I've Found The Answer

Discussion in 'Trumpet Discussion' started by erd402, Dec 18, 2010.

  1. glorybe

    glorybe Piano User

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    Jul 29, 2009
    Oh boy can I ever agree with you. The catch is that with older music recordings are not always available. And when others transcribe for an instrument an unholy mess can result. In particular a show tune may have melodies split between the right and left hand of a pianist or between several instruments. Even a beat in the counter melody may serve as a beat in the melody. When that type of work gets transcribed it has to be by someone who actually plays the instrument. I don't want to insult any publishers but I have seen stand alone solos that are absolute trash. Those guys can take a wonderful tune and turn it into a nightmare The time it takes to really transcribe a melody from some of the great tunes can be excessive. Also the notations used by some publishers are nothing like a real bandsman is used to at all. Many of the publishers seem to avoid any mention of the classic Italian notations at all, ever. God forbid they should ever give recommended beats per minute.
    By the way, the one benefit of learning Sousaphone is that because of the length of tubing the Sousaphone must lead the beat in order for the sound to arrive on time. Band directors batons often are only following the sousaphone which is actually setting the pace for the music. Having spent some years on the sousaphone I know that we were usually anticipating the meter of a bass drum or even a snare drum. Those guys hold time so it gets easy for the Sousaphone to arrive just as the drum sounds and the conductor falls right in line.
     
  2. Ed Lee

    Ed Lee Utimate User

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    True also for tuba and I spent some time on ALL brass instruments. Such was often referred to as the bass beat. But the truth is that as tubing lengthens on any horn it is proportional to be exact in synch. Where I recorded Stars ... (and other songs) playing all the parts on various instruments it did become a bit of a problem to solve. Thus, the baton, drums, or metronome are only guidance. To get it, you'll feel it.
     
  3. rowuk

    rowuk Moderator Staff Member

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    I am in my mid 50s and have been in the business all of my life. I do NOT see more drugs and alcohol in the music business than in other venues of life. I think that is a stereotype that those NOT in the business choose to keep alive. There are many managers that fall over, there is a not small amount of pastors that "sin", teachers that don't make it to retirement - and many other examples.

    It is a great fairy tale that creative people need drugs to maintain that state. What a stupid hypothesis!
     
  4. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    Uhhh, if we can get back to the original post after our "sex, drugs, and rock&roll" interlude, I would like to offer the following:

    Medicine tastes bad.

    Just like a doctor, a good trumpet teacher will prescribe exercises that, uhh, taste bad. Case in point: I had a Hochschule student in Germany who tongued through his lips and had a terrible attack. I told him to practice using a "pooh" attack for a week, avoiding using his tongue. His attacks were wonderful at his next lesson, and he recounted his week.

    "I almost called you to tell you to (insert your own nasty language), but after a couple of days I noticed that it became easier...."

    He is now considered a monster lead and jazz player in Germany.

    Medicine may taste bad, but it cures.
     
  5. erd402

    erd402 Pianissimo User

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    Mar 21, 2009
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    The point I'm trying to make is that if you don't like playing, then it doesn't become worthwhile. I know several people who play because they are forced to. I also know people who quit because to them it was just hard work with no return. I'm just saying that I believe the ultimate goal in music should be enjoyment. I'm also not saying that you shouldn't have focused practice but you should always remember your ultimate goal.
     

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