![]() ![]() ![]() Hmm, I sound a bit uncompromising above don’t I? that’s nothing to do with the Rona just changing the way I view tunes and harmony. It’s fun to play with.Ĥ) I hate chord symbols even more than I did 2 years ago but I do know how to read them. ![]() I don’t think I’m alone in this after a year of basically no gigs, my friend (a great sax player) said ‘I want to murder Jamie Aebersold.’ I think this might be a little harsh, but I sympathise.ĭrum Genius saves my life. The idea of playing with another one makes me sort of depressed and like I’d rather not play. Heres where I’m at:Ģ) I’ve learned quite a few tunes and then forgotten them againģ) I now REALLY HATE backing tracks of any kind, human or machine. The last year have been interesting in light of my previous comments. iReal Pro is not the problem the breakdown of musical culture is. By the way, there are as many live situations where live musicians can't swing as not. I've been a pro player for over 5 decades, and I can swing my ass off with iReal Pro, in spite of the limitations of the "robots". 40 years ago, there were enough 6-night-a-week gigs for us to really learn the tunes and the feels on the bandstand. And your solution is impossible at this time in many cases. All of your points are applicable to many systems. Now, want my recommendation for a great jazz app? Drum Genius is amazing.Such prissy BS. (No wonder the technocrats think they can automate music with AI.) It is another step down the line of the devolution of our music into ‘notes over chords’ and robotic, non swinging rhythm. A couple of these issues could also be identified from using the Real Book or Aebersold playalongs.īut iReal takes these problems, centralises them into one place and adds some more. jazz gigs devolve into people staring at their phones just like the rest of modern fucking lifeĪs a tool it is very useful, but increasingly it is becoming a crutch. excuse for people not to learn repertoire People start to think learning tunes is memorising chord progressions Playing ‘over’ standards (rather than learning to outline harmony in their lines) Robotic accompaniment (don’t practice with that shit, please, play with humans live or on record.) That horn player, btw, was the same one who has to read his own compositions in the band I mentioned.are you talking about tony peebles in the bay area? ![]() I could have stumbled through the melodies without the chart, but there's that added sense of security. Oh, and having the RB chart rather than the IRealPro chart allowed me to play accurate melody on tunes I didn't know well. But, I certainly felt that sense of security another poster talked about. Didn't miss a chord all night as a result, which is better than I'd have done without it. The bassist had a tablet with the RB charts and we both looked at that. I knew a lot of them, but I was glad I didn't need to find out exactly what I meant by "knew". He played from memory - which, of course, is easier when you're calling the tunes. The leader was on sax and called all the tunes. I did a horn/guitar/bass standards gig recently. The horn player who runs that jam seems to know every tune that's called - and he has a jazz Grammy. For example, when I called I Should Care, they asked me to pick something else. And, depending on who is there, they stick with pretty common standards so that the young horn players have a chance of knowing the tune. The guys sitting in never use charts, but the B3 player has IRealPro on his phone sitting on the organ. There's a pretty high level jam I go to occasionally at a local restaurant. Even on standards gigs, there are often arrangements which have to be read. In my small corner of the music world, I'm rarely in a situation where I'm expected to play random tunes from memory. One got it on the second, one (the professor) on the third. The leader would signal with fingers up or fingers down (number of sharps or flats) and count it in.īut, in a story I've recounted here before, I was in a group with two well known guitarists, one a college professor of jazz guitar, when Stella got called in F. The NYC wedding musicians of my youth were never stumped and could play anything in any key. Warren Nunes told me that if he heard a song on a jukebox one time, he'd know it for the rest of his life. ![]()
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