tpin-digest V3 #790
owner-tp...@parnassus.dana.edu
tpin-digest Friday, 16 May 1997 Volume 03 : Number 790
In this issue:
Re: Theme and Variations
Re: Jazz Theory Question
Re: What's your gig?Me and My Big ol' head
Re: Clark Terry
Trumpet lit. questionaire
Re: Jazz Theory Question
Re: Jazz Theory Question
RE: 20th Century Solos
Re: EQUIP: King - Liberty Info
Re: Play Higher
Re: Straight Valveless trumpet
Re: King Liberty
Re: BUS - New Job
Re: 20th Century solos
Re: 20th Century solos
Re: Boston Trumpet Housing
Re: WTD: Bach ML C Tpt
Re: Boston Trumpet Housing
lesson of all lessons...
You, PEDAGOGS You!
Re: 1962
Re: Jazz Theory Question
Re: EQUIP: King - Liberty Info
Re: Jazz Theory Question
Re: Jazz Theory Question
Re: Jazz Theory Question
Re: lesson of all lessons...
----------------------------------------------------------------------
From: dcg...@gcentral.com
Date: Thu, 15 May 1997 21:56:34 -0600
Subject: Re: Theme and Variations
I believe Arutunian wrote his Theme and Variations in 1978. I remember
first hearing it played around 1985, and I performed it myself around
1990. Some tough licks here & there, but a real fun work!!!
Dennis Gowen
Principal Trumpet - Bismarck-Mandan Symphony Orch.
Director of Bands & Brass Studies, University of Mary - Bismarck, N.D.
TP>Hello fellow trumpet player, (you didn't type your name)
TP>I have played it and I can tell you it was been written before 1994. I
TP>did it on my masters recital in spring of 93. I know I recorded it when
TP>I did the recital, but I don't know of anybody famous that has done it.
TP>The accompaniment is ok for the most part. If my memory serves me
TP>correctly, most of it was easy to put together but there were some spots
TP>that required some good counting and seemed to be independent from the
TP>piano. My teacher told me at the time it was not sold in the US and that
TP>is probably why it is not as well known as his concerto. That may have
TP>changed since then, but the guy my teacher got the music from bought it
TP>over there and brought it back to the US. It was a good piece but I
TP>personally like the concerto better.
TP>have fun with it,
TP>jaris
TP>On Tue, 13 May 1997 19:42:17 -0400 Kaalund <bkaa...@bellatlantic.net>
TP>writes:
TP>>I recently went for a lesson with my teacher, Steve Hendrickson, and
TP>>he
TP>>showed me Alexander Arutunian's latest piece, Theme and Variation. He
TP>>said it was written in 1994 for Timofei Dokshitzer. He played some of
TP>>it
TP>>for and I really liked it. I was wondering if any of you guys have
TP>>heard
TP>>it and/or played it. If so, how did the accompaniment sound and has
TP>>anybody recorded it? I was also wondering if the piece is played alot
TP>>because it seems that not too many people know about it.
TP>>
------------------------------
From: "David Johnson" <David_...@it.berklee.edu>
Date: 15 May 1997 23:10:08 -0400
Subject: Re: Jazz Theory Question
Eddie Lewis wrote:
>There's nothing more crippleing in jazz than to have to
>think about a different scale for each different chord, when in most >cases,
>they are all the same scale. Take the ii - V7 - I progression for example. >I
>think the worst thing to do is to approach this as four beats of Dorian,
>four
>beats of Mixolydian and eight beats of Ionian. It's a tonal progression. >If
>these chords are Dmin G7 CMaj then the KEY is C.
Yes, it is the Key of C, but there's more to consider here than just the
"key". The chords "progress" (and help define tonality) because of the
important linear resolutions of what most folks know as "guide tones" (3rds &
7ths). An experienced player will know this, either from theoretical study,
or, hopefully, from having a well-developed ear, and will apply it at least
occasionally in their lines. Someone who just runs the scale of the "key" will
be less in command of the music, and it will show in their playing. Another
consideration is the vertical melody/harmony relationship. Play an E over
these changes, and you have the 9th of the D-7, the 13th of the G7, and the
3rd of the Cmaj7. Tension, tension, resolution. Or play a D; root of the D-7,
5th of the G7, and 9th of the Cmaj7. Consonance, consonance, dissonance.
Just the opposite effect! This can help you "construct" an effective melody
as well.
>There's no place in the
>standard ii - V7 - I for modes and a pedagogical approach which tries to
>force modes in this context is starting the students off on the wrong. >foot.
Am I being too "pedagogical"? For the beginner, or the "weekend warrior",
perhaps. But mastery of anything calls for mastery of the details. And no
one should be "forcing" any of this stuff on anyone. The folks who are
sincere and excited about learning improvisation will get to this level under
their own steam.
BTW, I think "All The Things You Are" changes key only five times.
Dave Johnson
djoh...@berklee.edu
------------------------------
From: David Lindgren <lind...@sonic.net>
Date: Thu, 15 May 1997 20:17:34 -0700
Subject: Re: What's your gig?Me and My Big ol' head
Actually, that stuff is about all of the good stuff I've done. That
paragraph basically sums up my whole life!! Aside from my early years in
diapers.
Really though, I didn't realize how that must have sounded before I sent
it. I didn't mean for it to sound like that...I am definetly not THAT
cocky(at least I don't think so). Sorry about that.
Scott Smith wrote:
>
> I guess this kid doesn't have a self-esteem problem.
> Myself I am an average player in a college music program.
- --
****************************************************
David G. Lindgren
Principal Trumpet -Santa Rosa Preparatory Orchestra
http://www.geocities.com/Vienna/3324/Home.html
mailto:lind...@sonic.net
------------------------------
From: "David V. Smith" <trpt...@roadrunner.com>
Date: Thu, 15 May 1997 22:24:42 +0100
Subject: Re: Clark Terry
Dave,
The blue lacquered horn that Clark Terry was playing was probably
a new Martin Committee. According to an interview with Wallace Roney
in the latest ITG Journal, Wallace gave a blue Martin Committee to
Clark Terry for a 75th birthday gift.
Dave Hamburg wrote:
>
> I had the terrific opportunity of playing in a band last weekend that
> backed up Louie Bellson, Buddy DeFranco and Clark Terry among others.
Most of his playing was on flugel (which he
> played and fingered upside down once), but he also did a few licks on
> a blue lacquered horn (Lazer?).
>
>
> Dave
>
> P.S. Clark said that "Mumbles" and "Mumbles Returns" came from playing
> "Stump the Band" on the Carson Show!
David V. Smith
trpt...@roadrunner.com
Santa Fe, NM
------------------------------
From: Mike Cavin <mi...@tenet.edu>
Date: Thu, 15 May 1997 22:24:30 -0500 (CDT)
Subject: Trumpet lit. questionaire
I would like to do a survey on the list. Any and all responses will be
appreciated. The question is:
What solos for the trumpet do you hold
to be the most significant in the literature of the instrument. If you
have time, would you give either a brief or detailed explanation of
why. Your choices could be of historical, pedigogical, etc.If you only
want to list the solos, that would be great too. I would love
to get a large number of responses so I could see what literature trumpeters
truly feel is important. After I gather the answers I will be glad to post
the results. Thanks in advance for your help.
Donna Cavin
e mail address: mi...@tenet.edu
or
trump...@aol.com
------------------------------
From: "David Johnson" <David_...@it.berklee.edu>
Date: 15 May 1997 23:29:15 -0400
Subject: Re: Jazz Theory Question
Joel Schoenblum wrote:
>My major hangup with the scale/chord approach is
>that it usually sounds way too consonent. There should also be a set of
>guidelines which go along with this on ways of adding color/tension.
Yes, it is a consonant sound. But that is part of the picture, too. There
are any number of approaches for the adding of a little "hair" to the sound.
The tritone sub on Dom7's is common, as well as other Dom7 chord scale choices
such as Symmetric Dominant (half/whole) and various alterations of Mixo. The
phrygian scale (yes, phrygian) on dominant chords is a nice sound as well.
Chromaticism can be introduced by playing "leading tones" to each degree of
the dominant chord (or any chord). Polytonality and polymodality based upon
relationships around the cycle of 5ths (this works great with pentatonic
scales a la Michael Brecker, Woody Shaw, etc.) is another common approach.
The bottom line is tension and resolution.
>At the bar line, approaching
>the first note of a bar from 1/2-step up, 1/2-step below (e.g. Db-B-C)
>is INCREDIBLY common, but rarely mentioned anywhere.
This double chromatic, indirect approach is a staple of the be-bop language.
Check out some Clifford Brown and Miles solos.
Dave Johnson
djoh...@berklee.edu
------------------------------
From: "David Johnson" <David_...@it.berklee.edu>
Date: 16 May 1997 00:06:10 -0400
Subject: Re: Jazz Theory Question
Eddie Lewis wrote:
>My attitude towards learning and teaching jazz improvization is very much
>different from my attitude about learning and teaching the trumpet. First >of
>all, I do think it's possible to get a lot done on the trumpet with only
>small amounts of work, if you do it right. Jazz improvization on the other
>hand is much more demanding than learning how to play an instrument. It
>takes
>more time, more effort and more understanding. Jazz improv is also much >more
>of a personal interpretation than just playing the trumpet. There are more
>variables.
I totally agree.
>My approach to jazz improvization is more streamlined than the Chord/Scale
>stuff in that it will get a less experienced player playing real jazz in a
>shorter period of time (as opposed to the scale/chord thing which takes
>forever to apply). When I mentioned the idea of thinking in keys as >oppposed
>to scales/chords, it was just a small part of the big picture.
This is good. We are not talking about a "one-size-fits-all" approach,
because the levels of experience of the students are so diverse. I also have
many level-dependant approaches that I have used successfully in improv
workshops that I have had the opportunity to give both here and abroad.
>My theoretical outline for this approach comes from a chart/concept that I
>read in the George Russell book. He says there are four ways to play:
>Ingoing Vertical
>Ingoing Horizontal
>Outgoing Vertical
>Outgoing Horizontal
>Ingoing horizontal is key derived melody.
>Ingoing Vertical is chord derived melody.
>Outgoing Vertical is nondiatonic, symmetric, chord derived melody.
>Outgoing Horizontal is nondiatonic, symmetric, key derived melody.
Eddie, for someone who seemed to use the word "pedagogy" with a sneer in an
earlier post, this reeks of "pedagogy". What it comes down to, is that all
the books in the world aren't going to make anyone into a jazz player. It has
to be learned by direct experience (how's that for a Zen lick?). Lock
yourself in a room with a stack of recordings of your heroes, and don't come
out until you can play every note on those recordings (easy for me to say).
Remember how much Faddis sounded like Diz when he first arrived on the scene?
Has anyone heard the early recordings of Makoto Ozone, the phenomenal Japanese
pianist? He could "out-Oscar" Oscar Peterson himself. Wynton, at 18 or 20
years of age, could sound just like Miles (only cleaner) or Clark Terry.
Final thought. Music "theory", for the most part is "after the fact", merely
an observation and a codification of what's already been going on. Look to
the music and figure out your own theory.
Dave Johnson
djoh...@berklee.edu
------------------------------
From: Jim Roach <jro...@gte.net>
Date: Thu, 15 May 1997 23:18:14 -0500
Subject: RE: 20th Century Solos
Kaalund,
Try the David Ashley White Sonata. Lots of different styles,
very musical and would really showcase your playing. Regards, Jim.
Kaalund wrote:
>
> I will be auditioning for a scholarship this fall and part of the
> requirement is that I perform a 20th century solo by an american
> composer. I want something that is pretty technical, not something like
> Quiet City or Hollow Men. If you have suggestions, please let me know.
>
> Thanks
------------------------------
From: CRus...@aol.com
Date: Fri, 16 May 1997 01:20:01 -0400 (EDT)
Subject: Re: EQUIP: King - Liberty Info
I also have a old King Liberty model and several years ago I called King and
asked about it's age. They told me that the Liberty model was made somewhere
between 1922 and 1925, if I remember right.
Hope this helps,
Chuck Russell
Music Ed. Major
University of Michigan-Flint
crus...@aol.com
------------------------------
From: moon...@juno.com (Brian D Moon)
Date: Fri, 16 May 1997 02:25:11 EDT
Subject: Re: Play Higher
What are Glenn Stuarts mechanics? I heard him play lead with Kenton,
RIch, and Ellis. Great player.
Brian Moon
Moon...@juno.com
"Never watch the conductor, he doesn't know what he is doing."
- -Mason Jones-
On Wed, 14 May 1997 23:49:01 -0400 (EDT) Alf...@aol.com writes:
>'Manyfactors,,,equipment,etc.,affect range and endurance,but sounds
>like
>you've tried lots of stuff....My recomendsation is to find a good
>teacher who
>can teach the mechanics and demonstrate..Played off and on till i was
>44 and
>took lessons from several teachers including a few from James Stamp
>before
>stumbling on Glenn Stuart(fromer lead player with Kenton, Ellis, Ralph
>Marteri)..Glenn worked on the mechanics of playing lead and therefore
>upper
>register. My support and mechanics were not proper to increasing my
>range and
>my endurance was terribe. Using Glenn's technique adjustments, i was
>able to
>see immediate results in the feel for playing correctly...The range
>increased
>gradually as i erased the bad habits. I now can play a double C in
>practice
>and a G in gigs and still working to develop...and just as
>importantly,,my
>endurance will sustain a 3 to 4 hour gig playing lead and the quality
>of my
>tone and pharsing are just as improved..(.with a base of 40 minutes to
>and
>hour's practice a day. So , given that the motivation and maturity are
>there,,find a teacher who can play and demonstate range and proper
>mechanics,,your desire do the rest...Good Luck.
>
------------------------------
From: mea...@alaska.net (Meacham)
Date: Thu, 15 May 1997 23:08:44 -0800 (AKDT)
Subject: Re: Straight Valveless trumpet
Actually, David Lindgren's neighbor's "natural trumpet" sounds like an
English coach horn, or a decorative replica thereof. You know, the kind
the coachman blew to announce his arrival at the next way station. Some
were coiled, others were straight.
Tom Meacham
mea...@alaska.net
Anchorage, Alaska
------------------------------
From: mea...@alaska.net (Meacham)
Date: Thu, 15 May 1997 23:30:01 -0800 (AKDT)
Subject: Re: King Liberty
Chuck, what is the sreial number of your King Liberty?
I think the King factory was a little conservative on the dates the King
Liberty Model was built. I believe that it is commonly accepted that the
Liberty Model began right around 1918, at the end of World War I (the
"Liberty" name may have been inspired by the Allied victory in the war;
Robb Stewart has told me that King made a model before 1918 that was very
much like the Liberty, but didn't carry the "Liberty" name).
As far as the date when King Liberty production stopped, I have a
1933-vintage model Liberty, and the King Silvertone was basically a Liberty
with a sterling silver bell; they were made in three different series
(details on each were slightly different) and were made at least through
1947. Bob Pucci once posted info on tpin to the effect that the Liberty
Model was made into the 1950's.
Tom Meacham
mea...@alaska.net
Anchorage, Alaska
------------------------------
From: JEn...@aol.com
Date: Fri, 16 May 1997 06:34:55 -0400 (EDT)
Subject: Re: BUS - New Job
Jeff, Congrats on the new job! I hope that you have a great time and enjoy
the new challenges at Kantsal. I would like some Reeves 43.5 rims and under
parts for a picc. trpt. (my Selmer). What would you recognmend? I'll try to
call you this after noon(1 to 5). Ok? If you want, you can call me at
school at 919-557-2531 after 10:30 am. Take care and talk to you soon. John
Enloe jen...@aol.com 919-552-0993
------------------------------
From: EaCaP...@aol.com
Date: Fri, 16 May 1997 07:35:35 -0400 (EDT)
Subject: Re: 20th Century solos
Elliot,
Have you ever played the Kennan or Hindemith? They are two of my favorite
pieces. I especially like the Kennan, 3rd mvmt. Quite a bit more technical
and rhythmically challenging than the first and second mvmts. They are both
standards, so you shouldn't have a problem finding them. Hope this helps a
little.
------------------------------
From: PBQ4...@aol.com
Date: Fri, 16 May 1997 08:53:31 -0400 (EDT)
Subject: Re: 20th Century solos
The "standard" 20th century American literature would include:
Halsey Stevens - Sonata
Kent Kennan - Sonata
Hindemith - Sonate
Copland - Quiet City
Also might want to consider-
Eric Ewazen - Sonata for Trumpet & piano
David Sampson - Litany of Breath (unaccompanied)
Turrin - Caprice
Hoffman - Four miniatures (unaccompanied)
William Presser - Suite (Unaccompanied)
Sandy Coffin
PBQ4...@aol.com
------------------------------
From: PBQ4...@aol.com
Date: Fri, 16 May 1997 09:01:38 -0400 (EDT)
Subject: Re: Boston Trumpet Housing
Chris-
When I was freelancing in Boston, I lived over in the NEC area, on Westland
Ave. There are a lot of musicians in that area, and the buildings are
somewhat older, so the walls and ceilings are pretty thick. I ever had any
problem practicing.
That was a few years ago, but that would be a good place to start. Also,
lots of NEC students look for roommates to share apartments. Check out the
student lobby and the stores around the area for notices.
Good luck!
Sandy Coffin
PBQ4...@aol.com
------------------------------
From: Prairie Hills Middle School <ph...@southwind.net>
Date: Fri, 16 May 1997 07:06:53 -0600
Subject: Re: WTD: Bach ML C Tpt
Raymond Burkhart wrote:
>
> Hi, folks.
>
> I'm interested in getting a Bach ML C tpt. Found one for sale, but now
> it's not. Any leads?
>
> Thanks,
>
> Raymond Burkhart
> ppr...@flash.net
> Pasadena, CA
I know where there is a laquer Bach C ML in excellant condition...for
sale...I think he wants about $550.00 for it...
Regards, Jim
- --
######################################################################
Prairie Hills Middle School
3200 Lucille Drive
Hutchinson, KS 67502
(316)662-6027
E-mail: ph...@southwind.net
mailto:ph...@southwind.net
Web page URL: http://www2.southwind.net/~phmslib/
------------------------------
From: "David Johnson" <David_...@it.berklee.edu>
Date: 16 May 1997 10:11:26 -0400
Subject: Re: Boston Trumpet Housing
Hello Chris,
The whole Back Bay area between Boston University, Boston Conservatory,
Berklee College and NEC is loaded with musicians. You can walk down some of
those streets and hear people practicing all the time. Put up some roommate
notices at BU or NEC and see what you come up with.
Good luck,
Dave Johnson
djoh...@berklee.edu
------------------------------
From: "Peter A. Sokolowski" <psoko...@webster.m-w.com>
Date: Fri, 16 May 1997 10:26:08 +0000
Subject: lesson of all lessons...
Hi folks--
I just wanted to share some elation with you all. Last night, from
7:30 til midnight, I had the best trumpet lesson of my life--with
Mark Van Cleave. I saw that the Ringling Circus was in town, just
down the street from my office, and I emailed Mark (we corresponded a
bit back when he was on TPIN), who responded that he had a night off
and would love to meet.
He is so very gracious, generous, and enthusiastic about offering his
talent and time that I am truely astonished by his ardent and humble
wish to just "pass it on." Problem is, of course, he has very little
time to do just that, and I feel extremely lucky that I could catch
him at a good time.
I will never forget his kindness--but it's in my playing that I will
truly remember everything he told me. I'm very proud to say that he
told me he's never seen someone who more closely ressembles *himself*
at an earlier stage of development, when he was just working his
system out.
He was matter-of-fact, but it's probably the greatest compliment I
could get--especially since I've developed my chops without much
instruction at all. I've still got far to go, but I feel like I now
know the way. This is the sign of a great teacher.
My post runneth over, I know. But I'll be walking on air for a good
while, and (hopefully) my playing will, too.
Thanks for listening,
- --Peter
Springfield, MA
------------------------------
From: Timothy B Hutson <hut...@battelle.org>
Date: Fri, 16 May 1997 10:40:16 -0400 (EDT)
Subject: You, PEDAGOGS You!
Come on y'all! There has to be more than just ONE common student
problem out there.
So far the "Common Student Problems" thread has resulted in "1"; that
is "ONE", "UNO", "UN", "Single", "then number after zero",
"solitary", "less than two", "the first positive integer", "the one
and only" post! I really would like to see more. I think we all,
teachers _and_ students etc could benefit from this thread.
Should this thread die a silent, ignominious death?
==============================
Tim Hutson
Principal Trumpet
MyHouse
Columbus, Ohio
hut...@battelle.org
==============================
------------------------------
From: wood...@cyberspy.com
Date: Fri, 16 May 1997 10:42:53 GMT
Subject: Re: 1962
>The symphony players used Bach.
>Blessing,Martin and Conn were popular among other players.
>Come to think of it,it was pretty much like today.
>Wilmer
Also Selmer (paris) K Modified, E. Benge, King (plugged by Harry James) and
Olds (by Rafael Mendez) and about this time Getzen came out with the
Severinson model which became very popular.
Ed Kennedy
The Brass & Woodwind Shop
Tampa, FL
------------------------------
From: moon...@juno.com (Brian D Moon)
Date: Fri, 16 May 1997 11:50:53 EDT
Subject: Re: Jazz Theory Question
Go back to using that horn Wynton.
Brian Moon
Moon...@juno.com
Never watch the conductor, he doesn't know what he is doing.
- -Mason Jones-
>Wynton, at 18 or 20years of age, could sound just like Miles (only
cleaner)
------------------------------
From: moon...@juno.com (Brian D Moon)
Date: Fri, 16 May 1997 11:50:54 EDT
Subject: Re: EQUIP: King - Liberty Info
Liberties were made for a great deal longer than that. I have one
pre-1915 (38,404) according to the serial # lists. A student has one with
a # close to 200,00 placing it at least in the late 30's. Tom Meacham
has an older # than mine.
Brian Moon
Moon...@juno.com
"Never watch the conductor, he doesn't know what he is doing."
- -Mason Jones-
>I also have a old King Liberty model and several years ago I called
>King and
>asked about it's age. They told me that the Liberty model was made
>somewhere
>between 1922 and 1925, if I remember right.
>
>Hope this helps,
>
>Chuck Russell
>Music Ed. Major
>University of Michigan-Flint
>crus...@aol.com
>
------------------------------
From: Tiger...@aol.com
Date: Fri, 16 May 1997 12:07:38 -0400 (EDT)
Subject: Re: Jazz Theory Question
In a message dated 97-05-16 02:12:10 EDT, you write:
<< Eddie, for someone who seemed to use the word "pedagogy" with a sneer in
an
earlier post, this reeks of "pedagogy". >>
I mentioned it in another post, but when I use that word, it is not meant in
any way to be derogitory.
Eddie Lewis
Tiger...@aol.com
Houston, TX
http://members.aol.com/TigerLewis/gcs.htm
------------------------------
From: Tiger...@aol.com
Date: Fri, 16 May 1997 12:07:46 -0400 (EDT)
Subject: Re: Jazz Theory Question
I hope this thread doesn't die before I get back next week. I still have
other posts I want to respond to but don't have the time before I leave for
Dallas and then Florida (Destin).
Eddie Lewis
Tiger...@aol.com
Houston, TX
http://members.aol.com/TigerLewis/gcs.htm
------------------------------
From: Tiger...@aol.com
Date: Fri, 16 May 1997 12:08:26 -0400 (EDT)
Subject: Re: Jazz Theory Question
In response to Dave Johnson:
>>Take the ii - V7 - I progression for example. >I
>>think the worst thing to do is to approach this as four beats of Dorian,
>>four
>>beats of Mixolydian and eight beats of Ionian. It's a tonal progression.
>If
>>these chords are Dmin G7 CMaj then the KEY is C.
>Yes, it is the Key of C, but there's more to consider here than just the
>"key".
Yes there is more to it than just the keys and I wrote about that in one of
my other posts.
>The chords "progress" (and help define tonality) because of the
>important linear resolutions of what most folks know as "guide tones" (3rds
&
>7ths). An experienced player will know this, either from theoretical study,
>or, hopefully, from having a well-developed ear, and will apply it at least
>occasionally in their lines. Someone who just runs the scale of the "key"
will
>be less in command of the music, and it will show in their playing.
I don't understand where you're going with this. Are you trying to argue in
the defense of the chord/scale approach? Or is this a new tangent?
How does the scale/chord approach help a person make the "important linear
resolutions"?
>Another
>consideration is the vertical melody/harmony relationship. Play an E over
>these changes, and you have the 9th of the D-7, the 13th of the G7, and the
>3rd of the Cmaj7. Tension, tension, resolution. Or play a D; root of the
D-7,
>5th of the G7, and 9th of the Cmaj7. Consonance, consonance, dissonance.
>Just the opposite effect! This can help you "construct" an effective melody
>as well.
>>There's no place in the
>>standard ii - V7 - I for modes and a pedagogical approach which tries to
>>force modes in this context is starting the students off on the wrong.
>foot.
>Am I being too "pedagogical"?
What do you mean by pedagogical? I only meant it to specify that it was a
teaching method. I didn't mean it as some sort of insult.
>For the beginner, or the "weekend warrior",
>perhaps. But mastery of anything calls for mastery of the details.
Again, I'm lost. I don't understand what "mastery of the details" has to do
with the scale/chord approach to improvisation.
>And no
>one should be "forcing" any of this stuff on anyone.
>The folks who are
>sincere and excited about learning improvisation will get to this level
under
>their own steam.
What level are you talking about? Your post doesn't make much sense. I can't
tell what your point is. Are you saying that "sincere and excited" players
will be able to use the scale/chord approach "under their own steam"?
>BTW, I think "All The Things You Are" changes key only five times.
I went back and looked and we were both wrong. It's six times. I had
forgotten that the bridge begins in the last key of the A section,, thus, no
key change at the bridge.
>Dave Johnson
>djoh...@berklee.edu
Dave, I may be wrong, but your post sounds like an attack on me, but you're
not saying anything that disproves my possition on the subject. Will you be
more specific?
Eddie Lewis
Tiger...@aol.com
Houston, TX
http://members.aol.com/TigerLewis/gcs.htm
------------------------------
From: KSIE...@desire.wright.edu
Date: Fri, 16 May 1997 12:13:21 -0500 (EST)
Subject: Re: lesson of all lessons...
what did Mark tell you that was so valuable, other than the fact that he
is a great guy? let us in on it! KS.
------------------------------
End of tpin-digest V3 #790
**************************
========================================================
To subscribe to the TPIN digest send the command:
subscribe tpin-digest
========================================================
To subscribe to the regular TPIN list send the command:
subscribe tpin