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MonsterJazzManifesto
C.L. Young
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Smilin Steve
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Im a pro musician and music teacher myself
and got a degree from Laval University
(Qubec). Chris youve got a vision and a
passion that Ive rarely seen from other
teachers. I think youve got some ideas that
can be a real revolution in the jazz
Dave Dub
________________________________
Thanks for your enthusiasm for this subject,
and most importantly, for giving the matter so
much thought and study.
Im an older player, burnt out from teaching
,but really wanting to get back to PLAYING.
Alex
________________________________
Ginny Simonds
________________________________
Milton
________________________________
ChrisI think your work will become
transcendental good job!
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modern philosopher!
Themis Nikoloudis
________________________________
Now, one can understand exactly what
Michael Brecker and Bill Evans were talking
about, when they said they were concentrating
on very small portions of music and learning
them as thoroughly as possible. Great job man
and thanks a lot !!
Guy Shkolnik
________________________________
formula!!!!
________________________________
Your Monster Jazz Formula is spot on! Next to
my senior recital, I've found defining and
refining my own values, goals, vision and
mission... to be the most productive and
enlightening exercises I've ever done.
Slide Ackerman, Boston, MA
________________________________
Darryl Ruff
Kelowna BC Canada
________________________________
The Monster Jazz was nothing else than a
fresh re-beginning of everything I learned
since ever: My Music (and so my
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These secrets are certainly not taught in music school. In fact many of the problems and challenges
we face as musicians are perpetuated by the very institutions whose job it is to help us learn.
Personally, I attended Berklee College of Music back in the 90s. I wouldnt trade in my time at
Berklee for the world. But, I also have some pretty harsh opinions of the music education world.
Like I said, Im here to shed light on some of these major problems with learning jazz.
You see, I know from personal experience and from the experience of my students that it is
absolutely possible for anybody to take their music to levels far beyond what they might even think
possible for themselves. It doesnt matter how old you are, how long youve been playing or where
youre from.
There are fundamental principles of musical success. Just like there are universal laws like gravity.
And once you understand them, anyone can put the principles of musical success to work for
themselves and achieve a VERY high level of musicianship - and reap all the amazing benefits that
comes along with that - like having more fun, sounding great, getting gigs, respect from the cats,
love from the audience and so on.
Can you do it without working at it? No. You cant. But if you want it, it can be yours.
I highly suggest you take the time to read this manifesto right away. Theres a very big
idea inside that many people have used to become Monsters - once they grasped the
concepts that you are about to receive right here for free.
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But rest assured, on the following pages youll get to know me. Ill be sharing a few embarrassing
stories of my own musical path. And youll find out why I feel its so important for you to listen to
these ideas about success with jazz.
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Slowly but surely the joy and electricity were stripped away and
replaced with judgments, expectations, rules and standards. But
back then I didnt know this was a problem. I wasnt aware of what
was really happening. I was digging myself into a dark musical
abyss of un-mastered material and half-learned concepts.
Then I discovered jazz. I fell in love with it, with the sound and the
story. The sound was something Id never heard before. It was rich
and stimulated my ears like nothing else. And the characters were
no less enticing. They were one part cool and one part rebel. They
were different. They did their own thing. And their music was
simultaneously hip and sophisticated. It wasnt long before I knew that thats what I wanted to do.
Thats who I wanted to be.
Soon I found myself in music school, studying jazz. This problem I wasnt even aware of yet was
only intensified. The workload increased. 10 fold. I was bombarded by musical concepts, theory,
technique, harmony, improvisation, ensembles and on and on.
I just couldnt keep up. And the fact is that most people cant. But that didnt stop me from thinking
that I should be able to keep up. So I practiced and studied more and more.
I developed an addiction to practicing in fact. I would put practicing before everything else in my life.
I lost girlfriends, had no social life and even gave up a free trip to Italy all in the name of practice.
I practiced 8, 9 even 10 hours a day on some days. I never mastered anything, but I kept trying to
go further and build on this weak foundation.
There was just soooooo much to practice, I had to try to fit it all in. I didnt have much time after all.
I was already 18 years old! But soon I was already 20. Then already 22. Then already 25.
Instead of building a magnificent musical castle on top of a sturdy and unbreakable foundation, I
was building a rickety shack made of a hodge podge of materials held together with duck tape and
kite string and all resting on quick sand.
It was around this time that I really started to question whether I had it or not.
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I wondered if I came from the right background. I was a white kid from the suburbs who
had no other musicians in his family and grew up listening to rock music. What right did I have to
think I could learn to play jazz?
I would even beat myself up for not feeling music intensely enough when I listened to
it. I was so cluttered up with expectations that I couldnt even enjoy listening to music anymore.
I wondered if I was creative. Imagine that. Creativity, which I now believe is a birthright,
simply the combination of trust, receptiveness and the result of feeding the creative well spring,
eluded me. But how could I be creative when I hadnt truly mastered much at all, and I was so
tripped out all the time about whether I was creative or not. Truly a vicious cycle.
I wondered if I was disciplined enough. Most people cant discipline themselves to exercise
for 20 minutes three times a week. Here I was locking myself in a practice room for 6-8 hours
every day, and I wondered if I was disciplined. Crazy!
If I had a bad gig, I felt terrible. If I had a good gig, I wondered if it was a fluke. I actually
purposefully would NOT tell people about my gigs and recitals. I was afraid I would blow it and
look like an idiot on stage.
Unfortunately, I could go on and on about these things I would beat myself up about. But I dont
want you to think Im a total basket case;-)
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But The Truth Is, If Most People Were To Lay Their Fears And
Insecurities Out On The Table We Would All Look Like Basket Cases!
When I was at Berklee I was surrounded by people just like me. We had all accepted the false belief
that jazz was hard. That it was supposed to be a struggle. That if you werent a tortured artist, you
werent a real artist.
One by one I watched many of them drop out of school and out of music all together. Even top
players who we might think have it all together feel these same pressures.
But luckily something inside me wouldnt let me quit. Believe me I thought about it. I just hated the
idea of wondering what if for the rest of my life more than the idea of continuing my dysfunctional
music education.
Finally something happened that shook me to the core. Ever since arriving at Berklee I wanted to
take an ensemble with the great Hal Crook. After three years I was able to register for one of his
ensembles. I had finally arrived! I was now one of the cats. I mean I was in one of the best
ensembles in the school playing with the best players in Boston. Led by one of the best jazz
educators on the planet. I was one happy M.F. the day I got into that ensemble!
Well, I showed up, got my ass handed to me and
was promptly thrown out of the ensemble. This was
a major turning point in my life.
Hal Crook did what only a great teacher could do.
He was completely honest with me. He was blunt
and to the point but compassionate at the same
time. He basically told me that I wasnt ready for
the class; that I didnt need to be a better
instrumentalist.
I needed more experience playing jazz with people.
Here was this master trombonist and master
teacher telling me that I didnt need to practice as
much, I needed to PLAY.
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First of all, I did just what Hal prescribed. I scheduled every session I could with every player I knew.
I didnt have as much time to practice now, so I chopped my practice routine down to what I thought
were the bare essentials. I was practicing less than ever but improving at a faster rate than ever
before. I was starting to get results.
Soon I found myself approaching the top players in the school to play sessions. And a funny thing
happened. Most of them said yes! I had this false assumption that I needed to be great player before
I could ask them to play. Boy was I wrong. You see the top players just wanted to play jazz too. All I
had to do was ask. They were ready and willing since most everyone else was too busy hammering
away in the shed or procrastinating in front of the TV.
I began to feel good about music again. I was inspired again.
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I did my time in the music abyss and I couldnt be happier to be out of it.
Now, dont get me wrong, Im not there. Music is an ongoing process and there are still plenty of
things I could improve and learn. I have learned to embrace the fact that Ill never get there. I love
the fact that there will always be music to learn and areas to explore.
And now I can use these tools to move ever forward with music. To be excited about your future and
what opportunities the universe might throw your way is a fantastic feeling. And a feeling that is very
different from falling into that abyss of jazz confusion.
If any of that sounds familiar to you or hits a chord then youre in luck. In a few moments Ill be
going into depth about the undesirable effects I discussed above (you know, the abyss), Ill reveal
the root causes and tell you about the solutions.
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The tools are there for anyone to take and use for their own development. I feel much gratitude that
I happened upon these tools. Now I feel a responsibility to spread the word. I want to tell the whole
jazz world about this. I want to change the way music is usually taught.
Dont get me wrong there are many fabulous teachers out there who really do care and really do
make a difference. But they are far and few between. Or theyre stifled themselves. Theyve bought
into the status quo. And they simply perpetuate these problems by feeding the fire of information
overload, confusion and failure.
To be honest, when I first thought about teaching this stuff and writing and creating courses I was
very apprehensive to say the least. I didnt want to take time away from my own playing, performing
and practicing. But I realized that I had to. I just had to share it.
Besides, believe it or not, sometimes I feel like I might get more out of teaching than the student.
Teaching and articulating ideas so someone else can understand them is one of the most powerful
ways to learn.
Theres one more reason for me writing this book. My personal vision and mission in life is to be a
major voice in the jazz world. To make a real contribution to the world of jazz.
I realized that playing music and creating my own art was only one of the ways I could realize that
vision.
By helping other jazz musicians who were in the same boat I was, I could impact the jazz world far
greater than just by my own music alone. If I can help create 10, 50, 100 even 1000 more successful
and contributing jazz artists I could impact the world in a more positive and profound way than I ever
imagined. Let me help you to become one of them too.
The Jazz Musicians Lament:
Paying Too High a Price for Musical Success That Never Comes
If I asked you right now, What one thing determines the level of success youll achieve with your
music? How would you answer?
Your
Your
Your
Your
Your
Your
Your
Your
Your
Your
Talent?
Intelligence?
Skills?
Creativity?
Persistence?
Discipline?
Knowledge?
Teachers?
Technique?
willingness to practice 20, 40 even 60 hours a week?
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While other frustrated jazz musicians continue to bang their heads against their own limitations, this
simple realization will empower you to sky-rocket your music into the stratosphere as if those
limitationsreal or imaginedsimply dont exist.
(Which, consequently, is where you should be focusing much of your attention anyway).
Im going to show you a way to deal with this exploding brain feeling, the feeling of overwhelm and
exhaustion. Once you know how to sort through this mountain of stuff and keep only whats truly
valuable to YOU, music becomes easy again. You might even fall in love with music all over again.
I knowyoure skeptical. Youve heard thousands of big promises from teachers, books, sites and so
on. But please hear me out. If I can deliver on even one tenth of this promise to you, the time spent
to read this book will be the best investment youve ever made.
And you wont just benefit today. Youll benefit for the rest of your life. In fact these ideas and
concepts will only become clearer and clearer to you over time. Youll only become better and better
at using the tools and strategies. This will create momentum in your music the likes of which you
may not have ever seen before.
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Have You Ever Wondered Why You Arent Making The Progress
With Music That The Other Players Around You Are?
Has your frustration level reached high enough levels to begin doubting whether theres something
wrong with you?
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They are downright pissed off that they cant seem to get it together!
Until, just a few years ago I wouldnt have been able to give you an answer to these problems. I was
just finally beginning to figure out how to get results with my own music!
But I decided to try to put it all together so others could learn from my experience (and plentiful
frustrations!). Now, as I tried to organize this into something that would be truly beneficial and easy
to use for other jazz musicians I quickly realized that this would be a Tall, Tall order.
It took me much longer than I ever could have anticipated to put all the pieces together, to figure
out the pattern. The culmination was something I created and call The Monster Jazz Formula. You
may have heard of it.
In a moment Ill tell you more about The Formula but I dont want to take up too much time with
that now. First lets take a good, hard look at how NOT realizing your full potential is affecting your
life. Then well move on to the root causes and the solutions.
We practice more and more but always come up short. We go down this path and that path, buy this
book, that book, take lessons with this teacher, that teacher. We practice this topic for awhile then
that topic. We constantly change directions. We may even get to the point where we are changing
our practice routine daily and never achieving any results with any of it, certainly not any results that
come out in our playing effortlessly with inspiration like its supposed to be.
Perhaps we have become so overwhelmed by this process that we become numb, like jazz zombies.
We just go through the motions and wait for someday when it all magically works itself out.
By going deeper and deeper into this musical abyss we get ourselves into a vicious cycle,
a self-perpetuating cycle. By switching topics before ever achieving any kind of mastery we never
experience whats possible with mastery. We lose, if only temporarily, our creativity and our innate
ability to learn. Our playing is inconsistent to say the least. And we struggle. But the struggling
becomes a way of life. It becomes our reality. We expect this struggle even. Since we struggle and
never achieve mastery we never play at a level thats good enough. We assume we must be
practicing the wrong things or not enough of them. So we switch. Again not achieving mastery. And
so on goes the cycle.
As our frustration increases we seek out the magic bullets. We know there must be that one thing
that will make us a Monster. If only we had that magic bullet everything would be great and we
would become one of the cats, garnering the respect of our peers and the admiration of the
audience.
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So we jump into learning to play Giant Steps, or maybe we figure that the hippest players are
masters of cross rhythms, or maybe we try to master every single permutation of every single chord
structure weve ever heard of in every single key. If we can get that down than surely we will have
arrived. We practice things that are way too advanced for us, way too broad or way too vague. We
never go deeply into any one topic, any one small area of music. So again we dont achieve mastery
and we perpetuate our cycle down into the abyss.
We completely lose sight of the point of music in
the first place: To express ourselves, create and
connect with other people.
This is a very painful place to exist. Each time we
perpetuate this cycle we chip away at our selfesteem and confidence. This can have the effect
of rippling out into our whole lives. This brand of
ineffective and fear centered practice can literally
effect the quality of our entire life.
We can begin to obsess about music. Its all we
think about. We might even go so far as to put it
before everything else in life. We can lose sight
of the REAL priorities in life, the important people
in our lives, like our girlfriends, boyfriends, wives,
husbands, children, siblings, parents, friends and
so on. We might sacrifice our social lives to
practicing. And even turn down a free, all
expense paid family trip to Europe like I did - because I couldnt bear to take the time off practicing!
Now dont misunderstand me. Becoming a great player does require commitment and some sacrifice.
Its just that the things we should sacrifice are things like television, or getting high and watching
Jackass, or watching dancing babies on YouTube, or reading trashy magazines. We dont sacrifice our
lives.
I read an interview with Wayne Shorter once where the interviewer asked him to talk about his life
as a jazz musician. Wayne said something along the lines of Music isnt my life. My life is my life.
Music is just a part of it.
But how many of us lose sight of our lives and become obsessed with becoming a great jazz musician
to the detriment of everything else? Or give up on our dreams all together.
The level of stress and pressure that musicians and artists can put on themselves can be ridiculous.
This pressure can literally lead to depression, health issues or even substance abuse. Its no secret
that the art world is full of drug addicts and alcoholics.
But There Is Another Way.
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There is a healthy way that can actually lead to more fulfillment in life and Monster Music Skills!
There is a mindset and a set of healthy beliefs that can put you on this path. There are tools and
strategies that pioneers before us have figured out, that we can use right out of box to achieve our
musical goals.
Believe me, the Healthy Way is infinitely more desirable than living and practicing and
performing down in that deep dark musical abyss.
Looking back on it, I cant believe how long I endured those frustrations myself before I said,
Enough is Enough! It is my hope and intention to short cut that process for you. So you can
achieve your musical goals faster than you ever thought possible. And have a life while doing it.
Now lets talk about each of these major problem areas in depth and surface the causes
AND the solutions.
Major Musical Challenge #1
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Ornette ColemanIt becomes quite evident that these pioneers of jazz discovered their
musical purpose. They gave back to the world ten times over in the form of beautiful, inspiring
music. Not all of them had blazing chops or virtuosic control of music. They certainly couldnt play
everything. But they did have a profound understanding and intimate knowledge of their true voice.
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many different approaches to learning it. Its amazing to think that players in the 50s came up
against this challenge of information overload too. They had to deal with the music of Louis
Armstrong, Count Basie, Charlie Parker, Miles Davis, Duke Ellington, Charles Mingus, John Coltrane
and all of the other thousands of great jazz musicians.
Jazz slowly made its way into the formal education world and with it thousands more books and
resources were created and became available to the student of jazz. This process has continued to
grow out of control to where we are today; there are many thousands of books, DVDs, methods,
teachers, classes, courses, workshops, lessons and of course opinions. Most Teachers and authors
also make a wonderful case as to why their particular book or approach is the right one.
And almost all of this information is available to you right on your computer thanks to the Internet
and the World Wide Web. This problem is only going to get worse as more and more people produce
information at dizzying speeds and this information gets passed around cyberspace as fast as it can
be created. (Yes I am aware of the irony of creating more information about information overload.)
Now on the surface, all of this information appears like a valuable resource to learning. And it is, IF
you know how to filter through it all and find the truly valuable gems that are relevant to YOUR
situation and most importantly relevant to your musical purpose.
Now, so far Ive just talked about information overload as it relates to the jazz world. Obviously jazz
musicians arent the only ones busy creating more information. Everyone is. Now we have cable TV
with hundreds of channels. We have Internet television, Netflix, Hulu, file sharing, YouTube,
Facebook, Twitter, thousands of news sites, millions of blogs. We have cell phone calls, text
messaging and email. We have the internet available on our smart phones along with our music
collections, practice apps, videos, etc. We can download sheet music and order any book on any
topic we can think of from Amazon.com.
Its no wonder we are overwhelmed and swimming in a sea of information trying to keep our heads
above water, let alone trying to advance as players and really say something with our music.
Attention is becoming a scarcity. We are fragmented, distracted and disconnected. But attention is
one of the most important things you have. Where you put your attention and the quality of attention
you focus there will determine exactly where you go with your music. Attention is a precious asset
many waste daily. If you focus on the wrong things you will not be successful. If you focus on too
many things you wont be successful.
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places but most notably from checking out Bill Evans. He taught that in practicing less truly is more.
By digging into the simple concepts in a very real and true way you provide a musical foundation that
you can take as high as you want. Do that kind of practice for a few years and you get Bill Evans.
Thats sounds good to me.
Major Musical Challenge #3
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You must be clear about your desired result. Without this clarity you will spin your wheels forever, I
guarantee it. With clarity you will conquer everything you put your mind to. So always begin by
choosing your target results for the day.
Step 2: Next you need to simplify. This is what I call the Make it Easy concept. Make the
material you are working on easy enough so that you can actually succeed at playing it and
practicing it.
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practice that. Move through the whole piece in this fashion until you have the entire piece
internalized.
By the time you do this you will already have made great leaps forward. Your ears will be stronger your sense of pitch and harmony more acute. Youre positioned to take it to the next level, little by
little, step by step. After you complete it you will have made some serious frickin progress. As
opposed to just jumping in and rushing through the solo, leaving certain trouble areas behind and
generally perpetuating a mediocre level of performance. That would lead to persistent trouble spots,
inconsistency and unimpressive playing. Do you want your playing to be inconsistent, mediocre? I
didnt think so. You want to play like a monster.
By going through the tune using the power practice paradigm you will have learned more about
phrasing like a master than most players learn in five years. And you probably did it in a week or
two.
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In some cases it might be as simple as attacking the problem area with ye ole Power
Practice Paradigm like we just talked about.
But sometimes there are really things that we struggle with despite our best efforts.
Weve all got these things that haunt us. Weve tried in vain to get them together but we never quite
get there. Occasionally they pop up at a gig or session and we cringe while that familiar knot in our
stomach comes back once again.
There are a variety of causes for this situation we find ourselves in.
Lets deal with the more abstract and psychological one first, Self-concept. Now, your self-concept is
made up of every belief you hold about yourself. Its really quite an amazing and important thing. In
fact, I might even go so far as to say that it is everything! Your beliefs about yourself and specifically
about your music and musical abilities will determine how far you go with music.
Somewhere along the line you decided that playing in three was difficult or that eartraining was hard,
sight-reading was impossible or that you could never learn to play fast. Try as you might, you
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continue over the weeks, months and maybe years to struggle with these areas. Each failed attempt
only further solidifies your negative beliefs in this area and this too becomes a perpetual cycle.
So, how do you break this cycle and conquer this problem area once and for all?
Begin by recognizing the fallacy in your assumption about this musical area. If you can learn to play
in four, it stands to reason that you can play in three. If you can play in one key it stands to reason
that you can play in another key. If you can learn to read in treble clef surely you can learn to read in
bass clef. If you can play bebop why cant you learn to play Latin jazz?
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Watch out for that mind of yours though, especially at the beginning. It will try to trick you into
falling into old patterns. Persevere and youll get through it. We all go through the dip, that plateau
that seems like well never beat. Just divide and conquer. Stick with it and you WILL get it. Thats
half of success right there.
Common sense? Yes. Usually ignored? Yes. The master key to success? Absolutely!
Each time you address and conquer one of these problem areas you should celebrate the victory.
Each time you achieve any goal for that matter, you should celebrate, congratulate yourself and feel
good about the victory.
With each step forward you are increasing your musical foundation, your creative wellspring and your
self-confidence. And you will be on your way to achieving your musical dreams.
In Closing
I hope by now it is clear to you that there is no reason for you to not achieve any goal
with music you put your mind to.
There are so many musicians who end up frustrated and give up on their dreams all together. This is
unfortunate and unnecessary.
By becoming aware of all the many false assumptions we have we remove the constraints that are
holding us back from musical achievement.
By applying excellent practice habits and practice planning skills we move forward faster. As we move
forward we improve and strengthen our musical foundation as well as our learning and practice skills.
We become more focused and more productive.
Our music improves and our lives improve. Along the way we throw away more and more false and
negative beliefs about our music.
We become freer and freer and more truly artistic than ever before.
Our musical growth and artistic output increase exponentially as we move ever closer towards our
musical vision and our true potential.
These are some of the many principles and techniques covered in The Monster Jazz Formula. I hope
this little sampling of ideas helps you put some speed on your own musical development.
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What Ive hopefully accomplished this manifesto is to get you thinking about your music differently
than you have before.
Heres a quick recap of what we covered.
1. How talent is not nearly as important as you think. Besides, you probably have more
talent and untapped potential than you need.
2. The law of purpose. Focus on finding your purpose and leveraging your musical
strengths. This is the path that all great players have taken, consciously or not.
important to us and what we want to achieve. Then we determine the necessary steps
and the information we actually need to achieve those musical goals. We only need as
much as we need to say what we want to say.
4. How, seemingly, the whole world will try to steal your attention and your time and
how fending these distractions off will exponentially improve the productivity of your
practice sessions.
5. Practice for results, plain and simple. By learning some small thing or improving some
small area of our music each and every day we skyrocket our musical development forward
towards the stratosphere.
6. Define your desired musical results
in detail and discipline yourself to work
on that result until you hit it. This habit
alone will put you ahead of the pack.
7. Simplify your target result down to
the very next step - a micro step.
Divide and Conquer.
8. Work on it until you hit your target until you own it.
9. Push the envelope. Whats the very
next micro step? Find it and repeat the
paradigm.
10. Check out your self-concept and
false assumptions about music.
Work step by step to rewire you mind and to finally conquer those pesky problem areas.
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If you follow these suggestions you will be well on your way to achieving your musical dreams and
goals, and it will happen a lot faster than you might have imagined possible.
If you dig these ideas and you see the tremendous possibilities to transform your music, this is just
the beginning.
If youre ready to take it to the next level, you can. And I walk you through the step by step process
in The Monster Jazz Formula.
Find out all the details here:
http://learnjazzfaster.com/the-monster-jazz-formula-explained
The concepts and ideas presented in the course have changed the lives of countless musicians.
Its worked really well for me and for my students and I know itll work for you too.
I wish you the best with all your musical endeavors.
To Your Musical Success,
~Chris Cooke
http://learnjazzfaster.com
2008-2015 LearnJazzFaster.com
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