Does everybody hear record themselves?
oasysco
ourselves, whether we are playing by ourselves or with others.
A decent digital recorder can be had for under $200 and a video camera
with sound can be had for even less.
I use a Digitech GNX3 multi-effects pedal solely for its 8 track
digital recorder. that way, I can record a rhythm and then layer in
the melody and perhaps even a solo. Then I can listen back critically.
Of course to do this right, you'll probably need 2 amps. One to record
through and the other to playback.
I have 2 amps - one for recording and one for playback. I have and
output of the recording amp plugged into my GNX3 input for recording
and anothr output of that amp and the GNX3 into a y-box that allows me
to send one output signal to the playback amp.
Even if you can't cobble together a setup like that, it wouldn't hurt
to use a cassette recorder or video camera to hear yourself in action.
The only downside of recording oneself is that you may be tempted to
perfect your palying by going over a musical line time and time again
until you get it just so. TYhat can drive you crazy and doesn't work
well for live playing where you only get one take :)-
Greg
ed s
yes yes yes --- I started with a Beringer V-amp2 - input guitar & Cd,
headphones ( no amp at all) - into recorder...
Then on to record yourself and overdubs ....
and as far as getting it perfect , well ya gotta start somewhere..
( recorder is best bang for the buck after the guitar & some books ) -
ed s.
Tony Done
"oasysco" <oas...@cox.net> wrote in message
news:cb4c9146-d310-43ae...@n16g2000yqm.googlegroups.com...
I plug straight into the PC via the mic input, using a preamp. Atm the
preamp is a Boss BD-2 stomp box, but that varies. I use Cool Edit Pro for
sound editing, but I've never tried multitracking. Latency would be an
issue, but I guess that could be corrected by resynchronising the tracks
after recording.
Tony D
Rufus
Yup. I use an Olympus LS-10. Very convenient. And Apple's Garageband
with my MacBook Pro.
...when I get the time.
--
- Rufus
David Raleigh Arnold
> oasysco wrote:
>> One of the absolute best practices of us beginners is to record
>> ourselves, whether we are playing by ourselves or with others.
>>
>> A decent digital recorder can be had for under $200 and a video camera
>> with sound can be had for even less.
>>
>> I use a Digitech GNX3 multi-effects pedal solely for its 8 track
>> digital recorder. that way, I can record a rhythm and then layer in the
>> melody and perhaps even a solo. Then I can listen back critically.
>>
>> Of course to do this right, you'll probably need 2 amps. One to record
>> through and the other to playback.
>>
>> I have 2 amps - one for recording and one for playback. I have and
>> output of the recording amp plugged into my GNX3 input for recording
>> and anothr output of that amp and the GNX3 into a y-box that allows me
>> to send one output signal to the playback amp.
> ...when I get the time.
Yes, the time. That's the rub. Time fing around with the
equipment is time spent not practicing. A little recording
is good. A lot, not so much. Regards, daveA
--
For beginners: very easy guitar music, solos, duets, exercises. Early
intermediate guitar solos. One best scale set for all guitarists.
http://www.openguitar.com/scalescomparison.html ::: plus new and
better chord and arpeggio exercises. http://www.openguitar.com
Music theory should be clues you can use,
not blues you can't lose.
RichL
Yes, I'm doing the multitracking thing. Sonar Producer 6 on a dedicated
PC, M-Audio Delta 44 soundcard (4 inputs, 4 outputs), a variety of
microphones, powered near-field monitors, RNP preamp.
My son does this stuff for a living and got me into it as a hobby. I
record all the parts to a song (everything but drums the old-fashioned
way, for drums I use drum synths).
I rarely use it as a practicing tool, however. Usually when I record
something it's with the intent of assembling a multitracked song.
ed s
>
> - Show quoted text -
Thats because you don't need much practice.................mmm good.
ed
RichL
Oh, but I do practice! Just not with the recorder. Usually using an
acoustic guitar, I find it helps strengthen my fingers and it makes
electrics easier to play.
Learnwell
> perfect your palying by going over a musical line time and time again
> until you get it just so.
That is the very description of practicing and will pay huge dividends
when you play live.
By failing to prepare, you are preparing to fail - Benjamin Franklin
Getting it 'just do' is preparation, keep it up!
Master Betty
"Learnwell" <learn...@gmail.com> wrote in message
news:8f3df6bc-7292-4177...@q2g2000yqd.googlegroups.com...
>> The only downside of recording oneself is that you may be tempted to
>> perfect your palying by going over a musical line time and time again
>> until you get it just so.
>
> That is the very description of practicing and will pay huge dividends
> when you play live.
>
> By failing to prepare, you are preparing to fail - Benjamin Franklin
>
Hilarious....right out of "Mystery Men" The Sphinx.
http://www.youtube.com/watch?v=ZrqGmYIEwF8
About 2:40
oasysco
Nah, what I'm talking about isn't practicing... it's obsessing :)
Playing live, you get only one take. Mosy good jazz players probabl
can't replicate their solos exactly; they'll sound different every
time depending on mood and their fellow players. What
I'm talking about is perfecting a line such that you only play that
line live. The problem there is one screw up and you can lose your
place because you sought to perfect one line rather than develop
generla playing skills that would do you better in a live situation.
Greg
dAVE B
17faee...@n16g2000yqm.googlegroups.com...
I use a V-AMP Pro,hooked into an external soundcard made by Cakewalk
alongside Sonar as the recording app..
My practice time,when i get it,usually consists of playing through the V-AMP
into the effects loop of my peavey bandit and doing it live...
I usually have a day of aping my favourite players through my amp,where i
just play along to songs at loud volumes...
All other times,i'll just try and write my own stuff,which is where the
recording comes in...it's a big help to be able to experiment and i can
usually come up with one or two interesting hooks that i like and build it
from there..
I'm not a perfectionist,don't get overly stressed about whether my playing
is good enough or not..
I keep it fun,make it enjoyable....that's all that matters to me.
regards,
dAVE B
dAVE B
"dAVE B" <not@home> wrote in message
news:-JadnfUjH8zScaTW...@bt.com...
And just to add to that,i remember my first adventures into actually
recording myself,it can be a bloody scary experience listening to
yourself...
I did feel quite a bit of pressure trying to get something worth listening
to down,but the more you do it and the more you find what you like and what
you're capable of doing,the easier it becomes.
:)
Lumpy
> Nah, what I'm talking about isn't practicing... it's obsessing :)
> Playing live, you get only one take. Mosy good jazz players probabl
> can't replicate their solos exactly; they'll sound different every
> time depending on mood and their fellow players. What
> I'm talking about is perfecting a line such that you only play that
> line live. The problem there is one screw up and you can lose your
> place because you sought to perfect one line rather than develop
> generla playing skills that would do you better in a live situation.
Elaborate, please?
Not exactly sure what you're saying.
You want, for some reason, to exactly replicate
something every single time you play it?
Lumpy
In Your Ears for 40 Something Years
www.LumpyMusic.com
oasysco
That is the danger of trying to perfect every note and recording
oneself lends itself to being able to do that if you are obsessive or
have a predilection for "pre-composing".
That's why I think one should not obsess over a recording; instead
leave soom room for mistakes, creativty, newness.
Pre-composing isn't necessarily bad as classical orchestras do it all
the time and even some jazzbos... to wit: one of the big bands
(Armstrong, I believe) would work through the night after a gig
rearranging the music to make the next night's gig sound fresh, but
even the solos were precomposed. It was a classic case of exerting
control over the band as a product that could be refashioned at will
and sound fresh to the next audience, yet still be predictable and
controllable for the band leader.
Ha! In fact, a short-lived community jazz band I had the pleasure of
sitting in with played from charts. There was no room for
improvisation except within a very limited context, which
unfortunately we didn't last long enough to explore. Now, that said,
as a guitarist, they had no charts for me; they only had horn charts,
leaving my part up to my imagination, which worked sometimes and
sometimes didn't :)
Greg
ed s
>
> - Show quoted text -
Recording can also be used the otherway around..... Let it fly...
In an actual performance you (can) tend to play it "safe". But if
your recording , hey go for it - its just you and the recorder....
Then if you hit something you likes you can use it again - perhaps in
a live context. e
oasysco
>
> > - Show quoted text -
>
> Recording can also be used the otherway around..... Let it fly...
> In an actual performance you (can) tend to play it "safe". But if
> your recording , hey go for it - its just you and the recorder....
> Then if you hit something you likes you can use it again - perhaps in
>
> - Show quoted text -
Good point and absolutely true! You can let loose with noone there to
hold you back.
That said, when I played live (mostly bars, private parties), I tried
stuff I never tried at home simply because the situation, the band,
the atmosphere called for it and/or supported it.
That's why i think 3 live plays is worth 16 home self-practices :)-
Greg
Rufus
I get it - he's saying just the opposite...that if you improv all the
time, generally you won't play the same thing every time and you should
be ok with that.
That's pretty much how I approach it...recording or not. I try and
maintain a general feel, but I couldn't play the same lead twice note
for note if I wanted/cared to. I can settle into something, but it's
never identical twice. And I like that.
--
- Rufus
ed s
>
> > > - Show quoted text -
>
> > Recording can also be used the otherway around..... Let it fly...
> > In an actual performance you (can) tend to play it "safe". But if
> > your recording , hey go for it - its just you and the recorder....
> > Then if you hit something you likes you can use it again - perhaps in
> > a live context. e- Hide quoted text -
>
> > - Show quoted text -
>
> Good point and absolutely true! You can let loose with noone there to
> hold you back.
>
> That said, when I played live (mostly bars, private parties), I tried
> stuff I never tried at home simply because the situation, the band,
> the atmosphere called for it and/or supported it.
>
> That's why i think 3 live plays is worth 16 home self-practices :)-
>
>
> - Show quoted text -
all the above ; more play = more fun.
but I sure do way more practices vs live - than 16 to 3 ratio.
And yet 1 more possibility - I now have my home studio/band rehearsal
room set up so everyone has there own tracks and rehearsals get
recorded. I can then re-play whatever parts I want anytime in ~ full
band situation ( the isolation between track / instruments is prety
good considering its all in the same room) Great for putting down
new vocal tracks or just trying out new things, or just practicing (on
top of or replacing what’s there), if people can't make it for
whatever reason.
But nothing can really replace that audience interaction thing –
cherish the Live moments . ed
oasysco
>
> - Show quoted text -
Right-o. I admit to pre-learning most solos, but I can't play note-for-
note, so what I do is cop a couple of the more noticeable lines and
then weave in the other 80% of my stuff. When weaving in my stuff or
coming up with anew, I always try to leave more space between or
within phrases to be able to improvise some.
This is more true for rock with me than jazz. With jazz solos, the
amount of free space I leave myself to do things adhoc is exceedingly
small or non-existent currently due to my lack of confidence playing
jazz.
Therefore i spend a lot more time developing jazz solos than I did for
rock. That means, more recording and listening back and it also means
slower progress.
Greg
Rufus
I'm pretty much in the moment with sound and feel - if I can feel it I
can play it...if I can't feel it then I try and steer it until I can
feel it.
> This is more true for rock with me than jazz. With jazz solos, the
> amount of free space I leave myself to do things adhoc is exceedingly
> small or non-existent currently due to my lack of confidence playing
> jazz.
>
I wish I could understand jazz enough to play it. I like to listen, but
I don't have the language of it in my head.
> Therefore i spend a lot more time developing jazz solos than I did for
> rock. That means, more recording and listening back and it also means
> slower progress.
>
> Greg
Slow is good, IMO. Stuff takes time and too many of the folk I try to
play with are always in a rush. I'm self taught, so I'm more into the
whys and hows of what I do, and how to expand on that at the present.
...and I just blew up an amp this week, which ain't helpin' any. It's
an older 80's vintage one that I really like with my Fender guitars, so
I hope I can salvage it.
--
- Rufus
Lumpy
> I wish I could understand jazz enough to play it. I like to listen,
> but I don't have the language of it in my head.
Imitate what you listen to.
Rufus
...that's one approach, I guess. I'd also have to transcribe what I
like to listen to from trumpet or sax to guitar. I tend to like
quartets when it comes to jazz - bass, keys, a horn (or maybe two) and
drums. With the exception of rhythm...I tend to pick up rhythm lines
from everywhere, and then they come out of my right hand when I least
expect it.
Something I appreciate, but have never tried to imitate...though I did
synth my guitar into a Rhodes piano once - and I ended up sounding like
Ray Charles incarnate.
--
- Rufus
Satan666
Lumpy
> ...that's one approach, I guess. I'd also have to transcribe what I
> like to listen to from trumpet or sax to guitar...
Whatever you play now, rock, metal, whatever,
do whatever process you do to play that, only
apply it to jazz. Do you transcribe rock (or whatever
you play now)?
Perhaps you can find a jazz version of some rock song.
There's a lot of jazz beatles and so forth. Listen to
both versions (several versions) and see if you can
determine "What makes that one sound jazz and that
one sound lesbian folk alternative gregorian emo bluegrass?"
Rolling Stones did "Route 66". Eleven gazillion jazz
combos did "Route 66". It's basic 12B blues.
Start with something relatively similar to what you
already do. Don't start out with the Miles Davis
Quintet with John McLaughlin and Keith Jarrett sitting in.
Jazz isn't inherently difficult or mysterious.
It's just not what most of us grew up listening to.
Simple starting point, try playing every chord as
a 4 note chord (to the 7th) instead of a triad.
Play the naturally occurring M7 or m7th, as appropriate
to the chord. Substitute the ii7 in place of every IV
chord and "presto!" it sounds "jazzy".
Lumpy
Oooh!
http://digitalcartography.com/jazz/
Rufus
> Rufus wrote:
>
>> ...that's one approach, I guess. I'd also have to transcribe what I
>> like to listen to from trumpet or sax to guitar...
>
> Whatever you play now, rock, metal, whatever,
> do whatever process you do to play that, only
> apply it to jazz. Do you transcribe rock (or whatever
> you play now)?
>
Yeah...I find I know a bit more about arranging than I previously
thought, too...
> Perhaps you can find a jazz version of some rock song.
> There's a lot of jazz beatles and so forth. Listen to
> both versions (several versions) and see if you can
> determine "What makes that one sound jazz and that
> one sound lesbian folk alternative gregorian emo bluegrass?"
>
> Rolling Stones did "Route 66". Eleven gazillion jazz
> combos did "Route 66". It's basic 12B blues.
>
I did this recently with "Summertime"...it's a pretty basic sort of tune
too. I was playing it straight, with a trio...then I went home an put
an autowah on my part, and loosened up my wrist a bit on it and upped
the tempo some. Put that quiet electric skank over the guy playing
acoustic in the trio and it did jazz it out some.
And along the way I found out that the opening of "Stairway to Heaven"
is straight ripped from Gershwin...I think I might have even used some
of "Stairway" in playing "Summertime". And I just followed the melody
down the scale during the descends as a "solo".
The way I did it follows the vocal inflection, so if you get someone
else singing it it can change from vocalist to vocalist...the acoustic
player sort of had a problem with that because he was always expecting a
count - "just follow the melody", I had to keep saying...
> Start with something relatively similar to what you
> already do. Don't start out with the Miles Davis
> Quintet with John McLaughlin and Keith Jarrett sitting in.
>
> Jazz isn't inherently difficult or mysterious.
> It's just not what most of us grew up listening to.
>
...funny...I've been playing a lot of stuff of late that I thought I
wasn't listening to as I was growing up - just because I've gotten hold
of a Strat and can make those sounds now.
> Simple starting point, try playing every chord as
> a 4 note chord (to the 7th) instead of a triad.
> Play the naturally occurring M7 or m7th, as appropriate
> to the chord. Substitute the ii7 in place of every IV
> chord and "presto!" it sounds "jazzy".
>
>
> Lumpy
>
> Oooh!
> http://digitalcartography.com/jazz/
>
>
...I gotta larn me more of them purty chords...
I've been sort of stuck on playing 7ths of late...or the "diabolicus"
diad - 3rd/b7th...and sliding that and the whole of the "Hendrix E"
around the neck...all because of the Strat. I find myself playing more
1st/3rd or b3rd diads too now, vice 1st/5th power-chords.
I'll start thinking about minors...
--
- Rufus
Rufus
--
- Rufus
Lumpy
> ...I gotta larn me more of them purty chords...
Substitute chords. Here's one way...
Whatever chord you're currently at, add another note
a 3rd BELOW the root.
Say you're in the key of D, 2 sharps.
You're playing the IV7 (GMaj7). Add a note
a 3rd below the root (E) Now you have an Em9.
Sub that Em9 any place where you'd normally
have the IV chord. Won't always work. Sometimes
you just NEED that strong subdominant chord.
Here's another way...
Take whatever chord you're playing now.
Use the same example from above, IV chord, GMaj7.
Pick any one of the notes from that chord
and build a new chord based on that note.
If you used the 3rd of that GM7 you'd have
a B. Build that chord in the key of D and
you'd have B D F# A or Bm7, or B D F# A C# or Bm9.
Note that the Bm9 chords also contains a DMaj7 chord,
and an F#m chord. Any of those could sub for that
plain Jane G chord.
That's the "straight" approach. Now try the
same thing but for the substitute chord, don't
use that note as the root. Instead play some other
chord that has a B in it, not a Bsomething chord.
Keep it in the key of D for now. Chords with B
in them -
B D F# A
G B D F#
E G B D
C# E G B
And those are just 4 note chords.
Do it with 9th chords and you could have -
A C# E G B
Come OUT of the key of D except for that one note.
Hendrix chords -
Ab C Gb B (Delib left the 5th out)
See what's happening? Instead of playing I IV V,
play I ii V. Modify that again and play I ii vii.
Modify it again and play vi ii vii. Keep modifying
till you think it's lost it's sense of harmony.
Or keep going and tell the audience they just
aren't sophistocated enough to understand.
Trade diablos and play ii #I7 IMaj7, instead of IV V I.
Do that in a Hank Williams tune. It sounds more "jazzy"
when you do it in a song that you don't expect it in.
Play Summertime as Dm Ahendrix. Instead of the IV or ii
chord, play #vm7b5. Instead of the V7 play V7(#5)
Every note, diatonic or chromatic, "fits". We just
get used to thinking "only 1-3-5 and sometimes 7 fit".
The 9-11-13 complete the diatonic scale. The #9, b9,
#11, b13 (the #5) and the #13 (the m7) complete the chromatic scale.
If you like to analyze them, compare the straight
chord with the sub chord and see which notes are
in common.
I just had a guy yesterday tell me he finally
understood why the vii chord is the same as the
V7 chord. It's amazing when it clicks. But once
it does, you don't have to do the math any more.
You just sense "I think I'll play the X69#11 chord
right here and it will sound spooky.
In the key of C, name this chord -
G B D F A C E
Lumpy
Oooh!
http://digitalcartography.com/jazz/
Rufus
>
> In the key of C, name this chord -
>
> G B D F A C E
>
>
> Lumpy
>
> Oooh!
> http://digitalcartography.com/jazz/
>
>
...I gotta get me a 7-string one of these days...and two extra fingers...
...but I found some stuff looking.
--
- Rufus
Lumpy
Lumpy wrote:
> >
> > In the key of C, name this chord -
> >
> > G B D F A C E
Rufus:
> ...I gotta get me a 7-string one of these days...and two extra
> fingers...
> ...but I found some stuff looking.
You're looking too far.
Look at the notes. You know what's in there.
Sean
> Lumpy wrote:
>>> In the key of C, name this chord -
>>>
>>> G B D F A C E
>
> Rufus:
>> ...I gotta get me a 7-string one of these days...and two extra
>> fingers...
>> ...but I found some stuff looking.
>
> You're looking too far.
>
> Look at the notes. You know what's in there.
>
So many notes. Cmaj13?
The Tortoise
What about G13 for starters?
Sean
Wasn't the idea that things were being added below the root? Or have I
got my threads mixed up?
J-Bo
> ...I gotta get me a 7-string one of these days...and two extra fingers... --
> - Rufus
Or just play the C and the G with a little distortion and Rock On.
Anyway, I vote Cmaj13, too. J-bo
The Tortoise
Lumpy has listed the notes with G first. That says to me G13.
But who can play all 7 notes at once (or their inversions) on a
guitar? And who would want to?
RichL
> Sean wrote:
>> The Tortoise wrote:
>>> Sean wrote:
>>>> Lumpy wrote:
>>>>> Lumpy wrote:
>>>>>>> In the key of C, name this chord -
>>>>>>>
>>>>>>> G B D F A C E
>>>>> Rufus:
>>>>>> ...I gotta get me a 7-string one of these days...and two
>>>>>> extra
>>>>>> fingers...
>>>>>> ...but I found some stuff looking.
>>>>> You're looking too far.
>>>>>
>>>>> Look at the notes. You know what's in there.
>>>>>
>>>> So many notes. Cmaj13?
>>>
>>> What about G13 for starters?
>>>
>>>
>>
>> Wasn't the idea that things were being added below the root? Or
>> have I
>> got my threads mixed up?
>
>
> Lumpy has listed the notes with G first. That says to me G13.
If it were C13, one of the notes would be Bb instead of B (standard 13th
chords use flatted sevenths of the corresponding scale).
> But who can play all 7 notes at once (or their inversions) on a
> guitar? And who would want to?
The point isn't to play all of them, just enough of them so that the
attentive brain fills in the gaps.
Lumpy
> Lumpy has listed the notes with G first. That says to me G13.
>
> But who can play all 7 notes at once (or their inversions) on a
> guitar? And who would want to?
Ok. So just play three of those notes. Any three consecutive
notes. What chord is that?
Lumpy
> > > > > So many notes. Cmaj13?
> If it were C13, one of the notes would be Bb instead of B (standard
> 13th chords use flatted sevenths of the corresponding scale).
CMaj13 would use a B natural.
Don't look at it as "uses a flatted 7th" or
"uses a flatted 3rd". Look at it as "in the key
of C (C in this case) is the B natural or sharp or flat?"
As you add 3rds, always add alphabetic 3rds.
If you're starting on D for example (any D, natural, sharp or flat),
a 3rd higher is always F something. Is it F natural or sharp or flat?
Depends on what key you're in. If you're in the key of
G, the F is sharp. If you're in the key of Eb, the
F is natural. If you're in the key of Cb, the F is flat.
So here you are again. Key of C (all notes are natural,
not sharp or flat). Given these notes -
G B D F A C E
Or maybe
B D F A C E G
Or maybe
F A C E G B D
All the same notes.
What chord is it?
Learnwell
If you don't know we are not going to do your homework for you.
Master Betty
"Learnwell" <learn...@gmail.com> wrote in message
news:95790f0e-5165-42ab...@k23g2000yqa.googlegroups.com...
>> What chord is it?
>
> If you don't know we are not going to do your homework for you.
>
Ah come on!!-----"If you don't do your homework, your homework will undo
you." The Sphinx
Lumpy
I did your homework about your DWI arrest.
Why not YOU do the homework, if you're capable,
about the chord question? Or the Flamenco question?
Or any other question that's come up on this group?
You seem quite capable of making up a phoney
review of your classes there at Servite High School.
You know, the reviews written by your, um, "students".
Why not make up an answer here as well?
You have posted absolutely zero
helpful information to this list. You busted in
here telling everyone how great you were and that
you were trying to get your students to a point where
they would get accepted by college guitar programs.
Yet, as you claim, they aren't yet good enough because
they just don't follow your directives well enough.
So despite numerous attempts by several members of this
group to grant you the opportunity to contribute
something useful, you continue to be completely
and entirely non-contributory.
Heck of a demonstration of your personality as a
teacher of young people. Seems that any search
of you, anywhere, on any subject, turns up nothing
that a parent would see as positive when faced with
the decision of where to spend $10,000 on his high
school child's tuition.
You're one hell of a denying drunk.
Better get down to that hall of records and
see who it is that's impersonating you with
the same name, birthday, former schools and
residences. But you won't. You'll just suck
that bottle dry and argue with me, demanding
that I "do your homework for you". I've done
YOUR homework, Gregg. You're a drunk. So says
the public record. I don't care who accused
me of that or if it was true or not, I'd have
my ass down at the courthouse first thing
in the morning checking it out. Then if it
were true, as it is in your case, I'd be
calling the head hunter pronto. So that when
Bishop Brown and Mr Brennan get tired of
hearing complaints and queries from parents
about the stuff they've discovered about you,
you can still get a job.
Now what's that about chords? Phryg modes?
Craig 'Lumpy' Lemke
The Tortoise
I13 - ii13 - iii13 - IV13 - V13 - vi13 - vii13.
A Bloody mess? But how do you play them on a guitar, and the
inversions? And why would you want to?
The Tortoise
> The Tortoise wrote:
>> Lumpy has listed the notes with G first. That says to me G13.
>>
>> But who can play all 7 notes at once (or their inversions) on
>> a
>> guitar? And who would want to?
>
> Ok. So just play three of those notes. Any three consecutive
> notes. What chord is that?
D F A in the context of G would be a G9 without the root and 3rd.
Otherwise it's just a Dm triad.
Now, what else can a Dm triad sub for?
Learnwell
We both know none of that stuff is true. Anyone can find that out on
their own.
Now, how about posting on topic?
I'd say nice try, but school kids can do a better job at propaganda.
And by the way, if you've got the information you claim then please
contact the authority figures you mention pronto with your evidence.
You would if you had it, but you won't, and will not, because you do
not.
[Yawn]
Lumpy
> ...And by the way, if you've got the information you claim then
> please contact the authoroty figures you mention pronto with your
> evidence...
You think that teachers in California, public, private or
parochial, aren't already vetted for publicly available
information like your DWI arrest record?
The padre likely doesn't give a shit. He's busy
fucking alter boys in the ass. But when enough
parents find out, they're sure going to do their
talking with their checkbooks. That, however, might
not even be a factor. You're doing so poorly at getting
your kids into music college, by your own admission,
that no parent is going to send their kid there to
study guitar. Hell, why the fuck would any teenage
boy want to go to an all boy religious school and
learn classical guitar.
It amazes me that for a guy that has gotten as far as
you have in the system, you simply fall deaf to the
concept of getting your drunk ass down to the hall
of records and look for your fucking self. For
enough work and money, you could get the record
expunged.
Then just hope you don't get busted for
cocaine or domestic abuse.
Now get your slimy, drunk ass busy and make up
some more reviews by your students. Then get
your ass back here and make some posts. I
forbid you to leave.
Craig 'Lumpy' Lemke
oasysco
> "oasysco" <oasy...@cox.net> wrote in message news:cb4c9146-d310-43ae-8c7e-
>
> 17faeef1d...@n16g2000yqm.googlegroups.com...
>
>
>
>
>
> > One of the absolute best practices of us beginners is to record
> > ourselves, whether we are playing by ourselves or with others.
>
> > A decent digital recorder can be had for under $200 and a video camera
> > with sound can be had for even less.
>
> > I use a Digitech GNX3 multi-effects pedal solely for its 8 track
> > digital recorder. that way, I can record a rhythm and then layer in
> > the melody and perhaps even a solo. Then I can listen back critically.
>
> > Of course to do this right, you'll probably need 2 amps. One to record
> > through and the other to playback.
>
> > I have 2 amps - one for recording and one for playback. I have and
> > output of the recording amp plugged into my GNX3 input for recording
> > and anothr output of that amp and the GNX3 into a y-box that allows me
> > to send one output signal to the playback amp.
>
> > Even if you can't cobble together a setup like that, it wouldn't hurt
> > to use a cassette recorder or video camera to hear yourself in action.
>
> > The only downside of recording oneself is that you may be tempted to
> > perfect your palying by going over a musical line time and time again
> > until you get it just so. TYhat can drive you crazy and doesn't work
> > well for live playing where you only get one take :)-
>
> > Greg
>
> I use a V-AMP Pro,hooked into an external soundcard made by Cakewalk
> alongside Sonar as the recording app..
> My practice time,when i get it,usually consists of playing through the V-AMP
> into the effects loop of my peavey bandit and doing it live...
> I usually have a day of aping my favourite players through my amp,where i
> just play along to songs at loud volumes...
> All other times,i'll just try and write my own stuff,which is where the
> recording comes in...it's a big help to be able to experiment and i can
> usually come up with one or two interesting hooks that i like and build it
> from there..
>
> I'm not a perfectionist,don't get overly stressed about whether my playing
> is good enough or not..
> I keep it fun,make it enjoyable....that's all that matters to me.
>
> regards,
> dAVE B- Hide quoted text -
>
> - Show quoted text -
I forgot - another trap of self-recording - going off on tangents.
I'll sit down to practice part of a sing I want to learn and before
you know it, I put my archtop on the stand, pick up my cheap Squier
Tele that has a synth pickup attached to it, turn on my 90's vintage
Roland GR1 guitar synth, snag a drum beat from the GNX3 and off I go
for 3 hours of messing around :)- It's not bad to do that now and then
- kinda like dirvingfast on the expressway to blow deposits outo the
engine - as long as you don't overdo it.
Greg
Learnwell
Not going to contribute on topic, huh? Still don’t know the name of
that chord, I guess.
Sure, Grump, I can envision it now, “Well, I did want to send my kid
to school there, but I found some writings on line by this vulgar
narcissist named Lemke and I’ve changed my mind.”
You are just making stuff up as you go along (including things you say
I wrote). I join the chorus of people reading it. . .
BWAHAHAHAHA!
Lumpy
> You are just making stuff up as you
> go along (including things you say
> I wrote). I join the chorus of people reading it. . .
The "things you wrote" are in the archives.
That's even simpler for anyone to search for
than the 30 minute search that disclosed your
criminal history.
"Chorus of people reading it" is a good description indeed.
Learnwell
BWAHAHAHA!
RichL
I vaguely recall a song written to fit this thread:
"Dueling Chihuahuas"
Yap Yap Yap...
johnty
> Rufus wrote:
> > ...I gotta larn me more of them purty chords...
>
> Substitute chords. Here's one way...
>
> Whatever chord you're currently at, add another note
> a 3rd BELOW the root.
>
So G7 is a good substitute for B dim?
Lumpy
> > Substitute chords. Here's one way...
> >
> > Whatever chord you're currently at, add another note
> > a 3rd BELOW the root.
johnty:
> So G7 is a good substitute for B dim?
Or vice versa. "good sub" is obviously a subjective
term. "Good" for one song/style/situation could
sound "bad" in another. But G B D F# and B D F# are
pretty darn close.
J-Bo
wrote:
> Jazz isn't inherently difficult or mysterious.
> It's just not what most of us grew up listening to.
Start with something simple (of course, one would have to know which
tune is simple ahead of time). Listen over and over. If there's more
than one instrument, listen for the melody the first time through,
then on the repeats the other instruments may "improvise" over the
chord changes but probably not in the key of enchilada (of course,
they may sub chord changes, then sub the subs, but that's part of the
fun). Then the last time through see if you can pick out the melody
again. Good ear training.
Spend four bucks on iTunes and try it with these:
Autumn Leaves
Summertime
Girl from Ipanema
C Jam Blues
Also, check out Jamey Aebersold's web site. There's some good
instruction for beginning Jazz there. Coker's book "How to Listen to
Jazz" may help. Now I gotta go work out the re-harmonization of
Inagodadavida to pick up those 7ths and 13ths.
J-bo
Lumpy
> Spend four bucks on iTunes and try it with these:
>
> Autumn Leaves
> Summertime
> Girl from Ipanema
> C Jam Blues
>
> Also, check out Jamey Aebersold's web site. There's some good
> instruction for beginning Jazz there. Coker's book "How to Listen to
> Jazz" may help. Now I gotta go work out the re-harmonization of
> Inagodadavida to pick up those 7ths and 13ths.
I echo the advice of Aebersold's material. Download,
or have them send you, free, their "anybody can play
jazz" booklet.
Add to the list "Blue Monk" and "Route 66"
and the quintessential I vi ii V song, "I've Got Rhythm".
johnty
> Lump:
>
> > > Substitute chords. Here's one way...
>
> > > Whatever chord you're currently at, add another note
> > > a 3rd BELOW the root.
>
> johnty:
>
> > So G7 is a good substitute for B dim?
>
> Or vice versa. "good sub" is obviously a subjective
> term.
Yes, I was messing with a short transition from Am to C. I didn't
like the sound of B dim. G7 sounds good, but I also like using the
top three string barred at the first fret - a sort of Fm - even though
it doesn't 'fit' with the key of C.
Lumpy
> Yes, I was messing with a short transition from Am to C. I didn't
> like the sound of B dim. G7 sounds good, but I also like using the
> top three string barred at the first fret - a sort of Fm - even though
> it doesn't 'fit' with the key of C.
You mean you're moving from an Am chord to a C chord?
If you're in the key of C, consider this...
What's the strongest cadence/resolve there is?
It's the V to I.
So if going from any chord, Am or otherwise, to
C, see if you can go "through" the V chord or G.
G7 and Bdim are essentially both the V chord.
So either works well to get you that V to I thing.
You could also try the tritone sub for the V.
That would be C#7. Am - C#7 - CMaj7.
Or, consider this. The 2nd strongest cadence/resolve
is probably IV to I, the plagal or church cadence "Ah-Men".
So you're on Am. Treat that, temporarily, as the V of something,
or to put it another way, move to IT's IV.
That would make it resolve Am to Dm. Now you're on Dm, the ii
chord of C. ii and IV are nearly interchangable. So play
Am - Dm7 - CM7. Or insert one additional temporary dominant
by resolving the Dm to it's IV or G (D is the V of G, or G is
the IV of D). Now you have Am - Dm7 - G7 - CM7. And THAT is
the proverbial jazz changes vi ii V I
(I've Got Rhythm - Surfer Girl etc).
Add them all together -
Am7 - Dm7 - G7 - C#7 - CM7
Each one of the above moves to a chord which is
the V or dominant of the chord after that. is A is the V of D.
D is the V of G. G (or sub C#7) is the V of C.
You could work toward IVs instead of Vs.
You're on Am which is nearly interchangable with C.
Move to the IV of C then to IT's IV then back to C.
Am - F - Bb - C. Or substitute the ii for the IV, or
move to the actual IV(iv) of the Am and you have -
Am - Dm7 - Bb - C. Or move that IV up a m3rd to Ab and you have -
Am - Ab - Bb - C, the "Hawaii Five-0 ending".
In lots of cases above you're moving to and from IVs and Vs.
But you sometimes substitute other chords for one or another.
ie C to F is I to IV. Treat C to Dm7 as I to IV as well.
Likewise G to C is V to I. Bdim to C is also V to I.
Almost always, extending any or all of the chords to
their 7ths (CM7, Dm7, FM7, G7, Am7 etc) makes the
substitutions "smoother". That's simply because
there are more notes in common between the two
chords. Am7 contains all three notes of the C triad etc.
johnty
it!
Anonymous
<snip Lumpy's lambasting of your worthless hide>
> We both know none of that stuff is true. Anyone can find that out on
> their own.
>
> Now, how about posting on topic?
And then....
>
> I'd say nice try, but school kids can do a better job at propaganda
> than you. And by the way, if you've got the information you claim then
> please contact the authoroty figures you mention pronto with your
> evidence. You would if you had it, but you won't and will not.
You pathetic asshole. You're so owned at this point you're whining
like a cunt about being on topic, then barely taking time to draw
another breath you launch into a juvenile off topic tirade.
Lumpy's an asshole, that's for sure.
The only difference between you and him is you're a lying, useless
asshole. At least Lump contributes something of value from time to
time. You haven't done ANYTHING but make a complete fool of
yourself by concocting lies upon lies and displaying a notable LACK
of knowledge. Every post you make is either you masturbating your
own ego, or typing something that makes you look like a clod. In
fact that only thing that sets you apart as unique is your uncanny
ability to accomplish both tasks with the SAME post.
>
> [Yawn}
See what I mean.... you can't even feign boredom without fucking up
the bracketing, ya' knuckle dragging buffoon.