George Maroska
Charleston
Hey Lee found your site and looks very good, good to know where I can find you. George
Cheryl Rose
Dubuque Iowa
Mr. Barbour:
I have the good fortune to have been witness to your first day of life in Iowa and watched you begin to grow up before you moved to South Carolina. Your parents were our dear friends and shared their wonderful musical talents with us. It is no wonder that you are an accomplished musician. I have been observing your work from afar for several years. I am glad to have this opportunity to greet you as I continue to watch your gifts unfold.
I have the good fortune to have been witness to your first day of life in Iowa and watched you begin to grow up before you moved to South Carolina. Your parents were our dear friends and shared their wonderful musical talents with us. It is no wonder that you are an accomplished musician. I have been observing your work from afar for several years. I am glad to have this opportunity to greet you as I continue to watch your gifts unfold.
Lee Barbour writes:
hi cheryl...wow. you must be one of like 4 people that can say that. i don't think i've ever witnessed anyone's first day of life. thanks for the kind words...can't say that i make it to iowa much (ever) but i would love to thank you in person one day...take care.
Eleazar Cruz
Philadelphia, Pennsylvania
Lee
How are things in the land of southern sweet dreams? Came across your space here momentarily (and really like the layout). Take care and keep up the rawk.
How are things in the land of southern sweet dreams? Came across your space here momentarily (and really like the layout). Take care and keep up the rawk.
Bill Milkowski
New York, NY
Hi Lee, I enjoyed your duet record with Joe Beck. Very different than Joe's duet with Abercrombie, which has also just recently been released. I'm just curious to see if you happen to know Phil deGruy, an insane guitarist from New Orleans who also plays a bit of fretless guitar but mostly plays a 17-string instrument of his own design which he calls a 'guitarp." He did a duets project a couple of years ago that had Larry Coryell and Reeves Gabrels and Mike Stern and others as guests. Phil studied with Lenny Breau and basically took Lenny's concept of a 7-string guitar with a high A string and ran with it...adding a set of 10 short harp strings down by his right hand which he uses to continue arpeggios into a higher register, or to play melodies against chords. He's really insane! You can check out a sample of his playing at www.guitarp.com
Robbi
in a state of mind
just wanted to see if this thing works....cool website! suddenly feeling sleepy, however...
Lee Barbour writes:
see previous response...
Ryan
Charleston
Lee, Im tired. Should I go to sleep?
Lee Barbour writes:
hi ryan...since the dawn of time, man has asked this eternal question. truly, its answer has eluded most, and historians cite it as the primary cause of the fall of Greece, Rome, and the United States. theories abound, most relegated to the realm of conspiracy, as others have used the "answerless question" for their own political and economic gain. however, there is an oft misquoted prophecy that foretells of a boy man, nay, a man boy, born in 1977; love child of the Tooth Fairy and the Sandman, who would grow to wield an "axe of dragon-slaying redemption" and pass this knowledge on to those he deemed truly worthy through a system of federally subsidized collegiate academia. his name is still unknown, but there are internet rumors that he has slipped into the upper echelon of indie rock cultural awareness, (Spin, Dec. '07, pg 72) much to the chagrin of 'the man'. i, lee barbour, can only open the door...you must walk through and face the consequences of your inquiry. good luck to you, and good night.
ehayes
...a rolling stone gathers no moss...
Hello Mr. Barbour-
Knowing life on the road and how much is involved in putting on a show, do you find it hard to sit back, relax and enjoy a band you like live? Or do you find yourself critiquing their performance.
Knowing life on the road and how much is involved in putting on a show, do you find it hard to sit back, relax and enjoy a band you like live? Or do you find yourself critiquing their performance.
Lee Barbour writes:
hello ms. hayes...having participated as a performer and a listener at lots of shows, maybe i have a bit more perspective/expectations as a concert goer. but i don't feel in any way that it detracts from my listening experience. i'm not so focused on the lights and the sound that i can't just enjoy the music. however, if the mix sucks, it does make it more difficult to pay attention to the band because i'm too busy deciding what kind of choke to put on the sound guy. i probably critique more elements of the performance than most...but if those elements are all good, i think it gives a more rewarding experience.
Elliott Genther
St. Louis
Hey Lee,
long time no see. gotta say I love the new stuff man. Zoundz goodz.
I'm still pluggin away too. Got a cool new studio I set up in St. Louis and have been working on another CD.
just checked out this site for the first time.
thanks for the inspiration, once again...
upward and onward
elliott
long time no see. gotta say I love the new stuff man. Zoundz goodz.
I'm still pluggin away too. Got a cool new studio I set up in St. Louis and have been working on another CD.
just checked out this site for the first time.
thanks for the inspiration, once again...
upward and onward
elliott
Peter Fitzgibbon
Richmond, VA
A secondary thought/question: What do you think about teaching/using the CAGED system on guitar.
Also, what's a good way to break in to II V I arpeggiation and soloing and establish a good foundation?
Thanks for any comments and answers.
Also, what's a good way to break in to II V I arpeggiation and soloing and establish a good foundation?
Thanks for any comments and answers.
Lee Barbour writes:
I briefly studied the CAGED system in college. I think it is a good system inasmuch as it is a visual system. One of my teachers, Robert Newton, has a method called vision systems that is based on the visual nature of the guitar (though much more involved). I personally teach a method of links, that is, setting up a series of links in your brain, so that one can use a small amount of information to access a lot; much like a domino effect. It would take awhile to explain the whole process, but that is the general idea.
As far as soloing over ii V I goes, the best introduction is a thorough understanding of voice leading, which basically comes down to 3rds and 7ths. One of my other teachers, Bert Ligon, teaches soloing using outlines, which are lines built around the natural movement of 3rds and 7ths in a ii V I (major and minor). The outlines are a concise way of playing changes, though they sound pretty "vanilla" until you learn them well enough to break out of them. Connecting Chords with Linear Harmony and Comprehensive Technique for Jazz Musicians contain a wealth of information on this topic. There is a lot of literature out there on jazz soloing, and you should certainly explore as much as you can. Just remember, your ear should be the final judge on what works. Everyone has access to books, you're the only one with your ear. And, eventually, that will be the one thing that makes your music unique.
As far as soloing over ii V I goes, the best introduction is a thorough understanding of voice leading, which basically comes down to 3rds and 7ths. One of my other teachers, Bert Ligon, teaches soloing using outlines, which are lines built around the natural movement of 3rds and 7ths in a ii V I (major and minor). The outlines are a concise way of playing changes, though they sound pretty "vanilla" until you learn them well enough to break out of them. Connecting Chords with Linear Harmony and Comprehensive Technique for Jazz Musicians contain a wealth of information on this topic. There is a lot of literature out there on jazz soloing, and you should certainly explore as much as you can. Just remember, your ear should be the final judge on what works. Everyone has access to books, you're the only one with your ear. And, eventually, that will be the one thing that makes your music unique.
Peter Fitzgibbon
Richmond, VA
I'm really digging all your stuff. I'm hearing some about you in Richmond and in my hometown, Roanoke.
It's cool to see a person making hip music and using improvisation as a major vehicle without having to label it "jazz".
It's cool to see a person making hip music and using improvisation as a major vehicle without having to label it "jazz".
Lee Barbour writes:
Thanks for the comment, Peter! Improvisation is what first drew me to music. I remember improvising on the black keys when I was taking piano lessons in the first grade. Everything sounded great, and I created it! It was certainly more fun than practicing scales and playing dumbed-down Mozart. Unfortunately, that love for improv was not shared by my teacher (or by her teacher, i imagine) and i soon lost interest and quit. It wasn't until high school when i picked up my dad's guitar and rediscovered my love for spontaneous composition. Once in college, i learned to love practice, as it allowed me to more accurately express myself on my instrument. I suppose you could call what i do "jazz", but genre classifications are for marketing. For now, let's just call it music.
Lee Barbour
Charleston, SC
hi everyone...i figured i would be the one to get the guestbook started. So here it is...please feel free to ask questions or comment on the website so i can continue to improve it. Any questions/discussions about music, art, philosphy, etc. are most welcome.
