This must only be 16-year old Dakota Lichauco’s second or third jazz transcription, and she proved she had BIG ears! Here’s her playing Kenny Barron’s piano solo on ‘Have You Met Miss Jones” (by Richard Rodgers), along with a recording of Mr. Barron himself (live In Japan, 1995)
When a student successfully turns in an assignment of this nature, it’s a reason to share it in the hope that it inspires other students to transcribe tunes and solos they are attracted to. In the course of working on ‘Turn Out The Stars”, I requested Matar Maoz transcribe Bill Evan’s solo from the album “Since We Met”. (Bill Evans Trio – Live: Since We Met, ℗ 1991 Fantasy, Inc.). He did an impeccable job – here he plays it along with the Bill Evans recording.
When my 10-year old student Ethan disclosed that he was a huge fan of Camila Cabello’s ‘Havana’ and would like to play it, I decided to introduce him to the process of ‘music transcription’. Together we worked out a solo piano version after analysing the form and harmonies, the LH groove and diff melodic sections. Then showed him how to notate it in his manuscript book. After a few weeks, we recorded it at his lesson. This is an adaptation for a young pianist – the groove (bass and broken chords) is played by the LH while the melody is played by the right.
Download the score for piano here:
Camila Cabello ‘Havana’ – sheet music for piano.
Excerpts from the closing performance from a summer jazz workshop held for my teen piano students, many who play a second instrument. Featuring 14 yr old Zachary Gillette (piano/tenor sax) and Graham Backman (piano/oboe), 16 yr old Matar Maoz and Julian Carpenter (drums/piano), Eric Illich (piano/alto sax) and Sarah Montoya (bass). Thanks to Noel Borthwick (guitar) for co-leading this workshop.
A few months ago, Rubi Lichauco, my student, obtained the score of Cristal by Cesar Camargo Mariano, a tune she was attracted to when she heard it played by Cesar himself. Here, the original composition for solo piano was adapted for piano and jazz guitar (Noel Borthwick). Despite Rubi’s busy schedule, she has pursued music in more ways than one and it is wonderful to see her commitment and perseverance pay off!
Another video showing a reharmonization of the popular Irish ballad ‘O Danny Boy’ (a.k.a. ‘Londonderry Air’) using techniques such as modifying chord color as well as time/meter changes, inserting chromatic passing chords among others, to enrich a standard tune. (Song starts at 1:05).
(Recorded on an Estonia L-190 using the wonderful Earthworks PM-40 PianoMic system, straight into Cakewalk SONAR X2 Producer. Some very basic mastering was done to add a touch of eq, dynamics and reverb).
“Who’s Your Mama”
Composition and arrangement by Ramona Borthwick
Performed by the St. Paul’s Choir, Newton, MA
So I’ve just unboxed and finished road testing my new Earthworks PM40 mic system. I’ve longed for the ability to record the grand piano in our home studio. Mic’ing a grand piano well can be a challenge for even experienced audio engineers. Not only do you need to have great mics, their placement greatly contributes to the quality of the sound. In a home studio environment this can be a daunting or near impossible task.
Earlier this year I happened to hear a demo of the PM40 system at NAMM 2012 and was floored by how good it sounded. After researching these mics and communicating with the company, we finally ended up buying one for our studio. Not only does it sound incredible, but you don’t need to be an audio engineer to install and use one! There is virtually no bleed from peripheral sounds outside of the piano and recordings can be done with the piano lid open or completely closed. I like that it is made in the USA (Earthworks is located in Milford, NH) and for a neat freak like me, the minimalist set up allows for boom and cable-free clutter with the visual focus remaining on my grand. In this video I show what I did to install this in my Estonia L190 grand piano.
Here, I road test the mics by playing my composition “One Of Us”. I recorded the Estonia at full stick, completely dry. The recording was done with Cakewalk SONAR X1 with no EQ or effects applied. Continue reading
A question I often get asked by my students is how to reharmonize a tune. This is a brief video outlining some methods I use. It is assumed that you are already familiar with jazz chord voicings, extensions/alterations & substitutions. Here is the leadsheet containing the reharmonization to Ode To Joy.
Reharmonization is a vast and beautiful area in which I continually encounter new insights and surprises. There are many books available on this subject, and transcribing reharmonized tunes by jazz greats will not only improve your ear, but give you a first hand look at how they approach improvisation on the new chord changes as well.
P.S. A minor slip of the tongue at 3:42 – the chord is a Gm9sus (not G9sus) and at 4:55 C#dim not C dim.
Visited a cool, damp Anaheim in mid-Jan to attend the NAMM show. With over a 1,00,000 folk passing through the convention doors over four days, the buzz at this music industry convention is powerful and contagious, this year being no less.
Strategically situated by one of the main entrances was the Cakewalk booth in the Roland arena where music production demos of the SONAR X1 were being held.
What I really want for Christmas: The PianoMic System by Earthworks. The adjustable bar lies across the soundboard, and there are no awkward booms or messy cables. I think something this inconspicuous and easy to use will definitely be an incentive to record solo piano more often. Continue reading
Visited the awesome Integratron built by in the early 60’s by aviation engineer and paranormalist George Van Tassel. Situated in Landers, CA about 20 miles from Joshua Tree NP in the Mohave desert, it brims with a colorful, if not fascinating history. The name “Integratron” actually applies to a machine, in Tassel’s terms – a high-voltage electrostatic generator, that would supply the range of frequencies to recharge cell structure. Magnetic fields and Tesla’s technique of creating high ionization static fields were also key principles in the development of this structure. Had an opportunity to sing in this all-wood acoustic chamber (only one of it’s kind in the world) and it was surreal. While I felt energy and a strong focus from my ‘center’, my voice had a re-inforced quality as if I had morphed into a tri-headed human with extra vocal cords. It was clear, rich and warm – no confusing bounce backs and garbled echoes, with the perfect amount of reverb. ‘Rejuvenating’ sound bath sessions are held here, and it would have been interesting to partake in one. The chamber is also rented out for recording sessions. Continue reading
Ramona Borthwick is for me a complete artist. I have known her for several years as a web designer and my personal webmaster, but I have also been aware of her work as a musician. Recently I got a copy of her new musical adventure called ‘One of Us’ and I am extremely happy to witness Ramona’s growth as a composer and pianist, adding to this she also sings, and well. ‘One of Us’is a very nice tapestry of different musical paintings and moods.
Ramona’s compositions are really captivating as she moves along many different lines, sometimes Latin flavors, sometimes European airs, but always with her very personal touch. The choice of musicians that complete this musical endeavor could not have been better. Each one of the performers does fantastic work enhancing Ramona’s compositions. My special kudos go to Noel Borthwick (Ramona’s husband) who plays some of the most exquisite guitar I have heard in a long time, reminding me sometimes of the best work that I have heard from guitar greats (Pat Martino comes to mind). ‘One of Us’ is an album that you can listen to many times, always getting new and rewarding things from.
I really hope that this effort becomes a must listen to, for jazz lovers around the world, such as myself, a pianist and composer from México City. My most sincere congratulations to Ramona and her team for making such a great album that I am sure, will endure the passing of time and become a collector’s item in the jazz music world.
Pianist, composer & Grammy nominee, México City.
Interviewed by Dr. Rick Holland | Aug 16, 2011
Dr. Rick – Ramona, please give us some of your background. Tell us where you studied music, maybe some of your biggest influences as a student of music.
Ramona – I grew up in Bombay, India where I had most of my formal musical training. Born into a musician’s family I was fortunate to have had private piano lessons in classical music twice a week starting at the age of six. In addition to practicing the instrument, assignments in music theory and history were aplenty. In junior high I got good enough to sub at school for the music teacher when she called in sick 🙂 This was my first solo gig playing experience, it was Continue reading
By Richard Kamin in ‘StepTempest’
“Who’s Your Mama” opens this recording, with the trumpet of Ingrid Jensen intoning the the notes to NPR’s “Morning Edition” before the band takes the piece on a romp. It’s a fitting and joyful beginning to the program, pianist/composer/vocalist Borthwick’s second release as a leader. She’s a fine player, displaying a style that has its roots in mainstream jazz. Her solos are often lyrical (listen to the beauty and strength of the title track) and she can really dig into her phrases. Her wordless vocals add yet another color to several of the tracks, mixing well with the guitar and trumpet or flugelhorn. One hears the influences of Pat Metheny and McCoy Tyner in many of these pieces (and Herbie Hancock in several of the solos.) Her compositions are smartly constructed, with the rhythm section of Johannes Weidenmueller (bass) and Adam Cruz (drums) really pushing the pieces along. Continue reading
A few video clips of tunes from a concert played a few months ago at Brookline’s Vernissage restaurant. (Vodka Wasabi martini highly recommended!)