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Groups > comp.os.linux.advocacy > #476889 > unrolled thread
| Started by | Simon bar Sinister <john.h.gohde@gmail.com> |
|---|---|
| First post | 2018-11-12 04:49 -0800 |
| Last post | 2018-11-12 12:53 -0500 |
| Articles | 20 on this page of 164 — 8 participants |
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Sofia is an award winning Ukrainian Rock Star Simon bar Sinister <john.h.gohde@gmail.com> - 2018-11-12 04:49 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 05:11 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-12 07:42 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 08:01 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-12 16:19 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-12 08:32 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 01:04 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-12 17:17 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-12 17:24 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 17:55 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 21:51 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 02:02 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 18:27 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 01:34 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-12 18:21 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 18:58 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 21:35 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 13:04 +0000
Re: Sofia is an award winning Ukrainian Rock Star chrisv <chrisv@nospam.invalid> - 2018-11-13 07:35 -0600
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 14:00 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 07:17 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 15:49 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 08:51 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 17:26 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 10:11 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 10:38 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 20:05 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 13:22 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 14:47 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 23:46 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 16:19 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 18:32 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 18:54 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 03:56 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 10:52 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-13 20:01 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 12:44 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 13:00 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 13:31 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 00:02 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-13 18:43 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 04:12 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 08:01 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 18:28 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 11:22 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 19:47 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 12:07 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 20:29 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 12:59 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-14 21:44 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-14 13:53 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 14:18 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 15:07 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 02:03 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 20:01 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 04:17 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 20:42 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 04:58 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 07:49 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 08:21 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 16:31 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 09:00 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 17:30 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 09:50 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 18:04 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 10:58 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 20:25 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 13:04 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-14 20:25 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 11:17 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 08:59 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 13:02 -0500
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 17:42 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 09:51 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 18:01 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 10:06 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 20:42 +0000
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 17:06 -0500
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 22:31 +0000
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 17:34 -0500
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 22:49 +0000
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 18:04 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 15:24 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 18:56 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 16:11 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 14:53 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 14:57 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 18:17 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 15:24 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 14:48 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 23:24 +0000
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 18:25 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 15:31 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-15 23:33 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 15:45 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 00:02 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 16:14 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 00:26 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 16:43 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 00:56 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 17:16 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 01:28 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 21:22 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 22:55 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 17:44 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 19:49 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 22:24 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 19:42 -0500
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 00:48 +0000
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 19:54 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 17:12 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 16:55 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 20:09 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 17:12 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-15 21:37 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 08:22 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-16 11:49 -0500
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 17:28 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 09:29 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-17 09:04 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-17 11:55 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 08:53 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-16 09:50 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 17:08 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 09:53 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 18:11 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 10:49 -0800
Re: Sofia is an award winning Ukrainian Rock Star chrisv <chrisv@nospam.invalid> - 2018-11-16 13:06 -0600
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-16 11:09 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 19:33 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 11:35 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 19:43 +0000
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-16 19:00 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-16 17:25 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-17 09:08 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 19:29 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 12:01 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 20:21 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-16 12:27 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-16 13:52 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-16 14:02 -0800
Re: Sofia is an award winning Ukrainian Rock Star owl <owl@rooftop.invalid> - 2018-11-16 23:23 +0000
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-17 08:56 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-17 10:52 -0800
Re: Sofia is an award winning Ukrainian Rock Star Snit <usenet@gallopinginsanity.com> - 2018-11-16 13:23 -0700
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-16 11:55 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 13:09 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-15 10:59 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-15 17:07 -0500
Re: Sofia is an award winning Ukrainian Rock Star Snit <usenet@gallopinginsanity.com> - 2018-11-14 16:43 -0700
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-14 12:50 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 11:51 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 20:13 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 21:14 -0800
Re: Sofia is an award winning Ukrainian Rock Star DFS <nospam@nospam.com> - 2018-11-14 09:51 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-14 07:23 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-14 08:49 -0800
Re: Sofia is an award winning Ukrainian Rock Star chrisv <chrisv@nospam.invalid> - 2018-11-14 11:19 -0600
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 06:44 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-13 05:41 -0800
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <frelwizzen@gmail.com> - 2018-11-12 17:23 -0800
Re: Sofia is an award winning Ukrainian Rock Star SilverSlimer <silver@slim.er> - 2018-11-12 12:40 -0500
Re: Sofia is an award winning Ukrainian Rock Star Steve Carroll <fretwizzer@gmail.com> - 2018-11-12 09:49 -0800
Re: Sofia is an award winning Ukrainian Rock Star SilverSlimer <silver@slim.er> - 2018-11-12 12:53 -0500
Page 8 of 9 — ← Prev page 1 2 3 4 5 6 7 [8] 9 Next page →
| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-16 14:02 -0800 |
| Message-ID | <22b1f149-23b2-4f99-9282-d480246aacc3@googlegroups.com> |
| In reply to | #477723 |
On Friday, November 16, 2018 at 2:52:56 PM UTC-7, Steve Carroll wrote: > On Friday, November 16, 2018 at 1:21:22 PM UTC-7, owl wrote: > > Steve Carroll <fretwizzer@gmail.com> wrote: > > > On Friday, November 16, 2018 at 12:29:47 PM UTC-7, owl wrote: > > >> Steve Carroll <fretwizzer@gmail.com> wrote: > > >> > On Friday, November 16, 2018 at 11:11:52 AM UTC-7, owl wrote: > > >> > > >> >> >> >> Jazzers don't laugh - they > > >> >> >> > > > >> >> >> > ... create, only to have their sh*t plagiarized > > >> >> >> > > >> >> >> Where did he steal this part? > > >> >> >> https://www.youtube.com/watch?v=k91ZYULpkRY&t=2m56s > > >> >> > > > >> >> > Is that a serious question? Clapton all the way, who got it from ol' > > >> >> > blues players. If you can't hear the connection then you haven't > > >> >> > listened to enough early EC. RB didn't even use vibrato until he > > >> >> > started listening to EC, he openly admits that. He did not pay his > > >> >> > blues dues to the extent that many of his local peers did and it > > >> >> > comes out in his playing. He did what I did early on, spent more > > >> >> > time on scales, way more, to the detriment of other stuff. > > >> >> > > > >> >> > > >> >> Yeah right. Point to the melody that is stolen. > > >> > > > >> > Melody? LOL! Those are basic blues licks (largely pentatonic), > > >> > > >> > > >> "Largely pentatonic." You could say that of every minor mode. > > > > > > ?? Penta means five, lots of minor based (flatted 3rd) modes have > > > 7 notes. Even if you stick to just the modes derived from a Major > > > scale you get four of them: Dorian, Phrygian, Aeolian and Locrian. > > > > > > > No shit. > > Then you know that not "every minor mode" is limited to 5 notes. > > > And all of them can be played inside a canonical pent minor box. > > You can put a "box" around any section of the fretboard, if you're > "largely" limiting your note choices to 5 notes that outline a minor > penta scale... then you're "largely" playing "pentatonic". > > > What I mean is that, aside from Locrian, every note in pent minor is also > > a part of every other minor mode. > > That scales live inside of others is irrelevant, what matters are > the notes you *play*. The minor penta sub I suggested over the V > chord in a II-V-I is only 5 notes but the way it ends up being used > is different, the ear doesn't associate it the same way because of > how it fits over the V chord (so implication is involved). > > G7 chord = G, B, D, F > Bb mi penta = Bb, Db, Eb, F, Ab > > Against that G7 chord these notes, respectively, are: > #9, b5 (or #11), #5, b7 and b9 > > You get the altered chord tones... without having to learn a new scale. > You can reduce the entire progression to minor by just playing an A > minor penta for the Dmi7, move up a 1/2 step on the G7 (Bb mi penta) > and then back down to A mi penta over the C chord. You could even > move up to Bmi penta over the I chord but you need to learn to hear > it to resolve it properly. Not surprisingly, this minor penta sub for the > V chord lives inside of another mode (which is not not derived from a > Major scale). The trick is making it musical and no, a given line is not > unmusical simply because *you* don't recognize or appreciate the > sound of it... slide rules need not apply. > > > pent minor: 1 b3 4 5 b7 > > dorian: 1 2 b3 4 5 6 b7 > > phrygian: 1 b2 b3 4 5 b6 b7 > > aeolian: 1 2 b3 4 5 b6 b7 > > locrian: 1 b2 b3 4 b5 b6 b7 > > > > You can play G minor pent, G dorian, G phrygian, etc., without > > moving your hand out of the box. > > Doesn't matter... all that matters are the notes you *choose*. > And... it depends on what position you're playing in and *how* > you play. > > I use the boxes you do, I also use 3 note per string positions: > > <http://www.guitarlessons-atlanta.com/wp-content/uploads/2015/11/guitar-lessons-F-Major-Scale-Modes.jpg> > > Do those look like your boxes for mi penta? Only if you start to > play 3 note per string pentas... but even they are very different > (and harder to play fast). Play long enough and the positions > start to disappear, work really hard and that'll be true for all > those nasty 'jazz' modes, too ;) > > > And soloing using any of those > > modes is going to be "largely pentatonic." > > Only if you "largely" outline with 5 notes. Even adding a 6th changes > the sound a lot... Ford will play pentas with a 6th instead of a 7th (so, > technically, it's still only 5 notes when he does it). > > > > And not all Pentas are minor, take an A minor penta scale at the > > > 5th fret and move it down 3 frets, you'll have an A Major Penta. > > > (and you can play it *and* the minor penta over the same tune). > > > > > > > Yes, but the song in question is in minor. > > I'm aware... just general info. I don't know what level you're at, > plus... you keep talking about basic theory like it's 'the Devil' ;) > > > >> And this solo goes outside the pentatonic. > > > > > > I said "largely"... and it is "largely". > > > > > > > As are most all solos, unless you know of some that skip all those > > pent minor intervals for some reason. > > I think you're conflating positional playing with penta scales. > > RB has played tons of solos that utilize more of a 7 note scale > sound, lots of people do... and not "most all solos" are "largely" > limited to 5 notes. Where'd you get that idea? Many players use > box patterns as a framework because it's a 'guitar thing' but they're > adding the other notes to the 5 often enough so as to say they're > not "largely" using 5 notes. You can hear it when someone does so. > > > Dude, get your guitar out of those mothballs already... > you ain't foolin' anyone, I can tell you still wanna play ;) Usenet is a self-governing concordat based on shared ethics. Please show a case study of a profitable enterprise that has built its fortune by not giving a shit about its clients and wares. What were you betting on? Do not get too confident, Steve 'The Fool' Petruzzellis, sometimes "advocates" are just that. After Klaus Schadenfreude's update I no longer can get work done on Linux. Like anyone can! -- What Every Entrepreneur Must Know! http://www.5z8.info/trojan_p4g1zy_how-to-skin-a-gerbil https://www.facebook.com/jenny.eklund Jonas Eklundh Communication AB
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| From | owl <owl@rooftop.invalid> |
|---|---|
| Date | 2018-11-16 23:23 +0000 |
| Message-ID | <8bz9793ab.byu4@rooftop.invalid> |
| In reply to | #477723 |
Steve Carroll <fretwizzer@gmail.com> wrote: > On Friday, November 16, 2018 at 1:21:22 PM UTC-7, owl wrote: >> Steve Carroll <fretwizzer@gmail.com> wrote: >> > On Friday, November 16, 2018 at 12:29:47 PM UTC-7, owl wrote: >> >> Steve Carroll <fretwizzer@gmail.com> wrote: >> >> > On Friday, November 16, 2018 at 11:11:52 AM UTC-7, owl wrote: >> >> >> >> >> >> >> Jazzers don't laugh - they >> >> >> >> > >> >> >> >> > ... create, only to have their sh*t plagiarized >> >> >> >> >> >> >> >> Where did he steal this part? >> >> >> >> https://www.youtube.com/watch?v=k91ZYULpkRY&t=2m56s >> >> >> > >> >> >> > Is that a serious question? Clapton all the way, who got it from ol' >> >> >> > blues players. If you can't hear the connection then you haven't >> >> >> > listened to enough early EC. RB didn't even use vibrato until he >> >> >> > started listening to EC, he openly admits that. He did not pay his >> >> >> > blues dues to the extent that many of his local peers did and it >> >> >> > comes out in his playing. He did what I did early on, spent more >> >> >> > time on scales, way more, to the detriment of other stuff. >> >> >> > >> >> >> >> >> >> Yeah right. Point to the melody that is stolen. >> >> > >> >> > Melody? LOL! Those are basic blues licks (largely pentatonic), >> >> >> >> >> >> "Largely pentatonic." You could say that of every minor mode. >> > >> > ?? Penta means five, lots of minor based (flatted 3rd) modes have >> > 7 notes. Even if you stick to just the modes derived from a Major >> > scale you get four of them: Dorian, Phrygian, Aeolian and Locrian. >> > >> >> No shit. > > Then you know that not "every minor mode" is limited to 5 notes. > Who said it was? The pent minor is part of most all of them. Even if you're using harmonic minor or melodic minor, the only shared interval that's different is the 7. >> And all of them can be played inside a canonical pent minor box. > > You can put a "box" around any section of the fretboard, if you're > "largely" limiting your note choices to 5 notes that outline a minor > penta scale... then you're "largely" playing "pentatonic". > I didn't say limit note choices to those five. I said when you're playing those minor modes, most of the notes you are using are also part of pent minor, and your hand position is the same, allowing you to blend them easily. Which is what invariably happens when soloing with a minor scale: most of the notes you are using are part of pent minor too, so a good portion of your solo is going to be there, given that the triads are going to be in the pent minor range. >> What I mean is that, aside from Locrian, every note in pent minor is also >> a part of every other minor mode. > > That scales live inside of others is irrelevant, what matters are > the notes you *play*. The minor penta sub I suggested over the V > chord in a II-V-I is only 5 notes but the way it ends up being used > is different, the ear doesn't associate it the same way because of > how it fits over the V chord (so implication is involved). > > G7 chord = G, B, D, F > Bb mi penta = Bb, Db, Eb, F, Ab > > Against that G7 chord these notes, respectively, are: > #9, b5 (or #11), #5, b7 and b9 > > You get the altered chord tones... without having to learn a new scale. > You can reduce the entire progression to minor by just playing an A > minor penta for the Dmi7, move up a 1/2 step on the G7 (Bb mi penta) > and then back down to A mi penta over the C chord. You could even > move up to Bmi penta over the I chord but you need to learn to hear > it to resolve it properly. Not surprisingly, this minor penta sub for the > V chord lives inside of another mode (which is not not derived from a > Major scale). The trick is making it musical and no, a given line is not > unmusical simply because *you* don't recognize or appreciate the > sound of it... slide rules need not apply. > >> pent minor: 1 b3 4 5 b7 >> dorian: 1 2 b3 4 5 6 b7 >> phrygian: 1 b2 b3 4 5 b6 b7 >> aeolian: 1 2 b3 4 5 b6 b7 >> locrian: 1 b2 b3 4 b5 b6 b7 >> >> You can play G minor pent, G dorian, G phrygian, etc., without >> moving your hand out of the box. > > Doesn't matter... all that matters are the notes you *choose*. > And... it depends on what position you're playing in and *how* > you play. > Sure. > I use the boxes you do, I also use 3 note per string positions: > > <http://www.guitarlessons-atlanta.com/wp-content/uploads/2015/11/guitar-lessons-F-Major-Scale-Modes.jpg> > > Do those look like your boxes for mi penta? Yes. Because the two-note per string penta shapes are contained within them. > Only if you start to > play 3 note per string pentas... Not necessary. I did 3 notes per string by default, because I wasn't a pentatonic junkie, and used the same positions for those as I did with pentatonic runs (but just used two notes per string for the pents unless sliding up). I didn't stay in "one box," because the boxes are all over the board, depending on what string your root is on, and they all slide into one another or otherwise overlap moving across strings, so... But there is no need to tell you that. > but even they are very different > (and harder to play fast). Play long enough and the positions > start to disappear, work really hard and that'll be true for all > those nasty 'jazz' modes, too ;) > >> And soloing using any of those >> modes is going to be "largely pentatonic." > > Only if you "largely" outline with 5 notes. Even adding a 6th changes > the sound a lot... Ford will play pentas with a 6th instead of a 7th (so, > technically, it's still only 5 notes when he does it). > >> > And not all Pentas are minor, take an A minor penta scale at the >> > 5th fret and move it down 3 frets, you'll have an A Major Penta. >> > (and you can play it *and* the minor penta over the same tune). >> > >> >> Yes, but the song in question is in minor. > > I'm aware... just general info. I don't know what level you're at, > plus... you keep talking about basic theory like it's 'the Devil' ;) > It's only the devil when it becomes more important than the music. >> >> And this solo goes outside the pentatonic. >> > >> > I said "largely"... and it is "largely". >> > >> >> As are most all solos, unless you know of some that skip all those >> pent minor intervals for some reason. > > I think you're conflating positional playing with penta scales. > No. > RB has played tons of solos that utilize more of a 7 note scale > sound, lots of people do... and not "most all solos" are "largely" > limited to 5 notes. Where'd you get that idea? You are misunderstanding what I'm saying. Of course most solos are not restricted to pentatonic. But for almost any minor scale/mode, the majority of the notes are also *part* of the pent minor, and among those notes that overlap are the triads, so those notes get used a lot. > Many players use > box patterns as a framework because it's a 'guitar thing' but they're > adding the other notes to the 5 often enough so as to say they're > not "largely" using 5 notes. You can hear it when someone does so. > > > Dude, get your guitar out of those mothballs already... > you ain't foolin' anyone, I can tell you still wanna play ;) Precious. ARGGHHHHHHHGNOOOOOOOOOOOOOOOOOOOoooooooo.....
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| From | Steve Carroll <fretwizzer@gmail.com> |
|---|---|
| Date | 2018-11-17 08:56 -0800 |
| Message-ID | <b34b75a2-c232-495f-b3e9-b0d84ac748a7@googlegroups.com> |
| In reply to | #477731 |
On Friday, November 16, 2018 at 4:23:03 PM UTC-7, owl wrote: > Steve Carroll <fretwizzer@gmail.com> wrote: > > On Friday, November 16, 2018 at 1:21:22 PM UTC-7, owl wrote: > >> Steve Carroll <fretwizzer@gmail.com> wrote: > >> > On Friday, November 16, 2018 at 12:29:47 PM UTC-7, owl wrote: > >> >> Steve Carroll <fretwizzer@gmail.com> wrote: > >> >> > On Friday, November 16, 2018 at 11:11:52 AM UTC-7, owl wrote: > >> >> > >> >> >> >> >> Jazzers don't laugh - they > >> >> >> >> > > >> >> >> >> > ... create, only to have their sh*t plagiarized > >> >> >> >> > >> >> >> >> Where did he steal this part? > >> >> >> >> https://www.youtube.com/watch?v=k91ZYULpkRY&t=2m56s > >> >> >> > > >> >> >> > Is that a serious question? Clapton all the way, who got it from ol' > >> >> >> > blues players. If you can't hear the connection then you haven't > >> >> >> > listened to enough early EC. RB didn't even use vibrato until he > >> >> >> > started listening to EC, he openly admits that. He did not pay his > >> >> >> > blues dues to the extent that many of his local peers did and it > >> >> >> > comes out in his playing. He did what I did early on, spent more > >> >> >> > time on scales, way more, to the detriment of other stuff. > >> >> >> > > >> >> >> > >> >> >> Yeah right. Point to the melody that is stolen. > >> >> > > >> >> > Melody? LOL! Those are basic blues licks (largely pentatonic), > >> >> > >> >> > >> >> "Largely pentatonic." You could say that of every minor mode. > >> > > >> > ?? Penta means five, lots of minor based (flatted 3rd) modes have > >> > 7 notes. Even if you stick to just the modes derived from a Major > >> > scale you get four of them: Dorian, Phrygian, Aeolian and Locrian. > >> > > >> > >> No shit. > > > > Then you know that not "every minor mode" is limited to 5 notes. > > > > Who said it was? When I wrote "Largely pentatonic" with respect to the SOTW solo, someone using the name "owl" replied with: "You could say that of every minor mode." > The pent minor is part of most all of them. > Even if you're using harmonic minor or melodic minor, the only > shared interval that's different is the 7. You're looking at it backwards. If someone is "largely" playing pentatonic that means they are "largely" *not* playing 2 and 6 (unless they're playing a hybrid). Put another way, you won't *be* "using harmonic minor or melodic minor" without "using" those tones. So... why are you talking about them? > >> And all of them can be played inside a canonical pent minor box. > > > > You can put a "box" around any section of the fretboard, if you're > > "largely" limiting your note choices to 5 notes that outline a minor > > penta scale... then you're "largely" playing "pentatonic". > > > > I didn't say limit note choices to those five. I didn't either but that's "largely" what you're doing when you play "largely" pentatonic ;) > I said when you're playing those minor modes, But we're discussing *not* "playing those minor modes". You are conflating position with note choices that are *not* being made because tones 2 and 6 are not being played. Therefore, there is *no* reason to bring in "using harmonic minor or melodic minor" because you're *not* "using" them if those 2 tones are absent. > most of the notes you are using are also > part of pent minor, and your hand position is the same, allowing > you to blend them easily. Which is what invariably happens when > soloing with a minor scale: most of the notes you are using are > part of pent minor too, so a good portion of your solo is going to > be there, given that the triads are going to be in the pent minor > range. And adding those other 2 notes creates a *way* different sound because it gives you access to a slew of arps you wouldn't have had. Without them you only have 1 minor and 1 major, two 3 note arps... as opposed to seven 4 note arps once you add in the 2nd and 6th tones... a bit of a difference in color, eh ;) (I'm talking about true chordal arps here as related to the key) > >> What I mean is that, aside from Locrian, every note in pent minor is also > >> a part of every other minor mode. > > > > That scales live inside of others is irrelevant, what matters are > > the notes you *play*. The minor penta sub I suggested over the V > > chord in a II-V-I is only 5 notes but the way it ends up being used > > is different, the ear doesn't associate it the same way because of > > how it fits over the V chord (so implication is involved). > > > > G7 chord = G, B, D, F > > Bb mi penta = Bb, Db, Eb, F, Ab > > > > Against that G7 chord these notes, respectively, are: > > #9, b5 (or #11), #5, b7 and b9 > > > > You get the altered chord tones... without having to learn a new scale. > > You can reduce the entire progression to minor by just playing an A > > minor penta for the Dmi7, move up a 1/2 step on the G7 (Bb mi penta) > > and then back down to A mi penta over the C chord. You could even > > move up to Bmi penta over the I chord but you need to learn to hear > > it to resolve it properly. Not surprisingly, this minor penta sub for the > > V chord lives inside of another mode (which is not not derived from a > > Major scale). The trick is making it musical and no, a given line is not > > unmusical simply because *you* don't recognize or appreciate the > > sound of it... slide rules need not apply. > > > >> pent minor: 1 b3 4 5 b7 > >> dorian: 1 2 b3 4 5 6 b7 > >> phrygian: 1 b2 b3 4 5 b6 b7 > >> aeolian: 1 2 b3 4 5 b6 b7 > >> locrian: 1 b2 b3 4 b5 b6 b7 > >> > >> You can play G minor pent, G dorian, G phrygian, etc., without > >> moving your hand out of the box. > > > > Doesn't matter... all that matters are the notes you *choose*. > > And... it depends on what position you're playing in and *how* > > you play. > > > > Sure. > > > I use the boxes you do, I also use 3 note per string positions: > > > > <http://www.guitarlessons-atlanta.com/wp-content/uploads/2015/11/guitar-lessons-F-Major-Scale-Modes.jpg> > > > > Do those look like your boxes for mi penta? > > Yes. Because the two-note per string penta shapes are contained within them. > > > Only if you start to > > play 3 note per string pentas... > > > Not necessary. I did 3 notes per string by default, because I wasn't a > pentatonic junkie, In my opinion you have preconceived notions about stuff that are to the detriment of your playing. IOW, it would have been to your benefit to learn both, you can study those positions without fear of becoming a pentatonic junkie... and you should have IMO. > and used the same positions for those as I did with > pentatonic runs (but just used two notes per string for the pents unless > sliding up). I didn't stay in "one box," because the boxes are all > over the board, depending on what string your root is on, and they all > slide into one another or otherwise overlap moving across strings, so... > But there is no need to tell you that. Sounds to me like you invested some time, it also sounds like you took the path I took for awhile. Even though I started out with the other positions I only abandoned them temporarily for the 3 notes ones. I abandoned all playing for many years (decades actually), I still don't play much now but I pick it up every so often. As I pick it back up... the modes built from scales other than the Major are not nearly as visible as they once were, I have to see 'patterns' to play them now. My harmony, which I spent considerable time on, is shot. > > but even they are very different > > (and harder to play fast). Play long enough and the positions > > start to disappear, work really hard and that'll be true for all > > those nasty 'jazz' modes, too ;) > > > >> And soloing using any of those > >> modes is going to be "largely pentatonic." > > > > Only if you "largely" outline with 5 notes. Even adding a 6th changes > > the sound a lot... Ford will play pentas with a 6th instead of a 7th (so, > > technically, it's still only 5 notes when he does it). > > > >> > And not all Pentas are minor, take an A minor penta scale at the > >> > 5th fret and move it down 3 frets, you'll have an A Major Penta. > >> > (and you can play it *and* the minor penta over the same tune). > >> > > >> > >> Yes, but the song in question is in minor. > > > > I'm aware... just general info. I don't know what level you're at, > > plus... you keep talking about basic theory like it's 'the Devil' ;) > > > > > It's only the devil when it becomes more important than the music. Said the guy who's talking about all these modes and such when I was just pointing out something really simple ;) > >> >> And this solo goes outside the pentatonic. > >> > > >> > I said "largely"... and it is "largely". > >> > > >> > >> As are most all solos, unless you know of some that skip all those > >> pent minor intervals for some reason. > > > > I think you're conflating positional playing with penta scales. > > > > > No. > > > > RB has played tons of solos that utilize more of a 7 note scale > > sound, lots of people do... and not "most all solos" are "largely" > > limited to 5 notes. Where'd you get that idea? > > > You are misunderstanding what I'm saying. Of course most solos are > not restricted to pentatonic. Given the context, above, you're saying they're "largely" pentatonic "As are most all solos..." > But for almost any minor scale/mode, > the majority of the notes are also *part* of the pent minor, and among > those notes that overlap are the triads, so those notes get used a lot. How many triads are you gonna play out of a penta scale? Contrast that with a bunch of 3 or 4 note arps available by adding 2 and 6. It's all a matter of the sequences you play that use specific intervals that will determine the sound. If you're "largely" *not* playing the 2nd and the 6th that will be evident... and not just casually so, *very* much so due to all the cool stuff that's *not* available. I've played with bunches of people who claim they don't like Blues 'cuz it's so boring. The back story is they've played with a lot of jammers who predominantly use pentas and not very creatively, at that. All runs starts on a down beat, everything is linear as f*ck unless it's a lick they learned, there's very little rhythmic variety and virtually no chording besides the overused sounds a beginner learns (not that these sounds are bad but if that's all you play things get stale). No mystery that these people find Blues boring until they play with someone who treats the Blues more like music than an exercise. > > Many players use > > box patterns as a framework because it's a 'guitar thing' but they're > > adding the other notes to the 5 often enough so as to say they're > > not "largely" using 5 notes. You can hear it when someone does so. > > > > > > Dude, get your guitar out of those mothballs already... > > you ain't foolin' anyone, I can tell you still wanna play ;) > > Precious. ARGGHHHHHHHGNOOOOOOOOOOOOOOOOOOOoooooooo..... He'll never leave ;)
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-17 10:52 -0800 |
| Message-ID | <74d42187-c84c-4d2d-ba46-2bcf95706cfd@googlegroups.com> |
| In reply to | #477819 |
On Saturday, November 17, 2018 at 9:56:49 AM UTC-7, Steve Carroll wrote: > On Friday, November 16, 2018 at 4:23:03 PM UTC-7, owl wrote: > > Steve Carroll <fretwizzer@gmail.com> wrote: > > > On Friday, November 16, 2018 at 1:21:22 PM UTC-7, owl wrote: > > >> Steve Carroll <fretwizzer@gmail.com> wrote: > > >> > On Friday, November 16, 2018 at 12:29:47 PM UTC-7, owl wrote: > > >> >> Steve Carroll <fretwizzer@gmail.com> wrote: > > >> >> > On Friday, November 16, 2018 at 11:11:52 AM UTC-7, owl wrote: > > >> >> > > >> >> >> >> >> Jazzers don't laugh - they > > >> >> >> >> > > > >> >> >> >> > ... create, only to have their sh*t plagiarized > > >> >> >> >> > > >> >> >> >> Where did he steal this part? > > >> >> >> >> https://www.youtube.com/watch?v=k91ZYULpkRY&t=2m56s > > >> >> >> > > > >> >> >> > Is that a serious question? Clapton all the way, who got it from ol' > > >> >> >> > blues players. If you can't hear the connection then you haven't > > >> >> >> > listened to enough early EC. RB didn't even use vibrato until he > > >> >> >> > started listening to EC, he openly admits that. He did not pay his > > >> >> >> > blues dues to the extent that many of his local peers did and it > > >> >> >> > comes out in his playing. He did what I did early on, spent more > > >> >> >> > time on scales, way more, to the detriment of other stuff. > > >> >> >> > > > >> >> >> > > >> >> >> Yeah right. Point to the melody that is stolen. > > >> >> > > > >> >> > Melody? LOL! Those are basic blues licks (largely pentatonic), > > >> >> > > >> >> > > >> >> "Largely pentatonic." You could say that of every minor mode. > > >> > > > >> > ?? Penta means five, lots of minor based (flatted 3rd) modes have > > >> > 7 notes. Even if you stick to just the modes derived from a Major > > >> > scale you get four of them: Dorian, Phrygian, Aeolian and Locrian. > > >> > > > >> > > >> No shit. > > > > > > Then you know that not "every minor mode" is limited to 5 notes. > > > > > > > Who said it was? > > When I wrote "Largely pentatonic" with respect to the SOTW solo, > someone using the name "owl" replied with: > > "You could say that of every minor mode." > > > The pent minor is part of most all of them. > > Even if you're using harmonic minor or melodic minor, the only > > shared interval that's different is the 7. > > You're looking at it backwards. If someone is "largely" playing > pentatonic that means they are "largely" *not* playing 2 and 6 > (unless they're playing a hybrid). Put another way, you won't > *be* "using harmonic minor or melodic minor" without "using" > those tones. So... why are you talking about them? > > > >> And all of them can be played inside a canonical pent minor box. > > > > > > You can put a "box" around any section of the fretboard, if you're > > > "largely" limiting your note choices to 5 notes that outline a minor > > > penta scale... then you're "largely" playing "pentatonic". > > > > > > > I didn't say limit note choices to those five. > > I didn't either but that's "largely" what you're doing when you play > "largely" pentatonic ;) > > > I said when you're playing those minor modes, > > But we're discussing *not* "playing those minor modes". You are > conflating position with note choices that are *not* being made > because tones 2 and 6 are not being played. Therefore, there is > *no* reason to bring in "using harmonic minor or melodic minor" > because you're *not* "using" them if those 2 tones are absent. > > > most of the notes you are using are also > > part of pent minor, and your hand position is the same, allowing > > you to blend them easily. Which is what invariably happens when > > soloing with a minor scale: most of the notes you are using are > > part of pent minor too, so a good portion of your solo is going to > > be there, given that the triads are going to be in the pent minor > > range. > > And adding those other 2 notes creates a *way* different sound > because it gives you access to a slew of arps you wouldn't have > had. Without them you only have 1 minor and 1 major, two 3 note > arps... as opposed to seven 4 note arps once you add in the 2nd > and 6th tones... a bit of a difference in color, eh ;) > > (I'm talking about true chordal arps here as related to the key) > > > >> What I mean is that, aside from Locrian, every note in pent minor is also > > >> a part of every other minor mode. > > > > > > That scales live inside of others is irrelevant, what matters are > > > the notes you *play*. The minor penta sub I suggested over the V > > > chord in a II-V-I is only 5 notes but the way it ends up being used > > > is different, the ear doesn't associate it the same way because of > > > how it fits over the V chord (so implication is involved). > > > > > > G7 chord = G, B, D, F > > > Bb mi penta = Bb, Db, Eb, F, Ab > > > > > > Against that G7 chord these notes, respectively, are: > > > #9, b5 (or #11), #5, b7 and b9 > > > > > > You get the altered chord tones... without having to learn a new scale. > > > You can reduce the entire progression to minor by just playing an A > > > minor penta for the Dmi7, move up a 1/2 step on the G7 (Bb mi penta) > > > and then back down to A mi penta over the C chord. You could even > > > move up to Bmi penta over the I chord but you need to learn to hear > > > it to resolve it properly. Not surprisingly, this minor penta sub for the > > > V chord lives inside of another mode (which is not not derived from a > > > Major scale). The trick is making it musical and no, a given line is not > > > unmusical simply because *you* don't recognize or appreciate the > > > sound of it... slide rules need not apply. > > > > > >> pent minor: 1 b3 4 5 b7 > > >> dorian: 1 2 b3 4 5 6 b7 > > >> phrygian: 1 b2 b3 4 5 b6 b7 > > >> aeolian: 1 2 b3 4 5 b6 b7 > > >> locrian: 1 b2 b3 4 b5 b6 b7 > > >> > > >> You can play G minor pent, G dorian, G phrygian, etc., without > > >> moving your hand out of the box. > > > > > > Doesn't matter... all that matters are the notes you *choose*. > > > And... it depends on what position you're playing in and *how* > > > you play. > > > > > > > Sure. > > > > > I use the boxes you do, I also use 3 note per string positions: > > > > > > <http://www.guitarlessons-atlanta.com/wp-content/uploads/2015/11/guitar-lessons-F-Major-Scale-Modes.jpg> > > > > > > Do those look like your boxes for mi penta? > > > > Yes. Because the two-note per string penta shapes are contained within them. > > > > > Only if you start to > > > play 3 note per string pentas... > > > > > > Not necessary. I did 3 notes per string by default, because I wasn't a > > pentatonic junkie, > > In my opinion you have preconceived notions about stuff that are > to the detriment of your playing. IOW, it would have been to your > benefit to learn both, you can study those positions without fear > of becoming a pentatonic junkie... and you should have IMO. > > > and used the same positions for those as I did with > > pentatonic runs (but just used two notes per string for the pents unless > > sliding up). I didn't stay in "one box," because the boxes are all > > over the board, depending on what string your root is on, and they all > > slide into one another or otherwise overlap moving across strings, so... > > But there is no need to tell you that. > > Sounds to me like you invested some time, it also sounds like you > took the path I took for awhile. Even though I started out with the > other positions I only abandoned them temporarily for the 3 notes > ones. I abandoned all playing for many years (decades actually), I > still don't play much now but I pick it up every so often. As I pick it > back up... the modes built from scales other than the Major are not > nearly as visible as they once were, I have to see 'patterns' to play > them now. My harmony, which I spent considerable time on, is shot. > > > > but even they are very different > > > (and harder to play fast). Play long enough and the positions > > > start to disappear, work really hard and that'll be true for all > > > those nasty 'jazz' modes, too ;) > > > > > >> And soloing using any of those > > >> modes is going to be "largely pentatonic." > > > > > > Only if you "largely" outline with 5 notes. Even adding a 6th changes > > > the sound a lot... Ford will play pentas with a 6th instead of a 7th (so, > > > technically, it's still only 5 notes when he does it). > > > > > >> > And not all Pentas are minor, take an A minor penta scale at the > > >> > 5th fret and move it down 3 frets, you'll have an A Major Penta. > > >> > (and you can play it *and* the minor penta over the same tune). > > >> > > > >> > > >> Yes, but the song in question is in minor. > > > > > > I'm aware... just general info. I don't know what level you're at, > > > plus... you keep talking about basic theory like it's 'the Devil' ;) > > > > > > > > > It's only the devil when it becomes more important than the music. > > Said the guy who's talking about all these modes and such when I > was just pointing out something really simple ;) > > > >> >> And this solo goes outside the pentatonic. > > >> > > > >> > I said "largely"... and it is "largely". > > >> > > > >> > > >> As are most all solos, unless you know of some that skip all those > > >> pent minor intervals for some reason. > > > > > > I think you're conflating positional playing with penta scales. > > > > > > > > > No. > > > > > > > RB has played tons of solos that utilize more of a 7 note scale > > > sound, lots of people do... and not "most all solos" are "largely" > > > limited to 5 notes. Where'd you get that idea? > > > > > > You are misunderstanding what I'm saying. Of course most solos are > > not restricted to pentatonic. > > Given the context, above, you're saying they're "largely" pentatonic > > "As are most all solos..." > > > But for almost any minor scale/mode, > > the majority of the notes are also *part* of the pent minor, and among > > those notes that overlap are the triads, so those notes get used a lot. > > How many triads are you gonna play out of a penta scale? Contrast > that with a bunch of 3 or 4 note arps available by adding 2 and 6. It's > all a matter of the sequences you play that use specific intervals that > will determine the sound. If you're "largely" *not* playing the 2nd and > the 6th that will be evident... and not just casually so, *very* much so > due to all the cool stuff that's *not* available. > > I've played with bunches of people who claim they don't like Blues 'cuz > it's so boring. The back story is they've played with a lot of jammers > who predominantly use pentas and not very creatively, at that. All runs > starts on a down beat, everything is linear as f*ck unless it's a lick they > learned, there's very little rhythmic variety and virtually no chording > besides the overused sounds a beginner learns (not that these sounds > are bad but if that's all you play things get stale). No mystery that these > people find Blues boring until they play with someone who treats the > Blues more like music than an exercise. > > > > Many players use > > > box patterns as a framework because it's a 'guitar thing' but they're > > > adding the other notes to the 5 often enough so as to say they're > > > not "largely" using 5 notes. You can hear it when someone does so. > > > > > > > > > Dude, get your guitar out of those mothballs already... > > > you ain't foolin' anyone, I can tell you still wanna play ;) > > > > Precious. ARGGHHHHHHHGNOOOOOOOOOOOOOOOOOOOoooooooo..... > > He'll never leave ;) Where did you find your scripts? Too much glue for you, gluey. The "advocates" value conformity in all things. It was The Thing who flooded RonB's site millions of times and pretended he did not do it. -- My Snoring Solution http://www.5z8.info/titstitstitstits_j7t4bl_stalin http://www.5z8.info/titstitstitstits_j7t4bl_stalin http://www.5z8.info/peepshow_z9s9ht_dogporn Jonas Eklundh
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| From | Snit <usenet@gallopinginsanity.com> |
|---|---|
| Date | 2018-11-16 13:23 -0700 |
| Message-ID | <g58na9Fa4ocU2@mid.individual.net> |
| In reply to | #477704 |
On 11/16/18 12:29 PM, owl wrote: > Steve Carroll <fretwizzer@gmail.com> wrote: ... > Are you trying to pull a snit here? He begged for years but I never agreed to it. ... -- Personal attacks from those who troll show their own insecurity. They cannot use reason to show the message to be wrong so they try to feel somehow superior by attacking the messenger. They cling to their attacks and ignore the message time and time again. <https://youtu.be/H4NW-Cqh308>
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-16 11:55 -0800 |
| Message-ID | <5ef687a2-487f-40d6-a9e6-7021db3b332d@googlegroups.com> |
| In reply to | #477696 |
On Friday, November 16, 2018 at 11:49:57 AM UTC-7, Steve Carroll wrote: > On Friday, November 16, 2018 at 11:11:52 AM UTC-7, owl wrote: > > Steve Carroll <fretwizzer@gmail.com> wrote: > > > On Friday, November 16, 2018 at 10:08:14 AM UTC-7, owl wrote: > > >> Steve Carroll <fretwizzer@gmail.com> wrote: > > >> > On Thursday, November 15, 2018 at 6:09:47 PM UTC-7, DFS wrote: > > >> >> On 11/15/2018 7:55 PM, Steve Carroll wrote: > > >> >> > On Thursday, November 15, 2018 at 5:43:20 PM UTC-7, DFS wrote: > > >> >> >> On 11/15/2018 7:02 PM, owl wrote: > > >> >> >> > > >> >> >> > > >> >> >>> I have only one question: Who created the most iconic guitar riff in > > >> >> >>> history? :) > > >> >> >> > > >> >> >> > > >> >> >> Probably Ritchie Blackmore (Smoke on the Water). > > >> >> > > > >> >> > He 'created' it the way a retarded kid would create a riff, > > >> >> > Beethoven's 5th backward but that's all he got out of it... > > >> >> > > >> >> Very inspired, actually. > > >> > > > >> > LOL! Spare me... and that whole 'backwards Beethoven' bit RB > > >> > likes to tell is a huge pile of crap. > > >> > > > >> >> > and people gave him the ol' blue ribbon and they're still > > >> >> > patting him on the head ;) > > >> >> > > >> >> As well they should; it's a GREAT guitar riff. > > >> > > > >> > It was a better (Brazilian Jazz) piano riff in '66: > > >> > > > >> > <https://www.youtube.com/watch?v=rvXxlXg_V-k&list=PL95RkxkasyRII1PBzjl4AS88PW0drDufd> > > >> > > > >> >> > > >> >> > Here's the Monty Python version... > > >> >> > > > >> >> > Blackmore: Look, I 'created' I, IV, V! > > >> >> > > > >> >> > (crowd laughs heartily) > > >> >> > > > >> >> > A men yells, no you didn't! Now sit down! > > >> >> > > > >> >> > (crowd laughter tapers off...) > > >> >> > > > >> >> > Blackmore: But I'm playing it using 4ths, no one ever used fourths! > > >> >> > > > >> >> > (crowd laughs uproariously) > > >> >> > > > >> >> > The same man: Like hell they haven't, Jazzers live by it! > > >> >> > > > >> >> > Blackmore: (stammering)... well... I.... I'm using a... a 1/2 step at one point. > > >> >> > > > >> >> > (crowd goes into hysterics) > > >> >> > > > >> >> > The man: You silly sod, ya didn't 'create' chromaticism, either! Now buzz off! > > >> >> > > >> >> > > >> >> Jazzers don't laugh - they > > >> > > > >> > ... create, only to have their sh*t plagiarized > > >> > > >> Where did he steal this part? > > >> https://www.youtube.com/watch?v=k91ZYULpkRY&t=2m56s > > > > > > Is that a serious question? Clapton all the way, who got it from ol' > > > blues players. If you can't hear the connection then you haven't > > > listened to enough early EC. RB didn't even use vibrato until he > > > started listening to EC, he openly admits that. He did not pay his > > > blues dues to the extent that many of his local peers did and it > > > comes out in his playing. He did what I did early on, spent more > > > time on scales, way more, to the detriment of other stuff. > > > > > > > Yeah right. Point to the melody that is stolen. > > Melody? LOL! Those are basic blues licks (largely pentatonic), > of the type that, literally, fall right under your fingers. This solo > is positionally played... so the limit of the contour of his lines > is readily apparent. > > Look, take the 'song' out of it for a second and listen to this > solo (try to ignore how the drums are trashing the first part). > Here's what a sense of "melody" sounds like in a blues... > (SOTW is a blues): <https://youtu.be/QHgwJdTJjG0?t=157> > > Note it's not just melody, he's also using a bunch of techniques. > He's using different tones, dynamics, various rhythmic devices > in the single note playing and in the chord melody playing, etc. > > There's a sense of movement to the solo, a 'story' as it moves > along. Ford is melodically fluent *all* over the neck, yes he'll > play 'positions', too, but you'd never know it to listen to him. > The lines are seamless, like a sax player's lines, he's playing > *music*, not just pentatonic guitar licks that are available in > the spot he's playing in. At 4:22 notice how he brings his part > down and then blasts wide open. RB's SOTW "melody" sounds > monotone compared to that sh*t. If you tell me you can't hear > it you're either being purposefully obtuse or you're hopeless. > > > Style is not something that can be "plagiarized." > > Are you using "style" in place of "emotion" now? How much EC > have you listened... and I mean the long assed jams out there? > Listen to enough and you'll see what's what. > > > >> > by lopping off a > > >> > little rhythmic flair and playing loudly through the distorted amp > > >> > of a drunken British bonehead who disses people he can't > > >> > compete with ;) > > >> > > > >> > > >> Yeah, he can't compete. > > >> https://www.youtube.com/watch?v=NCp9n4_zUfA > > > > > > I've heard this... he competes well... with many of the YouTubers ;) > > > > > > > LOL. > > > > >> > To be fair, Gilberto almost assuredly didn't 'create' the riff, but he's > > >> > not claiming to have; sounds like that have a history in the music > > >> > (yes, jazz) of that area during that era. > > >> > > >> Ritchie can make you reach for earplugs with the best of them. > > >> https://www.youtube.com/watch?v=INYEVrS25FI > > > > > > This is actually an example of what I've been talking about.... he's > > > stiff as can be, which is weird because he has no need to be. And I > > > can tell you why he is... like you, in his mind he's thinking 'jazz', > > > which misses the point as to what jazz actually is. But he's very > > > clearly out of his element and this is what happens when you're > > > tapped, knowledge-wise. Look, I'm not knocking him, he's a great > > > player but, to me, he's not what you're trying to sell him as. > > > > > > > It was apparently some off-the-cuff jam session. I hate that sound, > > It's not just the sound, he's stiff, far more so than other stuff you've > heard him play. Surely you can hear that, eh? > > > but to me it's about like the typical Daddio stuff used as a movie > > soundtracks when you have a pretentious director. These posts are clearly *not* automated, they are made by Sandman who is an overmedicated stalker with a sick agenda who has way too much time on his hands (and possibly has other idiots helping him). Any dreadfully butthurt sleep deprived whacko could easily do the same. So, yeah, I buy into my own make believe world, fully knowing it would never be discovered by others, because it makes me reconsider my program, improving it. That lame duck update system failed over and over again. You can't go into a gathering, quaff all the liquor, deck all the men, steal the wallets and yodel groceries in the face of your host without being ridiculed. What's the group coming to when a Sandman insult fails to get any attention? At one point, Sandman said an online denizen was "obsessing" over him, which was defined as replying to his posts. For the record, spending time perhaps researching a problem isn't a waste. Believing you know more than everyone else and working to 'prove' Steve Petruzzellis that it's true? THAT is a waste. -- Best CMS Solution of 2017 http://www.5z8.info/warez_w2t4ge_girlsgonewildpart1.wmv Jonas Eklundh Communication
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| From | DFS <nospam@nospam.com> |
|---|---|
| Date | 2018-11-15 13:09 -0500 |
| Message-ID | <kEiHD.390982$wV2.76109@fx01.iad> |
| In reply to | #477460 |
On 11/15/2018 12:51 PM, Steve Carroll wrote: > On Thursday, November 15, 2018 at 10:42:53 AM UTC-7, owl wrote: >> DFS <nospam@nospam.com> wrote: >>> On 11/14/2018 9:03 PM, owl wrote: >>> >>>> No, I hate to break it to >>>> you, but the reason these shredders from other genres don't play jazz is >>>> not because it's too hard, but because while playing it they are forced >>>> to also *hear* it, something few people want to do. >>> >>> >>> LOL! Exactly. >>> >>> The reason jazz people sit in open windows and play saxophones (on a >>> rainy night with neon signs nearby) is so they can easily tumble out >>> when they succumb to the depressing music. >>> >> >> If they time it just right, the can land on a trumpet player. > > LOL! F*ck you both. Here's a tangentially related question: > Is there any 'art' to programming? "Probably the single most striking similarity between programmers and jazz musicians? They make it look it easy." https://blog.udacity.com/2017/08/programming-jazz-art-making-it-look-easy.html "They make it look it easy." See the tension and release...
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| From | Steve Carroll <fretwizzer@gmail.com> |
|---|---|
| Date | 2018-11-15 10:59 -0800 |
| Message-ID | <6d43a32e-40e8-4e2c-b472-4edb465506d1@googlegroups.com> |
| In reply to | #477466 |
On Thursday, November 15, 2018 at 11:10:27 AM UTC-7, DFS wrote: > On 11/15/2018 12:51 PM, Steve Carroll wrote: > > On Thursday, November 15, 2018 at 10:42:53 AM UTC-7, owl wrote: > >> DFS <nospam@nospam.com> wrote: > >>> On 11/14/2018 9:03 PM, owl wrote: > >>> > >>>> No, I hate to break it to > >>>> you, but the reason these shredders from other genres don't play jazz is > >>>> not because it's too hard, but because while playing it they are forced > >>>> to also *hear* it, something few people want to do. > >>> > >>> > >>> LOL! Exactly. > >>> > >>> The reason jazz people sit in open windows and play saxophones (on a > >>> rainy night with neon signs nearby) is so they can easily tumble out > >>> when they succumb to the depressing music. > >>> > >> > >> If they time it just right, the can land on a trumpet player. > > > > LOL! F*ck you both. Here's a tangentially related question: > > Is there any 'art' to programming? > > > > "Probably the single most striking similarity between programmers and > jazz musicians? They make it look it easy." > > https://blog.udacity.com/2017/08/programming-jazz-art-making-it-look-easy.html > > > > > "They make it look it easy." > > See the tension and release... Joking aside, what do you think of this analogy?
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| From | DFS <nospam@nospam.com> |
|---|---|
| Date | 2018-11-15 17:07 -0500 |
| Message-ID | <r7mHD.385254$vJ1.375163@fx05.iad> |
| In reply to | #477476 |
On 11/15/2018 1:59 PM, Steve Carroll wrote: > Joking aside, what do you think of this analogy? Which analogy?
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| From | Snit <usenet@gallopinginsanity.com> |
|---|---|
| Date | 2018-11-14 16:43 -0700 |
| Message-ID | <g53q9pF7pvvU1@mid.individual.net> |
| In reply to | #477340 |
On 11/14/18 3:18 PM, Steve Carroll wrote: > On Wednesday, November 14, 2018 at 2:44:05 PM UTC-7, owl wrote: >> Steve Carroll <fretwizzer@gmail.com> wrote: >>> On Wednesday, November 14, 2018 at 1:29:06 PM UTC-7, owl wrote: >> >>>> I can be listening to Satriani and not even know it's Satriani. >>>> It could be any of a hundred other shredders. That's never the case with >>>> Blackmore. It only takes a few seconds of listening to know it's him. >>>> That's greatness. That's soul. >>> >>> That could be (I would submit that it is) due to the fact that you're >>> more familiar with RB than you are with JS. >>> >> >> No, I mean even with his stuff I've not heard before. >> As an example, when this song came out, I did not recognize it >> was Rainbow, because of the new lead singer. But even with the >> very opening riffs I suspected it was Blackmore, and by the time >> it got to this solo, I knew: >> >> https://www.youtube.com/watch?v=hByGwgm_vRs&t=2m44s >> >> He has a distinctive touch and phrasing that's just like nobody else. > > So... you're now arguing that if you *weren't* familiar with RB's > "distinctive touch and phrasing" you'd *still* have recognized > it was *his* (well, that *is* what you just argued)? > > We're down to Snit level now, aren't we ;) > You are actually showing reasoning and having a discussion mostly NOT focused on insulting others. While most would call this a step UP, if you want to think of it as down, sure... you are working at being closer to my level. It is good to see. -- Personal attacks from those who troll show their own insecurity. They cannot use reason to show the message to be wrong so they try to feel somehow superior by attacking the messenger. They cling to their attacks and ignore the message time and time again. <https://youtu.be/H4NW-Cqh308>
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-14 12:50 -0800 |
| Message-ID | <1e3afd6f-b8e1-47db-85d6-92e2c6aa8e39@googlegroups.com> |
| In reply to | #477322 |
On Wednesday, November 14, 2018 at 1:07:47 PM UTC-7, Steve Carroll wrote: > On Wednesday, November 14, 2018 at 12:47:28 PM UTC-7, owl wrote: > > (snip) > > > >> Blackmore is kind of a nut, but he is one of the greatest guitarists of > > >> all time. > > > > > > Not even close... > > > > LOL! > > He isn't. You might be able to argue that about Rock guitar playing but > my entire point has been about guitarists in general, not 'in genre'. > > (snip) > > > > Blackmore claimed Joe is soul-less, yet, he likes Malmsteen. WTF? > > > > > > > Satriani I can bear for about 15 minutes at a time. Vai not so much. > > Satriani is also an all around nice guy. > > The reason you can't is because they're doing their own thing, not playing > vocal tunes, same reason I can't. But that doesn't mean I don't recognize > their musicianship. > > > > "So, Yngwie and I get along well, he's like a family member, I definitely think > > > he's probably the best at what he does and, for what he's worth, the fastest, > > > and he does not play the typical blues, minor interpretations, he knows his > > > scales, it's more interesting." - Ritchie Blackmore > > > > > > Anyone can hear that Yngwie's playing, while technically phenomenal, is not > > > what you consider to be as soulful as what Joe does (when he's not trying to > > > burn), Malmsteen's tone just isn't suited to convey 'soul' in that way. > > > > > > The reality is... RB's so full of himself he's as delusional as Crackhead and, > > > like Cracky, he disses people who challenge his (fragile) view of himself. > > > > Blackmore is definitely egotistical. > > I call it delusional. > > > But that doesn't take away from his talent. > > My point is his talent is narrower than it's portrayed. > > > I just don't pay any attention to things he says. His music speaks > > for itself. As for Malmsteen, can't stand him. Ritchie probably just gives > > him a nod because of all the hero worship Malmsteen has poured on Ritchie > > over the years. I mean, the guy even scalloped his strat just like his > > idol. > > Ritchie gives him a nod because he's trying to remain a credible judge, > a thing he lost when he dissed Hendrix, SRV and Satriani. Even he can't > really believe some of the goofy statements he's made. > > <https://www.youtube.com/watch?v=MXo5fZyKdR4> > > Not one second of soul here... <eyeroll>. > > I'd love to know what RB defines as "soul" other than "searching" for notes > and blowing it while you do. Joe does most of his "searching" where one > should do it, in the practice room. Listen to him live and he will blow stuff > but not on the same level as most... like him, or not, he's just *that* good. Given how often it seems that The Thing's post is some distortion of a comment Steven Carroll posted which had been a beating on The Thing for something he did which was foolish/fallacious/etc... its undoubtedly a regular expression of The Thing's deep rooted butthurt for having been so frequently defeated. The Thing's posts are altogether in all respects deceitful. There can be zero ambiguity that as soon as any exonerated 'plonked person' does anything to confuse the poor namby-pamby's feelings that they will be ignored again. Do you even believe the nonsense The Thing is pushing? I do not follow that. Dumbness is dumbness and there are people like The Thing who are fine with it. Many are even programmers.Effectively everything The Thing says about Steven Carroll is dishonest. He has yet to realize people are not as stupid as he needs them to be. This is something you know nothing about. Edison and The Thing had their successes and their pickles. But one played it as the effect of ghosts and didn't do anything too outrageous that could not be presented as the wagging of a dog. -- Do not click this link! https://youtu.be/OffkiSAsYo8 http://www.5z8.info/trojan_p4g1zy_how-to-skin-a-gerbil https://youtu.be/E3m_i-x92D0 Jonas Eklundh Communication
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| From | Steve Carroll <fretwizzer@gmail.com> |
|---|---|
| Date | 2018-11-14 11:51 -0800 |
| Message-ID | <32a6d20c-ce31-415c-86d8-a2fc4e9eaa63@googlegroups.com> |
| In reply to | #477301 |
On Wednesday, November 14, 2018 at 11:28:47 AM UTC-7, owl wrote: (snip) > > Why isn't the 'creator' on that list? Shouldn't he be on *every* similar list > > being that he "created the art"? "The 70’s were fundamental for a multitude of reasons, including the fusion of different genres such as classical music with rock, effectively bringing back the classic virtuosity. This was most clearly heard by Ritchie Blackmore, one of the founders of the Shred phenomenon, whose arpeggio escapades and fast-paced sequences was well ahead of his time." <https://www.thomann.de/blog/en/electric-guitar-history-shredding/> ..."well ahead of his time." Unless you count the Jazz players who blew RB totally out of the water playing *clean toned* "arpeggio escapades and fast-paced sequences" RB couldn't ever dream of playing because ... wait for it... he can't play over complex chord changes like they were. Before RB grew his first pubic hair... <https://www.youtube.com/watch?v=ecZ1hugYXLs>
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-13 20:13 -0800 |
| Message-ID | <ad628de9-914d-4074-a1d6-d9e251917721@googlegroups.com> |
| In reply to | #477193 |
On Tuesday, November 13, 2018 at 7:43:08 PM UTC-7, Steve Carroll wrote: > On Tuesday, November 13, 2018 at 5:02:39 PM UTC-7, owl wrote: > > Steve Carroll <fretwizzer@gmail.com> wrote: > > > On Tuesday, November 13, 2018 at 1:01:58 PM UTC-7, owl wrote: > > >> Steve Carroll <fretwizzer@gmail.com> wrote: > > >> > On Tuesday, November 13, 2018 at 10:26:27 AM UTC-7, owl wrote: > > >> > > > >> > (snip) > > >> > > > >> >> I've noticed the tendency of some guitarists to heap praise on certain > > >> >> players who are no doubt technically capable, but who have never managed > > >> >> to gain a popular following because they just don't play anything that > > >> >> anybody wants to hear. I think that praise has more to do with defensive > > >> >> exclusivity, keeping those players "theirs" and feigning an imaginary > > >> >> "inside knowledge" or "sophisticated ear" that just does not present > > >> >> itself to a non-guitarist listener, or even most guitarists in general, > > >> >> for that matter, I'm happy to say. > > >> > > > >> > Name one of the guitarists from any of the bands you've posted who > > >> > can improvise a solo over a complex set of chords like this: > > >> > > > >> > <https://www.youtube.com/watch?v=pl3e0BZTsXQ> > > >> > > > >> > My take: people who are casual listeners don't give credit where it's > > >> > due because they can't, they haven't put the time in to the intricacies > > >> > of art on a higher level than the commercial stuff they're used to > > >> > listening to. Angus Young is now 63 years of age, even now, I'd bet > > >> > my legs he wouldn't even be able to grasp a feel for the chord chart, > > >> > much less play over the changes. Why? Because doing so actually > > >> > *does* require "inside knowledge"... musical knowledge... and a > > >> > "sophisticated ear", both of which Ford clearly had in abundance at > > >> > 30 years of age. > > >> > > >> Dude, you just don't get it. Nobody wants to hear those chords at all, > > > > > > Nobody who is an average listener, perhaps... but there are plenty of > > > people who do listen. > > > > > > > But even they don't like what it does to their ears. They like the > > challenge of mining the details of what makes it "great" (since that's > > never obvious). > > > > >> much less anybody wanking around them. :) > > > > > > Seems it has something in common with Linux ;) > > > > I'd say it has more in common with Mack, since snobbery and metaphorical > > badge display seem to be a big part of jazz. Is there really anything to > > *like* about jazz, other than admiration for a player accomplishing > > something that may be technically difficult? > > It's not just technical. That you don't associate with the elements in > it that evoke emotion in you is only because you're not familiar with > those elements. Let's try an experiment... start at this point: > > <https://youtu.be/pl3e0BZTsXQ?t=97> > > Then stop it at 1:43 > > What did you hear? > > I'll try to describe to you what I hear: > > The first line starts with a smooth bend, this is followed by a 'wah-like' > (and sustained) release note that ends the line at 1:40. Bluesy... > > Then comes a little melodic sequence that 'answers' the first line... the > way blues players are known for, but then it changes... > > At 1:44 the longer third and fourth lines 'answer' the 2nd in the most > tasteful fashion as he hooks into the harmonic changes seamlessly with > triplets, trilling his way down the neck only to change direction on the line > at 1:49, where it's like he's got something to tell you that's so urgent he > can barely squeeze it all in, yet, you hear every note *perfectly*. > > By the time you get to 1:52, unless you're brain dead, you begin to realize > you're being told a 'story', this f*cker is talking to you through his guitar! > And it's not just a casual conversation, it alternately ebbs and flows in a > way that you can't help but listen intently. Look at his mouth, fercrissakes, > it's as if the guitar stings have taken over his vocal chords but forget to > tell his lips ;) > > > Where does the emotional > > bond with the music come in? Because, honestly, I just don't get anything > > at all from jazz. > > If you honestly got nothing from that solo then I dunno what to tell you... The majority of people in this group do programming either as a pastime or as a vocation, so I have doubts more than a few thinks of writing macros to be "sorcery". What were you expecting? Lines of text containing quotes you somehow recognize but can not place. -- Top Ten Ways Sandman Trolls https://youtu.be/E3m_i-x92D0 https://www.reddit.com/r/linux/comments/6sfhq6/what_desktop_tasks_does_linux_handle_better_than/ Jonas Eklundh Communication AB
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-13 21:14 -0800 |
| Message-ID | <22f94c33-afd3-4c49-bfb1-48bd38b2a2de@googlegroups.com> |
| In reply to | #477193 |
On Tuesday, November 13, 2018 at 7:43:08 PM UTC-7, Steve Carroll wrote: > On Tuesday, November 13, 2018 at 5:02:39 PM UTC-7, owl wrote: > > Steve Carroll <fretwizzer@gmail.com> wrote: > > > On Tuesday, November 13, 2018 at 1:01:58 PM UTC-7, owl wrote: > > >> Steve Carroll <fretwizzer@gmail.com> wrote: > > >> > On Tuesday, November 13, 2018 at 10:26:27 AM UTC-7, owl wrote: > > >> > > > >> > (snip) > > >> > > > >> >> I've noticed the tendency of some guitarists to heap praise on certain > > >> >> players who are no doubt technically capable, but who have never managed > > >> >> to gain a popular following because they just don't play anything that > > >> >> anybody wants to hear. I think that praise has more to do with defensive > > >> >> exclusivity, keeping those players "theirs" and feigning an imaginary > > >> >> "inside knowledge" or "sophisticated ear" that just does not present > > >> >> itself to a non-guitarist listener, or even most guitarists in general, > > >> >> for that matter, I'm happy to say. > > >> > > > >> > Name one of the guitarists from any of the bands you've posted who > > >> > can improvise a solo over a complex set of chords like this: > > >> > > > >> > <https://www.youtube.com/watch?v=pl3e0BZTsXQ> > > >> > > > >> > My take: people who are casual listeners don't give credit where it's > > >> > due because they can't, they haven't put the time in to the intricacies > > >> > of art on a higher level than the commercial stuff they're used to > > >> > listening to. Angus Young is now 63 years of age, even now, I'd bet > > >> > my legs he wouldn't even be able to grasp a feel for the chord chart, > > >> > much less play over the changes. Why? Because doing so actually > > >> > *does* require "inside knowledge"... musical knowledge... and a > > >> > "sophisticated ear", both of which Ford clearly had in abundance at > > >> > 30 years of age. > > >> > > >> Dude, you just don't get it. Nobody wants to hear those chords at all, > > > > > > Nobody who is an average listener, perhaps... but there are plenty of > > > people who do listen. > > > > > > > But even they don't like what it does to their ears. They like the > > challenge of mining the details of what makes it "great" (since that's > > never obvious). > > > > >> much less anybody wanking around them. :) > > > > > > Seems it has something in common with Linux ;) > > > > I'd say it has more in common with Mack, since snobbery and metaphorical > > badge display seem to be a big part of jazz. Is there really anything to > > *like* about jazz, other than admiration for a player accomplishing > > something that may be technically difficult? > > It's not just technical. That you don't associate with the elements in > it that evoke emotion in you is only because you're not familiar with > those elements. Let's try an experiment... start at this point: > > <https://youtu.be/pl3e0BZTsXQ?t=97> > > Then stop it at 1:43 > > What did you hear? > > I'll try to describe to you what I hear: > > The first line starts with a smooth bend, this is followed by a 'wah-like' > (and sustained) release note that ends the line at 1:40. Bluesy... > > Then comes a little melodic sequence that 'answers' the first line... the > way blues players are known for, but then it changes... > > At 1:44 the longer third and fourth lines 'answer' the 2nd in the most > tasteful fashion as he hooks into the harmonic changes seamlessly with > triplets, trilling his way down the neck only to change direction on the line > at 1:49, where it's like he's got something to tell you that's so urgent he > can barely squeeze it all in, yet, you hear every note *perfectly*. > > By the time you get to 1:52, unless you're brain dead, you begin to realize > you're being told a 'story', this f*cker is talking to you through his guitar! > And it's not just a casual conversation, it alternately ebbs and flows in a > way that you can't help but listen intently. Look at his mouth, fercrissakes, > it's as if the guitar stings have taken over his vocal chords but forget to > tell his lips ;) > > > Where does the emotional > > bond with the music come in? Because, honestly, I just don't get anything > > at all from jazz. > > If you honestly got nothing from that solo then I dunno what to tell you... These morons get their kicks out of eliciting angry reactions to their insults, which is the very definition of a troll. Jonas Eklundh Communication AB and Klaus Schadenfreude both lie endlessly and flagrantly and continue to do so. So no sense in showing any further care or judiciousness. Do not get too bigheaded, Jonas Eklundh Communication AB, sometimes "seemingly intelligent people" are just that. Was that meant to be to me? This is truly a pastime of mine. - One Smart Penny!! https://groups.google.com/forum/#!topic/comp.os.linux.advocacy/smzXrBhsWf4 https://youtu.be/BUjnZhKk1Bg http://www.5z8.info/peepshow_z9s9ht_dogporn Jonas Eklundh Communication AB
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| From | DFS <nospam@nospam.com> |
|---|---|
| Date | 2018-11-14 09:51 -0500 |
| Message-ID | <NEWGD.535261$OM2.349354@fx37.iad> |
| In reply to | #477124 |
On 11/13/2018 11:51 AM, Steve Carroll wrote: > In my generation I guess I'm what you'd call an 'old soul' as > many of the bands my peers raved over didn't interest me very > much. AD/DC? Pink Floyd? Judas Priest? With a few exceptions > I could take 'em or leave 'em. This doesn't mean that I don't > recognize they have produced some good material but, for the > most part, it just wasn't a large part of my 'musical diet'. You're malnourished! Have some beef: tartare https://www.youtube.com/watch?v=-qHsuPv1n7c lean ground https://www.youtube.com/watch?v=etAIpkdhU9Q dry aged https://www.youtube.com/watch?v=UyOg0mt2R2k
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-14 07:23 -0800 |
| Message-ID | <eea3db05-0d95-4ed2-bc00-3202752e2677@googlegroups.com> |
| In reply to | #477252 |
On Wednesday, November 14, 2018 at 7:52:32 AM UTC-7, DFS wrote: > On 11/13/2018 11:51 AM, Steve Carroll wrote: > > > In my generation I guess I'm what you'd call an 'old soul' as > > many of the bands my peers raved over didn't interest me very > > much. AD/DC? Pink Floyd? Judas Priest? With a few exceptions > > I could take 'em or leave 'em. This doesn't mean that I don't > > recognize they have produced some good material but, for the > > most part, it just wasn't a large part of my 'musical diet'. > > > > You're malnourished! > > Have some beef: > > tartare https://www.youtube.com/watch?v=-qHsuPv1n7c > lean ground https://www.youtube.com/watch?v=etAIpkdhU9Q > dry aged https://www.youtube.com/watch?v=UyOg0mt2R2k I'm guessing, after deleting all the trolling, it is mainly just two of them producing almost all of the bombardment. It is blatant. And both absolutely over-the-top morons. LOL! How did Steven Carroll get *so* vainglorious he concludes everything is about him?? Who are you even talking to? -- One Smart Penny! http://www.5z8.info/php-start_GPS_tracking-user_j3m3lg_whitepower https://youtu.be/UkAyrfOZaXc https://www.reddit.com/r/linux/comments/6sfkup/what_desktop_tasks_does_linux_handle_better_than/= Jonas Eklundh Communication
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| From | Steve Carroll <fretwizzer@gmail.com> |
|---|---|
| Date | 2018-11-14 08:49 -0800 |
| Message-ID | <d1052aab-9e75-4bbb-95dd-71128e179c4f@googlegroups.com> |
| In reply to | #477252 |
On Wednesday, November 14, 2018 at 7:52:32 AM UTC-7, DFS wrote: > On 11/13/2018 11:51 AM, Steve Carroll wrote: > > > In my generation I guess I'm what you'd call an 'old soul' as > > many of the bands my peers raved over didn't interest me very > > much. AD/DC? Pink Floyd? Judas Priest? With a few exceptions > > I could take 'em or leave 'em. This doesn't mean that I don't > > recognize they have produced some good material but, for the > > most part, it just wasn't a large part of my 'musical diet'. > > > > You're malnourished! > > Have some beef: > > tartare https://www.youtube.com/watch?v=-qHsuPv1n7c > lean ground https://www.youtube.com/watch?v=etAIpkdhU9Q > dry aged https://www.youtube.com/watch?v=UyOg0mt2R2k I'm not saying they haven't produced good material but I'm talking about the musicianship of the *guitarists*. Ask yourself: Why do you consider Windows to be 'better' than Linux? Isn't it enough that Linux is better at certain things, which Windows may lack, to be able to say Linux is superior? Popularity be damned, that's what many in COLA have argued. So how does "better" get defined (as you just asked elsewhere)? How should it be defined for guitarists... more importantly, by *whom* should it be defined?
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| From | chrisv <chrisv@nospam.invalid> |
|---|---|
| Date | 2018-11-14 11:19 -0600 |
| Message-ID | <5kloud1pmr2emhu5qreif050ba715c2e53@4ax.com> |
| In reply to | #477271 |
Steve Carroll wrote: >Popularity be damned, that's what many in COLA have argued. Close. Most of us (with brains) don't consider popularity an important factor in our personal decision. However, we all recognize that without sufficient popularity to warrant continued support and development, software projects eventually cease to be viable. We recognize that the more popular a product is, the more support it will get, and that support is "a good thing". But Freedom is a *very* good thing, so it cannot be compromised, for the sake of popularity and support. -- "People are not going to migrate to desktop Linux until the open source community gets its act together." - some (not good) thing
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-13 06:44 -0800 |
| Message-ID | <27ba996d-6bfd-4483-a391-115cd54ff002@googlegroups.com> |
| In reply to | #477098 |
On Tuesday, November 13, 2018 at 6:35:33 AM UTC-7, chrisv wrote: > owl wrote: > > >Guitar wankery has its place, but it needs to one part of a band, not > >the focus, or I just can't listen to it. The guitar is not the violin. > >It just cannot carry an entire song, even in the best of hands. > > Damn near. For example, Voodoo Child, by Hendrix. > > -- > "You Linux/OSS wackjobs should be held liable for spreading viruses > and malware across the world, via your sendmail and postfix crapware." > - DumFSck Despite my reasoned views about CentOS, I even now continue to install it for newbies who've had trouble with OS X. My uptime is almost seventy-one days and I am ready to go see a doctor! Too many people continue responding to DFS. I don't blame Melzzzzz for for his rants but I can't grasp why he comes here with DFS here. Melzzzzz is better at discussions as is common in a non-trolling group and free groups clearly aren't it. DFS and Melzzzzz both lie constantly and flagrantly and continue to do so. So no motivation in showing any further courtesy or judiciousness. - Puppy Videos https://groups.google.com/forum/#!topic/alt.os.linux/BVpdH5KOc6s Jonas Eklundh
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| From | Steve Carroll <frelwizzen@gmail.com> |
|---|---|
| Date | 2018-11-13 05:41 -0800 |
| Message-ID | <596bd047-b8a3-41d2-8a5d-e23e2127ee09@googlegroups.com> |
| In reply to | #477094 |
On Tuesday, November 13, 2018 at 6:04:14 AM UTC-7, owl wrote: > Steve Carroll <fretwizzer@gmail.com> wrote: > > On Monday, November 12, 2018 at 6:34:14 PM UTC-7, owl wrote: > >> Steve Carroll <fretwizzer@gmail.com> wrote: > >> > On Monday, November 12, 2018 at 6:04:06 PM UTC-7, owl wrote: > >> >> Steve Carroll <fretwizzer@gmail.com> wrote: > >> >> > On Monday, November 12, 2018 at 9:19:29 AM UTC-7, owl wrote: > >> >> >> Steve Carroll <fretwizzer@gmail.com> wrote: > >> >> >> > On Monday, November 12, 2018 at 5:49:07 AM UTC-7, Simon bar Sinister wrote: > >> >> >> >> Sofia is an award winning Ukrainian Rock Star > >> >> >> >> > >> >> >> >> Sofia Shkidchenko > >> >> >> >> > >> >> >> >> https://www.youtube.com/watch?v=-FBGDF7I6VQ > >> >> >> > > >> >> >> > > >> >> >> > <https://www.youtube.com/watch?v=ZhD5alkNCsM> > >> >> >> > > >> >> >> > In '94 (pre autotune) CA even 'brang it' at 13... when Spears was one > >> >> >> > of her dancers. > >> >> >> > > >> >> >> > >> >> >> Leann Rimes > >> >> >> age 14: > >> >> >> https://www.youtube.com/watch?v=HFKB5HJWZ5g > >> >> >> age 15: > >> >> >> https://www.youtube.com/watch?v=3-qTOqpfw4A > >> >> > > >> >> > Yeah, she's another one that kicks the asses of all these yodelers. It's > >> >> > obvious someone needs to inform Godhe of the latest vitamin D study, > >> >> > that taking too much of it (or fish oil) isn't doing what he thinks, it's > >> >> > probably doing a number on his ability to think... and those eggnog > >> >> > enemas he's fond of aren't quite the mood enhancers he's hoped for. > >> >> > >> >> Let's not forget that the young Gohde was a prodigy in his own > >> >> right, as this early clip shows: > >> >> > >> >> https://www.youtube.com/watch?v=fyJViLfHfiw > >> >> > >> >> I doubt many kids today could pwn an SG like the sheriff. > >> > > >> > Or afford all those stacks! > >> > >> Holy shit. I'd never seen this vid: > >> > >> https://www.youtube.com/watch?v=bEwQK3DjOCs > >> > >> Jaw-dropping. > > > > I had to go here to get mine to drop... contains just about every other tone > > you can get out of an SG (drenched with delay and other goodies, but still): > > > > <https://www.youtube.com/watch?v=OZiAVI13ky0> > > Guitar wankery has its place, but it needs to one part of a band, not > the focus, or I just can't listen to it. The guitar is not the violin. > It just cannot carry an entire song, even in the best of hands. Total hogwash by an uneducated, fabricating, deceitful, conspiring dullard who could not be sincere even if you paid him to. For others I'd simply suspect it is questionable. Of course, given that it's William Poaster I would forget that doubt and go straight to 'trolling' because that's most of what he does. It is faster to assume it is a lie until proved otherwise. The herd members value the LCD in both their lives and their computer systems. Turns out William Poaster's constant mentioning of Klaus Schadenfreude met his own definition of trolling, so he abandoned that, too. Proof Sandman accuses everyone of being Snit http://sandman.net/files/snit_circus.png. I can tell from the way William Poaster responded - by getting wrong details of the operating system and so on - he's never worked on an algorithmically challenging task. Otherwise he would have understood the requirements! William Poaster showed himself to be a two-timer by claiming he would not speak to Klaus Schadenfreude via screaming 'Into the bin with you!' and then bombarding him repeatedly by means of piggybacking. -- One Smart Penny https://goo.gl/Fho5Nq https://youtu.be/u4xD43Khhkw https://youtu.be/IhOfBmWwCVY Jonas Eklundh Communication AB
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