musicians, athletes, insurance salesmen or a list of other professions, the individuals who truly love what they do can all point to a specific instance that first inspired them to pursue their path with devout focus and passion. Looking at my life in music thus far, I continually find myself inspired by other musicians around me both past and present. Furthermore, the fulfillment felt as a result of learning about so many great musicians through self-discovery, continues to be essential in keeping me inspired.

I took a rather backwards approach in this process as my ears gravitated towards musicians and bands that were of the 70’s and beyond. As I would quickly learn, the “correct” way to learn about the lineage of musicians was to start with the masters and move forward. Currently, I can say that I would not think about music and certainly the saxophone the way I do had I not “done my homework” by checking out the great masters of the jazz tradition.

However, I feel that a large part of my continual interest in the saxophone itself was due to exposure to the instrument in an array of diverse settings. It would not take me long at all (maybe six months) before my ears were at least curious about tenor sounds such as Lester Young and John Coltrane as well as other masters of the instrument. Be that as it may, my ears would have been instantly turned off to the idea of improvised music and perhaps to the saxophone if I had been exposed to an album as dense as Trane’s “Sun Ship” as a twelve year-old.

As my ears developed (and continue to develop), however, I find myself able to relate to music such as the former, as well as other recordings that in my beginning days as a saxophonist I would have been unable to connect with emotionally or mentally. A mentor, colleague, friend and phenomenal musician, John Wojociechowski told me something at a very young age that has stuck with me ever since – “remember, we are musicians, who happen to play saxophone.” As a young musician I was unable to grasp the liberation in this statement.

It soon became obvious that listening to musicians outside of my instrument would broaden my inspirational pool exponentially. Furthermore, by keeping an open mind to other genres of music – rhythm and blues, classical, reggae, rap, etc. – I could increase my potential to become inspired even more.

I have always done my best to encourage young musicians looking for inspiration to create music and/or to play their instruments at a higher level, to find one recording that really speaks to them and ask themselves this series of questions. “What is it about this recording that I like so much?” Perhaps it’s the players. Maybe it’s the groove. Perhaps it’s harmony you’ve never heard before? Whatever the case, zone in on these factors and develop a routine of checking out all of the members in the band and find other bands similar to them.

If taken to heart, this process can quickly provide one with an abundance of new material that with any luck will translate into a boat-load of inspiring information. As improvisation is a major part of what I do as a saxophonist, I’ve noticed over the years that once I have become inspired by a particular musician, I strive to learn as much from them as I possibly can – their harmony, rhythm, etc. – all factors that contribute to the “language” of improvised music. Whether it’s the saxophone solo on “Pick up the Pieces” or John Coltrane’s solo on “Resolution,” the ability of both of the musicians to perform the way that they do is a result of their understanding of the “language” for the musical context they are in.

I was extremely fortunate to have studied with Larry Harms during middle school. Without his teachings of the foundations of harmony I would have not chosen jazz performance as a career path. That said, I can vividly recall being able to absorb scale patterns, exercises, and other technical aspects of the horn with relative ease, yet I grew increasingly frustrated when unable to sound like the musicians I was hearing on recordings.

The obvious answer was to listen, listen, LISTEN, and when I was done with that, listen some more! Just how important it was and certainly continues to be to ACTIVELY listen to music all the time cannot be expressed enough. Chances are good that you are not going to absorb, for instance, the be-bop language by just listening to the records over and over again and never putting the horn to the face while doing so; yet, you will without a doubt become equipped with a deeper connection to the elements that make the music sound the way it does – groove, phrasing, articulation, swing, and the list goes on. When your ear becomes acquainted with the sound of the music, then a task such as transcribing to find out how the information translates to the instrument becomes significantly less daunting.

Finding the right place to start this process can certainly be challenging; but, it is an extremely rewarding and exciting journey for those who are up to the task. I am consistently referring back to the idea that the tools one needs to be creative, and therefore “create” music, are all part of a language, the components of which are readily accessible and open to exploration. Just as we learn a language, we start with the most basic ingredient which is a collection of letters that form a sequence called the alphabet. Once we understand the way each letter sounds, and what their functions are, we learn to put them together to form words. Words strung together then form sentences and the process continues until, as improvisers, we are able to make concise statements with control over our intent just as we do when we speak words. The information is there. The question is “Will you be brave enough to seek it?”

Until next time.

Best,

Adam Larson

What Motivates?

As a young kid, I grew up thinking I was going to become the next Michael Jordan, idolizing his mastery of the game of basketball. Never in my early youth was I so inspired by someone’s dedication to his craft; a principal that I strive to remain cognizant of every day. As fate would have it, I would not grow to be six-foot-six, nor would I posses the skills necessary to play basketball at even the high-school level. Whether by fate or circumstance, it quickly became clear to me that my true passion was in the arts; music being the clear path of expression. A native of Normal, IL (yes, the town is ACTUALLY called normal…), the opportunity to play jazz on a regular basis was rather slim-pickings’. Fortunately, having the support and guidance of my parents to pursue my love for music and performance was and continues to be, a crucial component to my successes as a person. My father instilled in me the importance of creating opportunities for myself. At the age of 12 I started to perform in public and at private events around my area. At 15, my dad taught me an invaluable lesson when in essence he said “You need to line up work for yourself.” The result was early exposure to the business aspect of being a performing musician. Fast-forward to present day, and I can honestly say that getting my feet wet with the business early, was of the utmost importance. A highly driven and motivated person, some are often curious as to where the focus for these characteristics comes from. I think many artists would agree that these characteristics are rarely incited by desire for money or fame; but rather desire to make art at its highest level. Living in a Mecca for artistic creation (NYC), I am in daily reminder of two thoughts; affirmation of my dedication to music and the places from which the drive to stay the path, originate; the latter of which aids in setting goals for myself. Throughout this process, keeping mindful of the future is important, but equally important is living in the moment-some of the best art happens here. In reality, what may be construed as spontaneity is really a reflection of meticulous work put in ahead of time. Presently, I am most motivated by my desire to improve and fear of the unknown. Whereas self-improvement is seemingly self-explanatory, the fear of the unknown has its intricacies. The uncertainty of the future irks many people, yet how we deal is crucial.  Taking negativity and cultivating it into something positive is perhaps one of the greatest skills one can possess.  If as artists we keep the drive alive, we will continue to enjoy the fruits of our labor, inevitably changing the world around us through our artistic expression. I leave you with this thought, “Take care of the art, and the art will take care of you.”

All my best,

Adam Larson 

Time Management- Blog #1

Being a student, I often find that it is a challenge to remain active both in and outside of the classroom walls. As with any career, I’ve found that one’s aptitude for time management skills is extremely important. Having just finished my junior year of college at The Manhattan School of Music, I have seen my “free” time, if you will, steadily decrease from when I first moved to the city in the fall of 2008. Whereas I had many open hours during the day to do whatever during my first two years of school, that is no longer the case; thus the importance of good time management.

An idea that I came to realize quite soon after moving to New York, was that although Manhattan School of Music essentially had no campus (1 building), the entire city became my campus. With this concept in mind, I have always made it a habit to go out and see music and artists on a weekly basis. Another contemporary of mine made a great point that I reflect upon often, having said “Some people come to school and get all A’s and never step foot outside of the classroom.” Some people come to school don’t do as well in the class room , make great strides outside of school.” She would go on to explain that for most, the former of the two statements was the most common. Academics have always been something that I put high value on, and I am by no means endorsing slacking through school. What I am pushing is the importance of being able to balance a life in school, while making necessary outings to see music, network with other musicians, etc. I feel that many of my fellow classmates can often get so consumed with the classroom that they forget to take advantage of all of the great music, arts, and culture that New York City has to offer; myself included. I have established some of my closest musical relationships in the last three years with my peers at school and many outside of school. Knowing and playing with as many people as I can has helped me grow as a musician, person and has been a great way to let others know that I exist outside of the walls of school. I would encourage anyone to remember that one could very well be the next best thing since sliced bread, but if no one is aware of that, then it becomes considerably more difficult for one to accomplish what he/she desires. 

Until next time,

Adam Larson