[Dixielandjazz] CLASSICAL & JAZZ MUSICIANS:
LARRY'S Signs and Large Format Printing
sign.guy at charter.net
Mon Mar 28 13:26:46 PST 2005
I understand that if you are left handed you are basically a right brain
person and this might explain why I improv better than read but I can do
other tricks like write backwards and write with my right hand backwards
while writing with my left hand forwards at the same time. Too bad you
can't make money doing that.
I read fairly well but I really have to work at it and sometimes completely
without warning my reading ability just goes a half a bubble off which can
get interesting. I don't have to work at improv much and I really wish that
I had the sight reading ability that some of my friends has. Another friend
who really plays some neat solos won't play with a band unless he gets to
see the book first or go to rehearsals and he played with the Kenton band.
I tend to be a memory player and I really don't like written solos. I have
some of them memorized like the tenor solo in "In The Mood" This has some
advantages because I can't see the music when I stand up.
I know you shouldn't generalize about players but there does seem to be a
split between the different types of musicians in what they can do. I guess
the thing that makes me tired is the condecending attitude that many "legit"
musicians have towards the jazz musicians while many jazz musicians just
feel sorry for the restrictions that classical musicians seem to impose upon
themselves. Personally I always rebelled at the idea of a conductor
(musical equalivent of Ivan the terrible) dictating every nuance of a piece
of music to me. I have had a lot of classical training and spent many years
in the AF band (SMSgt retired) so I know what I'm talking about. I just
don't care for it any more.
I enjoy the freedom to create. What artist would want someone to draw the
lines for him and then repeat endlessly the work. We call those coloring
books not fine art. I don't want lines and I don't want to play music the
same way everytime nor am I about to practice endlessly to be able to do
that. Having said all that I still try to keep my reading skills up but
will never let it take over my life.
.---- Original Message -----
From: "Russ Guarino" <russg at redshift.com>
To: "Steve barbone" <barbonestreet at earthlink.net>
Cc: "DJML" <dixielandjazz at ml.islandnet.com>
Sent: Monday, March 28, 2005 11:58 AM
Subject: Re: [Dixielandjazz] CLASSICAL & JAZZ MUSICIANS:
> I guess this is a good illustration that both the right and left brain can
> developed to a high level. It is just a matter of working on it.
> left brain reads the music, right brain does the improv. It is always
> funny, when an accomplished left brainer [ legit good reader ] tries jazz.
> are left in a state of shock.
> Here are the four types of right brain steps that players go through:
> 1] Trust to God that the fingers will go to the right places. Trust me,
> does not work.
> 2] Read and play the tune and add a few additional notes here and there.
> 3] Read the chords and play notes that fit the chords.. scale tones that
> the chords. More complex tunes with suprise progressions require this.
> 4] Take your eye off the music and play what your hear. Your best solos
> played this way.
> I am a "legit" reader clarinet player that went through all these steps
> last five years. I probably had one advantage. Even as a youth before I
> started playing sax, I could always anticipate the next chords of a tune
> listened to the big bands of the 30s-40s. So, the right brain had been
> little bit and improv came to me a little easier than perhaps most others.
> Russ Guarino
> Steve barbone wrote:
> > One never knows about the two. There is some crossover.
> > Our Dixieland Trombonist is GLENN DODSON, Now 74 years old.
> > Curtis Institute Grad
> > 3 years 1st Trombone Marine Corps Band, Washington DC.
> > 9 Years 1st Trombone N. O. Symphony
> > 3 Years Trombone Chicago Symphony
> > 28 Years PRINCIPAL TROMBONE Philadelphia Symphony Orchestra.
> > His students include Principal Trombones of Philadelphia, NY, Chicago
> > San Francisco Symphonies.
> > Generally acknowledged by his peers, in his prime classical years, as
> > the 4 finest Classical Trombonists in the World.
> > Loved Jazz from Day One.
> > Moonlighted with Fountain, Hirt, Humphries, Kimball et al in New
> > Moonlighted with Jazzers in Philly and NYC after that.
> > Plays as fine an OKOM Trombone as you would ever hear as long as you
> > appreciate Teagarden and are not wedded to Ory as the last word in
> > playing concept.
> > Musically he is an unbelievable player and makes the rest of the band
> > slouches either), that much better.
> > One never knows, do one?
> > Cheers,
> > Steve Barbone
> > _______________________________________________
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