Interesting that you should mention this. First, I know some great musicians that practice a FULL set of music like this. It also helps with endurance.
For me personally, it is interesting too because I really don't play many "standards" gigs but practice standards ALL the time. I find it interesting that I and other musicians practice a variety of things (like standards, flute, clarinet) that are so seldom performed live.
Isn't it strange that we so often practice alone, but what we really are striving to do in jazz is to actually communicate with other people? Why don't we practice more (or teach more) in groups since that is such an important part of jazz?
When I was a bit younger, I had a good musician friend who I would practice with a bunch. We would both practice individually in separate rooms and then meet up to work on stuff together. I see students doing this in school and it’s a good approach. Some things have to be worked on individually but there’s no substitute for playing with others.
I’ve been thinking about the repertoire piece. I think it can helpful to think in terms of developing sets of music for a real or imagined standards gig. Put together a setlist then learn or brush up on those tunes. This can help with deciding what to work on (the sets will cover a variety of feels, tempos, etc.)
Interesting that you should mention this. First, I know some great musicians that practice a FULL set of music like this. It also helps with endurance.
For me personally, it is interesting too because I really don't play many "standards" gigs but practice standards ALL the time. I find it interesting that I and other musicians practice a variety of things (like standards, flute, clarinet) that are so seldom performed live.
Isn't it strange that we so often practice alone, but what we really are striving to do in jazz is to actually communicate with other people? Why don't we practice more (or teach more) in groups since that is such an important part of jazz?
When I was a bit younger, I had a good musician friend who I would practice with a bunch. We would both practice individually in separate rooms and then meet up to work on stuff together. I see students doing this in school and it’s a good approach. Some things have to be worked on individually but there’s no substitute for playing with others.
I’ve been thinking about the repertoire piece. I think it can helpful to think in terms of developing sets of music for a real or imagined standards gig. Put together a setlist then learn or brush up on those tunes. This can help with deciding what to work on (the sets will cover a variety of feels, tempos, etc.)