Scott Henderson gives some great insight, adding new life to a simple minor pentatonic shape...
Al Di Meola talks about time in his own inimitable languid style. Some really important issues covered here.
Quoted from the Baltimore Sun, Victor Wooten inspires again:
"When you think about a kid learning a language, it makes sense that when you're surrounded by it, and you're participating in it, you learn it quicker — much quicker — than sitting down and being taught," Wooten said. "The same thing is true about music. A kid that grows up in a musical family will learn it much quicker and much more thoroughly than a kid that's just taking lessons."
Wooten thinks the traditional system of music instruction deserves another look. Instead of sitting in a small room, going over chord progressions and drills with students, music teachers should inject more performance into their routines, he said. The occasional recital is not enough.
"When we learn a new word, we don't sit in a room and practice it — we start using it right away," he said. "That's where we figure everything about that word — not just how to say it, but how people respond to it. When you learn something musically, don't spend days, weeks, months practicing it. ... If our teachers played more with the students rather than just teaching, I believe our students will learn much quicker."
And there is also a quote about people comparing him to other great musicians. His response is Zen-like and inspiring:
"I don't look at it as true or false," he said. "I look at it as opinions. The thing is, if I believe those good opinions, I have to believe the bad opinions, too. Who I really am is up to me."
Really digging these guys at the moment. Huge sound from a quintet. Really intricate arrangements. Love it. I know it is crass to make comparisons, but if you're not tempted to click on the pic to link to sounds, I hear Zappa and Bitches Brew-era Miles, amongst other things. Well worth checking out!
KS3 Music students studying blues may find this short introductory presentation useful. Enjoy! :)
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These questions keep coming up with students, so here are the lists:
Percussionist extraordinaire Ruth Underwood talks about Frank Zappa's approach to harmony, specifically, the "2" chord. Ruth explains that if we take a Major triad:
C Major: C, E, G
...and drop the 3rd down to the 2nd degree of the scale, we get:
C2: C, D, G
This "2 chord" sound is easily recognizable as being prevalent in a lot of FZ's compositions.
If we invert the C2 chord, we get:
C, D, G - D, G, C - G, C, D
It is interesting to me that the second inversion of the 2 chord is stacked 4ths. I'm going to look out for this a little more and find some parallels.