jazz_guitar@... wrote:
Original Message:
Date: Thu, 09 Aug 2001 22:46:05 -0000
From: "Paul Erlich" <paul@...>
Subject: Re: Stella suggestions..
--- In jazz_guitar@y..., "Zeek Duff" <zkduff@q...> wrote:
Laying various scales over something just because they fit
the math/mode is mechanical BS, and is forgetting the only
reason to know them at all is to contain the ability within
one's palette to play what taste and desire dictate in the
mind as appropriate; or to be able to play what's already
been written. Otherwise, you're simply generating nonsense a
trained monkey could reproduce...
I think you're painting this too much as a black/white kind of issue.
For example, let's say someone can hear the melodies they want to
play in their head but only to within a 7-tone-per-octave resolution.
Working through some possibilities for chord/scale relationships will
help you put your fingers in the right place as these ideas flow out
of your head. Of course, once you're experienced enough with this,
you'll find that there are times you want to play the "wrong" notes,
and you'll stop relying on the theory because your head/hands will
immediately be able to serve your aural imagination. But you have to
learn to walk before you can run!
I agree, and I certainly realize that having all the tools at one's disposal
that can be retained and used is a good thing. And, I realize the value of
"mistakes" in often guiding one to something useful, awesome, pretty, cool,
different, workable, etc., that might not have otherwise been conceived of,
let alone thought of "in the flow." However, my point was simply that while
laying scales over a set of chord changes might be a useful learning tool in
knowing what scales might work over what chords and more importantly, over
what progressions and/or transitions, it's not my idea of a good way to
learn a given song, keeping the author's essence intact. For example, if I
hear someone play so far outside the original as to make it nearly or
completely unrecognizable, I wonder why the same effort wasn't put into
creating a completely original piece. Additionally, I find a furious flurry
of scales attempting to pass for a melody just absolutely inane and boring.
That's strictly my opinion, of course. ;)
Along the ear training ideas; I used to work with a wacked out alto player
(in a monastery last I heard) that would go into a corner on breaks and run
"scales" until about 5 minutes before the next set. When asked what he was
doing, he'd say "playing chords." I started thinking about that, and
realized that's a major difference in concept for a horn player from a
pianist or guitarist. He could play all the same chords I could, but only
one note at a time. So, I changed my thinking a tad, listening to chords I
played and trying to imagine playing them on a horn (having learned to read
music on trumpet as a child). Then, I noticed a lot of similarity to that
concept in certain classical music and a lot of ethnic folk and bluegrass,
especially ancient stuff. (As an aside, I wonder if that's because old
instruments were nearly impossible to keep tuned and block chords,
especially close intervals just sounded lousy...) So now, to some extent, I
try to think of chords as scales and scales as chords when building an
arrangement. Anyway, just a thought on an approach to generating scales and
arpeggios and hearing them that really blew my mind at the time. :)
Also, about singing lines so one can hear them in their head, absolutely a
must have ability. You don't need a good voice, just a good ear; and it
gets easier just like playing an FM7 with yer index on the low E 1st fret,
middle finger on the A&D 3rd fret and yer pinky on the G,B&highE, 5th fret.
(Make sure your health insurance is current, if it's your first time.)
It's one thing to have all these tools and ideas, and quite another to use
them with taste. To me, taste is more like common sense than subjective
artwork. No matter what the style, or even in creating a new one, tasty
writing, arranging, and playing is always a pleasure. And, like common
sense, not everyone has good taste. I don't know if that comes from a
natural ability as much as thinking things out, or just the desire to
constantly keep improving, but it sure is fun to watch people grow and
especially, to recognize one's own growth over time...
All of that said, let me be clear that one of the great things I love about
jazz is "no absolute rules." Parameters can be stretched, bent, rerouted,
and ignored as long as something interesting results. And, of course,
"interesting" is totally subjective. :)))
Regards,
...z
Eat one live toad the first thing in the morning and nothing worse will
happen to you the rest of the day...
-- =---Seek the truth, speak the truth!---= --
L.G. "Zeek" Duff
WHAT!Productions!
Blue Wall Studio
303.485.9438
ICQ#35974686
