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Learning New Material.

What's your approach when you have to learn new material? What steps do you personally take to tackling it?

The problem with simple listen and repeat approach is that you end up going around in circles, switching quickly between different mental processes of working out what to play, deciding how to play it and committing to memory. But that constant going over causes confusion. You start to remember things that should be discarded, and forgetting things that should be remembered. It leaves a footprint of errors behind and the memory imprint is weak because the source was flaky. This is, IMHO and IME, a really ineffective way of learning.

The end goal is to make my own score for what I intend to play and learn from that. I try to separate the transcription from the learning/memorisation. I won't bore everyone with the details, but the general idea is to delay learning/memorisation until I have written out in full what is to be learned. Generally this involves creating my own detailed score which I confirm as good (error-free) before using it as the single learning reference.

I'm not saying it is a perfect system, but it is the one that has given me the most success in dramatically reduced learning time, deeper understanding of the music and order-of-magnitude improvement in long-term retention and recall.

YMMV
 
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What's your approach when you have to learn new material? What steps do you personally take to tackling it?
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make my own score for what I intend to play and learn from that
 
So a 3:3 clave is as thing! I learned something today.
it's really just my short hand for playing the tumba in every bar, not just on the 3 side of the clave. It's a cover of a Mexican band's arrangement of a cha cha, and I can't discern a distinct clave direction in the bell or cascara patterns like I normally can with Cuban bands (where clave is often more explicit). But the conguero is playing as if it's 3:3, so that's what I'm doing. It's slow enough I may just play a bolero pattern, which is also clave-neutral for congas.
 
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Here's a question for you guys that make your own charts. What do you notate when you make them? This is a serious area of weakness of mine. So I figured I'd ask.

Not quite sure what do you mean. If you mean what is included, then the answer is as much as possible. Chord names, notes dynamics, tempo, maybe fingerings, repeats, voltas, the whole lot. All in standard notation. Ultimately, something you could stick in front of a sight-reader who'd never heard the song and get back exactly what is needed. Here's one example:
 

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Not quite sure what do you mean. If you mean what is included, then the answer is as much as possible. Chord names, notes dynamics, tempo, maybe fingerings, repeats, voltas, the whole lot. All in standard notation. Ultimately, something you could stick in front of a sight-reader who'd never heard the song and get back exactly what is needed. Here's one example:

Other than the note names, and basic 1/4, 1/8, 1/16 I wouldn't be able to notate it like that. That's a serious disadvantage to me. Would you mind recommending a search parameter for something that would teach me how to do that?
 
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Other than the note names, and basic 1/4, 1/8, 1/16 I wouldn't be able to notate it like that. That's a serious disadvantage to me. Would you mind recommending a search parameter for something that would teach me how to do that?

Rather than a search parameter, I would recommend a good theory book such as "The AB Guide to Music Theory" by Eric Taylor and a notation program such as Musescore.

https://www.amazon.com/Guide-Music-Theory-Part-Pt/dp/1854724460/ref=sr_1_1?crid=GGYCIX6N8TQ8&dchild=1&keywords=ab+guide+to+music+theory+part+1&qid=1631954187&sprefix=Ab+guide+to+m,aps,214&sr=8-1

MuseScore 3 Released
 
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I usually learn everything by ear, but I have tabbed out a couple of lines. I don’t go nearly as in depth as Steve does. Usually, just the numbers. Maybe bar lines, but mostly just spaces to show the feel of the song. I’ll put the first few words of the lyrics above the line to show where in the song it is.

This is for sure one of those 'horses for courses' questions and some of my charts are just as you describe. My main motivations for doing the 'long' job are
  1. to lock in an arrangement that I can share with the band;
  2. to have a process that separates the writing/working-out task from the learning/memorisation task;
  3. to help cement things quickly and accurately in my own memory so that I can play live without any charts on stage;
  4. to have a known fixed reference in case I do forget anything;
  5. to have a known good baseline (not bass-line) from which to try out changes/improvements which can easily be rolled back or compared to previous versions.
Obviously this approach will not be for everyone, but it is effective when time is short.
 
to have a process that separates the writing/working-out task from the learning/memorisation task;
I find that I occasionally want to write a chart or notation for something that seems hard to remember. Usually the act of writing it out helps me to solidify it in memory somehow and I end up not ever looking at my notes.

One thing about notes that is a problem for me is being too dependent on them. I'm working with a band right now that's learning an 11 song set, and usually I will know 11 songs by ear pretty well within a week or two if I just listen and play along. But everyone gave me charts in this band, and so now I have a book, and I feel like I am far behind my usual schedule because I am looking at the book and not memorizing.

There does come a point where you have to either decide you're going to be a by-the-book player or a memorizer, and for me I prefer to know the material well enough that I don't need a book. So I'm weaning myself from my notes with that band.
 
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I find that I occasionally want to write a chart or notation for something that seems hard to remember. Usually the act of writing it out helps me to solidify it in memory somehow and I end up not ever looking at my notes.

One thing about notes that is a problem for me is being too dependent on them. I'm working with a band right now that's learning an 11 song set, and usually I will know 11 songs by ear pretty well within a week or two if I just listen and play along. But everyone gave me charts in this band, and so now I have a book, and I feel like I am far behind my usual schedule because I am looking at the book and not memorizing.

There does come a point where you have to either decide you're going to be a by-the-book player or a memorizer, and for me I prefer to know the material well enough that I don't need a book. So I'm weaning myself from my notes with that band.

The fast memorization only really works because I have also done the writing. If I just read then memorization and recall is not as good. Have you thought about writing out copies?
 
When I have to memorize a song, it goes on my song list in Excel. If I didn't have this list to focus me, I would waste all my time on Youtube. So I have a list of maybe 40 to 100 songs in various stages of learning. Ones for upcoming gigs get prioritized and graded. I work the list until all songs get an "A" grade. Hint.... spread out the work load. If you learn 40 new songs a week, you may burn out. 40 songs in two weeks is pleasant.

If its something easy, I note the key and tempo and maybe a link to the video.

If its something hard, I grab the sheet music and maybe make a format sheet. Attached is the example for Monday PM's recording session. Yes, I play that on the bass.

FYI, the song was composed in 1920, and I believe has been in the public domain since 2015. So much for ASCAP, BMI, SESAC and others.
 

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Even though I read notation and chord charts very well I rarely use them to learn songs that I will be playing from memory on stage. I like to take the scratch recording of the song and put it into Audacity and when I find a line that I like I'll record it into a separate track in the song. I'll do that until I have the whole thing done. That's a faster way to memorization for me. It also lets me hear it apart from playing which can be enlightening.
 
May I suggest starting off learning a song by

1) Being able to recall the chords/bars and special details without the instrument in your hands.

Example: "Come Together".
It is sort of a blues at moderate tempo.

Intro: Band in on the 1 in D7+9 with "that lick". 4 bars.

Vocalist enters 4 bars in D7+9 , repeat that lick.
2 bars in A with that lick
2 footballs in G.

Repeat above.

One bar 8th notes roots in B and A. One Bar w/ 4 G 8th notes and 1 A 8th note followed by rests.

End of form

Repeat the form x times.

2) Being able to play the song in different keys. So play come together in Bb.