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27.02.2020| Tulkree | 6 Comments

Toronto 98 For Guitar Solo - Amadeus Guitar Duo & Eden Stell Guitar Duo & Dale Kavanagh - Guitar Ga

Solo: Amadeus Guitar Duo Ensemble. Chamber: Eden-Stell Guitar Duo. Solo: Dale Kavanagh Soloist. Chamber: Amadeus Guitar Duo. Why not buy the whole Album? Your selections total more than the whole disc price. No other identifying marks expect model no inside guitar. I too have a Dixon DG It is in excellent shape and plays and sounds great. It is a well made guitar.

Did you ever find anything out about them? I buy and sell and collect old acoustic guitars. Any thing you could share would be welcome. I have looked for years for information on this very well made guitar'.

Hey guys. I owned the very last lawsuit Takamine made and was stolen about two years ago. It was an amazing guitar, I'd dare to say had not a better sound than Martin because the sound is unique to each guitarist, but a more hypnotic tone that couldn't be replicated I recently was recycling an abandoned house set for demolition and found a near perfect Dixon DG I'm not sure how long it had been in the house, which had been exposed to a lot of moisture.

Needless to say, the guitar had a slight bow to the lower body. Someone had tried to force a homemade peg in the B, most likely with a hammer, but after doing some work, restoring, and time to cure, this guitar is a dream from a era of music I wish I had been a part of.

I know some have negative thoughts on "lawsuit" guitars but as a historian, I have to tell you that if some of these designers had branched off say in the 30's to 50's, they would be recognized as one of the majors. When the "Big Two" took over most, it was do it their way or leave Long story short, if you have or can find a few of the very well made models of Dixons, hold on to them and play them!!

They were build so well that they will last through wear and thrash easy on the thrashing lol. Play on and keep picking!! It looks like a Martin D with the 3 piece back.

I have been unable to find any information on this guitar. Any help would be appreciated. Thanks for the info I have just bought a Dixon Odessa SC classical guitar. I bought it not aware of the brand but on the quality of the manufacturing and feel. Can anyone enlighten me what I have bought? Hot pink with a maple neck.

Solid as a rock. After searching for any info I could find for a few months, I gave up and just decided that I have one bad ass guitar and I got it cheap. That being said, if anyone does find anything on them, lemme know. I have a Dixon model that I am trying to find info and value on. Does anyone have and info they can share with me. Can't find anything about this guitar I would like to know what it's worth and all that I found out a lot of stuff about ones like it but I can't find no DG- 2.

I have the above listed guitar. I bought it several years ago for my Mother-In-Law, who never played it, but loved to look at it, and hear me play it She passed away and I got it back recently.. I'd like to know what, if anything, it might be worth.. I know that in the grand scheme of things, I don't need another guitar, but this one is so well built, and the pick-ups are crystal clear, I know it has to be worth holding on too.!

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Rik: Alex was kind of like the keyboard player for our band. He came in afterwards and did all the keyboard-like overdubs. Rik: I knew that one of the trickiest parts would involve making everyone's sense of rhythm work together.

For instance, since Liona comes from a classical background, she thinks in the middle of the beat, whereas Ed is very laid back and ready to start swinging at any moment. With Alex and I the beat is all over the place.

Sometimes we get excited and we're way ahead of it, and then we start to bend notes and get way behind it. So you obviously run a risk when you try to make all of that work together. Liona: Actually, classical guitarists don't even think of the beat that readily.

It's been an education for me to do something that's so rhythmic, because in most classical music, the beat is not clear. Every conductor I've worked with says that guitarists are so used to playing on their own that they don't really pay attention to rhythm. Alex : In contexts such as this, rhythm is a function more of feel. You immediately start tapping your foot, because the music has a certain flow to it.

One of the great things is that we didn't use a drummer or a rhythm section. It's strictly guitarists and nothing else, so we had the freedom to do whatever we wanted. Alex : I had a lot of reservations at first.

I thought, "These players are very good; I'm gonna feel a little weird playing with them. I wasn't sure what the piece would sound like, but I thought that it was a great idea. If we had recorded it together off of the floor, the result would have been a lot different; we wouldn't have had the flow, and the piece wouldn't have been as interesting.

When Rik first sent me his demo, I wondered, "What have I gotten myself into? It was fun, and it didn't hurt. Liona: I was apprehensive. I hadn't heard the piece, and I wondered how we could play together. At first I thought that the four of us were going to play together. But after talking to Rik I realized that it was going to be built up and that I was going to have a score and not just be expected to improvise along with Ed.

Once I had heard things, I realized that I' had some very pretty parts, which made me excited. I have to give Rik all of the writing credit, because I didn't contribute to any of it.

Rik: You always run a risk with something like this. In the initial stages I tried to be as flexible as possible, so I had to feel everyone out to see how they could fit in. In Liona's case, I figured out that the best way to go was to record a rough outline of a part, which I sent her so that her guitarist and arranger Richard Fortin could do a transcription.

Each of you is a world-class artist who also happens to be Canadian. When you got involved with this project, did you see it as an opportunity to make a nationalistic statement? Rik: I'm not making any claims; it just so happens that Guitar Player is based in America, and we are from a semi-foreign country. We live in the same area of Canada, so maybe it would be better to call it Toronto Guitar Summit, although Toronto is a hotbed of talent. Alex : When you're from a smaller country, you don't really think about nationalism.

It doesn't occur to me that I'm a Canadian musician. I'm a musician, period. There are many good Canadian musicians, and probably some bad ones, too. We've become more visible internationally, and the industry has grown a lot here.

Record companies are more willing to take chances on Canadian artists now; 10 or 15 years ago you had to go south ofthe border to accomplish anything on a large scale. Liona: We have the advantage of being near the U. Rik: Canada has a fairly strong multicultural mosaic, and we are in the shadow of a huge cultural sister. We are influenced by Britain and France, but right next door we have Chicago, where the blues came from.

Ed: Everybody around here says we are not getting the opportunities to play, there aren't enough clubs, and people don't turn out for festivals and concerts the way they should, yet maybe the jazz scene here is much more active than that of other places. Jazz musicians complain, but maybe it's a pretty good scene, comparatively speaking.

Rik: You really want me to try to answer that? Okay, it's me [laughs. Seriously, it reminds me of how much I dislike the whole "poll winner,""axe slinger" mentality that pollutes the guitar community. Music isn't a race; it's not a competition. Being a Guitar Player columnist and doing clinics gives me the opportunity to influence younger players to not think in terms of who is better. We are four guitarists who are great at certain things, if I can be so egotistical as to place myself in their company.

But we can lend things that enhance each other's musicality and playing, which is the most important thing. So the whole thing of who's best is nonsense. Liona: We have unique things to offer in the guitar world.

I would be a lousy electric guitarist or jazz guitarist, and Ed might be a lousy classical guitarist. We do what we feel inside. You give yourself to the music that suits you. I couldn't feel jazz the same way that Ed does. A while ago I gave up contemporary classical music because I felt it was an intellectual exercise.

I performed the pieces, but my heart wasn't in it, so I stopped. I got a lot of criticism for that. It's good music and I enjoy hearing others play it, but it isn't me.

Alex : There is no competition; everybody is different. Music comes from the ear and from the heart. It can affect you in so many different ways that it's unfair to place one above the other.

Ed: We all make music the way we can. I like Paul Desmond's remark about how he won quite a few awards for being the slowest saxophone player in the world, and that he earned a special honor for playing extra softly.

There certainly wasn't any competition in a project like this; each of us made our particular contributions, and that was that. I suppose that when I play with other musicians, my main objective is to complement the other musicians' stuff. Rik: To finally answer the question, in one respect Ed is the best guitarist, in that he works on an instinctive level, being comfortable with what he knows.

He's always able to find the right place for his playing in whatever music he's doing. The rest of us are younger and still searching in a lot of ways. Lionaisjust starting to be a writer, and Alex and I have been insulated in the rock band environment for years and years, so it's only at this stage in our careers that we are starting to step out and learn more about other music ensembles and structures.

So in that sense, Ed's the best. Alex : The limitations inside Rush are not that great, but they are there. There are certain things that you wouldn't try doing, due to the particular combination of musicians working together and the direction. But apart from that, there is a world of sound and ideas that I can look into, although I'd love to work with some other people, too.

I have a particular style, and I'd like to explore how I can implement it in other music and songwriting. I've done a couple of things outside of Rush, which has been extremely satisfying. I like many different forms of music, and I like to experiment with them. Having a studio at home is another good way to have the lUXUry of getting into other music in a fairly big way, but without having to spend a lot of money and time. I don't feel that I have to market music done that way; I'm lucky enough to have the freedom to make that choice.

Ed: I've always been an admirer of classical guitar, and I've dabbled with it in a very small way. I've tried to learn a few of the pieces in the standard repertoire, including some of Villa-Lobos preludes, but I've never had the technique to be able to cover playing classical, and I would never do it in public.

I realize that there are a lot of good players around, but most of my listening experience goes back to older times and records by Segovia, John Williams, and Julian Bream.

I would like to be able to play some more contemporary music- not necessarily rock, but jazz that's a little more up-to-date, which is a different kind of thing compared to what I generally fall into. But I've been too lazy to develop that type of stuff. I'm not anxious to get into fusion playing, but some of it appeals to me. I'd like to be able to do it to some degree. Allan Holdsworth and John McLaughlin are up-to-date musicians who are pretty interesting and have unbelievable facility.

Ralph Towner also does a lot of nice things. Rik: I'd like to answer the question in terms of technique. The next aspect of my playing that I want to work on is my right hand.

Hearing Michael Hedges recently reinforced that point. In my own music I want to get into fusing styles, rather than learning another separate one.

Mixing different forms is getting more acceptable to the music world. Right now I feel as if I'm in transition, in terms of direction, but nothing definite has developed. One thing I've observed about my own playing is that I tend to think traditionally, using standard tuning and usual chord voicings. I'd like to get away from the academic thing. Liona: I would like to be able to improvise more freely. It would be nice to have the knowledge of someone like Chet Atkins.

He knows a lot about jazz chords; I don't, because I haven't been trained in that way. I concentrated on the classical approach all my life. I'm learning a bit about jazz now that I'm branching out and doing different styles of music, but I don't imagine I'll ever be ajazz player.

It's not something I've ever wanted to do, although it can add an extra dimension to your playing. I've never been attracted to jazz music in the way that I am to classical.

SoloDuo As SoloDuo, Matteo Mela and Lorenzo Micheli have performed throughout Europe, Asia, the USA, Canada and Latin America, and have been acclaimed everywhere – from New York’s Carnegie Hall to Seoul’s Sejong Chamber Hall, from Kiev’s Hall of Columns to Vienna’s Konzerthaus – as one of the best ensembles ever heard.

6 thoughts on “Toronto 98 For Guitar Solo - Amadeus Guitar Duo & Eden Stell Guitar Duo & Dale Kavanagh - Guitar Ga”

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  2. Mirr says:
    Canadian Guitar Summit By Jim Ferguson and we are from a semi-foreign country. We live in the same area of Canada, so maybe it would be better to call it Toronto Guitar Summit, although Toronto is a hotbed of talent. It's never too late to develop a style like that. Solo guitar is very satisifying; being able to play the guitar alone is.
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