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Cake Tribute show a rocking success!

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http://www.thefashionnuggets.com/

Vitae and Bio

Raised in Dairyville, California, Joe Good was involved in music from an early age. At Lassen View Elementary School, he was involved in every choral production from Kindergarten through 8th grade, and took up the trumpet in 5th grade. When he reached high school, he continued in the Red Bluff High School marching and concert band for all four years. Additionally, every summer thereafter until college, he participated in the Tehama County Band, performing publicly every week. He took some trumpet lessons his Junior and Senior year from Mike Shepard.

After graduating from High School, he moved to Redding, CA to attend Shasta College as a Music Major for the next three years. He studied trumpet with Dr. Larry Grandy and Dr. Richard Fiske, as well as participating in numerous ensembles. He also studied voice privately with Lynn Burkhart.

Upon completion of his AA and Certificate of Music, he moved to San Diego, CA, where he would reside for the next eight years. At San Diego State University, while majoring in Music Education, he studied trumpet with Calvin Price, and had the privilege of studying music and jazz theory with Dr. David Ward-Steinman and Rick Helzer. He also participated in many ensembles, including the inception of Mariachi Azteca de SDSU – a student-run group which performs for various functions and events in San Diego County.

After graduating with his Bachelors degree in 2002, he went on to study voice with Norm Boaz at Music for Kids (which led to a position as the resident trumpet instructor there). Over the next few years, he would continue to teach trumpet, and perform for a variety of other projects. In 2003, he studied Jazz Guitar with a fellow teacher at Centre City Music, Pat Danna. This helped to rekindle his interest in Jazz music, which he readily incorporated into his teaching, and went on during 2005 and 2006 to study with Gilbert Castellanos – a renowned Jazz Trumpeter, and now the Jazz Trumpet instructor at University of Southern California.

In 2005, in an effort to become more knowledgeable about the technical aspects of music, he began studies at Mira Costa College in Oceanside, California. He quickly discovered a way into the North San Diego County music scene, and was leader of the Jammin’ Toast Jazz Band, where he enjoyed a small combo setting, and composing and performing original music. In late 2006, this small band was gaining membership so fast that it transformed into the Mira Costa Latin Jazz Orchestra, and was taken over by Mario Gonzalez – a trumpeter of international repute, who now teaches at Mira Costa College as adjunct faculty.

In 2007, after graduating from Mira Costa with highest honors, he moved to Vancouver, WA. He since has found numerous performing groups, worked at Guitar Center Clackamas, and has found many excellent students in the area. He also keeps busy recording, running live sound and working as a consultant for studios and venues.



Education:
Mira Costa College
Certificates of Competence: 2007
Sound Reinforcement
Recording Arts/Record Production
Digital Audio
Advanced Digital Audio

San Diego State University
Bachelor of Music in Music Education: 2002
with an emphasis in Trumpet

Shasta College
Associate of Arts in Music: 1999
Certificate in Music: 1999


Teaching Experience:
Bertrand’s Centre City Music
Private Trumpet Instructor 2002 to 2007
Privately taught pupils ranging in skill from beginner
to semi-professional.

North County Contemporary Music School
Private Trumpet Instructor 2004 to 2006


Music for Kids
Private Trumpet Instructor 2002 to 2005

La Mesa Middle School
Student teacher 2002
Directed sectional and full ensemble rehearsals for
6th and 8th grade bands.

Production Experience:
Golden Tree Studio
Head Engineer 2010
Tracking, Mixing, and Mastering Engineer. Design and purchasing consultant.

Level 2 Band
Sound Technician 2009-2010
Produced recordings, mixes, advised composition;
set up sound/operated mixer for rehearsals
and live shows.

Kindred Productions
Studio Technician/Software Trainer 2008
Mixing Engineer/Editor, Software/hardware integration specialist, Design, Consulting,
Implementation.

Love Juice Labs
Tracking Engineer 2006 to 2007
Tracking Engineer/Editor, Primary Guitar Tech,
Drum tech.

Jammin’ Toast Jazz Combo
Band Manager/Lead Trumpet 2005 to 2006
Performed, composed, and arranged rehearsals;
produced recordings and mixes.

The MFK Band
Production/Sound Reinforcement 2004 to 2006
Produced recordings, mixes, advised composition;
set up sound/operated Mackie mixer for rehearsals
and live shows.



Ensemble Experience with Trumpet:

Small Ensemble:
The Fashion Nuggets 2009-2010
Level 2 2009-2010
The Jazz Salon 2009-2010
They're Four Brass Quartet 2008-2010
The Buchanan Project 2007
Kin Sol 2006
Jammin’ Toast Jazz Combo 2005-2006
Mariachi Azteca de SDSU 2001-2002
Shasta College Wind Ensemble 1996-1998
Shasta College Jazz Ensemble 1996-1998

Big Band:
East Winds Big Band 2009
Prime Time Big Band 2008
Carrol Raumm Swing Orchestra 2007-2008
7th St Jazz Band of Oregon City 2007-2008
Oceanside Society Orchestra 2006-2007
Ocean Hills Country Club Big Band 2005-2007
Southwestern College Big Band 2006-2007
Shasta College Big Band 1997-1999
18 Karat Jazz Band 1994-1995
Mira Costa Latin Jazz Orchestra 2006-2007

Symphonic Orchestra:
North Coast Symphony 2004-2007
SDSU Orchestra 1999-2001
Shasta Symphony 1997-1999

Traditional Band:
Hillcrest Wind Ensemble 2001-2002
SDSU Wind Symphony 2001
Shasta College Community Band 1997-1999
Tehema County Band 1993-1997

Musicals:
Bye Bye Birdie 1998
Oliver 1997
The Little Match Girl 1996

Choral Experience:

Independent:
Trillium Voices 2009-2010
Oregon Repertory Singers 2008-2009
Brillante 2008

House of Worship:
First Unitarian Universalist Church of Portland 2007-2009
Substitute at La Mesa United Methodist Church 2001-2007
Bass Section Leader at Graham Memorial Presbyterian Church 2001-2002

Academic:
SDSU Chamber Choir 2002
Bass Section Leader SDSU Concert Choir 2001-2002
Shasta College Jazz Choir 1998-1999
Shasta College Concert Choir 1997-1998

Opera:
SDSU production of The Gondoliers 2002
Giorgio
SDSU production of Gianni Schicchi 2001
Betto
SDSU production of The Devil and Daniel Webster 2000
Blackbeard Teach/Townsman

Finale/Copyist Experience:

Various Jazz Charts for Irwin Gordon (overnight) 2008
Brass May ’95 for Christy Coobatis 2007
’tis the Season for Mario Gonzalez (overnight) 2006
Sequence of Emotions for Christy Coobatis 2006
Six Wedding Pieces for Frank Amador 2002
Mariachi Azteca de SDSU 2001-2002
Music Lab Student Teacher SDSU 2001-2002

Music Composition Services

I am a composer who has an interest in scoring for student and independent films. I hold a Bachelors degree in music education from SDSU, and certificates of competence in Recording Arts/Record Production and Advanced Digital Audio from Mira Costa College.

I use Sonar 8 Producers Edition, and can do everything from the scoring and notation to the recording and mastering. I use MIDI, samplers/synths, and digital audio of my own instruments, but can hire real musicians for the parts if it looks like I will recoup my investment. Here is a link http://www.youtube.com/watch?v=hi8Q9XEFnpw to a one-minute excerpt I completed for a film composers competition. I can submit more samples if you would like for me to demonstrate my imitative capabilities ( e.g. if you want me to score a small section of your film, I can do that pro bono).

What I need from you:
Before I commit, I'd like to view your film, (including any post production work you've already done), to be sure that it is something I feel comfortable working on. I also need to know the exact time frame I would be working within and a copy of the contract. If you can either send me a link to where I can download the film video file, or send a DVD (please email for mailing address) of it to me in one of the following formats, I can work with it:
Video for Windows (.avi)
MPEG Video (.mpg)
Windows Media Video (.wmv or .asf)
Quick Time Video (.mov)

When work is completed, I can either send you the finished .wav file (Stereo audio 44.1khz/16bit up to 192khz/24bit upon request), which can be combined with your dialogue and foley soundtrack and mastered, or I can combine all with the video using Sonar's encoding process.

I look forward to working with you!

Trumpet Lesson Information

CONTACT ME:
(760) 277-3853
joegoodmusic@gmail.com

INSTRUMENTS TAUGHT:
Bb Trumpet
C Trumpet
D/Eb Trumpet
A/Bb Piccolo Trumpet

RATES:
$40 / 60 minutes
$30 / 45 minutes
$20 / 30 minutes

Previous Teaching Locations:
Bertand's Center City Music
330 West Felicita Ave. Ste. B
Escondido, CA


Whittaker Music
241 Third Ave, Suite C
Chula Vista, Ca 91019

POLICIES:
I. Cancellations: If a student cancels a lesson (or fails to attend), without a 24-hour notice, there will be a charge equal to the cost of the scheduled lesson minus 5 dollars. The lesson will end at the appointed time, regardless of tardiness.

II. Student Expectations: I expect full attention and preparation from all of my students. Make sure to practice often; I will teach you ways to use your time effectively. I also provide practice logs, to be filled out, and shown to me weekly.

III. Parent/Guardian Expectations: Parents and guardians will be expected to be supportive of your children in their music education. I encourage parents/guardians to occasionally attend your children’s lessons (as observers only, of course). I encourage communication with parents/guardians in all matters relating to your children’s lessons.

IV. Curriculum: I will teach technique, care of instruments, memorization, and preparation of solo repertoire (at the appropriate learning level). I will also cover, if requested, any musical topics such as instrument/music history, jazz, music theory, and/or composition. Students are responsible for keeping an Assignment Notebook/Daily Practice Log, as well as being prepared for each lesson (i.e. pencil, sheet music, instrument, etc.). Upon request, every four weeks I will prepare an Evaluation Update for both the students and parents. This will cover what the student is doing well and what needs to be improved.

Información

ÉNTREME EN CONTACTO CON:
(760) 277-3853
joegoodmusic@gmail.com

INSTRUMENTOS ENSEÑADOS:
Bb Trompeta
C Trompeta
D/Eb Trompeta
A/Bb Trompeta De flautín

HONORARIOS:
$40 / 60 minutos
$30 / 45 minutos
$20 / 30 minutos

Localizaciones de enseñanza anteriores:
Bertrand's Centre City Music
330 West Felicita Ave. Ste. B4
Escondido, CA

Music for Kids
16475 Bernardo Center Dr.
San Diego, CA


POLÍTICAS:
I. Cancelaciones: Si un estudiante cancela una lección (o no puede atender), sin un aviso de 24 horas, habrá una carga igual al coste de la lección programada menos 5 dólares. La lección terminará en el tiempo designado, sin importar tardanza.

II. Expectativas Del Estudiante: Cuento con la atención y la preparación completas de todos mis estudiantes. Cerciórese de practicar a menudo; Le enseñaré maneras de utilizar su tiempo con eficacia. También proporciono registros de la práctica, para ser completado, y para ser demostradas por semana.

III. Expectativas De Paríentes: Se esperará que los padres y los guardas sean de apoyo de sus niños en su educación de la música. Animo a paríentes que atienda de vez en cuando a las lecciones de sus niños (como observadores solamente, por supuesto). Animo la comunicación con padres/guardas en todas las materias referente a las lecciones de sus niños.

IV. Plan de estudios: Enseñaré técnica, el cuidado de instrumentos, la memorización, y la preparación del repertorio a solas (en el nivel apropiado el aprender). También cubriré, si está solicitado, cualquier asunto musical tal como historia del instrumente/música, jazz, teoría de la música, y/o la composición. Los estudiantes son responsables de guardar un registro de la práctica de la Asignación Cuaderno/Registro Diario De la Práctica, tan bien como siendo preparado para cada lección (es decir lápiz, música de la hoja, instrumento, etc.). Por requerimiento, cada cuatro semanas prepararé una actualización de la evaluación para los estudiantes y los padres. Esto cubrirá lo que está haciendo el estudiante bien y qué necesidades de ser mejorado.

How to learn Major Scales

Excercise:

Learn to say the following very quickly, from memory:
Flats => BEADGCF
Sharps => FCGDAEB

Once this is mastered, you are ready to learn the major scales. Here are some tips on practicing these: Say them through (try to get under 1 minute) several times. Once you feel comfortable doing this at an inhumanly fast speed, say the phrase for a scale, then play it in one octave, up and down. Move on to the next, etc. If you do this for a month, you will be well on the way to sightreading effectively, and transposition.

Key of C, no sharps or flats, C, D, E, F, G, A, B, C

Key of F, one flat (B), F, G, A, Bb, C, D, E, F

Key of Bb, two flats (B, E) Bb, C, D, Eb, F, G, A, Bb

Key of Eb, three flats (B, E, A) Eb, F, G, Ab, Bb, C,
D, Eb

Key of Ab, four flats (B, E, A, D) Ab, Bb, C, Db, Eb,
F, G, Ab

Key of Db, five flats (B, E, A, D, G) Db, Eb, F, Gb,
Ab, Bb, C, Db

Key of C# (Db), seven sharps (F, C, G, D, A, E, B) C#,
D#, E#, F#, G#, A# B#, C#

Key of F# (Gb), six sharps (F, C, G, D, A, E) F#, G#,
A#, B, C#, D#, E#, F#

Key of B (Cb), five sharps (F, C, G, D, A) B, C#, D#,
E, F#, G#, A#, B

Key of E, four shaps (F, C, G, D) E, F#, G#, A, B, C#,
D#, E

Key of A, three shaprs (F, C, G) A, B, C#, D, E, F#,
G#, A

Key of D, two sharps (F, C) D, E, F#, G, A, B, C#, D

Key of G, one sharp (F) G, A, B, C, D, E, F#, G

Bb's => BEADGCF
#'s => FCGDAEB


Courtesy of Robin W.

Jazz Chords in 12 keys

Jazz Scales

Music Copyist services

Tired of trying to sight-read sloppy manuscript or convincing others to try to read yours? I offer services converting hand-written scores/parts into professional and neat sheet music. My fee is a flat-rate of $40 an hour. Once I have seen the entirety of your score, I can give you an estimate of how long it will take. You will NOT be charged more than the estimate (and possibly less!). Rush jobs are subject to higher rates to be negotiated. I use Finale, and can give you the original file for your project upon receipt of payment.

The process:

1. You contact me, by phone, or email.

2. You send me a copy of your hand-written score and/or parts and any specific instructions (see contract below for details).

3. I estimate how long it will take, and send you this in writing (projects taking longer than estimated will not incur any extra fees).

4. You then print out the contract form (see below), fill it out sign and send it to me.

5. Upon receipt of the contract, I proceed with the project, and contact you upon completion.

6. I show you the finished product, and if it is deemed acceptable, you pay me then (check, cash or paypal are all acceptable), and I write you a receipt.

7. If there are any unwanted discrepancies between the score you submitted to me, and the finished product, I will correct, reprint, and resend those pages to you at no additional charge.



Contract for Copyist services of Joe Good.

Title of work:
Composer/arranger/lyricist:
Copyright:

I __________________________________ (Print full name), have agreed to pay the copyist Joe Good $_____ / Hour for _________ Hours for a total cost of $_____________upon receipt of the completed project. The project is expected to be completed and (check all that apply)

_______postmarked
_______Scanned, attached and sent via email in entirety or segments

no later than ___/____/______ (mm/dd/yy).
I understand that any copyist errors will be corrected at no additional charge upon copyists receipt of the corrected score or part with corrections clearly notated in red pen. Joe Good will not be held liable for errors occurring due to illegible submissions from the client. I understand that additional charges may apply for client-instigated corrections on a project which has already begun, or which has been completed. In such a case, another estimate will be issued, and a new contract will need to be submitted with the corrections clearly marked in red pen on a copy of the printed score.
Joe Good agrees not to use any part of your original work without prior written consent, and if requested, will delete the original file from his hard drive upon receipt of payment or after all corrections are made.

___Client wishes all copies of project file to be destroyed on __/__/____ (mm/dd/yy)

Payment must be received in full at the time of completion in the form of United States currency (foreign banks not accepted).

The client may request "common sense" corrections to be made during the creation of the score. Such "common sense" corrections include: easier-to-read enharmonic spelling, filling empty/incomplete measures with rests, and/or correcting chord spelling. These extra steps may take extra time, and be reflected in the copyists estimate.

Please mark which applies:
_____ Client requests "common sense" corrections as described above.
Specifically:___________________________________________________________________

_____ Client does not want "common sense" corrections to be performed (insofar as is possible within the constraints of the notation program in use).

Please mark all which the client will be receiving upon the completion date:
_____ Score
_____ Parts
_____ Printed Version
_____ PDF Version
_____ Audio Rendering (please specify format)___________
_____ Finale 2000 File
_____ Finale 2006 File
_____ Finale 2009 File
_____ General MIDI file (.mid) Format type _____________
_____ Other format (please specify) ____________________


I ________________________________(print name) have read, and understand the terms of the contract above and am prepared to pay the full cost upon receipt of the completed product.

______________________________________(sign name) ______________(date)

Resources

An interesting video showing how the tongue changes shape while forming vowels

Suggested Purchases:

1. Music stand – available at most music stores.

2. Metronome – available at most music stores.

3. Books:

For beginning students:
Accent on Achievement – Volume 1

For intermediate students:
Clarke Technical Studies
Arbans book

For advanced students:

A passion for Jazz (has lots of useful charts you can check out online)
Advanced Lip Flexibilities – Volume 1
Solos for the Trumpet (Cornet) Player with Piano Accompaniment
The Bb Real Book 6th ed.

4. Recordings:

Trumpet Rhapsody – Timofei Dokshitzer
The Legendary Trumpet Virtuosity of Rafael Méndez Volume I
Kind of Blue – Miles Davis
Trumpet Evolution – Arturo Sandoval

Trumpet Cleaning Instructions

1. First, make sure the mouthpiece is removed from the instrument

2. Tie pieces of string attaching the 1st and 3rd tuning slides to the valve casing. It is important that the slides still are able to be removed, but will not fall to the ground.

3. Find a very large sink or a shower nozzle, under which you can put the trumpet vertically. This is very important since you have to run a lot of water through the instrument over a period of several minutes so… get comfortable!

4. Turn your trumpet upside down so that the bell of it is pointed at the ceiling – and leave it this way for the duration of the cleaning.

5. Use about one teaspoon of dish soap and drop it down the center of the bell.

6. Take the trumpet to the sink (or shower) and begin running a very slow stream of lukewarm water through it, starting in the bell. Be careful not to let the water overflow-if necessary turn it down. Overflow will cause unsightly spotting of your instrument.

7. Once there is a steady stream of water flowing into the bell and out of the leadpipe, begin sending water into the other parts of the trumpet by pressing one valve down and holding it at a time. If overflow occurs, release the buttons and allow the water to drain out.

8. After working the valves, work the slides by pulling them out and pushing them back in, being careful not to pull them out too far. The threads tied on should not interfere with this process, but prevent the slides from falling to the bottom of the sink.

9. Once the trumpet is thoroughly rinsed out, turn off the water.

10. To remove the leftover water from your trumpet, turn it over, and blow massive amounts of air into the leadpipe so that water flies out from the bell. Make sure to work all of the valves while doing this, to prevent water from staying in your instrument.

11. Remove all of the slides and valves from the instrument. Use your cleaning snake in all of the tubes you can reach. Also, use the valve brush inside the valve casings, to remove old residue. Be sure to rinse it frequently.

12. Reassemble your instrument (without mouthpiece) and repeat steps 6-10.

13. Now, your instrument is clean, but wet! Quickly use a soft polishing cloth to wipe down the entire instrument, and prevent water spots from forming and eroding your instrument.

14. Practice for about 20 minutes. Make sure to use the water keys frequently, as there will be water left over at this point. Check the bell at the end of this practice for more water flying out, and wipe away any new water spots.

15. Apply oil to valves and a small amount of slide grease to the slides.

16. Put away your instrument. You’re done!