New Release And Other News

Hey everyone a few new announcements.

The Emebe Esti Live EP is out

One of the bands I’ve been playing with, Embe Esti – has a new live release out.  It’s basically two live recordings that we smashed into one release called “Live in the 518”.

It’ll be out on iTunes, Amazon, etc. by the end of the year (it takes a while after it’s submitted to CD baby) but for now all of the original tunes are on Bandcamp.

You can check out our cover tunes below:

A little Joan Jett above and Hassan Hakmoun below

All guitar sounds for this were taken from the XLR direct outs on my Yamaha THR100HD.

Recording signal path – Yamaha Pacifica 611 hard tail –> EP Booster ( running 18 volts for headroom) –> boss stereo volume –> md2 delay (1 before amp and delay 2 in FX send  for recording but for current live rig –  both delays are in fx send)–> micro Hendrix wah–> Yamaha THR100HD (this was then run to a Yamaha 2×12 cab for some room ambience – for my current club rig I’m using the 1×12 cab, 1 amp channel and the MD2 and a TC delay in the FX send as a mono signal)

Volume changes on guitar for clean tones (roll off about 50-60%). Spring reverb patch and boost for solos come from the amp.

If you dig the Embe Esti material – you can check out our website or our FB page (likes and follows are always appreciated).  If you like the music in the videos – you can check out my You Tube page which has a bunch of old material (and some new things) that sprawl all over the place.

New Releases for 2018

Recording and mixing is done for the I Come From The Mountains EP.  This is the duo project with Dean from KoriSoron.  We’re just waiting for artwork and some other material to get that out.  I’m expecting January of 2018.

Recording and mixing appears to be done on my solo acoustic ep.  This is a series of live performances that have been documented and pulled together into a release.   I expect to have this out in February / March of 2018.

You can expect another Embe Esti release in 2018.  We’ve been working on some new material, and I expect we’ll have enough for another release by the summer.

Some other new things

I’m experimenting with a few other mediums of expression as this website has gotten a little too unwieldy to maintain and update properly.

I post several times a week on Instagram and on my Facebook page.  Liking and following those pages is the best way to see things I’m working on.  I also started a new 5-minute lesson series (soon to be a 1-minute lesson series as that’s the maximum time Instagram allows for upload) that’s designed to be a series of short tips, hacks, etc. that you can immediately incorporate into your playing.  You can see the first lesson on my FB page, but I’ll post the tab below just to hopefully entice you.


The content will also be up on my new page, along with a lot of new lesson material.  I’m working on new content for lessons so I’m experimenting with providers and the best way to get that out into the world.

That’s it for now.  Today is all about going deep into researching music publishing for me so I have to get to it.

As always, thanks for reading!

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Reconnecting by De-connecting

Back in the saddle again….

I’ve been off guitarchitecture for a while.  I posted a new podcast on guitagrip.com, and have taken on a few other projects (I’m the musical director/foley jockey for a new production at Siena College that starts in a few weeks, picked up new students, worked on some consultations for other projects, booked some new korisoron shows, worked with ZT amps for some videos we’ll be doing to promote their awesome acoustic amps and related material).  But more importantly related to my absence here, I’ve noticed some severe attention deficit for my interactions with various things.

In addition to trying to be mindful of the fact that multiple options typically leads to overwhelm and inactivity rather than making better choices – I still found myself struggling with finding time to work out or read a book.  These two activities in particular also happen to be things that are very grounding for me.

So clearly something wasn’t working.  In analyzing my actions, I realized that much of my day was spent working under the illusion of being proactive (checking e-mail repeatedly for example) with being reactive (now forcing myself to react to an email with an immediate urgency for something that wasn’t even an issue a minute earlier).

It’s the illusion of getting something done in a timely manner, but it sabotages short and long term goals.

Physician Heal Thyself

In a recent lesson, I gave a student the same advice that I needed for myself, namely to find the things that trigger a flow state and adapt that to practicing.

By a flow state, I mean events that you can loose yourself in without being aware of time passing.  This might mean playing, or reading or working on your car.  It’s whatever event you can fully immerse yourself in.

For me, that’s reading, and then that’s guitar playing.  As a kid, I would read books constantly not being aware of what time had passed.  Guitar playing came a lot later and had a lot of extra baggage associated with it that had to be overcome to be in a flow state. (such as editing and analyzing what you’re playing as you play it – even having worked on that a lot I still find myself falling into that mode once in a while).

So I got back into reading books.  Physical books picked up from the library.  Serious reading where skimming was avoided (I found myself skimming sections to get to the next part and then coming back and re-reading things in a deeper way) and every word that was on the page came into the internal narrative of what I was reading.  When I lived in Boston, it was easy because it took at least 30 minutes each way to get anywhere by train, so I always brought a book with me and read it on the train.  But now that I drive everywhere, it’s taken a while to get back into the habit of REALLY reading something of substance (just like it’s taken a while to get back into the habit of walking places when you find yourself driving everywhere).

It’s easy to be dismissive of this.  After all to read a two to three sentence synopsis of a much deeper topic is easier, faster and easier to act on yes?

The short answer is no.  The longer answer is, it’s completely missing the point.

The Filter bubble

I was thinking a lot about Eli Pariser’s filter bubble book.  In a filter bubble, uncommon data is eliminated so that the more common data rises to the top of the searches.  So when you do a google search for something, you’re only skimming the surface of the data out there.  This is great when you want to find specific data (like a water table for a county for a specific year), but not so great when you’re looking for specific topics.

Years ago, my friend Randy saw a Charles Manson shirt and commented that people used faces like Manson and Hitler to be provocative because they weren’t well informed enough to find more relevant contemporary people.  They went with what was easy or immediately accessible.

So a filter bubble is like handing someone a 6-string guitar with only 2 strings and saying, “ok here’s a guitar.  Now go play “smoke on the water.”  You can play the main riff of the tune on 2 strings, but without the rest of the strings on the guitar you’re missing out on a lot.  In my case, it’s engaging in reading as a process to come to a deeper understanding of something, rather than developing a “hack” shortcut.

The synopsis approach in action

The reality of the above mentioned two to three-sentence synopsis for most people is some variation of this process:

1.  Read the synopsis.

2.  Do an internal litmus test to see if it seems plausible.

3.  Google the term to see if there’s a common consensus on the topic.

4.  If it’s determined to be correct, then it’s added to the list of things that they learned today,  filed it into memory and then transmitted to other people as knowledge.

In other words, it’s very rarely acted upon.  This is what happens when you are reacting to data all the time.  You get overwhelmed and can’t really internalize things.

Another YouTube Rant

It seems like every day someone is sending me some new YouTube link to some playalong or performance. You want to know why there are SO MANY videos of technical guitar videos on YouTube?

Because (in the scheme of things) it’s not that hard to do.

You could train a monkey to play the version of “flight of the bumblebee” that so many guitarists post (btw – I blame a Guitar Player transcription/lesson of Jennifer Batten for this version being in existence because that seems to be the one everyone is referencing for fingerings).  It’s not about music, it’s about getting a few specific techniques under your belt to meet a specific goal.  There’s nothing wrong with that, but it’s a limited end unto itself.

I pretty much stopped watching YouTube guitar videos because:

A:  I saw the filter bubble in action.  So many of the videos I saw were clearly guys who had watched the same video, or learned the same tune.

B:  I have my own thing to work on, so unless it’s really special, I really don’t care what other guitarists are doing.

So, I don’t care about shred videos on YouTube.  I don’t care that an 8 year old can play “Scarified” not all that well at near the recorded tempo.  What DO I care about then?

This in contrast is a lot harder:

This is making music.  This is what happens when a master musician becomes a shaman and invokes the spirit behind the song.  It’s about being completely in the moment.  It’s about having something to say and speaking it directly to other people.

It’s being in the flow and taking other people with you.

It’s about being in the present.  Not checking your email every 15 minutes to see if you’re missing something.

It’s about the duende moment.  The moment the hair stands up on your arms and you feel more alive than before.

That doesn’t happen online.  That doesn’t happen in a text.  That happens with people in a room sharing an honest naked moment.

Creating that moment starts with you, the performer being in the moment and bringing people there.

Being in the moment is something that has to be practiced.  Now, possibly more than ever.

That’s why I started working on things that fell into my flow state more often.  The more I enter flow, the more easily I can enter in in other areas of my life.  The more I can bring that when I perform.  The more I can create something beyond the veneer of flash and get to touching people in a real way.

So, that’s where I’m at.  A work in progress moving towards reconciling an analog past with a digital present and doing it (for now) increasingly offline.

As always, thanks for reading!  I hope this helps you in some way!

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Deciphering Apple’s Eddie Cue’s “Music Is Dying Quote”

BuckMoon Arts Festival

As a reminder to anyone who happens to be in the upstate NY area, I’ll be performing live accompaniment for a staged reading of The Exonerated as part of the BuckMoon Arts Festival on July 12-13, and leading a series of panel discussions with working artists and industry experts on how artists can monetize their art.  You can read about both of those here.

In doing some research for the panel discussions I was listening to the CD Baby podcasts this week and I caught up on two interesting, and somewhat related stories to the panel.

1.  Apple’s Eddie Cue announced that Apple bought Beats because “Music Is Dying”

2.  Indie artist Shannon Curtis came on to promote her new book, “No Booker, No Bouncer, No Bartender: How I Made $25K On A 2-Month House Concert Tour (And How You Can Too)”

Is Music Dying?

I’ve never seen anyone at Apple make any kind of negative statement about the music industry, which is why iTunes Eddie Cue’s quote is somewhat telling:

“Music is dying,” said Cue. “It hasn’t been growing. You see it in the number of artists. This past year in iTunes, it’s the smallest number of new releases we’ve had in years.”

As quoted from  http://readwrite.com/2014/05/28/apple-beats-eddy-cue-jimmy-iovine#awesm=~oHLbiOYNIxpYCB

My guess is that he’s talking about the smallest number of major label releases, as there is no shortage of independent music being released.  and that might be true. A recent Variety article entitled, Music Sales Continue to Plummet for Albums and Digital Downloads, brought up the following statistics comparing sales for the first 1/2 year of 2014 with sales from 2013.

  • Total album sales (any format) dropped nearly 15%.
  • Sales of individual digital tracks were down by 13%
  • Streaming was up 42% (but streaming revenues for music are almost nothing)
  • Vinyl sales were up 40%, with Jack White’s Lazaretto selling over 48,000 units.
  • The year’s best seller is the Frozen soundtrack which has sold over 2.6 million units.

As the article’s author, Christopher Morris put it:

“To put the steepness of the decline in perspective: Just 18 months ago, Adele’s Grammy-winning “21” – the bestselling album of 2011 and 2012 — finished the latter year with sales in excess of 10 million. It is conceivable that such a phenomenon will not be seen in the industry again.”

In contrast, check out the story about Indie Artist Shannon Curtis who went from playing clubs to making $25,000 on a 2-month tour of house concerts.

So, is music dying?

Well….music itself isn’t dying (that quote is just silly) but music making is being altered in a way that professional musicians are not able to make a living at it with traditional means. The traditional major label model has moved from a terminal status to life support and musicians are having to find ways to try to make money with more revenue streams than ever, that pay less money than ever, with more people competing in the market forever.

Shannon Curtis was able to bring in some money doing house concert shows to audiences who wanted to see her in a non-traditional venue (but I’m guessing she’ll make more money from her e-book from musicians looking for a new angle than she ever did from her concert tour!)  But the real problem most new artists face is that culturally we’ve created a Vine audience with a short attention span.  One that demands immediate gratification and doesn’t want to have to wait to experience something.

Having said that, people still want to connect with things on a deeper level, and the artists that can weather the storm and actually touch people – consistently in an honest emotional way, are the ones who will be building a career and those artists are going to face even bigger challenges over the next 10 years.  Perhaps that struggle will make some great art.

Back to the panel prep!  As always, thanks for reading!

Revised Pentatonic Visualization Book Is Out Now

Scott Collins’ Fretboard Visualization Series: The Pentatonic Minor Scale

Hey Everyone,

After several months, I’ve just completed a massive update to my Pentatonic book and the print edition looks great!

This updated edition is almost twice as long as the original Fiver edition and has a complete overhaul of the text and graphics!

The updated version is $15 for the print edition and $10 for the PDF from LULU (The print edition should be up on Amazon in a couple of weeks)

Pent table of contents 1


Pent Table of Contents 2
Pent table of contents 3

You can preview the contents and order it here.

The information on the back of the book follows.

Scott Collins’ GuitArchitecture method replaces the standard approach to learning guitar (rote memorization) with a simple, intuitive two-string approach that anyone can learn. This method, where players can actually see scales on a fingerboard, is called sonic visualization, and it can be applied to any scale or modal system.

In this volume of his Fretboard Visualization series, Scott has used his two-string method to present the pentatonic minor scale in an easy, intuitive and musical manner.  This book not only demonstrates how to “see” the scale all over the fingerboard, but also shows how to use the scale in a variety of contexts and presents strategies that can be applied to making any scale more musical. The Scott Collins Fretboard Visualization Series: The Pentatonic Minor Scale is an invaluable resource for guitarists who are looking to break through to the next level in their playing.

The Print Edition of the book is $15, and the e-book version is $10 on Lulu (the revised print edition should be up on Amazon in the next 2-3 weeks)

The Original Fiverr Edition

In the meantime, for those of you on a budget – the original pdf lesson book is still available for $5 on Fiverr (That link is here).

I’ve broken the book out into six different lessons over 50 pages that covers:
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  • how to visualize pentatonic minor scales on the fingerboard positionally
  • how to use the scales over different tonal centers
  • one string patterns
  • cool ways to sequence the melodic cells with combinatorics and…
  • pentatonic harmony (Worth the price of admission alone)

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In other words, it’s a series of short succinct lessons to get under your fingers to start playing but with enough meat on their bones to keep you busy for a while.

Here are some reviews from Fiverr:

“super fast [delivery]. looks good – now i have one more reason to hide and play. thanks!”

“Excellent value! look forward to putting it into practice.”

“Very useful guide for those interested in the material. Great seller!”

“This is the way it should be taught! This method helps you to arrive at a good understanding very quickly. Thank you very much!”

“Fantastic book. Looking forward to checking out your other stuff. Glad I came across this!”
“Great course. I didn’t realize it was this much info. Thanks a lot.”
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Thanks Everyone!  Keep an eye out for my new Pentatonic Extraction Book which should be out this fall!!!!

Customer Service Growing Pains or No One’s Ever Happy In A Compromise.

Wait, what about the books now?

As many of you know, a while ago I made a shift away from offering PDFs directly and moved it over to Lulu (which also distributes it to Amazon).  I did this for several reasons, but mainly I wanted the customer to be able to order the books and download them instantly.  Sometimes, schedule conflicts held up orders and while people were really cool about it – I know that when you order something you generally want it RIGHT NOW.

So the plus side is that the orders go out immediately.

The down side, and it’s a near insurmountable downside for me, is that while Lulu and Amazon have some analytics about who orders books –  I have no way to contact people to thank them or to talk to them about any aspects of the book that they dug, disliked or just didn’t get.

All I have is this blog and that co-opted Ambrose Bierce (?) reference in the title that reminds me that the nature of service mandates that while you can’t give everyone everything always – you should always give them the best of what they’re asking for.

So a few things then:

1.  If you’ve ordered any of my books in a print or pdf format – THANK YOU! It’s really appreciated and I hope that you’re getting something out of them.

2.  If you’ve ordered any of my books from Amazon or Lulu please feel free to drop me a line at guitar.blueprint@gmail.com with any questions, comments etc.

3.  I’m really trying to get in touch with anyone who’s bought my Pentatonic Visualization book from Lulu or Amazon.  I have dates and sales numbers but no names and I’d really like to get some supplemental material to you!  This also goes for those of you who bought the Symmetrical Twelve-Tone Patterns book who haven’t gotten the free bundle that compliments the book.

4.  While I promote Lulu and Amazon evenly – I should mention that Amazon is currently selling physical copies of my books at a 10% discount from Lulu.  I know that PDFs are convenient, but these books are really designed to be something that you hold (or put on a music stand) and flip to a physical page.

Again, thank you for your support, you indulgence and for your interest in anything that I’m writing about or doing.  I hope that any or all of it helps you in some way shape or form.

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ps – The Devil’s Dictionary was a hugely influential book on me.  I thought Bierce gave me the compromise quote – but I may have cobbled it together from a few other sources.  If anyone knows a source, please drop me a line so I don’t have to be the pompous ass who quotes himself ; )

For those of you interested, Bierce’s actual definition  was,

“Compromise, n. Such an adjustment of conflicting interests as gives each adversary the satisfaction of thinking he has got what he ought not to have, and is deprived of nothing except what was justly his due.”

 – Ambrose Birece, The Devil’s Dictionary

Guit-A-Grip Podcast #4 Is Out And Other Updates

Hey Everyone,

Just a quick plug – a Guit-A-Grip podcast (Separating the Suck from Success) is now up.  You can download the link (or stream the show) and check out the show notes here.

The new Not-Peggios lesson with harmonic Minor shapes will be up this week and some cool player profiles are coming to Guitar-Muse.

Thanks for reading!

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Announcing My New Podcast and Website – Guit-A-Grip

Hello everyone!

I just wanted to let you know that I have a new blog and a new podcast called:

Final

You can find the website here: guitagrip.com 

You can find the podcast on iTunes here:

https://itunes.apple.com/us/podcast/guit-a-grip-podcast/id638383890 

GuitArchitecture VS Guit-A-Grip

Simply put, GuitArchitecture focuses on a specific methodology for how to play guitar while  Guit-A-Grip focuses on the philosophical/psychological underpinnings addressing the why of guitar playing.

A number of posts in this area currently on GuitArchitecture will gradually be migrating over to Guit-A-Grip with all new content there as well.  There’s been some site clean-up here already and there should be more coming soon.

For those of you who are concerned – don’t worry – both sites will still maintain the same 2004 Web design standards ; )

So GuitArchitecture isn’t going anywhere – it’s focus is just going to be tightened on the physical and technical aspects of guitar.

The Podcast

The Guit-A-Grip podcast is going to be weekly(ish) and there’ll be a new podcast up before the end of the week. Hopefully it’s something you’ll dig.  If you do – please leave a review on iTunes!

I’ll update this post later with some more info and observations – but in the meantime I invite you to join me in Guiting-A-Grip.

As always, thanks for reading!

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An Indie Musician Wake Up Call Is Now Available on Kindle

Hello everyone!

My first Kindle book, “An Indie Musician Wake Up Call” is now up on Amazon!   (If you have Amazon Prime, you can read it for free!) If you don’t have a Kindle, the Kindle app to read it on your mac/pc/iPad, etc. is free from Amazon.  The book description from Amazon is below.

An Indie Musician Wake Up Call (aka What Louis CK, Amanda Palmer, David Lowery and Emily White Really Means For The Working Musician) is a prog rock manifesto delivered as a punk rock intervention.

The book is comprised of two extended (but related) essays that address the real impact that Amanda Palmer’s recent Kickstarter campaign and Louis CK’s crowdfunding release has on working musicians (hint: not much), and the REAL problem musicians face with the David Lowery/Emily White NR debacle (hint – it’s not strictly file sharing).

“An Indie Musician Wake Up Call” is a rallying cry for real steps musicians will need to take in the 21st century to move forward and establish their careers.

Wait…”first kindle book”?

In related news, there will be a book of music business essays up on Kindle soon, as well as Nothing Ever Got Done With An Excuse, the book on project management I’m currently editing.

Additionally, the current book on Fiverr (http://fiverr.com/guitarchitect/teach-you-how-to-visualize-the-pentatonic-scale-all-over-the-guitar-fingerboard),

will be serialized and expanded on in a series of Kindle guitar lessons.

Kindle and GuitArchitecture Books

For those of you who have asked about the GuitArchitecture reference books getting moved over to Kindle, I should talk about the Kindle platform, porting the reference books and other materials over to that medium.
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When I saw that the Kindle was the number one selling item on all of Amazon earlier in the year, I knew that I could reach a lot of people by moving my content there.
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Files for the Kindle reader work on a proprietary format called .mobi.  Amazon has a converter that will work with a variety of formats (including .doc), but I’ve had better success with the final version looking like what I actually output in my exporting files as HTM (or HTML).
The first problem with the Kindle option for the GuitArchitecture books is that while Kindles can read pdfs, Amazon won’t sell pdfs on their store.  From a marketing point, Amazon’s store front is the biggest reason to move the books over so that plan of action won’t work for me.
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The death knell, however, of porting the books over in their current form is that I would go broke doing so.
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First, full disclosure.  If you go to sell Kindle titles on Amazon, there are two revenue options for the author (depending on the pricing of the book).  You can sell with a 70% rate of return or with a 30% rate of return.  Now your initial response to that might be, “Well of course! Take the 70%!” – but hold it right there partner!  If you take 70% option, you also pay the transmission costs for the book to people’s kindle.
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The reason for this is that Amazon has a server that holds and sends those titles.  With the 30% rate of return, they’ll pay the data transfer rates (up to a certain point) but at 70% the author pays them.  Believe it or not, my rate of return is actually better at 30% than it is at 70%!
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However, the GuitArchitect’s Guide to… books are SO large that even at the lower rate, I’d have to pay the transfer rates on each book.  This means that  I’d either need to sell them for MUCH more money than the current versions are selling for, or actually lose money at the current rate of sale.
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This doesn’t mean that the project is doomed, but it does mean that the Kindle Editions of the GuitArcitecture books will have to be radically altered.  They’ll be more list oriented with less graphic representations.  Which will still be a good and useful thing, but it will be a very different book for the ones that have currently been released.
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For those of you with the current PDF, I’d recommend sticking with it because the Kindle will have way less graphic information on it.
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Again…Why Kindle?

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For those of you doing the math, may wonder why someone would even take the time to port to Kindle at such a low rate of return.
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In a word, volume.
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Amazon is the largest online retailer on the planet (and probably the largest single retailer by now). Putting something in the Amazon pipeline means that it’s potential exposure to people who don’t know you is huge.  People who have readers want to read books.  They’ll look on Amazon to see what to read.  If people have to make more than one click to buy something, it’s all over.  So if you want to sell to people using Kindles – you have to sell on Amazon.
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The downside is that the market is a million times bigger but there are also a million other fish in the pond.
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Volume is a necessity for the author then as well.  The only way to make money at a venture that involves selling books at the $1.99 price point is to have multiple downloads on multiple titles.  If someone like a book generally the first thing they’ll do is see what else you’ve written.
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Anyway, his is the rationale behind the efforts to release multiple titles on the platform.
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I’ll have a lot more up about Kindle and branding and the GuitArchitecture site implications in all of this in a future post, but I thought that you might find the behind the scenes interesting.
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In the meantime, I hope you can check out the books, and as always – thanks for reading!

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PS – as a reminder you can find out about my other books (Including my new $5 Pentatonic Visualization Lesson Book on Fiverr) here.

Rare Picks And A Pentatonic Approach From Mr. Cusano For Guitar-Muse

Hey Everyone!

A quick update from DC, where rock and roll is alive and well!

I’ll have some new playing and gear content up here in August.  In the meantime, since there’s been a lot of music business / psychology of music posts on GuitArchitecture lately,  I thought I’d touch on both areas with some new posts on Guitar-Muse.

First up, is a post on my Pickboy Speed King pick.  It’s a weird and cool piece of gear and the flatpickers amongst you might find some DIY inspiration in pick design there.  You can read all about it here.  

Secondly, I’m doing a player profile series for Guitar-Muse and the first player up is the former Vincent Cusano (Vinnie Vincent).  Vinnie has gotten a lot of attention in the press for everything but his guitar playing, but in many ways he’s a fascinating player to me.  He managed to fully embrace the shred aesthetic and do it in a really unique way.  Vinnie’s pentatonic-based approach produces some cool sounds that you can find here.

The player profile series is going to feature some cool guitarists that mostly fly under the radar.  As I mentioned before, the series will also include Alex Masi,  Vlatko Stefanovski, Ridgely Snow, and José Peixoto.

There should be some gear/tech pieces on modeling, tone and amps with some other interviews getting posted into August/September.

That’s it for now!

More stuff next week and as always thanks for reading.

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Different Pricing Tiers Announced For Book PDFs

Update – 2/3/2013 

 

Hello everyone!  Please note that as of 2/1/2013 all of my books are available for order exclusively on my Lulu.com page and on Amazon.  While I may run an e-book  bundle offer directly in the future as of right now, unfortunately, no bundle options are available.

 

I’m leaving the page up for archival purposes but if you go to the Books link at the top of the page, you’ll find more detailed information about the books below and the other books in the GuitArchitect’s Guide To:  series.

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I’ve had some people ask about book ordering.  It seems that the 3 pdfs for $30 price point was an easier one for some people to enter into instead of the 4 for $40.

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I really want to make the books accessible to whoever wants them, so here’s the new price point breakdown for pdf orders (ordering information and links are at the bottom of the page.

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Any individual pdf is $15 (US).

Any 2 pdfs are now $20 (US).

Any 3 pdfs are $30 (US).

Any 4 pdfs are $40 (US).

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I’ll be updating the books page with all of this information – but for now ordering info (as well as a full description and screen shots of each book) is below.

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Currently, I have four guitar reference/instructional books available for purchase:

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The GuitArchitect’s Guide to Modes: Melodic Patterns

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The GuitArchitect’s Positional Exploration

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The GuitArchitect’s Guide to Modes: Harmonic Combinatorics

and

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The GuitArchitect’s Guide to Chord Scales

Print editions of any of the books are available individually here (lulu.com) or on Amazon (amazon.com, amazon.co.uk, or amazon.fr).

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The GuitArchitect’s Guide to Modes: Melodic Patterns 

(333 pages)

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My sonic visualization system, GuitArchitecture,  utilizes an intuitive two-string method of understanding the guitar fingerboard in a logical and concise way where seven core fingerings for major, melodic minor and harmonic minor scales replace rote memorization with an intuitive overview that can be applied to any scale or modal system.

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In The GuitArchitect’s Guide to Modes: Melodic Patterns, I’ve taken the two-string approach and created a reference book of melodic permutations that allows the reader to generate an almost infinite number of unique melodic cells and sequences.

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Applicable to guitarists and bassists, this book is an invaluable resource for both compositional and improvisational material.

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The GuitArchitect’s Guide to Modes: Melodic Patterns

If you’ve ever looked at any instructional guitar material, you’ve probably come across some variation of the phrase, “Take this idea and transpose it to every other key”. In this book, I’ve taken a seed idea (a single two-string fingering for C Ionian) and then used a mathematical process called permutation, (which changes the sequence of how things are arranged) as a basis for creating unique melodic cells.

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This book not only details every possible permutation, but then goes on to show how to create every unique combination of them. These unique melodic cells can be used either on their own as compositional or improvisational ideas or combined with other melodic cells to create longer phrases.

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I’ve included jpegs of some of the pages from the Melodic Patterns book below.  Since the jpegs were converted from the pdf of the book, there’s some pixilation in the jpegs that is not present in the pdf but these will still give you an idea of what’s in the book. 

(Click on any graphic to see it as a larger size.)

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The GuitArchitect’s Positional Exploration

(254 pages)

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In The GuitArchitect’s Positional Exploration, I’ve taken an introductory guitar exercise and turned it on its head to reveal deep possibilities that exist not only in positional visualization, but in technical awareness as well.

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This book shows how to take a simple idea and creatively develop and modify it through melodic, harmonic and rhythmic variations that can be applied to your own music as well.

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The GuitArchitect’s Positional Exploration Guide:

This book takes the initial 1-2-3-4 exercise and then adapts it to all other string-set-combinations in position.  But it also does some other important things for the reader:

  • In addition to documenting each example in the 8th position, it provides chordal analysis and a detailed series of charts for determining multiple harmonic interpretation of the notes involved.

 

  • From a technical standpoint, the book explores every possible variation of note attack that can be executed.  This could lead to entirely new technical approaches for the reader.

 

  • From a compositional/improvisational standpoint, the book covers a series of ways to manipulate the patterns, rhythmically and melodically in a systematic way to develop ideas fully.

 

I have a lesson on Guitar-Muse that uses material directly from the book.  If you want to get a sense of the content you can see it here.

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I’ve included jpegs of some of the pages from the Positional Exploration book below.  Since the jpegs were converted from the pdf of the book, there’s some pixelation in the jpegs that’s not present in the pdf,  but these will still give you an idea of what’s in the book.

(Click on any graphic to see it as a larger size.)

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The GuitArchitect’s Guide to Modes: Harmonic Combinatorics 

(410 pages)

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In The GuitArchitect’s Guide to Modes: Harmonic Combinatorics, I’ve gone into the nuts and bolts of chord construction and analysis by taking a systematic approach to generating thousands of chord variations that can be utilized intuitively in any key. In addition to being a vast harmonic resource, I also show you ways to make melodic lines from this material allowing the book to double as a melodic resource as well.

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Harmonic Combinatorics is 410 pages of instruction and reference (that’s almost a ream of paper if you need a visual).  It’s the  deepest resource I’ve created and has numerous harmonic and melodic approaches that can be used to break through theoretical, technical or other musical limits you currently have.  

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Harmonic Combinatorics?

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As a general rule, I’m not a big fan of jargon, but in this case I think its applicable as it helps define what this book is, and what it isn’t.

This is not a traditional chord book. The purpose of this book is not to teach a number of stock voicings and typical chord progressions for the reader to default back to as there are dozens, if not hundreds, of books that already do that.

This book centers around a series of methodologies for developing unique harmonic and melodic voicings for compositional or improvisational use that can be adapted to any tonal system.

Harmonic Combinatorics refers to a process of identifying “countable discrete structures” harmonically. In this case, it means examining unique combinations of notes on all of the possible string combinations for the purposes of developing harmonic and melodic possibilities.

The book is divided into approximately 110 pages of instruction and 300 pages of reference.  It covers a lot of theory – but makes it accessible even to the novice and shows how to apply it.  It’s a modular text that can be read in either a linear or a non-linear way.

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There are a couple of posts that I’ve put up that excerpts and adapts material directly from this book.  To get a sample of the book’s style you can check out :

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CREATING CHORDS AND LINES FROM ANY SCALE – A HARMONIC COMBINATORICS / SPREAD VOICINGS LESSON

Slash and Burn – Creating More Complex Sounds With Slash Chords

RECYCLING CHORDS PART II: TRIAD TRANSFORMATION

RECYCLING CHORDS PART I OR WHERE’S THE ROOT?

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I’ve included jpegs of some of the pages from the Harmonic Combinatorics book below.  Since the jpegs were converted from the pdf of the book, there’s some pixelation in the jpegs that’s not present in the pdf,  but these will still give you an idea of what’s in the book.

(Click on any graphic to see it as a larger size.)

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The GuitArchitect’s Guide to Chord Scales

(190 pages)

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In The GuitArchitect’s Guide To Chord Scales, I show you how to make your own scales to use over chords and how to derive chords from whatever crazy scales you come up with in an easy, intuitive and musical way.

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Over the course of its 190 pages, the Guide To Chord Scales not only offers extensive instruction and approaches, but also acts as a reference book covering chord scale options ranging from 3 notes right on up to the full 12-note chromatic.

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While devised as a guitar resource for instructional, compositional and/or improvisational material – this book can be a vital component in any musician’s library.

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The GuitArchitect’s Guide to Chord Scales

Chord Scales is 190 pages of instruction and reference.  It’s the shortest book I’ve written, but it’s just as deep as any of the other books.  The big difference between this book and the other books, is that this book starts by taking one chord scale and really putting it through the ringer and demonstrating how to use it in ways that are intuitive and musical.   Once the process for what to do with a chord scale is demonstrated, the book  then goes on to outline all the unique chord scales from 3-12 notes!!!

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The book has a lot of performance insights and presents the material in a way I believe to be truly unique (at least I’ve never seen it dealt with this way before).  It’s incredible exciting to me, and while it’s been written as a soloing, compositional or improvisational resource for guitarists – it could be invaluable to musicians in general.

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There are a couple of posts that I’ve put up that excerpts and adapts material directly from this book.  To get a sample of the book’s style you can check out :

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CREATING CHORDS AND LINES FROM ANY SCALE – A HARMONIC COMBINATORICS / SPREAD VOICINGS LESSON

Making Music Out Of Scales

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The lulu.com page includes a preview option for the first 12 pages of the book, but I’ve included some additional jpegs of some of the Chord Scales book  pages below.  Since the jpegs were converted from the pdf of the book, there’s some pixelation in the jpegs that’s not present in the pdf,  but these will still give you an idea of what’s in the book.

(Click on any graphic to see it as a larger size.)


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Ordering information (slight return)

  • If you would like to purchase any individual book pdf  for $15 USD just click the PayPal link below.  (Also, when ordering, please specify which book you’d like – The GuitArchitect’s Guide To Modes: Melodic PatternsThe GuitArchitect’s Guide to Modes:  Harmonic CombinatoricsThe GuitArchitect’s Positional Exploration, or The GuitArchitect’s Guide to Chord Scales).

Any 1 GuitArchitecture pdf for $15.
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  • If you would like to purchase any two book pdfs  for $20 USD (and save $10 off of individual orders) just click the PayPal link below.  (Also, when ordering, please specify which 2 pdfs you’d like – The GuitArchitect’s Guide To Modes: Melodic PatternsThe GuitArchitect’s Guide to Modes:  Harmonic CombinatoricsThe GuitArchitect’s Positional Exploration, or The GuitArchitect’s Guide to Chord Scales).

Any 2 GuitArchitecture pdfs for 20
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  • If you would like to purchase any three book pdfs for $30 USD (and save $15 off of individual orders) just click the PayPal link below.  (Also, when ordering, please specify which 3 pdfs you’d like – The GuitArchitect’s Guide To Modes: Melodic PatternsThe GuitArchitect’s Guide to Modes:  Harmonic CombinatoricsThe GuitArchitect’s Positional Exploration, or The GuitArchitect’s Guide to Chord Scales).

Any 3 GuitArchitecture pdfs for $30
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  • The  Four-book PDF bundle (which includes The GuitArchitect’s Guide To Modes: Melodic PatternsThe GuitArchitect’s Guide to Modes:  Harmonic CombinatoricsThe GuitArchitect’s Positional Exploration, and The GuitArchitect’s Guide to Chord Scales) is available for $40 using the PayPal bundle button below.  (A $20 savings off ordering the books on their own).

Any 4 GuitArchitecture pdfs for $40
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  • If you’d like to save yourself the printing and binding costs, you can go to the link here ( Lulu.com ) to buy a nicely bound version of any of the books.

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Please note:

I turn all orders around within the same day I receive PayPal notification.  

If you have ordered a book and have not heard from me within a 12-hour time frame, please send me an e-mail at guitar(dot)blueprint(at)gmail.com, and I’ll get back to you as soon as I can!

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Special thanks to everyone who has already purchased a book.  Your support is greatly appreciated!

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As always, thanks for reading!

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