Dad3353

I'm not at all sure what the issue is, here ^^^^. I can think of little to differentiate between 'alternate chords' and 'chord substitution', and which 'alternate' or 'substitute' is appropriate is entirely a question of context. If it helps the piece along in any way, it's all good; if there are potential clashes with other players, either it's understood beforehand, or discovered when the clash occurs..! These notions are more typically found in 'standards', often from the Real Books and such, and there are often variants from different executions of the piece over time, from different performers with differing styles. Once one has some familiarity with some of this, it gets easier to 'know' what to play; this experience is gained mostly by playing the pieces, listening to what is going on and discussion with fellow musicians. It's not really a mathematical issue (tritone-shmitone...); simply the way certain styles of music have 'rules' that can be bent, broken or ignored by the players. If in doubt, play the main stuff, and leave the optional bits unless they've been clarified in advance, or didn't work the last time you (all...) played that number. It's not rocket surgery, so no real need to over-think this stuff. Being aware, and studying it, is great, but the pudding gets proven only when it's being played. Rehearsals can help in sorting out issues like this, although that's a luxury that a dep doesn't often have. It only takes a few moments to consult with the keys/guitar colleague; he/she will already have an idea of what's to be done, so it only needs a little agreement. Usually. Until someone forgets, and a bum note is played. Ho hum... That's jazz, innit...

All of this one of several reasons why we play for free, as this removes any of the hassles, pitfalls and anguish from these pecuniary matters. It's just for fun, for us, and not a job; we don't need (nor would we want...) the income. Life can be simple.

It works every time.

Sigh...

It means that you now owe me £20.

It's referring to your post count having clocked up 3000 posts.

The opposite effect here. Some decades ago, I was playing (drums...) at a wedding 'do' at a small local restaurant, as a duo with my buddy on accordion and organ. The landlord had warned us that he had a strict 2am curfew to respect, so we had to be finished by then (these weddings can go on till dawn, otherwise..!). We agreed, and played our usual repertoire of slows, waltzes, musette, some light rock, until we got the nod that it was time to wrap up. The ambience was hot; all were mightily enjoying their evening, but when it's time, it's time. We launched into two numbers, guaranteed to clear the dance floor and shoo everyone out: an accordion/drums rendering of 'Saucerful of Secrets', followed by 'In the Court of the Crimson King'. It was glorious, for us, playing, but the surprise was total, as (maybe aided by the liquid refreshments of the event...) the reception was rapturous..! Applauded as heroes, we passed the curfew and played on for over an hour more... That's not the end of it, though; I now come to the 'requests' part... Two years later, we are booked again for another wedding at this same restaurant (we'd not played there since...). Immediately upon arrival, the patron's eyes lit up and we were greeted like rock stars, with the 'request' (rather more an injunction..!) that we play the same numbers at the end. We obliged, of course, and another wedding 'do' ended in a vacarme of cymbals and accordion, to the delight of all. Happy daze..!

If there's any doubt, could you not hire the rig for a month or so, to try it out in your own environment..? Most companies/shops will allow hire cost to come off the cost of buying it, if it works out to be suitable.

If you stand at the back in the shadows, the lighting rig isn't, either..?

Ha..! For the first few years of Kiemsa, I, as the father of Our Eldest, their 1st Guitar, provided the PA, and drove everyone to gigs and back in our Renault Espace, pulling a hired trailer for the gear. I did their sound from the desk until the Drummer (studying to become a Sound Engineer...) relinquished the drums to take over the desk, and I continued doing the lights. A new, better, drummer was brought in. We toured France for quite some time; as the gigs got better, the PA became a venue one. Soooooo... Yes, it can and does happen that there's a willing dad to do the heavy lifting.

For more decades than I wish to relate, I've always been the one to own, outright, the PA, lights, van etc for the bands I've been a member of. Any band mates (and others, if they're trustworthy...) can use any of the stuff if they want, if I/we are not using it. I charge nothing to anyone for any of this (it's all been paid for long ago...), and am beholden to no-one, and am free to do as I think fit. All my own drums, naturally, but I've also a wide selection of basses and bass amps, guitars and guitar amps (some of which are currently out on long-term loan to friends...). I've never been rich (obviously...) and have worked (in modest jobs that I liked...) to feed the family and acquire the gear I wanted. I don't feel that there have been any sacrifices, and I've never been betrayed in my open trust in others (except that one time when Laurent returned my bass drum having cut a 'port' of sorts in the resonant head; I was not pleased...). Karma..? I'll see about that later, when I'm old. Life can be so simple when one avoids complicating it (or maybe I've just always been lucky...).

Aye, thems was the daze ...

If I was doing the FOH, that's how I would resolve a 'dynamics' issue...

That particular song could be bumped up a tone, or tone and a half, without becoming too 'squeaky', to get the intro into range, I would think..? No..?

Maybe a little difficult to 'sell', but would singing coaching from an experienced vocal tutor be an option..? Most vocal 'loudness' issues can be addressed with breath control etc, whatever the vocal range. Just an idea... As a pedal option, how about a compressor, set to reduce the more powerful upper register, allowing the PA to bring up the quieter lower range..?

... or put a drop of clear nail varnish over the screw head to stop it from turning..?

Mmm... Tea...

Do you mean 'how to cook cheap cuts of beef'..?

Cheap and lightweight... PVC Tubing Backdrop Stands... Put the uprights at the wall end, so that the bar is flush to the wall, not 30cm forward. Incorporate telescopic tubing, if that's useful. Easy and light to pack up, and cheap to make. Hope this helps.

Recognise the key and tempo being played, and get stuck in. What could possibly go wrong..? Timid, me..? Nah...

Offenbach's 'Galop Infernal' from his operetta 'Orphée aux Enfer' (most often used for the French 'Can-can' dance...). Not heard a great deal else from him that I like either, but that's the utter pits, for me.

Whatever's on the headstock.

Here is my contribution to the July 2023 Basschat Composition Challenge, illustrated with a picture chosen by AndyTravis. A stroke of luck, a lucky strike... One-take guitar track using my newly-acquired s/h Blackstar ID:Core 10 again. Guitar is my trusty black sparkle Xavière again, too. Bass is my Hofner Verithin into my Sonuus MIDI converter, to drive a simple bass Vst (4Front Bass Module...). Drums..? Played 'live' with my Millenium 850 MIDI e-drums into Superior Drummer 3. A fair bit of MIDI editing to tidy it all up, then the usual Cockos EQ and NY Bus compression (and some light Fx for the drums...). Thanks for listening, if you already have; if you're about to, enjoy.

Mmm ... Tea..!