[William Cingolani]

I worked on this one for three days. F#. I played it over and over. Every body in the house hated it. So today i’ll try the easier version. Still F#. I know F#. So if every body in the house still hates it I must be playing it wrong.

[William Cingolani]

Hey Hey Hey! I’m right on. Before I got your message Johnny I did just what you wrote. I wrote the pentatonic scales for Bb and Eb on a piece of paper to help keep track of where I’m supposed to be. I have Bb pentatonic – Bb, C, D, f. G. and Eb pentatonic as Eb,F,G,Bb,C. Looks like the 4 notes in common to both scales are F, G, Bb, and C. And today I recorded it using both pentatonic scales. I’ll refine the recording before I post it paying more attention to using the 6th note. Thanks Johnny.

[William Cingolani]

I’M STILL WITH “SOUL SERENADE”. In the song description Johnny says that the sheet music has all the notes for the solo. The solo starts at the end of bar 34. So does the solo go for the rest of the song and end on bar 86. Or do I make up my own solo and play until the backing track ends. I read much of the info about the song. What kind of blues is “Soul Serenade”? It’s mostly a I/IV progression, Bb to Eb.

[William Cingolani]

I revisited my Onyx reeds today and I find my soft carbon onyx reed to be very responsive. I was blowing “Sweet Caroline” in E flat. The part that goes “good times never seemed so good – middle C up to A flat…the A flat often sounded duuuh with my fiber hemp reed as though I wasn’t using my octave key. But with my carbon onyx reed i was right on every time… C to A flat. Carbon onyx is the way to go. I was using my metal MBII fatboy.

[William Cingolani]

Hi Jak; Yesterday while trying out some reeds I played Purcell’s trumpet tune, and the Prelude from “Te Deum”, and Rondeau from “Symphonies Pour Roi” and today some Mozart and rounding it out with “Sweet Caroline”.

[William Cingolani]

Nice fishing Video Michael.

[William Cingolani]

This is Kim Richmond. Kim was one of our Alto Sax teachers in Jim Widner”s big band at Drury’s Jazz camp in 1998.1999.He made his yamaha alto sing. He was the Yamaha rep at Jazz camp. He also represents Selmer. So the sound depends a great deal on the player. Kim could make a tin can sound melodious.http://www.kimrichmond.com

[William Cingolani]

Thanks Jeff. I still have the older version

[William Cingolani]

Nice job on the whiter shade of pale, one of my favorites. Hurricane Irma is bearing down on us so I’ll be away for a wile. My sax and sheet music are stored high. Four Strong winds they blow………..https://www.youtube.com/watch?v=wjfTDPhMdTk Catch you all on the flip side

[William Cingolani]

I’m working on “Sweet Caroline”. The published Key is “A” major And my music book has it in the Key of B major and the lowest note is low “F”. No low “F” on the tenor sax so I transpose the music to E flat, low note is low B flat on tenor sax and backing track is in concert D flat. Tenor sax plays E flat which is concert D flat and that matches the backing track which is in D flat. Mel, my wife doesn’t like “Sweet Caroline” but she recognizes the song when I blow the horn. So Maybe I can pull it off, either with the backing track or just with the naked solo horn.

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