- Technique is Craft. Music is Art.
- The Two Finger Guitarist: Pentatonic Superimpositions on Dominant Seventh (blues) chords.
- The Two Finger Guitarist: Notebook page 1.
- The Two Finger Guitarist. pages 2-3. Compare and contrast E7 alt. with E7+ whole tone with Pat Martino augmented transformations. get it?
- Amigo photos with Tiquipaya Golden Blues Band
- ARTISTIC AWARDS/FELLOWSHIPS/RESIDENCIES
- Follow cristianamigo.com___bluesero guitarist on WordPress.com
Blogs I Follow
- atonal theory
- chamber music
- country music
- environmental art
- EPI Emperor Regent
- extended techniques
- Fender stratocaster
- Fender telecaster
- FLORIDA STATE
- Gotham Roots Orchestra
- graphic scores
- Guggenheim Fellowship
- Hagstrom Viking
- Ibanez Artist
- Innova Recordings
- INTAR Latino Theatre
- Kingdom of Jones
- Led Zeppelin
- Les Paul
- low capitalist activity
- new music
- nono/nona recordings
- recycled instruments
- roots music
- Smithsonian Center for Folklife and Cutural Heritage
- Violeta Parra
!!Attention rockers, jazzers, and blueseros!! Take advantage of your already internalized knowledge of pentatonic scales (minor) to find new colors in your playing. Break out of your playing plateau and those boring boxes.
Faced with the prospect of a long and painful recovery for my broken left hand ring finger, I’ve decided to incorporate new (for me) two and three finger approaches into my overall technique. When I eventually recover my long standing four finger technique, I’ll also retain the new things I’m systematically learning and developing. Truthfully, it opens up new expressive possibilities even though the learning curve is daunting. I’ve actually wanted to do this for a long time considering the guitar stylings of many players including George Benson, Jimi Hendrix, and Roy Buchanan among many others. Of course, Django Reinhardt is the direct inspiration and this study is dedicated to him, his music, and his spirit. I hope to be ready for some jam sessions in about a month with some of these new approaches. Here’s the first page from my THE TWO FINGER GUITARIST notebook: diminished patterns over dominant seventh chords. I’ll also reactivate my long neglected cristianamigo.com site if you want to follow this study. It can pay off for you four finger or physically challenged guitarist types.
The Two Finger Guitarist. pages 2-3. Compare and contrast E7 alt. with E7+ whole tone with Pat Martino augmented transformations. get it?
Compare and contrast E7 alt. with E7+ whole tone with Pat Martino augmented transformations.
This gallery contains 37 photos.
photos/fotos: Jerry Amo
2016-2017 Fulbright Scholar/Artist Award. Bolivia. U.S. Department of State.
2017 Sustainable Bolivia. Artist-in-Residence.
2017 Ensenarte. Cochabamba, Bolivia. Artist-in-Residence.
2017 Pua School of Music. Cochabamba, Bolivia. Artist-in-Residence.
2015-2017 Expressiones Cultural Center. Artist-in-Residence. New London, CT.
2010- 2017 INTAR Theatre (NYC) Composer-in-Residence.
2016 Southeastern Connecticut Science and Technology Magnet High School. Artist-in-Residence.
2016 Winthrop STEM Elementary Magnet School. Artist-in-Residence. New London, CT.
2015 NYFA (New York Foundation for the Arts) grant to produce New York New Music (Vol. 2).
2012 USArtists International grant for performance at Birdfest 2012 (Rotterdam).
2009-2010 NEA Fellowship to produce 5 CD anthology of NYFA composers on innova Recordings.
2006-2007 Guggenheim Fellowship in music composition.
2008 New York State Music Fund award for Kingdom of Jones innova recordings release.
2008 New York City Opera. Observership for production of Verdi’s Falstaff.
2007-2008 American Lyric Theater (NYC). Artist-in-residence.
2007-2008 Mid Atlantic Arts Foundation. Resident artist. Calliope-The Pittsburgh Folk Music Society.
2006-2007 Brooklyn Philharmonic composer fellow.
2006 Danish Arts Council arts research and travel grant.
2006 Danish Intuitive Music Conference. Composer and visiting artist.
2004 Raw Impressions Music Theatre Fellow (NYC).
2003 Meet the Composer Van Lier Fellowship.
2003 American Composers Forum Subito award for a live performance at the Getty Center (LA).
2002 Durfee Foundation Fellowship for performances at 2002 World Festival of Sacred Music.
2000 Open Studio/OnRamp Digital Arts. Visiting artist.
2000 APPEX (Asian Pacific Performance Exchange)/UCLA CIP. Visiting artist
2000 UCLA Artsbridge Fellow/Scholar.
2000 A.S.K. Theater Projects/Nautilus Music Theater Playwright/Composer Studio. Music Fellow.
1999 Sundance Filmmakers Labs (Sundance, Utah). Film Composition Fellow.
1999 Music Center of Los Angeles Education Institute. Visiting artist/teacher.
1999 HeArt Project (Los Angeles).Visiting artist.
1997-98 Elaine Krowne Klein Fine Arts Fellowship – UCLA.
I am currently artist-in-residence at Sustainable Bolivia, and teaching at Universidad Mayor San Simon (university music students), Ensenarte (local children of orphanges), and Pua School of Rock (community music school) in Cochabamba, Bolivia. An awesome place and awesome students and professionals who want to learn as much as possible about blues, jazz, and free improvisation.
UMSS Workshop Description: The Quantum Seventh Chord: Harmonic Strategies for Progressive Guitarists and Musicians
This workshop is a study of the dominant seventh chord and it’s use in blues, jazz, and rock contexts. It is intended for music performance and theory majors, and for intermediate and advanced players who want to take their technique and playing to the highest level. It is both historic and original in its suggestions of ways to incorporate, and simplify, advanced harmonic materials in performance. The primary vehicle for this study is the multiple and simultaneous identity (the quantum metaphor) of the the dominant seventh chord in the context of the blues tune and the manifold ways that the form can be expanded through various dominant seventh chord-related techniques. This study draws from the materials developed by the author, used by musicians themselves, and from the comprehensive study of jazz harmony and theory that has blossomed in the United States since the 1970s. Although the course was originally designed for guitarists, all instrumentalists and music theorists will find it useful for their instrumental and intellectual development.