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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