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Review of Joe Satriani's "Strange Beautiful Days" (Epic)

By Philip Booth

The jazzy jam bands, like Medeski Martin and Wood, Soulive and Charlie Hunter, aren’t the only folks making strange beautiful music without vocals. Joe Satriani, a guitar ripper who made his reputation during the ‘80s, is still holding his own as a purveyor of appealing, carefully crafted instrumental rock, as evidenced by this follow-up to Grammy-nominated "Engines of Creation," released two years ago. His eighth studio disc makes a fine salve for those pop/rock fans weary of mindless dance rhythms and the omnipresent hip-hop beat. He is six-string; hear him roar.

Tone manipulation remains Satriani’s forte (along with knockout technical prowess), and on the aptly titled "Strange Beautiful Music," he again elicits some astonishing sounds, beginning with the Middle Eastern textures of opening volley "Oriental Melody" and "Belly Dancer," the latter laced with tasty multi-guitar harmonies and capped with a freak-out jam driven by bassist Matt Bissonette and two drummers - Jeff Campitelli and Matt’s brother, Gregg. In case you don’t know by now: Satriani shreds from the get-go, and doesn’t let up.

Americana, oddly enough, pops up on the rambling "Starry Night," which has Satriani doubling on banjo, and the long shadow of Jimi Hendrix hangs over "Chords of Life." Surf meets old-school art rock on a pulsing version of chestnut "Sleepwalk," featuring King Crimson’s Robert Fripp on guitars of his own making. Heavy metal thunder, of the Led Zep variety, is at the heart of "New Last Jam" and other tracks, and the guitarist dives into an appealing bluesy funky workout on "Hill Groove."

It might be said that Satriani borrows from all the best sources. Not that there’s anything wrong with that, but it doesn’t exactly make for the most original instrumental disc of the year.

(This review originally appeared online at www.billboard.com)

Review of Brian Bromberg's "Wood" (A440 Music Group)

By Philip Booth

Brian Bromberg is one of just a few contemporary bassists, along with John Patitucci, Stanley Clarke, Avery Sharpe and a few others, capable of a high level of virtuosity on both the acoustic instrument and its younger electric cousin. For "Wood," an appealingly programmed collection of standards and other compositions, he sticks to the kind of bass carved from Mother Nature, the same 300-year-old Italian instrument he used as a teenage sideman with Stan Getz.

The result: Bromberg’s mastery of the instrument, and his capabilities as a creative musical communicator, have never been better demonstrated. The album, a refreshing contrast with 1997’s gratuitously smooth "You Know That Feeling," offers proof positive of his technical brilliance with four dazzling solo pieces: He slides, taps, slaps, chords and grinds his way through deep-grooving takes on the Beatles’ "Come Together," Eddie Harris’s "Freedom Jazz Dance," Miles’ "All Blues" and "Star-Spangled Banner" (the last was recorded before 9/11, by the way).

Bromberg’s sound is beautifully resonant, his timing impeccable, his articulation clean and clear, and his intonation superb. And he puts those skills to work in the service of material that is about more than mere chopsmanship. "Goodbye (for my father)," his sole original composition and one of two duos with pianist Randy Waldman, is a melancholy ballad that allows the bassist to showcase his abilities as a melodic soloist. He shimmers, too, on the other duo track, "The Days of Wine and Roses."

The bassist’s older brother, drummer David Bromberg, makes it a trio elsewhere, and the three have their way with an eclectic set of tunes, including a floaty Steve Kuhn waltz, "The Saga of Harrison Crabfeathers"; an expansive take on Herbie Hancock’s "Dolphin Dance," featuring a sterling solo from Waldman; a bright, hard-swinging version of Kurt Weill’s "Speak Low"; and inspired readings of Cole Porter’s "I Love You," and Monk’s "Straight No Chaser." Call it the double bass album of the year...so far.

-- Philip Booth

(This review originally was published in Down Beat magazine)

Philip Booth, a musician and journalist based in Tampa, FL, writes about music and film for the St. Petersburg Times, Down Beat, Jazziz, Billboard, CMJ New Music Monthly, Miami New Times and other publications. He may be contacted at bassbooth@yahoo.com

Bad Brains "I and I Survived" (Dub)

By Philip Booth

Bad Brains, reggae-tinted guitar thrashers before that sort of thing was cool, or lucrative, reunited in 1995 to record for Madonna’s label; the disc stiffed and the support tour was marred by ego clashes. Two decades after their cassette-only debut, and following the release of this year’s hard-to-find "Soul Brains" live disc, the heaviest of the heavy are back. Charismatic singer H.R. is in absentia for the Washington, D.C. band’s first-ever dub project.

Gary "Dr. Know" Miller’s chain-sawing six-string volleys duly surface in remakes of 1983’s "How Low Can a Punk Get?" and 1989’s "Gene Machine." Elsewhere, it’s about soul-deep grooves and trippy atmospherics, chill-out music deserving of respect in the morning, after the voyage back down. Horn lines linger in the air at the start of "Jah Love" before echoing into the soundscape and making way for the rhythmic incantations of Daryl Jenifer’s bass thud and delay and drummer Earl Hudson’s reverberating snare thwack.

"I and I Survive," also from 1983 and an apropos comment on the musicians’ faith in their cause, like several other tracks here is all rootsy riddims, jazzy back-and-forth riffs and alternating rhythm and brass drop-outs, and earthy keyboards - in other words, the classic dub vibe. The "Shiner Massive" mix of the title track does it edgier, with more sonic abrasives and mini-raps. Feels real. Feels right.

-- Philip Booth

This review was originally published in CMJ New Music Monthly

Philip Booth, a musician and journalist based in Tampa, FL, writes about music and film for the St. Petersburg Times, Down Beat, Jazziz, Billboard, CMJ New Music Monthly, Miami New Times and other publications. He may be contacted at bassbooth@yahoo.com

Top 10 Jazz Discs of 2002

by Philip Booth

(in alphabetical order)

Brian Bromberg, "Jaco" (A440). The late Jaco Pastorius, acknowledged as a major electric-bass innovator, gets his props as a composer on this inventive salute, played on acoustic and fretless electric by an unsung virtuoso. Bromberg, recreating the black-and-white cover of Pastorius’s 1974 debut album, does right by Jaco, in the process coming up with something original.

Dirty Dozen Brass Band, "Medicated Magic" (Rope-A-Dope). The Dirty Dozen still pump out the authentic New Orleans street beat after all these years. This time, they tackle Crescent City familiarities, inviting Dr. John, singer Norah Jones, trumpeter-vocalist Olu Dara, pedal-steel wizard Robert Randolph, DJ Logic and Widespread Panic singer John Bell along for the party. It’s the NOLA audio souvenir of the year.

Charlie Haden, "American Dreams" (Verve). Haden offers his own reflects on life in America, post-911, through a somber, meditative recording that has a quartet, with tenor saxophonist Michael Brecker, pianist Brad Mehldau and drummer Brian Blade, joined by strings.

Dave Holland Big Band, What Goes Around (ECM). The estimable bassist’s wooly, rigorous sound and expansive musical vision are as fruitful in a large ensemble as in the context of his regular quintet, itself contained within this big band. The result: Fresh compositional strokes, smart section work and intriguing solos.

Charles Lloyd, "Lift Every Voice" (ECM). The tenor saxophonist continues his renaissance with a sprawling, double-disc collection mixing new originals with individualistic interpretations of R&B favorites, folk songs, spirituals and a Duke Ellington piece, "I’m Afraid." Lloyd’s approach is deeply spiritual, as evidenced by his work on "What’s Going On" and elsewhere, and he benefits from the thoughtful, inspired support of guitarist John Abercrombie, pianist Geri Allen, drummer Billy Hart and alternating bassists Marc Johnson and Larry Grenadier.

Medeski Martin and Wood, Uninvisible (Blue Note). MMW, the crème de la crème of inspired jam bands (as opposed to the mere noodlers), returns with a set that veers between sticky funk and forays into trippy, surreal sectors of deep space. That’s a good thing. The jazz-funk trio, too, shores up its connections with Beat mythology thanks to "Your Name is Snake Anthony," a cool-daddy spoken word offering from Col. Bruce Hampton.

Chris Potter, "Traveling Mercies" (Verve). Potter, the rising-star saxophonist of the moment, mixes electronic sounds with his mostly acoustic format for a collection of tunes dominated by his own compositions. Potter, on saxophones, flute and clarinet, creates intriguing textures with the able assistance of pianist Kevin Hays, bassist Scott Colley and drummer Bill Stewart, plus guest guitarist John Scofield.

Wayne Shorter, "Footprints Live!" (Verve). A Dream Team of jazz, with the veteran tenor and soprano saxophonist joined by pianist Danilo Perez, bassist John Patitucci and masterful young drummer Brian Blade, tackles Shorter’s celebrated tunes, live in Europe.

Tierney Sutton, "Something Cool" (Telarc). While the Norahs, Dianas and Janes of the female-jazz-vocalist world have been getting all the fawning attention, this SoCal singer has quietly developed a reputation as a real individualist. She’s accomplished that with a finely honed understanding of swing, an ability to load each well-sung phrase with meaning and a knack for matching her talents with the right material. All those attributes are well displayed on her fourth album.

Various Artists, "Bonnaroo" (Sanctuary). The jam-band tribe gathered in rural Tennessee over the summer for what was, by all accounts, an amazing three days of peace, love and world-beating groove music. This double-disc set is an appealing souvenir of the proceedings, with performances by Galactic, Grateful Dead bassist Phil Lesh, Soulive, Dirty Dozen Brass Band, Phish guitarist Trey Anastasio, Primus singer-bassist Les Claypool, banjo man Bela Fleck, Ween, the North Mississippi Allstars, Gov’t Mule, Robert Randolph and others.

Honorable mention: Keith Jarrett/Gary Peacock/Jack DeJohnette, "Always Let Me Go" (ECM); Norah Jones, "Come Away With Me" (Blue Note); Ray Brown, "Some of My Best Friends Are Guitarists"; Brad Mehldau, "Largo" (Warner Bros.); Patricia Barber, "Verse" (Blue Note); Cassandra Wilson, "Belly of the Sun" (Blue Note); Brian Bromberg, "Wood" (A440 Music); Jason Moran, "Modernistic" (Blue Note); Ben Allison, "Peace Pipe" (Palmetto); Dave Douglas, "Infinite" (RCA).

(Portions of this article were originally published online at www.billboard.com)

Philip Booth, a musician and journalist based in Tampa, FL, writes about music and film for the St. Petersburg Times, Down Beat, Jazziz, Billboard, CMJ New Music Monthly, Miami New Times and other publications. He may be contacted at bassbooth@yahoo.com

BEST MUSIC BOOKS of 2002

By Philip Booth

"A Long Strange Trip," by Dennis McNally (Broadway Books, $30) - McNally, an American history scholar and author of a first-rate biography of Jack Kerouac, wore his other hat, as the Grateful Dead's longtime publicist, for this absorbing account of the quintessential jam band. The Dead split in 1995, following leader Jerry Garcia's death and well after the group's creative energy had been exhausted. McNally wisely focuses on the Dead's beginnings in San Francisco, and the way Garcia, Bob Weir, Phil Lesh and their bandmates brilliantly created an improvised, always mutating mix of American rock, roots and folk music. McNally offers an exhilarating you-were-there trip back to the Dead's psychedelics-fueled glory days, and a sad glimpse at Garcia's heroin-abetted decline.

"A Love Supreme: The Story of John Coltrane's Signature Album," by Ashley Kahn (Viking, $27.95) - Kahn, author of a book on Miles Davis's classic "Kind of Blue" album, examines the music and meaning of saxophonist John Coltrane's 1965 "A Love Supreme," another profound and vastly influential piece of jazz art released during the same 10-year period. Coltrane's affecting themes and interactive grooves were intended as an act of worship, and Kahn aptly gets at the results, interviewing drummer Elvin Jones, pianist McCoy Tyner and session engineer Rudy Van Gelder, about the resultant classic, and its place in jazz history.

"Faith in Time: The Life of Jimmy Scott," by David Ritz (Da Capo, $25) - Jimmy Scott, blessed with one of the most exquisite, expressive voices in jazz, made his long-overdue breakthrough with 1992's much-praised "All the Way" album, released when he was 66. The saga of Scott, who suffers from a disease that prevented his voice from fully maturing, amounts to one of the century's greatest comeback stories. He scored a big hit in 1950 with Lionel Hampton, but didn't receive credit on the album, and 12 years later recorded a Ray Charles-produced disc; the latter recording was pulled from release because of contractual reasons. Scott worked a series of menial jobs for much of the next 25 years, finally returning to prominence when he sang at the funeral of a friend, songwriter Doc Pomus. Ritz, the author of biographies on Charles, Marvin Gaye, Etta James and B.B. King, wrote this account of Scott's life with the cooperation of the singer and his family, friends and fellow musicians. It's a fascinating read.

"Ring of Fire: The Johnny Cash Reader," edited by Michael Streissguth (Da Capo, $26) - What defines a legendary musician? Well, you know one when you hear one, as Dictators singer Handsome Dick Manitoba relates to writer Nick Tosches, in a discussion of Johnny Cash's 1995 album, "American Recordings": "The thing I love about Johnny Cash is the sound of his voice, the physical sound of his voice. It's like buyin' a book, called, like, y'know, America or something. And if it had a voice, it would have his sound." Manitoba's comments are included in one of the insightful newspaper and magazine pieces collected in a volume that's a convincing tribute to the great country-rooted singer and songwriter.

"Shakey: Neil Young's Biography," by Jimmy McDonough (Random House, $29.95) - Neil Young, one of rock's most idiosyncratic icons, although given to raw-boned honesty in his work, rarely gives interviews. But he allowed McDonough, a rock journalist with bylines in the Village Voice, Spin and Mojo, unprecedented access during 50 hours' worth of interviews conducted over the course of 11 years. The author weaves those conversations with anecdotes, other interviews and background information for the definitive bio of the Canadian-born singer, guitarist and songwriter. McDonough charts Young's work with Buffalo Springfield in the late 1960s, his relationships with Stephen Stills, David Crosby and Graham Nash, his on-again, off-again love affair with sometime backing band Crazy Horse, his collaborations with Pearl Jam, and his 1990s triumph with the "Ragged Glory" and "Harvest Moon" albums.

Also notable: "So What: The Life of Miles Davis," by John Szwed (Simon and Schuster, $28); "Best Music Writing 2002," edited by Jonathan Lethem (Da Capo, $15); "Jazz Modernism: >From Ellington and Armstrong to Matisse and Joyce," by Alfred Appel, Jr. (Knopf, $35); "The Faber Book of Opera," edited by Tom Sutcliffe (Faber and Faber, $16); "Giants of Jazz," by Studs Terkel (New Press, $22.95; reissue); "I Me Mine," by George Harrison (Chronicle, $24.95; reissue); "Blackbird Singing," by Paul McCartney (Norton, $13.95); "She's a Rebel: The History of Women in Rock and Roll," by Gillian G. Gaar (Seal, $19.95; reissue); "Songwriter on Songwriting," by Graham Nash (Andrews McMeel, $49.95; includes two CDs); "Journals," by Kurt Cobain (Riverhead, $29.95)

Philip Booth, a musician and journalist based in Tampa, FL, writes about music and film for the St. Petersburg Times, Down Beat, Jazziz, Billboard, CMJ New Music Monthly, Miami New Times and other publications. He may be contacted at bassbooth@yahoo.com

Carlos Lichman Articles
Carlos Lichman is a guitar player from Porto Alegre, Brazil. He has been playing since 1996.

He has played in many rock, progressive and heavy metal bands in night clubs all around Rio Grande do Sul state.

He recorded the "Wake up the Dragons" album with Neverland (heavy metal). This album was praised by many Brazilian magazines.

Playing with many musicians from his city, Carlos arranged the songs for his first 2 song solo demo called "Planet Rock", recorded in December 2002.

The demo style ranges from speed metal to hard rock, with influences ranging from Mr. Big to captivating blues riffs and licks.

Subsequent to the release of the "Planet Rock" demo, Carlos began arranging new songs for his first album. He is also producing his first instructional guitar video.

Carlos teaches guitar lessons, workshops, plays gigs, writes columns for the Guitar-Heroes web site (France) and The Shred Zone (USA).

Contact Info...
Carlos Lichman
Rua Tenente Ary Tarragô, 1990/405- bloco 'C'
Cep: 91225-001
Phone: 0(xx51) 3344 1745
Email: escese@bol.com.br
Site: http://www.lichman.hpg.com.br

Without further delay, let's get into the lessons!

Carlos Lichman - Lesson 1, Alternate Picking Patterns

Hi! Everybody around the world intends to have a fast picking style,
trying to play many notes very fast, well when I was a little boy I wanted to be Impellitteri.
Well, here you can see and study some alternate picking lessons.
There are 20 exercices here in this lesson. 
You can put them in your exercices, doing them day by day.
you need to begin slow(80 bpm)
I hope you enjoy!
Don't forget you need to study them with distortion guitar and clean guitar!
BE GOOD!!

Alternate Picking Lesson

u upstroke
d downstroke

1.
  d u d u etc
|-4-3-2-1-5-4-3-2-6-5-4-3-5-4-3-2-|-6-5-4-3-7-6-5-4-8-7-6-5-7-6-5-4-|-8-7-6-
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
|---------------------------------|---------------------------------|-------
 

-5-9-8-7-6-10-9-8-7-9-8-7-6-|-10-9-8-7-11-10-9-8-12-11-10-9-11-10-9-8-||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||
----------------------------|-----------------------------------------||


2.
  d u d u
|-0-1-3-4-1-3-4/6-3-4-6/7-4-6-7/9-|-6-7-9/10-7-9-10/12-9-10-12/13-10-12-13/-
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------
|---------------------------------|-----------------------------------------


-15-|-15-13-12\10-13-12-10\9-12-10-9\7-10-9-7\6-|-9-7-6\4-7-6-4\3-6-4-3\1---
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------
----|-------------------------------------------|---------------------------


-4-3-1-0-||
---------||
---------||
---------||
---------||
---------||


3.
  d u d u etc
|-4-0-2-0-5-0-2-0-7-0-4-0-9-0-5-0-|-11-0-7-0-12-0-9-0-14-0-11-0-16-0-12-0-||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||
|---------------------------------|---------------------------------------||



4.Here you can see some ideas of melodies!Play slow and fast!  
|----------------------------||  |-------------------------||
|---------------8------------||  |-------5--6--8--6--5-----||
|-----7--9--10-----10--9--7--||  |-5--7-----------------7--||
|-10-------------------------||  |-------------------------||
|----------------------------||  |-------------------------||
|----------------------------||  |-------------------------||


|-------------------------||
|----------6--8--6--------||
|-5--7--9-----------9--7--||
|-------------------------||
|-------------------------||
|-------------------------||



5.
|-------------------------------------------------||
|-------------------------------------------------||
|----------5--7--5-----------------5--7--5--------||
|----5--7-----------7--5-----5--7-----------7--5--||
|-7-----------------------7-----------------------||
|-------------------------------------------------||


6.
|------------------------------------------------------||
|--------------10-------------------------8------------||
|--------7--8------8--7-------------7--8-----8--7------||
|-7--10------------------10--7--10-----------------10--||
|------------------------------------------------------||
|------------------------------------------------------||


7.This a hard one.
|-------------------------------------|------------------------------------|
|-------------------------------------|-------------------------5--8--5----|
|-------------------------------------|-------5--7--5-----5--7-----------7-|
|-------------------------5--7--5-----|-5--7-----------7-------------------|
|-------5--7--5-----5--7-----------7--|------------------------------------|
|-5--8-----------8--------------------|------------------------------------|


|-------5--8--5-----------5----------|------------------------------------|
|-5--8-----------8--5--8-----8--5----|-------5----------------------------|
|----------------------------------7-|-5--7-----7--5-----------5----------|
|------------------------------------|----------------7--5--7-----7--5----|
|------------------------------------|----------------------------------7-|
|------------------------------------|------------------------------------|


-------------------||
-------------------||
-------------------||
-------5-----------||
-5--7-----7--5-----||
----------------8--||


8.
|------------------------------------------------|--------------------------
|------------------------------------------------|-------------5------------
|-------------------------------------5----------|-------5--7-----7--5------
|-------------5-----------------5--7-----7--5----|-5--7-----------------7---
|-------5--7-----7--5-----5--7-----------------7-|--------------------------
|-5--8-----------------8-------------------------|--------------------------


-------------5----------|-------5--8--5----------------------------------|
-------5--8-----8--5----|-5--8-----------8--5-----------5--8--5----------|
-5--7-----------------7-|----------------------7--5--7-----------7--5----|
------------------------|----------------------------------------------7-|
------------------------|------------------------------------------------|
------------------------|------------------------------------------------|


|------------------------------------------------||
|------------------------------------------------||
|-------5--7--5----------------------------------||
|-5--7-----------7--5-----------5--7--5----------||
|----------------------7--5--7-----------7--5----||
|----------------------------------------------8-||



9.Using escales together                                   
|-----------------------------3-5-|-7-5-3---------------------------------||
|-------------------------5-7-----|-------7-5-----------------------------||
|-------------------4-5-7---------|-----------7-5-4-----------------------||
|-------------4-5-7---------------|-----------------7-5-4-----------------||
|-------3-5-7---------------------|-----------------------7-5-3-----------||
|-3-5-7---------------------------|-----------------------------7-5-3-----||



10. This is good!
|-------------------------------5-|-7-5------------------------------------|
|-------------------------5-7-8---|-----8-7--------------------------------|
|-------------------4-5-7---------|---------9-7-5\4------------------------|
|-------------4-5-7---------------|-----------------7-5--------------------|
|-------3-5-7---------------------|---------------------9-7-5\3------------|
|-3-5-7---------------------------|-----------------------------7-5-3------|

11.
|--------------------------------------11|13-11-----------------------------
|-----------------------------10-12-14---|------14-12-10\8------------------
|---------------------8-10-12------------|-----------------10-8-------------
|--------------7-9-11--------------------|----------------------11-9-7\5----
|-------6-8-10---------------------------|----------------------------------
|-5-7-9----------------------------------|----------------------------------


-----------||
-----------||
-----------||
-----------||
-8-6-------||
-----9-7-5-||


12.
|-------------------------------3|5-3-------------------------------||
|-------------------------4-5-7--|----7-5---------------------------||
|-------------------3-5-6--------|--------8-6-5\3-------------------||
|-------------4-5-7--------------|----------------7-5---------------||
|-------4-6-7--------------------|--------------------9-7-6\4-------||
|-5-6-8--------------------------|----------------------------8-6-5-||


13.
|-------------------------------------|------------11-12-14-12-11\9---------
|-------------------------------------|10-11-13/14------------------13-11---
|----------------------------8-9-11/12|-------------------------------------
|------------------7-8-10/11----------|-------------------------------------
|---------6-7-9/10--------------------|-------------------------------------
|-5-6-8/9-----------------------------|-------------------------------------


----------|---------------------------||
-10\8-----|---------------------------||
------11-9|8\6------------------------||
----------|----10-8-7\5---------------||
----------|-------------9-7-6\4-------||
----------|---------------------8-6-5-||

14.
|------------------------------------------|------------16-17-19-17-16\14---
|------------------------------------------|14-15-17/19---------------------
|-------------------------------11-13-14/16|--------------------------------
|--------------------9-11-12/14------------|--------------------------------
|----------7-9-11/12-----------------------|--------------------------------
|-5-7-9/10---------------------------------|--------------------------------


------------------|------------------------------||
-17-15-14\12------|------------------------------||
-------------14-13|11\9--------------------------||
------------------|-----12-11-9\7----------------||
------------------|---------------11-9-7\5-------||
------------------|------------------------9-7-5-||


15.These are to help you in your left hand!
|--------------------------17-20-17---------|-----------------||
|--------------------13-18----------18-13---|-----------------||
|--------------10-14----------------------14|10---------------||
|---------7-10------------------------------|---10-7----------||
|-----3-8-----------------------------------|--------8-3------||
|-1-5---------------------------------------|------------5-1--||

16.
|-------------------------|------------------------------------|------17-20-
|-------------------------|------------------------13-18-13----|13-18-------
|-------------------------|------10-14-10----10-14----------14-|------------
|----------------7-10-7---|-7-10----------10-------------------|------------
|----3-8-3---3-8--------8-|------------------------------------|------------
|1-5-------5--------------|------------------------------------|------------


-17----------17----------|----------------------------------|--------------||
----18-13-18----18-13----|-------13-------------------------|--------------||
----------------------14-|-10-14----14-10---------10--------|--------------||
-------------------------|----------------10-7-10----10-7---|-----7--------||
-------------------------|--------------------------------8-|-3-8---8-3----||
-------------------------|----------------------------------|-----------5-1||


17.To help you in 3 first strings!
|-----------------------------------|---------------------------------------
|-5-4-----8-5-----9-8-----12-9------|-13-12-------16-13-------17-16---------
|-----5-4-----8-5-----9-8------12-9-|-------13-12-------16-13-------17-16---
|-----------------------------------|---------------------------------------
|-----------------------------------|---------------------------------------
|-----------------------------------|---------------------------------------


-------------|-----------------------------------------------|--------------
-20-17-------|-17-16-------16-13-------13-12-------12-9------|-9-8-----8-5--
-------20-17-|-------17-16-------16-13-------13-12------12-9-|-----9-8------
-------------|-----------------------------------------------|--------------
-------------|-----------------------------------------------|--------------
-------------|-----------------------------------------------|--------------


---------------------||
-----5-4-----4-1-----||
-8-5-----5-4-----4-1-||
---------------------||
---------------------||
---------------------||


18.
|-----------------------------------------------|---------------------------
|------9-12-------12-15-------15-18-------12-15-|-------15-18-------18-21---
|-9-10------12-13-------15-16-------12-13-------|-15-16-------18-19---------
|-----------------------------------------------|---------------------------
|-----------------------------------------------|---------------------------
|-----------------------------------------------|---------------------------


-------------------------||
-------15-18-------12-15-||
-15-16-------12-13-------||
-------------------------||
-------------------------||
-------------------------||



19.
|-------1-3-5-------3-5-7|------5-7-8--------7-8-10|--------8-10-12---------
|-1-3-5-------3-5-6------|5-6-8-------6-8-10-------|8-10-12---------10-12-13
|------------------------|-------------------------|------------------------
|------------------------|-------------------------|------------------------
|------------------------|-------------------------|------------------------
|------------------------|-------------------------|------------------------


-10-12-13|---------12-13-15-----||
---------|12-13-15----------13~-||
---------|----------------------||
---------|----------------------||
---------|----------------------||
---------|----------------------||


20.
|-15-13-------------13-12-------------|12-10------------10-8-----------|8-7-
|-------17-15-13\12-------15-13-12\10-|------13-12-10\8------12-10-8\6-|----
|-------------------------------------|--------------------------------|----
|-------------------------------------|--------------------------------|----
|-------------------------------------|--------------------------------|----
|-------------------------------------|--------------------------------|----


----------7-5---------|5-3---------3-1------------||
-10-8-6\5-----8-6-5\3-|----6-5-3\1-----5-3-1-0-1~-||
----------------------|---------------------------||
----------------------|---------------------------||
----------------------|---------------------------||
----------------------|---------------------------||

Carlos Lichman - Lesson 2, Music Theory

Hi people!!!

I’ll begin teaching music theory, why? Well......do you know which mode to play over a chord progression?

You can study scales, fast picking and many other techniques but you need to know what you are doing!

Many people ask me "playing in dorian tonality...what does it means?"

So...take a look here and find the answers.

Tonic major chords, tonic minor, supertonic major, and supertonic minor, dominant and fully diminished. Each one of these has several possibilities for scales to go with them.

The first five groups mentioned can be said to come from a key, while the last has no allegiance to any key.

So I’ll refer to the first five as chord families and the last as just a chord group.

I took the supertonic major family because of this simplicity. The word TONIC as used here refers to the first degree of the major or minor scale and supertonic refers to the second.

The supertonic major chord family has the following interval structure:

Major 13th, Perfect 11th, Major 9th, Minor 7th, Perfect 5th, Minor 3rd, Root

These notes down on octave:

Root, Major 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Major 6th, Minor 7th, Root

I mentioned to pick this family for its simplicity. For 3 reasons:

1) There are no alterations

2) All notes com from the key

3) There are no 4ths nor added 6ths, the chord is just straight up root, 3, 5, 7, 9, 11 and 13.

Here you can do these exercises to identify the major key and the name of the chord and the key.

1- Spell and identify the major key

Cm13 Dbm11 G-9 Fmi7 Abm11

2- Identify the name of the chord and the key:

B D F# A C# A C E G B D F# Bb Db F Ab C Eb G

B D F# A C# E G B D F# A C#

People I hope to help you about your guitar lessons and to improve your music theory .

If you have any question send me an e-mail.

Carlos Lichman - Lesson 3, More Music Theory

Hi!!! Well I hope you understood the last lesson because this is the second part of 3 parts.

I came back from the Planet Rock brazilian demo tour...it was great and I will star another one in the end of september!! OK people... This is the promised second chord study lesson.

The last lesson concerned the minor 7 chords and their friends, minor 9 chords, minor 11 chords and minor 13 chords. The structure of these chords are:

Major 13th
Perfect 11th
Major 9th
Minor 7th
Perfect 5th
Minor 3rd
Root

Note that all mention of intervals are intervals measured from the ROOT of the chord.

Also, the chords covered here are ones that you could strike all the notes at the same time and hold them forever without being overly dissonant.

There are roughly 6 different chordal groupings: Tonic major chords, tonic minor, supertonic major, supertonic minor, dominant and fully diminished. Each one of these has several possibilities for scales to go with them.

We will now look at tonic chords in major (ROOT is the FIRST or tonic) degree of a MAJOR scale. For short, I will refer to chords in this family as I-Maj. chords.

The first I-Maj (for example C). chord is a major triad with an interval of a major 6th (A). C, E, G and A It is C add 6 (C6). The added 6th (a major 6th) is a _substitute_ for the interval of a major 7th (the second chord).

The next chord is a major triad with a major 7th interval. For example C Maj. 7 (C, E, G and B). the add 6 chord is a substitute for the maj. 7 chord because the major 6th interval is a substitute for the major 7th interval. Some years ago, the add 6 chord was used just to harmonize melodies at points of tonic major harmony.

Next is a major triad with 6th and major 9th. In the key of C (For example C, E, G, A and D). It is called C 6/9 (Note that all chords in the same family can substitute for each other, For Example: if I say that the C Maj. 7, could you substitute a C 6/9? the answer is "Yes"!

Fourth is a major triad with the intervals of a major 7th and major 9th. For example (in C) is C, E, G, B and D. It is called C Maj. 9 .

Next chord is a major 11 chord, in C is C, E, G, B, D and F. This chord has the same structure as a major 9th chord with perfect 11th. The chord is called C Maj. 11. However, we need to talk about this chord because you need to know that the third of any chord is very important since it determines whether the triad is major or minor. If you place a note in the chord which is overly dissonant with that third, you interfere with its "major vs. minor identification" function. The perfect 11th, being exactly an octave larger than a perfect fourth, is such a dissonance. It creates the interval of a minor 9th with the third, which is a very sharp dissonance.

In the key of C, (C, E, G, B, D and F# (note _lydian_ influence) the chord is called C Maj 9 (+11) or C Maj 9 (#11). The structure is that of a Maj. 9 chord with an added augmented 11th. Attention!!!!! Note carefully here that this means there are two versions of the 11th! In this case, the _altered_ (raised) 11th is preferred. However: you have to know that the unaltered 11th is a perfect 11th (even tho it's rarely used.)

The next chord is called a major 13 chord and its structure is that of a maj. 11 chord with the interval of a major 13th added on top. In C, (C, E, G, B, D, F and A).

The next chord's type is a major 13 with a raised 11th. This alleviates the dissonance problem between the third and 11th. Its structure is that of a major 9 w/ raised 11th with an added major thirteenth. In the key of C, (C, E, G, B, D, F# and A).

The last two chords!! The first of these is a major 7 sus 4, In C (C, F, G and B). Its called C Maj. 7 (sus 4).

The last chord in this whole thing is a Major 9 with a sus 4. The structure is that of a major 7 sus 4 with an added major 9th. In C (C, F, G, B and D).

Look carefully at the composite intervalic structure for I-Major chords:

Major 13th
Perfect 11th Augmented 11th
Major 9th
Major 7th
Major 6th
Perfect 5th
Perfect 4th
Major 3rd
Root

Root, Maj, 9th, Maj, 3rd, Prf. 4th (the sus!), Prf. or Aug. 11th, Prf. 5th, Maj. 6th (or 13th), Maj. 7th, Root.

Compare this with the structure of the II-Major family:


        Maj 13th          |        Maj 13th
         P 11th   A 11th  |         P 11th
        Maj 9th           |        Maj 9th
        Maj 7th<----------|------->Min 7th 
        Maj 6th<----------|------->NO 6th!
         P 5th            |         P 5th
         P 4th<-----------|------->NO 4th!
        Maj 3rd<----------|------->Min 3rd
         Root             |         Root

        I-Maj.                     II-Maj.

in some words:

I-Maj:

Root, Maj, 9th, Maj, 3rd, Prf. 4th (the sus!), Prf. or Aug. 11th, Prf. 5th, Maj. 6th (or 13th), Maj. 7th, Root: Lydian (if 3rd present) or Ionian (if sus-4 alignment)

II-Maj:

Root, Major 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Major 6th, Minor 7th, Root: Dorian mode.

In the next article about music theory, another chordal grouping.

I hope you study a lot and listen to my cd called Planet Rock.... you can buy it in Cd Baby web site (www.cdbaby.com/lichman)... and send me an email about doubts and other thing that you wanna know about guitar world in Brazil or out side.... see you!!

Keep on touch!

Little Jazz Link Monster

By Carlos Lichman

Hi people!!!!

A new exercise called "Little Jazz Link Monster". Well, I use some jazz links and a chromatic scale! You will use sweeping picking and alternate picking! You can see and listen to this exercise in my first instructional guitar video called "Improving Your Musical Fundaments" (coming soon!!)

See you! Keep On Touch!

Carlos Lichman

Email: escese@bol.com.br
Site: http://www.lichman.hpg.com.br

"Little Jazz Link Monster"

                                               
E||-------------10-11-12--------------------0-|
B||----10-14-14----------14-11-10-10------1---|
G||--9--------------------------------2-4-----|
D||-------------------------------------------|
A||-------------------------------------------|
E||-------------------------------------------|


                                                                      
--5-7-8-12-13-8-7-5-----4-2---------|--------------------------------|
--------------------5-5-----5-6-5---|--------4-2-----1-0-------2---2-|
----------------------------------5-|--4-2---------1-------1-0---3---|
------------------------------------|------------3-------3-----------|
------------------------------------|--------------------------------|
------------------------------------|--------------------------------|


                          
------------------------||
--5-7-5-5-4-3-----------||
------------------------||
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Little Jazz Link Monster

By Carlos Lichman

Hello people!!!

ARE YOU OK? WELL, I THINK YOU ALWAYS WANT TO IMPROVE YOUR ALTERNATED PICKING. THIS EXERCISE WAS TAKEN FROM MY SONG "REALLY BAD DAD", I PLAY THIS PART IN "A MAJOR" AND IT'S A VERY GOOD EXERCISE FOR ALTERNATED PICKING. PAY ATTENTION YOU NEED TO JUMP FROM STRING 3 TO STRING 1 DURING ALL EXERCISE. PAUL GILBERT DOES IT A LOT IN HIS SONGS. I HOPE YOU ENJOY IT, IF YOU HAVE ANY DOUBT SEND AN EMAIL.
SEE YOU!

Carlos Lichman

Email: escese@bol.com.br
Site: http://www.lichman.hpg.com.br
Phone: 55 0XX51 3344 1745

"Progressive Melody"

                                               
                                         
E||-----------------------5--|---------------------------|
B||--------------------------|---------------------------|
G||--------------4--5--7-----|--7--5--4---------------8--|
D||-----------5--------------|-----------5---------9-----|
A||--------5-----------------|--------------7--11--------|
E||--5--9--------------------|---------------------------|


                                                               
---------7------------------|----------------------9----------|
----------------------------|---------------------------------|
--9--11-----11--9--8--------|----------10--11--13-----13--11--|
----------------------9-----|------11-------------------------|
-------------------------9--|--13-----------------------------|
----------------------------|---------------------------------|


                                                        
----------------------------------|--11---------------||
----------------------------------|-------------------||
--10------------------12--13--15--|------15--13--12--*||
------11----------13--------------|------------------*||
----------11--15------------------|-------------------||
----------------------------------|-------------------||


                                                                      
------------------11--------------|------------------11--------------|
----------------------------------|----------------------------------|
------12--13--15------15--13--12--|------12--13--15------15--13--12--|
--13------------------------------|--13------------------------------|
----------------------------------|----------------------------------|
----------------------------------|----------------------------------|


                                                                      
------------------13--------------|------------------13--------------|
----------------------------------|----------------------------------|
------14--15--17------17--15--14--|------14--15--17------17--15--14--|
--15------------------------------|--15------------------------------|
----------------------------------|----------------------------------|
----------------------------------|----------------------------------|


                                                                      
------------------15--------------|------------------15--------------|
----------------------------------|----------------------------------|
------16--17--19------19--17--16--|------16--17--19------19--17--16--|
--17------------------------------|--17------------------------------|
----------------------------------|----------------------------------|
----------------------------------|----------------------------------|

Muddy Waters - A Biographical Sketch

By L.Morgan.H.

Question: Which blues singer-guitarist went from the cotton fields of the Mississippi Delta to Chicago's south side and in the process altered the sounds of the blues guitar forever?
Answer: McKinley Morganfield - better known as - Muddy Waters.

Muddy Waters was born in the tiny hamlet of Rolling Fork, Mississippi, on April 4, 1915. After the death of his mother at age three, he was raised by his maternal grandmother, 100 miles north, near Clarksdale. Muddy had limited formal schooling and was working in the cotton fields as soon as he was able to use a hoe and chop cotton. Music was used to keep rhythm in the fields and also served to raise the spirits of those working in the extremely hot and humid conditions of the Delta. Muddy got his first musical instrument, a harmonica at age 13. He taught himself to play it with inspiration coming from the many fine musicians in and around the Clarksdale area. Four years later Muddy made the switch to guitar and was influenced heavily by the tradition of great Delta blues guitarist/singers before him. A few included Charley Patton, Son House, Tommy Johnson and Robert Johnson. Muddy was especially fond of the slide work of both Son House and Robert Johnson. Muddy honed his skills in the Delta playing juke joints, house parties, picnics and other rural get togethers. His booming voice and soulful slide guitar carried folks away from the grind of raising cotton to a world of love, laughter and lament.

In 1943 Muddy Waters moved to Chicago and put the Delta behind him forever. The sound of the blues were changing - from the agrarian country based acoustic blues of the Delta to a more raw and urban aggressiveness. A new sound that reflected life in the industrial north. Life in the busy urban African American districts of Chicago's south side and Detroit. Muddy helped forge the new music and changed the sound of the blues guitar forever with the 1947 release of "I Can't Be Satisfied / I Feel Like Going Home ". The song was a huge hit on local label Aristocrat Records owned by the soon to be famous Phil and Leonard Chess. Now the African Americans who had moved to the great northern centers of industry had a music to reflect their daily experiences. The sound Waters and his bandmates projected was loud, vibrant and exciting. This new amplified version of the blues allowed an ensemble to play larger gigs without losing the nuance of each guitar lick and the emotion of every vocal wail and moan. Over the top of the electric instruments, Waters dark hued voice chanted the Mississippi blues of his childhood.

This new blend of styles and instruments helped lay the foundation for what would soon become rock and roll. For some of Muddy's most exciting work listen to "Rolling Stone", "Rollin and Tumblin", "Honey Bee", "Baby, Please Don't Go" or "Smokestack Lightnin'". In these songs can be heard echoes of Robert Johnson's songs like "Walkin Blues" but what is even more amazing, one can also hear in Muddy's music the foundations for songs like Jimi Hendrix "Voodoo Child" and Led Zepplin's "Bring It On Home" or "You Shook Me".

Muddy Waters was the right man in the right place and he surrounded himself with other great musicians. Some of Waters best songs included the work of Jimmy Rogers on 2nd guitar, pianist Otis Span or Pine Top Perkins, bassist - legend Willie Dixon, and harmonica work by Little Walter and James Cotton. If you really want to know more about the blues, do yourself a favor and put Muddy Waters on your must do listening list.... You won't be sorry.

This biography by L.Morgan.H. and contains excerpts from a story by Pete Welding in the book "Bluesland, Portraits of Twelve Major Blues Masters," edited by Pete Welding and Tony Byron.

L.Morgan.H. lives near Orlando, Florida and has played and studied the blues guitar for over 20 years. He lives with his cat Squeaky and enjoys listening to and playing music from the heart.