开云体育

I think she was playing early in the year at Zanzabar Blue.
There must be a Philly Jazz web page out there.
Try Jimmy Bruno, he might know.

Bill

I would add:

Big Band Rhythm Guitar

Jim Ferguson - All Blues for Jazz Guitar. A basic introduction to rhythm
guitar with good exercises for beginners.

Charlton Johnson - Big Band and Rhythm Guitar - Comprehensive and well
written.

alisdair@... wrote:

Hey, not to be a dick or anything, but a lot of guitarists need to get their
noses out of books. There is a book for every single thing out there. You
should really try to figure things out on your own because you will
understand them a lot better. You should transcribe to learn improvisation
because all of the books are written by people who transcribed a lot and made
generalizations from the solos.
I do recomend the Jazz Theory book. Also check out "The Advancing Guitarist"
by Mick Goodrick, and "Approaching the Guitar" by Gene Burtoncini. If you
have those you should be all set with the material. Also, if necessary get a
Real book. Other than that, spend your money on CDs. That is the key.
Guitarists have millions of books and still sound bad because they dont
listen to the masters.
So stop buying all these books and check out CDs before you go any further.
Now, I'm not saying books are bad, but the real stuff is in the recordings
Sam

Does anyone have any recent information on Jazz guitarist Monnette
Sudler ?

She was originally from Philedelphia, and recorded an album on
Steeplechase in 1993 called Brighter Days For You.

Is she still playing ? Where is she based ?

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

Listen - I teach jazz band in a Community College. I tell guitarists to
catagorize the tunes. If it's "boom chuck" then it's downbeats all the
way. It all depends on the style (genre) that is being expressed. Most
players do not have a broad palette to draw from. I suggest that
guitarists ultimately concentrate their efforts on the essential chord
tones (="target" tones, "partials", etc -whatever name you put on it).
These, of course, would be the 3rd and the 7th -the intervals which
DEFINE the type of chord one is playing (or implying). The second aspect
is the rhythmic emphasis one places on such chords (or chord partials).
Together, these two elements say far more than anything else in terms of
an appropriate rhythm section!

On Wed, 08 Sep 1999 19:42:25 -0700 Rob Clark <robertclark@...>
writes:

I'm in a similar situation, just starting to play with a
Community College jazz band - I've found that the following
can help:

1) Play only one chord per measure.

2) Simplify - play nothing more complicated than a 7 chord
or triad when the going gets tough (keep the chord quality
though - major, minor, augmented, diminished).

3) Learn Freddie Greene style rhythm playing - get "Swing
and Big Band Guitar" by Charlton Johnson from Hal Leonard
Publishers ISBN - 0-7935-7381-5.

Hope this helps.

eGroups Digest wrote:

It's getting a little fustrating, as I get flak from the conductor
because everyone else thinks the song is easy, while I think the

chords

and changes are pretty hard. Anyway, does anyone have any advice

for a

Jazz guitar newbie? Thanks for anyhelp!

------------------------------------------------------------------------

MyPoints-Free Rewards When You're Online.
Start with up to 150 Points for joining!



eGroups.com home:
- Simplifying group communications

Sincerely,
Don Price




___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: .

I'm in a similar situation, just starting to play with a
Community College jazz band - I've found that the following
can help:

1) Play only one chord per measure.

2) Simplify - play nothing more complicated than a 7 chord
or triad when the going gets tough (keep the chord quality
though - major, minor, augmented, diminished).

3) Learn Freddie Greene style rhythm playing - get "Swing
and Big Band Guitar" by Charlton Johnson from Hal Leonard
Publishers ISBN - 0-7935-7381-5.

Hope this helps.

eGroups Digest wrote:

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:

For those of you with "The Real Book" did you know that it contains
five of the tracks from Pat Metheny's Bright Size Life Album:

Track1 Page 64 Bright Size Life
Track3 Page 143 Exercise #6 = Unity Village
Track4 Page 142 Exercise #3 = Missouri Uncompromised
Track5 Page 481 Midwestern Nights Dream
Track6 Page 439 Unquity Road

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

Thanks a lot everyone. I really can't tell you how much I learn from
everyone :) If it hadn't been for guitarists I've met (mostly on the
internet) I would never have gotten exposed to any music besides Rock
(which got me into guitar). Anyway, thanks a lot and I'll read and
re-read your posts to remind me to keep on the right path!

Jamie

I'm sure a lot of people know this about those
songs in the real book. It is interesting to note how they are called
exercises in the real book & you can tell how he used different concepts
dealing with scales, arpeggios to get his point across and yet keep it
melodic such as Missouri Uncompromised. The other amazing thing was how GREAT
he played at such a young age. To me Pat Metheny is my Favorite Living Jazz
Guitarist. A true Improviser & Master of the instrument. I've been following
Pat since He started out with Gary Burton "Dream So Real." Hearing Him now He
has grown so much, and keeps reaching for Newer Heights. He is such an
Inspiration. His vocabulary is on such a high level. He is one of the true
Greats! He set a precedent for others to follow. And keeps treading New
Ground. If you haven't heard it yet (which I'm sure you have) His Playing on
"Beyond Missouri Sky" With Charlie Haden Is some of the most perfect guitar
playing I've ever heard. Very reminiscent of how Wes would always seem to
play the most perfect solo ("How Insensitive, Lucky So and So, Misty). Well,
Pat is doing it Today. "Unity Village" and "Bright Size Life" True Standards
from his Bright Size Life CD. This guitar e-mail group is a really beautiful
thing, keep spreading the Spirit.
Peace,
Teddy

In a message dated 9/8/99 8:34:41 PM Eastern Daylight Time,
alisdair@... writes:

For those of you with "The Real Book" did you know that it contains
five of the tracks from Pat Metheny's Bright Size Life Album:

Track1 Page 64 Bright Size Life
Track3 Page 143 Exercise #6 = Unity Village
Track4 Page 142 Exercise #3 = Missouri Uncompromised
Track5 Page 481 Midwestern Nights Dream
Track6 Page 439 Unquity Road

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



OK....here goes...Trivia Question...What is the name of the tune on page 480
by Pat Metheny???


------------------------------------------------------------------------
MyPoints-Free Rewards When You're Online
Start with up to 150 Points for joining!



eGroups.com home:
- Simplifying group communications






----------------------- Headers --------------------------------
Return-Path: <jazzguitar-return-14-Awseyler=aol.com@...>
Received: from rly-zb01.mx.aol.com (rly-zb01.mail.aol.com [172.31.41.1]) by
air-zb01.mail.aol.com (v60.28) with ESMTP; Wed, 08 Sep 1999 20:34:41 -0400
Received: from md.egroups.com (md.egroups.com [207.138.41.139]) by
rly-zb01.mx.aol.com (v60.28) with ESMTP; Wed, 08 Sep 1999 20:34:30 -0400
Received: from [10.1.2.1] by md.egroups.com with NNFMP; 09 Sep 1999 01:33:51
-0000
Mailing-List: contact jazzguitar-owner@...
X-Mailing-List: jazzguitar@...
X-URL:
Reply-To: jazzguitar@...
Delivered-To: listsaver-egroups-jazzguitar@...
Received: (qmail 7422 invoked from network); 9 Sep 1999 00:33:46 -0000
Received: from mu.egroups.com (207.138.41.151) by qh.egroups.com with SMTP;
9 Sep 1999 00:33:46 -0000
Received: from [10.1.2.16] by mu.egroups.com with NNFMP; 09 Sep 1999
01:33:46 -0000
Date: Wed, 08 Sep 1999 17:33:39 -0700
From: alisdair@...
To: jazzguitar@...
Message-ID: <7r6v93$dpak@...>
User-Agent: eGroups-EW/0.76
X-Mailer: eGroups Message Poster
Subject: [jazzguitar] Pat Metheny Bright Size Life
Mime-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

>>

Her's what I sent to "newbie" yesterday, and now I'm putting it out for the
list after reading some of the other comments. They are good comments, and
maybe this response with a slightly different emphasis is of interest to others.

Lan

I remember getting a new guitar and really screwing up my first solo with my
HS group.

Well, are chords more of a problem than solos?

Get the charts, figure out simple chord formations that you can move through
easily. You don't need big bar chords if you have a base player. Get your
guitar teacher to recommend a good chord theory and formation book and
practice. If the rhythm hits are tough, get someone to work with you. See
if you can sing the rhythm or tap it out with your hands. If all else
fails, hit the key accents.

Ask your band director for help.

Above, all don't give up.

I've heard national recording artists say their early stuff was really bad.

For solos, get some Aebersold CDs to play along with., record yourself, and
listen.

This isn't all, but it should help.

I can't adequately express how delighted I am to read the comments of the
young
guitarists (I'm assuming they're young, compared to me at 62), coming to the
aid of
this aspiring youngster. I've always believed jazz musicians were some of
the most
giving and caring people. I've been playing guitar for forty years and I
learned from
horn players, keyboard players, bass players, and other fine guitarists.
These are a
few things I've learned in all those years.

1. Guitar is one of the easiest inastruments to play a little, and
one of the hardest
to play a lot.
2. Copying from other guitarists is a good learning tool, but
developing your own
unique style is important. Everyone recognizes Montgomery, Pass, Benson,
Stern, etc
when they hear them.
3. Try to sidestep your ego long enough to help make the musicians
around you
sound their best. This was a trademark of older guitarists like Jim Hall and
Kenny
Burrell. Listen to the unselfish way Russell Malone plays behind Diana Krall.
4. Guitar is an extremely versatile instrument. Don't be afraid to
experiment with
different strings, different pick sizes and weights, finger style, different
amps and
settings until you find your sound. I know fine guitarists who have been
playing for
twnty years or more and the're still searching for that sound. The way
different
enviornments affect sound makes the search that much more difficult

Flip

Ok, here is my "stats." I'm a 2 year guitarist, and last year I
descided to take the plunge and attempt to make my High School's Jazz
Band (being this my senior year I thought "what the heck").

Anyway, I made it in, for two reasons (I think), first I told the
Director how interested I was in Jazz and also because I was the only
one that tried out :). Anyway, now that I'm in I'm a little fustrated.
I'm going through ups and downs all over the place. One song we'll
practice and I will do pretty good on, while the next song we do I'll
probably hack to pieces.

It's getting a little fustrating, as I get flak from the conductor
because everyone else thinks the song is easy, while I think the chords
and changes are pretty hard. Anyway, does anyone have any advice for a
Jazz guitar newbie? Thanks for anyhelp!

What you are going through is very common. Band directors don't usually
play guitar, and they have no idea that the stuff you are having to
decipher on those charts is as difficult as it is. I used to feel so low
sometimes when I'd get those dirty looks from the conductor, or he would
stop the whole band and try and teach me a part.

Can you take the charts home with you? If so, start by learning each
tune very slowly all the way through. Make sure you understand each
chord, rhythm, etc. You might want to start by learning two or four bar
sections, and putting them together. Although I don't like using a
metronome most of the time this is a situation that using the metronome
can be very helpful. Set the tempo to a snail's pace, like 70 bpm, and
only increase the speed when you can nail every change. Whatever you do
don't set the 'nome to a faster speed and try and "catch up." You'll
just keep ingraining the frustration.

If you don't already have one get a chord book that is designed for big
band playing. The Mel Bay Rhythm Guitar Chord System is thorough and
inexpensive. Check it out at .
Besides the chords you're having to learn for the charts you want to
make a seperate study of each chord type and its inversions. The Mel Bay
book has drills designed to teach you each chord. Again, take it slow
and don't look for shortcuts. Make sure, for example, that you know
where the root of each chord is in the fingering, not just the fret
number.

Don't let the director or anyone else in there vibe you. These kids have
all been reading music in bands like this for years, and with the
exception of the pianist they are only having to read single notes. Give
any of them a guitar for two years and they'd be doing no better than
you.

Last, keep in mind that big band playing is a tiny subset of "jazz
guitar." It's great training, but most of the time on gigs you'll be
playing with smaller groups, and the needs are somewhat different.

Good luck,

--
Clay Moore --
jazz guitarist web developer
clay@... claymoore@...


To find out where I'm performing each week, sign up on my mailing list.
Go to

VxFx gave you some pretty good advice. You've only been playing two years
and you
have miles to go. Take the guitar in the bathroom with you. When I was
younger, that's
the only place I could concentrate. Believe me a bunch of fine guitarists
learned to
put changes together while taking a dump. Don't practice when you're feeling
frustrated,
but try to keep your excitement level up. I used to do this by listening to
great jazz
guitarists. Listening is a very important part of the learning process. An
excellent ear
is crucial for a good jazz guitarist. Stay with it and good luck!

Of course I didn't want to upset anyone with the term "fairly competent" to
describe
Oliver Gannon's playing. Actually the only playing I've hear him do was on
the Jazz
Guitarist Program. I'll take your word for it that he is very competent.

heres my formula to jazz guitar in high school for the wes montgomery
impaired. (it worked for me)
#1...When in doubt turn your guitar down and look like your playing (stare
intently at the music) most band directors dont care if someone sucks as long
as there not noticeable.
#2...If theres a piano player your stoked (especially on big band
stuff)..Hide behind him, he probably knows what hes doing. Also make friends
with him (that way he can tell you where you are in the chart)
#3...find old records with freddy green, copy his style (or at least his
rthythm patterns) Basically be as straight forward as possible, you wont
sound wonderful but you wont trip over anyone either.
#4...Screw Extensions...flat 5 raised 2 sus4 augmented chords are extremely
improtant to the song, but if you suck, you suck. Play the basic chord, be
wary of the third though (people will notice and C major played on a C minor
chord) If your completely ready to cry a power chord is at least the root and
fifth.
#5....most importantly PRACTICE your ass off, this shit aint easy, you can
only fake it for so long...and if you have to volunteer to solo, do it over a
blues progression...dont do it over Giant Steps.

LISTEN LISTEN LISTEN LISTEN. Listen to every jazz you can get. If you're in
the big band check out Count Basie especially. Pay real close attention to
Freddie Green on guitar. He "chuncks" chords out. Play a chord on each beat
not accenting any particular beats. Try to get chords that are mostly on the
bottom five strings, but emphasize the middle 2 or 3. Just listen to what
Freddie Green does. I can't stress how much it will help. Try to emulate
his sound. He used an unamplified arch top and it's hard to get that sound
with an electric guitar. Try to get as natural tone as possible. Really
listen carefully to what Freddie does. If you are playing more contemporary
music, check out Wes Montgomery's small group stuff, Grant Green, and piano
players. Listen to their chords especially since that is what you'll be
doing mostly. Try to get your piano player to trade comping over soloist,
i.e. piano under sax, guitar under trumpet. And that's another key. You
play UNDER the soloist. It's easy to let your ego get in the way, but listen
to what the masters did before you. But make sure you listen listen listen.
You get the picture.
Sam

Ok, here is my "stats." I'm a 2 year guitarist, and last year I
descided to take the plunge and attempt to make my High School's Jazz
Band (being this my senior year I thought "what the heck").

Anyway, I made it in, for two reasons (I think), first I told the
Director how interested I was in Jazz and also because I was the only
one that tried out :). Anyway, now that I'm in I'm a little fustrated.
I'm going through ups and downs all over the place. One song we'll
practice and I will do pretty good on, while the next song we do I'll
probably hack to pieces.

It's getting a little fustrating, as I get flak from the conductor
because everyone else thinks the song is easy, while I think the chords
and changes are pretty hard. Anyway, does anyone have any advice for a
Jazz guitar newbie? Thanks for anyhelp!

jimm-@... wrote:

I have used Encore, FInale.. YOu are right, Finale is very difficult
but it is a great program. Encore is simple and works great.
Recently, I have been using cakewalk. This is the easiest by far.
They also have cakewalk guitar studio which is great. YOu can check
out some leessons on line that I am beta testing. I made all the files
with cakewalk. YOu will nedd adobe acrobat reader to veiw and print
them
go to www.jimmybruno.com/elessons
the user name is "anyone" without the quotes
the password is "jazz" without the quotes

I have heard about Sibelius
original article:

Hi,

I've been using Encore 4 for a while now for notation. Very

simple,

doesn't look as nice as Finale, but I like it.

Cheers,

Shane Simpson
--


----------

From: "bruce lee mani" <blumgat@...>
To: jazzguitar@...
Subject: [jazzguitar] Re: Guitar Tabulature
Date: Mon, Sep 6, 1999, 10:24 AM

Hi,

Half the software you guys are talking isn't even available here in

India

and if it is, it's way too expensive! Are there any programs

available as

free downloads on the net?

blum

From: alisdair@...
Reply-To: jazzguitar@...
To: jazzguitar@...
Subject: [jazzguitar] Re: Guitar Tabulature
Date: Fri, 03 Sep 1999 11:28:26 -0700

Regerio

I too prefer to work on my ideas using a sequencer or the old

fashioned

way of pen and paper and them move to using Finale.

Recently, I downloaded a demo of a new software program called
Sibelius. The software was developed in Cambridge, UK, and sees to

have

gained wide acceptance in Europe. It has been a joy to play around
with, even after years of using Finale, I may switch to it. Working
with tabulature and midi file import is much easier than finale. It
also has a web publishing option, which I'm investigating. It

requires

the download of a browser plug-in called Scorch which lets you

view,

play back and transpose Sibelius scores on the Internet. Really

cool !

It may be a way for us to communicate our ideas more effectively in
this discussion group.

Check out the web site:



Has anyone else used this software ?

Alisdair MacRae Birch
Jazz Guitarist
alisdair@...


original article:

Alisdair,

I also use Finale but I always try to finish my ideas before I

start

writing

them down on paper. I use finale just to finish the job and

clean the

mess

of my hand writing.

Rogerio

----------

From: alisdair@...
To: jazzguitar@...
Subject: [jazzguitar] Guitar Tabulature

only the problem is
it's not easy to use and can destroy any inspiration.

Has anyone had experience with other software programs that

produce

guitar tabulature they'd like to share with the group ? Any one

using

software to produce chord and fret diagrams ?

-------------------------------------------------------------------

-----

MyPoints-Free Rewards When You're Online.
Start with up to 150 Points for joining!



eGroups.com home:
- Simplifying group communications

______________________________________________________