Posts made by Kehaulani

@Dr-Mark said in ii/ V7/ I in All Twelve Keys:

@Kehaulani said in ii/ V7/ I in All Twelve Keys:

God awful sharp keys.

---

Now Kehaulani, No key signature discrimination.

Actually, I find BMaj and F#Maj easier that some flat keys. Maybe it's orientation.

@tmd said in ii/ V7/ I in All Twelve Keys:

@Dr-Mark said in ii/ V7/ I in All Twelve Keys:
"Blues"?? I thought we were talking about "Jazz". We don't play in guitar keys!

As an aside:

Yes indeed. I was in for a shock when there was no written music (learned directly from a record player) and played most frequently in the Bb horn keys of B and F#. Anybody want to play in a cover band? Forget Coltrane changes. Play vi-7/ii-7/Vs if that much but in God awful sharp keys.

Dr. Mark . . . it's a joke.

@Dr-Mark said in How To Understand Giant Steps:

Maybe, maybe not. . . Hopefully the video and the concept of three simple tonal centers will help.

Right. And I don't think the one cancels out the other. Just add the three-chord concept in the process where it does you the most good.

I saw an analysis, and I wish I could find it (for guitar) where it was really simplified.

All that said, here you go:

@Dr-Mark said in ii/ V7/ I in All Twelve Keys:

If all that education doesn't make you a little smarter in music than the average guy/gal, you're due a refund.

LOL. I've not worked as an academic but as a performing musician for my entire career. I've learned that the world is full of people who have learned differently but who know, and can perform, much better than I.

@Dr-Mark

By evenly distributed, I mean that concentrating on the complete cycle of fifths (as in ii/V/Is) with equal emphasis is certainly productive from an overall perspective. But most tunes (at least from "The Great American Songbook") have a smaller handful of ii/V/Is. It's just what you want.

Pedagogically, one's time might be best spent practicing all keys with equanimity. If you want a faster ramp-up for gigs or jam sessions, one might want to identify the most common ii/V/Is and spend the bulk of practice time on them. It's not right or wrong, just what one's most immediate needs are.

Regarding your asking (more than once) about my academic background, it is BM, MM (Composition) and DMA (Conducting).

@Dr-Mark said in Thoughts about mouthpiece placement:

@Kehaulani said in Thoughts about mouthpiece placement:

To have something consistent to compare results to?
That aside, wouldn't a natural placement fly in the face of some of the most popular embouchure placements aims (upstream, etc.)?
I'm not proposing this, necessarily, but asking the question.

---

If you're going to have a control group, what would be your independent and dependent variables when comparing the dimensions of male to female lips.

Simply, to evaluate a large group of women and a large group of men and see if there are any commonalities in characteristics. In other words, are there any common lip configurations that one can find in one group and what similarities or dissimilarities there are when comparing one groups with the other.

Obviously, if all women have lip-configuration X then you can say that's what a typical formation is. But if there are too many dissimilarities to come to a common description then there is, well, none.

@Tobylou8 said in How about a "Random Meaningless Image...let's see them string"?:

Somebody was offended by popcorn eating Jesus? LOL

You mean the popcorn ate Jesus!? Gnarly!

Another way of looking at it is to learn ii-7/V7/IMaj7 chronologically.

By that I mean that one usually learns a handful of tunes with a handful of scales/chords. After a number has been learned, it usually shows the most common types of progressions. These are not evenly distributed and a potential improvisor quickly discovers that learning all ii-V-Is do not bear the same practical results as learning the most commonly used progressions, first.

There's nothing that says one can't learn all ii-7/V7/IMaj7 for mastery but I contend that time is more effectively spent practicing the most common progressions, first, rather than practicing them all with equanimity.

@Dr-Mark said in Thoughts about mouthpiece placement:

@Kehaulani said in Thoughts about mouthpiece placement:

Wouldn't one need to have a control group of both men and women in a variety of equal circumstances before one had a definitive result?

---

Just curious, why would a person need a control group for this type of investigation?

To have something consistent to compare results to?

That aside, wouldn't a natural placement fly in the face of some of the most popular embouchure placements aims (upstream, etc.)?
I'm not proposing this, necessarily, but asking the question.

Small steps to Giant Steps:

Tune Up by Edie Vinson - original form is reharmonized to:
Countdown (Coltrane), which leads to:
Giant Steps.

Check them out. Might make it an easier progression than tackling Giant Steps cold turkey.

"the more estrogen a woman has".

Wouldn't one need to have a control group of both men and women in a variety of equal circumstances before one had a definitive result? Just askin'.

@Dr-Mark
Really? And that applies to all age groups and ethnicities?

(I'm not in a position to do a survey, but I sure like the idea.)

@Dr-Mark said in Trusted Sellers:

Unfortunately, in today's world a person can sue a ham sandwich.

An interesting comment on that. When I first arrived in Germany, that spilled boiling coffee lawsuit in the U.S. was met with, "That would never happen here".

Thinking that implied that there would never be a lawsuit was met with, "No. It means that none of us would admit, publicly, to having done something that stupid."

@Dr-Mark said in Thoughts about mouthpiece placement:

It appears that male and female lips are a little different.

Dr. Mark, why do you say that? Not saying it's not true, but I've worked with professional female trumpet players all my life and never noticed any overall difference between their collective embouchures and their male counterparts.

Good point. I would think the take-away would be, though, to just make a distinction between offering forum space to advertise items for sale as opposed to endorsing a particular seller.

You would need to make it clear that in this "Trusted Seller" category, it merely means that the seller/buyers have met certain requirements that point to their credibility but does not endorse them, personally.

Ironically, I have seen sellers with good creds for years, only to have a transaction go very badly, and it was their doing, no matter their past track record.

Wouldn't it just seem how you think of it? Some just play it, others want to analyse/codify it? I can see how one can conceptualise things into a consistent system. Very useful way of organizing sound.

But that is a way of thinking/organizing it, not of how it necessarily sounds. Even though I have fun, sometimes, organising things in a certain box, that's the way I organize elements of music and not necessarily what really happens, looked at from another angle.

Not to convolute things, I am playing the devil's advocate, not disregarding this way of sound conceptualizing. Like I noted, killer results.

I know. What I'm asking is aren't many of these tones merely passing tones as contrasted with a stop-time analysis of them reflecting a major over minor scoring?

Great solo BTW.

While nutty in places, aren't a lot of these just chromatic approach notes?

Dexter Gordon, Manhattan Symphonie