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Welcome to the group. I think it's a good place for all of
us to express our opinions.

You might want to check out the thread about Bruno and see
what I think about hardcore jazzer's who seem really close
minded and elitist. It is just my opinion, but I think it
really stinks.

Whether you like Metheny or not, he is the player of his
day, like Wes was to his and Charlie Christian to his, and
so on. I happen to think Metheny is a complete freakin'
genius, from his tone to his compositions to his
improvising. He is incredibly prolific, dedicated and true
to his art.. I know what you mean about certain player's
tone's. I cant really get with Mike Stern's tone, but I like
his playing. I am pretty much against any processed guitar
sound, which I know Metheny uses exclusively now w/ the
digitech 2120 Artist rig (and I can hear the difference in a
bad way).

Whatever Bruno said about Pat is probably something that I
will find very arrogant and close minded ("but I will fight
to the death for his right to say it" -Voltaire), as is the
case with most "old school" bebopers, whose lines you can
hear a mile away.

That being said, I'd still like to know what Bruno said. I'd
also like to hear him make 30 years of "original" music that
is cutting edge (most of it) and will stand the test of time
like Pat has. If he's like most of these guys living in the
bebop past, he probably writes a bunch of what I would call
POOP. (salt peanuts, salt peanuts) We've evolved here, ya
know. I guess one man's God can be another man's clown,
that's cool. -Mark

PS- "Pat Metheny, I mean he can play, but..." you might want
to back that up with a link to your own playing...-Devil's
Advocate


--- "J. Randall (Randy) Groves"
<bebopguitar@y...> wrote:

Hello Jazzers: I'm new to the group, and I am
interested in the Bruno
thread. I am a big fan of Bruno. He and Robert Conti
seem to be the
chops gods at the moment. Metheney? Did anyone ever
post what Bruno
said? My view: Metheney can play, but I can't stand
that digital
delay sound. It is so mushy! Every once in a while I
try to listen to
him, but give up after a few minutes. I last bought
the
Metheny/Scofield thing: nebulous jamming and
terrible tone on both
guitars. I prefer an acoustic archtop sound
(although Bruno has been
doing a lot on a solid body Benedetto--the "Benny'
lately). My two
cents.

Randy Groves

Also if you look at the circle of fifths, you will
find that
the notes of the Pentatonic make a small half
circles
around the circle. In other words, the notes of the
major
pentatonic scale are acoustically closely related.

I am new to Jazz & Blue music and I want to understand the basic
concepts of them. Could anyone tell me the differences between the
Jazz & Blues music ?

Regards,
VDT

Hello Jazzers: I'm new to the group, and I am
interested in the Bruno
thread. I am a big fan of Bruno. He and Robert Conti
seem to be the
chops gods at the moment. Metheney? Did anyone ever
post what Bruno
said? My view: Metheney can play, but I can't stand
that digital
delay sound. It is so mushy! Every once in a while I
try to listen to
him, but give up after a few minutes. I last bought
the
Metheny/Scofield thing: nebulous jamming and
terrible tone on both
guitars. I prefer an acoustic archtop sound
(although Bruno has been
doing a lot on a solid body Benedetto--the "Benny'
lately). My two
cents.

Randy Groves

From: Tran Duy Viet <VietDuyTran@...>
Reply-To: jazz_guitar@...
To: jazz_guitar@...
Subject: [jazz_guitar] The difference between Jazz & Blues
Date: Wed, 15 Aug 2001 09:42:56 -0700 (PDT)

Hi all,

I am new to Jazz & Blue music and I want to understand the basic concepts of
them. Could anyone tell me the differences between the Jazz & Blues music ?
Thanks in advance.

Regards,
VDT

A quick explanation of Pentatonic Scales. What I
write here
can hardly do the subject justice, and I'm just
going write
"off the top of my head" thoughts I have on the
subject, as
I am very pressed for time..

Introduction

The term Pentatonic comes from two Greek words
"Pente"
meaning five (other words with the "penta" prefix
are
pentagon, pentahedron, pentagram, pentadactyl, etc.)
and
tonic means tone. A pentatonic scale can be a scale
of ANY
five tones, but the most common meaning of the term,
when
applied to a major scale, is the sequence do, re,
mi, so,
la, or, for example, C,D,E,G,A. the so called C
Major
Pentatonic Scale. I prefer to use the term C Major
6/9
Arpeggio as the C Major Pentatonic is made up of the
1, 2/9,
3, 5, 6, of the major scale.

Interesting Things

There are many tunes which use the Pentatonic Scale
for
example Amazing Grace, the Japanese anthem, many
Gregorian
chants, Irish music, Spirituals (Nobody Knows the
Trouble I
have Seen), Scottish tunes (The Skyeboat Song) and
Jazz
standards (I Got Rhythm, Sweet Georgia Brown).

Interestingly as you may recall from previous posts
(about
reading) someone mentioned that Irving Berlin
composed using
only the black keys. If you start on F# and play up
the
black keys, you will find that same progression: do,
re, mi,
so, la. - The F# Major Pentatonic Scale. Most of his
melodies were sprung from the Pentatonic Scale.

Also if you look at the circle of fifths, you will
find that
the notes of the Pentatonic make a small half
circles
around the circle. In other words, the notes of the
major
pentatonic scale are acoustically closely related.
They form
an uninterrupted string of overtone # 3 (Dominant)
to
Fundamental (Tonic) relationships. The scale-tones
of the
major pentatonic scale form a succession of whole
tone
(major 2nd) and minor 3rd intervals. The scale
therefore
sounds partly like a scale, partly like a broken
chord.
(There are no semitones in this scale.)

Learning the Major pentatonic

The easiest way to learn the scale and map it out
for
yourself is to play the Guitar line that's played in
the
Smokey Robinson tune sung by the Temptations "My
Girl"
starting on C. Play C for Quarter and half note and
then D,
E, G, A, C as eighth notes, all over the fret board
and you
will have mapped out all the C Major Pentatonic. I
much
prefer this approach versus learning patterns
already drawn
out for you, as I have found that people remember
the sound
and the shape much quicker.

Theory Stuff

C Major Pentatonic = C Major 6/9 Arpeggio =
1-2/9-3-5-6 = C
Major Scale with 4th and 7th degrees removed.

The only triads or 7th chords to be found on this
scale are
C major, A minor and A minor 7th. The alternative is
the
creation of chords with intervals other than 3rds or
using
notes not found on the scale. For this reason is
very common
to find a pentatonic melody accompanied by chords
that are
not triadic or pentatonically created - or even a
combination of both. McCoy Turner's comping made
much use of
Chords created from the Pentatonic Scale.

In the world of classical music Bela Bartok in his
one-act
opera, Bluebeard's Castle, creates a melody using
the C
major pentatonic, and then created only major chords
on top
of every single pitch.

Modes

The commonly called Minor Pentatonic scale is
derived from
the Major Pentatonic..

For Example

C Major Pentatonic = C, D, E, G, A, C = 1, 2, 3, 5,
6, 1
Relative Minor = A
A Minor Pentatonic = A, C, D, E, G, A = 1, b3, 4, 5,
b7, 1

These two scales are very familiar to Rock
Guitarists.

There is much more that could be said on this
subject, in
fact almost a lifetime's work!

Heck I've run out of time....
Perhaps when I get some more time I'll write some
more.

Alisdair MacRae Birch
Jazz Guitarist

if I spend ten years studying music, scales, chords, harmony
I am most likely not going to dig Punk and I may be angry
and feel that it is unfair that no talents are making big
money, etc.