Hey everyone! Sorry for the long silence. I've been occupied making sure I could bring some productivity to my life this semester at Berklee. Now that it's been three weeks, let me fill you in on the exciting developments I've been cultivating.
The long awaited last chorus of Peter Guidi's solo is finally here! One of the interesting aspects of improvising on the flute is the freedom one has with his or her mouth. You can do numerous tone colors, articulations, and, in this case, even sing while you play the instrument since your mouth is unobstructed by a mouthpiece. Peter Guidi makes use of this in his last chorus in this solo, humming in falsetto whilst he plays his flute.
It creates an interesting electric effect, and depending on which pitch your voice is on in relation to the pitch the flute is playing, you can hear difference tones in the frequencies and even create intervals for a cool chorus like effect. I am not experienced in this technique; I have used it before during my solos, though never to the extent Guidi uses here. It can be a bit abrasive to listen to if it's used incorrectly or if the listener doesn't know it's coming. Since this recording features it heavily, I wanted to give fair warning before you listened and wondered what I was doing.
A few updates to my upcoming projects:
That's about it! Thanks for your support, and I hope you enjoy this recording!
First of all, I apologize for the lack of updates in the last month. I was swamped with work for school and midterm studying, and so it became difficult to find time to post updates on my website. I'm glad I finally have a chance to breathe and post again!
With that being said, I have some news about upcoming projects and events that pertain to me:
September 30th was my fusion group's first show at Berklee, and for a first show, I believe it went extremely well. We were very tight on stage, felt confident in our set, and had a lot of energy and few mistakes. Mistakes did happen, of course, but I won't dwell on those.
I want to thank everyone who came out to see us and everyone who tuned in to the stream. I apologize for the issues with the bass over stream; multiple people have told me that Jake couldn't be heard or seen. It was a stage plot and placement issue, and I regret not placing him by our guitarist. A lesson learned for future shows.
Berklee has given me a rough mix of our live show to publish, and a video of the stream. Over the course of the next few weeks I will be uploading our set in various forms to SoundCloud and to my YouTube channel, coming soon. I'm very excited to have something to demonstrate for our hard work, and am also very excited for the future for the ElaB NayR Sextet. We're working on getting shows outside of Berklee, and our only scheduled gig is on December 10th at PA's Lounge so far. Updates to come.
I have been quiet for a few weeks because I was very busy in the last two weekends. More "Inside the Practice Room" updates inbound as I prepare for a pit orchestra audition on Friday and for a demo recording with my other group, tentatively called The Beach Episode. Thank you for your support, and I hope you enjoyed the show!
Fernando Brandao, my current private instructor, assigned me a transcription two weeks ago. What I have here is half of Peter Guidi's solo over "Weaver of Dreams". It's a great solo for beginning transcriptions: easy pace, nice tempo, familiar chords. But it gets more difficult in the third and fourth choruses, which is why I limited myself to the first two for my first assignment.
The challenges with this solo are dynamics and articulation. Guidi plays his solo so stylistically, and the end goal of any transcription is match the original as closely as possible. Jazz is so different from what they teach you in classical genres; the lightness and fluidity of the articulation is difficult to master, especially on a flute. In addition, he plays cliches so masterfully, they fit without sounding corny. Because the chords are basically the chords to "There Will Never Be Another You" in C, the harmony is fairly simple compared to other jazz pieces, but that doesn't mean he doesn't play around with it. All throughout, altered dominants are hiding, as well as blues scales and tons of chromatic neighbor patterns. It's a masterfully crafted solo.
And this is only the first half! I have my work cut out for me in the next two weeks as I have to work through humming and playing simultaneously. Look for that in about two weeks! This weekend...something special is coming!