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EDDIE LANDSBERG
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For Students Who Struggle to Practice

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​In general, I practice hours and hours a day.  Getting good at Jazz is all about getting good at practice.  Practice literally becomes a meditative act, and something that transcends all else in life. You have to be the type of person who gets separation anxiety just having to put down your instrument for even a few hours.  Practice is so important that Jazz great Sonny Rollins actually quit playing for some time at the peak of his career just to have time to go out and woodshed under the Williamsburg Bridge.  

This said, there are a few important things to understand:  First, consistency is most important.   Believe it or not, 5-10 minutes a night of consistent practice will actually work more than going most the week without practicing, then cramming all night or day before the lesson.   This is in part because it takes time for things to sink in.   Cramming does just about nothing for muscle memory and development, and since in music over learning is learning, just sitting down at your instrument for a couple hours one day a week isn't really going to do much to turn you into a confident performer. 

So, what it the best way to practice?  First, you really want to have a clear picture of what you're working on.  Consider your teacher a type of performance coach who teaches you how to practice.  Do not pay to take a lesson without leaving with a clear idea just WHAT exactly you have to practice and how you're going to practice it.  Sure, there are lot's of neat and cool things your teacher can show you, but in the long term, its all about preparing you for the week of study ahead.   

Lessons should always result in two things:
  • You leave the lesson knowing what you need to go home to work on and how to do it.
  • You leave the lesson with a sense that your instrument is beckoning you to go home and work things out on it.

Related to this, be wary of teachers who lack focus and provide very complicated homework assignments as if the lesson has a million different points.  Remember, even a simple set of just a few repetitive exercises may require hours and hours of practice to get to the point that the marks are reached. Good teachers don't bury the main points of their lessons: they enforce and reinforce them. Furthermore, good teachers set goals their students can accomplish then build on those successes.  They don't overwhelm their students with unattainable goals from the get go.

So, here's a new approach to thinking about your music studies:  A music lesson isn't necessarily a place to learn stuff.  It's practice training, then you come back to the lessons and clarify stuff, get more practice training, go home, and work on stuff some more.  The real learning should occur between the lesson.   If you've been taking lessons for years and haven't been making any progress, that's where the problem is:  You're looking in the wrong place for the progress.

By the way, this concept is not my completely original idea.  Check out articles around the web on flipped classroom learning!
 
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​Eddie Landsberg, MA, Ed.M, B.Mus

An internationally respected music theorist and performer, Eddie was born and raised in Philadelphia and began classical piano training at the age of 5,  starting Jazz Studies at Philadelphia's famous Settlement Music School in his teens.  Switching to Hammond Organ in his mid 20's, he received his first organ lesson from the legendary Shirley Scott then studied Jazz composition and performance with Blue Note Recording artist Big John Patton.  He also received guidance from Austin Mitchell (a favorite accompanist of Ella Fitzgerald) and began performing alongside Byard Lancaster and other "old school" Philly and East Coast Jazz and R&B legends.  After recording several CDs which received national air play ( NPR, WBGO and hundreds of radio stations across in the U.S), Eddie became one of the original factory demonstrators for the original Nord Electro, touring Europe to promote their product.  Shortly after, he moved to Japan where he spent almost 20 years teaching, leading bandstands and running his own venue which was featured on NHK and in magazines throughout the country.  While there, he also did vocal and performance coaching for Victor Records, and was involved in promotions for Yamaha Motorcycles and the Mori Building (celebrating the opening of the famous Roppongi Hills Complex.)
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Eddie currently resides in Astoria, Queens and is creator of the "7 Secrets of Jazz and Soul" Jazz improv series.  


Education: BA in Music, Thomas Edison State University MA Liberal Studies (focus onEthnomusicology and Critical Jazz Studies), Rutgers University (Capstone with Honors) Ed.M, Rutgers University, specializing in Adult Education
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Recordings | Publications | Interviews 


エディ・ランズバーグ、MA、Ed.M、B.Mus
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エディ・ランズバーグは、国際的に尊敬される音楽理論家兼演奏家で、豊かで多様な音楽的背景を持っています。フィラデルフィアで生まれ育ち、彼はわずか5歳のときから音楽の道を歩み始め、クラシックピアノのトレーニングをスタートしました。ティーンエイジャーの頃、フィラデルフィアの名門セトルメント音楽学校でジャズスタディに没頭しました。そして20代半ばでハモンドオルガンに転身し、伝説的なシャーリー・スコットから初めての指導を受けました。その後、ブルーノート・レコーディング・アーティストであるビッグ・ジョン・パットンの指導のもと、ジャズの作曲と演奏の技術を磨きました。  エディの音楽的旅路は、エラ・フィッツジェラルドのお気に入りの伴奏者であるオースティン・ミッチェルなど、著名なアーティストからの貴重なアドバイスで彩られました。彼は「オールドスクール」のフィラデルフィアや東海岸のジャズとR&Bのレジェンド、バイヤード・ランカスターなどと共演し、音楽シーンに不朽の足跡を刻みました。 エディの創造的な旅は、全米で放送されるなど、高い評価を受けたCDの制作につながりました。彼はまた、革新的な楽器であるノードエレクトロのオリジナルファクトリーデモンストレーターの一人として、ヨーロッパツアーを行い、製品の宣伝に貢献しました。 その後、エディは日本への大きな転機を迎え、ほぼ20年にわたり教育者、バンドリーダー、独自の名門会場の経営者として活動しました。彼の仕事は、NHKでの出演や国内の多くの雑誌での取り上げられ、広く認知されました。この期間中、彼はビクターレコードのためにボーカルとパフォーマンスの指導を行い、ヤマハモーターサイクルと森ビルディング(有名な六本木ヒルズコンプレックスのオープニングを祝う)のプロモーションにも貢献しました。
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現在、エディ・ランズバーグはクイーンズのアストリアを拠点にし、「ジャズとソウルの7つの秘密」ジャズ即興シリーズのビジョナリーです。
学歴:
  • 音楽学士号(B.Mus)、トーマス・エジソン州立大学
  • 芸術修士号(MA)リベラルスタディ、ラトガーズ大学(エスノミュージコロジーとクリティカルジャズスタディに焦点、優等でキャップストーン)
  • 教育修士号(Ed.M)、ラトガーズ大学(大人の教育を専門とし、特別研究で優等)
エディの録音、出版物、インタビューを通じて、彼の驚異的な音楽の旅に深く没頭してください。

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