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Originally Posted by JakeAcci
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03-11-2017 03:51 PM
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Originally Posted by christianm77
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Originally Posted by JakeAcci
1. Do you think you are a good player
I'm better than Barry Shitpeas down the street, so that's a start.
2. Do you think your music sounds good
My mum says she likes it.
3. Do you think you swing
The question I asked was, "do you think you can swing." Not everyone swings all the time. Even some of Wes's recordings are less swinging than others.
4. Do you think your time feel sounds good
As for 3. Even a bad ass Son band in Old Havana might sound a bit ropey until they all lock in after a couple of bars.
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Originally Posted by christianm77
Her bias is probably worse than yours!
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Re; the Dunning Kruger thing, I feel that the kind of assessment master musicians are likely to make are along the lines of that gig flowed well/there was a good vibe etc. Interior experiences are worthwhile IMO because, well, you have to enjoy what you do. The more it can be enjoyable the better.
I also happen to think there is a connection with swinging etc, but I would also be prepared to admit there is in fact no correlation between the two at all.
But yes, many musicians are almost hilariously modest in their assessments of their own playing and it's really not a put on.
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Originally Posted by christianm77
So I'm not sure how much of a measure that is.
Fred Hersch commented on how when he used to do gigs high they always felt better in the moment, but he'd listen the recording of the gig, at a later time, and realize it wasn't as 'happenin' as he felt in the moment. Obviously drugs alter our perception in a more literal way, but I think there's a lot of weight to the idea that how we feel during a gig might not be too relevant to how "good" it was. I just feel like I have too many anecdotes to support what I'm saying.
Regarding enjoyment, of course, it's important to enjoy stuff. It's great to enjoy playing, to enjoy practicing, to enjoy a discussion on a forum. But a player enjoying his own experience performing may have limited to connection to how good the music sounds, how well he's connecting with the audience, how much it's swinging, etc. Just like two blokes enjoying exchanging ideas doesn't mean they are actually learning anything or growing as people or musicians.
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Originally Posted by JakeAcci
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Originally Posted by christianm77
Sorry, I have a problem...
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Originally Posted by JakeAcci
But - I generally know right away if I have played something rhythmically weak or out of time. My perception of this is much better than it was. That's kind of negative thing in a way.
When I am playing well - I feel a sort of disinterested daydreaming quality. Sometimes it feels really placid and kind of flat and my ego demands that 'do something.' Then I listen back and I can hear exactly the point I 'wake up.'
Fred Hersch commented on how when he used to do gigs high they always felt better in the moment, but he'd listen the recording of the gig, at a later time, and realize it wasn't as 'happenin' as he felt in the moment. Obviously drugs alter our perception in a more literal way, but I think there's a lot of weight to the idea that how we feel during a gig might not be too relevant to how "good" it was. I just feel like I have too many anecdotes to support what I'm saying.
Regarding enjoyment, of course, it's important to enjoy stuff. It's great to enjoy playing, to enjoy practicing, to enjoy a discussion on a forum. But a player enjoying his own experience performing may have limited to connection to how good the music sounds, how well he's connecting with the audience, how much it's swinging, etc. Just like two blokes enjoying exchanging ideas doesn't mean they are actually learning anything or growing as people or musicians.
Trying to swing is the first mistake, getting excited by the rhythm is another. But you also have to have a deep intuitive understanding of the different rhythms that make up swing feel. I actually think swing is one of those things it is possible to break down and study, the same thing we might break down a symphonic movement in terms of form and harmony.
Now that don't mean that Beethoven or Wes were aware of what they were doing in the moment, but there's an element of reverse engineering their craft to get that .... feeling.
I'm not pretending I have any answers BTW or much in the way of consistency, merely questions.Last edited by christianm77; 03-11-2017 at 04:48 PM.
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Originally Posted by christianm77
1949 L5 and other vintage Gibson archtops at...
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