Learning to hear

[bassbloke]

Thanks to both for your thoughtful responses. I think I now get a better idea of your meaning. You are saying that there is a harmonic logic to a lot of jazz and a range of typical harmonic structures. Once you understand these, your ear has to decide between a more finite range of possibilities.

To be honest I knew this, but probably hadn't really appreciated how important it could be, (ok, a good teacher would have made that clear, - point taken. Now where is he?). I've not really worked much in this area, beyond thinking circle of fifths or II/V/I.

Jerry Coker's book "Improvising Jazz" has sections on functional harmony and typical tune structures and no doubt Mark Levine discusses this at length also. I have read the information but not really made the effort to master it. Looks like I need to do some work on this.

Ed I tried your "ActiveBass" method on blues and on Autumn Leaves. It was a big help although I've only scratched the surface of the possibilities. I can see how it would get the harmony deep into your brain if you spend the time. I definitely want to revisit this at some point. I think it would be particularly useful for learning to solo (though very helpful for walking too) but at the minute I'm not so interested in learning to solo as really getting my accompaniment together.

A month or two ago I printed off an arpeggio exercise which I believe you suggested in another thread here, but I confess I've not found time to really work on it. Practice time has been under pressure lately because I'm having to learn a lot of new tunes for projects I'm involved in (both jazz and non-jazz). My funk project is usually pretty low-maintenance but every so often we decide to replace around half the set, which means work. Once the new tunes are learned I will find more time for the jazz stuff which is really what interests me most.

The arpeggio method I have used involves taking a major scale and playing all the possible arpeggios (in C, Cmaj7, Dm7 etc) in five different positions on the neck. Then Fmaj scale and so on. Obviously this is only covering M7, m7, 7 and m7-5 chords. There is scope to extend the exercise to cover all the inversions and move on to other chords but I just haven't got that far yet. For the last couple of months I've mainly just been learning tunes, practising my walking and doing the ear-training exercises but I realise that's neglecting a lot (technique and reading as well as arpeggios and theory).

[anonymous0726]

Originally posted by bassbloke
...particularly useful for learning to solo (though very helpful for walking too) but at the minute I'm not so interested in learning to solo as really getting my accompaniment together.

All the same thing. What you said could be rephrased, "I'm not going to spend effort on harmony right now, just counter-harmony."

Ya' dig?

[Chris Fitzgerald]

Originally posted by Ed Fuqua


Playing along with BinaB or Aebersold records is not the same thing as doing work with 4 part chords in all inversions, maybe I'll talk to Pawlie about posting a lesson on that as well.


Thanks for the kind words about the lessons at activebass, but I have withdrawn my participation from that site and they are no longer there. I will talk to Admin Pawlie about getting them up here.

Ed,

YOU BIG MOUTH-BREATHING BAG OF BOOGERS (and I mean that in the most respectful way possible), you don't have to talk to Admin Pawlie about posting them here... that's what all of those "Newbie Links" threads are all about. Send me a link to whatever you want to put in place, tell me where you want me to put it (within reason, of course....), and it shall be done. If you want, I can find out from Paul if some of the stuff can go on the home page, but at the very least it should be posted in DB. Also, if you get a minute, send along a link to that "Slow Practice" essay you used to whip out on clueless newbies, and I'll post it in one of the Links threads. This is exactly the kind of stuff I've been begging people to send me links for.

So, what happened over at activebass? Did I miss some excitement? I hate it when that happens...

[Chris Fitzgerald]

Originally posted by Ed Fuqua
No real excitement, it's just that the ratio of bass holders to bass players seems higher. It started by some kid posting in the (miniscule) DB section the equivilent of "Hey, doan nobody ever play this dad gum thang?" I'm sure you can articulate my response already. My suggestion that the Hopeful Ingenue was just pulling chains and had No Real Interest in the instrument at all (and that if he did, why not post an actual question rather than poke an old stick in) met with some resistance from his Brethren and Sistern, culminating with somebody posting "Here's a question, why are all DB players assholes?"
So, I sat back and thought to myself " Gee if I take all the grateful thanks and appreciation that my involvement on (that particular) board has generated, the lessons I posted, the answers I had given on playing actual music and advice on how to get closer to playing the music you hear in your head and put it in one hand, and then **** in the other, which will fill up first?"

Word.

So I'm happier in an environment where, even though there are any number of people who think I'm an *******, there are any number that don't. And a number who started out thinking I'm an *******, but have gradually concluded that just because I don't say things the way they want to hear'em, doesn't mean I don't have their best interests at heart. And personally I would rather be a part of a site where people will put up with a certain amount of ascerbity and good natured ribbing if they can get serious answers to their questions, rather than one that remains "******* free", but where you get answers about how to play through harmony like " just try to get a good feeling and play what sounds good".
But at least they're happy.
ahem.


And full of bliss. Never forget the bliss..


I was thinking more along the lines of posting the lessons and article like Jazzbeaux' INTRO TO CHORD thingie, with actual written out musical exercises and stuff, how bout that?

That would be great. Do you have the means to pull that off? Let me know if I can help. In the meantime, I'd love to post 'em in any form in which you got 'em. Likewise with the Slow Practice Essay...those things could be doing some folks some good. I got an email from DEAD HATCHBACK (He of the beautiful flaming bass) the other day commenting on the number of lurkers around here, and his point was well taken: there's more traffic here than meets the eye. If you have eyes, send whatever you've got, I'll stick it up, and we can worry about revising the format at any time after that.

Hope you're doing well, and that you'll be able to move into your new place before you retire.

[bassbloke]

Ed I dug out your suggested arpeggio exercise and started working on it tonight.

Working hard is a relative concept but I manage to find 10-20 hours most weeks. Of course I realise that skimming through materials is not the same as absorbing them. But I try and choose the best areas to concentrate on. And of course I don't always get it right.

Enitharmon

[JazznFunk]

Originally posted by Bruce Lindfield


I still think there is no substitute for putting the time in and they will be playing every night and studying all through the day!

Couldn't have said it better myself... The other big thing is playing with people whenever you can. My progress went through the roof in the past 2 years because I played jazz with people so much better than me that kicked my butt and allowed me to screw up while I learned. You pretty much have to become obsessed with the stuff to the point that you think about music all the time, whether you want to or not. I find myself watching a movie or something and still working through progressions, solo ideas, etc., even without the bass in my hands.

It's certainly one thing I'm proud to be obsessed with and addicted to. ;-)