开云体育

Roland GR-30 will provide all kinds of effects including a good banjo.
However, I use a Fender Strat for the pickup. Synth direct plug guitars are
offered by Fender and Godin. If you want the best sound, I would suggest a
keyboard amp or PA speaker with a horn. Keep your archtop handy too. Polk
Shelton

Try puttinf a crisp dollar bill through the strings (over one string and
under the next)
with a lot of treble in your sound. I used this trick once years ago playing
with a pit
orchestra for a broadway show. The effect was very close to a banjo sound.

Flip

I need a banjo sound for a bib band piece with a Dixieland chorus. I am
using a Digitech RP-12, and I wonder what I could use to get this effect. My
thinking starts
with agated reverb to get the chunky sound, but I would appreciate any other
ideas
regarding other effects, EQ, etc.

As far as I know, hes still loyal to his Proco Rat pedal, which has a pretty dirty sound. - Ville.

From: vinong@...
Reply-To: jazzguitar@...
To: jazzguitar@...
Subject: [jazzguitar] How to get Scofield's sound?
Date: Tue, 14 Sep 1999 05:57:05 -0700

Hi guys,

I wish to know how to get John Scofield's type of harsh-distorted sound.
what effects did he use?



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jcavi-@... wrote:

Eric, you may want to contact a friend of mine, Alan DeMause, at:


Alan took lessons from Jim Hall (my favorite jazz guitarist), lives in
New York and writes books for Mel Bay Publications on fingerstyle jazz
guitar. Go to his web site, check him out and email him. He'll get back
with you and if nothing else you'll know someone else sold out to
fingerstyle jazz.

I love it all. I offer a few free online jazz guitar lessons at:


Hope this helps,

Carvel

Hi guys,

I wish to know how to get John Scofield's type of harsh-distorted sound.
what effects did he use?

I found this stuff from a site devoted to John Scofield so i thought
i'd copy it for you. I knew he used chorus and a distortion pedal I thought a
Rat but I wasn't sure
about the particulars so i wanted to look it up myself to be sure. I hope
this helps.
Teddy


Ibanez AS-200

AMPS:

- two Mesa/Boogie Mark IIIs

EFFECTS:

- Roland CE-3 analog chorus pedal
- Pro-Co Rat distorsion pedal
- Ibanez analog chorus pedal
- Ibanez three-band equalizer

i am familiar with alan (not intimately) but i know who he is... thanks. i
used one of his books when teaching guitar. -eric

aelwoo-@... wrote:
original article:

I'd like to start putting together an FAQ for this list and think it
would be worth discussing Method Books, people have found useful in
their studies and why. If you can give the title and author and as

much

details as possible it would make it helpful for others to find the
books.

My Recommendations to start with are:

Chordal Accompaniment:

Barry Galbraith - Guitar Comping. Published now by Jamey Aebersold. A
Play-a-long CD and Book. All Guitar Chords are transcribed. Excellent.

Robert Brown - Chord Connections. Published by Alfred Publishing Co. A
great book for showing the connections between Chords, lots are good
diagrams.

Theory:

Mark Levine - The Jazz Theory Book. Published by Sher Music Co. The
book every Jazz musician should own and refer too.

Single Line:

Bert Ligon - Comprehensive Technique For Jazz Musicians. Published by
Houston Publishing. A lifetimes work, which should set you on the

right

path.

Overall:

Howard Roberts and Garry Hagberg - Guitar Compendium Vols. 1,2,3.
Published by Advance Music. Another lifetimes worth of study material.
But written in such a way to solve problems and in manageable chunks.

Alisdair MacRae Birch
Jazz Guitar
Email: alisdair@...
Web:
Join The Jazz Discussion List:


I would add George Van Epps three volume Harmonic Mechanisims for

Guitar

another life's time work, Published by Mel Bay.

For more contemporary theory David Liebmans' A Chromatic Approach to

Jazz Harmony and Melody is the most informative work I have ever seen
on contempoary concepts, published by Advance Music.

Perry,IMHO the diagrams are too large I have to scroll sideways to
get at things.

Gmaj7 does not equal Ebmin 9th should be Em9

Ken

Hi, the material is located at



I think on AOL you would need to cope the URL below and paste the URL in you
browser.

If that does not work, let me know and I'll sign on to AOL and send it to
you.

Perry

Hello members,


Maybe a few of you can give me a hand at reviewing a
six page study on Rhythm Chords. The study is scheduled
for publication in Guitar Masters a week from tomorrow.

Last week we published a 10 study on Triads and a 10 page
Study on Octaves. Both have been received very well.
This material however, is a little more challenging for the
novice or casual player.

If you are unfamiliar with Guitar Masters drop on by, you may
Find it interesting. I enjoy reading your posted comments, some are very
Interesting and accurate.

You can access the new material for review at:



Perry W. Terhune
Pterhune@...

Guitar Masters

I'd LOVE to review it!...send it on down!

Hello members,


Maybe a few of you can give me a hand at reviewing a
six page study on Rhythm Chords. The study is scheduled
for publication in Guitar Masters a week from tomorrow.

Last week we published a 10 study on Triads and a 10 page
Study on Octaves. Both have been received very well.
This material however, is a little more challenging for the
novice or casual player.

If you are unfamiliar with Guitar Masters drop on by, you may
Find it interesting. I enjoy reading your posted comments, some are very
Interesting and accurate.

You can access the new material for review at:



Perry W. Terhune
Pterhune@...

Guitar Masters

I love buying guitar books. I think I own almost
every
book on jazz rhythm guitar. Doing this allowed me to
buy a book in 1992 which sat in a box until last
October.
I took all the rhythm books out one weekend and
started each one. Then I realized it was the book
for me. I recommend it for people who want to learn
jazz rhythm guitar.

It is: Jazz Rhythm Guitar, by Roger Edison. My copy
was published by Alfred and I think it is hard to find
right now.

I did every exercise and converted every exercise to
all the other keys and practiced using the cycle of
fifths. It will help you finally remember which
chords
to play for iim, V7, vim, etc. A major way to hear
altered chords is to play them. The last exercise in
this book is the tritone substitution. Now that is a
sound I want in my hands and in my ears.

I have a bass instruction book with a CD which has
a piano player playing all types of jazz changes and
progressions so the student can get the sound in
his/her ears. Once I learned the generic blues
progression and could play bass blues progessions
over and over, I could finally hear how many complex
sounding jazz songs are just blues progressions with
the soloists doing altering and substituting.

Now I'm working on rhythm guitar blues progressions.
(Now it only Mitch Seidman will publish his columns.)


I don't believe you can hear it until you play it.


Ed



__________________________________________________
Do You Yahoo!?
Bid and sell for free at

Jim Hall & Dave Holland are doing a duo performance
at the Iridium in NY from Sept. 14 - 19.

I figured out it would cost me $150 to go to NY from
Philadelphia to see the show. Anyone know if this
is a one time thing or are they doing a mini-tour?
This guitar/bass duo matchup is too good to pass up.
Hmm, if I go by myself it'll only cost me $75......

Ed
__________________________________________________
Do You Yahoo!?
Bid and sell for free at

In a message dated 9/7/1999 7:02:08 AM Pacific Daylight Time,
clay@... writes:

<< " I'd say he was at
least "very competent" or even "impressive." >>

I'd second that. The blues he plays on the Jazz guitar program is just
wonderful. Advanced concept. The guys a great player.

Ken

Of course listening to other players, and not just guitar players, is
important. Knowing
how to listen and what to listen for is at least as important. I'm seeing a
lot of caring
musicians out there on the net. I love it!

Speaking of listening....there's a new Jerry Coker book on the shelves
called "Hearin the Changes". I have a copy myself and it looks to be a
useful tool in learning to discern chord changes by ear. Jerry discusses
particular progressions (e.g. IIm7-# IIdim7-IIIm7) and gives a list of
tunes in which the target progression can be found. I'm currently working
on compiling some of the tunes in the first chapter and am debating about
getting Aebersold tapes to go along with my study of the tunes in question.

--brent

Brent D. Stuntzner Construction
7931 SW 40th Ave., #D
Portland, OR? 97219-3598

Stuntzner@...

_______________
Life without industry is guilt, industry without art is brutality.
John Ruskin (1819 – 1900), Lectures on Art, III,
The Relation of Art to Morals,[1870]

Brent, your right listening is the key...I've been playing guitar for
sometime and I have toured with some of best Jazz Katz living.....I grew up
in Spfld, MA. I've played with Fat Man, Sheldon Lasenter, Marion Brown, Elroy
Jones, Archie Sheppe, Stanley Jordan, Mark Whitfield, Kevin Eubanks, Clyde
Criner, Carl Locket, Calvin Keys, Jusif Lateef, Avery Sharpe, Tony McAlpine
and the list go on and on...What I've found out from some of these
masters....Every body is trying to sound like everybody, you have to sound
like you, how many ways can you play a scale, who say's that the scale your
playing is wrong, who saids that you have to play the song just like the
record. Just because there are books being published, what makes the
instructor right or the record? The name of the game is to learn and keep
learning and learning and take from your life experiences. Learn how to
punctuate a musical phrase, just like writing a story on a piece of paper or
holding an intelligent conversation with a friend or acquantance. You know,
commas, period, exclamation, questions..Learn to play songs at slow speed if
you can't play it fast because everybody is doing it..Learn different time
signatures not from just a book.. But from different culturals, latin, ragga,
blue, funk, jazz, classical...don't be afraid to talk to these player's that
you look up to...don't talk about technique, they couldn't explain it to you
even if they wanted too, talk about life...hangaround the doers not the one's
that don't...Music is a training that will take a life time to master if you
continue on being a student. It helps develop your left side and right side
of thinking...and if you not sure what that is and you start to get a
headache...then your making progress..It hard to teach someone who doesn't
want to understand just want to learn the lick, you have learn where the lick
came from...that can be a spiritual vibe that happen for that momemt...How
can you document that unless it been recorded and if so can you do it
again............If you can. Not all will take the challenge, I have and it
has paid off for me...I've work for many years not making a dime but making a
name for myself.. ...I've played with some the best katz around and learning
from doing not from talking...Once you understand how to make everything
happen then you just kick back and play your ass off....Play from the heart
not from substance you know what I mean..

Note: The secret is, your already there...Just need to understand who you are!

Flex

Don V Price wrote:

I don't think it's BS; rather, it's a subjective view of self-expression.
That is, after all, what the beginner needs to know -up front. Yes,
they need to know that there's no magic bullet. However, the real
problem isn't with the players who do these instructional videos, books,
etc. Conversely, the problem is a mis-application of availble
information. A great Source for inspiration (like Pat is many of us) is
not to blame; Players may not always be able to inform the piblic of what
it is exactly they are doing in order to please so many listeners. So
the "schooled" types come in and want to get these players to "share"
their knowledge and experience -which, in and of itself, is a noble
gesture. What usually takes shape however -and has with several of the
"greats"- is that someone else assumes the role of getting that talent
to place everything he or she knows intutively into an externalized
"systematic approach method" or some such other incapsulating and
restrictive form in order to "proove" that others too may play as they
do.

Of course, there is absolutely nothing bad about honest learning from
others work. We all "cop licks" from other players whom we admire. You
point is well taken that nothing can substitute for hard work, active
playing experience, and a good "ear" for tunes. The only thing you fail
to mention is exactly HOW may we help one another in this learning
process -irrespective of our experience level. As a teacher, I must
recognize that the learning curve is not a constant; many learn best
visually, others by ear, while for others the best thing is "hands on"
first, explanations second. They all must combine to create the total
musical experience.

On Thu, 9 Sep 1999 22:51:55 EDT JHoopes930@... writes:

It really kills me the way some of you people are looking for the
magic
secret something
that suddenly turns you into a great jazz soloist. I've got news
for
you....IT DON"T
EXIST. Years ago Martino was talking about a star system he used.
Now he's
talking
about thinking dimished chords when he solos. It was BS then and it
still
is. Pat
Martino is a great guitar player blessed with a wonderful ear,
supurb
technique and the
talent to put them together. There are many talented players out
there doing
the same
thing. It's that simple.

Flip
.

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Oh wow I have to get my two cents worth in RE Pat Martino. The idea of
'converting to minor' is a very practical one. Lines over minor chords
sound beautiful....Pat simply moves those m7 lines around so that he can
play them over any type of chord, be it m7, Dom 7, Dom 7 altered, Major
7, 1/2 diminished [m7b5] or fully diminished. Any of the types of harmony
above can be related to a minor chord...sometimes more than one minor
chord. So simply take your minor chord lick, play it over the related
minor chord and then see how it sounds against the original harmony. It
should sound really cool. Most of the time it does.
Here is an example . Take a nice minor 7 lick and play it in Bb minor.
Now Bb minor is almost like A7 altered [ Bb Db F is the b9,3rd and b13 of
A7 alt.] SO now play the lick over A7 altered....
Try the same Bbm lick over G 1/2 dim, DbMaj7, GbMaj7, Eb7,A7 alt,C7
alt.,Gb7 alt. If you don't understand why these chords all relate to Bb
minor, then just compare the notes in the chords and see how many notes
they have in common. And that's it. fh

thanks for the great e-mail, everyone. as a fingerstyle player i'd appreciate
hearing ideas regarding this topic. having played guitar for over 30 yrs. now
i have come to develop my own voice on the instrument and maintaining
diversity with interest in other musical genres. i find myself more inspired
nowadays by piano players than guitar players as well as listening to other
instruments to gain musical or tone or phrasing ideas.
i believe in the less is better than more school of backing up other
instruments or tyring to figure out imaginative ways to compliment them or a
singer.
my guitar heroes remain, herb ellis, joe pass, barney kessel, merle
travis, jr. barnard, even blind blake. with my pianistic interests leading my
ears to people like fats waller, earl hines, george schearing, and oscar
peterson.
the melodic lines of sonny rollins have also never ceased to inspire me.

cast off your flatpicks!
eric