Hey RW; Glad you like it, I love that album. For me that type of stuff tends to grow on you over time. I usually don't "get it" on the first listen. Now if you listen closely you will see that he managed to add one (1) dog bark on the record, kewl! I just got Rocket Science and noticed the same thing. I can't wait for Scott to come to NYC again.

Also, inside the Rocket Science albume he gives a complete discription of the equiptment used. Very funny stuff.
MH

I went to the mentioned GIT (MI) in 90-91 and Tribal Tech used to practise sometimes in one of the classrooms on the top floor late at night. All the students who wanted could sit in and listen. Very cool and incredibly nice guys. One should mever miss a chance to see these guys live.

To those who dont know the school it was most famed for crating yngwie clones in the late 80's and for the alumni band Racer X. I can remember alot of discussions in guitar magazines at the time about whether or not learning guitar at GIT made all the students play the same way.

I went there anyway, and must say that it was completely different. I had a very good time in LA and have been back several times since. And it's funny visit the school now and think back.

I have bought an OD-100 amp and is in the process of making myself a setup very similar to Scott, but maybe with a slightly different choice in fx. It's such a cool amp.

Huge Racks

Scott always played to mellow on Tribal Tech...but Dog bone he wailed straight blues

haven´t been to MI myself but my friend went there (we´re from Sweden) must have been around 91-93. he was there at the time of the BIG earthquake. when he came home he of course raved about lukather, landau and henderson at the baked potato (then going home smoking pxx)...another band he watched alot was the outsidemen with mike miller a got a copy of their cassette and later bought the cd (band overboard) GREAT band. another player which was the GOD for him was Steve Dudas...like an amalgam of Holdsworth, Beck and Page or something. he was about to record with Colaiuta but I haven´t heard anything from him except the Ringo Starr Al Star Band and some writing on a Ozzy album. You guys have any news about him???

cheers

I love Allan Holdsworth. I will have to check out the guitarist you mentioned. Frank Gambale is another awesome fusion guitar player. His sweep picking stuff is mind blowing! Is fusion more popular in Europe then the United States? I think jazz is more popular in Europe.

RW Fender,
If You Like Hendersons Playing,Find
A Good Jazz Teacher To Study With Then
You Will Have A Better Understanding Of
His Style. The First Thing I Focused On To
Play At This Level Is To Learn How To Play
Every Mode Of The Major Scale, Melodic Minor,
Melodic minor In The Altered Posititions,
Harmonic Minor And Thier Appegios In Every
key. Its A Bitch But You Got To Do It.

quote:

---

Originally posted by klasaine:
He uses a lot of altered dominant scales . Try this in " A " . A Bb C C# Eb E F# G .

---

Also, try this over A7:

A B C# D# E F# G A

There are many ways to theorize this, but I think of it as Melodic Minor up a 5th from the root. ( E melodic minor over A7 ); works well over static vamps. The money note here is the #11(D#), which gives it the slightly "out" sound

klasaine's suggestion ventures a little further "out" and I use a variation:

A A# C C# D# F G A

I think of this as melodic minor up a half step from the root ( A# melodic minor over A7 altered ) I don't use this as much over static vamps, but favor it for a V7 altered chord. For example, in a I-IV V progression in D7, try playing A# mel. minor over A7#9.
Season to taste, however; Eventually, your ears will tell you when it's appropriate or not. I find that whole tone sounds in general are gloriously dark and beautiful.

Also recommended are any books by Don Mock and Steve Freeman. Try to get the sounds of these intervals "in your head", to the point where you're not thinking about "formulas".
Don't just learn the patterns and fingerings
or blatantly rip off others' lines. Learn the SOUNDS and work them into your own phrasing. In this way, you'll sound like YOU, and not like you're " practicing" or "thinking".

Also recommended is intensive LISTENING.
Keep in mind that guys like Scott Henderson and John Scofield dissected the ideas of Bebop heavywieghts such as Charlie Parker and John Coltrane for YEARS and adapted those concepts to the guitar... If you learn the lines of say, Mike Stern, and skip the history lessons, there will be huge gaps in your playing.

It takes time.
Eventually, however, these sounds can become as ingrained as our ol' pal,the pentatonic scale.

quote:

---

Originally posted by cucamongo:
Hey RW, Musicians institute is in Hollywood right off hollywood BLVD.Not far from that Chinese theater Or at least it was.
They do give you a degree if you fulfill all thier requirements. as far as a website is concerned I'm really not sure if they have one but i imagine they would/should. It was a great learning experience,aside from Mr. Henderson there were other monster players some of them teachers and some of them students, alot of knowledge floating around in that place and surprisingly not alot of egos. I would recommend it to anyone who is thinking about going to music school. Just beware the EARTHQUAKES.

---

I was at GIT in '84-'85. Notable stdents at the time included Jimmy Herring, Todd Barth, and Paul Gilbert. All great guys, and Paul was hilarious.

I heard Henderson and Gambale dozens of times... First time I heard Scott I couldn't believe it; Sounded like Beck meets Coltrane!
Also heard Holdsworth (He drank 7 or 8 beers during the course of an hour and a half set and just lined 'em up on top of his amp), Carlton, Vai, Eric Johnson, and a slew of others... As long as you didn't come off like a geek or a pest, the vast majority of these people were down to earth and friendly.
A highlight of the year for me was playing a jazz blues in C with Robben Ford. My personal instructor was Norman Brown. I have a tape floatin' around here somewhere of Norm and I playing over changes. Glad to hear that Norm's found success in the Cool Jazz genre, he's excellent.

I've heard some people say that everybody comes out of GIT sounding the same... To me that's like saying everyone that learns the English language converses the same way. The exchange and sharing of ideas and information was generous and mind boggling. Even though I studied with a Berklee grad for years prior to moving to Los Angeles, I consider GIT to be the foundation of my education, from which I draw upon to this day. I've lost contact with all but one of my friends from that time, who now lives in Switzerland. But the experience of GIT created memories and impact that are Forever. I wouldn't trade that year for anything in the world.

Here's one with a timely middle eastern flavor ( E7 vamp ) . McLaughlin uses it ( I think ) in " Birds of Fire " : E , F# , G# , A , B , C , D , E . It sounds great when you start it on either the D or the G# . Also , combine it with the E blues scale .

Pretty cool, klasaine...

I love Birds of Fire. Another on my seemingly endless list of music that I used to have on vinyl that needs to be re-purchased.

Another tidbit:

Minor 7 b5 arpeggios a 6th above the root for dominant chords.

For A7 it's F#-7b5.

F# A C E
1 b3 b5 b7

which in the key of A is:

6 1 b3 5

Sounds great played in two octave arpeggios with chromatics thrown in. The 6th and the b3rd give it a sweet n' sour feel. Plus, minor 7 b5 arps feel really good, I like the way they lay on the fingerboard.

I like that Corleone . I took a tip from Pat Martino and use Dorian up a m3rd from the root of the m7b5 . EX : F#m7b5 = A dorian minor , ( which contains those arps you mentioned ) . There may actually be more aspects of theory than pedals . What do you think ? If your into McLaughlin check out the new Shakti records , I think they're all live ... and pretty unbelieveable .

"I'll play it first and tell you what it is later." -Miles Davis

I love that quote. I don't know how it works for you klasaine, but it's a good thing for me that I got the theory into my ears and fingers early on because a large chunk of it seems to have left my head! I haven't done any teaching in about 7-8 years, which was a great way of staying sharp.

As for pedal theory, I was learning this stuff the hard way until I discovered this place, which has been invaluable. I'm truly amazed by what some of these guys know and are capable of tweaking and building.

The last McLaughlin I got was "The Promise".
Tons of great stuff. Of course, being a Beck junkie, I loved John and Jeff's reading of "Django". Some Shakti would be cool for the upcoming Holiday wish list. Recommend any disc in particular?

The one I bought ( full pop at intermission ) is called : Remember Shakti / " the Believer " from a Euro tour in '99 . I think there's 3 others , I'm sure they're all great . " After the Rain " - straight ahead trio from '95 is also one of his recent bests . I'm glad I learned theory pretty young ( or at least learned HOW to learn it ). Like most players I don't think about it when I play , but use it when I practice . I find it really helps when I transcribe something , until I HEAR IT I have something to relate it to . I used your arppegio idea on a session yesterday . I'll send you a re - use check .

No charge for the arp. thing, kl. I've certainly reaped benefits from from your tips. It works both ways. Looking forward to new John M. for X-mas.

Any of you guys familiar with Wayne Krantz? I think hes awesome. Damn good playing. If you haven't heard 2 Drink Minimum yet, check it out. Also, check out Peter Autschbach www.autschbach.de he is a German Jazz/Fusion guitarist who i think is awesome. He has a great tone and sense of phrasing.

Is 2 drink minimum the one you can only get online ? If thats the one I'm thinking of , it's great .

You can get them all online...its just you can only get Greenwich Mean off his personal website.

quote:

---

Originally posted by Corleone:

quote:

---

Originally posted by cucamongo:
_Hey RW, Musicians institute is in Hollywood right off hollywood BLVD.Not far from that Chinese theater Or at least it was.
They do give you a degree if you fulfill all thier requirements. as far as a website is concerned I'm really not sure if they have one but i imagine they would/should. It was a great learning experience,aside from Mr. Henderson there were other monster players some of them teachers and some of them students, alot of knowledge floating around in that place and surprisingly not alot of egos. I would recommend it to anyone who is thinking about going to music school. Just beware the EARTHQUAKES._

---

I was at GIT in '84-'85. Notable stdents at the time included Jimmy Herring, Todd Barth, and Paul Gilbert. All great guys, and Paul was hilarious.

I heard Henderson and Gambale dozens of times... First time I heard Scott I couldn't believe it; Sounded like Beck meets Coltrane!
Also heard Holdsworth (He drank 7 or 8 beers during the course of an hour and a half set and just lined 'em up on top of his amp), Carlton, Vai, Eric Johnson, and a slew of others... As long as you didn't come off like a geek or a pest, the vast majority of these people were down to earth and friendly.
A highlight of the year for me was playing a jazz blues in C with Robben Ford. My personal instructor was Norman Brown. I have a tape floatin' around here somewhere of Norm and I playing over changes. Glad to hear that Norm's found success in the Cool Jazz genre, he's excellent.

I've heard some people say that everybody comes out of GIT sounding the same... To me that's like saying everyone that learns the English language converses the same way. The exchange and sharing of ideas and information was generous and mind boggling. Even though I studied with a Berklee grad for years prior to moving to Los Angeles, I consider GIT to be the foundation of my education, from which I draw upon to this day. I've lost contact with all but one of my friends from that time, who now lives in Switzerland. But the experience of GIT created memories and impact that are Forever. I wouldn't trade that year for anything in the world.

---

....Awesome!...Norman grew up really close to were Im working, & alot of people that Im working with went to school, & Ive heard so much great things about him, that I feel that I know him!...I seen him three times, & it was great!...Its hard to belive that you got to witness all that talent!...I had heard the Eric Johnson has performed there a few times!...Id love to hear the recordings of you & Norm!....

Norm is the coolest! Just a real warm & friendly guy, very generous with his knowledge. That year of my life is now two decades past, but it's not a blur. Yeah, it was great soaking up the knowledge of, & sitting in, with those folks, & I highly recommend the experience to anyone who loves music. It was a bit intimidating at first, but most of the guys there were really cool & would quickly put you at ease. When it comes down to playing music, the only thing that you truly have to count on in the crutch is your musicianship, style, & personality, regardless of who you are playing with - the "monsters" are just guys & gals that dig it as much as we all do. That's the most important lesson that I learned from that brief period of my life. I feel that the money I spent in order to attend was, at the very least, well spent, & it continues to pay for itself time & time again. If I could go back in time, I would certainly do so in a heartbeat. Absolutely the best year of my lifetime, was '84-'85.