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On Nov 23, 2010, at 8:13 PM, Bob Hansmann wrote:

On 11/23/2010 5:39 PM, Ron Becker wrote:

And when I walk outside I hear.....
nothing but air moving tree branches, some birds and sometimes
coyotes or enraged chipmonks.

But that's just it. When you walk outside, you're not outside at all.
You're still in that TV set...

That's who that was! June and Ward were getting it on under my
juniper tree. June...... Ward.... June.... Ward.... But they kept one
foot on the grass at all times.

Ron
Living and playing outside the box.



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Hello all,
Just joined today.
I've been a guitarist for 35 years. Due to an auto accident, I lost the use of my left arm for 10 years.
I regained the use of it last year and I'm starting to learn to play again. I play mostly Blues but played pretty much everything in my day.

I'm looking for a book I lost in a flood.

Anyone know where I can find "Styles For The Studio" by Leon White?
Any help would be grately appreciated.

I used it in the 70s to learn and practice scale patterns.

Thank you all, Wayne

Anonymous is waging war against the RIAA. Dismayed by the downfall of LimeWire, they have gotten more serious in their threats. Their standard DDoS attack is part of the mix, but they have also published on the office address of the RIAA and their phone and fax numbers, as well as, the home address and phone numbers for CEO Mitch Bainwol and his wife Susan.

Participants are encouraged to bombard the RIAA and their leader with prank phone calls, pizza, black faxes, and other "creative" things they can dream up. This time, the group is blending the cyber world with reality. Anonymous fears future attacks on sites like Demonoid, The Pirate Bay, or HDbits. Therefore, they are calling for an all out attack on their greatest foe, contending that no private entity should have "control over the freedom of information."

Website:
Berklee College of Music and Harvard Business School are hosting a Music Industry Business Model competition, and the Berkman Center for Internet & Society at Harvard University (in collaboration with Harvard Law School's Journal of Sports and Entertainment Law) is running a Call for Papers, both associated with the conference "Rethink Music: Creativity, Commerce and Policy in the 21st Century." The conference – to be held in Boston and Cambridge, MA, April 25-27, 2011 – is designed to provide a forum for high-level deliberation among creators, industry experts and academics about the future of the music industry.

Music Industry Business Model Competition
Berklee and Harvard Business School are accepting submissions for a music industry business model competition, seeking proposals that provide new or improved ways to encourage and monetize creativity in the evolving music industry. Participants should submit a 500 word executive summary of their proposal (in pdf format) to rethinkmusic@... before February 1, 2011.

The proposals will be evaluated using three criteria: value creation, innovation, and viability. A group of finalists will be invited to submit a complete business plan, to be reviewed by a panel of venture capitalists, faculty from Harvard Business School and Berklee, and industry executives. Berklee will award $50,000 to the best business proposal, and $5,000 to the first runner-up. Finalists also receive the opportunity to present their plans at the Rethink Music conference. For complete submission guidelines and rules, please visit Rethink-Music.com.

Rethink Music Call for Papers
The Berkman Center for Internet & Society at Harvard University, in collaboration with Harvard Law School's Journal of Sports and Entertainment Law ("JSEL") has put out a call for papers, seeking policy proposals that advance the interests of music creators, consumers, and entrepreneurs. Responses will suggest changes in existing intellectual property or other laws relating to the creation, production, distribution, performance, or other use of musical works.

Papers will be reviewed on criteria including identifying problems with existing laws, recommending changes, and feasibility of implementation. Up to four authors will be invited to present their work at Rethink Music, with Berklee providing airfare and accommodations. Up to two of the papers will be considered for publication in JSEL. Submissions must be received by January 24, 2011. Applicants should adhere to the guidelines posted at harvardjsel.com/submissions and indicate that the submission is for the Rethink Music Call for Papers. A copy should also be sent to rethink@.... Complete details about the Call for Papers are available at .

Rethink Music, presented by Berklee and MIDEM, in association with Harvard University's Berkman Center for Internet and Society and Harvard Business School, will focus on economic and policy concerns that dictate the viability of creative industries. The event is designed to provide a forum for high-level deliberation by experts, with input from creators and stakeholders from across the spectrum, about the future of creative works, their distribution, and the laws that regulate them. The event aims to differentiate itself from the myriad of other music and intellectual property conferences by focusing on law, economics, and emerging business models together; extensively involving creators; soliciting input from both within and outside of traditional music companies and organizations; and inviting submission of policy proposals and business models.

"For people of the college-aged generation, sharing music is part of our way of life. We've been burning mix CD's for each other since middle school, utilizing Web sites such as Pandora and Hypem to discover new artists and yes, illegally downloading music via peer-to-peer programs."

"Artists need to accept the changing attitudes of our generation towards music, and support music sharing and discovery rather than stigmatizing it.

Don't worry; we will still go to your concerts, we will still listen to the radio and we may even help spread your name around while we're at it."

Comment:

"Patrik
posted 11/23/10 @ 5:55 PM CST

But where does this leave the songwriters? The arrangers? The producers? The engineers? The mastering guy? The remix artists? Recorded music is made by an army of people, many of whom NO ONE is going to pay to see live.

Recording an album, or even just a song, is an arduous process. It's not easy. It's not as simple as standing in front of a mic and performing. Most bands break up during the recording of an album. Far more break up in that process than they do on tour, which is a hell unto itself. That should tell you something about how much work, effort, tears, and heartache go into recording... and it also costs some money, too.

The problem with the idea of musicians focusing on live events is that it confuses the thing that people really want. What they want is recorded music, or else what good is the iPod, or the mp3 format? Most (yes, truly, MOST) people do NOT enjoy live shows. They don't enjoy bars, they don't enjoy the loudness, they don't enjoy being gouged for every amenity... but they still love music. They still want to listen to it on their own. These are the people who will suffer the most in the predicted future."

New Universal Music chief plans cost-cutting drive to rescue troubled US operation. Lucian Grainge pledges to overhaul business after fall in earnings due to plummeting physical music sales.

According to the British Musicians' Union, 87 percent of member artists are making less than 16,000 pounds ($25,530) a year.

According to PRS for Music 90 percent of members are earning less than ?5,000 a year, or roughly $8,000. PRS handles royalties for songwriters and publishers, and often finds itself defending against accusations of unfair licensing demands on small businesses, startups, and just recently, Google.

Where a Bird Played Sax, Now Others Find Refuge
Kirsten Luce for The New York Times
By COREY KILGANNON
Published: November 23, 2010


There are two signs in front of 151 Avenue B, a row house in the East Village facing Tompkins Square Park. One is a bronze plaque identifying the building as a former home of the jazz legend Charlie Parker, who lived in the ground-floor apartment from 1950 to 1954.

The other is a handwritten slip of paper taped to the window of that same apartment, warning, "Please Don't Knock Before 2 P.M."

Both signs were put up by the building's owner, Judy Rhodes, who worked hard to get the building declared a city landmark in 1999.

As for the "Don't Knock" sign, Ms. Rhodes said she still favored the "jazz hours" she kept when she was a jazz producer, photographer and hard-core fan.

"Nighttime is still the only time I can settle in and take care of my projects," said Ms. Rhodes, 74, who since 1979 has lived in the apartment Parker inhabited with Chan Richardson and their children.

In the life of the saxophonist nicknamed Bird, it was an atypically stable period. Here in this cozy apartment, Parker became a family man. He ate regular meals with the children, pushed them in swings out back and walked them to school. It was Bird's sanctuary — he once practiced in the large walk-in closet. There is still plenty of bird song in the apartment. Ms. Rhodes has two pet parrots and she takes in injured pigeons she finds nearby and nurses them back to health. She releases the recuperated ones in Central Park or at a bird sanctuary upstate.

On 11/23/2010 10:49 PM, JVegaTrio@... wrote:

Not sure what you mean by "steel" strings, since those are the strings that would usually be on an acoustic dreadnought... Perhaps you're referring to bronze vs. nickel-silver strings?

I have used (and liked a lot) "electric" strings (steel, monel, nickel, &c. - I prefer GHS Boomers) on acoustic guitars with magnetic pickups. The response through the amp is mush more uniform than that of a bronze wound string. With a mic, or piezo, or nothing, I prefer Martin Marquis strings.

best,
Bobby

I have heard of folks who have placed "Steel" or "Electric" strings vice
"Bronze" on their acoustic due to having a magnetic pickup and it reproduced the
sound better.

So....

What are the pros and cons of putting electric strings on an acoustic
dreadnought? Depends on type of pickup in the guitar? What if there isn't a
pickup? What if you are going to add one later on down the road...what
considerations on types of strings to put on it then. Or for that matter, what
pickup system do you install AND what strings do you use with it?


Andy


?


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Well hopefully the pickup will be with you a lot longer than the
strings.......when you add the pickup probably will be time for a string change
anyway. I like the K+K system with the mini mike in the bod.

I use a mixture of nickel wounds (steel would be too aggressive for an
acoustic)

acoustic bronzes

and flats (insert Dave Woods groan here) on my archtops


strictly bronze's on the flats.

:-)

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Hey Andy,

Not sure what you mean by "steel" strings, since those are the strings that would usually be on an acoustic dreadnought... Perhaps you're referring to bronze vs. nickel-silver strings? Maybe you can tighten up your question, I'm sure you'll get some good info.

Cheers,
JV

Juan Vega

How Music Works - UK Channel 4 documentary (~180 mins.)


How Music Works 1 - Melody
Why does melody affect us so deeply, from the moment we are born? Tunes touch our deepest emotions, and are capable of inspiring love, sorrow, faith, and hope. But how does a melody actually work? In this film composer Howard Goodall looks at melody's basic elements. Why are some melodic shapes common to all cultures across the world? Can successful melodies be written at random? If not, what are the familiar melodic patterns composers of all types of music have fallen back on again and again, and why do they work? Setting out on a journey that moves through the centuries, Howard looks at the curious link between Tudor England and the Mississippi Delta, and uncovers melodic shapes common to all cultures across the world. Following a trail of diverse musical sources from Gustav Mahler to Paul Simon, Shaker hymns to Bulgarian folk songs, medieval choral music to the Broadway showstoppers he reveals the tried and tested tricks of the composer's trade.


How Music Works 2 - Rhythm
From the moment our hearts start beating, rhythm is integral to us all. From walking to dancing, from clicking our fingers to tapping our toes, we are all programmed to respond to rhythm. In this film Howard looks at the common rhythmic patterns that have been used by musicians from all cultures, from Brahms to rappers, from the founders of Cuban son to Philip Glass, from Stevie Wonder to Fats Waller. Why do some rhythms make us want to dance, while others make us feel tranquil? How does rhythm 'work' when there is no obvious pulse, as in much classical music? What links African drumming to J S Bach? Why do virtually all popular singers sing ahead of the beat? And how is it that a tiny Caribbean island has produced a rhythm that dominates popular music the world over?


How Music Works 3 - Harmony
In the late middle ages western harmony started on a journey that would take it in a completely separate direction to that of the music of other parts of the world. It discovered chords, and, over the next seven centuries, began to unlock their harmonic possibilities. In this film Howard looks at how western harmony works, and how, in the present day, it has fused with other forms of music to create new styles. Chords led to chord progressions, and Howard looks at how familiar patterns of chord progressions give all kinds of music from classical to popular their sense of forward movement. Why do the same chord patterns appear again and again, from Renaissance Italy to the latest chart hit? Musicians have always liked to tamper with the basic chords, and experiment with dissonance. We see how these tricks of the trade actually work, and the emotional and musical effect they have. From the folk musicians of the middle ages to Bach, Beethoven, and Wagner, from Chuck Berry to David Bowie, Hendrix to Coldplay, the same harmonic techniques surface again and again.


How Music Works 4 - Bass
Music is usually broken down into melody, rhythm and harmony. But what about the very lowest notes in music, that can have an impact on all three? In this film Howard looks at the abiding fascination musicians and composers have had with the bass. For half a millennium instrument makers have been trying to construct instruments of all shapes and sizes capable of thudding, sonorous low notes. Only with the arrival of the synthesizer did they succeed in producing a rival to the mighty organ. With disco, dance, and drum 'n' bass, the bass has arrived centre stage. But bass notes have another, crucial role. Far from just plodding away in the background, bass lines can have a critical effect on the whole structure of a piece of music, helping to drive the chord progressions. Howard looks at the dark horse of the musical family, and its use in the hands of such diverse musical talents as Johann (and Richard) Strauss, John Philip Sousa, Stevie Wonder, Elton John, Albinoni, Bach and Motown's resident bass maestro, James Jamerson.

On 11/23/2010 5:39 PM, Ron Becker wrote:

I was probably 25 lbs lighter.

That reminds me - anybody out there see Christina Aguilera that night?

On 11/23/2010 5:39 PM, Ron Becker wrote:

And when I walk outside I hear.....
nothing but air moving tree branches, some birds and sometimes
coyotes or enraged chipmonks.

But that's just it. When you walk outside, you're not outside at all. You're still in that TV set...

New topic - What are the pros and cons of putting steel strings on an acoustic
dreadnought? Depends on type of pickup in the guitar? What if there isn't a
pickup? What if you are going to add one later on down the road...what
considerations on types of strings to put on it then. Or for that matter, what
pickup system do you install AND what strings do you use with it?

Andy

But a LOT cheaper here!




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I found it. I'll do both listening slowly and looking at the transcription. I got rhythm too. What great tunes to work on.

On Nov 23, 2010, at 1:18 PM, Bob Hansmann wrote:

On 11/23/2010 1:01 PM, Ron Becker wrote:

Thank you some.
Fishbowl....hhhmmmmm, I am setting five feet away from 30 feet of
thermopane glass but the people look like trees and sky and a pine
covered ridge that ascends into a 10 thousand foot mountain.

Yes, but if you look closely at the outside edges, you'll see a slight
curvature. Also, remember that before 1983, you looked 5 pounds
lighter.

Wrong pizza breath, I was probably 25 lbs lighter. That curvature is
a perturbation the matrix at your end. And many of those people
outside are agents; watching you for deviant behavior. I guess they
aren't paying much attention. All those trannies comming
going......It doesn't appear here in the land of pristine hippy-ness.
And when I walk outside I hear.....
nothing but air moving tree branches, some birds and sometimes
coyotes or enraged chipmonks.

Ron
Living and playing outside the box.



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Couldn't you just load the mp3 (there's one on emusic.com) into Audacity, Transpose! (or another slowdown program), slow it down and learn it by ear?

-Keith