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| Re: Favorite Mic/Preamp Combos [message #65827 is a reply to message #65823] |
Tue, 28 March 2006 10:27   |
Mark McDermott
Messages: 204
Registered: February 2006
Location: Portland, OR
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Senior Member |
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musos, or good =
ones at=20
least, are so good.<BR>> ;o) I mean when you compare the keyboard =
parts in=20
the average top ten tune,<BR>> to the piano part in an average jazz =
tune,=20
there's no comparison. One is<BR>> decidedly more difficult, more =
advanced,=20
and more clever. And harder to play.<BR>> <BR>> And for the last =
20=20
years, when I've wanted to learn a tune, I've listened<BR>> to a =
recorded=20
performance of the tune, and then worked out some parts to<BR>> =
imitate=20
what I hear, but with jazz the expectation is different. For =
starters<BR>>=20
most recorded versions are incredibly personalised to the player. If I =
copy<BR>> what I hear on a record, I'll just sound like somebody =
emulating=20
that particular<BR>> recording, where the expectation is that I =
should be=20
doing my own, different,<BR>> original version. I mean I'm quite =
capable of=20
doing that, but I need to learn<BR>> the tune somehow, and while I =
have=20
some ability to read charts, I'm hardly<BR>> an expert at it, as =
I've found=20
that working off the actual recordings is<BR>> generally far more =
effective=20
for pop/rock music. Not so for jazz it seems.<BR>> <BR>> Anybody =
know of=20
somewhere where I can download copies of jazz standards <BR>> "as =
they're=20
written"? A reference point as to how the original melody goes<BR>> =
before=20
people start "doing jazz" to it? Bet there's no such=20
thing... ...would<BR>> be handy, for me at least. =
MIDI=20
files even might be ideal.<BR>> <BR>> And of course I don't =
act
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| Re: Favorite Mic/Preamp Combos [message #65829 is a reply to message #65820] |
Tue, 28 March 2006 10:32 |
Deej [1]
Messages: 2149
Registered: January 2006
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Senior Member |
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sk yourself:
-What style of Jazz do I want to learn and Play?
-Be Bop (50, 60s)
-swing (30's 40's)
-Big Band(40, 50s)
-Smooth Jazz :)
-Jazz Fusion.?
This question has to be aswered first. What style of Jazz do I want to speak.
2)Okay.Now, that you've answered question #1, you must emerse yourself in
intense record (ear) training. Night and day. Only listening to the style
you wan tot play. Find the band or intrumentalist that fit's the style, and
listen listen, listen.
3) Find a local Jazz band that is playing the style you want to play. Go
see them often. Again,listen, listen listen.
Observer and the instruemntalist moves, chords..
4)Practice with your record player/CD .try to stay with Wes Montgomery. The
more you do this , the more that given style will become familiar.
5) Leasrn to start improvising with your voice. Just start scatting lines.
Then, play that line on your instrument..
6)Jazz is a language that one must take very seriously.Unlike rock, pop,
you must become -Jazzed about jazz.
7) Lastly,learn all of your Modes & Scales and practice singing them..Above
all, dedicate your life to the art-form..
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>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)
>
>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.
>
>Part of the proble
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| Re: Favorite Mic/Preamp Combos [message #65843 is a reply to message #65815] |
Tue, 28 March 2006 16:01 |
Neil
Messages: 1645
Registered: April 2006
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Senior Member |
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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 th
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| Re: Favorite Mic/Preamp Combos [message #65855 is a reply to message #65853] |
Tue, 28 March 2006 18:50 |
Neil
Messages: 1645
Registered: April 2006
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Senior Member |
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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.John, jazz chicks are generally wierdos! And they smell like Patchouli.
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
You know how to make a million dollars playing jazz?
Start with 2 million.
Rich
&q
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| Re: Favorite Mic/Preamp Combos [message #65860 is a reply to message #65855] |
Tue, 28 March 2006 19:30 |
Sanbar
Messages: 37
Registered: July 2005
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Member |
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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.
>>
>><!DOCTYPE HTML
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| Re: Favorite Mic/Preamp Combos [message #65862 is a reply to message #65860] |
Tue, 28 March 2006 19:43 |
Neil
Messages: 1645
Registered: April 2006
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Senior Member |
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>practicing so much; once you learn how to play jazz, try finding a gig
=
>>that pays=20
>>more than $50.00, all 2 of them a month. While you're playing expect the
>=
>>usual=20
>>loudmouthed moron, yelling over your solo, who could give a crap about
=
>>all the=20
>>hip shit you're playing. Then be prepared to turn down or play more=20
>>traditional, if you're playing too loud or too hip. And don't =
>>forget that=20
>>you'll need a day gig to pay for your coke and alcohol addictions, since
>=
>>you've=20
>>become so neurotic, myopic and reclusive after about 10 years of =
>>constant 6-8=20
>>hr/day shedding. If you had a life before you became a jazz musician, =
>>you can=20
>>expect that you won't have one after.</FONT></DIV>
>><DIV><FONT size=3D2></FONT> </DIV>
>><DIV><FONT size=3D2>Kim, I'm really being facetious but this isn't too
=
>>far from=20
>>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=20
>>devoted to learning how to improvise, solo over changes and write. I =
>>still=20
>>pursue my 1st love, jazz, with a passion, but I have a day gig so I can
>=
>>pay for=20
>>my musical habit. If you do it, do it for the love of it and because it
>=
>>really=20
>>means something to you. There's really something special about jazz for
>=
>>me.=20
>>Unfortunately the listening public has little or no understanding, or=20
>>appreciation of the music form.</FONT></DIV>
>><DIV><FONT size=3D2></FONT> </DIV>
>><DIV><FONT size=3D2>Hal Galper says it better than me: <FONT =
>>size=3D2>"One of my=20
>>long-time associates in the business once said that the inscription on
=
>>his=20
>>tombstone would read "It wasn't worth it." As positive a kind of guy as
>=
>>I=20
>>naturally am, I'm beginning to sympathize with him."</FONT></FONT></DIV>
>><DIV><FONT size=3D2></FONT> </DIV>
>><DIV><FONT size=3D2>Read the whole thing here: <A=20
>>href=3D"http://www.richlamanna.com/hal_galper.htm">http://www.richlamanna=
>>.com/hal_galper.htm</A>
>><SCRIPT language=3Djavascript>postamble();</SCRIPT>
>></FONT></DIV>
>><DIV><FONT size=3D2></FONT> </DIV>
>><DIV><FONT size=3D2>You know how to make a million dollars playing=20
>>jazz?</FONT></DIV>
>><DIV><FONT size=3D2>Start with 2 million.</FONT></DIV>
>><DIV><FONT size=3D2></FONT> </DIV>
>><DIV><FONT size=3D2>Rich</FONT><BR></DIV>
>><BLOCKQUOTE=20
>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>> <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:444901e4@linux">news:444901e4@linux</A>...</DIV>
>> <DIV>Kim, the only way I learned how to play jazz was by listening to
>=
>>the cats=20
>> that I really dug and transcribed tons of solos. I practiced as many
=
>>arpeggios=20
>> as I could find or create with my own musical sense, <STRONG>in =
>>every key=20
>> of course, this is a must</STRONG>, learned all the chord scales, in
=
>>triads,=20
>> sevenths, and 4th patterns, especially the dominant ones, (they're =
>>more=20
>> complex and were harder to hear for me), Altered, Diminished, Harmonic
>=
>>Minor,=20
>> Melodic Minor, etc., it's endless my friend. It's all repetition in =
>>the=20
>> beginning, but eventually you begin to find your own voice and things
>=
>>start to=20
>> fall into place. It only took me about 25 years :0 and I'm still =
>>searching=20
>> and analyzing other's solos. I play the sax and recently the =
>>steel drum=20
>> which has made me more aware of comping. Keyboard is challenging in =
>>that you=20
>> comp and solo simultaneously. If you want to do this on piano, you're
>=
>>on the=20
>> right footing already if you're listening to cats like Bill =
>>Evans, Oscar=20
>> Peterson, Chick, Herbie, George Shearing, etc... Transcribe and shed
=
>>like=20
>> hell.</DIV>
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