The First Call Musician Intensive

It's no secret that it's harder than ever to be a professional musician these days.

Whether you're a classical, jazz, pop, or even Balkan-folk musician, the demands placed on you are already overwhelming enough:

... to play with flawless technique and perfect intonation

... to sight-read well, even if it's atonal and in an odd meter

...and to be able to get outside of your own head, playing 100% in the moment while supporting the other musicians around you.

That's a tall order. And let's be real:

To be a competitive musician at the highest level, that's just the start.

It's no secret that it's harder than ever to be a professional musician these days.

Whether you're a classical, jazz, pop, or even Balkan-folk musician, the demands placed on you are already overwhelming enough:

... to play with flawless technique and perfect intonation

... to sight-read well, even if it's atonal and in an odd meter

...and to be able to get outside of your own head, playing 100% in the moment while supporting the other musicians around you.

That's a tall order. And let's be real:

To be a competitive musician at the highest level, that's just the start.

On top of playing with a high level of expression and authenticity, there's also the daily practice: scales, arpeggios, etudes, learning repertoire... you know the drill.

Easy stuff, right? 🙄

It's almost as if there's not enough time to work on our ears, or focus on "creative" activities like composing and improvising...

(or maybe you believe it's *just* for jazz musicians)

Either way... there's just so much to digest!

Not to mention mastering repertoire for the big orchestral audition, rehearsals with your band, finishing that composition commission... or memorizing jazz standards for your next gig.

We're constantly spinning our wheels... and worse, even when we follow our practice plans to a T, the individual pieces often don't come together and give us the freedom to play that we want.

In fact, all of the practice we do mostly leads to more thinking on the gig — and LESS freedom.

And if there's one thing we want, it's the ability to play without worry.

On top of playing with a high level of expression and authenticity, there's also the daily practice: scales, arpeggios, etudes, learning repertoire... you know the drill.

Easy stuff, right? 🙄

It's almost as if there's not enough time to work on our ears, or focus on "creative" activities like composing and improvising...

(or maybe you believe it's *just* for jazz musicians)

Either way... there's just so much to digest!

Not to mention mastering repertoire for the big orchestral audition, rehearsals with your band, finishing that composition commission... or memorizing jazz standards for your next gig.

We're constantly spinning our wheels... and worse, even when we follow our practice plans to a T, the individual pieces often don't come together and give us the freedom to play that we want.

In fact, all of the practice we do mostly leads to more thinking on the gig — and LESS freedom.

And if there's one thing we want, it's the ability to play without worry.

#1 I just need an App to help me learn intervals and chords, right?

Many of us have been there — we download an app to learn our intervals or basic chord types, and some of us get very far with it. Cool!

[I definitely applaud you and support your move to address your ears.]

Then, after we continue practicing for some time, something peculiar happens — or rather, doesn't happen...

It doesn't help us memorize music, hear chord progressions better, or improve our composing and improvising.

The issue with many of the apps, or these skills learned in isolation is that they don't transfer to situations where we actually make music.

You need a way to put these skills into context — or quite honestly... just forget about memorizing intervals and individual chords.

Studying intervals and chords this way is akin to learning a language by ONLY studying individual words... but never full sentences. What so many of these apps and programs do is immediately start with de-contextualized skills (chords, intervals) and never connect the dots for you.

You need a program that places the emphasis on learning music from the beginning, and is organized so that the way you develop your ear models the way we play music in performing settings.

Say goodbye to memorizing intervals and chords. Seriously! There are far more effective ways to develop your ear.

[And if you don't take this Intensive, this is still my best advice: put REPERTOIRE at the heart of your learning experience!]

#2 I can memorize the chord changes from a chart... but I forget them a week later.

No matter how hard we understand and recognize what's happening in the music, memorizing chords and thinking about them will never be the ticket to learning tunes.

Think about reading a foreign language dictionary. How easy is it to remember words in a new language after glancing at them a few times?

Probably damn-near impossible, right?

That's because charts don't tell you how music sounds. And, in music that is entirely dependent on your listening abilities, it's no wonder that looking at a picture of symbols doesn't trigger our ear.

You need a different approach.

Chord charts are a reminder of music... but require YOU to interpret them and make the music.

There's nothing wrong with learning to read, and using the aid of notation. However, you need an approach that puts the chart last in your learning process.

The problem with learning a tune from a lead sheet is that it allows you bypass your ear, making it near impossible to recall later on. It's like expecting to get the same leg workout from taking an elevator as you would from taking the stairs. And if the shortcut is there, you'll never be encouraged to take the hard road... until the elevator breaks and misery strikes!

You need a process for tune learning that puts your ear at the center. That way, when you do look at a chart, you already know what the music sounds like — similar to reading a book inside of your head.

#3 I need perfect pitch to be able to develop these skills! I'll never get that...

Oof! There are a lot of myths surrounding building a great ear, but this is one of the most common ones I hear.

Here's full disclosure: I have perfect pitch.

I also have relative pitch.

And I can say that I have worked on my ears religiously for the last 20 years to develop the skills that will benefit me on the bandstand.

Both are helpful, but relative pitch — a skill that anyone can develop — is FAR more useful in performance settings.

The times where perfect pitch is useful is when I'm on a gig and can't hear the count-off for the tune... and I need to start playing on beat one. But do you know how to counter this?

Ask the bandleader for the key.

Do you know what perfect pitch can't teach you? How to hear the function of chords, how to write down the music you hear in your head, how to improve your intonation... skills which are far more important to musicians.

I've built my professional career playing with some of the top jazz musicians, including Jorge Rossy, Sheila Jordan, Wycliffe Gordon, Bobby Militello, Gordon Webster, Bill Dobbins, Nancy Kelly, Harry Allen, and the Focusyear Band.

I've also spent an equal amount of time practicing and researching the art of teaching... in order to make music learning possible for everybody.

➡ Why should you work to build amazing ears? ⬅

Because it may be one of the single most critical pieces to us experiencing freedom while performing, playing with confidence, and expediting our progress.

And being good at it leads to better, more fulfilling gigs — no matter the genre.

Why should you trust me to help you?⤵

Truthfully, there aren't as many people who are as active in the teaching space as they are performing space. You know my playing credentials, but we know that not every great player is a great teacher. Here's a shortlist of my teaching qualifications...

I've published six educational books for musicians that are used worldwide.
I've also taught at multiple universities including the prestigious Eastman School of Music, Kunstuniversität Graz, SUNY Oswego, and guest lectured all over the world.
I've produced multiple successful video courses for Discover Double Bass.
I've studied music pedagogy, curriculum design, and research through multiple degrees at the Eastman School of Music.
I designed one of the most innovative online teaching programs called the First Call Musicians, where musicians completely transform their playing and supercharge their ears.
I have tirelessly researched the heck out of jazz bass and aural skills pedagogy. [Think long nights reading dissertations and articles, analyzing method books and videos, designing research studies, you name it...]

Most importantly, I know what listening skills musicians need to have thriving careers...

And I've helped thousands of them do it.

1. How does the event work?

The FCM 1-Day Intensive takes place live via Zoom.

But this won't be your typical Zoom meeting. In this highly interactive event, you'll receive personalized attention throughout, and plenty of time to interact with your colleagues.

You will also have plenty of breaks, ample time to stretch and grab food, and opportunities to avoid become a Zoom-Zombie. (A zoombie, if you will...)

2. I’m not as experienced as other people. Is this right for me?

Yes, absolutely! The strategies I teach are powerful because they work for everyone, no matter what stage of the game you’re at.

Even if you’re relatively new to your instrument, returning after a break, or for any reason you feel like you’ll never play like the pros — this experience is perfect for you! What we’re dealing with is working on our core musicianship.

3. What is the cost?

All of this is available to you for $47. For perspective, a one-hour lesson with me costs $150.

4. I'm not very tech-savvy. Is that okay?

Absolutely! As long as you can use Zoom and are familiar with Google Drive, that's all you need in order to participate. You don't need a fancy camera, microphone, or anything — just the basics will be just fine.

5. Are there recordings if I can't make everything?

Yup! You'll receive all the recordings, though you'll want to make it live just so you can get the full experience. You'll have access to the recordings for one month.

THE FIRST CALL MUSICIAN:

1-DAY INTENSIVE

Perfect Your Ear & Advance Your Music Career.

RESCHEDULED FOR:Sunday October 6, 2024

12pm-6pm Eastern US Time

9am-3pm Pacific Time | 6pm-12am Central European Time

THE FIRST CALL MUSICIAN:

1-DAY INTENSIVE

Perfect Your Ear.

Advance Your Music Career.

Sunday October 6, 2024

12pm-6pm Eastern US Time

9am-3pm Pacific Time

6pm-12am Central European Time

Step onto any stage.

Thrive in unfamiliar situations.

Completely transform your fundamental musicianship.

Step onto any stage.

Thrive in unfamiliar situations.

Completely transform your fundamental musicianship.

“I've downloaded ear training apps, learned tons of theory, and try to visualize what I'm playing... but no matter what I try, I still can't play confidently without the sheet music!"

If that feels familiar ⤴

Then this is for you! ⤵

No matter where you are on your journey, the fact that you’re here tells me you’re already taking big steps towards advancing your musicianship — and it's NEVER too late to make these goals a reality.

Would you give yourself the chance?

- Stephen Parisi

Master's Student, DePaul University

-Jake Saeva

Bassist, Rochester NY

- Rafael Encisco

Master's Student,

Manhattan School of Music

- Stephen Parisi

Master's Student, DePaul University

-Jake Saeva

Bassist, Rochester NY

- Rafael Encisco

Master's Student,

Manhattan School of Music

Wouldn’t it be amazing to feel the freedom and confidence to play any tune or piece of repertoire without needing sheet music... or fear of getting lost?

To listen to the musicians in your group and know exactly what they're playing all the time — and how your role fits into that?

And be able to focus exclusively on creating music without worrying if you sound good?

→ Wouldn’t it be amazing to feel the freedom and confidence to play any tune or piece of repertoire without needing sheet music... or fear of getting lost?

→ To listen to the musicians in your group and know exactly what they're playing all the time

→ And be able to focus exclusively on creating music without worrying if you sound good?

"My playing has improved exponentially"

Cooke Harvey

Bassist, New York City

In the FCM 1-Day INTENSIVE, I'll be addressing common myths and struggles surrounding the your listening capabilties.

→ 3 Common Struggles ←

#1 I just need an App to help me learn intervals and chords, right?

You need a way to put these skills into context — or quite honestly... just forget about memorizing intervals and individual chords.

#2 I can memorize the chord changes from a chart... but I forget them a week later.

Chord charts are a reminder of music... but require YOU to interpret them and make the music.

#3 I need perfect pitch to be able to develop these skills! I'll never get that...

The goal of having great ears is to connect better with the music, in any way possible.

-Chisoo Kim

Bassist, New Orleans LA

-Mike Fittipaldi

-Chisoo Kim

Bassist, New Orleans LA

-Mike Fittipaldi

Let's talk about the details of the

FCB 1-DAY INTENSIVE

Sunday, October 6

6 hours of engaging teaching, interaction, and motivation with me and your peers.

Whether you're a full-time performer, educator, student, beginner, or hobbyist, you'll walk away with a plan for taking your listening to the next level. In our six hours together, we'll have a number of workshops (with breaks!) covering incorporating the following:

Personalized Musicianship Analysis

Ultimate Ear-Training Toolkit

Custom Career Blueprint

Direct Coaching Support

Industry Leader Appearances

Unlimited Course Material Access

These workshops have been designed to help you step onto any stage, thrive in unfamiliar situations, and completely transform your fundamental musicianship.