Why playing by ear matters

I taught theory and ear training at a few colleges over the span of about a decade. I can’t tell you the number of times I had students completely at square one when it came to their aural skills. These were fantastic musicians already, performing their own interpretations of classic works at an admirable level, but when it came time to remove the instrument from their hands and the notation from in front of them, they froze.

Developing the ears’ connection to other focal points of music making is a lifelong process. One of the best ways to enrich those connections and speed up development is to remove the page from in front of students. Improvising in music is corollary to conversational skills in a language, where we can’t always read from a script in our day to day conversations so we have to rely on our abilities to process the content and context presented to us as quickly and fluently as possible. By learning how to play it by ear, students are fully immersed in the communication that underlies the process of music making. Spur of the moment creativity enhances every aspect of the holistic musician.

- Chris Jones

Explore your musicianship

Learning to play by ear, improvise, and attend to the nuances of different styles of music is rewarding in and of itself. Exploring skills like these can open up whole genres of music to string players, who (depending on their background) can sometimes be boxed into specific styles and specific kinds of musical opportunities. It also helps you develop your own creative musical voice in a whole new way.

But even if you’re hesitant about branching out from classical genres, learning to improvise and comp can help you become a better musician overall. I’ve had students who struggled to keep a steady beat and refrain from rushing (as I’m sure we all have!); every week I spent rehearsal time using traditional techniques to keep the ensemble together. For many of those students, learning to comp, chop, and ultimately improvise was like magic - their awareness of the players around them and the other parts of the ensemble (bass lines, inner harmonies, etc.) was exponentially improved. That awareness permeated their musical lives and transferred to new repertoire and new ensembles in an amazing way.

- Lillian Green