@edfitzvb
Was there a conflict?
Posts made by Kehaulani
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RE: NAMM 2020
I hate you! Signed jealous in Austin.
Thanks for your update; looking forward to more.
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RE: WHAT DOES IT TAKE TO BECOME AN EXPERT?
@Dr-GO said
So your are saying, that is what it takes to develop great Cheops!
So, you can read between the lines?
There are all kinds of things that go into making a great musician and I think I know what Bertie is referring to, but I can attest personally that there are those who just don't have it and are not the victim of bad teaching. I'm not so arrogant to think that what I can't overcome with a student couldn't be overcome by another teacher. But I've also got enough experience to recognize some people that just have deficiencies.
I also take exception to the urban myth that for most teachers, playing came easy and therefore can't understand certain deficiencies in certain other players. There are most certainly those. But, all natural-playing teachers aren't stupid. They can learn over time and with experience, insightful teaching pedagogy and apply that to their teaching.
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RE: How many of you taught yourself to play?
If I understand correctly, for those American readers, Lutheran Brass Ensemble doesn't mean the same in Germanic countries as it does in America. Most areas in Germany only have either Protestant or Catholic churches. (Evangalisch/Katholisch). There are exceptions but not for the purpose of this discussion.
Protestant (Evangelisch) churches follow the Lutheran lineage but are not sect-specific, like Lutheran, Methodist, Reformed, etc. Rather it's an all-inclusive term.
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RE: John Daversa
Outstanding playing and I love the orchestration. Using strings and voices and "non-stereotypical-jazz" instruments is brilliant. Really wonderful.
A sad side-note is that, they may have limited rehearsals and then play only once a week. I don't know but it wouldn't surprise me. Diversa is well known in the Jazz community. He's a monster.
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RE: WHAT DOES IT TAKE TO BECOME AN EXPERT?
Yeah. It's like walking in the desert and stubbing your toe on a little pyramid shaped stone pile. You decide to dig it up and, to your amazement, it widens. You do this the rest of your life, discovering that you have been uncovering the Pyramid of Cheops. That's what mastery work looks like.
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RE: WHAT DOES IT TAKE TO BECOME AN EXPERT?
I just think it's another example of looking at the arrow and not the target - another hypothetical meandering for those that want some diversion from practicing. I still say, "You can only do what you can do".
10,000 hours? 100,000 hours? What difference does it make? If you strive for excellence, there are not enough hours in the day. If you don't, you do what you need in order to get by.
There's another component, ability. There are some that are musically challenged. For them a million hours in the practice room matters little, when it comes to mastery. Others are mentally or physically challenged. Same story. Yet there are others who are musically and/or physically blessed and mastery comes easy and quick. Harry James is a good example.
Too many variables to make a blanket statement. Set your goal and do what you can do.
I
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RE: Crickets?
@flugelgirl said in Crickets?:
@Kehaulani good question - I had to look! Conical has two rings on the ferrule.
Thanks for that. So, we are reacting in opposites to one another. Interesting.
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RE: Crickets?
@ flugelgirl. That's funny. I felt an immediate difference when I put the cylindrical slide on. I liked that much better. I played the conical for about two weeks then changed, so I gave it a good shot..
The cylindrical slide is the one with the single tuning slide ring and the conical with two rings, right?
And thanks for responding.
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RE: WHAT DOES IT TAKE TO BECOME AN EXPERT?
@Dr-GO said in WHAT DOES IT TAKE TO BECOME AN EXPERT?:
. . Joey has wiring that was created truly by God's perfection.
Or Nature's.
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RE: WHAT DOES IT TAKE TO BECOME AN EXPERT?
Seems to me it's common sense - except for the redundant 10,000 hours concept. For string players and pianists it may require an extraordinary number of hours but some instruments, the student has to age somewhat before they can even begin study and that means less total hours.
Also I think some instruments require other ancillary studies so, for some, things like improvisation study, transcribing, etc also require a lot of time but are sometimes calculated in the total hours.
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RE: Crickets?
Is NAMM tomorrow?
flugelgirl - if you get the time, could you give us a rundown on the differences between the current Adams A-1and the new ones. Thanks
p.s. - which of the two tuning slides do you use on your Adams A-1? I swear you stated it somewhere, but I've looked everywhere and can't find your post. Thanks.
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RE: A little humour
@Dr-GO said in A little humour:
Truly makes my hair stand on end! AND not just any bunny can do that!
Monty Python killer rabbit clip:
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RE: Pit Orchestra
You might try contacting Tim Wendt on Trumpet Herald. He's a regular participant and he's got a ton of experience playing professional level shows.
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RE: How many of you taught yourself to play?
That last post got me thinking about my teachers. I've has some remarkable teachers on French Horn, Trumpet, Saxophones, Violin and yes, Irish flute. All top professionals and it just got me thinking how fortunate I've been. At least for me, the high quality of these people has just made me see the real value in such instruction/mentorship.
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RE: Crickets?
@flugelgirl said in Crickets?:
Many days I finish work and head straight to a gig.
Know the feeling. I once flew all the way from Texas to Germany and went right into a club for gig. Gad!
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RE: How many of you taught yourself to play?
In reflection, I think I always had lessons. I have played a number of instruments but have always had lessons.
My teachers had a lot of professional experience and showed me ways of developing things, either technically or musically, that I might not have discovered myself. This was supplemented by reading books on the subject and casually from other pros in personal, non-lesson environments.
When I wasn't taking lessons, I built on, and developed, what I had been shown by my teachers and mentors.
I think a person can be mostly self-taught and have no prejudice against that. I just think from my own experience, that a good mentor can condense the time spent and they can show you techniques and short-cuts that might take you longer, if ever, to discover.
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RE: What’s your “sound” and how do you get it?
Well, this is a really multi-faceted question with a ton of variables. Therefore, I'm not going to address them all.
The most basic element of tone, I believe, is in one's concept. Why would I use an Al Hirt tone if I'm I'm playing Mahler? Therefore, the tone should fit the musical context.
If the musical context is in a jazz setting where there are less restrictions, my personal aim would be towards a Till Bonner or Chris Botti sound.
Next might be an equipment question regarding whether or not the equipment enhances your ability to produce the sound you want.
Lastly, there's what your physique allows you to produce. One player using identical equipment might produce an entirely different sound because of his/her physique. You might try as hard as you can but sometimes your body just won't produce the results you hope to achieve.
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RE: Crickets?
Hey Richard, I can't find a forum page on http://euphonium.com/index.html. Where do I look?