开云体育

Staples sells a $30 product that takes your cassettes and interfaces to your
computer where the tapes get digitized for burning to CDs ....

But your asking if a tape player can play mp3 files ... not that I know of ....


John Amato
Isaiah 55:11








________________________________
From: Ron Becker <ron45@...>
To: Jazz Guitar <jazz_guitar@...>
Sent: Wed, November 3, 2010 4:38:46 PM
Subject: [jazz_guitar] mp3s on CDs


I have an old sony walkman. Does anyone know if they will play mp3
files?

ROn

Living and playing outside the box.









[Non-text portions of this message have been removed]

John Hall,
This one's for you!



:-)
Bob Hansmann

John Hall,
This one's for you!



:-)
Bobby

Another good book for reading might be the old Arban's
trumpet method. Probably not worth buying, but if you know
an old trumpeter. The range is from low G (below the staff)
to high C (above the staff) and, in general, flat keys are
favored a bit.

Al


Yes, Arban is good ....
And there's a Clarinet book I used years ago ... I forget the title ... but it
was very good ....







[Non-text portions of this message have been removed]

Another good book for reading might be the old Arban's trumpet method. Probably not worth buying, but if you know an old trumpeter. The range is from low G (below the staff) to high C (above the staff) and, in general, flat keys are favored a bit.

Al

Depends how old.

I have one that will

I had an older one that wouldn't.

At 04:38 PM 11/3/2010, you wrote:

I have an old sony walkman. Does anyone know if they will play mp3
files?

If you mean a Discman, I don't think so. I had one in the early 90's and that was before the wide adoption of mp3.

Newer ones might though.
Chris

I have an old sony walkman. Does anyone know if they will play mp3 files?

ROn



Living and playing outside the box.

I have the Green book. I see it as rather advanced, or at least strong intermediate, and not a comprehensive introduction to comping. It focuses on shapes of common chord fragments and shows how with upper and lower voices added, they are transformed into other chords, often altered or extended. The ii-V-I examples using these are eye-opening and creative. It is not theory-laden, for example it refers to the three notes on strings 4,3, and 2 (same fret) as a major triad and immediately begins extending and altering tones to show the new chord, without any detailed explanation.

It shouldn't be anyone's first comping book, but it's an excellent second one.

Digital Music News Article:

Who's Really Destroying Music? Take a Closer Look...
Monday, November 01, 2010
Paul Resnikoff


If you want to beat up on the majors, have fun - there's plenty of material to go around. But just be prepared to beat up on the tech sector as well, because they're just as responsible for devaluing music and lowering artist welfare. It's the only balanced way to view the crisis that music finds itself in today.

Wait, what? Isn't tech all about innovation, access, and opportunity? Aren't the labels to blame for not keeping up, for trying to pound the music fan back into the 90s?

Sort of, but it's just not that simple. Sure, labels have been reacting to innovations out of Silicon Valley for more than a decade, and doing a mostly poor job of adapting. But beyond the breakneck breakthroughs and exciting disruptions, tech giants are ultimately profit maximizers - or, they're trying to figure out how to get to profitability. And just like consumers, they rarely want to incur costs for music.

In fact, they mostly fight tooth-and-nail to avoid any costs or liability, even though free content is enhancing their bottom line by billions. That goes for ISPs, Google, file-swapping apps, device manufacturers, whatever. There's rarely a discussion about how to compensate the creative class without some legislation or lawsuit hanging overhead.

But tech is cool! It's where everything is going, the music industry just needs to adapt! Well, just try tracking your content down through DMCA takedown procedures, try making money on the Limewire Store, or try getting subscribers to pay for your well-crafted-and-curated startup. Get past the cool-factor, put down Wired Magazine for a second, and suddenly a different sort of cool emerges - a cold-and-calculating business approach, just like the majors and everyone else seriously trying to make money in this game.

The fanboy blinders always kill the bigger picture. Because if you think Steve Jobs is part of the solution, then you're ignoring concepts like "Rip. Mix. Burn." and the real economics behind iPod+iPhone+iPad+iTunes. If you think Google is great for music, then maybe you've never found entire torrent discographies in one search, or received a paltry check from YouTube. Sure, Google may smartly integrate paid results as part of its upcoming music launch, but they're just as likely to shuttle personal collections into the sky. And guess where those songs came from?

This is not a dig against game-changing technology, just a question-mark over why music is never cut into the action. The iPod, for example, is an incredible innovation that upended music consumption overnight. But without the music and the money required to make that music, the magic is gone.

But aren't majors responsible for folding their arms, scaring away investors, and forcing startups into bankruptcy through ridiculous licensing costs? Absolutely, but that's only part of the picture - and this discussion goes far beyond the big four.

In fact, music startups themselves are doing everything they can to make this space work. Tim Westergren has been pushing every button to get listeners to pay, and competitors like Slacker are achieving some level of traction through direct mobile billing. Spotify has pushed to 650,000 paying subscribers, and Vevo is ramping CPMs into the $20s. But getting some of the people to pay some of the time is just not enough, the souffle needs to be fully-baked. And that is difficult to achieve in hostile tech territory.

And what about the artist? Here we have an army of creators trying every experiment imaginable to monetize their fan relationships. They're hitting the road, Twittering till dawn, demo-splitting their email addresses, and bundling with abandon. But they're also competing with free, and just like the majors, most are having extreme difficulty generating a sustainable income. And it's not entirely their fault.

The shape of things to come, from the press release:

"Google new online music service in China at:



The service is free for users from Mainland China but is currently not accessible from any other country.

Users can search, download or stream free licensed music and choose from a pool of over 1.1 million songs. Users will be able to search by musical measurements such as the level of "beat" in a song and "instrumentality," as well as by artist and song name. The main revenue model is based on banner advertising and expected to grow to a business with 100 million yuan ($14.6 million) in annual revenue within the next few years. Songs are distributed through Googles chinese partner Top100.cn and revenues will be shared with the labels at approx. 50:50."

There a questions over Google strategy and direction with regard to licensing because of there choice to trial in China. IFPI said last year that more than 99 percent of all music files distributed in China are pirated, and the country's total legitimate music market, at $76 million, accounts for less than 1 percent of global recorded music sales. Downloads of unlicensed music and videos are rampant in China, the world's biggest Internet market by number of users. The recording industry is hoping the new service will attract users away from illegal download sites because the music and service will be of a higher quality. But questions still remain.

Furthermore, there are many backdoor ways of getting MP3s e.g.:



BBC News Report

In a message dated 11/3/2010 3:51:38 P.M. Central Daylight Time,
ron45@... writes:

I have an old sony walkman. Does anyone know if they will play mp3
files?
===

Don't think so but you can easily convert mp3 to something that it will
play.

Jack h

Hi Alisdair,
Yes I agree regarding the practice of mixed rhythm's. Phrasing is independant of barlines so straight 8th's don't teach you alot about the art of soloing/ creating solo's.

Best regards, Mark

[Non-text portions of this message have been removed]

--- In jazz_guitar@..., Bob Hansmann <bobbybmusic@...> wrote:

Hi Alisdair,

Companies have pulled the rug underneath the music industry and the
sad thing is, many have not received the memo about this.

As you can see, most who have gotten the memo threw it out with
yesterday's fish. As usual, whether it be about recording or about live
performance, most musicians have only themselves to blame for their own
lack of success, and quite a few resent the success of others.

I am actually heartened that many of the younger generation are
beginner to realize that all is not right with the "new music business" and you can see it from their comments that are now appearing on blogs. I feel sure this will help towards us finding
a new direction. IMO, it's the older generation, whose demos were
constantly rejected by the record companies or were burned by
those companies, that the technologists tap into to continue their agenda.

A number of my former students who studied with me for many years, grew up with the web and it's trappings. They launched their music
careers on the web, itunes, youtubing, facebook, myspace, twitter etc.,

Now 7/8 years later and much blogging, posting etc., they are finding
it's still not panning out into a viable music career.

One of my students has become a big anti-piracy crusader. He never
had record deal, he launched his career on the web and was completely DIY musician. He set himself up as an independent artist, independent publishing, recording and distribution, using the web resources and mp3 downloads. Recording his own material. International self managed and booked tours. All was going well until when suddenly his income dropped. He had reached that point where he was now popular enough that his material was now pirated on the web and was being obtained that way. Suddenly, few sales, few recorded returns therefore no royalties. What people don't understand is that a musicians income is derived from multiple sources. It's not possible to live on just one stream. But if a number of the streams dry up you are left with very little.

As he commented awrly to me "Yea, you know when you really are
"making it", when they pirate your s**t everywhere on the internet,
or in other words if your s**t ain't been mass pirated then you ain't
made it!"

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

--- In jazz_guitar@..., Rod Ellard <e11rod@...> wrote:

I'm looking for a book or two to practice my reading.? What I have in mind is
something like Leavitt's "Reading Studies".

To improve your reading you should read everything and anything, daily. Get all types of sheet music, classical, folk, childrens songs,
music from other countries, you need to read from a wide variety.

If you don't already have a teacher/mentor, who is an advanced reader, you should find one. You will need guidance, and some
one to play duets. The importance of having to play "live" and
reading together can't be underestimated. Read with and without
a metronome. Straight eighth note lines are easy to play, it's
lines with mixed rhythms which need to be worked on. Because jazz exercises are invariable straight eighth note lines in 4/4, many musicians today are weak on mixed rhythms, 16th, 32nd note rhythms, and compound time signatures. Reads in at least treble and bass clef.

If you have not already worked through
Leavitt's 3 Volume series, you should start there. Be methodical.

Then:

Melodic Rhythms For Guitar - William Leavitt.
Rhythms Complete - Charles Colin & Bugs Bower
Reading Contemporary Guitar Rhythms - M.T. Szymczak

Unless you are a good reader already. Working 1-2 hours a day
the above will take 5+ years.

The books suggested by others are also fine too...

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

Hi Alisdair,

Companies have pulled the rug underneath the music industry and the sad thing is, many have not received the memo about this.

As you can see, most who have gotten the memo threw it out with yesterday's fish. As usual, whether it be about recording or about live performance, most musicians have only themselves to blame for their own lack of success, and quite a few resent the success of others.

cest la vie,
Bobby

Hi Angelo,

Ther's no need for me to reply. My "opinion" is repeatedly stated by you,
whether it's true or not. It reminds me of the Lenny Bruce bit where he
offered to do his act in the courtroom, but was not allowed. Instead, one of
the arresting officers "explained" Bruce's act and Lenny was convicted...
haha

OK. I pronounce you "convicted".
I'm off for a few days on family matters. I wish you and all on the list the best.

Bobby

For Reading Practice:
Horace Hatchett, my teach from years ago, had me work thru the
Complete Method for Clarinet by Klose.

Clarinet has the same written range as guitar.
The Klose book goes from easy to very very difficult.

You will develope an ability like speed reading. As long as the notes follow the scale tones, you will just play the flow of notes. While this is going on you will look ahead for exceptions; such as leaps or chromatic tones.

Hatch had me play the indicated articulations, also. To improve phrasing. Slurs can be play as pull-offs or hammer-ons.


Bill

On Wed, Nov 3, 2010 at 12:54 PM, Rod Ellard <e11rod@...> wrote:

I'm looking for a book or two to practice my reading.? What I have in mind is
something like Leavitt's "Reading Studies".

Also, any opinions about Andrew Green's "Comping"?

Green's book is good for showing how to use different kinds of
voicings, but it isn't a reading studies book. Just turning to a
random page (34) it has examples of multi use voicings using a major
triad and then has notation for one or two chords per bar for 48 bars.
If you want to 'raise your chord awareness' as the subtitle says it is
a good book, and does require notation reading, but isn't structured
as reading practice.

There are a lot of books available for classical guitar (eg. Sight
reading for the classical guitar - Benedict, or Classical guitar
technique - Shearer) which are made for practicing reading. Another
suggestion is Wohlfahrt's "Sixty Studies for the Violin". It is an
etude book for the violin which a lot of violinists are raised on. I
think it is good for reading practice and picking/plucking skills.

John,

This is nice. Did you write this tune?






Brian

From: John Amato
Sent: Tuesday, November 02, 2010 7:52 PM
To: jazz_guitar@...
Subject: Re: [jazz_guitar] MP3:"Kickin' It Home"




On 11/2/2010 5:08 PM, John Amato wrote:

"Kickin' It Home" ... a session w/horns ....

Very nice, John,

I like your sense of phrasing - relaxed and controlled. I could tell you
were enjoying yourself.

Bobby,

Thank you .....

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