Doctor Hans C. Andersson's favorite tool
William Jennings
http://www.som.tulane.edu/departments/human_genetics/faculty/andersson.html
Hey Doc,
I'm speakless!
ROTFLOL!
doc
Espiritu Santo
news:LoudnbzgyYR...@texas.net
That's right speakless, beyond speachless!
A doc's tools say a lot about him! I don't doubt you're a good if not
snitty doctor but you can't sit in the same room with me and that
guitar.
I'll bet you play "Wildwood Flower" and "Under The Double Eagle" too.
:-)
--
Posted via Mailgate.ORG Server - http://www.Mailgate.ORG
hans
12fret with 1-7/8" nut?? I didn;t post my '71 Papazian which could also
be said to be my favorite tool, but I couldn;t post all of my guitars.
Don;t recognize those 2 tunes but guessing they are bluegrass. I don;t
flatpick, tho" I do appreciate the abilities of David Grier and Tony
Rice. I play instrumentals in classical technique on my Froggys, some
call this fingerstyle.
Feel free to speak. My snittiness comes out when I have explained
myself several times, clearly, and the response comes bavck as if I've
said nothing.
hans
Edward Bridge
news:1103725776.0...@z14g2000cwz.googlegroups.com...
I didn;t post my '71 Papazian which could also
> be said to be my favorite tool, but I couldn;t post all of my guitars.
It's nice to see a sweet New York guitar in goods hands
--
Peace,
Ed Bridge
Brooklyn N.Y.
http://www.bridgeclassicalguitars.com/
PS : I like small sweet steel strings and may get one for my wife as a gift
since I made her sell her ovations years ago.
Larry Deack
> I play instrumentals in classical technique
> on my Froggys, some call this fingerstyle.
"Classical technique" is generally not like fingerstyle but there is some
overlap. Repertoire develops 'classical' technique, as talked about in the
thread about HVL #1. One of the hardest things about 'classical style' it
learning to hold up 3 voices. Most fingerstyle uses a chord melody approach
with some RH pattern applied to LH chord changes.
What music you play will say more about the style of guitar technique you
use than anything else. Pieces like RDLA have obvious 'classical' technique
but few folks are as aware that polyphonic music needs good 'classical'
technique to extract voices.
Angelo Gilardino's Annunciazione (that he kindly posted to RMCG) is a
perfect example of a piece that requires good 'classical' technique to
extract the voices especially in the middle section where the theme is in
the middle voice. It's a very good piece for those trying to understand what
'classical' technique is.
I like your Ax :-)
Scott Daughtrey
>"hans
>> I play instrumentals in classical technique
>> on my Froggys, some call this fingerstyle.
>
> "Classical technique" is generally not like fingerstyle but there is some
>overlap. Repertoire develops 'classical' technique, as talked about in the
>thread about HVL #1. One of the hardest things about 'classical style' it
>learning to hold up 3 voices. Most fingerstyle uses a chord melody approach
>with some RH pattern applied to LH chord changes.
Larry, some yes, some no. I'm not sure this is much more common in fingerstyle
than classical - in classical music a constant RH pattern with shifting LH
chords is equally common, as in the above cited example, HVL Etude no 1.
I'd suggest that, if this interests you, you need to consider possibly
expanding your experience with fingerstyle. I'd start by checking out Stephan
Grossman's roster of players and books. As an example, El McMeen's version of
"O'Carolan's Dream" is far removed from a repetitive RH pattern, utilizing
counterpoint and complimentary voices.
This is not an invitation to debate, just a friendly nudge that this
"encapsulation" of fingerstyle, in my experience, reflective of the modern
fingerstyle scene, particularly what evolved out of Britain. Even a cursory
look thru an Acoustic Guitar mag or compilation, for example the "Habits of
the Heart" book/cd compilation, would dispute your impression of what many
fingerstyle players have been doing for the past thirty years. And another
cursory look thru the CG repertoire would reveal a large amount of constantly
arpeggiated music (Rh pattern applied to LH chord changes).
Scott
William Jennings
Hey Boudreaux!
Is that 71' Manouk Papazian the same one that burned you out maintaining
technique?
Snitty is fine with me, a little Lagniappe.
C'est tout,
Che'
>
hans
I played classical (serious amatuer) for about 20y before going to
steel string for something less serious. I am an avid player but
haven't been in instruction since college (74-78) and have another
nonmusical day job. But I played the Sor studies and some Scarlatti,
the famous V-L Etdue #1. I basically play with the same RH and LH
technique on my steel strings, tho' the hiogher tension sometimes
requires some slight LH modifications for stretches andd such. The
music I play these days is mostly of my own creation only because I
find that process intriguing, tho' I dn;t claim any serious
compositionaal acheivements. Mostly these are harmonized melodies,
mostly 2 voices with some 3rd voices or filled out chords. I think
you'd find it similar to most Tarrega and Sor pieces technically tho'
not harmonically. I hate the term fingerstyle, which is why I tried to
avoid it. It does connote a clearly developing body of pieces that seem
to start with early blues and Leo Kottke-style pieces and now is
typified by people like Pierre Bensusan, Martin Simpson, our own El
McMeen and many others who seem to be able to eek out a life and living
playing mostly pieces of their own creation. That's quite unusual for
most guitarists outside of jazz but is capturing the interest of a
substantial and growing audience. I don;t claim anything about the
quality of this body of workbut I do like to listen to some of it.
hans
hans
classical guitar for years, I wanted a steel string that had as much as
possible a neck and string tension as close to a classical as possible.
Michael Millard (Froggy Bottom Guitars) built this guitar with very
light top bracing, a short-scale (for steel string guitars, 24.9") and
a wide nut and string spacing (1-7/8" nut). It plays very nicely and
with a light bracing gives a really full and balanced response with
easy modulation of tone by RH attack changes. It is not a classical but
for a steel string, it responds to a soft touch and gives a lovely
tone. I think Millard acheived exactly what I was hoping for and it is
so different than most long scale Martin-type instruments.
But the Papazian is a real old world classical and after >30y is very
playable. I had the old Papazian oil varnish removed and had it French
polished and that process has greastly benefitted the responsivenss of
a guitar that always seemed a little tight in the high end. Rest his
fine soul, Manouk Papazian was a master luthier and a gracious
gentleman.
hans
Larry Deack
> Larry, some yes, some no.
Scott, like Steve Perry told me, you forget that my first love on guitar
was fingerstyle.
I have heard El and many others. You have not heard me play. You and
others assume a lot about me that is not true. I played blues long before I
ever played CG. I played by ear long before I could read. More than 30 years
ago I played tons of Jobim with a dear friend who played flute and sax and
some guitar. We rmostly read charts and melodies. He went to Dick Grove and
later Boston where he got his BA.
I've met many jazz players and even took lessons with some and jammed with
others. Classical music was something I found late in life so please stop
assuming I don't know anything other than classical music. CSNY were in my
blood long before I heard of HVL.
When I studied HVL #1 with my teacher in my 20's I could play a lot of
jazz standards so HVL's music felt very familiar to me which surprised my
teacher since I had no problem reading the extended chords. Those chord
forms were so familiar to me and how they moved on the guitar like the dim7
chords HLV uses against the root to cycle harmonies every 3 frets in that
slide section of #1. Look at the second chord as an introduction to this
idea. Naming the chords the way you did only complicates the form obscuring
the game HVL loves to play with parallel chord patterns against static
elements that cause a moiré cycle of harmonies in a kaleidoscope of color.
BTW, try parallel min7ths moving down chromatically against a single note
to get one note samba. Using 7th this way with chordal notes tossed in as
you go you can have a lot of fun with players who may not be very advanced.
I did this one last night with a student.
Larry Deack
> The music I play these days is mostly of my own creation only because I
> find that process intriguing, tho' I dn;t claim any serious
> compositionaal acheivements. Mostly these are harmonized melodies,
> mostly 2 voices with some 3rd voices or filled out chords. I think
> you'd find it similar to most Tarrega and Sor pieces technically tho'
> not harmonically.
I write my own tunes also and have been playing some at gigs lately with
nice reactions that have surprised me since they don't know it's mine most
of the time. It is interesting and different for me. Lately my pieces have
been more about keeping some rhythm going in the bass part while laying
something on top with some kind of consistent filler in the middle and some
funky syncopations. Very commercial and fun with nothing serious like some
of the music that I find most compelling.
Funny, I went from fingerstyle to CG and you went the other way. I don't
even own a steel string any more. How is that on your nails? It was rough on
me when I was stuck on Easter Island with an Ovation learning Sakura and
Julia Florida. Interesting how it changes the music but not as interesting
to me as playing on a good classical. I haven't play steel since and really
don't miss it.
hans
almost anything and offer a tone with which few steels can compare.
Some pyrotechnics sound better on a steel but the reverse can also be
said for tremelo. I have always played with standard classical-shaped
fingernails and that doesn;t cause any problems for me on steel. Maybe
my nails are on the stronger side and generally pretty even and
normally rounded. That easter island experience of yours may have had
more to do with the Ovation than anything else. They aree [retty dead
in my experience and need a much more aggressive attack to get any
sound from. I can just imagine you learning the tremelo section of
sakura on an Ovation!! Ugh.
hans
hans
notes on the page that got the better of me. I just got tired of
learning pieces so that I could play music.
As I am of german decent, maybe you could find something a bit more
appropriate than boudreaux. I'm not cajun or french canadian or
alsacian. How 'bout Johan or Klaus or something. Boudreaux is a little
redneck for my taste.
hans
William Jennings
> It wasn;t the guitar that was the problem, it was the day job and the
> notes on the page that got the better of me. I just got tired of
> learning pieces so that I could play music.<
I knew that. Few doctors have the time it takes to keep things up, know
the breed well, and the arrogance of some.
>
> As I am of german decent, maybe you could find something a bit more
> appropriate than boudreaux. I'm not cajun or french canadian or
> alsacian. How 'bout Johan or Klaus or something. Boudreaux is a little
> redneck for my taste. <
I figured coonass when I read your first message to me and this
"(snipped drivel by a confabulating moron)".
You will quickly learn I give as good as I get. I enjoy the verbal
combat since little in the way of guitar/music is discussed here of any
significance.
June Yamagishi is in your area. June was born Japanese, he's a cajun
now.
Laissez les Bon Temps Rouler !
hans
previously mentioned commintments and wife and 13y old son, I don;t get
to the clubs much. He's always interested me to har but never made it.
What can you tell me about his guitar playing? Are you in the bayou
region or why is the patois so familiar for you, cher??
hans
hans
BTW, I don;t believe the snipped text was directed at you but another
poster.
hans
William Jennings
>
> BTW, I don;t believe the snipped text was directed at you but another
> poster.
>
> hans
>
Doesn't make any difference.... I saw a game fish! :-)
Che'
William Jennings
Because you damned cajuns can't stay away from me! :-) Ya'll come right
into San Antonio Bay via the ICWW, pull in the quay and say "Where dat
Che' Petadoggy, where he stay?" I sota' like my redneck cajun friends,
however crazy they might be. They are some of the best people I
know.... I mean that!
I was there last October for the Voodoo Festival. You might catch June
with the Elastic Karma Kings or Magnolias.
Run a search on Jambase.com. You also have one of the best talking
drummers in the world there... his name slips my mind at the moment.
I've spent time in and around the city at diffent times. Laid up for
awhile in Vermillion Parish with my cheri one Spring on the bayou. I
met June in Japan when he was trying to get back to the U.S. .... he's
a to the bone guitar player and great guy if you get to know him. I
played a bit here and there around town... too damned humid for me and
the guitar, most the time. I love the food but the city is just too
mean for me now.
Che'
hans
plays with all sorts but his oldest gig is with Astral Project. Very
humid, dry is 45-50% RH.
hans
William Jennings
No, the man I'm talking about is from Salvador Bahia, Brazil. He is a
master teacher in candomble drumming.
If you are at the Tulane Medical Center near I-10 and Tulane Ave. you
might be able to walk to a place during your lunch period and find
information about him. In fact, I would walk because it's quicker than
finding a parking place, it's less than a mile.
Go to the 800 block of N. Rampart Street on the edge of the Quarter.
Look for a pastel peach colored building with a white door and window
trim. There will be a curious brown wooden sign above the door with a
red triangular design inside. I knew the ladies husband that opened this
place back in the 90's. He died in 1995 (Oswan ) his wife, still
living, is known as Mother Miriam. These people are from Belize but
it's a start.... it's sometimes hard tracking down these types, that
drummer, I mean.
When you get there you might think I'm joking you.... absolutely not.
You might not want to let them know you're a medical doctor. They might
have some Cd's or a little information. If nothing else it will be a
very different lunch hour. Sometimes they have a hard time taking
casual inquires serious..... it's what you might call a portal. :-)
June is easy to find: ju...@papagrowsfunk.com
Che'