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One song at a time, John.

Pick a favorite that you can't play by memory and start working on it.

Never too late and all that jazz. (I'm finding I have to RE-learn songs that I used to know. They slip off the end of my memory banks if not used.)

But picking that one song and working with it, however long it takes, is ALWAYS a worthwhile endeavor. For one thing, it gives me something that I know I can play by myself in case I have to reboot the BIAB laptop or whatever...


--Mac

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What did I have for dinner last night?!?



John

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and since I was the OP , my TV died on me , and I'm counting coins to buy a new one


Charles A. Monteiro
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Charles, when you delete the old TV, send us a PM.

John (Conley), hockey and brass do not mix. Growing up on an Adirondack lake, I could skate rings around the college hockey players, but no way would I get on a rink with more than one of them at a time.


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A little off post, but what I do is change my jukebox directory every week, make a new folder of 25 tunes I haven't worked on in a while, and then just listen to that playlist for a couple of days before playing the melody on my trumpet/piano. I play those tunes over and over with lots of rest in between. When it pops out with no hesitation, THEN I start to work on other keys. Mac is right>You have to know that tune REALLY well before you can start playing around with it! It also helps to get your bel canto thing together (singing, even if your voice sucks, like mine!)

Good luck,
Ed

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jford,

Sometimes when I brush my teeth in the morning, 30 minutes later I have to feel the toothbrush to see if its wet because I can't remember if I brushed my teeth or not!!! and I'm NOT joking.............

How sad is that?
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Ed,

I keep a folder titled "incomplete", in that folder I keep every tune that I someday want to arrange and move to my playlist. They could be midi or BIAB files or just chord progressions in word format, any tune that strikes my fancy.

Then weekly I take tunes from that folder that are highest on my priority list and start working on them. The only difference is that I now save these in my "Green Room" folder and delete them from the incomplete folder. I never have more than 5 tunes in my "Green Room" folder at any given time which makes the folder manageable, as when they are ready for the playlist I move them to the appropriate genre folder.

Of course from there they are moved to gig specific folders for up-coming gigs. Just my way of not forgetting if I brushed my teeth or not, if you know what I mean.

Later,

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Quote:

Work towards not needing the chart onstage.


--Mac




Absolutely correct and some standards are more "standard" than others depending what part of the country you're in I guess. Tunes that I do all the time regardless of who I'm playing with are what I call true standards like All the Things You Are, Funny Valentine, Misty, Fly Me To The Moon, Footprints, etc. I do know all of those but there's now three books guys show up on the gig with, at least that's what I hear, ahem. Anyway somebody calls something out of over 1200 songs I've never heard of in one of those books and it's like, what is this one and the answer is play it like Song For My Father and give me a latin feel vamp using the last the last 4 and I'll cue the head. Ok boss, I just work here. Usually after it gets going I'll recognize it and pick it up but there's some stuff in those books I guarantee that neither you or I never heard of, don't recognize anything about it and it's called use your ears and fake it. Hence the name.

Bob


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As Joey D once said about Fly Me to the Moon, "Its a STAPLE!"


--Mac

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Saludos Carlitos!
I remember my first contact with printed real books in my early 19's y/o from a Berklee graduated guitar player with who I took some classes. When I had on hands that book with funny chubby fonts in front page the first reaction was to look for those songs I had chord doubts or I didn't know learned yet. At my 20 age I began to play with the jazz quartet of a famous and demanding pianist who didn't allow Real Books or scores even in rehearsals! ...but not problem to me because at that moment I had the habit of transcribe by ear the chords and harmony of many jazz songs from vinil records and cassetes. My Real Book was my memory cells. However of there from on I had that bulky books near of me like many contemporary jazz musician or student at 70's 80's do, and that was helpul mainly in the learning stage. Parallelly a good part of my home training came from the books and records of Jamey Aebersold since 70´s end and Band in a Box starting from 1992. Today with all this technological and internet informative madness I think that young people (and not so) should be careful, excessive easiness to obtain of everything in the net makes senses sleepy and leave aside the old wise practice of memorization and ear transcription. Overabundance never is good..it kill motivation and emotions.


Gabriel Arellano,
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Well said, Carlos.

You are right!


--Mac

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Carlos,

I am the living example of your theory as I too started gigging at quite a young age and at one time could play from memory or better yet from "feel" just about any tune that was called. Now, 40 years later I have become a slave to the printed sheet, whether it is on paper or laptop screen.


Later,

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Hi Danny,

The same here as memory is not so good as it was and of course not playing as many gigs as 10 years ago - surely the reading v memory approach is down to the circumstances/facility of the individual and the varied musicians you play with.

I have known terrific musicians who are brilliant readers and can't memorize and some who play from memory but are poor readers with combinations in between - but they all play good music

I have always found during life that the act of writing things down makes me remember to a higher level as visualisation assists

To this extent BIAB has been a terrific tool because just the act of typing in the chords and melody seems to imprint that in the memory

jazzman


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