This video continues from where we left off in this one: th-cam.com/video/FVraW_JGreU/w-d-xo.html. Does this kind of approach resonate with you? Let me know!
Yes the approach is a good way for my brain to learn. Getting my ears to learn is a whole different kettle of fish. (No trouble with my nose.) My analogy is the same as if I was to visit an art studio, I end my visit with a poor appreciation for the art works on display as I don't see what others see, same as with Jazz music, I don't seem to hear what others hear hence a less degree of both understanding and appreciation for the sounds the player provides. Thank you for all of your efforts it is greatly appreciated.
The ears know how to listen just as the eyes know how to look. It's the aural or visual connection to the brain that we're trying to sharpen. I see my role as similar to a guide at the art gallery who explains or reveals the intricacies of a work, the better for an observer or listener to appreciate and enjoy it. You could also compare it to the sommelier who helps the oenophile detect the flavours in a wine.
I've been playing alto sax and jazz for about forty years and something, I mean I know about that, and I have to say you are very clear on your concepts, as I understand you are right on target, your videos are really great. Greetings from Argentina, keep on doing!! I'm still learning every day!! .
I understand all the theory in the last couple videos. I think for me personally it’s not that I can’t think about the theory while improvising. Instead, it’s that while I’m thinking about theory while improvising it feels like the theory is an impediment to being able to communicate in an artistic way. Rather than feeling like I’m saying something meaningful it feels like I’m just plugging in a chord scale formula. It all feels very disconnected from the very visceral experience of music making and instead just puts me in a neurotic state.
This is exactly the issue--you don't WANT to think about the theory when you're improvising but to understand it on a level where you don't HAVE to think about it and can focus on what you hear, both externally and internally. Getting to that point is not a quick or easy process, but you can try putting on a recording of a tune you know nothing about and try to find individual notes that fit without worrying about what the chords are. Similar to what I did on the last video but with an actual chord progression. Force yourself into a position where you don't have anything but your ears to go on--you may find yourself playing things you wouldn't think to play.
My guess…..if the first chord is the I chord, I think you went to the IV chord in the second four bars…..as in a minor blues. Is that correct?? (JazzWire member here.)
Hi mr. Sandborn ı have been playing trumpet for 3 months. I dont have any problem to improve my playing and technique but after ı play for a while ı get a mark on my lips (which ı noticed that you have it too). Is it a bad thing and ıf it is why ıt could be happening and how can ı reduce or remove it completely.
It’s natural and not a bad thing. When you press a piece of metal against your lips, whether that is for three months or sixty years in my case, it’s likely to leave a mark. I’ve had dentists ask if I’d had surgery on my lip. Many instruments will leave a mark on the body, whether it’s callouses on the fingers or a mark under the chin where the violin is placed. They are badges of accomplishment!
This video continues from where we left off in this one: th-cam.com/video/FVraW_JGreU/w-d-xo.html. Does this kind of approach resonate with you? Let me know!
Yes the approach is a good way for my brain to learn. Getting my ears to learn is a whole different kettle of fish. (No trouble with my nose.)
My analogy is the same as if I was to visit an art studio, I end my visit with a poor appreciation for the art works on display as I don't see what others see, same as with Jazz music, I don't seem to hear what others hear hence a less degree of both understanding and appreciation for the sounds the player provides. Thank you for all of your efforts it is greatly appreciated.
The ears know how to listen just as the eyes know how to look. It's the aural or visual connection to the brain that we're trying to sharpen.
I see my role as similar to a guide at the art gallery who explains or reveals the intricacies of a work, the better for an observer or listener to appreciate and enjoy it. You could also compare it to the sommelier who helps the oenophile detect the flavours in a wine.
I've been playing alto sax and jazz for about forty years and something, I mean I know about that, and I have to say you are very clear on your concepts, as I understand you are right on target, your videos are really great. Greetings from Argentina, keep on doing!! I'm still learning every day!!
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Thanks for that. Me too!
I understand all the theory in the last couple videos. I think for me personally it’s not that I can’t think about the theory while improvising. Instead, it’s that while I’m thinking about theory while improvising it feels like the theory is an impediment to being able to communicate in an artistic way. Rather than feeling like I’m saying something meaningful it feels like I’m just plugging in a chord scale formula. It all feels very disconnected from the very visceral experience of music making and instead just puts me in a neurotic state.
This is exactly the issue--you don't WANT to think about the theory when you're improvising but to understand it on a level where you don't HAVE to think about it and can focus on what you hear, both externally and internally. Getting to that point is not a quick or easy process, but you can try putting on a recording of a tune you know nothing about and try to find individual notes that fit without worrying about what the chords are. Similar to what I did on the last video but with an actual chord progression. Force yourself into a position where you don't have anything but your ears to go on--you may find yourself playing things you wouldn't think to play.
Great video! Im also a TO based jazz musician!
Thanks for putting this stuff out there 😊
Glad to know you're enjoying it. Stay warm!
My guess…..if the first chord is the I chord, I think you went to the IV chord in the second four bars…..as in a minor blues. Is that correct?? (JazzWire member here.)
You have the intervallic relationship correct!
Hi mr. Sandborn ı have been playing trumpet for 3 months. I dont have any problem to improve my playing and technique but after ı play for a while ı get a mark on my lips (which ı noticed that you have it too). Is it a bad thing and ıf it is why ıt could be happening and how can ı reduce or remove it completely.
It’s natural and not a bad thing. When you press a piece of metal against your lips, whether that is for three months or sixty years in my case, it’s likely to leave a mark. I’ve had dentists ask if I’d had surgery on my lip.
Many instruments will leave a mark on the body, whether it’s callouses on the fingers or a mark under the chin where the violin is placed. They are badges of accomplishment!
@@chasesanborn thank you for your detailed response now ı feel more relieved 🙏🙏