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Guitar chord forum - chordie → Posts by jerome.oneil
Thanks guys I have the Ibanez and a Martin DX1 (Christmas present) my problem is that I have three keyboards too, as wife rolls eyes!! Maybe I nee to get rid of the upright piano and make some room.
Now you're talkin'!
I think we are doing Butch a disservice here. Lets get him set up right.
Butch, the proper solution to your many desires isn't one guitar that does lots of things, it's *lots of guitars.*
Some day, you will understand this, embrace the GAS, and be a better man for it. 
Find the one note on the fretboard that sounds OK all the way through the song, and that's probably the key.
The Dot is Epiphone's ES-335 clone. They can be had new for about $300, and sound fantastic.
I own a Dot, and it is lovely. Al's Gretsch gets all the stage time, though (That's Al, and the Gretsch in the picture). We bring a whole lot of stuff with us when we play ( a comedic amount, in fact) once you count the banjo, the mandolin, and whatever acoustics we manage to drag along.
Now that we're down to a trio, I may bring out the Dot more often. That's assuming we don't try to find room to wedge the standup bass in the car somehow.
No training? If they're requiring the certification, they should pay for training.
This, a thousand times over. There are a lot of places that offer up courses geared towards these certifications. Find one. Price it up. Take it to your employer and tell them to cut you an invoice. If they aren't willing to do that, then they aren't serious about ensuring you actually have the skills that the certification implies.
"Go read a book" is a terrible training program. Would you fly on a plane if thats how they trained pilots?
We have that same guitar with the Bigsby tremolo in the band's lineup. Plugged into a decent tube amp, there are few things that sound better. And they look sharp, too.
Here it is in action...
Fender tubes are delicious.
Well, minors are built the same way majors are built. They're just triads (the I, III, and V), based on some modal scale. If you add the VII to it, that makes it a 7th, by definition. For minor 7ths, there is no modification of the 7th. In the C minor example, one would add Bb. C minor is relative to Eb major, and shares it's key signature. B would be out of key, which is why it sounds so dischordant.
For major chords with the VII, modifying it (flattening, or not) defines whether it's a dominant or major.
I've spent a good deal of time in the southern Indian Ocean, particularly as a young man.
I hope I'm reading that right, but it's a nice bit of work, even if you did put it in the wrong spot. If I'm reading it wrong, then I lack context, and can't render an opinion.
Hey pops, my problems are the exact opposite of yours. My mind (the theory part) runs waaaay ahead of my hands (the application part.) Whenever I go looking at new guitars, I always look at the real expensive ones, because everyone wants a brand new Taylor, right?
Then I remind myself that while I have a $10,000 head, I only have $100 hands. 
One last expert joke. My dad used to say "An expert? An ex is a has-been, and a spurt is a drip under pressure."
I miss that man.
50 Ft' Queenie by P.J. Harvey. Best punk song you can do on an acoustic guitar. It's all power chords, too, and in drop D, that's ridiculously easy.
canudigit, Considering you have been a member from 2007, you could not have been reading the posts that have been discussed in this music theory forum, what you have stated in your thread we have all been through with jerome, and if we have a question we speak to jerome, he is the man who runs this music theory section.
you may be an expert, but you should respect jerome,s position,
self prase is no recomendation.
Well, I don't think anyone should be afraid to offer up opinions and ideas. I'm not the teacher, per se, and I'd hate for this place to become an "ask Jerome questions" area. There are lots of smart people here sharing their experiences. My role as a moderator is to foster discussion, and I think this thread has been a great example of the kind of dynamic feedback that can be generated as a result.
I love theory. I'm an engineer, and theory works in explaining how music is "built." I'm also a button pusher, so yeah, I'm guilty of rubbing the self praise button.
Amen on the shapes. From a theory standpoint, the chord shapes are the actual use of that theory. I always say there are really only 5 things you need to know to play guitar. C A G E and D. Learn those shapes, and their underlying scale patterns, and you own the fretboard.
It does make a differance on the piano, which gives a lot more options w/ 88 keys
Quoted for truth. If you have access to a keyboard, it is much, much easier to visualize the intervals there than on a fretboard.
I have a question. Has to do with a 7th chord.
In a D chord you would add C, it being the 7th.
In a C chord you would add a Bb, not a B to get a 7th, even though the C is natural.
Why?Thanks
When we talk about "7" chords, we really mean "dominant 7ths" as opposed to "major 7ths." And a dominant 7 flattens the 7, wheras a maj7 doesn't.
So a Cdom7 (C7) is C E G Bb, and a Cmaj7 is C E G B.
Ddom7 would be D F# A C, and a Dmaj7 would be D F# A C#.
In both cases the dominant 7 has a flattened 7th, while the major 7 has the unaltered 7.
Make sense?
jerome.oneil wrote:And then there is the Concord Blue Devil's Drum Line.
These guys are, quite literally, the best in the world at what they do.
And his/their name was......???? ( remember the initial question?)
The worlds' best best drummer was that group of 50 bazillion people... hmmmm... interesting indeed......
Their name is "The Concord Bluedevils Drum Line." They have consistently been the best in the world at what they do since the early 70's. The kid that stands in the center of that snare line is one of the best drummers in the world, regardless of what his name is.
You really aught to take your aggro act elsewhere, Toney. It grows tiresome.
Jerome,
Don't know if the color is right for you or not but this one would make a good one for you
That guitar is perfect.
Hi Jerome,
OK You and Russell have something in common.... awhile back he mentioned that he was also considering a Tele to add to his arsenal.
Just for the record though, and because I'm curious, what is it about the Tele that makes it special in your opinion? The reason for the question is that I'm considering building another guitar in the near future and if I "clone" one, I'd like to know what qualities are particularly desirable in the Tele that you can't get out of another common guitar shape or configuration. Do you prefer the classic solid body or the newer semi-hollow thinline, and why or why not?
Dual or triple pickups, single or double coils, through-body or wraparound bridge, stuff like that? I spend way too much time considering all those options before I even go out choosing wood, because in the end it is the sound and playability that is paramount in my mind when in the "planning stage".Thanks, and Take Care;
Doug
The Telecaster, like the AK-47 and a supersonic flyby, has an unmistakable sound, and that sound is righteously cool. I'm writing a lot of "cow punk" now, and there just isn't anything quite like it.
I've owned the semi-hollow body before, but what I want now is the old school single coil, bridge pickup bearing solid body guitar. I want to plug that into about 40 watts of pure VOX tube goodness, and turn the gain up a little too high. I want to wear my dads black Stetson and a bolo tie, and wring the things neck until one of us cries uncle.
Oh yes I do....
And then there is the Concord Blue Devil's Drum Line.
These guys are, quite literally, the best in the world at what they do.
selso wrote:SouthPaw41L wrote:1)Steve Gadd
2) Stewart Copeland
3) tie; Butch Trucks, Bill Kreutzman, Terry Bozzio, Carter Beauford,Tito Puente,Keith Moon, Ginger Baker, Bill Bruford, Buddy Miles,Kenny Aronoff, Nick Mason, Ed Shaughnessy, Chad Smith, Levon Helm, Max Weinberg, Lars Ulriich, John Bonham, Buddy Rich, Neil Peart, Jaimoe, Leonard "Doc" Gibbs, Gregg Bissonette,Charlie Watts, Alex Van Halen, Chris Layton,Jojo Mayer,Mitch Mitchell,Jamie Oldaker,Alan White,and last but not least (my current drummer !!!) Jeff Korth
How could I forget about stewart copeland! ever heard of oysterhead?
YEP !!!! they'd probably been a lot more successful and sold out more venues if they had jerome.oneils' total approval....
Oysterhead sold out pretty much every show they ever played. And since they've only toured twice, and only printed one disk, that's significant.
It's a side project of Claypools'. But I'm sure you knew that.
Again. Convince me. Make me do bad things.
jerome.oneil wrote:Oysterhead was interesting only insofar as Les Claypool is interesting.
very true. I really could careless for that guy from phish. Just my opinion though.
Trey Anastasio. Phish is a great jam band, ala the Dead. Awesome song writers, great vibe, great entertainers without any kind of virtuosity. Bands like that are truly more than the sum of their parts, but I agree with you. On their own, meh.
Claypool is a straight up freak. I'd pay just to watch him tune. Copeland is a genuine talent, but he doesn't have the same knack for the bizarre as Claypool. The thing about Oysterhead is it is obvious who wrote what songs.
Oysterhead was interesting only insofar as Les Claypool is interesting.
Guitar chord forum - chordie → Posts by jerome.oneil
