Re: Thinking more outside of a Jam
Well stated, Mike. Going for the sound you want is all there is, and of course being honest. I've never tried a mandolin capo, but guitar capos give me fits ... and I've tried lots of different kinds, techniques for putting them on. I just can't seem to get the same clear string sound on the capoed (is that a word) bass strings as I do on fingered or open strings. Probably operator error, but that's why I've never ventured into capoland for the mandolin. I have enough trouble getting a clean sound without adding another factor. v. On Nov 18, 8:53 am, mistertaterbug taterbugmu...@gmail.com wrote: If anyone cares to, go to Remember the Cross and That Home Above by the Monroe/Flatt/Scruggs/Wise/Rainwater band. One is clearly B, the other B flat. But, they are both clearly played out of A. There are a number of other noteworthy cuts, The First Whippoorwill for one, that are played out of one key but are clearly not pitched in that key. So, did fucking Bill Monroe (to quote fucking Gaudreau) tune up or capo up? It's not tape drag. As Terry Bullin once said,Well, maybe he did it in the studio but surely he wouldn't have done it out in public. It's just silly. If the situation requires a different voice and the capo provides it, use it. When did it become against the rules to use the tools? I started using a capo now and then due to saving time and aggravation in the studio. Also, open tunings. I'd really love to use more open tunings. Listen to the cut on Dr. Ralph's recording of Lift Him Up. That's tuned open, but there were a few songs where we tuned open only to have TBone say that he'd like to go up a half step. Now, retuning 8 strings on a mandolin every which way and expecting it to settle down in a few minutes is just unreasonable. Slapping on a capo is not, especially when time is money. As for working up solos and improvising... I think that maybe we can go back to the Father one more time and consider this approach. Over the years, if I listen to songs that Monroe did over a number of decades, such as Uncle Pen, On and On, Bluegrass Breakdown, etc, what I hear is a script, a framework over which variations are applied. I'm not talking about the construction of the song so much as I am the construction of his solos in the song. It seems that he worked out a solo that served as the basic pattern to follow, but changed small aspects of it occasionally as his whim dictated. But the basic script was predominantly the same. This may be helpful, maybe not. Just thought I'd throw it out there. I had a short conversation with Russ Barenburg the other day and the subject of improvisation came up. He said that he occasionally has people ask him about improvising, as do I. It's really an individual learning experience and there doesn't seem to be any one way to approach it or teach it. He said that to him it is ridiculous to assume that it is possible to whip out an improvised solo that rivals something that requires one sitting down and working it out and learning it over the course of say, several months. But that seems to be what some people assume they will be able to do with a few rules. I think that it is easy to overlook the fact that the sound our heros have/had did not just appear overnight but took sometimes a lifetime of blood, sweat, and tears to acquire. There is too much impatience in us all. I think that Eric has a valid point, that being each song deserves a look to see what the best approach is. I agree with Eric too (Who is this Eric guy? He seems to know a lot of stuff...) regarding using tunings and capos, if a person wants a specific sound, go where it is regardless of how you need to get there. As John Hartford used to say (and I know I've quoted him saying this before...), This is art and there ain't no damned rules. Be bold, be yourself, be honest. The audience can spot a phony from the back row. Puhtater On Nov 17, 6:46 pm, mandoho...@comcast.net wrote: Ron Spears tells a very good Jimmy Gaudreau capo story. At a gig somewhere, Jimmy put a capo on his mandolin and Ron gave him the hairy eyeball as only Ron can do and Jimmy got right in Ron's face and says I ain't fucking Bill Monroe. Might even be true. Clyde Clevenger Just My Opinion, But It's Right Salem, Oregon Old Circle - Original Message - From: Don Grieser adobeinthepi...@gmail.com To: taterbugmando@googlegroups.com Sent: Tuesday, November 17, 2009 4:36:23 PM GMT -08:00 US/Canada Pacific Subject: Re: Thinking more outside of a Jam I saw Jimmy Gaudreau use a capo on his mandolin at a bluegrass festival. It sounded great. It's a tool. Use it for a certain sound or effect but not because you're too lazy to learn to play in Bb or B. Monroe style players play out of closed positions anyway even when they don't have to, right? -- You received this message because you are subscribed to the Google Groups Taterbugmando
Sally Goodin in Eb
First post, found the group a few weeks ago good discussions great tips and insights jovial tone back to topic at the top somewhat related I was told by late, great percussionist Colin Wolcott, that Glen Moore, bass player for fusion jazz group Oregon, would periodically retune his bass to different intervals, and relearn entire group repetoire, or at least enough to gig, just to keep himself on his toes all best Eliot -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: Thinking more outside of a Jam
Erik I like your idea about learning tunes that are traditionally played out of A, in G. Jody Stecher does a real nice version of Sally Goodin out of G; it's on the Mandolin 2000 Mel Bay book.(I think Mel changed the title of that book since it's initial publication) Elliot is my favorite guitar capo; it has a thumb screw on there so you can get just the right amoint of tension to get a clear note but without putting the strings out of tune. The design lets you store it right behind the nut when not capoing; a major advantage in my book. D'Addario's Planet Waves just came out with a $15 capo that works on the same principle. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: Thinking more outside of a Jam
Some fiddlers in New England play a Sally Gooden in G, I also have heard Gene Goforth doing it out of G. I really like the idea of learning an A tune in G in case the banjo player doesn't have a capo. Just another excuse to see how different keys relate/differ from each other. On Nov 19, 2009, at 9:29 AM, 14strings wrote: Erik I like your idea about learning tunes that are traditionally played out of A, in G. Jody Stecher does a real nice version of Sally Goodin out of G; it's on the Mandolin 2000 Mel Bay book.(I think Mel changed the title of that book since it's initial publication) Elliot is my favorite guitar capo; it has a thumb screw on there so you can get just the right amoint of tension to get a clear note but without putting the strings out of tune. The design lets you store it right behind the nut when not capoing; a major advantage in my book. D'Addario's Planet Waves just came out with a $15 capo that works on the same principle. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl= . -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: Thinking more outside of a Jam
Sally Gooden in G is pretty common here in SC, and is generally known as Black Sally. I don't think that's meant to be racially disparaging, so no one should take it that way. I've had a lot of success with playing fiddle tunes I don't know out of the chord position, just as I would taking a break for a standard bluegrass tune that I really don't know all that well. Some people look on that as fiddle tune heresy, but to me it gets the job done and makes you think differently about the sounds--or functions, Dasspunk--that you can get out of the chord position. From: Mike Hoffmann mikehoffma...@gmail.com To: taterbugmando@googlegroups.com Sent: Thu, November 19, 2009 9:39:47 AM Subject: Re: Thinking more outside of a Jam Some fiddlers in New England play a Sally Gooden in G, I also have heard Gene Goforth doing it out of G. I really like the idea of learning an A tune in G in case the banjo player doesn't have a capo. Just another excuse to see how different keys relate/differ from each other. On Nov 19, 2009, at 9:29 AM, 14strings wrote: Erik I like your idea about learning tunes that are traditionally played out of A, in G. Jody Stecher does a real nice version of Sally Goodin out of G; it's on the Mandolin 2000 Mel Bay book.(I think Mel changed the title of that book since it's initial publication) Elliot is my favorite guitar capo; it has a thumb screw on there so you can get just the right amoint of tension to get a clear note but without putting the strings out of tune. The design lets you store it right behind the nut when not capoing; a major advantage in my book. D'Addario's Planet Waves just came out with a $15 capo that works on the same principle. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com . For more options, visit this group at http://groups.google.com/group/taterbugmando?hl= . -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: Thinking more outside of a Jam
Clyde, Thats it!! I couldn't find the words -Chinese!! Well sometimes. On Nov 18, 11:11 pm, mandoho...@comcast.net wrote: Well, that pretty much settles it, I'm getting me an ugly capo and not talking about it on Mandolin Cafe. I haven't been on there in a long time, got kicked off twice for being too funny for my own good. I think I said something about Chris Thile's playing sound like Chinese to me. I thought it was hilarious. Apparently not everyone did. Clyde Clevenger Just My Opinion, But It's Right Salem, Oregon Old Circle - Original Message - From: erik berry eberr...@gmail.com To: Taterbugmando taterbugmando@googlegroups.com Sent: Wednesday, November 18, 2009 7:49:42 PM GMT -08:00 US/Canada Pacific Subject: Re: Thinking more outside of a Jam It's so much nicer talking about capos here than at the Cafe. A nice ordinary question like, What brand of capo do you think works best for mandolin? is usually answered Learn your fretboard, loser. I'm especially sensitive about it because once we hired a professional photographer to shoot about a half-dozen shows to get a nice, deep assorted grab bag of photos and he loved how my capo looked on the mandolin. At the time, even though I only played it on 1 song, he thought it looked so cool that most of the shots of me he submitted had the capo. Posters, our web page, there's Erik's capo. I used to have mandolinists asking me about it all the time. I keep my capo on one of those nifty clip-on trays for your mic stand. I also keep extra pics, strings and an extra beer in the cup holder. Here's a good piece of capo related advice, also related to learning tunes in different keys. The advice is to learn all your barn-burnin' banjo songs (Clinch Mt. Backstep, Sally Goodin', etc) in the key of G, so when you banjoist tears off into one without his capo, you don't sound like a fool when it's time for your break. erik -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: Sally Goodin in Eb
Welcome Eliot. I'd say that would certainly keep a man on his toes. Good lord. Have you heard Radim Zenkl's recording Galactic Mandolin? I think he uses 12 different intervals there. I'm sure that the person doing the retuning gains immense insights and a new way of looking at the fingerboard and maybe even finds finds tunings that work better for certain songs. I'll buy that. I think that the idea is more a personal exploration and learning experience for the user, not the listener although I do find Radim's album intriguing. Anyway, I'm still finding GDAE plenty of a handful. Onward... Tbug On Nov 19, 7:10 am, Eliot Greenspan espa...@gmail.com wrote: First post, found the group a few weeks ago good discussions great tips and insights jovial tone back to topic at the top somewhat related I was told by late, great percussionist Colin Wolcott, that Glen Moore, bass player for fusion jazz group Oregon, would periodically retune his bass to different intervals, and relearn entire group repetoire, or at least enough to gig, just to keep himself on his toes all best Eliot -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: Thinking more outside of a Jam
Hoffming, I'm all for exploration and experimenting. In my earlier days I used to play a lot of Mon's tunes in different keys just to see how they worked outside the key they were recorded in. I think that I gained some very useful information about the use of the style. B flat is a good key. Kenny Baker has some of his finest moments there, mostly in playing old hymns. Very pretty stuff. Seems like keys like B flat, E flat and F have taken their turn as popular keys for string band players and passed into relative obscurity, probably due to...er,...uhm...Bill Monroe. Sorry, Hoss. I find myself wondering if these are predominantly horn keys and if it was the norm way back when to follow suit on stringed instruments. I don't reckon that most people (eg: the public) even knows what key you're in, much less cares. So, unless you haven't clued in the rest of the members of your group what you're fixing to do, I can't see why it would piss anybody off. I do agree/appreciate the exploration aspect. On the capo issue, I say we all (all 200-some-odd members) go out and buy a capo, put it on our fingerboards, take a photo and send it to Mandolin Cafe. We are henceforth the Caponic Mandolinarian Society! Oh yea, everybody tune to E flat... Taterboy On Nov 18, 9:55 pm, Mike Hoffmann mikehoffma...@gmail.com wrote: Well, I am mostly playing for myself, so I think I do these types of things for educational purposes, and you are right it probably would sound better in the original key. Although some friends and I play Bury me beneath the weeping willow as a blues in Bb, why, because we play a lot of Miss. Sheiks blues in Bb (think Blue sky blues) and like the way things sound there, so we messed around with Weeping Willow as a blues instrumental. We played it once, it was fun, we played it again. Not complete folly, but again, we are playing for ourselves. Perhaps the reason some friends of mine had a band and they called it Folly. Folly is a funny word! Sally Goodin in E flat, well you could play the low and high octaves both in first position without using an open tuning, that is one advantage. You would have to convince the other members of your jam/group/local preservation society, that is one disadvantage. I think these things are done out of boredom, a sense of exploration, and just to piss people off. On Nov 18, 2009, at 6:05 PM, mistertaterbug wrote: No, you won't give me shit either because I've got better things to do and won't listen to it. I also see no reason to learn tunes in oddball keys just for the sake of it, though I will admit there is an education there. Tunes are played in the keys they are played in for a reason, mainly because that's where they work the best as far as fingerings and palette. The are a few people who can take a tune and rework it to great effect, truly (say Dick Barrett) but I think it to be folly to play Sally Goodin in E flat. Why do it? TBug On Nov 18, 10:41 am, Dasspunk dassp...@gmail.com wrote: And I'll be myself and give you shit about it regularly ;) B On Nov 18, 8:56 am, Mike Hedding michaelhedd...@gmail.com wrote: Alright at the advice of everyone I am going to just be myself then. I am keeping my tuner on my headstock and no one is going to stop me! Mike Hedding On Nov 18, 2009, at 7:53 AM, mistertaterbug taterbugmu...@gmail.com wrote: If anyone cares to, go to Remember the Cross and That Home Above by the Monroe/Flatt/Scruggs/Wise/Rainwater band. One is clearly B, the other B flat. But, they are both clearly played out of A. There are a number of other noteworthy cuts, The First Whippoorwill for one, that are played out of one key but are clearly not pitched in that key. So, did fucking Bill Monroe (to quote fucking Gaudreau) tune up or capo up? It's not tape drag. As Terry Bullin once said,Well, maybe he did it in the studio but surely he wouldn't have done it out in public. It's just silly. If the situation requires a different voice and the capo provides it, use it. When did it become against the rules to use the tools? I started using a capo now and then due to saving time and aggravation in the studio. Also, open tunings. I'd really love to use more open tunings. Listen to the cut on Dr. Ralph's recording of Lift Him Up. That's tuned open, but there were a few songs where we tuned open only to have TBone say that he'd like to go up a half step. Now, retuning 8 strings on a mandolin every which way and expecting it to settle down in a few minutes is just unreasonable. Slapping on a capo is not, especially when time is money. As for working up solos and improvising... I think that maybe we can go back to the Father one more time and consider this approach. Over the years, if I listen to songs that Monroe did over a number of decades, such as Uncle Pen, On and
Re: Thinking more outside of a Jam
There are a few versions of Sally... played in G printed in the more available fiddle tune books. One version I like, Black Sally Goodin was played by black fiddler Bill Caton from Missouri (maybe where Gene got it?) and can be found in the first edition of R.P. Christeson's Old-Time Fiddler's Repertory. TBug On Nov 19, 8:39 am, Mike Hoffmann mikehoffma...@gmail.com wrote: Some fiddlers in New England play a Sally Gooden in G, I also have heard Gene Goforth doing it out of G. I really like the idea of learning an A tune in G in case the banjo player doesn't have a capo. Just another excuse to see how different keys relate/differ from each other. On Nov 19, 2009, at 9:29 AM, 14strings wrote: Erik I like your idea about learning tunes that are traditionally played out of A, in G. Jody Stecher does a real nice version of Sally Goodin out of G; it's on the Mandolin 2000 Mel Bay book.(I think Mel changed the title of that book since it's initial publication) Elliot is my favorite guitar capo; it has a thumb screw on there so you can get just the right amoint of tension to get a clear note but without putting the strings out of tune. The design lets you store it right behind the nut when not capoing; a major advantage in my book. D'Addario's Planet Waves just came out with a $15 capo that works on the same principle. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com . For more options, visit this group athttp://groups.google.com/group/taterbugmando?hl= . -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
A Blurb from The Music Lesson by Victor Wooten
I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
Thoughtful post. That is one reason I like to listen to (or go hear) music I don't want to try to play. It is easier to turn off that voice in my head and just enjoy music for what is is rather than thinking who it is, what they are playing, are they in tune, is it traditional enough blah, blah blah... On that tack, I was listening to Joan Jett recently and she really knocked me out! Check this out: http://www.youtube.com/watch?v=yVlcAJFTPRo Man, she still looks and sounds great! I also try to make an effort now and again to spend time with a friend who is not a musician. On Nov 19, 12:49 pm, mistertaterbug taterbugmu...@gmail.com wrote: I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
I'm okay with an occasional friend who is not a musician, but family members must pick I'll really miss Granny and Aunt Sally, but, hey, it was their choice. Clyde Clevenger Just My Opinion, But It's Right Salem, Oregon Old Circle - Original Message - From: Tud Jones tudjo...@gmail.com I also try to make an effort now and again to spend time with a friend who is not a musician. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
I'm glad you told me this came from Victor or I would have decided it was rubbish before even reading it. This is of course true and I'm also guilty. On the other hand, stereotypes are a real time-saver... http://www.theonion.com/content/node/33210 Brian On Nov 19, 12:49 pm, mistertaterbug taterbugmu...@gmail.com wrote: I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
Tud, That is definitely one ass-kickin' song from Ms. Jett, the whole A.C.D.C. thing how can you lose? The black white noir, driving distortion - Rockin' F'n Roll man!! Yeah that's seriously out there in the far distant galaxies of anything i would want to try and play, i don't even have one of them electric geetars - dang. On Nov 19, 11:19 am, Tud Jones tudjo...@gmail.com wrote: Thoughtful post. That is one reason I like to listen to (or go hear) music I don't want to try to play. It is easier to turn off that voice in my head and just enjoy music for what is is rather than thinking who it is, what they are playing, are they in tune, is it traditional enough blah, blah blah... On that tack, I was listening to Joan Jett recently and she really knocked me out! Check this out:http://www.youtube.com/watch?v=yVlcAJFTPRo Man, she still looks and sounds great! I also try to make an effort now and again to spend time with a friend who is not a musician. On Nov 19, 12:49 pm, mistertaterbug taterbugmu...@gmail.com wrote: I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
It is...and I don't buy it or pick it out but if I run across it, and its friends..I can find some music in it, and some appreciation and inspiraton. linda On Nov 20, 10:49 am, Terry W. Harvey terwaha...@gmail.com wrote: Tud, That is definitely one ass-kickin' song from Ms. Jett, the whole A.C.D.C. thing how can you lose? The black white noir, driving distortion - Rockin' F'n Roll man!! Yeah that's seriously out there in the far distant galaxies of anything i would want to try and play, i don't even have one of them electric geetars - dang. On Nov 19, 11:19 am, Tud Jones tudjo...@gmail.com wrote: Thoughtful post. That is one reason I like to listen to (or go hear) music I don't want to try to play. It is easier to turn off that voice in my head and just enjoy music for what is is rather than thinking who it is, what they are playing, are they in tune, is it traditional enough blah, blah blah... On that tack, I was listening to Joan Jett recently and she really knocked me out! Check this out:http://www.youtube.com/watch?v=yVlcAJFTPRo Man, she still looks and sounds great! I also try to make an effort now and again to spend time with a friend who is not a musician. On Nov 19, 12:49 pm, mistertaterbug taterbugmu...@gmail.com wrote: I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
What is so damn wrong with having yer on personal taste and the way you come of it. Anymore there seems to be this self righteous group of dingbats that feel the need to inform others what you should like, when you should like it and how you should like. And if you dont then yer some kind of racist, homophobic narrow minded out of touch antisocial bigoted fool. Oh and dont even think of putting a label on any music interest. and so what if I have preconceived notions regarding an artist or tune or what not. Its my world so leave it alone or suffer the consciences. all the sudden you write a book and yer Ghandi or the Dahli Lamar. Give me a break. Chubbs the Irritated On Nov 19, 10:49 am, mistertaterbug taterbugmu...@gmail.com wrote: I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
Jim, it's okay if you like Thile, I won't tell. Clyde Clevenger Just My Opinion, But It's Right Salem, Oregon Old Circle - Original Message - Chubbs the Irritated -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
Re: A Blurb from The Music Lesson by Victor Wooten
I agree. Probably the secret lies in putting your internal music critic/technician on the back burner and really opening your ears. I'm astounded at how often, when I go back to a piece of music I've spent time with – transcribed, tried to play, sing or whatever – and just listen to it obliquely, I hear totally new things. Often they are really large things that have to do with the overall feel ... probably the stuff that drew me in initially but that got lost in my, well, assault, on the piece. It's frustrating and humbling. There's a life lesson in there someplace ... On Nov 19, 1:49 pm, mistertaterbug taterbugmu...@gmail.com wrote: I borrowed The Music Lesson from David Grier. It's a book filled with a lot of interesting insights of ways to look at music, how it relates to life situations and life in general and our interpretation of it or lack thereof. I find it to be enlightening in some ways and far-fetched in others, which may be a reflection of my own ignorance or resistance to what lies within the book's pages. I'd say it's worth a read though. Here's a quote that I came upon today that I must confess to being all too familiar with... ...Humans only hear what they want to hear. Play a record for a musician, and before he can listen to it he has to know who it is. And once he knows, he decides what it sounds like before he ever hears it, solely based on what he thinks he knows about the performer. What difference does it make who it is? What does it sound like and how does it make you feel? That is what is important. Guilty as charged. Taterbug -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
