Hi ! My Jazz method is pretty simple... but in terms of the underlying philosophy, if you're interested I've put it below. But it is all "theoretical stuff" - - The method is pretty simple... for example 7 basic rules of thumb for putting any chord together on the spot, ways of learning the feel called swing, etc. etc. My method is somewhat old school also in that I strongly believe that students need to get out and learn to play their blues and put together and connect chords, ASAP - - There are 7 basic tones that can make up any chord (or form a scale derived from it and visa versa.)
Two are essential, two are arguably neutral or taken for granted, and 3 are there for color - - Once you know how to put together the essential tones (thirds and sevenths) and connect them, everything else begins to fall into place.
My goal is to get students to the point where they can sit in on a band stand, comp through a blues, comp through simple chord changes, and have a sense of time, rhythm and form as soon as possible... everything else is build on.
Chord Inversions and Modes aren't taught until much later.
Also, I teach ACCOMPANYING before soloing - - for many reasons, including that once you have basic accompanying skills, you can sit in on almost any bandstand, and then learn from the experience, and you will eventually learn that the same notes you're using to accompany can be used in your solos.
I also place little emphasis on reading and writing (though of course it is important, especially at the rudimentary level - - however, the purpose of learning to improvise, accompany etc. is not to learn to read - - but rather think and hear.
Below are the boring philosophical elements of my method...
<<<
In traditional learning, a teacher presents the student with material he has to learn. If the student learns it and passes a test, it means he's a good student. If the student fails, then the student was not so good.
In progressive learning theory actually the teacher has to take responsibility for the progress and growth of the student. In addition, tests aren't so important - - more important is what the student REALLY learns... and whether it helps him/her reach for bigger goals. The true "test" isn't a piece of paper, or a grade, but rather how the learning will effect the student the rest of his or her life, and if the learning had personal meaning. To this extent, it is considered a bad thing when students compete, because every human being has a unique worth and different abilities - - Test scores do not respect these differences and the fact that in life its not your test score, but what you can do that is really important. (Of course this belief is not very realistic, however, the purpose of ART is not to be REALISTIC, its to be IDEALISTIC, so it doesn't matter.)
Jazz is interesting because it is an American artform that is now practised around the world. Many cultures contribute their own ideas and ways of thinking, however, if you want to play American Jazz, it is sensible to understand how American musicians tend to think about the music. I believe that Japanese Jazz is different than American Jazz. Most people agree that the feel IS very different (and so is European Jazz.) This is because traditionally speaking, Jazz musicians are self taught. Traditionally, when Jazz musicians ARE taught, the goal of the teacher is to help the student find his or her own voice. (This is not always true, but has been customary.)
The problem is that in Europe, Japan, and even at many American Colleges, more traditional learning models are used.
The idea is "This is what you have to learn, and if you learn to play it correctly you can advance to the next level..." Unfortunately, there are many problems with this...
the main one is that every musician learns differently. Not all musicians think the same - - and the purpose of Jazz is not to teach somebody to repeat something until they can copy it... Almost all Jazz greats developed their style because they spoke in their own voice, and that voice included not only their "perfections" but their imperfections (including ability to read, play their instrument "properly", play in certain keys, play with certain rhythms, etc.)
My belief is that many modern Jazz methods are creating MINDLESS ROBOTS and are forgetting the creative Jazz tradition.
The methods are great for training STUDIO MUSICIANS who need certain skills, but are not good for making creative artists.
My idea is that THEORY, TECHNIQUE etc. ARE important, but what's also important are the ways that musicians think about things... as well as certain "aesthetic values" - -
The question isn't just "How to play the same notes that another player played," but really, "Why did he play those notes? What was he thinking about? and How do YOU want to think about them" The answer WILL usually involve MUSIC THEORY, but the fact is that ALL ARTISTS follow the same basic laws of theory... what makes them unique is how they interpret them.
I want to create a method that provides a simpler way of thinking of Jazz... one that is VERY practical, yet talks about "ways of thinking", "ways of learning", "ways of applying," "aesthetic values," etc.
As for SENPAI/KOHAI my theory is that many Japanese learners are taught that you follow the person in front of you.
You emulate them, then when it is your time, you follow in their path. In theory, you don't try to be "better" than your mentor... you simply follow his path. But the primary aesthetic in Jazz is FORWARD MOMENTUM. That means that you have a responsibility to be different than your teacher. You learn from your teacher but have a responsibility to develop your own vision of the music. - - Jazz is a constant battle between those who try to preserve its traditions and others who try to redefine it. It is a dialectic... and an important one. In Hegelian philosophy all human progress comes from a three part process...
1. Thesis - - an idea.
2. Antithesis - - a counter idea.
3. Synthesis - - the new idea resulting from the two.
The synthesis then becomes a new thesis and the process repeats.
For this reason, a good Jazz method should present "rudiments" and ideas - - but not teach the student to copy, but rather offer him OPTIONS - - then help the student begin his own path in life. Key concepts are...
1. The student must become independent from the teacher ASAP!
2. The goal of the teacher is to teach the student to learn, survive and become independent.
3. The goal of the teacher is to help pass down certain traditions and beliefs (aesthetics), yet create students who are capable of deciding whether to rebel against them or carry them on.
4. The purpose of the teacher is not to teach the student WHAT to think, but rather give the student things to think about.
5. All teaching should always be GOAL BASED, and the ultimate goal is to help the student learn to play music. A good method prepares the student to go out and play - - and learn from fellow musicians.
6. If a student is not making progress, the teacher has a responsibility to find better and different ways to teach, not merely to judge the student. (In many progressive schools grades aren't given, but instead "assessments" of the students strengths and weaknesses and recommendations what they need to work on!)
7. The ultimate rule of teaching is...
-- All learning is hierarchical...
That means you need to learn one thing before the next.
If a student doesn't understand something, a piece of
information is missing. The teacher needs to find out
which it is, then help the student focus on it.
Simple is always best and finally...
IF YOU CAN'T USE IT, ITS USELESS...
A person only remembers what they can use...
therefore it is important to make sure all learning is
meaningful to the student. (This does not mean a
teacher should NEVER teach a student something he/she
doesn't want to learn, but rather the teacher has a
responsibility to explain to the student why it is
important, and convince him/her so. Another word for
this is motivation.
A final concept about my method is that people learn when what they learn makes them feel good about themselves, and the people surrounding them are accepting and encouraging. A teacher must always BUILD on the strengths of a student,
not judge his/her weaknesses. The question isn't, "Why are you so bad?" but rather, "How can we make you stronger?"
I can also add one other thing... The teacher should not lecture the student but rather guide him. Most of the playing should be done by the student and the teacher should guide the student as well as accompany him whenever possible. The teacher should also give the student time to think things over and experiment with ideas.
I also have a philosophic belief... Music must always have a greater underlying purpose. The purpose can not be dictated to the student, but the student must become aware of why he plays and what his/her message is. The message can be personal, political, religious, an appreciation or celebration of culture - - it is up for the student to decide, but as an artist he/she must be aware that music is a powerful gathering tool and he or she must develop a concept of when, where and how to use it... (and for the record a desire to entertain people and make them happy is a perfectly fine reason too!)
Overall this is some of my basic thinking.
Two are essential, two are arguably neutral or taken for granted, and 3 are there for color - - Once you know how to put together the essential tones (thirds and sevenths) and connect them, everything else begins to fall into place.
My goal is to get students to the point where they can sit in on a band stand, comp through a blues, comp through simple chord changes, and have a sense of time, rhythm and form as soon as possible... everything else is build on.
Chord Inversions and Modes aren't taught until much later.
Also, I teach ACCOMPANYING before soloing - - for many reasons, including that once you have basic accompanying skills, you can sit in on almost any bandstand, and then learn from the experience, and you will eventually learn that the same notes you're using to accompany can be used in your solos.
I also place little emphasis on reading and writing (though of course it is important, especially at the rudimentary level - - however, the purpose of learning to improvise, accompany etc. is not to learn to read - - but rather think and hear.
Below are the boring philosophical elements of my method...
<<<
In traditional learning, a teacher presents the student with material he has to learn. If the student learns it and passes a test, it means he's a good student. If the student fails, then the student was not so good.
In progressive learning theory actually the teacher has to take responsibility for the progress and growth of the student. In addition, tests aren't so important - - more important is what the student REALLY learns... and whether it helps him/her reach for bigger goals. The true "test" isn't a piece of paper, or a grade, but rather how the learning will effect the student the rest of his or her life, and if the learning had personal meaning. To this extent, it is considered a bad thing when students compete, because every human being has a unique worth and different abilities - - Test scores do not respect these differences and the fact that in life its not your test score, but what you can do that is really important. (Of course this belief is not very realistic, however, the purpose of ART is not to be REALISTIC, its to be IDEALISTIC, so it doesn't matter.)
Jazz is interesting because it is an American artform that is now practised around the world. Many cultures contribute their own ideas and ways of thinking, however, if you want to play American Jazz, it is sensible to understand how American musicians tend to think about the music. I believe that Japanese Jazz is different than American Jazz. Most people agree that the feel IS very different (and so is European Jazz.) This is because traditionally speaking, Jazz musicians are self taught. Traditionally, when Jazz musicians ARE taught, the goal of the teacher is to help the student find his or her own voice. (This is not always true, but has been customary.)
The problem is that in Europe, Japan, and even at many American Colleges, more traditional learning models are used.
The idea is "This is what you have to learn, and if you learn to play it correctly you can advance to the next level..." Unfortunately, there are many problems with this...
the main one is that every musician learns differently. Not all musicians think the same - - and the purpose of Jazz is not to teach somebody to repeat something until they can copy it... Almost all Jazz greats developed their style because they spoke in their own voice, and that voice included not only their "perfections" but their imperfections (including ability to read, play their instrument "properly", play in certain keys, play with certain rhythms, etc.)
My belief is that many modern Jazz methods are creating MINDLESS ROBOTS and are forgetting the creative Jazz tradition.
The methods are great for training STUDIO MUSICIANS who need certain skills, but are not good for making creative artists.
My idea is that THEORY, TECHNIQUE etc. ARE important, but what's also important are the ways that musicians think about things... as well as certain "aesthetic values" - -
The question isn't just "How to play the same notes that another player played," but really, "Why did he play those notes? What was he thinking about? and How do YOU want to think about them" The answer WILL usually involve MUSIC THEORY, but the fact is that ALL ARTISTS follow the same basic laws of theory... what makes them unique is how they interpret them.
I want to create a method that provides a simpler way of thinking of Jazz... one that is VERY practical, yet talks about "ways of thinking", "ways of learning", "ways of applying," "aesthetic values," etc.
As for SENPAI/KOHAI my theory is that many Japanese learners are taught that you follow the person in front of you.
You emulate them, then when it is your time, you follow in their path. In theory, you don't try to be "better" than your mentor... you simply follow his path. But the primary aesthetic in Jazz is FORWARD MOMENTUM. That means that you have a responsibility to be different than your teacher. You learn from your teacher but have a responsibility to develop your own vision of the music. - - Jazz is a constant battle between those who try to preserve its traditions and others who try to redefine it. It is a dialectic... and an important one. In Hegelian philosophy all human progress comes from a three part process...
1. Thesis - - an idea.
2. Antithesis - - a counter idea.
3. Synthesis - - the new idea resulting from the two.
The synthesis then becomes a new thesis and the process repeats.
For this reason, a good Jazz method should present "rudiments" and ideas - - but not teach the student to copy, but rather offer him OPTIONS - - then help the student begin his own path in life. Key concepts are...
1. The student must become independent from the teacher ASAP!
2. The goal of the teacher is to teach the student to learn, survive and become independent.
3. The goal of the teacher is to help pass down certain traditions and beliefs (aesthetics), yet create students who are capable of deciding whether to rebel against them or carry them on.
4. The purpose of the teacher is not to teach the student WHAT to think, but rather give the student things to think about.
5. All teaching should always be GOAL BASED, and the ultimate goal is to help the student learn to play music. A good method prepares the student to go out and play - - and learn from fellow musicians.
6. If a student is not making progress, the teacher has a responsibility to find better and different ways to teach, not merely to judge the student. (In many progressive schools grades aren't given, but instead "assessments" of the students strengths and weaknesses and recommendations what they need to work on!)
7. The ultimate rule of teaching is...
-- All learning is hierarchical...
That means you need to learn one thing before the next.
If a student doesn't understand something, a piece of
information is missing. The teacher needs to find out
which it is, then help the student focus on it.
Simple is always best and finally...
IF YOU CAN'T USE IT, ITS USELESS...
A person only remembers what they can use...
therefore it is important to make sure all learning is
meaningful to the student. (This does not mean a
teacher should NEVER teach a student something he/she
doesn't want to learn, but rather the teacher has a
responsibility to explain to the student why it is
important, and convince him/her so. Another word for
this is motivation.
A final concept about my method is that people learn when what they learn makes them feel good about themselves, and the people surrounding them are accepting and encouraging. A teacher must always BUILD on the strengths of a student,
not judge his/her weaknesses. The question isn't, "Why are you so bad?" but rather, "How can we make you stronger?"
I can also add one other thing... The teacher should not lecture the student but rather guide him. Most of the playing should be done by the student and the teacher should guide the student as well as accompany him whenever possible. The teacher should also give the student time to think things over and experiment with ideas.
I also have a philosophic belief... Music must always have a greater underlying purpose. The purpose can not be dictated to the student, but the student must become aware of why he plays and what his/her message is. The message can be personal, political, religious, an appreciation or celebration of culture - - it is up for the student to decide, but as an artist he/she must be aware that music is a powerful gathering tool and he or she must develop a concept of when, where and how to use it... (and for the record a desire to entertain people and make them happy is a perfectly fine reason too!)
Overall this is some of my basic thinking.
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