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The Players School of Music One Week Intensive

Discussion in 'General Instruction [BG]' started by PiNgtime, Oct 1, 2010.


  1. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    Two great posts that show why such a topic like music education is to complicated to just suppose that if you teach well they will learn well.

    The student/player must want to learn in the first place, they must want to get better, not just think if the do this or do that, if they study here or with him then they become better.

    People who actively seek out education for the right reasons always get results, as in those that attend such schools as PSoM, Berkley, RCM etc understand it is getting skills to last a lifetime and the results of which might not show themselves immediately.

    The great thing about groove videos, tab etc., is the cater for that instant gratification, you get results in an area fast.
    That is not a bad thing but it is not music.
    I have spoken with Jeff on such things in the past( before he fell out with me) about this culture (and it is not a bad thing)
    but it does not affect those that are in music for music( Jeff disagrees).

    fountain boy, you never said why you choose the PSoM or what you expected to happen to you by going?

    sedgwick1489 nice clip, nice playing.
     
  2. Ok, nice clip Sedgwick1489.

    I certainly don't have an ear for jazz music, at all.

    We ([DEL]butchered[/DEL]) played so many standards down there that the closest thing to jazz that i could stomach listening too was Dave Weckl for a while.
     
  3. fountain boy, you never said why you choose the PSoM or what you expected to happen to you by going?


    Firstly, i didn't understand that the musicanship of my favourite players usually stemmed from some sort've ultra religious upbringing and them growing up playing in a worshipful purpose, full of feeling & expression. Experiences that no academic institution on earth can ever match.

    Sadly, i didn't understand that whole aspect until about 4 years ago, lol.

    Also, i think there is much truth ([DEL]although it stings to realize[/DEL]) to the saying that great players are usually 'born with it', as pointed out by Jaco Pastorius.

    I chose TPSOM as i was impressed by Jeff's forthrightness in his interview from a magazine article, that was in the BASS magazine (the one with the guy from Muse on the cover) back in 2004.
     
  4. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    Again i have to agree, the complete skills any one player has is a result of their up bringing and experiences to date, that accounts for the vast challenges in teaching.
    But what i am asking is

    "did you believe that in just attending the school and being there was going to be enough"?

    I ask this because there had to be something in your thinking that lead you to believe that PSoM would solve all your musical questions and problems (if indeed you had any) over any other form of musical education.The fact no auditions are needed gives the impression that anyone can attend, so there may be those there that are for the use of a better term "out of their depth". I find as i get older more "stuff" comes to me, ideas i could not get 30 years ago seem really simple now, more so in life than in music. There has to be a leap of faith in music to the extent you feel something is pointless but learn it anyway. When the situation arises for it to matter, only then does the point of learning it become apparent.

    For the record, i had a classical education in music. This did not prepare me completely for what i was to eventually do in my playing ( but my ability to sight read and not question what was put in front of me was a big bonus in studios).
    But it did give me the knowledge to understand the different things i had to do in order to to adapt and understand new ideas. How well i would do this improved every time i used it in new musical situations, after all C7 is always C7 regardless of how you dress it up.:)
     
  5. PiNgtime

    PiNgtime

    Mar 26, 2009
    Some good insight there Fergie.

    And nice job Sedgewick!
     
  6. I think that i overvalued the classroom ciriculumn (sp?) aspect of learning the language of music.

    Also Fergie, those that you surround yourselves with, you assimilate that type of playing into your own and make it a natural part of your own vocabulary.

    I found that there was a vast difference in playing 'autumn leaves' 'stellar by starlight' 'my funny valentine' etc and being able to function in a rehearsal room amongst your musical peers.

    You go into a rehearsal room thinking you will impress your bandmates by walking chord tones and playing very rudimentary and you'll see them going through their blackberry's trying to find a real bass player to take the gig, instead of you.

    When someone say's a bass player's- bass player, that usually means a pockety type of player, not a soloist.
     
  7. THand

    THand

    Jun 9, 2008
    That's not what I meant by it, I meant a soloist. Who else really listens to the soloist besides other bass players? I'd wager that the bulk of Jaco, Wooten, Stanley Clarke, Berlin, Sheehan, & Marcus Miller fans are either bass players or aspiring bass players. Hince the phrase. Yes, I know they can do other things, but that is their claim to fame.

    I think all bass players should be able to play in the pocket and groove, regardless of genre. That's the job, IMO, IMMV.
     
  8. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    I know exactly what you mean, there are instrument players, by that i mean players who can play their instrument, and their are musicians, people who who apply musical principals to any instrument.

    The lines between the two can often get blurred for whatever reasons, but both two me have a valid point and worth to learn. There are some who it seems are above teaching say tabs, songs, they see no worth in teaching a few technique driven ideas, or even what the student wants

    To me this is just fuelling the very situations they are up in arms about. This point of view surely drives those that they wish teach into the arms of others, and any influence they could have on a pupil is lost.

    Good luck in what you do next, you obviously know what is right or wrong for you.:)
     
  9. Mike Dimin

    Mike Dimin Banned

    Dec 11, 1999
    here the thing ... when I do my solo shows, most non bass players do not realize i am playing the bass. It does not really matter, as long as they like what I do. If you haven't heard it -

    www.youtube.com/mikedimin

    Mike
     
  10. nboyer941

    nboyer941

    Jul 22, 2008
    Burnsville, MN
    I'm curious to the players school's competitors for the one week intensive course....

    That is, are there any other places out there that offer the equivalent?
     
  11. THand

    THand

    Jun 9, 2008
    Touche'

    ;)
     


  12. One of the modern day masters (Sharay Reed) playing from his heart...
     

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