Posts made by Kehaulani

I'm afraid I don't know what you mean.

The exact quote by Clark Terry is:

imitate-assimilate-innovate

@Dr-GO said in Håkan Hardenberger: How To Anticipate Pitch And Breathe:

I trained under Eugene Blee at the University of Cincinnati College Conservatory of Music. He encouraged me with developing my own voice. Never did he try to have me imitate him. He would ask me to sing it. But he would never sing or play a phrase from me to imitate. Giving a student to empower their own voice. Ah, that is the difference between a good and a great teacher.

I think that's situational, wouldn't you say?

If a student has a crappy sound, the teacher is a good role model. Kids and beginners are led to reach a certain point before they have the experience and taste to go it alone.

On another note, regarding sound from a teacher. One of my teachers, who BTW had his Bachelor in Voice, would sing a little intermittingly when he wanted you to play something differently. That was pleasing and effective.

But my first sax teacher, Sadao Watanabe, would give me a Charlie Parker transcription, have me play it faster and aster until I couldn't keep up and then he would be shouting, "You're fig up, you're fing up! Didn't really help.

Coltrane - Ole

Interesting. A spin-off is when he's singing along loudly. That would drive me crazy. It's certainly an (unintended?) practice in concentration on only the music, regardless of what goes on around you.

Notice that he goes for, in the words of Sir Thomas Beecham, "The Long Line". And how the breath is part of that. A constant air stream rather than one that is chopped up.

When I was a kid, I got separated from my parents at Coney Island. In panic, I saw a cop and said,
"Pardon me, sir, but could you help me find my parents?"
"Gee, I don't know, kid. There are so many places they can hide."

So I'm a little confused.

Could we summarize, then, in layman's terms, that the amount of air required doesn't necessarily depend upon what the bore size is but, rather, upon the collective design of the horn which includes a myriad of factors?

In other words, do some horns take "more air", horn-by-horn, depending on how it's constructed rather than on bore size alone?

Likewise, in my wind ensemble, I have played Alto and Tenor Saxophone, French Horn and Trumpet depending on circumstances.

While I am not in favour of frequent, regular "challenges" for seating, a periodic evaluation by either the section leader or conductor seems to me productive. If that had've been done in my band, I'd probably still be playing alto sax, my first choice in wind ensemble.

But good-ole-boy expediency trumped skill over the path of least resistance from the director.

@Dr-Mark said in How to Listen to Classical Music: Motifs and Seeds "Musical Arguments":
I've been so lost sometimes it felt like I was on a bad side of town without GPS but all I had to do is go back to the melody for a while and start again with little motifs once my comfort level returned.

As an aside - about being lost -

A friend left for music school (jazz emphasis) and the first time I saw him back was at a jam session. He was accompanying a vocalist and his note choice was really interesting.

I figured he got a holy grail at jazz school, so when we took a break, I told him how much I liked what he had done and how different it was from before he went to conservatory, and I aked him what he was doing.

He looked at me and said, "I didn't do anything special . . . I was lost". LOL

Some of these techniques/thoughts can also apply to jazz improvisation.

I read a quote from Stravinsky that implied that, for him, it didn't have a thing to do with emotion. That he was focused on extreme care with craft. . . only.

And yet, his music resonated, emotionally, with me. At another tact, I've left concerts with two people, having heard the same music, were at opposite ends about what they had heard. And both equally qualified to have a well-informed opinion. Which implies to me a lot of it has to do with background, personal preferences and even how you are feeling that day.

Just a general comment regarding thread censorship: Keep in mind that we would also like to attract younger members and that some profanity or personal attacks can be a deterrent to joining the forum.

I have certainly used colourful language in my time, but I also considered who my audience was. In that regard, I think some restraint should be shown and when it's not, then to be removed. We won't always agree on the outcome, or lack thereof, but the Moderators have a fairly arbitrary job.

@Niner said in Reasons to collect trumpets?:

@Kehaulani If his credential in trumpet design rests on being a long time contributor and being highly respected I apologize and bow to your zeal in rising to his defense.

I don't see where I said that his being a forum contributor, in and of itself, gave his opinions more credibility than the next guy. I was just stating a fact.

"Zeal in rising to his defense"? Zeal? Defense? Just letting you, and any other readers, know who he is if you/they are not familiar with him. Would it be better not to describe his qualifications for those who don't know?

@Niner said in Reasons to collect trumpets?:

@Trumpetsplus That's interesting. Who is "we" and how much manufacturing experience did "we" have? Seems a little like my friend Floyd in South Carolina. He's got a fleet of cars assembled with assorted parts.... an old Plymouth, the latest, with a Ford engine and a Chevy rear end and parts from a shop that specializes in old car parts. He's more interested in how much rubber he can burn or showing off riding down to the nearest town with two traffic lights.

I guess if a Committee could design the most sought after vintage horn you could do it too. Somehow I have a hard time visualizing it all working out right without some miracle happening.

"We" is Ivan Hunter and people at * Jaeger Trumpets*. If you don't know them, Ivan is a contributor to this forum and a highly experienced and respected craftsman..

@Dr-GO said in The new Martin Committee "thread" from a TM emigrant:

I can sound like Miles on my $3,000 Committee. But why? I prefer sounding like myself as Claudio taught me intended me to sound.

There's more than tone in replicating someone else's playing. There's phrasing and articulations for starters. I used to think I could channel Cannonball until I put some of his solos in The Amazing Slowdowner and heard a myriad of subtle articulations and attacks which had previously escaped me totally.

@Dr-Mark said in Happy Birthday Clifford!:

Hi ACB,
What a lot of people don't know is that Clifford's drug and alcohol free life was an inspiration to many musicians of the time. At that time, many thought they had to live the drug soaked life of people like Charlie Parker to sound like Charlie Parker. . . Clifford dying so unexpectedly is an excellent lesson about life.

No, you draw the wrong conclusion. Lead a drug-filled life and you'll live longer.

Guess which one is Brownie.

Youtube Video

Just from my point of view, I don't miss any of these threads, must not have been important to me. What mostly turns me off are squabbles that wind up focusing on minutia, going nowhere productive or practical as far as I can see. Also, threads that get overly technical and which seem to emhasise the theoretical not how things ctually are. In other words, for the average reader, just too technical. I'm not talking about musical details, BTW.

But I just mainly turn off to these threads and no censorship is needed. To use an analogy, if you overhear a discussion you don't want to participate in, just keep walking by. Sometimes I don't do that and can't keep out of the discussion, myself, but the fact is I can still ignore them. In these cases, censorship should not be necessary.

@fels said in Community Bands:

Frustrations are also strong. How to cope?

Is the topic: How to cope?

I cope by voting with my feet.

In my area there are at least three serious wind ensembles from which to choose, in addition to a New Horizon band (NH). The NH offers a great service for new players, comeback players and those who just prioritize their practicing regime differently.

I visited them when I looked around. They did not provide for me the kind of opportunity I needed. They seemed to be well led but his directions just scratched the surface, due to his players. Rehearsals were only one hour which, for me, just wasn't worth the time.

I noticed when they broke up for the day, one woman putting her sax in the case and then putting an oxygen tube in her nose. Bless her and bless the NH for giving her a place to come. But it was just too amateurish for me, so I passed.