Klarinet Archive - Posting 000380.txt from 1997/08

From: "C Henderson" <chenderson@-----.au>
Subj: Learning Jazz
Date: Tue, 12 Aug 1997 01:31:57 -0400

On Sunday, Fred wrote:
> Clare,
> I play and teach Jazz. Frankly, one needs NO classical training at
> all to be a superb Jazzer. Witness Charlie Parker. However, it DOES hel=
p
> make the process easier if you have significant technique. Here is wher=
e
> classical training helps. Also, Ear Training and Theory are much more
> important to a Jazzer than to a classical player because of the
> iprovisation element which is so important to Jazzers but nonexistent =
in
> most classical milieux.
> No insult but I would find it highly improbable that a person with
> no Jazz experience
> could teach a STYLE like Jazz. It is analogous to a non-slavic speaker
> trying to teach someone else Russian. First he doesn't kow the sound =
of
> the letters and words. Secoond, he doesn't know the cadence of the voic=
e.
> Third, he can't converse with his student - an essential part of langua=
ge
> training. Basically, you'd be wasting both your times (is that correct?=
).
> Essentially, and this is **very** important to realize: JAZZ IS ANOTHE=
R
> LANGUAGE AND IT IS **NOT** BASED ON READING. ONE CANNOT LEARN IT JUST =
BY
> READING IT ANY MORE THAN ONE CAN SPEAK INTELLLIGIBLE FOREIGN LANGUAGES =
BY
> READING THEM OFF WITHOUT KNOWING WHAT THEY SOUND LIKE.
> There are some excellent play-along jazz methods but none would do
> any good if they were not administered by a Jazzer. One series is the
> Aebersold method. Another is the "Rhythms Complete" by 'Bugs' Bower (pu=
bl.
> by Charles Colin in New York), the Niehaus "Jazz Conception" series (Tr=
y
> publishing). However, let me repeat, they would do virtually no good
> without an experienced Jazzer administering them.
>
I totally agree with you, Fred. That's why I thought I'd get some ideas =
from people on the list. I have no intention of teaching jazz as a style=
to this youngster (I know my limitations only too well). What I did wan=
t, and what the previously mentioned website gave me, were some ideas on =
what classical areas I could focus on to give him a good grounding for =
jazz. I have to admit I privately tear my hair out over musicians who =
can't read music (eg Placido Domingo) or guitarists who know what chords =
to play, but not what a chord is or why they play that particular one. =
I hope that I can give this youngster theoretical and technical groundin=
g from my classical background that will be useful to him when I find him=
a jazz teacher (which so far has proved impossible - we tried one who =
claimed to teach jazz, who only taught him along the same lines as I have=
). Many thanks for your posting, though - it confirmed my own gut feelin=
g about what is possible for a classicist to teach.

Clare

****************************************************
Clare Pascoe Henderson
variously clarinetist, writer/lecturer, herbalist
chook fanatic and menagerie manager
<chenderson@-----.au>
****************************************************