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  • 12/6/2025

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00:00He says, what's your approach with music technology?
00:02Very briefly, as we've been covering with music technology, it's the way you think.
00:07As you can see from Slinipsky and from many other music books, different people think different ways.
00:16I remember there was a guy I grew up with named Pete Rose.
00:20He might still be around. Hey, Pete. I haven't seen him in 50 years.
00:24Pete used to come to those Juilliard sessions that I went to with Hubert Laws.
00:30We used to sneak in the back room. We used to jam Eddie Gomez, Hubert Laws.
00:35And Pete Rose was this young tenor player from, well, we were all young at the time.
00:40I'm talking about 1960.
00:44And Pete used to come around, and he was one of the first, like, this very unassuming-looking, kind of nerdy-looking guy
00:51playing like John Coltrane on this tenor.
00:54You know?
00:55Wow, Pete, that's incredible.
00:57And he said, oh, yeah, yeah.
00:58And he pulled out this book of his.
01:00He says, this is what I figured out.
01:02And he showed me this thick book.
01:03He figured out all of this stuff of what Coltrane was doing.
01:07And it was in a matter of thoughts.
01:08He had names for things.
01:09And it was very interesting.
01:11It was like that this guy had worked it out for himself.
01:15I mean, of what use it is to anyone else, I have no idea.
01:18I never looked into it.
01:19It kind of scared me, because I didn't understand what he was talking about.
01:24So my reason why I'm telling that story is because each one of us has to work out his own way of thinking about these basics of music.
01:34Melody, harmony, rhythm, construction, voicings, chords, scales.
01:39All these words, which are the nomenclature of the words used to describe music.
01:44Now, music is the pleasure of sound.
01:47They're delivering the pleasure of sound.
01:49And that's what we're trying to result it in.
01:51You balance those two things, you know.
01:53Like, I'm working on a project now with a friend, a beautiful friend.
01:57And he gave me this idea.
01:58He's, you know, he's at home like the rest of us.
02:01And we're locked down.
02:03And he wants to extend his humanity to the rest of his human fellows.
02:08So he has a thought of humanity.
02:12And he expressed that to me.
02:14And he says, let's make a song that embraces the human race so that we can have an ideal future.
02:22So we can help one another and care for one another.
02:24It was a beautiful, ideally stated thing.
02:27And so we began to write a song from that.
02:29It was a concept.
02:30Then it came to a musical concept, which was, let's write a grooving vamp and write a melody that people can sing.
02:37So that was that concept.
02:39Now, that's got to turn into music.
02:41And it's not necessary for me to think too much about more than that.
02:46That's enough of a concept.
02:48So you balance that theory.
02:50You come up with some music.
02:52And that's, to me, the balance of theory and music.
02:56I mean, I would suggest whatever your instrument is, is learning how all the, all the, if you were going to use the 12 notes of this Western scale.
03:07I would suggest learning all about them.
03:11Like, learn, learn all you can about how these notes are put together.
03:15And, and then, and then you have your, we have incredible references that go all the way back to Johann Sebastian Bach.
03:26And Mozart, all of the great classical composers, they wrote their notes down.
03:30So you have all of that as reference.
03:32You have all of YouTube giving you reference about people who didn't write their notes down.
03:37Then you have all of the recordings of our great jazz music and Latino music of the 20th century and the 21st century.
03:45And you have all of this information that you can take as inspirations.
03:52You can transcribe stuff.
03:56You get into it, learn all you can.
03:59That'd be the theory of how you take these 12 notes and make beautiful songs.
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