Guitar Lore - Dennis Sandole
Chuck
seminal work "Guitar Lore", get in touch!
Chuck Anderson
www.ChuckAndersonJazzGuitar.com
ChuckAnd...@comcast.net
pmfan57
sheetsofsound
i have the book and I studied with him. Private lessons were way more
interesting. Skip guitar lore and get slonimsky
6fingers
more
interesting. Skip guitar lore and get slonimsky "
Words of wisdom from none other than,
Schmuck Meister
Yeah kids skip the crawling stage, go right to the 440 hurdle.
Med students, disregard the section on the circulatory system,
proceed directly to liver section transplants.
And, by all means eschew Bach Two Part Inventions, go
right to Paganini Caprices.
If I hadn't seen you at Dennis' studio with my own eyes, I would never
have believed that one of his students could make such an idiotic
statement. Below is an endorsement from some guy initials P.M., which
can be found on page one of Guitar Lore (revised edition).
"The studies contained in Guitar Lore by Dennis Sandole are in
my opinion to be considered as the poetics of the instrument;
invaluable ! " P. M.
So much for P.M. , what does he know, Schmucker (a.k.a. Schiltz of
Sound) he knows the real deal.
I can tell you never really got it. I remember one day at Dennis'
studio
I was in a hurry but a few guys were ahead of me, you being one of
them. I thought oh shit, gonna be late for my appointment that day,
but so be it. Well, much to my surprise ( in retrospect, really no
surprise at all ) 8 minutes later (Dennis only gave students the time
they deserved), or was was it 9 minutes, you came right back out the
door.
As you were leaving, Dennis came out of the studio, wearing his
trademark double-knit polyester, checked slacks, watched you walking
out, head shaking side to side, and let out an "OOFAH !" like I've
never heard before (or since). I was going to ask him if he was okay
or not, but it was was obvious, so didn't bother.
Let's see, Philly to Pittsburgh is a 6 hour drive, how many more hours
to Cleveland, I don't know (nor care). I call that a long run for a
short slide.
Perhaps you should have, kept your ass at home, and delved deeper
(much deeper) into Guitar Lore.
Anyway, as the maestro himself so aptly put it........
OOFAH !
peace ! (smile icon)
P.S. Now that I recall, I was late as hell for that appointment,
Dennis kept
me in there for better part of an hour, but it was more than
worth it.
Mondoslug
! (smile icon)
>
> P.S. Now that I recall, I was late as hell for that appointment,
> Dennis kept
> me in there for better part of an hour, but it was more than
worth it.
That's because your mother forgot to come pick you up.
I was there outside waiting for my lesson.
Gerry
> P.S. Now that I recall, I was late as hell for that appointment,
Appointment? Are you an Appointment Setter, then?
--
-- Gerry
TD
One thing almost for certain, he was a student of Sandole. His info is
too inside.
-TD
tom walls
We'll get to the bottom of this. Let's see, ...who was Sandole's icky-
est student?
John K
I'm new to the site. I don't want to get in the middle of slap down
session but I've read in several interviews that Pat Martino said he
didn't learn anything in the lessons about music from Dennis S except
how to dress, behave and such. I get the impression that he was young.
I'm no Pat Martino but this is what he said. With Dennis S's creds,
though, I'd love to see the book.
My two cents it that it is bogus to knock the person versus knocking
what he is saying, etc. I would be curious what Jack thinks is not
worth it and what 6 fingers thinks is worth about the book...a little
substance please...if you would. Who cares what the authorities say,
anyway, unless they make sense.
Haven't we had enough of " Trust me, I'm an authority".
Best,
John
John K
Hi Chuck,
I would like to hear that story.
All the best,
John
John K
Pat on Dennis
Rick: I understand one of your main influences was a jazz guitarist
and music instructor named, Dennis Sandole. I believe his original
name was Sandole and he changed it to Sandol? Is that correct?
Pat: Sandole, yes.
Rick: What can you tell us about his approach to music and how you’ve
absorbed his concepts into your own playing, and maybe even your own
instruction?
Pat:I have absolutely absorbed nothing from Dennis.
Rick: Well, okay.
Pat: And I’ve absorbed everything from Dennis. I’ve absorbed nothing
regarding music and his procedures, which are recommended
responsibilities on the student provided by Dennis as a mentor. My
interest in Dennis was Dennis himself. I studied Dennis, not what he
taught. Primarily because what he taught and how he presented it was
prone toward difficulties which were unnecessary.
A good example would be his handwriting. His signature and his
handwriting and the lessons that he wrote out on a weekly basis were
similar to a physician’s prescription. They took so much detailed
dedication to learning more about him and what he was trying to get
you to do, that I found that to be useless and wasteless. It was an
interruption on the ecstasy that I had since my childhood, since
birth. I always loved to play and, you know, when parents come in and
say stop playing and do your homework, that remained to be the very
same thing with everyone from that point forward. I disliked having to
do homework. That’s why I went to Harlem at the age of 15. So, I
disliked having to be prone towards someone else’s views. I was more
interested in the someone else.
Rick: That’s a different perspective than most people would entertain.
Pat: Totally different perspective. And so I studied Dennis as a
person. I studied his fashion, his apparel; I studied the room that he
functioned within. I studied the piano on one side being immaculately
clean and his guitar over in the far corner of the room being
absolutely covered with dust, never used. And I found that to be
profound about Dennis. And the fact that his presence was extremely
spiritual, Dennis being Jehovah Witness. And the continuity of his
appearance being repetitive and repetitive and repetitive. An identity
that was obviously present and really strongly identified as someone
of importance.
So, I studied Dennis and through this came contact with John Coltrane,
and with Benny Golson, and James Moody, and Philly Joe Jones McCoy,
and all of those guys there. So, it seemed to be prone towards
bringing me away from the guitar, allowing the guitar to exist and at
the same time, becoming more focused upon our culture. Jazz was
extremely active at that time, so I was closer to that. Dennis Sandole
was profound as a human being. He was a wonderful, wonderful human
being. I got the same thing out of Wes Montgomery, to be honest.
TD
>
> - Show quoted text -
His real name was Denegia Sandolini. He changed it to Dennis Sandole.
-TD
RB
The real reason DS uttered that "sigh" and cut the lesson short was
probably because Jack played better than he did...
6fingers
The real reason DS uttered that "sigh" and cut the lesson short was
probably because Jack played better than he did... "
"The Blunder from Down Under" RB speaks.
Been hittin' the piss have ya ?
Disappear you bloody jabberin' gallah !
sheetsofsound
> Let's see, Philly to Pittsburgh is a 6 hour drive, how many more hours
> to Cleveland, I don't know (nor care). I call that a long run for a
> short slide.
> Perhaps you should have, kept your ass at home, and delved deeper
> (much deeper) into Guitar Lore.
>
I was living in dc at the time, ace.
> P.S. Now that I recall, I was late as hell for that appointment,
> Dennis kept
> me in there for better part of an hour, but it was more than
> worth it.
Was it good for you?
sheetsofsound
i think it was you dennis was referring to when i glanced in your
direction and said some students are destined to a lifetime of
mediocrity
RB
Lets have some fun with this retarded guy....How do we trace where he
posts from? Could be great fun tracking him down....C'mon guys, lets
get in on this and find out who mr retarded is....We know he only has
6 fingers and is retarded so it cant be that hard!!!!
sheetsofsound
I'm guessing van sant (George)
RB
No way!!!!!!!! Kev might be a flesh-eating sycopath, but a retarded mr
6fingers he aint!!! I detect real life bitterness and jealousy behind
mr brain damage. I suspect he knows very well that he cant play sh!t
and so he tries to take it out in some way....So how do we track
him....could be fun!!!!!!!
RB
think of that "van" guy that used to post here......If it aint you mr
"van", then pls accept apologies ;-)
Gerry
It's not van, who's a human, a guitarist, a participant hereabouts and
so forth.
J6F is troll; his goal is to get people pissed off. With you he's
succeeded. Richard, I like to think you're not that easily
manipulated--prove me right!
--
-- Gerry
danstearns
Having been shat on by this goof once before, I agree completely. And
I honestly wouldn't worry too much about who it is or isn't...I mean
this is the new Internet age of public anonymity where the term ad
hominem needs some kind of additional modifier just to keep pace. Find
out who it is and some other Bozo, probably the same clown with a
different name, is gonna inevitably pop up in their place.
Let Richard Burton's classic "what the hell do you think spies are?"
bit in The Spy who came in from the Cold act as a metaphor where spies
are jazz guitarists (okay, maybe just 6 fingered jazz guitarists)
http://www.youtube.com/watch?v=82ZC3qYhSc8&feature=related
servr as
David J. Littleboy
"danstearns" <daniel_anth...@yahoo.com> wrote:
Having been shat on by this goof once before, I agree completely. And
I honestly wouldn't worry too much about who it is or isn't...I mean
this is the new Internet age of public anonymity where the term ad
hominem needs some kind of additional modifier just to keep pace.
<<<<<<<<<<<<<<<<<<<
FWIW, I was just dragged kicking and screaming onto facebook, and find it
amuzing that it's the exact opposite of the mailing list experience in the
sense that on facebook, people make a point of identifying themselves. So
the "new Internet age" has a variety of faces...
(At least that what it looks like so far: my corner of facebook is largely
people I know already from work (i.e fellow Japanese to English
translators), and I'm probably missing a lot of things.)
--
David J. Littleboy
Tokyo, Japan
Mondoslug
>
> FWIW, I was just dragged kicking and screaming onto facebook, and find it
> amuzing that it's the exact opposite of the mailing list experience in the
> sense that on facebook, people make a point of identifying themselves. So
> the "new Internet age" has a variety of faces...
Heh, me too. Funny & scary.
People you've known for along time you see on there...Joe 6 Pack: "is
putting on his socks & loves mayonnaise"
6fingers
Mark Kleinhaut
> I see you idiots have been busy while I've been sleeping.
If you feel this way about the cast of characters around here why do
you even bother coming? There are some great players hanging here and
sharing things that truly help a lot of people with their pusuit of
jazz guitar. What is your problem?
Gerry
Inside, deep inside, he's broken.
--
-- Gerry
Joey Goldstein
Interesting story.
Your playing must blow Jack's playing away then I guess.
I've heard Jack play.
Got any clips of your own playing I could hear too?
BTW
I know Jack's real name.
What's yours?
--
Joey Goldstein
<http://www.joeygoldstein.com>
<http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
joegold AT primus DOT ca
Maj6th
> Your playing must blow Jack's playing away then I guess.
> I've heard Jack play.
> Got any clips of your own playing I could hear too?
>
> BTW
> I know Jack's real name.
> What's yours?
>
>
I was wondering when this thread would lead to' "show me your clips," and
"who are you."
I still fail to see how any clips can validate an opinion. that's like
Jimmy Bruno giving us all a clip and then declaring the earth is flat. By
your standards the fact would be true because JB is such a fine player.
Maj6th
Joey Goldstein
>> Interesting story.
>> Your playing must blow Jack's playing away then I guess.
>> I've heard Jack play.
>> Got any clips of your own playing I could hear too?
>>
>> BTW
>> I know Jack's real name.
>> What's yours?
>>
>>
>
>
> I was wondering when this thread would lead to' "show me your clips,"
> and "who are you."
And now you know.
> I still fail to see how any clips can validate an opinion.
I don't think J6F has really expressed an opinion about anything has he?
What I saw was him dissing Jack's abilities in favour of his own
abilities, in this case his abilities as a guitar student. He also seems
to be implying that he's a superior player to Jack.
Since I think that Jack's abilities are pretty sophisticated, I'd just
like to know where this other guy is coming from.
If he plays circles around Jack then it's a pretty good testament to
Dennis Sandole's teaching abilities too, which Jack sounds kind of
non-plussed about.
And it would imply that perhaps Jack really wasn't the best student at
that time.
I.e. J6F's abilities or lack thereof will help to validate this
particular story for me.
> that's like
> Jimmy Bruno giving us all a clip and then declaring the earth is flat.
> By your standards the fact would be true because JB is such a fine player.
But whether or not the earth is flat has nothing to do with Jimmy's
proven abilities as a guitar player.
I take Jimmy's opinions about *guitar playing* much more seriously than
I do the opinions of most other folks here.
You should too, in my opinion.
Anybody can have an opinion. They don't need me to validate it and you
don't need me to validate for you.
But if I'm going to actually consider someone's opinion for myself I
want to know what experience(s) they are basing that opinion on.
If someone is expressing an opinion about how the guitar should be
played then I want to hear how they play the guitar. At the very least I
want to know what their background is as far as listening to guitar
players is concerned.
What's wrong with that?
I just happen to value informed opinions more than I value opinions
based on ignorance. That's all.
I think that everybody should do the same.
Don't you?
If not, then why not?
I also think that anonymous posters are generally full of shit.
But that's just an opinion.
Gerry
Hi, I was watching an old movie on TV for a few hours there.
Have there been any calls for me?
--
-- Gerry
danstearns
I know this is a slippery slope, and I don't think there's one "right"
answer. However, I do think I personally tend to give a little more
slack to the caustic polemic of say an Ives or a Partch simply based
on what they have accomplished. Conversely, I distinctly remember
seeing one of my early heroes doing a sound check at some college in
Boston (Fred Frith with Skeleton Crew doing of all things classic CW
covers), and being fairly horrified to hear him barking the (most
likely) volunteer PA guy down like a dog. It really put a bad taste in
my mouth, but again, based on his amazing body of work, I more-or-less
let it fly...though it never really left my mind either....it's a
tough question for sure.
TD
Listen to no putdowns from cowards who remain anonymous. No need to
hear them play. And especially no need to glorify them by dedicating a
thread to them. We invite trouble when we do and we all tend to act
like old ladies.
-TD
andy-uk
> I still fail to see how any clips can validate an opinion.
Actions speak louder than words,
however ,
1) Listening is a subjective experience ... if you are in a bad mood
or good mood this may alter your perception of the clip.
2) Recording quality is a factor as well as the equipment it is played
back on.
3) Seeing a live player is a vastly different experience than hearing
a clip.
4) Certain styles of music may not be appealing to some listeners and
hence alter their perception of the performer.
5) A composer today is less likely to be of the old style "composer/
performers" of the last century and may not be a good performer on his
instrument.
That said , any musician can get a very quick instinctive snapshot of
"where someone is at" in terms of ability very quickly from a clip.
So I would view someones technical and improvisational/compositional
opinion with more value if they had good clips.
sheetsofsound
Hmmm Maj6, joey6string, 6 fingers...
I'm seeing a common denominator here... LOL
Countdown to a Maj6 meltdown 5, 4, 3, 2, 1...
Chuck
published by me and distributed through my school Modern Music Studios
Inc.
There has always been controversy about the origins of the book.
Dennis had conceived and organized this material long before it was
published. At my urging (and I'm sure the urgings of others), he
finally agreed to proceed with the production of the book. I took
dictation and the outlines of the book directly from Dennis and then
hand wrote the entire manuscript.
The original copy of Guitar Lore was black and had steel spiral
bindings. There were only 1000 copies of that edition made so if you
can find one, it's a collectors item.
The material was essentially a compendium of techniques considered
essential for the virtuoso guitarist. It first covered left hand
position and then right hand pick hold and stroke. Contrary to popular
opinion, it did not advocate strict alternate picking nor a "stiff
wrist" picking technique.
Topics covered were the development of a system of "jazz" chords,
chord scales, rhythm studies, sequences both diatonic and chromatic,
arpeggios through extensions, scale fingerings in multiple octaves,
interval studies, exotic scales, and technical studies of all
different types including double stops. This was in essence a
technique book - not so much mechanical but musical technique. Of
course, all technique must have a musical aspect to it or it won't be
applicable to the "real" world.
The book did not deal directly with improvisation, melody and chords
or repertoire.
There was to be a follow up to this book called "Scale Lore" but it
was never published.
Chuck
> On Aug 14, 11:19 pm, Chuck <ChuckAnderson...@comcast.net> wrote:
>
> > If anyone is interested in the real story behind Dennis Sandole's
> > seminal work "Guitar Lore", get in touch!
>
> > Chuck Andersonwww.ChuckAndersonJazzGuitar.com
> > ChuckAnderson...@comcast.net
>
> Hi Chuck,
> I would like to hear that story.
> All the best,
> John
Guitar Lore was not originally published by Theodore Presser. It was
published by me and distibuted through my school Modern Music Studios
weichew
Has any of his notes or manuscripts survives?
I hope that it would get publish before a body of work gets lost.
danstearns
>
> - Show quoted text -
For What it’s worth….jack, maybe you're right, but unless you know
something I don't maybe you're wrong too?
Anyway, I don't think it's wise to go this route. Again, assuming you
don't know something I don't, the end result of this kind of finger
pointing is usually no less (or not much less) ugly than the initial
foolishness.
The way I look at is that if you stand by your thing, let trolls
troll.... and even if it's is - and it most likely always will be - a
rough and ugly ride to that place, the onus is on them to counter your
thing with SUBSTANCE and not just some empty forum drivel (at least
for anyone who isn't sub-intelligent or psychologically defective).
sheetsofsound
wrote:
i'm not standing by anything. The 6fingers is a quack but the one
thing I know is that you can't take this group seriously so most of my
postings here are in the spirit of this being entertainment on the
order of Jersey Shore.
sheetsofsound
I'll sell my original copy for $500 shipped. :)
Joey Goldstein
> this being entertainment on the
> order of Jersey Shore.
lol
Maj6th
I didn't read the thread like that, It was my impression that it was two
people giving their individual opinions about the merrits of a music
instructor. It did escalate to an alleged incident that may, or may not
have happened. It had nothing to do with the actual playing ability of
either person, if the instructor did dismiss one of the player's abilities,
it would have probably been more pertanant to ask to hear to hear the
instructor's clips; again, if, the mentioned incident ever took place at
all..
I just don't agree with the "show me your clips" thing unless guitarist A
says, "I can play faster than guitarist B," and then one has the right to
ask for the objective proof of guitarist A's claim.
I think you have more music theory and music history knowledge than probably
ninety nine percent of the people posting here, but would it be fair to pit
your clips against a monster guitarist like Cal Collins' clips, who to my
understanding knew next to nothing about theory, or other great players of
the same ilk, to show who knew theory better?
Maj6th
sheetsofsound
swing and a miss. Nobody's measuring d*cks. the point of clips is to
demonstrate you have a working knowledge of what you are pontificating
about.
Gerry
I just got word from Holger: This topic is closed. Sorry.
Let's move along fellows...
--
-- Gerry
TD
Again, anyone striking out at another player here or anywhere,
anonymously, has no validity what so ever. The clip-cloppers can have
the view of "Oh yea?...let me hear your clips", if the put-downer
reveals himself, if that's what they need in order to find peace of
mind as in: "Oh hahhahaha...listen to that lame shit.whewww....safe!!"
Point is: good players do not accommodate that. They do not come on a
newsgroup and put other players down. If you ever should see it, it
would be extremely rare and, for the put-downer, uttermost
dangerous..
Now from my personal experience with Dennis Sandole as a one time
friend and mentor, he would never put down a student in the presence
of another student. But sure, anything is possible and I can be naive
too. Yet, what kind of persona would that leave for Dennis? In
addition, he was a very religious man. As for Guitar Lore, it is a
good book for intermediate guitar students. It teaches scales (exotic
scales too), fingerings, and chordal studies, picking, harmonics etc.
It is not a book on the art of improvisation nor is a thesaurus of
scales and melodic patterns( which is also not really a study on
improvisation and was not meant to be). They are what they are. GL is
what it is. I find that it is a valuable tool and I am honored to have
my name on the back cover (revised edition) in such illustrious
company.
The two books ( Slonimsky's included) are not comparable and one is by
no means an alternative to the other. GL also does not represent
Dennis' actual teaching method, which was very deep and very involved.
I found ways to turn both books into aids towards ideas for
improvisation. There is no book on improvisation, for that matter, as
one point of view.. Such a book would be improvised and written in a
stream of consciousness manner, as another point of view. The very
word, "improvisation" is too cryptical to be a subject of teaching. We
make the books open our eyes to find our own way. Books feed us ideas.
All this other bullshit here hardly transcends high-school antics.
It's just another form of "Mamelukeness." Men do the playing.
Mameluke's just jerk-off with their mouths.
-TD
sheetsofsound
But it's just starting to get fun! LOL
sheetsofsound
By the way, I wasn't putting Sandole down. The in-person studying was
cool though not as eye-opening as legend has it. However, the book
wasn't in the same league with in-person lessons.
TD
>
> - Show quoted text -
I know you weren't. And eye openers remain in the eyes of the
beholders.
-TD
sheetsofsound
I'm sure that's true too. There were some monster players studying
with him too. Unfortunately, ole 6fingers unfortunately wasn't one of
them but you're right. Dennis never commented on anyone's playing
outside the privacy of the closed door.
I highly suspect that if 6fingers was in the private room with Dennis
for as long as he claims a kidnapping charge would have been filed.
Joey Goldstein
> but would it be
> fair to pit your clips against a monster guitarist like Cal Collins'
> clips,
I'd never 'pit' my clips 'against' anything.
But they are perfectly adequate to demonstrate that I do have some
experience with some types of music when needed.
They are perfectly adequate for demonstrating that I may have more or
less abilities than another player too.
J6F is 'pitting' himself 'against' Jack.
Again, I know Jack's playing a bit and it's pretty sophisticated in my
opinion.
J6F needs to demonstrate at least the same amount of skill or better, or
he needs to shut the fuck up already. IMO
Why do these same conversations need to come up over and over again,
year after year?
Of course posting clips is a useful way to validate certain types of
stated opinions.
I don't see how that's even debatable.
Gerry
> On 8/17/2010 7:15 PM, Maj6th wrote:
>> but would it be
>> fair to pit your clips against a monster guitarist like Cal Collins'
>> clips,
>
> I'd never 'pit' my clips 'against' anything.
> But they are perfectly adequate to demonstrate that I do have some
> experience with some types of music when needed.
> They are perfectly adequate for demonstrating that I may have more or
> less abilities than another player too.
>
> J6F is 'pitting' himself 'against' Jack.
> Again, I know Jack's playing a bit and it's pretty sophisticated in my opinion.
> J6F needs to demonstrate at least the same amount of skill or better,
> or he needs to shut the fuck up already. IMO
>
> Why do these same conversations need to come up over and over again,
> year after year?
> Of course posting clips is a useful way to validate certain types of
> stated opinions.
> I don't see how that's even debatable.
You're challenging a troll for clips. A troll. Think about that for a
minute, and ask yourself why this comes up as a debate "over and over
again".
--
-- Gerry
Chuck
Several people have his notes from Scale Lore but it has not been
published.
weichew
>
> - Show quoted text -
Is there anything unique on his approach in "Scale Lore"?
sheetsofsound
it's because it's a weeding out procedure. If in a forum about playing
music you are unwilling to demonstrate that you play music and you are
criticizing other players, naturally folks would like to hear if
you're full of crap or not.
tom walls
Clips are a useful demonstration of a player's ability and musicality.
But the "show me your clips" gambit is more often than not just a
transparent attempt to intimidate. Better you should just say "shut
up".
TD
>
> - Show quoted text -
For whom the bell trolls.
In addition, if every critic in all the music magazines had to produce
clips after each and every negative critique, there would be no
critiques in magazines. And what about the players who will say, "They
both suck"? Or what if some say, well "the troll does really suck, but
I actually agree with him"...? I am speaking of no one here in
particular. I speak of the hypothetical concerning the clip concept.
Again, *what if it is indeed observed that the troll sucks?* The clip
clan will put their stamp of approval that the troll's victim is
henceforth exonerated from anything below spectacular and invincible?
In this case, Sandole's book is officially a piece of shit? {No, of
course Jack did not say the book is a piece of shit, but readers can
easily assume that it is.} Everyone should forget the book because the
troll can't play shit, he indeed sucks?
The troll is brash, disrespectful of his fellow man and vulgar in the
process. Ignore him, don't glorify him by doing the eye for an eye
bit. Don't make a thread heading in his name. And maybe try to hone in
on what pissed him off in the first place, if you wish to spend
valuable time in glorifying him. There seems to be more than one troll
a visiting. We should only attack certain ones and demand a clip,
beacuse they happened to step over a certain line? Ignore a troll. It
matters not how much money he has or how good he plays, assuming he is
a he. For whom the bell trolls, it trolls for thee.
-TD
Gerry
>> You're challenging a troll for clips. A troll. Think about that for a
>> minute, and ask yourself why this comes up as a debate "over and over
>> again".
>
> it's because it's a weeding out procedure. If in a forum about playing
> music you are unwilling to demonstrate that you play music and you are
> criticizing other players, naturally folks would like to hear if
> you're full of crap or not.
You've missed my point. I'm talking about this particular context, with
TheAppointmentSetter/Joe6Fingers. Joey was talking to--a troll. Do you
imagine a troll really listens to content, much less challenges? He's
hear to irritate and inflame.
It's like arguing with a newspaper.
--
-- Gerry
Gerry
> Clips are a useful demonstration of a player's ability and musicality.
> But the "show me your clips" gambit is more often than not just a
> transparent attempt to intimidate. Better you should just say "shut
> up".
The most concise and direct definition yet. Now cut for future pastes
(with attribution).
--
-- Gerry
David J. Littleboy
Sheesh, guy. Get your metaphors right. That's _Dining Room Table_, not
newspaper.
http://www.youtube.com/watch?v=nYlZiWK2Iy8
--
David J. Littleboy
Tokyo, Japan
Gerry
> "Gerry" <add...@domain.com> wrote:
>>
>> It's like arguing with a newspaper.
>
> Sheesh, guy. Get your metaphors right. That's _Dining Room Table_, not
> newspaper.
>
> http://www.youtube.com/watch?v=nYlZiWK2Iy8
Love that Barney!
--
-- Gerry
sheetsofsound
I disagree. Folks say that over and over but I've rarely seen that.
Almost every time the statement is used it's in response to someone
making outrageous claims.
I've said over and over that it's just a demonstration of whether you
have some working knowledge. I really think that folks are just afraid
though. I believe some folks have talked so much that they are
embarrassed to have others find out what they play like, hence the
huge and repeated arguments against clips.
Why is demonstrating your music any different than demonstrating your
ability to coherently write a usenet message?!?
tom walls
Everyone has their own slant on things, and your perception of
"outrageous claims" may be different from mine. I'm not going to go
digging through the archives -- nor will I produce a clip to
substantiate my claims -- but it's my take that the "where are your
clips" card is most often pulled with animosity as an attempt to
dominate and shut someone up -- not always, I can recall times when
the question has been delivered with a sense of sincere curiousity.
> I've said over and over that it's just a demonstration of whether you
> have some working knowledge. I really think that folks are just afraid
> though. I believe some folks have talked so much that they are
> embarrassed to have others find out what they play like, hence the
> huge and repeated arguments against clips.
I believe that many people aren't interested in their playing becoming
the subject of criticism for whatever reason. Even a professional like
Andy finds posting clips here intimidating. From time to time your
clips have provoked unpleasant responses, I'm sure you must have
questioned the wisdom of posting.
Most the people who post here are reasonable folks. I don't see a lot
of wholesale bullshit. If someone says something outrageous, call them
on it, then let it go. Let the readers draw their own conclusions on
the strength of the argument. No need to beat someone into submission.
That doesn't prove anything.
>
> Why is demonstrating your music any different than demonstrating your
> ability to coherently write a usenet message?!?
You lose me here. To what end?
Chuck
> If anyone is interested in the real story behind Dennis Sandole's
> seminal work "Guitar Lore", get in touch!
>
> Chuck Andersonwww.ChuckAndersonJazzGuitar.com
> ChuckAnderson...@comcast.net
Wikipedia entry documenting the career of Jazz Guitarist Chuck
Anderson
http://en.wikipedia.org/wiki/Chuck_Anderson_%28jazz_guitarist%29
RB
> Wikipedia entry documenting the career of Jazz Guitarist Chuck
> Anderson
>
> http://en.wikipedia.org/wiki/Chuck_Anderson_%28jazz_guitarist%29
Hey Chuck, I just checked that wiki page. Seems you do a lot of
teaching....Do you teach your students the floating RH like Sandole
recommended?
pmfan57
Chuck's video on Mike's master classics appears to use a floating
right hand.
(Don't know if that link works) I have a follow up question for
Chuck. Assuming he teaches a floating right hand, would he modify it
for a student playing in a more high volume situation?
Gerry
I can guess, but would like it clarified: what's a floating right hand?
Simply one that doesn't park itself via the pinky on the pick guard?
One that doesn't damp the strings? Both?
--
-- Gerry
TD
> On Aug 20, 3:05 am, RB <richardmichaelborn...@gmail.com> wrote:
>
> > On Aug 20, 3:12 pm, Chuck <ChuckAnderson...@comcast.net> wrote:
>
> > > Wikipedia entry documenting the career of Jazz Guitarist Chuck
> > > Anderson
>
> > >http://en.wikipedia.org/wiki/Chuck_Anderson_%28jazz_guitarist%29
>
> > Hey Chuck, I just checked that wiki page. Seems you do a lot of
> > teaching....Do you teach your students the floating RH like Sandole
> > recommended?
>
> Chuck's video on Mike's master classics appears to use a floating
> right hand.
>
>
> (Don't know if that link works) I have a follow up question for
> Chuck. Assuming he teaches a floating right hand, would he modify it
> for a student playing in a more high volume situation?
So such need when mastered. Few master it is all.
-TD
TD
>
> - Show quoted text -
I meant 'no' such need. I just got back from Soho.
-TD
Joe Giglio
TD
Did you mean 'I just got back from Noho'...?
tom walls
lol
Robert
No such need to..........what? Mute? If not, what about when you
bend notes?
S'mee
what about when you do pick harmonics and trills and tapping? what
about when you're playing a nice rock tune and want to get that tough
sound? how do you do it?
TD
>
> - Show quoted text -
I do not need to hear your clips. But I live in NYC. Look me up. My
name is Tony DeCaprio. You want a free lesson? I welcome you.
-TD