Tips on learning tunes?

[Kayvon]

I'm not great at learning new tunes. I've been playing covers/standards for about two years since starting a uni course and we often get put together in temporary bands to cover pop material and occasionally jazz/blues standards. I put a reasonable amount of time in (as always could put more in though) playing at home along to the track but I often feel like my practice isn't methodical enough. Consequently when it comes to performing I often tend to get stuck to limited ideas when in practice I may have explored a number of interesting improvisation possibilities. Also my ability to retain small details about song structures often catches me out.

 

So I was wondering if people had any general tips about the process they take as they learn a new song. Do you have a different approach to pop songs that aren't going to feature alot of improvisation vs a jazz/blues standard? D'you learn parts you're not actually going to play eg random vocal lines or backing parts etc

 

I'm interested to hear any little things you do that you think helps you to effectively and quickly learn a new song before you start playing it with a band.

 

Thanks for any replies.

 

Peter.

[drawback]

I'm a sideman, so when I begin working with a new artist or band there are usually around 30 tunes to learn - most of them originals. Last summer I was charting and working on almost 90.

 

What works best for me is I convert or compile mp3s of all the songs, and put them all into a playlist folder in iTunes to keep them organized, then go through them all and chart them - kind of a hybrid between a Nashville number chart and chord symbols I've devised.

 

It's great if the artist has a pre-determined set list - I'll put the songs in order which also helps with recall on-stage.

 

Then I dump the playlist onto my iPod and listen while doing everyday stuff. When I'm out, walking, coffee, driving etc. I already know the keys because I've charted the tunes and of course made note on the charts where there are tricky timing things or unusual changes, etc... and these things stick with me.

 

What I do is visualize the changes in my mind as I'm listening to the tunes. Almost subconsciously, things begin to take shape and before long, I find I'm forwarding to the next tune. At that point, I know the songs and am ready to sit down at a keyboard to actually practise them.

 

That's when I dig out the charts, play along to the music, and by then the songs are like old friends. The charts need very little reading to get through; I know the form, key changes, tags, and other details by memory already.

 

This works for me every time and really doesn't take long when you consider how much time you have to just listen to music instead of "rehearsing" the tunes. Hope it helps you!

[kanker.]

What works best for me is I convert or compile mp3s of all the songs, and put them all into a playlist folder in iTunes to keep them organized, then go through them all and chart them - kind of a hybrid between a Nashville number chart and chord symbols I've devised.

 

It's great if the artist has a pre-determined set list - I'll put the songs in order which also helps with recall on-stage.

One other iTunes trick to help with recall is under the View menu, select View Options and check Comments, and then move the comments section next to the song title or artist field, and then you can put and notes in that field that may help you, keys, what sound to use, peculiar changes, etc..., that way every time you look at those tracks in iTunes, you're getting reinforcement.

 

 

[mate stubb]

I make CDs up and play them for about a week when I am in the car or at work, and just let them marinate.

 

Then when it's time to chart, all I have to do is simple charts with the arrangement and the sounds I need.

[MusicWorkz]

I don't do much jazz and blues basically have a format to follow.

 

For R&B/pop/gospel, I typically let the songs get in my head for a few days, paying attention to any progressions out of the ordinary. I start off with the melody (when there is a discernable one), then follow the bass. From there, I add chords and fill in the stuff in the middle. If it is specific parts, I work to those parts.

 

When its time to get into it, I cue the songs up in iTunes and play each song section by section along with the track until I have it down. I also use this time to program my rig, find patches, set-up my Master keyboard with spilts and layers, and name the particular setup with the song name and key signature.

 

Once I have a set list and order, then I set THAT playlist up, organize my patches sequentially and practice the songs to that progression.

[ITGITC]

I make CDs up and play them for about a week when I am in the car or at work, and just let them marinate.

 

Yes. I agree.

 

The sleep method has always worked well for me.

 

This involves what Moe said - coupled with a good night's sleep.

 

I seem to work out stuff while I'm asleep. Also, I visualize playing the tune when I'm in that half-asleep / half-awake mode. I don't know why it works, but it does.

 

Of course, this is not a substitute for practice. I guess it simply helps by looking at the task from an alternate angle.

 

With that said, it's often helpful to record your practice, then play it back at another point in time after you've had a chance to sleep on it or at least rest your ears. The act of practice uses a different brain mode than the act of listening and critiquing.

 

OK, brain mode was a stretch, but I couldn't think of a better way to put it.

 

Just do it.

 

Don't stop.

 

 

 

[Clifton]

Now are we talking about memorizing a tune or learning the nuts & bolts of going 'right hand up here to play this brass lick and then back down to hit the next chord' sort of thing (if you play that way, that is)?

[JeffLearman]

All I have to say is "Welcome to reality". The things you mention are typical. The more you do it, the better you'll get. Another thing you'll notice is that the vast majority of musicians are far better in ideal circumstances than they are in a typical gig, especially after learning a big set list. Anyone can do a way better job on a set piece they think through, analyze, experiment with, fine tune, and work out a number of approaches for solos. But when you have to learn 60 tunes in a month or two, you just can't play at your peak level on all of them.

 

All the suggestions above are great ones.

 

I write notes for the key & arrangements. For tunes where it's not obvious, I write brief charts for verse, chorus, bridge, whatever, and I also write down the arrangement i.e. VVCVVCBCC or whatever, with notes for any special treatment like hits, stops, etc. I usually write the chart using I II III notation since we sometimes change keys due to some consideration, like the singer can't quite hit a high note or whatever.

 

Figure out which songs deserve special attention and which ones you should block out simple parts and basically stay out of the way of the other musicians, so you spend your time wisely and focus on the ones where the keyboard parts are critical.

 

I'd like to have a mini recorder to record each tune we do in practice, once we get it going, just to have something to practice with and refresh my memory. This is espeically helpful when our arrangement differs from the commercial one.

If the band uses the same arrangement as the commercial version for most of the tunes, that makes it a lot easier.

 

You can find free software that will change the key of a song to match the key you play it in, and if the gap isn't too big it can be helpful. Ask if you're interested.

 

[JeffLearman]

Both, I think, Clifton.

 

Tom has a good point about "brain modes". The more ways you absorb something the better.

 

And there's also something called "state dependent learning". Basically, you remember stuff best when you're in the same state you were when learning it. So, if you drink, smoke, or get high when gigging, I suggest you spend at least a portion of your practice time in that same state. Many many years ago I was in a band where we'd always meet for practice stone cold sober. After half the allotted time we'd take a break and each member would partake of their chosen habit, and then we'd finish the practice -- the idea being we could play in either state.

 

Of course, I would always read the Bible during this break.

 

[ITGITC]

Of course, I would always read the Bible during this break.

 

 

 

 

 

 

 

[Eric VB]

I think an analogy to the overall process is the same as preparing for a public speech. The more prepared you are, in general, the better you're going to do.

 

So if you spent the night before writing out your speech and then try to read it cold the next day word for word, it comes out a bit forced and stilted. You didn't (a) give your brain enough time to stew over the material, or (b) give your "muscle memory" enough time to let autopilot take over during the speech.

 

The equivalent would be charting a song note-for-note and then basically sight reading the following day. Although musicians at the symphony orchestra level are no doubt very good sight readers, I think they still rehearse a piece before performing it in public. It's one thing to get the notes in the right place, but quite another to play it with the proper emotion and intensity.

 

If you know a topic very well -- you basically give the same "canned" speech over and over, and maybe taylor it for a given audience -- you can get away with less rehearsing. Just walk up to the podium and wing it.

 

Any musician that plays popular music (and here I'm using "popular" to differentiate from "classical" music) should know how to play a twelve bar blues. In your sleep, even, complete with solos. It's the staple of the open jam since everybody knows how it goes; just pick a key and give it a tempo and a stylistic interpretation and you're off to the races. Unless you're faced with playing a specific song, you should be able to just step up on stage and improv.

 

I'm sure some of the best public speeches are given by speakers that get a chance to repeat their speech many times. (At least before boredom sets in.) Even something like the theme park shows, like the movie park where they have the Earthquake "ride". The host has to give the same schpeal every 10 minutes or so all day long. He or she doesn't even have to think about the individual words or structure anymore; it's all ingrained and automatic.

 

When you're faced with the situation many here have already mentioned -- learning a boat load of songs in a short time -- it's almost impossible to get to the point where you know the material like the back of your hand and just kick back and enjoy the performance. Hopefully you at least get enough shows in with the same set to get to this point before having to learn an entirely new set list.

[Eric VB]

As far as actual advice, I can just echo what's already been mentioned.

 

(1) Listen to a song over and over until it is firmly established in your "music memory". This way you don't have to concentrate so hard on counting measures or trying to remember structure; you'll know from the little sound track in your head where everything goes.

 

(2) Practice on your given instrument(s) until the song is easy to play. This is where "muscle memory" comes into play. Your brain knows what the piece should sound like from #1, and now your fingers (and the rest of your body) know what to do to actually make those sounds.

 

Once you've got your music and muscle memories programmed it's a huge load off your brain when it comes time to perform.

 

In order to get those memories programmed it's almost always necessary to analyze and chart a song early on.

 

If you're singing lead you have the extra task of memorizing the lyrics, but since most people take their cues from the vocals this will be to your advantage. (If you're not singing lead it can be helpful to learn the lyrics anyway.)

 

For instrumentals you can follow the melody. For instrumentals with improv'd melodies, e.g. jazz, it's at least more acceptable to read from a chart during performance (at least in my experience).

 

As primarily a bass player, yes, I do learn parts to a song other than the bass line, given time. Obviously I have to learn the chords, just like everyone else. Sometimes I'll learn a lead or riff that's not part of the bass line, either to be able to support it better or for improv fodder. Other times the group may not have the players to cover all the parts in the original recording. For Wilson Pickett's "Mustang Sally", for example, we don't have horn players, so I'll play those parts when I can (along with the bass line).

[Kayvon]

Thanks for the replies guys, seems alot of you actually write your own charts i've never really done this myself, reading and writing music isn't a strong point of mine & def an area I need to work on.

 

For R&B/pop/gospel, I typically let the songs get in my head for a few days, paying attention to any progressions out of the ordinary. I start off with the melody (when there is a discernable one)

 

See I always tend to start with the bass so that can tell me what chords are likely gonna be over the top but I once met a jazz horn player & occasional keys player who insisted it was best to approach the melody first. Do you do the same when learning a pop song when the discerning melody is a vocal line?

 

 

Clifton I'm mainly talking about trying to memorize music effectively where you don't have alot of time to repeat going over it. Also, when practicing i'll often explore interesting ideas but in the heat of the moment i'll often get limited to a very basic interpretation of the chords and scalic possibilities.

 

Learjeff Thanks for the post, interesting you should mention state dependent learning, I often wonder whether some of the states I used to get myself into when a little younger have anything to do with me not being good at retaining information. It's for this very reason I often turn down none musician mates who want to go out and party. The booze is a must though once every fortnight or so to keep me sane. (Ironically by sending me temporarily insane )

 

 

Thanks again for the replies guys, some interesting & helpful points have been brought up, please feel free to post anymore.

[Kayvon]

(2) Practice on your given instrument(s) until the song is easy to play. This is where "muscle memory" comes into play. Your brain knows what the piece should sound like from #1, and now your fingers (and the rest of your body) know what to do to actually make those sounds.

 

Once you've got your music and muscle memories programmed it's a huge load off your brain when it comes time to perform.

 

Muscle memory I feel is part of the problem. I've learnt piano pieces before where I just played the dots on the paper and maybe a solo in the middle and i've been fine as I seem to just let my hands take over but in pop stuff I try to be constantly open to improvisation but alot of the stuff i've found in practice doesn't make it into my muscle memory. Repetition needed there I guess.

[Blue JC]

What you ultimately will need to do is develop a system that works for you. This is what I do when I start working with a new band or am preparing for a limited-run show:

 

I get all of the songs grouped together as mp3s in one file and listen. Even songs that I already know.

 

I make a chart for each song even if there is practically nothing on it. It's the one place for all of my notes during rehearsal, etc. I download and print the lyrics on the back of the chart - even if I'm not singing on it.

 

I make a bank of performances on my keyboards just for that band or show and write the performance location on the top of each chart. It's so much easier when everything is in one place.

 

I have the leader prioritize what he wants from me BEFORE I begin. If there is piano, organ, clav, horns, strings and a zither part that need covered, I make him tell me which two he wants at any given time. The only cues that I chart but do not play are place-keepers for my next entrance.

[MusicWorkz]

For R&B/pop/gospel, I typically let the songs get in my head for a few days, paying attention to any progressions out of the ordinary. I start off with the melody (when there is a discernable one)

 

See I always tend to start with the bass so that can tell me what chords are likely gonna be over the top but I once met a jazz horn player & occasional keys player who insisted it was best to approach the melody first. Do you do the same when learning a pop song when the discerning melody is a vocal line?

 

It depends on the tune and what my mood is at the time, what kind of groove it has and what parts I'll be playing.

 

Either way, what you are doing is critical listening to the musical components. Sometimes doing the melody first helps you see what direction(s) the song goes in, other times the bass gives you that foundation when the chords aren't that complex.

[Kayvon]

Sometimes doing the melody first helps you see what direction(s) the song goes in, other times the bass gives you that foundation when the chords aren't that complex.

 

I'm just learning Georgia on my mind at the moment and actually without consciously thinking about i've been learning the melody first. It does seem to help give direction to the progression actually. Maybe it's partly because i've got more experience solo-ing with my right hand and I anticipate the interval that the "leading note" is going to create.

[Andre Lower]

Before you start reading this, please remember that I know absolutely nothing about music theory, so bear with me. Here we go...

 

I memorize the song pretty quickly, to the point I can hum each part (both vocal and keys) effortlessly. I've been doing this since forever, so it comes as second nature.

 

Then I find the patches that work on the song.

 

Finally comes the moment in which I sit in front of my board and find the chords (which in my case are no more than the places where I should lay my fingers, period). I tend to work out the lower notes first, then the rest, and I always know at once if what I am playing is exactly what I am hearing in my memory or not. Once I get some chords, I play each sequence of 5~10 chords for some time, until they are recorded in my visual memory.

 

Once I have the whole song "mapped", it's a question of practice, practice and then some more practice until my fingers know where they should go on their own (i.e. the so-called "muscle memory").

 

I suppose the last part is unavoidable for everyone else, right ?

 

 

[Clifton]

This is a good thread.

 

To add my two cents, I do a similiar thing to what RicBassGuy does, in that I listen to the song to the point where the song is in my 'music memory', and usually that happens after I've transcribed the thing (I'll only transcribe the chords if I'm in a hurry, but for practice sake I like to transcribe the melody and any other parts that I deem significant to the tune), then once it's in my head I'll just play what I hear derived from that 'music memory'.

I can't say that I use much muscle memory though, I mostly practice in my head these days, call it laziness if you will, haha.

[stoo schultz]

Maybe I'm nuts, but I really try not to write down anything, except a list of setup numbers for the key splits that I'm using for each song, if any.

 

I just listen to the songs every chance, and play along with the recording until the music (feel, rhythm, movement) is firmly stuck in my head. I like to learn all the parts too, even if I'm not playing them, just for the sake of really knowing the tune. Sometimes I'll practice by playing the parts in all 12 keys.

 

I have written up detailed charts with notation in the past, but only for other band members really, not for my own benefit. Seems to me my time is better spent just listening and playing along, esp. if there isn't much time to learn a long list of tunes.