Transcription (in this case I'm talking about learning other people's solos) is an extremely emotive issue.

This post merely poses some questions, I'm not trying to come down on one side or the other, and I'm very interested in anyone else's views on this subject.

Many great players started out transcribing (Wes Montgomery learnt Charlie Christian solos note-for-note, Charlie Parker slowed down records to copy solos).

The question is when and if to stop? Some great players continue to transcribe, others don't.

Those who don't include Mick Goodrick, Wayne Krantz, David Tronzo, Bryan Baker

Those who strongly advocate transcribing include Scott Henderson and Mike Stern.

To take 2 examples:

Pat Metheny - spent a summer learning Wes records, and then decided to deliberately not sound like him. He says that Wes' album "Smokin at the Half Note" taught him how to play.

Eric Clapton - spent a year locked away with John Mayall's record collection, and says that's pretty much all the studying he's ever done.

The pros of transcribing? - acquire vocabulary, chops. But also rhythm, phrasing, feel, tone. Learn about theory from real music.

The cons? - can feel like cheating/stealing other players' ideas. Some people find it boring. Players like Wayne Shorter/Kurt Rosenwinkel/Miles Davis play in such a way that it seems highly unlikely they have spent much time transcribing.

Then there is the question of how to use transcribing?

Some players simply learn/copy licks in an imitative/clone fashion.

Many players advocate adapting what you learn from transcribing, making it "portable".

Perhaps it is more important in some styles? If you want to be a stylist... perhaps for sessions etc.

Does it have any value if you are interested in pure improvisation?

"Searching". Even if you believe it's not possible to play anything original (?), the intention behind the search and the different energy it creates which makes it very different from playing learnt phrases.

What do you practise if you don't transcribe?

At faster tempos do you rely on learnt vocabulary?

An update on my previous post...

Just did a show at the Rose Theatre in Kingston for 2 nights.

The first night I was covered in foam from a "gunfight" on stage - got my guitar, clothes, hair, tuner and music (making it somewhat impossible to read!)

The second night, I considered taking an umbrella, just in case. It would have been no use though as this time a large piece of flying scenery narrowly missed my guitar as it shot between the trombonist and me!

Maybe reading gis aren't such a good idea...

I'm a guitarist, so of course everyone expects I can't read music.

Thankfully, that's only partially true.

Though not the greatest reader, I can usually just about get by...

What surprises me is how much money you can make from these gigs. I spend most of my life practising reasonably complex music. When I get to play it live, I often get paid a pittance.

Most of the reading gigs I've done recently have not only included paid rehearsals, but have been really well paid considering how simple the music is, and the fact that after a rehearsal or two you know it inside out anyway.

So, my advice is... learn to read!

Bryan is one of the most incredible improvisers I have ever come across.

The "star" guitarist at Berklee when I was there, he went on to tour the world with legendary fusion band Steps Ahead, and then chose to start forging his own solo career.

His album "Aphotic" features great compositions and playing, but you really need to experience this guy live.

The intensity of his playing is simply breath-taking.

He's coming to the UK to play at Pizza Expree, Dean St on Wed 7th and Thurs 8th September. He's also offering private lessons while he's here. Check him out!

www.bryanbakermusic.com