Anonymous
Anonymous asked in 社會與文化語言 · 2 decades ago

幫我翻譯一下.....(可能有專有名詞)

Hi Scott,

I have a hard time finding a right mix between nervousness (concentration) and calmness on stage, in both cases my solos aren't as fluid as at rehearsals. How do you manage to calm down and fully concentrate on your solos, even if there are 3 hot girls in the front row... Do you drink beer or something before the gig? Do you find a perfect balance between concentration and calmness?

Quote:

I don't do anything perfect, but that's a good question. Nervousness is enemy number one while trying to play music, and the first night of our live recording was proof of that... it took me a little time to get into a calm state of mind, and I had to really concentrate on what I learned awhile ago from a great book.

When we're nervous while playing, we're "performing".... I try my best NEVER to perform. When you perform, you split yourself into three people - the guy playing the music, the music critic that evaluates, judges, and maybe even hates the notes as soon as they've been played, and the insecure music student looking to the audience for validation and support.

Rather than perform, I like to participate instead - when you participate in something, you do it simply for the fun of doing it, not to succeed or to impress, or to compete or compare to someone else. If you look at playing music this way, it's easier to relax and have fun - and not worry about having a great night as compared to some other night. This kind of attitude will make you play better and allow you to be the most creative.

Alcohol makes me more relaxed, but it also makes me forget things, which isn't good. I'd rather get relaxed on my own, and I've noticed that some of my most creative nights on the road happen when I haven't had a lot of sleep and I'm too tired to worry about anything. I just try to have fun on stage, and sometimes I remind myself that I'm in show business, not brain surgery - if I don't play my best nobody's gonna die, so I'm not too hard on myself. My philosophy on this subject comes from Theodore Rubin's great book "Compassion and Self Hate", a must read for musicians who walk around saying "I suck".

..................................................................................

Hey scott. Iv read some interview where you say you learned to play by ear and from learning other peoples stuff. Well, Iv been playing for about 4 years and have Iv always used tab to learn stuff. I have a hard time figuring out notes by ear. Did you ever have trouble hearing things? How did you work through it.

Quote:

I did learn by ear, mainly because I didn't know how to read and I'm still a terrible reader - even tab is difficult for me. I can learn things much faster by ear than off the paper. Developing your hearing is like anything else - the more you do it, the easier it becomes. When I was first starting, I played in a lot of top 40 bands and I always had to learn the songs off the record - after awhile I got pretty good at it and by the time I started to learn jazz solos off records it was easy. It's cool to be able to read, but you might want to consider trying it the other way for awhile.

...............................................................................

Question:

and what do you play on a Dmin chord?

Quote:

anything but D minor.

...............................................................................

Another dumb ii/V question: I am tired of playing sensitive minor ii's while waiting to go to Rod Serling-land over the altered dom. chord. BUT, I know that the contrasting (ii=lovely minor/V=creepy wholetone/I=happy home licks) nature of turnarounds are what make them tick.. what's some good ii idears for us clobberheads?

Quote:

I like to play diminished over minor - example: ii V in the key of C. Over Dm play D E F G Ab Bb B C#. It's like playing melodic minor but replacing the 5th with the flat and sharp 5th. This same diminished scale works over the V chord as well. Sometimes I just ignore the ii chord and play V altered (Ab melodic minor) through the whole ii V.

.....................................................................................

3-You said that when you play blues and you're soloing, you don't have to think- i was wondering if that happened naturally just from constant practicing and gigging, or somewhere along the way you made a conscious decision to just start "going for it"?

Quote:

I was just comparing playing blues to playing jazz and that I usually have to think more when playing over changes - but no matter what kind of music you play, the goal should be to play what you feel without having to think so much about the technical stuff, and of course the ability to do that comes from practicing and gigging a lot.

..................................................................................

Hi scott,

Do you have hands on tips for rhythmic development? I have your videos. Some simple tips perhaps. Like here is the metronome here is your guitar an now try this. Maybe something you encounter while teaching.

Secondly I wonder if you have tips on how to develop a solo. When you know the changes and your licks you gotta go someplace. Is there a difference in your approach in different styles, tempos.

Quote:

The best way to develop your sense of rhythm is to listen to great improvisers and memorize their solos so you can sing the rhythms along with them. After you get good at doing that, those rhythms will stick in your head. It's just like transcribing, but you don't need your instrument to do it. Same thing for solo development - listen to how great improvisers do it. You might notice that the most intense stuff they play is saved for the end, or that sometimes they play phrases and then repeat them, maybe keeping the shape and rhythm but changing the notes to fit with the chords. If you listen and analyze what's going on in these great solos, you'll figure out what to do.

.....................................................................................

Hey scott! Im just wondering what you think of some more old school guitarists like Pat Martino (whos better than ever now) Wes Montgomery, Joe Pass, Grant Green, Baney Kessle, Kenny Burrel etc... I havent seen you talk about these guys so I wonder what your opinion is about them.

Quote:

I love traditional jazz guitar. Wes Montgomery was a genius - I love his playing. Pat Martino was the first jazz guitarist I ever heard and I transcribed a lot of his stuff, and got to study with him for awhile at GIT. I also got to play with Joe Pass several times as a student there. There was one time when he was interviewed by the LA times and asked if he had heard any young guitarists that he liked. He said "This kid Scott Henderson is really good - he plays that kind of music - you know, where you don't know where the melody is." I thought that was kinda funny. A year later he hired me to teach his son guitar and he plays good too. I've been the guest on Joe Pisano's guitar night a few times - Joe's a great traditional jazz guitarist and it's a lot of fun to do standards together since our styles are so different

1 Answer

Rating
  • Anonymous
    2 decades ago
    Favorite Answer

    喂史考特,

    我有困難時期發現正確的混合在神經質(集中之間) 並且平靜在階段, 在兩個案件我的獨奏不是一樣可變像在排練。怎麼您設法鎮定下來和充分地集中您的獨奏, 既使有3 個熱的女孩在前排... 您喝啤酒或某事在違規記錄之前嗎? 您發現完善的平衡在集中和平靜之間嗎?

    行情:

    我不做什麼完善, 但是那是一個好問題。神經質是敵對第號一個當設法演奏音樂, 並且我們的活錄音第一夜是需要我一點時間進入鎮靜心境那的證明..., 並且我必須真正地集中什麼我一會兒學會了前從一本偉大的書。

    當我們是緊張的當演奏, 我們"執行"... 。我從未設法我最佳執行。當您執行, 您分裂自己成三個人- 人演奏音樂, 評估的音樂評論家, 法官, 和甚而可能恨筆記當他們被演奏了, 並且不安全的音樂學生看對觀眾為檢驗和支持。

    而不是執行, 我喜歡改為參與- 當您參加某事, 您簡單地做它為樂趣做它, 不繼承或不銘記, 或不競爭或不比較別人。如果您看演奏音樂這樣, 它更加容易放鬆和獲得樂趣- 和不擔心有巨大夜與不少其它夜比較。這种態度將使您戲劇更好和將允許您是最創造性的。

    酒精做我放鬆, 但它並且使我忘記事, 不是好的。我寧可會得到獨自放鬆, 並且我注意一些我的最創造性的夜在路發生當我沒有很多睡眠並且我太疲乏以至於不能擔心任何東西。我設法獲得樂趣在階段, 並且我有時提醒自己我是在演藝界, 不是腦部手術- 如果我不演奏我最佳沒人的去死, 因此我不是太堅硬的在我自己。我的哲學在這個主題來自西奧多・Rubin 的偉大的書"慈心並且自已怨恨", a 必須讀為走在說"我附近吮" 的音樂家。

    ..................................................................................

    嘿史考特。Iv 讀了您說您學會演奏由耳朵和從學會其它人材料的某一採訪。很好, Iv 演奏大約4 年和有Iv 總被使用的製表符學會材料。我有困難時期計算在筆記之外由耳朵。您曾經有麻煩聽力事嗎? 怎麼您服務通過它。

    行情:

    我學會了由耳朵, 主要因為我不會讀並且我是仍然一個可怕的讀者- 甚而製表符是困難的為我。我能快速地學會事由耳朵比本文。開發您的聽力是像別的- 您更做它, 更加容易它變得。當我是第一開始, 我演奏了在很多名列前茅40 帶並且我必須總學會歌曲紀錄- 在我以後一會兒得到了相當好在它上和當我開始學會爵士樂獨奏紀錄的時候它容易。涼快的能讀, 但您也許想要考慮嘗試它另一方式為一會兒。

    ...............................................................................

    問題:

    並且您演奏什麼在Dmin 弦?

    行情:

    □不是D 未成年人。

    ...............................................................................

    其它沉默寡言的ii/V 問題: 我對演奏敏感未成年人是疲乏ii's 當等待去標尺Serling 土地修改過的dom. 弦。但, 我知道, 翻身仗的對比的(minor/V=creepy wholetone/I=happy 家ii=lovely 舔) 本質是什麼做他們壁虱。什麼是某一好ii idears 為我們clobberheads?

    行情:

    我喜歡對戲劇被減少在未成年人- 例子: ii V 在C 鑰匙。結束Dm 戲劇D E F G Ab Bb B C # 。它是像演奏旋律未成年人但替換5 用平和銳利第5 。這個同樣被減少的標度工作在V 弦。有時我忽略ii 弦和戲劇v 被修改(Ab 旋律未成年人) 通過整體ii V 。

    .....................................................................................

    3 你說當您演奏藍色並且您soloing, 您不必須認為我想知道如果那發生了自然地從恆定實踐和gigging, 或您某處做出一個神志清楚的決定開始"去為它" 嗎?

    行情:

    我是正義比較演奏藍色與演奏爵士樂並且那我必須通常認為更演奏結束變動- 但不管種類音樂您演奏, 目標應該將演奏什麼您感覺沒有必須非常考慮技術材料, 並且當然來自實踐和gigging 很多的能力做。

    ..................................................................................

    喂史考特,

    您有手在要訣為節奏性發展嗎? 我有您的錄影。一些簡單的要訣或許。像這裡是節拍器這裡是您的吉他每現在嘗試這。可能某事您遇到當教。

    我第二想知道如果您有要訣關於怎樣開發獨奏。當您知道變動和您舔您得到去在某處。是有在您的方法上的一個區別用不同的樣式, 拍子。

    行情:

    最佳的方式開發節奏您的感覺將聽了不起的improvisers 和記住他們的獨奏因此您能唱節奏與他們一起。在您得到擅長於做那之後, 那些節奏將黏附在您的頭裡。它是像抄錄, 但您不需要您的儀器做它。同樣事為獨奏發展- 傾聽怎樣了不起的improvisers 做它。您也許注意, 他們演奏的最強烈的材料被保存為末端, 或他們有時演奏詞組和然後重覆他們, 保留形狀和節奏但可能改變口氣到符合弦。如果您聽和分析怎麼回事在這些巨大獨奏, 您將推測什麼做。

    .....................................................................................

    嘿史考特! Im 正義想知道什麼您認為有些老學校吉他彈奏者像輕拍Martino (whos 更好比曾經現在) Wes 蒙加馬利, 喬通行證, 格蘭特綠色、Baney Kessle, Kenny Burrel 等... I havent 被看見您談論這些人因此我想知道是什麼您的看法關於他們。

    行情:

    我愛傳統爵士樂吉他。Wes 蒙加馬利是天才- I 愛他演奏。輕拍Martino 是我曾經聽見的第一爵士樂吉他彈奏者並且我抄錄了很多他的材料, 和得到學習與他為一會兒在GIT 。我並且得到演奏以喬通行證多次作為學生那裡。有一時候當他在LA 時代以前採訪了和問如果他聽見了他喜歡的任何年輕吉他彈奏者。他說"這個孩子史考特・Henderson 是真正地好的- 他演奏種類音樂- 您知道, 您不知道的地方何處曲調是。" 我認為有點兒滑稽。一年後他雇用我教他的兒子吉他並且他演奏好也是。我是客人在喬・Pisano 的吉他夜幾次- 喬的偉大傳統爵士樂吉他彈奏者和這是很多樂趣一起做標準因為我們的樣式是很不同的

Still have questions? Get your answers by asking now.