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This isn’t autodidactism. I teach what the Us would term elementary school kids.
Originally Posted by brent.h
What I have generally found is that if you ask questions like ‘which bit of this piece do you think is most important to work on?’ or ‘what do you notice about my hand when I play this way?’ it works really well and stops them from being passive in lessons. The more they can think about what they are doing and the more they notice stuff on their own the better. And they can do this all at about 7 or 8
A good book to check out is the Virtuoso Teacher by Paul Harris
I sometimes think we should go back to the dialogue style for methods, like Fux. I think people would find it a bit stylistically contrived these days but I think it has real plus points.
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05-29-2026 07:38 AM
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Youre obviously referring to Single Ladies and I hope you’re not being sarcastic. Originally Posted by brent.h
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Yeah, of course. Originally Posted by grahambop
A student asked me what they should listen to get better at comping and of course I said the Bridge. But I haven’t listened to it for a while.
RIP Sonny
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back seat windows up! Originally Posted by pamosmusic
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Nice Originally Posted by Christian Miller
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I meant do you like these chord changes? Originally Posted by pamosmusic
Have you played such a version ?
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I took chemistry as an elective, first day we did that introduce yourself and tell why you're taking the class. Originally Posted by Christian Miller
"I'm taking this as an elective"
"Why? Wait what's your major?"
"I thought it would be fun, and I'm a math major"
I never had trouble finding a lab partner that whole semester.
Another highlight, this guy remembered hydrophilic as "the one that's gay for water" It's one of the few labels/technical terms I remember because of him.
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I remember the mathematicians used to come in to our quantum physics lectures and get really upset at the formalism. Originally Posted by AllanAllen
I married one in the end. Her opener was explaining the Hairy Ball theorem.
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[QUOTE=Christian Miller;1467523
I married one in the end. Her opener was explaining the Hairy Ball theorem.
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She might have been hinting something to you my guy
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I was a bit grossed out tbh Originally Posted by joe2758
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Cm6/#7 and/or F7(b5) is a better choice for bar 10 because there's major 7th (B) in the melody and the phrase/lyrics seem to call for more dissonance there. Originally Posted by GuyBoden
Do you play dim.7 chords differently than 7b9 chords? I find the latter easier to remember than the former, at least if they're functioning as dominant chords.
That's good, because it has a couple of wrong chords. Originally Posted by GuyBoden
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Some of your vectors are null but I like you anyway? Originally Posted by joe2758
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i dunno what a vector is but I thought fancy science called hairy balls was funny Originally Posted by Mick-7
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Yes, scientists often lack social awareness, you'd think they'd reconsider naming it that. Originally Posted by joe2758
"There is no nonvanishing continuous tangent vector field on even-dimensional n-spheres. For the ordinary sphere or 2-sphere, if f is a continuous function that assigns a vector in R3 to every point p on a sphere such that f(p) is always tangent to the sphere at p, then there is at least one p such that f(p) = 0. In other words, whenever one attempts to comb a hairy ball flat, there will always be at least one tuft of hair at one point on the ball."
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Why would you think that wasn't on purpose? Originally Posted by Mick-7
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Because it is. Originally Posted by joe2758
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Vector!? I hardly even know her!
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The missus would also like to inform of the lipschitz condition
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is that when you cant stop saying stupid stuff
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I'll ask a not stupid question:
Does it even exista the "best" version of chord changes to any jazz standard?...
or you just shouldn't worry about it and play the way it suits you...?
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Well, obviously it’s not always your call. Depends on the context. My aim is to do what’s right for the gig, and if you are a sideman you need to do what the leader wants - if they have a preference. Originally Posted by kris
If you have a good understanding of the history of a tune it makes you more flexible. It’s good for the ears too.
For example, while the II V changes for Stella are the right choice 80% of the time there’s a growing number of musicians who prefer the older diminished changes (as played on Bird with Strings). I would choose different changes for Indiana if doing a Louis style thing than if I were playing it in a bop group.
The same for any tune. Prewar stuff has different turnarounds and movements. Less II V’s and so on. Manouche jazz is similar but has some more modern aspects. Bop is II Vs to death. Contemporary is different again.
I’m quite unusual in having a wide stylistic range of gigs so it’s directly relevant to my playing life. But you’ll even find with top contemporary style players that they can be absolute sticklers for this stuff. Mike Moreno is a good example. Lage Lund too. I think it’s a New York thing, as Brad Mehldau said…. And that’s starting to influence players here who are serious about the repertoire.
I get schooled on this stuff all the time lol. It’s good. It all comes out on the gig, then you go home and learn.
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So, in short, everything depends on the level of playing of a given musician.
So if someone plays the guitar excellently, e.g. fusion jazz and occasionally plays a well-known jazz standard, he can make a mistake.
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I think they are staging the discussion a little for the cameras. It’s a teachable moment for players watching. Open Studio does the same thing. Originally Posted by kris
Obviously fusion cats are not usually the most invested in the standards repertoire playing mostly super complicated original music, and Herbie stuff from the 70s and so on. Footprints is sort of in both worlds. A lot of fusion guys are pop session and theatre players by day of course. We only have so many hours in the day.
I went years playing D7 Db7 and was none the wiser. Later I got schooled on it and I went a bit deeper with it - and basically went on the journey with it they do here.
It’s a growing process and every day is a school day as they say.
On the bandstand what you do is you listen to what the band is doing and play what they do.
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You can use a completely different form and chord changes.Same well know tune.
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That’s cool. When I am in circles where footprints ever gets called, I might transcribe and suggest that version. Originally Posted by kris
I don’t think the aim of any of this is to shame people or gatekeep - although it is often used this way.
The penny dropped when I was in Barry Harris’s class and someone called the old swing tune ‘China Boy’ that I must have played hundreds of times on gigs.
He didn’t know it.
We all have our specialisms, but I try not to denigrate other people’s specialisms, and I don’t believe I have done this at any point of this forum.
Some people go really deep with standards
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