instablaster...

me

I watched for school

Me

Got a prelim on Monday!

M but you shall never know which school

🤣

Generally, I think you could say most improvisors think of theory when they practice much more than when they play. For example, if I told you what scales to play over a certain set of chord changes, even if you know the scales you would have a hard time playing while you're trying to think of them. So you can practice a song with those scales in mind, play arpeggios and bass lines, but when you actually try to play with other people, you are just playing by "feeling." But now when you play by "feeling" you're not just playing random sounds and notes, you play the things you hear which now include appropriate scales/tonalities, as well as the occasional wacky sound. The thing is, when you talk about harmonic rules, you have to realize that those are designed after hearing something, in order to explain why something sounds good. People would have discovered the major triad before they called it a major triad, and they gave it a name to identify it and now we are taught our triads because our teachers know they sound good, and are trying to help us learn them quickly so we can sound good as well. Codifying things with theory makes it easier to understand, replicate and communicate, it doesn't help identify what sounds good and what doesn't. And as far as good from bad, all you can really tell is whether you liked it or not, similar to all art forms. Like I think watching "How I Met Your Mother" was a complete waste of my life, but lots of people enjoyed it. Hope this helps!

There’s pretty extensive theory surrounding I. Especially in say, bebop, there’s a pretty strict set of rules that you’re supposed to follow

@@justinsee3946 I agree with the fact that playing live should be based on "feeling" rather than thinking about the theory, but I claim that this type of "feeling" comes specifically from practice, the thinking put into it transforming into mechanical reflex when playing live (to the certain degree that you've mastered in your practice). As someone who's been playing bass from tabulature for the past year and a half, I can tell you that there is a big impulse to improvise "by feel" over songs, but from my experience, not knowing the fretboard or the song structure well enough often makes it a mostly chromatic (playing random notes) improv, that has nothing to do with the song except the rhythm.

I am

hays

Well, I think the best ways to understand improvisation are: …to listen to songs where there are improvisations. Uderstand what the difference between the melody-line and the improvisations are - what make them different. …to of course play. Learn some jazz songs, learn both the melody and the solos that are played with the same instrument as you play. When you have learned a song so you are confident, you can try to improvise on it. Not to much, just make the melody a bit more intresting at first, and you will by time understand how it works. Later on you will discover the chords are a good guideline, if not the only one while improvising. As they said, feeling matters a lot. The better you feel, the more imagnination you get, at least I do. At least this are the ways I have learned to improvise. Good luck;-)

hi

@@sevanyekhpairian2188 bruh

What

@@gitgoosed this was 7 months ago

@@gitgoosed I hate the video the joke was YA KNOW WHAT NEVERMIND LOSER