Just a random blog

So the Cats won. ‘Twas a bit shit having to watch it from the other side of the country, but I enjoyed it nonetheless. Port were so arrogant and we smashed them by a record margin. I was laughing and clapping. Towards the end of the final term it started to sink in a bit. I thought, ‘Hang on, we’re actually going to win the whole thing. We’ve won the Grand final.’ I won’t prattle on too much because y’all will get enough of it I’m sure and there’s nothing I can say that yous haven’t heard. Cat Attack!!! (’94)

Geelong has won the flag. Julian is basking in the glory. Mia is a little perturbed.

I’m supposed to be doing work on something right now but I find it a bit difficult when I don’t really care. Things are better than last semester. I’m now learning from a better piano teacher but he’s still very ‘jazz’*. A bit like the whole course is. As in there’s only one way to play jazz**. For me, jazz*** is about being original and creative and I find it hard to do that when you’re the 5,432,678th person to take a solo on All of Me and trying to copy guys that died long before I was born. I understand the importance of learning what came before you, but at WAAPA they want you to be the reincarnation of those guys. I’m think that I’m developing two styles. A WAAPA style of how they want you to play which I use in ensemble, etc. and my own style which I play by myself. When I came here I knew it’d be a very jazzy jazz**** jazz***** course but I thought I’d have time to work on my own thing. I was wrong. Some of it’s OK though. I might be getting better. I’ll probably just slog out the rest of the course and when I’ve got another piece of paper for the wall/filing cabinet/special filing cabinet I can do my own thing and hopefully have some skills/contacts from the course, although I think/know most of the people in the course do not share my opinion of it and jazz******.

Now that that rants over I can get onto some other stuff.

I hope yous like the new theme. I do. I was sick of the old one, particularly the text. I had planned to change the image at the top to something like Ed’s (basically just something of me, not the default one), but realised I didn’t have any skills in that area. I might try a similar one with this new theme but I quite like the current picture at the top so that’ll stay for a while I think.

I also am amused by the lack of an ‘August 2007’ in the archives section 🙂

Many of us bloggers are amused by the things people search for to find our blogs. I get at least ten hits a day (744 total atm) from people stumbling across my sub-contrabass sax blog after searches for ‘sub contrabass sax’ ‘contrabass saxophone’ and the like. I find this highly entertaining because that blog was largely, if not all, bullshit. I like the idea of slack high school kids googling some stuff for an assignment, copy-pasting the bilge that I wrote and submitting it to their teachers. Gold. Of course amongst the sax searches I get things like ‘creepy mug shot’ ‘breakfast cereal with banana’ ‘killer python’ ‘killer python eating egg’, etc.

I’m thinking of buying a digital camera because I’m sick of dodgy camera phone shots and I hate it when I get a good shot but it’s 0.5 megapixels so you can’t really do anything with it. The things I want are good optical zoom (I think that’s actual zoom? Not just zooming in MS Paint style?), not excessive megapixel action, control over focus, control over exposure and a sports mode (so you can take photos of someone moving fast without it blurring). This is annoying to buy I think because there is literally one million cameras out there for sale and I don’t know what’s what. I could wait a month and get one duty free. I dunno…

I am becoming increasingly frustrated with living in the student village. Especially with a certain annoying housemate called Adele. Probably the worst housemate anyone could imagine. Ever. She can’t even pronounce her own name. She says ‘Adeo’. I find the best method to combat the feeling of being overwhelmed by foreignness is to talk at the top of my voice in a broad, Australian accent. This might serve me well when Mia and I go to Thailand in early December. I’m looking forward to getting the hell out of this country. Hopefully I’ll come back with enough material to combat Ed’s Thai holidays blogs one and two, and Maddox’s.

That’s all for now, I’m going to have some lunch.

*What is jazz?
**What is jazz?
***What is jazz?
****What is jazz?
*****What is jazz?
******What is jazz?


~ by Hooly on September 30, 2007.

44 Responses to “Just a random blog”

  1. I’m beginning to think my default expression is perturbed.

    1. Jazz is ‘A polyphonic and syncopated style marked by improvisation and solo virtuosos’


    2. Wait a month for the camera.

    3. I like the theme also, is it from the land of poms?

    4. Thailand!!! I’m going to set you up with a ladyboy.

    Love, the girlfriend of the boy — Adele ’07

  2. Ah FUCK. Don’t go to Thailand, dammit! Come to Geelong! The weather will be fine, the company merry, the meals hearty and the ales many! When shall you return from the northern land of the Asians?

    I met Nick at the grand final. Quite cool. Good times. We all miss you in Geelong, we all thought of you on this momentous weekend.

    I enjoyed your latest blog. It must be frustratin’ to have to conform in your course. But at the very least, you are probably improving your fundamentals and shit, which will put you in good stead when you continue to develop your own style. I think they do like to churn out “jazz”* pianists at WAAPA- look at Shawcross. As much as I admire, respect and enjoy his playing, he is rather text book.

    I can’t be bothered giving you another present this year. I hope you’ll understand.

    Well done on looking at my second ever blog.

    New Theme: Fine. Very Elrond, as I said to Jess Voigt. (It’s the same as hers, I even thought I had mistakenly visited hers.)

    Ride out the course, say hi to Mia, hurry to Geelong after Thaiville and GO THE MIGHTY CATTERS!!!!!!!!

    *What is Jazz?
    (It certainly doesn’t have to be syncopated or polyphonic. It does include improvisation, but then so does most genres of music at times. There are also many genres of music which include solo virtuosos. I give that definition a D minus)

  3. The theme is nice.

    As a contribution to the jazz discussion which admittedly I know nothing about, I remember this quote in ’24 Hour Party People’ being kinda funny:

    “Jazz is the last refuge of the untalented. Jazz musicians enjoy themselves more than anyone listening to them does.”
    Tony Wilson

    The quote is a little rash I feel… but alludes to your point of the need to be original. I certainly did not quote it as a way of saying that you’re untalented, which hopefully is self-evident.

    In agreement with Jon, Geelong misses you. Thailand is good and all… but Geelong is better. Okay, so perhaps my rationale isn’t completely there but.. ah whatever.

    In closing, I am going to beat you at Scrabble.

  4. Mia- No to everything.

    Crommo- Yes to the Shawcross business. Present??? I’ll be returning to the foul land of Geelong (which I hate) mid December.

    Adam- It’s hopefully self-evident that I’m untalented? I’m talented enough to be beating your ass in Scrabble.

  5. You’ve completely misconstrued what I said… ya bastard.

    But talent shall show itself in the form of tiles. The tiles being mine. Well, not mine exactly… they probably don’t belong to anyone, they are after only pixels. But the placement of those tiles shall be mine. Well perhaps technically shared with the board.

    …. the foul land of Geelong…. he he..

  6. Adam your quote on jazz* offends me, not that I hold it against you.

    Lately I have been doing a lot of soul searching on the worth of jazz*, as a “higher” art form and therefore as something heavily situated (now, for it never used to be) in academic culture. I am questioning it’s- and any other art forms- worth where people need to be trained, educated, versed etc. in order to appreciate its subtleties. In other words, I sort of agree with the second sentence (although it’s a dumb thing to say, cause it can never really be proven and could be applied to all music).

    However I feel that the two sentences in your quote by Tony Wilson are completely unconnected in every way and the first in particular is wholly without foundation.

    I’d like to hear from Tony what the hell he was thinking when he said/wrote this.

    *What is jazz?

  7. I’m a tad peeved that I will miss seeing you again over the holidays. Actually, no, my peevedness has survived the murky shallows and matured into an adult male bullfrog.

    I’m leaving next week, and I won’t be back until February*. I’d say I’m looking forward to having a White Christmas, but I’m actually afraid I won’t survive the Northwest winter.

    Hope I get to see you again at some point before we’re 30.

    Have fun in Thailand.

    *Here taken to mean the second month of the Gregorian calendar, and not an encyclopedic reference work dealing with Februs.

    P.S. “Encarta? World Book? Hooly’s blog?” – Alex Best, between cigarettes.

  8. Adam, in case you thought I was serious, I twisted your words on purpose. It was too good to resist.

    Dan, my peevedness has matured into millions of tiny little golden frogs. I also hope to see you while I still recognize you.
    P.S. Remember when an errant, right-foot volley of mine did a fairly good job on Mr Best’s windshield? I do. Whoops.

    Jon, I agree with your thought’s on Tony’s quote. He’s an idiot, but remember it is his quote, not Adam’s. Adam just threw it out there for all to see. Also, Jazz, or any art form for that matter, does not require training, educating, or versing, etc. to be appreciated. Even to appreciate the subtleties. I can’t be bothered going into a lot of detail. Joshua Redman wrote a good speal on this on one of the liner notes to his CDs, Bill Evans made a good speal on it too. I just think jazz* is often done badly, so that those who can appreciate it on an academic level get something out of it but the layman doesn’t feel anything. This is bad. It’s the same with any other art. Taste is also an issue. Some people just don’t like the music. For a bit of an analogy. I like profitteroles, I’ve got no idea how to make them or what’s in it or the clever little things involved but it tastes good and makes me happy. Others don’t like profitteroles, but good luck to them. Blah blah that’s it from me.

  9. Hi,
    Thailand is great, I liked the rural north.

    I like the new skin it looks much friendlier.


  10. Well, I feel the need to provide some context in which that quote was made. Tony Wilson founded a record label called ‘Factory Records’ in England (manchester I think) – the label didn’t own the artists music (like most record labels) but merely helped them record and distribute their music. He was all about finding what was happening at the time, and has been credited with founding the dance/ rave scene. So, his comment (well the character that plays him) was in reference to jazz being all this old stuff, being regurgitated, that people are bored of. I’m not saying that ALL jazz is like that. It’s not, I know. However, some is, and I think that’s what the quote refers to. The best gig I went to this year was The Necks ‘Piped’, which I think can be correctly thrown into the jazz basket. The performance, though, in true improv style was very creative, memorable, and engaging. It’s was amazing. I think it can be good if people have some basis of understanding of jazz* (or music in general) to better appreciate a performance, but if the actual expression of emotion or whatever doesn’t transcend through the technicalities of it, then it’s rather pointless. It’s point maybe is the point Tony Wilson tries to make, that jazz musicians enjoy themselves more than anyone listening to them does. Mind you, you would expect that from any art form. Jazz just happens to be the epitome of what has been done before. Having said that, classical doesn’t get bagged out. Perhaps, because it doesn’t attempt to be improvised. I think I just answered my own question. Carry on.

    As for taste… where do we begin? Is taste completely relative? Or has it got any universal qualities?

    *What is jazz?

  11. Well, well, well. It would have been somewhat satisfying watching a Grand Final win in front of those West Coast bastards.

    I think what you’ve said in your last comment is spot on; “Also, Jazz, or any art form…same with any other art.”

    Like you say, those issues run through any art form. I’m writing a piece at the moment which probably has very limited appeal, but it is necessary for me to write it anyway. So, in one sense, taste and education of the audience has no bearing; the important part is me expressing myself. Same can be said for Jazz* performers. Despite limited appeal, there is merit in that they are fulfilling their personal need to express themselves. That is valid, I think.
    This is completely seperate issue, though, from the educated appreciating jazz** and laymen being left senseless. It doesn’t change the fact that the second scentence in the Wilson quote is true.

    I’m going miss my lecture…

    * What is jazz?
    *Jazz is a bit of a wank of a word, really.

  12. Yes, Jazz is a wank of a word. I like this quote from Barney McAll (Aussie pianist)

    ‘I now try to aspire to spontaneous improvisation and spontaneous composition. So within a structure, it’s a music that we’re trying to align with what’s happening in the room. Jazz is a term that was used in the old days and I think it’s outdated. So, spontaneous composition is what I’m trying to do, if that makes any sense.’

  13. A good quote.

  14. I suppose it’s a good quote. I suppose by using this term he is trying to shed some of the “baggage” that the term jazz carries. However, jazz incorporates spontaneous improvisation. It’s such a broadly used term now a days that I still believe using it is fine.

    I will concur with the following points.

    -That “… Jazz, or any art form for that matter, does not require training, educating, or versing, etc. to be appreciated. ”

    -That”…there is merit in … fulfilling [ones] personal need to express themselves.”

    However, I raise the following issues.

    Firstly, that there are different levels of appreciation, such as comprehension, understanding, superficial appreciation, recognition etc. My issue with jazz is that ones appreciation of jazz (at whatever level) is not governed by the music itself, but by how much a listener knows about it. This is not unusual, in that most music relies on what we as listeners bring to the act of listening for communication. However, jazz arguably lacks certain elements which lend themselves to understanding, such as lyrics, for an example. (I’m not talking about “heads in or out”, I’m talking about the substance of jazz: improvisation.) Of course there are exceptions, but I speak generally, of the genre as a whole. Secondly, in order for artists to “express themselves”, it is not uncommon for them to break down fundamental traditional conventions, (playing outside, or cross rhythms are examples of this), which also further alienates the uneducated. The result may be only a superficial “appreciation”, such as a recognition of the difficulty in playing the music. My main contention is that jazz does not only require it’s listeners to have a similar taste to what’s being played (as with all music), but that it requires a level of familiarity and knowledge based not upon subject matter such as love or pain, but rather on academic understanding of music elements.

    This leads me to my second issue, in response to Simon’s point. I have not as stronger opinion on this issue as I do with the former point. It’s all very well to say that there is merit in expressing yourself and fulfilling your needs, but at what cost? What is the point of one’s expression, when it falls on deaf ears? Take for examply that horrible wailing the Robin filmed at Wangaratta. That is a form of jazz, which I assume the artist was playing as he would like to, since it was free. I used to be of the mind that I would play what I like to play, and that whoever wanted to listen would, but I now am not so sure. If that was correct, then we would all be wrong in calling that Wangaratta music bad, or unmusical, or anything really. Perhaps the reality is artists have to offer something more. And I don’t mean less- like “take out the polyrhythms and play inside”. But I think more effort may need to be made on the part of the artist so that the actual message within their music can reach a wider audience. Not that I speak from experience, but it seems that courses that teach the “rules” to jazz do not have the answer, from Julian’s frustrations. Perhaps they are not meant to. Perhaps they teach only the framework, which is then expected to be developed. I don’t know. I’m choked with uncertainty. But, I urge all jazz musicians to not take all these “truths” on a what makes a good phrase, or an interesting chord progression for granted.


    (I’m knackered now)

  15. Well Crommo, that was quite a speal.

    As for the first chunk, I agree with what you’re saying but what I meant is that that’s not how it should be. You basically summed up what happens a lot of the time at jazz gigs, etc. Art should not be academic and that’s what a lot of jazz musicians are turning it into, they’re forgetting about what really matters. You said, ‘Lately I have been doing a lot of soul searching on the worth of jazz*, as a “higher” art form and therefore as something heavily situated (now, for it never used to be) in academic culture.’ Jazz is becoming ‘heavily situated’ in academic culture but that’s not where it belongs.

    As for the second chunk, I agree too. It is very frustrating. I believe that if the audience does not connect with you and your music then you are not really expressing yourself that well. That guy at Wang did not express himself well but I believe that he wasn’t trying. He just thought, ‘I’m doing some “free jazz” so I can just play whatever I like and try to be clever and just muck around on my little sopranino or whatever it is I’m playing.’

  16. All very good points, Crompton. I certainly don’t promote the idea that if the artist is happy, then that’s what counts. I was just suggesting another element that could be considered.

    There is certainly no merit in someone expressing themselves without it actually communicating something. If it is only satisfying the performer’s needs, then it they may as well be sitting in their bathroom, not in a performance venue. So, I completely agree; artists must offer more. And, as Julian said, if you’re not connecting with you audience, then you’re doing a poor job. I guess that this is why we are having this discussion; because of people like the guy at Wang. They are stuck so far up their own rectums that….(and so on and so on).

  17. …that they’re CUNTS. Was that your point? I think it was.

  18. Indeed.

  19. Hasn’t this discussion been very intellectual!
    I am very glad to see that these fancy university degrees are enabling you guys to discuss such deep subjects.

    So Crommo, I suppose you are saying that to truly appreciate Jazz* the audience needs to be versed in the musical language of the performer so that they can understand what the performer is trying to communicate. ie emotion bliss pain…

    Now isn’t this the same for classical* music as well? (I think you said that..)

    Anyway, we still haven’t defined what is Jazz*?

    I agree with simonius and Julian that the performer must at least try and communicate with his audience or else stay at home. I believe people want to be entertained at a performance, now what is entertainment? The performance must invoke some response in the listener other than ‘that is crap!’

    Sorry to intrude


  20. ‘rexy’, I agree with everything except ‘sorry to intrude’. Anyone is free to comment, you especially.

    Basically it’s really hard to lock it into one thing, but that’s art for you. I think all musicians need to be aware of these things and they can decided what to do. I’ve said all I want at this point.

  21. I hope ‘rexy’ is not Rex Foord. Cause he would’ve read post 17. But who else could it be? Mildly embarrassing.

  22. Let’s start out own “non-academic jazz” club, where we perform versions of The Wiggles hits. Who’s with me?

  23. No, I only do Peter Combe covers.

  24. Who is Rexy??

  25. As a ‘non-academic,’ I would love to be involved in some kind of club.

  26. ….

  27. This is Jazz.

  28. I think the jazz* … is very nice!


  29. Ha. I love it when Suzy adopts ‘RoseSpeak.’

  30. Will this discussion’s gone to shit.

  31. Well this discussion’s gone to shit.

  32. Sorry Jules for being so long-winded here.
    Ahem, I like blanket rules. And so, here’s an ok one. I’m of the opinion that as long as the artist is expressing themselves or something in a real way, an honest way(which is only up to the individual artist to work out what that is), the art or music will contain that ‘extra musical’ quality. Be it an emotional quality or however you wanna define it. With this in mind, it doesn’t matter if it’s expressed through country music, rock, a classical compostion, a pop singer,jazz, etc. It’ll still be powerful and expressive in it’s own way I believe. I think the problem with jazz is, that we focus on the wrong things when performing it and so our intentions are often quite stale. Scales, chords, licks, impressing our teachers, peers etc, being clever and copying or ‘quoting’ the people we’re playing with…I think with an intentions like these when we create music, what do we EXPECT the audience to think? Do we expect THEM to be affected emotionally if WE the creaters or performers are not? A teacher said to me half way through this year, “I’m waiting to hear someone play one note and have everyone in the audience captivated” He was referring to our workshop performances where everyone in their groups play in front of each other. “If you the artist CAN’T see the beauty in what your playing, doing, then how the hell do you expect the audience to?” Ever noticed that most of us aren’t happy with the way we play? With what we create? Some would say, “Just keep practising and learning more material and adding more options to your bag of tricks and then your playing will be less boring”. I figure, if i can’t yet make a fucking major scale sound good, why flood my mind with more options? Until I can appreciate a major scale, what’s the point in learning more complicated shit?
    Anyway, I think there’s plenty of music out there and especially jazz that’s ‘pretty cool’. But I’m interested in the music that makes you just go “what the fuck? Something’s happeneing in me and i don’t know what…”. The sort of music where clever analysis of the harmony, rhtyhms, devices etc. is almost completely irrelevant when describing the affect the music has on you. Emotionally or whatever. And to create this, I believe awareness of chords, harmony etc. while playing does nothing but interfere with our ability to just openly enjoy what we are playing for any reason that’s actually worth something. And obviously I think it only blocks any intention we have to express anything real.
    Recap on the blanket rule, If we try to be anything in the music that we create other than who we really are, I think the best we can hope for is to create music that’s ‘pretty good’. Doesn’t matter what genre.

  33. No need to apologise Matt, we’ve had plenty of long windedness here and yours is all good stuff. I agree with it all. It’s this ‘extra-musical’ quality that I am searching for and I get frustrated because I’m surrounded by people who just aren’t looking for that. When I wrote this blog I was a bit fed up but now I’m OK, just taking on board all the stuff I’m learning and using it for what I want to do.

  34. Well thats exactly it Jules. You take that knowledge and then use it for your own musical ends, but it’s not the be all and end all. And I think thats the difference between you and the plebs we speak of. But I’m not sure I agree with Matt’s point:

    “awareness of chords, harmony etc. while playing does nothing but interfere with our ability to just openly enjoy what we are playing for any reason that’s actually worth something.”

    In fact, I’m pretty sure I disagree. It’s weird that I do though, because if there’s one musician who acts on instinct primarily, rather than knowledge, it’s me. The only reason I think this, seeing as I have no experience with “knowing what I play” when I play it, is that many of my jazz idols do know what they’re doing, and I love there stuff. You think Ethan Iverson just uses his ears? Also, I haven’t reached my “peak” (I know it’s a life long journey but…) and I like to think that theory is another route to improving my playing.

    I reckon it’s a balance. I reckon Matt is exactly right in that we should enjoy what we do more, and that we should appreciate what little knowledge we have before we move on. But I also reckon that a little bit of self-critique goes a long way and that musical theory does have merit.

    I think that’s all I have to say at this point.

  35. Yeah I agree Jon, I guess I skimmed over that. It was a very long-winded comment 🙂

    I believe that it’s good to be aware of harmony, etc. as you’re playing but you need have it mastered so you’re not ‘thinking’ about it, you’re just playing and you just know. I believe that is how it is for guys like Ethan or Brad Mehlau and .

    ‘Well thats exactly it Jules. You take that knowledge and then use it for your own musical ends’
    That’s what I’m going to do. People say I’ve been improving over the year which is something so I’m going to use this course to get good at playing the piano well, then use those skills for what I want to do.

  36. All good points although John I dare say that alot of jazz greats that ‘knew what they played’ would argue that they tried to forget what they knew while performing. Anyway, I wanna crap on more but I’ll wait til you return Jules.

  37. Yeah, Matt and Jules, if you are going to call “knowing” the harmonies really well “forgetting” the harmonies, and “not quite knowing” the harmonies “knowing” the harmonies, then sure. But I actually mean knowing them, so you don’t have to think about them.

    Oh and Jules, I’m considering doing the Gordon jazz course if for no other reason than it’s a ridiculously cheap way to get lessons off someone like Jamie Ohlers… though Ohlers charges $95 per hour, I’ve heard. Maybe the Gordon couldn’t get him. Thoughts, comments, questions, criticisms, theories?

  38. And there’s no “h” in my name, Matt.

  39. Yeah Matt, there’s no “h” in his name.

    Jon, I did mean ‘knowing them’ as in ‘knowing them’. That’s what I meant when I said, ‘you’re just playing and you just know’. You’re not trying to forget or not use it, but you know what I mean. We’re on the same page.

    This is turning into an argument about the value of musical theory, so we’re gonna leave that.

    The Gordon is mint value. Get yourself a health care card, pay a couple of hundred bucks in fees and you get a years worth of lessons. If Oehlers is expensive you can just work out however many is the equivalent of whatever they pay, so you might have to have a lesson every second week instead of every week but I reckon that is actually better. That’s what I did with Dr Tim last year (not through the Gordon). I don’t see any reason the Gordon can’t get him, only if he’s lazy. To him you’re just another private student with a bit of extra paperwork. You’re still going to him for lessons, it’s not as if he’d be hiking out to Geelong. Seeing as you’d have a bachelor of music with honours the piece of paper’s not a big deal so you could pick and choose which other classes you went to. As long as they don’t know you’re just using them.
    Oehlers came and did some workshops with us earlier in the year and from what I saw there I don’t think he’d be a very good teacher. Just seemed a bit too ‘hear’s a bag of tricks you can pull out when you’re soloing’. That’s probably just his workshop thing though. I’m sure if you went to him and said I suck at at this and this he’d be able to help you and then listen to you and find other faults in your playing, dress and personality. I’m sure Ben Anderson could tell you more though seeing as he’s learning/learnt off him. And you did only say ‘someone like’ Oehlers.

  40. Yeah, it’s a tough one. Who to get lessons off, I mean. I’ll have to go by trail and error, for I don’t really know what I’m after. I don’t know where to begin. But yeah, once every second week would be ok if you ask me. This coming year was meant to me and still sort of will be a “gap year” in which I mainly work and do stuff, as opposed to a uni course. In 2009, I’ll apply for masters in various places. But then I thought the gordon would be a good way to spend my time productively in the gap year, without requiring a mental amount of effort from me. I’ll grab a “recognition of prior learning” form and get credit for as much as I can. And yeah, the whole lessons provided thing is a hit. I’ll basically go to Oehlers, have some lessons (if he consents), and then see if I like him. Most other melbourne sax players don’t really do it for me, but there was one other. Martha Baartz. I think that’s how you spell it. Great sound and feel. So maybe I’ll ask her.

    That’s my plan.

  41. Yeah, way to rack up that HECS debt :/

    That all sounds cool. So you’d rather learn from someone whos playing you really dig, instead of someone who you don’t but you knows a good teacher? Both are cool options, I’m just curious. Both teachers I’ve had this year, I haven’t liked their playing. The first guy was rubbish and the second guy was really a trumpet teacher who plays some piano too. I was going to him more for improvising lessons but he kinda got caught up in the whole ‘piano’ thing, which I didn’t wanna hear his opinion on. He was still pretty good though.

  42. Heh. I’d just be honest with your teachers, cause it’s only you that’s loosing from them being DICKHEADS. There’s no HECS debt is there? Or at least, really very little when I get a health care card. I’ll just save my pennies and pay upfront. My opinion on teachers is based around the opinion of my current teacher, who was like “yes, that person is how I want to sound. I’m going to learn from them”, and did. So, I kind of want to try that approach, instead of the university, “you will be allocated this teacher” sort of vibe, which is what I got. Having said that, my current teacher was someone I didn’t know, but heard he was a good teacher. So. Peter Hannah is playing Baritone in my sax ensemble. Should be fun.

  43. Anything involving Peter Hannah is fun. Good times.

    Yeah I spose just start learning from someone and see how you go. You never know till you find out. When I was learning from Tim last year, I had just called up Paul Grabowsky because I liked his playing and wanted to learn from him but he said he was going to be in Brisbane most of the year or something so he asked me what I wanted and he recommended Tin and he turned out to be good and that was that.

    The HECS is in reference to ‘I’ll apply for masters in various places’

  44. I’d like to retract my earlier statements about Mr Oehlers.

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