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Guitar Musician e-zine     11/23/05

In This Issue:

  "It's the opportunity to play something completely different, responding to what happened just before you started to play, and I love that."

                                                              - Larry Carlton - Jazz influenced guitar player

Some Humor

  Maxine was driving down the highway about 75 miles an hour, when she noticed a motorcycle policeman following her. Instead of slowing down, she picked up speed.
When she looked back again, their were two motorcycles following her. She shot up to 90 miles. The next time she looked around, there were three cops following her.
Suddenly, she spotted a gas station looming ahead. She screeched to a stop and ran into the ladies' room. Ten minutes later, she innocently walked out.
The three cops were standing there waiting for her. Without batting an eye, she said coyly, "I'll bet none of you thought I would make it."

A Lesson For The Learning

Interested in guitar lessons? - Be sure and check out the guitar lessons offered by Andrew Koblick at Amazing Guitar

Click here for all products by Nady.

Nady Roller PA Systems

Powerful, affordable, and convenient

By Kelly Roberts


Nady Roller PA Systems Due to the latest round of budget cuts at my school, I recently found myself operating as my own A/V specialist. Setting up a public address system is something I had no experience with until recently. I found myself digging around in the storage room, trying to find each component�the power amp, mixer, speakers, and cables�then figuring out what goes where, and which cables plug into which slots. Thankfully, Nady has given some serious thought to educators facing the same plight, and developed the Roller line of PA systems. Everything is in one convenient case, complete with wheels that your back will love!

Rethinking the norm
Modern PA systems have had virtually the same design since they first came about. Essentially, the components are a power amp to amplify the signal, a mixer for connecting your microphones/instruments and applying the proper levels to each, and speakers for delivering the mix to the audience. While products like active speakers and powered mixers have eliminated the need for having all three components, it's safe to say that almost any PA is a multipart unit.

Nady realized that this might not be the best design for everyone and decided to do something about it. Each of the three systems in the Roller lineup is a one-piece, portable sound system, complete with powered mixer and two-way speaker system. Each also includes durable rubber rollerblade wheels and a collapsible handle so there's no problem placing it where it needs to be.

The RPA-2 and RPA-4
Though compact in size, all three of the Roller PA systems produce bold sound that is loud enough to tackle the needs of elementary educators. Most of us deal with a multipurpose room, a small theater, or a gymnasium. You'll want to pick the system that is right for your needs�the size of the room, the number of people in the audience, and the number of inputs you'll need. For those in small- to medium-sized rooms, the RPA-2 or RPA-4 should be sufficient.

Click to Enlarge The RPA-2's powered mixer puts out an impressive 40W RMS. It employs a 10" woofer for the bass and lower midrange, and a dome tweeter for the upper midrange and high frequencies. I put it to use during a district meeting in our multipurpose room, and it performed amazingly well, delivering clear sound that the 50 or so of us attending had no trouble hearing. It has two mono balanced inputs (XLR and 1/4" TRS, for microphones and instruments respectively) that make it ideal for speeches or perhaps solo musical performances.

If most of your events take place in a small gym or theater, perhaps the RPA-4 is a better choice with its 80W RMS output. It's noticeably louder than the RPA-2, yet it maintains clarity by employing the same speaker setup of a 10" woofer and dome tweeter. It also offers four mono balanced inputs (XLR and 1/4" TRS).

The RPA-6
The largest Roller PA is the RPA-6. For schools with a large gymnasium or multipurpose room, or for outdoor plays, talent shows, or other gatherings, this system is ideal. Boasting an impressive 120W RMS, a 12" woofer and piezo electric horn, it delivers crisp, rich sound at a very loud volume. In addition to its output, the RPA-6 has six mono balanced (XLR and 1/4" TRS) inputs. The 12" woofer and added power produce deep low end with lots of punch, while the horn disperses the high frequencies at a wide angle, assuring that a large audience will hear every part of the performance.

More functionality
In addition to their power and portability, each of the Roller PAs has digital reverb, an effects loop, and master three-band equalizer. The RPA-4 and RPA-6 have additional high and low tone controls on each channel so you can find the ideal mix when you're putting all those inputs to use. All three units also have stereo RCA inputs�ideal if you want to add music from a tape deck or CD player to a performance. Stereo RCA outputs are provided as well, so you can easily capture performances on any stereo recording device.

Nady Roller PA Systems If you're worried that the all-in-one design of the Roller PAs might not cover enough area, you'll be pleased to know that they all have an external speaker output. The RPA-2's power output increases to 65W RMS with an external four-ohm cabinet, the RPA-4 jumps to 100W RMS, and the RPA-6 puts out 130W RMS. Even with the purchase of an external speaker cabinet, the Roller PAs are still much more affordable than a traditional PA.

The perfect companion
Any school that's considering a new PA system should give serious consideration to the Nady Roller PAs. As if the convenience of having everything in one compact cabinet isn't enough, they are easy to transport, have built-in reverb, and the ability to add an extension cab. With three systems available, you won't be forced into buying something bigger than your school needs, or conversely, being stuck with a system that can't deliver what you need because of cost concerns. Affordable, portable, and powerful, a Roller PA would be a welcome addition to any A/V room.

Features & Specs:

Shared features:
  • Collapsible, locking handle
  • Rollerblade wheels
  • DSP reverb
  • Effects loop
  • Master 3-band EQ
  • Master Volume/Reverb/Depth
  • Stereo RCA I/O
  • External speaker jack
  • 40W RMS (65W with external cab)
  • 10" woofer
  • Dome tweeter
  • Channel Gain/Reverb/Contour
  • 2 mono balanced XLR and 1/4" inputs
  • 80W RMS (100W with external cab)
  • 10" woofer
  • Dome tweeter
  • Channel Gain/Reverb/2-band EQ
  • 4 mono balanced XLR and 1/4" inputs
  • 120W RMS (130W RMS with external cab)
  • 12" woofer
  • Piezoelectric horn
  • Channel Gain/Reverb/2-band EQ
  • 6 mono balanced XLR and 1/4" inputs



The Major Chord Formula

Kris Finland; Pittsburg, PA

Q: What is the process for making a Major chord? Is there some sort of formula that I can use? Your Beginner Rock Guitar DVD is awesome! I have learned so much; I think I am going to start up a band. Thanks!

A: Wow, it sounds like you are progressing quickly! Keep me informed with your band status I love to hear new music.

There is a formula for constructing a Major chord. You take the 1st, 3rd, and 5th degrees from the Major scale of the chords key. For instance if you wanted to find the notes of a C Major chord first find the notes of the C Major scale C-D-E-F-G-A-B. Then isolate the 1st, 3rd, and 5th notes of this scale. C-E-G these are the notes that make up the C Major chord. If you combine these three notes anywhere on the guitar neck you will be playing a C Major chord. There are many different voicings across the neck that you can create using these three notes so try to find as many as you can. This will greatly increase your chord vocabulary.

You can use this formula with any Major scale to find the Major chord that corresponds. There are formulas you can apply for every species of chord and I recommend that you expand your knowledge on this topic.

Hope this helps!

Yours in Music
John McCarthy
Rock House

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spacerspacerspacerJimmy Bruno:

Mixing MIDI and Jazz

Jazz guitarists don't often seem the types to talk Macs and MIDI, but for one of the hottest players on the national jazz scene, it's become second nature. Jimmy Bruno has the resume and the righteous riffs to make any developing jazz player envious. His seven previous discs as a leader on the Concord Jazz label attest to his enormous be-bop talent, and his past work with everyone from Buddy Rich to Doc Severinsen served notice that he could play with the best.

Now, with his eighth Concord release, Midnight Blue, Bruno emerges almost a jazz-funkster, and as interested in the songwriting as the shredding. And while he may wield a seven-string Benedetto or Guild archtop as well as anyone in the biz, he's also learned how to lay down his ideas to hard disk with the full accompaniment of virtual horn and string sections via the wonders of Musical Interface Digital Interfacing.

At the age of 35 and after securing regular work in the L.A. recording studios, Bruno gave up the more-than-virtual riches of session work to return home to his native Philadelphia, and to the full-time pursuit of jazz. talked to Bruno in depth about his music, his methods, and his MIDI madness.

Q: Let's talk about Midnight Blue. You've done quite a few records for Concord; this one is a little funkier than some of them.

Jimmy Bruno: It's real different. It's a lot of original music and it's also not in the standard jazz, bebop position. It's something I've been wanting to do for a long time and I'm really pleased with the way it turned out. I'm going to continue this - whatever it is, this task. I feel like this is just the tip of the iceberg of what I can imagine doing. When I was a kid, I was always interested in orchestration. Around 16, as I got interested in jazz, I got interested in classical music, more legit music. But I started out at the other end of the spectrum, like with Stravinsky's "Petrouchka" and "Rite Of Spring." I got interested in these sounds and I always had this dream of doing it with a jazz band somehow. This one's a small jazz band, but it gave me a lot of ideas and I know it could work 'cause none of the tunes have the usual ABA or AABA format, followed by a sax solo, and then the guitar solo, piano, bass, and then 4's with the drums. None of the tunes are like that. I really want to see where it goes and stretch it a lot further than I did the first time, but that all depends on how this one does. I'm sure if it does well, [Concord] will let me do it again. I thought it was pretty hip of them to let me even try this, especially after six albums under my own name of just pure, straight-ahead things and two collaboration records on Concord.

Q: Would you add horns next time?

Bruno: Yeah, and maybe a string quartet. We'll see. More MIDI sounds next time. You know, if I can't get the real instruments, I can do it with MIDI. Those sounds and the sampled stuff are so good now.


Q: Do you have a home recording studio?

Bruno: No. I'd never do that again. I did that at one time and I never left the house. I have a very limited setup at home. I can do MIDI stuff, and I can record the guitar and maybe a bass to hard disk. And that's about as big as I want to make it because I just don't want to go down that road. I did it when I lived in Las Vegas. It's very expensive and you can spend a lot of time messing around with that. It takes time away from writing. I don't have the time, really.

Q: You use your setup primarily to capture song ideas?

Bruno: If there's been an idea, yeah. Although, I did this record pretty much the old-fashioned way, in my head, and then called up musicians to play. I had planned to use MIDI stuff, but I just switched from PC to Mac and I have no chops for the Mac at all with MIDI. It's an interesting thing. I've been on PC's for years and I've always heard that you gotta do the Mac for music. Maybe I shouldn't say this, but the PC is a lot easier. I don't know if it's better, you know what I mean; the recording studios I see all have Macs and all that stuff, and they have very expensive outboard gear. All I know is with the PC, I can just plug the MIDI guitar into the joystick port and I'm there. It's not so with the Mac. Same thing with the audio. I have three PC's and three Mac's, so we'll see.

Q: Have there been any pros in switching to the Mac so far?

Bruno: The operating system seems to be more stable. It's pretty hard to screw it up, and if you don't like something, you just throw it away. It doesn't seem to bring the whole system down. But no, aside from that I really don't. I actually find it quite limiting for some other things that I like to do, like Web publishing and Internet stuff. It just seems to be a couple of years behind. I don't know what the extra expense is really for, to tell you the truth.

For example, sometimes I do these live chats on Tuesday nights. I have a chat room on my Website Sometimes I use that, but I also have a club at Yahoo where I can plug the guitar into the line-in on the back of the computer and everybody can hear me play. So somebody can ask a question and I can type the answer in and say, "This is what it sounds like." It works out really, really good.

Q: That sounds great. How do fans join in?

Bruno: If you go to my website there's something there that says "Join Yahoo Club." It'll take you there. I forget the exact address, but it's right there. I'd like to see where that goes. People have offered to take lessons that way. I haven't done it, though I do lessons over the phone sometimes.


Q: What do you teach people over the phone?

Bruno: Well, usually, I ask them a bunch of questions before they take the lessons to see if it's going to work, because it's not like, "Put your third finger here." It's more in terms of concept. I have a different approach than the usual scale-chord relationship concept, the way jazz has been taught for years. I'm not saying that it's wrong but I don't think that approach is for everybody. I think a lot of it is very theoretical when in reality it isn't that way: It isn't "Bmin7, use B Dorian. "G7, use G Mixolydian." That's a real elementary place to start and I never had any luck with it. Some students would come back to me with a Charlie Parker [improvisation] or a Michael Becker thing and say, "Well how did he get this? Is he super-inverting this scale or that?" And I even get it now with some of my own solos, you know, so I can see how erroneous it could be. So I don't do it that way.

Basically, what I do is concentrate on how to make a melody from a major scale or a minor scale. If you're in a minor tonality, that gives you seven notes to work with. For instance, if the changes are C-Am- Dm-G7, you know there are four chords that come from the key of C, so I can make melodies from the seven notes of the C scale. What the scale tells me is that these seven notes are inside the tonality. And it tells me, more importantly, which five are outside, so you can make melodies that go through the chords rather than over the top of them. That's the approach in a nutshell. I have a new video coming out on Hot Licks called Pitch Collections, and that's what it's about.

Q: People can learn these kinds of concepts from you in phone lessons, on your video, or in your books?

Bruno: Phone lessons, mainly. I'm trying to put a book together about this. The upcoming video is the non-scalar approach, where no matter what key or chords you're in or playing over, you're just trying to make use of all twelve notes. The tonality then separates or organizes it, in a way. It's twelve notes but the colors change as the keys and the chords change. I developed this little system of how you can keep it going in your head.

The most important thing is what it sounds like, to learn the sounds. You know, I don't know any other instrument that generates so much discussion on the Internet about this chord and playing this scale over this chord. People can o.d. on the theory part of it to the point where they can't play. It's a real disease for guitarists, I think. I find it in jazz all the time, with jazz guitar players who get so hung up in the theory that they can't play. They forget that music is sound. It's not theory.


Q: You also teach at the University of the Arts in Philly, right?

Bruno: I run the Jazz Guitar Department. Yeah, it's hard to do. It's hard to be there every time that I need to be, so it's subbed out a lot. But it works.

Q: How many guitar students do you have through the school?

Bruno: This year looks like it'll be about 30. I think I took over the department three or four years ago and we've raised the requirements, so not everybody makes it out of the school. The ones who do really can play. I mean, there are just so many kids that come out of music schools that it makes you wonder.

Q: The people that you played with on Midnight Blue are all from the University, aren't they?

Bruno: Every one, everybody. Some of them I've known a long, long time, like [drummer] Mark Dicianni I've known since he was 16 years old. We started to learn how to play music together, and then I went on the road and Mark stayed in Philly, and he's done tons and tons of stuff. He's really busy. He's the director of a school, he's really busy as a Philadelphia studio drummer, and he has conducted for a lot of people. Ron Kerber [saxophone, co-writer], I've known for ages from Pieces of a Dream. He was in that band for a while. And Gerald [Veasley, bass] I met through Grover Washington. Dave Wallace is a real good piano player who's been around Philly for a long time. When I play locally, sometimes he would just come by and sit in, and that's how it all came about.

Q: These guys each contributed songs as well?

Bruno: Yeah, and Dave Harte wrote some, because of time. You know, with projects like this we always wind up with too much stuff. A couple of mine and a couple of Ron's didn't get on. You gotta edit it somewhere, so rather than it be all my stuff I thought it would be nice. I liked Ron's tunes and I liked Gerald's tunes a lot, so that's what we wound up doing. And we just threw a couple of standards in for the vibe because they were twisted, you know, so it was a lot of fun to do.


Q: You did do a few standards, like "Stella by Starlight," "Perdido" and "Impressions."

Bruno: Yeah. I wanted to record some modal tunes - something different than bebop changes - so that's why I picked "Impressions." But I didn't want to just do it the way it has always been done. "Secret Love" also was made into a modal tune. It's just a Bb- anything for the A section and then the bridge has been re-harmonized with poly-chords. All of the tunes are poly-rhythmic and poly-chordal, or at least a lot of it is.

Q: Can you explain what you mean by that?

Bruno: Sometimes we're playing off of two different chords at the same time like, G over B major, so we've got two tonalities going. That's a common relationship we did a lot.

Q: Do you mean the keyboards will be playing a G and you'll be playing a B major?

Bruno: Actually, it's a little more complicated. The harmony is those two chords and then the soloist can play off of a G, or a B, or both, or yet another set. On "Secret Love," I'm soloing over a different set of changes than the piano player is playing. There were poly-chords in the harmony, and with the solos there are different chords. With "Hypertension" it's that way, but they're not quite poly-chords: it's altered plus-nine chords and I'm soloing over two different minor triads on top of it.


Q: To avoid getting too theoretical, can you tell me what's driving your playing these days? I'm curious about the choices you make and the direction you chose with this album.

Bruno: Well, that's a question I can answer on two levels. When I'm playing, I'm not thinking about what's driving me. The best way I can answer is that I'm not thinking about anything. I'm listening to what the notes are saying. I'm listening to myself, I'm listening to what's around me. I figure things out when I'm practicing, but not when I'm playing.

The other level is that I'm bored playing bebop. I don't mean that I can play all that and I've reached the end - no, that's not the case at all. I don't think anybody will ever get to that point. But I'm just bored. I want to see what else there is. People know me as a bebop guitarist but that's because that's all they've got to hear. I want to see what else is out there harmonically, rhythmically, and also soundwise. The guitar can make a lot of different sounds, colors and textures, and I want to see where that goes. As I said, I was interested in orchestration and things like that when I was a kid and I could never figure out a way to do it with the guitar, but now I can. I don't know how everybody is gonna react, to tell you the truth.

Q: Well, do you have thoughts about a next record and a record after that?

Bruno: Yes, absolutely. I'm already writing the second one. It's more of the same but it sets the boundaries a little more broader: the tunes are a little longer, a little more complex in form.


Q: Will you go out on the road with the sidemen from the album?

Bruno: We're hoping to get that together. Most of the road stuff that I do, 90% of it is on weekends. It's not like the old days where you go out for months at a time. You go out and come back, so everybody's schedule is usually flexible enough to do it. The best thing about it is, since I'm in control of it, I can say yes or no and do it the way I want! That's the best part of it, because I don't want to be a road rat anymore. You know, I did that, too. When I was just a sideman for people, I went on the road with a lot of acts and I don't want to do that anymore. So far I'm juggling things very well. Who knows, maybe there'll come a point where I'll have to go out longer.

Q: What did you learn from the gigs you did as a sideman?

Bruno: I learned that I wanted to play jazz guitar and that I didn't want to be a sideman. I didn't want to play other people's music. For example, I moved to Las Vegas, so I played "show biz" music; a little bit of this style, a little bit of that style, country tunes for Wayne Newton. Then I was able to play a little bit more sophisticated kind of music, and went to L.A. and I did a little bit of studio work. It was more of the same. There was never any me in there. I could play for Doc Severinsen, The Buddy Rich Band, Lena Horne, Liberace, Wayne Newton, Lola Falonna,. People always say, "Well, that helped you be a good musician," but my answer is no, it hurt. I don't think that's the way for people to do it.

Q: Really?

Bruno: No, that's bullshit. I don't know why people think that. When I decided to give it all up and decided to just play jazz guitar, I had to start over again with a whole different mental process, so I don't think that really taught me anything. The only thing it taught me was to stop doing it. It showed me that I didn't like it. I'll put it that way because I know a lot of really fine guitarists and fine musicians on the instruments who are really good at doing that thing. They're great in the studio, that's what gives them their musical buzz, and I really admire those guys because they do it so well and that's a whole other knack. It just wasn't for me. I just had to stop and figure out what I wanted to do.

Q: Certainly you must have learned things from a business standpoint.

Bruno: Actually, I didn't. Musicians are usually dumb when it comes to that. The way that it typically works for a successful sideman is like this. It's very hard to get a chance to do something in the "big time," as they say - Vegas, or for a movie, or whatever. What usually happens is somebody can't make a gig so somebody else gets the call. And that's rare, but if you finally do get that chance, the other musicians tell other musicians and the next thing you know there's a buzz about you. People start to call you for things, and you really don't get your business chops together because you just rely on the phone to keep ringing.

But what I do now is invent things for myself and find different ways to make money. I don't sit at home and wait for the phone to ring. It'd be easier now that I have a reputation, and I do get a lot of offers to play, but I don't say yes to all of them for various reasons. But I do create projects myself.

Q: What sorts of things?

Bruno: Well, I'm doing this self-publishing and picking book that's going to be in paper and on CD-ROM, and there will be little movies on there showing the right-hand picking technique on the guitar. I'm trying to develop these online lessons. I'm working with Guild to develop a Jimmy Bruno model. I'm talking to a couple amp companies about designing amps. I'm writing for a few magazines. There's more ways to make money than just playing the guitar.

Jimmy Bruno has fallen hard for Benedetto archtops - not hard to do if you've ever laid hands on these beauties. For the past 30 years, Bob Benedetto has been making what some call the world's finest guitars for some of the world's finest guitarists. So when we learned Jimmy was putting one up for sale, we had to know more.

Q: I understand you're selling a Benedetto. Why?

Bruno: I've got too many of them. I'm not a collector and I never will be. Not of guitars. I collect a lot of other things - right now it's cars, which is sick, but that's just what I do. I don't go to a guitar show and get flipped out by looking at all the guitars. I'm just not interested in them. If you just get a guitar and you don't play it, they kind of get funny. They need to be played, and I just don't want to see them not being played. I don't really want to sell it to a collector. I'd rather sell it to somebody to play it, but we'll see what happens. It's not expensive, as guitars go.

Q: They're beautiful guitars.

Bruno: It's $20,000 bucks, that's it. See, Bob [Benedetto] stopped making them and that's what Bob would charge if he made that guitar, so I'm not trying to - people are telling me I can get $40,000 or $50,000 dollars for it, but I want to sell it to somebody who can play. We'll see.

Jimmy Bruno Discography


1992Sleight Of Hand
1995Like That
1997Live at Birdland
1998Full Circle (with Howard Alden)
1999Live at Birdland II
2000Polarity (with Joe Beck)
2001Midnight Blue


Chat, play, and learn more about all things Jimmy at

Recommended Listening - A Must For Your Collection!

Patty Loveless, Dreaming My Dreams
By Kenny Berkowitz
After 15 years as a country hit-maker, Patty Loveless launched her �second career� in 2001, finding inspiration in the bluegrass of her childhood. On the four albums since then, her music has continued to grow deeper and her subjects more adult. Apart from a country-rock version of Richard Thompson�s �Keep Your Distance,� the strongest songs here are heartbreakers like Jim Lauderdale and Leslie Satcher�s �When Being Who You Are Is Not Enough� and Emory Gordy, Jr. and Joe Henry�s �When I Reach the Place I�m Going.� Overall, Dreaming My Dreams isn�t as lively as 2003�s On Your Way, but Loveless� voice is stronger, the musicians tighter, and the production subtler. On lead electric guitar, Albert Lee picks one breathtaking solo after another, with complexly layered support from Stuart Duncan (fiddle, mandolin), Emory Gordy, Jr. (acoustic guitar, bass), Rob Ickes (Dobro and Scheerhorn resonator), Bryan Sutton (acoustic guitar, mandolin), Biff Watson (acoustic guitar), and others. They�re all beautifully recorded, enhancing Loveless� rich fusion of country and bluegrass.
(Epic Nashville,

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Until Next Time,
whistle while you work,

Guitar Musician

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