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DOCTORAL DISSERTATION DEPARTAMENT D’ART I DE MUSICOLOGIA UNIVERSITAT AUTÒNOMA DE BARCELONA FACULTAT DE FILOSOFIA I LLETRES In Your Own Sweet Way: A Study of Effective Habits of Practice for Jazz Pianists with Application to All Musicians Iñaki Sandoval Campillo Dissertation Director: Darla S. Hanley, PhD Dean, Professional Education Division Berklee College of Music, Boston, USA Barcelona, September 2013 In Your Own Sweet Way: A Study of Effective Habits of Practice for Jazz Pianists with Application to All Musicians by Iñaki Sandoval Campillo Doctoral Dissertation Departament d’Art i de Musicologia, Facultat de Filosofia i Lletres Universitat Autònoma de Barcelona Barcelona, September 2013 Author: Iñaki Sandoval Campillo ___________________________________ Dissertation Director: Darla S. Hanley, PhD Dean, Professional Education Division Berklee College of Music, Boston, USA ___________________________________ Dissertation Tutor: Jordi Ballester Gibert, PhD Director del Departament d’Art i de Musicologia Universitat Autònoma de Barcelona ___________________________________ © 2013 Iñaki Sandoval All Rights Reserved iv ABSTRACT With the intent of improving performance and creativity, the purpose of this research was to gain information about practice methods and techniques directed to develop a personal practice routine for the contemporary jazz pianist. This research is offered to provide jazz pianists (of all levels) with tools that allow them to develop individual practice routines that foster healthy and sustainable habits and advance artistry. The original information presented is based on the review of related literature published in the area of jazz performance; the experiences of respected jazz performers, students and pedagogues; and the synthesis of methods and approaches used in deliberate musical practice (classical and jazz styles), sports training, and selected other disciplines. The investigation was categorized in three sections. First, devoted to the piano as an instrument, exploring its technical, mechanical, and acoustical characteristics. Second, focused on theory and music with application for jazz pianists, by selecting and organizing music topics in five categories –referred to in the present study as The Five Elements (i.e.,Technique, Harmony, Language, Improvisation, and Repertoire). Third, investigation of different approaches to practice, both from the classical music tradition and the jazz methodology, in order to develop a personal practice routine for jazz pianists. This last section consists of the most essential contribution of the present research –a synthesis of published jazz methods, jazz performance practices and historical traditions, exemplary repertoire, and resources for the jazz pianist. v Findings from this research include researcher-designed practice routine templates (PRT) for jazz pianists of all levels, researcher-designed extensive repertoire lists for jazz pianists (including approximately 1000 songs for pianists across ability levels –beginner to professionals), and researcher-generated tools such as solo transcriptions, bibliographies and discographies. On the basis of this research, it may be concluded that jazz pianists (of all levels) benefit from purposeful practice with clear goals, honest self- evaluation, and focus –organized by thoughtful tools that map content, progress, and performance. vi ACKNOWLEDGEMENTS To Dr. Darla S. Hanley, I cannot express with words my deepest gratitude for your guidance and support during the formation and completion of this dissertation. For your amazing expertise in the related fields of music and pedagogy, your writing supervision and corrections, and moreover, for being a friend and encouraging me during the whole process, getting the best out of me. You are a true inspiration. I would like to express my heartfelt gratitude to the faculty members who served in my committee, Dr. Raúl Murciano Jr., Dr. Germán Gan, especially to my tutor Dr. Jordi Ballester Gibert, for his support, advice, and dedication, and to all staff at Universitat Autònoma of Barcelona (UAB). This paper is the culmination of a life-long academic process of about 25 years, through continuous study and enthusiasm upon music and the piano. I wish to thank my parents, Alejo y Regina, and my brother, Alberto, for your unwavering support and encouragement. The completion of this project would never have been possible without your sacrifice and support. I would like to acknowledge my students and colleagues for letting me share and learn from them, and to a number of significant individuals and institutions who have assisted me in one way or another in the completion of this project. In alphabetical order: Berklee College of Music, JoAnne Brackeen, Francesc Burrull, Benet Casablancas, Víctor Estapé, Dave Frank, Horacio Fumero, Alberto García, Eddie Gómez, Stefan Karlsson, Conservatori Liceu, Stanislav Pochekin, Iñaki Salvador, Mouldi H. Sayeh, vii María Serrat, André Sousa Viera, Universitat Autònoma de Barcelona (UAB), University of Nevada in Las Vegas (UNLV), David Xirgu. My most sincere acknowledgments to all of you. viii Find what you like to do most and do it. It will keep you alive, excited, and exciting. ix CONTENTS Abstract ............................................................................................................................... v Acknowledgements ........................................................................................................... vii Contents ............................................................................................................................. xi List of Tables ................................................................................................................. xviii List of Figures ................................................................................................................. xxii List of Exercises ............................................................................................................. xxiii CHAPTER 1: INTRODUCTION ..................................................................................... 25 The Need For The Study ........................................................................................... 32 Purpose ...................................................................................................................... 32 Problems ................................................................................................................... 32 CHAPTER 2: RELATED RESEARCH ........................................................................... 35 The Lin Study ........................................................................................................... 35 Comparison of the Lin Study to the Present Study ................................................... 37 The Herzig Study ...................................................................................................... 39 Comparison of the Herzig Study to the Present Study ............................................. 42 The Small Study ........................................................................................................ 43 Comparison of the Small Study to the Present Study ............................................... 45 The Goldman Study .................................................................................................. 46 Comparison of the Goldman Study to the Present Study ......................................... 48 The Jordan-Miller Study ........................................................................................... 49 Comparison of the Jordan-Miller Study to the Present Study .................................. 50 CHAPTER 3: METHOD .................................................................................................. 53 Design and Procedures .............................................................................................. 53 CHAPTER 4: RESEARCH FINDINGS ........................................................................... 59 Introduction ............................................................................................................... 59 xi PART ONE: The Instrument ......................................................................................... 61 1. Approaching the instrument .................................................................................. 62 2. The Piano: History, Mechanism and Acoustics .................................................... 63 2.1. Brief History .................................................................................................. 63 2.2. Parts and Mechanism ..................................................................................... 69 2.3. Tuning ............................................................................................................ 73 2.4. Always Sounding Good ................................................................................. 78 2.5. Other Keyboard Instruments .......................................................................... 81 3. Technique .............................................................................................................. 85 3.1. Mental vs. Physical ........................................................................................ 85 3.1.1. General Balance ...................................................................................... 85 3.1.2. Physical ..................................................................................................
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