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Fake Books
----------

See:
http://www.jazzguitarfaq.com/FAQ00015.htm

The Real Book - Sixth Edition.
Hal Leonard legitimate legal edition of the Real Book.
Most popular book with members, available from sheetmusicplus.

http://www.sheetmusicplus.com/a/item.html?id=12585&item=5384241

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Thanks guys.

I'll look it up.

Willy



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

Very comfortable to play.  Rich, dark, even lugubrious tones,
especially at the bottom, where the individual notes of just about any
chord fall into the well that is the Jim Hall sound.

--- In jazz_guitar@yahoogroups.com, "Miguel Marcos" <mmarcos@y...>
wrote:
> Please post your impressions. For me, the Jim Hall Sadowsky remains
on
> the horizon as a possiblity.

good day to all members

  im just a beginner,  id like to ask where  can  i find some  jazz scales ,
chord progression licks,  etc. thanks

arnold from the philippines


---------------------------------
Yahoo! Sports
  Rekindle the Rivalries. Sign up for Fantasy Football

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

A friend of mine has a Jim Hall prototype and he let
me borrow it for a month. Great guitar! Smooth tone,
great action, and a joy to play.

--- John Horstkamp <jhorstkamp@...> wrote:

> Yeah - I'm trying to get some feedback from people
> who have played these
> guitars before I take a day (or maybe two) trip to
> one of his dealers.
>
>
> ----- Original Message -----
> From: "Miguel Marcos" <mmarcos@...>
> To: <jazz_guitar@yahoogroups.com>
> Sent: Tuesday, June 28, 2005 5:12 PM
> Subject: [jazz_guitar] Re: Sadowsky Bruno and Hall
> models
>
>
> > I imagine you checked the dealer list at
> Sadowsky's site?
>
>
>
>
>
> Yahoo! Groups Links
>
>
>     jazz_guitar-unsubscribe@yahoogroups.com
>
>
>
>
>


Sean Williams
www.gtr4hire.com



____________________________________________________
Yahoo! Sports
Rekindle the Rivalries. Sign up for Fantasy Football
http://football.fantasysports.yahoo.com

Man, that was worth looking up! But mournful, I don't know if I want to
sound too mournful

:)

Main Entry: lu·gu·bri·ous
Pronunciation: lu-'gü-brE-&s also -'gyü-
Function: adjective
Etymology: Latin lugubris, from  lugEre to mourn; akin to Greek lygros
mournful
Date: 1601
1 : _MOURNFUL_ (aol://4344:1708.D0044792.40152826.672503388/) ;  especially :
exaggeratedly or affectedly mournful <dark,  dramatic and lugubrious brooding
—V. S. Pritchett>
2 : _DISMAL_ (aol://4344:1708.D0019450.40127484.672502777/)  <a  lugubrious
landscape>
- lu·gu·bri·ous·ly  adverb
- lu·gu·bri·ous·ness noun




Rick
Cape Cod




In a message dated 7/1/2005 11:42:19 A.M. Eastern Daylight Time,
fredbinkle@... writes:

Very  comfortable to play.  Rich, dark, even lugubrious tones,
especially at  the bottom, where the individual notes of just about any
chord fall into  the well that is the Jim Hall sound.

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

There are scales and chord progressions posted in this group's file
archives - Text files folder, et. al.

--- In jazz_guitar@yahoogroups.com, arnold frago <arnoldfrago@y...>
wrote:
> good day to all members
>
> im just a beginner,  id like to ask where  can  i find some  jazz
scales, chord progression licks,  etc. thanks
>
> arnold from the philippines

There's been alot of discussion lately about tube amps, etc., but
I don't remember anyone commenting on amps specifically for playing
at home, by yourself, that sound good.

I've been through a number of amps over the last few years, I've
haven't really liked any of them as practice amps (though some
obviously were good gigging amps). Here's the amps I've tried:

- Fender Deluxe Reverb Reissue - even at 22 watts too loud, thin
sounding and noisy at low levels
- Fender Blues Junior - a favorite of many, I bought one and it was
incredibly noisy for home use levels and tinny sounding
- Polytone (both the 15" and the 8") way to nasally and midrangy -
this helps to cut through the mix in a live situation but they sound
pretty awful when being played at low levels, IMHO
- Acoustic Image Clarus (played through a Mesa 1x12 cab) -
ridiculously overpowered at 300W, even at low volume levels there was
a huge amount of "pressure" coming out of the cab, if that makes
sense - may have something to do with the class D power thing
- Roland Cube 30 - boxy and thin - owned it, didn't like it; no need
to start a thread praising this amp, please.

From what I've been able to tell trying amps in stores, boutique-y,
low wattage amps sound the best at practice levels:

- Mesa lonestar special - 5/15/30 watts; the best low-volume amp I've
ever heard, but costs $1700
- Reverend goblin - 5/15 watts, looks interesting but mixed reviews -
never tried one; also heard good things about the Kingsnake
- Mesa Subway Blues - 18 watts, heard good things about them but
never tried one

experienced gear-o-philes, any suggestions?

I just got an AER 60 for small group and practice/rehearsals. Very small and
light. Comes with a carrying case with a shoulder strap. I'm very pleased
with it.
They're a bit pricey though (~$800.00 - yikes!)

John

Er, you don't say what kind of guitar you're using, but that might make a
difference...

I have a couple of amps hooked up in my practice studio:

1980s Peavey Special 112: at 180W RMS it's got headroom to spare, and  sounds
good at low volumes. This is by no means a 'jazz' amp, but I've recorded
with it, and sounds pretty darn good with a '60s ES-175, a one y/o Eastman
805-CE, a 10 y/o Epi Sheraton II, and a 10 y/o Epi Howard Roberts w/ an aftermkt
Kent Armstrong p/u. The '73 Tele w/ Gibson h/b in the neck position (ala Ed
Bickert) also sounds good.

1980s Roland Cube 60: Finally retired this one from gigging, but it sounds
OK with the stuff above.  A good-sounding and reliable amp forever, I had  to
have the plastic input jack replaced w/ a Switchcraft in the late 80s, and  the
original speaker finally gave up the ghost, so I replaced it with a Carvin;
still sounds cool.

Kustom KAA65: A real surprise, bought it new earlier this year for around
$200, and it's been a real revelation. Sounds nice and clean, if a bit 'notchy',
  but what do you want for the price?

I too was thinking about the Reverend amp, but I like plenty of headroom,  so
I'm seriously considering acquiring a Carvin Nomad 112 to have a tube amp for
  balancing out all the ss gear.

Another thing I've recently acquired is the Behringer GDI-21, which is  their
knockoff of the Tech-21 Sansamp box.  It costs less than $30  (compared to
about $200 for the Tech-21), and it's added an surprising amount of  warmth to
the Peavey amp.  You might want to check into that...

Cheers,
JV

Juan Vega



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

yeah ive jammed with danilo a few times.. he's a master, he taught me most
of what i know standards and that stuff awesome player ;)

On 6/30/05, Miguel Marcos <mmarcos@...> wrote:
>
>  Giulio, there are eminent Panamian jazz players, among which are
> Carlos Ward and Danilo Perez. I saw Danilo last November with Wayne
> Shorter, Brian Blade, etc. and, man, what a group!
>
> Miguel

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

Willy
Chops with Joe Pass & Niels Orsted Pederson!
Tony

Hi gang,
Anyone purchase or come across The MasterClass Series by Oliver Gannon
and offered by PG Music.  I'm wondering what your thoughts are about
it as far as instructional material, is it good?  Did you learn alot
from it, etc.  thank you

I've recorded and practice with a Dr Z Carmen Ghia....18 watts...2 10s.  It's
generally considered a blues amp and will break up when you crank it, but at
lower levels it has a pristine high end and lows that never ever turn muddy.  I
use it with a Heritage Sweet 16

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

--- In jazz_guitar@yahoogroups.com, "sonomatips" <sonomatips@y...>
wrote:
> Peter, I'm RC - Really Curious - as to whether you think of o7 and
> 7b9 as being two different types of chords. I ask because you used
> them interchangebly in your example: Bo = G7b9, C#o = A7b9, etc.
> - Mick

The 7(b9) is one possible function for the diminished chord. When the
o7 chord resolves up a half step, it is the same thing as a 7b9 a
major third below. As far as the chord changes in the example I gave,
I seem to think of a bass line to go with the voicings; it's just how
I think about those voicings and their functions. Writing Bo7 is also
a little shorter than writing G7(b9)/B.

When the o7 resolves in other ways, I don't view it as a dominant
substitute. There are two possibilities for this to happen: either it
resolves down a half step, usually to the II chord as in Mack the
Knife, ATTYA or Someday My Prince Will Come; or it resolves to a
chord with the same root as in the beginning of Misty where you might
have that Ebo7 - Ebmaj7 movement. Both of these cases are a result of
voice leading, the former affecting the bass line as well.

For someone who wants to get away from root position voicings, the II-
V voicings that have a m7 inversion turn into a o7 with the same root
are useful, I think -easy to find and learn in many places on the
neck.

Greetings,
Pete

I keep a Pignose 20 watt hog on my nightstand. and have occasionally
mic'd it with good results.  It's not a shredders amp but it's small
and has a short sound projection range (great for these thin walls)
Usually it's no further then 5 feet from me when I play.

My Main studio/practice amp is a 00's 30 watt Roland cube. It uses the
same cosm technology as found in Roland VS recorders and VG systems.
Amp simulations are fairly realistic. And the two dial dsp's are eaay
to set and forget. I've become so accostumed to it. I'll take it out
on gigs and piggy back it with a Traynor 100watt bass amp. The only
thing I wish I had was presence on the roland.

Tech21 makes some great little amps that are loud and versatile which
play well at lower volumes as well.

I got all three Jazz Guitar volumes with various Band-in-a-Box
upgrades, so for me it was definitely worth it.  No, he doesn't go
really deeply into various areas - how could you without devoting
many hours to each topic? - but I still think there is a lot to be
gotten from them.  You get practice tunes to learn that are close
to certain standards, other practice exercises and accompanying
midi tracks you can play along to, spoken instruction from Oliver,
etc.

If you can get them on sale or as part of some inexpensive software
bundle, I'd say go for it.

Chris

At 10:48 PM 7/1/2005, you wrote:
>Hi gang,
>Anyone purchase or come across The MasterClass Series by Oliver
>Gannon
>and offered by PG Music.  I'm wondering what your thoughts are about
>it as far as instructional material, is it good?  Did you learn alot
>from it, etc.  thank you
>
>
>
>
>
>
>
>
>Yahoo! Groups Links
>
>
>
>

can you send the mp3 so we can take a look at it?
or post a link?

On 6/30/05, Daniel Martina <danielmartina2001@...> wrote:
>
>  Hi friends,
> I´m Daniel Martina, jazz guitarist, composer and
> producer from Argentina.
> My Parque Urquiza smooth jazz song´s been winner named
> at Yamaha International Music Production Contest -
> Jazz/Latin genre, evaluated by great contemporary jazz
> act Fourplay (Bob James, Harvey Mason, Nathan East and
> Larry Carlton)

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

Barry Galbraith's book "Jazz Guitar Comping" has imo a great approach
to RC

19th century music theory, and phrases like "any note of the Diminished 7th
chord can be called the root", have done a lot to confuse the function of the
Diminished 7th chord.

For me, this is how it works.  These examples are from the Key of C.

(B  D  F  A), Bmin.7b5, is the Locrian chord of the Key of C.
When C maj. (Ionian, C  E  G) is functioning as the Tonal Center Chord,  B
min.7b5 resolves to C maj. like this; B and F are the Tritone interval of the
Key of C.  B pulls up a 1/2 step to C, and F pulls down a 1/2 step to E.  D can
move down a whole step to C, or up a whole step to E,  A moves down a whole step
to G.

B dim.7 is created by lowering the A of the B min.7b5 chord to Ab  (B  D  F 
Ab).  When C maj. (C  E  G) is functioning as the Tonal Center Chord,  It
resolves to C maj. like this;

B and F are the Tritone interval of the Key of C.  Ab creates a temporary
Tritone between Ab and D. On the resolution, B pulls up a 1/2 step to C, and F
pulls down a 1/2 step to E.  D can move down a whole step to C, or up a whole
step to E,  and Ab moves down a 1/2 step to G.
After the resolution, Ab disappears from the key structure.  Yes, a diminished
7th chord can resolve directly to the Ionian Chord of a Key.

G7 b9 (G  B  D  F  Ab) includes B dim.7 and can also resolve to C maj. (C  E  G)
G moves up a 4th or down a 5th to C maj. and is a common tone between the two
chords
B pulls to C, D pulls to C or E, F pulls to E, and Ab pulls to G.

G13b9 (G  B  D  F  Ab  E) resolves to C maj. the same way.
The 13th E is a maj. 3rd in the C Ionian Tonality, and this tells the ear that
it's in a major Mode.

Key of C, A min. Aeolian Mode

B min.7b5 (B  D  F  A), the Locrian Chord functions as the Two Chord of the
Aeolian Mode. Here, the lowered A is spelled as G#.   (B  D  F  G#)  Starting
with G# it's spelled (G#  B  D  F).  B and F are the Tritone of the of the Key
of C, and G# and D Create a Temporary Tritone.
On the Resolution< G# pulls up a 1/2 step to A, B pulls to A but can move to C,
D pulls to C, and F pulls to E.  After the resolution, G# disappears from the
Key Structure.

E7 b9 (E  G#  B  F  F) contains G# dim.7 and resolves to A min (A  C  E) the
same way.

E7b9b13 (E  G#  B  D  F  C) The b13 sounds as a min.3rd and tells the ear  that
it's in a minor Mode.

These are the origins and the basic functions of  The Diminished 7th chord.

Dave Woods   www.musictolight.org



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

Of course Giulio!
if you like go to:
www.broadjam.com/artists/artistindex.asp?artistID=5178

I hope you enjoy!
I´ll send Parque Urquiza song later...
argentinean cheers
Daniel

   Date: Sat, 2 Jul 2005 05:59:14 -0500
    From: Giulio Jimenez <creep2k@...>
Subject: Re: Argentinean smooth jazz song winner named at Yamaha
Contest

can you send the mp3 so we can take a look at it?
or post a link?

For those who care, I was bored again (I'm giving up
video games as a surprise gift to my wife!) so I
transcribed the Stowell interview from the Portland
Jazz Jam Interview.  The mp3 of the interview can be
had at pod show section of the Portland Jazz Jams web
site:

http://www.portlandjazzjams.com/pjjpodshow.htm

or from Stowell's blog page, Confessions of a
Travelling Minstral:

http://johnstowell.blogspot.com/

Peace,
Kevin



____________________________________________________
Yahoo! Sports
Rekindle the Rivalries. Sign up for Fantasy Football
http://football.fantasysports.yahoo.com

Pete mentioned this chord Progression.  In the Key of C it would be this. 
(Emin.7/ Eb dim.7/) (Dmin.7/ G7/) (Cmaj.7///)

(Eb  Gb  Bbb  C) is one way to spell Eb dim.7.
Here's another way, (Eb  F#  A  C).   All you have to do is lower the Eb to D
and you have D7 (D  F#  A  C).
Therefore, Eb dim.7 is functioning as the Five of the Five chord of the Key of
C, G7.  Only instead of resolving directly to G7, it relaxes into Dmin7 The Two
chord before finally getting to G7.

E min.7 ( E  G  B  D) can be heard as C maj.9 (C  E  G  B  D ) with the root
omitted. Leaving out the D min.7, which is just a way to stall getting to the
Five Chord (G7), the Chord progression could be looked upon as (C maj./ D7/ )(
G7///)(Cmaj. ///).

I Hear the Eb dim.7 as if it were D7b9 resolving to a G maj. chord  G  A  B  C 
(D)  Eb  (F#)  G  (A)  B  (C)  D (Eb)
The two most interesting notes to play would be F# and Eb.  When you hit the G7,
you're back in the Key of C.
There's always the consideration of how many beats is any Chord going to be
there, and how much time you have to get to anything at all.

Daqve Woods   www.musictolight.org




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

Give up gaming??!! What? Repyl offlist, but I just
found "Panzer General" for 2.00!!!

Out of my cold dead hands, will they...oh, you know.

Take me to the bridge. Oh, thanks for the Stowell
work. All of it.

Regards,
Micah

--- Kevin Smith <ksjazzguitarnews@...> wrote:

> For those who care, I was bored again (I'm giving up
> video games as a surprise gift to my wife!) so I
> transcribed the Stowell interview from the Portland
> Jazz Jam Interview.  The mp3 of the interview can be
> had at pod show section of the Portland Jazz Jams
> web
> site:
>
> http://www.portlandjazzjams.com/pjjpodshow.htm
>
> or from Stowell's blog page, Confessions of a
> Travelling Minstral:
>
> http://johnstowell.blogspot.com/
>
> Peace,
> Kevin

So is there anybody in here going to the north sea jazzfestival in the
Heague (Netherlands)?

Any usefull tips of what defenitly should be seen/heard?

I heard Matt Schofield is an okay guitar player......

Paul.

Back in the day....some of us would take the amp end of a guitar cable and put
tiny alligator clips on it, one on the center connector and another on the outer
braid.  Then you connect the two wires to the two active sides of  the volume
control of an old tube radio. Then you turn the radio on, tune to a vacant spot
on the dial and cautiously turn the volume up.

This system will work with any old amp-phono, PA or whatever.  I don't like the
alligator clips though.

Also, the AX84 project AX84.com has some projects for building a number of 5-7
watt amps and even a 1 watt amp.. They have some kits also, some of which are
rated suitable for rank beginners.

Al

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

Also, I took my old Deluxe blackface and installed a master volume control, like
the newer Fenders.  I can now get full distortion at low volume withe the master
volume turned down.

Al

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

I have a crate 12 watt amp with an 8 or 10 inch speaker. GFX15. It
sounds fine for practice. Actually, it's a great sounding little amp.
I once got great sound on a gig with it miked and once played a fairly
big room with it up on a high ledge.

However, I've had some reliability problems. At one point it started
quitting intermittently. I found a possible problem with the speaker
connection that may have been a problem (not really the amp's fault),
but how can I be sure that I've solved an intermittent problem? So, no
gigging with it any more.



--- In jazz_guitar@yahoogroups.com, "frets2005" <mike@m...> wrote:
> I keep a Pignose 20 watt hog on my nightstand. and have occasionally
> mic'd it with good results.  It's not a shredders amp but it's small
> and has a short sound projection range (great for these thin walls)
> Usually it's no further then 5 feet from me when I play.
>
> My Main studio/practice amp is a 00's 30 watt Roland cube. It uses
the
> same cosm technology as found in Roland VS recorders and VG systems.
> Amp simulations are fairly realistic. And the two dial dsp's are
eaay
> to set and forget. I've become so accostumed to it. I'll take it out
> on gigs and piggy back it with a Traynor 100watt bass amp. The only
> thing I wish I had was presence on the roland.
>
> Tech21 makes some great little amps that are loud and versatile
which
> play well at lower volumes as well.

If you're willing or able to check out the used market, Fender Champs from pre
'80s are worth trying out.  Tubes, warm sound, class A circuitry, point to point
and lots of options for mods if you want to upgrade.  Even perfect for quiet duo
situations like piano gig duos.  Turned up, they have a whole other side to
them, Clapton's Layla was recorded entirely with a little Fender Champ but as a
jazz amp they're great for low volume too.  They hover around 300 to 400 on the
used market.
David


-----Original Message-----
From:     steinbergerstyler <steinbergerstyler@...>
Sent:     Fri, 01 Jul 2005 22:27:16 -0000
To:       jazz_guitar@yahoogroups.com
Subject:  [jazz_guitar] Best practice amp?

There's been alot of discussion lately about tube amps, etc., but
I don't remember anyone commenting on amps specifically for playing
at home, by yourself, that sound good.

I've been through a number of amps over the last few years, I've
haven't really liked any of them as practice amps (though some
obviously were good gigging amps). Here's the amps I've tried:

- Fender Deluxe Reverb Reissue - even at 22 watts too loud, thin
sounding and noisy at low levels
- Fender Blues Junior - a favorite of many, I bought one and it was
incredibly noisy for home use levels and tinny sounding
- Polytone (both the 15" and the 8") way to nasally and midrangy -
this helps to cut through the mix in a live situation but they sound
pretty awful when being played at low levels, IMHO
- Acoustic Image Clarus (played through a Mesa 1x12 cab) -
ridiculously overpowered at 300W, even at low volume levels there was
a huge amount of "pressure" coming out of the cab, if that makes
sense - may have something to do with the class D power thing
- Roland Cube 30 - boxy and thin - owned it, didn't like it; no need
to start a thread praising this amp, please.

From what I've been able to tell trying amps in stores, boutique-y,
low wattage amps sound the best at practice levels:

- Mesa lonestar special - 5/15/30 watts; the best low-volume amp I've
ever heard, but costs $1700
- Reverend goblin - 5/15 watts, looks interesting but mixed reviews -
never tried one; also heard good things about the Kingsnake
- Mesa Subway Blues - 18 watts, heard good things about them but
never tried one

experienced gear-o-philes, any suggestions?





Yahoo! Groups Links

>If you're willing or able to check out the used market, Fender Champs from
pre '80s are worth trying out.
I agree. That’s what I’ve always used.

Bill Williams


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