Mary is a VERY unique and interesting musician. In a wonderful way her music reminds me of early electronic music. Folks need to be paying attention to her.
It’s cool that she mentions the open strings idea. That’s something I’ve been doing as well. I’m working to see how I can incorporate open strings into my playing stylistically, I’m glad that I just heard about her. She would be a good template for me to listen to.
This is my favorite of your talks. I have done this too on piano! I "wrote" some exercises that take you through all the inversions of minor7b5 arpeggios in melodic minor (two per "key"). I This process you describe is a great way of developing your own sound.
Great lesson from a renowned musician, no argument here. My issue is that music, fundamentally, needs to appeal first and foremost to our ears and NOT only to our brain's intellectual capacity. I'm afraid that some musicians, and this is prevalent in most jazz styles, get too caught up in the complexity of their music while in the process risk forgoing of some good old fashioned musicality.
Musicality is a relative concept, though, right? Culturally, geographically, individually, etc. It's exciting for me when a musician expands my ideas about what is musical. Although my musical idiom is far less complex than Halvorson's, I can occasionally hear the influence of a musician like her on my musical sensibilities, and I love that.
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Mary is a VERY unique and interesting musician. In a wonderful way her music reminds me of early electronic music.
Folks need to be paying attention to her.
It’s cool that she mentions the open strings idea. That’s something I’ve been doing as well. I’m working to see how I can incorporate open strings into my playing stylistically, I’m glad that I just heard about her. She would be a good template for me to listen to.
A great concept applicable to any style or genre. Write your own exercises GREAT idea!
Honestly some of the most interesting stuff by her I’ve heard, and that includes her recordings.
This is my favorite of your talks. I have done this too on piano! I "wrote" some exercises that take you through all the inversions of minor7b5 arpeggios in melodic minor (two per "key"). I This process you describe is a great way of developing your own sound.
This is solid advice.
This was a great lesson suggestion. I really like the idea of serving one's own unique vocab as a means of personal musical development.
That etude was pretty cool!
Great suggestions! Easy to understand, much appreciated!
Someone wouldn't happen to know where I could find a transcription of the full open-string étude Mary plays at 2:30?
+Steven Beechey You'll probably have to transcribe it yourself homie. But don't worry it's fun as!
Yeah, I think what she talking about is NOT doing other people's stuff - figure out exactly what you CAN'T do, then... do it.
Great lesson content and ideas. Focus on tone, though, everyone!
Or focus on whatever you want to develop, I suppose.
Much better than average melodic development :)
Atonal is cool and I’m sure very hip, but man, I’m not sure most people could take a whole album of it.
Luckily, there are so many other albums for them to listen to. Most of them, even.
Great lesson from a renowned musician, no argument here. My issue is that music, fundamentally, needs to appeal first and foremost to our ears and NOT only to our brain's intellectual capacity. I'm afraid that some musicians, and this is prevalent in most jazz styles, get too caught up in the complexity of their music while in the process risk forgoing of some good old fashioned musicality.
Musicality is a relative concept, though, right? Culturally, geographically, individually, etc. It's exciting for me when a musician expands my ideas about what is musical. Although my musical idiom is far less complex than Halvorson's, I can occasionally hear the influence of a musician like her on my musical sensibilities, and I love that.
"I dont like it therefore it only appeals to the intellect" Yawn.
Why that guitar thick af