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Rich Willey's Bop & Jazz Duets


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Liad Bar-EL
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PostPosted: Sun Nov 03, 2002 2:40 am    Post subject: Reply with quote

Hey you guys, pay attention to this!!

You all want some books that has really got the jazz put together and really fun to play? Try out Rich Willey's I'd Rather Be Boppin (24 Bop Duets) and the other one which is just a riot called HomeCookin' Fer Young 'Uns (24 Dixie Jazz Duets).

All the changes are well marked, all measures numbered, excellent stationary, easy to read and just well put together all together.

Rich, you did a wonderful job and I would recommend these books for anyone who is interested in learning jazz and to those who are already playing jazz.

Excellent job and thanks buddy,

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BeboppinFool
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PostPosted: Tue Nov 05, 2002 7:25 am    Post subject: Reply with quote

Thanks, Liad!

I noticed that only 20 people have viewed this post. Pretty clear that most trumpet players aren't interested in playing real music with each other.

But if you had posted a topic that mentioned Double C, probably 200 people would have viewed it by now.

It's kinda lonely being one of the few trumpet players who advocates good taste, good music and good jazz composition. Still, I'd rather listen to tasteful jazz being played on a trumpet between low F# and high C for 100 years than a bunch of double C's being played for one minute.

I'm funny that way.

Rich
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Liad Bar-EL
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PostPosted: Tue Nov 05, 2002 7:56 am    Post subject: Reply with quote

Yea, it is said that 98% of music is below high C and yet it seems that in reverse to that percentage the forum messages are concerned about how to play above it.

Nevermind, that's their problem.

The changes are there in this music for other instruments, add a drum and you've got a band. Any other tips on how to make this smooth?

Thanks,
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BeboppinFool
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PostPosted: Tue Nov 05, 2002 8:01 am    Post subject: Reply with quote

Quote:

On 2002-11-05 10:56, Liad Bar-EL wrote:
Any other tips on how to make this smooth?

Yes . . . PRACTICE!

Okay, now that I've gotten past the initial smart remark; you can also try listening to lots of jazz . . . Clifford Brown, Charlie Parker, and Hank Mobley are three of my all-time favorites.

Thanks again, Liad!

Rich
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Liad Bar-EL
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PostPosted: Tue Nov 05, 2002 8:05 am    Post subject: Reply with quote

Will do, Rich.

Please give me some names of recordings of Clifford Brown, Charlie Parker, and Hank Mobley which you like.

Thanks,
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Liad Bar-EL
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PostPosted: Tue Nov 05, 2002 8:20 am    Post subject: Reply with quote

Got an idea Rich.

You've played with Maynard before. How about making some screeching duets?
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jazz_trpt
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PostPosted: Tue Nov 05, 2002 9:43 am    Post subject: Reply with quote

Quote:

I noticed that only 20 people have viewed this post. Pretty clear that most trumpet players aren't interested in playing real music with each other.


...or have seen advertisements and endorsements for your books before.
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BeboppinFool
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PostPosted: Tue Nov 05, 2002 10:23 am    Post subject: Reply with quote

Quote:

On 2002-11-05 12:43, jazz_trpt wrote:
...or have seen advertisements and endorsements for your books before.

Maybe you have a point. I'm gonna try something . . . pertaining to a book that everybody's seen advertised and endorsed before and see if your theory holds up.

Rich
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BeboppinFool
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PostPosted: Tue Nov 05, 2002 12:44 pm    Post subject: Reply with quote

Quote:

On 2002-11-05 12:43, jazz_trpt wrote:
...or have seen advertisements and endorsements for your books before.

Well, in less than 2½ hours the number of views for the topic Double High C in 37 Weeks has reached 21 (minus my original view makes 20). Liad's post about Bop & Jazz Duets took 2 days and 5 hours to reach 20 views. Jeff, I'm glad you prompted me to conduct that liittle experiment. Conducting experiments is kinda fun, isn't it?

And y'know what? That's okay . . . I've learned so much about the trumpet-playing "market" since the formation of Boptism Music Publishing that it would be hard to sum up my feelings in a single post. Suffice it to say that I've learned a lot.

Hope y'all are having a nice Double C election day!

Rich
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Pedro
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PostPosted: Tue Nov 05, 2002 12:57 pm    Post subject: Reply with quote

Great reply and WELL SAID RICH!!! Though I like my range...I LOVE MY "CHANGES"!!!
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Liad Bar-EL
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PostPosted: Tue Nov 05, 2002 9:13 pm    Post subject: Reply with quote

Nice one Rich, but please don't forget me on my request to you.

"Please give me some names of recordings of Clifford Brown, Charlie Parker, and Hank Mobley which you like."

I think that you would have received a much higher count on the High C message if it were in the High Range Development forum.

Thanks,
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[ This Message was edited by: Liad Bar-EL on 2002-11-06 00:19 ]
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mark936
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PostPosted: Tue Nov 05, 2002 9:31 pm    Post subject: Reply with quote

If you were giving away free copies to the first twenty viewers I would be a lucky recepient.

DUETS?

I figure it's like sticking two bulls in the same pen. Just can't be done. Who's going to play second part?


DC Wilhemisit
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tryingtolivethelife
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PostPosted: Tue Nov 05, 2002 9:50 pm    Post subject: Reply with quote

For Clifford Brown, you want to hear Delilah. Totally awesome solo, first solo I ever transcribed, and Cherokee. Joyspring. He played on a Hellin Merril date, and his solo on "Don't explain" is more than beautiful. Thats a good start I think. For Charlie Parker, you should check out the Omni book, and then get recording of as many as you can find. I have learned so much from the omni book, and the respective recording. And as for those who would say "transcribe with your own ears", I do But the omni book is still great!
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mark936
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PostPosted: Tue Nov 05, 2002 9:51 pm    Post subject: Reply with quote

BTW, you're going to have to deduct about three or four of those hits because I clicked back on a few times to review what Liad had wrote.

mm
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PH
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PostPosted: Wed Nov 06, 2002 7:56 am    Post subject: Reply with quote

Rich,

These duets are great! Here's a question.

Are they available in concert, bass clef, and Eb transposition? Since it appears that they are already in Finale or Sibelius it shouldn't be that hard to do the other keys (except for the chord symbols, maybe). Anyway, I spend a lot of time working on sight-reading with my student band. If your book were in all the transpositions I could use it as an "eyes" warmup and have the entire band blunder through a couple of them @ each rehearsal.

I would require it as a "text" for the class and have our campus book stores stock them. That's 20 guaranteed sales a year minimum.

Think about it!
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Liad Bar-EL
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PostPosted: Wed Nov 06, 2002 9:26 am    Post subject: Reply with quote

Quote:

On 2002-11-05 10:25, BeboppinFool wrote:
Thanks, Liad!
I noticed that only 20 people have viewed this post. Pretty clear that most trumpet players aren't interested in playing real music with each other.
But if you had posted a topic that mentioned Double C, probably 200 people would have viewed it by now.
It's kinda lonely being one of the few trumpet players who advocates good taste, good music and good jazz composition. Still, I'd rather listen to tasteful jazz being played on a trumpet between low F# and high C for 100 years than a bunch of double C's being played for one minute.
I'm funny that way.
Rich

Rich, check out the statistics of my post in the High Note Development forum with the thread called "Double High C in Ten Minutes" and tell me what you think.
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BeboppinFool
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PostPosted: Wed Nov 06, 2002 9:49 am    Post subject: Reply with quote

Quote:

On 2002-11-06 12:26, Liad Bar-EL wrote:
Rich, check out the statistics of my post in the High Note Development forum with the thread called "Double High C in Ten Minutes" and tell me what you think.

Wow! 77 views in 20 minutes. You're doing wonders for reinforcing my case, man . . . thanks!!!

Rich
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BeboppinFool
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PostPosted: Wed Nov 06, 2002 9:53 am    Post subject: Reply with quote

Quote:

On 2002-11-06 10:56, PH wrote:
Are they available in concert, bass clef, and Eb transposition?

They are available in B-flat, E-flat, and C bass clef. I have not had enough demand to warrant a concert version. Flute and oboe players? Guitarists (yeah, right, that's a good laugh, eh?) . . . pianists? Piccolo players?

You'd really need them in concert pitch?

Rich
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PH
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PostPosted: Wed Nov 06, 2002 10:48 am    Post subject: Reply with quote

Yeah, C for pianists, guitar, vibes, flute, and fiddle. Over the last 5 years I have had 3 or 4 of those beasts in every edition of my band.

You could just do homemade versions of the concert book for me if you wish. God knows the guitarists need it most of all.
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BeboppinFool
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PostPosted: Wed Nov 06, 2002 2:05 pm    Post subject: Reply with quote

Quote:

On 2002-11-06 13:48, PH wrote:
You could just do homemade versions of the concert book for me if you wish.

Pat, those who know me know that I don't do makeshift jobs on anything. I'll get to work on the engraved version of the C book this weekend. However, which octave should I put it in? Guitar sounds an octave lower than piano . . . but the books go below the low C for flute an awful lot . . . would I just move the B-flat book down a whole step, or put it up an octave from that? See my dilemma? As a trumpeter, I wrote them in my head thinking trumpet. I don't know how well that register translates for the various C instruments. They work pretty darned well for E-flat alto and bari sax, and for trombonists the only complaint is that they're hard to play up to tempo — the register is equivalent to trumpet, just an octave lower.

So Pat, if you give me some direction, I'll do what you say . . . how's that?

Rich (in dire need of direction!)
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