Giant Steps tips and tricks
Jack A. Zucker
this tune. Just thought I'd share some of mine...
Chord extensions: The idea is to use Maj7#5 chords for any of the maj7
chords that are 1 bar long. The reason this works so well is that the
maj7#5 chord functions as an altered dominant chord in the new key in
the sequence.
For example:
| Ebmaj7#5 | Am7 D7 | Gmaj7 |
In this example, the Ebmaj7#5 chord Functions as an F13#11 which is
functioning as a D7 altered chord if you are familiar with
dodecaphonics (http://www.jackzucker.com/lessons/dodecaphonics.htm).
The full progression is:
| Bmaj7 D7 | Gmaj7 Bb7 | Ebmaj7#5 | Am7 D7 |
| Gmaj7 Bb7 | Ebmaj7 F#7 | Bmaj7#5 | Fm7 Bb7 |
| Ebmaj7#5 | Am7 D7 | Gmaj7#5 | C#m7 F#7 |
| Bmaj7#5 | Fm7 Bb7 | Ebmaj7#5 | C#m7 F#7 |
Try it and see if you like it. It's a very cool sound. It especially
works well if you treat the following II-V sequence as it's altered
dominant chord.
Another trick over the first 6 bars is to treat all the chords as
their nearest parallel minor chord. For example:
| Abm7 Am7 | Bm7 Cm7 | Dm7 | (am7 d7) |
| Em7 Fm7 | Gm7 Abm7 | Bbm7 | (fm7 Bb7) |
Note: You should not necessarly treat these minor 7 chords as Dorian
chords or you will end up with some clashes. This is not necessarily
bad but just a warning for neophytes...A suggestion is using the minor
pentatonic (blues scale) over each of the minor chords. Parallel 4ths
based on the chord tones work well also. Experiment and let me know
what else you come up with. I'll probably do an article with some
examples on my website in the near future ...
Jaz
Jurupari
Since that's an augmented scale chord too, the other 2 maj7's will work as subs
if they're augmented. They can also be major triads with added raised 9 or
minor triads with an added third for quirky voicing.
>| Ebmaj7#5 | Am7 D7 | Gmaj7 |
works for me. How about
|Ebmaj7#5| B/C | Gmaj7(+)
the + being the players' option.
Of course since B/C is also a diminished major chord, you can sub D/Eb E/F#
Ab/A
There's also the 'target chord' concept, where you take whatever route you want
and hit the target chord at the right time, which I never tried, but someone
was teaching it at Berklee at one time. And the random triad thing, which in
combination with the target chord thing is kind of interesting sounding, but
I'm not all that articulate yet.
For all of that, though, my preferred way of playing lines on this and
Countdown is to play vanilla tra-la-la tweetie bird type closes on the changes,
ignore upper tensions and let the progression provide the interest. Personal
taste I guess, but I'm looking forward to any new ideas too.
I am just today getting to the place where I can play chord solos on the song
at tempo mostly in 8ths. Just today! Makes me wonder how much chord soloing is
done on the song.
Jack, I really like the way you have the melody done in fourths on your
website, and of course that's cool for countdown too. I still don't have it up
to speed, but I really like the sound.
I'm glad to see people posting relentlessly on this and Countdown. I love
getting somewhere 'pretty' with these tunes, so they don't sound like
exercises.
Maybe we could get a page up sometime of some of these ideas played by various
contributors.. That would be really interesting to me.
I've heard about half a dozen of you guys playing on the tune, and it's all
been worth repeated listening. Jack used to have a nice version up a long time
back, and I think the melody was done in fourths like is illustrated on his
website. I thought his ending was ingenious - made me smile.
Clif Kuplen
Jack A. Zucker
news:20020524114334...@mb-df.aol.com...
> works for me. How about
>
> |Ebmaj7#5| B/C | Gmaj7(+)
>
> the + being the players' option.
You already know this but of course, the B/C is also a D13b9 which is why it
works so well in that position.
> Of course since B/C is also a diminished major chord, you can sub D/Eb
E/F#
> Ab/A
Right!
> There's also the 'target chord' concept, where you take whatever route you
want
> and hit the target chord at the right time, which I never tried, but
someone
> was teaching it at Berklee at one time.
Ever hear Holdsworth's version of Countdown? It sounds to me as if he's
using that technique. I don't hear him clearly delineating the chord changes
but instead hitting the target tonic chords. I like that as a variation but
he does it through the whole solo...
> And the random triad thing, which in
> combination with the target chord thing is kind of interesting sounding,
but
> I'm not all that articulate yet.
Not all that familiar with the technique...Please elaborate...
> I am just today getting to the place where I can play chord solos on the
song
> at tempo mostly in 8ths. Just today! Makes me wonder how much chord
soloing is
> done on the song.
I'd like to hear that sometime!
> Jack, I really like the way you have the melody done in fourths on your
> website, and of course that's cool for countdown too. I still don't have
it up
> to speed, but I really like the sound.
I have an arrangement of countdown like that I should write out. It was
inpired by Holdsworth's version.
> Jack used to have a nice version up a long time
> back, and I think the melody was done in fourths like is illustrated on
his
> website. I thought his ending was ingenious - made me smile.
What did I do?
Jaz
--
web: www.jackzucker.com
Tom Walls
> "Jurupari" <juru...@aol.com> wrote in message
> > And the random triad thing, which in
> > combination with the target chord thing is kind of interesting sounding,
> but
> > I'm not all that articulate yet.
>
Is this like Dave Leibman's "any ii V can be substituted for any other ii
V"?
--
Tom Walls
the guy at the Temple of Zeus
http://www.arts.cornell.edu/zeus/
Paul Sanwald
<j...@jackzucker.com> wrote:
>
>> And the random triad thing, which in
>> combination with the target chord thing is kind of interesting sounding,
>but
>> I'm not all that articulate yet.
>
>Not all that familiar with the technique...Please elaborate...
>
If I'm not mistaken, this is the technique I described in a thread
called george garzone's triadic+chromatic theory about a year ago. We
were discussing it in another thread not too long ago. clif, is this
what you're referring to?
--paul
Paul Sanwald
today. the "relative minor" idea appeals to me alot, it's sort of
similar to "the moontrane" by woody shaw. I'd love to hear woody play
on "steps"!
--paul
On Fri, 24 May 2002 17:59:46 GMT, "Jack A. Zucker"
<j...@jackzucker.com> wrote:
Joey Goldstein
"Jack A. Zucker" wrote:
>
> No, this isn't a joke. There are a number of cool devices to use over
> this tune. Just thought I'd share some of mine...
>
> Chord extensions: The idea is to use Maj7#5 chords for any of the maj7
> chords that are 1 bar long. The reason this works so well is that the
> maj7#5 chord functions as an altered dominant chord in the new key in
> the sequence.
>
> For example:
>
> | Ebmaj7#5 | Am7 D7 | Gmaj7 |
>
> In this example, the Ebmaj7#5 chord Functions as an F13#11 which is
> functioning as a D7 altered chord if you are familiar with
> dodecaphonics (http://www.jackzucker.com/lessons/dodecaphonics.htm).
I hope you realize also that Ebmaj7, Ebmaj7#5, Ebm(maj7), Gmaj7,
Gmaj7#5, Gm(maj7), Bmaj7, Bmaj7#5 and Bm(maj7) can all be derived from
the tones in the symetrical augmnented scale.
B D D# F# G A#
So a "horizontal" approach to this tune might be to use that scale throughout.
> The full progression is:
>
> | Bmaj7 D7 | Gmaj7 Bb7 | Ebmaj7#5 | Am7 D7 |
> | Gmaj7 Bb7 | Ebmaj7 F#7 | Bmaj7#5 | Fm7 Bb7 |
> | Ebmaj7#5 | Am7 D7 | Gmaj7#5 | C#m7 F#7 |
> | Bmaj7#5 | Fm7 Bb7 | Ebmaj7#5 | C#m7 F#7 |
>
> Try it and see if you like it. It's a very cool sound. It especially
> works well if you treat the following II-V sequence as it's altered
> dominant chord.
>
> Another trick over the first 6 bars is to treat all the chords as
> their nearest parallel minor chord. For example:
>
> | Abm7 Am7 | Bm7 Cm7 | Dm7 | (am7 d7) |
> | Em7 Fm7 | Gm7 Abm7 | Bbm7 | (fm7 Bb7) |
A simpler, more inside version of this involves treating all V7 chords
sometimes as IIm7 and visa versa. The root motion can become much
simpler and some obvious patterns appear:
Bmaj7 Am7 |Gma7 Fm7 |Ebmaj7 |D7 |
Gmaj7 Fm7 |Ebmaj7 C#m7 |Bmaj7 |Bb7 |
Ebmaj7 |D7 |Gmaj7 |F#7 |
Bmaj7 |Bb7 |Ebmaj7 |C#m7 |
If the maj7 chords are treated a min7 built on the 3rd (i.e. Bmaj7 =
D#m7) then this is interesting too:
D#m7 Am7 |Bm7 Fm7 |Gm7 |Am7 |
Bm7 Fm7 |Gm7 C#m7 |D#m7 |Fm7 |
Gm7 |Am7 |Bm7 |C#m7 |
D#m7 |Fm7 |Gm7 |C#m7 |
or
Bmaj7 Am7 |Bm7 Bb7 |Ebmaj7 |D7 |
Gmaj7 Fm7 |Gm7 F#7 |Bmaj7 |Fm7 |
Gm7 |Am7 |Bm7 |C#m7 |
D#m7 |Fm7 |Gm7 |C#m7 |
etc.
Min pentatonics on all those min7 chords work nice.
>
> Note: You should not necessarly treat these minor 7 chords as Dorian
> chords or you will end up with some clashes. This is not necessarily
> bad but just a warning for neophytes...A suggestion is using the minor
> pentatonic (blues scale) over each of the minor chords. Parallel 4ths
> based on the chord tones work well also. Experiment and let me know
> what else you come up with. I'll probably do an article with some
> examples on my website in the near future ...
>
> Jaz
--
Joey Goldstein
Guitarist/Jazz Recording Artist/Teacher
Home Page: http://www.joeygoldstein.com
Email: <joegold AT sympatico DOT ca>
Jurupari
>works so well in that position.
yep.
>Ever hear Holdsworth's version of Countdown? It sounds to me as if he's
>using that technique.
I did, but on the car radio, and only once so far about 3 or 4 months ago. The
only thing I remember is that I was a little disapppointed by the blowing (for
him) and liked the intro and outro stuff better than the improv. I'm also more
familiar with countdown now, and maybe I can pick up on that if it comes on the
air again. I will be listening for it. That guy is one of my favorite players
of any instrument, but I don't really listen to him much.
>> And the random triad thing, which in
>> combination with the target chord thing is kind of interesting sounding,
>Not all that familiar with the technique...Please elaborate...
well, me either, really but I read about it here. Basically playing random
triads, but I sort of go back to the Augmented scale as a 'home base' . The
triads should mix up the inversions. I was sort of trying to weave in and out
of that and the regular changes, which meant I was aiming at target chords if
you think of it. I got the random triad idea here. It's a pretty neat sound if
you get clicking on it, but that's not me yet with any consistency.
>I'd like to hear that sometime! (re 8th note chord solos)
It's basically the same way I do the heads to Donna Lee and Confirmation in
chords, which is on my website audo page. A lot of hammering on and pulling
off of chords or line then chord type thing. I'll probably want to mess with
it for a few weeks before posting, but I will certainly put it up when it's a
little more polished on this song-it's kind of based on similar stuff I'd heard
Joe do but this is a bit different..kind of like trying to be a sax section,
but winging it instead of playing anything preordained.
>I have an arrangement of countdown like that I should write out. It was
>inpired by Holdsworth's version.
I like it already! looking forward to hearing that.
>. I thought his ending was ingenious - made me smile.
>
>What did I do?
You had a ( I think) biab track backing you and when it ran out, you played the
close solo and ended on your own. However you did it it was a really good
ending and just plain surprising the way you did the biab if that was what it
was. It would have been a very good way of closing the song live, too.
Also it was a very good solo and the usual ridiculously clean and precise
technique. Did you destroy that take, or is it still around?
Clif
Jack A. Zucker
news:3CEEA9EE...@nowhere.net...>
> I hope you realize also that Ebmaj7, Ebmaj7#5, Ebm(maj7), Gmaj7,
> Gmaj7#5, Gm(maj7), Bmaj7, Bmaj7#5 and Bm(maj7) can all be derived from
> the tones in the symetrical augmnented scale.
> B D D# F# G A#
[etc...]
Thanks Bro!
I can always count on you to teach me something. I wish I was in Toronto.
I'd definitely take some lessons with you!
Jaz
Dan Adler
> Chord extensions: The idea is to use Maj7#5 chords for any of the maj7
> chords that are 1 bar long. The reason this works so well is that the
> maj7#5 chord functions as an altered dominant chord in the new key in
> the sequence.
>
> For example:
>
> | Ebmaj7#5 | Am7 D7 | Gmaj7 |
>
Cool observation, Jack!
What happens is that when you look at GS the root progression as an
augmented triad you have two direction to choose up or down. It turns
out that down is the 'hard' one which coltrane used for his subs
(Eb-B-G) and going up is the easier one (Eb-G-B). Why is the second
one easy? Because the dominant of the target tonal center is a 1/2
step below the current root (Eb-D7-G) as in the example you show -
that's a more common modulation (e.g. in "I love you": F-E-A)). In
this case you can turn it into maj7#5 or maj7#11 and they will both
work.
Jurupari
>> Gmaj7#5, Gm(maj7), Bmaj7, Bmaj7#5 and Bm(maj7) can all be derived from
>> the tones in the symetrical augmnented scale.
>> B D D# F# G A#
AND in addition.... G#9 Eb#9 and B#9
The notes for G#9 being G B D A#.
And of course Gma7#9, Ebmaj7#9 and Bmaj7#9
If you like maj7/maj sounds then the maj7#9#5 chord is good at B Eb and G
I did post part of that elsewhere in this thread but it would be good to get
them all together in a bunch.
If you add the three major scales together, Eb B and G the polychord game can
get WAY more complicated if you borrow from all of them.
It would be theoretically interesting to go the the aug scale half a step up on
the fives and do the same thing, but man, what a can of worms! some steps are
gianter than others...
Clif Kuplen
Jurupari
>called george garzone's triadic+chromatic theory about a year ago. We
>were discussing it in another thread not too long ago. clif, is this
>what you're referring to?
I think so - if you'd like to toss in a good synopsis, now'd be about the ideal
time, mr. Morgan St! (ain't it a small world?)
I wasn't really sure I 'got it' anyway, but it was producing some really
interesting results, so how about the real deal?
Clif
Joey Goldstein
That'd be great if you didn't already play so much better than me! If I
ever learn how to play half the stuff I know "how" to I'll be pretty
good one day.
Henry Moon
to ask you this. I was visiting your web site and enjoying some sound
clips. One tune had pentatonics galore. You play them so well I want
to know if you can recall what you did to get them so precise and
clean.
Thanks for the help. (enjoyed your site and sounds)
Henry
Sanole16
>That'd be great if you didn't already play so much better than me! If I
>ever learn how to play half the stuff I know "how" to I'll be pretty
>good one day.
That's silly. You're a great player and I'd love to learn some of the stuff you
do. I marvel at your command of the jazz language. I need to go back to the
woodshed and learn some of the interesting harmonic devices you have command
of.
Jaz
Sanole16
I play them in 2 positions at one time. When I play a sequence of say, G minor
pentatonic in 3rd position, I'll play the following lines all on the first 2
strings.
G Bb C D Bb C D F
The F is played with the little finger on the 8th fret. This simplifies things
because there is less string skipping and you can do hammer ons and pull-offs.
I also have worked on playing them up and down string pairs...
Joe Finn
news:2f33c43f.02052...@posting.google.com...
> No, this isn't a joke. There are a number of cool devices to use over
> this tune. Just thought I'd share some of mine...
My "trick" was to round up several recordings of Giant Steps. Some of the
better ones as I remember were
by Freddie Hubbard, James Moody, Arturo Sandoval, and Joe Pass. I'm sure I'm
leaving out some significant recordings but I listened to these really
closely. I did this as I was preparing to record my thinly veiled version of
Giant Steps called "Trane Time" on my recording entitled Straight Ahead
about ten years ago. I listened to 'Trane a lot too. The Giant Steps album
re-release on CD includes the out take with Cedar Walton on piano. This was
very interesting to me.
After learning these solos and practicing for a while I slowly developed
some ideas of my own and then went ahead with the recording.
Moody had an interesting descending wholetone motif on the A section where
he would begin on Eb over the B major and work his way down to G natural
over the Eb major chord. He would work variations and embellishments on this
pattern off and on for several choruses.
I like the major #5 sound, Jack. It's very refreshing. .....joe
--
Visit me on the web. www.JoeFinn.net
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Max Leggett
>Joey Goldstein wrote:
>>That'd be great if you didn't already play so much better than me! If I
>>ever learn how to play half the stuff I know "how" to I'll be pretty
>>good one day.
>
>That's silly.
Flame war! Flame war!!! You gonna take that lying down, Joey?????
>You're a great player and I'd love to learn some of the stuff you
He's just trying to sucker you, Joey!! Don't fall for it!!!!
:)
Thom_j.
can really whale on his guitar, that goes right along with his
tremendous knowledge base of music theory and more.
"Max Leggett" <mleg...@NOSPAMsprint.ca> wrote in message
news:3cefb8f1....@news.sprint.ca...
Max Leggett
wrote:
>Ur too funny Max L..haha :) One thing I'll admit, I bet Joey
>can really whale on his guitar
The fish jokes belong to another thread.
Thom_j.
"Max Leggett" <mleg...@NOSPAMsprint.ca> wrote in message
news:3cefdd21...@news.sprint.ca...
Joey Goldstein
--
Joey Goldstein
lol
Thom_j.
goes poofy puff puff :'(... :')~
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3CF00E7C...@nowhere.net...
Thom_j.
how good you are and so does jimmy b too :)
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3CF00F0F...@nowhere.net...
Joey Goldstein
"Thom_j." wrote:
>
> joey, I still feel your being too humble but thats ok we know
> how good you are and so does jimmy b too :)
Look man. You buy into everything else I say about music. Why won't you
believe me when I tell you I suck? :)
Thom_j.
carrying 2huge tablets with the 10comandments of life off Mt Zion.
one thing for sure, you can't know all this theory, and be a "sucky"
player but if you feel better under this umbrella, no problemo`. :)~
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3CF05519...@nowhere.net...
Bill Williams
> chords that are 1 bar long.
in Giant Steps (alternating 6/9 and maj7#5 chords for the majors)
having come across the suggestion in a Larry Coryell video (part 3 of
his Jazz Guitar series).
In this he also gives a chord melody version but I find difficult to
play up to speed as it requires fast fingering changes and voicings on
various strings.
Like you (as on your website) I arrived at a version using voicings in
fourths mainly on the top strings; in fact I find one can virtually
play the whole piece this way using just 2 fingers and basically 2
chord shapes which certainly helps my 55-year-old fingers getting it
up to speed.
Bill
Lazzerini
the bad news is that adultery is still in there."
- Moses
Thom_j.
"Lazzerini" <la...@telus.net> wrote in message
news:5h9I8.10824$PM1.4...@news2.telusplanet.net...
Jack A. Zucker
liners and barbs? Can't those be left to their own threads so that folks can
have serious discussions about music without wading through the puns?
--
web: www.jackzucker.com
"Lazzerini" <la...@telus.net> wrote in message
news:5h9I8.10824$PM1.4...@news2.telusplanet.net...
Lazzerini
I don't understand your problem.
Humour and levity are normally an essential part of friendly human
discourse.
Found your earlier "yada yada yada" quite amusing, for instance.
And entertainingly germaine.
But maybe you weren't being funny.
See you behind the bike sheds at playtime.
LAZZ
Jack A. Zucker
I have no problem with humor but when I want to be entertained, I'll check
out someone funny as opposed to rmmg!
(Please, no flames - I'm just making a bad joke)
But seriously, there's plenty of room for entertainment and there are plenty
of forums for entertainment on the internet. The whole idea of
categorization (i.e. rec.music.makers.guitar.jazz) is that the discussions
hopefully stay on topic. If not, this group dissolves into the
ridiculousness of it's sister group (rec.music.makers.guitar).
Maybe some folks use this group as an informal beer-and-cigarettes bar
hangout but I think it's charter (if you bother to subscribe to that
nonsense) is as a discussion of jazz guitar related stuff.
That being said, go ahead with the one liners if it makes you happy. I was
just venting. I don't want to stifle folks' creativity - No matter the
venue...
--
web: http://www.jackzucker.com
"Lazzerini" <la...@telus.net> wrote in message
news:jGbI8.16699$cL4.3...@news1.telusplanet.net...
Joey Goldstein
"Jack A. Zucker" wrote:
>
> Why does every thread around here have to dissolve into smart-aleck one
> liners and barbs? Can't those be left to their own threads so that folks can
> have serious discussions about music without wading through the puns?
That's not very funny! :) Try again.
> --
> web: www.jackzucker.com
> "Lazzerini" <la...@telus.net> wrote in message
> news:5h9I8.10824$PM1.4...@news2.telusplanet.net...
> > "The good news is we got him down to ten:
> > the bad news is that adultery is still in there."
> > - Moses
> >
> > > carrying 2huge tablets with the 10comandments of life off Mt Zion.
> >
> >
> >
--
Jack A. Zucker
(OUCH!) :-)
--
web: http://www.jackzucker.com
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3CF157E4...@nowhere.net...
Kevin Van Sant
tune that didn't bore me. Sure there are plenty of examples of some
great chops and command of the changes, but I think there may only be
one guitarist's recorded solo over Giant Steps that I find really
interesting, or more specifically, interesting on the level of being a
thoughtfully musical statement that transcends the changes and has a
flowing contour from the first to last note, that would be Peter
Bernstein's solo on the Ralph Lallama CD "Circle Line" He allows the
form and the harmony to breath which is so fresh compared to the
chopfests which usually define this song. It's impressive when you
hear someone blow though these changes at full speed, but that comes
across usually more as an athletic display than fine art. For that
reason I like Pat Metheney's treatment on the trio99/00 recordings.
There is such great harmonic potential on this song but it's hard to
address it effectively (musically) when the changes are whizzing by at
300+ I like Pat's way of spreading out the form so you have time to
deal with the great harmony more thoughtfully. That's how I like to
play the tune myself too.
others will disagree but that's my 2 cents
_________________________________________
Kevin Van Sant
jazz guitar
http://www.onestopjazz.com/kvansant
to buy my CDs, listen to sound clips, and get more info.
http://www.onestopjazz.com
for a comprehensive index of internet jazz resources
Rick DelSavio
Ocassionally as a ballad. Thanks, Rick Del Savio @ www.rickdelsavio.com
Paul Sanwald
http://groups.google.com/groups?q=triadic+pcsanwald%40pobox.com+group:rec.music.makers.guitar.jazz&hl=en&lr=&selm=1503c94e.0105290615.262a3593%40posting.google.com&rnum=1
--paul
On 24 May 2002 23:35:32 GMT, juru...@aol.com (Jurupari) wrote:
>>If I'm not mistaken, this is the technique I described in a thread
>>called george garzone's triadic+chromatic theory about a year ago. We
>>were discussing it in another thread not too long ago. clif, is this
>>what you're referring to?
>
>I think so - if you'd like to toss in a good synopsis, now'd be about the ideal
>time, mr. Morgan St! (ain't it a small world?)
>
>I wasn't really sure I 'got it' anyway, but it was producing some really
>interesting results, so how about the real deal?
>
>Clif
Jurupari
something similar for years without really thinking about form. That's really
exciting, and getting some validation from elsewhere is encouraging also, so
thanks again!!
Clif
Doug Bell
Exquisite show. The acoustics were so sweet and Pat's command of dynamics in
such an intimate setting were evident. I still remember the subtle string
harmonics he used. There was one point clear as crystal. Goose bump city.
He prefaced Giant Steps with the remark that he had played it so up tempo on
Kenny Garrett's Pursuance session that he felt the need to balance things
out. The trio proceeded with a medium tempo bossa version. I thought "Hey
they're playing it as slow as I do!" Anyway it was a far different show than
the outdoor PMG concert with the wall of sound equipment I'd seen a few
months prior. They had a couple of semis in the parking lot for that one. It
was a fun show too.
Doug
in article 3CF389E2...@optonline.net, Rick DelSavio at
rain...@optonline.net wrote on 5/28/02 6:54 AM:
Bill Williams
> For all of that, though, my preferred way of playing lines on this and
> Countdown is to play vanilla tra-la-la tweetie bird type closes on the changes,
Just came across the fingerstyle version on your site, Cliff and like
it very much (wish it was mp3 rather than streaming realaudio but
understand your reasons).
> Maybe we could get a page up sometime of some of these ideas played by various
> contributors.. That would be really interesting to me.
And me too.
Bill
Jurupari
>it very much (wish it was mp3 rather than streaming realaudio but
>understand your reasons).
Thank you! and thanks for understanding about the mp3's.
Clif