DOCSLIB.ORG

{PDF} How to Play Electric Blues Guitar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

HOW TO PLAY ELECTRIC BLUES GUITAR - U.K. PDF, EPUB, EBOOK Alan Warner | 64 pages | 01 Apr 2000 | Music Sales | 9780825617935 | English | United States How to Play the Blues on Guitar: 15 Steps (with Pictures) A lead guitarist usually plays single note lines which accompany what the rest of the band is doing. This could be a guitar solo, an awesome guitar riff or a mesmerizing guitar lick. This is one of the best parts of learning blues guitar for beginners. In blues music, a lead guitarist will often take ripping solos. Often they will play extra riffs and licks which add character to a blues song. Wondering who the top 30 blues guitarists are? A solo is the key moment in a song, where a guitarist gets to rip out some of their favourite licks. The solo is a key moment for any musician, this is the time when they get to shine! Guitar riffs have more of a back seat role. Riffs are used to add character and embellishments to the song. Landreth, is killer! If you want to learn to play like these blues greats, you must learn guitar scales. This means that this shape can be played anywhere across the fret board. All you have to do is change your root note on the low E string. Change the starting note of this scale. For example, to play this scale in the key of A, all you have to do is start this scale on the 5th fret. With this in mind, we created a cheat-sheet; a key and scale-finder that you can use again and again. To play this scale in the key of E, start it on the 12th fret. If a song is in a specific key, we can play a scale which also works in that key. All of the notes in these scales work over a E blues chord progression. This guitar riff sounds fantastic and is perfect if you want to devleop your picking skills. It would perfectly over this backing track:. This would sound great played on bass or guitar. This riff would sound killer, in either a solo or as a separate riff to a blues chord progression. Then, when the chord changes to an A7, we would start our lick on the 7th fret. What Type of Guitarist Are You? Join over , other guitar learners and subscribe to our guitar-tips-by-email service. It's free. Before you actually get started, there are a few items you will need to learn to play electric guitar efficiently. In order to actually play the guitar, you need a decent amp. An amp is an essential companion to the electric guitar. A good amp is the best way to release the full potential of the electric guitar. Not sure where to look? You will also need an instrument cable to go with your new amp. This is to connect your new electric guitar to the amplifier in order to create the best sound. The amp is pretty useless without it! As a beginner to playing guitar, you will need to learn to tune your springs. This is made much easier if you have a good tuner to help you out. There are several styles of tuners you can get for the electric guitar. The most common type of tuners is the Chromatic, Polyphonic, Strobe, and Microphone. Any one of these will help to keep your guitar in tune and sounding great. Some tuners are more suited to live and group environments. Make sure you speak to your local music store about which tuner is the most suitable for you. You can find these at a local music store or online. To make your guitar playing experience as comfortable as possible, we definitely recommend getting yourself a guitar strap. They come in all kinds of colors and sizes, so you should have no trouble finding one you like. Straps also come in many different types of material. The most important things are comfort and functionality. You want the strap to fit your shoulder nicely and have the strength to hold your guitar. It is very embarrassing when your strap breaks on stage, so make a good investment! Guitar picks are essential when you learn to play electric guitar. This will ensure you can strum and pick effectively. Over time you will probably lose many picks and find many more in strange places. It is always a good idea to have a few spare picks if you are playing a live gig! Last but certainly not least, you should make sure to purchase a guitar capo. This tool is essentially a clamp that tightens the strings when used, meaning you can change the key you are playing in. It is particularly useful for a beginner because it minimizes the number of complex shapes and stretching you need to play a song. Similarly, many online tutorials assume that you have a capo to hand. So make sure you get a quality capo as you begin your electric guitar journey. In addition to all of the equipment we just discussed, you will, of course, have to choose the best starter electric guitar for beginners. Playing electric guitars in all their shapes and sizes is a good place to start. It is important to be aware of what kind of guitar you need. As a beginner, do you need a full-size electric guitar? Or a lightweight electric guitar? When will you need an electric guitar with a whammy bar? These are all important questions to ask yourself before you purchase your starter electric guitar. It is really going to depend on what you can afford to spend, and how decent of a guitar you want to start out with. You will have to spend a bit to ensure you get a good product, but you also want an affordable electric guitar for beginners. This is on the lower end as far as cost is concerned, but this will get you a decent enough instrument to practice on and play regularly. Beginner guitars are cheaper than the more prestigious and professional models but that does not mean they are bad instruments. Your beginner guitar should last for a while. The best electric guitar for beginners are ones that keep you playing even when practicing is tough. When you are a great guitarist with a room full of instruments your first guitar should hold a special place in your heart. Before purchasing anything, you will want to make sure you do some research on the best beginner electric guitar options and their features. If you are really interested in learning you could probably spend all day playing electric guitars and trying out every type of guitar available. You can go with a solid-body guitar, which includes a few different options:. If you are looking for something other than a solid-body electric guitar, you can also take a look at hollow and semi-hollow bodied options as well. These are electric guitars that have hollow bodies, like acoustic guitars. Semi-hollow guitars also have a center block that is completely solid, which helps cut down on their feedback. Hollow and semi-hollow guitars are typically used with jazz music, as well as some blues, rock, and country as well. If you are looking for a guitar that can do funk as well as jazz and rock it may be worth picking up a Fender Telecaster starter pack. And maybe in the future, you will move on to an Ibanez Stratocaster copy or a Fender Jaguar. When looking at the top body options, make sure you consider the best options for your preferences when it comes to pickups and bridges as well. For most people, the easiest electric guitar to play and practice on is a double-cutaway body. Your local guitar store should be able to give you a recommendation when it comes to starter guitars. If you want to be completely sure it will help if you visit other guitar stores to get a second opinion and also browse some online forums for expert advice. Regardless of the type of music you want to play with your electric guitar, you should make sure you take the time to learn your chords and practice scales. This will make it easier and more satisfying to learn your favorite songs. As a beginner, some chords like B or F are going to be more difficult to learn until you build your finger strength. However, you can learn simplified versions of any chords you have difficulty with, making it much easier to learn to play electric guitar. As you progress your finger dexterity and your muscle memory will develop. Running through scales and chord progressions will feel natural. And that is where the fun really begins! Once you have most of the basics down, try learning some really easy tunes. Picking out some of the best electric guitar for beginner songs will motivate you to practice harder. Learning basic chords and scales will also make it easier when you come to play with other musicians. You will have common knowledge that will allow you to play songs and improvise together. This is the true value in practicing and the reason many people learn to play the guitar in the first place! Obviously, with an electric guitar, you will want to be familiar with your amp. The amp is simply taking the noise from your guitar and making it louder. Knowing the ins and outs of your amp will make playing your starter electric guitar easier.
Recommended publications
  • Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47

    Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47

    03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation.
  • Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?

    Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?

    Muddy Waters John Lee Hooker Sonny Boy Williamson Willie Dixon, Buddy Guy Otis Spann a.m.m. ACT 6000-2 Release Date: 24. May 2004 Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)? Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publicist Joachim Ernst Berendt at the end of the 1950s. The new style of rock 'n' roll was beginning to take a foothold, jazz was in the mean time beginning to be celebrated in Europe, but all too little was heard of the blues, despite itself being the musical foundation of jazz and rock 'n' roll. It was up to Horst Lippmann and his partner Fritz Rau to realise the idea of the AFBF and bring the best Afro- american blues performers to concert halls (!) for a European audience. First they contacted Willie Dixon.
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)

    In the Studio: the Role of Recording Techniques in Rock Music (2006)

    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
  • THE SOCIOLOGY of AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: the 3 Theoretical Perspectives of Sociol

    THE SOCIOLOGY of AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: the 3 Theoretical Perspectives of Sociol

    THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: The 3 Theoretical Perspectives of Sociology Part II: Origins of 20th Century American Popular Music: Roots of Anglo & African-American Music, Minstrelsy, the Blues & Ragtime Unit 2 Jazz: New Orleans, the Swing era, Bebop & Beyond (1920s-present) Unit 3 Rock & Roll (1950s-present) Unit 4 Country Music & The Urban Folk Revival (1920s-present) Unit 5 Soul, Motown & Funk (1950s-1970s) Unit 6 Hip-Hop & Rap (1970s-present) GRADING Grades will be based on the following: 1. tests/quizzes (50% of semester grade) 2. homework/classwork assignments (20% of semester grade) 3. Artist Spotlight Project (20% of semester grade) 4. class participation/behavior (10% of semester grade) Assignments must be turned in on time to earn full credit. You will receive half credit for assignments turned in one class period after the due date, and no credit will be given for assignments turned in after this point. If you know you are going to miss class, it is your responsibility to contact me regarding make-up assignments or tests. If you have any questions, please see me. STUDENTS WILL NOT BE PERMITTED TO TAKE MAKE-UP UNIT TESTS OR FINAL EXAMS IF THEIR ABSENCE ON THE ORIGINAL TEST DAY IS UNEXCUSED. Test/quiz dates are clearly posted on the board next to the agenda and on the online class calendar (see class website homepage). Therefore, THERE ARE NO EXCUSES FOR NOT KNOWING TEST/QUIZ DATES. IF YOU ARE PRESENT IN CLASS ON A TEST DAY, YOU MUST TAKE THE TEST.
  • Read Book How to Play Electric Blues Guitar

    Read Book How to Play Electric Blues Guitar

    HOW TO PLAY ELECTRIC BLUES GUITAR - U.K. PDF, EPUB, EBOOK Alan Warner | 64 pages | 01 Apr 2000 | Music Sales | 9780825617935 | English | United States How to Play Electric Blues Guitar - U.K. PDF Book Add to list. Play open A the IV chord for two measures, return to then E for two measures. If you are a beginner and you want to start playing around with this easy Blues you are more than welcome! Views Read Edit View history. You will also need an instrument cable to go with your new amp. As a busy professional with a career spanning over twenty years, she specialises in building websites for small and medium-sized businesses and has also worked on projects for numerous, globally recognised "A-list" brands. To get the full bar experience, try getting a friend who's more experienced at guitar to solo over your chords — with a little practice, you should soon get the hang of this simple but important blues progression. If you want to know how to make an electric guitar you need to be prepared for a serious undertaking. There are several guitar- centered websites that can offer help. You just have to either shim or sand the bridge saddle. Aside from that, it features a double cutaway body shape, laminated body material, and gloss body finish. Komara, Encyclopedia of the blues Routledge, , p. Blues rock British blues hard rock rock and roll. The Pentatonic scale is just 5 notes. Search thousands of teachers for local and live, online lessons. Newquist and Jon F.
  • British Blues-Rock Star Joanne Shaw Taylor

    British Blues-Rock Star Joanne Shaw Taylor

    JOANNE SHAW TAYLOR MOVES RELEASE DATE FOR "THE BLUES ALBUM" TO FRIDAY SEPTEMBER 24TH “THE BLUES ALBUM” SHOWCASES TAYLOR’S ELECTRIFYING GUITAR CHOPS AMPLIFIED BY HER MAGNIFICENT SULTRY VOCALS HIGHLY ANTICIPATED ALBUM PRODUCED BY GUITAR LEGENDS JOE BONAMASSA & JOSH SMITH, SET TO RELEASE WORLDWIDE ON BONAMASSA’S INDEPENDENT LABEL KTBA RECORDS WATCH “LET ME DOWN EASY” MUSIC VIDEO HERE PRE-ORDER ‘THE BLUES ALBUM’ ON VINYL, CD & DIGITAL FROM KTBARECORDS.COM “The Blues Album show’s why Joanne Shaw Taylor is one of the most respected names in modern blues guitar.” – Guitar.com "Joanne's Shaw Taylor's got a genuine feeling for the blues." – Blues Matters "Each song is a gem. The Blues Album further cements Joanne's reputation as one of the country's outstanding musicians." – Blues In Britain Critically acclaimed British guitarist and singer songwriter, Joanne Shaw Taylor, universally hailed as the UK’s premiere blues rock guitarist, has moved the release of her seventh studio full-length album The Blues Album from Friday September 17 to Friday September 24, 2021. Last week Joanne released her latest single Let Me Down Easy with a music video. The album will be released via Joe Bonamassa’s independent blues label KTBA Records. It was produced and recorded by Joe Bonamassa and Josh Smith at Ocean Way Studios in Nashville, Tennessee. The hotly tipped 11-track album features Joanne’s personalised covers of eleven rare blues classics originally recorded by Albert King, Peter Green, Little Richard, Magic Sam, Aretha Franklin, Little Milton, and many more. The Blues Album, the follow up to 2019’s critically acclaimed album Reckless Heart, features Josh Smith (guitar), Reese Wynans (keyboards), Greg Morrow (drums), Steve Mackey (bass), Steve Patrick (trumpet), Mark Douthit (sax), Barry Green (trombone).
  • The Blues and R&B

    The Blues and R&B

    Southern Roots: The Blues and R&B MUSC-21600: The Art of Rock Music Prof. Freeze 31 August 2016 Black Popular Music of the Early 20C • Begins largely outside of mainstream pop • Exception: popular blues • By mid-century, becoming more integrated • The Great Migration • “Race” music (1920s–late 1940s) • Popular music marketed to black urban audience • “Rhythm and Blues” (late 1940s–) • Regional black radio (1950s) • New R&B indie record labels • Sun (Memphis), Chess (Chicago), King (Cincinnati), Atlantic (New York) • Bottom line: R&B synthesized southern folk traditions and urban experience The Blues • Genre = type of music defined by a shared tradition and set of conventions • Conventional categories (higher and lower order) • Basic traits • Form: 12-bar blues, often with aab phrasing • Blue notes: lowered scale degrees 3, 7; flat inflections; slides • Call and response (between voice and instrument) • Vocal quality: rough, gritty • Popular/classic blues • Black female singers • Bessie Smith, “Empress of the Blues” • Composed sheet music (like in Tin Pan Alley) • Texture (= combination and relative hierarchy of timbres) • Jazz piano or small combo • Tame lyrics, often topical to South • Ex. “Back Water Blues” (Bessie Smith, 1927) The Blues • Rural/country/Delta blues • Black male singers • Many from Mississippi Delta • Improvised tradition • Texture: solo vocals and guitar accompaniment • Bottleneck for slides • Raw lyrics, often autobiographical • Rhythmic vitality • Robert Johnson (1911–1938) • Hugely influential on blues revival in
  • The American Blues in Britain

    The American Blues in Britain

    THE AMERICAN BLUES IN BRITAIN OVERVIEW ESSENTIAL QUESTION In what ways did American Blues affect English musicians in the early 1960s? OVERVIEW “[Before the Beatles] The pop music in this country was very watery and weak, not worth talking about. Things like Cliff Richard.” – Pete Townsend of the Who on British popular music in the early 1960s This lesson looks at the Blues scene in England that prefigured the British Invasion. Though young people there were able to hear Bill Haley, Buddy Holly, the Everly Brothers, Little Richard, and other artists associated with early American Rock and Roll, the music they could call their own, British popular music, sometimes left them dissatisfied. As Pete Townsend describes in the epigraph above, he was among those who found the home offerings “watery and weak.” But if one thing marked the U.K. at that time, it was a respect for American music. Yes, for Rock and Roll -- but also for the Blues tradition. Artists who had never left the States came over to England, France, and Germany and found themselves welcomed and celebrated. American Bluesmen like Big Bill Broonzy found they could have careers in Europe when in the States they had little going on. Starting in 1962, the European interest in American Blues was fed by the American Folk Blues Festival, an annual touring festival that brought Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson, and many more to European audiences intermittently over the next few decades. In the audience for those first shows were future members of the Rolling Stones, Led Zeppelin, and other major acts of the 1960s and 1970s.
  • Skegness Rock & Blues Festival 2020

    Skegness Rock & Blues Festival 2020

    Overview of The Great British Rock & Blues Festival at Butlins, Skegness - January 2020 The weather was kind and the stages were set for yet another Great British Rock & Blues Festival in the Butlins resort at Skegness, Lincolnshire. Friday There is always a certain ‘buzz’ on a Friday afternoon in the Skyline Pavilion, where the Introducing Stage is located and today was no exception. The highlights for me were ‘Will Wilde’, who opened the festival with a harmonica driven blues rock performance, exuding a great deal of excited energy which certainly rubbed off on the audience. Also, the more traditional end of the blues spectrum with ‘Redfish’, the Cumbrian based masters of their art, with rhythm & blues at its best. One of the tightest bands I’ve seen with the added interest of the eccentric but brilliant keyboard player. A great sound and a great performance. Will Wilde Redfish As the evening approached, it was time to hit the main stages. First for me was ‘Johnnie ’Guitar’ Williamson & Blue Swamp’ in Centre Stage, or the Blues Stage. No stranger to the festival, Johnnie has played as Blue Swamp previously, in a different form. A good opener for the evening Johnnie ’Guitar’ Williamson & Blue Swamp One of my favourite bands ‘Catfish’, were playing on the new Blues Matters Stage in Hotshots. I had mixed feelings about the venue, which is the bowling alley and it proved just not big enough to accommodate the large number of Catfish fans. I did finally manage to get in for the last few numbers and Catfish did not disappoint.
  • Hoodoo Man Blues--Junior Wells (1965) Added to the National Registry: 2012 Essay By: Bill Hart (Guest Post)*

    Hoodoo Man Blues--Junior Wells (1965) Added to the National Registry: 2012 Essay By: Bill Hart (Guest Post)*

    Hoodoo Man Blues--Junior Wells (1965) Added to the National Registry: 2012 Essay by: Bill Hart (guest post)* Junior Wells Original label Album cover When I think of the Chicago blues, particularly the era of the “electric blues,” I usually think of the legendary performers on the Chess label, most of whom are dead and gone, the label now operating as part of the Universal Music Group. A few small labels, like Alligator Records, which started in 1971, Earwig Music (founded in Chicago in 1978 by Michael Franks) and Red Lightnin,’ established in the UK in 1968, have catalogs of older blues recordings or distribute “contemporary blues.” But Delmark Records, founded in St. Louis in 1953, and based in Chicago since 1958, is not only one of the “original” Chicago blues labels, but still remains in operation today. Delmark is also still run by its founder, Bob Koester, who is a legendary figure in his own right (and graciously agreed to supply me with information concerning the record). Koester produced and Delmark released “Hoodoo Man Blues” in 1965. The record has never gone out of print (except for a few months when Delmark moved its offices). And look up any list of “essential” blues records and it is there. There’s good reason for that. Though he had not yet been discovered by a national audience when the album was recorded in September of 1965, 30-year old Junior Wells was a well-established harmonica player and vocalist on the Chicago blues scene. He made his first recording as a replacement in Muddy Waters’s band for the legendary Little Walter in 1952.
  • Geoffrey Kidde Music Department, Manhattanville College Telephone: (914) 798 - 2708 Email: Geoffrey.Kidde@Mville.Edu

    Geoffrey Kidde Music Department, Manhattanville College Telephone: (914) 798 - 2708 Email: [email protected]

    Geoffrey Kidde Music Department, Manhattanville College Telephone: (914) 798 - 2708 Email: [email protected] Education: 1989 - 1995 Doctor of Musical Arts in Composition. Columbia University, New York, NY. Composition - Chou Wen-Chung, Mario Davidovsky, George Edwards. Theory - J. L. Monod, Jeff Nichols, Joseph Dubiel, David Epstein. Electronic and Computer Music - Mario Davidovsky, Brad Garton. Teaching Fellowships in Musicianship and Electronic Music. 1986 - 1988 Master of Music in Composition. New England Conservatory, Boston, MA. Composition - John Heiss, Malcolm Peyton. Theory - Robert Cogan, Pozzi Escot, James Hoffman. Electronic and Computer Music - Barry Vercoe, Robert Ceely. 1983 - 1985 Bachelor of Arts in Music. Columbia University, New York, NY. Theory - Severine Neff, Peter Schubert. Music History - Walter Frisch, Joel Newman, Elaine Sisman. 1981 - 1983 Princeton University, Princeton, NJ. Theory - Paul Lansky, Peter Westergaard. Computer Music - Paul Lansky. Improvisation - J. K. Randall. Teaching Experience: 2014 – present Professor of Music. Manhattanville College 2008 - 2014 Associate Professor of Music. Manhattanville College. 2002 - 2008 Assistant Professor of Music. Manhattanville College. Founding Director of Electronic Music Band (2004-2009). 1999 - 2002 Adjunct Assistant Professor of Music. Hofstra University, Hempstead, NY. 1998 - 2002 Adjunct Assistant Professor of Music. Queensborough Community College, CUNY. Bayside, NY. 1998 (fall semester) Adjunct Professor of Music. St. John’s University, Jamaica, NY.
  • Circus Magazine/Shure Modern Circus/ 31 Music Makers Awards 1981

    Circus Magazine/Shure Modern Circus/ 31 Music Makers Awards 1981

    disappointing after the rasping " Evil Walks" and the infectious, Stones-like riffs of "COD." While the band's current approach is well-suited to its arena level of popularity, its calculation has replaced the edge of maniacism and sense of humor that by John Swenson the group once stood for. Even though they've progressed individually as musicians, it may well be that ACIDC have lost the identity AC/DC salute the British blues with which the late lead singer Bon Scott infused them. Stewart returns to classic form Rush - Exit... Stage Left (Mercury) At first glance this album may seem like just another Christmas-time live two-record package. But Exit .. Stage Left represents the coming of age of Canada's greatest band and one of the finest heavy-metal outfits to come out of the '70s proliferation of that style. The difference between this record and the first Rush live LP , All the World's a Stage, shows just how far the band has come in the last few years. Stage was an energetic but somewhat leaden account of the band's live strengths at a time when the members of Rush will now freely admit they were struggling. The sound quality of that first live record disappointed them, but the record consolidated their audience at a crucial point and gave them breathing space to come up with a fresh approach to their sound, which proved to be the turning point in A C/DC bang out quivering blues that serve as vehicles for Angus Young's Rush's career.