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Guitar chord forum - chordie → Posts by jerome.oneil
What phill says...
Plus, with any tube amp, you'll want to have the tubes themselves checked out. They leak as they age and lose some of the electrical properties that make them sound so cool. If you're really interested in restoring it, you might want to have all the capacitors and resistors in the audio chain checked, too. Bigger caps especially will have a huge impact on how the amp sounds.
Lots of things can effect the action. The neck bow and radius, the bridge, the nut, and even the fret size and height all play a part in it. It's worth it to have it looked at by someone that knows what they're doing, because you can really wreck a guitar if it's done wrong.
I'd like to see his grandson take a crack at them. He looks and sounds a whole lot like grandpa.
If you're not that good yet, write anyway. Paul Simon didn't start out that good either.
What Zurf said. One of the best things you'll learn from writing is that most songs are pretty simple.
Keep playing scales until you see the point. 
And write.
At any rate, the tuning was close enough that I was able to transcribe a portion of the Lomax Anthology of American Folk Music for playing on this instrument, using a system of notation that I developed for the instrument.
I got no audio on my werk computer, but I'll check that out when I get home.
I wanna learn bass and drums. Can't afford to at the moment.
Take the two highest strings off your guitar, and you've got a bass layout to practice with.
jerome.oneil wrote:Nyckeharpa, just because it's impossible to pronounce. And probably equally as impossible to tune.
It looks like a stringed instrument designed to fill a vacuum after bagpipes were outlawed.
There is a Swedish band called Vasen that plays it. I caught them at Wintergrass last year with Daryl Anger. It's actually got that "old timey" fiddle sound. If you like that, you'll probably like this.
Accordians, what an instrument. In the right hands they sounded good. When I was about 12, I had a friend that played one. I didn't get it then and I don't get it now. I guess during the Lawrence Welk days they were all the rage.
A gentleman is a man that can play the accordion, but doesn't.
I was suggesting that perhaps mozart and bach are more influential as composers, not musicians.
I would agree with this for the most part. Both were reputed to be monsters on the keys, but it's their compositions that live on. Franz Liszt suffers the same ignominious fate. Lack of recording technology really ruined a lot of old world rock star's reputations.
I would argue Rachmaninoff is the most influential composer and musician in that regard. We have recordings of him, and he is a master with both the pen and the key.
Jerome the note in blues that we play as a flatted third has an origin roots in field work songs where the blue note was less than a semi-tone flat of a natural third. We interpret it as a b3 because of how western music theory is notated (and because of fixed pitch instruments) but the origin of the note that makes up the blues scale is more like 1/2 way between a b3 and a natural 3.
So if I understand, the minor third in blues as originally sung in the fields was really sort of "flatted and a half" and we only play it minor due to the diatonic nature of modern music?
I suppose that makes sense. The music stemming from the African origins of slaves would lend itself to whatever modes African music is built on. I don't know much about the theory behind African music, but I would imagine that carnatic like scales with more than 12 tones would be in play.
Learn something new every day!
Learn these five chords, and learn them well.
C A G E D
Learn them in the open position, and then learn them all over the neck.
Learn them in groups of threes and twos. (you'll understand why when you figure out B and F)
C G
A D E
G C D
E A
D G A
Everything else you do, from the rest of the chords to lead lines, will derive from that.
When you can bang around on any of the group of three, you'll know a thousand different songs. I'm serious about that.
Nyckeharpa, just because it's impossible to pronounce. And probably equally as impossible to tune. 
I think of you learn a piano keyboard in the context of theory, that all instruments thereafter will be easier to learn. My daughter wants to play drums, but we are having her learn piano in a course that emphasizes theory and rhythm first. Our thinking is that a formal understanding of rhythm will apply to percussion very well, and early exposure to theory will allow her to understand the role played by percussion in the overall music of whatever band she eventually plays in. She was highly resistant to the piano, but now a month into it is enthralled. She practices every day, many times more than once, and she is already reading music and understanding how major chords go together. I've got her practicing with a metronome and she's learning about steady timing right from the start.
This is a fundamental truth. Theory is applicable to any instrument you pick up.
Pythagoras, who brought us the 12 tone chromatic scale.
Now yer talkin'!
jerome.oneil wrote:Interesting question.
All time influential? Jacopo Peri, and his contemporaries. They ushered in the baroque period which gave us our modernized diatonic scales and keys.
Without earlier advocates of equal temperament we'd not have those scales, at least as we know them today. Also, the blues (foundation of much of modern rock) is based around a note that does not exist in modernized diatonic scales and keys...
We are at risk of a teleological conundrum here. We can go all the way back to those cave men banging rocks with sticks! Where would we be without them?
I'm curious about the note that doesn't exist in modern diatonic scales and keys, though.
He made some pretty dumb remarks on Fox News and upset a whole lot of folks.
They should replace him with his son, Hank Williams III, who is a way better artist, anyway.
Interesting question.
All time influential? Jacopo Peri, and his contemporaries. They ushered in the baroque period which gave us our modernized diatonic scales and keys.
Well that was a heck of a lot of fun. Small crowd, but some very cool people that I love showed up, one bearing gifts!
I've got some video of it being played on my phone. When I figure out how to get it off, I'll share that, too.
We're bringing this one to the public tonight. If we get a recording of it, I'll post it up.
With all our gigs, the more you drink, the better we sound.
We tend to throw punked up versions of folk songs together when we need some covers. John Denver's "Country Roads, Take Me Home" and Cookie Monster's "C is for Cookie" are our latest arrangements.
Shawn Lane, Bryan Sutton, and Bill Frisell.
I enjoy fish.
"Give a man a fish, and he will eat for a day. Teach a man to fish, and he will sit in a boat and drink beer all day."
I love Hank the First and Hank the Third, but Hank the Second never did it for me. "New" country is really just "Old 80's hair music" dressed up in boots instead of bandannas. There is a crop of youngsters out there that have gone way old school, and I like that a whole lot better. Justin Townes Earl, Hank III, Zoe Muth, all under 30, and sound like they've been lost in the west for decades.
Hank III is playing in Seattle Monday night. I may go see him. I've seen JTE half a dozen times, and I discovered Zoe Muth when she opened for him.
Put the fattest, gnarliest, meanest, thickest set of cables you can find on the thing. Does wonders for your tone (if not your fingers.)
We play a bit of Johnny Cash, so we wrote this followup to "Don't Take Your Guns to Town."
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Guitar chord forum - chordie → Posts by jerome.oneil
