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This is a link to the ball thing I was describing earlier. It says it's therapeutic for carpal tunnel [ not my complaint] and tennis elbow. Which is closer to my problem but pain is to the outside of the elbow. Any one use hand exercisers? Or tried this one?



Ron
Living and playing outside the box.

Hand strength. I have always wondered if I should get one of those balls for nine bux that you first squeeze then expand you hand against the sort of rubberband loops that offer some resistance. Looks like a good way to do it. That said I have elbow and shoulder problems some kind of inflammation.

So, is it wiser to use what movement capability I have to practice more or try to strengthen my forearm and hand muscles in addition to practicing?

Ron

Living and playing outside the box.

I agree, but there is a tendency for most people to spend at least part of

the time playing what they already know and comes easy, rather than pushing
their ability. Not that this is bad, but more of an observation. The real
gains occur when you struggle with >something (technique, ear, etc.) and
with sustained effort and practice, it gets easier. I've also found that if
I spend some serious time working on my chording, that my single note
improvisation gets better. This occurs even though I might only practice
playing >single notes for a warm up exercise. Others have noticed this
effect as well.

-- Mike V.

John: Okay, yes I see what you mean. Re the playing what is already known.of
course there is the other angle involving playing a song a thousand times
and still learning something from it each time you do, but that is not what
we are discussing.



I'm interested in what you say about chording study's effect on single-note
playing. It makes total sense really as your fingers and ears become used to
finding chord tones, as opposed to, say, scale tones.



Very cool.ty, John











Reciprocity

I am sucking big time at this. It seems to be taking for ever to
learn to accurately change from one chord which is a little new to
another which is new to me. How slow is slow? I am analyzing the
process in terms of common tones, which fingers can remain as
anchors, how the other fingers move and what their target note is.
These are fairly easy four note chords without long stretches mostly.
What else should I be doing. I am not yet trying to maintain a tempo
i.e. play to a brushes track with appropriate feel. It is the
accuracy of placement not remembering what the chord looks or sounds
like. I notice right away when a note is missing. There are only
four! I know it's helping my ear but it's bruising my ego.

Ron
Living and playing outside the box.



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

Philly? I thought you were in Butcher Holler or Elk Fart New Mexico.
There is just no excuse for not finding a teacher if that's where you
live. Well........ money could be one I guess. Jazz instruction in
person is priced these days for yuppies. One possible alternative
would be monthly classes with one of these 60+ dollar an hour people
and some fill in from other sources.

Bruno cds, 99centguitarlessons.com. For 2.99 you can download the
dirty dozen jazz chords and examine their use in 12 common jazz
progressions. It's a 19 minute video lesson with a pdf of the charts.



This is a link to a page of easy jazz stuff. The most expensive thing
on the page is 9.99. Pretty hard to go wrong there if you need
somewhere to start, chords are the place. It all comes from there.
There are a dozen classes on the page. Some of these take you thru a
single song as an introduction to comping. Chord substitution and
chord families is one I will be looking at. The families idea is a
good thing to know about for both improv and writing songs. I like
this guy and his operation. They also offer a complete study course
via their jazz college page. I don't know much about it. I do know
the things I have downloaded are a bargain for what you get. It's
like having this guy for an uncle and he shows up every couple of
days and shows you cool stuff. 2.99 isn't much to risk to see if it
works for you. If you call or need help via email it's just him and
his wife you deal with and they are very prompt and helpful. They
don't have the interaction that you'd get on the Bruno program. But
that vid, pdf and often practice track is on your hard drive for as
long as you need it. Works for this Elk Fart resident.

Ron


Living and playing outside the box.



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

On Nov 10, 2010, at 3:35 AM, Will wrote:

I read on the Gibson web site that they age
Les Paul bodies for 7 (seven,) years before
turning the wood into a guitar.

However, I saw a tv show last week that visited
the Nashville factory and showed a vacuum machine
that removed the moisture from the wood in a day.

So, which is the truth?

The cheaper method will be the current truth. I bet most luthiers/
makers aren't set up to age wood for the archtops they make. Would
you trust some who sells wood if he says it's properly aged? How
would he even know? He has to trust ten guys in the beak dipping
frenzy who also say it was aged. And if you ask any of these aaaahhhh
people, how much wood would they sell if they told the truth.....
where does that leave us? It's Jist biddniss.

That said, if the moisture can be got out without adversely effecting
the structure and cellular integrity anymore than normal drying
methods you might be able to call that progress.

Ron
Living and playing outside the box.

cool.. that is a great idea.? I will have to check that out.?

How about some christmas songs??

I was just trying to fit "joy to the world" to a jazz beat over the weekend, and
it just didn't work.? I guess because it is so very much a C major song, that it
just wouldn't work as a jazz tune.? I tried it over an "orchestra" beat (think
of a movie score, or a disney film) and it worked much better.?

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

Stress, we can! New Yorkers are the most on edge in America, new survey reveals
By New York Daily News new York Daily News ¨C Wed Nov 10, 8:34 am ET Jennifer H. Cunningham and Lukas I. Alpert


If you can make it here, you can make it anywhere - but you better stock up on the antacid.

New Yorkers are the most stressed out in the country because of the sorry state of the economy, a new survey out yesterday shows.

Seventy-five percent of Gothamites polled said economic worries are causing them stress - which is 10% higher than the rest of the country.

"There's no money. It's hard to find a job. It's not like it used to be," said Ramon Velez, 56, a window fitter from Hell's Kitchen, explaining what keeps him up at night.

The study by the American Psychological Association also found that New Yorkers are more stressed than most Americans over health issues, housing costs and personal safety.

While stress in the city has gone down overall since 2008 when the economy collapsed, large numbers of people continue to say they are feeling overwhelmed.

"People are saying their stress levels are too high," said Dr. Norman Anderson, the association's CEO. "And stress is associated with a number of health problems."

Even those who are working - the unemployment rate in the city is a bit lower than the rest of the country - say they are toiling even harder to make ends meet, which causes its own type of heartburn.

"We work 12, 14, 18 hours and we don't bounce back," said Sergei Romanishen, a 44-year-old actor from Bensonhurst, Brooklyn. "Then you're stressed."

The survey found that 1 in 5 New Yorkers cited a lack of time to effectively deal with his or her stress.

And 64 % of the 212 city residents who responded said they were dissatisfied with their jobs - also 10 % higher than the rest of the country.

One area where New Yorkers are faring better than other Americans is in coping with stress.

City dwellers outrank most suburban and rural couch potatoes 62% to 48% in reporting that they exercise regularly - a known stress reliever.

There is still a wide gap between those who say they need to do more to relax (68%) and those who actually manage to do something about it (36%).

"There's a real disconnect here," Anderson said. "What they're telling us is they didn't have the will power."

Exercise buffs aside, 44% said they coped with stress by sometimes scarfing down unhealthy food while another 44% say they sometimes lay awake at night worrying.

My free site has backing tracks for
all the Modes in the Key of C, and backing tracks from slow to fast for
Cherokee, Rhythm Changes, All The things You are, and You stepped out of a
dream. There's also an analysis for each tune.


Dave Woods

I think he meant, (I obviously may be wrong) that by pulling off "up",
the motion is toward the low E string as opposed to the high E string.
Pull offs towards the High E are more common, but I use both.
Scott
PS Philly has long been the home of many great guitar players. There
should be no trouble finding a good teacher there.

On Wed, 10 Nov 2010 13:01:54 -0500 (EST) JVegaTrio@... writes:

I think you have it backwards, pulloffs are done with an upward
motion, and hammer-ons are down... You s/b able to find someone in
Philly. Good luck.

Cheers,
JV

Juan Vega





Bad experiences I had was with this one teacher, as far as I know,
most people does pull off with their finger flicked down, however
this guy initiate/try to make me do it upward. I was like is that
even possible? It'll make me not efficient in doing things.










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



Yahoo! Groups Links

____________________________________________________________
Obama Urges Homeowners to Refinance
If you owe under $729k you probably qualify for Obama's Refi Program

I think you have it backwards, pulloffs are done with an upward motion, and hammer-ons are down... You s/b able to find someone in Philly. Good luck.

Cheers,
JV

Juan Vega





Bad experiences I had was with this one teacher, as far as I know, most people does pull off with their finger flicked down, however this guy initiate/try to make me do it upward. I was like is that even possible? It'll make me not efficient in doing things.

Dear Friends:

I'm making my WA debut the next few days:

Nov 10 workshop at the Roberts Music Institute in Seattle WA
6:30 $20 (cheap!)
www.robertsmusicinstitute.com

Thurs Nov 11 at Tula's in Seattle WA
www.tulas.com

Saturday Nov 13 concert/workshop for the Spokane Jazz Guitar Society
2pm
www.spokanejazzguitarsociety.com

or: www.sherylbailey.com

this tour has been so much fun so far, so here's to keeping the good vibe going!
peace:
SB

--- In jazz_guitar@..., "spkenn5" <spkenn5@...> wrote:

I'm in Philly.

I am not in Philly, but there has got to be a load of jazz guitar
teachers. Perhaps someone can suggest some names?

The group database of guitar teachers has two:

David Stevenson
Jimmy Bruno



Mark

Petri,

--- In jazz_guitar@..., "Petri" <petegtr_1971@...> wrote:

--- In jazz_guitar@..., "dphidt" <dphidt@> wrote:

Have you noticed a similar effect?

As far as from a purely technical point of view, I'm not sure - I feel that although they're connected, single line playing is a different kind of discipline. But from an improvising standpoint, I play so much off of chord shapes that the line gets blurred.

I know, and that's why I'm amazed that intensive chord studies improves my single note playing. Maybe is has something to do with increasing the left hand finger independence and precision by switching chords. I could see where that would translate into more fluid and precise single note technique. Sort of like cross training for athletics.

Depending on the style that I'm playing, I also play off of chord shapes.

-- Mike V.

Getting a teacher is a good idea.

I found I made a lot of progress in my playing by getting some play-along CDs,
and then recording myself playing along with these CDs - and listening carefully
to my playing after recording it.?





This is just one example.? I don't acctually have this CD.? There are many of
them on the net.

When I would listen back to my recordings, if I found some areas that didn't
sound good, I would try and figure out why they didn't sound good, what notes
were being played?, did they fit in the cord progression?? Was it note choice?
Timing? phrasing?... ect.? I think recording yourself and listening back is a
great way to improve.? Also, the play along CDs help you with "real" music, in
"real" time, which is more helpful than just playing scales by yourself.?


Of course, this is all assuming you know something about music to begin with.


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

I am in Philly btw.

Doesn't Jimmy Bruno live there? If so, get round to his house double quick ;-}

-Keith

FBI Launches Probe Into Operation: Payback Attacks
November 9, 2010
Thomas Mennecke

Cnet is reporting that the FBI is officially involved with investigating the Operation: Payback DDoS (Distributed Denial of Service) attacks that began in mid September. The attacks left behind a litany of battered websites, some of which have yet to recover.

The Cnet doesn't cite a specific FBI source, rather it was a "a source with knowledge of the probe". Furthermore, the article states the FBI may have begun investigating several weeks ago, but ramped up their investigation after the US Copyright Office website was hit.

It's possible that Kiss frontman Gene Simmons was truthful when he said he was recruiting help from the FBI when his sites were attacked last month.

"Our legal team and the FBI have been on the case and we have found a few, shall we say "adventurous" young people, who feel they are above the law."

Although jail time is a possibility, most attackers functioned behind proxies and botnets. With drones doing most of the work, it will be interesting to see what, if anything, the FBI's probe digs up.

Hi Alisdair,

"We wish we could make up stuff like this. After a group of underground programmers created the 'LimeWire Pirate Edition' and plopped it onto places like the Pirate Bay, Limewire itself is demand its takedown.

That is, on grounds of misuse of trademark and intellectual property, as well as the illegal downloading of copyright works. "We have very recently become aware of applications on the internet purporting to use the LimeWire name, such as the LimeWire Pirate Edition. We demand that all persons using the LimeWire software, name, or trademark in order to upload or download copyrighted works in any manner cease and desist from doing so. We further remind you that the unauthorized uploading and downloading of copyrighted works is illegal.""

If this wasn't so sad, it would be funny.

Best,
Bobby

New York, NY, October 18, 2010: ASCAP (the American Society of Composers, Authors and Publishers) and America SCORES have teamed up again this year to present its national songwriting mentorship program, ASCAP Songwriter Residency @ America SCORES. The program, which kicks off today in Washington, D.C., gives ASCAP songwriters and composers a platform to give back to their local communities by engaging and inspiring inner city school kids through songwriting and recording.

As part of the program, ASCAP selects its talented members, ranging from rising stars to Grammy Award-winning artists, to collaborate with SCORES kids over three two-hour sessions: co-writing a song during the first two sessions and recording it in a professional studio during the third session. ASCAP's songwriters have been very enthusiastic about the opportunity to work with the SCORES kids and support their local communities, and the Songwriter Residency has been a very effective addition to America SCORES' year-round, nationally acclaimed programming agenda of engaging and inspiring kids in underserved neighborhoods. The ASCAP Foundation, a public charity dedicated to supporting music education and talent development programs, funds the program.

Confirmed for this year's program are critically-acclaimed band The Great Unknown (EP: The New Skin) in five cities; Latin Grammy Award-winning songwriter Claudia Brant (Luis Fonsi, Carlos Santana) and Grammy Award-winning songwriter/producer Toby Gad (Beyonc??, Fergie) in Los Angeles, CA; Grammy-nominated songwriter Odie Blackmon (George Strait, Lee Ann Womack) in St. Louis, MO; R&B singer/songwriter and So So Def/Island Music recording artist Dondria (debut album: Dondria vs Phatfffat) in Dallas, TX; Grammy-nominated songwriter/producer Chris Henderson (R. Kelly, Jamie Foxx) in Atlanta, GA; and songwriter/producer The Legendary Traxster (Ludacris, Twista) in Chicago, IL.

The Great Unknown begins the first leg of their five-city Songwriter Residency today in Washington, D.C. The four-piece band from Philadelphia, comprising Todd Henkin (guitar, harmonica, vocals), Jordan Berger (drums, vocals), Matt Goldsborough (bass, guitar, mandolin, vocals), and Brad Jacobson (lap steel, guitar, banjo, vocals), will take time out of their fall tour in support of their new, self-released EP The New Skin, to embark on a tour of inner city schools, writing songs that emphasize individuality and self-worth with students from third to fifth grades. The band will lead students through a series of exercises ?€" brainstorming, free-writing, guided conversations ?€" gradually turning the ideas they suggest into songs.
"We want to focus around the fact that kids can see themselves as important people," said Henkin. "We want to start the sessions with each kid walking up to a video camera and saying, 'This is my voice, and it?€?s important.' We want to show them that anyone can do this. Writing a song and recording it ?€" that?€?s something that everyone can do."

The finished songs will be included on a special compilation CD that ASCAP produces, which is distributed to each of the schools involved, as well as to music industry decision makers.

The Great Unknown's ASCAP Songwriter Residency @ America SCORES tour dates are:

Washington, DC:
When: October 18, 19 and 20, 2010
School: MacFarland Middle School, 4400 Iowa Ave, NW, Washington, DC 20011
Recording Studio: Bias Studios, 5400 Carolina Place, Springfield, VA 22151

Cleveland, OH:
When: October 25, 26 and 27, 2010
School: Willow School, 5004 Glazier Avenue, Cleveland, OH 44127
Recording Studio: Lava Room Recording, 5000 Euclid Ave, Cleveland, Ohio 44103

Milwaukee, WI:
When: November 8, 9 and 10, 2010
School: Hayes Bilingual School, 2431 S 10th St, Milwaukee, WI 53215
Recording Studio: Tanner Monagle Studio, 1120 N. Market St, Milwaukee, WI 53201

New York, NY:
When: November 29, 30 and December 1, 2010
School: The selected school will be the winner of the America SCORES New York Community Poetry SLAM! Team Competition
Recording Studio: Avatar Studios, 441 West 53rd Street, New York, NY 10019

Boston, MA:
When: December 8, 9 and 10, 2010
School: The selected school will be the winner of the America SCORES New England Middle Schools' ?€?Voices Songwriting Competition"
Recording Studio: Temple Sound, 670 Centre Street, Jamaica Plain, MA 02130

Additional programming details regarding Claudia Brant, Odie Blackmon, Toby Gad, Dondria, Chris Henderson and The Legendary Traxster will be announced soon.

To listen to the songs created during last year's program, view photos and more, please visit:


About America SCORES
America SCORES is a national nonprofit organization whose mission is to use soccer and poetry to inspire among urban youth a lasting dedication to health, literacy, and community service. America SCORES operates soccer teams in urban public schools in economically disadvantaged neighborhoods across the country. Teamwork developed on the field is translated to the classroom and the community. The program operates five days per week after-school and has recently been recognized by Charity Navigator as one of the most administratively efficient nonprofits in the country. For more information, visit www.AmericaSCORES.org.

About The ASCAP Foundation
Founded in 1975, The ASCAP Foundation is a charitable organization dedicated to supporting American music creators and encouraging their development through music education and talent development programs. Included in these are songwriting workshops, grants, scholarships, awards, recognition and community outreach programs, and public service projects for senior composers and lyricists. The ASCAP Foundation is supported by contributions from ASCAP members and from music lovers throughout the United States. www.ascapfoundation.org

About ASCAP
Established in 1914, ASCAP is the first and leading U.S. Performing Rights Organization (PRO) representing the world's largest repertory totaling over 8.5 million copyrighted musical works of every style and genre from more than 390,000 songwriter, composer and music publisher members. ASCAP has representation arrangements with similar foreign organizations so that the ASCAP repertory is represented in nearly every country around the world where copyright law exists. ASCAP protects the rights of its members and foreign affiliates by licensing the public performances of their copyrighted works and distributing royalties based upon surveyed performances. ASCAP is the only American PRO owned and governed by its writer and publisher members. www.ascap.com

###
Contacts:
America SCORES
Cal Zarin
212-868-9510x305
czarin@...

Bobbi Marcus PR & Events, Inc. (for ASCAP)
Bobbi Marcus
310-889-9200
bobbi@...

ASCAP
Pauline Stack
212-621-6278
pstack@...

"We wish we could make up stuff like this. After a group of underground programmers created the 'LimeWire Pirate Edition' and plopped it onto places like the Pirate Bay, Limewire itself is demand its takedown.

That is, on grounds of misuse of trademark and intellectual property, as well as the illegal downloading of copyright works. "We have very recently become aware of applications on the internet purporting to use the LimeWire name, such as the LimeWire Pirate Edition. We demand that all persons using the LimeWire software, name, or trademark in order to upload or download copyrighted works in any manner cease and desist from doing so. We further remind you that the unauthorized uploading and downloading of copyrighted works is illegal.""