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C Melody Saxophone Forum / C-Tenor (C-Melody) Saxophones / What a Lovely Sound (cont.)

Back 20 Messages

Castaway
User ID: 9182423 Jul 1st 10:16 AM
Mr Bb; Nowhere on this forum will you see "Keep up the bombardment" posted by either Captain Muggles or me. I posted "Take over the beligerence factor." So I guess we'll have to use another term of endearment to add to your description.: "Unable to read or comprehend". Have a Good Day.

Captain Beeflat
User ID: 1738604 Jul 4th 4:11 AM
jb1.
Your expression "less flowing" pretty well sums it up. It is not lack of proficiency which limits playing in F# and C#...rather more the mechanical layout of the keywork. Guitarists just move to a different fret and do the same thing...not so for a sax.

Alan (uk)
User ID: 0651814 Jul 4th 9:22 AM
jb1 - I learnt to play jazz by listening to 33rpm LP's. A real treat was to take a Charlie Ventura album and jam along with him at the lowest speed of 16 rpm. He sounded like he was permanently playing baritone, and (at half speed) I could just about keep up - it usually worked out that he was an octave down at that speed, perfect !

I learnt to play Duke Ellington's "Rocking in Rhythm", and many others, that way as well, in slow motion. Happy memories.

Beeflat - seemingly Jim Schmidts C-sax allows for moving the key up a semitone at a time ? Must find that reviwe....

Guwapo
User ID: 9363883 Jul 4th 11:13 AM
I know what you mean alan, i know a guy who learnt the entire Paul Gonsalves solo in "Diminuendo and Crescendo in Blue" that way and I take my hat off to anyone who can play like Charlie Ventura.

Captain Beeflat
User ID: 1738604 Jul 4th 11:30 AM
Guwapo.
I will take my hat off to anyone who could learn a solo of that length.
Alan.
Jim Schmidts's keywork is, without doubt, more logical: but,at our age, it is perhaps too late to start learning a new system...Even a (rich) beginner would be stuck with that system, should he buy one, and never know the joys of struggling with the Boehm layout!
Nonetheless...full marks to Jim Schmidt.

Alan (uk)
User ID: 0651814 Jul 4th 12:18 PM
Guwapo - I can still only play like Charlie Ventura at half speed... 8-((

But, joking aside, the '16' option on record players was a fine option in the 60's. These days even some quite basic PC recording software has the ability to alter the tempo whist retaining pitch.

Adding the other option of altering pitch whist retaining tempo, I could probably then find a speed and key where Charlie and I could happily play together, and sound good (if I still had the really worn LP..). Scary, isn't it ?

jazzbug1
User ID: 8743893 Jul 4th 8:25 PM
I encourage all my improvisation students to play with records. They all have a good ear (prerequisite) and I tell them, If it sounds right
to your ear, it is right. If it sounds off, then play the passage over until you hit better notes." I suggest they start in basic blues, then on to something harmonically simple, like Dixieland or Trad Jazz. During my lesson, I make suggestions or write some phrases. Most jazz artists never had an improvisation teacher, so my students have a head start. They range in age from 13 to 64 years old, so you're never too old to start. The ease of the saxophone is a big help, as clarinet is much harder. A musical ear is an inherited talent. About half of my students stay in written music.

Steve
User ID: 9829893 Jul 11th 12:27 AM
I'm fairley less flowing going from F to F#.

Speaking of lovely sound, Nathan told me his Beautiful C mel sound is a little mellow for his liking.
Going for a new Silver plated C tenor.

Alan (uk)
User ID: 0651814 Jul 11th 6:47 AM
It'll look great on the CD sleeve - "Nathan Haines plays an Aquilasax C Tenor...." ! Well done Steve.

JJ !@#$%^*( )_+
User ID: 9203613 Jul 11th 12:10 PM
Wow: An endorsement already?

Alan (uk)
User ID: 0651814 Jul 11th 12:42 PM
That's the word I was looking for, "endorsement", thanks JJ!@#$%^*( )_+! (I didn't misspell your name, the last "!" is punctuation...)

Nathan would then qualify as an "Aquilasax Artist" !

Back 20 Messages

Castaway User ID: 9182423	Jul 1st 10:16 AM Mr Bb; Nowhere on this forum will you see "Keep up the bombardment" posted by either Captain Muggles or me. I posted "Take over the beligerence factor." So I guess we'll have to use another term of endearment to add to your description.: "Unable to read or comprehend". Have a Good Day.
Captain Beeflat User ID: 1738604	Jul 4th 4:11 AM jb1. Your expression "less flowing" pretty well sums it up. It is not lack of proficiency which limits playing in F# and C#...rather more the mechanical layout of the keywork. Guitarists just move to a different fret and do the same thing...not so for a sax.
Alan (uk) User ID: 0651814	Jul 4th 9:22 AM jb1 - I learnt to play jazz by listening to 33rpm LP's. A real treat was to take a Charlie Ventura album and jam along with him at the lowest speed of 16 rpm. He sounded like he was permanently playing baritone, and (at half speed) I could just about keep up - it usually worked out that he was an octave down at that speed, perfect ! I learnt to play Duke Ellington's "Rocking in Rhythm", and many others, that way as well, in slow motion. Happy memories. Beeflat - seemingly Jim Schmidts C-sax allows for moving the key up a semitone at a time ? Must find that reviwe....
Guwapo User ID: 9363883	Jul 4th 11:13 AM I know what you mean alan, i know a guy who learnt the entire Paul Gonsalves solo in "Diminuendo and Crescendo in Blue" that way and I take my hat off to anyone who can play like Charlie Ventura.
Captain Beeflat User ID: 1738604	Jul 4th 11:30 AM Guwapo. I will take my hat off to anyone who could learn a solo of that length. Alan. Jim Schmidts's keywork is, without doubt, more logical: but,at our age, it is perhaps too late to start learning a new system...Even a (rich) beginner would be stuck with that system, should he buy one, and never know the joys of struggling with the Boehm layout! Nonetheless...full marks to Jim Schmidt.
Alan (uk) User ID: 0651814	Jul 4th 12:18 PM Guwapo - I can still only play like Charlie Ventura at half speed... 8-(( But, joking aside, the '16' option on record players was a fine option in the 60's. These days even some quite basic PC recording software has the ability to alter the tempo whist retaining pitch. Adding the other option of altering pitch whist retaining tempo, I could probably then find a speed and key where Charlie and I could happily play together, and sound good (if I still had the really worn LP..). Scary, isn't it ?
jazzbug1 User ID: 8743893	Jul 4th 8:25 PM I encourage all my improvisation students to play with records. They all have a good ear (prerequisite) and I tell them, If it sounds right to your ear, it is right. If it sounds off, then play the passage over until you hit better notes." I suggest they start in basic blues, then on to something harmonically simple, like Dixieland or Trad Jazz. During my lesson, I make suggestions or write some phrases. Most jazz artists never had an improvisation teacher, so my students have a head start. They range in age from 13 to 64 years old, so you're never too old to start. The ease of the saxophone is a big help, as clarinet is much harder. A musical ear is an inherited talent. About half of my students stay in written music.
Steve User ID: 9829893	Jul 11th 12:27 AM I'm fairley less flowing going from F to F#. Speaking of lovely sound, Nathan told me his Beautiful C mel sound is a little mellow for his liking. Going for a new Silver plated C tenor.
Alan (uk) User ID: 0651814	Jul 11th 6:47 AM It'll look great on the CD sleeve - "Nathan Haines plays an Aquilasax C Tenor...." ! Well done Steve.
JJ !@#$%^( )_+ User ID: 9203613*	Jul 11th 12:10 PM Wow: An endorsement already?
Alan (uk) User ID: 0651814	Jul 11th 12:42 PM That's the word I was looking for, "endorsement", thanks JJ!@#$%^*( )_+! (I didn't misspell your name, the last "!" is punctuation...) Nathan would then qualify as an "Aquilasax Artist" !