What are intervallic permutations?

…sorry, the way I wrote it there’s a bit of a disconnect between the phrase and the explanation – it’s this bit:

“What that means is that we can take a fix set of notes – say one octave of a G Major Scale – and a particular interval – 3rds, for example, and work on all the possible permutations within that, ”

cheers

Steve

Language classes seem to follow this progression very well – starting with basic letters, forming words, forming sentences, etc. etc. all leading up to the goal of communicating an idea fluently. The red pen is eventually put down.

However, I feel that this progression slips the minds of many music educators. It seems like a lot of music educators always keep the red pen out to fix and correct things that weren’t textbook perfect. I think this is where the downfall of music education lies right now because it more or less mutes the student’s opportunity to truly convey a personal idea.

I’ve never wanted a bloody job! i’m fundamentally opposed to the idea of ‘jobs’ however i’m all for being paid to do something i’m good at and enjoy doing.

while it’d be ideal if studying was simply getting better at what you love then things would be a lot simpler, but the need for money to survive is inescapable. I feel that rather than gearing the education towards getting jobs (if i hear the phrase ‘graduate qualities’ ever again i may be forced to bludgeon LC to death…) the focus should be on how to use your skills and passion to earn money. to clarify slightly, i mean create your own systems to work within rather than opting into someone elses (ie getting a job, signing a deal etc)

i guess maybe the ideal ultimate goal for any educational institution is to reder itself obselete for its students, and give them the skills they need to teach themselves, and perhaps even more importantly, the skills to teach others themselves?

(apologies for any lack of clarity!)

I have every sympathy with the music departments wrestling with this, and those that recognise the tension are in a much better position to hold that tension creatively and carve out a path that gets as close to meeting both sets of demands as possible.

I also mentioned that one of the most valuable skils I learned at Perth was learning how to teach, by watching you, and learning where to be hands-off, and just act in an advisory capacity in order to facilitate self-discovery. You did that brilliantly…. and I think I might have passed

Intervals off scales, diatonic arpeggios and such are all muffin and muesli to the practising musician. It’s all part of the daily struggle to able to play what you hear and not just what you can play.

I do believe though that if you can zip up and down a scale or whatever convincingly, then you’ll be able to play slower with greater assurance and expression.

I have a couple of personal test pieces that I revisit two or three times a year and am always encouraged when my performance of them has been improved by non related practice.

And I fear it is a case of learning it all and then letting it go – no way round it.

Good luck with the rest of the bass camp sessions – I still think it’s a brilliant idea.