• Content count

  • Joined

  • Last visited

About ChristopherSchlegel

  • Rank

Contact Methods

  • Website URL
  • ICQ 0

Profile Information

  • Location McKenzie, TN
  • Interests Music
  1. Derek Sivers - Founder of CD Baby

    CDBaby has been my main web vendor since 1998. They were the first and remain the best way for independent artists to represent themselves worldwide in the marketplace. They built partnerships with multiple online digital delivery music services well before anyone else. This means I only have to deal with one vendor (CDBaby) and as a result all of my music is automatically available via iTunes, Rhapsody, etc. Derek is a brilliant man. He has flaws to be sure. But I admire him for his virtues, which are plentiful.
  2. Online Guitar Lessons

    Thanks for watching. I hope you find something useful in there. The Joe Pass C Blues thing really can help your blues playing. Especially in a solo guitar situation. Thanks for the amusing story. Funny stuff there.
  3. Online Guitar Lessons

    Gibson has been gradually adding more of my lessons. My latest is pretty neat, a concise, but still complete intro to Chord Melody Style from the ground up. Here are some of my other recent lessons for Gibson: Happy viewing!
  4. Cole Porter’s “Night and Day”

    Solo guitar (particularly jazz) is my current focus. Therefore, I have many of Van Eps' works for study and enjoyment. I prefer his solo work to the duets and ensembles. But his playing is always lovely and inspiring regardless. Regarding the 7-string, I have played around a bit with them, but prefer the standard 6 strings. Van Eps did start a neat little tradition in jazz of the 7-string. And I have studied many of those accomplished players as well: Alden (of course), the Pizzarelli's, Lenny Breau (whose 7th string was usually a higher A). And even Charlie Hunter with his unique 8-string! The problem I have with 7-strings is essentially one of diminishing returns. You don't really get that much back for the addition of the lower string. Van Eps himself tuned his bottom 7th string to A, which is an octave doubling of the second normal string anyway. So anytime I've learned one of his voicings, licks or arrangments, I've simply played any lower note an octave higher and it sounds fine. He rarely uses more than one lower bass note or string at a time, so it's easily manageable. Further, my own style more closely follows Joe Pass (and Johnny Smith to a lesser extent). As such, more speed is required than the lower 7th string can typically handle. It has so much mass, that it winds up tactily feeling and auditorial sounding muddy or "flubby" and out of place on lower voicings and quick runs. Van Eps' own style suits use of the 7th string better and since he uses it sparcely, it works for him. I have nothing against Van Eps and those other fine 7th string players whose work I admire, enjoy and have learned much from. But frankly, I haven't heard any of them do anything close to what my man Joe Pass can do with the standard 6 strings. Another example that comes to mind is Art Tatum and Oscar Peterson. I don't want to take anything away from Peterson, whose work I love and admire. He had the advantage of following Tatum's trailblazing path and his favored Bösendorfer piano with it's extra lower octave. But, like Pass outshining with only 6 strings, to me Tatum will always surpass Peterson (and everyone else!) with his standard piano.
  5. Cole Porter’s “Night and Day”

    You are quite welcome. Glad you enjoyed it.
  6. Cole Porter’s “Night and Day”

    Van Eps is wonderful. I've come to consider Joe Pass' rendition on his Virtuoso disc as my personal favorite version. It's a great tune. And fun to play! I almost always play it at solo jazz gigs:
  7. Schlegel Guitar Vid

    As promised, here is some recent footage of me using my Emperor at a local arts festival. First up is Duke’s luscious “Satin Doll”: Next is Irving Berlin’s lovely “Blue Skies”: A friend captured most of my performance so I have decent footage from 16 tunes that I will edit, render and upload to my YouTube page over time: Happy viewing and listening!
  8. Schlegel Guitar Vid

    Thanks for the replies, guys. Glad you enjoyed it. I do intend to film and post more as time allows. But right after I did that vid, I put that machine to work! My main use for the new camera is of course business related. So after climbing the learning curve of that little test vid I've been busy cranking out lesson vids. I am planning on my next leisure shoot to be some jazz standards with my new Joe Pass Emperor II. Yeah! I'll post links here as soon as they exist.
  9. Schlegel Guitar Vid

    I recently purchased a new digital vidcam. This is my first test vid using it. I used my La Patrie concert cutaway because I have not yet used it in any of my vids. I've had it for close to a year now. It's the main guitar I use for performing now. I really love it. The piece is my arrangement of a Beethoven piano sonata movement. Enjoy!
  10. Online Guitar Lessons

    My work at several online lesson sites earned me a Gibson-Epiphone endorsement. They sent me a wonderful machine, an Emperor II Joe Pass model in exchange for some simple, intro to jazz guitar video lessons. Gibson recently published the lessons on their site (free to view):;search=true Over the last decade I've been more and more interested in solo jazz guitar. And that interest of course led me to the magnificient work of Joe Pass. As such, doing those lessons on that site with a Joe Pass model guitar is a sincerely cherished achievement for me. Enjoy the vids!
  11. Video of Schlegel Live Performance

    Previously I posted this link to vid of me performing the first movement from one of my sonatas: I recently recorded myself practicing the third movement from that same work. Guitar Sonata in A major "Opus Primo" Movement 3 "Minuet & Trio" Enjoy!
  12. New CDs available!

    Thanks for listening and commenting favorably. I'm glad you enjoyed what you heard.
  13. New CDs available!

    My latest CD is now available via “Piano Waltzes No. 1 - 24” - I wrote these pieces years ago. But recently re-recorded them with my Garritan software ( I've mentioned and linked samples of them on the Forum in the past. On the CDBaby page linked above you can sample all 24 of them. As usual, all the individual tracks should be available for digital distribution sometime soon; for example, through Napster, iTunes, Rhapsody. I've already received notice the CD has been processed by Apple iTunes. Happy listening!
  14. In listening to music, what do you experience?

    (This is a version of another I post I did on the topic.) The curvature of the cochlea (the snail shell shaped part of the inner ear) is the reason humans can identify two pitches at a ratio of 2:1 as a strong unison sound and thus called the octave and furthermore the reason that both pitches have the same letter name in scales. This is a crucial fact in the intervallic structure of music. If the cochlea was a straight tube we couldn’t identify the octave as a unison sound and the musical alphabet would have to be organized differently (possibly with no repetition of letters). Studies have suggested that octave identification is learned (not surprising). But the point here is that the reason it can be learned is due to the cochlea. After the 2:1 ratio of the octave, we cut it in half (split the octave in half) by a ratio of 1.5:1. This results in the fifth. Next is 1.25:1, which results in the major third, etc. This occurs because of the logarithmic nature of the major scale on a frequency scale. Human hearing is of course also very logarithmic in structure. Remember that the cochlea is not only curved but also a pattern of circular diminishing tubular shape (thus the snail shell analogy). The placement of the little hairs (cilia) on the tube walls is crucial because sound waves move these little objects and this movement is what triggers the nervous tissue that gets translated into electrically impulses that the brain identifies as “hearing sounds”. The overtone series is also logarithmic in nature with wider intervals at the bottom and with the intervals becoming progressively smaller as the pitches climb higher. The Greek system with it's ratios was called Just Intonation. It was found to be limited it that one could not transpose from one key to the next. Those familar with the history of equal temperament tuning already know this story. The point is that even though the ratio theory had to be "fine tuned" it is still the basis for our tonal musical systems. Also, in equal temperament the ratios that still maintain the closest relationship to basic ratios the Greeks identified is of course the octave, fifth & third. One of the basic applications of frequency ratio analysis of intervals is verification of the fact that the more consonant or “solid” sounding ratios are the lowest numerically or simplest. For example as ratios between notes in a melody & chord progressions get more complex, dissonance tension is built. As the ratios fall in complexity back to the more stable sounding consonant, simpler ratios tension is released into more consonant sounds. As as example, this is "Ode to Joy" in major with basic chords: Since the melody only contains the first through fifth notes of the scale, the only note we have to alter is the third (lowered a hald-step to a minor third) if we want to change the meldoy from major to minor. But what a difference that one note makes: Hopefully by listening to these examples one can clearly hear the difference between the "joyful" effect the major scale creates & the "sorrowful" effect the minor scale creates.
  15. Video of Schlegel Live Performance

    My pleasure, thank YOU for taking the time to watch and comment.