Posts made by Kehaulani

Then I'll play in Dorian the next time.

"A new way?" Where's rowuk.

A lot of hard feelings about using fake bugles, but I hope that doesn't extend to the people who have given their time and resources to acting in absence of real buglers.

Great, I'll bet the confidence feels good.

George - you know, "supra" is good English, as in - supra-man, or supra-size.

A lot of great lines ("to eleven") and vignettes (Stonehenge) but my favourite, and one which I can relate to, getting lost in the concert hall's underground. Man, that's hilarious . . . and true.

Never seen Spinal Tap!? Well, that's one you can put on your list.

Moshe - I'm still in the first few lessons in Harold Mitchell's book after coming back after almost two years. Five strokes. Sucks. But, finally, it's getting better. I don't know if this pertains to you. Only you know that.

But what about Irish Pennywhistle, of piano etc. Are you too weak to do anything? As far as a low-noise policy, aren't there other rooms in the facility that you can use?

My condolences. I know it's tough.

Guys, no offense intended, but I think this forum has to elevate itself a little bit above just jokes and pretty pictures before it would be taken seriously enough to justify outside financial support.

Thanks, Bill.

Hope you're doing well, Butch. Challenging times. I'm sure everyone is with you.

tj - do you know the harmonic structure of the tune? Where the major and minor cadences are and what leads up to them? Momentary modulations and chord substitutions? Someone like Chet Baker could intuit this stuff. But for we mere mortals, a good knowledge of the harmonic direction helps a great deal. How goes that?

BTW, the playing range of your improvised solo doesn't have to be controlled by the melody range whatsoever. You can choose to play anywhere you want; total freedom.

Thanks, m'lady!

Thanks again, Bill.
What is the weight difference between the Committee and the Schilke, if you don't mind one more question.

LOL!.....

Thanks, Bill. At present, I can't play beyond what my Yamaha Shew gives me anyway, so it is somewhat rhetorical.

Since Kanstul was closing, I was wondering if there might be a mini-glut on the market on Kanstuls but I guess it doesn't work that way. And your explanation of the 1603 market explains why I've been having a hard time finding one. I guess I have been looking in the right places after all, just that there simply aren't any, especially at discount prices.

BTW, have you played both the Shew and your Martin enough to find the differences? Love to know, if you have. Thanks.

I've got a Model H in the next room. Got it at the end of the 50s. Still has some marks on the mpc. rim where I dropped it on a sidewalk. My teacher in those years was a former student of Schilke and got the mpc. for me. I liked that old line with their alphabetic designations; L=Lewellyn, H=Herseth and so forth. Something romantic about them and the old school approach to labeling.

I know this is a wild shot in the dark, but does anyone know of a Kanstul 1603 Bb trumpet available for around two thousand bucks? Thanks.

@Dr-GO
Well, this is answered by just waiting for tj's next installment. Maybe zoning in a little more on what he needs.

I read the question differently, so my answer only refers to the chords of three measures and how to negotiate the notes. This explanation may be well known to you, so if the answer doesn't apply to you, sorry. It may be of some value to others.

When a sequence gets to complex, a way of getting around it is not to get complex or do too much micro-analyzing but to use this simple approach. Know the first chord and just change the note or notes that are new in the following chord.

How I might approach this example might be to write out the first scale and write each successive scale below each other.
Then look at the scales and identify the notes that are different from one scale to the other. Then, as yo play the subsequent notes, don't think horizontally, that is the construction of each chord, but think vertically substituting the notes as you progress.

This is really hard for me to write clearly, so I hope one can understand the concept.

An aside. When I was on tour with a particular band, we often would hit the motel lounge after a gig, catching the house band's last set. We always knew what they were made of by listening to how they handled the bridge to Girl From Ipanema, LOL.