Born in Denmark 1966, music was big part of my childhood, youth and young adulthood. Radio was on every where. Every one listened to music. Many great musicians in Denmark. Also the radio at that time was broadcasting excellent music. I stopped listening to radio around 30 years ago, something changed and now its just noise and rubbish coming from there.
I never owned a TV, as I found it extremely boring just to sit there passively. I rather sit and look to the wall than watching TV!. Instead of TV, parties, disco and what people preferred, I went out in the world and tried many things.
Also at times I had spend many many hours exploring music.
Due to some excellent musicians here from Denmark during my childhood and youth, the radio was of course playing a lot of their music.
Especially one stand out from the rest:
Niels-Henning Ørsted Pedersen was a Danish jazz double bassist.(b1946 - d2005)
By the age of fifteen, he had the ability to accompany leading musicians at nightclubs, working regularly at Copenhagen’s Jazzhus Montmartre, after his debut there on New Year’s Eve 1961, when he was only 15.
The Montmartre was a regular stop-off for touring American Jazz stars, and as a member of the house band, the young Ørsted Pedersen performed with saxophonists such as Sonny Rollins, Dexter Gordon, Rahsaan Roland Kirk and Stan Getz, and pianist Bill Evans, with whom he toured in Europe in 1965. During the 1960s, Pedersen played with a series of other important American jazzmen who were touring or resident in Denmark, including Ben Webster, Brew Moore, Bud Powell, Count Basie, Roy Eldridge, Dizzy Gillespie, Jackie McLean, and vocalist Ella Fitzgerald.
He is perhaps best known for his extensive collaboration with Oscar Peterson from 1972 to 1987. His predecessor, Ray Brown, thought highly of the Dane and regarded him as the only upright bassist equal to the task of keeping up with the pianist. He was awarded Best Bass Player of the Year by DownBeat Critics’ Poll in 1981.
(Oscar Peterson, writing in Jazztimes.) Here is what Oscar Peterson wrote about NHOP:
After hearing this phenomenal talent on bass, I realized that somehow, someday we should meet, thereby giving me the opportunity to also play with him. This vision and thought took place in the early 1970s, when I was fortunate enough to be able to invite him to join my then trio.
Allow me to express my reaction to his playing this way: First and foremost, he never got in my way–but he also had such a great musical perception of what I was trying to do that he served to greatly inspire me from a spontaneous aspect. I came off walking on Cloud 3000 that evening because of Niels’ musical contribution. He had the most phenomenal technique, coupled with incredible harmonic perception, along with impeccable time. I shall never forget that evening.
Almost from that evening on, we became very close friends, not just musically but most certainly personally, for I developed a great admiration for the depth of Niels’ political, geographical and personal understandings. He was a man who had an almost unbelievable wealth of historic cognizance pertaining to European history. He also had a very kindred spirit as a human being, always able to easily make good friends, should he care to do so.
When I was 16 or 17, I visited a friend who had just got a new album we all had to hear…again and again and again… and that album was:
Al di Meola.
1982 Electric Rendezvous
That is actually where my guitar journey started. It just took 40 years to get the guitar, almost to the date.
Via Al di Meola, I came around names like Segovia and Paco de Lucia etc
Then during my exploration in music, names like Lee Ritenour, Al Jarreau and the band Spyro Gyra and similar, became something I listened to a lot.
To my surprise, hardly any one have ever heard of those before.
I also found joy in more popular music, so to speak, or at least most bands were known among many.
It was names and bands like:
10CC, Lou Reed, Sting, Pink Floyd, Queen, Frank Zappa, Jehtro Tull, Grateful Dead (Terrapin Station album), Weather Report, and so many more.
Fusion, funky jazz, funky blues…hard to label really. I often prefer music without vocals.
“Those who know how to play music, have no use of a vocal, they speak via the instruments.” Of course it’s not a true statement and for sure over the top, it’s just to emphasize what I mean.
Also I would not be that surprised, if my next instrument happens to be a bass guitar and not a classical/spanish guitar.
As I became older, mid 30’s and into the 40’s, I started to listen a lot to classical music. There I came across Erik Satie and his Gymnopedies, Gnossienes and Avant-dernières pensées. I have listened to other pieces from Erik Satie, but my ears and mind see it as confused noise.
So it’s not that I like everything an artist does. I cherry pick so to speak.
I think Beethoven sux big time, whereas Ravel’s Bolero I find amazing and genius. There is a story about Ravel: According to a possibly apocryphal story from the premiere performance, a woman was heard shouting that Ravel was mad. When told about this, Ravel is said to have remarked that she had understood the piece. ---- and from another source: The premiere was acclaimed by a shouting, stamping, cheering audience in the midst of which a woman was heard screaming: “Au fou, au fou!” (“The madman! The madman!”). When Ravel was told of this, he reportedly replied: “That lady… she understood.”
Think these two awesome guys can show it better. Beethoven vs Led Zeppelin:
I luv those 2 dudes. Dang they are good!
That was a little bit about my music background and what was, before I finally decided to buy an acoustic guitar 1st March 2023.
I quickly found Justin’s lessons via youtube and it just clicked. Justin is now my main teacher of my guitar journey and so far I have reached Grade 1 lesson 3.
Last days I have used time setting up my guitar as good as possible. Also been looking for some recording software, that I have to try out, so I can start post some videos. I have found one open source, that seem to be the preferred choice, so will look deeper into that over the next couple of days.
Though I am only at grade 1 lesson 3, still, I do look ahead and also explore other things. I have learned few basics now and are actually able to do something on the guitar.
Since these basics are part of the foundation, I don’t want to just rush ahead. I feel it is crucial important to get the foundation right. I will need that foundation, for the rest of my journey.
Here is my training schedule/order:
The focus now is on rhythm, the beat, be in time.
Second is my right hand. The picking / strumming hand.
Third is building up the fingertips and same time train chords.
Fourth is placement of left hand fingers, meaning fingertips close to the fret and hand placement to ease chord shift, relaxing in wrist and shoulder etc.
Fifth, more theory and refreshing already learned and also some ear training.
Already within the first week, I was exploring the sound on the guitar and just pressed some strings and picked and strummed. Sometimes there was really nice sound and I tried to figure out if it was a normal known chord. I looked through those many many chords that exist, but was impossible to find something among all those papers.
So I searched the net and came across a chord analyser. Now I can plot in the chord, what strings have to be muted etc and the program will tell me the chord name. The site is: Chord Analyser - ( https://www.oolimo.com/ )
There are other cool stuff there also and I find it an excellent support for the theory lessons with Justin.
IMHO I think that would be an awesome site / feature to have as part of the Justin Guitar!. Maybe it could happen
Let’s just call this the intro to my guitar journey and learning log.
I will fool around with the recording software and hopefully I should soon be able to make and post my first video.