NJGMS Newsflyer - New Jersey Guitar and Music Society

NJGMS Newsflyer - New Jersey Guitar and Music Society
New Jersey Guitar and Music Society
njgms.bergen.org
May 2015
NJGMS Newsflyer
A Publication of the New Jersey Guitar & Music Society, 200 Hackensack Ave.
Hackensack, NJ.
07601
Highlights of the 2014-2015 Season!
The biggest news for this season was our name and
website changes. Previously, we were known as New
Jersey Guitar
& Mandolin
Society.
In
order
to
diversify and
better reflect
the interests
and needs of
our
membership
(and
future
members), we
changed our name to “New Jersey Guitar & Music
Society”. The name change is more inclusive as we
welcome mandolin along with other instruments- as well
as topics in music theory, history and music
business/industry. Our new website and Facebook page
is more streamlined. As we begin planning our next
season, enjoy our regular guest artist presentations, site
visits and member performances. But be on the lookout
for new sessions in partnership with colleges, arts
centers, product demonstrations, NJGMS mini courses,
and even more interaction amongst our member
musicians!
is breathing in the present day. Felipe also showcased
original compositions for seven string guitar, which have
earned him the "Funarte" (National Arts Foundation)
award. We also thank NJGMS member Jim Tosone for
his introductory lecture on the 7-string guitar. A
transcript of his lecture appears in this Newsflyer.
NJGMS Season Review:
January:
January is our
lecture month.
This month we
visited Buzzy
(pictured here)
at Lark Street
Music
in
Teaneck. Buzzy
took his time
explaining the
vintage instrument market, evaluating instruments and
detailing the working of the business. Members had
exclusive floor time that evening to explore all the
instruments and also pick up a few tricks of the trade!
www.larkstreetmusic.com
September: Our season began with a unique
presentation about guitar legend Les Paul! Local resident
Jim Wysocki, a personal friend of les Paul for over 30
years, shared a collection of les Paul’s personal
instruments, personal stories about Le, and various
memorabilia. People at the session were thrilled at this
hands-on presentation where they got to play the guitars
of Les Paul.
October: Our guest artist was Brazilian guitarist Felipe
Coelho www.felipefc.com. His presentation showcased
music of Brazil, including works chosen from some of
the most important living composers of Brazil, with the
intent of illustrating what this country's voice and scene
November: At this session members had a
microphone/recording seminar with sound engineer
Joseph Branciforte. From recording at home, to live
recordings for the next gig - the seminar covered
equipment, mic technique, editing, digital audio theory,
and other practical considerations to help maximize their
recording quality. NJGMS members Matt Pidi and Rob
Lange served as live acoustic and electric performers to
help demonstrate various mic’ing techniques.
December: We held our annual Winter Showcase at
Classic Quiche Cafe. www.classicquiche.com. We now
hold our sign-ups online, so any NJGMS member was
able to perform a short set of music from fellow
members, family and friends. Performers included:
Pedro Cruz, Keith Fanella, Gerry Feenan, Dave
Graessle, John Kelly, Rob Lange, Gary Lee, Juneseo
Lee, Phil Lester, Bob Savino, Jim Tosone, Jeff Wilt.
February: This monthly session was titled “Where Are
They Now”. Six years ago Brain Barone was preparing
to graduate high school to attend Peabody Conservatory.
He was our featured young talent for Guitar Night. He
returned this evening to tell of his journey though
undergraduate and graduate school and his professional
life as a college professor in guitar and musicologist.
www.brianbarone.com
March: This
month was an
improvisation
clinic for the
membership.
We were glad
to have jazz
artist
and
educator Vinny
Valentino:
“The art of
improvisation
doesn't have to be a complex secret. As a matter of fact
learning to improvise is actually a simple concept. The
art of jazz improvisation, like any language, relies on a
vocabulary and a desire to communicate. My goal in
this clinic/workshop is to give the participants an
interactive experience that make the art of improvisation
a tangible part of one’s musicianship. This session is
directed to all styles on playing.". www.vinny.com.
Pictured is Vinny Valentino and John Kelly
April: We held our
Spring Showcase at
Just Grapes Wine
Lounge in Elmwood
Park.
Members
performed mini sets
of music in a lounge
setting. The evening’s
performers included:
David
Graessle
(pictured),
Michael
Jodry, John Kelly,
Rob Lange, Gary Lee, Max McDonnell, Bob Savino,
and
Jeff
Wilt.
www.justgrapes.net.
Guitar Night 2015 will take place May 7, 2015 at
Trumpets Jazz Club in Montclair (7:30-9:30). The event
gives young talent the chance to share the stage with
some of the best musicians in the region. We begin with
college students from New Jersey City University and
Montclair
University. We
will present our
10–Year
Membership
Award.
The
NJGMS Guitar
Quartet will
continue
the
tradition of performing a few surprise works. Our
professional guest is Muriel Anderson. Trumpets has a
full bar and dinner menu. $20 music charge and $10
minimum.
MEMBERSHIP: Now is the time to begin or renew
your membership. Since 2002, NJGMS has been
providing inclusive, community based music activities.
Membership renewal forms are available from our
website: njgms.bergen.org. Please introduce the society
to your friends and neighbors who have an interest in
music- bring them to a meeting! The annual membership
fee of $30 amounts to less than $4 per session! Want to
make a donation? NJGMS is recognized by the federal
government as a non-profit 501c3 organization.
Facebook
Our Facebook page has frequent updates, news and
photos of society members and activities. We thank Li
Foo for maintaining the page
for the society. For updates,
photos and more visit:
www.facebook.com/njgms
Awards and Grants for 2015
NJGMS
received its
eighth
consecutive
grant from
the NJ State
Council on
the Arts and
recently
honored by
the Bergen
County Board of Chosen Freeholders. Michael Lemma,
Li Foong Foo and Jim Tosone accepted on behalf of the
society! We also received a grant from Novartis and
Pacific Life. Thanks to: Gary Lee, Candice Wang, and
Jeff Wilt- members who are making a difference!
Budget for Fiscal Year 2014
(January 1 – December 31, 2014)
Income
Membership fees
720.00
Donations
350.00
Private Grants
375.00
Guitar Night
360.00
NJSCOA Grant
405.00
Income total
2210.00
Expenditures
Artist honorariums
Microphone purchase from B&H
New checks/stamp
Expenditure total
1370.00
328.00
64.84
1762.84
Total at beginning of fiscal year
+ Income
- Expenditures
Total at end of fiscal year =
5935.87
2210.00
1762.84
6383.03
NOTE: The average total of the donation jar per meeting is 20.00. Funds are
deposited as a donation or given to the guest artist to supplement travel.
NJGMS Administration
NJ Guitar & Music
Society was founded in
2002 as a way to gather
people together and share
appreciation of music.
NJGMS is recognized by
the federal government as a 501c3 organization and
designated by the NJ State Department of Education as a
professional development provider (#5001). NJGMS is
run entirely as a volunteer organization and prides itself
on contributing to the artistic community while running
a financially responsible organization. We look forward
to our next season!
Founder and Director
Michael Lemma
Board of Advisors (2013-2018)
Gary Lee, Jim Tosone
The Seven-String Guitar
By Jim Tosone
[Originally presented as a pre-concert lecture, October 2014].
Over the centuries, the guitar has evolved from four
strings, to five strings, to the most popular six-string
guitar. But there also seven-, eight-, nine-, and tenstring guitars.
In the 1800s, French guitarist Napoleon Coste composed
works for seven-string guitar. For his compositions, the
seventh string was unfretted, like an archlute or theorbo,
and tuned to D. The 1800s also saw the invention of the
seven-string guitar in Russia, attributed to Andrei
Sychra. Sychra also wrote a method for the seven-string
guitar, as well as over 1000 compositions. The guitar the
neck was widened so the seventh string could be fretted
like the other six. This guitar used Open G Tuning
(DGBDGbd), in part so it could be played by less
accomplished players playing chords for folk music
(since major chords could be played by simply making a
bar with one’s first finger).
In the 1930’s, George Van Eps introduced the sevenstring guitar to jazz, through the arch-top hollow-body
jazz guitar—the kind Bucky Pizzarelli and Howard
Alden play today. Here the seventh string was tuned to
A. This enables them to maintain chord shapes while
being able to play a bass note an octave lower. For
example, in a B7 chord in first position, the B bass note
on the 5th string could be played an octave lower on the
seventh-string simply by moving the 2nd finger and
leaving the other fingers in place.
In the 1960s, Ralph Patt invented a seven-string guitar
where all of the strings are tuned a major third apart (E
G# C E G# c e). So instead of a two-octave interval Eto-e from the first string to sixth string as on our guitars,
this guitar had that same two-octave interval E-to-e,
except from the first string to the seventh string. The
advantage to having all the intervals the same is that
chord patterns are simpler, chord inversions are simpler,
and improvising is simpler.
In the 1990s, rock guitarist Steve Vai used a seven-string
guitar. At first, he tried a high string above the first
string, tuned to A, but it was too prone to breaking.
Instead, he went with a low seventh string below the
sixth string, but tuned to B. The low B made sense
since, as a member of a rock band, it matched the tuning
of the fifth string on a five-string bass. Metal bands,
such as Korn, tune the seventh string even lower, to A,
because they want a low, guttural sound.
Finally, in the 2000’s, Roger McGuinn had Martin make
an unusual 7-string acoustic guitar for him. It’s a
conventional six-string guitar, but the third string—the G
string—is paired with a G string tuned one octave
higher, exactly like on a twelve-string guitar. This
enabled McGuinn to recreate the sound of the twelvestring leads he played on many of the Byrds songs, but
on a guitar that was much easier to play than a twelve
string.
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