Best posts made by Kehaulani

What a coincidence, wow! I was eating lunch with my son and an elderly man joined us. It turns out that he was in the Army in the Philippines in 1941. When the Japanese took over the islands, he, with another 300 men, escaped into the jungles where they survived a couple of years until the islands were liberated.

Not only that, he saw the T-shirt I was wearing from the Umbria Jazz Festival and said he goes to the Elephant Room, an Austin jazz establishment, once a month to listen. If that wasn't enough, one of his high school buddies was Stan Getz! Who would've known. A walking piece of history.

Having worked and lived in most of the northern hemisphere, I've seen tons of "off-brand" horns. Amazing what can be done on many of them. Especially if you can't even get others (i.e. Yamahas. Bachs, Olds, etc.). Sometimes, what you don't know, won't hurt you.

. . . some people think I can be condescending . .
. (that means they think I talk down to people)

Everybody who wants to keep this, please copy and paste/save to your computer. Glad to help, just that I don't want to keep doing this. K'lani.

Cycle of Breath

1. The first step is a prepared body. If our chest cavity is "collapsed", we have to inflate it with force. That is pretty stupid. When we are sitting or standing up straight but relaxed (yoga is VERY good for this), all we have to do is inhale. We can get a huge amount of air without having to pressurize the lungs by force. Learning to prepare the body for playing is easy with beginners and increasingly difficult for players with more experience as they have to break habits to make new ones! It is important to have this activity monitored.

2. Once the body is big and relaxed, we draw a big circle. The left side (moving clockwise) is inhale and the right side is exhale. Notice at the top and bottom of the circle that it is still round - no disturbances. Our transition from inhale to exhale and exhale to inhale must mirror that. We do not hold air in, it is either moving in or out. We have to practice getting BIG breaths without building up tension in the throat or upper body. We use the diaphragm to inhale, but subconsciously. We don't need to think about how those muscles work, we just give them the big, relaxed body and they know what to do!
   We do not need to "push" our air out, we just exhale. Generally students have a BIG problem getting a big breath and then just exhaling. There is so much "learned" tension present that they need weeks to get this down.

3. Once our breathing works (in my lessons that means when I am satisfied - not when the student thinks that they are done), then we replace exhale with play. We do not tongue notes, we just switch to exhale and what happens, happens. The goal here is to develop the breathing apparatus and lips so that we are so relaxed that sound comes at the peak of the circle with no kickstart by the tongue. A couple of weeks of long tones this way shows us a lot about everything that we have been doing wrong. Notice how Rashawn in the youtube just exhales a triple C? Completely free of hard work! This is how it has to work in every register. Just exhale the note.

4. When I am happy with this stage, the student exhales into lip slurs - same principle - no tongue! Just exhale! Another couple weeks goes by to "perfect" this (it is never perfect) and we have made a considerable step forward. Our tone is no longer dependent on the tongue to reliably speak - regardless of how high or low, loud or soft. Generally with no tongue applied, we can lip slur a fifth to an octave more than we had before. The range caves when making music because we are still missing too much stuff.

5. At this point I have very specific things to learn to add the tongue. Critical here is that we do not use the sledgehammer tonguing that we needed when we were using pressure, we have to develop infinitely small "T", "D", "K", "G", "L", "R" attacks that are only used to "articulate" the beginning of the tone that occurs at the peak of the Circle of Breath. The tonguing must occur EXACTLY at the point where we switch from in- to exhale. If we tongue too early or late, we screw up the transition. This means we are back to long tones and trained ears and eyes to insure that old habits don't screw up what we have now carefully built. Once long tones work, we can tongue the initial intro into the lip slur. If our tone without attack was clean, the articulation is only frosting on top of the cake!

6. Following this, the student gets easy tunes like from the hymnbook and we work on proper breathing and articulation of real music.

This Circle of Breath is as far as I am concerned the biggest deal in trumpet playing. Without being able to do this, the rest can't ever click. It is as simple as inhale/exhale. The problem is understanding what we have done to ourselves: how sloppy we sit, stand, walk. How crappy our posture is, how caved in our upper body is, how tense our neck and shoulders are because we hang our heads, how brutal our tonguing is to kickstart a screwed embouchure that uses excessive pressure to enable playing at all. In addition we have a learned unwillingness to accept very small steps of improvement because we have learned to download cheats and believe the idiots that claim to have silver bullets for problems. We do not even notice the small improvements and therefore get frustrated that we haven't experienced the "miracle". I won't even get into lifestyle and attitude.

The human state is a product of what we repeatedly do. We need challenges and successes. We need the wisdoms to prepare ourselves adequately for the challenges any time that we can. That foundation can carry us a long way if it is solid.

I saw my lifes motto in a pub in Belfast a couple of years ago: Life is too short for cheap beer. We can add a lot of other things important to our wellbeing besides beer to this motto.

You never know what you'll get in N.O. Once, I was at the Jazz Fair going between two venues and there were scattered "second choice" bands on just cheap platforms or kiosks between the major acts.

As we approached one such band - they were playing a burning version of the Flintstones theme - I told the girl who was with me, "Hear these guys? I've got no idea who they are, but they're absolutely world class. The music world is so unpredictable you may never hear from them . . . but world class."

After they were finished, we were talking to them and they invited us to a 02:00 jam session. They were Branford and Wynton Marsalis.

I'm old school when it comes to the National Anthem. I see no reason to change it and, while musically one might want to modernise it, for me, the SSB exists in a time warp and should be played as close to the hip as possible. The military bands have, and play, the "authorized" version. I feel that gives it the kind of dignity and authenticity it deserves.

As an aside, many of the interpretations I hear at major sporting events make me want to puke.

Frankly, good valves mean to me that I am not distracted by their action while I'm playing; that nothing calls attention to them, that they cause no impediment.

I would like to say, though, that censorship should be aimed at vulgarity, name calling and other insulting comments and not just a difference of opinion. It's possible to disagree without being offensive.

Miles - So What
Harry James- You made Me Love You
Louis Armstrong - Hello Dolly
Ziggy Elman - I Can't Get Started
Bix Beiderbecke - I'm Coming Virgiia
Louis Prima - Sing, Sing, Sing
Chuck Mangione - Feel So Good
Herb Alpert - This Guy's In Love
Cat Anderson - El Gato
Clark Terry - Mumbles
Clifford Brown - Joy Spring
Chet Baker - My Funny Valentine

There keep cropping up assumptions about my background and I don't blame you for getting it confused. I hope no one thinks this is pretentious, because it's not. It's just that there are some things I know, but some things I have very little experience in, and they keep gettig mixed up. Knowledge of one thing doesn't imply knowledge of another. I wouldn't normally do this, but I think it might be helpful in avoiding any further confusion.

Training:
Secondary school: trumpet
College: BM on French horn, trumpet. MM on sax, flute.

Professional (sequential):
Service: French horn, trumpet
Free-lance composer/arranger
A.F. Band Commander
Self-employed sax and flute player, conductor, composer

Then: 2 major strokes, at least 3 minor strokes, unable to use left hand, so back to trumpet. And what a way back it has been.

Example of professional performance:
Royal Hawaiian Band, Air Force band, Tokyo Youth Philharmonic; French horn
Air Force band, soul band, big bands; trumpet
Big bands, county concert band, jazz and rock combos; saxes, flute
-most playing experience has been here

Conducting: the Arlington Symphony, USAF Band, D.C., Austin Civic Wind Ensemble, three German city bands, All-Sound Big Band (Germany)

BM: Composition major, Theory minor
MM: Composition major, Woodwind minor
DMA Conducting

Well, foremost one must know and constantly be reminded that Jazz is an aural art .Cruising the internet for answers, reading books and articles are all good. But they are a supplement, not the main focus.

First off, listen voraciously. If you don't have the feel ingrained in your consciousness and body, you've missed the joint. So listen endlessly to recordings. Sing along to them, shadowing the rhythms and style. This is very important. Go to as many live performances as you can. Things happen live that may not happen when something is recorded for "posterity". Support and meet local musicians. Don't live in a vacuum.

Practice with Jazz play-alongs like Band-in-a Box, Aebersold, Garage Band, etc.

Start learning improvisation the same way. Go to jam sessions and open-mic nights, Play in groups,

I would start with Aebersold Vols. 1, 2 and 54. Once you've got familiarity with those, I would add The Goal Note Approach by Sheldon Berg.

Read as you go along, Jazz Improvisation by Jerry Coker and How to Practice Jazz by the same author. Read Jazz Biographies. Read and absorb a, IMO, invaluable source of information, Lost Chords by Richard Sudhalter

When you've got the chops, add Jerry Coker's Patterns for Jazz, and Elements of the Jazz Language.

Don't be a stranger to your recorder. You get valuable feedback from it that listening when you play misses, somewhat.

Keep in mind. The aural aspects keep dominance over the written and the intuition has dominance over the analytical.

There's more but if this doesn't keep you occupied for a few years, I'd be surprised. Good luck. Have fun.

From what I've seen, forums can have rules but they are either obvious (no profanity) or ambiguous. Behavior usually settles into a routine as monitored by moderators and general consensus. Trying to make a comprehensive list of rules seem to me a big bag of worms. Letting water sink to it's own level seems to me the most reasonable.

For some reason, my edit shows up in the editing preview block but doesn' show up on my post. Therefore . .

For Quincy Troupe in his biography of Miles, he said:
"Mr. Buchanan stopped the band and told me, "Look here, Miles. Don't come around here with that Harry James stuff, playing with all that vibrato. Stop shaking all those notes and trem­bling them, because you gonna be shaking enough when you get old. Play straight, develop your own style, because you can do it. You got enough talent to be your own trumpet man."

For starters just play a major scale in it's various modes. C-C, D-D, E-E, etc. If you do that you will be able to play all the modes. I.E. if the chord is a D minor in the Key of C major (ii) play D-D. That's a Dorian mode. Do that in all keys then you can do the same in minor.

After that, you learn more advanced scales.

Learn what scale goes to what chord.

A lot of this info is given simply on jazzbooks.com under Free Jazz.

If you want to learn licks, get transcribed solos and pick licks from them you like and learn them.
Better yet for your own ear development and getting a more involved knowledge of articulations, phrasing, etc, do your own transcribing.

Wait until you're on the fifth set in a three-horn section playing Earth, Wind and Fire tunes.

Guys, no offense intended, but I think this forum has to elevate itself a little bit above just jokes and pretty pictures before it would be taken seriously enough to justify outside financial support.

This cooks. Some of you might enjoy. Andrea Motis et al in Bobby Timmon's "Moanin".

This is a lecture by Thomas Stevens of the LA Phil. with some interesting background on Schlosberg and his teaching.

@Dr-GO said in A little humour:

Mark Twain was so moved by the eloquent sermon that he was ready to give the $400 he had in his pocket, as soon as the collection plate came around. But the plate was delayed as the preacher droned on interminably. After 20 minutes into the sermon he thought of giving only $40. Another 20 minutes went by. Thoughts of giving dropped to $4. Final, after the another half hour of lengthy delay, the bask was finally pasted at which time Twain took a $5 bill from the plate.

When I was a kid, one of the church ushers was cleaning up after the service and found a penciled-in comment on a church bulletin that said, "Somebody should be paying us to listen to this stuff." They thought it was funny.

The usher gave it to the minister. I laid low.