2 comments about John Coltrane Solos.

1. There are many transcriptions of Coltrane's solos floating around out there. For professional saxophonists, writing down these solos is like taking a graduate course in jazz studies. The work presented here, along with the accompanying special fingerings and notes makes this the absolute best compilation on the market for aspiring and even professional musicians. Although written for (and played on) tenor, these lines can be applied to any instrument. I have played along with the original recordings with these transcriptions, and they are meticulously correct. To get the most out of the experience, I recommend using the book like an answer key and trying to transcribe the solo yourself first. You will be absolutely stunned at what this does for your understanding of jazz, Coltrane, and music in general.



2. I first got the Charlie Parker Omni solo books and this was the second one I got for playing. Each player has a different style and harmonic approach to the sax, so playing in their notes or foot steps, help you learn the horn, jazz and improvisation. This has a great selection of tunes from Trane. A great book to help you enjoy and learn to play jazz saxophone. Highly recommended for any horn player.

4 comments about How to Whistle Like a Pro (Without Driving Anyone Else Crazy).

1. For anyone that has even a passing interest in whistling, this book is a must-have. David Harp is an experienced teacher, and he covers everything: mouth physiology, music theory, techniques for improving your current whistling, and information on his favorite practitioners of this portable music. I consider myself an experienced whistler, and I learned a lot from this entertaining and enjoyable book.



2. Being a full time professional whistler, I was surprised at the excellent insight into the art shown by David Harp. He may not be a full time "pro" but you would never be able to tell it by reading this well done book.



3. This book comes with a RECORD! I haven't had a record player in a decade so the usefulness was limited. It could be terrific but without a record player I will never know.



4. I have read this book and have used it to teach people to whistle. I had the pleasure of receiving my copy from the author him self. David did a great job this is the book to learn how whistle. Unless you have a pro whistler handy to give private lessons. I am a two time Grand Champion Whistler this is the book to start with.

No comments about Horns, Strings, and Harmony.

2 comments about Trumpet Technique.

1. Campos' book is an elegantly written, thoroughly researched, and well-organized volume on the pedagogy of the trumpet. He attacks every conceivable issue that trumpet players face including technical, motivational, mental and even physical problems and suggests solutions for all.
   
   This is a wonderful resource for interested players and teachers. Being a university teacher myself, I've made notes throughout the book of interesting techniques to try with my students and in my own playing.
   
   Highly recommended. Thank you, Mr. Campos, for putting together this badly-needed guide to teaching and playing our instrument!



2. This book is very deep yet it so easy to understand.HE Qutes and covers everything that you need to know not just to become a better trumpet player but a better instrumentalists. I myself hadn't finish the book yet but trying to take what I have learn so far and use it.The frist chapter along is very helpful because it bring you into a better understanding of skills and why some people fell when they lack the skills and bring into a place where they can see that there lack of skills are from a lack of understanding and show them how it's done.

3 comments about Miles Davis, Miles Smiles, and the Invention of Post Bop.

1. Written by music professor Jeremy Yudkin, Miles Davis, Miles Smiles, and the Invention of Post Bop is a thoughtful exploration of jazz sensation Miles Davis' contribution to music of the mid-1960s, with an especial focus upon the evolution of the new style of "post bop". From the story of trumpeter Davis' life and creative works, to his confrontation of both personal and musical problems, to his legacy for future generations, Miles Davis, Miles Smiles and the Invention of Post Bop leaves no stone unturned. Occasional passages of musical notation intersperse this thoughtful commentary, rounded out by extensive notes. Highly recommended especially for American music history and college music studies shelves.



2. Mr. Yudkin utilizes way too many opinions presented as facts in support of his thesis here. In addition, this book is another unfortunate example of pseudo-scholastic language used in an attempt (however well intentioned) to "legitimize" music that can stand on its own merits without any such assistance.
   Instead of buying this book, buy the "Four And More" & "My Funny Valentine" albums by Miles Davis to hear magnificent music that Mr. Yudkin dismisses in an incredibly unknowing and snobbish manner.



3. i have a mixed opinion of this, first of all, over half the book is a rehash of any of the miles biographies. however, the indepth analysis of the album miles smiles, is worth the price of the book. i enjoyed the ins and outs of the making of it, and the thoughts of contemporaries at the time. each track is thoroughly broken down and explained, even though some of the technical musical theory talk is over my head.[i do have a basic understanding] so my only way to really under stand 3/4 time is to compare it to other songs in 3/4. but im willing to learn. 4 stars not five for the biographical rehash, but at the discounted price well worth it.and if you havent read a davis biography , its even better .

5 comments about Play Trumpet Today! - Level 1: Play Today Plus Pack (The Ultimate Self-Teaching Method).

1. Play Trumpet Today! - Level 1 (The Ultimate Self-Teaching Method)
   The best - the DVD is excellant and so simple to understand. The CD is terrific and the book is wonderful but you do need to be able to read music for the book as my son only started the DVD was the best part as it did describe everything he needed to understand with first time trumpet.
   He has played this to his friends that come over and rehearse with him and they also found it wonderful, they are only 10 and 11 years old and understand it easily.
   Also Amazon products arrive in the best packaging and safely delivered by courier, the books and items will never be damaged due the terrific packaging and their impecible service and communication is just refreshing to come across. Thanks for such good service and products and undersstanding when being asked many questions with fast and speedy answers



2. Received my copy and cannot say enought good things about this book. The CD is the key to the teaching method, as with out it, a student wouldn't know if they were playing the right sound.It's like having your own teacher next to you, and one can learn at their own pace. Highly recommend it.



3. Got this for someone who wants to learn how to play and he really liked it.



4. I bought this method for my eleven year old son, who is learning trumpet as his third instrument. I like the selection of songs and the easy pace of the book. Also, the video isn't bad, but disappointing from the fact that the video and CD both primarily cover only the first few pages in the book.



5. I never considered "Gently twist the mouthpiece into the mouthpiece reciever," to be instructions for trumpet assembly before. I have been away from playing for 10 years and thought this might be a good book to help me get reaquainted with the horn. I was wrong...this book is VERY VERY simplistic.
   
   If you are an absolute beginner, who has never even handled a trumpet and does not know anyone who plays trumpet, then get this book. If there is ANYONE that you can ask questions, who reads music or plays trumpet, then you can skip this book. Get something a little more complicated and just ask questions. If you are going to be taking lessons DEFINITELY do not buy this package. You will learn more during the first half-hour of your first lesson.

3 comments about Taps: Notes from a Nation's Heart.

1. As a Marine Corps veteran of the Vietnam war, I have to say that Richard Schneider has written (composed from the heart, would be a better description) a wonderful little book about the most beautiful notes ever written. The book is not only a "feel-good" book for those for which "Taps" holds a special place in their hearts, it is also an informative book with historical elements and anecdotes to please the history minded reader. I especially liked the poems in the rear of the book that added to the poignancy of the theme. This book fills a certain void that occurred after 9/11 because even though the flag got a lot of attention, "Taps" deserves some attention also.



2. The book is truly a labor of love, and it's obvious. Schneider is to be commended for having once and for all related the history of "Taps," and debunking many myths about its origin. It is fortuitous that the author connected with Jari Villaneuva, an outstanding trumpeter, and the foremost authority on "Taps," living or dead. One minor flaw is an erroneous reference to an E-flat trumpet, near the end of the book. The book loses one star in this review because of the awful design, in which the text is interrupted again and again by sidebar stories. Editor: there had to be a better way to present this information!



3. 
   This book gives us a handy reference to the origins of Taps. We need it, for, as well as the true story, here is also an exploration of the other, long told and beautifully poetic myth about the origins of the tune.
   
   One challenge for historians is this: who wrote the words that we most often sing (or think in our minds silently) to go with the music.... "Day is done...(etc.)" Even the authorities Schneider relies on don't have the answer. It goes back to Harrison's Landing and General Dan.

2 comments about The Oboe (Yale Musical Instrument Series).

1. Burgess and Haynes are both quality oboists and teachers and scholars of the oboe. This work is truly a contribution to the furtherance of the history and interest in this instrument, which has charmed many, but yet remains not as popular as most other winds, likely for its difficulty in mastering.

   The book is divided into almost two sections. The first 124 pages deal with the pre-history of the instrument's roots up until the modern era beginning in 1828. After a fascinating discussion of just where the oboe started, the authors surmise that since many wind instruments all claim the aulos and tibia are archetypes, thus doubtful that this was truly ancestor. However, in the Arabic cultures the early shawnlike "zurna" are definitely related, then giving way to the popular hautboys, which gave way to their widespread use in baroque music.

   This especially takes off in the era of the seventeenth century with various types and names and styles, regionally located according to materials and composers and performers and craftsmen and trade of ideas/commerce. Then in 1680 outbreaks the French hautboy, which begins to dominate and leads in turn to the now standardized Conservatooire oboe during the Industrial Age.

   There is much to be gained from this history tracing, including the match between hautboy maker/composer/musician. Standing out especially and his ties to the modern oboe is Treibert and his Systeme 6 which then was disseminated throughout the world by Gillet's students, especially here in North America. When former Treibert foreman Francois Loree started his own oboe shop enhanced by Gillet's endorsement, this standardized oboe started to dominate, evolving to the now commonplace material of grenadilla.

   Along the way the compositions and musicians are featured. Then beginning in chapter 8 which for me is the highlight of the book, the technical capabilities are stretched since WWII. Here is highlighted the giants of the oboe compositions and their performers. Also so poignant is their technical discussion of embouchure, air stream problems, reeds, and "vibrato or not."

   The last chapter closes with the two topic discussion of avant-garde techniques and compositions highlighting such as multiphonics, microtonoality, pitch slides, etc., and secondly, return to period instruments of the baroque era especially.

   Included are fine detailed notes, a significant bibliography, a compiled discography which is meant to be only representative of the book's discussion, and an adequate index.

   This is a fine scholarly work which will certainly disappoint if any reader seeks a beginning intro to the instrument, i.e. should I play oboe, how to start, etc. This is more academic as to the instrument's history, current status, etc. All oboe enthusiasts will continually turn to this fine, thorough and well researched and written resource.




2. The collaborative work of Geoffrey Burgess and Bruce Haynes, The Oboe adds yet another fine title to Yale's outstanding 'Musical Instrument' series. Following the history of the oboe and providing an in-depth discussion of how and why the oboe evolved, the music written for it, and prominent players, The Oboe is admittedly is a specialty title, but any academic or classical music collection or library reference collection strong in classical history will find this an essential buy, packed from cover to cover with rare insights and information. The Oboe is most especially recommended to students of woodwind instruments in general, and this particular, core component of both orchestral and jazz music in particular.

5 comments about The Art Of Jazz Trumpet.

1. Fellow Travelers -
   
   I have found John McNeil's "The Art of Jazz Trumpet" to be truly helpful and inspiring. The exercises presented are tough, though-provoking, and very cleverly focused on amplifying skills that appear - to me at least - to be genuinely useful in a jazz setting. Personally, I see the value of this book less in the applicability of specific lines ("licks") to tunes, and more in improving the improviser's ability to present his/her own ideas with more propulsive articulation, fluidity, and melodic confidence.
   
   There is, of course, a significant (in terms of wood shed frustration) cost factor here - but most players, I suspect, will feel that the improvements are deep and fast enough to fall well within our pain and patience thresholds.
   
   Thanks John for a terrific contribution to the field, and for my (small but enjoyable) personal mini-breakthrough - it has been a long time, and I'm really enjoying the experience.
   
   Bravo.
   
   Jim Stagnitto
   www.stagnitto.newhopecollective.com



2. I fell in love with it since I bought it on Amazon.com. It quite amaze me since I wanna learn more about jazz. This book would definitely take u far as being the best trumpet player u'll be. I'm also a trumpet player, and 'specially play other instruments I self-taught like the piano, keyboard, organ, harmonica, recorder, trombone, mellophone, French horn, euphonium, percussion, drums, flugelhorn, guitar, etc.
   
   I'm not gonna say "I don't like this or whatever". I think it's a great introduction showing some basics and material work on how you 'gon be good at it. I know a lot of people don't agree what I'm saying. I believe that every trumpet player or music learner perhaps should have this along with Jazz & Blues, Arban's Conservatory Method for Trumpet, 1001 Blues Licks, 1001 Jazz Licks, Building a Jazz Vocabulary, The Jazz Fakebook, 28 Modern Jazz Trumpet Solos, Bks. 1 & 2, 14 Blues and Funk Etudes, and 14 Jazz and Funk Etudes all by Bob Mintzer.
   
   Like this is definitely a book I should keep even tho I wanted practice some more I believe.



3. Without a doubt, John McNeil has done something with this book that has long been overdue. With the advent of jazz education, so much focus has been put on what to play, rather than on how to play it. McNeil presents exercises that go beyond the simple articulation of scales and puts them in real world situations. Furthermore, the author addresses technique issues that most other jazz trumpet books fail to even acknowledge exist. The section on alternate fingerings and different ways of tonging, that are so important to today's jazz improviser, are throughly covered through simple explanation and execution. Not to mention, the accompanying CD has several examples being performed by astute trumpet players who play through them with the ease of a basic stamp warm-up routine.
   
   Quite possibly, the most important part of the book is the section on finger technique. With three pages full of finger twisters for the jazz trumpet player to navigate, the trumpet player will find more fluidity in their performance, resulting in better solos and overall better trumpet facility. This book should be required to be used by every trumpet player, commercial or not. The result will be a much more technically proficient musician, no longer hindered by a lack of technique, but rather, aided by a plethora of it.



4. This book is great! The articulation studies are hip and tricky, and you can actually use them in a "real life situation". There are also some interesting articles on various jazz trumpeters. I highly recommend this book.



5. It is important to realise that unlike many other jazz books this book does not set out to try to teach you how to improvise, nor is it a jazz theory book. You would benefit from at least some working knowledge of both these topics before you embark on this book (I would recommend something like Levine's The Jazz Theory Book if you need more background). Instead it helps you to develop the more technical aspects of jazz trumpet playing through exercises, etudes and well-written text.
   
   The first part of the book covers the history of jazz trumpet from about the bebop era onwards, through some discussions of the musical styles of a number of key players and some musical examples.
   The hard work starts with a large section on jazz articulation, in which you learn to control your placement of accents on different notes in a phrase and develop a polyrhythmic feel. He provides exercises for wide interval playing - something that is quite hard on trumpet compared to an instrument like the saxophone. Alternate fingerings are covered along with some exercises. He also discusses doodle tonguing made famous by especially by Clark Terry. This is the jazz player's way of tonguing fast passage as opposed to the multiple tonguing used by classical players. He has a useful section on tricky fingering studies which you can even practise without blowing into the horn (useful when the chops are tired).
   
   Although I said that he doesn't try to teach you how to improvise, there are a few useful ideas scattered through the text. For example, after his first articulation study, he gives an example of how you might shift sections of it up or down a semitone at random when you are playing to get an "out" feeling. Putting some randomness into a fixed exercise helps you to exercise the parts of your brain that are needed for improvising without throwing you completely in the deep end. Another exercise he mentions is to play a 1235 or 1535 pattern around the cycle, alternating at random between 1235 and 1535 at random. McNeil describes this particular exercise in more detail in a 2002 journal article for the International Trumpet Guild entitled "Creative Pattern Practice" which is worth scouring the web for - it will give you a good taste of his writing style and his way of thinking about improvisation.
   
   The book also comes with a CD demonstrating some of the exercises and etudes so you can hear what they sound like when performed correctly.
   
   John McNeil is a highly respected Jazz trumpeter and his book is a classic that every aspiring jazz trumpet player should own. I love this book and use it often.

5 comments about Complete Saxaphone Player (Volume 4) (Complete Saxophone Player).

1. I've read 4 different series of "teach yourself saxophone" books and the "Complete" series by Mr. Ravenscroft is by far the best and most interesting I've found. The songs are fun and get you playing quickly. The instruction is great. The 2nd and 3rd are the most important to own and take you from beginer to player.



2. After reading this first book one discovers that Mr. Ravenscroft is not only a superb sax player -just listen to Pink Floyd's The Final Cut to take a sample- but a remarkable teacher also. The book itself starts with the obvious very basics you need to knowing the instrument. Then step by step introduces posture, breathing, embouchure and fingering techniques. And for those unpacients, the first sound comes just befor mid-book. From there on simple tunes are presented in an easy way, so anyone can play his first ¨solo gigs¨ in a matter of days.



3. This book is great for showing the fingering of playing a sax or breathing. But take note that the list of songs, is a full list of the songs, it's just that on each song only the intro is given.



4. this book series is exelent for any intermediate sax player. I bought all 4 and they rock.



5. The explanations in the beginning added some value. This book gave a bit more detail on embouchure and breathing, which I know is important. Though after getting started inthe book, what is sorely missing... is how the music is supposed to sound. If this is a beginners book, and which I am... how do i know the pace of Imagine by John Lennon... What is the beat really FEEL like. Without an accompanying CD... I feel that this book isn't giving me the same ability to critique myself as "Absolute Beginners / Alto Saxophone" with CD of all music in the book. For me, the tunes in this book are good BUT I have NOOO idea if i'm close to the pace, sound or FEEL.I am finding the actual songs on iTunes and looping the section so i can match (which is fun), but someone should be doing this for me, is my thinking.
   Legato and Slurs... and tonguing, is explained well in both books but what doe it sound like? I play a Legato and a Slur and it's really close right now for me with a CD. How would I be able to create that difference by just reading about it???
   
   The explanations are more detailed than Absolut Beginner's guide so I can use it as a reference but NO CD in 2007 is big oversight for me. Happy saxing!