This is where I have difficulty. Thanks this makes a lot of sense. Now I'll try to apply, which is easier said than done. Love the lighting in your workshop, BTW. Looks great.
I understand how functionally analyzing a tune helps with memorizing it. I also understand how thinking of changes while playing makes you neurotic and stiff. The problem is that in the video you basically jumped from “memorize the tune” to “play by ear” with no advice how to get from point A to point B other than doing functional analysis. I can memorize a tune pretty quickly but to play a complex set of jazz changes by ear is another story altogether. To me this the key thing most educational material fails to address when talking about improvising. You get two messages. One is to study the tune intensely. The other is to then magically play the tune by ear with little to no conscious thought about the changes. How do you bridge that gap? How do you think about changes when practicing and then magically not think about changes when performing?
I think I instinctively knew that not thinking of the chord changes during performance was the right way, but didn’t make a connection that included the importance of preceding that with specific work in the practice room that *does* primarily focus on memorizing changes. I think that trusting the process and really allow yourself to let go during a performance is easier said than done, but very rewarding when you do (and of course when it goes well! 😅). Thanks John. Love your concise and comfortable teaching style.
Excellent stuff! Super concise summary of the approaches and steps towards preparing your subconscious to sing through the instrument. Thanks for sharing!
Could you elaborate a little more on what you mean by thinking about the changes “literally?” When you were talking about when to think that way verses more in a general, blanket sense?
Sometimes, you'll hear musicians play over changes and they're not "making all of the changes" / not playing lines that outline every chord. They more lyrically over the key center of the changes. That's the approach that I was referring to.
This is where I have difficulty. Thanks this makes a lot of sense. Now I'll try to apply, which is easier said than done. Love the lighting in your workshop, BTW. Looks great.
Good luck!
I understand how functionally analyzing a tune helps with memorizing it. I also understand how thinking of changes while playing makes you neurotic and stiff. The problem is that in the video you basically jumped from “memorize the tune” to “play by ear” with no advice how to get from point A to point B other than doing functional analysis. I can memorize a tune pretty quickly but to play a complex set of jazz changes by ear is another story altogether. To me this the key thing most educational material fails to address when talking about improvising. You get two messages. One is to study the tune intensely. The other is to then magically play the tune by ear with little to no conscious thought about the changes. How do you bridge that gap? How do you think about changes when practicing and then magically not think about changes when performing?
Excellent!!
I think I instinctively knew that not thinking of the chord changes during performance was the right way, but didn’t make a connection that included the importance of preceding that with specific work in the practice room that *does* primarily focus on memorizing changes. I think that trusting the process and really allow yourself to let go during a performance is easier said than done, but very rewarding when you do (and of course when it goes well! 😅). Thanks John. Love your concise and comfortable teaching style.
Good stuff Scott!
Really great way to explain this John! Thanks!!
Thanks Jeff!
Brilliant and spot on, as always, thanks John!!!
Thanks Jason!
love it! Keep it comin!!
Excellent stuff! Super concise summary of the approaches and steps towards preparing your subconscious to sing through the instrument. Thanks for sharing!
Thanks Isaiah. Glad you enjoyed it!
Now that's what I call excellent lighting! ;-)
Could you elaborate a little more on what you mean by thinking about the changes “literally?” When you were talking about when to think that way verses more in a general, blanket sense?
Sometimes, you'll hear musicians play over changes and they're not "making all of the changes" / not playing lines that outline every chord. They more lyrically over the key center of the changes. That's the approach that I was referring to.