Overall Impressions Count (don't count "mistakes" to yourself).
i'm not the cream of the crop, but even when parts of a piece may be ho-hum or somehow could be downright improved, i notice when i record myself that there are sections & licks that are very uniquely interesting & offset weaker areas by their sheer "original beauty", etc. isn't it wonderful how we all play differently?
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i find that it's important to be alert, yet at the same time relaxed when we play. how do you all feel about this statement?
i think you're right. i've only been playing jazz about 18 months and at the moment i study once a week in a jazz piano class (about 10 people) where we all have to play bass, comp and improvise with each other on several pianos, and it's interesting to see the different approach people take in these areas.
sometimes i surprise myself and think "that was good" but mostly i'm not really happy with what i do when improvising (bass and comping i'm normally happy with). however, quite often other people in the class say i sounded good when improvising and where do i get the ideas from? i always say that i don't know what i'm doing, which is true, but i that have spent the last 18 months going to two or three jazz gigs a week and listening intently.
i definitely think we are our own worst critics and perhaps it pays to sometimes listen to other people's opinions as well as our own, as long as they're complimentary, of course ;-)
sometimes i surprise myself and think "that was good" but mostly i'm not really happy with what i do when improvising (bass and comping i'm normally happy with). however, quite often other people in the class say i sounded good when improvising and where do i get the ideas from? i always say that i don't know what i'm doing, which is true, but i that have spent the last 18 months going to two or three jazz gigs a week and listening intently.
i definitely think we are our own worst critics and perhaps it pays to sometimes listen to other people's opinions as well as our own, as long as they're complimentary, of course ;-)
i think you've said this before, solart, and it comes to my mind offen as i practice. chang talks a lot about being relaxed (sometimes a problem for me) but something has to keep you in the structure so while relaxed, you still have to be ... what ... precise may be the wrong word. on top of things anyway. i fly and one thing pilots talk about is staying ahead of your airplan (to stay safe). i think it's similar. you sure don't want to be nervous in the air if you can help it! relaxed but alert -- yes.
also paul maybe it's good to let them think what they want, like in pool when you get a lucky shot! good for the ego...
"i definitely think we are our own worst critics and perhaps it pays to sometimes listen to other people's opinions as well as our own, as long as they're complimentary, of course." yeah. what really helps me is to remember a very successful playing session or performance, and to bring back that exact feeling; guess what, it works! often life is a "mental game".
what do you fly sdm?
"i definitely think we are our own worst critics and perhaps it pays to sometimes listen to other people's opinions as well as our own, as long as they're complimentary, of course." yeah. what really helps me is to remember a very successful playing session or performance, and to bring back that exact feeling; guess what, it works! often life is a "mental game".
what do you fly sdm?
i have a fifth (must be the left wing, i'm left-handed) of a 172. work at a helicopter company and couldn't take being around all the flying so learned. been about 3-4 years now.
was thinking again (at the piano) about "staying ahead." it really is very similar. in the air if you get behind things tend to pile up on you -- sometime literally -- causing a chain of little mistakes that wind up causing an accident.
at the piano, if i get behind i try to catch up, causing me to get further behind with more and more mistakes until it just falls apart. probably better just to "jump ahead" - take a breath for a beat and pick up on the next on.
funny about the "mental game" statement. randy (teacher) has a wonderful steinway in his studio and an upright in his living room. he's told me that if he's filling a bit nervous (doesn't seem possible!) he put himself mentally at the upright and it clears up. you are so right.
was thinking again (at the piano) about "staying ahead." it really is very similar. in the air if you get behind things tend to pile up on you -- sometime literally -- causing a chain of little mistakes that wind up causing an accident.
at the piano, if i get behind i try to catch up, causing me to get further behind with more and more mistakes until it just falls apart. probably better just to "jump ahead" - take a breath for a beat and pick up on the next on.
funny about the "mental game" statement. randy (teacher) has a wonderful steinway in his studio and an upright in his living room. he's told me that if he's filling a bit nervous (doesn't seem possible!) he put himself mentally at the upright and it clears up. you are so right.
sdm,
interesting. i too fly, and own a fifth share in a cessna fra150 aerobat - learnt to fly about 16 years ago, and went on to learn aerobatics and formation flying (now that really is hard). you're right about staying on top of things when flying, there's nothing like that feeling of panic when you're not quite sure where you are, there's low cloud ahead and restricted airspace nearby to avoid.
i'm in the uk, and in an emergency we are taught to take things in priority order - 1) aviate (ie fly the thing), 2) navigate (work out where you are) and 3) communicate (tell someone about it).
not sure what analogy one can make with music, but knowing where you are in the music would seem to be the first priority. i have seen many a player (and good ones at that), get temporarily lost when playing someting unfamiliar. they normally pause and ask the bass player for advice ;-) a bass player must never get lost.
interesting. i too fly, and own a fifth share in a cessna fra150 aerobat - learnt to fly about 16 years ago, and went on to learn aerobatics and formation flying (now that really is hard). you're right about staying on top of things when flying, there's nothing like that feeling of panic when you're not quite sure where you are, there's low cloud ahead and restricted airspace nearby to avoid.
i'm in the uk, and in an emergency we are taught to take things in priority order - 1) aviate (ie fly the thing), 2) navigate (work out where you are) and 3) communicate (tell someone about it).
not sure what analogy one can make with music, but knowing where you are in the music would seem to be the first priority. i have seen many a player (and good ones at that), get temporarily lost when playing someting unfamiliar. they normally pause and ask the bass player for advice ;-) a bass player must never get lost.
what happens to me when i'm improvising is i'm so into the chain of where the improv is developing & leading to, that i may miss the next section, bridge etc! i want to finish the musical thought!
he puts himself into those pleasant evenings say at home on the upright where there is no pressure, or distractions such as a strange look from one or more of the public (especially if your hair is "uncommon" or your fashion quite different) that may throw you if you let it. sometimes we must be actors, for only the very intuitive or mind-readers/psychics know our true thoughts. i've been practicing with mirrors to improve my often strange facial expressions while playing complicated & challenging stuff. why not? look at ballet dancers...
he puts himself into those pleasant evenings say at home on the upright where there is no pressure, or distractions such as a strange look from one or more of the public (especially if your hair is "uncommon" or your fashion quite different) that may throw you if you let it. sometimes we must be actors, for only the very intuitive or mind-readers/psychics know our true thoughts. i've been practicing with mirrors to improve my often strange facial expressions while playing complicated & challenging stuff. why not? look at ballet dancers...
i think zhis is very good for bands to do (mirrors), or to video themselves, let's face it, it's not only the music, it's the visual aesthetics that can make you or break you. then you can see & hear what the public does, only then do you see the overall picture.
...unless you're such a genius that the music overpowers everything, but even then it would be even more impressive with decent "appearances". 'know what i mean?
paul, i was tought exactly the same thing. there should be something in music like, maybe, beat, harmony, melody. i don't know. maybe form first. btw, you skill would be much more than mine in flying if you do aerobatics (given the plane i assume so) and formation (that's some scary stuff!).
solart, i'll get to the mirror when the recorder starts telling me better stuff!! that said, you're probably right on.
solart, i'll get to the mirror when the recorder starts telling me better stuff!! that said, you're probably right on.
i'm not the cream of the crop, but even when parts of a piece may be ho-hum or somehow could be downright improved, i notice when i record myself that there are sections & licks that are very uniquely interesting & offset weaker areas by their sheer "original beauty", etc. isn't it wonderful how we all play differently?
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