Being able to hear what's happening musically

Hey guys,
Lately I play a lot in different piano trios and noticed that I feel really very comfortable in that setting. For once I guess it is because I play piano too ( not very well though) , but also more generally it is the trio setting which makes me feel comfortable because I can hear everything so clear and can be "inside the musical happenings" the most...I can react on the happenings there in the best way, with the complete sound in mind - because I get/ hear the complete sound...when playing with , say a quintet, it's not always easy to hear the the music as a whole because there's a lot going on at the same time and it's harder to be an active part of the whole music in a proper ( in order to increase the music as a complete happening ) way... The Freedom given in a trio setting is great...so it's maybe just that the role of the involved players differs in a bigger setting - that means there's more challenge of when to play what and it's easier to "get in each others ways" and being not there for each other musically at the right time....well....just a thought, maybe anybody can understand that thought?

How to you face the challenges of Freedom <-> Group responsibility and does it correlate with the numbers of involved players and the ability of your musical comprehension?

Best wishes to all of you
Niki

Great topic, Niki.

I find that the more instruments (players) in a band, the less notes are needed to be played form each individual instrument. Maybe what's happening in the larger units you work with is they are playing less as a complete unit. The music must be approached with more of a team effort no matter how many members are involved but this rule becomes especially paramount the more members you have playing in a band.

I find it quite amazing what happens when a group of players play for the music rather than themselves. Everything falls into place and there is always room for everyone to say what's needed. I believe it's more a attitude adjustment than anything else. there's a slew of players that I know that have learned the art of instrument manipulation but have not learned the art of listening. How can we properly reply to something if we're not listening to what's being said to us?

I believe and have always believed that a simple question should require nothing more than a simple answer. Music I feel should be approached in the same manner. If there is much to say then say it. And if there is little to say then say little. There is nothing wrong with wanting to be heard, and you will be if everyone first listens to one another and then offers their own statement respectively.

Slam.

Good post.

I find that the fewer the players,
the more important actual sounds
(as in those of the drums, like the
sound and tuning; especially the
toms) and dynamics become. As
I am 33% of the package, I want
to make sure that I am contribut-
ing my share to the content.

I have to also consider the other
instruments, too, of course, with
that. I mean if it's a guitar situa-
tion like Joe Pass - well, that is
A LOT different then, say, some-
one like Tommy Bolin or that type.
Add to that and even before, the
fact of the instruments them-
selves. Are they acoustic or are
the electric? You know what I am
talking about.

Then, there's the music and what
the composer wants for it. I want
to make sure that I provide that.

All in all, I am very sensitive to
situations that are smaller. I am
very careful, with my choice of
fills, too. Generally speaking, I
make them very rhythmic and
easy to count for the others.

Regards,

Intersting concept, Pete. I personally find myself being quite a bit more liberal in my playing with the smaller group unit.