惡童當街小黑公仔

感謝James大大送我的小黑公仔
可是熱騰騰從日本大阪空運來台的!!




小白


跟小白合體


大合照.

客廳的奈良美智

搬了新家
多了一個房間可以當畫室
馬上興沖沖把放了好幾年的油畫工具通通挖出來
好多顏料都乾了
還好奈良美智的畫不需要太多顏色

只是這種簡單線條的畫
容易不小心畫一畫就變形
不斷的照鏡子檢查有沒有對稱
後來還是有一點不平衡
但是已經洗筆洗到不想再改啦

推薦冷氣安裝店家-愛愛好鄰居

冷氣搬家一波3折
找了好幾家店家
2家放我鴿子
1家價格嚇死人
最後
找了這家愛愛好鄰居
http://tw.user.bid.yahoo.com/tw/show/aboutme?userID=lovevivi66&u=:lovevivi66&tp=
名字感覺很像汽車旅館^^
但是服務真的是讚
2台冷氣裝好包含多拉220v電線
比我家附近的冷氣行報價便宜
有需要冷氣服務的人
大力推薦

卡農小聾女版

泰國廣告一直讓人有驚喜
這感人的影片
不看到最後潘x洗髮精logo
根本不知道這是個廣告
但看完後
卻讓人忘也忘不了

總嫌logo不夠大
廣告越明顯越好的台灣大老闆
應該不會同意這種手法吧

Ronny Jordan , acid Jazz的So What

Ronny Jorday 把SoWhat改成這樣,蠻好聽的阿~~

甚麼是Acid Jazz?
像是jazz搖頭樂?

原來Jamiroquai,Fourplay是Acid Jazz?
最有趣的是久保田利伸也是?
算了,不用管這些分類


聽了Ronny Jordan的So what就知道Acid jazz的感覺了
不用喀藥也可以很High

Emily Bear

人就跟名字一樣可愛

(Eric Clapton) Tears in Heaven - Sungha Jung

jamlegend

JamLegend Trailer from JamLegend on Vimeo.


Jam Legend就是把鍵盤當成一把吉他，左手按弦、右手彈奏，恣意的玩你喜歡的歌曲！
JamLegend 有點類似Guitar Hero，都是透過一個模擬裝置來彈奏吉他。據說國外有人為了練Guitar Hero而選擇休學，外國人對遊戲的熱衷程度真是令人難以想像，如果事情發生在台灣，不是小孩被罵到臭頭、打到不敢回家，就是遊戲主機當場消失毀滅！不論如何，它是一款非常熱門的遊戲，現在 JamLegend 把它搬到電腦上，並且用「鍵盤」來玩...

資料來源:http://www.soft4fun.net/article.asp?id=459

A Evening With JOE Pass:

Q:如何跟keyboard手合作?
不要用6根弦按滿的和絃伴奏
就算你對和聲的了解跟keyboard手一樣多,也不要想打敗他
而是要想辦法讓keyboard的聲音變好聽
這樣他高興你也歡喜

Q:可否示範一下五種指型以及你如何運用在25進行?
A:啥是25?我不是取笑你
是例如Dm G7嗎/
不要問我mode,我不懂調式
我吉他都是聽歌學的...

首先練習在一個把位把每個和絃指型按出來,
喔 25 是吧~
就是一個minor到一個dominant.
如果是我,不要去管2
我忘記我是如何發現的
總之不需要考慮2
學一首歌時先把他簡單化
不是minor.就是major,或dominant
不要管甚麼minor9,dominat +5 -5
就算書上是這麼教你

Q:能否示範一下Chord Melody?
首先我是把旋律放在高音的3弦上 G,B,E
你不需要每一個旋律音都配上一個和絃
否則把自己搞死
重點是音樂不是展示你會多難的和絃
很多人以為我同時又彈旋律又彈和弦又彈bass
其實那都是幻覺
我只是讓聲音不停前進
voice movement
我有時彈Bass,有時加入chord,當旋律不停止時
就會感覺我是同時彈的
如果你想在每一拍加入bass,可能一首歌要學8個月

Larry Goldings- Groove Elation

Billy Drewes-flute;
Dennis Irwin-bass;
Don Alias-percussion;
Howard Johnson-bass clarinet, bax, tuba;
Idris Muhammad-drums;
Larry Goldings-organ,piano;
Randy Brecker-trumpet, flugelhorn;
Steve Turre-tuba

這張是john Scofield1995的專輯
鍵盤手Larry Goldings超讚的
個人官網作的很有趣,很有設計感
http://www.larrygoldings.com/

Quinn Sullivan

8 year old guitar whiz Quinn Sullivan and Buddy Guy

擴增實境 (Augmented Reality, AR)

http://www.handyui.com/2007/08/07/augmented_reality_in_siggraph_2007/

南方公園版吉他手

這幾個是我覺得比較像的

尤其是光頭喬..

為何要練習

從江力平老師那邊看來的文章
http://cgi.blog.roodo.com/trackback/6021793
Allan Holdsworth談"練習心得"

=========================================
關於練習
我基本上有三種練習模式。
第一階段是拿起吉他，在差不多完全腦殘的狀況下亂彈。
第二階段時我只專注在學習。我會選一個想要練習的東西，比方說一個特別的音階，或是奇怪的運指什麼的，然後只練習它。
第三階段時，我會試著把在第二階段練習的東西放到我的即興裡面。 但是我在現場演出時通常不常這樣，因為我發現：不管我在第二階段裡練的是什麼，都要花差不多兩年的時間才會無意識地出現在我的現場即興之中，而且到那時它早就已經融入我的演奏之中到完全不用想的地步。我認為即興演奏正該如此：在無意識，不刻意的狀況下釋放出你所學到的東西。

既然財富與名聲都不是你追求的目標，那是什麼事情促使你還能每天繼續努力做音樂？
應該就是音樂自己吧。從我有記憶以來，音樂裡面一直有個什麼。我還記得很小的時候聽爸爸給我的唱片，當我聽到德布西的音樂時會哭。我想這是怎麼了，那為什麼我聽到一些其他的音樂會笑？所以從一開始，對我而言音樂就是特別的。我對音樂的感覺或許就像是某些人對於宗教的感覺吧。
=========================================

矢野沙織&小林香織

2位都是年輕美少女
如果是蘋果日報編輯
一定不可避免的做個勝敗比較表
小林香織樂風比較偏fusion rock
跟candy dulfer比較像
但還是日系的比較賞眼阿
矢野沙織就比較bebop
所以一般人可能比較喜歡小林香織吧
畢竟比較可愛><

矢野沙織:
1986年10月27日出生的矢野沙織在16歲時便以中音薩克斯風（alto sax.）演奏家的身分出道。不管在古典、流行或者是爵士樂界、日本國內甚至是在國際樂壇，矢野沙織無疑是當中年紀最輕、表現最傑出的薩克斯風演奏者。特別是以「咆勃」Bebop以及「硬式咆勃」Hard Bop來當作主要的演奏範疇、並嘗試自行創作，而能夠獲得主流公司認可進而錄製錄音作品的女性爵士音樂人，除了矢野沙織之外絕無僅有。

閃亮自信 放眼世界
矢野沙織從查理帕克、艾靈頓公爵、巴西森巴到經典曲目，曲曲都表現得淋漓盡致，與百老匯頂尖爵士樂手臨場即興演奏，表現更獲得Coleman的高度激賞，其後也加入了矢野的專輯錄製合作。在老前輩面前，矢野沙織展現出了初生之犢不畏虎的氣勢，將壓力轉化成實力完全揮灑，向所有爵士樂迷展現出矢野沙織爐火純青的薩克斯風吹奏技巧。
透過參與世界各地爵士音樂節的表演，以及屢屢與世界知名爵士樂大師的共演，矢野沙織不斷累積演奏實力，站上世界一流演奏家地位指日可待。這就是矢野沙織，一位年僅23歲，在爵士樂壇的未來卻亮眼得無可限量的天才美女薩克斯風手。

資料來源




小林香織
生日：1981年10月20日
出生地：神奈川県 (定居東京)
星座：天秤座
血型：B型
的母親本身是鋼琴教師，因此還不滿週歲就開始把鋼琴當成玩具，三歲那年開始正式跟隨母親學習鋼琴演奏。
國中一年級時加入學校管樂隊，開始練習長笛演奏。
高中2年級時，聽了中音薩克斯風的演奏之後，深受樂器音色以及演奏風格的吸引，而開啟學習薩克斯風演奏之路。
之後的一年半時間，跟隨日本知名女性薩克斯風大師原Hitomi修習古典薩克斯風。
高中三年級時，小林香織把演奏風格由古典轉變成爵士。
2000年，進入洗足學園音樂大學，跟隨Bob Zung學習爵士薩克斯風演奏。
2004年從洗足學園音樂大學爵士科系畢業。
在大學就學期間，小林香織就開始固定在東京的爵士會所當中定期演出。
2005年2月以專輯「Solar」正式躍上舞台。
來源

Dimension

Dimension是日本的Fusion jazz樂團
成立於1992年
Sax:勝田一樹 / Kazuki Katsuta
Gt:増崎孝司 / Takashi Masuzaki
KB:小野塚晃 / Akira Onozuka

DIMENSION My Space
http://www.myspace.com/dimensiontokyo

上原廣美-2008兩廳院夏日爵士派對

會不會太超現實了
才想說有機會要去看上原廣美演唱會
就看到2008兩廳院夏日爵士派對的消息
這個機會絕不能錯過

一生至少要去3次音樂季

Geddy老師語重心長的表示...
一個樂手,一生至少要去3次音樂季
他另外補充.甚麼x吶,x洋,x台開唱.的不算阿

不知道3次是怎麼算出來的
是經濟因素還是體力..

總之我是一次都沒去過
決定身體力行

第一個目標 2009 東京爵士音樂季


2008年的節目有上原廣美,FourPlay,DavidSanborn...等
希望明年也有上原廣美

..剛寫完這篇
老婆馬上傳了東京爵士音樂節的網站過來
說'明年蜜月就去這吧'
這也太巧了
害得我又驚又喜
這下不去也不行了

Austin Peralta + Ron Bruner

Passion Dance T



Austin Peralta (born October 25, 1990) i
16歲就在日本 CBS/Sony旗下發行專輯

鼓手Ron Bruner 2歲開始打鼓,
15歲進入Theolonius Monk Institute
跟Wayne Shorter, Dianne Reeves, and Ron Carter.等人一起表演
看他打鼓跟在跳舞一樣
非常過癮

惡童當街

今年看過最棒的動畫
不過今年也只看一部=而已

介紹

CUBE Street 音箱

看名字就知道是在上街用的?

http://www.rolandtaiwan.com.tw/roland/tw/product_detail.php?pl1_id=1&pl2_id=3&pd_id=324

CUBE Street 音箱
The Ultimate Amp for Traveling Musicians
若您是經常奔波各地的樂手，新的CUBE Street正是您最佳伙伴。無論您彩排、上課、街頭表演、或是任何狀況需要攜帶性佳且具有多樣化功能的音箱，可運用電池供電的CUBE Street提供您一切所需，隨時為您等待上路。CUBE Street令人讚嘆的音質以及驚異的強大輸出音量，都要感謝其內置的一對優異釹磁(neodymium)喇叭所賜。內建效果器與擴大器模組的傑出聲音表現將更讓您瞠目結舌，讚嘆不已！

世界最快的鼓手之一Johnny Rabb

看youtube一些影片感覺他非常風趣
技巧當然沒話說
除了快之外(一分鐘最快可以打1026下~~)
打的跟drum machine一樣精準

POINTS TO REMEMBER

POINTS TO REMEMBER
Taken from his “Anyone Can Improvise!” Seminars
• Two factors that stop people from improvising are fear of getting lost and fear of playing a wrong note.
• Tape your own playing and listen to yourself. Don’t be critical. Just Listen.
• Humor is an important part of creativity.
• TV kills imagination.
• Ignorance kills. So does smoking.
• Can you practice for one hour without interruption?
• If you don’t think before you play a phrase, it is not improvisation - just an exercise.
• Sing! Sing! Sing!
• It is easier to sing what you hear in your head than it is to play it on your instrument - your objective is to be
able to play what you hear in your head.
• Think each note before you play it.
• Did anyone ever die from thinking too much?
• The Blues is most commonly played in the keys of F and B flat by Jazz musicians.
• Don’t practice the same thing forever - break new ground.
• Scales are REALLY IMPORTANT!
• Most music is grouped in 2, 4 and 8 bar phrases.
• Most drummers sing the melody to themselves to keep their place but they can learn to hear in phrases.
• The chromatic scale is your musical alphabet, know it from the lowest playable note on your instrument to
the highest.
• There are only two whole-tone scales and only three diminished scales.
• Jazz players usually play eighth notes - play scales and exercises this way.
• Use Jazz articulation when playing chords and scales, not tonguing every note or slurring every note but
something in between. Articulation is a key ingredient of your musical personality.
• Practice articulation - in 4 to 6 weeks you can transform your musical personality. Listen to the pros. When
doing articulation exercises, play in a comfortable range where it is easy to finger. In this way you can
concentrate on the articulation.
• One of the reasons you don’t sound like the guys on record is because you haven’t practice articulation.
• Play a solo along with a record in order to practice articulation - imitate the Jazz greats.
• Inspire - refers to the spirit within you - in spirit.
• Listen and lift ideas off records.
• LISTEN! -over and over and over! All the answers to your questions are on the records.
• Listen to Jazz every day.
• If you are well equipped technically you can take chances.
• Don’t just use the play-a-long CD’s to keep time, use them to learn to hear the TONALITY of each key that
is played.
• In live Jazz there is an interaction between players.
• The best things in life are free and the free jazz handbook is one of them.
• It is great to play with people who are a little or a lot better than you - they will push you to improve.
• No one is a born player. Good instruments and teachers are important but the player makes himself.
• You can’t imagine how much time and energy and thought Jazz musicians put into their craft.
• Conjure up your own harmony. Sit at a keyboard and explore.
• Play an arpeggio and keep it going in your head (mentally) while you sing a melody based on that chord.
• Sing a 12-bar blues (it’s not that hard) just think and sing while driving or waiting for a bus.
• Move a blues up a half step and back down, just think of exercises - it will make it easier when you get to
the practice room.
• Don’t spend practice time on ear training, chord spelling and other exercises that you can do while commuting
or in the shower. In this way you will get the most musical training out of your day.
• Charlie Parker practiced 11 to 15 hours per day for three years to four years.
• Ear Training - once you can hear what you are trying to play, things get a lot easier.
• Learn the distance between notes - intervals.
• Scales are based on the intervals of half and whole steps, chords are based on minor thirds (3 half steps)
and major thirds (4 half steps). Learn to hear these intervals without batting an eye.
Jamey Aebersold’s
POINTS TO REMEMBER
Taken from his “Anyone Can Improvise!” Seminars
• When you sing, visualize the keyboard. If you don’t know what key you are in, just think in C. Do these
important things away from the practice room - don’t waste practice time.
• Whenever you see a chord symbol be aware that it implies a horizontal scale (1, 2, 3, 4, 5, 6, 7, 8) and a
vertical chord (1, 3, 5, 7, 9,11,13, 1) most chords are built from every other note of the scale - but not all!
• A keyboard is very important for learning harmony and for hearing chord qualities. On a keyboard everything
is laid out simply for you. You can get an electric keyboard for under $100. They are very visual.
• Play “Mary Had A Little Lamb,” “Happy Birthday” and “Twinkle, Twinkle” in twelve keys to get the music from
your mind to your instrument.
• If you start or end a phrase on a chord tone (root, 3rd, or 5th) you can’t go wrong.
• Practice a scale for two minutes solid, fast 8th notes, until it becomes automatic. Close your eyes, too.
• I have the notion that people learn instruments as an exercise in patience - to get to know themselves.
• Moving downward by half steps is easy to do with your voice but more difficult on your instrument.
• I, Jamey, know a lot and I can do a lot but I can’t do it for you!
• If you THINK a lot about what you are doing, you will remember a lot.
• To learn a tune, memorize the changes one measure at a time. Play the scale for each chord then
arpeggiate each chord; next, improvise. Memorize, memorize, memorize!
• If you have a doubt about anything in music, find a piano and play it. Does it sound like what you hear on
record?
• If you want to put a 4th in a major chord you must raise it (F#/C) Lydian, or play the regular 4th as a passing
tone.
• Perhaps the major scale should have been constructed this way: CDEF#GABC Lydian. Think sharp 4 not
flat 5.
• On Piano: Learn two note voicings with the right hand (3rd and 7th can tell you everything that is going on).
• If you are a non-keyboard player just play the roots with your left hand - memorize the roots to songs.
• III VI II V I (Turnaround) Turnarounds get you back to the top of the tune.
• A piano player (when playing for rhythm section) should play in the register from an octave below middle C
to an octave and a half above middle C, so as not to crowd the horn players in the upper register.
• Jazz history has a protocol - don’t overplay.
• Watch how independent a piano player’s left hand is while they solo with the right hand.
• By using different voicings you can play chords without moving up and down the keyboard.
• Practice scales and exercises in time and without stopping - this is how we play music, after all.
• When you voice a chord on guitar or keyboard, you don’t have to play a lot of notes to sound good.
• B half diminished: BCDEFGAB. The C natural does not always sound so great so use it as a passing tone
on an upbeat - You can play sharp 2 anytime (C#).
• SEQUENCE means to repeat a chord, a chord pattern or a melodic phrase in a different key.
• Spend 15 or 30 minutes per day with a keyboard even if you are a horn player.
• Jazz uses a few things over and over, it is a great relief to realize this - things do not seem so vast.
• There are only twelve keys, we play mostly in six of them ( C, Bb, Eb, Ab, F and G) not so often in (B, E,
F#, C#, E and A) but jazz tunes modulate like crazy - we end up in all keys at one point or another.
• A key signature is for the melody (notational convenience); it can have very little to do with the harmony
(key).
• Look at the last chord in a tune, (or the next to the last measure) if it is major and lasts for a full bar, that is
probably the key the tune is in. Especially if the first chord is similar.
• This is my college education - my pitch pipe!
• A chromatic pitch pipe gives you independence - you can learn the musical universe on your own.
• Use a pitch pipe to learn all the intervals within an octave - don’t use practice room time for ear training - do
it on the fly ( hustle while you wait).
• Point to the “paper keyboard” and sing the notes as you point to different keys - after a few bars, check
your accuracy with a pitch pipe.
• Grab a tune and just sing the roots.
• Don’t just sing a scale, visualize the keyboard or your instrument, keep checking yourself with the pitch
pipe. Next change key and do it again.
• Write a tune!
• It’s not hard to write a tune, Steve Allen wrote 450 tunes with lyrics in just one sitting, one day.
• Written music is a crutch! Memorize, instead.
• Transposed parts are a crutch! In the old days there were no fake books, we transcribed everything from
records and learned to transpose in the process. We used our ears and memory.
POINTS TO REMEMBER -- cont’d
• A good musician has a large repertoire in his head - he doesn’t rely heavily on books.
• Music doesn’t care who plays it.
• “Play what is there, we don’t need to hear you lying” - Art Blakey
• When you finally play what is in your head, you will meet yourself for the first time.
• “It takes a long time to play like yourself’ - Miles
• You can answer all your questions about jazz by listening: LISTEN! LISTEN! LISTEN!
• When you solo, use repetition and sequence, don’t ramble. This allows the listener to anticipate what you
are doing. This is known as thematic improvisation. Sonny Rollins’ solos are a great example of this.
• The interval from B flat to E contains three tones (Bflat =>C=>D==>E ) hence the name tritone.
• Very few adults take the time required to learn to play jazz (or even simply to listen to it!)
• If you want to keep the harmony outlined, play chord tones on beats one and three.
• The root third, fifth and seventh outline the harmony.
• A characteristic of Bebop solos is that they outline harmony very explicitly.
• Do you have a dozen tunes memorized? Know the melody and the form, be able to write out the chord
progressions (Jamey has 1000 tunes memorized!)
• Learn some tunes, and listen to music throughout the day to keep them in your head.
• Put your tune repertoire in a notebook so you can review it.
• As an exercise in getting your solos to sound like what you hear in your head, put a play-a-long CD on and
play four bars, then sing four bars, then play four bars ... then sing, etc.
• To execute your objective: Think it - Say it - Do it!
• The average person has to learn to play in time - it does not come naturally. You can use a metronome.
• In jazz, time is very important - use a metronome for practice. When you practice scales and chords always
practice in time and use proper articulation.
• Start to improvise early in your musical education.
• I’m interested in seeing people play music throughout their entire life.
• If you don’t improvise every day what is the point of practicing scales and chords?
• Music is supposed to be fun - have fun when you practice.
• When I asked some musicians how much of the day they spend thinking music they responded 24 hours
per day!
• When you solo, look for common tones between changes, anticipate, think ahead. Think about the subsequent
chord scale while you are improvising on the current one. It is not that hard, do it soon to prove this
to yourself. This is called “playing across the bar lines.”
• The melody to a song is called the head.
• Obstacles are opportunities. Turn stumbling blocks into stepping stones.
• Don’t approach your practice as if you have to learn a great deal of information and acquire a great deal of
skill so you then can play - instead start playing NOW! ! !
• If you play straight 8th notes you can play the bebop scale for a measure and end on the degree of the
scale that you started on (most of our scales have seven notes and don’t work out this way.) The Bebop
scale gives you 8 notes per measure instead of seven when played in 8th notes.
• The effective use of the Bebop scale often separates those who can play from those who are trying to play.
• Don’t forget that a chord symbol implies a scale (horizontal) and a chord (vertical).
• You can’t listen to records enough - it is so very important!
• If you don’t have a good sound who is going to care about what you have to say - even if you have great
ideas.
• To find a lowered 7th just go down a whole step from the root.
• To find a sharp 9 go up a minor third from the root.
• The 3rd and 7th are the most important notes in outlining chord quality. The root is always assumed.
• Tape yourself and listen back objectively. Don’t be afraid to hear yourself as others hear you.
• In 4/4 time, if you want to give harmonic stability, play chord tones (1,3,5, and 7) on beats one and three.
• Dave Brubeck’s “Take Five” (in 5/4) is really bars of 3/4 followed by bars of 2/4. 12 3 12, 1 2 3 1 2, 1 2 3 1 2
• Lydian is a favorite substitute for major (especially in tune endings).
• Chuck Sher’s New Real Books are accurate.
• The tunes that jazz players like and that are challenging often have pretty chord tones in the original
melody. Pretty notes can be the major 7th, 9th or #4 in MAJOR; b7, 9 and 4 in MINOR.
• Strive to solo on a tune, without playing the melody and without a rhythm section, in such a way that a
listener could name the tune (this means you are doing a good job of outlining the harmony).
• The music is between your ears...

Breaking benjamin- Dairy of Jane

Grado Sr60

耳機被我坐爛後
決定買一個專業一點的

甚麼功課都沒作就跑到音悅音響,
店員推薦我grado sr60
心想,這看起來好陽春阿

不過試聽起來真不錯
2話不說就買了
回到家才google一下,原來這款如此鼎鼎有名

Sid Jacobs介紹

Sid Jacobs是作曲家,音樂老師,錄音樂手
出生在Florida邁阿密灘,小時後在古巴哈瓦那長大
在1953古巴革命時回到邁阿密,
7歲時開始玩吉他,
18歲就成為Las Vegas Nevada大學音樂系裡最年輕的吉他講師
搬到LA後他開始替Dick Grove 的音樂學校以及MI,
發展一系列Advanced Bebop 跟 Jazz Guitar課程.
1991年發行個人專輯'It's Not Goodnight'
1998年,受邀參加阿根廷"Guitars of the World" festival,他是第一個受邀的北美洲人
2001年受邀土耳其Ankara Music Festival演出
跟他常合作的樂手包括:
Harold Land, Eddie Harris, Buddy Montgomery,
Joe Diorio, Brad Mehldau, Larry Goldings and Javon Jackson.

據Geddy表示..
他技術超強
但個性偏激又驕傲
還會跟學生吵架...........

今天開始新的課程-Sid Jacobs

Jazz Guitar 1 by Sid Jacobs
第一課在介紹課程大綱
1.Steal From the Best.
2.Listen a lot to the music you wish to play
It helps to sing the solos and imitate the phrasing
3.Leart tunes standards and jazz tunes
4.Review scales and arpeggios
5.Observe when you listen and play-rhythm,melody,harmony ,dynamics and space.


一開始Sid Jacobs就開宗明義說
'Great composer doesn'nt borrow ,he steals.'
(我聽過的另一個版本是Good artists borrow, great artists steal.'
說的好聽是引用,靈感...,說難聽點就是抄襲.)
就像畫畫開始都是從臨摹開始
真正要彈出Jazz的味道
就是把自己當成牙牙學語的嬰兒
所以臨摹的對象就很重要
書上推薦的,其實都聽過..
Charlie Parker,Sonny Rollins,Miles Davis,John Coltrane,Wes Montgomery,Bill Evans...
但是都不熟..

Geddy老師耳提面命
其他人可以應付一下
一個吉他手Wes Montgomery最好每張都聽

介紹團員

bassistwei的爵士天地看到的笑話
有些寫的真的太好笑也太貼切拉

用我憋腳的英文翻一下
------------------------------------------------------------------------------------------
Ladies and gentlemen, I'd like to introduce the members of tonight's band.

各位來賓,我來介紹本團團員
(Anybody we know?)
On piano____________. But first a few words about pianists in general, they are intellectuals and know-it-alls. They studied theory, harmony and composition in college. Most are riddled with self-doubt. They are usually bald. They should have big hands, but often don't. They were social rejects as adolescents. They go home after the gig and play with toy soldiers. Pianists have a special love-hate relationship with singers. If you talk to the piano player during a break, he will condescend.

首先是 我們的鋼琴手__________
鋼琴手通常很聰明,無所不知
他們在大學時研究樂理,和聲,編曲,
. Most are riddled with self-doubt.
所以通常都是禿頭.
他們應該有雙大手但卻不然
他們像青少年班被社會拋棄
表演完他們都回家玩模型玩具
鋼琴手對於歌手又愛又恨.
如果休息時間跟他聊天,
他們會露出降尊屈就的態度

On bass we have _____________. Bassists are not terribly smart. The best bassists come to terms with their limitations by playing simple lines and rarely soloing. During the better musical moments, a bassist will pull his strings hard and grunt like an animal. Bass players are built big, with paws for hands, and they are always bent over awkwardly. If you talk to the bassist during a break, you will not be able to tell whether or not he's listening.

On drums____________. Drummers are radical. Specific personalities vary, but are always extreme. A drummer might be the funniest person in the world, or the most psychotic, or the smelliest. Drummers are uneasy because of the many jokes about them, most of which stem from the fact that they aren't really musicians. Pianists are particularly successful at making drummers feel bad. Most drummers are highly excitable; when excited, they play louder. If you decide to talk to the drummer during a break, always be careful not to sneak up on him.

On saxophone_____________. Saxophonists think they are the most important players on stage. Consequently, they are temperamental and territorial. They know all the Coltrane and Bird licks but have their own sound, a mixture of Coltrane and Bird. They take exceptionally long solos, which reach a peak half way through and then just don't stop. They practice quietly but audibly while other people are trying to play. They are obsessed. Saxophonists sleep with their instruments, forget to shower, and are mangy. If you talk to a saxophonist during a break, you will hear a lot of excuses about his reeds.

Sax,_____________
我們saxophone手認為他們是台上最重要的角色
所以他們個性倔強,且有地域性
他們熟知Coltran跟Bird的樂句,
但是卻有自己特殊的聲音----那就是把Coltran跟Bird的樂句混合
他們喜歡超常的solo,吹到最高音仍然不會停
他們在其他人表演時自以為安靜的練習,其實大家都明顯地聽的到
他們非常著迷,跟樂器睡在一起....甚至忘記洗澡,一身髒
如果休息時間跟他聊天,
他們會跟你說一堆簧片相關的藉口跟抱怨

On trumpet_______________. Trumpet players are image-conscious and walk with a swagger. They are often former college linebackers. Trumpet players are very attractive to women, despite the strange indentation on their lips. Many of them sing; misguided critics then compare them to either Louis Armstrong or Chet Baker depending whether they're black or white. Arrive at the session early, and you may get to witness the special trumpet game. The rules are: play as loud and as high as possible. The winner is the one who plays loudest and highest. If you talk to a trumpet player during a break, he might confess that his favorite player is Maynard Ferguson, the merciless god of loud-high trumpeting.

On guitar_________________. Jazz guitarists are never very happy. Deep inside they want to be rock stars, but they're old and overweight. In protest, they wear their hair long, prowl for groupies, drink a lot, and play too loud. Guitarists hate piano players because they can hit ten notes at once, but guitarists make up for it by playing as fast as they can. The more a guitarist drinks, the higher he turns his amp. Then the drummer starts to play harder, and the trumpeter dips into his loud/high arsenal. Suddenly, the saxophonist's universe crumbles, because he is no longer the most important player on stage. He packs up his horn, nicks his best reed in haste, and storms out of the room. The pianist struggles to suppress a laugh. If you talk to a guitarist during the break he'll ask intimate questions about your 14-year-old sister.
我們的吉他手_____________
爵士吉他手通常不快樂
內心深處他們幻想是個搖滾巨星
卻太老了體重又超重
他們把頭髮留長,到處找尋粉絲,
不斷喝酒,amp總是太大聲,以發洩心中不滿
他們討厭鋼琴手
因為他們可以一次押10個音
所以吉他手只能不斷彈快,彌補這個缺憾
酒喝的越多,他amp開越大聲
然後鼓跟小號手也一起更大聲
之後saxophonist就崩潰了
因為他變成不是台上最重要的角色
然後就收起樂器跟簧片,氣的奪門而出
鋼琴手會在旁邊忍著偷笑
如果休息時間跟吉他手聊天,
他會問一些很隱密的問題
----關於你的14歲小妹
Our feature vocalist is the lovely _____________. Vocalists are whimsical creations of the all-powerful jazz gods. They are placed in sessions to test musicians' capacity for suffering. They are not of the jazz world, but enter it surreptitiously. Example: A young woman is playing minor roles in college musical theater. One day, a misguided campus newspaper critic describes her singing as '...jazzy.'Voila! A star is born! Quickly she learns 'My Funny Valentine,' 'Summertime,' and 'Route 66.' Her training complete, she embarks on a campaign of musical terrorism. Musicians flee from the bandstand as she approaches. Those who must remain feel the full fury of the jazz universe. The vocalist will try to seduce you--and the rest of the audience--by making eye contact, acknowledging your presence, even talking to you between tunes. DO NOT FALL INTO THIS TRAP! Look away, make your distaste obvious. Otherwise the musicians will avoid you during their breaks. Incidentally, if you talk to a vocalist during a bre ak, she will introduce you to her 'manager.'

On trombone___________________. The trombone is known for its pleading, voice-like quality. 'Listen,' it seems to say in the male tenor range, 'Why won't anybody hire me for a gig?' Trombonists like to play fast, because their notes become indistinguishable and thus immune to criticism. Most trombonists played trumpet in their early years, then decided they didn't want to walk around with a strange indentation on their lips. Now they hate trumpet players, who somehow get all the women despite this disfigurement. Trombonists are usually tall and lean, with forlorn faces. They don't eat much. They have to be very friendly, because nobody really needs a trombonist. Talk to a trombonist during a break and he'll ask you for a gig, try to sell you insurance, or offer to mow your lawn.

來源
http://www.wretch.cc/blog/bassistwei/11733754

北出奈奈

來源
看了這可愛的mv 讓我又有畫畫的衝動
就畫了~~

Metallica -James Hetfield

Metallica主唱 James Hetfield,
大概5年前,都在練Metal的時候畫的
Reload專輯之後就不聽他們了,
Thrash Metal似乎也從那時候走下坡吧


短髮造型.判若兩人

來源

Paul gilbert

我最喜歡的搖滾吉他手
Mr.Big在1996 Paul gilbert離開後,在2002也解散

Gauchos

這整個太可愛了\(^^)/

Lionel Loueke

Official Site




wiki

Rush

雖然很久沒聽重金屬了
而且顯然聽的不夠多
因為Rush這麼屌的團,我居然是2008年上Youtube才知道
一聽就知道Dream theater 的鼓手受Neal pert 影響很大
應該說Dream theater受RUSH影響很大

前陣子Dream theater才發行20年紀念DVD
x,這個團已經40年了勒(1968年成立)><
RUSH成立20年Dream theater 才出世呢
,而且還在繼續巡迴表演~~

這樂團只有3個人,
Geddy Lee: BASS+KB+Vocal
Alex Lifeson:GT
Neil Peart:Drum

2008發行專輯 Snakes & Arrows Live. 宣傳照

來源

1974 年Neil Peart 取代John Rutsey為新鼓手

來源
這時吉他手Alex Lifeson頗帥!,有Yngwie的感覺,

vanilla mood

美女不用12個
日本走精緻路線4個比較好記住
http://www.vanillamood.jp/profile/

Buddy Rich

人稱世界最偉大鼓手


這個很有趣,不知道Animal是誰代打的

Jimmy Bruno

19歲以最年輕的樂手進入Buddy Rich (人稱世界最屌的鼓手)樂團,


教學網站的idea其實是一個叫David的
他喜歡jimmi Bruno,
在他50歲的時候,他老婆邀請Jimi Bruno到他家表演
當作他的生日禮物

後來David跟他上了幾個月的課
發現他的教學很特別
於是有了網路教學的點子

大概經過一年多
他們一起把這idea付諸實現



3個月60元美金的課程
學生上傳自己的演奏
然後Jimmy 會回傳他的feedback


學生遍布28個國家

Mary Lou Lord

原本是波士頓的街頭藝人
後來發行了幾張唱片

2005因為得了"痙攣性發聲障礙"(Spasmodic Dysphonia)
轉而與老公一起經營管理公司
曾暗示Kurt Cobain還沒紅時跟她有過一腿
Kurt Cobain老婆Courtney Love對此非常不爽
Kurt Cobain還發了一封傳真給報社
宣稱他跟Lord沒有關係,還叫她要去看醫生
有人說這是Kurt Cobain老婆自己寫的.....
撇開八卦不談
她的聲音真是好聽

Garage Key midi keyboard

http://www.protoolerblog.com/2007/04/11/review-jj-labs-garagekey/

原本想買creative 的prodkeys
意外在敦煌網站發現這個東西,當下馬上衝去買了~~
原來這本來是設計給mac garage band的
難怪設計感不錯,
擔心pc不能用,還好我多慮了
沒有甚麼特殊功能,只有升降8度音的控制鈕
看它圖可以長腳站在鍵盤上面
沒想到我鍵盤太長,所以沒辦法站
其他都蠻令我滿意
現在用它來玩Reason

Ray Brown masterclass

http://mwengerd.blog.usf.edu/2007/08/05/168

David Sanborn - SLAM!

Jeff Golub

Chris Botti - Lisa

即興軟體開發

台灣的軟體業工作並不如想像中那麼按部就班
反而像平常在玩即興的感覺
即興最重要的是聆聽團員的聲音
但根據我的經驗
剛好相反
公司上下追著老闆跑,
如果他跑快了還會怪我們伴奏錯了
作軟體開發的很像在作歌一樣

老闆永遠想做他要聽的,但做出來前 ,他不會知道他要甚麼歌
搞到後來真的是JAM,traffic jam 的jam

不用想也知道這樣不會有甚麼好的作品
-----------------------------------------------------------------------------------
老闆要大家作一首歌
老闆喜歡小蜜蜂
恩~” 那就用這個和絃進行吧”

團員精心用小蜜蜂和絃配上了旋律

老闆說:這不是我要的感覺,我要Dream theater 的fu ,
一個禮拜沒問題吧~
而且嗡!嗡!嗡!的感覺要留著喔

團員:@#$^@#$
…..

老闆:客戶說和絃進行很難聽跟Dream theater太像了,是誰想的阿?
團員:是老闆你~~!!而且你說這進行不能改
老闆:我有說嗎! 給你1天時間再改過
團員:1天?
團員說:那整首歌要重作??,
老闆:沒那個美國時間 ,後天要再作一首新的..就用無敵鐵金剛的和絃,

團員:………………….

我的生活竟有一半時間陷在這無窮的回圈

音量控制的彈奏

跟鴨子老師請教的,他人真是謙虛
"開音量開大,彈的時候小力"

至於開到多大?
以左手勾弦垂弦的聲音為準,
(不要用右手彈的聲音來調,因為右手要勾多大力都可以)

右手要降彽力度去配合左手的聲音
這樣右手速度可以加快
要練到跟左手聲音大小一致就必須控制力度

吉他也是相同
以前總是不斷鍛鍊左手勾弦垂弦的聲音,還是沒法練到很大聲
原來還有這個方法

Sunny

Doms played Tune 88 in 河岸留言

現場佈置看來.應該是好幾年前

Mark King Slap Solo

Yes We Can

除了歸功黑眼豆的功力之外
黑人天生優異的節奏感也是關鍵
連一篇演講都能如此動聽

把阿扁演講弄成音樂頂多只會有kuso的感覺

神人級 Donna lee

真讓人啞口無言

樂團vs創業團隊

把樂團跟公司經營來比較
我會覺得找團員比較像在找創業夥伴
而不是在找員工.
但是可能大多數人是懷著員工找工作的心態去找一個團
因為當老闆甚麼都要管
還是當員工做完事拍拍屁股走人簡單

總之練玩團就互不相干
下次何時練團,練甚麼歌,要不要錄音,都在等人家下指令
只是個練團伴奏幾罷了
樂團應該不太會有進展

一般人(不是布林或佩吉,也不是渥茲或沃茲)
不像五月天幸運,能在年輕時找到一群志同道合的死黨(創業夥伴)
現在的你要如何找到自己的團員(創業夥伴)或被人家當成可信賴的夥伴呢

那就讓自己
多積極,主動找事作,不要每件事都要等Leader指令,在創業團隊中每個都是Leader,
多充實,持續學習相關的技術,知識
多開放,接受團員的批評,接受意見,也要分享意見

Raise It Up from August Rush

把愛找回來的電影主題曲:Raise It UP
是IMPACT Repertory Theatre裡面唱詩班唱的,
這小女孩叫做Jamia Simone Nash,超利害的,


這邊有詳細介紹

PocketGuitar on iPod Touch

重複的句子,加上好的拍子

最近把scott henderson教學帶又看了一下
說到2個很重要的東西,雖有點廢話
但是能做到是蠻難的
"1.節奏":當拍子,節奏夠強的時候
不用在乎彈的是甚麼note.音階
例如:一閃一閃小猩猩,就算pitch都錯了
只要拍子對了,你都知道這首歌是小猩猩
但一般人卻只注意到練音階,其實拍子比音階重要

"2.重複":句子的重複是非常重要的
如果大腦聽到一個句子馬上就彈
聽眾可能還沒接收到上一個樂句
整首歌不斷變來變去,反而沒有高低起伏
這樣聽眾聽起來抓不到重點
所以重複樂句是非常重要的,
像藍調,要能說出前後呼應的句子
而不是飆速度亂彈
"it does not make any sense"

巧的是,
上課時老師也提到一樣的問題
甚麼點弦掃弦特技只是彈的人自己爽,
拍子不對,聽的人很痛苦
與其彈一堆亂七八糟的音搞亂自己的拍子
不如只用3個音去好好的玩拍子

steps ahead-Lust for Life

安達久美

彈的還好,穿的不錯

Bass手

第一個單顆Maxon OD808

在老師慫恿下去買一顆overdrive
原本要買OD9,但是沒貨
老闆說OD808不錯
就乖乖買了,$3800,比OD9便宜