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The tenor guitar was a four string guitar that was tuned

D G B E (i think)

and was used as a guitar for banjo players once
dixieland started to die out.


-c l i f t o n

On Sun, Aug 26, 2001 at 11:47:09PM -0000, Justin wrote:

Hi I was wondering if anyone had any ideas about
economizing my left hand fingering.I lift my fingers
too high from the fretboard and I loose speed. Can
anyone help???

Robert Fripp had some good advice on this in Guitar Player, many years
ago... he said don't *lift* your fingers... *release* them. The resting
position for your fretting fingers should not be on the strings, but
rather slightly above them. To fret a note, you press the finger down to
the fingerboard. To release, you don't lift your finger... you simply let
go, and it springs back to its natural position above the fingerboard.

It takes some practice, but it's worth trying! It gets rid of a LOT of
wasted effort, and reduces strain on your hand.

-dave

--- In jazz_guitar@y..., Lorraine Goods <lg96@c...> wrote:

I've been working w/William Leavitt's Modern Method for Guitar for

about a

month now and want to thank those of you who recommended this book

to me;

I'm learning a lot. I'm just wondering if I'm doing it right, the

sight

reading parts I mean. Should I
always practice w/a metronome? And if I do and come to a hard part,

do I

just slow down for that part and then go back up to speed once I

get thru

it? I ask bc when I come to a hard part I usually get tripped up

for a

beat or two while I figure it out before I get back on tempo.

Also, can anyone recommend a book w/more reading studies in it? I
think I'd benefit from more practice in certain keys.

Many thanks,
Lynn

hey,lynn
I think that if you use a metronome,while you play you should be able
to play the entire piece all the way through in a certain
tempo,before speeding it up.It will help you to improve the parts
that you can play faster too.Anyway I hope I could help.
-Justin

I always love it when guitarists play heads of songs in chords.
How do you come up with what type of chord to use for each note?
I have tried just using diatonic chords to do this but it never
works too great.

-Henry Kaplan

Every chord has 12 names. use melody notes as extensions of the
chord and alter and substitute your chords to add movement (so it
isn't the same chord with a different top note for each melody note).

Nate

Just a note on reading... Next month I'm going to try and finish and upload
a free online course on sight reading to my site, . It
combines graphics and MIDI files and other things. I'll send another message
when it's available.

Ted Vieira
--
Listen to my CDs for free:


--
Or visit my website:

Bio Information, Sound Files,
Free Online Guitar Instruction, Books, CDs and more...

Also, can anyone recommend a book w/more reading studies in it? I
think I'd benefit from more practice in certain keys.

Many thanks,
Lynn

William Leavitt also has a book out called "Reading Studies for
Guitar" (Berklee press) which is pretty good. The book goes through
all keys, and in specific positions, so it forces you to do stuff you
otherwise may not.

I have also been doing a lot of reading practice. I find that the
best things to use initially are Violin and Flute (and any other
instrument for that matter that is in concert key) duet books. If
you get the duet books for beginners/intermediate, they are perfect
for reading practice... Plus, since they are duet books, there's a
lot of material to read.

Other violin/flute books often come with piano accompaniment which
you wouldn't try to read on the guitar, so there is a lot less
material to practice on.

Basically, the best thing to do is to go to an old/used bookstore,
and browse the music section and check out any book with 'readable'
material... Often you'll pick up stuff for a couple of bucks!

Also, when doing reading practice, you should NEVER hesitate, or
stop. If things get difficult, stop playing BUT KEEP YOUR PLACE IN
THE MUSIC going forward (i.e., eyes should be moving constantly
through the music in tempo whether you are playing or not) and start
playing where you can (count out a couple of measures and start where
a new phrase or section starts....). This is the whole point in
practicing sight-reading... Otherwise, you will develop a very bad
habit that will be hard to fix when you are reading material in a
band situation!

Another important point is that when reading, your eyes should be
looking ahead a measure or two (or more), not what you are
playing. Some piano teachers will cover up the music you are sight-
reading to check if you are reading ahead. This is kind of like the
Anti-shock memory system on your portable CD player. It helps you to
read smoothly, and be prepared for position changes or whatever ahead
of time...

Anyway, happy reading!

Ken
(As you can guess, I'm also obsessed with being able to read well
now..)

What transcription software do you use?
Are you happy with it?
Thanks,
George Bullock

There's a great Tektronix T-shirt that reads,
"Use the logic analyzer that God gave you."

So, my answer would be that I use the
transcription software that God gave me,
i.e. my earballs, and I am happy with it.

Steve Gallagher

Hey-
I am 13 years old and study jazz guitar. I am around the beginner-intermediate level right now. I understand most concepts and I know music theory. Right now I am working on single note improvisation mostly.

I always love it when guitarists play heads of songs in chords. How do you come up with what type of chord to use for each note? I have tried just using diatonic chords to do this but it never works too great.

-Henry Kaplan

--- In jazz_guitar@y..., "Michael Crutcher" <Funkifized@h...> wrote:

I'm not sure if this comment is tongue-in-cheek, so I apologize if
it is.
I'm not sure if it's a Rypdal album, but I do know that After The
Rain is a very cool Coltrane tribute by McLaughlin, Joey
DeFrancesco, and Elvin Jones.
A favorite of mine.

It wasn't tongue-in-cheek:

Terje Rypdal - "After the Rain" (ECM 1083) - 1976

Jazzers: Well, I took the plunge, bought a bass
(g)string and tuned my Es 150 down a 5th according to
the directions someone posted (thanks to whomever it
was!). (A, D, G, C, E, A) It sounds very cool. You
have to learn to avoid muddiness, but it has real
possibilities. I will probably start to bring it as a
second guitar to my gigs for a little variety. I can't
believe the rockers don't try this tuning. THe power
chords are intense, if you are into that (I'm not). It
is especially useful for accompianament. Great walking
bass. I may even try a gig without a bass player! A
question: Why call it an alto tuning? Wouldn't that
make normal guitar a soprano? Shouldn't the tuning be
called tenor since it is the next possibility up from
a bass? And shouldn't the normal guitar be called alto
then? It seems that there is such a thing called a
tenor guitar, but I don't remember what it was. Just a
thought.

Randy Groves

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

Actually, Jimmy is still here. The misunderstanding has been
cleared
up, and while a couple of folks became impatient with the
clarification process, I can assure you from personal knowledge
that Jimmy isn't upset with anyone and is still very much

interested

in what goes on here. :) As he told me, he isn't a fast typist and
he sometimes has a bit of a time putting things into words, so
he couldn't see he was accomplishing anything by pursuing the one
subject. However, others have and on his behalf, I'll state that
Jimmy has been a real gentleman to me. As you'll see by posts
prior to this, we've all moved on to new ground.

Jimmy, if you're truly still here, would you attempt to answer the
technique question I asked you? It's message #3358.

For flattops the is a guy named Brian Galloup who does
very fine work, and he is located Rogers Heights, MI.
You can find him on the net. Randy Groves
--- kevinj@... wrote:

Hi,

Which luthiers do you guys recommend for acoustic
and electric work?
I need some stuff every once in a while that's
beyond what my local
guy wants to do.

I'm looking for someone who's good, cheap and fast.

Thanks!

Cheers,
Kevin
www.TheNettles.com

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

Lorraine: the best book for learning to read, in my
view, is an old book called _Rhythyms Complete_ by
Bugs ?. I'll get the last name. It is what I learned
on. It is very systematic and by the end you can read
almost anything. Randy Groves
--- Lorraine Goods <lg96@...> wrote:

I've been working w/William Leavitt's Modern Method
for Guitar for about a
month now and want to thank those of you who
recommended this book to me;
I'm learning a lot. I'm just wondering if I'm doing
it right, the sight
reading parts I mean. Should I
always practice w/a metronome? And if I do and come
to a hard part, do I
just slow down for that part and then go back up to
speed once I get thru
it? I ask bc when I come to a hard part I usually
get tripped up for a
beat or two while I figure it out before I get back
on tempo.

Also, can anyone recommend a book w/more reading
studies in it? I
think I'd benefit from more practice in certain
keys.

Many thanks,
Lynn

=====
J. Randall Groves, Ph.D. ("Rando")
Professor of Humanities
Ferris State University
groves@...
bebopguitar@...

Hey Ted,
You're welcome. I think that this is a great idea, and
it's really a great way to learn about Jazz. I'll be
looking out for the sight reading course. That's one
of the many areas that I need to develop. It's really
great to have so much information available. I've
searched all over the net, looking for a site like
this.

Jimmy


--- Ted Vieira <contact@...> wrote:

Lynn,

The way the book was intended, you really want to work through the exercises, scale studies, etc., repeatedly and get them down well, but the sightreading examples you want to use a metronome(at a slow tempo) and try to get all the way through the piece, mistakes or not. I found it to be an art in itself to not get tripped up on parts that were more difficult and not get lost. You're practicing performance, so you want to realize that when you're performing, your accompanist is not going to stop and start over. It took me a while with a teacher (at Berklee, in fact) to get used to just jumping ahead a measure or two if I made a mistake so as to keep up with where I'm supposed to be in the tune. The more you do this, the more you'll find that the gap you're jumping ahead at mistakes will be smaller and smaller.


Mike Crutcher
Guitarist/Vocalist/Arranger/Instructor
Available for sessions/fill-ins/performances/private lessons.

"You've Got To Funkifize"
-Tower Of Power

I've been working w/William Leavitt's Modern Method for Guitar for about a
month now and want to thank those of you who recommended this book to me;
I'm learning a lot. I'm just wondering if I'm doing it right, the sight
reading parts I mean. Should I
always practice w/a metronome? And if I do and come to a hard part, do I
just slow down for that part and then go back up to speed once I get thru
it? I ask bc when I come to a hard part I usually get tripped up for a
beat or two while I figure it out before I get back on tempo.

Also, can anyone recommend a book w/more reading studies in it? I
think I'd benefit from more practice in certain keys.

Many thanks,
Lynn

Where are you located? If you're in the northeast, I'd highly recommend Alan Carruth:



He worked with violin builder Carleen Hutchens and does very fine and consistantly beautiful work in archtops, flattops and violin family instruments. He works by the hour and is a fast worker. I had an archtop built by him in '87 and I still have yet to find its peer. I've heard raves from guitarists and bass players who've had work done by him too. Plus, he's a really warm and honest guy.
David

Great advice, Brad. I also have this problem sometimes on tunes where
someone decides to play it "uptempo". Another way to state it is to
determine the basic tonality and not stray too far, but to find just
a note or two that will reflect the changes. So for example, if a
tune is mostly in C and goes to A7, instead of thinking A7, I might
look at it as playing in C, but changing the C to a C#. Of course,
you can always play the blues (can get old after a chorus, though),
or work on some all-purpose pentatonics. Another approach is to take
the existing melody (assuming that you know it or can read it), and
play the same notes but backwards, in different rhythms, etc. - with
a little practice, your solo will sound a lot like the original tune,
but different.

I am curious about your comment on using a chord solo. I'm at the
point where I can play a lot of heads as a chord melody, and can solo
in single notes, but I'm still having a tough time doing an
improvised "chord solo". I've sort of been easing into this trying to
use a "shout chorus" idea, and I'm actually sort of excited that it's
forcing me to think about my single note lines in a more melodic way
instead of running arpeggios, scales, etc. But any ideas you have on
this would be appreciated.

-Jim

--- In jazz_guitar@y..., Brad Rabuchin <bradrabuchin@e...> wrote:

Steve, One suggestion I would make as far as surviving a solo over

a tune you

don't know is to get the big picture. By this I mean don't get hung

up trying

to hit every change. As you're comping, (or if you have a chance

to glance

at it beforehand) try to get a sense of the form of the tune and

what the key

(as in important) chords are. Much of the time those will be chords

functioning

as either the "I" or "V" of whatever key you're in at that point in

the tune.

Try to come up with a simplified overview of the tune. Then, when

you solo,

focus on playing over and connecting those few important chords.

And always

keep in mind where the tune is heading next. Don't worry about

about all

those chords you're leaving out. You can always work on the tune at

home and

add them to your solo next time. {This technique also works good

if you

know the tune but the band is just playing the thing to fast for

comfort}

Another suggestion: you can always try a comp(chord) solo.

Sometimes

that's an easier way to get through a tune you don't know.

Later,
Brad R

Steve Gorman wrote:

I hope I can get some new ideas here - I have recently began

playing with a good 6 piece combo - two saxes, clarinet, upright
bass, drums and me on guitar. I am getting the calls because I can
solo, the other guy that they were using only plays rhythm. 80% of
the time I am playing rhythm also, just supporting the horns,. but
sometimes I am called on to solo. Most of the tunes I know pretty
well, (Real Book) but I am not too familiar with some of them. Solos
can get pretty weak when you lose your place! I am probably going
to practice this week on soloing without taking my eyes off of the
chart, if I can keep track of the changes I can at least play
SOMETHING.

Of course having the tunes down stone cold is the ultimate

answer, but are there

any suggestions for faking it till then???

Steve

Hello, I haven't heard of Fatdog Archtops before. It's great to hear about
new archtops from new (to me) luthiers. I have just bought a single pick up
archtop from Ken Walton. Waltone guitars which I bought at the Penrith Guitar
Show on the 26th of August. It has a Kent Armstrong pick up and sounds great.
Ken uses the Bennedetto 'Making an Archtop Guitar' as his guide and has been
making guitars for a number of years now (and violins). I am really pleased
with this my first brand new guitar, although I will continue to use my
Washburn J6 for some of my gigs.

Best Regards

Vernon Fuller
St Helens
UK

Steve, One suggestion I would make as far as surviving a solo over a tune you
don't know is to get the big picture. By this I mean don't get hung up trying
to hit every change. As you're comping, (or if you have a chance to glance
at it beforehand) try to get a sense of the form of the tune and what the key
(as in important) chords are. Much of the time those will be chords functioning
as either the "I" or "V" of whatever key you're in at that point in the tune.
Try to come up with a simplified overview of the tune. Then, when you solo,
focus on playing over and connecting those few important chords. And always
keep in mind where the tune is heading next. Don't worry about about all
those chords you're leaving out. You can always work on the tune at home and
add them to your solo next time. {This technique also works good if you
know the tune but the band is just playing the thing to fast for comfort}
Another suggestion: you can always try a comp(chord) solo. Sometimes
that's an easier way to get through a tune you don't know.

Later,
Brad R

Steve Gorman wrote: