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Jeff Berlin Discussing Music Ed

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I am told that John Goldsby wrote this. For years I believed that the best column that BP ever published was John's. He's a musician first, he knows his stuff and I totally respect him. He writes one of the best columns that Bass Player ever published.

John, have we ever met? My brain has turned into oatmeal the older that I get. If we haven't can you come by the Markbass or the DR Strings booth at NAMM and say hi? Also, I'll be playing with Danny Gottlieb and Sid Jacobs at the Cort booth.

Best,

Jeff
Hi Jeff -- right, my name here on the TalkBass forum is Chop_1992, for reasons too boring to go into. We've never met -- I live in Cologne, Germany, used to live in NYC, but our paths never crossed in person.

I am a huge fan of your playing and writing. I would love to get to NAMM, but that won't happen unfortunately. I will probably be at the Frankfurt Musik Messe in the spring. Maybe I'll see you there.

Have fun playing with Danny (he's one of my favs), and of course with the incredible Mr. Chambers in Italy. If you guys are anywhere near Cologne, let me know.

Thanks everyone for the kind words about my Bass Player articles.

Listen to Jeff!
 
No Man! Don't leave! Just take it easy! You seem to be a little wound up!
Not that wound up, I think I just feel as strongly positive about my experience as you do yours.
There is so much that you endorse about musical education that I agree with, we're just going to have to agree to disagree on this point.

JB said:
THIS is using the device as a tool, not the way that so many other guys are using it.
Which is the other thing that kind of bugged me, you never asked, you just assumed that this is what I was talking about.
 
Thanks everyone for the kind words about my Bass Player articles.

Listen to Jeff!

Hey John - I have saved every single one of your articles from BP. And someday I hope to actually be able to play them all well! Thanks again for the great work and inspiration.

And Jeff - have a great trip. Sure wish I could see you with Dennis. If there are any plans to do a recording during your tour (hopefully a video too) please let us know. I will buy several copies for myself and friends.
 
Hi Jeff -- right, my name here on the TalkBass forum is Chop_1992, for reasons too boring to go into. We've never met -- I live in Cologne, Germany, used to live in NYC, but our paths never crossed in person.

I am a huge fan of your playing and writing. I would love to get to NAMM, but that won't happen unfortunately. I will probably be at the Frankfurt Musik Messe in the spring. Maybe I'll see you there.

Have fun playing with Danny (he's one of my favs), and of course with the incredible Mr. Chambers in Italy. If you guys are anywhere near Cologne, let me know.

Thanks everyone for the kind words about my Bass Player articles.

Listen to Jeff!

Listen to John! Seriously! He knows his stuff...
 
This may have been covered and I apologize if it has (and if it has, please don't hesitate to simply tell me to look for it in the thread!) - but since I've committed to getting back into a regular home practice routine I thought I'd ask...

Jeff, could you outline in general terms a daily practice routine for a player who has formal training, can read, understands theory and wants to improve his overall skills - but most importantly to me, my ability to solo over changes or in full-on improvisational situations.

I'd always focused on being the 'under the radar, supporting bass player' and shied away from showing off and learning how to solo. I need to change that!

I'm not in a 'reading' project, however we do toss out chord progressions on occasion and even break out charts every so often, so an at-home practice routine that would strengthen both my mental approach and physical ability to deliver the goods when it comes to soloing would be super. It may be too broad a topic to cover in a generic prescription - but if you can, I'd sure appreciate it!

So if I could dedicate 1 hour a day to a solid practice routine - what would it look like?

For example:
1) warm up/stretch (how?)
2) dexterity exercises (alternating finger stuff - string crossing stuff - large interval stuff... etc...)
3) reading exercises
4) Melodic studies...
5) Harmonic studies...
and so on...
 
, and I have never seen such a group of guys so into music as I have found on this thread. I am totally blown away about how this thread is turning out. Don't you other guys feel the same?
I had thought, while following this over the past few days, that is the probably the most valuable online music discussion I have ever read. Am thinking of attending your one week course, do you take old guys?
 
It is the same with music. But you really have to love to play. If you love to play and improve your playing, then it isn't too much of a stretch to include some excellent practice in your plans.

I always loved practicing the Bach 'cello suites (and even attempted the Violin sonatas and partitas) to keep me honest and to keep my eyes on the horizon. Of course, Coltrane, Miles and a multitude of other illustrious company are not bad mentors either.
 
I have lurked on this board for years; I rarely contribute because I only post if I really have something to add to the discussion. I don't know if I actually have something to add, but after following this thread for the last couple of weeks I feel compelled to weigh in with my thoughts.

I am completely blown away by the quality of this thread; without exaggeration I can say that this is the single most civil and, more importantly, most useful conversation I have ever seen on the internet. Even with some strong opinions and disagreements, the level of discourse has been top-notch, and everyone involved should be proud of themselves. I'd like to thank everyone for that, and especially thank Goldsby, Friedland, and Vogt (and all the established players/teachers) for contributing and raising the quality even higher.

I have followed the controversies surrounding Jeff Berlin's opinions and statements over the years, going way back to the early BP mag columns and the debates with Steve Bailey. As many other have, I took exception to his tone and attitude at first, but as I took the effort to actually hear and understand what he was saying and why he was saying it, it became clear to me that his reasoning was flawless and born out of decades of experience, and that he genuinely cared about music education and about the welfare of those who wanted to study and learn music. While some may still disagree with his opinions and reasoning (although I can't see where there is much room for disagreement), the one undeniable truth that comes out of this thread is that Jeff is truly committed to the student and to spreading the best methods of musical education. Consider this: Jeff is an internationally-known, respected, legendary musician and educator, he presents clinics and performs around the world, and he runs a successful school, yet he is willing to take part in a 25+ page thread on music education and contribute over 100 posts, many of which address specific questions about learning and studying music. That is an incredible investment in time and mental effort, with the only real payoff being the opportunity to help others. Arrogant blowhards with giant egos and attitudes don't do things like that; only an individual who truly cares would put in that sort of effort, and all of those over the years who have taken personal offense to his opinions are clearly misinformed.

Jeff, I'd like to personally thank you for putting out that sort of effort, and I'd like to let you know that it has helped and inspired at least one person on this board (I know it's inspired a lot more than that, but I can only speak for myself). I have played for over 20 years now. I'm completely self-taught and I learned primarily by ear and by playing with others. About ten years ago I started making an effort to really learn music, and I purchased a chord chart and a book on reading the bass clef (http://www.melbay.com/product.asp?ProductID=95297). I found myself frustrated because I had the impression that it wasn't acceptable to play the lessons slowly, and because I didn't see the immediate value in those lessons, so I didn't go very far with my studies. I have been stuck in a rut musically for years, and I hardly ever pick up my bass anymore, but after reading this thread and hearing your approach, I found and dusted off my note reading book and chord chart, and I started putting in about an hour a night working on the lessons and playing the chord tones up and down the neck as you suggested. I find that I'm more excited about playing than I've been in over a decade. I hope to one day attend at least a 1-week intensive at the Player's School, but even if I don't, I feel like a whole new world has opened up for me.

Sorry for the long post, but I had to get that out. I'll end with a couple of simple requests:

  • Mods - please firmly pin this thread to the top of the board.
  • Talkbass community - continue to keep the standard of discussion civil, reasonable, and at a high level, as we all benefit when this happens.
  • And Jeff - have a great time in Italy, and keep up the fight.
-Yools
 
This may have been covered and I apologize if it has (and if it has, please don't hesitate to simply tell me to look for it in the thread!) - but since I've committed to getting back into a regular home practice routine I thought I'd ask...

Jeff, could you outline in general terms a daily practice routine for a player who has formal training, can read, understands theory and wants to improve his overall skills - but most importantly to me, my ability to solo over changes or in full-on improvisational situations.

I'd always focused on being the 'under the radar, supporting bass player' and shied away from showing off and learning how to solo. I need to change that!

I'm not in a 'reading' project, however we do toss out chord progressions on occasion and even break out charts every so often, so an at-home practice routine that would strengthen both my mental approach and physical ability to deliver the goods when it comes to soloing would be super. It may be too broad a topic to cover in a generic prescription - but if you can, I'd sure appreciate it!

So if I could dedicate 1 hour a day to a solid practice routine - what would it look like?

For example:
1) warm up/stretch (how?)
2) dexterity exercises (alternating finger stuff - string crossing stuff - large interval stuff... etc...)
3) reading exercises
4) Melodic studies...
5) Harmonic studies...
and so on...

If you are all of the things that you described, then start transcribing jazz solos and then learn to play them. Nothing, anywhere, at any time, comes close to opening doors for a player than to transcribe well and then practice what they have written.
 
If you are all of the things that you described, then start transcribing jazz solos and then learn to play them. Nothing, anywhere, at any time, comes close to opening doors for a player than to transcribe well and then practice what they have written.

Perfect! That's what I'll do. Time to break out the pencil and staff paper and blow all that dust offa my transcribing chops. That's going to be a slow go at first, but that's part of the formula, isn't it?
 
I have lurked on this board for years; I rarely contribute because I only post if I really have something to add to the discussion. I don't know if I actually have something to add, but after following this thread for the last couple of weeks I feel compelled to weigh in with my thoughts.

I am completely blown away by the quality of this thread; without exaggeration I can say that this is the single most civil and, more importantly, most useful conversation I have ever seen on the internet. Even with some strong opinions and disagreements, the level of discourse has been top-notch, and everyone involved should be proud of themselves. I'd like to thank everyone for that, and especially thank Goldsby, Friedland, and Vogt (and all the established players/teachers) for contributing and raising the quality even higher.

I have followed the controversies surrounding Jeff Berlin's opinions and statements over the years, going way back to the early BP mag columns and the debates with Steve Bailey. As many other have, I took exception to his tone and attitude at first, but as I took the effort to actually hear and understand what he was saying and why he was saying it, it became clear to me that his reasoning was flawless and born out of decades of experience, and that he genuinely cared about music education and about the welfare of those who wanted to study and learn music. While some may still disagree with his opinions and reasoning (although I can't see where there is much room for disagreement), the one undeniable truth that comes out of this thread is that Jeff is truly committed to the student and to spreading the best methods of musical education. Consider this: Jeff is an internationally-known, respected, legendary musician and educator, he presents clinics and performs around the world, and he runs a successful school, yet he is willing to take part in a 25+ page thread on music education and contribute over 100 posts, many of which address specific questions about learning and studying music. That is an incredible investment in time and mental effort, with the only real payoff being the opportunity to help others. Arrogant blowhards with giant egos and attitudes don't do things like that; only an individual who truly cares would put in that sort of effort, and all of those over the years who have taken personal offense to his opinions are clearly misinformed.

Jeff, I'd like to personally thank you for putting out that sort of effort, and I'd like to let you know that it has helped and inspired at least one person on this board (I know it's inspired a lot more than that, but I can only speak for myself). I have played for over 20 years now. I'm completely self-taught and I learned primarily by ear and by playing with others. About ten years ago I started making an effort to really learn music, and I purchased a chord chart and a book on reading the bass clef (http://www.melbay.com/product.asp?ProductID=95297). I found myself frustrated because I had the impression that it wasn't acceptable to play the lessons slowly, and because I didn't see the immediate value in those lessons, so I didn't go very far with my studies. I have been stuck in a rut musically for years, and I hardly ever pick up my bass anymore, but after reading this thread and hearing your approach, I found and dusted off my note reading book and chord chart, and I started putting in about an hour a night working on the lessons and playing the chord tones up and down the neck as you suggested. I find that I'm more excited about playing than I've been in over a decade. I hope to one day attend at least a 1-week intensive at the Player's School, but even if I don't, I feel like a whole new world has opened up for me.

Sorry for the long post, but I had to get that out. I'll end with a couple of simple requests:

  • Mods - please firmly pin this thread to the top of the board.
  • Talkbass community - continue to keep the standard of discussion civil, reasonable, and at a high level, as we all benefit when this happens.
  • And Jeff - have a great time in Italy, and keep up the fight.
-Yools

This was a very nice letter from you and I thank you. My intention was, and is, to tell the truth. The truth isn't subjective. It is the truth! And the truth is, many methods of learning don't work no matter how committed some teachers and players are to them.

My intention is to NOT be a so-called famous guy and merely stay in my place as a known player. I wanted to make sure that people could benefit from what I know and what I can offer. Thanks again for your nice comments.
 
Perfect! That's what I'll do. Time to break out the pencil and staff paper and blow all that dust offa my transcribing chops. That's going to be a slow go at first, but that's part of the formula, isn't it?

It is ALWAYS the formula. You will never learn by practicing or writing fast. You will learn by practicing and writing WELL! Little by little. Everyday, little by little.
 
I had thought, while following this over the past few days, that is the probably the most valuable online music discussion I have ever read. Am thinking of attending your one week course, do you take old guys?

Sure we take old guys. The older they are, the more we charge them. What do they know. They're OLD!!!!!

Seriously, we have guys of all ages, from 18 years old and up. You will get a lot of good stuff from the March One Weeker. It will change your playing life, I promise. Best of luck and pass the Geritol.
 
Hey Jeff,
Last night I was reading thru an old BassPlayer Magazine and saw your thoughts on using a tuner VS. a pipe or fork.

I have totally fallen into the habit of using an electronic tuner all of the time, so as a test, I detuned my bass and tried to tune it back up with a cheap old pitch pipe that I have had for years. Man, I TOTALLY sucked at it!

I learned to tune my accoustic guitar using a pipe but that was many years ago.

Well, I guess now I have one more thing to work on. :) Really, If I hadn't have been checking up on this thread, I wouldn't have read your colume, and wouldn't have tested my tuning skills which are pretty bad.
I just wanted to say thanks for hanging out here with us.
 
Perfect! That's what I'll do. Time to break out the pencil and staff paper and blow all that dust offa my transcribing chops. That's going to be a slow go at first, but that's part of the formula, isn't it?


I know that Jeff does the teaching here on this thread, but if you wanted to transcribe bass lines, along with solos, I heartily recommend starting with Ray Brown's playing on Oscar Petterson's "We Get Requests" Album. Not only is this an amazing album to simply listen to, but the bass cuts through pretty nice. It is a trio, so the bass doesn't have too much competition. This makes it much easier to transcribe than say, OP's work on Mile's stuff, because it is often hard to hear the bass clearly.
Ray Brown's playing is truly inspirational, and he will always be a hero of mine. Amazing interweaving of melodic passages along with A++ walking lines in half-time, full-time, and latin grooves.
+1 to transcription. My skills maybe doubled in the two weeks it took me too transcribe "Days of Wine and Roses" from the above mentioned album.
 
I know that Jeff does the teaching here on this thread, but if you wanted to transcribe bass lines, along with solos, I heartily recommend starting with Ray Brown's playing on Oscar Petterson's "We Get Requests" Album. Not only is this an amazing album to simply listen to, but the bass cuts through pretty nice. It is a trio, so the bass doesn't have too much competition. This makes it much easier to transcribe than say, OP's work on Mile's stuff, because it is often hard to hear the bass clearly.
Ray Brown's playing is truly inspirational, and he will always be a hero of mine. Amazing interweaving of melodic passages along with A++ walking lines in half-time, full-time, and latin grooves.
+1 to transcription. My skills maybe doubled in the two weeks it took me too transcribe "Days of Wine and Roses" from the above mentioned album.

Thanks for the recommendation! I will do that.
 
Hey Jeff, i don't really have anything to add to the existing debates or discussions here. I just thought i'd pop in and mention how your approach to learning music has inspired me to always aspire for growth both as a player and teacher. There was one particular BP column of yours that really stood out to me in which you mentioned that a lot of students view practising like they view having a tooth pulled(pardon the paraphrase if i got the quote wrong). I actually used to photocopy that article and give it to new students. The one thing i got from that column was that learning musical concepts should be a joyful and stimulating experience and not the chore that so many people feel they slog through. So my contribution to this thread is not much more than a vague anecdote and thank you for inspiring me to instill a passion for the language of music in others and to constantly strive to learn new things myself. P.s pardon the lack of paragraphs, i'm typing this on my cellphone.
 
Hey Jeff, i don't really have anything to add to the existing debates or discussions here. I just thought i'd pop in and mention how your approach to learning music has inspired me to always aspire for growth both as a player and teacher. There was one particular BP column of yours that really stood out to me in which you mentioned that a lot of students view practising like they view having a tooth pulled(pardon the paraphrase if i got the quote wrong). I actually used to photocopy that article and give it to new students. The one thing i got from that column was that learning musical concepts should be a joyful and stimulating experience and not the chore that so many people feel they slog through. So my contribution to this thread is not much more than a vague anecdote and thank you for inspiring me to instill a passion for the language of music in others and to constantly strive to learn new things myself. P.s pardon the lack of paragraphs, i'm typing this on my cellphone.

Your comments are so appreciated. What I have noticed here is that I haven't offended anywhere near the amount of musicians that I was led to believe. Besides, how can you offend someone if you don't say anything personal. Even holocaust revisionists don't offend me. They make me role my eyes. The Jews are "this" and the Blacks are "that"? Big deal! I'm never offended by knuckleheads. But, in music, some have acted as if stuck my finger into their sister's naval and made swishy sounds.

Here are a couple of points that I would like to mention before I leave. I'll check your comments when I arrive in Italy.

1. The guys who were having problems with me, my "ego" my "arrogance" and my educational principles have come forward to say that they actually agree with much of what I have said. Go to other posts and check it out. Isn't that interesting? It took some doing, but the truth always has a way of being known. What this tells me is that some people who were shut off from what I said, who were offended by my words, chose to shut off, and chose to be offended. They sought this out! I know this because lots of other people, reading the very same words, and hearing the very same messages have not been offended and did not reject the information offered. This means that people who were offended chose to react this way.

2. I have noticed that most of the people on this oparticular thread are into music and the pursuit of it. They ask questions to upgrade their playing abilities and they are clued into what are solid ideas about how to improve. They are not looking to argue. They are looking to learn. For a while, there were guys on Talkbass who couldn't read between the lines and figure out what I meant by the term "music". Some had trouble with the term "factual studies" or "factual music to practice". To quote Jonie Mitchell, "they just couldn't grasp it". But, because so many were NOT confused by the words and understood what I meant, I concluded that some guys were deliberately being argumentative and obtuse in the face of basic truthful general principles and terms that so many other guys grasped with no difficulty.

3. Many guys have commented how this thread is one of the most informative and peaceful threads they have found on Talkbass. It is actually a surprise to many here, having been a part of something that didn't offer such a peaceful and informative back-and-forth in the past. If one finds something so different than what they are used to, it can be a surprise, in this case, a great surprise. This is something that YOU all did. You turned your backs on some guys who identified themselves and their manner of discussing music and accepted a much more open and interested group of guys. People identify themselves with no difficulty. It is written between the lines and it is written squarely within them. Our comments say a lot about how you and I feel about things. But, since we've all embraced the Rodney King vision of communication, the naysayers and the obtuse are gone and you guys have your sight back in your hands again.

That's about it. Celebrate your opportunity here to continue the joyful and open discussion of music and of bass. Agree with me, dodn't agree with me; you are all wonderful people and I am so glad to have spent this week with you. Tomorrow I fly to Italy so that Dennis Chambers and I can play and hang with Italian musicians. I will tell them what a great bunch of guys can be found on Talkbass. Ciao Bello. Talk soon friends.

Jeff
 
Eminentbass - What you say is so true and probably an unfortunate byproduct of the 'typical' school process where you are made to go to school and made to do homework at what feels like the expense of your 'fun' time - and for what? So you can pass a test so that you can continue to go to school and get more homework and pass more tests...

For students who choose to pursue music deeper while in school, there's definitely a personal desire to practice and play and the rewards are more tangible than they might be in say a math class. Competing for chairs, touring for competitions and better yet, winning awards all are very strong motivators to put in time in the woodshed. But it's still right there in that 'homework' zone. So regardless of how much easier it is to see the value, it's still colored by the company it keeps - homework... ugh... But that's life, right?

But that's were great teachers really shine. I was fortunate to have GREAT teachers through out my school years as a kid and young adult who inspired and challenged me and made advancing as a musician something that's become a part of my DNA. Not a day goes by that I don't thank my former teachers for that!

As a matter of fact, we had a pseudo 20/25 year reunion for just band people last year where we all got together with our beloved band director and made big hoopla over how much his contribution to our musical lives meant to us all. There were over 150 people there, many of whom flew in from all over the country just for this little event.

If there's one thing I know I'll do until the day I die, it's play music in some sort of ensemble - garage band, jazz lab band, maybe even an orchestra if I ever decide to get serious about upright again. I'm 42 and I've got at least 32 years of musical pursuit under my belt so far. I'm no virtuoso, but I eat sleep and breathe music even if I'm not amazingly good at it.

So to you teachers out there - YOU MATTER BIG TIME!
 
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