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I remeber meeting him back stage in San Diego,a female friend of mine turned me on to him back then, and after the show she wanted to meet him so we went backstage and chat with him a bit.At that time i was getting in to open tunings and was trying to learn "Guinevere" by D.Crosby,after asking him if the tuning was correct he nodded as to saying "no" and i realized that i had learned the whole tune in a wrong tuning by one string i was crushed;-) www.myspace.com/luisangulocom --- On Sun, 1/4/09, William Walker <billwalker@baymoon.com> wrote: > From: William Walker <billwalker@baymoon.com> > Subject: RE: feedback nylon tapping hedges > To: "'L.Angulo'" <labaloops@yahoo.com> > Date: Sunday, January 4, 2009, 9:13 AM > Luis is right, we are talking about really different > techniques as used by > Michael Hedges and the legions he has inspired, My original > disagreement > with Chris (aka samba) Cohn about the timeline of this > technique, I realize > now was missing the point on my part. The kinds of > percussive techniques > Hedges used though perhaps inspired by Flamenco techniques, > he really took > in a new direction, with the use of amplification, > compression and multiple > source pickups to achieve his signature sound. He used his > whole guitar as a > beat box, not just the scratch plate areas typically used > in Flamenco music. > His use of left hand hammer-ons to create ostinato figures > while his right > hand played melody or bass lines , was really fresh and > influential when he > arrived on the scene, as was his technique of striking > harmonic nod points > above what ever chords he was playing to create shimmering > chord harmonics. > Michael was a complete musician, not just a gifted guitar > player and > stylist, but a strong composer, singer and adept > multi-instrumentalist as > well. I miss him a lot. > Bill > > > > > > > > > > -----Original Message----- > From: L.Angulo [mailto:labaloops@yahoo.com] > Sent: Saturday, January 03, 2009 11:53 AM > To: Loopers-Delight@loopers-delight.com > Subject: Re: feedback nylon tapping hedges > > but who is talking about a golpe? > > www.myspace.com/luisangulocom > > > --- On Sat, 1/3/09, Dennis Moser > <sinsofmachaut@gmail.com> wrote: > > > From: Dennis Moser <sinsofmachaut@gmail.com> > > Subject: Re: feedback nylon tapping hedges > > To: Loopers-Delight@loopers-delight.com > > Date: Saturday, January 3, 2009, 11:50 AM > > Classical guitar has a long tradition of using the > > "golpe" technique that > > Greg describes ... it really isn't a 20th century > > invention. > > > > Dennis > > > > On Sat, Jan 3, 2009 at 2:10 PM, greg williams > > <gregorwilliams@comcast.net>wrote: > > > > > I have some Baroque guitar tablature (Sanz, > Murcia, > > etc.) which contains > > > specific symbols for 'golpe', making a > > percussive sound on the face or > > > bridge of the guitar. It's rare, but it is > there, > > mid/late 1700s. > > > > > > ~Greg > > > www.myspace.com/gregwilliamsguitarist > > > http://www.magnatune.com/artists/greg_williams > > > > > > -----Original Message----- > > > From: L.Angulo [mailto:labaloops@yahoo.com] > > > Sent: Friday, January 02, 2009 3:42 PM > > > To: Loopers-Delight@loopers-delight.com > > > Subject: RE: feedback nylon tapping hedges > > > > > > i really dont know how to describe that style,you > guys > > know better than i > > > do > > > about the true inventor,off course we could even > go > > back to the blues and > > > there were guys tapping on the guitar but i mean > that > > slap harmonics over a > > > harmonic node and the use of right hand > hammer-ons > > with bass notes and the > > > left hand for hammer-ons and pull offs, > percussive > > slapping on the guitar > > > body,unusual strummings tunings etc. if he didnt > > invent that then it was > > > Preston Reed or who you guys are mentioning,but i > > guess he was given credit > > > for that.In any case because of that style i > believe > > there were few pickup > > > systems at that time like the FRAP(now trance > > audio),but i see a lot of of > > > cats now that do that sort of style having to get > > special custom made > > > systems for them,so the market must still be too > > small... > > > like looping was!! > > > > > > www.myspace.com/luisangulocom > > > > > > > > > --- On Fri, 1/2/09, samba - > > <sambacomet@hotmail.com> wrote: > > > > > > > From: samba - <sambacomet@hotmail.com> > > > > Subject: RE: feedback nylon tapping hedges > > > > To: billwalker@baymoon.com, > > loopers-delight@loopers-delight.com > > > > Date: Friday, January 2, 2009, 12:24 PM > > > > I don't think Tuck was the > > originator,didn't mean to > > > > suggest it,just that Hedges, wasn't. He > was > > great > > > > though.He was a fan of my old band,so I was > very > > slightly > > > > acquainted,great guy too. I thought of > mentioning > > Farlow,but > > > > he didn't exactly tap melodic passages > or > > riffs so much > > > > as use it for articulating chords,as far as > I can > > tell.I > > > > never heard him live.I know he had huge > hands > > could reach > > > > insane voicings,and would do stuff like > strum a > > chord > > > > fingered high up the neck,then tap a low > > position bass note > > > > with the right hand 1st finger while holding > the > > chord. Or > > > > strum a chord with the little finger while > > holding a bass > > > > note with the 1st .Yeah the great Baden > > Powell,and other > > > > Brasileiros ,like the Flamencos did all > sorts of > > percussive > > > > tapping. > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > If > > > > we take eternity to mean not infinite > temporal > > duration but > > > > timelessness, then eternal life belongs to > those > > who live > > > > in the > > > > present.Ludwig Wittgenstein > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Ok well, as far as I know Tal Farlow beat > > > > everyone to it, at least to the finger > tapping > > part.and > > > > that's not > > > > talking about the Brazilian guys like Baden > > Powell, who > > > > could mimic a samba > > > > batteria with percussive slaps and scrapes > on his > > guitar. > > > > This was happening > > > > back in the 60's at least. > > > > > > > > Bill. > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > From: samba - > > > > [mailto:sambacomet@hotmail.com] > > > > > > > > Sent: Friday, January 02, 2009 > > > > 9:05 AM > > > > > > > > To: > > > > loopers-delight@loopers-delight.com > > > > > > > > Subject: OT:feedback nylon tapping > > > > hedges > > > > > > > > > > > > > > > > > > > > > > > > "... two hand tap acoustic > guitarrists,... > > since > > > > Michael Hedges invented it." > > > > > > > > Heges was brilliant,inspiring etc. But > > definately > > > > didn't invent tapping. My friend > > > > > > > > Paul Prince,(an excellent guitarist,prolly > the > > first to > > > > apply tapping to African guitar styles) > > > > > > > > told me about sitting with Hedges at the > old > > Varsity > > > > Theater, > > > > > > > > in Palo Alto ( sort of the clubhouse for > Windam > > Hill) > > > > listening to Tuck Andreas,who was tapping > > > > > > > > and Hedges saying "that's > it" He > > got the > > > > idea from Tuck. > > > > > > > > But maybe you meat Hedges picku > system,which wa > > highly > > > > worked out,esp fro his modern harp guitar. > > > > > > > > > > > > > > > > > > > > > > > > -- > > http://myspace.com/usrsbin > > http://audiozoloft.com > > http://usrslashsbin.angrek.com/