Pilot Personalities

MuseChaser said:
Pilots are the trumpet players of the jazz world. They're all the best... Just ask them..except the truly GREAT ones are generally pleasant and humble.

How many trumpet players does it take to change a light bulb?

Four....one to change it, and three to describe how much better they would have done it and how much the first guy sucked.

Too bad that attitude exists anywhere, be it in the air, on stage, or in a forum. The vast majority of folks here, actually, are generally very nice. Strong opinions, surely, but generally pleasant about it. There are some notable classic exceptions.
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Does this require jazz hands?

 
Problem with these is that you can game them to get what you want, so must make an effort to say who you are, not who you want to be.

Anyhow, I'm 5 9 1 6 7 4 8 3 2. I guess I'm a investigating peacemaker. My least was the giver, which I agree/disagree with. I like to help people, but I don't do it because I want to "be loved and belong". To make our society and government work, we must be be involved with other people and be altruistic as best we can. Besides, people are interesting.
 
MuseChaser said:
Just 'cause it doesn't make sense to you doesn't mean it doesn't make sense...;)...

And...lively discussions frequently ensue as to just WHAT chord those four notes create. Horn players, pianists, guitarists, and bassists all frequently have different interpretations and ways of parsing harmony. Drummers just continue drinking and drooling....;)
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Rule of thumb for performing live music: if you hit a wrong note, just hit it again three more times and call it jazz.
 
Half Fast said:
Rule of thumb for performing live music: if you hit a wrong note, just hit it again three more times and call it jazz.
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Truth. When the train starts to go off the tracks, just play/sing on. Unless the audience is very familiar with there piece, you’re the only one to know it was messed up.
 
If I took the test I'd probably be 1, 5 and 2 dominant.

I went to the best jazz school in the country but never got into it. Too busy playing real music.

:happydance:
 
NealRomeoGolf said:
If I took the test I'd probably be 1, 5 and 2 dominant.

I went to the best jazz school in the country but never got into it. Too busy playing real music.

:happydance:
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Half Fast music theory for electric guitar: root + 5 + (enough distortion) = any silly chord you like.
 
Half Fast said:
Half Fast music theory for electric guitar: root + 5 + (enough distortion) = any silly chord you like.
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My roommate was a jazz pianist. He ran circles around me in music theory class. I can't make up music on the fly. I need a sheet of paper with music in front of me if you want me to play.
 
NealRomeoGolf said:
My roommate was a jazz pianist. He ran circles around me in music theory class. I can't make up music on the fly. I need a sheet of paper with music in front of me if you want me to play.
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I can't even do that anymore but I played the oboe so I'm still in therapy to repress the memories 20 years later. :rolleyes:
 
NealRomeoGolf said:
My roommate was a jazz pianist. He ran circles around me in music theory class. I can't make up music on the fly. I need a sheet of paper with music in front of me if you want me to play.
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I can improvise simple guitar fills and leads when I have to, but I'm not great at it. I can read music but I'm out of practice at sight reading and have to work my way through things a little at a time to put it all together. Apart from classical stuff, though, hardly anyone writes out a guitar part anyway. When I play at church I work from a lead sheet with chords written out. If the chords aren't written I can figure them out from the bass line, or else just look at the piano score.

Lead sheets work well for me because they provide the structure of a song, with all the repeats, dynamic markings, rhythms, tempo, etc., as well as chord names. If I need to annotate something I can just scribble notes onto the staff, like a small riff or a fill. A complete score becomes unwieldy with way too much unnecessary information.
 
My daughter plays the flute and her daughter plays the tuba. Interesting sounds when they practice.

Cheers
 
Half Fast said:
I can improvise simple guitar fills and leads when I have to, but I'm not great at it. I can read music but I'm out of practice at sight reading and have to work my way through things a little at a time to put it all together. Apart from classical stuff, though, hardly anyone writes out a guitar part anyway. When I play at church I work from a lead sheet with chords written out. If the chords aren't written I can figure them out from the bass line, or else just look at the piano score.

Lead sheets work well for me because they provide the structure of a song, with all the repeats, dynamic markings, rhythms, tempo, etc., as well as chord names. If I need to annotate something I can just scribble notes onto the staff, like a small riff or a fill. A complete score becomes unwieldy with way too much unnecessary information.
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All you need to do is play I IV V and iv. Spice it up by adding 7th to one of the chords or an add 9 to one of the chords and youre good. Throw in a couple of arpeggios and everybody thinks you're awesome.
 
EdFred said:
All you need to do is play I IV V and iv. Spice it up by adding 7th to one of the chords or an add 9 to one of the chords and youre good. Throw in a couple of arpeggios and everybody thinks you're awesome.
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Pretty close. Learning the major and minor pentatonic scales will let you muddle through simple leads. And crank up the distortion.

And if all else fails.... Just turn off the pickups and wail like Jimi. The audience won’t hear a thing and they’ll blame the sound tech. :devil:
 
Half Fast said:
Pretty close. Learning the major and minor pentatonic scales will let you muddle through simple leads. And crank up the distortion.

And if all else fails.... Just turn off the pickups and wail like Jimi. The audience won’t hear a thing and they’ll blame the sound tech. :devil:
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You don't even need to learn both. Because they're exactly the same! Just depends which box you start in. :D
 
EdFred said:
You don't even need to learn both. Because they're exactly the same! Just depends which box you start in. :D
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Yep. Learn one you’ve learned the other. Just have to know where the root lies for each.
 
EdFred said:
All you need to do is play I IV V and iv. Spice it up by adding 7th to one of the chords or an add 9 to one of the chords and youre good. Throw in a couple of arpeggios and everybody thinks you're awesome.
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It's just that easy. Call before midnight kit for your free introductory "Be a Professional.Jazz Musician" introductory kit. Operators are standing by.

Sheeeesh....
 
MuseChaser said:
It's just that easy. Call before midnight kit for your free introductory "Be a Professional.Jazz Musician" introductory kit. Operators are standing by.

Sheeeesh....
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Change that to “rock musician” instead of jazz and it’s pretty darned close to true! :)
 
MuseChaser said:
It's just that easy. Call before midnight kit for your free introductory "Be a Professional.Jazz Musician" introductory kit. Operators are standing by.

Sheeeesh....
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Oh no jazz you got to have a minor 7th flat 5th and an augmented 3rd and probably the 11th and the 13th all in the same chord. And the root is actually the 6th.
 
EdFred said:
Oh no jazz you got to have a minor 7th flat 5th
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You mean a half diminished chord? Same difference...
EdFred said:
and an augmented3rd
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That's the same as a perfect fourth, which really only works in sus chords. An "augmented 3rd" would remove the chord quality defining 3rd from the chord completely, and obscure any specific forward harmonic function of the chord...."suspending" its forward momentum.
EdFred said:
and probably the 11th and the 13th all in the same chord. And the root is actually the 6th.
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Over a minor chord, the 11th would work fine. In a major or dominant chord,you'd generally want to sharp the 11th so it doesn't conflict with the third a half step away. The 13th can be played with,although if flatted or raised, the chord either becomes an augmented chord or bitonality comes into play because it conflicts with the existing 5th or 7th. The root becoming the 6th is only true if the chord is indicated as, i.e., C7+11/A. Whatever the root is......that's the root.
 
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You realize that was just a joke right?
1,3,4,b5,5,6,m7,11,and 13 all at once, that's just ugly, which is why it was a joke.
 
mcdewey said:
To make our society and government work, we must be be involved with other people and be altruistic as best we can.
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Depending on people to behave against their personality to make something work is a very poor strategy. 90% of people aren’t even aware of their personality, let alone have the ability to adapt it to fit a need.

I’m also an Investigator, closely followed by Challenger. My Giver score is my lowest.
 
EdFred said:
You realize that was just a joke right?
1,3,4,b5,5,6,m7,11,and 13 all at once, that's just ugly, which is why it was a joke.
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Just having fun, Ed. To continue, in this, your next example, it wouldn't be as ugly as it may seem. The 13th IS the 6th... The only reason it's called the 13th is because then it also implies the inclusion of the flat 7th (m7). Similarly, the 11th IS the 4th, so no conflict there either. In effect, your example only has seven distinct different notes in it. True, the major third and perfect 4th do not peacefully coexist, nor do the flat 5th and perfect 5th, but if you permit me to raise the 11th to a sharp 11th, and let it take the 4th with it, (same note, but there's a bit more to the discussion therein..technically, you can alter an extension without influencing the base tone an octave lower,but that rarely happens because chords are spelled by stacking thirds...root, 3rd,5th,7th,oth,11th,13th...4ths are generally only used in suspended chords,and typically replace third unless the chord is minor), now the raised 4th/11th, and b5 are the same note, too, and we actually have a very common chord that when voiced well sounds great...the ol' dominant 7 #11 13 chord. Voicing is everything.
 
MuseChaser said:
Just having fun, Ed. To continue, in this, your next example, it wouldn't be as ugly as it may seem. The 13th IS the 6th... The only reason it's called the 13th is because then it also implies the inclusion of the flat 7th (m7). Similarly, the 11th IS the 4th, so no conflict there either. In effect, your example only has seven distinct different notes in it. True, the major third and perfect 4th do not peacefully coexist, nor do the flat 5th and perfect 5th, but if you permit me to raise the 11th to a sharp 11th, and let it take the 4th with it, (same note, but there's a bit more to the discussion therein..technically, you can alter an extension without influencing the base tone an octave lower,but that rarely happens because chords are spelled by stacking thirds...root, 3rd,5th,7th,oth,11th,13th...4ths are generally only used in suspended chords,and typically replace third unless the chord is minor), now the raised 4th/11th, and b5 are the same note, too, and we actually have a very common chord that when voiced well sounds great...the ol' dominant 7 #11 13 chord. Voicing is everything.
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This is bringing back nightmares of my freshman year in college.
 
Pugs said:
I can't even do that anymore but I played the oboe so I'm still in therapy to repress the memories 20 years later. :rolleyes:
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Well ... you could have been a bagpipe blower ... :dunno:

 
MuseChaser said:
Just having fun, Ed. To continue, in this, your next example, it wouldn't be as ugly as it may seem. The 13th IS the 6th... The only reason it's called the 13th is because then it also implies the inclusion of the flat 7th (m7). Similarly, the 11th IS the 4th, so no conflict there either. In effect, your example only has seven distinct different notes in it. True, the major third and perfect 4th do not peacefully coexist, nor do the flat 5th and perfect 5th, but if you permit me to raise the 11th to a sharp 11th, and let it take the 4th with it, (same note, but there's a bit more to the discussion therein..technically, you can alter an extension without influencing the base tone an octave lower,but that rarely happens because chords are spelled by stacking thirds...root, 3rd,5th,7th,oth,11th,13th...4ths are generally only used in suspended chords,and typically replace third unless the chord is minor), now the raised 4th/11th, and b5 are the same note, too, and we actually have a very common chord that when voiced well sounds great...the ol' dominant 7 #11 13 chord. Voicing is everything.
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TMI !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
 
We are known, and widely lauded, as being experts in anything and everything. Especially financial and real estate matters. Lately a lot more slanted towards medicine, infectious diseases, and the economy. If the world would just put a board of pilots in a room for a few hours, we would have everything settled comrade.
 
WHAT? Haven't read the thread........but NOW you tell me. Pilots have "personalities?"
Sounds like an oxymoron.

And I liked how Marcia Clark pronounced it. ox IMM eron
 
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