Hello again, thanks for tuning in. I know it has been quite awhile since I've written and I apologize. It is the holidays and is causing chaos as expected.
First of all, the big stresser is out of the way, with the Holiday Brass Quintet gig at the library being over with. We were well received, and the quintet sounded strong. Some issues surfaced in my arrangements, such as Carol of the Bells being a nightmare to count. We had about 70 show up, and this made me really happy. The research I did so I could talk between the pieces was extremely well received as well. I sense that the library will definitely be willing to hire us again.
This weekend is the Baltimore Tubachristmas, to which I'm looking forward to. On the 1st, I played the first Bel Air Tubachristmas, which was fun. It was cool being in a group of only 27, instead of the 250 that show up to the Baltimore one. The conductor of the Bel Air one was a bit of a jerk. He conducted us like we were the "Philadelphia Symphony" playing "Mahler's 5th". He said this but he never made any actual musical statements or used musical terms. It was very frustrating. Not to mention constant insults of expecting bad players to show up, and not thinking we could handle certain arrangements. Combine that with the 2 hour rehearsal, we got a little punchy and luckily found an Irish pub to drink and eat during the hour break. The concert did result in fun. Though a horrible thing happened, a trombone...A TROMBONE, as in non valved, cylindrical bore instrument showed up and was allowed to play. This made me sick to my stomach. I may be a trumpet player, but I make sure to bring a member of the tuba family to this. A trombone is not a member of the tuba family, and should not have been allowed. I had no say though and thus they were permitted. I don't think I could do the Bel Air one again after that.
I leave you tonight with a crappy video of the quintet playing at the library. I will probably not have another entry before Christmas, so have a merry one!
Sunday, December 9, 2007
Friday, November 23, 2007
Its the time
Well first off, Merry Thanksgiving to you, my loyal readers. I do know its been awhile since my recent publishing but you must understand holidays, family stress and videos games have taken a toll on the time I can dedicate to this blog. Never mind the endless preparation for Christmas gigs.
So this entry will be scattered as usual as it will cover a couple issues these past few weeks have brought up. First off, the UMBC Symphony concert last Sunday went incredibly well. The group pulled off almost professional level performances of Stravinsky, Bizet, Mendelssohn, Strauss, and Mozart. I must say this concert left me quite winded due to the recent dietary changes I have made. Less calories = Less fuel for a performing. I cracked a few notes but overall I felt good about my playing. The quintet also played before the concert in the lobby, and as usual people enjoyed my arrangements. They especially liked the arrangement of the Godfather theme for tuba, and Good King Wenceslas. So lets say it was a success.
In the mail today, I received my copy of Jekyl and Hyde Concert Tour. This is PDQ Bach's newest CD. It was recorded live at the Gordon Center for Performing Arts in Owings Mills, MD. I was lucky enough to attend this concert for a bargain of $11. It was quite interest to witness how these sessions work. The string quartet that was there was able to pick up in the middle of phrases, and actually sound like they had played all the notes before it. Almost like a live "drop the needle". At this concert I was also blessed to meet THE PDQ Bach himself, Professor Peter Schickele.
With that photo I must say good night and take care, and may your turkey left overs be tender and moist.
So this entry will be scattered as usual as it will cover a couple issues these past few weeks have brought up. First off, the UMBC Symphony concert last Sunday went incredibly well. The group pulled off almost professional level performances of Stravinsky, Bizet, Mendelssohn, Strauss, and Mozart. I must say this concert left me quite winded due to the recent dietary changes I have made. Less calories = Less fuel for a performing. I cracked a few notes but overall I felt good about my playing. The quintet also played before the concert in the lobby, and as usual people enjoyed my arrangements. They especially liked the arrangement of the Godfather theme for tuba, and Good King Wenceslas. So lets say it was a success.
In the mail today, I received my copy of Jekyl and Hyde Concert Tour. This is PDQ Bach's newest CD. It was recorded live at the Gordon Center for Performing Arts in Owings Mills, MD. I was lucky enough to attend this concert for a bargain of $11. It was quite interest to witness how these sessions work. The string quartet that was there was able to pick up in the middle of phrases, and actually sound like they had played all the notes before it. Almost like a live "drop the needle". At this concert I was also blessed to meet THE PDQ Bach himself, Professor Peter Schickele.
With that photo I must say good night and take care, and may your turkey left overs be tender and moist.
Sunday, November 11, 2007
Explorations
Hello friend(s). I write to you with fond greetings and a grasp at being entertained.
In my quest to find myself entertained, I took a journey to the local Super Walmart which just opened its doors to my Baltimore suburb. It is a bittersweet thing. As much as I despise walmart for censoring song lyrics on albums, thus making me go to a local record store to get my new copy of the Avenged Sevenfold CD. But they did happen to have, set up in demo mode, "Rock Band".
"Rock Band" is a new game coming out from the original designers of Guitar Hero, that not only allows you to play guitar, but drums, bass, and even be a vocalist! I played this demo for an hour, mot of it with a complete stranger on guitar. We became an amazing band. It will be coming out for PS2 on December 11, so I have started saving my pennies already. I may even...trade in....Guitar Hero III to help pay for it.
As I mentioned above about having to go to a local record store to pick up a CD. Thanks to the Walmart policy of censoring, it helped me rediscover the coolness of the "Record and Tape Traders" store in Catonsville. A whole section dedicated to metal. I'm in heaven. While picking up Avenged Sevenfold's new CD, which is incredible, as they continue what they did last album with amazing arrangements, and great vocals, with wonderful lyrics. Its a must buy. Back on topic though, I was able to also pick up another Dream Theater album, and an actual album by Dragonforce. This store not only had the albums I wanted and uncensored, but the CDs were a dollar cheaper. I spent 45 minutes in this little store just browsing. I was never bothered nor did I get odd looks for browsing metal, or buying the groups I was buying. It was a great shopping experience. Not to mention that the CDs I bought, all three of them, stellar.
Well my friends, I hope you find your drum heads tuned and your fills even and intriguing.
In my quest to find myself entertained, I took a journey to the local Super Walmart which just opened its doors to my Baltimore suburb. It is a bittersweet thing. As much as I despise walmart for censoring song lyrics on albums, thus making me go to a local record store to get my new copy of the Avenged Sevenfold CD. But they did happen to have, set up in demo mode, "Rock Band".
"Rock Band" is a new game coming out from the original designers of Guitar Hero, that not only allows you to play guitar, but drums, bass, and even be a vocalist! I played this demo for an hour, mot of it with a complete stranger on guitar. We became an amazing band. It will be coming out for PS2 on December 11, so I have started saving my pennies already. I may even...trade in....Guitar Hero III to help pay for it.
As I mentioned above about having to go to a local record store to pick up a CD. Thanks to the Walmart policy of censoring, it helped me rediscover the coolness of the "Record and Tape Traders" store in Catonsville. A whole section dedicated to metal. I'm in heaven. While picking up Avenged Sevenfold's new CD, which is incredible, as they continue what they did last album with amazing arrangements, and great vocals, with wonderful lyrics. Its a must buy. Back on topic though, I was able to also pick up another Dream Theater album, and an actual album by Dragonforce. This store not only had the albums I wanted and uncensored, but the CDs were a dollar cheaper. I spent 45 minutes in this little store just browsing. I was never bothered nor did I get odd looks for browsing metal, or buying the groups I was buying. It was a great shopping experience. Not to mention that the CDs I bought, all three of them, stellar.
Well my friends, I hope you find your drum heads tuned and your fills even and intriguing.
Friday, November 2, 2007
The Modern Legacy
With the recent passing of Robert Goulet and Lucianno Pavarotti, my brain has been working overtime on a single question to which I am at a loss to come up with an answer and hope my loyal readers can assist me with. The Question is this:
Who will be the legendary performers, that when they die, will truly be missed and be the defining voice and music of this generation, my generation?
Before we can approach this question, we must ask how an artist would reach that level. The obvious answers are they must sustain their popularity, they must be prolific, and of course, a smart agent and label that knows how to get them to the masses quickly.
The 1950's obviously gave us the "Rat Pack", led by Frank Sinatra and Dean Martin. Frankie Blue Eyes made it in the 40's but was able to keep performing and recording into the 1980's carrying that generation from adolescence pretty much all the way to death. The same with Dean Martin, but the days then required them to be more than music personalities but stagemen and movie stars. They were also supported by a cast of lesser known musicians. Paul Anka and other songwriters, along with the bands of Al hirt, Tommy Dorsey, and others helped these talented vocalists obtain superstar status.
The 1960's changed this whole thing. Singer/songwriters took over as the folk movement pulled musc out of the nightclubs and theaters and put it in any long haired hippie with enough money to buy a guitar and get to San Francisco. The Beatles, holy moses were they big. John and Pauls songwriting charmed just about every ear in America, as Rock n Roll was being brought to forefront on the variety shows popping up on TV as the appliance was found in almost every living room. The birth of multimedia meant that you not only had to sound good, you had to look good. This idea was HUGE in the 1980's with the birth of MTV and later, VH1. A whole channel dedicated to music, and the art of the music video.
MTV started the overflow of bands. This overflow really led to the groups getting wilder and wilder, with the long hair, bright costumes, and really the virtuosity on electric guitar. If the Beatles were around in the 1980's they would have hair to their butt, wore leopard print pants and make up to make you kind of think they were girls so they could survive this era of you have 4 minutes of air time to hook teenagers with your crappy song to sell a million albums. GO! This really continued through 90's. If you ask someone to name a great band from the 1980's everyone will disagree. Everyone liked Sinatra, Deano and Sammy Davis Jr in their hayday.
The new millinium really brought this market saturation to a new level, with broadband music sharing. Everybody with a synthesizer and a microphone has a myspace music account, every band has a separate release date for iTunes and stores for hard copies of their music. They put demos on the net. Someone actually showe dme a band that was really good, bu they don't even have an album out yet! Just 4 tracks on myspace.
So with age of oversaturation (notice I'm not saying mediocrity, because there is some really great stuff going on) how is our generation to recognize an icon of their time when we no longer have them? The segregation of genres as well these days can cause a loss of focus. There is no Rock, Rap, Folk, Jazz, Classical anymore. Its not that simple. There are atleast 4 different types of metal these days. I can't tell someone I like Heavy Metal, I have to say Progressive/Symphonic metal. To which they say, "What the hell is that?" And I say, "Groups like Dream Theater, Symphony X." "Who the hell are they?". "They have a great guitarist, drummer, and synth players." "Oh, thats cool." We can't discuss music anymore without leaving one person completely clueless within two sentences. My grandfather though could talk for hours comparing Nat King Cole to Frank Sinatra to my great uncle, Ralph Sigwald, who was a famous singer for awhile in the 1950's. He was known as "The Caruso of the South."
So really this brings up the backside of the question of, does our generation care enough? The only artist I can imagine my generation and people a few years older and younger than me really caring about when his time comes is Michael Jackson. But I hope its for his amazing dancing and his partnership with Quincy Jones that made him bigger than Elvis. Elvis, I always like to think that if he was still alive, he'd have one of those every night shows in Vegas in his own theater. He would atleast make Celine Dion shut up. Maybe she wouldn't even have her own show.
On an unrelated topic, i bought tickets yesterday to go see Ozzy Osbourne and Rob Zombie. ALLLL ABOARD THE CRAZY TRAIN HAHAHAHAHAHAHAHAHAHAHAHHA
Who will be the legendary performers, that when they die, will truly be missed and be the defining voice and music of this generation, my generation?
Before we can approach this question, we must ask how an artist would reach that level. The obvious answers are they must sustain their popularity, they must be prolific, and of course, a smart agent and label that knows how to get them to the masses quickly.
The 1950's obviously gave us the "Rat Pack", led by Frank Sinatra and Dean Martin. Frankie Blue Eyes made it in the 40's but was able to keep performing and recording into the 1980's carrying that generation from adolescence pretty much all the way to death. The same with Dean Martin, but the days then required them to be more than music personalities but stagemen and movie stars. They were also supported by a cast of lesser known musicians. Paul Anka and other songwriters, along with the bands of Al hirt, Tommy Dorsey, and others helped these talented vocalists obtain superstar status.
The 1960's changed this whole thing. Singer/songwriters took over as the folk movement pulled musc out of the nightclubs and theaters and put it in any long haired hippie with enough money to buy a guitar and get to San Francisco. The Beatles, holy moses were they big. John and Pauls songwriting charmed just about every ear in America, as Rock n Roll was being brought to forefront on the variety shows popping up on TV as the appliance was found in almost every living room. The birth of multimedia meant that you not only had to sound good, you had to look good. This idea was HUGE in the 1980's with the birth of MTV and later, VH1. A whole channel dedicated to music, and the art of the music video.
MTV started the overflow of bands. This overflow really led to the groups getting wilder and wilder, with the long hair, bright costumes, and really the virtuosity on electric guitar. If the Beatles were around in the 1980's they would have hair to their butt, wore leopard print pants and make up to make you kind of think they were girls so they could survive this era of you have 4 minutes of air time to hook teenagers with your crappy song to sell a million albums. GO! This really continued through 90's. If you ask someone to name a great band from the 1980's everyone will disagree. Everyone liked Sinatra, Deano and Sammy Davis Jr in their hayday.
The new millinium really brought this market saturation to a new level, with broadband music sharing. Everybody with a synthesizer and a microphone has a myspace music account, every band has a separate release date for iTunes and stores for hard copies of their music. They put demos on the net. Someone actually showe dme a band that was really good, bu they don't even have an album out yet! Just 4 tracks on myspace.
So with age of oversaturation (notice I'm not saying mediocrity, because there is some really great stuff going on) how is our generation to recognize an icon of their time when we no longer have them? The segregation of genres as well these days can cause a loss of focus. There is no Rock, Rap, Folk, Jazz, Classical anymore. Its not that simple. There are atleast 4 different types of metal these days. I can't tell someone I like Heavy Metal, I have to say Progressive/Symphonic metal. To which they say, "What the hell is that?" And I say, "Groups like Dream Theater, Symphony X." "Who the hell are they?". "They have a great guitarist, drummer, and synth players." "Oh, thats cool." We can't discuss music anymore without leaving one person completely clueless within two sentences. My grandfather though could talk for hours comparing Nat King Cole to Frank Sinatra to my great uncle, Ralph Sigwald, who was a famous singer for awhile in the 1950's. He was known as "The Caruso of the South."
So really this brings up the backside of the question of, does our generation care enough? The only artist I can imagine my generation and people a few years older and younger than me really caring about when his time comes is Michael Jackson. But I hope its for his amazing dancing and his partnership with Quincy Jones that made him bigger than Elvis. Elvis, I always like to think that if he was still alive, he'd have one of those every night shows in Vegas in his own theater. He would atleast make Celine Dion shut up. Maybe she wouldn't even have her own show.
On an unrelated topic, i bought tickets yesterday to go see Ozzy Osbourne and Rob Zombie. ALLLL ABOARD THE CRAZY TRAIN HAHAHAHAHAHAHAHAHAHAHAHHA
Wednesday, October 31, 2007
The Ebb and Flow
I have always found it to be true that as the bad happens, the good also counters in some form. This is especially true in my musical life. As some may know, the vocal icon of Robert Goulet left this world Tuesday while waiting for a lung transplant. Goulet was a fabulous singer who got his lucky break from a very tragic happening in this country. Goulet was becoming a vocal sensation on Broadway in the musical "Camelot" in the early 1960's. When President Kennedy was assassinated, Jackie Kennedy was quoted saying how much Mr Kennedy was a fan of the score and the famous line, "Don't let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot." At that point Kennedy's administration was associated with Camelot, which was associated with Goulet's voice, and copies of "If Ever I Should Leave You" flew off the shelves.
I was a fan of his role in "Man of La Mancha" singing "The Impossible Dream". For some reason that song always gets to me. Its not just the words of Dream the Impossible dream, but the optimism and the flow of the melody just suck me right in. Quick side note, Maynard Ferguson made a wicked good recording of this song as well. Goulet's smooth voice though always charmed my ear and listening to the Standards station on Sirius radio, without looking I could pick his voice out with just one word. I will truly miss Robert Goulet.
And on this theme, with the loss of Robert Goulet and the quintet frustrations, I have found myself another band to that of which I will be a "fanboi". This band is called "Dragonforce" They have a modern progressive metal sound, but very classic, mythical, triumphant lyrical pattern, with that great open 4 part vocal sound that "Queen" used to great fame with "Bohemian Rhapsody" and "Princes of the Universe". Their lyrics remind me very much of "Princes of the Universe", and "Who Wants to Live Forever", the later "Queen" hits. The "Dragonforce" hit "Fury of the Storm" has been made popular on youtube via "Guitar Hero" custom songs. "Through the Fire and Flames" is also featured in the recently released "Guitar Hero 3" (another positive).
This band uses a someone rare set up, of two lead guitarists, both of them solo, and both of them are pretty cool. Heres their music video for "Through the Fire and Flames".
One of their guitarist has a cool little trademark of his solos: he mimics 8-bit video game sounds.
Well my friends, may your hammer-ons and pull-offs be even, and your strings strong. I wish you peace, and another fond farewell to Robert Goulet.
I was a fan of his role in "Man of La Mancha" singing "The Impossible Dream". For some reason that song always gets to me. Its not just the words of Dream the Impossible dream, but the optimism and the flow of the melody just suck me right in. Quick side note, Maynard Ferguson made a wicked good recording of this song as well. Goulet's smooth voice though always charmed my ear and listening to the Standards station on Sirius radio, without looking I could pick his voice out with just one word. I will truly miss Robert Goulet.
And on this theme, with the loss of Robert Goulet and the quintet frustrations, I have found myself another band to that of which I will be a "fanboi". This band is called "Dragonforce" They have a modern progressive metal sound, but very classic, mythical, triumphant lyrical pattern, with that great open 4 part vocal sound that "Queen" used to great fame with "Bohemian Rhapsody" and "Princes of the Universe". Their lyrics remind me very much of "Princes of the Universe", and "Who Wants to Live Forever", the later "Queen" hits. The "Dragonforce" hit "Fury of the Storm" has been made popular on youtube via "Guitar Hero" custom songs. "Through the Fire and Flames" is also featured in the recently released "Guitar Hero 3" (another positive).
This band uses a someone rare set up, of two lead guitarists, both of them solo, and both of them are pretty cool. Heres their music video for "Through the Fire and Flames".
One of their guitarist has a cool little trademark of his solos: he mimics 8-bit video game sounds.
Well my friends, may your hammer-ons and pull-offs be even, and your strings strong. I wish you peace, and another fond farewell to Robert Goulet.
Sunday, October 28, 2007
An Oasis amongst the sand
As some of my loyal readers know, I took a little vacation a week or so ago to get my head back together, collect my thoughts and come back swinging. Due to poor preparation, I found myself musically isolated for a week. I was trapped in Ocean City, MD with nothing of quality on the radio, no CDs and my iPod left comfortably on my computer desk. There wasn't even VH1 on the hotel tv system, and the hotel restaurant during breakfast played nothing but canned jazz. I struggled to find any source of rewarding sound, not even expecting music. I cruised every ad I could for hopes of a local bar having a band, an outdoor festival, anything. I found none of these, for i was in a resort city off season.
The sound of the ocean, calming, rewarding, at night with a slight wind almost sang like a soprano to me and charmed me. It relaxed me to the point of my insomnia almost was cured. Coming home and back into the stressful environment of my life, dragging me away from the cliched siren song of the sea, sent my sleep back into peril. It threatened the existance of this blog even. But I am back to writing and I apologize for the delay.
This has been an interesting weekend. I went to a house warming party and was re-united with one Nate Knauer. He was a someone who I kind of looked to for inspiration early in my college music career. He was one of the first people that made actually feel like I belonged with the musicians and that I had ability. One of my first recitals was actually performing a piece of his on his junior composition recital. I had not seen this guy in about 5 years. He immediately remembered that he still had two CDs of mine and the demo recording of my old brass quintet. We talked for a good hour getting caught up on each others musical activities. It was refreshing to know I still had a connection there and someone was genuinely glad to know I was still involved in music.
My quintet has me a bit nervous and concerned. They seem to not be paying attention to the calendar. Acting kind of lax about a gig being in 2 weeks and we have no set list, and a gig in 6 weeks, 4 actual rehearsals before it, that we haven't read any of the music for yet. Today we did read through the new Christmas carols and they really liked them, but again, we were short a member and rehearsal started 2 hours late. It was incredibly frustrating. I tried to delivery my worry and urgency without being a jerk. I don't want to cause the group to break up, which it felt like it could be close to doing.
This past week, the moment I got home, I banged out two new arrangements, when idea of doing Beatles songs came to me. So Lucy in the Sky With Diamonds and When I'm 64 will be added to our catalog.
Peace and even triplets to you all.
The sound of the ocean, calming, rewarding, at night with a slight wind almost sang like a soprano to me and charmed me. It relaxed me to the point of my insomnia almost was cured. Coming home and back into the stressful environment of my life, dragging me away from the cliched siren song of the sea, sent my sleep back into peril. It threatened the existance of this blog even. But I am back to writing and I apologize for the delay.
This has been an interesting weekend. I went to a house warming party and was re-united with one Nate Knauer. He was a someone who I kind of looked to for inspiration early in my college music career. He was one of the first people that made actually feel like I belonged with the musicians and that I had ability. One of my first recitals was actually performing a piece of his on his junior composition recital. I had not seen this guy in about 5 years. He immediately remembered that he still had two CDs of mine and the demo recording of my old brass quintet. We talked for a good hour getting caught up on each others musical activities. It was refreshing to know I still had a connection there and someone was genuinely glad to know I was still involved in music.
My quintet has me a bit nervous and concerned. They seem to not be paying attention to the calendar. Acting kind of lax about a gig being in 2 weeks and we have no set list, and a gig in 6 weeks, 4 actual rehearsals before it, that we haven't read any of the music for yet. Today we did read through the new Christmas carols and they really liked them, but again, we were short a member and rehearsal started 2 hours late. It was incredibly frustrating. I tried to delivery my worry and urgency without being a jerk. I don't want to cause the group to break up, which it felt like it could be close to doing.
This past week, the moment I got home, I banged out two new arrangements, when idea of doing Beatles songs came to me. So Lucy in the Sky With Diamonds and When I'm 64 will be added to our catalog.
Peace and even triplets to you all.
Saturday, October 13, 2007
Pumped
Good evening and thanks for tuning back into my little page where my word goes. Theres been a couple things that I have been wrapping my mind around. Now I think its a general consensus that attending live performances are key to developing musicianship. My question is though, does it matter what type of concert? Does the performer need to be further along in their path of musicianhood? (I made that word up) I ask because as you readers have read, I have been mainly exploring the world of rock, mainly acid rock and metal. I have found this has changed my approach to performance. I wanted to be a front man for today's concert for our quintet. They let me, and I tried to be charismatic and really bring out the uniqueness of our group. I think the gig went well. I was excited to take the stage and I energized. I psyched up and ready to go. The feeling of exhaustion didn't hit until I got home, when the adrenaline wore off. I haven't had that much of an adrenaline charge to perform ever.
Anyways, I have never been to an opera. I have caught a decent amount of flak over that because being a classical musician, I've been to a metal concert before an opera. Just operas are expensive, and really, I love opera, and appreciate the art, I fear my attention span causing an issue, and the opera house here is very uncomfortable if you're taller than 5 ft tall. I am not sure if I'm supposed to be upset about this, if it makes me a crap musician, a phony even. As always. I don't think it does, but thats my own ego, and I'm sure other musicians around me don't like me because of some reason, but is it because I've never been to an opera, or is it because I like Dreamtheater and been listening to a Best of album of William Shatner and Leonard Nimoy?
On that note, I strike a chord with you and must settle into the coda of this entry. Good night, peace, and I will write again when I return from my trip. Peace to you, and you.
Anyways, I have never been to an opera. I have caught a decent amount of flak over that because being a classical musician, I've been to a metal concert before an opera. Just operas are expensive, and really, I love opera, and appreciate the art, I fear my attention span causing an issue, and the opera house here is very uncomfortable if you're taller than 5 ft tall. I am not sure if I'm supposed to be upset about this, if it makes me a crap musician, a phony even. As always. I don't think it does, but thats my own ego, and I'm sure other musicians around me don't like me because of some reason, but is it because I've never been to an opera, or is it because I like Dreamtheater and been listening to a Best of album of William Shatner and Leonard Nimoy?
On that note, I strike a chord with you and must settle into the coda of this entry. Good night, peace, and I will write again when I return from my trip. Peace to you, and you.
Friday, October 5, 2007
Shining On
I apologize for not having blogged in a few days. The music has been hectic and is dictating my time these days. A quick synopsis of what is going on though. I have began work on a third polka for my quintet, "The Chicken Dance". No matter your opinion, every band must have a version of it to play. Kids love it, and I love it, so yeah, I'm a kid. I also have began work on "I Saw Three Ships". This is yet another challenging christmas carol due to its lack of substance. It was hard to come up with 4 part harmony, yet we're a 5 part ensemble. So I need to put the nose to the keyboard and come up with some interesting counter melody, maybe a descant of another christmas carol.
The problem of "I Saw Three Ships" was solved thanks to a little Jack n Coke. There is a British dance from about the same time period as this folk song called the Dargason. The Dargason is in 6/8 time and has identical chord progression to "I Saw Three Ships". Fellow band geeks would recognize the melody as the 6/8 melody from the Fantasia on Dargason, which is the final movement of both "Second Suite in F for Military Band" and "St Paul's Suite" by Gustav Holst. Holst loved to spread English folk melodies through his pieces, and since Holst was pivotal to the acceptance of Brass instruments in a classical setting, why not pay homage to his style by offsetting the traditional Christmas song with the Dargason melody.
So the subject line of this entry is referring to "Shine On You Crazy Diamond" by Pink Floyd. I have come into possession of "The Wall" and "Wish You Were Here". Both albums are amazing. I've always liked "The Wall" with its storytelling of rebellion to English Society. The improvisational and composition skills of this group truly is mind blowing.
I have come into a rut with the brass quintet. We are all so busy and we have a gig coming up this weekend, that I am nervous about. I think we're all nervous about it, and its straining the group some I think. Its time for another group get together probably, to just try and chill. After this gig we need to immediately start work on the Christmas gig. I have a ton of new carols for the group to read through. It should be exciting. I think we all need to take a deep breath and realize this concert on the 14th isn't the best situation for us. We were hired only three weeks ago and asked to prepare a 45 minute set. Thats a good challenge! We'll hit it though and we'll have fun and that will reflect on the audience. Hopefully we'll get a good review.
Peace to my readers, and may your chords be major. I leave you with these words of wisdom: "We're starting at D, as in Don't Screw Up" - Dr E. Michael Richards
The problem of "I Saw Three Ships" was solved thanks to a little Jack n Coke. There is a British dance from about the same time period as this folk song called the Dargason. The Dargason is in 6/8 time and has identical chord progression to "I Saw Three Ships". Fellow band geeks would recognize the melody as the 6/8 melody from the Fantasia on Dargason, which is the final movement of both "Second Suite in F for Military Band" and "St Paul's Suite" by Gustav Holst. Holst loved to spread English folk melodies through his pieces, and since Holst was pivotal to the acceptance of Brass instruments in a classical setting, why not pay homage to his style by offsetting the traditional Christmas song with the Dargason melody.
So the subject line of this entry is referring to "Shine On You Crazy Diamond" by Pink Floyd. I have come into possession of "The Wall" and "Wish You Were Here". Both albums are amazing. I've always liked "The Wall" with its storytelling of rebellion to English Society. The improvisational and composition skills of this group truly is mind blowing.
I have come into a rut with the brass quintet. We are all so busy and we have a gig coming up this weekend, that I am nervous about. I think we're all nervous about it, and its straining the group some I think. Its time for another group get together probably, to just try and chill. After this gig we need to immediately start work on the Christmas gig. I have a ton of new carols for the group to read through. It should be exciting. I think we all need to take a deep breath and realize this concert on the 14th isn't the best situation for us. We were hired only three weeks ago and asked to prepare a 45 minute set. Thats a good challenge! We'll hit it though and we'll have fun and that will reflect on the audience. Hopefully we'll get a good review.
Peace to my readers, and may your chords be major. I leave you with these words of wisdom: "We're starting at D, as in Don't Screw Up" - Dr E. Michael Richards
Monday, October 1, 2007
Piano: Social Drug
I don't know what it is, but new musical instruments excite me more than any other material object in this world. Even if its an instrument I really can't play, I love them. I mention this because my good friend Melanie purchased a new piano this week and on Sunday invited me over to "jam" with it. Now I must tell you I am no pianist, but again I love new instruments, so how could I resist. It is danger though to put me in the same room as a piano. I will either figure out songs that are stuck in my head to share the torture with the others, or I will make up silly little songs about the people there or n my head. This was no different. I rolled up on her piano and her and I laid down a track, titled "Stefanie's Song".
Needless to say, WOW! The good news is Stef really liked the song as she was feeling bad.
I find myself doing stupid things like this all the time with my friends piano's or pump organs (My good friend Ted has a peddling pump organ, its circus music with a good cardio workout).
I will just say the wekeend contained the piano work and a lot of polka. Very crazy. I hope this blog finds my loyal listeners in tune and in time. Peace
Needless to say, WOW! The good news is Stef really liked the song as she was feeling bad.
I find myself doing stupid things like this all the time with my friends piano's or pump organs (My good friend Ted has a peddling pump organ, its circus music with a good cardio workout).
I will just say the wekeend contained the piano work and a lot of polka. Very crazy. I hope this blog finds my loyal listeners in tune and in time. Peace
Wednesday, September 26, 2007
Evolution...?
On my way to work today I was listening to a brand new recording of Anton Bruckner's 4th symphony. I was able to hear the first movement before having to shuffle my way into the branch. The first movement is filled with lovely Austrian undertones and ethnic melodies, with deep Romantic themes. After all, it was premiered in 1881 in Vienna and was Bruckner's first taste of success and placed him on the symphonist map. His first three symphonies apparently were flops and he took 7 years and three revisions before he allowed this one to be performed. If you ignored that this was an orchestral piece, you would think I was discussing a great film and its director. Its hard to imagine people back then actually keeping tabs on composers and looking forward to premieres of pieces. That kind of thing is unheard of in music these days. The closest to it that we have is with movies. The closest draw to the Bruckner story I can think would maybe be Peter Jackson. Peter Jackson spent much of his early directing years making pretty crappy horror movies. Then suddenly word gets out hes making an epic film based on "The Lord of the Rings" trilogy. I mean I remember watching "making of" trailers my freshman year of college in 1998. The first of the series came out in 2001. People back then just got into it, symphonies were the movies of their day. According to legend, Stravinsky's debut of the ballet "Rite of Spring" caused violent outbursts by the audience, including keeping time on someones head. That had to hurt, with how rhythmic Stravinsky is. His primitivism was able to bring out the primal beast in man. Amazing. Similarly, some of you might remember when "New Jack City" came out. This movie caused fights and rioting to break out in urban areas that it was shown. I just find it interesting how over time, our main stimulus for emotion has changed from audio to visual. Music can still make us cry and laugh, but its not an immediate reaction like a photo, not to mention a lot more people are going to find humor in an Adam Sandler movie these days than a PDQ Bach audio CD. Sad, but our society has "evolved".
On a little side topic, have you ever popped in a CD you hadn't listened to in a long time, and just thought to yourself "Why do I not listen to this every day?" This happened to me the other day when I decided to put in "Sam's Town" by The Killers. I am definitely a fan of the Killers and I loved this album, the newer of the two. But it had been maybe 2 months since I listened to it, after listening to it every day, singing along to it loudly, and then I decided I should be sick of it and stopped. But I put it back in and I immediately was grabbed by their sound again. Just hooked, reeled me right back in. This CD has a little gem in it that is titled simply "Enterlude". The song is repeated and developed some for "Exitlude". The songs lyrics sound like a simple child's poem, but are incredibly optimistic and are placed with simple straight piano chords that can't help but to make you smile. I can't help but to get excited about the Killers almost every day. I like them, can't help it. A lot of people didn't like the Sam's Town album, but they are the ones that thought Hot Fuss was nothing but a pop album, and not one telling a story. Sam's Town continues in telling a new story.
Peace and good intonation to you all
On a little side topic, have you ever popped in a CD you hadn't listened to in a long time, and just thought to yourself "Why do I not listen to this every day?" This happened to me the other day when I decided to put in "Sam's Town" by The Killers. I am definitely a fan of the Killers and I loved this album, the newer of the two. But it had been maybe 2 months since I listened to it, after listening to it every day, singing along to it loudly, and then I decided I should be sick of it and stopped. But I put it back in and I immediately was grabbed by their sound again. Just hooked, reeled me right back in. This CD has a little gem in it that is titled simply "Enterlude". The song is repeated and developed some for "Exitlude". The songs lyrics sound like a simple child's poem, but are incredibly optimistic and are placed with simple straight piano chords that can't help but to make you smile. I can't help but to get excited about the Killers almost every day. I like them, can't help it. A lot of people didn't like the Sam's Town album, but they are the ones that thought Hot Fuss was nothing but a pop album, and not one telling a story. Sam's Town continues in telling a new story.
Peace and good intonation to you all
Sunday, September 23, 2007
Back To The Future
I must preface this blog entry by letting you know that this will be an entry primarily about about CDs and the Renaissance Festival. It will be very scattered as the pickings of CDs this past week or so has been very diverse.
First off the Renaissance Festival here in Baltimore never falls short of providing me with entertainment and music issues, whether good or bad. Lets start with the bad. Pyrates Royal, one of the most unprofessional group I've seen perform for money, still didn't fix their problems. Talking to each other out of character during songs, loud enough to be picked up on mic's, inconsistent performance standards, and a flare of arrogance that makes you want to cut the brake lines on their car, continue to stagger me with this group. During a song last year, mid verse in fact, stopped to tell someone to get their kid away from the stage and vamped the one bar over and over until the mother came up to get the child. Thats right, the kid wasn't on the stage with them, just was dancing near it.
So I saw the Pyrates Royale twice on Saturday. The first show they were pretty sober, somewhat tight, but as usual can't hear the singing at all. The sound system on this stage is horrible, but you see, every other act pretty much brings its own body microphones and plugs into the system. They do not. In a way I'm glad they don't. The women have voices that are like cats birthing. Now before you start in with well they're supposed to be pirates. I know that, but see they present themselves as an actual band. They sell CDs while they play. One of the women prides them self as a dulcimer player. Remember this is a Renn Fest, theres dulcimers everywhere. She really should be embarrassed for bringing it with her and taking it out. Her hammering was inconsistent, and it was out of tune. In fact, everyones instruments were out of tune. No joke, they took their guitars out of the cases and just started playing. Never mind the humidity and heat, and the rapid temperature change that took place during the day. This is not how you operate as a musical group. I was embarrassed as usual seeing this group. Next year, I do not plan to attend one of their performances.
Now for a good thing out of the Renn Fest; the duo of Jenny O'Connor and Mark Varelas. They presented a very professional appearance, and highlighted their strengths. Mark was very skilled on various lutes, particularly the Bouzouki. His tremolo strumming was accurate and tastefully done. They did two amazingly well done covers. One was The Victor by Dick Dale, who Mark admits to being an influence in his playing. Rare to hear a folk musician say they were inspired by a rocker. The other, along those lines, was Kashmir by Led Zeppelin. This was also amazingly done. Jenny was very skilled on the violin and her extended techniques and pitch bends were done quite well. This was the first group I had ever seen get a standing ovation at the festival. I had to purchase their CD. I had to have it. We even listened to it in the car on the way home. It helped us all relax after a hard day at the fair(e).
This week I made some interesting selections from the library on CD. The Pixies "Doolittle", the Clash's "London Calling", Ozzy Ozbourne's "Black Rain", and Within Temptation's "The Heart of Everything". Not many people know that punk music holds a special place in my heart, because of its free spirited-ness and its ability to just destroy music's conventions. You don't need to have a good singing voice, virtuoso on guitar, or a great lyricist. You are doing it because it feels good. This past week I spent some intimate time with "London Calling" by The Clash. Its an amazing composition. Its three chords and the same melody over and over again. and the melody doesn't even cause tension with the chords. Its just E minor and A minor back and forth, the bridge is in B, then its right back. The "guitar solo" is nothing but a distorted E. Yet this song is one of the most beloved in the world of rock. On the same level, this is why The Pixies appeal to me. I can't stand their sound, but I can't stop listening at the same time. Its just so different my ear falls in love with it. Ozzy, he just flippin' rocks. On "Black Rain" Ozzy seems to to go back to the raw power and sound of 70's metal. A clean, dry sound on bass, and little guitar distortion, and Ozzy's nasal voice just culminate into an amazing sound that no other band in rock can bring. The tight solos by Mr Zakk Wylde are amazing. This weeks wildcard was the band "Within Temptation". I had only heard them mentioned by the lead vocalist of the band Nightwish, which is another great metal band that of which I am fond. I was not familiar with them, but a symphonic metal band with a female vocalist, just couldn't miss. I did like this band, but I am a big fan of guitar solos and transition sections, of which there weren't many. The band has a good power sound and her voice is clear and ethnic sounding. Of all the prog/symphonic metal bands I've heard, they do the best in solving the problem of getting the vocals to fit the heavy style of the music, but they did that by making the styles so far opposite of each other, it is a refreshing sound. I do love this album, and added to my iPod, like everything I mentioned above, but I will not be purchasing my own copy of the CD. I think they have a lot of room to grow and the next album, if they keep with it, will be the polished gem they need.
I hope this blog finds you having a great musical experience and peace.
First off the Renaissance Festival here in Baltimore never falls short of providing me with entertainment and music issues, whether good or bad. Lets start with the bad. Pyrates Royal, one of the most unprofessional group I've seen perform for money, still didn't fix their problems. Talking to each other out of character during songs, loud enough to be picked up on mic's, inconsistent performance standards, and a flare of arrogance that makes you want to cut the brake lines on their car, continue to stagger me with this group. During a song last year, mid verse in fact, stopped to tell someone to get their kid away from the stage and vamped the one bar over and over until the mother came up to get the child. Thats right, the kid wasn't on the stage with them, just was dancing near it.
So I saw the Pyrates Royale twice on Saturday. The first show they were pretty sober, somewhat tight, but as usual can't hear the singing at all. The sound system on this stage is horrible, but you see, every other act pretty much brings its own body microphones and plugs into the system. They do not. In a way I'm glad they don't. The women have voices that are like cats birthing. Now before you start in with well they're supposed to be pirates. I know that, but see they present themselves as an actual band. They sell CDs while they play. One of the women prides them self as a dulcimer player. Remember this is a Renn Fest, theres dulcimers everywhere. She really should be embarrassed for bringing it with her and taking it out. Her hammering was inconsistent, and it was out of tune. In fact, everyones instruments were out of tune. No joke, they took their guitars out of the cases and just started playing. Never mind the humidity and heat, and the rapid temperature change that took place during the day. This is not how you operate as a musical group. I was embarrassed as usual seeing this group. Next year, I do not plan to attend one of their performances.
Now for a good thing out of the Renn Fest; the duo of Jenny O'Connor and Mark Varelas. They presented a very professional appearance, and highlighted their strengths. Mark was very skilled on various lutes, particularly the Bouzouki. His tremolo strumming was accurate and tastefully done. They did two amazingly well done covers. One was The Victor by Dick Dale, who Mark admits to being an influence in his playing. Rare to hear a folk musician say they were inspired by a rocker. The other, along those lines, was Kashmir by Led Zeppelin. This was also amazingly done. Jenny was very skilled on the violin and her extended techniques and pitch bends were done quite well. This was the first group I had ever seen get a standing ovation at the festival. I had to purchase their CD. I had to have it. We even listened to it in the car on the way home. It helped us all relax after a hard day at the fair(e).
This week I made some interesting selections from the library on CD. The Pixies "Doolittle", the Clash's "London Calling", Ozzy Ozbourne's "Black Rain", and Within Temptation's "The Heart of Everything". Not many people know that punk music holds a special place in my heart, because of its free spirited-ness and its ability to just destroy music's conventions. You don't need to have a good singing voice, virtuoso on guitar, or a great lyricist. You are doing it because it feels good. This past week I spent some intimate time with "London Calling" by The Clash. Its an amazing composition. Its three chords and the same melody over and over again. and the melody doesn't even cause tension with the chords. Its just E minor and A minor back and forth, the bridge is in B, then its right back. The "guitar solo" is nothing but a distorted E. Yet this song is one of the most beloved in the world of rock. On the same level, this is why The Pixies appeal to me. I can't stand their sound, but I can't stop listening at the same time. Its just so different my ear falls in love with it. Ozzy, he just flippin' rocks. On "Black Rain" Ozzy seems to to go back to the raw power and sound of 70's metal. A clean, dry sound on bass, and little guitar distortion, and Ozzy's nasal voice just culminate into an amazing sound that no other band in rock can bring. The tight solos by Mr Zakk Wylde are amazing. This weeks wildcard was the band "Within Temptation". I had only heard them mentioned by the lead vocalist of the band Nightwish, which is another great metal band that of which I am fond. I was not familiar with them, but a symphonic metal band with a female vocalist, just couldn't miss. I did like this band, but I am a big fan of guitar solos and transition sections, of which there weren't many. The band has a good power sound and her voice is clear and ethnic sounding. Of all the prog/symphonic metal bands I've heard, they do the best in solving the problem of getting the vocals to fit the heavy style of the music, but they did that by making the styles so far opposite of each other, it is a refreshing sound. I do love this album, and added to my iPod, like everything I mentioned above, but I will not be purchasing my own copy of the CD. I think they have a lot of room to grow and the next album, if they keep with it, will be the polished gem they need.
I hope this blog finds you having a great musical experience and peace.
Monday, September 17, 2007
I walked that way while comfortably numb screaming I love rock n roll
Well Where do I start??? I guess I should go in chronological order। Saturday night started this weekend off with a laser light show at the Pier Six pavilion with the Pink Floyd cover band "Several Species", named for "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict", a piece of music concrete by Roger Waters.
This band prides themselves for accurately re-creating the sound of Pink Floyd. This they should be proud of, they were dead on. Several times, I closed my eyes took a deep breath of the pot smoke from the row in front of my dad and I, and BAM!!, Floyd was there. The group hit most of your standard Pink Floyd songs, and their first set included "Time", "The Man/The Journey" Suite, and "Shine On you Crazy Diamond". After a brief intermission to stretch your legs and get the second hand pot buzz to go away, the band comes right back out. The second set was kind of a highlight run of the album "The Wall". This included a rousing sing-along to "Another Brick in the Wall" (one of my personal favorites). Cleverly, they had the audience sing where the London Boys Choir sang. At this point if you weren't feeling this band, go the heck home. Several times I found myself close to tears simply due to their amazing ability to not just play Pink Floyd note for note, but in the jam sections they would lock into identical groves and even played on the same parts of the beat. The term "detail oriented" doesn't come close to describing the effort and the manner this 11 piece ensemble operates. The encore of "Comfortably Numb" and "Wish You Were Here" were quite wonderful. by this point, three hours of this left my ass comfortably numb as well.
So That wraps up Saturday Night. Sunday night, WOW. Sunday night had a double billing at the Nissan Pavilion in rustic Bristow, Virginia. Joan Jett and the Blackhearts opening for none other than Aerosmith. Now I am not a huge Aerosmith fan, and I like Joan Jett a lot, she looks good in leather, kicks ass, and seems like a chick who will sit down with you at the bar and pound a few back with you, then have your back when the jerk at the end of the bar looks at you all funny. Never mind the fact Cherry Bomb and Bad Reputation are just kick ass songs. Sitting out on a blanket on a cool mid-September summer evening, the Blue Ridge mountain foothills in the background and of course a nice beverage. But back on to the hottie in the black leather. Joan and her Blackhearts come out in traditional punk style. Dressed down, fresh from either bed or a fight, no intro, just hit right in on the music. They do Bad Reputation, Cherry Bomb, and one other song, before she takes the mic and simply says "Thanks, we're the Blackhearts from New York City". Straight up punk. I love it. Its all about the music. The cover of "Crimson and Clover" is what got the dancing going, though the crowd, seemingly uneducated about Joan Jett just wanted "I Love Rock 'n' Roll" and she gave it, and kicked some ass, though its so not her best song. She went out with "I Hate Myself for Loving You". Awesome show so far. the first smells of marijuana appeared during the "Crimson and Clover".
Aerosmith comes out with a lackluster little fake newsreel about their current tour. The moment it ended the lights and a massive kick hit and they were off and rocking out. By this point I've lost track of what was playing, and what songs were being played and just focused on the task at hand, shaking my rotund self to some sweet tunes. The marijuana smell now strong from the blanket in front of us. I do know Aerosmith hit a lot of their big songs, such as "Sweet Emotion", and "Walk This Way". It is an odd thing that happens to me at music concerts. I tend to go into a trance of sorts and just not care about whats going on around me and can ignore things, even chicks wanting to dance, though I did partake in that a few times. I'm not completely out of it. Just when it happens, be careful. I truly have began losing myself in the music again. I hadn't been able to do that in a long time. I think I'm coming out of the college overload finally. It happens to some music majors, to where they lose the joy of music because they must micro-analyze it. Its a fun party trick, but makes you a huge loser at these things. I credit the start of this blog in helping me get out of it.
Anyways, Aerosmith does a two hour set, which included a kick-ass theremin solo by Joe Perry. That sent me crazy, as I am a very amateur theremin player myself. He even used the same one I own. I felt proud. Dumb reason to be proud, but I finally related, instrumentally to a band I am seeing. That was big, I hadn't been to a concert that involved a trumpet, that wasn't my trumpet on stage, in a long time.
That concert was worth the wait, cost, headache and distance from driving in Virginia.
Anyways there you have it, the review of a big big big weekend for music. I'm worn out, but my quintet just booked itself another gig for October 14, so we need to get our act together and rehearse tomorrow night, before the second symphony rehearsal of the year. This gig suits us well too, they want off the wall, and I told the guy, "We can do off the wall, we're not your mom's brass group."
Peace to you all
This band prides themselves for accurately re-creating the sound of Pink Floyd. This they should be proud of, they were dead on. Several times, I closed my eyes took a deep breath of the pot smoke from the row in front of my dad and I, and BAM!!, Floyd was there. The group hit most of your standard Pink Floyd songs, and their first set included "Time", "The Man/The Journey" Suite, and "Shine On you Crazy Diamond". After a brief intermission to stretch your legs and get the second hand pot buzz to go away, the band comes right back out. The second set was kind of a highlight run of the album "The Wall". This included a rousing sing-along to "Another Brick in the Wall" (one of my personal favorites). Cleverly, they had the audience sing where the London Boys Choir sang. At this point if you weren't feeling this band, go the heck home. Several times I found myself close to tears simply due to their amazing ability to not just play Pink Floyd note for note, but in the jam sections they would lock into identical groves and even played on the same parts of the beat. The term "detail oriented" doesn't come close to describing the effort and the manner this 11 piece ensemble operates. The encore of "Comfortably Numb" and "Wish You Were Here" were quite wonderful. by this point, three hours of this left my ass comfortably numb as well.
So That wraps up Saturday Night. Sunday night, WOW. Sunday night had a double billing at the Nissan Pavilion in rustic Bristow, Virginia. Joan Jett and the Blackhearts opening for none other than Aerosmith. Now I am not a huge Aerosmith fan, and I like Joan Jett a lot, she looks good in leather, kicks ass, and seems like a chick who will sit down with you at the bar and pound a few back with you, then have your back when the jerk at the end of the bar looks at you all funny. Never mind the fact Cherry Bomb and Bad Reputation are just kick ass songs. Sitting out on a blanket on a cool mid-September summer evening, the Blue Ridge mountain foothills in the background and of course a nice beverage. But back on to the hottie in the black leather. Joan and her Blackhearts come out in traditional punk style. Dressed down, fresh from either bed or a fight, no intro, just hit right in on the music. They do Bad Reputation, Cherry Bomb, and one other song, before she takes the mic and simply says "Thanks, we're the Blackhearts from New York City". Straight up punk. I love it. Its all about the music. The cover of "Crimson and Clover" is what got the dancing going, though the crowd, seemingly uneducated about Joan Jett just wanted "I Love Rock 'n' Roll" and she gave it, and kicked some ass, though its so not her best song. She went out with "I Hate Myself for Loving You". Awesome show so far. the first smells of marijuana appeared during the "Crimson and Clover".
Aerosmith comes out with a lackluster little fake newsreel about their current tour. The moment it ended the lights and a massive kick hit and they were off and rocking out. By this point I've lost track of what was playing, and what songs were being played and just focused on the task at hand, shaking my rotund self to some sweet tunes. The marijuana smell now strong from the blanket in front of us. I do know Aerosmith hit a lot of their big songs, such as "Sweet Emotion", and "Walk This Way". It is an odd thing that happens to me at music concerts. I tend to go into a trance of sorts and just not care about whats going on around me and can ignore things, even chicks wanting to dance, though I did partake in that a few times. I'm not completely out of it. Just when it happens, be careful. I truly have began losing myself in the music again. I hadn't been able to do that in a long time. I think I'm coming out of the college overload finally. It happens to some music majors, to where they lose the joy of music because they must micro-analyze it. Its a fun party trick, but makes you a huge loser at these things. I credit the start of this blog in helping me get out of it.
Anyways, Aerosmith does a two hour set, which included a kick-ass theremin solo by Joe Perry. That sent me crazy, as I am a very amateur theremin player myself. He even used the same one I own. I felt proud. Dumb reason to be proud, but I finally related, instrumentally to a band I am seeing. That was big, I hadn't been to a concert that involved a trumpet, that wasn't my trumpet on stage, in a long time.
That concert was worth the wait, cost, headache and distance from driving in Virginia.
Anyways there you have it, the review of a big big big weekend for music. I'm worn out, but my quintet just booked itself another gig for October 14, so we need to get our act together and rehearse tomorrow night, before the second symphony rehearsal of the year. This gig suits us well too, they want off the wall, and I told the guy, "We can do off the wall, we're not your mom's brass group."
Peace to you all
Tuesday, September 11, 2007
There is hope in the Reformation...
By glance of the title, you may think I'm about to break my rule and discuss religion. WRONG! Fooled you. This entry is actually about a 2 hour rehearsal with the newly reformed UMBC Symphony. It was the first under the baton of Dr E Michael Richards, of music theory 5 and music history II fame. Dr Richards and I go way back. I remember when he was hired and my good friend Stef and I had to gather information to present for his consideration for tenure. I've been to his house a few times for birthday parties even. I had never worked with him though in a large ensemble. I have to admit I am not 100% in playing, I can't support like I normally can so I was relying on strength tonight and not so much technique and form to play well, so I didn't play that well. We spent 2 hours tonight working simply on the last movement of Mendelssohn's Symphony No. 5 in D major "The Reformation". Now the trumpet part isn't terribly loud, or high but I was beat mentally. I never had such an intense orchestra rehearsal, and the group never sounded so go. I had performed this piece a few years ago, my handwriting is still on the score. I can say that it sounded better tonight, after one rehearsal, than it did when we performed it. Nothing against the old conductor, him and I were pals, he was my trumpet teacher. Dr Richards has the group re-energized, and is working the group mentally, pushing everyone to their limits. It was quite exciting. I can't really explain it. Its going to be a hell of concert if the group can mentally mature and keep the intensity.
I checked out a new CD today, 8-bit Operations. Its the music of Kraftwerk played on nothing but sounds from 8-bit video game systems. Very interesting stuff, and definitely creative and inspirational. I would recommend giving it a listen. Just in case no one has heard of Kraftwerk, heres a link to their wikipedia entry. Kraftwerk. Heres a video of my favorite song by them, "Pocket Calculator"
Well I think thats enough for this entry. Please keep reading, those who do, and tell others to read! I appreciate it and peace.
I checked out a new CD today, 8-bit Operations. Its the music of Kraftwerk played on nothing but sounds from 8-bit video game systems. Very interesting stuff, and definitely creative and inspirational. I would recommend giving it a listen. Just in case no one has heard of Kraftwerk, heres a link to their wikipedia entry. Kraftwerk. Heres a video of my favorite song by them, "Pocket Calculator"
Well I think thats enough for this entry. Please keep reading, those who do, and tell others to read! I appreciate it and peace.
Monday, September 10, 2007
Amazing Multimedia
So today I found myself home from work due to back issues and a lovely panic attack. So I took an afternoon solace in some arranging. Todays targets were Frosty the Snowman and Silent Night. I have to admit that I love Christmas music so arranging these songs brings me comfort. Some people find peace in a special place, a special food, favorite tv show. For me, its music, especially Christmas music. It reminds me of Tubachristmas, friendly people, crowded malls, and get-togethers with friends.
Anyways, I know for most of you its too early to talk Christmas and its meanings for you, so its cool. I understand. Its just been a hard year and I find my peace in that season, and its music. Like I said last entry, musicians start now and sometimes I have had to start back on July5th.
But back to the topic I started with, Frosty the Snowman and Silent Night. Frosty the Snowman is not very tricky of a carol, which is what makes it hard. I know thats hard to follow, but really think of the song we all know and love about the rotund snow person. Its either a march or an extremely cheesy swing tune. I have to admit I'm not a fan of swinging, jazzy chamber music, it doesn't sound natural, since theres no rhythm section. But I remembered back on some of my fond Christmas memories, which always included a trip to Hershey Park a week or so before Christmas. Cold, sometimes snowy, and running from store to store. Every dash outside though, the main sound you could hear was the orchestron on the historic Hershey Park carousel. My favorite song the out of tune automatronic (yes I made the word up, it sounds so...Vaudevillian...) orchestra would play was Frosty the Snowman. I would stand out in the 10 degree weather and start singing along and doing a jolly little fat dance. Sometimes people would join in singing, but most were bah-humbug and would laugh. Anyways, back tot he brass arrangement. So for this arrangement, I put the trumpets in almost non-stop thirds with the main melody. The tuba is of course...oom-pa'ing away. The horn has the awkward harmonic after beats to sound like that calliope on the carousel painfully a tad sharp from the bitter cold. Trombone is on every down beat with awkward harmony with the tuba. It should be interesting to hear on the actual instruments. I'm excited about it. All its missing the fire bell ringing to let you know the ride is starting/ending.
Silent night is difficult. No if, ands, or buts about it. The melody stretches across an octave and a half causing some serious voicing issues. It forces melody to stay on trumpet, because on french horn, where it sounds the prettiest, it goes either too high or into trombone range and gets muddy. This arrangement I wanted to make it sound not so straight forward, wanted a little modern, while preserving its old, peaceful feeling. So it opens stretching its basic chord progression to the limit with appoggiature, and moving over stationary chords. I then stripped it down, to just single trumpet, trombone, and tuba. No counterpoint, just straight harmony, while still stretching the harmonies a little. The second verse, I put it into 4 part harmonies with full counterpoint, then at the appropriate time, bring tuba back in for a 5 part harmony, and a full, 3 octave spread, and settle it back in on a calm I chord.
This weekend, I sat down and watched the Dream Theater live from Radio City Music Hall DVD. 3 hours of just kicking ass. Amazing group, amazing concert. It confirmed for me though, their keyboardist, Jordan Rudess actually reads sheet music during their shows. That blows my mind, with how intricate their playing is that hes reading notation for it. Wow. I plan to watch the DVD on the Killers I bought at the same time. I don't think it will be as interesting but I love The Killers and it will be neat to know their backgrounds.
I leave you this week with a tubachristmas warm up
Anyways, I know for most of you its too early to talk Christmas and its meanings for you, so its cool. I understand. Its just been a hard year and I find my peace in that season, and its music. Like I said last entry, musicians start now and sometimes I have had to start back on July5th.
But back to the topic I started with, Frosty the Snowman and Silent Night. Frosty the Snowman is not very tricky of a carol, which is what makes it hard. I know thats hard to follow, but really think of the song we all know and love about the rotund snow person. Its either a march or an extremely cheesy swing tune. I have to admit I'm not a fan of swinging, jazzy chamber music, it doesn't sound natural, since theres no rhythm section. But I remembered back on some of my fond Christmas memories, which always included a trip to Hershey Park a week or so before Christmas. Cold, sometimes snowy, and running from store to store. Every dash outside though, the main sound you could hear was the orchestron on the historic Hershey Park carousel. My favorite song the out of tune automatronic (yes I made the word up, it sounds so...Vaudevillian...) orchestra would play was Frosty the Snowman. I would stand out in the 10 degree weather and start singing along and doing a jolly little fat dance. Sometimes people would join in singing, but most were bah-humbug and would laugh. Anyways, back tot he brass arrangement. So for this arrangement, I put the trumpets in almost non-stop thirds with the main melody. The tuba is of course...oom-pa'ing away. The horn has the awkward harmonic after beats to sound like that calliope on the carousel painfully a tad sharp from the bitter cold. Trombone is on every down beat with awkward harmony with the tuba. It should be interesting to hear on the actual instruments. I'm excited about it. All its missing the fire bell ringing to let you know the ride is starting/ending.
Silent night is difficult. No if, ands, or buts about it. The melody stretches across an octave and a half causing some serious voicing issues. It forces melody to stay on trumpet, because on french horn, where it sounds the prettiest, it goes either too high or into trombone range and gets muddy. This arrangement I wanted to make it sound not so straight forward, wanted a little modern, while preserving its old, peaceful feeling. So it opens stretching its basic chord progression to the limit with appoggiature, and moving over stationary chords. I then stripped it down, to just single trumpet, trombone, and tuba. No counterpoint, just straight harmony, while still stretching the harmonies a little. The second verse, I put it into 4 part harmonies with full counterpoint, then at the appropriate time, bring tuba back in for a 5 part harmony, and a full, 3 octave spread, and settle it back in on a calm I chord.
This weekend, I sat down and watched the Dream Theater live from Radio City Music Hall DVD. 3 hours of just kicking ass. Amazing group, amazing concert. It confirmed for me though, their keyboardist, Jordan Rudess actually reads sheet music during their shows. That blows my mind, with how intricate their playing is that hes reading notation for it. Wow. I plan to watch the DVD on the Killers I bought at the same time. I don't think it will be as interesting but I love The Killers and it will be neat to know their backgrounds.
I leave you this week with a tubachristmas warm up
Friday, September 7, 2007
The Holidays come early for musicians
Not many people realize that musicians start preparing for christmas gigs roughly in late July. my quintet was no exception. Being the main arranger of the group, this means I had to get cracking! Since our quintet is doing a little holiday concert thing, and our collection consists of mainly just arrangements made for background music, there was a large task ahead of me. Christmas carols always come off as simple songs when most are quite the contrary. You run into multiple issues when you arrange for a brass quintet. Most chords are only three notes, so you have one voice with melody, but you still have 4 voices to spread those notes, so you have some doubling, which changes the structure of the chord. Take the carol Joy To The World for instance. First chord is the I chord, and you have the melody starting on the root as well. The style of the song also requires the chord to be in root position, so tuba is now on the root of the chord. So you have three voices to duel over the remaining last notes. Assuming, for style reasons, you start with the melody in the 1st trumpet part, you can't have the 2nd trumpet on 5th of the chord. This would result in an open 4th between the same voice. Your best bet is to put the 5th on french horn, in the alto voice, so its displaced by an octave and is in a different timbre. Now you have two instruments to deal with, and only one note in the chord left. You can't give the trombone the 3rd of the chord because then its only a third above the bass, resulting in muddy sound andif you take it up an octave you have a large gap in the voicing and an odd interval between horn and trombone. So you put the third on second trumpet, down an octave, to form a lovely minor 6th, and you put trombone in octave with tuba. Ok, so time for beat two...
I decided we needed a hanukkah song if we're going to perform in a public place like a library. What better option than the Dreidel song. I was concerned though, I was only familiar with the 4 bar section "Dreidel dreidel dreidel, I made you out of clay...". Little did I know there was a fast dance like section before it in D minor (the part I referenced before is in G Major). Now this is where it gets interesting. I frequently use midi's as reference for my arrangements. It helps me visual chord structure, and hear the accompanying rhythm better. Having just a chord progression to go off, doesn't help unless it sa church hymn, because the accompaniment rhythm is just as memorable as the melody, sometimes even more. So anyways, here I am confronted with a section of ethnic music, not familiar with at all. I want a klezmer sound so I always fall back on the open 5th and afterbeat patterns. So i work out the D minor section and come up with a real exciting, clap your hands, "Dreidel Dreidel Dreidel" thing. Then it hits me...Crap...I need to get from D minor to G major...A Folk tune doesn't normally require a transition like that, it has to happen fast. So I fell back on a modulation technique from theory 3 in college. D is the 5th of G major. The melody ends on D, so I have the melody voice hold the D, while a solo fanfare starting on D mimics the opening, which fanfares on A, which is the 5th of D, so the D fanfare reminds the ear of the opening, and the next tonic you expect to hear is G. So in two bars, I'm able to make a transition to the major 4th of the original key. I was happy. It fit the style and all. Crisis avoided.
I decided we needed a hanukkah song if we're going to perform in a public place like a library. What better option than the Dreidel song. I was concerned though, I was only familiar with the 4 bar section "Dreidel dreidel dreidel, I made you out of clay...". Little did I know there was a fast dance like section before it in D minor (the part I referenced before is in G Major). Now this is where it gets interesting. I frequently use midi's as reference for my arrangements. It helps me visual chord structure, and hear the accompanying rhythm better. Having just a chord progression to go off, doesn't help unless it sa church hymn, because the accompaniment rhythm is just as memorable as the melody, sometimes even more. So anyways, here I am confronted with a section of ethnic music, not familiar with at all. I want a klezmer sound so I always fall back on the open 5th and afterbeat patterns. So i work out the D minor section and come up with a real exciting, clap your hands, "Dreidel Dreidel Dreidel" thing. Then it hits me...Crap...I need to get from D minor to G major...A Folk tune doesn't normally require a transition like that, it has to happen fast. So I fell back on a modulation technique from theory 3 in college. D is the 5th of G major. The melody ends on D, so I have the melody voice hold the D, while a solo fanfare starting on D mimics the opening, which fanfares on A, which is the 5th of D, so the D fanfare reminds the ear of the opening, and the next tonic you expect to hear is G. So in two bars, I'm able to make a transition to the major 4th of the original key. I was happy. It fit the style and all. Crisis avoided.
Thursday, September 6, 2007
A thought or two...
Well I must start off this blog with a RIP to Luciano Pavarotti, and hopes of peace and patience for his family and friends. Someone I work with was a friend of his and basically feels after having dinner with him last year, she is glad he no longer is suffering. Pavarotti is an inspiration to me, not just because of his musical skills, but his ability to bring the art he loved so much to the forefront of popular culture. Him, with the Three Tenors, brought a kind of cool to the opera style singing. Of course, one of my all time favorite recordings of him is the duet of My Way with Frank Sinatra. I'm sad about his passing, even though I am not a singer. But as it always is, the art is bigger than the man and the music will never go away.
And the music goes on with me and the brass quintet. The quintet has officially been hired to play at the library on December 8th. I am scrambling to get some more christmas arrangements done in time to rehearse them. So far, Carol of the Bells, Good King Wenceslas and Joy to the World are done. I want to work on the dreidel song, I'll start tonight I think. This will be the groups first headlining show, so it should be exciting.
And the music goes on with me and the brass quintet. The quintet has officially been hired to play at the library on December 8th. I am scrambling to get some more christmas arrangements done in time to rehearse them. So far, Carol of the Bells, Good King Wenceslas and Joy to the World are done. I want to work on the dreidel song, I'll start tonight I think. This will be the groups first headlining show, so it should be exciting.
Wednesday, September 5, 2007
CD Review - Symphony X
As my musical tastes expand and become more public, I had decided to review CDs in this blog. This is the first one.
Symphony X, a progress and symphonic metal band, recently released "Paradise Lost". I was initially drawn into listening to this album by admiring its incredible album art while processing new A/V at the library. The art is stunning and moving, I cannot describe it more than that.
I took a listen to it last night. Very good stuff, I highly recommend it. Very clean section transitions are highlighted with some of the most bad ass shredding on lead guitar this side of Slash. A few tracks in the middle commit musical suicide (fade out instead of a composed ending...I don't like that) but overall, everything is powerful. The album starts off with an instrumental composed by their guitarist, Michael Romeo. His ability to orchestrate is quite impressive. He may want to even think about trying his hand at classical composition, due to his great ear for timbre. This band, which was no shock of mine, is about to go on a European tour with who else, but Dream Theater. I definitely plan to take a listen to their older albums. This band is very odd I think in promoting the solo efforts of its members as well. I think thats commendable. So I give this CD an 8.5 out of 10. They could have gotten higher if they played a little bit more on top of the beat to create a better driving feel. Most of their songs are played on the back end of the beat like rock and swing, but this CD was a definite welcomed surprise.
I started work on an arrangement of Good King Wenceslas. It kicks too.
Symphony X, a progress and symphonic metal band, recently released "Paradise Lost". I was initially drawn into listening to this album by admiring its incredible album art while processing new A/V at the library. The art is stunning and moving, I cannot describe it more than that.
I took a listen to it last night. Very good stuff, I highly recommend it. Very clean section transitions are highlighted with some of the most bad ass shredding on lead guitar this side of Slash. A few tracks in the middle commit musical suicide (fade out instead of a composed ending...I don't like that) but overall, everything is powerful. The album starts off with an instrumental composed by their guitarist, Michael Romeo. His ability to orchestrate is quite impressive. He may want to even think about trying his hand at classical composition, due to his great ear for timbre. This band, which was no shock of mine, is about to go on a European tour with who else, but Dream Theater. I definitely plan to take a listen to their older albums. This band is very odd I think in promoting the solo efforts of its members as well. I think thats commendable. So I give this CD an 8.5 out of 10. They could have gotten higher if they played a little bit more on top of the beat to create a better driving feel. Most of their songs are played on the back end of the beat like rock and swing, but this CD was a definite welcomed surprise.
I started work on an arrangement of Good King Wenceslas. It kicks too.
Monday, September 3, 2007
Soundtracks of life
So I was reflecting on a question I was asked a few years back which was kind of odd, "If your life was a movie, who would you have do the soundtrack? what type of soundtrack would it be? Would it be pop music? Original score? A Mix?"
At the time I took this question as a weird way to ask about your favorite music and performers. I have kind of thought about it though. I think my music would have to be a mix of original score and popular music. To answer this question accurately, you have to make an important life decision. Is your life going to be a comedy or a drama in the eyes of the audience. Is it an adventure? Who's directing your life? Is it an independent "film"? Is it a dark movie? Would Tim Burton be involved in the project? If So, you're going to have to hire Danny Elfman. So how epic has your life been? Will it require a full orchestration to support your story? Or is it more personal and a simple piano score would get the job done?
This question though is an odd one for musicians, because music is part of their life, so their own performances and pieces would have to be included in their story. So with all this being said lets break it down.
I'm a fairly solitary person, socially, so I can't see a full orchestra being needed, and considering I live a pretty unique life path, John Williams definitely is out. So is Howard Shore.
I have quite stretched musical tastes, very diverse, so I will need a music supervisor to pick music from the musicals I've done to convey different periods of my life. Some favorite musical music includes Secret Garden, Guys and Dolls, Fiddler on the Roof, Seussical (laugh all ya want, theres some fun brass parts), and Gypsy. Some symphonic works will have to be included due to playing in an orchestra, so I would have to have some Beethoven and Howard Hanson quoted. And since I've recently started going to rock concerts, some 80's Hair rock will have to thrown in. Pretty artsy movie we got so far.
Being a pretty unique person, you can't have too much already made music in the soundtrack. Most of the track will have to be original score. I am thinking Thomas Newman, of American Beauty and Shawshank Redemption fame to put together the score for my movie. I think his music would be able to put some sense and feeling into what I do with myself. I would be interested in who you people would pick for yours and why. I think my soundtrack would have to include one track by the Killers though, simply because I'm a fan. Also some Queen, maybe even get the DT involved. Oh, and of course, Orange Snowball.
So lets summarize:
The original score would be for small ensemble, composed by Thomas Newman
It would contain tracks from OAP, DT, Killers, and Queen.
Some moments of Beethoven and Howard Hanson to include my classical work.
Maybe a song or two from Gypsy, Guys and Dolls, Secret Garden, Fiddler, or Seussical
Man I think that really sums up my life by analyzing my musical tastes...crazy!
Peace and hope everyone had a good three day break.
At the time I took this question as a weird way to ask about your favorite music and performers. I have kind of thought about it though. I think my music would have to be a mix of original score and popular music. To answer this question accurately, you have to make an important life decision. Is your life going to be a comedy or a drama in the eyes of the audience. Is it an adventure? Who's directing your life? Is it an independent "film"? Is it a dark movie? Would Tim Burton be involved in the project? If So, you're going to have to hire Danny Elfman. So how epic has your life been? Will it require a full orchestration to support your story? Or is it more personal and a simple piano score would get the job done?
This question though is an odd one for musicians, because music is part of their life, so their own performances and pieces would have to be included in their story. So with all this being said lets break it down.
I'm a fairly solitary person, socially, so I can't see a full orchestra being needed, and considering I live a pretty unique life path, John Williams definitely is out. So is Howard Shore.
I have quite stretched musical tastes, very diverse, so I will need a music supervisor to pick music from the musicals I've done to convey different periods of my life. Some favorite musical music includes Secret Garden, Guys and Dolls, Fiddler on the Roof, Seussical (laugh all ya want, theres some fun brass parts), and Gypsy. Some symphonic works will have to be included due to playing in an orchestra, so I would have to have some Beethoven and Howard Hanson quoted. And since I've recently started going to rock concerts, some 80's Hair rock will have to thrown in. Pretty artsy movie we got so far.
Being a pretty unique person, you can't have too much already made music in the soundtrack. Most of the track will have to be original score. I am thinking Thomas Newman, of American Beauty and Shawshank Redemption fame to put together the score for my movie. I think his music would be able to put some sense and feeling into what I do with myself. I would be interested in who you people would pick for yours and why. I think my soundtrack would have to include one track by the Killers though, simply because I'm a fan. Also some Queen, maybe even get the DT involved. Oh, and of course, Orange Snowball.
So lets summarize:
The original score would be for small ensemble, composed by Thomas Newman
It would contain tracks from OAP, DT, Killers, and Queen.
Some moments of Beethoven and Howard Hanson to include my classical work.
Maybe a song or two from Gypsy, Guys and Dolls, Secret Garden, Fiddler, or Seussical
Man I think that really sums up my life by analyzing my musical tastes...crazy!
Peace and hope everyone had a good three day break.
Friday, August 31, 2007
The In-depth view
This weekend I have a brass quintet rehearsal, sadly we will be missing our second trumpet, so it will be a quartet for the day. Which just isn't as much fun. I do plan to try out the new flugelhorn though. I want to hear how it blends in a brass section. I have to adjust to its not as aggressive playing style, like cornet. I have been playing on my trumpet for so long, I'm not used to a horn that works best when you back off. For those wondering (none, I know) my roster of horns now is:
B flat Stomvi Elite (their old elite, which is now called the Master), large bore
B flat Ryton (Bach Strad knock off, medium bore)
A/B flat Amati 4 valve piccolo (Czech piece of junk, waste of money, sounds like its plastic and probably is, all I know is that its neither a long bell or short bell picc) I have never performed on this horn, thankfully
B flat Besson 700 Cornet (I love this horn, its so much fun to play, such a velvelt tone and free blowing. Besson only made a few hundred as a prototype to demonstrate at a show, Baltimore Brass got ahold of them, sold them for $400 each. Was a steal)
C Bach Stradivarius, reversed lead pipe, large bore, 29 gold/brass double walled bell. This horn is really great. I'm not in love with it, but I haven't played another bach, or C trumpet in fact, that felt as good as it does to blow on this thing in orchestra.
B Flat JZ Flugelhorn, the recent acquisition
B flat Flugelhorn, unknown brand, but autographed by Maynard Ferguson. It plays like crap, I should turn it into a lamp
B flat Bundy student model, its held together by wire ties. Real classy
Vintage 1960's Besson Euphonium (Made at the London factory)with 4th, noncompensating valvue. Satin silver finish, its gorgeous and in amazing shape, not bad for free...
So Thats the line up. I have recently lent out the Ryton to a coworker who is in high school and is thinking of upgrading. I told him this is an inexpensive way to obtain a professional quality horn and see how it feels, if he thinks its for him. I also offered him lessons. He seems more willing to learn than my current student. He hasn't figure dout you have to have good tone, the correct rhythm and pitch, all at the same time. It is so infuriating that he hasn't gotten any of those skills down to being natural.
I am currently going through an embouchure change. I have realized I curl my lips in when I play, especially when I get tired, which reduced the the vibrating area, killing sound and making me even more tired. I was able to get the adjustment to playing on more of the inside of my lip comfortable enough to use for the orchestra re-audition. I really had a bigger sound with this adjustment. It has resulted in the gap for air to pass through to be a little bigger, which should allow me to get more air out, improving range (I hope). I still ned to do a lot of work on it, but my work schedule isn't cooperating. Even though I am an insomniac, staying up til 2-3 every night, I live in a rowhome, so no practicing normally after 9.
I am wanting to arrange a song for me to use my flugel with the quintet, to get a little bit more unique sound for the group. So it would be a Flugel solo with a quartet accompaniment. It will be time to listen to the radio and the CD collections, and some mp3's for a song to write out. Some more late nights staring at Sibelius lie ahead. I think the quintet book is almost overflowing with my homebrew arrangements.
I still have "Nothin' But a Good Time" blasting in my head. Peace friend(s)
B flat Stomvi Elite (their old elite, which is now called the Master), large bore
B flat Ryton (Bach Strad knock off, medium bore)
A/B flat Amati 4 valve piccolo (Czech piece of junk, waste of money, sounds like its plastic and probably is, all I know is that its neither a long bell or short bell picc) I have never performed on this horn, thankfully
B flat Besson 700 Cornet (I love this horn, its so much fun to play, such a velvelt tone and free blowing. Besson only made a few hundred as a prototype to demonstrate at a show, Baltimore Brass got ahold of them, sold them for $400 each. Was a steal)
C Bach Stradivarius, reversed lead pipe, large bore, 29 gold/brass double walled bell. This horn is really great. I'm not in love with it, but I haven't played another bach, or C trumpet in fact, that felt as good as it does to blow on this thing in orchestra.
B Flat JZ Flugelhorn, the recent acquisition
B flat Flugelhorn, unknown brand, but autographed by Maynard Ferguson. It plays like crap, I should turn it into a lamp
B flat Bundy student model, its held together by wire ties. Real classy
Vintage 1960's Besson Euphonium (Made at the London factory)with 4th, noncompensating valvue. Satin silver finish, its gorgeous and in amazing shape, not bad for free...
So Thats the line up. I have recently lent out the Ryton to a coworker who is in high school and is thinking of upgrading. I told him this is an inexpensive way to obtain a professional quality horn and see how it feels, if he thinks its for him. I also offered him lessons. He seems more willing to learn than my current student. He hasn't figure dout you have to have good tone, the correct rhythm and pitch, all at the same time. It is so infuriating that he hasn't gotten any of those skills down to being natural.
I am currently going through an embouchure change. I have realized I curl my lips in when I play, especially when I get tired, which reduced the the vibrating area, killing sound and making me even more tired. I was able to get the adjustment to playing on more of the inside of my lip comfortable enough to use for the orchestra re-audition. I really had a bigger sound with this adjustment. It has resulted in the gap for air to pass through to be a little bigger, which should allow me to get more air out, improving range (I hope). I still ned to do a lot of work on it, but my work schedule isn't cooperating. Even though I am an insomniac, staying up til 2-3 every night, I live in a rowhome, so no practicing normally after 9.
I am wanting to arrange a song for me to use my flugel with the quintet, to get a little bit more unique sound for the group. So it would be a Flugel solo with a quartet accompaniment. It will be time to listen to the radio and the CD collections, and some mp3's for a song to write out. Some more late nights staring at Sibelius lie ahead. I think the quintet book is almost overflowing with my homebrew arrangements.
I still have "Nothin' But a Good Time" blasting in my head. Peace friend(s)
Thursday, August 30, 2007
Opening Remarks...
Hello. First of all, thanks for traveling to my little hole on the net for the discussion of my journey through life as a musician with insomnia. I'm 27 and from Baltimore, Maryland. I plan to keep this blog free of political discussion of any views. This is not a forum for it. This blog will be for you to track my growth as a musician and I feel this time is right to start the journal.
I am a trumpet player and with that, a perfectionist, which means I think I suck. Others disagree but its not up for discussion. I was just able to hold on to the principal chair of the local community symphony after a conductor change. I am a member of a brass quintet called the Usual Suspects. They consider me their resident arranger because on those nights of not sleeping, I sit staring at scores in Sibelius. My friend and I also have just finished recording an album (I do not play trumpet on the album, I am the main lyricist and vocalist) that we have applied for copyright on, so we can then order our first copies to send to companies and give to friends, and sell to our few local fans. I work for Baltimore County Public Library. I am on a committee called "Non-print Evaluation". Its fancy for I help pick out CDs for the library system to carry. They placed me in charge of jazz and new age. I also play a lot of community theater productions. I think this has set the tone of me.
I felt this was a good time to start this blog because of some major musical things happening in my life. I have now, within two weeks attended my first two large scale rock concerts. I saw Dreamtheater on August 14. I am a fan of theres. Their technical skill and compositional skills are a great attraction to me. This was my first metal concert and it blew me away. I went without earplugs, and gladly paid for the physical "pain". I could feel my hair vibrating, it was glorious. Their setlist was quite remarkable, but I'm bad with song names, just, lets say, lots of Petrucci guitar solos, and some fantastic keyboard solos by Jordan Rudess, and solid playing by Mike Portnoy and John Myung. I am not a fan of Labries' singing. He was solid at the concert though, and I must say, it was life changing for me.
Yesterday, August 29 was a big day. Early in afternoon I scored a win with buying a flugelhorn. Its a nice solid sounding horn with a great response and a nice full tone, and has great intonation. It was a real steal at $400. I know...$400 for a great horn. The thing is, the chinese and Japanese have done a clever thing and started releasing horns made exactly like the big name companies of Bach, Courtois, LeBlanc, Buffett, and Stomvi, and producing them to such accuracy that the parts are interchangable. They are also selling them for 1/3 of the price. I already own a regular B flat by a company called Ryton, that plays just like a Bach Strad 37, that I paid $350 for. My friends can't tell the difference. This flugel is made by JZ. I never heard of them, but this horn feels and sounds like the Courtois flugel I had been dreaming to buy for years, which had recently gone off the market in the US. That is why I say this was a score.
Later that day, I met with some of my lovely coworkers and went to the Ratt/Poison concert at Pier Six Pavilion. After a couple beers at the Hard Rock and Hooters, we rocked out to some of the best glam rock from the 80's. Hell yes. It was nothing but a good time! I was not a huge fan of either band, and I'm still not, but you can't ignore the general awesomeness of a group of people getting together for a party with some fun ass music blasting. Its an amazing feeling. I have always been kind of uptight about my music tastes and it has just been recently that I have let the guard down so to speak.
I will post more. Peace to you all
I am a trumpet player and with that, a perfectionist, which means I think I suck. Others disagree but its not up for discussion. I was just able to hold on to the principal chair of the local community symphony after a conductor change. I am a member of a brass quintet called the Usual Suspects. They consider me their resident arranger because on those nights of not sleeping, I sit staring at scores in Sibelius. My friend and I also have just finished recording an album (I do not play trumpet on the album, I am the main lyricist and vocalist) that we have applied for copyright on, so we can then order our first copies to send to companies and give to friends, and sell to our few local fans. I work for Baltimore County Public Library. I am on a committee called "Non-print Evaluation". Its fancy for I help pick out CDs for the library system to carry. They placed me in charge of jazz and new age. I also play a lot of community theater productions. I think this has set the tone of me.
I felt this was a good time to start this blog because of some major musical things happening in my life. I have now, within two weeks attended my first two large scale rock concerts. I saw Dreamtheater on August 14. I am a fan of theres. Their technical skill and compositional skills are a great attraction to me. This was my first metal concert and it blew me away. I went without earplugs, and gladly paid for the physical "pain". I could feel my hair vibrating, it was glorious. Their setlist was quite remarkable, but I'm bad with song names, just, lets say, lots of Petrucci guitar solos, and some fantastic keyboard solos by Jordan Rudess, and solid playing by Mike Portnoy and John Myung. I am not a fan of Labries' singing. He was solid at the concert though, and I must say, it was life changing for me.
Yesterday, August 29 was a big day. Early in afternoon I scored a win with buying a flugelhorn. Its a nice solid sounding horn with a great response and a nice full tone, and has great intonation. It was a real steal at $400. I know...$400 for a great horn. The thing is, the chinese and Japanese have done a clever thing and started releasing horns made exactly like the big name companies of Bach, Courtois, LeBlanc, Buffett, and Stomvi, and producing them to such accuracy that the parts are interchangable. They are also selling them for 1/3 of the price. I already own a regular B flat by a company called Ryton, that plays just like a Bach Strad 37, that I paid $350 for. My friends can't tell the difference. This flugel is made by JZ. I never heard of them, but this horn feels and sounds like the Courtois flugel I had been dreaming to buy for years, which had recently gone off the market in the US. That is why I say this was a score.
Later that day, I met with some of my lovely coworkers and went to the Ratt/Poison concert at Pier Six Pavilion. After a couple beers at the Hard Rock and Hooters, we rocked out to some of the best glam rock from the 80's. Hell yes. It was nothing but a good time! I was not a huge fan of either band, and I'm still not, but you can't ignore the general awesomeness of a group of people getting together for a party with some fun ass music blasting. Its an amazing feeling. I have always been kind of uptight about my music tastes and it has just been recently that I have let the guard down so to speak.
I will post more. Peace to you all
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