Chords for Sonny Rollins - My Practice Routine and Role Models
Tempo:
115 bpm
Chords used:
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
All right, Soren Vinergaard.
How did you get into jazz, Soren?
First it was
well, actually, I heard this
it was this theme song that I heard once, and then it was swing music,
and then I started looking for some more of that music.
My mom showed me a Django Reinhardt record,
and then I heard Pat Metheny, and then eventually it was Sonny Rollins, and yeah, so
Okay, very interesting.
And what's your question for Sonny today?
My question is, having played with so many great musicians and in a whole bunch of different situations,
how have your playing routines or practicing routines changed over the decades?
Well, I've learned from all of them.
When I was growing up, my idols were Lewis Jordan,
the great rhythm and blues saxophonist, then Coleman Hawkins, who was a great tenor saxophonist,
then Lester Young, who was a great tenor saxophonist.
These were people that set the styles for what people are playing today.
Coleman Hawkins, Lester Young, especially.
And then there are others, great people that I listened to, and I learned from them.
In fact, as a boy, I used to, after I was at school and got through with school, I used to find out where some of these great musicians lived, you know.
And I'd go there and I'd have my saxophone, and I'd go and I'd ring their bell, you know, and hoping they'd teach me something.
Now, these are guys that have been playing in nightclubs all night long until maybe 5 o'clock in the morning,
and here comes this little kid waking them up.
So I wouldn't do that today.
But most of them were very kind to me, you know, because they knew that I just wanted to learn.
But that's how I learned.
You have teachers, and then you have people that you listen to that you learn from.
That's another form of learning.
And there's many, there are many, there are many people you can learn different things from so many different people.
And having mastered, sorry, I'm getting feedback.
Ask your question, Soren.
And then having mastered their techniques, or having mastered your own technique, what do you usually do then?
Well, there's no such thing as complete mastery in my mind, in my view.
[Em] You know, I practice all the time, still today.
So there's no such thing as mastery.
In something like music, it's always something to learn.
It's always rudiments that you have to go through.
So there's no such thing as mastery.
Music is vast.
There's always something [N] to learn.
How did you get into jazz, Soren?
First it was
well, actually, I heard this
it was this theme song that I heard once, and then it was swing music,
and then I started looking for some more of that music.
My mom showed me a Django Reinhardt record,
and then I heard Pat Metheny, and then eventually it was Sonny Rollins, and yeah, so
Okay, very interesting.
And what's your question for Sonny today?
My question is, having played with so many great musicians and in a whole bunch of different situations,
how have your playing routines or practicing routines changed over the decades?
Well, I've learned from all of them.
When I was growing up, my idols were Lewis Jordan,
the great rhythm and blues saxophonist, then Coleman Hawkins, who was a great tenor saxophonist,
then Lester Young, who was a great tenor saxophonist.
These were people that set the styles for what people are playing today.
Coleman Hawkins, Lester Young, especially.
And then there are others, great people that I listened to, and I learned from them.
In fact, as a boy, I used to, after I was at school and got through with school, I used to find out where some of these great musicians lived, you know.
And I'd go there and I'd have my saxophone, and I'd go and I'd ring their bell, you know, and hoping they'd teach me something.
Now, these are guys that have been playing in nightclubs all night long until maybe 5 o'clock in the morning,
and here comes this little kid waking them up.
So I wouldn't do that today.
But most of them were very kind to me, you know, because they knew that I just wanted to learn.
But that's how I learned.
You have teachers, and then you have people that you listen to that you learn from.
That's another form of learning.
And there's many, there are many, there are many people you can learn different things from so many different people.
And having mastered, sorry, I'm getting feedback.
Ask your question, Soren.
And then having mastered their techniques, or having mastered your own technique, what do you usually do then?
Well, there's no such thing as complete mastery in my mind, in my view.
[Em] You know, I practice all the time, still today.
So there's no such thing as mastery.
In something like music, it's always something to learn.
It's always rudiments that you have to go through.
So there's no such thing as mastery.
Music is vast.
There's always something [N] to learn.
Key:
Em
Em
Em
Em
Em
Em
Em
Em
All right, Soren Vinergaard.
_ How did you get into jazz, Soren?
_ _ _ First it was_
_ _ well, actually, I heard this_
it was this theme song that I heard once, and then it was swing music,
and then _ I started looking for some more of that music.
My mom showed me a Django Reinhardt record,
and then I heard Pat Metheny, and then eventually it was _ Sonny Rollins, and yeah, so_
Okay, very interesting.
And what's your question for Sonny today? _
My question is, having played with so many great musicians and in a whole bunch of different situations,
how have your playing routines or practicing routines changed over the decades? _ _
Well, _ I've learned from all of them. _
_ When I was growing up, _ my idols were Lewis Jordan,
the great rhythm and blues saxophonist, _ then Coleman Hawkins, who was a great tenor saxophonist,
then Lester Young, who was a great tenor saxophonist.
_ These were people that set the styles for what _ people are playing today. _
_ Coleman Hawkins, _ Lester Young, _ _ _ especially.
And then there are others, great people that I listened to, and I learned from them.
In fact, as a boy, I used to, _ _ after I was at school and got through with school, I used to find out where some of these great musicians lived, you know.
And I'd go there and I'd have my saxophone, and _ I'd go and I'd ring their bell, _ you know, and hoping they'd teach me something. _
Now, these are guys that have been playing in nightclubs all night long until maybe 5 o'clock in the morning,
_ and here comes this little kid _ _ waking them up.
_ So _ I wouldn't do that today.
_ _ But most of them were very _ kind to me, you know, because they knew that I just wanted to learn.
_ _ _ But that's how I learned.
You have teachers, and then you have people that you listen to that you learn from.
That's another form of learning.
_ _ And there's many, there are many, there are many people you can learn different things from so many different people.
_ _ _ And _ having _ _ mastered, _ _ sorry, I'm getting feedback.
Ask your question, Soren.
_ _ _ _ And then having mastered _ their techniques, or having mastered your own technique, what do you usually do then? _
_ _ Well, there's no such thing as complete mastery _ in my mind, in my view.
_ [Em] You know, I practice all the time, still today.
So there's no such thing as mastery.
_ In something like music, it's always something to learn.
It's always _ rudiments that you have to go through.
So _ there's no such thing as mastery. _ _ _
Music is vast.
There's always something [N] to learn. _ _
_ How did you get into jazz, Soren?
_ _ _ First it was_
_ _ well, actually, I heard this_
it was this theme song that I heard once, and then it was swing music,
and then _ I started looking for some more of that music.
My mom showed me a Django Reinhardt record,
and then I heard Pat Metheny, and then eventually it was _ Sonny Rollins, and yeah, so_
Okay, very interesting.
And what's your question for Sonny today? _
My question is, having played with so many great musicians and in a whole bunch of different situations,
how have your playing routines or practicing routines changed over the decades? _ _
Well, _ I've learned from all of them. _
_ When I was growing up, _ my idols were Lewis Jordan,
the great rhythm and blues saxophonist, _ then Coleman Hawkins, who was a great tenor saxophonist,
then Lester Young, who was a great tenor saxophonist.
_ These were people that set the styles for what _ people are playing today. _
_ Coleman Hawkins, _ Lester Young, _ _ _ especially.
And then there are others, great people that I listened to, and I learned from them.
In fact, as a boy, I used to, _ _ after I was at school and got through with school, I used to find out where some of these great musicians lived, you know.
And I'd go there and I'd have my saxophone, and _ I'd go and I'd ring their bell, _ you know, and hoping they'd teach me something. _
Now, these are guys that have been playing in nightclubs all night long until maybe 5 o'clock in the morning,
_ and here comes this little kid _ _ waking them up.
_ So _ I wouldn't do that today.
_ _ But most of them were very _ kind to me, you know, because they knew that I just wanted to learn.
_ _ _ But that's how I learned.
You have teachers, and then you have people that you listen to that you learn from.
That's another form of learning.
_ _ And there's many, there are many, there are many people you can learn different things from so many different people.
_ _ _ And _ having _ _ mastered, _ _ sorry, I'm getting feedback.
Ask your question, Soren.
_ _ _ _ And then having mastered _ their techniques, or having mastered your own technique, what do you usually do then? _
_ _ Well, there's no such thing as complete mastery _ in my mind, in my view.
_ [Em] You know, I practice all the time, still today.
So there's no such thing as mastery.
_ In something like music, it's always something to learn.
It's always _ rudiments that you have to go through.
So _ there's no such thing as mastery. _ _ _
Music is vast.
There's always something [N] to learn. _ _