BEN MONDER COMPOSITIONS PDF

Ben Monder Compositions — Gif file. Monder, Ben — Ben Monder Compositions guitar They are scored for solo guitar, guitar trio, guitar and voice duo, and quartet with one or multiple voices. Not a valid email. US Customers International Customers. Stock varies by site and location.

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Throughout the intervening years Monder has been recruited to play on more than albums, worked with such luminaries as Paul Motian, Jack McDuff, Lee Konitz, Kenny Wheeler, and Maria Schneider, and released numerous collaborative albums and four as a leader. There are quite a few extraordinary guitar sounds on Bloom. What were you playing through when you recorded it?

It was pretty much my standard setup from ten years ago. Has your rig changed much since then? I still use the LXP-1, though I had it upgraded by a guy in California a few years ago, so it sounds much better. I mostly just keep it on the Hall setting and adjust the amount depending on the tune. I bought it in because I liked the way it looked, and because I imagined it would produce a certain sound.

But I kept at it and eventually it started sounding the way I wanted. I can also bend the neck to change pitch, which is something I do fairly often. You also have a nice acoustic that you play on some pieces. Yes, a Martin One of the most startling aspects of your playing is your right-hand technique. Describe what you are doing both when playing with and without a pick. I fingerpick all of the solo pieces and most of the more elaborate band pieces, though, because it is easier just to grab arpeggiated chords with my right hand.

My technique approaches classical right-hand technique, but I only use my pinky when I want to play five notes simultaneously, and never for playing arpeggios. What kind of picks do you prefer? Several of your compositions are polyrhythmic. What advice would you give players who would like to learn to play polyrhythmic music? Learn to tap the polyrhythms out with your fingers. Experiment with the simplest ones first: 5 against 4, 7 against 4, 5 against 3, and so on.

Describe the ways in which you use them. The idea is the tension between an implied key of C on the bottom and a key of A on the top, as well as the polyrhythms, which are 5 against 3. I only use non-standard tunings to get specific sounds for specific pieces. I use. Much of the improvised music on Bloom sounds composed. Did you discuss it beforehand? I like to think of improvisation as compositionally as I can, and to have it cohere as much as possible, developing an idea logically over time.

And, of course, I love playing with people that feed me as many ideas as possible. For example, I might just listen to the sound of the ride cymbal or the drums generally, because they are not pitch specific, and that will get me out of thinking about harmonic things. Is there anything that you do to get yourself into the right headspace for improvising? Not really. I probably should.

I used to meditate a lot and whenever I would do that before a gig, I would always play much better. Sometimes it helps if I remind myself of the priorities that I have, such as what I was just talking about as far as playing compositionally and simply. What sorts of things do you practice? That would be ridiculous. Then, depending on the scale, I could take it up through a harmonic minor or major scale or whatever, and that will give me options based on whatever the relative modes are for that scale.

I just responded to whatever sort of sound ideal I had in my mind and tried to get there through my own exercises and other ways of working.

So yeah, if that ends up sounding original, then great.

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