marvluse wrote: ↑
Thu Jul 04, 2019 6:16 am
Well, I would qualify a lot of this. For instance, using myself as an example, I had no "predisposition/aptitude/giftedness" for music, other than a love for it and a love for the classical guitar.
Excuse me to break your bubble
, but if you ended up studying with some "the likes of" teachers you must have had some form of
predisposition. Which is exactly what I said one needs. That talent is really something that is hard to qualify (as with any), and it can take insistent prodding and a lot of trial + error to discover yours.
And there's also a chicken/egg aspect to it, somewhere.
I think that was profitable, but in retrospect I feel it was not conscious knowledge that I gleaned, but rather more subliminal subtleties.
That sounds perfectly normal, and it also means they had good foundations to work with.
There is a certain discipline necessary to play with others that is entirely optional when playing alone.
And that is exactly what makes it so crucial!
As an example: if you look at methods to learn how to solo-play the blues, jazz or even "fingerstyle" on guitar you will notice that most if not all point out how important it is to be a good rythm guitarist first. As someone said to me the other day: remember, in the end to goal is to make 'em get up and dancing.
Somewhere there is an interview with Bob Brozeman where he illustrates how small the step is from playing what we'd call an obstinato bass (a blues bass in his case) to making music: just play a few notes from a compatible chords between the bass notes when the tension has become too much.
As for Jazz, to me it is more philosophy than music. Many of the "classical" jazz works I find boring.
That makes two of us...! Curiously you might expect that I'd find much acoustic delta and country blues boring too because there is so little going on in a way (my wife would say there's no melody, nor a head, nor a tail), but I can have that music playing almost all day long. Esp. if it's by someone who never plays the same song the same twice, like Doug Macleod.
I'm convinced that similar improvisational skills existed in Western music long before blues or jazz existed, it was just known under a different name (playing diminutions, or cadenzas, or "die Kunst der Fuge"
BTW, if I listen to Art Tatum for instance I often would be willing to believe I were listening to classical music.
Gretsch G9240 "Alligator" wood-body resonator converted to non-metal strings (China, 2018?)
Bolink baroque violin (Hilversum, 1982)
Formerly: Brian Cohen baroque violin (London, 1985), Nadegini modern violin (Paris, 1924)