Alright so for the bridge, let's make that 7/8 with a half measure outro in the key o

[Queso]

mediterranean concerto? i don't believe i've heard that.

although i do have a live version of Al Di Meolas mediterranean sundance live with john which is very good.

the studio version of that song blows me away every time i hear it. i learned, and am still learning a lot, from those two musicians. (style and technique-wise)

[Tormod]

mediterranean concerto? i don't believe i've heard that.

 

Found a review of it here:

 

http://www.allaboutjazz.com/reviews/r1102_173.htm

[pgrmdave]

I don't really follow jazz, but I would recommend Jack Stamp, Frank Ticheli, Patrick Burns, Persichetti, Wagner, Edmonson, and Vaughan Williams, with emphasis on the first three. They all experiment (well, Frank Ticheli doesn't do much, but what he does is wonderful). I played Jack Stamp's Pastime twice, and enjoyed it the second time. It changes time signature an average of once every three measures, I believe. And it has a fugue. That changes from 2/4, to 3/4, to 7/8 at various times. Oh yeah, fugues, try J.S. Bach. His fugues are very intricate, and it can be quite an intellecual excercise to try and keep track of each melodic part, especially the middle voices.

[Queso]

Bump>!

[Zilali]

Try listening to Bill Evans and in particular Autumn leaves, hes pretty much my personal hero.

 

Other great jazz artists - Miles Davis (anything before the 80s), Keith Jarrett and Dave Brubeck.

 

 

Orbsycli out of interest what guitar do you own?

[Queso]

Thanks for the reply, mate!

As of right now, ive got my beautiful gibson les paul that will remain by my side for the rest of my life.

And now im strummin on my new alvarez acoustic.

Warm, fat, vintage tone. Quite nice, especially for 300$ it was a steal!

[Zilali]

Thanks for the reply, mate!

As of right now, ive got my beautiful gibson les paul that will remain by my side for the rest of my life.

And now im strummin on my new alvarez acoustic.

Warm, fat, vintage tone. Quite nice, especially for 300$ it was a steal!

 

I'm likeing your choice in guitars but jelous all the same. I managed drop my maverick the other day, splitting the neck so i'm guitarless for a few weeks, I was almost in tears.

 

At the moment i'm contemplating breaking into my savings to buy a vintage 12 string but it means ill be poor for about two or three months. Then again its either poor and happy or rich and bored, ah well im sure I can live on beans on toast for a while.

[Queso]

Poor and happy!

Thats the way to be, ESPECIALLY with a vintage 12 string!

WOO!

damn that sounds nice,

what kind are you looking for?

 

i downloaded some bill evans,

Amazing.

[Zilali]

Yea Bill evans is amazing, i'm currently trying to learn a few songs on the piano but it just gets a bit to crazy for me, it quite literally took me about an hour to learn a few bars of 'autumn leaves' this morning, hes just too good.

 

Anyway teh guitars a 1960s Martin 12 string which I found in my local paper for about £400 which is amazing for what it is. I'm just slightly worried that someone else will realise how good a bargain it is and buy it before me.

[Queso]

wow! swoop in that man, sounds beautiful.

[Buffy]

Yea Bill evans is amazing,

Amen!

Anyway teh guitars a 1960s Martin 12 string which I found in my local paper for about £400 which is amazing for what it is. I'm just slightly worried that someone else will realise how good a bargain it is and buy it before me.

Well, the problem with 12 strings is that all that pressure warps the neck. I've been through a couple of them, and unless you can eyeball it, there's no way of coming up with a "right price". I actually recommend buying 12 strings new, so you get the chance to warp them yourself, although buy something reliable like Martin (high) or Ovation (low).

 

Two recommendations:

• Tune it down a full step and get a *really* good capo.
  
• Try alternate stringings. I for years kept my first Yamaha 12 string strung as an 8 or 9 string, with companion strings only on the G B E strings (usually only the B and E), which was great for fingerpicking and lead but had a really odd sound (have to keep the top two strings *very* slightly detuned!). This is *not* the 12 string sound, but it has a value of its own...

 

I've always wanted a double neck SG, but I tried one once and I'm nowhere near big enough to hold it up: they weigh a ton! :confused:

 

Jett-like,

Buffy

[Queso]

++

full of surprises, sheeeeesh!

good to know, buffy

[Zilali]

Aha good advice buffy, thanks

 

I went to pay the potential guitar a visit yesterday, and as far as it looks and sounds, its beautiful. But like you said, the problem with buying second hand musical instruments is you just don't know how thier gonna hold out from looking at them. However i'm impulsive and I couldn't bare to see it go so i'm getting it tommorow.

 

I think i've had a problem with warping before and its a pain in the arse. My last guitar had this really annoying buzzing noise and even when I took the action up ridicuously high it wouldn't stop. I eventually took for repair and they said the neck was out of place and slightly bent which cost me about £60 to fix.

 

Anyway I think i'll take up your advice on the alternating strings as it sounds a good idea and I would probably cry if another one of my guitars had an unexpected accident.

As for the capo, I have a capo-phobia as every one I bought would drive me crazy as they would never fit on properly unless you spent about 20 minutes trying to adjust them.

 

And yes I too have dreamed of owning a double guitar but then again if I bought it I don;t think id ever play it apart from for novelty reasons. It would have to be a look but don't touch guitar.

[Buffy]

As for the capo, I have a capo-phobia as every one I bought would drive me crazy as they would never fit on properly unless you spent about 20 minutes trying to adjust them.

Yeah, most capo's suck. The one that used to live on my 12-string (and they have to live there in order to "settle" properly so they don't buzz), was a flat-bungy thing with *very* soft rubber (the bigstring-littlestring pairs will defy most hard-rubber capos), so it was pretty effective...seriously, the reduced strain on the neck and the bridge (I've seen horribly mangled 12-strings with the entire face ripped out, but not without some mistreatment, my Yamaha had a warped face that just made the action higher than I would have liked), can be well worth finding a capo that works. Note that you'll get much better non-buzzing if you do the full-step detune: you'll never get a capo to work on the first fret...

 

Cheers,

Buffy

[Queso]

1. There's nothing sexier than a woman with a 12 string.

2. I've got the cheapest capo and as long as it's tight it doesn't buzz at all.

(well, except on the first fret)

 

Playing in C#,

 

p.s. check out robert fripp and his "league of crafty guitarists"

:lightning

[Buffy]

1. There's nothing sexier than a woman with a 12 string.

:lightning

2. I've got the cheapest capo and as long as it's tight it doesn't buzz at all.

Cost usually does not matter that much. Gooeiness does. SOFT rubber...

(well, except on the first fret)

All capos are sucky on the first fret. Don't play in F or Bb or Eb if you can avoid it! If you *have* to, tune the dang thing down another half step and put the capo on the second fret....Most folks really do tune 12 strings down to a D-tuning and live with that thing on the second fret...especially if its a Martin that you want to give to your grandkids...

p.s. check out robert fripp and his "league of crafty guitarists"

:eek_big:

Will do buckeroo!

 

Arpeggiated,

Buffy

[pgrmdave]

what i ask all of you to do is please suggest to me some complicated old jazz, or really anything complex.

 

Try some more modern band music - Jack Stamp, Ralph Vaughan Williams, and Percy Aldridge Grainger all have some interesting complex pieces for symphonic band (I played some of them). Jack Stamp's Pasttime has more time signature changes than I've ever seen (averages 1 every four measures) and Ralph V. Williams' English Folk Song Suite has some odd rhythms because of how he composed it - he recorded untrained people singing folk songs and then wrote music to be exactly as they sang it rhythmically, whether it was conventional or not.

 

Yeah...what can I say, I'm still a band geek at heart :lightning