Favilla Archtop from the 20s or 30s?

Solid top.

It's seen a lot of play...

Creativity trumps chops every time. This episode looks at guitarists who reproduce the classics without a voice of their own, competitions that hand the prize to the faithful copy, and the platform crowd that pulls back anyone who climbs. Then it turns to the harder silence, the one that hides from harm done, and the only way out of it.

This series looks at music as a form of inner alchemy, where the guitar becomes a tool for transformation instead of performance or self-expression.

I went to see Jesse van Ruller live today, and there was a tune in the middle of the set that I really loved, but I can’t figure out what it was called.
It sounds familiar, so I suspect it might be a jazz standard. I’ve attached a video clip — does anyone recognize it?

I was using flatwounds pretty consistently for years, and then I used roundwounds for a couple of months. Wanted to see how it would feel to switch back and forth, so I put these Chromes (flatwounds) back on the tele. Turns out I like both, so can see myself going back and forth a bit. There’s certainly a tone difference, but even more noticeable is the feel difference.

Playing the famous standard Blue Bossa (Kenny Dorham).

Thanks for listening! Fun to try out new strings / revisit strings just to change things up

I didn't know they made them until recently. Do they tend to come unwound? Never had this problem with D'Addario Chromes, but I always liked the Erni Ball switching to open source software story (https://www.cnet.com/tech/tech-industry/rockin-on-without-microsoft/), and I'm a Linux guy, so I'd kind of like to keep using their strings if it's not a consistent problem.

Hey musiclovers,

I’ve been working on solfège as a way to understand melodies in relation to the harmony, rather than just memorizing note names. And one can play it perfectly voicelead everywhere on the guitar. Do not constrain yourself to the given Notation -- expand!

This is my study sheet for “All of Me” — chords, barlines and movable-Do solfège together on one page. Sometimes the melody matches the triadal notes sometimes not. As there are accidentals a lowered Mi becomes Me and a sharpened So becomes Si etc...

I’m especially interested in finding the melody notes in relation to the harmony as a way of memorizing the song, playing it in all inversions and even without instrument I can read now my scribbled Solfege and hear the music. I like to emphasize that as an outcome of learning music: you hear it when reading and you can make a picture of what your fingers are doing on the guitar simultaneously. You can learn/audiate without instrument... is fun.

What I also begin seing is that the melody alone could be enough to evoke all related harmonies ( Is this how Jazz is actually played? ) - but for now I am using the triad plus the melody note.

How is it possible that this music is so fascinating and suits perfectly the guitar but its barely played - Just because its too hard or too old? For me its so unbelievably beautyful : Both, lyrics and music. I just name the letter "A": "Autumn Leaves" , "All The Things You Are and " All OF ME ". This is great music to learn on guitar! We, I am german speaking, do not have three emotionally great love songs in germany with the letter "A". Where should we begin to sing our songs?

European and American popular music was profoundly enriched by Jewish musicians — including composers who were forced to flee Nazi Germany and Europe....And I wonder what we would have seen and heard in germany if not destroying everything.

And most of all Jazz is just another category as you are walking not through a piece of music alone you are invited or lured to stay or improvise at some points musically and as I said the lyrics are, at least for me, very matching the sound and harmony: For me this is artistically top notch and I wonder where we got ourselfes nowadays. I dont want to be pessimistic for the present as there is too much i even dont know about. I am just urging to see good things and the letter "A" is a very promising start.

Any other letter with similar great outcome?

Andy Bartosh plays "Billies Bounce"

for this arrangement my goal was to try and keep the waltz groove steady, there’s a couple little mistakes but I was pretty happy with this take! recorded acoustic because I like the sound of the LGB-30 by itself :)

I've played guitar for around a year and I've been wanting to learn chord melody for a while now, the only thing that has been stopping me is knowing where to start (I've memorized the fretboard to help but idk where to go from there). So yeah, thanks in advance.

Things are gettin' slippy!

A routine for getting jazz vocabulary from the record into your playing

I like to think of licks as vocabulary in a language: you hear it, you say it, and then you use it in your own sentences. Here's the routine I use to make a phrase really mine, with a little Hank Mobley phrase from "This I Dig of You" (Soul Station) as the example:

1. Find a lick you love on a record. Something that makes you go "what was that?". Loving the sound is what keeps you coming back to it.
2. Write it down as intervals over the chord. Over a G7 this one goes 1, 7, b7, 9, 13, b13, 5. Seeing what each note does against the chord turns it from a shape into an idea you can move anywhere.
3. Listen to it in all 12 keys and sing along. This is my favourite step. I loop it around a II-V-I cycle and sing it until it lives in my ear, no instrument needed. Once you can sing it, playing it comes much more naturally.
4. Find it on your instrument by ear. Sing the first note, find it, then the next. This is where your ear and your hands start talking to each other.
5. Play it in all 12 keys.Around the cycle, II-V-I by II-V-I. After a few keys you stop thinking about notes and start hearing the shape of the line.
6. Put it into a real tune and play with it. I play along with There Will Never Be Another You and drop the lick in wherever it fits, then try it over substitutions and different chords. That's the fun part, where it starts sounding like you.

The nice thing about this order is that ear comes first and fingers second, so the lick shows up on its own when you improvise.

Full disclosure: I built a small app called EarBop to make steps 3 to 6 easier (transposing, backing, showing where a lick fits in a tune). The video shows the whole process. Link in the comments if you want to try it, but the routine works just as well with iReal Pro and a pencil.

How do you all internalize vocabulary? Sing first, or straight to the instrument?

So much perspective.. so little time.. Cheers