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Blue Bossa

Monday, July 15th, 2013

Here is a recording of me playing two guitar tracks and one mandolin track on the tune, “Blue Bossa.” Having a fake book or better yet, “IrealBook,” for a computer or smart phone makes learning jazz standards easier to do. In turn, making the process more fun. Start with songs you have in your head, that helps beyond anything else.

Blue Bossa

This track can be used as a back track for you own lead playing. The chords are
C-7////%////F-7////%////
Ddim7////G7b9////C-7////%////
Eb-7////Ab7////Dbmaj7////%////
Ddim7////G7b9////C-7////Ddim7//G7b9// repeat.

This is something I put together in just a few hours today. More fun is jamming these tunes with your friends. Having accurate chord charts and time signatures is a nice start. Worth the $7.99 for IrealB in my opinion. Now if I could just get my fingers to play the lead lines I hear in my head. With backtracks or friends to jam with this goal is attainable. To improvise tastefully, with command and conviction.

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What a Wonderful World

Wednesday, May 8th, 2013

Jazz standards for arranged for one mandolin. Recently I bought an “iReal Book.” Recording is great practice, one can re-create interesting parts, and omit the less inspirational parts. Below I share my arrangement of a classic song.

What a Wonderful World

This is the bare bones, “before,” rendition.

Today is the very first time I have attempted to play this piece for one mandolin, in a week or so I will upload what I will then call an, “after.”

A more polished recording, arranged with melody decisions I feel best fit in the song, and on my fretboard. Using a melting pot of ideas, tossing them off my band, I then attempt to make my own unique musical statement within the context of the song. Arranging a tune so one can improvise within it takes time. My goal is to show how this time can help the greater good of the music as well as that of our ears.

I have found that chord solo playing on one instrument helps me really learn a song inside and out. It is good practice and much more fun than running through scales or theory, although they can be applied in this context. Try this yourself and share! Learn to play the chords first, then find the melody within them. Any song popularized works, from Nirvana to Debussy.

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Here is Willin’ from Oysterfest

Thursday, April 11th, 2013

Below is a video of us covering a favorite song of ours written by Little Feat. Soon this entire concert will be released as Sailing To Denver’s very first live album. The production crew at Oysterfest was nice enough to give us the soundboard quality recording of our playing at the festival.

For this show the lineup was as listed:

Patrick Haynes, singing lead vocals and bass
Brent Sandel, guitar and vocals
Mason Lutz, percussion and vocals
Shannon Case, vocals and percussion
Jenna Mobley, fiddle and vocals
Jake Cohan, mandolin and vocals

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Sailing to Denver! Our first CD is released, with a celebration show tonight!

Friday, December 21st, 2012

This eight song demonstration of our original sound is just a taste of what is to come. Stay posted for some free listening! We went into Vision Studio with a list of 20 songs and completed eight of our favorites. Being a sextet we tried to showcase each individual’s strengths while staying within the context of the band. That has always been a driving force in all STD’s musical ventures. Below is a video with Sailing to Denver covering a love song by The Talking Heads.

David Byrne is a large influence on our band, but in terms of our original music Brent Sandel is the songwriter and foremost arranger.

Brent had not only five band-mates in mind, but also the idea of the masses, and live audiences all of which influenced his decision making. With this attitude in mind Brent, and all of Sailing to Denver set the foundation for what is becoming the Sailing to Denver Sound. This encompasses a sound that continuously evolves for us.

Moving the focus from a huge cover catalog, (from AC/DC to Bach, literally) to an equally expansive assortment of nameless original ideas, we bring pieces to a table to make a whole. A whole idea, a whole song, a whole album. Doing what man does best, trying to give names to things that once were nameless. Remembering a name is just that, nothing more, and the sum is always greater than the parts.

Brent Sandel, Guitar, Piano, Vocals
Shannon Case, Vocals, Percussion
Jake Cohan, Mandolin, Vocals
Patrick Haynes, Stand up Bass, Pedal Steel, Fiddle, Vocals
Jenna Shea Mobley, Fiddle, Vocals
Mason Lutz, Percussion, Cajon, Vocals
Caled Elemam, guitar, utility band member and contributor

I would like to say thanks to all of the above mentioned musicians, as well as all the friends, family, artists, peoples and places that has made this creative work possible. At the Star Bar tonight at 9:30 at the with the help of great friends, and great bands in and of themselves, The Dust Up and Sans Abri we Sailing to Denver will play a set in celebration for the ages. CD’s will be available for purchase at the show. I can only hope your listening conveys the beautiful felling of actualization I felt, and saw throughout the faces of all parties involved, in this recording.

In times to come, be they blissful or tragic, it is insightful to remember, “it is what you make of it.” This album was made for each and everyone in an effort to help us all tap into whatever, “it,” is by means of artistic expression.

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Morning project, Salt Creek recording and slide show.

Sunday, November 4th, 2012

Below is a video I created using Sony Vegas. The song is Salt Creek, a traditional fiddle tune, I play rhythm guitar and lead mandolin. I plan on having Jenna Mobley, a great fiddle player in town record over this, giving it that high and lonesome sound. The slideshow was an experiment of sorts. So many tools at our disposal in the information age.

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My own, “All Blues,” by Miles Davis

Thursday, November 1st, 2012

This is a recorded version I created as a back track, today I improvised over it adding the mandolin part. Recording the back tracks to songs you like to play, and/or finding from other resources is a great way to practice.

All Blues

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G licks for the Bluegrass Guitarist.

Thursday, October 25th, 2012

Below are some tabs for some nice G runs that sound great in bluegrass music. I will post a video of me playing them, even without that the tabledit software makes it capable to listen to the Midi. I have them split into four exercises I discuss in more detail below.

Clarence White influenced

Ex 1. I took this straight from Clarence White, it is also the beginning of Huckleberry Hornpipe. There is a nice pull-off, this run can be played with more left hand techniques like hammering on. Try to mix it up some to give it your own voice

Ex 2. Very similar to example one with a slight variation and a 2nd measure. After a quarter note pause you need to do some string skipping (going from an open G string to the A string fretted at Bb) so start this one at a slow tempo.

Ex 3. A “floatie” run having open strings vibrating against fretted notes. I found this particular riff myself, it sounds best over a G7. Left hand must stay out of the way of your high e string.

Ex 4. The third position is a fun one to play with in the key of G. 1st finger on the 3rd fret B string (D note) 3rd finger on the D string 5th fret (G note) with the open G string to drone under your 3rd finger. Experiment with it and trust your ear. Again, keep fingers from dampening open strings to give a full harp-like sound.

G licks audio

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Sweet Georgia Brown backtrack in F

Thursday, April 12th, 2012

This is the first recording in a series of backtracks I will be posting to my site. The tracks are meant to be played along to as practice for musicians tackling any instrument. I am in 440 tuning at 96bp, playing the song “Sweet Georgia Brown,” in the key of F which cromatically walks down to a D7 then goes around the circle of 5th’s in the A part. Here are the chords I am playing.

F, D7, G7, C7, Fmaj7, A7

The B part starts the same, deviates from the original melody, then has a turnaround

F, D7, G7, Dm, A7, Dm, A7, turnaround which is
F, D7, G7, C7 each held for 2 beats resolving back to F. This is called a 1-6-2-5 turnaround. Or I-VI7-II7-V7

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Bach’s Bouree I

Thursday, April 12th, 2012

I have recently been exploring classical music arranged on the mandolin. Here is me playing Bach’s Bouree on one mandolin.

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Prisoner’s Waltz composed by David Grisman Performed by Jake and Jeff Cohan

Friday, April 6th, 2012

This is a tune written by David Grisman. The Dawg’s music is so unique he got his own genre, and he deserve’s it. This is a more traditional sounding tune.

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