 |
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
| ||||
| Moderated by: Tony Provencher, Richard Hefner | Page:   1 2 3   |
|
|||||||||||||
| Who can read music? Who can read tabs? | Rate Topic |
| Author | Post |
|---|
| Posted: Thu Feb 1st, 2007 05:44 pm |
|
21st Post |
|
Will Approved 
|
Our local Grayslake Acoustic Music Jam had actually been running for over 20 years, but had been reconstituted in 2002 at the current location, after having lost its past regular meeting place; the past jam had been plagued by dissension caused by the formation of past musical cliques, leading to the loss of jam regulars and discouraging many new jammers from joining on a regular basis. The new jam organizer set up new rules to encourage and welcome newcomers and minimize the formation of cliques. Today, the Grayslake Acoustic Music Jam is thriving with lots of newer (and younger) jammers showing up. That being said, the rules and etiquette of different jam circles are dependent upon the folks who run the jam. At the 2 old time jams that I've attended, they were tolerant enough to allow a diversity of instruments such as autoharp, ukulele, banjo uke, 12-string guitar, and tenor banjo. (It's safe to say that many bluegrass jams would frown upon the use of such "non-standard" instruments.) One of the old time jam organizers even provided a marimbula (the bass-box thumb-piano) that can be played by any jam participant in the absence of a string bass player. At all of these jams, the use of printed music was generally absent, and everything was played by ear. What's a marimbula? This is the style that resembles what we've used. Other versions of this bass instrument are housed in a rectangular wooden box. 
____________________ Will http://ezfolk.com/audio/bands/297/ Loose Change & Friends http://ezfolk.com/audio/bands/245/ http://loosechangeandfriends.com The Earth Tones http://ezfolk.com/audio/bands/337/ A Bunch Of Coconuts http://abunchofcoconuts.com |
||||||||||||||
| |||||||||||||||
| Posted: Thu Feb 1st, 2007 06:16 pm |
|
22nd Post |
|
Philj200 Approved 
|
At a big open jam, sheet music, books, binders filled with personal favorites would be clunky. Certainly not everyone would have access to the music. It's sort of divisive isn't it? And if all levels of musicians are present it is a given that tolerance be abundant. The more experience pickers have to carry the weaker players and do it wthout attitude. If people what to play 'their music" and only in "their way" they might consider renting a hall, printing up tickets and promoting it as a concert. What's described above sounds like fun. But if you go to a event like this, the understanding is that everyone is supposed to enjoy themselves. They are not there to applaud you. I went to an open jam last summer that attracted everyone from a marching band xylophone player (really) to a bagpiper (he was good. Loud, but good). a pianist, a few rockers and a bunch of various level folkies and an Episcopal priest who played 5-string. (It was in his church). On the other hand, bluegrass is not purely folk music. It is folk rooted, but it has it's own rules. And as we know, a certain unique sound. No pick-ups. Only enough outside amplification to be heard. Keyboards and drums are non-starters. Percussion is something you do with your feet. But really "pure" BGers probably would not come to an event like this. Or maybe not a second time. But there's nothing to stop people from playing bluegrass songs. And if they add a marimba or a tuba or a contrabassoon the world won't end. Last edited on Thu Feb 1st, 2007 06:18 pm by Philj200 ____________________ My MP3 Section: http://ezfolk.com/audio/bands/1143/ My Myspace area: http://myspace.com/philj200 |
|||||||||||||
| ||||||||||||||
| Posted: Fri Feb 2nd, 2007 12:30 am |
|
23rd Post |
|
banjo brad Super Moderator 
|
RE: Jams vs Circles, etc. Ok, let me talk about our first Tucson Old-Time Music Circle, held last Friday. I finally gave up trying to find a jam and started my own. It was advertised as an OT Music circle (my choice of words after much thought), and invited banjos, fiddles, guitars, autoharps, dulcimers, bones, or any other acoustic instrument. Yes, I did include mandolins on the list. The aim was to let players come and play with/for the others, or just to listen to the music. To my surprise, we had over 20 people show up, most with banjos and fiddles! One guitar, an autoharp and a bones player also materialized. One of the youngest participants came with her violin - has an interest in OT music, but doesn't know how to play it. Throughout the evening, we tried to encourage her to play something, even classical, just to keep her involved. A couple of fiddles doodled with "Greensleeves" in an effort to get her to unpack and join. Nothing worked, but she didn't leave early, discouraged or feeling shunned - indications are that she will return in the future. The guitar player was from out of state, visiting his daughter, who has a fantastic voice and really added to the music. They had lyric sheets (I don't know if they had chord sheets or music, but it didn't matter). The fiddlers, as in most OT music, became the leaders more or less by default. However, every body attempted to join in if they had an inkling of the tune, and there were no signs of anybody not willing to help anybody else. I, being the instigator, had arrived early and set up a circle of about 15 chairs, with more just outside of it, just in case. The circle stayed formed the entire evening. When it started to break up, the remaining people just drew tighter. Everything I had hoped for developed, and even the one fiddler who drove the 90 miles from Phoenix to attend has indicated that she will be returning. The group has also expressed a desire to meet more often than once a month, and some are in the process of finding a second venue. True, there were no "Bluegrass Players" there, so I am unable to comment on what might have happened with them. The flyers specifically stated that the Circle was not a bluegrass session, and we hope it remains that way. Tunes were agreed upon, started, and played 3-4-5 times through until the starter ended it. No real "Breaks," or solos came about, although sometimes the fiddles would come to the front and then back down, or the banjos would do the same. If people talked during a tune, they came together and had their discussion without upsetting the players. Since this is a group that is oriented towards Old Time (Kitchen, Porch, Frontroom) music, maybe the social aspect has to be looked at from that perspective. I almost expect someone to start step dancing or buck-and-winging it at one of the Circles. (I heard tunes that, up to now, I have had to attempt to learn purely from tab/notation, since I had no idea what they really sounded like. Now I can use the aural aspect to refine my versions. (mandatory thread content)). If you're interested in hearing the tunes we played, do-si-doh over to http://www.PricklyPearMusic.net and go to the "OT Circle" page. Brad
____________________ ezFolk Help Brad Prickly Pear Music Banjo Brad's ezFolk page TOTMC |
||||||||||||||
| |||||||||||||||
| Posted: Fri Feb 2nd, 2007 01:21 am |
|
24th Post |
|
Will Approved
|
banjo brad wrote: Everything I had hoped for developed, and even the one fiddler who drove the 90 miles from Phoenix to attend has indicated that she will be returning. The group has also expressed a desire to meet more often than once a month, and some are in the process of finding a second venue. Brad: Congratulations to you on forming an old-timey jam in your area! You probably did the right thing in emphasizing that it was NOT a bluegrass jam. I've found that old-timey and bluegrass jammers generally don't mix well because even though they may play some of the same tunes, the playing styles are different, and even the instruments may be different (i.e. open back banjo in old timey vs. resonator banjo for bluegrass). Old timey music is oriented towards dancing and is generally is not played super-fast. Old timey music is generally played by everyone in unison, with no defined instrumental "break," and it repeats over and over until the song leader signals that the next round will be the last, usually by raising one's foot in the air. Fiddlers will describe tunes in terms of usually 2 or 3 parts where the melody repeats (an "A" part, "B" part, "C" part, etc.).
____________________ Will http://ezfolk.com/audio/bands/297/ Loose Change & Friends http://ezfolk.com/audio/bands/245/ http://loosechangeandfriends.com The Earth Tones http://ezfolk.com/audio/bands/337/ A Bunch Of Coconuts http://abunchofcoconuts.com |
|||||||||||||
| ||||||||||||||
| Posted: Fri Feb 2nd, 2007 01:40 am |
|
25th Post |
|
Rob Powers Approved
|
There are tabs for penny whistle. They look like a stack of six little os with the right ones blacked in or are simply the numbers 1 thru 6 over the words. Tabs allow for lots of freedom in interpretation, but learning the treble cleft, key signatures and a little bit about the circle of fifths found elsewhere on this site will open up a whole universe and make fooling around with different instruments almost as fun as playing by ear. That and learning the fret board will let you play in any key with any group of instruments. I'm the world's worst musician. My kids say if I had an ear and some rythym I wouldn't be too bad. I fail miserably at jamming, but I can read music. Couple of months ago I picked up a penny whistle with a friend who is an accomplished bag piper because he was asking me about keys and notes. we started playing hymns in the key of d together. I'd give him the first three bars and away he'd go. when we quit i just flipped through the book playing old favorites that were wiritten in c and g. He got all excited and said I've never heard that hymn on the pipes before but I can play it. Pipes and whistle are both in d. He couldn't read a note and me struggling with the first few bars would send him off on a virtuoso solo full of rolls and grace notes that I couldn't hope to match, but I can look at a book and play (not well) a song I've never heard with some practice. You can't do that with tabs or the best ear in the world. Knowledge is freedom. Rob
|
||||||||||||||
| |||||||||||||||
| Posted: Fri Feb 2nd, 2007 01:58 am |
|
26th Post |
|
VintageFL Approved
|
Can someone give me a definition of "old timey" music? I'm not sure I know what that really means vs. other folk music, tin pan alley tunes, etc. There are a group of banjo players who perform out at a venue near a river each Thursday at lunch. About 30 of them. I went out to jam with them one day and they sort of smiled and grinned at the ukulele. One guy snidely asked me if I knew Arthur Godfrey's method. I asked if they played any bluegrass and he acted as if I'd burned him with a poker. Is there really such a dichotomy between four and five string banjo players? And if so, why? This was a nice group of, frankly, old white men playing some pretty boring songs, Gay 90s stuff, some 'teens stuff, and so on. Few solos, a few vocals, but really pretty darn dull, I have to say. Is this "old timey" music? Because if so...they can have it. Last edited on Fri Feb 2nd, 2007 01:59 am by VintageFL |
|||||||||||||
| ||||||||||||||
| Posted: Fri Feb 2nd, 2007 02:34 am |
|
27th Post |
|
Will Approved
|
VintageFL wrote: Can someone give me a definition of "old timey" music? I'm not sure I know what that really means vs. other folk music, tin pan alley tunes, etc. Regarding those banjo players that you encountered, did you happen to notice whether they were playing 4-string or 5-string banjos? Did they play chords on their banjos with a flatpick (Dixieland style), or did they pick individual notes with bare fingers, or with fingerpicks and thumbpicks? From your description, it seems like they were not playing old timey music. After Loose Change & Friends concerts, many audience members ask us to distinguish old timey from bluegrass. Old timey is short for "old time country," and it is the rural folk music derived from Appalachia, descended from the music brought over from the British Isles centuries ago by European immigrants (England, Wales, Scotland, Ireland). It's sometimes called mountain music, or string band music (for instrumentals). Most of the tunes are very old and were originally played by fiddles in conjunction with dancing. Songs included ballads and folk songs derived from the British Isles and other parts of Europe. In the popular music context, old timey music was played before Nashville and the Grand Ole Opry became the commercial center for country & western music, and before the development of bluegrass. Old timey emphasizes the melody and can be played by a soloist, duet, trio, or any number of musicians. The Carter Family played old timey music and are credited with bringing this style of music out of the hills by recording in the studio and having having their records played over the radio. They also toured as a band during the 1920's and 1930's. I've seen historic photos of old time bands with all kinds of instruments, including ukueles, autoharps, lap dulcimers, etc. Old timey music is typically played in fiddle-friendly keys of G, D, or A. Bluegrass was derived from old time music, but incorporated elements of urban music styles such as jazz and blues, and is played as a style of ensemble music, with a specific style and standard instrumentation (fiddle, mandolin, 5-string resonator banjo, dreadnought guitar, resonator guitar/dobro, and string bass are considered the standard bluegrass instruments) and vocal styling (high-pitched vocal lead, and close harmonies) was largely established by Bill Monroe & The Bluegrass Boys during the 1940's. Bluegrass bands emphasize virtuoso performance; hence, the blinding speed of some bluegrass numbers. Last edited on Fri Feb 2nd, 2007 03:26 am by Will ____________________ Will http://ezfolk.com/audio/bands/297/ Loose Change & Friends http://ezfolk.com/audio/bands/245/ http://loosechangeandfriends.com The Earth Tones http://ezfolk.com/audio/bands/337/ A Bunch Of Coconuts http://abunchofcoconuts.com |
||||||||||||||
| |||||||||||||||
| Posted: Fri Feb 2nd, 2007 01:54 pm |
|
28th Post |
|
gerry mcgandy Approved 
|
"'Scuse me boys, but here's my take." C is the chord of love. Hit it. Let it ring. Don't know any old thing, just know I'm in love. G is the chord of War. "Look out momma" D is the chord of any old thing comes into my head My best friend. A minor takes me off on a trip.
____________________ Gerry McGandy http://mp3mart.net http://ezfolk.com/audio/bands/556/ |
|||||||||||||
| ||||||||||||||
| Posted: Fri Feb 2nd, 2007 02:11 pm |
|
29th Post |
|
Philj200 Approved
|
Nyet Comrade... G is the people's key. No one shall have two sharps, until everyone has one.
____________________ My MP3 Section: http://ezfolk.com/audio/bands/1143/ My Myspace area: http://myspace.com/philj200 |
||||||||||||||
| |||||||||||||||
| Posted: Fri Feb 2nd, 2007 02:13 pm |
|
30th Post |
|
davebough Approved 
|
Three of us have an informal jam at a local bar during Happy Hour on Thursdays. We are basically chording and singing. People really enjoy it and we would like more to join in. I'm thinking of taking my copy of "Rise Up Singing" from Sing Out Publications for people to use and taking new copies if anyone wants to buy their own. It has chords and lyrics for 1200 songs. dave http://www.singout.org/rus.html Last edited on Fri Feb 2nd, 2007 02:15 pm by davebough |
|||||||||||||
| ||||||||||||||
| Posted: Fri Feb 2nd, 2007 03:39 pm |
|
31st Post |
|
Philj200 Approved
|
Go for it Dave. But be prepared for people starting too soon or too late, or singing the wrong page. Or finding a song on a different page and asking to do it, even if you don't. Perhaps photocopy a few dozen songs you and your friends like and know and sort of channel the audience into a more music friendly (and steerable) environment.
____________________ My MP3 Section: http://ezfolk.com/audio/bands/1143/ My Myspace area: http://myspace.com/philj200 |
||||||||||||||
| |||||||||||||||
| Posted: Fri Feb 2nd, 2007 05:11 pm |
|
32nd Post |
|
banjo brad Super Moderator
|
This is probably the best explanation of "Old Time Music" I have seen: http://mikeseeger.info/html/oldtime.html Pretty much covers how I think of it. Brad
____________________ ezFolk Help Brad Prickly Pear Music Banjo Brad's ezFolk page TOTMC |
|||||||||||||
| ||||||||||||||
| Posted: Fri Feb 2nd, 2007 05:14 pm |
|
33rd Post |
|
VintageFL Approved
|
Nice article, and very clear to me now. Thanks Brad! I never realized folk music was so Balkanized. It's very interesting to think about the fine lines between all the categories. I guess rock and country and jazz and blues are equally diverse, though, and never the twain shall meet on some of their subcategories, as well. Last edited on Fri Feb 2nd, 2007 05:17 pm by VintageFL |
||||||||||||||
| |||||||||||||||
| Posted: Fri Feb 2nd, 2007 06:44 pm |
|
34th Post |
|
Philj200 Approved
|
Brad, I just checked out the OT page on your website and listen to a few of tunes. I really like the Mississippi Sawyers. I hope this circles spins for decades. Well done! (And I wish I could attend.) Last edited on Fri Feb 2nd, 2007 06:45 pm by Philj200 ____________________ My MP3 Section: http://ezfolk.com/audio/bands/1143/ My Myspace area: http://myspace.com/philj200 |
|||||||||||||
| ||||||||||||||
| Posted: Sat Feb 3rd, 2007 10:23 am |
|
35th Post |
|
Patrick_Costello Approved
|
If you're doing it "right" (and "right" is a tricky term) in an American folk music setting ("folk music" being everything and anything played in the USA from the Mayflower to present day) there really is no need for tab or standard notation. Tab works for writing out exercises, but once you go beyond a few measures it actually starts being counterproductive. Standard notation in folk music is useful for confidence building ("see, you CAN read music") and it can help some people get a more abstract view of music - but when it comes to learning sons it creates the same sort of "one step forward and two steps back" trap that you find with tab. You can't learn this craft song-by-song. -Patrick
|
||||||||||||||
| |||||||||||||||
| Posted: Sat Feb 3rd, 2007 06:28 pm |
|
36th Post |
|
banjo brad Super Moderator
|
Philj- There was a very good post on banjo-L this morning about the notes/ear learning conundrum: "Subject: Re: Ear versus Page In my opinion, this doesn't have to be an "either-or" kind of argument. I believe that a large part of playing from notation involves developing the ability to "pre-hear" the notated music first, either explicitly by singing or internally by imagining the sound. This doesn't have to be some rare exotic skill that only a few composers possess; we all do it. Imagine a song you like without uttering any sound. Just "perform it" in your mind, focusing on a single instrument playing the melody. It's as natural as the inner conversations we all carry on (sometimes too much!) in our heads. The idea that playing from notation means performing instant sightreading (a kind of musical touch typing) is misleading. There are teachers who actually discourage sightreading "unknown" music because if done casually, it bypasses this pre-hearing stage and, by taking the ear out of the picture, it encourages mechanical playing. As much as we talk about "letting the music take us" and "playing by ear", on a fundamental level your mind has to understand what your body is about to do, whether you're playing from notation or playing a tunes you learned by ear. In the case of playing a note on an instrument without frets, that includes hearing the pitch you're going for. Otherwise you're really just "wiggling your fingers", hoping for the best rather than expressing the music that should be inside of you. Another reason I don't think you can separate ear vs. notation so easily is that notation always implies some "ear" familiarity with the idiom or genre if we expect to bring the notation to life in a way that's at least close to what the composer or the style asks for. One could argue that people who learn "by ear" are actually having a deeper musical experience by absorbing the entire musical essence from the beginning, rather than following the approach of first "learning the notes" than "adding the expression". I'm not saying the later is the only way to learn from notation, but it's the way a lot of classical players work, for better or worse. As far as a teaching approach, hearing the score can be taught from the very beginning, from notation that contains nothing but open strings. People often teach rhythm from that stage, but shy away from teaching students to sing and hear what they're about to play. I think it probably has to do with inhibitions about singing but that's a shame. You don't need to sing operatically, you just need to articulate a sound. Jazz players are taught to use syllables like "doot" and "dah" to imitate horn articulations. It's kind of ironic when you consider that historically the violin developed into a solo instrument in part by imitating the role and texture of the voice." Very nicely stated, in my opinion. Brad
____________________ ezFolk Help Brad Prickly Pear Music Banjo Brad's ezFolk page TOTMC |
|||||||||||||
| ||||||||||||||
| Posted: Sat Feb 3rd, 2007 08:37 pm |
|
37th Post |
|
Philj200 Approved
|
I agree with the post. I never said anything about playing by ear. I'll opened a debate on the relative merits of standard notation compared to tablature. It took off from there. For jamming with friends with known songs... or songs with a logical chord progression and a clear melody and beat, it's easy to pick up pieces. Probably easier than learning a new piece from the notation alone as long as the piece is traditional. I defy anyone to listen to a Miles Davis piece and pick up the changes. The answer is to have a good ear, practice a lot, have friends near your level so you don't get discouraged, and a few friends who play much better to inspire you... then an ability to read BOTH tablature and notation so the next time someone hands you some paper you can do more than roll a doobie with it. --- One of my students (harmonica in this case) came to me with a problem. He had the melody line of Whiskey Before Morning written out with harmonica tabs. I think Brad's circle played that on his site. Anyway, he was going crazy. He played it note for note and it sounded wrong. He was following the tabs. I played along picking out the notes on a guitar with a flatpick. I played it and it worked. He played the tabs and it didn't. I picked up a harp and son of a gun, it was wrong as well. (At this point picture a light bulb going on over my head.) The tablature writer was sloppy and made a critical error. The blow/draw tab marks were a full tone off for the last bar. The piece could not resolve. If the student was more confident (that will come) he would have solved it with his ear. He didn't know (or care to learn) how to read notes. So he made the student assumption: if something is wrong it's his fault. No, it was the transcriber's. I wrote in the correct notes and the problem went away. Harmonica tabluature is the only tabs I've experienced that can work with in any key. That's the nature of the 10-hole harmonica. Blow 4, your get a tonic. Draw 4, you get a 5th. Tabs for a C-harp will work in an E-flat or a G-major. (There. I said positive things about tab. Now if someone will check the weather report to see if Hell has indeed frozen over!)
____________________ My MP3 Section: http://ezfolk.com/audio/bands/1143/ My Myspace area: http://myspace.com/philj200 |
||||||||||||||
| |||||||||||||||
| Posted: Sat Feb 3rd, 2007 10:48 pm |
|
38th Post |
|
Patrick_Costello Approved
|
The one thing that creeps me out about the "by ear" talk is that nobody who ever uses that term has any idea of what is really going on. It has become one of those discussion points that people drag out to look authoritative - and it's a safe subject because the odds of anybody showing up with enough experience to know that you are faking it is pretty slim. The problem is that people who don't "get" music tend to overlook the important things and focus on the unimportant things. When you step back and take a long hard look at the conversations going on across the Internet you can start to see trends in what works and what doesn't work - and the honking huge thing common to almost every failed folk music student is a fixation on the melody. Do me a favor and watch this video of R.L. Burnside playing Poor Black Mattie: http://www.youtube.com/watch?v=p_KyckFadII Now grab your banjo (or guitar) and tune to Open G. I know, in the clip he's closer to Open E - but stick with open G for right now to keep things simple. The cool thing about Poor Black Mattie is that it's an example of one-chord blues. Here's all you have to do to play the song: Get a 4/4 frailing rhythm going alternating between the third and fourth strings. Mess around with throwing hammer-on's or phantom hammer-on's on the third and fourth strings at the third fret. Keeping a steady frailing rhythm, mess around with playing different parts of the strum as a rest until you find a groove that feels good. Once you find that groove sing the song. The only tricky thing here is that your banjo won't be playing any melody notes. This is early blues where your instrument carries a rhythm and your voice does all of the melody work. Here are the lyrics: Poor Black Mattie ain't got a change in clothes, girl got drunk, close that door Poor Black Mattie, ain't got change o' clothes, girl got drunk, throwed her clothes outdoors Poor Black Mattie… Goin' to Memphis, see the World's Fair, reason I'm goin', baby there Goin' to Memphis, see the World's Fair, reason I'm goin', know my baby there Need no heater fireplace by my bed, women I got cherry red Need no heater fireplace by my bed, woman I got keeps me cherry red Once you can do that try mixing in the little lick R.L. mixed in from time to time. To do that all you have to do is slide the second string to the third fret and then pull off the first and second strings at the third fret. The cool thing about this - and one of the reasons I am distancing myself more and more from the modern set-list of "jam tunes" - is that we end up with something that sounds cool, is fun to play and teaching us how to sing (ear training) and hold a rhythm (technique training). You can also apply the same approach to any other song. All you have to do is identity the structure of the tune (that really boils down to the rhythm and the chord progression) and take it from there. If you approach Poor Black Mattie from a tab or a notation standpoint it will never, ever come together because the rhythmic flow is interrupted by your constant struggle to remember what to play. You've got to learn how to go with the flow. You can't do this from memory. You just have to take a simple set of skills and dive into the music. -Patrick
|
|||||||||||||
| ||||||||||||||
| Posted: Sat Feb 3rd, 2007 10:55 pm |
|
39th Post |
|
banjo brad Super Moderator
|
It must have expected your answer, Phil. It hasw been rather cool here in S. AZ lately. Set a record for the coldest January on record! * * * * * Sometimes these discussions do tend to dissolve into something different, but they seem to usually hover around the original subject. I think that all three methods are valid, one more so for one person than another. Like I said, I used notation for classical guitar (almost impossible to find tab for that), and because I was insecure in my ability to play, slavishly followed the page. When I first saw guitar tab, it was very confusing, so I didn't bother with it, just stuck to the dots. I did play some folk songs by ear, but they came off of a chord sheet (to establish the key and changes), and were then just single-note melodies. The banjo, due to it's different tuning, allowed me the chance to learn tab. The notes were not falling under my fingers like on the guitar. As I progressed with the banjo, I discovered that I did have the ability to find things on my own - my ability at ear playing inproved, and I now find that it is easy to pick up some tunes without ever seeing a written version. Dots and tabs are a way for me now to learn tunes that I haven't heard before or that I haven't heard enough to internalize and learn by ear. So, I will not say bad things about any learning method. My dad could play piano by ear or notes, and the first guy I picked guitar with could hear a song once, and play it, with imbellishments, immediately, but couldn't read music or tab. I have played with all levels in between. If it works for you, go for it, is the best advise I can give, followed by "learn to read music and learn theory, too." We have been over the theory controversy before, so I almost hesitate to add that line, but what the heck! I just came home from pickin' and fiddlin' for 3 hours with a couple of guys from the Circle. Lots of fun! Brad
____________________ ezFolk Help Brad Prickly Pear Music Banjo Brad's ezFolk page TOTMC |
||||||||||||||
| |||||||||||||||
| Posted: Sat Feb 3rd, 2007 11:42 pm |
|
40th Post |
|
Patrick_Costello Approved
|
The problem I have with that is "internalizing" the song is just another way of saying that you memorized it by rote. Even if you get through the song you are not left with much you can carry into other music - and even simple things like transposing become a nightmare. If you want to see how you are progressing go to your next jam and take a song everybody knows in a given key and call it in another key. If everything falls apart something is wrong. -Patrick
|
|||||||||||||
| ||||||||||||||
| Current time is 07:25 am | Page: 1 2 3 |
| ezFolk Forums > General > General > Who can read music? Who can read tabs? | Top |
