Posts made by Kehaulani

The French are European. I did not notice their practices as being that different from each other. I did not notice the French (in this instance) as being any different from any other European's. There are plenty of other Europeans falling into other hygiene/appearance groups. And to be direct, there are those who are downright foxy.

Ref. something missing in her playing-IMO Piazolla doesn't really lend itself to brass transcriptions. What is active and intense on accordion can be hectic on trumpet.

Furthermore, I think to make musical sense out of it, it calls for more sophisticated insight into the music and I'm not sure maturity isn't a factor.

@rapier232 - I don't know how to send a private Message, so don't like posting my email address openly, but if you send me yours at garysapp@hotmail dot com, I might have an answer.

If you use any other names than "rapier" please let me know so I don't accidentally dump it.

Rapier, do you think something like the Berklee School of Music theory course (forget the money-that's not part of the question) is what you're looking for?

Introducing Mr. Arban, Rapier,
(You can download copies for free. Just google.)

https://online.berklee.edu/courses/music-theory-101

Well, since we're on it, just compare the number of tunes that were either Harry's or that he put his own, unique spin on borrowed tunes, and compare them to the innocuous treatment Anthony put on his music.

I don't want to give a wrong impression. I liked Ray's professionalism and even had some of his records, but he was a journeyman at best while Harry showed real unique style.

Ray Anthony was basically a musical prostitute. He did a ton of songs but I'm not sure any stuck out.

I don't know how X = Z, but I ordered a horn mouthpiece over a month ago, and what usually takes a couple o days has yet to appear.

Anybody want to talk music?

Tones are relative to their pitch environment not a "well-tempered", fixed source.

I had a friend who played in the Philadelphia Orchestra. I asked him one day how they played so well in tune with each other. "We don't play in tune together", he said. "We play out of tune together'.

Didn't Francis Scott Key write only the text? Then wouldn't he have had no influence over the melody?

If you want it sung conservatively, get a conservative singer. If you want it done pop--ish, get a pop singer. But don't get a pop singer, expect a conservative rendition, then bitch because it's not.

What on Earth is the “ Julliard (Miles Davis) approach “? Miles was learning bebop as it developed and on the 52nd Street. I could be wrong. bur I don't believe Juilliard even had any Jazz studies when Miles was there. I see no connection between approaches.

BTAIM, for me, there are two approaches. The first, and the way I learned, was to learn to play by ear and then, and only then when you are stuck and need a way out, do you find a solution by analysis. Jazz is an aural art.

Of course, learning a chord's extension notes is important but trumpet, being a solo-line instrument, you could play a solo knowing what the extensions are but play a milk-toast solo of mainly basic fundamental tones. And voicings get increasingly more sophisticated so you must know what the notes with the most impact are.

My second level deals with learning deals with learning voicings, theory, etc. simultaneous with the above. For more advanced voicings and constructions (it starts out easy), I recommend The Jazz Theory Book by Mark Levine. I still think it's best to be led by your ear but with the increased sophistication in voicings, a good dose of knowledge can't hurt you.

Can anyone tell me if ROWUK posts with a different Pseudonym/avatar on Trumpet Herald, or has he just given up on internet forums, as a whole? Thanks.

I've been battling with some very serious sight issues. Only have about 30% of my vision. at the moment. A spin-off is I can't play because of eye pressure. Can't write 'cause can't see well and no bands to conduct because of Covid. So - next to nothing. Yea it sucketh mightily.

Somebody clarify this for me. It has to do with all the accolades about this horn.

My understanding is that the preferable years for the Committee is mid-fifties and earlier. This is not. With little exception, the Committee did not have valve slides. This does. The classic Committee is brass and to have it "restored" shouldn't it be "restored" to brass, not silver? And, peripherally, that case may be a late Martin authentic case but it is not vintage beigh-ish coloured case from the vintage era.

For something to be restored to state of worth, it has to be worth to begin with. In my unserstanding this is not a classic Committee. Can someone please show me another way of looking at it or correct my understanding of it? Thanks.

That's interesting because I've read the opposite. Matter of fact, he spent most of his practice time womanizing and drinking.

Did you guys know that Harry never practiced?

If you have "to make some pretty big changes in embouchure and breath as I move down into the lower notes or into the higher ones" you don't need advice on the internet or YouTube, you need to get a teacher.

Exhausted? Gad. What about (might be duplicates, due to poor eyesight -sorry):
Clifford Brown
Lee Morgan
Bubber Miley
Roy Eldridge
Maurice Andre
Rafael Mendez
Harry James
Louis Prima
Freddie Hubbard
Dizzy Gillespie
Chet Baker
Fats Navarro