老婆小三都喜歡的抒情演奏曲
講到沖浪吉他, 大家首先想到節奏強烈, 蹦蹦跳跳例如"管路", "鑽石頭", "上海扭扭"等演奏曲. 其實投機者(The Ventures)和影子樂隊(The Shadows)彈了許多相當好聽的抒情演奏曲, . 女生比較喜歡. 沙漠嫂也希望我多練這種曲子, 耳根比較消受的了.
今年在費城投機者粉絲接木大會, 也許參加者年紀較大, 我發現這些抒情演奏曲相當多人彈奏. 尤其我亂彈的"哈林小夜曲"(Harlem Nocturne)居然受其他參加者歡迎好評. 受寵若驚下對抒情演奏曲很有好感.
明年投機者粉絲接木大會我打算全部彈比較羅曼地克的抒情演奏曲, 選了下面8首想開始練習. 有興趣的朋友可以一起來. 相信你的老婆大人, 女友小三們也會喜歡.
Sukiyaki: 壽喜燒: 60年代日本的流行歌曲, 投機者改為演奏曲. 伴奏要比主奏難一些.
https://www.youtube.com/watch?v=BTbe5PsymAE
Morgen 摩根: 投機者作曲演奏的小曲子. 主奏不是很難. 著重在開放和弦和搖手的感情表現. 伴奏Slow Rock節奏要用下上下彈奏, 而不用一般的下下下Slow Rock節奏彈法.
https://www.youtube.com/watch?v=IpqJ0V1XQiY
Blue Star 藍星: 投機者和影子樂隊都出過CD, 我比較喜歡影子的版本. 從A調最後改C調.
https://www.youtube.com/watch?v=mWxZEFm4pck
Blue Tango 藍色的探戈: 投機者60年代的演奏曲. 聽起來似乎容易, 卻不容易彈的完美. 擅用悶音和輪齒技巧.
https://www.youtube.com/watch?v=n5QgNzTa_qI
Night Train 夜班車: 40年代的爵士風味曲, 投機者改為吉他演奏曲.
https://www.youtube.com/watch?v=wnjnXdOG8Vk&feature=relmfu
Mexico 墨西哥: 投機者演奏輕快優美的曲子, 讓人聽得心情放鬆愉快. 有許多複音彈奏.
https://www.youtube.com/watch?v=Xn_GgT84Xa0
Besame Mucho 多吻一些: 人人熟悉的拉丁曲子. 投機者60年代改為扭扭舞曲. 輕快但不失抒情風味
https://www.youtube.com/watch?v=wETpuy1gcG4
Maria Elena: 馬莉亞 依蓮娜: 是我在大學時最喜歡的巴西印第安兄弟 Los Indio Tabajaras 用古典吉他的二重奏的流行曲. 投機者也表演過, 但還是原來印第安兄弟正版彈的好聽. 曲子優美的讓人陶醉. 此曲挑戰性頗高, 我沒有把握練出來, 盡力而為.
https://www.youtube.com/watch?v=014o4NZlnQU
大家一起加油練習.
****************
練習的錄影實況
下面是我和隊友練習的錄影實況, 這些曲子第一次和鼓手配, 大家彈的比較生澀. 不過沒有關係, 還有十個月, 再繼續練習就會進步. 放上來讓大家有參與感, 一起來練. 而且讓大家知道沙漠叔是靠練習才會慢慢學會彈奏的:
Sukiyaki 比較簡單幾次就可以上手, 但味道還沒有到位, 有些地方要多用搖桿. 我們決定主體 Main Verse 彈兩次把曲子變長一點.
http://www.youtube.com/watch?v=mZP0DIoIXTw
Morgen 彈的實在離離落落. 不過知道如何和隊友配. 同樣的我們決定主體彈兩次把曲子變長一點.
http://www.youtube.com/watch?v=l3XplmqZyaA
Blue Tango Wally在一旁指導, 我還在摸索階段.
http://www.youtube.com/watch?v=VjR6mFU8sDM
我的其他隊友也開始選明年表演的曲子. 他們都喜歡選擇比較冷門, 難度高的曲子. 我要花很多時間去了解熟悉. 而且他們都不用譜, 只有曲子的和弦, 其他完全靠耳朵聽. 對我是很大的挑戰.
下面這首英國影子樂隊Shadows的Stack it! 是Wally彈的, Rich彈鍵盤琴Keyboard. 我第一次彈迪斯可 Disco 樂風的貝士, 練了幾天還不太熟, 但稍微感覺到味道.
http://www.youtube.com/watch?v=dNef5rhizCo
從練習到學會非常有成就感. 大家一起來練習!
..
2012年11月30日 星期五
2012年11月20日 星期二
如何辨認古董 Vintage Jazzmaster
內外要正, 唱作俱佳
有位網友PM問我如何辨認他的61 Jazzmaster 是否原裝?
我不是專家, 把我的回復和在網上整理一些資料. 放上來和大家一起分享討論. 其他行家或有興趣的朋友可以一起參加討論. 分享經驗交換心得是論壇的最大目的.
1) 儘量用目視法和其他的真品比較.
1961年 Pre CBS 的Jazzmaster , 如果是原版未改裝, 價格不菲. 即使是Refinish, 價格也不低. 外型是次要的, 音色最重要. 看看PU有沒有被換過? 拼湊琴價格就有差了.
這是賣我Bandmaster音箱的人在賣的古董64年 Jazzmaster, 可以比較看看.
2) 拆開內部: 參考網上這位行家的分析
http://home.provide.net/~cfh/jazzma58.html
Inside a 1958 Fender Jazzmaster
03/02/00. Copyright 2000.
Return to the Feature Articles Index.
Below is a picture of the Jazzmaster body with the pickguard removed. Note the pickups stay in the body when you remove the pickguard. You can also see the extensive brass shielding used inside the Jazzmaster's body routes. This body route shielding can be easily removed from the body. The entire pickguard, pickups, and route shields can be removed without unsoldering anything! For this reason, you can't assume a jazzmaster has it's original finish just because the solder joints are untouched.
Here is the front view of the metal anodized pickguard. Note the wear spots. This happened because the front (only) of the original pickguard was clear coated with lacquer, to help prevent oxidation and to increase smoothness, gloss and buffability (a similar thing was done on 1950 to 1954 Fender Broadcaster/Telecaster black pickguards). Reissue anodized metal pickguards aren't clearcoated, so they are easy to spot (Mighty Might made a bunch of really nice anodize Strat pickguards in the 1970s that look very original, except they don't have the lacquer coating on the front). Also note the switch tip. Until about 1961, Fender used bakelite style amber switch tips, just like Gibson (yes Gibson-aholics, that switch tip would look and work perfectly on your 1957 Les Paul goldtop!). The volume and tone knobs are the exact same knob as used on Stratocasters of that time period.
Here are the volume and tone pots. The pots have a source/date code of 137 850. That means CTS (137), and 1958, the 50th week (850). See how the pickguard was sanded by the hole for the bridge. This accomodates the bridge grounding wire, allowing ground continuity between the bridge and the pickguard.
This pictures shows the two roll off mini-pots and switch from the bottom side of the pickguard. These roll off pots allow the player to "pre set" a tone, then turn the tone controls completely off or on with the toggle switch (one tone roll off pot for each pickup).
The "nail holes" used to hold the body when being painted. A finish nail is driven into the body at several positions to act as "feet" to elevate the body during finish spraying, and to allow it to dry. Later the nails are removed and discarded. The nail holes should always be evident and NOT filled with paint! If the nail holes are missing or have paint in them, the body was refinished. Fender used this nail technique until about fall of 1964. See here for more details on Fender paint techniques.
The Jazzmaster tremolo as used throughout this model's history. The body route is quite deep. The bottom side of the metal tremolo system is shown here too.
The top (face) side of the Jazzmaster trem. The hole is where the (exceedingly long) tremolo arm is mounted.
The underside of the Jazzmaster pickguard. Can you see the pencil signature between the two pickups on the pickguard?
The Jazzmaster pickups. The pickups are big, but the are not very thick (deep). The pickups measure at just under 8k ohms. So compared to a Strat or Tele (usually around 5.5k), they are hotter. But in reality, they don't sound that way.
The Jazzmaster bridge. Note the small threaded screws at the bottom of the bridge's long anchor studs. This allows for course adjustment of the bridge height. Then each individual saddle is adjustable for height and intonation.
The Jazzmaster peghead decal. Note the "offset contour body" portion is connected to the logo portion (unlike the Stratocaster, where these are two discrete decals).
3) 試試音色, 是否有標準的古典JM 音色?
我喜歡的投機者The Ventures 早期的主奏吉他手 Bob Bogle 喜歡用 59 或60 的Jazzmaster 彈奏. Walk Don't Run 和 Morgen 是其中標準的兩首. 他把 pickups 選擇鈕放在中間, 音箱可能是用 Bassman head 加 Fender outboard Reverb unit
Walk Don't Run:
Morgen
希望對這位網友和其他喜歡Jazzmaster的朋友有幫助.
有位網友PM問我如何辨認他的61 Jazzmaster 是否原裝?
我不是專家, 把我的回復和在網上整理一些資料. 放上來和大家一起分享討論. 其他行家或有興趣的朋友可以一起參加討論. 分享經驗交換心得是論壇的最大目的.
1) 儘量用目視法和其他的真品比較.
1961年 Pre CBS 的Jazzmaster , 如果是原版未改裝, 價格不菲. 即使是Refinish, 價格也不低. 外型是次要的, 音色最重要. 看看PU有沒有被換過? 拼湊琴價格就有差了.
這是賣我Bandmaster音箱的人在賣的古董64年 Jazzmaster, 可以比較看看.
2) 拆開內部: 參考網上這位行家的分析
http://home.provide.net/~cfh/jazzma58.html
03/02/00. Copyright 2000.
Return to the Feature Articles Index.
- The Jazzmaster was introduced by Fender in 1958. What follows is an inside view of a late 1958/early 1959 Fender Jazzmaster. The most notible thing about 1958 to the summer of 1959 Jazzmasters is the metal anodized pickguard. The pickguard is amazingly thick, at about .100 of an inch. This guard provides good looks, and sheilding to boot. Unfortunately starting in the summer of 1959, Fender changed to a white/black/white/tortoise celluloid pickguard (except on certain custom color Jazzmasters, which had a white/black/white celluloid pickguard instead). I'm not sure why they made this change. The celluloid pickguards did wear better though. As you can see in the pictures below, there is a large wear spot in the middle of the metal pickguard.
Below is a picture of the Jazzmaster body with the pickguard removed. Note the pickups stay in the body when you remove the pickguard. You can also see the extensive brass shielding used inside the Jazzmaster's body routes. This body route shielding can be easily removed from the body. The entire pickguard, pickups, and route shields can be removed without unsoldering anything! For this reason, you can't assume a jazzmaster has it's original finish just because the solder joints are untouched.
Here is the front view of the metal anodized pickguard. Note the wear spots. This happened because the front (only) of the original pickguard was clear coated with lacquer, to help prevent oxidation and to increase smoothness, gloss and buffability (a similar thing was done on 1950 to 1954 Fender Broadcaster/Telecaster black pickguards). Reissue anodized metal pickguards aren't clearcoated, so they are easy to spot (Mighty Might made a bunch of really nice anodize Strat pickguards in the 1970s that look very original, except they don't have the lacquer coating on the front). Also note the switch tip. Until about 1961, Fender used bakelite style amber switch tips, just like Gibson (yes Gibson-aholics, that switch tip would look and work perfectly on your 1957 Les Paul goldtop!). The volume and tone knobs are the exact same knob as used on Stratocasters of that time period.
Here are the volume and tone pots. The pots have a source/date code of 137 850. That means CTS (137), and 1958, the 50th week (850). See how the pickguard was sanded by the hole for the bridge. This accomodates the bridge grounding wire, allowing ground continuity between the bridge and the pickguard.
This pictures shows the two roll off mini-pots and switch from the bottom side of the pickguard. These roll off pots allow the player to "pre set" a tone, then turn the tone controls completely off or on with the toggle switch (one tone roll off pot for each pickup).
The "nail holes" used to hold the body when being painted. A finish nail is driven into the body at several positions to act as "feet" to elevate the body during finish spraying, and to allow it to dry. Later the nails are removed and discarded. The nail holes should always be evident and NOT filled with paint! If the nail holes are missing or have paint in them, the body was refinished. Fender used this nail technique until about fall of 1964. See here for more details on Fender paint techniques.
The Jazzmaster tremolo as used throughout this model's history. The body route is quite deep. The bottom side of the metal tremolo system is shown here too.
The top (face) side of the Jazzmaster trem. The hole is where the (exceedingly long) tremolo arm is mounted.
The underside of the Jazzmaster pickguard. Can you see the pencil signature between the two pickups on the pickguard?
The Jazzmaster pickups. The pickups are big, but the are not very thick (deep). The pickups measure at just under 8k ohms. So compared to a Strat or Tele (usually around 5.5k), they are hotter. But in reality, they don't sound that way.
The Jazzmaster bridge. Note the small threaded screws at the bottom of the bridge's long anchor studs. This allows for course adjustment of the bridge height. Then each individual saddle is adjustable for height and intonation.
The Jazzmaster peghead decal. Note the "offset contour body" portion is connected to the logo portion (unlike the Stratocaster, where these are two discrete decals).
3) 試試音色, 是否有標準的古典JM 音色?
我喜歡的投機者The Ventures 早期的主奏吉他手 Bob Bogle 喜歡用 59 或60 的Jazzmaster 彈奏. Walk Don't Run 和 Morgen 是其中標準的兩首. 他把 pickups 選擇鈕放在中間, 音箱可能是用 Bassman head 加 Fender outboard Reverb unit
Walk Don't Run:
Morgen
希望對這位網友和其他喜歡Jazzmaster的朋友有幫助.
2012年11月14日 星期三
大峽谷北緣一日遊
Grand Canyon North Rim
9/18/2012 我和沙漠嫂從芝加哥的中途機場 (Midway Airport) 搭乘西南航空Southwest Airline去拉斯維加斯. 機場有在芝加哥拍攝有名的電影 "Blues Brothers" 的兩兄弟朔像.
大約4個小時後抵達拉斯維加斯機場. 不像7-8年前的熱鬧景象, 機場候機室的賭場空無一人沒有賭客在玩. 顯然經濟景氣還沒有恢復.
到了我們的沙漠小屋稍微整理下房子, 第三天就啟程去大峽谷 Grand Canyon. 這次我們要去沒有去過的北緣 North Rim. 開車要比南緣South Rim 多2個小時. 在快到St. George時要上山通過峽谷, 景色相當漂亮.
快到大峽谷時會經過Vermillion Cliffs Highway, 有個瞭望台
已經快入秋, 到大峽谷入口附近, 沿路的樹葉開始轉黃.
進入公園我們先去遊客中心, 看看裡面的陳列介紹並且問一位公園管理人員, 如果我們只有4-5個小時, 應該如何玩? 他推薦三個景點.
第一站去背面的"光明天使景點" Bright Angel Pt.
要沿著峭壁走大約20分鐘, 沿路風景優美, 峽谷的群山相當的雄駿, 在峭壁邊緣往下看有點驚險, 有懼高症的人不要嘗試. 膽小的沙漠嫂貼著峭壁邊慢慢地走
走到底是個瞭望景點.
回程時彎去有名的公園內部木屋旅館, 有個大廳可以觀賞峽谷的景色, 相信也是看日出日落的好景點.
可以走下去到伸出的瞭望景點
第二個景點: Cape Royal
這是大峽谷北緣最值得看的景點, 在雄駿的山岩上居然有有個正方形的窗口, 自然的造物讓人嘆為觀止
上面有個平坦的瞭望台
要經過這個狹小的走道上去
瞭望出去的景象
第三個景點: "帝國景點" Point Imperial
有個像是紐約帝國大廈的山峰
看完三個景點時間不早. 打道回府, 在公路上已經是夕陽西下的時刻. 回到家已經快十點了. 如此好的風景, 一日遊似乎太匆促. 下次應該在內部的木屋旅館住一晚.
9/18/2012 我和沙漠嫂從芝加哥的中途機場 (Midway Airport) 搭乘西南航空Southwest Airline去拉斯維加斯. 機場有在芝加哥拍攝有名的電影 "Blues Brothers" 的兩兄弟朔像.
大約4個小時後抵達拉斯維加斯機場. 不像7-8年前的熱鬧景象, 機場候機室的賭場空無一人沒有賭客在玩. 顯然經濟景氣還沒有恢復.
到了我們的沙漠小屋稍微整理下房子, 第三天就啟程去大峽谷 Grand Canyon. 這次我們要去沒有去過的北緣 North Rim. 開車要比南緣South Rim 多2個小時. 在快到St. George時要上山通過峽谷, 景色相當漂亮.
快到大峽谷時會經過Vermillion Cliffs Highway, 有個瞭望台
已經快入秋, 到大峽谷入口附近, 沿路的樹葉開始轉黃.
進入公園我們先去遊客中心, 看看裡面的陳列介紹並且問一位公園管理人員, 如果我們只有4-5個小時, 應該如何玩? 他推薦三個景點.
第一站去背面的"光明天使景點" Bright Angel Pt.
要沿著峭壁走大約20分鐘, 沿路風景優美, 峽谷的群山相當的雄駿, 在峭壁邊緣往下看有點驚險, 有懼高症的人不要嘗試. 膽小的沙漠嫂貼著峭壁邊慢慢地走
走到底是個瞭望景點.
回程時彎去有名的公園內部木屋旅館, 有個大廳可以觀賞峽谷的景色, 相信也是看日出日落的好景點.
可以走下去到伸出的瞭望景點
第二個景點: Cape Royal
這是大峽谷北緣最值得看的景點, 在雄駿的山岩上居然有有個正方形的窗口, 自然的造物讓人嘆為觀止
上面有個平坦的瞭望台
要經過這個狹小的走道上去
瞭望出去的景象
第三個景點: "帝國景點" Point Imperial
有個像是紐約帝國大廈的山峰
看完三個景點時間不早. 打道回府, 在公路上已經是夕陽西下的時刻. 回到家已經快十點了. 如此好的風景, 一日遊似乎太匆促. 下次應該在內部的木屋旅館住一晚.
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