Hmmmm.
That's placed me in limbo:-
1/ I regard Alan Tucker as a good friend.
2/ I have just three....not "more than three"
3/ I use baritone reeds on tenor pieces.
4/ I leap to the defence of C tenors.
Yet....I play mainly Bb tenor.
Other definitions are, that:-
a/ A C Melody player will always refer to his instrument as a C Tenor....unless, of course, he plays a Conn.
b/ He totally disregards the sensible scorn of Grumps. :bluewink:
Hmmmm.
That's placed me in limbo:-
1/ I regard Alan Tucker as a good friend.
2/ I have just three....not "more than three"
3/ I use baritone reeds on tenor pieces.
4/ I leap to the defence of C tenors.
Yet....I play mainly Bb tenor.
Other definitions are, that:-
a/ A C Melody player will always refer to his instrument as a C Tenor....unless, of course, he plays a Conn.
b/ He totally disregards the sensible scorn of Grumps. :bluewink:
"His" and "He" ??? Urm, are you trying to say it's only chaps play C-melodies? lol!!
My Conn is definitely C-mel, though she's taking on a far more tenorish persona since getting the new mouthpiece !!
You know you're a C-mel player when you're reading this post and laughing and nodding at the reasons listed!
And when you've owned and sold the Tenor, the Bb Sop, and are looking at the unloved alto with a view to ebaying (it's not mine, I can't... would that I could though lol!)
Both my C's mostly live out on stands in my music room/office and are played most days when I get bored with my work (which I do from home!), and definitely get hauled around to gigs/sessions/open mics etc!!
Just about completed making a new case for both C-mel and C-sop to co-habit when on the road as my aquilasax case died (the original '20's case is being used as a piece of "art" in my friends flat - almost functional if ever required but would prefer not to need to go down that route again!) - thankfully the innards of the aquilasax case have been relocated into the new case which helped with making it work!
Oooo! C Thread! Thanks for the chuckles. Sure do love my '23 Conn. Most of the time I tell people I have a C Mel, they respond with "Are you serious?" or "why?".
You know you are a C-Melody player when you find it esier to transpose Eb/Bb parts for a C Instrument, than it ever was to transpose concert music for an alto or tenor...
or
You know you are a C-Melody player when you ASK a guitarist to play a blues in E :mrgreen:
Haha, well the pad under my Bis Bb key on my 1926 Conn fell out and it sounded like a rock hitting the ground. Felt like a rock too. I slipped it back in and finished the song leaning forward ridiculously to keep it in place, then I used a cigarette lighter to heat up the key and was able to melt the shellac enough for it to stay and finish the gig.
Haha, well the pad under my Bis Bb key on my 1926 Conn fell out and it sounded like a rock hitting the ground. Felt like a rock too. I slipped it back in and finished the song leaning forward ridiculously to keep it in place, then I used a cigarette lighter to heat up the key and was able to melt the shellac enough for it to stay and finish the gig.
You know that you are a C Mel player if you are one of the five people who contribute to this board....(with the notable exception of Grumps.) :bluewink:
...when it's Christmas eve and you sit beside grandma on the piano bench and play a curiously quiet saxophone and nobody complains as you read thru the treble parts in the songbook as if you were a flute or violin player...
In the states, a Kiosk is a large horned animal found in the Arctic. You know you're a C Melody player when when latin bands always give you the lead part, as when they ask you about your horn.
Not to get too serious about it, but I found the C-mel to be a good SECOND horn in a Latin band. It has the high range and alto-like clarity to be able to cover second trumpet parts, and the low Bb to cover just about any trombone part thrown your way. Alto is somewhat more convenient for covering those t-bone parts (as far as reading goes), but sometimes runs out of range.
I wrote the book for a friend's band for just two horns - trumpet, and C-mel. I also provided the same book in tenor transposition, but it's unapologetically sprinkled with lots of altissimo Gs and G#s, since those represent notes not terribly difficult on C-mel.
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