The upper six are essentially a standard six-string classical, but the lower two are tuned to D and A. The 8th string, tuned to D, is fully two octaves below the open 4th string, and the 7th string, tuned to A, is an octave below the open 5th string. The fingerboard below these two strings is fretless, and the result is a sound that very closely resembles that of an upright bass. His guitar uses RMC piezo saddle transducers, with separate modules for the lower six and the two basses.
His musicianship is simply superb, and it was really quite amazing to hear jazz chords and melody played on a classical with the deep sound of a stand-up bass in the background — all while watching it being performed by one person. I think it was Dennis. Regardless, it was a unique pleasure to watch Blue Bossa being played on a couple of strings and an 8-string by three very talented players. Although he plays only a six-string classical, nobody at the seminar minded because his talk was valuable for anyone interested in learning more about latin rhythms, especially those from Brazil.
As a sometimes player of jazz and latin music, I was very interested, and so was everyone else, by all appearances. Prior to the advent of the bossa, typical Brazilian music was marked by a perhaps overabundance of percussion and, of necessity, shouted lyrics. Gilberto had the inspiration to bring down the dynamic level and distill the rhythms to their simple essences, such that the music was played softly and the lyrics were almost whispered.
Janet Marlow adds " On Sunday morning Michael had to catch an early flight. However there was an additional hour and a half workshop given by Dr. Keith Zeitlin, ND on health for guitarists. It was a very deep discussion amonst those who were there. There are so many concepts that even Keith as a naturopathic doctor understands within his own field that are misleading and does not take into account the whole picture of the person. In a very profound way the parallels between his field of medicine and the multi-string world were amazingly synchronized. We all left the workshop with a stronger sense of community and the festival was officially completed until the next time.
My only regret is that I did not have Dr. Zeitlin speak to all of us on the first day. However, he is now the official doctor advisee of the International Society and I have asked him to submit an article so that you can all share his wisdom". Following are the programs for the concerts that were given on Friday and Saturday nights with a few photos of the perfomers:. Trois Nocturnes Op. Scherzer Vienna, from the Patrick O'Brien instrument collection.
Cinelli's performance is made possible by the generous support of E. Mari, Inc. The Stick is a multi-stringed fret board with a unique inverted tuning that primarily employs a piano-like tapping technique by the player. He will demonstrate the accompanying two handed tapping style which allows him to play melodies, improvs, harmonies, chords and rhythms all simultaneously in real time.
Steve will also offer a brief description of the Chapman Stick's revolutionary tuning scheme and its benefits for sonic creativity. Carmen Guzman Argentina Sweet Sensations comp. Janet Marlow [janetpascal1a. Dennis Cinelli Romantic String Guitar 19th c. Etudes de Genre Op. Coste No. Mertz Liebeslied Op. A classical-jazz crossover artist in the truest sense of the word, Ramo has a unique and sought-after ability for blending his classical and jazz worlds into his writing, teaching and performance.
Janet Marlow Blue Eyes comp. Janet Marlow. I would also like to add a special "thank you" to Janet Marlow and Stephen Rekas for providing several of the photos shown in this article. After these musical studies, I played recitals of six strings guitar in France few years; the programm of those recitals was varied : spanish music, baroque music The tunning of the twelve string guitar is : E. I think the ten string guitar enable us to get a vaster and richer repertoire with an harmony more interesting and complex.
Bach, S. Keith Zeitlin and Joe Carter. It was 3am Wednesday morning, July 5th, and I was bone tired. I had finally completed my latest string guitar, and was stringing it up for the first time. Talk about cutting things close. I had to be at the airport in seven hours, to catch a flight bound for New Haven, CT, and leaving the new string behind was not an option. I tried not to think about it as I brought the strings up to pitch, checking for action height and buzzes. Thankfully, all I needed to do was shave down the bottom of the nut a touch, and it was good to go.
I slacked the strings, tucked the guitar into its case, and packed it with plenty of foam peanuts into a stout box. It was 4am by then, and I debated about whether or not I should even try to get some sleep, but I was fading fast. I wanted the signature to be a mix of all my favorite basses including my first bass a Fender Precision.
The P-Bass has such an incredible sound and tone. It really changed everything. It did change everything. They are just incredible workhorses. It works well for so many different styles of music. Are you using any pedals?
Guitar arrangements and transcriptions
How much leeway is there for you to move around the stage? We have a lot of moving parts as far as the set goes, including dancers and an acrobat. Where and when you can move is actually different for each song. There are some. I can go over to the guitar player and hang out and rock out for a bit. You just have to be aware because there are 10 dancers, and it literally is a safety issue, too.
The band does become part of the choreography as far as knowing where and when to move around the stage. Awhile before the tour starts, all those different departments are getting together and sorting out their individual places and parts of the show. And as we get closer, we start bringing those parts together. Then, they start putting all those moving parts together and make sure they work as a whole.
We will do that for a little while before the tour starts. You definitely have a strong educational foundation. There are so many incredible players who took different paths. I know a lot of people who were getting tour offers while they were in school, and they took them. They made that choice, and it worked out great for them, too. I am grateful that I do have the degree; it was something I wanted to do, and I wanted to follow through on it for myself. And I got a great education while I was at it. I had accomplished that goal, and I was finally free to live the rest of my life playing music.
Tell me about your time in the Mars Volta? That was a really amazing creative time for me. Before all the high-profile gigs, did you start out in local bands? I first started playing in local bands when I was in high school and college. I had to stay local because I was in school. I was actually getting tour offers while I was in school, but I made the decision to finish college. When I finally did graduate, things just lined up magically, and I had my first tour booked for the fall. There are so many opportunities for people to do things on their own, and if they are inspired enough and motivated enough, they can record their own music.
I travel with a recording rig. I do bass sessions in my hotel rooms. One time, I even did a bass session in the back lounge of our tour bus in Germany—while we were moving! It was really incredible. I am free to go on the road? It was so crazy because I grew up in L. I was actually star-struck by autumn [laughs]. But the flip side of that is now the whole landscape has been oversaturated. Days of the development deal are gone— where someone sees potential and is willing to work with a band or artist and help develop their craft.
I am actually about to release my own EP; talk about doing things yourself. In my off time, when I am at home, or days off on the road, I write. I took a bunch of songs that I had written, and during my last tour break in December, I went into a studio in Joshua Tree and recorded the songs and tracks that I had on my laptop. Then in the studio, I added on live drums, redid vocals, added some guitars, and I have a five-song EP. When do you plan on releasing it? Did you include guest musicians? It will be released probably this summer. I programmed all of the drums for the demos.
When I was in the studio, I had my friend come out and play live drums on it. Another friend of mine played some lead guitar stuff and solos to add some nice little flavors. It was great to have my friends come in and help me realize my dream and my vision. To have that support is important, too. It was a really cool experience to be at that point. What style of music is it? It actually has a more pop alternative vibe, pretty heavy guitars, heavy choruses.
I wanted to be in a band like that—to just rock and let it all out. Earlier in life, do you remember hearing your dad play bass in the house? When I was really little, my dad had a studio set up in the living room of our house. There was an amp, his upright bass, electric basses, guitars, and a piano.
People would come over, sit on the couch, and play songs together. What have you learned from your dad the most about music? He made me realize that I really wanted to play bass. I want to practice. I was indirectly being told no [laughs]. And because I was being told no, it made me want it even more. It made me work for it harder. How did you get to the lesson stage? He let me borrow a bass a Gibson EB3 and an amp. Finally, when I did get my hands on a bass, I took to it like a fish to water.
At that point, Dad realized I was serious about it. We finally turned over that leaf, and we had some special moments where we bonded over the bass. He taught me how to change the strings and set it up. We had little jams together and recorded them in the studio.
Those were really precious moments that we shared. But it took me proving it and working really hard for it. A lot of my friends at the time had asked for guitars. They all got the guitars they asked for, and, sure enough, within a year all those baby blue guitars were in pawn shops. Up to what point in your career did your father get to see? I bet he was happy in his heart to see you on your musical journey? I think he was. He was proud of me and was happy that I had gotten to that point, and he was passing on a gift. And a gift that he was passionate about, and in turn it was my passion as well.
I am just doing things that are beyond my wildest dreams. My dream was just to tour. I am on tour, and I am happy. Her go-to audio interface equipment includes an Apogee Duet 2-channel interface and an Apogee One singlechannel interface.
Guitar & Folk
She loves that they are compact and portable. I use these interfaces with Logic on my laptop. When on the road, she says headphones are a must. They were always soulful and special because he meant every note he played with his heart. She takes this attitude with her in her performances as well. The Danish multi-instrumentalist and composer started playing with Prince in the New Power Generation in and then in his funk trio 3rdeyegirl from to Before all that she studied at the Royal Academy of Music in Denmark.
And to date, she has recorded four solo albums, with her. It all was a coincidence really. I grew up in the countryside in Denmark and went to a small school that had a great music teacher, and there was a lot of musical activity going on. I was singing in an after-school choir, and one day a girl asked me if I wanted to join a band she was singing in. They had a concert planned, but their bass player quit. But then at the same concert, there was this band of young boys playing funk music, and the bass player was fantastic!
That was basically the start of it. I love early funk players like Larry Graham and Bernard Edwards. So many classic songs that make you want to get up.
There are SO many! I keep discovering great players as well. There are so many great ones out there. Being a funk player, how has your playing style evolved over the years? I think as musicians we are always a product of the music we listened to, and I think you can point out lots of influences by the bass players I mentioned above. They are all there, mixed in with my own personality of course. I also listened to a lot of other instrumentalists and got inspired from their approaches. Since I started my own band, I have a lot of space to play around, and I am sure that is developing my playing as well.
Can you share how you nuance your playing as far as muting and harmonics? I love the muted sound, so I often mute with my right hand on ballads. I also play lots of chords on the bass because I think the sound is very warm and beautiful. This is actually one of the few songs I wrote where I came up with the lyrics first. I just heard the chorus words and drum rhythm in my head, and then the rest of the song just came along.
Discuss the specs on your signature Sandberg bass or how it suits your style? I made the bass so it would look and sound good for my own music and for 3rdeyegirl. It has a jazz bass style neck pickup and a Music Man style bridge pickup. The combination of the two makes it possible to create so many different sounds. And the combination of the two makes a very nice sounding bass. And then, of course, there is my signature position, which adds a bit more of the neck pickup; so, the sound is a little bit old but still modern , if that makes sense?
The thicker pickguard is interesting, with the acrylic plates and fabric in between. I read that it prevents your fingers from sliding under the strings. Did you work with the builder on that? No, actually that was a bonus. I discovered it after the bass was finished. But I am very happy about that!! What amps do you use, and what kind of tone do you go for?
The amp is a T; cabs are S; both 8 ohms. They fit my bass amazingly well! I have a sound that is warm, punchy, and crispy, all at the same time. I absolutely love this combination. What are you working on now and plans for the future? I just released my newest album, Time 2 Stop Worrying bout the weird stuff , in January, and we have been touring three weeks in March. I got home the day before yesterday. So, I am going to Minneapolis in April to take part in the Celebration—an honoring of the unique life and legacy of the prodigiously talented cultural icon Prince Rogers Nelson.
After that, I am headed back on tour with my band in May and will be doing festivals in Europe over the summer. And then we will see. Speaking of Prince, you were one of the last musicians to play with the legend. It must have been a dream gig musically and creatively? What did you learn from him? It was a dream come true for me. So, of course, working very closely with him for almost six years taught me a tremendous amount in every aspect of being a musician.
I learned so much about playing, arranging, and producing. I keep diving into that pool of knowledge in my musical life; both for studio work but especially for my live performances. What do you love the most about what you do? I love to write and play music! So, I feel very lucky and blessed that this is actually my job.
I see how people are happy when we play our show, and that makes me really happy too. If you follow your dreams, something good will always happen! She was the first female to become a world-famous rock star on bass, and she has inspired countless musicians, most notably Joan Jett. Her latest album, No Control, was written with her son Richard Tuckey and harks back to her beginnings as a leather-clad androgynous queen of rock and roll.
Suzi is back with a 48 Crash! What were your musical beginnings like? Well, I come from a musical family. There were five children, and my father was a musician. We all had various music lessons. I took classical piano for quite a while, and I played percussion, too. All of us played quite a few instruments each. My dad played his whole life, so it was a very musical environment. I started an all-girl band with my sister. Everybody picked an instrument, and nobody picked the bass. It was my instrument from the time I played it, you know.
I found myself in that instrument. Even though I do still play the piano and drums, even on stage, I found the Suzi instrument. What was your first bass? My father gave me my first bass. I still have the bass, it hangs on the wall. What was life like in Detroit back in those days? Well you had your Motown—I was a Motown freak. I took my bass style from Jamerson. I mean, I can go on and on. It was a great, great musical city for the diversity of it, the black and the white elements, you know.
Two totally different movements, both equally important. My dad taught me that. Did you get to play with those bands when you started out? I mean, some of them were just a little bit before us, but we did eventually gig together. The songs are very different styles and influences. The Pleasure Seekers were actually pioneers of girl garage band music.
What was that like playing back in those days as an all-girl band? When I look back in hindsight, what a wonderful, groundbreaking thing that was! We were all pretty ballsy, I have to say. How do you feel you were treated back in those days? Any experiences that might be considered bad today? Just do what you do. Yeah, twist it. What it was like touring back in the early days when you started out with Thin Lizzy and Slade? Any stories from the road? I went solo and was offered a contract.
Then it was about 18 months before I had success, and within that time period, I had finally formed an English band. I joined that tour—it was Slade and Thin Lizzy and me at the beginning. I did all my own original material. I became good friends with everybody, and I had just finished being part of a Phil Lynott documentary. I was always just working. We had two kids together, and he was my guitar player for 20 years. Nadi always said he watched us fall in love, you know. He was a promoter, and now he kind of looks after me most of the time.
I wanted each song to have a personality of its own. That is what everybody is loving on this album. Is Richard touring with you? Not yet. You worked with your son Richard on your latest album, No Control? Yes, we wrote the majority of the tracks together. He played guitar on all of them, and the critics are going nuts! It had a lot to do with my son wanting to do this album. He came to me with his vision of what he thought I should be doing, and we just went with it. We created and I produced it myself, which also was a big plus because nobody was telling me what to do, which I really like— hence, the title No Control.
Talk about feeling creatively free! He just kind of kept it to himself. I can work with that. Suddenly, we were making an album and I had a record deal. On about the third demo, I realized it was getting serious. I just finished Australia, and then I went to the Czech Republic. Those are my solo, sit-down, two-hour shows, which I love best of all because you can show every-. You get the whole rainbow. Will you be coming out to the U. It was an amazing success. That is the line that belongs to you.
With all the touring, how do you keep going? Do you still have passion for it? Oh, yeah. I always said I was put on this earth to entertain people. Each gig is the challenge, I love it. Performing is the air I breathe. What bass are you playing these days? How do you keep yourself going on the road? Do you work out? What I do on stage is an aerobic workout. So yes, I jog, go to the gym, do yoga, lift weights. But nothing gives me a workout like the one I get on stage. Not the BS Hollywood story, the true story. Yeah, I would have to be involved, and I would probably appear at the end.
You were once considered glam. How you would describe your music today? I never ever was glam. I only got shoved into that category because my hits started in that era. The glam rockers had the makeup on and the crazy clothes, I had no makeup on and wore a plain black leather suit. So, was Elvis the inspiration for the leather suit? Yeah, absolutely. At 6 years old I saw him and decided I wanted to be him.
He stayed with me my whole life. I saw the comeback special and knew that when I had my chance, I would be wearing leather. So, who were your musical influences other than Elvis? Otis Redding was a big influence, Jamerson on bass, and Bob Dylan. One zillion percent, Bob Dylan. And believe it or not, Billie Holiday.
Any aspirations to act in the future? I would like to do some more, yes, but music just seems to be taking over everything at the moment. I do like acting very much and I do consider whatever comes at me. I have a documentary coming out this year that I have been working at for four years now. I hate BS, I like the truth. Will there ever be a movie about Suzi Quatro?
Their bass player Flea is amazing. I like Adele. Rock is not as main stream right now as it once was. I hope so. I do think that, as entertaining as they are, they have not had a good effect on the music business. The hard workers have been replaced with people who want to be famous. I would play for nothing. Money and fame have never been my motivation. West is perhaps best known for performing with the late and iconic funk-master himself, Prince, along with Quincy Jones and Dave Stewart of the Eurythmics. West has also graced the small screen on Glee and American Idol in numerous recurring appearances.
Visuals, story-telling, and, of course, I love to entertain. I get to know audiences all around the world, and each inspires me to do something a little different each time. From crowd-diving to improvising on a new song. She is widely sought after for her talent and her unique, funky rhythm and bass lines. Music icons Prince and Steven Tyler had this to say about her:. Her latest single is fun and upbeat. The music video was all of my concept, and I wanted it to be fun and purple! One of the many qualities that is obvious with West and her music is that she genuinely loves singing and performing, especially to diverse audiences.
Why the bass, we asked? And when booties are moving, everyone is happy! Bass for me is a love affair, a stress reliever. West filled us in on the back story on meeting Graham. Prince wanted to introduce me, and he was shocked we had never met. So, we kept missing each other. He told me that he loved the way I played. He said,. We also chatted about recording techniques, sound, and tone from our popular Tone Talk Column: When it comes to recording, are there certain recording techniques you prefer in the studio?
I recorded most of my bass lines at home and many of the background vocals. For lead vocals, full band takes, or drums, I record those in commercial studios. I had the studio reserved for a few hours, and she did it all in 12 minutes! How do you keep your sound consistent onstage? For one, I play the same basses, and I know how to dial in my tone on pretty much any amp.
I use pedals in some songs which I take along with me, so everything sounds the same. Because all amps are not created equally. My definition of tone is the sound that comes from my fingers first. I know this is slightly different than guitar I can give my same bass and amp sound to another bassist, but it would sound different. I always know that a bass is good for me when I play it, and it feels and sounds good before even plugging it into an amp. Of course, your string choice and amp is an extension of making the tone even better—or worse.
Today things sound more juiced up and in your face. Players want to try new things, and companies offer many more options. Back in the day, it was just Fender. But Fender does a great job of offering the original sounding basses as well as the new juiced up ones— which I play! I took it and ran with it! I was just so shocked that he had been watching me for so long. He had already written the choruses, and my job was to write the verses and record one of the bass lines and bass solo. He and I produced it. There were so many beautiful dresses to choose from, but none of them would work for my offthe-cuff style.
I had to get one custom made from scratch, and it was the first time the show had done that. After doing the fittings and alterations, with add-ons of what I needed, my dress is perfect! The only way to become great is by playing with those who are much better than you. I can get lost for hours in that funk music. Strings: Dunlop Super Brights in medium gauge. There, she will be joined by a host of other musician parents, including cellist Melora Creager of Rasputina.
Friday joined Super —which is rounded out by drummer Joe Daley—in , after graduating from the University of Albany. Friday, Hohman, and Daley circled their wagons and began rebuilding at ground level: playing locally, writing, and recording. They released three albums: Blast the Message , 3 and the Beast , and Sweet Fist , and toured across the U.
Until, in , Friday crashed her compact car head-on into a pickup truck, suffering a damaged disc in her neck and additional serious injuries that required spinal surgery and left her unable to play bass. Hohman and Daley remained loyal, turning down opportunities to join other bands as they waited for Friday to recover.
In the meantime, they freelanced on sessions and gigs. As Friday improved, she and Hohman focused on scoring music for television programs in their home studio—you can hear their work on numerous shows including Auction Hunters, Shark Week, Porter Ridge, Hollywood Medium, Lockup, and Duck Dynasty—and opened the Troy Music Academy, where they both teach. Late last year, Super began gigging again around the Troy area and laying the groundwork for a long-awaited new album. When and how did all of this begin for you?
What led you to the bass? I started taking piano lessons when I was 7. My instructor taught out of her home. It was a very short walk from my elementary school, so my parents trusted me to journey safely there after dismissal. She had a small arts-and-crafts-style house, really lovely, and a baby grand piano in her parlor. She was tall and thin and had about three feet of flaming-red curly hair. She wore makeup and lipstick and had long, painted finger-. This was before MTV. So I wanted to be just like this woman. You have a degree in vertebrate paleontology.
What were your plans outside of music? I went to college mostly to please my family, who were well aware of my artistic inclinations. But they were children of the s, and so were preoccupied with my finding a vocation that would ensure I was taken care of in my later years. And I got it then. I took piano lessons and realized quickly that I had a natural ability on the piano. If I had, who knows the potential. Quartet No. Chamber Music Becomes Him. Piano Trio No. Dedicated to John's father, Anthony J.
The Finale is dedicated to the passengers of Flight 93, Revised April, West Chester, PA. Duet for Violin and Double Bass - Movements I-III. This 3-movement work is a continuation of the experiments of Quartet No. Revised May, Un Forte Amore Tenacious Love. Eterna Riconciliazione Eternal Reconciliation. It tells a story in music about romantic love. With Moderate Determination. With Elegance and Grace. With Serious Determination. Beware of Those Who Preach Fear.
Composed for Trio Xia after a request for a 2nd composition. The Honolulu Stomp. Baile, Baile Me Hermosa Rosa. Luca Has a Cadenza. Life is a Strange Instrument the most difficult and beautiful when played well. Rosa Discovers a Strange Instrument Finale. String Quartet No. Nothing Shall Come of This. Another Political Experiment Gone Wrong.
A Cubist Point of View. Citizens of the World! This is an instrumental re-working of a song that was not used from the Blake Song-Cycle of Composed for the Erie Saxophone Quartet after a request. String Quintet No. Both Sides of the Divide. Divide and Conquer. Composed for The Bass Quartet in Sicily after a request.
A collaboration with fellow composer Robert Werhman. Dolce - In memory of Michael Burdett. Tranquillo - for Solo Piano. Tender - for Solo Guitar. Duet for Flute and Piano - Dedicated to William K. Reflections Upon a Velvet Blue Lake. Frolicking in the Wilderness. Are You Much Given to Melodrama? Felicemente - Prudente. Change is Home. Being and Dissolve. Portland Bound.
Victim of His Constructs. Elusive Truth. Great Thoughts. Noble Diction. Strong Emotions. For Voice, Piano and Violin - The Genius of the Crowd [Voice and Piano]. Counsel [Voice and Piano]. The Laughing Heart [Voice and Piano]. Vocalise [Voice and Violin]. These Things [Voice, Piano and Violin].
This 7-movement song cycle sets the poems of Charles Bukowski to music. Georgine Stark, soprano voice. Revised in September, Prologue for guitar and piano. To Morning for soprano, guitar and piano — dedicated to Satoshi. Memory, Hither Come for soprano and guitar. Innocence and Virtue Meet for soprano, guitar, piano and cello. Awake Humanity to Nature's Beauty for guitar and piano. A Cradle Song for soprano. Shifting Patterns - Hope for Peace. Circus Ride. Desperate for Love. Children at Play. The Looking Glass. Sail Through Time. The Voice Brigade. Heaven's Door. Sonic Beauty. Owl's Wisdom.
Overturn Tyranny's Rule. Loving Life. The Mixer. Mystic Rose. Joy Ride. Celestial Longitude. Cascading Bells. Sunsets for Dolls in Paradise. Dazzlingly Brilliant Shadows. Exit to China. Frozen Membrane. Intergalactic Flight. The Blue Horizon. Drifting Over Peaceful Valleys. Indigenous Jade. Wooden Shoes for Asia Minor. Herald in the New Year. Salvation Will Come Someday. Universal Perfection. Morning Wonder. Walking Down Cobbled Lanes. Violet Dreams.
Elve's Playground. Exorcise Ghosts. Orange Strawberry Cakes. Strumming and Plucking for Two. Express a Tone. Glass Ruby Slippers. Ocean Waves 90 Feet High. Velvet Waves [Poem set to music]. Cascading Ventures.
Star Reach. Passion Play [Poem set to music]. Now Take on the Day.
Compositions | John A. Carollo
Bright Monday. Mole Dance. This set of 51 works for synthesizer began with the idea of playing Finale musical scores through various timbres of the. Time Search on Venus Sands. Venus and Adonis. Venus de Milo. Venus Moon. Venus Atmosphere. Earth's Twin. I Took a Walk on the Venusian Plane. Venus Sunset [Improvisation]. This 9-movement work continues the experimentations of Shifting Patterns. Crafted Stardust - Improvisations with Narrations - By the Crystal Shore [Instrumental].
Silver Tunes. Little Gems. Crafted Stardust.
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Upon Lilac Hills.