Use code "PRACTICE25" for $25 off Nathan Graybeal's brand new video course "Better Practice Techniques for Rapid Growth!" www.jazzlessonvideos.com/practice-techniques
I like how this approach gives us the permission to use our theory knowledge to aid the ear…something I do, but always thought i was cheating in a way.
this works only after you've developed (1) great ear training and (2) great internalization of the tune. At that point, it's almost intuitive and no longer needs taught.
These tricks with "building memory" or "helping memory" are not for music playing, but to try overcome a big problem musicians have in the last few decades - emotional distance from the audience, disconnect from the subjects of the songs they play, and overall emotional blockage. Never before in the history musicians have known so much, but produced so little value. The water stopped flowing. Therefore attempts to overflow the dam with more theory, more psychology, more hard practice, or trying to spill the water over its firm walls, which won't give up and open naturally.
I see what you are saying and I agree! However, it would be hard to create a beautiful Shakespeare play if you don’t remember basic phrases. This video is more to target that weakness. What you are asking is a target of another subject (creating a moving and impactful story). It’s also quite the tall order! In a world where Coltrane and Charlie Parker paved the way, it’s hard to think that I am the next “messiah” who will show the way lol. That’s certainly a path I am actively working on myself. I am just as much of a student, even more actually, as I am a teacher. I am just sharing tips along the way. However, we do plan on bringing on some new, very established artists onto the JLV team very soon who I feel are more qualified to teach that sort of thing you’re mentioning here. Thanks for your input either way! All the best 😎
@@Saxologic I admire your enthusiasm, but, if anyone wants to release the water from the dam, it must be released at the lower gates first. That is emotional content. Why was song "Laura" dear to jazz players from the late 1940s and early 1950s? It was very relevant then in postwar times, when films were a mean of communication and a dictionary of American cultural symbols, that addressed problems which the society was afraid to talk about. Why did Beethoven do a remarkable job on his 5th piano concerto, "The Emperor"? For a short while, he believed Napoleon may bring stability to the tumultuous times. And on the same subject, why did Tchaikovsky do a remarkable job on his "1812", very emotionally charged? Because the Russians defeated Napoleon and he was a Russian. So on. If anyone could devise exercises for releasing and establishing of emotional dimension in music playing, then it would be a landmark contribution. But these days, we are all emotionally desensitised and disabled. Low-oxygen atmosphere and the engine won't ignite.
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Use code "PRACTICE25" for $25 off Nathan Graybeal's brand new video course "Better Practice Techniques for Rapid Growth!" www.jazzlessonvideos.com/practice-techniques
I love the eyebrow movement throughout the intro….the more crushin the line the more the eyebrow movement 🔥🔥🔥
Eyebrowin’ the changes
I like how this approach gives us the permission to use our theory knowledge to aid the ear…something I do, but always thought i was cheating in a way.
Great course Mr Graybeal. Very interesting video. Thank to you, for great advise of growing up the technique!
great explanation of the memory styles, I like that
Love this, Nathan.
That solo was legit 😎
Thank you!
LORD! you remind me of Ester Boyer college of music, "it will come to you" although you need to learn "lick songs "...
this works only after you've developed (1) great ear training and (2) great internalization of the tune. At that point, it's almost intuitive and no longer needs taught.
That part when you began singing before playing your instrument, seemed as the real auditory memory aid.
First we’ll drink a little, then a lot, then we’ll forget and forget we forgot ☮️🎶🎵🎷
sweet mesa bro
These tricks with "building memory" or "helping memory" are not for music playing, but to try overcome a big problem musicians have in the last few decades - emotional distance from the audience, disconnect from the subjects of the songs they play, and overall emotional blockage. Never before in the history musicians have known so much, but produced so little value. The water stopped flowing. Therefore attempts to overflow the dam with more theory, more psychology, more hard practice, or trying to spill the water over its firm walls, which won't give up and open naturally.
I see what you are saying and I agree! However, it would be hard to create a beautiful Shakespeare play if you don’t remember basic phrases. This video is more to target that weakness. What you are asking is a target of another subject (creating a moving and impactful story). It’s also quite the tall order! In a world where Coltrane and Charlie Parker paved the way, it’s hard to think that I am the next “messiah” who will show the way lol. That’s certainly a path I am actively working on myself. I am just as much of a student, even more actually, as I am a teacher. I am just sharing tips along the way. However, we do plan on bringing on some new, very established artists onto the JLV team very soon who I feel are more qualified to teach that sort of thing you’re mentioning here. Thanks for your input either way! All the best 😎
@@Saxologic I admire your enthusiasm, but, if anyone wants to release the water from the dam, it must be released at the lower gates first. That is emotional content. Why was song "Laura" dear to jazz players from the late 1940s and early 1950s? It was very relevant then in postwar times, when films were a mean of communication and a dictionary of American cultural symbols, that addressed problems which the society was afraid to talk about.
Why did Beethoven do a remarkable job on his 5th piano concerto, "The Emperor"? For a short while, he believed Napoleon may bring stability to the tumultuous times. And on the same subject, why did Tchaikovsky do a remarkable job on his "1812", very emotionally charged? Because the Russians defeated Napoleon and he was a Russian. So on.
If anyone could devise exercises for releasing and establishing of emotional dimension in music playing, then it would be a landmark contribution. But these days, we are all emotionally desensitised and disabled. Low-oxygen atmosphere and the engine won't ignite.