3,018 reputation
626
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location Minnesota
age
visits member for 3 years, 4 months
seen Sep 9 at 22:53

A.B.D. -- Saxophone Performance, University of Minnesota
M.F.A. -- Saxophone Performance, University of Iowa
B.M.E. -- Music Education, B.M. -- Composition, Wartburg College


Nov
8
comment Teaching young kids (7-9) basic piano and music fundemetals.
Do you have any pedagogy training at all? Formal music training? You say that the nine-year-old is your first-ever student. Not passing judgment one way or the other, but it may help make any answer more useful to know the background from which you ask the question.
Nov
8
comment How should I inspect a used piano prior to purchase?
@CarlWitthoft Let's say I have no such friends. After all, I'm a classical saxophonist who has to pay pianists to hang out with him. Also, I can play piano somewhat. I would hope to be able to do a bit more investigation myself before calling in the pros.
Jul
7
comment How to start making musique concrète?
In short, I'm not about to ask a moderator to reopen this question; rather, @oberdada, do you think we can find two more non-moderators to vote to reopen? Maybe, maybe not, but I'd like to try.
Jul
7
comment How to start making musique concrète?
@DrMayhem, the question may superficially appear to invite discussion, but it is almost certainly answerable with one or more real answers. If you doubt this assertion, see the answers to the question I linked above. I think oberdada understood this point. I don't think the definition of musique concrète is more debatable than the definition of any other genre, and that wasn't what the poster asked anyway (I supplied the term, then the poster edited the question to use it).
Jul
3
comment Why can't I whistle and hum different notes at the same time?
This is kind of an answer and a question. If you have an actual question, ask one as a new question.
Jun
30
comment What purpose do accidentals serve in music?
@Dan That helps a little, though actually "melody" and "counterpoint" are likely to have different issues in this case. More specific questions might include, "How can I use chromatics to embellish a melody?" or "How can I use chromatic embellishments in my counterpoint?" The second question would require answering the first, if you don't know its answer. In fact, I think they are two different questions...
Jun
30
comment How to start making musique concrète?
@oberdada And I look forward to reading it! Do you think that it would be possible to edit/narrow the question specifically so that you can provide your answer? Closures/now "on hold" questions can be a bit discouraging for the original author, so if we can provide a little help, that might be a good thing.
Jun
26
comment What are the rules for using diminished chords in part writing?
@jjmusicnotes A leading tone is, of course, a special case of a tendency tone. I did not address fully-diminished seventh chords, which you probably know have no fewer than eight resolutions and could appear in any inversion. ii-half-dim-7 is, as you mention, sometimes employed as a form of mode mixture. You know, sooner or later, we're going to have an entire undergraduate theory curriculum on here...
Jun
25
comment What are the rules for using diminished chords in part writing?
Now that I have answered your question, on re-reading it, I realize I only answered the question for ii-dim, not for other diminished triads. vii-dim serves an entirely different function, though the reasoning behind first-inversion triads is similar.
Jun
24
comment How to start making musique concrète?
I think this question has potential here if you narrow its scope. Consider starting here and finding a more specific question to ask in order to build on this "starting-point" idea, specifically for the type of music you are attempting to compose and record. For now, I'm voting to reopen because: 1) You are new here, 2) Your question can be edited to be quite good, 3) Potentially-good questions should be encouraged, especially from new users, and 4) I despise unilateral closures.
Jun
24
comment How to start making musique concrète?
I think your question can be answered somewhat as-is, but you may have a little better luck by clarifying what exactly you are trying to do. Are you wanting to compose? Perform? Record? All of the above? Also, "avant-garde" is not exactly a style. It sounds like you might be talking about musique concrète, but I'm not entirely sure.
Mar
26
comment What are some useful and effective exercises for training absolute pitch?
Not anymore. This was years ago on an Apple IIgs.
Feb
4
comment Making a Soundproof Room
While there is such a thing as a "practice mute" for saxophone, it is in essence a case in which to put the saxophone to muffle the sound while playing. I've never seen one in person, but I cannot imagine the device working satisfactorily. Because woodwinds produce sound through their tone holes, brass-style bell-insertion mutes do not work for woodwind instruments.
Jan
16
comment Aiding the transcription of naturally occuring sounds. e.g. Horse whinnying, bird singing, etc
I wouldn't close, and I don't think this is a duplicate question (as far as I can tell). The "Edit," however, seems like a separate question that could be made more specific and answerable.
Jan
2
comment “Andalusian cadences”: How are they commonly heard?
I don't have time to answer right now, but consider that the Andalusian Cadence might not be a cadence at all. In particular, when the chord progression is the entire phrase and is repeated as an ostinato, it is likely not a cadence in its entirety.
Dec
18
comment How do you start a regular jamming session?
As your question stands, I am not completely sure what you are asking. Are you asking how to find musicians for your group? Are you asking how to train (informally) other non-jazz musicians, whose skills you already know, to play jazz with you? I think a few more details would help this question be more useful.
Jun
4
comment Which Bach toccata is more difficult- BWV910 or BWV911?
There could well be a reasoned explanation why one work is more difficult to perform than another. It's true that the answer could be "it depends," but then, there should be reasons that each is difficult. A performer more skilled at handling one source of difficulty over another could then determine just from the description which work would be more difficult for him or her.
May
23
comment What chord is this from Hungarian Rhapsody No.2 “G - Db - F”?
@MatthewRead To meta we go...
May
23
comment What chord is this from Hungarian Rhapsody No.2 “G - Db - F”?
@MatthewRead Asking for the name and/or function of a sonority would seem to me to be a valid, answerable "theory" question. "I'm curious" would seem sufficient justification for asking.
May
22
comment How to achieve this sax tone?
I'm 99% sure that's an alto. Unfortunately for your question, I'm primarily a classical player and don't have any specific mouthpiece suggestions. I can tell you that you are looking mostly for a mouthpiece, along with a ligature and reed that will work on that mouthpiece. I just can't tell you which mouthpiece.