有點長~但是看看嚕~
也許也可以等於回答很多以前網友的問題~
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?
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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".
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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.
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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.
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Question:
and what do you play on a Dmin chord?
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anything but D minor.
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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?
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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.
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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"?
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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.
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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.
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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.
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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.
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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
[分享]某處偷來的Scott Henderson 回答網友的問題~~關於樂理等等
Moderator: ArkLin
真是一目了然阿 
If you could give an aspiring musician any advice on beginning a performing career, could you give it to me?
Quote:
Don't just sit around practicing - that's only half of it. Get in a band as soon as possible and try to get a gig playing at least 5 nights a week, no matter what kind of music. Early on I always looked for cool musicians to play top 40 stuff with - people that realize it's just a money gig and don't take it too seriously. We'd play some dumb tune like "Cocaine" and when the dance floor filled up with drunks I'd solo for 15 minutes. I soloed more on those top 40 gigs than I do with my trio.
表演也是一種進步的方式~~而且是最快的方式~
因為你要面對的是"real world"
Quote:
Don't just sit around practicing - that's only half of it. Get in a band as soon as possible and try to get a gig playing at least 5 nights a week, no matter what kind of music. Early on I always looked for cool musicians to play top 40 stuff with - people that realize it's just a money gig and don't take it too seriously. We'd play some dumb tune like "Cocaine" and when the dance floor filled up with drunks I'd solo for 15 minutes. I soloed more on those top 40 gigs than I do with my trio.
表演也是一種進步的方式~~而且是最快的方式~
因為你要面對的是"real world"
臉皮厚可能不是恰當的說法, 應是"愛現"吧! "愛現"和"怕搞砸"可能是比較值得探討的兩個因素, 記得在學校表演會的時候, 準備連番上台表演的同學們, 有的迫不急待等不及了... 一直問"什麼時候才換我上台呀?"想秀的不得了! 有的看著表演就快要輪到他了, 開始就不安起來了, 好像要上刑場, 有的明明平時看他練的滾瓜爛熟, 但得失心過大.....這樣的"怕搞砸"心態, 反而把表演搞砸!
至於我呢? 當然就是上面講的那種....."什麼時候換我呀? 快點啦! 你們都害怕不敢先嗎? 那我就先上去開場囉!" (我覺得網友杯大, 天始, Carykenz等好像也都是這種人?)
有一次表演到一半我的吉他手(我是KB)緊張到吉他彈到一半掉到地上, 我馬上救火對Mic叫: 喂! 吉他仔! 叫你不要瞄第二排第四個那個美女專心彈! 你居然給我瞄到掉吉他????..............."馬上把錯誤出糗轉成搞笑(就像吳宗憲的本領)....這也是很重要的反應, 我以前不是貼過Eric Clapton嚴重出錯的影片給你們笑嗎! 那出錯反而變那整捲DVD最好看的賣點!
我唯一上台前會不安的情形是...."沒練熟", 包括我練很熟, 但其它團員沒練熟的情況, 所以我搞團一向很惡霸都要當團長, 用惡勢力強逼團員大家給我苦練熟到變反射動作, 熟練到可以邊彈這首歌邊講電話的境界! 一定要下苦工把要表演的歌練到100%熟! 這是克服緊張很重要的, 就像課本K熟到可以整本書默寫, 就根本不怕去考試!
至於我呢? 當然就是上面講的那種....."什麼時候換我呀? 快點啦! 你們都害怕不敢先嗎? 那我就先上去開場囉!" (我覺得網友杯大, 天始, Carykenz等好像也都是這種人?)
有一次表演到一半我的吉他手(我是KB)緊張到吉他彈到一半掉到地上, 我馬上救火對Mic叫: 喂! 吉他仔! 叫你不要瞄第二排第四個那個美女專心彈! 你居然給我瞄到掉吉他????..............."馬上把錯誤出糗轉成搞笑(就像吳宗憲的本領)....這也是很重要的反應, 我以前不是貼過Eric Clapton嚴重出錯的影片給你們笑嗎! 那出錯反而變那整捲DVD最好看的賣點!
我唯一上台前會不安的情形是...."沒練熟", 包括我練很熟, 但其它團員沒練熟的情況, 所以我搞團一向很惡霸都要當團長, 用惡勢力強逼團員大家給我苦練熟到變反射動作, 熟練到可以邊彈這首歌邊講電話的境界! 一定要下苦工把要表演的歌練到100%熟! 這是克服緊張很重要的, 就像課本K熟到可以整本書默寫, 就根本不怕去考試!
Last edited by 閃電手 on 2005-08-01, 16:39, edited 1 time in total.
羅羅 wrote:If you could give an aspiring musician any advice on beginning a performing career, could you give it to me?
Quote:
Don't just sit around practicing - that's only half of it. Get in a band as soon as possible and try to get a gig playing at least 5 nights a week, no matter what kind of music. Early on I always looked for cool musicians to play top 40 stuff with - people that realize it's just a money gig and don't take it too seriously. We'd play some dumb tune like "Cocaine" and when the dance floor filled up with drunks I'd solo for 15 minutes. I soloed more on those top 40 gigs than I do with my trio.
表演也是一種進步的方式~~而且是最快的方式~
因為你要面對的是"real world"
小小同學
記住這句話
很重要
這是真的
