Frank
3779 posts
Jan 29, 2014
5:51 AM
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Recently proofread this document that I wrote awhile back and debuted on this site - here it is in it's entirety, for any and all who dare to explore my opinions :)
Last Edited by Frank on Jan 29, 2014 5:57 AM
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MindTheGap
193 posts
Jan 29, 2014
6:43 AM
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That looks interesting Frank. It's a bit tricky to read in that format - is it possible to download it?
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dougharps
524 posts
Jan 29, 2014
9:26 AM
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Very accurate and comprehensive statement, Frank! I totally agree with almost all of it, and I can't even dispute the validity of the tiny difference in emphasis in your approach and the path I have taken.
That would be the use of memorizing note for note solos. I don't dispute that there are benefits to this approach, it just isn't the way I approach it. I listen carefully to the phrasing, and often replicate parts of solos, but I didn't go the 100% you endorse. Even Little Walter (a Master?) didn't play his solos the same way each time. No disagreement with your way as being good, just not absolute compliance with the approach.
However, even with that small difference, your essay is accurate, informative, and comprehensive.
Good Job!
Edit: I think it is good for musical development to play music that is not standard blues, including other genres.
Now I need to close my eyes and let them recover from the strain of the small font ;-}
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Doug S.
Last Edited by dougharps on Jan 29, 2014 9:31 AM
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Mirco
82 posts
Jan 29, 2014
6:23 PM
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I second MindTheGap's sentiment about readability. Intrigued as I am, I can't get past the difficulty of reading this. Frank's generally got good insights.
Still, I'd like to jump into the conversation, even though I haven't read this.
On memorizing solos, note for note:
I think this is a great practice. But it's only a start.
Ideally, one would:
-transcribe their solo from the original recording (this will make you intimate with the solo and how it should played)
-replicate the solo on your own
-make it your own (change the presentation of notes, transpose notes, or even pull individual licks from it and use in your other solos)
Clark Terry's 3 steps to improv were imitation, internalization, and innovation.
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MindTheGap
195 posts
Jan 30, 2014
1:14 AM
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I found the original thread, now I can appreciate it properly...
5350529
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Frank
3782 posts
Feb 01, 2014
11:26 AM
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My computer AND phone line went south...so forgive my late response...I will make the document easier to read and get it up with a new link. Thank you all for indulging a bit in reading it and I hope a nugget or two makes sense for you and is helpful :)
@dougharps - thanks for your thoughts...I don't recall mentioning in the article to memorize note for note solos - I'm pretty sure that I made it clear that what we are after, if we want to improve, is found through the STUDY of a tune... not memorization.
I think that I also mention [correct me if I'm wrong] to learn other styles/genres of music...but I suggest to at least take the time to (master one style of music) in order to posses some semblance of excellence...
I see a lot of players who try to be a jack of all styles and master of none -
My approach is - To "master something" , because musical gluttony in the long run will only weigh the average player down 'with too much on their plate' and cause long term problems!
Last Edited by Frank on Feb 01, 2014 11:31 AM
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dougharps
533 posts
Feb 01, 2014
12:01 PM
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@Frank
I admit to quickly reading the manifesto and not poring over it, because I had not yet had the hint about enlarging the font and my eyes were burning.
You spoke at least twice about studying and learning to play a Master's solos as a learning tool, but you did not make a requirement of memorizing it, and so, I stand corrected.
Additionally, you did address playing different "styles" of music, which in review after your post, could have meant "genres". At the time I read it as pertaining to different styles of blues, but I certainly could have misinterpreted your meaning of "styles."
In which case, I fully support what you wrote.
Good essay, Frank!
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Doug S.
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Frank
3786 posts
Feb 04, 2014
2:46 PM
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Thanks again Doug - I do appreciate your support, though you are welcome to find fault with anything I say in the essay...And you're right, the memorization thing and the copy paste thing will never hold up under the bright lights of scrutiny.... A player needs to KNOW what the hell it is their doing and that comes from mindful study and the application of what is being learnt.
Here is an easier to read version :)
[Beginners] Musical Training Wheels EXPOSED
Last Edited by Frank on Feb 04, 2014 2:49 PM
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MindTheGap
220 posts
Feb 05, 2014
2:21 AM
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Frank - thank you for making this available, and in large print too :) Lots of great food for thought. The push to just acquire more and more techniques on the harp feels strong and this is a good counterbalance to that.
One of the really good messages is about enjoying the journey. Out of interest, have you had periods of not enjoying it, and if so what did you do?
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Frank
3791 posts
Feb 06, 2014
2:23 PM
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Nothing wrong with acquiring more technique...problems will arise though when the addition of them is mostly superficial and nothing ever matures into mastery -thus adding no real value to a players sensibilities .
Harp is my hobby and therapeutic for me, I've yet to lose interest or enjoyment from my engagement with it! It's a simple yet satisfying activity - similar to gardening...it's not rocket science, but if you desire your efforts to produce a bountiful harvest - there is more to it then just throwing some seeds in the dirt - you must add much tender loving care :)
Last Edited by Frank on Feb 06, 2014 2:27 PM
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