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995077 Posts in 66693 Topics- by 16494 Members - Latest Member: DRCCCDMD
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1  Teaching & Learning / Schools, Colleges and Conservatories / Re: What made you choose to go to the school you went to? on: Sep 25, 2015, 02:23PM
A combination of the teachers, the caliber of the other students, and the financial aid situation.
2  Teaching & Learning / Composition, Arranging and Theory / Re: Getting Fair Pay for Arranging Services on: Sep 10, 2015, 01:27PM
I have a good friend here in Boston who does this for a living, I can put you in touch with him if you want.  He writes charts for friends' groups as well as random freelance writing gigs, at a pretty high  level (the Boston Pops recently played a couple of his arrangements), and he seems to do a good job of taking care of the business side without rubbing anyone the wrong way.
3  Teaching & Learning / Schools, Colleges and Conservatories / Re: Best colleges in Europe on: Aug 26, 2015, 02:20PM
I would check out the Jazz-Institute Berlin.
4  Creation and Performance / Performance / Re: Soloing over changes on: Aug 24, 2015, 05:39PM
How do you guys think about soloing?  What are you trying to do?

Fundamentally?  When I'm improvising, I'm trying to start or continue a conversation.  Responding to whatever has just happened in the music, or to what is happening at the moment.  Hopefully the people I'm playing with will likewise respond and the conversation will continue.  Different playing situations may have more or less restrictive parameters in which that conversation can occur - as other posters have said, certain more modern harmonic practices aren't stylistically appropriate in earlier jazz styles, for example - but the idea of being part of a conversation, of playing something that relates in some way to whatever's going on in the music, always applies.

And that includes relating to whatever I've just played myself - coherent improvised lines have to have some kind of continuity from moment to moment.  One of my teachers, John McNeil, would have me try to improvise a solo by starting with a simple motive, then playing that motive with just a small variation, maybe 2/3 the same as the original and 1/3 different, then dropping another piece of the original motive and adding another smaller variation.  Continuing on like that, you get an improvised line that's constantly evolving, but each moment is connected to the previous and to the next.
5  Practice Break / Chit-Chat / Re: Anybody see Whiplash? (the new movie) on: Aug 21, 2015, 02:21PM
Is the story about Jo Jones and Charlie Parker true?  Did Jo Jones really almost decapitate Bird with a cymbal?

Not quite.

6  Teaching & Learning / Composition, Arranging and Theory / Re: Price for Commissioning Transcriptions for Big Band? on: May 24, 2015, 09:20PM
My friend and colleague Danny Fratina basically does big band transcriptions and arrangements for a living, and does great and very accurate work quite quickly.  You can contact him for a quote through his website.

7  Creation and Performance / Music, Concerts and Recordings / New Maria Schneider Orchestra album "The Thompson Fields" on: May 23, 2015, 04:43PM
Hi guys, just wanted to spread the word that a new Maria Schneider Orchestra album came out yesterday.  It's been about 8 years since her last album with the big band, but it's well worth the wait.  This is really stunning music and uniformly fantastic playing, recorded exceptionally well.  Available through ArtistShare - http://artistshare.com/v4/
8  Creation and Performance / Musical Miscellany / Re: Trombone movies? on: May 15, 2015, 02:09PM
And not really a film, of course, but "Treme" is pretty amazing.

Yep, a great show!  And one of the main characters is a trombonist.
9  Teaching & Learning / Composition, Arranging and Theory / Re: Is there a word that means.. on: Apr 23, 2015, 02:20PM
Robcat, I'm actually a little bit unsure of where that line is myself. My understanding is that:

Orchestration is a type of orchestration (  :-0 ) wherein a piece is adapted for an orchestra.
Transcription is a type of orchestration where an adaptation is basically note-for-note, but with different instruments
Arrangement is a fairly substantial difference from the original in some way, and can include (re)orchestration, modification to the form or accompaniment, modification to harmony, etc.

Is that accurate at all?  I'd love to hear a clarification.

My understanding is:

Orchestration is the assigning of existing musical material (melodies and harmonies, notes and rhythms, etc) to particular instruments.
Transcription is writing out existing material note for note, whether writing down what was played in a recording, or writing out a piece for a different instrumentation (overlapping with orchestration in that case).  It could also be working out what was played in a recording without writing it down - the key thing is that it is essentially a reproduction of something that was already played or written.
Arrangement is taking existing material and adapting it for performance.  This may include orchestration and may include some new composition (intros/interludes/endings, background figures, etc) but preserves the essence of the original melody and harmony.
Recomposition is taking bits of existing material and creating a new piece out of them.
A chart is just any sheet music, whether it's an original composition, an arrangement, a transcription, a lead sheet, a 2nd trombone part, a full score, or anything else.
10  Teaching & Learning / Practice Room / Re: What are some songs I should know going into college? (Jazz) on: Mar 19, 2015, 02:25PM
Hi Nick, congrats on Humber!  I have a number of friends who went to school there and got a great education.  And good for you for digging in and learning tunes.  This is a good place to start:

11  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: 2015 - List of Excellent Slide Techs on: Mar 08, 2015, 03:32PM
I like Jim Becker here at Osmun Brass in the Boston area.

Yep.  I've had excellent work done by Jim.
12  Horns, Gear, and Equipment / Mouthpieces / Re: Rath S11 MN on: Feb 09, 2015, 03:13PM
I've been playing on one for several years, and I agree that it's a great design.  Gets a really substantial sound despite the fairly small size.
13  Town Hall / Notices from TTF Members / Nick Finzer: The Chase PledgeMusic pre-order campaign on: Dec 19, 2014, 01:52PM
Hi everyone, I just wanted to share this project by my good friend Nick Finzer.  Nick is a fantastic player and one of the hardest-working people I know.  He's in the studio today recording his second album as a leader, and has this campaign going on PledgeMusic in which you can pre-order the digital album for $5, or donate more for additional rewards.  Follow the link for more info:

14  Teaching & Learning / Schools, Colleges and Conservatories / Re: Summer Internships on: Dec 19, 2014, 01:37PM
I second the Interlochen suggestion, although I would point out that there are many jobs available there besides being a counselor.  And actually, if you're hoping to spend a lot of time playing trombone while you're there, I would suggest going for a different job - the counselors don't get a whole lot of free time.  In most other jobs you do though, and there are a number of performing opportunities available to staff members who are good players.
15  Horns, Gear, and Equipment / Accessories / Re: Headphones For Recording Sessions on: Nov 19, 2014, 02:28PM
I always bring earbuds to recording sessions, because of all the issues you brought up.  I have the Shure SE215 earbuds, which I bought originally to use as in-ear monitors on stage, and I've been really happy with them.  They don't block out 100% of outside noise, but they do block a lot of it, and they sound great.
16  Teaching & Learning / Schools, Colleges and Conservatories / Re: Best Schools to Study Trombone and Music Education on: Aug 19, 2014, 03:47PM
Eastman has excellent programs for both, and the performance/ed double major is very common there.

Beyond that, well, you go to IAA?  Talk to Tom, he knows what he's talking about.
17  Creation and Performance / Performance / Re: taking two trombones to a gig on: Aug 02, 2014, 03:48PM
Yep.  I've done a fair amount of playing in medium-sized jazz groups (7-9ish players) and it seems that a lot of people who write for that size ensemble like to use the low register of the trombone, valve notes included.  So I'll often take both a small bore straight tenor and a large bore tenor w/ F attachment for those situations.  I usually use both horns on trombone quartet and brass quintet gigs as well, depending on the rep.  When I used to do more orchestral playing, I'd use large tenor, sometimes alto, and occasionally small tenor, and I played all three when I was in the Eastman Trombone Choir.
18  Horns, Gear, and Equipment / Accessories / Re: Case for small bore/jazz trombone on: Jul 30, 2014, 03:27PM
Another vote for BAM.
19  Creation and Performance / Musical Miscellany / Re: What is the weirdest time signature you have ever seen? on: Jun 01, 2014, 03:34PM
I was introduced to some of Steve Lehman's music at the Banff jazz workshop a few years ago.  His piece "Foster Brothers" has meters like 3/16+2/8+3/16.  The idea in this case is that the music flows in 4, but oscillates between two different tempos - the 3/16s are felt as elongated eighth note beats.

20  Horns, Gear, and Equipment / Technology / Re: Dreamy Trombone Mic on: May 13, 2014, 02:03PM
Best recorded sound I've ever gotten was with an RCA 77-DX in the studio at the Banff Centre.
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