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| Paris FAQ's... [message #65872] |
Tue, 28 March 2006 20:56 |
Kim
Messages: 1246
Registered: October 2005
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Senior Member |
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>
> "Kim" <hiddensounds@hotmail.com> wrote in message news:4449e951$1@linux...
> >
> >
> > Surely somebody here can fill me in on this.
> >
> > I'm really after one basic peice of info.
> >
> > I have a piano here, and it's got some sentimental value as it's the
piano
> > I learned to play on from age 5 to 20 or so. Thing is it's down half a
> step,
> > or 90% of half a step. At the moment I don't like to play it, because
> while
> > I don't have perfect pitch per se, I have enough of it for it to annoy
me
> > when something is flat. The piano is no real use to me as is, so I want
to
> > get it back to 440.
> >
> > What's going to happen? I've heard that when a piano has been flat for a
> > long time they tend to slip back. What I want to know is, is it like a
> guitar?
> > Is it safe for me to assume that it's just going to keep slipping and
need
> > three or four tunes before it will settle on pitch? Or will it never
tune
> > to pitch?
> >
> > If it's just a matter of tuning it several times I'm willing to get
> cracking
> > and get it tunes to pitch. Indeed it would probably increase the amount
I
> > would practise jazz if I had a real piano at 440 to practise on.
> >
> > The secondary question... what's to stop me grabbing the nearest
> chromatic
> > tuner and a spanner and giving it a bash myself. Obviously it would take
> > me a while, but is there any real trick to it. I mean if it's going to
> slip
> > back out of pitch, I figure even if I do a bad job, I might as well life
> > it up to around 440 and let it sit for a month before I get a real guy
out
> > here. Even if I do a bad job and it's not particularily good to play,
> surely
> > I'm better off to have it close to 440 as a start point, rather than
flat
> > a semitone?
> >
> > And while I'm at it, anybody know anything about fixing pianolas? ;o)
When
> > you start to pedal, a number of keys play when they're not supposed to,
> and
> > it's leaking a fair bit of air... ...surely nothing some gaffa can't
> fix?
> > ;o)
> >
> > Cheers,
> > Kim.
>
>This is a multi-part message in MIME format.
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Kim, never apologize for your art, period. If you bait your hook with =
your heart, the fish will bite :-)
Rich
"Rich Lamanna" <richard.lamanna@verizon.net> wrote in message =
news:44498482@linux...
Oh, I forgot to tell you. After all of this practicing, perspiration =
and starvation since you won't be able to work since you're practicing =
so much; once you learn how to play jazz, try finding a gig that pays =
more than $50.00, all 2 of them a month. While you're playing expect the =
usual loudmouthed moron, yelling over your solo, who could give a crap =
about all the hip shit you're playing. Then be prepared to turn down or =
play more traditional, if you're playing too loud or too hip. And don't =
forget that you'll need a day gig to pay for your coke and alcohol =
addictions, since you've become so neurotic, myopic and reclusive after =
about 10 years of constant 6-8 hr/day shedding. If you had a life before =
you became a jazz musician, you can expect that you won't have one =
after.
Kim, I'm really being facetious but this isn't too far from the truth. =
Don't get me wrong, I love jazz. I spent most of my youth and young =
adulthood perfecting my craft, completely engrossed in and devoted to =
learning how to improvise, solo over changes and write. I still pursue =
my 1st love, jazz, with a passion, but I have a day gig so I can pay for =
my musical habit. If you do it, do it for the love of it and because it =
really means something to you. There's really something special about =
jazz for me. Unfortunately the listening public has little or no =
understanding, or appreciation of the music form.
Hal Galper says it better than me: "One of my long-time associates in =
the business once said that the inscription on his tombstone would read =
"It wasn't worth it." As positive a kind of guy as I naturally am, I'm =
beginning to sympathize with him."
Read the whole thing here: http://www.richlamanna.com/hal_galper.htm=20
You know how to make a million dollars playing jazz?
Start with 2 million.
Rich
"Rich Lamanna" <richard.lamanna@verizon.net> wrote in message =
news:444901e4@linux...
Kim, the only way I learned how to play jazz was by listening to the =
cats that I really dug and transcribed tons of solos. I practiced as =
many arpeggios as I could find or create with my own musical sense, in =
every key of course, this is a must, learned all the chord scales, in =
triads, sevenths, and 4th patterns, especially the dominant ones, =
(they're more complex and were harder to hear for me), Altered, =
Diminished, Harmonic Minor, Melodic Minor, etc., it's endless my friend. =
It's all repetition in the beginning, but eventually you begin to find =
your own voice and things start to fall into place. It only took me =
about 25 years :0 and I'm still searching and analyzing other's solos. I =
play the sax and recently the steel drum which has made me more aware of =
comping. Keyboard is challenging in that you comp and solo =
simultaneously. If you want to do this on piano, you're on the right =
footing already if you're listening to cats like Bill Evans, Oscar =
Peterson, Chick, Herbie, George Shearing, etc... Transcribe and shed =
like hell.
Cheers and good luck,
Rich
=20
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:4448377b$1@linux...
>=20
>=20
> Well, I went to a jazz gig last night. Paul Grabowsky and a bunch =
of other
> dudes who's names I probably would know if I knew as much about =
jazz as I'd
> like to. ;o)
>=20
> So this week's whim for me is that I want to switch all my musical =
persuits
> to jazz. I mean rock is all so yesterday. ;o) Actually, it's not a =
sudden
> whim for this week. It's been brewing for some time,but I've been =
avoiding
> ths switch because it sounds like too much hard work.
>=20
> Part of the problem is that jazz musos, or good ones at least, are =
so good.
> ;o) I mean when you compare the keyboard parts in the average top =
ten tune,
> to the piano part in an average jazz tune, there's no comparison. =
One is
> decidedly more difficult, more advanced, and more clever. And =
harder to play.
>=20
> And for the last 20 years, when I've wanted to learn a tune, I've =
listened
> to a recorded performance of the tune, and then worked out some =
parts to
> imitate what I hear, but with jazz the expectation is different. =
For starters
> most recorded versions are incredibly personalised to the player. =
If I copy
> what I hear on a record, I'll just sound like somebody emulating =
that particular
> recording, where the expectation is that I should be doing my own, =
different,
> original version. I mean I'm quite capable of doing that, but I =
need to learn
> the tune somehow, and while I have some ability to read charts, =
I'm hardly
> an expert at it, as I've found that working off the actual =
recordings is
> generally far more effective for pop/rock music. Not so for jazz =
it seems.
>=20
> Anybody know of somewhere where I can download copies of jazz =
standards=20
> "as they're written"? A reference point as to how the original =
melody goes
> before people start "doing jazz" to it? Bet there's no such =
thing... ...would
> be handy, for me at least. MIDI files even might be ideal.
>=20
> And of course I don't actually know any real jazz musos. I know =
some people
> who know a bit of jazz, but nobody where I'd say there expertise =
is in jazz.
>=20
> I think I just need to bite the bullet and start putting some =
serious effort
> into improving my chart reading skills...
>=20
> Cheers,
> Kim.
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<DIV>
<DIV>Kim, never apologize for your art, period. If you bait your hook =
with your=20
heart, the fish will bite :-)</DIV>
<DIV> </DIV>
<DIV>Rich<BR></DIV></DIV>
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<DIV>"Rich Lamanna" <<A=20
=
href=3D"mailto:richard.lamanna@verizon.net">richard.lamanna@verizon.net</=
A>>=20
wrote in message <A=20
href=3D"news:44498482@linux">news:
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