Newsletter Vol. 3 # 25 – July 01, 2006

Greetings,

Welcome to Volume 3, Issue #25 of Guitar Noise News!

In This Issue:

  • News and Announcements
  • New Articles and Lessons
  • Exploring Music With Darrin Koltow
  • Buried Treasure Of The Internet
  • Emails? We Get Emails!
  • Event Horizon
  • Reviews
  • International Song Writing Competition
  • Random Thoughts

News And Announcements

Welcome to the July 1, 2006 edition of Guitar Noise News. Sometimes it seems you close your eyes for a moment and whole weeks and months fly by without your knowing it. At least, that’s the feeling I had when I started writing this and realized that we’ve now been on “Volume 3” of the newsletter for a year now. How could that possibly be? And yet it certainly is…

In less than a week I’ll be hosting the second Guitar Noise Mini-Camp. And there are still things that I need to do to get ready for it, so I’ll move right along to the fun stuff of the newsletter:

New Articles And Lessons

The 80 / 20 Law
by Tom Hess

Have you ever noticed how some players, who practice less, seem to make more progress than others who practice more? In his latest article, Tom tells how Pareto’s Principle, also known as “The 80/20 Rule” applies to guitar players and how you can use it to get better in a short time.

Break Of Day – An Easy Fingerstyle Song
by Peter Simms

Because he’s been getting several requests for some easy solo guitar arrangements, Peter’s gone and written a song just for his Guitar Noise readers! Enjoy this fun piece, which shouldn’t take long to learn or master and that sounds great as well.

Friend Of The Devil
Easy Songs for Beginners
by David Hodge

As you learn more and more techniques, you should start trying to incorporate them into the songs you already know. Let’s take a very easy song and come up with some interesting things we can do for arranging it for the single guitar.

Exploring Music With Darrin Koltow

Hello, again. We’re back looking at the “Dangerous” dominant 7, flat 9. This is a chord you see a lot of before going to a minor key, and that’s one of the reasons it sounds dangerous when we hear it. The flat 9 of the dom 7 b9 chord turns into the b6 of the tonic chord we expect to come next. A tonic chord is the central, most important chord of a key center, whether major or minor. Major key centers, most times, do not use scales with flat or minor 6s, preferring the major 6s instead. For example, note A in C major is a major 6 up from C. But minor key centers commonly DO use scales that DO have minor 6s in them, such as A harmonic minor or A natural minor.

Whew! That’s a roundabout way of explaining why we anticipate a minor key center when we hear that flat 9 in a dominant 7 chord, such as the F note in E7b9. And a side note but an important one, as I look at this bunch of text used to try to explain the dom 7b9. If you don’t understand the stuff written here or in the last issue, do not despair. Your musical ear know perfectly well what’s going on; and words often get in the way of trying to explain these so called theory topics. Keep playing and asking questions like “Okay, the F note over the E7 chord makes the E7 sound dangerous. Why? Let me track that F into the next chord and see where it fits in the next chord or key center.” Persist, and you will get it.

Okay, enough pep talk. Let’s look at one more reason why the dom 7 flat 9, such as the E7 b9, sounds dangerous. Yes, that F note is telling us “something wicked this way comes,” in the form of an A minor key center. But that’s not the only reason that F sounds dangerous. Think about what the F note is to the root of the E7 chord: yes, it’s a flat nine. That’s dissonant. Check it out by playing the E note on string 4 and the F note on string 1. In comparison, play that E note with the G# on string 1 (fret 4). Much sweeter, isn’t it?

We did that little exercise to show that dom 7 b9 chords sound dangerous partly because the flat 9 is claustrophobically close to the root of the chord.

Thanks for reading.

Darrin Koltow

Buried Treasure Of The Internet

Last time out, I mentioned a new tutorial site called Play Jazz Now. Bill Harrison, the trackmeister of playjazznow agreed to participate in an interview with me and here are the first few questions and answers:

1) What led you to creating the site www.playjazznow.com?

My favorite question. I’ve been teaching private bass students on and off for twenty-five years or so. In that time I’ve been searching every possible source for materials that will help players hear and feel what its like to be in a rhythm section, mostly to no avail. Of course there’s stuff out there – blues CD and book sets, Jamey Aebersolds’s stuff and so on. There are several problems with these sources: Either the chord changes are weird, or they don’t offer things in a variety of tempos or tracks in ALL keys (which to me is a crucial component of learning how to be competent), or you can’t turn off the bass track or you have to have a stereo with a ‘balance’ control to adjust the tracks for your use. I found this to be very frustrating. So the idea for Playjazznow has been percolating for a number of years. I finally figured that if no one else was going to offer this tool I’d have to do it myself.

Another reason for the site has to do with the current state of music education. Over the last couple of decades there has been a lot of growth in interest in jazz education at the high school and college level. When I went to Northwestern University and DePaul University neither school had a jazz program. Now they both do. So there are more young players interested in jazz. At the same time, the jam session, once the most prevalent form of on the job training for musicians, has all but disappeared in a lot of locales. In Chicago there are only one or two weekly sessions of note where there used to be a lot more. Jazz is the kind of music that requires interaction between musicians and a rhythm section. It is best if you can be in a band or go to jam sessions regularly but if you can’t, play-along tracks are the next best thing.

2) It’s great that you have taken in just about every type of jazz scenario, even to the point of giving guitarists and pianists opportunities both for comping and soloing. How do you come about choosing what will make a track? How often do you plan to add new ones?

I wanted to start with enough of a variety of chord progressions to attract players of all levels who are looking for real practical and fun tracks to work with. So I started with the most basic of progressions: ii/V at a medium slow tempo, which is something that I think beginning players can hear easily and practice without getting confused. From there I knew I’d have to include a version of the basic jazz blues, which is essential for all players. Then I chose a four bar version of the most popular turnaround formulas: ii/V/I/VI in major and minor keys. All of these forms occur in tons of tunes written in the last 75 years so these are progressions that are a MUST for improvising musicians. The minor turnaround is less common so I consider it to be more advanced than the other progressions, but it is equally important.

I’ve chosen to record with a standard jazz rhythm section of piano, bass and drums and then offer the tracks in trio form for horn players and singers, without piano for chording instruments (piano, guitar, vibes) and without bass for bass players. This seems to me to be the most flexible and accommodating way I can imagine for every instrumentalist (or singer) to get the tracks that will work specifically for them.

I plan on adding new chord progressions regularly. The next set should be ready by the Fall of this year. I’ve got a long list of things that I feel would be helpful. In addition we’ll be adding a series of tracks just for drummers and percussionists so that they can work out with a full rhythm section as well.

3) What advice would you give to students new to the field of jazz? Should they just jump right in or would it be beneficial to get a little background studies in first?

I’d have to say yes to both ideas. Study, listen, transcribe, compose…AND jump in! I think a lot of players are afraid of jazz because it seems so difficult or harmonically challenging. It ain’t rocket surgery. You can do a lot of good playing with just a small amount of material. Jazz (and music in general, I’d say) IS deep and multi-layered. That’s why we’re attracted to it as an art form. So, jump in and learn as you go. You don’t need to know “everything” at once. In the words of Anne LaMott, just take it “bird by bird”.

4) While having jam tracks is an obvious advantage in terms of practicing, do you think that serious jazz students should use them as their sole means of learning? How much of communication when playing in a live setting is visual?

Even though I am promoting Playjazznow.com I don’t think play-along tracks are sufficient for learning how to play at a high level. They are excellent tools, but, just as you need to woodshed on your instrument to learn technique and musical vocabulary, you need to play with other humans to “get it”. I think there is a part of live playing that’s visual but I’d say it has more to do with the actual presence of other musicians in the moment that is the biggest difference. You don’t really know what the drummer or bass player is going to do in the next bar, do you? There are parameters, of course, but things can change on a dime and there isn’t always a visual cue or a previously worked out arrangement to fall back on. Things just happen – and that’s what makes it fun.

5) What do you feel are the greatest challenges to someone who wants to become proficient in jazz?

Hmm, tough one. I’m going with fear as the biggest obstacle. Yes, there’s a lot to know. Yes, it is easy to trip and fall and look (or sound) foolish. We’ve all been there. If you put in the time preparing you can come to the session or gig as ready as you can be for whatever might come up. Then just forget about all of it and let ‘er rip. A lot of younger or less experienced players are acutely self-aware or too self-critical and, to me, that is a big hindrance.

Emails? We Get Emails!

Hello Mr. Hodge,

You’ve probably heard this a million times, but thank you for creating GuitarNoise.com. I have just recently picked up the guitar again after several years of not playing. I took some lessons about 10 years ago from a friend who played, but didn’t get past chords G, D, and C. Your website is perfect for me. I don’t expect to become a professional, but my playing will definitely improve thanks to your online lessons! Thank you again!

Thank you for writing and please call me “David.” When I read “Mr. Hodge,” I’m always looking around for my dad!

Thank you as well for your kind words about Guitar Noise. Although I’d like to take credit for it, I didn’t create the site. Guitar Noise was created by Paul Hackett. He still owns and runs the site, taking care of all the computer work, which frankly befuddles me.

I’m glad to hear that you found us and I hope that you continue to find Guitar Noise a place of both education and inspiration. Please feel free to write anytime, whether with questions or suggestions or simply to say hi.

I look forward to hearing how things are going with you.

Peace

David

Event Horizon

The Fourth of July is this Tuesday, and that usually means live music! You’ll find Hap Hazard, band of Guitar Noise forum member Bish is playing the Bettendorf (Iowa) Celebration. From 4 to 6 PM at the East Stage, if I read it correctly. You can find out more about that here.

And Mike Kraczek’s band, We Believe, will be performing for 2 hours on Tuesday, July 4th from 1-3pm Central time as part of the city of Franklin (Wisconsin) 4th of July Celebration, playing in the family tent. We Believe will be covering songs be Casting Crowns, Steven Curtis Chapman, Point of Grace, and many more. Mike adds a note telling all Guitar Noise folks in the area to “come on down and say hello.”

Reviews

Todd Mack And The Star Alternative: Square Peg, Round Hole
CD Review by David Hodge

Imagine the late, great Warren Zevon having a good (meanly slightly less than morbid) day. Todd Mack’s songwriting is guaranteed to make you smile, with his good humor, wry observations and catchy hooks. You can always tell when musicians are having fun playing and recording!

International Songwriting Competition

International Songwriting Competition Now Accepting Entries For 2006 Enter Now For Your Chance To Win Up To $150,000 In Cash And Prizes

The International Songwriting Competition is now accepting entries for 2006. Over $150,000 (USD) in cash and merchandise will be awarded to the 2006 winners.

ISC’s $25,000 cash Grand Prize is the largest cash Grand Prize in any songwriting competition (in addition to over $20,000 in other prizes awarded to the Grand Prize winner). One of the largest and most prestigious songwriting competitions in the world, ISC offers the perfect opportunity to gain exposure and media attention in the music industry.

ISC welcomes original songs from musicians, artists, and songwriters at every level from amateur to professional. You may submit as many songs as desired in each category or enter the same song in more than one category. Enter your songs now to get the ISC Early Bird discount.

Go to www.songwritingcompetition.com/entry.htm to enter your songs via mail or online.

ISC is unique because of its judges. Since its inception, ISC has been renowned for having the most prestigious judging panel of any competition in the world. Its judges include high-profile recording artists and respected music executives. In just the past month, ISC has added many new judges to the 2006 panel, including Frank Black (Pixies), Sean Paul, Tiësto (Producer/Remixer/DJ), Mona Scott-Young (President, Violator Records), Jerry Lee Lewis, and Betty Pino (DJ, WAMR Miami/Pioneer of Latin Radio). Stay tuned for announcements on more new judges. Entering ISC offers you the chance to have your music heard by these influential members of the music industry.

The complete 2006 ISC judging panel includes: Tom Waits; Rosanne Cash; Sean Paul; Tiësto (Producer/Remixer/DJ); Frank Black (Pixies); Charlie Walk (President, Epic Records); Monte Lipman (President, Universal Records); Steve Lillywhite (Senior VP of A&R, Columbia Records/Producer – credits include U2, The Rolling Stones, Dave Matthews Band, and Peter Gabriel); Robert Smith (The Cure); John Mayall; John Scofield; Amy Ray (Indigo Girls); Darryl McDaniels (Run DMC); Jerry Lee Lewis; MercyMe; Macy Gray; Charlie Musselwhite; Peter Hook (New Order); Jeff Stinco (Simple Plan); Mona Scott-Young (President, Violator Records); Alexandra Patsavas (Owner, The Chop Shop Music Supervision – credits include The OC, Grey’s Anatomy, Without A Trace, Carnivale, Rescue Me); Barbara Sedun (VP Creative, EMI Music Publishing Canada); Bruce Iglauer (Founder/President, Alligator Records); Cameron Strang (President, New West Records); Betty Pino (DJ, WAMR Miami/Pioneer of Latin Radio); Cory Robbins (Founder/President, Robbins Entertainment); Dan Storper (President, Putumayo World Music); Thomas Brooman (Co-Founder/Artistic Director, WOMAD); Danny Epstein (Music Supervisor, Sesame Street/Sesame Workshop); Tara Griggs-Magee (Executive VP of Gospel/Urban Music, Sony Records); Emily Wittmann (Vice-President, Nick Records); Leib Ostrow (CEO, Music For Little People); and more to be added…

Enter any of ISC’s 18 categories: Pop/Top 40, AAA (Adult Album Alternative), Rock, Country, Americana, R&B/Hip-Hop, Blues, Folk/Singer-Songwriter, Jazz, Gospel/Christian, Latin Music, Instrumental, Dance/Electronica, World Music, Children’s Music, Lyrics Only, Teen, and Performance

Please visit www.songwritingcompetition.com for an entry form or more details.

Random Thoughts

I suppose I could have put this in the “Event Horizon” space, but if you happen to live in the Chicago area, you’re in for a real treat as Ray Davies, long time head Kink, is playing a free outdoor show at Millennium Park on Tuesday, July 4.

You’ll hear a lot of people talk about various bands of the sixties, of the British Invasion et al. And you might get the opinion that one was either a Beatles fan or a Stones fan. But, like anyone who wants to see the world in “either / or”s, you’d be missing out on an awful lot of things.

My college roommate freshman year, who turned into one of the best bass players I know, was nuts about the Who. The guy who lived next door seemed to play Led Zeppelin night and day. But somewhere in the late mid-seventies I discovered the Kinks. While browsing through a record shop one day, the man behind the counter put on Arthur and I couldn’t leave without buying a copy for myself.

Like most groups I’ve “discovered,” they’d been around a lot longer than I knew and that was perhaps part of the attraction. I already knew Lola and You Really Got Me and Sunny Afternoon and a host of other songs. But now I was listening deeper than the radio hits and soon I was adding songs to my own play list and also working Kinks “kovers” into the set lists of the bands I played in. Playing Victoria was (and is) such a blast!

To this day I’d give anything to write a song half as good as Waterloo Sunset.

Musing aloud here, so to speak, but I find it interesting that we often think of musicians as our inspirations when it might be truer to say that some are our teachers. Although I’ve never met any of these people one on one, I can say that folks like Neil Young, Paul Simon, Jimmy Page, George Harrison David Gilmour and way too many more people to mention, taught me a lot about guitar playing. Others, such as the esteemed Mr. Davies, David Byrne, Andy Partridge, Aimee Mann, and (again) countless others have tirelessly taught me songwriting and arrangement skills. And they continue to do so even now.

And the list grows each day. Last week I received a forty-ninth birthday present from a relatively new friend – a collection of performances from various jazz guitarists through the ages. While there are many names I already know (the ever present Django Reinhardt, the still gigging Les Paul, Charlie Christian, Eddie Lang, Barney Kessel, Herb Ellis, Dave Barbour and more), there are many names new to me and now I’m looking forward to studying from distinguished folks such as Mary Osborne, Bus Etri, Lonnie Johnson, Bernard Addison, just to name a few.

The point is that every piece of music you listen to is not only enjoyable as entertainment, it can also be enjoyable as education. I’ve undoubtedly mentioned (probably way too many times) that my father played saxophone in various wedding bands and this led to lots of different types of music being played at my home.

But ask me my favorite and I will never have an answer for you. Rather, I might have the same answer – the song I’m listening to right now. Just as playing music isn’t a competition, listening to music shouldn’t be perceived as one either. What possible good comes out of saying “the music I listen to is better than the stuff you listen to?” Unless it’s good to come across as thoughtless and condescending…

That’s not to say that you have to like everything. No one does. That’s part of what makes the world such a wonderful place. But you can listen to what you don’t particularly care for and learn. And, wonder of wonders, tastes can and do change. Very few people listen solely to the music that they loved at any one age. For musicians, this is vital because one of the best ways to develop a style or to improve and rejuvenate one’s playing is to incorporate ideas and techniques from other styles and genres of music.

So do yourself a favor. Go out and get yourself some great teachers. You can never have too many guides when it comes to music.

Until we chat again in a little over two weeks, stay safe and play well.

And, as always,

Peace