Best posts made by Kehaulani

Man, check this out: Jazz at Lincoln Center with Tap Dancer. Exceptional

Somebody, snap it up real quick. There's no end to how many horns one doesn't need.

No offense intended, but I've answered this ad naseum. Be that as it may . .

I relate notes to the lowest playable note and then octaves of it. It follows this logical pattern:

Low
Middle
High
Double High
then pray that anything comes out.

or:
Low F# (below the staff).
Middle F# (in the staff)
High F# (top line of the staff)
Double High F# (an octave above that)

But . .
I got tired of taking up time in rehearsals so I have found it quicker to just say:
F# below the staff
F# in the staff
F# at the top of the staff
#F# above High C

A couple of those are right in the pocket of Big Dub's painting technique. You guys might do a collaboration.

Dr. GO, if I'm not mistaking, you are not a theory-illiterate musician but one who, like Bruce Lee or Bird, for example, have learned it all then let it drop away but retaining, nevertheless, the theory internally. There's a difference.

Bruce Lee said, "Absorb what is useful, discard what is not, add what is uniquely your own." I think you're more in that category.

To those of you who say you don't know from nothing about the elements of music, one thing to consider is that, knowing your scales, arpeggios etc., enhances your ability and ease in sight-reading considerably. You don't have to guess at individual notes but eventually get to a point where you don't see a run of isolated notes but, for example, look at a series of notes going from D to D with an Eb and Bb and see it as ONE thing, i.e. a run in Bb from D to D.

To be a good sight-reader means, not the ability to play note-for-note in real time, but to read ahead while playing temporally what's on the page; while simultaneously reading what will be coming up.

It's not hard, it just takes practice. You may see it as too much trouble, but makes your playing easier and more pleasurable, with less stress.

I can't hear Bolero without thinking of Bo Derick.

While I've been a professional for over half a century, (those Sackbuts were a challenge, eh Franklin?), and worked in many countries, I've never known anyone with perfect pitch. Relative? I worked with another arranger in D.C, and when we were bored, we used to get together and transcribe chords. One dictated and the other transcribed. We transcribed not only complex chords but twelve-tone stuff, as well. Both of us had relative, not perfect pitch.

Both of us were also multi-instrumentalists. I've noticed that an additional dimension takes place when going from transcribing from air waves to playing a horn, and that is the acoustical properties of the horn are added. You may hear a pitch perfectly, but different registers, pitches, etc. may alter that pitch and you have to adjust to produce the true pitch, (and also adjust the pitch to fit in with the surrounding chord tones coming from other horns), by using alternate fingering, humored slide positions and the like. Hearing, then, comes into play when adjusting.

You don't need perfect pitch, but good relative pitch combined with a sensitivity to how to adjust your horn to the pitch are needed.

p.s. I knew a of a sax player who had perfect pitch and he could only play C Melody sax. Transpositions drove him crazy and he was very uncomfortable even when playing with other players. I have a friend in the Philadelphia Orchestra. I asked him one time, "How do you guys play so well in tune", and he said, "We don't play in tune. We play out of tune - together", LOL.

This is all just speculative. I would take a two-pronged approach,

1. Take the horn to a technician.
2. Get some lessons.

Good grief. What does a lot of this stuff have to do with music or trumpet playing?

I don't think one could agree or disagree until one heard you play. Otherwise, it's just hypothetical.

As an aside, I had my vibrato on a jury challenged, too. Fact was, the vibrato didn't come from a premeditated philosophy but because my legs were shaking uncontrollably.

After the first couple of licks, I really questioned whether or not this was Maynard. Thanks for the info. This is Maynard:

@Bob-Pixley said in Community Band:

@barliman2001 said in Community Band:

@Kehaulani But that is what is happening with Coronation Brass - every single year! And somehow, it works!

What if the music was passed out 3 hours in advance and the group rehearsed it from then until 15 minutes before the concert? That's the type of lip abuse I was talking about - casual musicians being rehearsed to death right up to the time of the concert.

Absent other extenuating circumstances, sounds to me like ineffective rehearsal technique.

You know, a good rehearsal technique not only pertains to musical preparation, but choosing a manageable program, so you don't have to have a last-minute rehearsal.

What I can't understand is why he didn't use one of the most effective binders made . . duct tape.

Marching through Red Square. First western military unit to do so.

Playing at D-Day anniversary at Normandy with Walter Cronkite and Pres. Reagan.

Of course one should always have a general awareness of everything one is doing, but I believe, unless needed for unusual conditions, vibrato should be unconscious, i.e. spontaneous and intuitive .

George - that's really a mature way of seeing it.

I was just thinking this morning. My 95 year old mother is really confident of her health and is a little bullet proof. But I and my sister have both health problems and also fall into the vulnerable age group.

She may feel she won't get the disease herself, but she can carry it to both of her vulnerable children. People have to think about others' vulnerability and not only about whether or not they will get the disease, themselves.

I use Everclear. 95% Alcohol. I drink a big swig then play my horn. Kills everything in it.

@Dr-Mark said in Is Air Needed To Play The Trumpet:

This video will be an eye-opener for those that don't know that air is NOT needed to make a sound on a brass instrument.

And what do you suggest excites, and keeps in motion, the lips?