All tunes in all keys?
Kev
> brillian...@hotmail.com (Kev) wrote in message news:<a0820c7e.0212...@posting.google.com>...
> > jazz...@hotmail.com (MBR) wrote in message news:<b04a13f9.02121...@posting.google.com>...
> >
> > > FROM MBR:
> > >
> > > I think just learning the standards, melody and changes, in one
> > > (original) key is really enough in terms of memorization. The goal is
> > > to know the tunes so well that you HEAR the changes and the melody no
> > > matter what key it happens to be in. You would have to have ALOT of
> > > time for woodshedding to practice all the standards in every key.
> > > Playing tunes in various keys is a good practice technique though. It
> > > can help you get out of a rut.
> >
> > True, though there is a learning-curve. The ability to transpose, hearing-wise
> > and instrument-wise, gets easier after you treat a few tunes this way.
> >
> > -Kevin
>
> FROM MBR
>
> There's nothing like working steadily with other musicians in a live
> setting to facilitate the process of internalizing the standard tunes.
> I think it's really tough to do that in isolation or by working with
> pre-recorded rhythm tracks. Unfortunately, the lack of jazz gigs and
> venues doesn't help the cause very much. Maybe I'm being nostalgic,
> but I think there used to be more opportunities to learn jazz by
> actually playing it, as opposed to studying it from theory and
> transcription books and college conservatories.
> -Mark
This is true. I also enjoy playing with other, like-minded players (guitarists
and other instrumentalists) in informal settings, and trying out tunes in
various keys and even time signatures. This, I find, forces one to learn the
_essence_ of a tune, away from the comforts of doing it "as usual". Live
(gig and jam session) situations teach me volumes about other aspects of
playing, like focusing my improvisational thought-process, interacting with
other players, projecting my sound, just dealing with the lame acoustics of the
club (they almost _always_ are pretty lame!), these kinds of skills, but these
situations are pretty conservative, I've found, regarding playing tunes
in interesting ways, key- and time-wise. In fact for a lot of the Philly-area
jam sessions, you really only need to know about ten or so tunes to be able to
sit in comfortably! It's a rare (and frankly refreshing) instance when I get
on a bandstand and someone calls a tune in an unlikely key and I actually get
schooled in this regard. I think this is unfortunate because that kind of
schooling keeps not only your skills but the music in general fresh and free
of the dullness of "just doing what's in the Real Book" (dullness and sometimes
erroneousness!).
-Kevin
Kevin Van Sant
in message <a0820c7e.0212...@posting.google.com> :
> This is true. I also enjoy playing with other, like-minded players (guitarists
>and other instrumentalists) in informal settings, and trying out tunes in
>various keys and even time signatures. This, I find, forces one to learn the
>_essence_ of a tune, away from the comforts of doing it "as usual". Live
>(gig and jam session) situations teach me volumes about other aspects of
>playing, like focusing my improvisational thought-process, interacting with
>other players, projecting my sound, just dealing with the lame acoustics of the
>club (they almost _always_ are pretty lame!), these kinds of skills, but these
>situations are pretty conservative, I've found, regarding playing tunes
>in interesting ways, key- and time-wise. In fact for a lot of the Philly-area
>jam sessions, you really only need to know about ten or so tunes to be able to
>sit in comfortably! It's a rare (and frankly refreshing) instance when I get
>on a bandstand and someone calls a tune in an unlikely key and I actually get
>schooled in this regard. I think this is unfortunate because that kind of
>schooling keeps not only your skills but the music in general fresh and free
>of the dullness of "just doing what's in the Real Book" (dullness and sometimes
>erroneousness!).
I swear, this is the most persistant post EVER. I think it's been
at least 6 or 8 months since it first appeared, and for some reason
it's been coming back once every couple of months every since.
_________________________________________
Kevin Van Sant
jazz guitar
http://www.kevinvansant.com
to buy my CDs, listen to sound clips, and get more info.
Alternate site for recent soundclips
http://www.soundclick.com/bands/kevinvansant_music.htm
MBR
> On 07 May 2003 07:22:38 GMT, brillian...@hotmail.com (Kev) wrote
> in message <a0820c7e.0212...@posting.google.com> :
>
>
> > This is true. I also enjoy playing with other, like-minded players (guitarists
> >and other instrumentalists) in informal settings, and trying out tunes in
> >various keys and even time signatures. This, I find, forces one to learn the
> >_essence_ of a tune, away from the comforts of doing it "as usual". Live
> >(gig and jam session) situations teach me volumes about other aspects of
> >playing, like focusing my improvisational thought-process, interacting with
> >other players, projecting my sound, just dealing with the lame acoustics of the
> >club (they almost _always_ are pretty lame!), these kinds of skills, but these
> >situations are pretty conservative, I've found, regarding playing tunes
> >in interesting ways, key- and time-wise. In fact for a lot of the Philly-area
> >jam sessions, you really only need to know about ten or so tunes to be able to
> >sit in comfortably! It's a rare (and frankly refreshing) instance when I get
> >on a bandstand and someone calls a tune in an unlikely key and I actually get
> >schooled in this regard. I think this is unfortunate because that kind of
> >schooling keeps not only your skills but the music in general fresh and free
> >of the dullness of "just doing what's in the Real Book" (dullness and sometimes
> >erroneousness!).
>
>
>
> I swear, this is the most persistant post EVER. I think it's been
> at least 6 or 8 months since it first appeared, and for some reason
> it's been coming back once every couple of months every since.
yeah...what's the deal?
Brian Martin
so what are the ten tunes?!
Brian
Jurupari
I'm curious too. I think favorites must pop up in localities where there's any
jamming going on.
Clif Kuplen
cl...@claymoore.com
Hi Clif,
Oddly, for a town which I think has quite a number of jazz venues
we've been without public sessions until recently. I've been to a few
at this new locale (Brilliant Corners), and because of wide range of
skill (and probably partly due to the lack of sessions for some time)
there don't appear to be any favorite tunes that I can spot. Most of
these guys open up the Real Book and play whatever anyone suggests. A
couple of weeks ago I got onstage with an entire entourage of
intermediate players. When it came time for trading fours none of them
seemed to know what to do. After the tune I suggested that we follow
the normal procedure of trading fours in the same order that the solos
went. Next tune, the same thing happened!
Clay Moore
http://www.claymoore.com/
MBR
this thread just won't go away so I'll make a couple of suggestions:
"Valentine" and "Yesterdays"
these tunes always get called around here.
EldredP
brillian...@hotmail.com (Kev) writes:
>In fact for a lot of the Philly-area
>jam sessions, you really only need to know about ten or so tunes to be able
>to
>sit in comfortably! It's a rare (and frankly refreshing) instance when I get
>on a bandstand and someone calls a tune in an unlikely key and I actually get
>
>schooled in this regard. I think this is unfortunate because that kind of
>schooling keeps not only your skills but the music in general fresh and free
>of the dullness of "just doing what's in the Real Book" (dullness and
>sometimes
>erroneousness!).
Ooh...I'd be in *trouble* if I was sitting in, and someone called a different
key... There's no *way* I'd be able to do it. :-(
Eldred
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Gerry Scott-Moore
<eld...@aol.comSPAM-OFF> wrote:
> Ooh...I'd be in *trouble* if I was sitting in, and someone called a different
> key... There's no *way* I'd be able to do it.
Well it's a fact of life if you work with singers at all. They simply
have to change a lot of the keys.
This is the main reason I thought that Mehegan's use of figured bass
was rosetta stone of understanding jazz. And now, more and more, I
tend to think of the first 4-5 notes of a head by function rather than
note. The chord is a IV, and the melody is 3, 3, 5, 4, 3. That's
usually enough to get me going on the thing.
You don't have to be able to do all songs in all keys. But you should
be able to do it in at least a few, and then move them as necessary. I
forget who but someone said you needed to learn a tune in at least two
postions, up a fourth in the same region of the neck. So learn the
tune in say, Eb and and Bb and play it somwhere around the fifth fret.
That kind of thing.
--
///---
EldredP
<222...@adelphia.net.invalid> writes:
Hmm... Ok, that's something I need to work on. Thanks for the lesson idea.
:-)
Eldred
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