Gypsy Jazz, Hot Jazz, Swing, Bebop - The Historical Approach to Learning Jazz Guitar
Summary
TLDRIn this video script, Dennis Chang discusses his passion for learning music through history, emphasizing the importance of understanding the context and culture of different eras. He shares his research on the evolution of jazz, noting the differences between historical playing styles and modern interpretations. Chang also reflects on the challenges of studying music historically, the influence of music schools on the perception of history, and the need for musicians to make informed artistic choices to maintain authenticity while adapting to the present.
Takeaways
- 🎼 Dennis Chang is passionate about learning music through history and believes in the importance of understanding the context of different musical styles.
- 🎸 He discusses the differences in guitar playing styles between the 1930s and modern interpretations, noting that historical accuracy in music is often overlooked.
- 🎵 Chang emphasizes the need to study the global perspective of music history rather than focusing on exceptions or famous individuals.
- 🎶 He critiques the modern jazz education system for sometimes skewing historical understanding and points out that many old songs influential to past musicians are not well-known today.
- 🎷 The speaker highlights the importance of considering the social and political conditions of the time when studying historical music to understand its true essence.
- 🎺 Chang talks about the challenges of playing historically accurate music in the present, noting that too much freedom can lead to a loss of the original style's authenticity.
- 🎻 He shares his personal learning journey with gypsy jazz and bebop, explaining how he沉浸 himself in the styles to understand their nuances and the cultural influences behind them.
- 🎹 The script touches on the evolution of jazz music, particularly the use of scales and improvisation techniques, and how they have changed over time.
- 📚 Chang encourages making informed choices when playing music, respecting the original style while acknowledging the modern context and the player's artistic freedom.
- 🌐 He draws a parallel between his deep study of music and his study of the Japanese language, showing his dedication to understanding cultural nuances in both fields.
- 🎤 Finally, Chang reflects on the importance of natural feel in music and language, and how forcing oneself to think too much about the mechanics can hinder the natural expression.
Q & A
Who is the speaker in the video script?
-The speaker in the video script is Dennis Chang, who is in Tokyo and about to fly back to Canada.
What is Dennis Chang passionate about in relation to learning music?
-Dennis Chang is passionate about learning music through history, focusing on the historical context and details of various music styles.
What does Dennis believe about the statistical worth of his approach to learning music?
-Dennis believes that statistically speaking, his approach to learning music through history is not worth it, as he goes into very fine detail that most people do not pick up on.
What is an example of Dennis' research on guitar playing in the 1930s?
-Dennis' research suggests that in the early 1930s, guitar players rarely played Minor 7 chords, unlike pianists, and had a different approach to playing G chords compared to what is popular in the swing movement today.
Why does Dennis believe that studying music historically is important for modern musicians?
-Dennis believes that studying music historically helps modern musicians make informed choices and understand the tendencies and styles of different eras, allowing them to decide how to play music authentically or with their own modern twist.
What does Dennis think about the influence of music schools on the history of jazz?
-Dennis thinks that music schools can skew the history of jazz in favor of what is being taught, sometimes causing modern musicians to overlook older songs and styles that were popular in the past.
What is Dennis' opinion on the use of altered scales and substitutions in jazz?
-Dennis believes that while altered scales and substitutions can be used in jazz, overusing them can make the music lose its historical authenticity, especially if used inappropriately in the context of older songs or styles.
How does Dennis approach learning and playing different styles of jazz?
-Dennis approaches learning and playing different styles of jazz by immersing himself in the historical context, studying recordings, and trying to understand the social and political conditions that influenced the music of each era.
What is Dennis' view on the importance of understanding the cultural background of music?
-Dennis believes that understanding the cultural background of music is crucial, as it affects how the music is played and helps musicians make informed choices about their stylistic interpretations.
How does Dennis describe his experience with learning and playing gypsy jazz?
-Dennis describes his experience with learning and playing gypsy jazz as initially requiring a lot of conscious effort to understand the subtleties, but eventually being able to feel and play it naturally after enough practice.
What does Dennis suggest about the natural versus studied approach to playing music?
-Dennis suggests that while musicians in the past may have played their music more naturally without much thought, modern musicians studying these styles may need to put more thought into it initially, but can eventually internalize the styles to play them more naturally.
Outlines
🎼 Passion for Historical Music Learning
Dennis Chang, a musician in Tokyo, shares his passion for learning music through its history. He admits that while his deep dive into the specifics of musical styles may not be statistically common or necessary, it's a personal preference. He uses the example of guitar chord voicings in the 1930s, explaining how his research shows a difference in how chords were played then compared to modern interpretations. Dennis emphasizes the importance of understanding the historical context of music to make informed artistic choices.
🎷 Jazz Education and Its Impact on Musical History
The speaker discusses the influence of modern jazz education on the perception of musical history. He criticizes the focus on a few exceptional musicians, like Freddy Green, over a broader study of the era's musicians. Dennis points out that the popularity of certain songs and styles taught in schools can skew the understanding of jazz history. He advocates for a wider exploration of the music from different periods and styles to gain a more authentic perspective.
🎵 The Challenge of Authenticity in Music Performance
Dennis explores the challenges of playing music authentically from different eras, noting that modern musicians often blend elements from various periods, which can detract from the music's original style. He talks about the importance of understanding the historical and cultural context of music to make informed artistic decisions. The speaker shares his experiences with different jazz styles, emphasizing the need to balance authenticity with personal expression.
🎸 Exploring Jazz Styles and Their Evolution
The speaker delves into the evolution of jazz styles, focusing on the differences between the 1930s and the bebop era. He discusses the influence of musicians like Django Reinhardt and the incorporation of classical music elements in jazz. Dennis also examines the rhythm section's role in defining a style and the importance of studying the social and political conditions that shaped the music.
🎹 The Intersection of Music and Language Learning
Dennis draws a parallel between his deep dive into music history and his study of the Japanese language. He highlights the importance of understanding pitch accent in Japanese, which is often taken for granted by native speakers. The speaker shares an anecdote about a YouTube video that mistakenly used an announcer's speech as a model for Tokyo dialect, which actually contained pitch accent errors. This reflects his broader point about the need for conscious study to understand and replicate subtleties in both language and music.
🎻 The Natural Progression of Learning and Performing
In the final paragraph, Dennis discusses the process of learning and internalizing musical styles to the point where they can be performed naturally. He shares his experiences with gypsy jazz musicians who are often unaware of the technical aspects of their playing. The speaker emphasizes the importance of active learning and conscious effort to eventually achieve a natural feel for a musical style or language dialect.
Mindmap
Keywords
💡Gypsy Jazz
💡Authenticity
💡Improvisation
💡Historical Research
💡Chords and Voicings
💡Rhythm Section
💡Music Education
💡Cultural Influence
💡Pitch Accent
💡Artistic Choices
💡Bebop
Highlights
Dennis Chang's passion for learning music through history and its deep personal significance.
The argument that learning music historically may not be statistically worth it for most people due to the level of detail required.
Chang's unique approach to studying music, which involves going into fine detail that even practitioners might overlook.
The historical inaccuracy of modern swing music compared to the 1930s, particularly in guitar chord voicings.
The rarity of minor 7 chords in 1930s guitar playing and the prevalence of major 7 chords.
The difficulty of discerning historical music practices due to poor recording quality.
Freddy Green's unique rhythm guitar style and its influence on modern playing, despite being an exception historically.
The tendency to overlook other rhythm guitar players from the past in favor of the more famous Freddy Green.
The importance of studying music history beyond exceptions to understand the broader context and trends.
The impact of modern music education on the perception and teaching of historical jazz songs.
Chang's perspective on the challenges of playing historically accurate music in the present day.
The concept of 'authenticity' in music and the balance between historical accuracy and artistic freedom.
The observation that too much freedom in music can lead to chaos, especially in jam sessions.
The cultural and social influences on music styles and the importance of understanding the context.
Chang's personal journey of learning gypsy jazz and the process of internalizing its subtleties.
The evolution of bebop and the gradual incorporation of the altered scale in jazz improvisation.
The importance of making informed artistic choices when playing music from different eras.
Chang's experience with learning Japanese pitch accent and the parallels he draws with studying music.
The anecdote about a YouTube video attempting to teach Tokyo dialect and the pitfalls of not understanding underlying rules.
The final thoughts on the natural versus conscious learning process in mastering musical styles or languages.
Transcripts
the
[Music]
[Music]
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how everybody all right this is Dennis
Chang here I'm in Tokyo and I'm about to
fly back to Canada tomorrow for 3 months
of work and uh well I'm looking forward
to seeing a lot of old friends but I'm
going to miss Japan anyway today I want
to talk about something that is very
very close to my heart very dear to me
it's kind of how I learn music and
something I'm very very passionate about
it's this idea of learning um music
through history and what I mean by that
is it even worth it well I'm actually
going to tell you right now to the point
to the degree that I do it um
statistically speaking I don't think
it's worth it people have rightfully
accused me of going a bit overboard but
it's just my thing you know you do what
you like I do what I like you do what
you like but I'm I'm just going to tell
you where I'm coming from and Stat what
I mean by statistically not worth it is
I'm I'm not saying this to show up but
I'm one of the only people on this
planet to go really that far into such
fine detail for things that no one
really picks up on even people
practitioners of the things that of uh
the style we talking about gypsy jazz
bpop or whatever
swing so for example like namely the
idea that when guitar players played a
Chun ch chunk rhythm in 1930s whether
it's D Jango style or eddine whatever it
seems based on my research at least in
the 1930s in the early 1930s they almost
never played Minor 7 chords pianists did
do that but more as uh in in terms of
voice leading generally speaking but
guitar players tended to play just um if
we're in the key of G D7 like
[Music]
this you know one thing that's popular
in the swing movement today is to play G
chords like this
but if you listen to recordings in the
old days they were playing a lot of G
chords like
this for me of course it's still an
ongoing research I'm still trying to
determine exactly like what chords they
were
playing but this in my according to my
research so far it's far more com common
this but yet nowadays in the swing
movement most people are playing this so
that's already makes it a little bit
different from what it was his
historically back then does it really
matter no
why because most people don't even
realize it even the people who are
playing the people who are into that
stuff or are studying that stuff don't
really notice it because this is stuff
that's really actually hard to figure
out namely because of the the quality of
the recordings back in those days I have
to I had to sift through so many
recordings where all right this one I
can finally hear the guitar what chords
I have to really really concentrate oh
it's this oh it's this one that's what I
did with um Jango Reinhardt Charlie
Christian and whoever ever else that I
could really listen to who made
recordings and where the guitar is
properly
recorded um that's not to say that this
was not play it I'm but I'm still
looking actually if you guys know you
guys tell me where we can hear this like
playing this kind of chord in the
1930s
now already in the 1930s Freddy green
was doing something a little bit
different from what he was doing uh what
he's known to be doing like the one two
string stuff I made a video about this I
think last year or two years ago you can
watch that so he might a potential
person who uh a potential guitar player
to play something like this but even
then that's not that was not according
to my research anyway that was not his
philosophy his philosophy was really
voice leading and all that stuff so and
that's speaking of Freddy green I've
said this in videos he actually in my
opinion is a bit of an outlier in times
in terms of rhythm guitar yet he has set
the standard for today's Ry everyone is
copying him and kind of like ignoring
all the the other rhythm guitar players
that existed back in the day check out
the recordings from I think early 40s of
Charlie Parker and a guitar player in
FID wear and you can hear him playing
voicings from the the era of the 30s and
there were other players just like him
but again nowadays everyone is only
talking about Freddy green because he
was the most famous and of course he's
greatest
but historically speaking he was one of
the exceptions it's kind of as if we
were going to study ebop and we ignore
Charlie Parker dizy Gillespie Kanye West
and we only study thonus mon solos only
Theon solo now Thelonius Monk if you
hear him improvised he's kind of a rebel
he's doing all the
things the unconventional things so to
speak very uh generally speaking unb Bop
like quote
unquote and that's what I'm getting at
so if you're like interested in the
history you can't just look at one
person especially the exception the
exception is very worth worthy to note
of course but you have to look at the
global
perspective but then why do I even do
this okay for me I just love history but
it's also for artistic reasons and
especially nowadays when you learn music
uh through Jazz everything is kind of
informed through the lens of music
school and I think of course music
schools are great I've made a video
about
this but it tends to influence um your
decisions and it's kind of therefore it
skews the history a little bit in favor
of what it's being taught and the
easiest proof of this is like most Jazz
teachers nowadays don't know songs like
Chik of araby my Melancholy baby Coit um
after all EMT Cohan made it after you've
gone famous but before that it was not
famous at all all these old songs that
were very very popular in day and songs
that people like Charlie Parker or west
Mong have actually recorded because they
grew up with that music well those songs
Don't are not really known today and
that's proof that kind of the modern
music school system is dictating the
history because as I've said in previous
videos jazz education as we know it
today is a recent thing and it was
founded by people from the generation of
like uh the modern standards the people
who created that school and their kind
of musical
descendants have long forgotten the the
era from
before but actually if you study the
1920s and 1930s Jazz a lot of things
from 1940 50s 607s and Beyond nowadays
make a whole lot of sense like namely
the history of the
251 um I talk about that in my Harmony
course on sound slice you can check it
out it's really really good and if you
checked out my interview with Jonathan
Stout I think it was two years ago that
we did that interview yeah wow two years
time flies by we talked about kind of
the Trap
of trying to play quote unquote
historically accurate music namely the
biggest hurdle is that we are in the
present and that's the thing of the past
and in some ways he's right and Pat
Martino has said this as well I I don't
remember his exact words I'm
paraphrasing but he saying like bbop
doesn't exist anymore because that was
something of the that era and we're
living in the modern era at least when
he did that interview was like 20 30
years ago but it's still it's still
valid
today what that means
is that when you study music
historically you're going to start to
see a lot of lot of Tendencies and then
as an artist in the modern era you have
to decide okay what am I going to do to
when I play music am I going to do
something a little bit that wasn't done
in those days in which case it's you're
taking off kind of layers from the
authenticity and you can take a few
layers off here and there and it's fine
but if you start taking too many like if
you start playing uh the altered scale
in the 19 like over 1920s accompanyment
altered scale and uh half half what do
you call that the octatonic scale and
all these substitutions that are very
common nowadays you it stops being what
it is right I subscribe to the idea that
music should be through you play however
you want anything goes but when you have
too much Freedom sometimes it ends up
being chaos and something that I notic a
lot in Jam sessions even among among
quote unquote proficient players so to
speak I remember many times I've gone to
jam sessions where there's a singer or
maybe an old school player who wants to
play you know an old school song that
kind of in my opinion should be played
in the old way but then you have the
drummer start doing all these poly
rhythms the bass player adding all these
uh poly rhythms as well and all these
substitutions and the the you know
you're playing a Autumn Leaves and you
play it like this yeah
[Music]
what I just did can theoretically work
over Autumn Leaves but imagine playing
you're accompanying an old school singer
that's just nonsense right so stuff like
that you make in informed choices it's
kind of like going to a Bluegrass jam
session and saying hey can we play Spain
by chick
Korea I've seen this because a lot of
people they're from kind of the product
of the music school everything is just
put into one category jazzz is just Jazz
I mean they have little categories
modern standards whatever to a certain
extent but Jazz they don't know that for
example Autumn Leaves is a composition
of the the late the mid
40s and therefore the harmonies to
Autumn Leaves reflect that era that kind
of uh qut structure was very very very
atypical in the 30s um you have other
songs um um sand doll
well Duke alington you'd say oh he's
he's a musician of the 30s so this is a
30 sty song No Duke Ellington composed
this uh in the the the the height of the
bbop era okay I'm not sure but I think
I'm right it's it's not a song of the
30s and then it reflects in the core
choices and in
fact okay I haven't I didn't double
check I'm kind of making this video off
the cuff like this but I I think I have
checked if you look at the original
recording that uh Duke did nowadays on
the leei it says at the end it says a
minor 7 D7 a flat minor 7 d flat 7 C
which is that kind of West Montgomery
251 but actually the original is just D7
d flat 9 to
C so adding that two chord makes it a
little bit more modern so then there's
the whole culture around the style so
1930s Jazz I mean you have the camps New
Orleans style and you have kind of like
the Kansas City style that's uh a little
bit different right if you can hear
it difference between Sydney bishe Louis
Armstrong and then you check out like
Lester Young Charlie
Christian uh stuff like that there is
the whole culture Behind the Music that
also affects how the music is
played and
so how what I have to do when I study
this this music is kind of get rid of
all the preconceived notions that I have
all the studying that I have done
academically uh the things that I take
for granted really and I have to try to
think try to at least read stories um
newspaper articles um to get an idea of
kind of the social political conditions
they grew up in and it does affect the
music cuz you know I'm thinking someone
like Louie Armstrong who was an amazing
improviser he grew up very very troubled
and then he wasn't at home practicing
his 251 licks or art PID or this whatnot
he was just first of all in an
environment where he could hear music
and then he found people who nurtured
his talent but in those days they didn't
have jazz education the way we know it
so he got element rudimentary music
education kind of like the music
education that you get if you sent your
kids to take piano lessons or viol
violin lessons like basic scales basic
arpeg harmonies and everything else was
through community and it was a very
organic process and that that dictates
the style that he came up with and that
applies to everyone else now of course
some people were more learned that's a
word I learned from The Simpsons Papa
Homer you are so learned learn pepy
learned um so yes you'll have people who
are kind of more like Street oriented
all of them they are they they all start
out kind of in the street way but some
of them were a little more quote unquote
educated not but not to the extent that
people tend to be educated
today so case in point you know a lot of
people take for granted that you know
okay 251 so then you see a song like um
I can't give anything but love I've
talked about this before
so I can't give you anything but love
but this is just not in the old style
this really not it's it should be I can
give you anything love you check out a
whole bunch of record oh my guitar is
beautifully Out Of
Tune so things like
[Music]
this and you of course you have people
like Jango Reinhardt so you see that
solo I did I played kind of one solo in
the cor New Orleans style is of the 30s
then a solo in the Kansas City style of
the 30s then a gypsy jazz thing and then
after a bbop thing so let me just talk
about that the fact that I played it on
a guitar and let alone an electric
modern electric guitar makes it
inauthentic but this is the only guitar
I have before I leave tomorrow
everything's in the storage room but
even if I had an acoustic guitar in the
30s there were not a lot of soloists
playing in that style and as well as
Louis Armstrong or Sydney bash Jango
Reinhardt Oscar alaman are the two
probably really famous players in that
really really old style Eddie Lang died
very young and even then Eddie Lang
soloing is not was if I may dare say I
hope I don't piss anyone off it was
beautiful but let's be honest it was not
as sophisticated as Jango improvisations
and then of course Jango had influences
from outside of jazz as well he was uh
into classical music so you can hear
little things that he did you know and
when it comes to stylistic
interpretation most people are focusing
on the
solo Less on the Rhythm Section that's
where actually I'm most interested in so
if uh I had I just used the gypsy jazz
back in tracks so when I started playing
bbop it's kind of a little bit weird
isn't it with a with a gypsy jazz Rhythm
Section but it is what it is and like I
said it's the layer concept is good like
you peel off one layer maybe it's not
such a big deal but you keep peeling
then at one point it's it stops being
what you're trying to do if you're going
go for something anyway so let me just
talk about what I did my my first
improvisation the first a section is
kind of inspired by Louis Armstrong
Sydney B hopefully you can hear some of
that vocabulary where I kind of already
started by quing the melody right that's
very very typical of those players in
those days and then after the second a I
played kind of in a Charlie Christian
way and I took some ideas from him of
course and from Lester Young and I did
that the third one is gypsy jazz so
gypsy jazz is what I think I am best at
it took me a bit of time to make that
solo to really try to be quote unquote
as authentic as possible but the Gypsy
jaet were that that took me one take I
did it in one take because gypsy jazz it
comes from Jango
Reinhardt and so obviously there is a
lot there's quite a lot of Jango ISM but
there's also the kind of the freedom to
do whatever you kind of want to do you
don't have to really worry about oh if I
do this it's not authentic to a certain
extent to a higher to a higher degree
than the previous two other
styles so I like playing gypsy jazz for
that reason the Gypsy Jazz phrasing I
mean it depends on the players tends to
be very very Noy lot Big Range um and
there's that Gypsy feel you know like
the that it's very typical Jango did
that but a lot of gypsy players have
really uh attached themselves to that
kind of sound ornaments and I did some
things that uh modern jazz
players tend to do kind of the use of
altered scale altered sound anyway in
some of my stuff so I'm not really
thinking about oh I should do this or
that I should only do this so if I want
to sound I just go for it and one guy
who made that popular was B lren he
showed that you can still sound in the
Style by but yet still mix with a lot of
outside
influences to a certain extent and then
the last one was a bbop thing that's
another style that I'm kind of I would
say at ease with cuz I have a lot of
freedom now this is very interesting
bbop is something very very hard to
Define um a lot of people nowadays when
they say bbop they're just talking about
the idea of playing jazz standards that
are very typical around the world Stella
By star so not really necessarily
talking even about stylistic uh
considerations because a lot of people
who play bbop quote unquote don't really
play bbop like they did in the 40s and
50s and this is very interesting this is
a point of interest for me like I've
always been curious when did the
octatonic scale the altered scale and
all these other scales start to become
very very prevalent in in that era so my
research shows that the altered scale
was not really used in the 40s Charlie
Parker didn't use
it uh I haven't studied diig LSP as much
but I don't hear it now it's in the
composition um hot house which is in
from the mid-40s it's this other concept
song I think it's called conception
there's Al an altered scale in the
concept the composition itself but in
the improvisation and when I mean
altered scale like very unambiguously
alter scale the way we hear it today
like
or that um yeah you just didn't really
hear that sound very unambiguously you
did hear little fragments of it but it's
very ambiguous cuz one thing that is
very popular in the ' 40s and the
Charlie in Charlie Parker's Arrow but
also in the 30s is let's say you had a
domond
chord and you play the note C B flat a
that was very very very typical but it's
not coming from a scale per se it's just
com it's just an
ornament and then after they would might
do a regular
arpeggio it's theoretically strictly
speaking the only possible
scale would be octatonic but they were
not singing they were just sing this
ornament in fact they might even play
harmonic
minor and they just have that ornament
that's C natural but
then harmonic minor or frian D whatever
you want I don't care about the
[Music]
names so that was very typical there is
in instin in that famous 1943 I think
Cherokee by Charlie Parker with an eff
wearing a drummer where uh Charlie
Parker kind of hints at notes from the
alterate scale but it's still very
ambiguous so so that's something that's
very interesting my research also shows
in terms of improvisation uh the altered
scale start to be very very widespread
by the mid-50s late 50s and onwards Joel
pass uh West
Montgomery Britney Spears and all that
stuff so for me all that is very very
interesting to to know so that I can
make these artistic choices when I'm
playing so if I'm playing let's say a
singer shows up and uh that singer
decides she wants to sing Moonglow then
I'm going to solo kind of appropriately
I try not to do too too many Advanced
things and I hope the Rhythm Section is
going to be fairly
conservative you know it's just it just
depends on the situation you know this
thing it's not just music but even my
Japanese teachers that told me like I'm
one of those students that kind of uh
probably annoys my teachers because I
asked them questions that they cannot
answer Japanese in the Japanese language
there's this thing called pitch accent
that Japanese people
themselves are not actively aware of
they're only maybe subconsciously aware
of and they don't actually study this uh
in school I I even know the technical
terms when I told that to some Japanese
like what are saying and I explained oh
it's this I didn't know they just speak
it naturally Japanese has this thing
pitch accent that I'm really studying
very very uh deeply and I stump quite a
lot of Japanese people with this me as
an outsider I have to learn this if I
want to kind of sound like them because
I didn't grow up with it and it's hard
for me to just pick it up naturally but
I'm starting to actually get how it
works naturally sometimes so that's very
very cool but there's this sentence I
want to read to you that I read to
someone that I saw on a YouTube YouTube
video and the a Japanese teacher said
here click on this link and copy this
announcer's voice if you want to speak
Tokyo dialect because there are many
dialects in Japan so the the the pitch
accent varies according to dialect
according to region kind of like in in
the you know you can say tomato tomato
that kind of
thing but it's very funny cuz that
YouTuber said watch this video and copy
the announcer but what I found out I got
confused cuz when I listen to the
announcer he did not pronounce things
according to the Tokyo dialect so I
asked a bunch of Japanese people that
they were stumped too it's like maybe oh
maybe this person was originally from
another area and that that accent kind
of maybe have crept into the to his uh
his job when you work for like a Tokyo
TV you have you're supposed to use the
standard professional Tokyo dialect but
that guy made some little things so
little mistakes or someone said maybe
it's just a habit that person has but
also pitch accent can change according
to your emotions so you can like uh the
most common one is like the word maybe
tab but some I've hear I hear this a lot
lot of Japanese they will
say because just to stress that but
here's that
sentence according to the correct Tokyo
dialect
so
already well that's I hopefully I got it
right but that's the official correct
way but I
said but the announcer said
cool that's already a different pitch
accent so when I showed this to like a
another Japanese like oh you're right
it's different I don't know why and then
Kanto which is the region where Tokyo is
K
that's the official pronunciation but
the announcer
saido that's very very
different so it's so interesting that
the person the the YouTuber that was
trying to teach correct Tokyo pitch
accent used this as a this video as a
reference when the announcer made
mistakes in the pronunciation mistakes
quote unquote so it's something that I'm
very fascinated with and that's how I
studied music and this is how I study
Japanese as well I piss off a lot of my
Japanese
teachers and one last
thing when I got my teacher one of my
teachers I asked this to a lot of my
teachers but I got when I asked my
teacher to without even telling him what
the purpose of this was I asked the
teacher can you read this sentence for
me very very slowly I want to hear how
you pronounce the words so he has no
idea that I'm trying to check for his
pitch accent so when he read slowly he
quote unquote messed up a few of the
pitch
accents and when I pointed out oh I
noticed that you pronounced this word
this way that way and that way it's like
oh it's because when I'm speaking slowly
I don't I have you're you made me
nervous I have to like really
concentrate and I don't even know what
it's supposed to sound like so I then
asked him well can you read it quickly
without even thinking so that when you
read it quickly without even thinking it
came out perfect correctly according to
the standard Tokyo so if you force a
Japanese person to think about what
they're doing they might mess up unless
they' studied this before and it's the
same thing with music a lot of players
in those days historically they were
doing the thing that they were doing
without putting much thought into it
whereas today when we're studying that
thing we have to put a little bit more
thought into it because that was then
this is now that's what I'm getting I
get this experience all the time with
Gypsy players um I worked many of you
know that I work a lot with with Gypsy
musicians cinti players from jango's
tribe A lot of them have no idea that
they're doing this or that sometimes I
pointed out to them I like oh really I
didn't know that it's just so natural
but when you're coming from an outside
background you kind of unless you're
gifted in that way you learn things
naturally you might have to put some
thought into it and at one point you may
be able to after enough effort you do
pick things up natural that certainly
was the case with me with gypsy jazz I
did put a lot of active conscious effort
into learning these subtleties but at
one point I started to feel it the same
way they can feel it too so yeah there
we go
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