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In This Issue:
Other Issues of this Newsletter (Link to MegaTapper News Archive)
From the Editor
What are you doing with your music?
As a good friend of mine says, "If you just stay in your own back yard all the time, you could get into a rut." And I think there might be something to that.
So maybe you might like to try something different. Play something impossible. Play in the dark. Get a job as a bass player. Take a class. Or sign up for a seminar. (Two great seminars listed in this issue!)
We're introducing a new model called the 'MaxTapper'. In fact, we showed this model at the Los Angeles Namm show, along with another new model, the 'ToneWeaver.' Both instruments have premium dark wood, exotic custom nut and saddles, more pickups and switches, and a sweet round tone.
What's unique about the ToneWeaver? It has frets arranged on a slant, a patented system licensed from Ralph Novak. This gives a depth to the bass, and a clarity to the melody, that cannot be obtained in any other way. There's a whole section about Novak and Fanned Frets in our new website 'Library'.
There's an article about 'Crossed' and 'Uncrossed' string arrangements in this issue, which also discusses 'mirror' and 'parallel' tunings. This article makes a murky subject much simpler to understand.
You can now download our complete, free method book. and in this issue you'll find a tapping lesson about the amazing 'Giros' including soundclips so you can hear the lesson.
Remember, the print newsletter comes twice each year, but the email newsletter comes out more often, has more content, pictures, and sometimes -- including this issue -- soundfiles! So if we don't have your email address, you're missing out. If we no gotto, you no getto!
As always, please pass this newsletter along to your tapping friends and bass-players, so they can get a subscription too!
Happy Tappistry!
-Traktor Topaz, US Manager, Mobius Megatar
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News Bites
Method Book Completed!
"Easy Touch-Style Bassics" (complete version) available now!
Visit our main website today.. There you can download the complete method book, hear sound recordings of the Mobius basses, and also download the Mobius Owner's Guide!
Here's how to get the complete version of "Easy Touch-Style Bassics". Go to our main website, to the 'Library' section. There you'll find a link to our new 'Documents' section where you can download your own copy of this great book.
This method book shows a simple but powerful method for playing basslines with simultaneous rhythmic chords. If you want paying gigs, it's great to be a bass player, because you can always find work. And if you can play basslines with simultaneous rhythmic chords, you're like the bassist and a rhythm guitarist at the same time. Is that valuable? You bet it is.
 And here's what's funny -- It surprisingly easy to do this, using this new method. The method book is also written in such a way that the method can be applied to differently tuned instruments. For example, for anyone playing inverted fifths in the bass strings, the method works exactly the same as for folks playing a normal six-to-eight-string bass, or a 'bass-bottom' megatar! The same method works on all! Does this mean you can switch from one tuning to the next and use the same method? Yes, it does. Quite convenient.
You might think, with all that this method can do, that we would charge a lot for the book. But it's our gift to you, absolutely free, no registration required, no obligation of any kind. Why do we do that? Because the mission of our company is to create more music in the world, by promoting the use of two-handed tapping. And it just so happens that 'Rhythm Bass' is one of the simpler ways to play some great music.
Advanced musicians: Probably you don't need this book. But ... do you ever teach? This is a great text for teaching your students. It reaches many folks from different backgrounds, and your students like it because ... it's powerful, it's musical, and it's free! This is an 'everybody wins' kind of offer.
To get your free copy, go to the Library at http://www.megatar.com/
TapTalk Mailing List
The TapTalk mailing list is an on-going, online forum for players of all types of multi-stringed two-handed tap instruments. Members are encouraged to exchange ideas and information about technique, gear, upcoming lessons & seminars, concerts and related ideas.
To join TapTalk send an email to: majordomo@progrock.net
In the body of the message, type: 'subscribe taptalk' or if you'd prefer daily digests: 'subscribe taptalk-digest'
This is a good way to meet fellow tappers on-line, swap views and techniques, and to hear about upcoming events on a frequent basis. Heartily recommended.
Rather pipping, don't you think?
Orphic Touch-Style Music chosen as Continental Distributor to United Kingdom
Bassists and tappers in the United Kingdom and Europe have an easier access to the Mobius Megatar line of touch-style basses, now in stock at Orphic Touch-Style Music.
"We intend to be the number one resource for the British and European touch-style community," says Orphic proprietor Myron Edwards, a long-time tapper, bon vivant, and all-around good egg.
"I wanted to do more in the world of music, and bringing Mobius basses and more touch-style resources to the United Kingdom and Europe seemed a super way to do it. We're already stocking a selection of Mobius basses with local dealers and in-house, plus accessories."
Orphic can be contacted by telephone in England at 01491 837367, or visit Orphic Touch-Style Music on the web at http://www.orphic.co.uk
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Crossed-Hands and Uncrossed-Hands Arrangements
An overview of tunings and different approaches to using the hands
by Daniel Schell
The number of tunings in usage today has increased and offers to the player many solutions adapted to his style. In this article we shall describe a nice tuning for boards divided in two regions.
Fretboards Divided into Two Regions
If you play the classical guitar, you will have noticed that you play 6 strings tuned in ascending fourths (with the exception of a third on the B-string). You can say that your 6 strings are grouped into one region. This seems natural, at least if you play in the usual 'picking' way, with your left hand on the board, and your right hand elsewhere.
However, if you start tapping with your two hands on the guitar board, you might face some problems. For example, both hands might try to play the same string at the same time, unless you divided the strings up between the two hands, and in that case neither hand gets access to many strings.
A natural idea might be to increase the number of strings. Another good idea would be to use two sets of strings on one fretboard, so that each hand could move freely on its own region. That was an idea which Emmett Chapman developed in the 70's. Usually, one of these regions is the bass part, and the other one the melody part. These regions are tuned more or less an octave apart.
The "Crossed Hands" Arrangement
Let's assume that you are a normal player with your instrument positioned in an upright manner, with the tuning pegs to the left of your face. If the instrument were a normal guitar or bass then the lowest pitched strings would be on the side of the fretboard nearest your face. On an instrument which has two groups of strings, for this example, let us assume that the lowest-pitched group of strings (the bass strings) are positioned nearest to your face, for this is a commonly done.
If you are to play the bass strings with your left hand, then your hand is reaching all the way across the fretboard to touch the bass strings.
Now let's join the audience looking at such a musician.
In the first picture shown above, from the viewpoint of the audience, we can see the player's left hand (the higher positioned of the two hands) is reaching across the fretboard to touch the bass strings. And positioned lower, the player's right hand is also reaching all the way across the fretboard to touch the melody strings.
This first picture and our description above presents what is called "Crossed Hands".
In this first picture, you can see that when playing with a Crossed Hands arrangement, the musician can have problems in moving the hands vertically on the fretboard. At some point, the left hand and right hand will interfere with each other in their vertical movement. One cannot play with both hands at the same level. For example, if both hands are placed near the seventh fret, the bulk of the left hand blocks the right hand from reaching the melody strings, which are lying underneath the palm of the left hand.
A reasonable solution is to uncross the hands!
"Uncrossed Hands" Arrangement
Our picture above also shows playing with uncrossed hands.
The advantage of the Uncrossed positioning is that the hands do not interfere with each other in their vertical movements. Each hand can independently move up and down the fretboard.
Also, both hands can play the strings at the same fret position with no interference.
Uncrossed Hands in Usage
Each of the two fretboard regions can be either in "parallel fourths", or in "mirror fourths."
In the "parallel" tuning, your hands move in a parallel fashion, like on two parallel guitars. Given the mirror-like symmetry of the hands, when they play an identical pattern of notes, this can give the impression that one hand moves backwards and the other forwards. However, to the eye (or the mind's eye), they are both moving in the same direction. (ie: either both are moving to the left to spell out the notes, or both are moving to the right to spell out the notes.)
In contrast, the "mirrored" tunings reflect the symmetry of the hands. If you believe - and the author does - that the natural way of moving your hands, when they both play an identical pattern of notes, is symmetric, then you should go for this mirrored tuning. In the mirrored tuning, a given 'gesture' by one hand will produce the same series of notes as the same gesture done by the other hand. So playing a GM7 chord feels the same in your right hand as it feels in your left hand.
In the mirrored tunings, as a practical matter, there are two "mirror fourths" tunings in common usage:
- One where the lowest-pitched strings in each set are in the middle of the fretboard, and ascending tuned strings fan out toward the edges; and
- One where the lowest-pitched strings in each set are at the edge of the fretboard, and ascending tuned strings extend toward the middle of the fretboard.
The Daiss "Mirrored Fourths, Bass in the Middle" Tuning
About 10 years ago, Wolfgang Daiss came up with what might be the best guitar-reader approach. In the Daiss tuning. the lowest pitched strings are in the middle of the fretboard. The bass strings are on his left as he plays.
"I shall keep my left hand as if it were playing the guitar," he says, "and add a symmetrical right hand to it." His melody strings are then nearest to his face, and this Uncrossed Hands arrangement allows him full access to the entire fretboard with each hand. He's using the left-hand tuning already known to most guitarists and bassists, and he's adding a mirror-symmetrical right hand set of melody strings.
In the Belgian school, we generally recommend this tuning to new players starting from scratch or to professional guitar players who wish to keep intact their left hand movements.
Daiss Uncrossed Hands Tuning, Low Strings in the Middle.
M1-M6 shows melody strings, and B1-B6 shows bass strings.
Arrows indicate the direction of
ascending strings.
The Schell "Mirrored Fourths, Bass on the Sides" Tuning
In this tuning, the bass strings are on the side and the treble in the middle. A nice advantage of this disposition is that you will find a lot of possibilities with the melody strings in the middle.
If you choose this tuning, make sure with your luthier that your board is wide enough to allow some movement of the bass strings (#1) on the side, such as bending notes.
This tuning is also for those who, like me, have started to play with Emmett Chapman's Free Hands method book, and have done so for a few years. For these, it would be difficult to adopt the Daiss tuning because it would involve a change of mental mechanisms.
For instance, to play an ascending scale in the melody, one is accustomed to play it by moving the right hand to the left side. Wolfgang does it by moving his right hand towards his right side. That is quite something to modify if you have been practicing for years.
Such people might better adopt the tuning I play now, and which was suggested to me by Wolfgang Daiss.
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Schell Uncrossed Hands Tuning, Low Strings on the Edges.
M1-M6 shows melody strings, and B1-B6 shows bass strings.
Arrows indicate the direction of
ascending strings.
"Parallel Fourths" Tunings with Uncrossed Hands
In this family, both sides are tuned in fourths and both are ascending in the same direction towards the highest-pitched string 1.
We could meet two main categories: bass on the left side or on the right side. The choice between these two categories is mainly a question of 'Which side shall I play with the right hand: the melody or the bass?'.
In both cases, the hands move parallel in a guitar-like fashion. The author believes that this is less of a natural movement, given the symmetric disposition of the hands. However, users of this tuning like its 'double-guitar feeling'.
Today most uncrossed parallel-fourths players use their left hand on the bass side. This tuning is played, for instance, by Olivier Verschueren (Belgium), Jim Wright (USA), and several others.The bass string #6 is then in the middle and can bring some trouble playing string #7, the highest of the melody. The construction of the instrument should allow for some space between the two strings groups to avoid this problem.
Those who prefer parallel fourths tunings generally cite visual clarity and similarity to standard guitar and bass tunings as the main advantages of parallel fouths.
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Parallel Fourths tuning (similar to normal bass and guitar stringing), but set up in the "Uncrossed Hands" Arrangement, with the bass strings nearest the player's left hand, and melody strings nearest the players right hand.
Crossed Hands Tunings
Mobius Megatar and other manufacturers generally have a "standard" tuning, and these standard tunings are generally in the older "Crossed Hands" arrangement.
If you play with a Crossed Hands tuning, your hands fall upon the fretboard very similar to playing normal bass or guitar. Some players find that pressing the web between the thumb and fingers against the fretboard provides a tactile feedback for the hands that may seem more familiar than does the more free-floating Uncrossed Hands positioning.
However, even in the Uncrossed Hands arrangements, the thumbs can reach or ride upon the edge of the fretboard, allowing tactile feedback to the hand so as to best feel the depth of reach and therefore to know which string is being touched by the fingertips.
Mirrored fourths tunings (either with lowest-pitched strings on fretboard edge or fretboard middle) are available in Crossed Hands arrangement, of course. In fact, my method book "My Space" originally featured just this arrangement. The advantage that I feel is inherent in mirror-fourths tunings is still relevant in Crossed Hands arrangement.
Conclusions
The Uncrossed Hands arrangement allow for a better access to the entire board; there is little or no debate on this point.
However, some players may find the older Crossed Hands arrangement feels more natural to their hands, especially if they come from a background of playing guitar or bass.
Choosing one of the tunings described in this article is, of course, a personal choice.
Those who believe that an identical musical movement should be played symmetrically will choose the mirrored tunings.
Those who prefer a double-guitar approach will then play an identical musical pattern with parallel motion, as the pianists do.
-- Daniel Schell
clic.music@skynet.be
 Daniel Schell of Belgium is the author of "My Space", a method book generally considered to be especially strong for those who will be reading and playing scores from sheet music. He is also the inventor of C-Dots, a method of marking all the C-Notes instead of the usual fretboard markers. (C-dots shown in illustrations above.) Shell is well known as a composer, and is the guiding light of the "Seminar de Tape" each summer at Neufchateau in Belgium. See Seminar Details elsewhere in this newsletter or visit his website at http://users.skynet.be/clic.music.
(A note from Mobius Megatar : We currently ship instruments with the traditional 'Crossed Hands' Arrangement as standard, with the Bass string group nearest your face in normal playing position. Our standard tuning is parallel fourths. However, upon request, we can also customize your instrument to Uncrossed Hands arrangements, and we can install the Feiten Intonation system on Parallel Fourths, Mirror Fourths, or Inverted Fifths tunings if you prefer. There is a minor shop fee for most of these custom set-ups. We can also supply strings sets for most of these tunings.)
Do you have an article idea for the MegaTapper News? If so, please send us an inquiry. We're looking for short articles that relate to two-handed touch-style. Articles can be about technique, about unique musicians in this genre, about tapping-instrument design, or about general musical knowledge applied to two-handed play. If it interests you, maybe it would interest our readers! Article donors receive a small payment and a byline. If this sounds interesting to you, send us an inquiry about your interesting article ideas!
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The January 2001 Los Angeles NAMM Show!
Trucking with Trak and the Megsters!
Fantastic show! Famous music site Harmony Central was on hand and they picked Mobius Megatar as a 'Hot Pick' of the show! We actually made the cover of 'Music Trades' magazine! (Well, all right, they took a great big picture, and we're all squeezed in one tiny cover next to the Bartolini booth, but it's us!) And, further down, you can see some pix of the Meg Warriors and the award we won at the show!
Harmony Central's "Namm Hot Pick: Mobius Megatar"
 "It usually starts within a few hours of any tradeshow's opening day," says Harmony Central's Namm Trade Show report, "Sometimes it might be the crowd forming around a particular booth. It might be those consistent answers to the "Seen anything cool?" question. It's a buzz. It's a talk of the show, or at least something that deserves to be. We call it a Hot Pick. Harmony Central Hot Picks are those new pieces of gear or software that seem destined to make their mark -- by breaking new ground, shattering price barriers, or simply doing something a better way. Only a few products get to become Harmony Central Hot Picks. Our criteria are simple: We choose those few products that rise above the rest; that we might want for ourselves."
"Mobius Megatar - A new entrant into the tap-style world!"
Here's what Harmony Central says …
"Sometimes piano players get the urge to pick up a guitar. Other times, guitar players get tired of playing the same six blues licks over and over. Most likely, bass players may yearn to play something besides, well, bass notes. Hearing their pleas, a handful of companies have been marketing special instruments designed specifically for two-handed tapping. Emancipating one hand from picking duties frees up four digits to play melodies and/or chords.
"The Chapman Stick and the Warr Guitar likely are brands you have heard of. Another player in the growing field is the Mobius Megatar bass. Since there is no standard on how these instruments should be tuned or played, each brand has a different approach --
- "The Chapman Stick places the bass strings at the middle of the fretboard while the treble strings fan out towards the edges of the fretboard.
- "The Warr Guitar adopts a slightly more conventional low-to-high approach.
- "The Mobius Megatar bass is designed so that an experienced bass player should be able to pick one up and immediately start making music.
"Though there are no rules as to how a Megatar bass should be tuned, the recommended setup is that of a six string bass on the bottom. The treble strings, if tuned to fourths, allow the bassist to tap familiar bass lines, a few octaves up and using the right hand.
"Starting out from familiar territory," reports Harmony Central, "the bassist can then branch out into chords or melodies with the right hand, while tapping bass lines with the left."
"You already know the scales," Mobius Megatar spokesperson Traktor Topaz said. "It brings piano technique rather easily to the bass."
Harmony Central continues: "Mobius Megatar basses start at $1,200 MSRP. A quick visit to the Megatar website will yield a free method book to aid in learning the instrument. For more information, visit http://www.megatar.com"
Thanks, Harmony Central!
Photographs of the Megatar Crew at the Namm Show!
Traktor Topaz and Teed Rockwell man the booth. (Picture by David Reyes)
Dr. Teed plays a demo for visitors in front of the mysterious 'Headless Tapper' banner.
The Award we got at the show.
Next year, we'd like a larger one, please.
Traktor demos: "It's easy to play Rhythm Bass. You just tap like this and this!"
"Thank you" to all the folks who came by to try our instruments. All the rest of you are cordially invited to come see us next January!
Mobius Booth featured on cover of Music Trades!
 We have to admit, we're pretty tiny in the picture , but by golly right there on the cover is a big picture of the Los Angeles Namm Show, and right there between Bartolini Electronics and Pedulla Basses … is Us! Haw!
THANK YOU, MUSIC TRADES MAGAZINE!
We appreciate the promotion. Next time, could you please put us in the Center of the photograph?
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Free Music Lesson:
Gyrating with Giros!
Giro is an Italian word describing short 'turnaround' chord sequences. The most common is from the "one" chord to the six to the two to the five … and then, frequently, back around again. The pattern occurs over and over in standards, ballads, and pop songs.
Chord sequences are usually referred to by Roman Numerals, and so on these charts you can see I-VI-II-V used to represent the progression from the "one" chord through to the "five" chord.
Western Music.
In western music, the most common scale arrangement is called 'diatonic", which just means 'two tones'. This is the common do-re-me-fa-sol-la-ti-do scalar system which we learn in school as children. It's also the same arrangement of notes as the white keys on a piano, assuming the key of C.
In our example here, we'll use the key of G, because it's slightly easier to examine and to finger than the key of C. The diatonic key of G contains the notes G-A-B-C-D-E-F# and G.
Spelling out the Chords
When you're using only notes within the diatonic key of G, and you spell out a four-note chord based on a root of G, it works out that the I-Chord will be a 'G-Major-7' chord.
Likewise, using only notes within the diatonic key of G, the VI-Chord works out to be E-minor-7, the II-Chord works out to be A-minor-7, and the V-Chord works out to be D7.
So we could represent this Giro like this:
IMaj7-VIm7-IIm7-V7
And when we apply this Giro to the key of G:
GMaj7-Em7-Am7-D7
Seeing the Scale
These chord diagrams show the fingers used to spell out the GMaj7, the Em7, the Am7, and the D7 chords. (Finger code: finger 1 = circle, finger 2 = bar, finger 3 = down triangle, hollow = root of the chord.)
If you examine the four chord diagrams, you can see that the same notes occur over and over.
Which notes? Why, the eight notes of the G diatonic scale.
Whether or not you know the names of notes shown, you can see that certain fret positions reoccur in several chords.
You could play *all* the (chord) notes in sequence from bottom to top, and in the position shown you'd be playing F#-G-A-B-C-D-E-F#-G. Presto! The diatonic notes of the G scale!
In this way, the chords of a song often show you the underlying scale whether you know any theory or not.
The Four Giros
It's a fact that some chords substitute easily for others, because some chords sound similar.
The four Giros give you a practice routine that familiarizes your fingers with common chord patterns, and at the same time, these four Giros introduce you to the sound of some chords working similarly to other chords!
Here's a good practice sequence:
- I-VI-II-V -- ( 1-6-2-5 )
- I-VI-IV-V -- ( 1-6-4-5 )
- I-III-IV-V -- ( 1-3-4-5 )
- I-III-II-V -- ( 1-3-2-5 )
In the Key of G, this works out to be:
- GMaj7-Em7-Am7-D7
- GMaj7-Em7-Cm7-D7
- GMaj7-Bm7-Cm7-D7
- GMaj7-Bm7-Am7-D7
Here's What You Git!
The Giros give you a great warm-up routine. If you cycle through the keys in any regular manner, using just the brief numeric code to work out the correct chords, then in this one exercise you'll be learning:
The one, two, three, four, five, and six chords and their proper major-minor relationships within each key.
The fingering relationships to move your finger to all of these notes as intervals; that is, you'll learn where to find a sixth, fifth, fourth, third, minor third, and second from any given note already being played.
Your fingers will already know large parts of the chord progressions of mucho songs!
Remember, even if you aren't sure of the correct major-minor correspondence for each chord, if you spell out that chord within the diatonic scale shown to you by the other chords, you'll be spelling the chord correctly! For example, in the scale of G, when you spell out the chord based on a root of E, if you'll use only the scale notes of G, you'll spell out the correct notes for Em7, just as you should!
A Simple Way to Warm Up with Giros
- Try using both hands, playing just the roots in some rhythmic pattern, and repeat one Giro. When smooth, go to the next Giro. Do all four this way. (Sound clip below will demo this for you.)
- Then play roots with your left hand, and the 'Guide Tone' chords with right hand. (If this is news to you, go get the free Easy Touch-Style Bassics book from http://www.megatar.com/ in the 'Library'.)
- Last, use both hands to arpeggiate the chord tones simultaneously. Repeat each Giro till smooth then go to the next.
Here are the Four Giros in the Key of G
If you do not already know how to play these chords, then download a copy of 'Easy Touch-Style Bassics' from the Mobius Megatar Website library section. In that book you'll find an appendix that shows all the chord forms (in a folded form that permits playing them in one hand position, on both bass strings and melody strings). Below are the four chord sequences for the Key of G.
These four chord sequences should properly be shown using Roman numerals. However, you might find it clearer in your practice to just use normal arabic numerals like "1 - 6 - 2 - 5". If your skill level permits, you can write this brief numeric code and then try the exercise every day in a different key doing the translation from "1-6-2-5" into "GMaj7-Em7-Am7-D7" (or into the key of the day ) in your head.
First Giro: 1 - 6 - 2 - 5
Second Giro: 1 - 6 - 4- 5
Third Giro: 1 - 3 - 4 - 5
Fourth Giro: 1 - 3 - 2 - 5
Hear this Lesson in Real Audio or MP3
We've recorded an audio example of this lesson, so that you can hear the 'Simple Warm-Up' described in the last section. Click to download --
Gyrating with Giros Lesson in Real Audio
(4.8 MB)
Gyrating with Giros Lesson in MP3
(5.5 MB)
Happy Gyrating!
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Upcoming Events of Note
June 30, 2001 -- The "Seminaire de Tape" Arrives in Belgium!
European Summer Tap-Guitar Seminar coming up -June 30-July 7th, Neufchâteau, Belgium!
Classes By ...
Wolfgang Daiss and Kuno Wagner from Germany, Daniel Schell from Belgium, and special classes by Ray Ashley (New Jersey, USA), André Pélat (Montpellier, France), and Traktor Topaz (San Francisco, USA).
Subject - Tapping!
Tapping, noun, the action of tapping on the strings of a guitar with the tip of the fingers.
All Instruments
Classical or electric guitars, instruments specially designed for tapping such as tap-guitars, megatars, or tiptars, whatever their makers, tunings or number of strings.
Musical Holydays
The Tap Seminar is part of a big event, namely the section Musiques et danses traditionnelles of the Académie d'été de Wallonie. Walks in the Ardens and bathing in the Semois river are organized every day. Do not miss the evening concerts and dance parties with girls and boys enjoying the traditional rondes and group dances.
Subjects
Improvising, playing, reading, composition, harmony, chords, songs, jazz, classical, Indian music, pop, body rhythm, tap guitar manufacturing, electronics, dancing, and performing ...
On the Level
All levels of playing and/or reading are accepted.
Pictures!
A complete pictorial report of E-Tap 2000 with photos from Ola Rinta-Koski is online -
http://iki.fi/ola/tapping/ and a report of the E-Tap Seminar 2000 written by Ray Ashley is available at - http://uweb.superlink.net/~rayash/europe.htm
Wolfgang Daiss
Wolfgang teaches the jazz guitar and touch-guitar in Stuttgart and plays regularly in Jazz clubs with his quartet. He presents jazz style improvisation, chord changes, walking bass, practice on simple compositions by Frank Jolliffe, Daiss, and other standards.
Daniel Schell
Teaching reading, harmony, and Indian music from his "My Space" books, Daniel will present the tapping fundamentals and a choice of classical and contemporary compositions.
Kuno Wagner
Pop, bass lines, soundscapes using the electronic equipment both on the 8-string crafty and the fifths-fourths tuning.
André Pélat
This extraordinary Stick® virtuoso from Montpellier France plays a 10-string fifths-fourths instrument and has adapted many classical pieces for the touch-guitar. These include Bach, Mozart, Beethoven, Gounod and others.
Ray Ashley
Ray is a performer living in New Jersey (USA). He plays both a 10-string touch-guitar, tuned in fifths-fourths, and an 8-string guitar tuned in fourths. He will go into the depths of the chord changes of Coltrane's 'Giant Steps'.
Traktor Topaz
Traktor will teach more about the 'Rhythm Bass' method of playing rhythmic chords along with basslines, and new things from the next book!
The Price?
400 euros (about US$ 372) includes tuition, three meals daily, and accommodation! A great time, boosts your playing, and really affordable!
To Sign Up:
Act immediately. Registration is getting crowded as this newsletter goes to press. Contact seminar organizer Daniel Schell via his website at - http://users.skynet.be/clic.music Or contact Daniel Schell via email at - clic.music@skynet.be
Musical Vacation
This is a great 'musical vacation'! Everybody raves about how fun this is. Don't miss it!
Bass Day L.A. and the 'Bass Summit' Seminar
June 26-July 1, 2001
Los Angeles is the place. Bass in your face! The National Guitar Workshop, in collaboration with Bass Player Magazine presents the Bass Summit, a week of great bass classes, culminating in Bass Day 2001, an exciting event where you can meet world-renowned bassists and leading manufacturers.
Offering Funk , Rock, and Jazz Bass Majors with Chuck Archard, David Levtov, and Ed Friedland, along with minors in Groove, World Bass, and Bass Improvisation.
Two-Handed Tapping Demo
Tuesday evening June 26 7pm - Bassist Bill Laymon and your humble editor Traktor Topaz will provide a class and demonstration of 'Rhythm Bass - Tapping Basslines with Rhythmic Chords' showing how surprisingly easy it is to learn this simple and powerful technique. Method applies equally to 6 to 8 string basses, megatar bass, or fifths-tuned instruments.
Bill Laymon
 Bill Laymon is a well known bassist, songwriter, and educator best known as bassist for the New Riders of the Purple Sage, as well as the critically-acclaimed David Nelson Band, Jefferson Starship, Big Brother & the Holding Company, and others. Carol Kaye describes him as "a fine natural talent, an unpretentious bassist whose full experience as sideman and leader has achieved an excellent reputation." Touring and recording since the 80's, playing 100 bands, and years of in-demand session work have given Bill a powerful command of the bass, and the skill to share the knowledge.
What You'll Learn
For more about the majors and the minors please see the National Guitar website (below) for full details. For the 'two-handed' tapping class on Tuesday evening at 7 pm, expect to see how easy it is to play basslines with rhythmic chords ('Rhythm Bass') using the approach revealed here. Free detailed method book given to attendees. Why not add rhythmic chords to basslines, and become a wall of rhythm?
More Info?
Bill Laymon: http://www.billlaymon.com
Bass Day: www.bassplayer.com/bassdayla
Bass Summit: http://www.guitarworkshop.com/
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Mobius Announcements
Simplified Pricing Structure
If you examine the 'Basses for Sale' section of this newsletter (or visit our website) you'll see that we've come out with some new models featuring premium woods, and even a Fanned-Fret instrument (for a depth and clarity that cannot be achieved by other archetectures). And so we've simplified the 'model naming' system, to make pricing simpler. We now offer three basic models:
TrueTapper -- designed for great sound, at an affordable price.
MaxTapper -- more pickups, premium woods, and custom GraphTech exotic nut and saddles.
ToneWeaver -- fanned frets for sweetest sound.
We now offer several optional pickup arrays, including pickups by Bill Bartolini, and these can be installed on any instrument. Full details given on our website, or call for a quote on your preferred configuration: (415) 435-8803 business hours pacific time.
Website News:
Sound-Bites for Megatar Basses now on-line!
Now you can hear the powerful sound of Mobius Megatar Touch-Style Basses online. Recordings available in Real Audio and MP3 formats. These special recordings let you hear typical bass with chord combinations, melody over basslines, and arpeggiated chords across all twelve strings..
It's never been easier to select your sound. Recordings available for the TrueTapper, MaxTapper, and ToneWeaver (fanned-fret) basses, and a special recording of our 'TrueTapper Gold', too!
Also on the Mobius Website: Large photos of instruments and pickup arrays, a special slide-show about Mobius instruments, and a free method book you can download to learn the 'Rhythm Bass' method!
(Please note - New website sections found only in "English" section. Translation into French, German, Japanese and Spanish currently in progress.) Please visit us: http://www.megatar.com
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Contact us:
Mobius Megatar USA
Post Office Box 161
Weed, CA 96094 USA
http://www.megatar.com/
Business Office (530) 938-1100
Member Better Tapping Bureau
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