Кстати интересная тема из его форума (Discuss)
" Hearing Theory
Jonathan!
First let me say that I have two of your records (Trioing & Nine Stories Wide) and it has been some of the most inspiring material I have come across lately.
I'm currently working on my "hand/ear" coordination. I'd like to be able to play through changes without relying on theory too much. I think that would lead to a more melodic approach of playing: really hearing a line over the chords instead of "going from this chord tone to that chord tone using these possible connection tones".
Now my question is: Do you think that transcription is the only way to reach my goal? I am working on that aspect, but I'd like to work on the problem from as many different angles as possible.
Thanks a lot for any ideas you can offer, and thanks again for your great music!
All the best,
CH
CH,
Thanks very much for checking out my music.
It sounds like you are on the right track with the transcribing and the urge to play what you "hear". As far as my thoughts on "relying on theory too much", I think that theory is equally able to be internalized and "heard". The real key is approaching scales, arpeggios, patterns etc. in the same manner that you would transcribed vocabulary (which for me would include learning tunes as well as lines from solos etc.) I've had students that could play every scale in the book, but couldn't sing ONE of them. This is a pretty good example of what not to do. I think if you really get to know the sounds of the intervals and shapes involved in your theoretical excercises, they can become material for great musical discoveries. (this is the stuff from whence Giant Steps sprang). I guess that we can all strive to reach a point where what we think (theory) and what we hear(transcribe) will become almost as one, challenging eachother neck and neck to move ahead...
hope all is great with your music and life,
JK"
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