Chords for GABRIEL KAHANE— On Conservatory Training
Tempo:
109.05 bpm
Chords used:
G
C
F
Bb
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
[C] [G]
[Am] [F]
[B] For kids that are just graduating from high [Eb] school, is it a necessity to have formal education?
One of the dangers of musical education is that it's too narrowly focused on a certain
kind of blinded concept of what technique means.
And I think for any [G] musician, particularly for composers, but for a violinist or a harpist
or a clarinetist, what have you, I really think that being broadly engaged in the world
is the most important thing in order to become an artist.
So I think that being engaged in literature, in politics, in history, all these things
make a much deeper musician.
And I think if we sort of look over the last century at the really
[Ab] critical figures in
music, whether it's pop music or classical music, they tend to be people who are not
strictly conservatory trained.
They tend to be people who either have university educations or who've made it a point [G] to really
engage with [N] language, with literature, with the world around them so that when they're
making art, they're reflecting on a broad set of experiences rather than making music
in a vacuum, which I don't think leads to very good work.
I think that having a university education is a really wonderful thing.
I think I'm maybe delineating between conservatory education and university education.
And I guess it would be my strong suggestion to young musicians that they pursue a university
education rather than a [Gb] conservatory education.
And I guess I would say that [Ab] largely because there will always be a hundred people with
greater facility than you, than one.
And the way that one can [N] set him or herself apart, I think, has more to do with vision
of the world and the way that you engage with the world.
I think you get that a lot more from the university education.
For myself, I think that the English and history professors and philosophy professors that
I had toward the end of college are the people who actually shaped me the most as a musician.
Steps that can be taken without a formal education.
I mean, certainly a formal education gives you a real leg up in a lot of ways, assuming
that you make the most of it.
There are a lot of people who [Abm] go to college and just kind of [N] mess around.
But I guess I'm not advocating that people skip out on a formal education.
I guess I'm mostly proposing that I think conservatories are of limited value, particularly
in the time that there continue to be challenges as a musician.
It's a very [G] draining lifestyle to be constantly [C] creating.
But [F] it's also fruitful and generous [Bb] and gives back.
[C] [F]
[Bb] [C] [Bb]
[C] [G]
[Am] [F]
[B] For kids that are just graduating from high [Eb] school, is it a necessity to have formal education?
One of the dangers of musical education is that it's too narrowly focused on a certain
kind of blinded concept of what technique means.
And I think for any [G] musician, particularly for composers, but for a violinist or a harpist
or a clarinetist, what have you, I really think that being broadly engaged in the world
is the most important thing in order to become an artist.
So I think that being engaged in literature, in politics, in history, all these things
make a much deeper musician.
And I think if we sort of look over the last century at the really
[Ab] critical figures in
music, whether it's pop music or classical music, they tend to be people who are not
strictly conservatory trained.
They tend to be people who either have university educations or who've made it a point [G] to really
engage with [N] language, with literature, with the world around them so that when they're
making art, they're reflecting on a broad set of experiences rather than making music
in a vacuum, which I don't think leads to very good work.
I think that having a university education is a really wonderful thing.
I think I'm maybe delineating between conservatory education and university education.
And I guess it would be my strong suggestion to young musicians that they pursue a university
education rather than a [Gb] conservatory education.
And I guess I would say that [Ab] largely because there will always be a hundred people with
greater facility than you, than one.
And the way that one can [N] set him or herself apart, I think, has more to do with vision
of the world and the way that you engage with the world.
I think you get that a lot more from the university education.
For myself, I think that the English and history professors and philosophy professors that
I had toward the end of college are the people who actually shaped me the most as a musician.
Steps that can be taken without a formal education.
I mean, certainly a formal education gives you a real leg up in a lot of ways, assuming
that you make the most of it.
There are a lot of people who [Abm] go to college and just kind of [N] mess around.
But I guess I'm not advocating that people skip out on a formal education.
I guess I'm mostly proposing that I think conservatories are of limited value, particularly
in the time that there continue to be challenges as a musician.
It's a very [G] draining lifestyle to be constantly [C] creating.
But [F] it's also fruitful and generous [Bb] and gives back.
[C] [F]
[Bb] [C] [Bb]
Key:
G
C
F
Bb
Ab
G
C
F
_ _ _ _ _ [G] _ _ _
[C] _ _ _ _ [G] _ _ _ _
[Am] _ _ _ _ _ [F] _ _
[B] For kids that are just graduating from high [Eb] school, is it a necessity to have formal education?
_ One of the dangers of musical education is that it's too narrowly focused on _ _ a certain
_ kind of blinded concept of what technique means.
And I think for any [G] musician, particularly for composers, but for a violinist or a harpist
or a clarinetist, what have you, _ I really think that being broadly engaged in the world
is the most important thing in order to become an artist.
So I think that being engaged in literature, in politics, in history, all these things
make a much _ deeper musician.
And I think if we sort of look over the last century at the really _
[Ab] critical figures in
music, whether it's pop music or classical music, they tend to be people who are not
strictly conservatory trained.
They tend to be people who either have university educations or who've made it a point [G] to really
engage with [N] language, with literature, with the world around them so that when they're
making art, they're reflecting on a broad set of experiences rather than making music
in a vacuum, which I don't think leads to very good work.
I think that having a university education is a really wonderful thing.
I think I'm maybe _ delineating between conservatory education and university education.
And I guess it would be my strong suggestion to young musicians that they pursue a university
education rather than a [Gb] conservatory education.
And I guess I would say that [Ab] largely because there will always be a hundred people with
greater facility than _ you, than one.
_ And the way that one can [N] set him or herself apart, I think, has more to do with vision
of the world and the way that you engage with the world.
I think you get that a lot more from the university education.
For myself, I think that _ the English and history professors and philosophy professors that
I had toward the end of college are the people who actually shaped me the most as a musician. _ _
Steps that can be taken without a formal education.
I mean, certainly a formal education gives you a real leg up in a lot of ways, assuming
that you make the most of it.
There are a lot of people who [Abm] go to college and just kind of [N] mess around. _ _
But I guess I'm not advocating that people _ skip out on a formal education.
I guess I'm mostly proposing that I think conservatories are of limited value, particularly
in the time that there continue to be challenges as a musician.
It's a very _ _ [G] draining _ lifestyle to be constantly [C] creating.
_ _ But [F] it's also fruitful and generous [Bb] and gives back. _
[C] _ [F] _ _ _ _ _ _ _
[Bb] _ _ _ [C] _ _ [Bb] _ _ _
[C] _ _ _ _ [G] _ _ _ _
[Am] _ _ _ _ _ [F] _ _
[B] For kids that are just graduating from high [Eb] school, is it a necessity to have formal education?
_ One of the dangers of musical education is that it's too narrowly focused on _ _ a certain
_ kind of blinded concept of what technique means.
And I think for any [G] musician, particularly for composers, but for a violinist or a harpist
or a clarinetist, what have you, _ I really think that being broadly engaged in the world
is the most important thing in order to become an artist.
So I think that being engaged in literature, in politics, in history, all these things
make a much _ deeper musician.
And I think if we sort of look over the last century at the really _
[Ab] critical figures in
music, whether it's pop music or classical music, they tend to be people who are not
strictly conservatory trained.
They tend to be people who either have university educations or who've made it a point [G] to really
engage with [N] language, with literature, with the world around them so that when they're
making art, they're reflecting on a broad set of experiences rather than making music
in a vacuum, which I don't think leads to very good work.
I think that having a university education is a really wonderful thing.
I think I'm maybe _ delineating between conservatory education and university education.
And I guess it would be my strong suggestion to young musicians that they pursue a university
education rather than a [Gb] conservatory education.
And I guess I would say that [Ab] largely because there will always be a hundred people with
greater facility than _ you, than one.
_ And the way that one can [N] set him or herself apart, I think, has more to do with vision
of the world and the way that you engage with the world.
I think you get that a lot more from the university education.
For myself, I think that _ the English and history professors and philosophy professors that
I had toward the end of college are the people who actually shaped me the most as a musician. _ _
Steps that can be taken without a formal education.
I mean, certainly a formal education gives you a real leg up in a lot of ways, assuming
that you make the most of it.
There are a lot of people who [Abm] go to college and just kind of [N] mess around. _ _
But I guess I'm not advocating that people _ skip out on a formal education.
I guess I'm mostly proposing that I think conservatories are of limited value, particularly
in the time that there continue to be challenges as a musician.
It's a very _ _ [G] draining _ lifestyle to be constantly [C] creating.
_ _ But [F] it's also fruitful and generous [Bb] and gives back. _
[C] _ [F] _ _ _ _ _ _ _
[Bb] _ _ _ [C] _ _ [Bb] _ _ _