John’s Blog

Recently I heard from Mike Kates in Florida, with a question about the book (Exercises for Jazz French Horn). Rather than paraphrase the whole thing, which would of course be easier for YOU, I decided to just copy & paste Mike’s question, along with my reply, which makes it easier for ME. See, it’s all about ME…just kidding, a little snarky New York humor….. Seriously, I think you’ll understand his question and the reply just fine this way. Any questions or further clarification, please reach out to me. Here it is:

Dear John:

              I have been studying your book for a couple of years now and as a result of your exercise 1.1 I developed an interest in further studying the 7 modes. I recently wrote an article that has not yet been published or edited that attempts to simplify or at least facilitate the playing each of the modal scales starting on all 12 possible notes either on the piano, or the horn (more difficult to visualize).  When I started practicing Exercise 1.1, I thought what you intended was for us to play the exercise using the Lydian mode scale in every key starting with C, C#, D, etc.  When I went to Appendix A, I believe that the only example of Lydian mode was in the very first two lines. All of your examples start on the notes C or C#, not in any of the other keys. The subsequent two example lines are in Phrygian mode, the next two in Dorian, then only one in Ionian, Two in Locrian, Two in Aeolian and two in Mixolydian.  I Don’t think any hornist following the instructions for 1.1 would end up playing what you  presented in the Appendix which is the exercise in just two keys (C&C#) in 5 of the 7 modes (Lydian and Ionian were only in C with no example starting on C#).  

 Many of your illustrated Jazz excerpts improv examples are extremely difficult to play in every key, and others where the underlying patterns are simpler are less challenging, this is obvious. I had no problem memorizing Appendix B, but this was not so with Appendix A.   Please let me know if I’m off base with my observation about this particular exercise and your illustration of what it looks like written out in its entirety.  I don’t know if anyone else has brought up this issue, or if I’m just misinterpreting the instructions for 1.1. ??

Thanks…  Mike Kates

Mike, here’s what I think:
You are just looking at it from a different angle than I was.  
You’re absolutely right in your interpretation of it, but that’s if you look at it a certain way.  The way I think of it, and that’s when I’m practicing it, is this: Every 2-system group is in the Lydian Mode, it just begins on a different scale degree.  In other words, Staves 3-4 are in Db Lydian, beginning on the C, the 7th degree.  Systems 4-5 are in D Lydian, also beginning on the 7th degree.  Then 7-8 are in Eb Lydian beginning on C, the 6th degree of Eb Lydian.
It probably would have been helpful if I’d explained this at the top of page 21!  Anyway, this is the way I always used to practice these because it kept me starting from my lowest notes.  In more recent years, I enjoy just starting anywhere and playing them in any range, just maintaining the key signature and THINKING of the scale. Is this explanation helpful? click yes or no LOL

Well, the pandemic has certainly turned everything upside down and inside out. One effect it had on me, was that I stopped composing anything new, which is kind of the opposite of what I should have been doing…. Just recently, I decided to do a home recording of the latest version of “Dark Rhapsody” – this one for Four Horns. I offer it to you, as a free download, enjoy! And if your ensemble is interested in playing it, email me and I’ll send .pdf’s of the score and parts completely gratis 🙂 At some point, it will be added to the online store for a fee, so act now!

Stay safe and well, everyone!

OK, it’s a little different from my normal world of Jazz Horn….but certainly Rap / Hip Hop is related to jazz. And I always love to see the Horn involved in anything non-classical. You’ll only see me for a few seconds, and you’ll need to listen hard for the Horns. But I wanted to share this, mainly because of how bad I feel about the rotten treatment of Puerto Rico, by the Trump administration.

Hey Everyone, just wanted to let you know about something I’m doing in a few days:

https://shop.outreachmusic.org/free-masterclass-waldhorn-more

Hey everyone, hope you are all ‘sheltering in place’ successfully and staying healthy!  Now, to continue with my thoughts regarding Jazz Horn Excerpts:

Here’s just one example: from Alexi David’s (http://www.alexidavid.com/html/) brilliant transcription of “Peggy’s Blue Skylight”.  To hear this arrangement live, you’d want to come to FatCat in NYC to hear Alexi’s Octet. That is, when we finally defeat this virus….

Meanwhile, you can hear a great version of the tune here: https://www.youtube.com/watch?v=jgkhazlOt9Q

So, what I’m saying is that it would be really helpful to you to study and practice this, just in case you get a last minute call to go sub at FatCat……!

Eventually I’d like to make available a lot of excerpts from various bands I’ve played with, such as Gil Evans, McCoy Tyner, Carla Bley, Kuumba Frank Lacy….  Do you have some excerpt you’d like to share with the class?!?!  Perhaps something you’re working on and need help with, or just something you’d like me to include?

There are so many sources for orchestral excerpts for Horn. To prepare for an audtion, there’s virtually no piece of music that might appear in your audition, that you couldn’t prepare for by accessing the written music and several recordings. But what if you should happen to be a jazz student wanting to prepare for the many challenges of big band playing? Trust me when I say that there are many, many Horn parts in well-known jazz arrangements, that are not totally easy to sight read! Even in my own recent experience, mainly with the Mingus Orchestra and the Jazz at Lincoln Center Orchestra, I see parts that I wouldn’t want to ask a sub to just come in and sight read….

This brings me to my next project. What if there were a volume of jazz excerpts for Horn, complete with audio examples? Would this be something of value? Can you think of any specific pieces, or recordings, or composers or arrangers that you’d want to see in this volume? I would love to hear your thoughts on this subject!

A couple of weeks ago, I had the great fortune to meet with Runar Tajford of the Brazz Brothers, in NYC. We had a great time! I was able to comp Runar to a concert with Quinsin Nachoff‘s group, (which actually is very close to the Brazz Brothers in orchestration – Brass Quintet/Tenor/Drums) and he attended a recording session with Andy Jaffe‘s “Arc” band. I learned quite a bit about life in Norway and the activities of the Brothers – of particular interest to me, is their recording “Sketches of Africa”, with the Odense (Denmark) Symphony Orchestra. To create this music, Runar transcribed music brought to Norway by refugees, and arranged it for the Brothers and the Orchestra. Check it out!

As I progress with formatting this new volume, some decisions will need to be made. Should there even be a hard copy version, or should it only be available as a .pdf? Since there will be several audio and video examples, should there be an accompanying DVD, or only links to online files? I tend to lean towards everything just being online, since it seems that streaming is the way of the future…. also, suppose I want to update it from time to time? If it’s online, I wouldn’t need to re-print it! On the other hand, libraries and Horn studios might like to have a hard copy, and folks do like to put something up on the music stand from time to time….would love to hear YOUR ideas and thoughts….

For a few years now, I’ve been putting together some new exercises, new ideas, and new approaches to practicing the exercises.  I’d also like to have a chance to explain in more detail how to practice them.   The book isn’t formatted yet, so here’s your opportunity to have some input regarding what goes into the book and how it’s presented!

Just as a small bonus, here’s an example of something I’ve been using and will probably include in the book:  I got this from awesome bari saxophonist Ken Hitchcock.    

I’ve been practicing this over two octaves, (starting way down, 2 octaves below what’s written here, transposing up by half-steps) but you don’t have to!  You could practice only what’s written here!  There’s no “should” or “must” about this kind of practice.  That said, I recommend at least transposing it into one or two other keys; say “Horn in G” or “Horn in C”.  My usual approach is to transpose it up a half-step, then another half-step and so on.  I do highly recommend using a metronome, just so you can keep track of your improvement.  It’s a really good idea to occasionally practice it very slowly.

Something that’s important to understand, when you’re deciding how to practice is this: no one can play exercises like this as fast in the extreme low register, as they can in the mid-to-high register!  It’s also important to realize that when improvising a jazz solo, you probably won’t be using pedal notes all that much except maybe at the beginning or end of a phrase.   So, you may decide for instance, to only practice the exercise in the range you’d be likely to use when improvising, i.e. maybe only a range of an octave and a half.   My personal preference is to cover as much of my range as possible, “just because”….it gives me more of a feeling that I’m in control of my Horn….