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Pasquale Grasso's Master Class
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Gerry
Jun 18, 2016, 5:03:12 PM6/18/16
to
I have few living guitarists that I am moonstruck over, the way I was I
once was Hall, Christian, Benson, Django, Pass, Grant Green and others
through my many years. I've almost all their work, and many cousins of
the guitar that I hold in even higher regard, such as George Barnes, Ed
Bickert, Jimmy Raney and Barney Kessel.
But for the past few years I've been looking hard at the "next
generation": Larry Koonse, Anthony Wilson, Joe Cohn, Jesse Van Ruller
and others; These guys impress.
Pasquale Grasso is solidly in there with this crew. I sorely wish he
had more releases. He's a unique voice that doesn't fit in anybody's
slot--what more recommendation is there? Additionally you get the
impression that he hasn't begun to reach his stride, that he's still
busy exploring his capacities. His style and repertoire represent
better the piano styles of the 50's and before. Still I have an real
belief he won't stick there in the way such as Scott Hamilton did as a
bookmark (all be it excellent) of another time.
As an admitted fanboy I bought Grasso's recent offering of MasterClass:
https://www.mymusicmasterclass.com/artist-profiles/pasquale-grasso/
I bought the two videos (seemingly arbitrarily split) with the pdf.
Admittedly this won't teach our most advanced players anything. I
didn't come away with anything significant mechanically. I do believe,
though, that it is a really solid indication of where a continuing
student should focus their attention. It comes close to what I think
I'd teach first, with many of the specifics.
He didn't show me anything I didn't know--and there's no shame in that
since I'm more an information-gatherer than the kind of actual
practitioner that he is. Nevertheless I noted two or three provocative
statements that had me rethinking my approach to the instrument,
"positional-centric" approaches (for better or worse), as well as some
stuff regarding my maverick right hand.
I think the guy is so good with a pick that it has me
investigateing--yet again!--using a pick. There is NO replacement for
the sound of its attack; and note this is said by someone who has been
playing pick-free for about 6 or 7 years now. I get out a pick to play
bop from time to time, and am clearly out of touch with the approach.
My real issue, though, is that I can't really use pick/2 fingers (as
with Joe Pass and many others); It's not easy for me to replace my 2-4
with 3-4. "Two" is really important to my thumb/index approach to
single lines as well.
Pasquale uses his frigging pinky on the right hand! Forget adopting
that that if you're not 8-12 years old. As a back-up idea, though I'm
seriously investigating a Herco pick again. I know Richard Bornman had
moved to a herco or modified herco. (I know some will now need to
remind us of his grave social miscalculations). This time around, I
think I can get with the herco. If so, that would be great as I *need*
my three fingers to do everything/anything I've been working on through
these years.
For me, these two satori's are easily worth the price of Pasquale's
MasterClass.
Disclaimer: Some people getting something out of a book or video,
others DON'T. You may be either variety.
once was Hall, Christian, Benson, Django, Pass, Grant Green and others
through my many years. I've almost all their work, and many cousins of
the guitar that I hold in even higher regard, such as George Barnes, Ed
Bickert, Jimmy Raney and Barney Kessel.
But for the past few years I've been looking hard at the "next
generation": Larry Koonse, Anthony Wilson, Joe Cohn, Jesse Van Ruller
and others; These guys impress.
Pasquale Grasso is solidly in there with this crew. I sorely wish he
had more releases. He's a unique voice that doesn't fit in anybody's
slot--what more recommendation is there? Additionally you get the
impression that he hasn't begun to reach his stride, that he's still
busy exploring his capacities. His style and repertoire represent
better the piano styles of the 50's and before. Still I have an real
belief he won't stick there in the way such as Scott Hamilton did as a
bookmark (all be it excellent) of another time.
As an admitted fanboy I bought Grasso's recent offering of MasterClass:
https://www.mymusicmasterclass.com/artist-profiles/pasquale-grasso/
I bought the two videos (seemingly arbitrarily split) with the pdf.
Admittedly this won't teach our most advanced players anything. I
didn't come away with anything significant mechanically. I do believe,
though, that it is a really solid indication of where a continuing
student should focus their attention. It comes close to what I think
I'd teach first, with many of the specifics.
He didn't show me anything I didn't know--and there's no shame in that
since I'm more an information-gatherer than the kind of actual
practitioner that he is. Nevertheless I noted two or three provocative
statements that had me rethinking my approach to the instrument,
"positional-centric" approaches (for better or worse), as well as some
stuff regarding my maverick right hand.
I think the guy is so good with a pick that it has me
investigateing--yet again!--using a pick. There is NO replacement for
the sound of its attack; and note this is said by someone who has been
playing pick-free for about 6 or 7 years now. I get out a pick to play
bop from time to time, and am clearly out of touch with the approach.
My real issue, though, is that I can't really use pick/2 fingers (as
with Joe Pass and many others); It's not easy for me to replace my 2-4
with 3-4. "Two" is really important to my thumb/index approach to
single lines as well.
Pasquale uses his frigging pinky on the right hand! Forget adopting
that that if you're not 8-12 years old. As a back-up idea, though I'm
seriously investigating a Herco pick again. I know Richard Bornman had
moved to a herco or modified herco. (I know some will now need to
remind us of his grave social miscalculations). This time around, I
think I can get with the herco. If so, that would be great as I *need*
my three fingers to do everything/anything I've been working on through
these years.
For me, these two satori's are easily worth the price of Pasquale's
MasterClass.
Disclaimer: Some people getting something out of a book or video,
others DON'T. You may be either variety.
rpjazzguitar
Jun 18, 2016, 6:12:50 PM6/18/16
to
One of the things that strikes me about right hand technique is that some of my favorite players have done it so differently.
Charlie Christian -- all downstrokes
Wes -- thumb and 14s -- best tone ever, but I've never seen anybody else do it his way.
Chico -- massive right hand technique with or without a pick and complete mastery of stashing the pick and recovering it in tiny breaks in a line.
Some guys use strict alternate picking, like Warren Nunes and burn. Other guys use economy picking and burn, like Chuck Wayne, Jimmy Bruno or Chico.
Some go pickless and sound great, including on rapid lines. Lenny, for example.
Ricardo Vogt (Esperanza Spaulding, Elaine Elias among others) uses a long fingernail as a pick.
For that matter, most guys use four left hand fingers, but Wes used 3 and Django, mostly, used 2.
My own right hand technique is the product of studying economy style with Carl Barry, then alternate with Warren Nunes and a lot of fingerstyle, self-taught. I wouldn't wish it on anybody. Too many cooks. My advice for the new player would be to stick with economy picking and some kind of fingerstyle and avoid alternate picking unless you have to sound something like Warren -- whose jackhammer approach can't be attained with economy.
David J. Littleboy
Jun 18, 2016, 9:14:33 PM6/18/16
to
"Gerry" wrote:
>
>Pasquale uses his frigging pinky on the right hand! Forget adopting that
>that if you're not 8-12 years old.
notes hit at the same time with the three free fingers. He does very nice
swing/bop comping that way.
I think that if you or I put in as much time working on it as I did on, say,
the thumb + index + middle stuff in my 20s, we'd both be fine at it. It'd be
real nice to be able to do Bossa that way.
Anyway, I really think that it's just that we forget how much time we spent
learning it the first time around, and at well over 60, aren't prepared to
put in that much time. As a unreformed optimist, my bet is that it'd only
take half as much time.
> As a back-up idea, though I'm seriously investigating a Herco pick again.
> I know Richard Bornman had moved to a herco or modified herco. (I know
> some will now need to remind us of his grave social miscalculations). This
> time around, I think I can get with the herco. If so, that would be great
> as I *need* my three fingers to do everything/anything I've been working
> on through these years.
--
David J. Littleboy
Tokyo, Japan
ott...@hotmail.com
Jun 18, 2016, 11:40:38 PM6/18/16
to
> Some go pickless and sound great, including on rapid lines. Lenny, for example.
>
Bg.
van
Jun 19, 2016, 3:09:48 AM6/19/16
to
Listen to what he did with "Yesterdays", and compare it with Peter Bernstein's version.
https://www.youtube.com/watch?v=GgJiWC1sSfM
I listened to Art Tatum's version of Yesterdays, and PG might have borrowed a few things, but it seems to be mostly his stuff; or maybe there's a Bud Powell version of it he borrowed from...
I can't do the pick&fingers thing either, because of a serious injury to my middle finger on my RH when I was a toddler, or I would try to copy some of PG's ideas.
He and Lenny Breau have taken solo guitar playing to its most sophisticated level.
Joey Goldstein
Jun 19, 2016, 9:55:02 AM6/19/16
to
On 2016-06-18 5:03 PM, Gerry wrote:
> I have few living guitarists that I am moonstruck over, the way I was I
> once was Hall, Christian, Benson, Django, Pass, Grant Green and others
> through my many years. I've almost all their work, and many cousins of
> the guitar that I hold in even higher regard, such as George Barnes, Ed
> Bickert, Jimmy Raney and Barney Kessel.
>
> But for the past few years I've been looking hard at the "next
> generation": Larry Koonse, Anthony Wilson, Joe Cohn, Jesse Van Ruller
> and others; These guys impress.
>
> Pasquale Grasso is solidly in there with this crew. I sorely wish he had
> more releases. He's a unique voice that doesn't fit in anybody's
> slot--what more recommendation is there? Additionally you get the
> impression that he hasn't begun to reach his stride, that he's still
> busy exploring his capacities. His style and repertoire represent better
> the piano styles of the 50's and before. Still I have an real belief he
> won't stick there in the way such as Scott Hamilton did as a bookmark
> (all be it excellent) of another time.
>
> As an admitted fanboy I bought Grasso's recent offering of MasterClass:
>
> https://www.mymusicmasterclass.com/artist-profiles/pasquale-grasso/
He does sound very very good.
> I have few living guitarists that I am moonstruck over, the way I was I
> once was Hall, Christian, Benson, Django, Pass, Grant Green and others
> through my many years. I've almost all their work, and many cousins of
> the guitar that I hold in even higher regard, such as George Barnes, Ed
> Bickert, Jimmy Raney and Barney Kessel.
>
> But for the past few years I've been looking hard at the "next
> generation": Larry Koonse, Anthony Wilson, Joe Cohn, Jesse Van Ruller
> and others; These guys impress.
>
> Pasquale Grasso is solidly in there with this crew. I sorely wish he had
> more releases. He's a unique voice that doesn't fit in anybody's
> slot--what more recommendation is there? Additionally you get the
> impression that he hasn't begun to reach his stride, that he's still
> busy exploring his capacities. His style and repertoire represent better
> the piano styles of the 50's and before. Still I have an real belief he
> won't stick there in the way such as Scott Hamilton did as a bookmark
> (all be it excellent) of another time.
>
> As an admitted fanboy I bought Grasso's recent offering of MasterClass:
>
> https://www.mymusicmasterclass.com/artist-profiles/pasquale-grasso/
> I bought the two videos (seemingly arbitrarily split) with the pdf.
> Admittedly this won't teach our most advanced players anything. I
> didn't come away with anything significant mechanically. I do believe,
> though, that it is a really solid indication of where a continuing
> student should focus their attention. It comes close to what I think I'd
> teach first, with many of the specifics.
>
> He didn't show me anything I didn't know--and there's no shame in that
> since I'm more an information-gatherer than the kind of actual
> practitioner that he is. Nevertheless I noted two or three provocative
> statements that had me rethinking my approach to the instrument,
> "positional-centric" approaches (for better or worse), as well as some
> stuff regarding my maverick right hand.
>
> I think the guy is so good with a pick that it has me
> investigateing--yet again!--using a pick. There is NO replacement for
> the sound of its attack; and note this is said by someone who has been
> playing pick-free for about 6 or 7 years now. I get out a pick to play
> bop from time to time, and am clearly out of touch with the approach.
> My real issue, though, is that I can't really use pick/2 fingers (as
> with Joe Pass and many others); It's not easy for me to replace my 2-4
> with 3-4. "Two" is really important to my thumb/index approach to
> single lines as well.
>
> Pasquale uses his frigging pinky on the right hand! Forget adopting
> that that if you're not 8-12 years old.
You must know by now that pretty much everybody in jazz (playing either
finger-style, or pick + fingers, or thumpick + fingers) and flamenco
uses their pinky.
The only folks I'm aware of who *don't* are traditional classical
guitarists.
>As a back-up idea, though I'm
> seriously investigating a Herco pick again.
with the various offerings from Herco (and others) but I could never get
a tone I liked and it never felt right to be using any of them as a
flatpick.
For the 1st issue I used to cut off about 1/4 of the back of a regular
flat pick that I did like the tone of and Crazy Glue it onto a Herco
base which I had trimmed about 3/4 off of from the blade tip back.
This did help the tone.
For the 2nd issue I found no workaround.
My discomfort seems to stem from the fact that when I'm using a regular
flatpick, it doesn't just stay in one orientation between my thumb and
index finger all the time.
It tends to move around a bit dependant on what specifically I'm playing
at any point.
There is a thumbpick called the Bumblebee with the blade on a loose
plastic rivet that allows it to move around on an axis, but it never
worked out.
Good luck.
>I know Richard Bornman had
> moved to a herco or modified herco.
I was always impressed with the tone and articulation he got using p i
with no fingernails for single note lines.
I'd never heard anybody do that before and he sounded a lot like Benson
which was pretty impressive.
Not sure why he'd move to a Herco.
Mick Goodrick started me off on i m for single note lines when I'm
playing fingerstyle.
Lately I've been getting a bit better at p i p i or p i p m for lines as
well.
But if i try to pick too many note my time goes out the window.
If I allow myself to use lots of hammer-ons and pullpoffs though I can
soubnd not too bad playing fingerstyle.
But most of time I'm a pick + fingers guy with very little in the way of
contrapuntal facility with those fingers.
I just use the fingers to pluck out then strings I need to for various
chord voicings.
Country guys get more mileage out of their fingers when playing pick +
fingers.
Jack's posted several of these techniques over then years.
And you boy Pasquale seems to be involved in adapting pick + fingers to
be able to do more traditional classical sounding things.
Good for him.
As for the guys like Lenny and Lorne and Chet who play with a thumbpick
all or most of the time, I've never really understood the advantage over
regular finger-style technique.
I've been meaning to pick Lorne's brain about that for a while now.
rpjazzguitar
Jun 19, 2016, 3:03:22 PM6/19/16
to
Another player with unorthodox right hand technique is Mimi Fox.
She uses a pick and it sounds like she plucks chords like a Brazilian. What she actually does is sweep the strings with m. Sounds like plucking even as you watch her up close sweeping the strings.
She uses a pick and it sounds like she plucks chords like a Brazilian. What she actually does is sweep the strings with m. Sounds like plucking even as you watch her up close sweeping the strings.
CL
Jun 19, 2016, 3:23:31 PM6/19/16
to
>
> Gerry.
> You must know by now that pretty much everybody in jazz (playing either
> finger-style, or pick + fingers, or thumpick + fingers) and flamenco
> uses their pinky.
> The only folks I'm aware of who *don't* are traditional classical
> guitarists.
>
Thanks for posting Pasquale's master class link. I had no idea that he had one.
Gerry
Jun 20, 2016, 7:08:37 PM6/20/16
to
On 2016-06-18 22:12:49 +0000, rpjazzguitar said:
> My own right hand technique is the product of studying economy style
> with Carl Barry, then alternate with Warren Nunes and a lot of
> fingerstyle, self-taught. I wouldn't wish it on anybody. Too many cooks.
That mirrors my general approaches, give or take a few...
> My own right hand technique is the product of studying economy style
> with Carl Barry, then alternate with Warren Nunes and a lot of
> fingerstyle, self-taught. I wouldn't wish it on anybody. Too many cooks.
> My advice for the new player would be to stick with economy picking and
> some kind of fingerstyle and avoid alternate picking unless you have to
> sound something like Warren -- whose jackhammer approach can't be
> attained with economy.
whatever the hell he does. Once done, study classical guitar for a few
years--with another meticulous player.
Gerry
Jun 20, 2016, 7:11:11 PM6/20/16
to
On 2016-06-19 01:14:24 +0000, David J. Littleboy said:
> "Gerry" wrote:
>>
>> Pasquale uses his frigging pinky on the right hand! Forget adopting
>> that that if you're not 8-12 years old.
>
> My teach does that, too, although a lot of it is bass note with pick
> vs. 3 notes hit at the same time with the three free fingers. He does
> very nice swing/bop comping that way.
>
> I think that if you or I put in as much time working on it as I did on,
> say, the thumb + index + middle stuff in my 20s, we'd both be fine at
> it. It'd be real nice to be able to do Bossa that way.
It is! But I already do it that way. When I'm not doing
> "Gerry" wrote:
>>
>> Pasquale uses his frigging pinky on the right hand! Forget adopting
>> that that if you're not 8-12 years old.
>
> My teach does that, too, although a lot of it is bass note with pick
> vs. 3 notes hit at the same time with the three free fingers. He does
> very nice swing/bop comping that way.
>
> I think that if you or I put in as much time working on it as I did on,
> say, the thumb + index + middle stuff in my 20s, we'd both be fine at
> it. It'd be real nice to be able to do Bossa that way.
bossa/Brazilian, I don't have single-line picking the way I'd like.
That said, I *like* the way I do thumb/index for playing single lines.
It just doesn't have the same crackling vibe that it does with the
classic jazz players.
> Anyway, I really think that it's just that we forget how much time we
> spent learning it the first time around, and at well over 60, aren't
> prepared to put in that much time. As a unreformed optimist, my bet is
> that it'd only take half as much time.
>
>> As a back-up idea, though I'm seriously investigating a Herco pick
>> again. I know Richard Bornman had moved to a herco or modified herco.
>> (I know some will now need to remind us of his grave social
>> miscalculations). This time around, I think I can get with the herco.
>> If so, that would be great as I *need* my three fingers to do
>> everything/anything I've been working on through these years.
>
> Well, you've got three fingers: middle, ring, pinky. Learn to use them!
again--I think it's the kind of thing you learn early or not at all.
Like fingering with your "wrap around" left thumb.
Gerry
Jun 20, 2016, 7:16:22 PM6/20/16
to
On 2016-06-19 13:55:00 +0000, Joey Goldstein said:
> You must know by now that pretty much everybody in jazz (playing either
> finger-style, or pick + fingers, or thumpick + fingers) and flamenco
> uses their pinky.
> The only folks I'm aware of who *don't* are traditional classical guitarists.
That's a novel thought to me. And it's not like I haven't seen a few
> You must know by now that pretty much everybody in jazz (playing either
> finger-style, or pick + fingers, or thumpick + fingers) and flamenco
> uses their pinky.
> The only folks I'm aware of who *don't* are traditional classical guitarists.
of the everybody's in jazz.
>> As a back-up idea, though I'm
>> seriously investigating a Herco pick again.
>
> When I was desperate to incorporate a thumbpick I spent a lot of time
> with the various offerings from Herco (and others) but I could never
> get a tone I liked and it never felt right to be using any of them as a
> flatpick.
> For the 1st issue I used to cut off about 1/4 of the back of a regular
> flat pick that I did like the tone of and Crazy Glue it onto a Herco
> base which I had trimmed about 3/4 off of from the blade tip back.
> This did help the tone.
while), most of them modified it in some way or other.
> For the 2nd issue I found no workaround.
> My discomfort seems to stem from the fact that when I'm using a regular
> flatpick, it doesn't just stay in one orientation between my thumb and
> index finger all the time.
> It tends to move around a bit dependant on what specifically I'm
> playing at any point.
my playing has changed so much that it makes the difference, or what it
is, but inexplicably it's not doing that this time around. It pretty
much stays put. I can't imagine why.
> There is a thumbpick called the Bumblebee with the blade on a loose
> plastic rivet that allows it to move around on an axis, but it never
> worked out.
> Good luck.
>
>> I know Richard Bornman had
>> moved to a herco or modified herco.
>
> I did not know that.
> I was always impressed with the tone and articulation he got using p i
> with no fingernails for single note lines.
> I'd never heard anybody do that before and he sounded a lot like Benson
> which was pretty impressive.
> Not sure why he'd move to a Herco.
of tone between the two attacks (thumb v. index).
> Mick Goodrick started me off on i m for single note lines when I'm
> playing fingerstyle.
> Lately I've been getting a bit better at p i p i or p i p m for lines as well.
> But if i try to pick too many note my time goes out the window.
> If I allow myself to use lots of hammer-ons and pullpoffs though I can
> soubnd not too bad playing fingerstyle.
> But most of time I'm a pick + fingers guy with very little in the way
> of contrapuntal facility with those fingers.
> I just use the fingers to pluck out then strings I need to for various
> chord voicings.
>
> Country guys get more mileage out of their fingers when playing pick + fingers.
> Jack's posted several of these techniques over then years.
> And you boy Pasquale seems to be involved in adapting pick + fingers to
> be able to do more traditional classical sounding things.
> Good for him.
>
> As for the guys like Lenny and Lorne and Chet who play with a thumbpick
> all or most of the time, I've never really understood the advantage
> over regular finger-style technique.
> I've been meaning to pick Lorne's brain about that for a while now.
Gerry
Jun 20, 2016, 7:17:04 PM6/20/16
to
Joey Goldstein
Jun 20, 2016, 8:18:14 PM6/20/16
to
On 2016-06-18 6:12 PM, rpjazzguitar wrote:
> My advice for the new player would be to stick with economy picking and some kind of fingerstyle and avoid alternate picking unless you have to sound something like Warren -- whose jackhammer > approach can't be attained with economy.
>
To the best of my understanding, economy picking is a modified version
> My advice for the new player would be to stick with economy picking and some kind of fingerstyle and avoid alternate picking unless you have to sound something like Warren -- whose jackhammer > approach can't be attained with economy.
>
of alternate picking in that whenever you're on a single string, the
economy picker will be doing alternate picking.
The only difference, again while on a single string, is that you might
play occasional downbeats with upstrokes (rather than the strict
down-strokes on the beat of alternate picking) and some upbeats with
down-strokes.
So, in my opinion, it makes more sense to start with alternate picking
first.
Plus, if you could only have one and only one rh picking technique,
alternate picking would be the one to have because you can play most
things you'll ever need to quite effectively with alternate picking.
I don't know where you got the idea that alternate picking sounds
awkward, or doesn't swing, or whatever you said earlier.
Message has been deleted
Joey Goldstein
Jun 21, 2016, 10:37:24 AM6/21/16
to
On 2016-06-20 10:10 PM, rpjazzguitar wrote:
>> things you'll ever need to quite effectively with alternate picking.
>> I don't know where you got the idea that alternate picking sounds
>> awkward, or doesn't swing, or whatever you said earlier.
>
> Was that based on something I wrote?
>> things you'll ever need to quite effectively with alternate picking.
>> I don't know where you got the idea that alternate picking sounds
>> awkward, or doesn't swing, or whatever you said earlier.
>
>
> I have nothing negative to say about how alternate picking sounds. I think it sounds great, swings fine, not awkward etc.
Hmm. Apologies.
I thought I had seen a comment like that from you.
> I do think that economy picking makes it easier to play some things ... that is, when I have to play a written line fast, it sometimes seems like it would be easier with economy picking (if I could do it better). Not always, obviously, since it depends on the line. And, further, that's just my experience. My nervous system and my background in picking. YMMV.
>
> But, I also wanted to make the point that they don't necessarily sound the same. Warren Nunes had a jackhammer attack which I don't think can be duplicated with economy picking. Chuck Wayne has a sound I might describe as "floaty" (not a negative) which might be harder to get with a different picking technique.
>
> That said, Jimmy Bruno, as I understand it, is an economy picker and his stuff isn't floaty to my ear at all. Very crisp, is how I'd describe it.
>
> All great players. All different.
>
CL
Jun 22, 2016, 2:17:01 AM6/22/16
to
Gerry
Jun 23, 2016, 1:07:23 PM6/23/16
to
On 2016-06-22 06:16:58 +0000, CL said:
>> He's also giving lessons now via Skype.
>
> Wow ! Thanks for the info Gerry. I asked Pasquale about Skype sessions
> about a year ago and he said that he had no laptop. So I told him that
> I would send him a Lenovo and he said that he still couldn't do it
> because he had no internet connection for it. He wanted $100/hr.
> Thanks again for the update. I appreciated it.
If you start lessons with him give us your viewpoint.
>> He's also giving lessons now via Skype.
>
> Wow ! Thanks for the info Gerry. I asked Pasquale about Skype sessions
> about a year ago and he said that he had no laptop. So I told him that
> I would send him a Lenovo and he said that he still couldn't do it
> because he had no internet connection for it. He wanted $100/hr.
> Thanks again for the update. I appreciated it.
CL
Jun 26, 2016, 3:24:51 PM6/26/16
to
Gerry
Jun 26, 2016, 6:58:30 PM6/26/16
to
On 2016-06-26 19:24:48 +0000, CL said:
> On Thursday, June 23, 2016 at 10:07:23 AM UTC-7, Gerry wrote:
>> On 2016-06-22 06:16:58 +0000, CL said:
>>
>>>> He's also giving lessons now via Skype.
>>>
>>> Wow ! Thanks for the info Gerry. I asked Pasquale about Skype sessions>
>>> > about a year ago and he said that he had no laptop. So I told him
>>> that> > I would send him a Lenovo and he said that he still couldn't do
>>> it> > because he had no internet connection for it. He wanted $100/hr.
>>> Thanks again for the update. I appreciated it.
>>
>> If you start lessons with him give us your viewpoint.
>
> Sure Gerry. Skype "lessons" fall far short of in person lessons in my
> experience. So I'll be talking the price down if I can find the time
> for Skype conversations. I purchased Pasquale's master class (thank you
> again). I play the same approach that he plays so for me he is the only
> option for a new teacher. The master class is excellent and reinforced
> the material I've been doing for years. The diminished sixth scale
> presentation was good for me personally since I've avoided it until now.
There is much more to be said about Barry Harris as applied to the
> On Thursday, June 23, 2016 at 10:07:23 AM UTC-7, Gerry wrote:
>> On 2016-06-22 06:16:58 +0000, CL said:
>>
>>>> He's also giving lessons now via Skype.
>>>
>>> Wow ! Thanks for the info Gerry. I asked Pasquale about Skype sessions>
>>> > about a year ago and he said that he had no laptop. So I told him
>>> that> > I would send him a Lenovo and he said that he still couldn't do
>>> it> > because he had no internet connection for it. He wanted $100/hr.
>>> Thanks again for the update. I appreciated it.
>>
>> If you start lessons with him give us your viewpoint.
>
> Sure Gerry. Skype "lessons" fall far short of in person lessons in my
> experience. So I'll be talking the price down if I can find the time
> for Skype conversations. I purchased Pasquale's master class (thank you
> again). I play the same approach that he plays so for me he is the only
> option for a new teacher. The master class is excellent and reinforced
> the material I've been doing for years. The diminished sixth scale
> presentation was good for me personally since I've avoided it until now.
guitar. One of my few favorite books in recent years:
http://tinyurl.com/zdvpnar
> I also think Pasquale's sloppy arpeggio approach is boring (especially
> on his CD). The best part of the master class presentation for me was
> his demonstration of chording melodies on the fly. Once all of the
> chord options are known then he can easily integrate the melody into
> harmonic structures by improvising the arrangement. To me this is jazz.
> Working out arrangements in advance is not the same as improvising them
> and Pasquale demonstrates this ability. Excellent exposé. Thank you.
in your brain. He mentions putting the guitar on his left leg,
classical style and how it allows his shoulders to stay straight. He
*specifically* mentions that you shouldn't be touching your elbow to
your thigh. I put up a few posts (here there everywhere) regarding
bursitis that I acquired after we bought a new
slightly-lower-to-the-floor couch and found my elbow doing just that.
I've done rehab for the shoulder, and moved to a higher chair, but the
argument for moving the guitar to the left, overall, is a good one.
For me.
I play exclusively with my fingers. After seeing him play such
incredible and interesting lines when I saw him live, I've started
working with a pick again. In the masterclass video there are a few
times--while playing--that he releases the pick from his hold by
lifting his thumb off the pick-and-index finger. Why he would do that,
I don't know. Whether it's a nervous habit, or a re-positioning of the
thumb. I asked him on FaceBook. He didn't respond.
Steve Freides
Jun 27, 2016, 7:23:59 AM6/27/16
to
Gerry wrote:
> My advice would be to get with a very good technician and learn
> whatever the hell he does. Once done, study classical guitar for a few
> years--with another meticulous player.
+1 for classical guitar study - will open up a new world of right hand
> My advice would be to get with a very good technician and learn
> whatever the hell he does. Once done, study classical guitar for a few
> years--with another meticulous player.
technique if you haven't figured out yours yet, and maybe even if you
have. Although I don't play much jazz guitar these days, I remember my
teacher when I was a kid telling me that if you studied jazz and you
studied classical, you could figure out everything else on your own, and
that's proven true for me.
-S-
Gerry
Oct 2, 2016, 2:34:43 PM10/2/16
to
FYI:
Pasquale Grasso's second installment at "My Music Masterclass" (labeled
"Videos 3 & 4) has been out for a couple of months. I got it, I love
it, and actually found some very interesting stuff to keep me busy,
this time in single line work--at which he is also brilliant.
http://tinyurl.com/j33tnjr
While I was there I picked up Larry Koonse's newest offering as well.
Hey, Tony D; seems this would be a significant conduit for your erudition, no?
Pasquale Grasso's second installment at "My Music Masterclass" (labeled
"Videos 3 & 4) has been out for a couple of months. I got it, I love
it, and actually found some very interesting stuff to keep me busy,
this time in single line work--at which he is also brilliant.
http://tinyurl.com/j33tnjr
While I was there I picked up Larry Koonse's newest offering as well.
Hey, Tony D; seems this would be a significant conduit for your erudition, no?
CL
Oct 8, 2016, 5:33:49 PM10/8/16
to
Dan Mozell
Oct 16, 2016, 9:14:35 AM10/16/16
to
Thanks for posting about his instructional materials. I had never heard of him before. While his playing doesn't really move me (maybe my view will change over time), his technique is inspiring and his teaching excellent!
Gerry
Oct 16, 2016, 3:11:12 PM10/16/16
to
particularly like his single-line playing, but primarily from when I
heard him live. His solo arrangments are amazing, technique-wise, but
they don't "grow" with repeated listenings the way performances by,
say, Ed Bickert do. Still Grasso is incredibly young, and there should
be a lot more coming from him.
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