Hey guys,
This thread reminded me a a chart I have that you might be interested in.
This is a composition by Joe DiOrio called, "Blues for Bela" - that's Bela Bartok, and obviously it's a bit outside.
Joe played this a few times for us at G.I.T. back in 1978-79, and my roommate, David Carlson from Sweden transcribed it. He then showed it to Joe who confirmed it was accurate. Then, for our GIT class of '79 graduation party, David and Joe got up and played it together. I think it was a highlight in David's life. Anyway, David shared his score with me, and now I'm sharing it with you.
Hope you like it. It's a bit bizarre, but the more you hear it, it grows on you. Enjoy!
Thanks for the Diorio stuff! BTW: For those of you the belong to eMusic, the "It's About Time" CD just became available a few weeks ago. However, in typical eMusic fashion, it is listed under Dom Moio (not Diorio!), who is a sideman on the album.
I was a '79-'80 grad of GIT. Joe was sporadically around and the only time we really got to see him play was when Pat Metheny came for a seminar and he and Joe played a few tunes. Watching them play made me realize how amazing Joe was, and also how good Metheny was. They killed it on standard tunes. Joe's an amazing person.
You guys beat me to Joe by a few years (GIT Class of 1987). Loved my time with Joe. He taught me one thing that has stuck with me all these years: "All's well that ends well". Great transcriptions. Thanks guys.
Ha! And I'll split the difference...GIT 1984. Joe was around once a week or so during my year...and he remains to this day one of my greatest musical heroes. I love his "To Jobim With Love" CD.
Joe has always been one of my favorites. He actually played with my uncle Wally Cirillo in the seventies. An album called solo duo. I met joe when I was 15 ...back in the seventies and studied with him briefly in Miami. I have studied his playing ever since...still learning...for me... the Coltrane of guitar...
As I've said before, I think the LJ needs to be tilted to get the best sound, taming the bass and slight boxiness I hear when it's flat on the floor. I tilt mine using a wedge, and in that position...
Yes, if you play an acoustic archtop, the port is a very good thing. It fills in those lower midrange frequencies that you otherwise wouldn’t hear so well.
Are people familiar with this? This helped me get more specific with my neck preferences. I found that I like the large c shape and the 66 oval c shape the best from this. The only thing I prefer is...
Yeah the #11 with a natural fifth is pretty common –– most chords marked 7#11 will sound pretty good with the fifth as long as it's an octave lower.
b5 with an 11th is weird.
But yeah ... on...
Hi All,
I decided to do extensive nitro lacquer drop fill on the back of my 1981 ES-175. There were extensive buckle rash, gouges, etc., and the result came out looking great except for these...
https://youtu.be/_oAK42erZJk?si=KXeqnuYuRwIkQsRy
When I play freeform, and everything is in the moment, I strive for compositional logic and structure. When I play a tune like this one (“You...
Don't think the modern electric archtops would really do the sound you're looking for. Something with a bit more acoustic dry punch would be better? Too bad the price of a 50's Epiphone has gone up...
On the Benedetto style archtops (solid, carved) from Wu and Yunzhi, ports are huge. Very easy to test playing with them covered to see the difference so it's not just an impression. Port applies...
You might want to email Michael at DjangoBooks.com. He carries all sorts of rare and old pickups, including DeArmond. He also might be able to give you a lead on where to find a pickup or two. ...
I have two guitars with sound ports. The Beardsell short-scale high-A flattop is almost all soundport on the upper bout and delivers a lot more volume than you would hear from the top if there was...
I only had one that I forgot the name (some guy had gits made and imported them) of because I sent it back as it had many top cracks that the seller did not reveal.
That said, despite the cracks...
Since chords are derived from scales, the #11/b5 designation exists so that each letter of the musical alphabet is expressed only once in the chord scale.
so a chord with a b5 can theoretically...
As bad as that break looks, I bet a good luthier can repair that so you'd never know it broke, and it would never break there again. It's pretty clean.
Micro Scratches in Nitro Lacquer Finish
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