Claude Gordon Brass Camp 1990 - Paul Witt on Recording Techniques

Transcript Summary

I don't want to introduce the guy you've met him already, but I want to introduce him again because he wasn't here the opening day.
He's Paul Witt. Paul, stand up.
Paul started studying corporate with Carl Leach.
How old are you, Carl?
I don't know, about the same time as Tom and Ken.
Yeah, that's what? Nine?
Nine years anyway.
No, four years ago. Seventy-four.
And then Carl sent him over to me.
He was ten.
And how long did we study, Paul?
Eleven years.
So he had a good trumpet education and a fine trumpet player.
And a good classical player too.
So in the interim when he was going to school, he got into motion picture writing, arranging and writing.
And since then has emerged a very successful television and motion picture writer and arranger and conductor.
So he's really made some great inroads and doing very well.
As you can tell, his hair is nice and cut.
So he has a snap of success.
Paul is really very successful and getting more so all the time.
They send him the motion picture that he's sending to Europe now and back east all the time.
And he's so busy, he's happy that he still can be part of our staff.
Like I told you the other day, there's no way we can hire this staff.
There's not enough money in the country to keep this staff of these marvelous players and guys.
So let's have a nice hand now and he's going to take you through motion picture sessions.
You like the hair there, huh?
Lalo Schifferan taught me this.
Nice man.
Everybody got one of these when you walked in?
I don't really have to think of anything.
Oh you don't?
Oh you have to explain.
I'll just throw them up in the air.
Who doesn't?
You don't have.
Hopefully you've all had a chance to take at least a little bit of a look at this.
Because any time during this whole thing, as with all of our lectures, feel free to ask questions.
Assuming no one up here is playing.
And at any point, or if you want to ask a question and you feel like we've passed over and we can move on to other things, that's fine.
You can always stop and say well, because everything relates.
As a matter of fact, this I sort of see as a tie-in to all the different things that you've been talking about all week.
Because we're getting right down to performance too.
Just because of time considerations, we can't have a day where you're going to play in an orchestra.
A little personnel problem with those spring players around.
A day where you're going to play orchestra stuff and a day where you're going to play in a jazz band and all that.
So this, everything sort of fits into here.
And I know there's at least a few of you who maybe are saying,
I'm not really interested necessarily in playing commercial music or playing for TV, excuse me, TV or movies, stuff like that.
But this really, it applies to any, a lot of things we're going to learn apply to any type of playing you do.
And that includes school play. A lot of you are still in school.
Most of you, you know, which is actually a great thing because you can use all the things you've learned all week and practice them.
I know a lot of people feel uncomfortable about school.
They think, well, you know, you go and play some tunes and you sort of go out.
But you can use any ensemble, school, junior college, big bands, evening bands, any kind of things like that, as a practice site.
You've learned all week that what you, the way you practice is the way you play, right?
What you do, how you're thinking is the way you play.
Well, it's the way you act also.
If you're sitting in your school band, you're throwing stuff around and not paying attention and all that,
you're learning how to react in a musical situation or how to not react.
You're learning not to listen, that the clarinets are getting, you know, your teacher, what happens?
Your teacher is going through a line of the clarinets in school, right?
And what are you doing?
Pretty much telling jokes about how bad they sound, right?
If you're the most brass players in school.
What happens then, ten minutes later, you've got the same line.
And you have to get the same thing pulled over to you.
It's really, it's a great opportunity in school to learn, to focus your attention, to be quiet, to listen to music,
to listen to the guys across the orchestra, all that kind of stuff.
And it can all be practiced, whether in junior high, high school, college, continued education, anytime.
And it's a perfect opportunity too.
Because, you know, hopefully you all end up in a big band, an orchestra, or doing whatever you want to do,
sitting in sessions, and that is not the place to learn how to act.
That's sort of what this Brass Camp is about in a way also, is to be able to make your mistakes,
to not know that the tongue does this, to not hold your hands right, have someone tell you, and it's not a problem.
When you're under the gun, when someone's playing, it's not the time to learn new things.
It's just the time to work on what you've already learned.
So do that, take advantage of those things.
Just to start out and see how many people will be dozing off during this.
How many people think they might be interested in doing recording?
You know, people who speak with TV, that's what you were saying.
No, go ahead, put your hands up, put your hands up.
Okay, put your hands up high and keep them up.
Now, of you people, how many have played in a wind ensemble?
If you have not played in a wind ensemble, put your hand down.
If you have not played in a jazz band, put your hand down.
And you keep it down, once it's down, it's down.
If you have not played in a brass ensemble, put your hand down.
If you have not played, this comes to the kicker always.
If you have not played in an orchestra, put your hand down.
Great, great.
Combo, jazz combo.
If you have not played in a jazz combo, put your hand down.
And I don't mean one day, I mean a couple of times.
And if you have not played in say a Dixieland band, put your hand down.
All right, now everybody look around.
Everyone look around.
This is why every year 300 trumpet players move into LA
and they're waving to the 301 that are leaving.
Because you have to have experience in all the areas.
You cannot just, for this kind of work especially, you cannot just be a symphony guy.
I mean, you listen to Claude play and what he did when he was playing,
and guys like Manny Klein and all this other.
You hear classical, you hear Dixie, you hear jazz,
you hear whatever happens to pop up, you're fly swatting.
Whatever happens to come up on the stand.
And the time to learn about that is when you're in school.
You can go, if you're an orchestra player, you own a B flat, you know you do,
sign up for the jazz band, sit in.
If you can play high or whatever and you feel comfortable playing the upper register,
try to sit in on lead.
There's a teacher to cycle the section around so you can play some lead.
If you feel real comfortable about that, your first time in a jazz band,
you want to have some real fun, sit in the jazz chair.
Why not? They're not going to fire you.
They will here.
Actually don't really, they just don't, yeah.
They won't hire you again.
The time to make mistakes and do your practicing and get new information is in school.
And there will be a lot of people that will give you a hard time or whatever,
and they just don't understand that.
You know, it's their own insecurity, really.
And so they're coming out and they charge you with it basically.
But take a shot.
While you're in school, it's a perfect opportunity to try all these kind of things.
So please, you know, do yourself a favor.
Because once you get out and you get labeled, you know,
and you're a real good orchestra player and you're playing away and things like that,
there's no way that you will go and sit in and risk your reputation as a trumpet player
sitting in on a jazz chair and sort of, ah, eh, you know.
Now's the time to do it.
Whatever, community college, whatever.
You don't have to potentially be a high school student.
Just whatever.
While you're a student, in those kind of situations, school band type of things,
now's the time to do it.
I know I repeat and repeat and repeat, but I can't stress that enough.
You have to know, when you're trying to sit down in a group,
you have to be comfortable enough not to worry about what they're going to pull up.
Now, and you'll be able to practice all this stuff in all your bands.
So if you don't plan to be in a studio for 10 years or five years,
or at least until September, you still have time to, you know, to work on this stuff.
It's not like you need to, well, I'll put this away until, you know,
until they start calling me over to Indian.
I just want to give you a little bit of history about this.
You have an idea of what's kind of what's happening and where it's come from.
Originally, when movies came out, they were, as you know, silent movies.
They didn't have the technology to put sound on the picture.
And, well, they knew that they could write words.
You've seen these old movies and it goes and there's a little,
all of a sudden a little fox and it'll say, you know,
Valentino says da-da-da-da, whatever, get my horse, you know.
And then they show him like that.
And then the next thing is, oh, there's the horse and all that.
But you can't do that with music.
It's not like they could project a score up for the next part.
So what they would do is they'd have an organ player sitting around
because every theater, every movie theater basically had a room in the back
and an organ or a place for an organ up in the front.
And a lot of times these guys would just sort of truck their own projector along
and come up to the local movie house and show their movies.
And the local guy that was hired by the theater would sit up here
and play through music.
And he had a little sheet sort of like this with words on it
and say, you know, it's going to be sad in this section.
And so he'd go through a little file, pick out some sad music, you know.
And then the hero would come on the screen and whatever, you know.
And then the hero would come and all this.
And it got very sophisticated.
Any of you have ever been into one of those pizza places
that have what's called a theater organ?
And they've got drums and they've got xylophones.
They've got canons on, you know, all kinds of jazz all over.
It got really interesting.
And if, well, yeah.
In the small towns in North Dakota, you've got an upright piano.
Well, yeah, right.
And what happened is it really started like that.
And then bigger houses, you know, had more people frequent
and more movies would buy these bigger organs.
But, oh yeah, absolutely.
And, well, anyway.
What would happen is you'd go through all this music
and then they'd start saying, well, you know,
they'd start hiring people in the studios to write the music.
And so they'd send out little, basically what are fake books.
And there'd be a little tune with the chords
or with a little piano piece or organ piece that would accompany this.
And now the organ's sitting there and he sort of watches the music.
He's eating a sandwich by about the 30th show, you know.
He's turning the pages and playing the love theme
and he can see this coming up and, you know,
do a little improvisation at the same time.
And they found out that people react quite a bit better
with the music to the emotion of a scene.
They get more excited.
They fall in love with the heroine easier, whatever.
It draws on the emotions.
I studied with a man named David Raxon, who was a big writer in town
in the 40s and 50s.
And he said the secret to film music is that people do not have ear lids.
You know, if something's horrible or too exciting for you,
you can close your eyes, but the sound always sinks in
and it's subliminal.
So you don't really notice that it's getting you up and your pulse going.
But it became very effective and they realized it almost immediately.
And as the technology grew, you have now maybe little chamber orchestras in the town, right?
And then, if a film ever comes to your town called Napoleon,
and they do this, they've been taking this around.
There's another one. I can't remember what it is.
It's another Sergey Eisenstein film.
It was a Russian director in the 20s and 30s, something like that.
They bring an orchestra, or they use your town orchestra,
and they have this music.
It's big. It's like a 110-piece orchestra of music going on with the film.
And it's stunning. It's amazing.
And it's just something you can't see anymore.
But they got to this very ornate thing, and then the technology got to the point
where they could put sound onto the film.
The jazz singer, you've all heard of Al Jolson, right, for a sound film.
And now they could put music to the film.
So now this is what Hollywood and New York,
and all this opened up with big studio orchestras where they could actually play music.
And I think in the early, like the dance Fred Astaire pictures, things like that,
a lot of times at the beginning they would have an orchestra right there on the set,
and they'd be filming, and you guys would be playing,
and they'd be shooting the scene, and they'd shoot all the way through.
Now, that was great, but the problem comes when they decide to cut,
when Fred Astaire and Ginger Rogers are dancing,
and they cut over to George Raft or something who's,
he wanted to be dancing instead, and then they go back.
The camera's not really moving. What they do is they cut the film.
So if the music was playing and it was recorded on the film,
and they cut the film, they'd have it jumping all over the place.
So they started, they developed a technology to the point where they could record the music
separate from the film after it was made.
That's where we sort of all come in.
Because now, rather than doing what was basically an orchestra job,
where a conductor sat and conducted, and he was watching the film,
and you watched him just like any other orchestra,
now you're trying to synchronize to something that, with dialogue,
that exists as its own entity, and you have to be exactly synchronized.
So they developed things called click tracks and recording with film,
where there are markings on the film that go by,
so the conductor can watch, and you can cue people in and all this.
And because you're in the recording medium now, you can stop and start,
and you can overdub, which costs a lot of money, but you can do it,
and all the little trappings that we sort of take for granted right now.
So that's sort of the can of worms, because now instead of going in for a one hour movie
and doing two hours of playing, you're maybe doing three to five days of double sessions,
of two to three hour sessions a day.
Because they do it, and the director can say, ah, let's do it again.
Or, I don't like that too, let's try something else, and you're sitting.
Well, let's try a different tempo, let's try a different this or a different that,
and you have to be very flexible, and you get to do all this other crazy stuff.
I didn't blink, I can't blink.
Okay, so that brings us up to now.
What you guys, and heaven knows what's going to happen in the next five years,
what you're going to have to face.
So that's sort of the history up to here.
Now what I want to do is sort of run down specifics of things,
and we'll actually be experiencing some of those firsthand in a couple of minutes.
Okay, some things about the business, and a lot of these, I'm sure,
are some of the things that duplicate, triplicate, and so on,
what you've heard all week.
Number one, be early in the business.
You've heard Carl tell you, or Dave tell you, or everyone tell you,
the contractors love you, they need to see you there,
because if you're not there, they need to get someone else,
and nobody lives on the lot.
They have to actually get in their cars, and drive there, and get ready to play.
So you have to be early, they have to know if, well, not that you're not coming,
but they have to know that you didn't get in an accident,
that something terrible didn't happen.
So always be early, and it's great too, because if you're early,
so you're sitting there, I will guarantee you that the writer,
the composers, and the orchestrators will be early.
So you're sitting around, you're the only one there,
and you're attacking your instrument, and they come in,
and they've been working up all night, and they like to talk to someone,
and sort of chew the fat, you know?
What a great time to meet writers, and you're the only one there.
So you go up and say, oh, so what are we doing today?
Oh, it's great.
You know, I played on one of your other sessions, you remember?
Oh, yeah, yeah.
You make those kind of contacts, it's very important.
As a conductor, as a writer or anything, I like to look out and see faces that I know,
faces that I can count on, faces I know in a positive way.
But faces that I can count on, we're all like that.
And it gives you a perfect opportunity, not to mention if you do have car trouble,
but if you do get the wrong directions, I did a session,
and there are two places called Evergreen Recording Studio in L.A.
There's one at the Mary Tyler Moore Studio, the DMTM series is far,
it's a huge thing, it used to be, I don't know, a car lot or something.
And then there's one on Radford, which is one, most of your TV shows that you see,
a lot of them actually, that are under 35 or fewer people are recorded
at Evergreen Radford.
And they have a thing called Dateline.
You're going in, if you've forgotten or whatever, and the day before, whenever,
and say, when's that date for this film, for this writer or whatever,
and they'll tell you.
And all they said to people was Evergreen.
And, you know, the people who were sort of savvy, who would say,
okay, whichever, Radford, okay.
But the people who weren't just said, oh, okay, I know that, I've played there before.
And we had, at an hour to downbeat, we had a quarter of our orchestra
at the wrong studio.
Is that a terrible problem?
No, because it was an hour to downbeat.
And they just, they got there and said, oh.
And went over to Radford.
But, you know, if we were sitting on maybe $1,000 an hour paying studio,
plus the players who were there, everybody's getting paid.
You can't afford it.
And they will just not call you again.
And it won't be because they don't like you, it will be because they'll be afraid.
They'll be scared to death of losing that kind of money.
So you have to be early.
And same with orchestras, obviously.
They don't want to be waiting for you to walk in, to walk out on stage.
Very important, very important.
Okay, be of good humor.
Yeah, if you have a bad day or whatever, try to be cheerful.
It's a team sport.
And the way you act and the way you feel reflects on everybody,
especially if you're a first-timer player, but if you're any member of the orchestra.
Some guy is sitting in your school band.
You know the guy that's sitting down the line,
and he's mad because he should be playing lead or whatever,
and he's acting, and bad day, and band, and music.
And you just break your whole day.
Always try to keep your spirits up as much as possible.
If you find yourself being really depressed a lot while you're there,
you should consider a career change.
You know.
Club, yeah.
Oh, please.
We had to make a look.
He's in the building.
There's one of the places where he doesn't look forward to it.
Really, by the way.
And he had this call, a recording call,
on the pool floor, just as there.
He said, if you're late for it, that's costing that producer money.
And they were like that.
So 30 seconds before recording,
the door of the place is open, and here comes Pete.
Everyone else is there.
Here comes Pete, all by himself.
Sits down, opens his case, and puts it on his lap,
and the, uh, the necklace as well.
There's one thing about Pete, he's never late,
or she's never early either.
Yeah, I was on that date. That was Earl Hagan.
That was from Mike Hammer.
Oh, they were?
It was an F-A-F.
Like that, yeah, yeah.
And Al Vazuti was playing second trumpet,
and he was there now.
You guys know the name, Al Vazuti?
He plays pretty good.
Well, not back east, but he's moved out of town.
He's played Yamaha stuff.
Yeah, and he's still the clincher for Yamaha.
But yeah, he moved out of town.
So see, there's a spot.
Yeah, that was by Earl.
And Patty, you know, the Greek last name,
everything with the last name was a contractor.
And she didn't care, because she knows Pete.
Everybody knows that he shows up right then.
But that's Pete.
His brother couldn't even get away with that.
What can you tell me about being with a service in town?
You mean having a message service?
It gives the appearance of professionalism.
What ones are good and what ones aren't?
It doesn't really matter.
A good service will be one that answers in your name.
That says, you know, whatever your music service,
or what we're talking about is phone answering services
rather than, you know, I'm not home leaving a da-da-da-da-da
and singing some song or whatever.
But an actual operator.
And when you're not home, they'll pick up,
and they know it's your line.
And they'll pick up and say,
Paul, we need a service or whatever if you want to do that.
It's really nice to have, because it looks very professional.
And if you're not around a lot, they can,
and if you keep it up, in other words,
if you call them and say, I'm here, I'm leaving here,
I'll be there in 20 minutes,
they can get you if you need to be gone.
So that's something to think about.
It's not essential, I don't think.
It really depends.
It depends on your level.
If you are, there are a lot of things you can do
that are very professional.
There are a lot of things that you can do
if you're not quite at a top professional level
and you want to look ostentatious.
It's a balance.
You just have to make a decision.
You guys could use one.
One of the popular ones.
In the Valley?
In the Valley is what?
I don't know.
It really doesn't matter.
It doesn't matter because...
I'm curious, because I didn't know anything about it.
You might want to be price conscious.
They pick up in your name
and they keep good messages.
And ask around.
See who people in your area have.
Because it's sometimes nice to go in
to meet the people too.
Because if you walk in there once in a while
and shoot the breeze with them
and leave a message off or pick up your messages,
then they know you and it's different.
What about the conference point of view
where they just go call one service
and you shouldn't get 20 people?
Oh, that kind of a service?
No, I would stay away from it.
I was talking about answering a service
to pick up your calls.
I wouldn't get on another kind of service
because a contractor is that kind of a service.
And they've got a list.
I hate the thought of the fact that
their list then branches out
into 50 other lists because
the ability for a young person to break in
is exponentially more difficult
in that situation.
If they don't recognize your name
and know the name of your children,
that's a service.
I was talking about answering service
just so they don't get
your brother singing Stardust
with your name in it or something.
How to warm up.
We didn't get to do this today.
I tried to always throw in a trick here
where I tell people to be warmed up
and ready to play
at 2.45 or whenever the class starts.
The idea being
trying to catch people warming up
in less than flattering style.
But, you know, that not having worked this time.
Just a couple of words on that.
When you warm up, you warm up
at home. There's no such thing
really as warming up on a date
because when you're on the date
you're under the microscope.
If you're young, if you're not, you know, again
Pete could walk in and say,
I'm doing something and no one's going to worry
about it because they know he plays great
and it's no problem.
And for any player
who completely establishes themselves
every note, every action
the way you dress
the way you handle yourself
the way you carry yourself
everybody's making mental notes
oh yeah, that guy's a slob
oh yeah, that guy talks too much
oh yeah, that guy has trouble with high Cs
If you warm up and whip the horn out of his face
and play around
on the highest notes you can
eventually you know how you get to that one you can't play?
Well, you don't want them to know that
you don't want them to know how high you can't play
or how low or how fast
you cannot play
or what notes you play on a tune. You warm up at home
then you get on the date
or if you play another date or you're already warmed up
you don't need to warm up. Then you get on the date
and you just sort of loosen up
and you play a warm up
and every note is beautiful and you're feeling good
and everything sounds good
and you go
I haven't played all week
you know
you get the point
you don't ever show anyone
your weak spots
on that kind of a situation because it just makes them nervous
you're playing your major scales
and you get distractives
and fumble through an F major scale
and the conductor sitting up here looking at
five charts in F going
never do that
you're perfect
and until you show them differently
a good contractor will not assume
that you're terrible
they will not call you if they do
so if you're there they assume you're fine
and don't give them reason to worry
and look through the parts
but don't necessarily sort of
hack through the hardest parts in the chart
go through them in your mind
and work them out slow on your fingers
but don't be going through licks and messing them up
play them slow if they look too hard
if you know you'll never be able to do them
pass them down
do it in the car
well yeah maybe early enough
try to warm up at home
or stay warm somehow
if you're doing a recording day then you're a young person breaking into the industry
it is worth it
for you to make sure you are at home
warming up the morning of
it's worth it
for you to be prepared
it's not worth it for you to do a hundred dollar gig
to the church somewhere
shoot yourself all to pieces
and then walk into your first recording day
get a hundred dollar job now
well think about it anyway
in recording studios
you notice probably in rehearsals
a lot of schools get real uptight about this
but in recording studios they really don't care
because when you're not playing
they're not paying attention to you
they've got other things to think about
bring a book
a lot of times the engineer's got to redo the tape
or the tape rolled off
or the director's screaming the composer inside
it's really just sitting
and it's very difficult
it's easy to start talking and making all kinds of noise
and telling your favorite story
and getting too loud
or lose your concentration
or just get bored and sort of
or start noodling or whatever
that is not a good idea
if you bring a book you can kind of read and you can be quiet
and they can take care of their business
and then you're ready to go again
I suggest not newspapers
because of obvious things
no, no, no, no, no
book is very simple
magazine's not bad either
unfortunately magazines are too big
so you get like the guy
five chairs down and you're going
like that
but no, they are very good
and they're flat
people magazine is great too
because it's useless to read
but you can probably read it in the amount
in the four or five majors rest
you can read a whole article with this kind of thing
bring mutes, yeah, always bring your mutes
a lot of you found that out at Nebraska
we're just going to go do some lectures
all of a sudden playing charts
with mutes in them
always bring your mutes
any mutes that you have
even really bizarre ones
because you never know when the guy's just not going to be
hitting the sound he wants
you have an idea if he knows you or whatever
you whip out this new mute that you found
in the trash next door
and it makes some weird something that you stuck in your belt
so bring all your stuff
bring your horns
this thing called doubles
which means you get paid for extra instruments that you play
and theoretically
when they call you, they tell you what to bring
when the composer walks back into the studio
and the director's going
is that what a trumpet is?
I thought it was a lot more mellow
who's the guy with the hat and the bald head
that plays that big
that's a trumpet, isn't it?
oh, sorry man, that's a flugelhorn
so if you have your flugelhorn there
you can work
and you can do the job
even if they didn't call on it
and you will get the doubles
but bring all your accents just in case you never know
and of course that goes without saying
with any other kind of a group
because you never know what's going to be called for
or what you're going to decide you might want
this sounds good on a D
this sounds good on a Bb
you can make a car drum
six trumpets in a studio
no, no, you can take them inside with you
you don't even set them down to the bathroom
don't believe instruments in your car drum
it's very dangerous
even if they're insured
you know what it's like to try to find another horn that blows like yours
keep them with you
but yeah, take them to the date
and take them in
it's no big deal
no one's going to hassle you
a new guy starts giving you a hard time
about bringing five horns on a one-horn day
just tell him I had an orchestra gig this morning
if you don't want to just tell him to shut up
which works also
unless he's a lead
as a joke I always say
I can't transpose, sorry
feel free to ask questions
very, very important
of the conductor or whoever is running the set
or whatever
that doesn't mean
how do you figure I'm short
this kind of stuff
or anything about the music
do you have a flat there or should we breathe like this
but if you wonder how the phrase is going to go
you ask the conductor
there's nothing wrong with asking questions
nothing at all
within reason, don't be a jerk
how do you play the first note in the bar
what about the second
but do ask questions
because sometimes
more often than I'd like to believe happens
you end up reading things on the table
which means
that we've run out of time
and we've spent almost the whole day
on the main title
and now we have five chase cues
so you have to read them down
and there's nothing like holding onto a note
that's tied over and you turn the page
and it's still tied over and it's been an F all along
and all of a sudden it's not tied over
and you're wondering if that's maybe supposed to be an F sharp
or if the key change is there
because of course you've never played or heard it before
so if you kind of look through the music
and say it's an F sharp
and you're going oh well let's try
and it's the wrong note
and they have to pull back and do the whole take over
it's very important
that you look at the music
and ask questions or if you're wondering about a tempo change
or if you're wondering about the style of something
or anything
it's no disgrace
it is absolutely no disgrace
and they love it, they know you're paying attention
it's no problem
okay, good
four different ways backwards, that's nice
meet the composers, we sort of talked about that
having something special does not hurt you
being really good at playing jazz solos
having a real interesting sound
having a special style
you know, people when they have
some choices
when they call guys for Chinatown
that they call Ewan Racy
I mean he has a certain
any of you people could play all the notes
if you're not familiar with the movie Chinatown
go rent it
it's an old Jack Nicholson movie and they're about to release the sequel
so rent it now before the sequel comes out
because you won't be able to find it
Ewan Racy is an older
gentleman who was a trumpet player
top trumpet player in L.A. for years
beautiful, beautiful sound
incredible style
incredible guy
and it's a lot of solo trumpet in this thing
and it's not screaming high
it's not screaming fast
and it's one of the most beautiful things
it's amazing
but he just has a certain
you know, you wouldn't call Raphael Mendes necessarily
to play that type of a thing
I mean you think of him as a different kind of player
even though all of these guys could have played all of that stuff
you know, if you have something that people know you for
I said E.B.I. here which is
and it's almost dead but it still helps to have some
sophistication in electronics
E.B.I. is an electronic valve instrument
you guys have seen this
sort of
you plug them into a synthesizer and they've got three buttons
they're basically for trumpet players
with only three way manual
dexterity to play synthesizers
you know, can't work keyboard
and it's interesting
because you can play synthesizer sounds
it's an interesting extra thing
there's a guy who's sort of a moderate trumpet player in L.A.
who designed the thing
who works a lot
because he owns that
you never see him with a trumpet in his hand
they'll call a hundred guys before they'll call him for trumpet
but he's one of the few that they'll call for E.B.I.
so he works, so it helps
what does E.B.I. stand for?
electronic valve instrument
okay, let's see
okay, techniques
this is pretty important
there's just some basic things
that you do all the time with
in your school bands and orchestras and things like that
and we call that free timing
that means it's different than jazz
it means you're not stuck to a click track
or a rhythm track that's already recorded
you're actually going and you're going to have to watch
the guy who's going to slow down and speed up and whatever
okay, that's very important
and it's not as easy to do as you may think it is
click track
which is basically a metronome
you have a metronome, very often you have headphones
because a lot of pictures are
synchronized exactly to the music
the music does something specific, we'll see that today
and then the picture does it
at the same time
and two and a half minutes down the chart
you can't just jump two majors in
to get something, so they have a click track
that's going exactly
a lot of times they chase cues
cue would be a piece of music
in things that are car chase or whatever
you have very, very fast music
it's got to be perfectly synchronized
so you'll have this track going through your head
and you're counting
maybe it has three eight bars again
so that sixteen bars
and two beats later, you're there
right when the film is
it's irritating, as all you know
trying to practice with a metronome
but it's essential
which brings me to the metronome
practice with a metronome
it's one of the most important
things you can do
in the stage of developing
try to play with people
I was talking to some people
trying to text yesterday
we were walking back about metronomes
and the idea of it being
perfect time
it's not perfect time
it's perfectly accurate time
perfect time is
a human sort of time
any synthesizer player
or musician, electronic sort of guy
can tell you how they're killing themselves
trying to develop a metronome
against these synthesizers
that has a human feel
and they can't do it
accurate time isn't necessarily perfect time
perfect time is like when you hear
these guys doing the concerts every night up here
and the piano player slows down
and they speed up and they're all together
and the phrase just works great
that's perfect time
but in order to do that
in order to learn how to go with what you want to do
and with what you hear
you need to practice with a metronome
then you have a sense of time
and once you have a sense of where time is
you can pull it up, pull it down
I have a couple things
I don't think anyone kind of went through this
that I think are kind of beneficial
to help you practice
dealing with a metronome
obviously I'm sure you've all played etudes with a metronome
and none of you have the perfect metronome
right, they're all
you sure they slow down or they speed up or they do something right?
it's a joke
it must be you then
what you do
and you put the horn away for a while
so you're not dealing with the technical stuff
play your metronome, doesn't matter the tempo
60 doesn't matter
and you get it going
like that, and clap with it
and try to
obliterate the sound of the metronome
with the clap
so you cannot hear the metronome
at the same time the metronome is ticking
and you'll know
because you're
you can label this one
while applauding the audience
or later, whatever
or you hit that first one and you're right on
and you're not quite sure where the next one is
and it beats you or whatever
learn to clap right with the metronome
you've got that down, you can do that for a couple of minutes
until your hands start aching
now try to clap
a little ahead of the metronome
so the metronome is going
this is not going to be easy
so you're trying to clap
just a little ahead
now you may find that very very difficult to do
what you can do is you can clap
an eighth note, a half note
an eighth note, a sixteenth note ahead, whatever
get in your head, you know you're all subdividing your sight reading
anyway, you've got that sixteenth or whatever going in your head
this would be, this wouldn't be you
this would be a metronome
no one brought a metronome today
you did, you have it with you?
that's ok
I'm almost done with this line of questions
anyway, so you've got sixteenths
and then you start getting closer
and you see how long you can do that
stay just ahead of it
and then you try to go just behind it
and again
if that's very difficult for you
you go sixteenth note behind it
and work your way back
the idea is getting to be just on top of the beat a little
getting to be just behind, without having to deal with
notes and all that kind of stuff
then when you can do that
then you pick up your horn
and you play some quarter note things
and then you play eighth note things
then you try
try to get ahead and find and all that
it makes you keenly aware of time
it's absolutely essential
I think said
in his lecture that it's one of the first signs
of mature musician
is the sense of time
it is absolutely essential
you can play all over your horn
you can play all the notes, you can play all the
tunes, all the changes
if you cannot play in time
you cannot play with other people
and if you cannot play with other people
you cannot do 99.9% of the work
and often 100% of the work
that anyone wants to pay you for anyway
you have to know time
and it's simple, but you need to do it
just like everything else, you need to put some time in
and do it, do it
metronome is not pretty, but it
everything, band, it's not just playing with the click track
but everything
and it also gets to the point where when you're in a studio
and they say, well we want to rush feel here
and you've got a click track on
you're thinking, well rush feel, I don't know man
the beat's right there, how can I rush the feel
well you can
just slide it a little ahead
if you're a lead trumpet player it's your problem
you have to drive the band
well with a couple others, with everybody else
but you have to be on top, or behind
or whatever
so do get the track because it's essential
click track, rhythm track
basically the same thing, instead of a click
it's drums, piano, bass, or whatever
it's something pre-recorded and those guys are gone
so there's no, the drummer's slowing down
because you want it to slow down there
the drummer does, and you follow
because they're at home having lunch or something
they're on some other date by now
let's see, other pre-recorded tracks
it's basically the same thing
and that you get great practice with the
tapes, right?
or any of the, I'm sure you have trumpet records
that you play along with and try to play too loud
so that you can't do the trumpet and it sounds like you
with the background anyway
any kind of practice like that is terrific
things that will not bend to you in other words
something on tape, so
you are the slate that you have to learn
the phrase with them
real important, professionals can do it in
split second too
you know, you can hear up there, you know all these concerts
they haven't had time to rehearse really hard with these concerts
you know, and Dave's playing along
he'll decide to slow down on one thing
it's not, oh he slowed down
I'd better now, you know, and sort of catch up
it's just shhh
you know, it's all feel, it's just being locked in
and it has to do with dealing behind
let's see, playing to a microphone, obvious stuff
headphones, you gotta put headphones on both ears
if you can't hear yourself
you can always pull one headphone off
but you gotta stick it to your head
cool, contractor
get the note
you put it on your head
you take your headphones off completely, you put them over a leg or something
because the clicks will go into the room
it will go through the microphones
and sometimes they won't notice it until they're mixing
and then they'll figure out where it is by what mic it is
and they'll kill you
and you can ask again
if the click's too loud or too soft or whatever
you can ask
have it turned down
don't complain about it, just ask them
and if they say they can't, they can't
but feel free to ask
for any of that kind of stuff
playing to a microphone, obviously they mic you
in a certain place, you put your bell a certain way
they tell you to do a sound check
and you go, duh, like that
and they say, oh wait, do it again
duh, okay great, we got you
and then if they kick off the chart you go, duh, like that
you're now below over here, the mic's set over here
the microphone is very important
you play into it in the sound check
or you play into it the way you play into it all day
and if they tell you to play away from the mic, that's different
but the way they sound check you, you play right
the same way all the time
the same basic volume
it sounds obvious
but it's really, really important
a lot of people forget that and they sort of
they're doing what they're doing in the orchestra sort of
and the sound's going
on the soundtrack
it's a real
it's an amateur sort of thing
only in that you have to know that it's going to happen
and a lot of people aren't really aware of that
the mics are very specific
so that's really important
for a linder when you get into a studio
be flexible, have an open mind
if they decide on a style or something and ask you to play
and you don't think that's the right way
don't say, uh
doesn't, uh
Buddy Rich do it a different way on his record
no matter how much information you have
just don't say
if they want to press something faster
faster, oh gee we'd like this with a
swing feel, oh you know, it's going to be terrible
don't ever
you play it the way you're asked
if you have a suggestion
if they're sort of, I don't know
you can say, why don't we try swing
or, um, how about if I do this there
or whatever, if you know the people
if you don't know, they'll be able to sit there and shut up
for the most part
but be very flexible
if they need to take a little bit more of a break
don't sit around complaining on a break
you're still going to get paid for it
if you need to do this or play
learn or whatever, be flexible
don't, it's a lot
everybody in the studio has an awful lot to think about
playing in the studio is not easy
just because of the stress factor
and, and
as is conducting and all the other engineering stuff
so let everybody use their job and be
as, as
as easy going as you possibly can
because the stress level tends to get
very high because there's a lot of money
changing hands
and that's the way in orchestras or whatever
but it's real tight in a room
about this size with 50 people in it
the production company is blowing out maybe
15 to 20 thousand dollars
an hour on players in the room
and the engineers and everything else
it's real heavy
so, you know, you just keep it light
and just be amicable
very, very important
ok, so
style and phrasing, we talked about this
play jazz, learn to play all the styles
as good as you can, it doesn't mean you're going to play classical as well
as you play jazz as well as whatever
people tend to call you on your strengths
ok, one last thing
it's really important that you meet contractors
meet writers, all that stuff
of something that can be of benefit, although it's not
it's not the
be all and end all of a career
or be all and start all of a career in this case
it's a demo tape
people will not
are not likely to hire you for your demo tape
it's been true forever
and it's more true now with digital
editing and all kinds of stuff
and I could do probably one of the great
violin demo tapes now
considering what you can do with a digital
they will give you a shot as far as coming to hear you
though, so if you send someone a good tape
and you keep in touch and like Carl said you call them
and you shoot the breeze and this and that
and you're like, oh, you know, I'm playing down at this point
can you stop by? Oh, sorry
how about the 15th time you call them, they come and see you
if they've seen you play
and you played well
they're likely to hire you
but a demo tape doesn't hurt because it gets your name out
it gets them thinking about
they have something there
and it really does help
although, like I said, don't expect it
set out the demo tapes and people go, ah, here's your demo tape
I want you to play first time for my movie tomorrow
that kind of thing doesn't really happen
on a demo tape it's really important to show versatility
show all the things you can do
not just how fast or high you can play
all this stuff
be very accurate, it's very important
play all this stuff, play to your strengths
if you don't solo well, just don't put it on the tape
and let them think
you can't even have room on that tape with jazz stuff
or think whatever they want rather than
to know for sure that you can't play jazz
put your strengths on
and work until you've got them
don't put a tape together just because you need to send a guy a tape
and have one weak link in it, it's not good
because old tapes have a way of
resurfacing 10 years later
when you're a great lead player
and you sent out a tape 10 years ago
and you were still working on that high beat
solo ability is really good
and sections, things you've played in sections
solos, different styles
all that stuff support
good sound, interpretation, and specialties
again, EBI, jazz and all that
probably a 10 minute tops
demo tape is about as far as you go
because by then
they've turned it off
and they're getting angry at you for taking up their time
but if you can sort of squeeze 10 minutes
of your best stuff in
it's all you need, don't worry about having a 6 hour demo tape
anyway, that's basically
sort of talking fast
and still taking quite a while
the idea, it's really important
that you kind of have a grasp of this stuff
any questions at all
as to the importance or
in the world I was talking about
what is the pay like for a studio musician?
what is the pay like?
it's like good, man
it's pretty good
a day
is a 3 hour day
you have to keep an hour extra
it's part of our contract
well, players contracts
are that you have to not be booked in the next hour
so they can hold you over
a 3 hour day pays you
I think like 179
it's about that amount of money
it also pays health and welfare
another 25, 30 dollars
and you know
there are other things you get
there's a pension plan
so basically
you're getting around 200 dollars for 3 hours of work
of which you get a certain amount of cash
the extra hour
I don't know, it's something like 50
350 I think
every hour after that
for the one hour
that's a single session
double session pays the same way
after that they get into a time and a half situation
and after a certain time
it's 8 hours in one day
something like that
then they start paying you double time
but it pays well
and then when it plays again
or goes into a different medium
you get paid again
would you be considered an independent contractor?
you are an independent contractor
oh the union does
oh yes
yeah that's true
but you are basically
as a musician an independent contractor
just yourself
but the union takes out
and work dues come out
you have to pay the work dues architects
but they help the welfare
you go to the union to do it
what time
or how old should you be before you go to the union
you should be
an hour or two
older than being signed
on your first professional job
you know what I'm saying?
don't join the union
walk around with the card and pay them the 200 bucks
and pay them the 75 bucks and just be sitting there
because now you're playing
in some church for 100 bucks
or 10 bucks
five years
and the union guy comes in
you got a card? I do
you know this is scab date and all of a sudden you're paying 50
to the union because you broke a picket line
or whatever
not necessarily a church but something
you will know if you're doing union gigs
if you're getting called for union gigs
you can go and join the union
and play the gig
it's no problem
trust me very few of you will be called on Sunday morning
to play a Sunday afternoon gig
on the phone to get your card
you'll have time
that's it, when you get called for union gigs, join
you just have to make sure that when it says
are you joining the union because you have a union gig pending
that you quit
I'm just joining because I want to join
and don't borrow someone else's
card and try to look like Lupe Sanchez
the maraca player
they do notice those kind of things
that answered the question
Lupe Sanchez
other questions
oh good
this is what we need
we're going to do some stuff here
I just happened to do some arrangements
we were talking about playing with pictures
we can't have 80 headphones in here
20 or whatever
so we can't do the click track stuff
did you guys do that in your session
you played with the back track
well anyway
what we're going to do
is there are some TV main title themes
and you'll notice that most of them are off the air now
there are two reasons for that
well not that they're off the air but why these are old
three reasons but I won't tell you the third
the two main ones are
that nowadays
a lot of this stuff is rock electronic based stuff
not all of it
but I mean enough of the interesting stuff
that it doesn't really make sense
besides the fact that I don't watch TV anymore
the other
and the big reason is that
they've gotten away from
from what's called
spotting the picture where the music
the music does things while things on the picture change
and most of these are
I don't know if any of you remember shows like
Hill Street Blues and Saying Elsewhere and stuff like that
but the main title, the original, you'll see these
these are old too, they're cast members that had
since left the show before it even stopped
they would write the music
so that it would accentuate people's names
or cuts where the scene changes
or something like that and it's really fun
it's sort of fun to watch
and it's kind of one of the exciting things that makes a difference between
this kind of playing and you know
orchestra playing and a big band playing
so what I'm going to do is drag all the low brass
and all the horns up here
and then trumpets
we just need eight at a time
and if eight of you would kind of come up
let's get the low brass first
and then the trumpets are going to come up
and then we'll cycle through and play these tunes
I'd suggest as many people as possible
to sort of move over to this section
well you know
this section with your horns
you might want to put the cases
put the cases not in the walkway here
because people will be going up and down
where are you?
where are you?
he's playing
no he didn't want to play
he didn't want to play
oh well
no I wanted to ask
because I wanted to make sure we got players
you know strong
there he is
there he is
he thinks I'm trying to talk
I'm not trying to talk
somehow I don't think I would have been able to explain that really well
oh no chair
you weren't there
now just before we kind of start
this thing rolling along
let's just read through one of these things
I haven't seen one of these in a while
I bet you were real happy with that
you usually won't get this kind of information
but I'll just say
this is going to be in two
oh the first one
is that the first one you put?
thank you
you guys okay now?
this is a theme
from the Bob Newhart show
that just had their last episode
so I came this far
I'll give you
I'll give you
two majors for nothing
two beats in a bar
one, two, one, two
let's try that one more time
also trumpet's bell tones
two quarter notes in a bar
two quarter notes in a bar
say it over here
that's it
from New York though
you have a problem
translate to Berkmanese
one more time
one, two, one, two
one, two, one, two
that's not easy actually
that's not easy actually
as you all know
okay couple of real quick things
occasionally check to make sure I'm still alive
because I have a condition
so look up
very important
if you see this
this means
this means louder
this is just a reminder
how many
how many of you have been in a marching band
marching band
sounds like more
I'm being sort of
this is
so we want
I'll tell you
it's going to be sharp
you don't have the melody
be aware of the fact that
I might do this
if the people right before you go
don't go
like that
listen basically
no this is great
this is a joke isn't it
you've spoken all that
at this point the contract
you put on a gun and shoot me
and me
one more time with feeling
this time
with feeling and picture
okay now
a couple things just to remind you
that I mentioned earlier
once that starts I'm committed to that
I can't
if I look up and no one's got their horns up I can't stop
if you don't come at the right tempo
or you don't want to take my tempo I can't slow down for you
I can't speed up for you we're pretty much blocked
okay so be aware of that
look up with at least
one and a quarter eyes all the time
it's going to take a second
tempo up
shoot that guy
the reason I have a little bit of tape ahead of this
is so I can get a cue
what I'm actually doing is I'm looking at Geraldo
and praying that I can count four in tempo
before the music starts
we'll see what happens
but that's why you see a little of this Geraldo
can anyone hear the TV
no I have the volume
so you have your orchestra ready
yeah those of you that were frantically walking
and saw me speed up part of the way you know
we'd fallen back we didn't start on time
and we cut it
nice job
okay in general you want to play that
a little more legato that kind of a thing
and what you're trying to do is pick up a style from what's
going on up here very often
unlike today not as much chance
of talking
there's just not a lot of time for talking
so you really have to sort of
listen to everything and while you're playing
you go
You're thinking, I don't know, man.
Maybe it should be Legato.
And then look up here and say, yeah, maybe he thinks so, too.
So do watch.
OK, what's the next one up?
OK, this next one is a show called St. Elsewhere.
This was a lot of fun because it was
one of the early shows that was called an ensemble cast.
Music got really kind of interesting with that
because they have an ensemble cast, a lot of people
who are basically equally starred.
But you can't just throw everybody's
name in the same place on the screen at the same time.
So what they do is they use music to emphasize characters.
When their name would come up on the credits,
the music would try to do something specific.
Along here, partway through this,
you're going to notice a guy.
It'll say Ann.
So it's a William Daniels, actually,
as some doctor or whatever.
He was actually a major star on the show.
But because it was an ensemble cast,
they had alphabetical listing for the most part,
and then Ann, William Daniels.
And listen, the music will change.
I think it's a dissolve shot.
It's a shot where he sort of comes out of another picture.
And he comes through these doors and music changes
for the first time in a while.
It's kind of interesting.
And all the characters are sort of floated through music.
It's kind of interesting.
You want to just play a picture or you want to read it first?
Let's read it first.
Just one more, like, what are you doing?
This in four.
And I'll give you four beats before we start.
So it'll be one, two, four, like that, OK?
One, two.
["Pomp and Circumstance"]
["Pomp and Circumstance"]
["Pomp and Circumstance"]
["Pomp and Circumstance"]
Oh, yeah.
Now it's the other side of the fence.
Some really nice things have happened.
These guys got to play the theme twice.
When they came in, they phrased it the same way.
It's a very nice thing you were listening
to what they were doing.
You'll find some places where, all of a sudden,
you're playing a note and it seems like you're
the only one playing the note.
Well, not in this case, particularly,
but I mean the only section playing the note.
And it's usually right.
Go with your instincts and just play.
For instance, at the end, they have a little piece
of the theme and you guys come in on a note,
sort of slipped in right in front of them.
It was right.
And I hear a couple people kind of go, duh!
Like they just play.
If you play something and you're a little concerned
about it, play loud.
If it's not marked piano, obviously.
Play solid.
And then they'll know it's on your part.
And then 99% of the time, if you play something
that's way out there, they'll start going,
copyist, I think there's a wrong note in the part,
all right?
But if you sort of go, ah, like that,
they figure it's you.
Even if it's not you.
So you always, you play.
It's done the music, you play it.
If it's wrong, or if you make a mistake,
they can stop and say, I was wrong.
They'll go, yeah, I know, I know.
And then it's over.
But never tentative.
Because you're tentative.
And I start, every major now, I'm going,
I wonder what's next.
I wonder when he's going to do that again.
Oh, god.
You know, there's an F on the next page.
Oh, no.
And I start getting that.
OK, very nice.
Now, even more so.
You heard it that night.
You want long phrases.
The pump, pump, pump, pump, pump, pump, pump.
Very nice.
Very nice.
Pump, pump, pump, pump.
Pump, pump, pump, pump, pump, pump.
The accents on the accents.
And you guys are not listening to that.
You're playing a flowing phrase over the top of this.
That's how it works.
Da, da, da, da.
Pump, pump.
Let them do that.
Keep the phrase.
Oh, cool.
One more time.
Four blocks.
We do this one.
OK, everybody now, get ready to come up.
We're going to trade some people.
Trade some people up.
I need to get people.
Oh, you can put it down.
It looks like a dorm.
It looks like the dorms where they can't come in.
They couldn't afford the spider wrangler, so.
It does.
It's supposed to be Boston.
It's more likely not.
Right there.
OK, grid.
All right.
All right.
Now the bad news.
Trumpet's gotta go.
But the little raff is going to stay.
You guys can come on back.
We're going to play some different stuff.
Two people.
I can tell you what.
Grab a chair.
Any chair.
Nice job.
Keep them warmed up.
Grab a chair, any chair.
Nice job.
Keep them warmed up, you'll be back.
Okay, this is Hush!
Hold it a second, just to let you know,
this next one is sort of a jazz call,
but that doesn't matter, I hope you all get stuck with it.
It's Nightcore.
Nightcore, is the next one up?
And this, we're going to need.
Nightcore, right?
This is the next bookmark, okay?
Okay, maybe I don't even have the music.
Okay, great.
Now, usually we wouldn't do this.
Usually this wouldn't happen in a recording situation,
but I'm going to reverse the bass part a little bit.
Number one, because it's not really a brass part,
it's an electric bass part,
so it's sort of awkward on a brass instrument.
And number two, because, you know, we have to kind of...
Let's hear the bass line, okay?
It's in two.
What do you do with the first two bars in there?
Just the bass.
One, two.
Okay, okay, okay.
Play it up an octave.
Up an octave is fine, okay?
And if then it gets too high, it doesn't matter.
It's a tuba part, though.
All the tubas didn't want to come up this way, at least.
One, two.
Here's one.
Okay, okay, okay.
Constant, constant.
Okay, one more time.
One again.
Now, how do you say,
how do you say that?
How do you say,
how do you say that?
No, I think,
with me.
That's it.
Okay, everybody.
Let's try it with me one more time.
That was the tempo.
Okay, one.
Yeah, just keep doing it.
Very good.
Four beats.
That's two majors for nothing.
Two beats in a major, right?
Four beats for nothing.
Good or bad?
Again with the trumpets.
It's in cut ties.
You beat to a bar and let us like it a lot.
From the top.
How do you say Bravo?
Bar nine.
Bar nine.
Cut tie.
Incidentally, hearing the conductor sing the line to you is just preceded by hearing the
contractor dialing the phone.
First trumpets in.
Just first trumpets for now.
There's this other show.
We'll maybe get there.
It's behind.
It's behind.
It's got to move.
It's cut tie.
So it's like you're playing 16.
Got it.
Now we'll work on the middle line.
Second trumpet horn and trombone.
Second trumpet horn, trombone.
From nine.
To the other nine.
It's cut tie again.
It's got to sound pretty much just like this.
It's like a metronome.
You can hear them.
You're doing it wrong.
You're doing it wrong.
It's all the same.
Second trumpet.
Very good.
Push it forward.
The other way.
Very good.
My idea is if you wait to hear someone else play, you're late.
And if you have to hear them play, you're really late.
Just right.
All right.
We're going to do it with pictures and I'm going to put the headphones on.
I can't do it.
This is cool.
This happens.
It's tough.
It's a tough chart.
It's a completely different style.
All right?
Stay with me, Cal bars.
And stay with me.
And Cal bars.
D-duh, buh-duh, buh-dee-duh-duh.
And two.
Order notes are half of the end of it.
I have to figure out the tempo, too.
Same old stuff.
Give me a second.
This is the tempo.
Bah, bah, bah, bah, bah.
All right?
So you've got buh, buh, buh, dee-duh, buh, buh, buh, buh.
And they've got buh-duh, buh, buh, buh, buh, buh, buh.
The melody, you're on your own.
You can pretty much do whatever you want.
It's like you do it all the same.
No, no.
Let it be.
And here we go.
I'll give you four.
And it's two bars per minute.
Four beats per minute.
One, two.
One, two.
One, two.
Oh, come on.
All right.
All of you haven't played yet.
It could get harder.
All right.
Nice job.
If it's hanging on, it's not easy.
That's good.
Another one.
This is a different type of thing
because the tempo won't remain the same.
It starts slow, it gets faster.
He'll speak with us.
And it did four.
I like this.
15 brass players playing what's essentially a three-dumped
piano chord at the beginning.
That's the way it should have been in the first one.
We're going to do this right in the picture right
from the top.
It starts slow, it gets faster.
How many of you ever saw this show when it was on?
All right.
So is there going to be any of you playing the wrong tune?
You've got to watch.
There will be a retard.
Are you all familiar with the idea of a subdivision,
extra beats in the major?
Are they subdivisional?
I'm going to do it.
So are you familiar with what a subdivision is?
Like one, two, three, and four, and.
One, two, three, four, five, six, seven, eight, nine, ten.
So one, two, three, and four, and.
What happens is there will be a retard, a slowing down,
and then immediately it gets fast right after that.
So I'll do three.
In this bar, it'll be three, and four, and boom.
And then we're right into tempo.
And it's still in quarter note subdivision.
I can't wait.
Let me get the tempo first.
Got it.
This is kind of fun.
Four for nothing.
Two, three, four.
["Pomp and Circumstance"]
Very close.
It's some really nice stuff in there.
What's going to happen, usually, if you see me conducting really
hard beats, it means that you're probably not exactly with us.
With the picture.
That means go right with the time.
And the tendency here, too, is because we're
playing very loose at the beginning,
when it goes into time, the drag.
You don't want to go too fast.
The drag.
You don't want to drag anything.
When it goes into time, you've got
to push it a little bit.
So it goes.
["Pomp and Circumstance"]
It moves.
It's a groove, man.
It's a groove, man.
Very good.
One more time.
This is not easy.
I had to leave you in the dust for a second,
and you all caught me.
It was great.
Once we get in the groove, we're there.
That's no problem.
["Pomp and Circumstance"]
["Pomp and Circumstance"]
["Pomp and Circumstance"]
Well, yeah.
That was a better example, even, of what
we're talking about catching picture.
And a good example of why they don't do it too much anymore.
You notice, if you ever watch that show,
you notice that there were characters in it that weren't
in it after the first season.
But that's how they'd do a main title.
And they'd make the edits and do the music
for the first season.
Then everybody would leave or something.
Or they'd add new people on.
And the music wouldn't fit at all.
So now they just don't really bother
with catching kids for that reason.
This was a real popular one for that.
What do you think?
Let's see.
The next one, I'll tell you first.
But OK.
Volunteers, we need eight trumpets.
You guys are history for now.
But we'll be seeing you later.
Cagney and Lacey, it's fast.
It's cool.
Come on down.
Good example.
Good example.
Don't wait for someone to ask you to come down.
Just take the seat.
People are less likely to throw you out
if you're already there than they are to ask you to play.
And we need a victim to need to start
psyching himself out for dynasty.
Whoever wants to play the solo on dynasty,
start psyching yourself out right now.
If you have a C trumpet, start really psyching yourself out.
This is written on C.
It's written on C.
It plays on C.
But yeah.
I didn't see more comments.
Good luck.
Just take solid players, guys.
So you're all solid players.
And you're going to love this.
It's fast.
It's fast.
It's fast.
It's in four.
Let's try it a little slow just at the beginning.
It's just going to be for the trumpets.
You'll know why in a minute.
One, two, three, four.
All right.
That's not too bad.
I've heard words in this room.
One more time.
All right.
We're going to glue the horns an octave down,
and then we'll go.
One, one, two, one, two.
Check the key signature.
There isn't one.
No fair using your own.
One more time faster.
One, one, two, three, four.
All right.
One more time faster with feeling.
Now, forget the feeling.
Just play that.
One, two, one, two.
I beat it off if you play it the same tempo anyway.
One, two, three, four.
One more time.
Very nice.
Very nice.
Without saying another word, he pulls up the chart.
Watch this.
We have a bet going on this one, don't we?
It's not about your playing, so don't get psyched out.
Oh, god.
I forgot.
Let's try the rehearsal one more time.
One more time.
One more time.
One, two, three, four.
I will give you four beats for nothing.
For actually, so you'll know where I am.
That's a tempo.
This one is actually syncing the picture really well, too.
Come on.
Come on.
Come on.
Push me.
I can take it in.
One more time.
Now, bar five.
Bar five, low brass and horns.
Low brass horns.
Horns have a melody.
One, two, three, four.
It's a little faster than that, but that's basically the idea.
One more time.
See, you guys were all just passing the trumpet players in your minds.
Nice job.
One more time.
Again, without feeling, just get the notes.
Pretend it's L.A.
That's OK.
That's what tape is for.
Do you think these guys played it the first time, sir?
You're right, they did.
One more time.
One more time.
Those guys were mean.
Oh, OK.