Some busking questions if I may...

[Profusia]

For those that busk (or play solo gigs) a couple of questions if I may...

I don't want to play with a music stand in front of me for all sorts of reasons. But is this a no-no when busking/playing solo?
I feel like it just wouldn't be the done thing to have sheet music but sadly I think I need it.

I think I have a shot at maybe getting melodies memorised and under my fingers, but, if no music, how on earth do you memorise the chord changes for improvising?
I guess this is particularly for people who only play sax like myself, so aren't used to really thinking in chord progressions so much as guitarists, but who manage to memorise chords for jazz tunes. I appreciate that key centred songs are a lot more straightforward.

Lastly, any thoughts on whether busking on sax is okay yet, given the delay in lockdown lifting?
Can't get any sense out of my local council.

Many thanks in advance. Cheers,

 

[Numerouscolours]

I agree with you on the No No to having a music stand in front of you, a small little crib sheet taped to the back of the case (assuming that's where all the lovely people are throwing the money. I know a couple of Guitarist who tape a few bits to the back of the guitar.

I will watch this thread closely as I can not remember anything, I can stand there and play through pages of sheet music, the moment the page closes I can't even remember the first note (that's not an exaggeration either). I have tried with simple melodies, simple tunes but to no avail. So let me know when you have mastered it.

As for Busking at the moment, here on the IOW we have had a few buskers, including a sax/guitar duo (really good as well), I would argue that as long as you are still socially distanced and can show a LFT and Vaccine proof the council should let you.

 

[Pete Effamy]

Many buskers use sheet music on a stand. There will always be those that think they are lesser musicians because of this (!)

However, I think that it's more about connecting with people as they wander by, and they are probably more likely to stop and listen if you engage them a bit with some eye contact and aren't rooted rigidly to the spot. All great buskers do this. So, you could have your music out in front as a crib, but try and get to know the tunes well so that your head isn't buried in the music. Also, don't let it be a barrier between you and your 'audience' - have the stand low (if eyesight allows).

I haven't busked for years and never on my own, always as a duo with a guitarist mate. I think I'd be pretty wary of having too much gear to keep an eye on these days so I would want to busk with just my sax on me and the case in front of me. You don't need many tunes, 6 - 10 would be ample.

As for learning tunes try learning a phrase or line at a time. Play each 5 or 10 times before moving on - maybe 5 times looking at the music and then 5 times turning away. The main thing is to learn how you take in information best. I never thought that I'd be able to be without music for a tour I did a few years back, but it all went in rather easily in the end.

 

[Pete Effamy]

I am always shocked at how completely paralysed some players are by having no music in front of them. When inheriting a new student my usual starting point is "play me something". This is often how it goes:

"Play me something"
"What?"
"Anything, just play"
"I don't know anything"
"Just blow me some notes then"
"Which notes? I don't know what to do."

Amazing really. All those months, maybe years of patterns/sequences of notes and no recollection of anything. Something seriously amiss. As a teacher I don't need to hear a tune in order to evaluate a student. The moment a note is played much of their technique is exposed straight away.

If you think that the above might in any part be you, then I'd take steps to change it. As I usually say to students - play anything, it doesn't matter, just play without the shackles.

 

[Wade Cornell]

Very good advice from Pete, especially about connecting with your "audience". You're an entertainer, not a beggar.

The only thing to add is something to work on and may seem a bit too difficult right now. Forget the changes and concentrate on the melody. The best improvisations are simply variations on the melody. Try to play these by ear. The practice for this is to internalize the melody so that you can sing it. Then sing a variation on it. That will be you composing/improvising in real time! The next bit takes quite a bit of practice, but is essentially where you want to go: Make the sax your voice and play what you would sing. Nobody wants to hear someone doodling and just playing a bunch of chord tones/arpeggios. You need to deliver YOUR melody with feeling. Just playing the changes IMHO is death.

 

[Pete Effamy]

concentrate on the melody

Indeed!! I've always thought that too many people gloss over this and want to get to the "sexy" improvisation. Let's imagine that player X can deliver a tune as beautifully as Getz but they can't solo. Hell, what does that matter?!

In fact, all the technical elements that go into making the delivery of a tune exceptional are exactly the same as playing a great solo. And yes, many people learn to improvise by noodling around the framework of the melody. You can take notes away, repeat notes, walk between notes that leap etc

 

[Pete Effamy]

In fact, have you heard the Getz album What The World Needs Now ? Very short tracks, little soloing from Getz. The standout feature for me is his playing of the tunes and the arrangements.

The Windows of the World

View: https://www.youtube.com/watch?v=ddBZejbIuK0

 

[Clivey]

Here's a 2 and a half hour set list from marathon busks in Puerto De la Cruz and Leith etc.
Notice it has only start note or notes No key. It's busking hardcore. With a Bluetooth speaker providing the accompaniment.

I am sure others do this too

 

[Profusia]

Many buskers use sheet music on a stand. There will always be those that think they are lesser musicians because of this (!)

However, I think that it's more about connecting with people as they wander by, and they are probably more likely to stop and listen if you engage them a bit with some eye contact and aren't rooted rigidly to the spot. All great buskers do this. So, you could have your music out in front as a crib, but try and get to know the tunes well so that your head isn't buried in the music. Also, don't let it be a barrier between you and your 'audience' - have the stand low (if eyesight allows).

I haven't busked for years and never on my own, always as a duo with a guitarist mate. I think I'd be pretty wary of having too much gear to keep an eye on these days so I would want to busk with just my sax on me and the case in front of me. You don't need many tunes, 6 - 10 would be ample.

As for learning tunes try learning a phrase or line at a time. Play each 5 or 10 times before moving on - maybe 5 times looking at the music and then 5 times turning away. The main thing is to learn how you take in information best. I never thought that I'd be able to be without music for a tour I did a few years back, but it all went in rather easily in the end.

You've touched on the main 3 things that concern me about having sheet music...
1. Will it be perceived as an indication of lack of ability
2. Too much gear - just something else to carry, and be knocked over or be messed with by overly enthusiastic substance assisted audience members
3. Eye contact. If the sheet's there I'll likely be glued to it as much because it's there as because of necessity.

The learning tunes concern is mostly about learn jazz standards with tricky enough changes (i.e. not key centred) for improvising, ie without basically learning a solo.

 

[Profusia]

I am always shocked at how completely paralysed some players are by having no music in front of them. When inheriting a new student my usual starting point is "play me something". This is often how it goes:

"Play me something"
"What?"
"Anything, just play"
"I don't know anything"
"Just blow me some notes then"
"Which notes? I don't know what to do."

Amazing really. All those months, maybe years of patterns/sequences of notes and no recollection of anything. Something seriously amiss. As a teacher I don't need to hear a tune in order to evaluate a student. The moment a note is played much of their technique is exposed straight away.

If you think that the above might in any part be you, then I'd take steps to change it. As I usually say to students - play anything, it doesn't matter, just play without the shackles.

I noodle happily. And my improvisation really began as playing with disregard to chord changes, which I could get away with on some tunes at least to a sufficient degree to satisfy most non jazz audiences (wouldn't dare try it in a jazz club!) So I don't feel shackled. I just can't remember chord changes very well without a sheet.

 

[Pete Effamy]

tricky enough changes (i.e. not key centred)

Most tunes are key-centered, but not always for a whole A or B section etc. Some that aren't can be "got away with" making them so, and others will have a few bars of staying in a tonal centre through ii - v - I etc. Avoid Have You Met Miss Jones mid 8...

 

[Pete Effamy]

I just can't remember chord changes very well without a sheet.

This is me too I must confess. A weird mental block. Having said that I function "old school" really well - ie when playing the same tunes regularly with a band I can 'pre-hear' the harmonic movement.

 

[Profusia]

Most tunes are key-centered, but not always for a whole A or B section etc. Some that aren't can be "got away with" making them so, and others will have a few bars of staying in a tonal centre through ii - v - I etc. Avoid Have You Met Miss Jones mid 8...

I play Have You Met Miss Jones and have battled many times with that bridge.

When I say "not key centred" I'm talking about those which move around more than many.

For example I'm thinking of tunes like Just Friends, The Days Of Wine and Roses, or On Green Dolphin Street all of which I play but would not dare to to approach them as key centred.

On the other hand things like Night And Day (for the most part), Fly Me To The Moon, On The sunny Side Of The Street (again for the most part excluding the bridge) and even Autumn Leaves I can largely get away with with little or no reference to the actual chords simply playing in key by ear/memory. But I still think they benefit with reference to the chords, as long as it doesn't detract from the freedom to express melodically, which is something that I'm still working on.

Then there's All Of Me, which I used to happily blast through in concert C major and get away with (again to all but very discerning ears) but now feel compelled to honour the changes on and much prefer the sound when I do.

So I could stick to the more key centred tunes and just let rip, but I actually love the ones with more interesting changes and the way improvisation sounds over them, even though I still have a lot to learn and work on yet.

 

[Tenor Viol]

Personally, I don't have issues with people having music stands - you can position them so as not to be too obtrusive. I know some people argue that it 'blocks' the link to the audience... but if it helps you to play, I think that's an advantage over not playing.

 

[Profusia]

Here's a 2 and a half hour set list from marathon busks in Puerto De la Cruz and Leith etc.
Notice it has only start note or notes No key. It's busking hardcore. With a Bluetooth speaker providing the accompaniment.View attachment 18456 I am sure others do this too

How do you manage to get through 50 numbers in just 2 and a half hours. That's really going some!

 

[Clivey]

How do you manage to get through 50 numbers in just 2 and a half hours. That's really going some!

Just kept playing. Noticed that you made more when playing than interacting unless it was a happy birthday request.
There's no way I would have the physical and mental stamina today to do these confidently but I was doing this approximate set 3 evenings a week and also the ocassional 2 set gig if about the same duration.
Needs must. I can't justify going out at the mo , not really needing dough, busy, tired but if I get back to the canaries in the next say 3 years I will need to internalize a longish set again and add in some up to date Latino pop additions.

 

[Hankenstine]

Agreed, I think playing without music stand/reading music is advisable for busking. When I learn a song I always learn the melody and the chord changes. Melody first, then chords. I learn melodies by ear and try to figure out the chord changes by ear too but sometimes have to resort to sheet music or ireal book if I get stuck. Memorising is a long process, especially when you first start learning songs but the more you do it the easier it gets. I usually have to forget what I've learnt and relearn it a few times before it becomes completely ingrained.

I've busked a few times over the years with a guitarist friend but it's difficult to convince him to do it anymore as he is always moaning about using a battery amp and the quality of the sound etc... It's a shame as I really enjoy it.

Has anybody here busked unaccompanied i.e. without an accompanying instrument or backing tracks etc...? I've tried this a couple of times (memorably one time in Amsterdam where I made exactly zero pounds/euros) but it is hard unless you're an improvisational master like Sonny Rollins:

View: https://youtu.be/Kc5BA0pbCk0

 

[eb424]

I am always shocked at how completely paralysed some players are by having no music in front of them. When inheriting a new student my usual starting point is "play me something". This is often how it goes:

"Play me something"
"What?"
"Anything, just play"
"I don't know anything"
"Just blow me some notes then"
"Which notes? I don't know what to do."

Amazing really. All those months, maybe years of patterns/sequences of notes and no recollection of anything. Something seriously amiss. As a teacher I don't need to hear a tune in order to evaluate a student. The moment a note is played much of their technique is exposed straight away.

If you think that the above might in any part be you, then I'd take steps to change it. As I usually say to students - play anything, it doesn't matter, just play without the shackles.

I think that would scare the shoot out of me...it must be wonderful to be that comfortable (and knowledgeable) just to be able to let go....

 

[Pete Effamy]

I think that would scare the shoot out of me...it must be wonderful to be that comfortable (and knowledgeable) just to be able to let go....

But what do you play when you warm up? When you test a Reed?

 

[Colin the Bear]

The less you have to carry or worry about on the street the better. You may have to set up and pack up and move several times.
Also if you're focused on the sheet music you're less aware of your surroundings.
There are other street people out there who will have it away with anything they can.
Some city police forces will move you on if you're drawing a crowd, citing obstruction or pick pockets.
As far as interacting with the audience goes it depends if you're there to make money or pick up gigs.
If the former then passing trade is what you need. They can hear the saxophone for at least a quarter mile in each direction. Some built up areas much more.
As far as solos go, some are variations on the melody, some follow the harmony and some a mixture. If playing with accompaniment the harmony is right there. No need to learn it.
If you can't play it without the music you don't really know it imo.
There's a lot more to busking than playing your instrument. 😉