right hand position
Turtledog
i've been playing jazz guitar for one year now and realise that better
basics will pay off now and help me play faster and cleaner.
My left hand technique is ok for now but what is the correct right hand
position ? floating without brushing any strings with any part of the right
hand ? does the thumb point slightly down towards the strings or slightly
away from them ?
I have a feeling i know the answer but just need someone to put me out of my
misery before I go and start learning the right hand ... like day one again
...
cheers,
Neil
Dan Adler
> My left hand technique is ok for now but what is the correct right hand
> position ? floating without brushing any strings with any part of the right
> hand ? does the thumb point slightly down towards the strings or slightly
> away from them ?
There is a new book and some free online video clips from Jimmy Bruno
that show his right hand style in detail:
Joey Goldstein
somebody would have published a book about it by now and we'd all know
how to do it.
Problem is that there IS no 'right' way. Everybody is different. Almost
every great player you can think of does it differently than every other
great player you can think of. You'll have to work it out for yourself.
The trick is to find real music that you want to play (not just
exercises) and to develop the technique you need to play that music *by
any means necessary*.
If open strings are vibrating sympathetically, and this annoys you,
you'll have to find some way to mute them.
If string skips while using alternate picking are sloppy then you'll
have to work harder or develop some sweep picking ideas.
etc.
The one thing that I consider to be *almost* universal is that the pick
should be held by just the thumb and the 1st finger. But then again, Pat
Metheny holds the pick with thumb and 2 fingers, and he's no slouch.
--
Joey Goldstein
http://www.joeygoldstein.com
<joegold AT sympatico DOT ca>
Jurupari
Steve Morse too. I just saw a kid who plays really well upside down flat in
the lap and he uses thumb & 2 fingers too, a lot of the time, but changes grips
on the pick.
That's the best argument I know against just adopting the classical technique -
too many variables.
Clif Kuplen
jaz...@webtv.net
Hi,
Whatever right hand technique you choose I recommend checking it against
a flat top for good tone and quick picking. If you think you sound good
on a flat top and it feels easy, then you got it.
Ron
Joey Goldstein
picking is concerned?
--
thom_j.
something about flatops I didn know?...lol cheers t.j.
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3E00D1AD...@nowhere.net...
Jim Kaznosky
the wrist into a correct position. A flat top that is poorly aligned forces
(for righties) the right man (or lady) nipple to peak ever so slightly over
the curve. This causes such a shock that one is forced to pull oneself back
into an upright position, thereby locking the wrist into perfect form. Its
all there.
Jim
jaz...@webtv.net
Hi Joey and Thom J,
The sound of the pick angle not amplified.
Ron
Mike C.
"Jurupari" <juru...@aol.com> wrote in message
news:20021218140037...@mb-co.aol.com...
He plays really well upside down? On his head?
;-)
Dan Adler
> If there was 1 'right' way to do things with the right hand then
> somebody would have published a book about it by now and we'd all know
> how to do it.
The strange thing is that this phenomenon is unique to plectrum
guitar. All other instruments have a pretty rigid methodology that is
followed by most of the players. Same applies to classical guitar.
Even within the plectrum domain there are pockets of shared
discipline: oud playing and gypsy jazz guitar (django-style) have
pretty rigid disciplines for the picking hand.
Max Leggett
>
>Hi Joey and Thom J,
>
>The sound of the pick angle not amplified.
>
Then why does every angle sound differrent through my amp? I can coax
all sorts of tones through my amp just by altering the pick angle.
Jurupari
>
wouldn't surprise me - no - he takes the guitar, lays it flat in his lap with
the neck on the right and the high E string near his body, and picks with his
left hand, frets with the right.
If you watch him from in front, it will be the same things you play, but
fingered from the top of the guitar so you get the effect of 'seeing through'
his hand.
Talented young country cat named Rory Hoffman - he was doing a Blade guitars
clinic - type thing - plays a little jazz too.
Clif
Jurupari
>pretty rigid disciplines for the picking hand.
Are they similar? I know the music and dimensions are a little different.
BTW, loved your picking on the duet with Mark (500 miles high). I remember
getting the idea of a sound from a thread you had on making notes 'pop' and to
me it sounded like that description.
It's not just plectrum guitars - it's a can of worms with fingerstylists on
steel strings, too, plus hybrids, thumb picks, Alaskas, etc.
Isn't it sort of like horn players with mouthpieces and reeds, though? Seems
like it. Maybe it's because they're comparatively new.
Clif
Richard Bornman
"Dan Adler" <d...@danadler.com> wrote :
> The strange thing is that this phenomenon is unique to plectrum
> guitar. All other instruments have a pretty rigid methodology that is
> followed by most of the players. Same applies to classical guitar.
> Even within the plectrum domain there are pockets of shared
> discipline: oud playing and gypsy jazz guitar (django-style) have
> pretty rigid disciplines for the picking hand.
My take:
Most players in the jazz/pop/folk fields use a technique that allows them
to make the music they are hearing at that stage of their musical
development.
The huge downside to this is that the novice player knows nothing of the
demands that more sophisticated music might later place on his/her tech. and
as
a result the tech. adopted at the early stage is uninformed, and made from a
position of ignorance. (A teacher can help here)
This means a player might have to radically modify/change their technique
mid career---a daunting task to say the least, and one that most players
never make, even when they know that the change would be for the better...
The classical approach is to give you a SINGLE technique that can cope with
anything that the music might demand. The downside to this is that this
tech.
can put blinkers on the player as to unorthodox possibilities.
Personally I believe the superior tech. is the one that allows the player
the potential to do the most...
To my mind that spells: fingerstyle :-)
Anecdote:
Last year I went to a Martin Taylor masterclass, and went backstage
afterwards..I chatted with MT about Ted Greene, who he said he had yet to
meet,
Craig Wagner, who he heard in Nashville, Brent Mason, and finally about
his technique. I asked him straight out: *If you had your career over again
would you
start with f-style and forego the pick?*
He said *Definitely*
Ps: no disrespect to PICKers intended ;-)
Richard
Dan Adler
> Personally I believe the superior tech. is the one that allows the player
> the potential to do the most...
> To my mind that spells: fingerstyle :-)
Richard,
You certainly have made that work very well, but I think people will
need to see a lot more great pure fingerstyle players before that
becomes an accepted route for jazz. So far, your clips and whatever I
have heared from Paul Meyers are the only convincing examples of
fingerstyle single-line playing I have heared at high speeds.
Dan Adler
> >oud playing and gypsy jazz guitar (django-style) have
> >pretty rigid disciplines for the picking hand.
>
> Are they similar? I know the music and dimensions are a little different.
>
Clif,
Yes. It seems to me that oud technique is identical to gypsy jazz
guitar. I've been hanging out with a great morrocan oud player, and
his technique up close looks very django-like. It's about 30% shoulder
and 70% wrist with downstrokes only except when playing consecutive
notes on the same string. He gets great dynamics from the instrument
and when he plays solo it is so percussive, you sometimes have to look
to make sure there is no drummer in sight.
> BTW, loved your picking on the duet with Mark (500 miles high). I remember
> getting the idea of a sound from a thread you had on making notes 'pop' and to
> me it sounded like that description.
Thanks! Still working on that.
Jurupari
>his technique up close looks very django-like. It's about 30% shoulder
>and 70% wrist with downstrokes only except when playing consecutive
>notes on the same string.
What kind of tempo can these guys execute all downstrokes in? Or does the speed
come from hammering and pulling?
I've heard some recordings of a really good oud player in a group situation and
they're very impressive. I wasn't so much interested in oud speed as the
overall ensemble sound which I wouldn't have expected.
I also spent some time with very good bouzouki players, and have sat in with
their bands (on guitar) and jammed. These guys are also very accurate and fast
pickers since that's all they do.
I've heard them do picked flourishes that would probably match flamenco fixed
hand speeds or sweeps - off the dial. Also the time variants they play are
really challenging - it was one of those guys that played me some oud stuff.
They've got this interesting scale they use too, a harmonic minor but with a
b9, and they have a lot of licks that use the 3 chromatics.
(I showed this guy a diminished scale and he went nuts! He'd never conceived
of it but they use the chord all the time. He could fit it right into his idiom
in minutes.)
Clif
icarusi
Isn't Metheny using thumb and 2 fingers so that he can bend the
pick using thumb pressure and make a thin pick seem stiffer,
because he couldn't find picks of different thicknesses when he
was starting, so he developed that workaround and AFAIK still
uses it?
Floating is best if you can manage it, because it's flexible to
all sorts of playing and techniques. You can still use any of the
anchoring techniques for special conditions, but it's less easy
to go from predominantly a particular anchor, to floating, than
the other way. OTOH if you can't manage floating at all, without
bad things happening to your playing, there's no point in
persevering for dogma's sake.
Icarusi
--
remove the 00 to reply
Mark Kleinhaut
"Richard Bornman" <richard...@ozemail.com.au> wrote:
(snip)>
>Personally I believe the superior tech. is the one that allows the player
>the potential to do the most...
>To my mind that spells: fingerstyle :-)
>
>Anecdote:
>
>Last year I went to a Martin Taylor masterclass, and went backstage
>afterwards..I chatted with MT about Ted Greene, who he said he had yet to
>meet,
>Craig Wagner, who he heard in Nashville, Brent Mason, and finally about
>his technique. I asked him straight out: *If you had your career over again
>would you
>start with f-style and forego the pick?*
>He said *Definitely*
>
>Ps: no disrespect to PICKers intended ;-)
>
>Richard
>
I'm surprised to here Martin said that, because he does both so beautifully.
I don't why folks continue to think it has to be an either/or proposition.
I enjoy picks and fingerstyle and simply view them as different tools for
different sounds. I would never forsake either and would resepectfully suggest
that all of those who only do one or the other that they are missing the
boat, or at least half the boat.
--------------------Mark Kleinhaut
markkl...@hotmail.com
Info and soundclips about:
"Chasing Tales":
http://www.invisiblemusicrecords.com/Resources/Chasing%20Tales.html
"Amphora":
http://www.invisiblemusicrecords.com/Resources/Amphora.html
"Secrets of Three": http://www.invisiblemusicrecords.com/Resources/SO3.html
Jurupari
>pick using thumb pressure and make a thin pick seem stiffer,
>because he couldn't find picks of different thicknesses when he
>was starting,
I think everyone uses the 3 finger thing for more stiffness, but I doubt Pat
couldn't find what he wanted in picks. His home town, Lee's Summit, MO is in a
metro area that was well over a million then - the Kansas Cities, KS & MO.
Clif
Joey Goldstein
I think most people hold the pick that way naturally. Pat just didn't
have anybody to tell him otherwise.
Jurupari
>that all of those who only do one or the other that they are missing the
>boat, or at least half the boat.
>
That may work for most people, but in my case my right hand is definitely the
retarded member of the family. It's presently been sent away to military school
so it may get better, though.
Picks can sound good but they can also sound awful. There's no getting rid of
the noise they make so you have to make the best of it. Taking the entirety of
music, I prefer to take it on pickless and now, nailless.
I'm already better than I ever was with nails at fast chordal improv or heads,
but thumb and forefinger passages require more fine tuning. Still, I think I'm
closing in on what I'm shooting for - ease of execution and simplicity of
technique.
Clif
Max Leggett
<nos...@nowhere.net> wrote:
>
>
>Jurupari wrote:
>>
>> >Isn't Metheny using thumb and 2 fingers so that he can bend the
>> >pick using thumb pressure and make a thin pick seem stiffer,
>> >because he couldn't find picks of different thicknesses when he
>> >was starting,
>>
>> I think everyone uses the 3 finger thing for more stiffness, but I doubt Pat
>> couldn't find what he wanted in picks. His home town, Lee's Summit, MO is in a
>> metro area that was well over a million then - the Kansas Cities, KS & MO.
>>
>> Clif
>
>I think most people hold the pick that way naturally. Pat just didn't
>have anybody to tell him otherwise.
>
I've always used a 3-finger grip - it's always been the most natural
grip for me. The "standard" pick grip, between the thumb and the
forefinger, feels stiff and lacks control. It feels like it locks my
whole forearm. Millions of guiitarists disagree with me.
Adam Gottschalk
I haven't heard Richard's clips, which I will attend to presently, but I
wanted to add this: in his incarnation with his wife, Tuck doesn't
appear to do much single-line stuff. First, it's important to note that
some of the mighty quick "strumming" stuff he does is not strummed at
all but picked with alternating i-m (or whatever he needs), a very
important part of his technique. Second, when I did a workshop with him,
at the end of the week, we went around the room and everyone got to pick
a tune and jam with Tuck (yeah!). He played 15 standards without batting
an eye, improvising all single-line with no pick, at any tempo given
him, and it sounded awesome. I know folks on this NG have lamented not
ever really hearing Tuck play single line and wondering how he'd do in a
combo (what ever happened to cribcage anyway...wasn't that his handle?).
Anyway, it's a shame there's not more of his single-line stuff recorded.
In article <820e87.021219...@posting.google.com>,
Richard Bornman
"Mark Kleinhaut" <markkl...@hotmail.com> wrote:
> I'm surprised to here Martin said that, because he does both so
beautifully.
> I don't why folks continue to think it has to be an either/or proposition.
> I enjoy picks and fingerstyle and simply view them as different tools for
> different sounds. I would never forsake either and would resepectfully
suggest
> that all of those who only do one or the other that they are missing the
> boat, or at least half the boat.
Pass also expressed the same view re pick vs fingers.
My reason for the either/or position is that the work on
developing/maintaining
virtuosity with 2 separate techs is too much, and therefore I argue that
if one is to make a choice, one should choose the tech. that can cover the
most area.
I have yet to hear someone reach the highest levels of virtuosity using both
techs.
Richard
Joey Goldstein
Check out Ben Monder.
Bob R
juru...@aol.com wrote on 12/19/02 2:17 PM:
The way Pat tells it in interviews, his local store only had Fender thins,
which he hated, so he bent them to get a stiffer feel from them.
-- Bob Russell
http://www.bobrussellguitar.com
CD, "Watch This!", available at:
http://www.cdbaby.com/bobrussell
Bob R
richard...@ozemail.com.au wrote on 12/19/02 4:56 PM:
> I have yet to hear someone reach the highest levels of virtuosity using both
> techs.
>
> Richard
Steve Morse comes pretty damn close.
Richard Bornman
"Joey Goldstein" <nos...@nowhere.net> wrote :
> Check out Ben Monder.
Joey,
Believe me I have!!
Did BM play extended sections with fingers
that employed fast single lines?
The fingerstyle stuff I have heard on record was
harmonically based arps etc etc NOT extended
single line stuff.
Btw Joey I have been meaning to ask you:
I know you love Meth and Bickert,
but who else do you like? (guitar and otherwise),
also, what do you think of Holdsworth?
Thanks!!
Richard
Richard Bornman
"Bob R" <w...@earp.com> wrote :
> Steve Morse comes pretty damn close.
I have heard all those D/Dregs quasi baroque/classical
tunes (great!), but never heard Morse burn some
single lines with fingers.
Btw I believe Morse has a new record out which
is ALL fingerstyle stuff!!
Morse is amazing
Richard
Joey Goldstein
Richard Bornman wrote:
>
> "Joey Goldstein" <nos...@nowhere.net> wrote :
>
> > Check out Ben Monder.
>
> Joey,
> Believe me I have!!
>
> Did BM play extended sections with fingers
> that employed fast single lines?
> The fingerstyle stuff I have heard on record was
> harmonically based arps etc etc NOT extended
> single line stuff.
True. But I definitely got the feeling that if he wanted to play lines
with his fingers that he could do so. I figure he just likes the sound
of the pick better for lines.
> Btw Joey I have been meaning to ask you:
>
> I know you love Meth and Bickert,
> but who else do you like?
I hate everybody else. <g>
> (guitar and otherwise),
Too many to mention.
> also, what do you think of Holdsworth?
Same thing I think about Bartok. I'm in awe but I don't like listening
to him.
> Thanks!!
>
> Richard
Oscar Bearinger
I thought it was for scratching your head
8-) osc
thomas
>
> You certainly have made that work very well, but I think people will
> need to see a lot more great pure fingerstyle players before that
> becomes an accepted route for jazz. So far, your clips and whatever I
> have heared from Paul Meyers are the only convincing examples of
> fingerstyle single-line playing I have heared at high speeds.
You don't find Eubanks convincing?
Richard Bornman
"Joey Goldstein" <nos...@nowhere.net> wrote :
> I hate everybody else. <g>
> Same thing I think about Bartok. I'm in awe but I don't like listening
> to him.
What about Hall?
Pianists?
Richard
Richard Bornman
"Bob R" <w...@earp.com> wrote :
> Steve Morse comes pretty damn close.
Hey Bob,
I just visited SM's site.
He has a Q&A section that is very interesting.
He really comes across as a together guy, fastidious,
like his tech. and music!
I always loved Kat Food...you know that one?
Richard
icarusi
news:820e87.021219...@posting.google.com...
> You certainly have made that work very well, but I think people
will
> need to see a lot more great pure fingerstyle players before
that
> becomes an accepted route for jazz. So far, your clips and
whatever I
> have heared from Paul Meyers are the only convincing examples
of
> fingerstyle single-line playing I have heared at high speeds.
Have you heard any Ferenc Snetberger?
Joey Goldstein
Richard Bornman wrote:
>
> "Joey Goldstein" <nos...@nowhere.net> wrote :
>
> > I hate everybody else. <g>
>
> > Same thing I think about Bartok. I'm in awe but I don't like listening
> > to him.
>
> What about Hall?
Of course I like Jim Hall.
> Pianists?
Again. There are too many musicians that I am interested in to mention.
Why do you care who I like?
Joey Goldstein
Joey Goldstein wrote:
>
> Richard Bornman wrote:
> >
> > "Joey Goldstein" <nos...@nowhere.net> wrote :
> >
> > > I hate everybody else. <g>
> >
> > > Same thing I think about Bartok. I'm in awe but I don't like listening
> > > to him.
> >
> > What about Hall?
>
> Of course I like Jim Hall.
>
> > Pianists?
>
> Again. There are too many musicians that I am interested in to mention.
> Why do you care who I like?
Here's a list i give to my students of people and recordings I think
they should check out:
Essential Listening
This list is definitely subjective. These are all albums that had a
great inluence on me personally as well as many other musicians of my generation.
Bill Evans - Live At The Village Vanguard
Bill Frisell - (anything)
Brecker Brothers - Brecker Brothers
Charles Mingus - (any “Best Of” series)
Charlie Christian -Solo Flight
Charlie Parker - (any “Best Of” series)
Chick Corea - Light As A Feather
Chick Corea - Now He Sings, Now He Sobs
Count Basie - (anything)
Dizzie Gillespie - (anything from the 40’s or 50’s)
Django Reinhardt/Stephane Grappelli (anything)
Duke Ellington - (any “Best Of” series)
Ella Fitzgerald/Louis Armstrong - Ella and Louis - Ella and Louis Again
Freddie Hubbard - Sky Dive (with George Benson on guitar)
Gary Burton and Keith Jarrett
Gary Burton/Chick Corea - Crystal Silence
Herbie Hancock - Head Hunters
Herbie Hancock - Maiden Voyage
Jim Hall - Alone Together (duets with Ron Carter on bass)
Jim Hall - Live (out of print)
Jim Hall/Bill Evans - Interplay
John Coltrane - A Love Supreme
John Coltrane - Blue Trane
John Coltrane - Coltrane’s Sound
John Coltrane - Giant Steps
John McLaughlin - My Goals Beyond
John Scofield - Rough House
Keith Jarrett - (any of the Standards Live series)
Lenny Breau - Live
Louis Armstrong - (any “Best Of” series that features his early work)
Mahavishnu Orchestra - Inner Mounting Flame
McCoy Tyner - The Real McCoy
Michael Brecker - Escher Sketch
Miles Davis - Bitches Brew
Miles Davis - Kind Of Blue
Miles Davis - Miles Smiles
Milt Jackson - Little Sunflower
Oscar Peterson - (anything)
Pat Martino - Footprints
Pat Martino - Live
Pat Metheny - Bright Size Life
Pat Metheny - Question And Answer
Pat Metheny - Rejoicing
Paul Desmond - Pure Desmond (with Ed Bickert on guitar)
Sonny Rollins - The Bridge (with Jim Hall)
Thelonious Monk - With John Coltrane
Wayne Shorter - Speak No Evil
Weather Report - Heavy Weather
Wes Montgomery - (any “Best Of” series, especially from the Riverside sessions)
That should get you started. Any of the numerous recordings by any of
the above people are also recommended.
Also check out recording by or with the following great players:
Guitarists:
Allen Holdsworth (fusion)
Barney Kessel (traditional)
Ben Monder (mod)
Kurt Rosenwinkel (modern)
Bucky Pizzarelli (traditional)
George Van Eps (7 string, fingerstyle, traditional)
Grant Gree (trad)
Herb Ellis (traditional)
Howard Alden (traditional)
Jimmy Bruno (traditional)
Joe Diorio (modern)
Kenny Burrell (traditional)
Kevin Eubanks (modern)
Lorne Lofsky (modern approach to traditional)
Mark Whitfield (trad)
Mick Goodrick (modern)
Mike Stern (modern)
Peter Leitch (traditional)
Russel Malone (trad)
Scott Hendreson (fusion)
Tuck Andress (finger-style trad)
Saxophonists:
Bob Berg (modern)
Branford Marsalis
Cannonball Adderley (be bop)
Dave Turner (modern)
Dexter Gordon (be bop)
Gerry Bergonzi (modern)
Joe Henderson
Joe Lovano (modern)
Joshua Redman (mod)
Kenny Garrett (modern)
Kirk MacDonald (modern trad)
Nick Brignola (trad)
Phil Woods (trad)
Seamus Blake (mod)
Sonny Stiit (be bop)
Trumpet:
Chet Baker (be bop ... great singer too)
Clark Terry (trad)
Clifford Brown (be bop)
Dave Douglas (modern)
Eddie Jefferson (mod)
Lee Morgan (be bop)
Nicholas Payton (modern trad)
Randy Brecker (modern)
Tom Harrell (mod)
Wynton Marsalis (modern trad)
Trombone:
Bill Watrous
Bob Brookmeyer
Carl Fontana
Frank Rosalino
Hal Crook
J. J. Johnson
Rob McConnel
Piano:
Art Tatum (stride)
Bernie Senensky (all styles)
Billy Childs (mod)
Brad Mehldau (mod)
Bud Powell (trad)
Cedar Walton (all styles)
Diana Krall (trad)
Hank Mobley (trad)
Horace Silver (funky trad)
Joey Calderazzo (modern)
Kenny Barron (all styles)
Kenny Kirkland (all styles)
Makoto Ozone (all styles)
Marcus Roberts (all styles)
Nat King Cole (trad)
Wynton Kelly (trad)
Bass:
Christian McBride
Dave Holland
Don Thompson (also a great pianist and vibist)
Jim Vivian
Larry Grenadier
Marc Johnson
Neil Swainson
Pat Collins
Ron Carter
Stanley Clarke (fusion)
Vibraphone:
Lionel Hamptom (trad)
Steve Nelson (modern)
Big Bands:
Artie Shaw (swing/dance)
Benny Goodman (swing/dance)
Dave McMurdo Jazz Orchestra
Frreflight
Maria Schneider
NOJO
Stan Kenton
Thad Jones / Mel Lewis
The Boss Brass
Toshiko Akioshi
Jurupari
>which he hated, so he bent them to get a stiffer feel from them.
That seems to fit the same personality as the toothbrush in the tailpiece to
hold on the strap. (Almost wrote hold the strap on but Jay might be reading.
:o) I read an interview where he was talking about that, and it's evident in a
lot of his photos.
Clif
Stephan Patterson
<nos...@nowhere.net> wrote:
>Jim Vivian
Joey,
I saw Jim Vivian with the Jeff Johnston Trio (Mike Billard on drums) a
couple of months ago here in Montreal. One of my favorite concerts
ever. A fascinating demonstration of quiet, subtle, tasteful
virtuosity. Not only can these guys play, they can listen.
Stephan Patterson
thom_j.
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3E027779...@nowhere.net...
>
>
> Joey Goldstein wrote:
> >
> > Richard Bornman wrote:
> > >
> > > "Joey Goldstein" <nos...@nowhere.net> wrote :
> > >
> > > > I hate everybody else. <g>
> > >
> > > > Same thing I think about Bartok. I'm in awe but I don't like
listening
> > > > to him.
> > >
> > > What about Hall?
> >
> > Of course I like Jim Hall.
> >
> > > Pianists?
> >
> > Again. There are too many musicians that I am interested in to mention.
> > Why do you care who I like?
Well they asked didnt they Joey G...LoL Great list and a hell of alot
of great music wthin this list too! imho cheers tee'jay
Richard Bornman
"Joey Goldstein" <nos...@nowhere.net> wrote :
> Again. There are too many musicians that I am interested in to mention.
> Why do you care who I like?
I am compiling a list of evidence with which i intend to prove....
sorry wrong thread, wrong NG ;-)
I just recall over the years here reading of your enthusiasm for Meth +
Bick,
but was interested to hear some other faves from you.
Diff tack:
Given your theoretical interests, have you ever read Curt Sachs'
*Wellsprings of Music*?
Interesting musicological study that I recently re-read.
The Norton Lectures from Bernstein are interesting too.
In fact I find most of Bernsteins essays interesting.
Richard
Bob R
richard...@ozemail.com.au wrote on 12/19/02 7:21 PM:
> Hey Bob,
> I just visited SM's site.
> He has a Q&A section that is very interesting.
> He really comes across as a together guy, fastidious,
> like his tech. and music!
> I always loved Kat Food...you know that one?
>
> stevemorse.com
>
> Richard
His site is pretty good. Interesting stuff in the road journals sometimes. I
think he's a very focused guy in general!
When I first heard his music, around 1977 or so, I was pretty much
captivated! I'd been playing jazz for a little while by then; rock had
gotten pretty dumb and I was looking for some challenges. The Dregs' music
was definitely challenging!
Kat Food... I remember the title but can't recall the tune. Spent a lot of
time on Ice Cakes, Night Meets Light, Gina Lola Breakdown, Cruise Control
and stuff like that.
Joey Goldstein
--
Joey Goldstein
Well I know that people around here think of me as some sort of a theory
head but in my mind I have just studied the most readily available
common stuff that everybody gets exposed to at music college. I don't
mean to offend anybody here but IMO the stuff I talk about is just very
basic shit that any serious musician should know about.
And no I have not read the books that you have mentioned above. Most of
the real serious books about music theory that I have tried to read have
gone right over my head. Among them: Rameau's Treatise On Harmony,
Hindemith's Craft Of Musical Composition and Ulehla's Contemporary Harmony.
Richard Bornman
"Joey Goldstein" <nos...@nowhere.net> wrote :
> Well I know that people around here think of me as some sort of a theory
> head but in my mind I have just studied the most readily available
> common stuff that everybody gets exposed to at music college. I don't
> mean to offend anybody here but IMO the stuff I talk about is just very
> basic shit that any serious musician should know about.
>
> And no I have not read the books that you have mentioned above. Most of
> the real serious books about music theory that I have tried to read have
> gone right over my head. Among them: Rameau's Treatise On Harmony,
> Hindemith's Craft Of Musical Composition and Ulehla's Contemporary
Harmony.
I have read the Hindemith and Ulehla. I like Ludmilla's clear musical
examples,
and the way she shows the 20th cent as an outgrowth of late romanticism,
rather
than a clean break...debatable...
The Persichetti book is good in that regard too.
One interesting point that comes to mind with Hindemith is that he regarded
the major second as the fundamental building block, as opposed to the more
commonly cited overtone heirachy.
I find his music intellectually stimulating, but quite dry.I suspect this is
so
because we live in a homophonic century, and his music is so polyphonic.
I often think of the later more conservative Hindemith as a germanic version
of Britten.
I forget whether it was Marc Blitzstein or David Diamond that said when they
were offered the choice of studying with Hind. or Copland they chose Hind.
cos they wanted to learn to compose music fast!! Hind. facility with
musical
composition is/was legendary.
Hind. was a rare type...complete musician, played a few instruments,
perfect inner ear etc etc.
His ideas on *music for use* are interesting....the question of whether
the artist has any responsibility to his/her audience, or whether the
artist is best served by following the *muse* with no accountability...
Richard
Oscar Bearinger
>>Jim Vivian
Jim Vivian is a great bass player. He sometimes plays with his
sidekick Ted Warren on drums, who is also great.
Jim has done some wonderful playing with Ottawa guitarist Roddy Ellias.
Oscar
icarusi
news:BA27B2C5.124FA%w...@earp.com...
> in article 20021219141725...@mb-fj.aol.com,
Jurupari at
> juru...@aol.com wrote on 12/19/02 2:17 PM:
> The way Pat tells it in interviews, his local store only had
Fender thins,
> which he hated, so he bent them to get a stiffer feel from
them.
That's what I read, and I think he still does it, to look at how
'popeyed' his forearm is when he plays.