"Jazz isn't dead, it just smells funny? - FZ"
Regarding the responses to Chad, I do think there's a pretty commonly accepted understanding of the difference between 'ability' and 'potential' and they are definitely not the same thing.
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Jeff Berlin discussing music education part 3
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"Jazz isn't dead, it just smells funny? - FZ"
Regarding the responses to Chad, I do think there's a pretty commonly accepted understanding of the difference between 'ability' and 'potential' and they are definitely not the same thing.
Close! "Shut Up and Play Yer Guitar!" And jazz doesn't smell funny! It gives me a cavity!
- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
Getting to the point...Working on "the good stuff"..no matter what your ability...will make the most of your potential, instead of wasting time on the "Snake-oil" they are trying to sell on the net nowdays..
Frank said good stuff, didn't he?
And jazz smells like spit-soaked brass to me... funny? well...
Point(s) taken! I am now shutting up and potentially playing my bass guitar to the best of my ability as soon as I get home from work.
- Jun 25, 2007
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- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
Bubbles
At least when I used to forget to empty the "spit-valve" on my Tuba!
Ah, OK!
Now, the next step is to define "the good stuff" in an easy to understand outline.
Finding the information in this day and age is easy with a little Google searching. It's knowing what to study that's the key.
I say we need to start a Wiki regarding the "good stuff" complete with active links to known good websites. A good mixture of pure academic study and hands on exercises.
Having someone tell me to learn "the good stuff" is like someone telling a fat person they need to lose weight if they want to get skinny. Well DUH! Now tell me how!
Bubbly, like JW said - and those of us who played brass know exactly what that sounds and smells like! I found my old trombone in the attic a few months ago - opened that case and was instantly transported back in time 25 years.
But to be clear, I said jazz smells like spit-soaked brass.
- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
Bubbly, like JW said - and those of us who played brass know exactly what that sounds and smells like! I found my old trombone in the attic a few months ago - opened that case and was instantly transported back in time 25 years.
But to be clear, I said jazz smells like spit-soaked brass.
My drummer would say Jazz smells like "bong-water"...But I disagree!
My drummer would say Jazz smells like "bong-water"...But I disagree!
I'd have to disagree too. Cigarette and cigar smoke, gin, spit-soaked brass and sweat.
Now rock 'n roll/metal smells like bong-water, no question there, but jazz... nah.
Back OT a bit - Man, it's a ton of fun to run arpeggio exercises on my daughter's little Bronco bass! Almost too much fun! I spent a few hours doing dom7 arps - (root inversion - only sorry... not very challenging, but hey...) on her bass since it was just sitting there begging to be messed with - and it was just plain fun! That thing feels like a toy and when you really pluck hard, you sound like Stanley on his piccolo bass! What's not to love?
Then I broke out my MM SR5 to do it 'for real' and my fingers all looked back at me and started cussing!
My drummer would say Jazz smells like "bong-water"...But I disagree!
No, college smells like bong water, and Natty Light.
- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
You can always just spill some bong water and Natty Light on an old rug in your basement and keep doing what you're doing. It'll save you big $$ in the long run!
QUESTION:
Let's say I transcribe a solo. Would I do better to learn one possible fingering for the solo, and move onto transcribing and playing others, or should I spend more time with the original solo with different possible fingerings, and then move on?
Let's say I transcribe a solo. Would I do better to learn one possible fingering for the solo, and move onto transcribing and playing others, or should I spend more time with the original solo with different possible fingerings, and then move on?
Thanks Jeff - that does make perfect sense. Finding a great teacher will be a challenge but I'm not adverse to that.
I have a keen sense of melody and so I play nothing but fretless - it just suits. Jazz is where I come alive and I constantly challenge myself to play things that would appear to be out of reach but I make it happen. Somehow...
I'm discliplined too. I want to be as good as I can be although I know my boundaries. I get up early on days off to practise undisturbed even though I'm still tired from the day's work before. I do this because playing is oxygen to me. Sorry if this sounds corny but it's true.
Therefore, can someone tell me what makes a great teacher a great teacher? The answer, I'm guessing, is in this thread somewhere but it's a loooong thread to catch up on...
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