David Haynes

[David Haynes]

I’m curious about students who started the Method (any method, for that matter) and then sort of drifted away despite a strong desire to learn. One of my other projects addresses the behavioral and environmental issues that tend to get in the way when we’re trying to change daily behaviors – like practicing the piano.

Like Nick, I had a period early on with few distractions when I was deeply immersed in the Method. That was when I really came to believe I could learn to play songs. I am not, by nature, someone who focuses well over long periods of time.

Behavior change is harder than we think. I do, however, believe that one can learn how to learn. If you’re interested in taking part in a little experiment in ‘practice behavior’ over the course of a couple months, let me know.

By the way: Nick’s version of ‘Misty’ is on the Students Play page. And the ‘fireside chats’ he refers to (called ‘pianoside chats’) are on the ‘Student Resources- Advanced’ page.

[David Haynes]

I wouldn’t get distracted by that detail. You need to hear the melody but your brain is going to tend to recognize it as the top note of your chord anyway. If you hear the melody yourself you’re probably fine. If you have doubts, record yourself and have a listen.

[David Haynes]

Hi Chris,

I’m curious about why you ‘never really got past Misty’. What got in your way?

Thanks,
David

[David Haynes]

Yes Chris – email me directly or use the ‘contact us’ link at the top of the page. Give me the email address you used on the old site.

[David Haynes]

David simplifies things a little – the reality is somewhat different. First I think it’s important to remember that David’s really talking about a niche of piano playing: solo popular songs. I’ll just start this discussion and see if anyone else chimes in.

He does insist that you learn your major scales – not so you can play them but so that you can see them. And also so that you get some feeling for turning your thumb under as you move along the keyboard. Much of what’s going on as you’re working with his Method is that you’re looking at the keyboard and listening to the sounds. The fact is that as students get more practice working out voicings they find themselves grabbing clusters of notes, moving fingers around, and then, when they like the sound, writing out the fraction to document the voicing. The ‘rules’ occasionally give way to the ‘sound’ – as it should be. We’re not constrained by a score (or by a vocalist or bandmates, for that matter).

I’ll say more later about “a way” versus “the way”. Finding a path. Changing course. Choosing new destinations.

[David Haynes]

I think blues is a little different animal. Suds has some discussions about blues in the Advanced Resources but I know it’s a topic he had hoped to expand upon. I think in the general sense of the geography of the keyboard David’s Method sets some groundwork for getting involved in the blues but I wouldn’t say it’s an obvious progression (if you will).

As far as pop styles, I’m assuming you mean more current popular music – and I’m probably not the best person to even know what’s ‘popular’ today. In my experience, songs with harmonic movement (or songs that you can add harmonic movement to) lend themselves better to David’s approach than more sparse or static progressions.

In the simplest sense, a good song remains a good song. But an iconic rendition of a song can be popular in the moment although perhaps not as amenable to a solo piano rework. The ‘style’ is open to ones own inclinations and abilities. Thus I can love Steely Dan (from my generation) but not really know how to deal with “Aja” (or want to) as a solo piano piece.

So to circle back to your question about color tones and progressions, I can only say that sometimes I find myself less adventurous with songs that I have a strong single rendition already in my head.

(P.S. – I moved your other post to the Sudnow Students forum because I think it deserves a broader audience.)

[David Haynes]

I have everything from the old site. I continue to review stuff and will update as I’m able.

[David Haynes]

Most of the conversations that Suds had with students that I thought had lasting value are captured in the “Frequently Asked Questions” section in the Basic Resources page (not on the home page).

The archival forum won’t accept new registrations. My hope is that new conversations can get started here – but do check out the FAQ mentioned above.

[David Haynes]

Marc – I can’t recreate your error so I just emailed the doc to you.

To your second question, you’ll see that table on the opening slide in the last lesson of the “Learning to Voice Songs” lesson. I should probably include it on that page but keep in mind that – in the interest of simplicity – cover every chord symbol you may come across. There are exceptions that are covered in the resources section but for now just use your ear to decide if you’re uncertain or ask about a specific notation.

[David Haynes]

Hi Marc,

Tell me what page you’re using to get to the scale printout. I just opened it successfully from Safari, Chrome, and Firefox. Maybe something else is going on. This document, unlike “Misty” is stored locally so maybe there’s some delay or glitch. I’ll move it over to Google docs but you should be able to get to it now. If not, email me directly and I’ll send you a copy.

Sorry for the hassle.

[David Haynes]

I’d sort of forgotten about that video. David added it later to the original web site. When I was reworking the seminar I lifted a couple minutes out of it but wasn’t quite sure what to do with the rest of it. Most of the contents were covered visually within the new seminar format (the original format was all audio).

Thanks for reminding me – I’ll take another look at it.

[David Haynes]

Hi Marc,
Initially it’s pretty typical for people to resist the b9/#11 combination with dominant chords – it does sound a little dissonant. But in context it adds to the harmonic interest.

A couple things: If you’re playing an acoustic piano make sure it’s in tune. Stick with the voicings as written – you’ll have lots of opportunities to make your own choices later and you need to become accustomed to this way of hearing dominants.

The voicing you suggest: 1,3,5,M is a basic major triad (with the melody – a 6th), so while the b7 is in your right hand the overall chord doesn’t sound much like a dominant.

[David Haynes]

Hi Marc,

Your ‘expiration date’ should be visible on your home page but the membership renews every year. There are two ways you can renew: Pay the $7.00 (Basic Membership) or send me a recording of you playing ‘Misty’ from the dot song and I’ll waive any further renewal fees.

Not certain which video you’re referring to. Post a link and I’ll take a look.

Thanks
D

[David Haynes]

Fixed the Pianoside #5 Chat link – used David’s original format (may update later). Still doing some detective work on the audioletter references.

[David Haynes]

Thanks for the heads up. I’ll add it to my punch list and post here when it’s completed.

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