@shifty said in Bots are getting scary:
I disagree, Trumpetb.
If a computer does exactly what it was told to do in the code despite the fact that it isn't what the programmer wanted, that does not constitute a case of the computer acting outside of its programming. It's a case of erroneous programming.
A computer is a moron and only performs as it is told. But it is a very fast moron!
It is so hard to see the detail from that picture. Looking fairly nice from that distance could be risky. If you can get more detail from this individual as to model number, do give us an update.
Love Spain.
When I play this with the Ensemble, I play the Intro out front (can be found in the Real Book at the back section of extra songs)
As the only Solo Voice, I take it up an entire octave. There is a pause. Then the ensemble comes in at the A section. Very efffective!
How are trumpet players like pirates?
They both murder on the high C's.
To Healthy Smile:
Virtual Trumpet. This could be an intriguing feature. Does this enable you to plug in an actual mouthpiece through a USB port and then play a trumpet feature on your site?
Going on a Disney Cruise in September and they do not allow musical instruments on the ship. They do allow lap tops. So if you have this feature, man am I sold. If you don't have this feature, could it possible be created... by September?
As with GeorgeB, I have my local brass technician do chemical cleans on my horns... and I'm a chemist!
Or write one. By the way, that C in bar 6 is actually played up the octave (by Miles):
@Trumpetb said in 
Trumpet Toolkit for Teaching and Learning 
:
@barliman2001 Wise words
I am put in mind of a trumpet player who travelled to an Islamic country where music was banned and the immigration staff wanted to confiscate his trumpet on entry, but when the player played for them to demonstrate just how quiet he played they quickly realized they were quite wrong and then allowed the player in with his instrument without any issues, they just asked him to be respectful.
I purchased a really inexpensive pocket trumpet for a business trip I was to take to Saudi Arabia, with the anticipation that it may be confiscated. And so it was. Three times. Each time the individual taking the horn took it to their supervisor and each time the supervisor asked me kindly my intent in bringing the horn. I would then show the supervisor my Yamaha silent mute, then explained, my intent was only to practice the horn in my hotel room with the silencer intact so no one would be able to hear me. The supervisor for each occasion appreciated my discussion and in each case, returned the horn to me.
It is however a sad state of affairs when a restrictive government to many liberties such as Saudi Arabia will yield to reasoning, but Disney will not.
The Martin Committee Manual in its entirety:
This is an ESSENTIAL read to truly appreciate the mechanism behind jazz improvisation. It incorporates jazz improve for business leaders to better connect with clients, but it also has important history and structural requirements to be successful at improvisation. This article was a game changer for me:
https://pdfs.semanticscholar.org/6494/64c46bab1840d40402f8a2eac476df1505c9.pdf
@SchilkeB6 said in Flugel Thread:
NIIICE!!!
Thanks so much for your support over the years, both on line and in live performance. This means so much to me.
While not related to vocal "warm ups" there is another important concept to using vocal cues for phrasing passages on the trumpet. Another teacher, not necessarily formally but though default, actually his fault for choosing me for his quintet, Eddie Brookshire (a bassist) taught me the importance of reading the words written UNDER THE NOTES when they are present that takes priority over the notes that may be written above the words. Here is Eddie's wisdom behind this concept:
Eddie sees the notes written as the song writer's way of "graphing" the phrasing of the lyrical component to a song. Songs are there to provide a message, and there is no stronger way to provide that message from the intent of the song writer then reproducing the word phrasing. But sometimes as Eddie describes, the graphical depiction of that quarter note, eighth note, dotted eighth note to sixteenth note just cannot accurately "graph" the spoken, written intent of the phrase. To get around this, just read the words, not the notes, and your phrasing as to the intent of the song writer will be spot on.
EVERYONE READ THE ARTICLE, PAGES 143-149.
This discussion is going toward proficiency. I need to do that. You need to do this. This will get you to proficient. My attempt is to get people reading this thread to go BEYOND proficient. The reading talks about proficiency, yes. But it goes much beyond. It gives insight as to how to WORK WITH THE ENSEMBLE. That is the POWER of improvisation. Improvisation is ALL ABOUT communication. The communication is with the ensemble , and with the audience. That is the next level. This article gives you how to structure technical and SOCIAL skills on how to channel rapidly incoming sounds and progressions and how to use the talent of the ensemble and audience to turn the sounds into a performance that is appreciated by all. That is the goal of jazz improvisation. Making it real for the performer is only have the goal. Read pages 143-149, they are vital to truly understanding the art of improvisation.
@flugelgirl said in Flugel case:
You could try a Torpedo Coyote with the snarl lid - works for my Adams F2 which is quite large. If you contact them they can tell you if it will fit.
I have this one and it works great!
MuseScore is another nice product that is free on line for music notations and can be found at: https://musescore.org/en
