Hi, Richard! Here's a riddle for you:


Q. Why was the piano player... as the local constabulary says around these
parts, without specifying the reason... "known to police?"

A. He often got into treble.




--- timEd/386 1.10.y2k+
* Origin: Wits' End, Vancouver CANADA (1:153/716)

Hi there,

On Mon 2012-May-14 21:20, Ardith Hinton (1:153/716) wrote to Richard Webb:

Hi, Richard! Here's a riddle for you:

Q. Why was the piano player... as the local constabulary says
around these parts, without specifying the reason... "known to police?"

A. He often got into treble.

<rotfl> YEp, can relate to that one.

HOw do you get a guitar player to turn down?

Put sheet music in front of him.


Regards,
Richard
---
* Origin: (1:116/901)

Hi, Richard! Recently you wrote in a message to Ardith Hinton:

HOw do you get a guitar player to turn down?

Put sheet music in front of him.

Good one! I can well imagine that such an individual might be more confident when improvising and/or playing by ear, where I'm just the opposite.

There's a drummer in our community band who is at his best when the conductor wants him to do a solo & tells him "Just make up something." I'm at my best when all I have to do is read the notes or when the conductor wants me to keep a low profile & enable somebody else's work to stand out... [chuckle].




--- timEd/386 1.10.y2k+
* Origin: Wits' End, Vancouver CANADA (1:153/716)

Hello Ardith,

On Thu 2012-Jun-07 23:56, Ardith Hinton (1:153/716) wrote to Richard Webb:

HOw do you get a guitar player to turn down?

Put sheet music in front of him.

Good one! I can well imagine that such an individual
might be more confident when improvising and/or playing by ear,
where I'm just the opposite.

I can do both. I'll solo alright, but unlike a lot of jazz
players, when I run out of ideas I'm very glad to hand it to the next guy. That's what always frustrates me the most
about "modern" or "progressive" jazz. Guys who will stand
there and noodle the night away on a piece, and once they've run out of ideas just noodle scales or something.

Even then, I find that after playing a certain piece I end
up playing the same thing, even though I tell myself "I'm
going to try to bring somethign fresh to this one tonight."
IT often doesn't work that way. Once I've developed my
moment in the sun that flows it stays with me.

There's a drummer in our community band who is at his
best when the conductor wants him to do a solo & tells him "Just
make up something." I'm at my best when all I have to do is read
the notes or when the conductor wants me to keep a low profile &
enable somebody else's work to stand out... [chuckle].

That's as much an art in itself, and what I really try to
drive into the heads of a lot of players, especially guitar
players. There are guitarists I know I almost dread sitting in with a band I'm
working with, because they don't support
the ensemble well.

IN fact, it frustrates me, and one reason I don't do well
with less than high quality players. The more secure you
are in your musical ability I find the more willing you are
to support the ensemble properly. If you've got an ego
problem coupled with a bit of insecurity it's all 'hey look
at me." and not a good supporting player.

I had it drummed into me with our high school stage band
though, I think I've told stories about that band director
here before (the guy who went ballistic on the guy giving me the kick to signal
me) and with a stage band he was big on
instruments such as piano adn guitar doing the support role
well, and i was piano for the stage band.

IT was something I lost touch with when first working on the raod, but as I got
older and gained more real confidence in
my abilities came back to me, all those old lessons he
taught sometimes in a very brusque manner.



Regards,
Richard
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* Origin: (1:116/901)