d halfnote

Yeeees, Girl, but what can you tell me abt 'em ? Good / Bad / Best material ? Like most ppl, (The) Internet's made me impatient & never-got-enuff-time-to-even-spell-words-in-full------------make me hip & knowledgeable k-NOW !

Have you two met ? I'm kinda wondering if in person lessons might advance more quickly than the triangulated, post & wait Q&A here...

Coolacious, Chas ! As far as the profitability of Net mktg, that's something that one cay turn around in a few ways. Check yer PMs for a ms. Hey---just noticed where you live----how close are you & A String (or maybe Blues Ape) ?

Here's something absolutely new to me. Got no idea who they are or anything at all. After searching out a Jeff Healey clip to post here, I left the site running &, as happens, other material popped up. Suddenly I heard this well, produced dynamic gtr solo over a string bank drifting somewhere beyond BBK's & Bill Szymczyk's version of "The Thrill Is Gone" Dangalicious ! [video:youtube] Who wants to tell me abt 'em or do I gotsta find out on my own ?!

Or, put another way, it's the scale that starts on the 6th, 4 semitones down. Excellent observation & the basis for what separates cats (& kitties) that can play well in various band & recording situations from those who keep bumping into each other. There's a reason that not all drums have the same tone ! This kinda goes back to modes, in a way. In the same way the whole schmear's just shifting 1 basic idea around into diff contexts, that's what happens w/ the 2 main forms of the pentatonic...yer just making a choice of M or min & adding whatever color notes ya need. ---------------------------------- Hey, Chas, what'd yer pal think of that email ? Now mebbe you get to explain some stuff to help someone else advance !

I love these accidental ideas when they happen... "hey, wanna join (The) Good And Band ?"

The end of the never ending story.

If we were Hyper-Astro-Illogicalists we might try comparing them to the planets circling the Sun

Major scale is also the easiest scale for most ppl to learn & b/c of the piano kb layout, it serves as a visual illustration of the whole/half step relations. That's why the recognition of the series of modes as a shifting formula is so handy...y'can skip tryna remember all the diff scale step mixtures. I'm pretty sure one of those slide-rule or wheel-like code breakers is or could be marketed to convey the same concept. BTW & FWIW, although the idea that all the common modes are inter-related this way is implicit in most classical theory texts it's also generally shrouded in arcane terms & never explained as straightforwardly as we've done here. Do I see an instructional book in our future ?

Nice track & song overall. I like how the melody "rhymes" (echoes itself in places, matching the lyrix) Perhaps try this sometime: just play w/no backing track & later decide how to color the results. You can even be free w/the rhythmic aspects. Yer options are even more wide open! Keep on, uh, keepin' on, Cholly !

Mon Laferete's got an interesting vox timbre there...although it's diff in the other examples of her work I found. That "little girl" tone kinda reminds me a bit of a less Edith Piaf, etc, but more importantly of someone more personal for me. Victoria Williams, who here also steals a page from the Neil Jung gtr lesson book (2:18~2:42) [video:youtube] FWIW, here's Mon Laferte on gtr, too ! [video:youtube] Thanks, Hugo !

Keep in mind you can play the same things in multiple positions, although they will facilitate certain note selections. I won't address Q&A abt CB's lessons but I'm always looking for felicity !

By The Associated Press / Dec. 22, 2018 / JOHANNESBURG His skull still open, a South African musician with a brain tumor played several notes on his guitar during a successful operation to remove most of the growth. Musa Manzini's guitar-playing helped guide the medical team in their delicate task while preserving neural pathways, said Dr. Rohen Harrichandparsad, one of the neurosurgeons. Manzini was given local anesthetic during what doctors call an "awake craniotomy" this month at Inkosi Albert Luthuli Central Hospital in Durban. "It increased the margin of safety for us, in that we could have real-time feedback on what we were doing intra-operatively," Harrichandparsad said Saturday in a telephone interview with The Associated Press. The procedure is not uncommon, and there have been several cases in other countries of musicians playing an instrument or singing during similar operations. The intention was to test Manzini's "ability to produce music," which requires the complex interaction of pathways in the brain, the doctor said. Manzini was given his guitar toward the end of the hours-long procedure, as doctors checked that everything was in order. A photo and video taken by the medical team show Manzini lying with his guitar in the operating room. "There you are, do your thing," a team member says as he begins playing. Starting slowly, Manzini picks out a series of notes and eases toward a tune, with the beeping of monitors as accompaniment. [Do ya see the opportunity for a music vid here ?] In an "awake craniotomy," some doctors stimulate parts of the brain with a mild electrical current as a way of testing and mapping areas that control key functions such as movement and speech. If a patient struggles to speak when the current is applied to a particular area, for example, doctors know they must protect it during tumor removal. Despite the procedure's name, patients are given medication to make them sleepy during parts of the lengthy operation. In 2015, a musician played his saxophone during brain surgery in Spain. An opera singer sang during a brain operation in the Netherlands in 2014. Dr. Basil Enicker, another neurosurgeon who operated on Manzini, said 90 percent of the tumor was removed and that the musician was at home near Durban and doing well. "Our main aim was to make sure that we do the best that we can for our patient," Enicker said. He said the response from the public to news of the operation was very positive. "We are pleasantly surprised," he said. [video:youtube] Similar operations on other musos & more cna be found at https://www.youtube.com/results?search_query=South+African+Musician+Plays+Guitar+During+Brain+Surgery [video:youtube]

Then get bizzy like a bee & make it so !

Perfect encapsulization ! There is the other way of considering modes, the one that most theorists & players take, which is as the varied contorted scales one gets if starting on the 1 of any of those variant modes. That way ya gotta try learning all the different "flat this" & "# that" for 7 "different" scales & try to keep that straight. But as has been expressed here, the easiest way to get a grip (so to speak ) on all the different shapes is to keep in mind that they can all be played shifting the same fingerings around & then listening to the pitches one wants to use.

CB & I are both interested in the same end result: a player who can make the world a better place. I am not a teacher per se, & have no "method". I'm just suggesting what might lead to deeper understanding. Deeper understanding is not something that generally occurs short term...but on the otherest hand it might flash in a second. Based on what I've heard I think ya got a good grasp on playing well but I think you may have some sense of inferiority ( :idk ) that makes you wanna be able to demonstarate yer knowledge. Could be wrong. 'Tever. That's what kept Miles & Hendrix apart. No matter what ya do, Charles, or how ya do it, keep on keeping on !

Hey, cool, Cholly ! I'm Darryl Weaver. ["...uh, who ?" ] Note, I'm never contradicting what CB suggests. I'm pointing out that the easiest way to get a grip on an idea is to look at it in its simplest form, which here, I think, is that modes are simply the variant shifts of the basic major scale. If one forgets abt the mode names, note names, the fretboard positions & all that, the idea is really simple.

I again point to the idea that, while there are many ways of approaching the gtr neck & CB is a venerable teacher, the easiest way to look at things is the way that gives one the widest view. That doesn't put one approach against the other(s) but does, perhaps, take one a step away from formulae.

Still here ? Hope so ! [video:youtube] [video:youtube] Plenty of room for what ya wanna do, PK---hit us !

If I may... Sometimes getting tied up in specifics gets confusing. I think it might be good to return to the basic principals of this concept (which I thought were already understood, in general). That gets us passed all the confusion of note names, fingering & string location, which I think are where the confusion lies here. The common modes in modern European-derived music are all variants on the major scale that simply start on the different intervals (easiest thought of by number rather than note name). Starting on the 1 of the major scale = Ionian. Staring on the 2 = Dorian; on the 3 = Phrygian; on the 4 = Lydian; the 5 = Mixolydian; the 6 = Aeolian; the M7 = Locrian. The technical name for any group of notes used in a piece of music (which are & always will be of far less significance than the music itself) are determined by whatever the tonic of the music is. So if you examine what notes are being played (not by name but by their position in the major scale) you can determine what mode you may be using. Fingering position on the neck is irrelevant except in terms of what key yer in; same goes for what pitches/note names are involved. That, I think, is the clearest, easiest way to look at this question...but excuse me for butting in, esp if I missed something in the discussion.

Well, MF, I think yer best bet to sound flamingoish would be to study this song [video:youtube] Or maybe this one [video:youtube] Hey MF, we know yer far from clueless even before ya came to visit us ! "Airbody" can make a typo. But if ya wanna dig into flamenco, ya might wanna start by playing a [!V bIII bII I] progression & see where that takes you. I'm not sure there's a single "flamenco mode" since tunes vary sometimes on the 3rd & otherwise. Consider these perfs This version specifically chosen to highlight that not all great guitarists are who we think they be. [video:youtube]https://www.youtube.com/watch?v=XmNPXqG6ovg A similar kinda sorta [video:youtube]https://www.youtube.com/watch?v=tvVz88IHK4o More here...hear ? https://en.wikipedia.org/wiki/Flamenco#Structure

The one thing I would stress again, is that at some point step beyond the intellectualities as you play & select the sounds you want to hear or that express what you want others to feel. You can go back & decide how to analyze stuff afterward. In any situation, many things might work/be correct/etc but what you express will be what makes you special. Sometimes that might even be contrary to what's "correct". Consider the intro of this song [video:youtube] Or the chord change [i #V ] used in the refrain of this one [video:youtube] [/i]

& kinda the point, eh ? Yer next /eventual assignment will be finding new contexts for them that still maintain musical integrity...but take that as it comes rather than pushing it.