开云体育

Ron,

You might want to check the Universal Access pane in the System Preferences.
Maybe Universal Access got enabled by mistake?

HTH,

Luc Roels

Hi Alisdair,
There are octave drops in the solo which sound unintentional. Typically this is embouchure. It would be surprising if a strong classical player like Adrian Brett had these kind of embouchure problems, but not surprising for a tenor sax player picking up a flute and trying to get it focused seconds after putting down the sax.

Thanks again,
-Bob

--- In jazz_guitar@..., "bobafifi" <bobafifi@...> wrote:

Hi Alisdair,
Thanks for the reply. Adrian Brett is a classical player. Though he's listed as playing on the Pink Panther films, it's doubtful he's the guy playing the solo. Don Menza makes the most sense to me, but I don't have proof.

You could be right. The only way to really find out would be to
find those involved in the recording session.

However, I have worked with many "classical players" who were hired in
preference to "jazz players" for "jazz albums" because they could read anything. If the solo was notated a good reader could pull it off and fake it as though it was improvised. I've worked with many "classical musicians" who have done this, some were even credited as "jazz musicians" but I prefer not to name names! They can read a "jazz solo" and fake it as though it was played live.

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

Just finish disk permissions and confirm disk they claim everything is ok. I still have the black square around the space I'm typing in and the irritating computer voice is still there. Apple talk is off. OS X.4.1.1

I use this puter alot on utube and other music sites including radio. Or I'd just disable sound altogether.

Ron

Living and playing outside the box.

--- In jazz_guitar@..., George Hess <ghess1000@...> wrote:

Dave, you took the words out of my mouth. Charlie Christian was very innovative in his time, but his licks and solos aren't that hard to cop. So, don't look for a book or a transcription. Buy the CD and learn the ideas you want.

It's nice to hit a nerve with you once in a while George.



Dave

I encountered some anomalies today. I began to notice a black square around selected items and portions of open applications. Can't get rid of it. Then the damn thing started talking to me! THis stupid computer voice says every mouse move I do. That is maddening. Email has been sluggish at times taking forever to open a reply to msg window. So I did a p ram rebuild today and two days ago I rebuilt the desktop. Today I will check permissions and see if that helps. Email me off list if you can help please.

Ron

Living and playing outside the box.

Hi Alisdair,
Thanks for the reply. Adrian Brett is a classical player. Though he's listed as playing on the Pink Panther films, it's doubtful he's the guy playing the solo. Don Menza makes the most sense to me, but I don't have proof. If you're interested, here's my original thread on flutenet with the 70 replies:


and also on SOTW


Thanks again,
-Bob

cg,

Through the yeas a number of my students ask about and request Riff & Lick" ....

What I do is turn it into a learning experience.

I ask what, why, and how is a certain "Lick" or "Riff" so 'memorable" or "cool"?
.... what makes it so attractive a sound -- and so appealing to emulate?

I am them to play for me their favorite and personally-founded licks and riffs,
then I guide them to write them down. We then analyze them by writing out each
note's relationship to the chord and respective scale.

I use the system of numbering the scale and chord tones, neighbor tones,
approach tones, passing tones, scale tones, and chromatic tone (some of which
have multiple names -- and we discuss and comprehend which and why...) ...
labeling the riffs and/or lick using this system ....

We also look at each tone in the scale relationship to the chord and designate
which (be hearing them) tone, as to stable and non-stable tones, non-harmonic,
and harmonic tones -- in alterations and extensions of the chord via the scale
... we also discuss and throughly cover substituted chords and arpeggios over
changes ... like one of Wes' favorite solo techniques of playing over a Dom. 7th
chord with a major 7th arpeggio a whole step below in order to hit all the
stable extensions: G7 ---> G B D F A C E .... and to look at playing a tri-tone
sub over a Dom. 7th alt: B7b9 -----> F9 (F A C Eb G).....

Then I'll have them pick out riffs and licks from their favorite players, and
have them transcribe the riffs and licks they like in the solos .... we then do
the same analysis as to labeling described above ....

After a few months of these types of exercises and lessons they begin to hear
"What" is in Riffs & Licks and why they are so 'memorable'.




John Amato
Isaiah 55:11

--- In jazz_guitar@..., "bobafifi" <bobafifi@...> wrote:

I'm trying to find out who played the alto flute solo in the opening animation on 'Trail of the Pink Panther.' I'm not sure who was in Henry Mancini's band in 1982, but I know he worked with Don Menza, Bud Shank and Jerome Richardson. If you know (or know how to find out), it would be greatly appreciated. Here's the video
(solo is at 3:23)

I think it was Adrian Brett



--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

I think we could do well to respect the oral tradition, and share
what we know with each other, without over intellectualizing it.

Good thoughts C. There is someone doing just that he charges a
pittance for his knowledge as far as I am concerned. I am not in a
location where I could even find a college level group lesson in
theory and improv or a private teacher assuming I could afford one. I
don't work for the guy and am just a happy customer.

on jazz. If you call it's
him or his wife that answers the phone. Oh, there is a jazz clinic
near Yosemite this summer. About 5 days. He's doing the guitar part
and the is one for bass running concurrently.

First video I downloaded cost 3.99. Just a short chord melody intro.
More involved stuff i.e. whole tune in block chords was about ten
bux. Longer more involved stuff is more. I think the course on Bebop
is about 20.00. Thats 12 vid. lessons plus practice tracks and pdf.
of charts. The theory is part of the vid and not laid on real heavy.
For the Bebop and some of the other stuff it would be good to know
basic jazz chords and the neck.

You are fortunate to have the knowledge available first hand. I can't
ask Rich questions. He's not set up like Bruno's course was. But you
have to live in a city. You have to decide if that's a good trade or
not. But it's no problem keeping me `upon the mesa.' {;^)>

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

That is so true, it seems that every time a player picks up
a guitar in public he has to show how fast he is.

I also agree with you regarding horn/wind players there is a
great deal to be learned there.

Good Luck

Will

On Nov 19, 2010, at 3:08 PM, john wrote:

Like Dan Hicks and his hot licks?

"Licks" was a dirty word among my jazz crowd a few decades ago -
that was considered a crutch for Rock n' Roll players.

No they were Cool.

Ron
Living and playing outside the box.

Dave, you took the words out of my mouth. Charlie Christian was very innovative in his time, but his licks and solos aren't that hard to cop. So, don't look for a book or a transcription. Buy the CD and learn the ideas you want.

George

On Nov 19, 2010, at 3:06 PM, john wrote:

WELL THANK YOU MARK! That would be amazing! I can't think of a
better thing for many of us amateurs to study.

I see everyone worships CC. Why not.

j

I will upload it to the file

section.

Same here Mark thanks be unto you.

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

Ok, I will PayPal $50 to the first person that solves this mystery.

Thanks!
-Bob

Dude,

You get it... Good luck and all the best!

All the theory/scales/etc in the world isn't worth much if you can't "hear" what it is you're playing, or want to play. You're also absolutely right, one good note played with conviction trumps a ton of scale-based runs that don't swing.

When I was coaching jazz combos a few years ago at a local university, I had a pianist who spewed all over the place, but didn't really "say" anything; I stopped him and asked him to play one chorus using just one finger. He looked at me like I was full of s**t, but since I was the instructor, he tried it, and the light came on. He had to actually think about what he wanted to play, had to think about phrasing, etc, and the result was way more musical.

Music is about sound, not words. On this forum, a lot of time is spent "talking" about scales/modes/etc, but some of that time would be better spent listening and playing/practicing...

Cheers,
JV

Juan Vega


Blues is an oral tradition. Very few of these players could read any music, and I learned the way everyone else did: listening, listening and listening. If you were lucky, you'd meet someone who could play, and they would first show you the song structure, and then break down the phrases.

Books are fine, but especially in a music built on emotion, spontaneity and technique, the only way to really "get" it was to listen. So I'm not down on phrase books, but I think their value is limited as compared to lots of listening.

All of the students in my group know their modes, scales, chord structures, interval relationships, etc. I'm the clearly the class dummy, the slowest sight reader in the class and am often embarrassed about having to count intervals on my fingers or look at the fretboard to see where a minor seventh is.

But in the performance part of the class, I blow them away. While they are noodling, trying to jam as many notes into their break as possible, really flailing about, I LISTEN to the bass line, try and find the leading tone and most important, try to make short declarative phrases that work around that, that develop a theme. Five notes that say something has to be better than 20 that don't, no?

One of the girls came up to me after class, kind of stunned that a musical ignoramus could play. She asked me how I knew what to play. (I had played this neat little Wes Montomgery run at one point and it was kind of funny, this one girl on the piano stopped playing and turned around to look at me with her jaw dropped open). I told her that I had recorded that section of the Wes phrase at home and played it over and over against the recording until I got it. That never dawned on her and none of her music teachers had told her to try that!

Given enough time, a gentle teacher and enough listening, a musician can see why that lick works and where, and given enough practice, you can make it your own.

I'm sticking with the workshop because I like the idea of learning theory, of developing a better understanding of the mechanics underneath it all. But at the end of the day, I think we could do well to respect the oral tradition, and share what we know with each other, without over intellectualizing it.

And appropos to a discussion elsewhere here, I've started to try and cop phrases from non-guitarists. Am currently going though some Gerry Mulligan and Stan Getz stuff that in a word, is just plain cool.

My long 2 cents....








[Non-text portions of this message have been removed]

Dear friends, hope you can come out Tuesday, November 23rd to hear Pete
Bernstein and myself in a duo performance at Bella Luna Restaurant. Located at
584 Columbus Avenue and West 88th street. Music from 8 till 10.30. To reserve a
table or seat near the music, please call 212-877-2267. Good food and no cover
charge.


www.jackwilkins.com
www;petebernstein.com
www.bellalunanyc.com

Back in the day, when I was trying to learn, all we had was the LP's to
listen to. In an interactive situation which is the core of what jazz is,
WHY did he play that "lick" at that moment in the interaction is an even
more important aspect than the lick.



For an individual jazz musician, "signature" is a far better label than
"lick" because it identifies the personality of the individual musician.
You will only inwardly really realize the true meaning of the "lick" if you
listen to the whole group in a spontaneous musical interaction. Go Listen
until you remember it, understand its meaning in context, then work it out
and play it.



Dave Woods

Especially for you educators out there, I thought I'd add something to the discussion and also based on some experiences...

As some of you know, I'm reasonably new to straight-ahead jazz. I've been playing hard Chicago Blues for about 30 years, and although I'm no Buddy Guy, I'm fairly accomplished (I was good enough to put myself through law school as a hired gun in the blues scene in NY in the 80's).

Blues is an oral tradition. Very few of these players could read any music, and I learned the way everyone else did: listening, listening and listening. If you were lucky, you'd meet someone who could play, and they would first show you the song structure, and then break down the phrases.

Books are fine, but especially in a music built on emotion, spontaneity and technique, the only way to really "get" it was to listen. For example, check out the classic Freddie King "Ain't Nobody's Business" at

and you'll see there's no way a book can truly capture the inflection and vibrato, the attack and string muting and most important, the breath in between phrases that makes these solos so great. So I'm not down on phrase books, but I think their value is limited as compared to lots of listening.

Blues players speak almost exclusively in terms of "licks" and after enough listening you recognize the licks in one artist's work as appearing in an earlier recording of someone else's. For example, hear Lightin Hopkins "Mojo Hand" at

and check the solo aroung :54 into it. Now hear Stevie Ray Vaughn play "Scuttle Buttin" at
and you'll recognize many of Lightnin's same phrases. (And if you know your Albert King, you'll hear a lot of his stuff there too). That's the oral tradition at work.

Flash forward to today. I'm enrolled in a jazz workshop here in the city, a group lesson (all instruments, not just guitar) where the focus is on theory and improvisation. All of the students in my group know their modes, scales, chord structures, interval relationships, etc. I'm the clearly the class dummy, the slowest sight reader in the class and am often embarrassed about having to count intervals on my fingers or look at the fretboard to see where a minor seventh is.

But in the performance part of the class, I blow them away. While they are noodling, trying to jam as many notes into their break as possible, really flailing about, I LISTEN to the bass line, try and find the leading tone and most important, try to make short declarative phrases that work around that, that develop a theme. Five notes that say something has to be better than 20 that don't, no?

One of the girls came up to me after class, kind of stunned that a musical ignoramus could play. She asked me how I knew what to play. (I had played this neat little Wes Montomgery run at one point and it was kind of funny, this one girl on the piano stopped playing and turned around to look at me with her jaw dropped open). I told her that I had recorded that section of the Wes phrase at home and played it over and over against the recording until I got it. That never dawned on her and none of her music teachers had told her to try that!

Given enough time, a gentle teacher and enough listening, a musician can see why that lick works and where, and given enough practice, you can make it your own.

I'm sticking with the workshop because I like the idea of learning theory, of developing a better understanding of the mechanics underneath it all. But at the end of the day, I think we could do well to respect the oral tradition, and share what we know with each other, without over intellectualizing it.

And appropos to a discussion elsewhere here, I've started to try and cop phrases from non-guitarists. Am currently going though some Gerry Mulligan and Stan Getz stuff that in a word, is just plain cool.

My long 2 cents....

Bobby,

Thank you,

Will