It's a trend I've been leaning towards for some time. And having recently listened to interviews with Joe Henderson and Gary Bartz about how they teach/taught I've been emphasizing the aural approach in lessons more and more. Students have been learning Lester Young solos off of the recordings strictly by ear and memorizing them on their instrument with nothing written down. I've also been teaching them how to figure out the chords and harmony to tunes this way as well.
It seems like such a simple thing but "the ear" seems to be an undervalued asset in jazz education generally. Learning with the ears alone integrates every aspect of the music and music making all at once and serves for a more profound and much longer lasting impact. I can see the lightbulbs flashing on in their minds as the beauties of these solos reveal themselves in a way that the student has never experienced before. And in speaking with them afterwards I realize that their eyes are opened to the world in new ways as the ramifications of how this music was created begin to sink in. Hearing a developing musician come in and play these solos to me along with the recordings is such a beautiful experience that it lifts my spirits for days! Just had to say…
Nice post Ellery.
ReplyDeleteSad to say that nowadays most students don't listen with their ears, but with their fingers and what's impressive. Paul Desmond and the like would have died a death in this day and age, along with Warne Marsh (like Tristano a big fan of 'aural learning'). I suppose that nowadays with computers and various 'programs' many musicians and students think there is either no time or no need to listen ...... we can read it all in a book or get it from a teacher, no need to waste ones time listening.
Sad, but true.
Also interestingly relevant :
ReplyDeletehttp://jazztruth.blogspot.com/2011/04/short-story-about-harold-mabern.html
Thanks Joe, I saw George's article a few days ago...love seeing stuff like that...
ReplyDeleteI was going to mention Tristano as well. I've been listening to a lot of his work lately, as well as discovering more of Konitz and Marsh from the late 50's. I figured that since Braxton is such a fan, I needed to get more acquainted.
ReplyDeleteIsn't ear training something that Ran Blake and the New England Conservatory also emphasize? Read that somewhere...
Lee Konitz gave a masterclass back in the late '70s in which he demonstrated how he practiced tunes in whole notes, then half notes, quarters, then eighths. All about giving your mind time to "hear" what notes you want to play. In the end you can go anywhere from any note and still find your way. True freedom.
ReplyDeleteSince I'm not a musician, I'm not sure whether you mean practicing compositions or improvisations in the different note lengths. If he's practicing compositions, doesn't that change those compositions dramatically?
ReplyDeleteSorry about that. The song-form (composition that he is impovising on) stays the same. I basically meant his improvisations were played using far less notes, held much longer. Only very gradually playing faster.
ReplyDelete