If so, it was just fine! I heard the high G's and and a few higher notes come out pretty cleanly. Well done! Overall a good performance by the band as well.
As for not being your best performance, well, you'll have to get used to that. I usually only expect about 80-90% perfect execution in live performance, sometimes less. Ask just about anybody here on TH what their percentage is...
And don't attribute it all to (your) nerves- sometimes it can be somebody else's nerves that can throw you off. Any early entrance, a missed note, rhythm section not together, etc., so, a LOT of factors to contend with.
Recording (especially LIVE) can bring on a lot of anxiety if the music is not down Cold. Stone Cold. Performed live at least 20-30 times.
I just listened to Count Basie's "Live at Birdland" and "Breakfast Dance and Barbecue." (put it on my phone, actually).
Now here's an example of a great band (at one of their many peaks) performing live maybe 200-250 times per year, some of these difficult charts 100 times or more. They know those charts Cold, and every player in the band is committed to making the music happen and you can hear and feel this in these recordings.
The point is, Zack, that even the Great players may have some anxiety or a little extra adrenaline before the "important" gigs, but they work through the first splee-yahs and minor flubs and then settle down and dig in.
"Perfect" rarely happens in live performances (usually only in the studio). You and the band (and director!) did a fine job.
Thanks for having the guts to share the link!
mc
p.s And don't listen to your recital tapes-Ever! _________________ A mouthpiece never missed a note by itself!
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Sun Mar 25, 2012 6:18 pm Post subject:
Thanks for the input, Mark. Honestly, if I'd have done terribly on the whole chart and played that shake the same way, I'd still be happy. I didn't get the breath I wanted on the entrance, so I had to back off a bit. _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
Cool... Birdland is a blast to play! Keep working on Clarke and Colin... soft and slow! Watch your releases...
Walter Payton (famous Chicago Bears running back) was asked about goofy touchdown dances. He said his Dad told him that when he gets to the end zone he should act like it wasn't his 1st time there.
High note releases with kiss-offs and such are like that. A fat sound that BURIES the band with a clean release is very nice. Act like it's no big deal. A former teacher of mine, Don Jacoby, had bad things to say about guys that did that...
Here is his quote:
Quote:
Lead playing must also be approachd with a mature feeling. There is nothing that provokes me more than hearing a lead player hang over on the end of a phrase or the chart. Then he either screams or tears off the note. This is a terrible exhibition of immaturity just to show everybody that you are playing the lead part. Hey.. everybody knows you're the lead player... First, you are standing in the middle and if that doesn't prove it, you lay out of all the unisons. That, my friend, is proof positive!
Lead, not by showing off, but by setting an example with your playing.
Bass Bone was laying it down! Guy on 2nd nailed that fast run near the end!
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Sun Mar 25, 2012 7:05 pm Post subject:
the guy that nailed the run was actually the 4th part player if we're talking about the same bit. _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
Cool... Birdland is a blast to play! Keep working on Clarke and Colin... soft and slow! Watch your releases...
Walter Payton (famous Chicago Bears running back) was asked about goofy touchdown dances. He said his Dad told him that when he gets to the end zone he should act like it wasn't his 1st time there.
High note releases with kiss-offs and such are like that. A fat sound that BURIES the band with a clean release is very nice. Act like it's no big deal. A former teacher of mine, Don Jacoby, had bad things to say about guys that did that...
Here is his quote:
Quote:
Lead playing must also be approachd with a mature feeling. There is nothing that provokes me more than hearing a lead player hang over on the end of a phrase or the chart. Then he either screams or tears off the note. This is a terrible exhibition of immaturity just to show everybody that you are playing the lead part. Hey.. everybody knows you're the lead player... First, you are standing in the middle and if that doesn't prove it, you lay out of all the unisons. That, my friend, is proof positive!
Lead, not by showing off, but by setting an example with your playing.
although I heartily agree for the great majority of lead-playing...
This *was* a "Maynard" chart
perhaps striving for authenticity here.
_________________ A mouthpiece never missed a note by itself!
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Sun Mar 25, 2012 9:08 pm Post subject:
hey I laid out like 3 beats of that chart... and I was striving for authenticity. I was playing on my old Holton MF horn, with a copy of one of Maynard's mouthpieces that Jim Manley lent me. _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
Joined: 29 Jan 2003 Posts: 1817 Location: Phoenix, AZ
Posted: Sun Mar 25, 2012 9:21 pm Post subject:
Your high notes are strong, especially if you're in high school. There's other aspects of trumpet playing that you'll want to address. I recommend you spend some time working on playing a ballad and working on jazz articulation, etc. Lead players also need to be able to play jazz (so that they can correctly articulate a jazz lick) and also sound good in the mid register. Keep practicing!
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Mon Mar 26, 2012 11:27 am Post subject:
PhxHorn wrote:
Your high notes are strong, especially if you're in high school. There's other aspects of trumpet playing that you'll want to address. I recommend you spend some time working on playing a ballad and working on jazz articulation, etc. Lead players also need to be able to play jazz (so that they can correctly articulate a jazz lick) and also sound good in the mid register. Keep practicing!
I play through the Basie-Nestico lead book about 5-7 times a week; helps a lot. _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
I didn't mean you were laying out... that was just a quote straight from Jake about lead players.
Keep up the good work! Post more clips!
Believe me...I am thankful there wasn't YOUTUBE when I was in high school! I was the king of high G kiss-offs! Galen jeter ripped me one time for hot dogging when I sat in with the DJO once.... I had no shame.
He called my college director and said "WTF!?" about me. I was so stupid, I was telling everyone how great I was, but it made the complete opposite impression!
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Mon Mar 26, 2012 2:12 pm Post subject:
jiarby wrote:
I didn't mean you were laying out... that was just a quote straight from Jake about lead players.
Keep up the good work! Post more clips!
Believe me...I am thankful there wasn't YOUTUBE when I was in high school! I was the king of high G kiss-offs! Galen jeter ripped me one time for hot dogging when I sat in with the DJO once.... I had no shame.
He called my college director and said "WTF!?" about me. I was so stupid, I was telling everyone how great I was, but it made the complete opposite impression!
lol! _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
Joined: 29 Jan 2003 Posts: 1817 Location: Phoenix, AZ
Posted: Mon Mar 26, 2012 8:31 pm Post subject:
zackh411 wrote:
PhxHorn wrote:
Your high notes are strong, especially if you're in high school. There's other aspects of trumpet playing that you'll want to address. I recommend you spend some time working on playing a ballad and working on jazz articulation, etc. Lead players also need to be able to play jazz (so that they can correctly articulate a jazz lick) and also sound good in the mid register. Keep practicing!
I play through the Basie-Nestico lead book about 5-7 times a week; helps a lot.
That's a good lead book (if you mean the Straight Ahead one), but I mean playing ballads and mid register etudes, not lead charts. Get Aebersold vol 41, and practice some of the ballads on it like Misty and Body & Soul and check out some great recordings of those tunes, like Freddie Hubbard. It's a style you'll want to add to your playing. You'll also be surprised how ballad playing can strengthen your chops.
I'd also recommend the Kopprasch books, vol 1 & 2. There are both technical and lyrical etudes. You can practice the technical ones with bebop tonguing and it will help out your jazz articulation, and the slower ones are always good to play.
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Mon Mar 26, 2012 10:16 pm Post subject:
PhxHorn wrote:
zackh411 wrote:
PhxHorn wrote:
Your high notes are strong, especially if you're in high school. There's other aspects of trumpet playing that you'll want to address. I recommend you spend some time working on playing a ballad and working on jazz articulation, etc. Lead players also need to be able to play jazz (so that they can correctly articulate a jazz lick) and also sound good in the mid register. Keep practicing!
I play through the Basie-Nestico lead book about 5-7 times a week; helps a lot.
That's a good lead book (if you mean the Straight Ahead one), but I mean playing ballads and mid register etudes, not lead charts. Get Aebersold vol 41, and practice some of the ballads on it like Misty and Body & Soul and check out some great recordings of those tunes, like Freddie Hubbard. It's a style you'll want to add to your playing. You'll also be surprised how ballad playing can strengthen your chops.
I'd also recommend the Kopprasch books, vol 1 & 2. There are both technical and lyrical etudes. You can practice the technical ones with bebop tonguing and it will help out your jazz articulation, and the slower ones are always good to play.
I will keep those in mind. Right now I'm having consistency issues, and in longer playing sessions I tend to "change things" and my chops start to "not work" anymore. I'm trying to iron this out before I do a lot of extended playing; I'm afraid I'm building bad habits/muscle memory. _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
Joined: 29 Jan 2003 Posts: 1817 Location: Phoenix, AZ
Posted: Tue Mar 27, 2012 1:52 pm Post subject:
zackh411 wrote:
PhxHorn wrote:
zackh411 wrote:
PhxHorn wrote:
Your high notes are strong, especially if you're in high school. There's other aspects of trumpet playing that you'll want to address. I recommend you spend some time working on playing a ballad and working on jazz articulation, etc. Lead players also need to be able to play jazz (so that they can correctly articulate a jazz lick) and also sound good in the mid register. Keep practicing!
I play through the Basie-Nestico lead book about 5-7 times a week; helps a lot.
That's a good lead book (if you mean the Straight Ahead one), but I mean playing ballads and mid register etudes, not lead charts. Get Aebersold vol 41, and practice some of the ballads on it like Misty and Body & Soul and check out some great recordings of those tunes, like Freddie Hubbard. It's a style you'll want to add to your playing. You'll also be surprised how ballad playing can strengthen your chops.
I'd also recommend the Kopprasch books, vol 1 & 2. There are both technical and lyrical etudes. You can practice the technical ones with bebop tonguing and it will help out your jazz articulation, and the slower ones are always good to play.
I will keep those in mind. Right now I'm having consistency issues, and in longer playing sessions I tend to "change things" and my chops start to "not work" anymore. I'm trying to iron this out before I do a lot of extended playing; I'm afraid I'm building bad habits/muscle memory.
If that's the case, then I'd recommend you get over to the Reinhardt board and mention this to them. They can't solve major problems over the internet, but you should definitely look for and read the Chop Opus (about how to breathe without shifting your embouchure) and if you can possibly do a Skype lesson with Dave Sheetz or Chris LaBarbera, do so.
Your high notes are strong, especially if you're in high school. There's other aspects of trumpet playing that you'll want to address. I recommend you spend some time working on playing a ballad and working on jazz articulation, etc. Lead players also need to be able to play jazz (so that they can correctly articulate a jazz lick) and also sound good in the mid register. Keep practicing!
I play through the Basie-Nestico lead book about 5-7 times a week; helps a lot.
That's a good lead book (if you mean the Straight Ahead one), but I mean playing ballads and mid register etudes, not lead charts. Get Aebersold vol 41, and practice some of the ballads on it like Misty and Body & Soul and check out some great recordings of those tunes, like Freddie Hubbard. It's a style you'll want to add to your playing. You'll also be surprised how ballad playing can strengthen your chops.
I'd also recommend the Kopprasch books, vol 1 & 2. There are both technical and lyrical etudes. You can practice the technical ones with bebop tonguing and it will help out your jazz articulation, and the slower ones are always good to play.
I will keep those in mind. Right now I'm having consistency issues, and in longer playing sessions I tend to "change things" and my chops start to "not work" anymore. I'm trying to iron this out before I do a lot of extended playing; I'm afraid I'm building bad habits/muscle memory.
If that's the case, then I'd recommend you get over to the Reinhardt board and mention this to them. They can't solve major problems over the internet, but you should definitely look for and read the Chop Opus (about how to breathe without shifting your embouchure) and if you can possibly do a Skype lesson with Dave Sheetz or Chris LaBarbera, do so.
I'll second this-If you adhere to the Reinhardt principles your consistency will improve many times over, Zack. _________________ A mouthpiece never missed a note by itself!
Joined: 17 May 2011 Posts: 1019 Location: Saint Louis MO
Posted: Tue Mar 27, 2012 2:57 pm Post subject:
I'll definitely look into that. Summer is coming up, and I usually get some pretty hardcore practicing in during the break, so maybe that would be a good focus for me; thanks for the tips! _________________ Stomvi VRII Lightweight in Silver
1946 Martin Committee #2 Bore
Bach Strad 183 Flugel
Stomvi Elite Piccolo
Bobby Shew Jazz Mouthpiece w/ 18 Drill (Legit)
Yamaha Miyashiro 1 w/ 18 Drill (Jazz)
Stomvi JMZVR w/ M4 Backbore Jim Manley Mouthpiece (Lead)
Joined: 29 Jan 2003 Posts: 1817 Location: Phoenix, AZ
Posted: Tue Mar 27, 2012 5:32 pm Post subject:
Here's the Chop Opus, which you can utilize immediately. Many players, when breathing, spread their corners wide open and distort their embouchure inside the mouthpiece. Then when it's time to play, they slam everything together at the moment of attack, while their embouchure is stretched out inside the m.p.
So if they have a long passage, after several breaths their embouchure is falling apart. This can be especially true in performances when the adrenaline is flowing. Keep your lips just touching inside the mouthpiece when breathing and see what happens to your endurance. You may have to take in some air through your nose instead of everything through your corners, so it takes some getting used to.
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