The Flatpick Post

Resources for Learning Scales & Licks

2009-10-24T07:32:00.000-07:00

Awhile back, in my weekly ezine, The Flatpick Post Newsletter, I wrote an article entitled, "Scales and Licks: The Building Blocks for Improvisation." (If you don't receive my FREE weekly ezine, why not sign up at the right hand column of this blog?) I described in my article how guitarists who improvise effectively are actually creating new music from"building blocks" they have rehearsed time and time again. In rapid sequence, they place those building blocks where they know they will fit. The building blocks are scales and licks.

Do you want to create great lead breaks and be comfortable improvising in any and every situation? Acquire the building blocks: scales and licks. Get them ingrained so thoroughly in your mind that your fingers know where to go without asking you.

If you would like some great teaching by which you can learn the scales to build great lead guitar solos, here it is! Instructor Craig Bassett's approach, in his instantly downloadable Guitar Scale Mastery, is to permanently tattoo guitar scales into your brain and fingers, while also improving your technique, speed, improvising and musicality. It works! This one is a gem--a real organized and effective system. To check it out:

Click Here for Guitar Scale Mastery!

If you would like to be able to learn any and every lick you hear on a CD, get the RiffMaster Pro so you can play the music that inspires you! This instantly downloadable software lets you take a lick from our favorite musician on any CD, and slow it way down without changing the pitch. Make a loop so you can listen and play to it over and over at any speed! Only $49--It does other neat things too, like transposes licks to the key of your choice--and it comes with hundreds of dollars worth of FREE Bonuses! For all of the details:

Click Here to Learn to Play ANY Riff or Lick!

Tracking Your Progress

2009-03-21T12:38:00.000-07:00

How can a guitarist objectively track his or her progress in playing skill? There are two proven devices for this:

1. Practice (and test yourself) with a metronome.
2. Record yourself.

Let's consider the metronome. How do you begin to practice with the metronome? Decide which tune you want to practice and adjust the timing of the metronome until its rhythm is at a pace that is much slower than you would ever play the tune. Yes, that's right--much slower! By forcing yourself to play slower you are really getting in touch with what is actually going on in the piece of music you are playing. You are becoming intimate with it. Plus, you are establishing the pattern by which your fingers will learn to obey your brain, and your brain will learn what to tell your fingers to do.

When you are playing your guitar at an abnormally slow pace you will find out that you didn't really know those licks as well as you thought you did. You were fooling yourself. Now, after this humbling experience, and after you have played the tune many times at that painfully slow cadence, kick it up a notch (as Emeril would say!). Set the metronome one step faster and repeatedly play the piece at the new setting. Then take it up another notch. And another. However, never set the metronome at a speed beyond which you can play the whole piece you are practicing cleanly and with perfect timing.

Before you set the speed too high, listen to the notes you are playing within each measure. Consider the context and richness of each note. Experiment by accenting several notes in each phrase. Then play the same phrases and accent different notes. You are setting the stage to express some great dynamics that you had never considered! Gradually, take the metronome to a higher speed. This is where it gets to be fun! You learn to play the whole piece (including the most difficult licks) perfectly at one pace and you reward yourself by graduating to the level. The test of the metronome is completely objective, because a metronome, at any given level, provides an accurate count of beats per minute.

Don't pay a lot of money for a metronome! You can get the instantly downloadable "Ultimate Metronome" for only $19.95 at:

http://lgriffith.metronome.hop.clickbank.net/

Here is another way to objectively track your playing progress: Record yourself! You don't have to use great recording equipment--any basic pc equipment will do, or even an old portable cassette recorder (remember those?). You're not after a highly polished recording of great audio quality: just a recording by which you can hear the flaws you don't detect when you are playing the song. You will be surprised to find that you have missed notes, your timing has been off and that other kinds of rough spots are evident. Why didn't you recognize those things when you were playing the song? Well, the truth is, you have trained yourself to "hear" the song you're playing in a certain way: a way that so conveniently doesn't include your mistakes! You thought it sounded good when you were playing it because you filtered out some things that will show up on the playback of your recording. When you're not multitasking--that is, you're both paying and trying to listen to the song--but, rather, sitting with your coffee listening to the playback--you'll be much more focused on the listening part and much more objective in your analysis.

Practice with a metronome and record yourself to sharpen your guitar playing skills. You'll be surprised how fast your guitar playing improves!

Why Jam with Another Guitarist?

2008-10-18T09:55:00.000-07:00

I love to play my guitar in jam sessions with other musicians. Not only is jamming fun, but the benefits of jam sessions are outstanding, especially when a guitarist jams with another guitarist.

What, you might ask, are the benefits you receive from playing your guitar with another guitar player? First and foremost, you will have the opportunity to learn new things from each other. Your fellow guitarist likely knows some songs and licks that you don't know and vice versa.

Then there is the matter of timing. Playing lead while another guitarist plays rhythm will help you to think more about timing and will help you to play your lead guitar breaks at a consistent, even pace. And playing rhythm while another guitarist plays lead will help you to be a stronger rhythm player.

Now I have to tell you, this one friend of mine that I jam with has the tendency, when he is playing back-up, to pick up speed as the song progresses. That's not really the way a song should be played, but it has challenged me to work on becoming a faster flatpicker. It would be similar to playing to a metronome that is automatically programmed to steadily increase from about 170 to 200 beats per minute during a five minute period. As you can imagine, by the end of the song, I'm working pretty hard!

If you sing, jamming with another guitarist who sings is a great way to work out harmony parts. There is nothing quite like two guitarists who compliment one another in both guitar playing and singing.

When you jam with other musicians, don't forget jamming etiquette. Don't hog all the lead breaks for yourself, but alternate them on an equal basis any other participants who play lead. When you play the rhythm back-up make sure you are not playing so loud as to obscure the notes of the person playing the lead break. For example, if you are playing rhythm acoustic guitar while another person plays lead acoustic guitar, remember that when you strike a chord of six strings, unless you use restraint, the chord can easily overpower the single notes of the person picking the lead.

For the guitarist, the benefits of jamming with other musicians, especially other guitarists, are great. Seize every opportunity you can to jam!

The Guitar Tutor Pro Guitar Training Package

2008-09-20T09:20:00.000-07:00

Professional guitarist Ryan Cameron has recently produced one of the most practical, information-packed guitar instructional courses available. Ryan's Guitar Tutor Pro course includes 3 high quality ebooks, each with photos and professionally transcribed notation, so you will have no problem following along. The course also includes over 400 audio files and over 300 exercises... That's more than 2 times what any other course offers!

Discover how to read both music notation and tablature with the help of The Guitarist's Guide To Reading Music Notation.

Learn all the core guitar playing essentials such as, hammer ons, pull offs, palm muting, string deadening, slides, a variety of bends, and lots more! It's instantly downloadable and only $47.00 and includes a lot of extras--for all of the details:
Click Here!

A Rosewood Guild for $949.99!!!!!!!!

2008-09-13T08:18:00.000-07:00

I've always loved Guild Guitars. The high strings ring like a bell, and the balance of the typical Guild guitar is near perfect. Here is what may be the ultimate Guild--with solid Sitka spruce top and solid Indian rosewood back, sides and bridge. Ebony fingerboard on mahogany neck, bone nut and saddle. Can you believe you can purchase this guitar for only $949.99? You just don't find a guitar at that price with Indian rosewood sides and back! For more details click on the link below:
Guild GAD-30R Acoustic Design Series Orchestra Antique Burst

Remembering 9/11/01

2008-09-06T09:32:00.000-07:00

The photo above was taken by Bill-Fitz-Patrick, a subscriber to The Flatpick Post Newsletter, and is used by his permission. Bill was an official photographer at the Whitehouse for 15 years during the administrations of Nixon, Ford, Carter and Reagan. He took this photo of the Pentagon at ground level on September 12, 2001.

It was seven years ago that our nation was brutally attacked by evil terrorists. I remember the shock, the grief, the disbelief--as if it just happened yesterday. Not counting the 19 hijackers, 2,974 people died in the attacks. Another 24 are missing and presumed to be dead. More lives were lost in the 9/11 attack than were lost in the attack on Pearl Harbor. I believe this statement hit the nail right on the head:

"America was targeted for attack because we're the brightest beacon for freedom and opportunity in the world. And no one will keep that light from shining."

--President George W. Bush, September 11, 2001

Think Pendulum!

2008-08-30T10:45:00.000-07:00

Do you like to hear lead guitar parts on an acoustic guitar that are kind ambiguous--that is, where the pick dances lightly over the strings, and it is not really clear exactly what is going on? Or, do like to hear a lead break that is snappy, where the notes are bold and crisp and make a clear statement? I definitely prefer the latter.

If you are a guitarist who would like to go the "bold and crisp" route, let's start with the basics I always teach. The first thing you need to do is to start with a pick that is thick enough. Use at least a medium pick--usually about .73-.81mm. This may seem difficult at first, but it is absolutely necessary, so that you'll get strong, snappy notes.

Grip the pick firmly so that your thumb and index finger cover most of the area of the pick. I use a standard Fender 351 medium pick (or something comparable). Instead of holding it lengthwise, I hold the pick so that the top (that is, the shortest side) of the pick is lined up over the top of my thumbnail, and so that the edge of the top of the pick is hitting the strings. This may or may not be best for you, but, in any case, choke up on that pick to keep those notes loud and crisp.

Do not rest the palm or wrist of your picking hand on the bridge or on the top of your guitar. Your hand needs to float freely so that you can keep the edge of the pick at pretty much a 90 degree angle from the guitar top. Keep your pinky or ring finger (or both) stiff so that one of these fingers glides loosley over the top as a reference. This will definitely seem awkward if you are not used to it, but it is a must if you're going to be a good acoustic guitar picker!

Now that you have the fundamentals in order, think pendulum. A pendulum, by dictionary definition, is "a body so suspended from a fixed point as to move to and fro by the action of gravity and acquired momentum." Envision your picking hand as a pendulum, swinging freely from your elbow, with the pick held at a fixed 90 degree angle, dipping down to strike a string from the left--and then the right--and then the left--and then the right. The motion is not from the wrist, but is from the pendulum swinging from the elbow.

Now, simply implement what you have envisioned. Make that picking arm work like a pendulum, with the pick swinging down to cut into the strings. Here are some exercises to get you started. Play the low E string with 8 strokes: down-up-down-up-down-up-down-up. Now do the same thing on the open A string. Now, without breaking the rhythm, play the 8 notes on the E string and then the A, then the E and then the A. Now try the same thing but with only 4 notes each string: down-up-down-up. Now again, with just two notes per string: down-up. As you do these exercises, apply the pendulum principle. You'll find that your notes are beginning to sound like the notes of a real flatpicker!

The Epiphone EL-00

2008-08-23T13:26:00.000-07:00

The Epiphone EL-00 is a great guitar for a player with a modest budget. I've owned one myself, and it was a real treat to play as I've always been partial to smaller-bodied guitars. The solid spruce top and the mahogany back and sides produce a sweet, yet punchy sound that really rings out. I'm glad that Epiphone has returned to the 24.75" scale on this guitar to match the Gibson L-00. (For awhile they went to a 25.5" scale--I never could figure that one out!) This is a lot of guitar for just $299.00! Just click below to see this guitar and get all of the details:
Epiphone EL-00 Acoustic Guitar Vintage Sunburst Chrome Hardware

Variety is the Spice of... Music?

2008-08-17T07:15:00.000-07:00

Certainly you've heard the expression, "Variety is the spice of life." It could equally be said, "Variety is the spice of music." There are many ways this could be applied; here are three:

Your Repertoire

If you are building a repertoire, you want to carefully consider each song that might be included. If you missed my article in last week's newsletter, "Building Your Repertoire," you can read it at:

http://EzineArticles.com/?id=1006907

Variety is important in your repertoire because you want to keep presenting fresh, unexpected offerings to your audience. Don't fall into a rut of doing all the same kinds of songs. If you play rock, work a slow song into your up-tempo numbers about every third song--and make about one in three of your slow songs slow BLUES. If
you play fiddle tunes on the guitar, break up those fast tunes with a slow waltz here and there. Surprise you audience once in awhile with a really off-beat and unique piece.

Picking Up a Second Instrument

If you receive this newsletter, you probably play (or want to play) the guitar. Have you ever considered picking up a second instrument and learning to play it, even if you only learn to play it well enough to offer a few "novelty" tunes? I've played the guitar since I was 12 years old, and the guitar will always be my main instrument. But back in the late 1970's I bought a mandolin and
learned some tunes on it just to add a little variety to the things I was playing on the guitar. Recently I've purchased a 5-string banjo and I've learned only one song on it--John Hartford's "Steam Powered Aeroplane"--but that one song adds an interesting and unique piece to my repertoire.

Each Individual Song

Did you know that there is an opportunity for variety within each individual song you perform? Let's say there is a part A and a part B to a song and the parts are repeated. Why not make the second time around just a little different from the first? Throw in something different. If you picked the melody on the low strings
the first time around, pick it on the high strings, an octave higher. And tweak the melody with some different notes in a couple of places so that it is just slightly different than than before. It will keep things more interesting and your audience will appreciate it.

Variety truly is the spice of life, and this principle is very evident in music. The greatest musicians are always finding new ways to make things a little different and keep things fresh.

Learn Guitar Quick!

2008-08-09T10:08:00.000-07:00

Beginners! Learn the basics and the secrets to teaching yourself any song you want! Gain the power to teach yourself in 10 lessons for less than the cost of one lesson with a teacher! Impress your friends around the campfire with your newly acquired musical skills! Don’t get overwhelmed by the information overload and learn just what you need to start playing today! Learn to play the guitar without reading music! Learn how to play the guitar in 10 simple lessons! Learn Guitar Quick will teach you the basics you need to start playing your favorite songs. Sound clips, images, charts, and bonuses are included. For all the details:
Click Here!

How to Figure Out a Song by Ear

2008-08-02T07:23:00.000-07:00

Have you ever wondered why some guitarists seem to be able to
figure out a song "by ear" with ease? This is a skill that anyone
can develop, but the guitarist with more experience will develop it
faster. Foremost in learning a song by ear is the simple commitment
to see the task through to completion. Sit down with your guitar
and CD player and determine that you will slowly break the song
down and learn it.

Learning the basic guitar chords will put you in a position of
strength for figuring out songs by ear. As you develop an
understanding of chords, you will come to recognize that the same
chord patterns are repeated over and over again in all of the songs
you listen to. With experience you'll learn which chords are most
often played in combinations together. Also, it will be helpful to
learn some basic music theory. Learning scales will be a big plus,
too!

Here is another tip: Follow the bass notes in the song you are
trying to learn! If the bass note is E, it is most likely the root
of the chord. The chord will likely be E major, E 7 or E minor.
Learn to listen for the changes--and the timing of the changes.
Bite off a little piece at a time and analyze each little segment
of the song. If you are willing to commit to this, everything will
come together! As you gain more experience learning songs by ear,
the process will become much easier for you, and it will take you
less time to learn a new song. The more songs you learn, the larger
your frame of reference will be for learning the next one you wish
to tackle.

The Gibson Elvis Costello Century of Progress

2008-07-26T06:56:00.000-07:00

"A Century of Progress" was the name ascribed to Chicago's World's Fair of 1933-34. The Gibson Company, capitalizing on this event, unveiled a guitar for this exposition. In honor of the fair it was named the Century Model Style L-C. The L-C was a unique Gibson because of the liberal adornment of white pearloid, a variety of celluloid designed to imitate mother-of-pearl. The L-C was produced by Gibson from 1933 to 1941.

I bought my Gibson L-C on eBay a couple of years ago. It is about a 1938, and oh, the sound… The curly maple gives this instrument spunk. The top seems to be unusually thin, contributing, no doubt, to her responsiveness. This guitar is the quintessence of the sound I love: bold, sassy, crisp; yet she offers a hauntingly complex and resonant “aftertaste” (which I suspect is due in part to her age). Click this link to read more about:
The 1933-1941 Gibson "Century of Progress"

The renowned songwriter and performer Elvis Costello owns a 1936 "Century" and it is his favorite instrument. (I can understand why!) An authentic re-creation of Costello's L-C, the Gibson Elvis Costello Century of Progress Signature acoustic guitar, is a carefully crafted recreation of the acoustic that Costello used to record and perform many of his songs.

Although I generally prefer vintage guitars over new, one great thing about going with the new Elvis Costello "Century" is that you start off everything new--with perfect action and intonation and a nice, tall saddle height--and, of course, everything is covered by a great Gibson warranty! And if you buy from Musician's Friend, you'll never find a lower price. I have purchased a number of instruments from Musician's Friend, and have been completely happy with them all. And they offer free shipping and an excellent no-hassle return policy. For more details about the Elvis Costello Century of Progress Signature acoustic guitar, just click on the link below:
Gibson Elvis Costello Century of Progress Signature Model Acoustic Guitar Vintage Sunburst

My Rendition of "Mother Maybelle" Carter's "Troublesome Waters"

2008-07-19T07:09:00.000-07:00

Maybelle Carter was a member of the original Carter Family, a band which was formed in 1927 by her brother-in-law, A. P. Carter. Maybelle was cherished by the Grand Ole Opry community of the early 1950s and became widely known as "Mother Maybelle." One of my favorite songs by Mother Maybelle is Troublesome Waters.

While I was cleaning my office recently, I found a copy of an old cassette I had recorded back in 1986, in Waverly New York. Troublesome Waters is among the songs on this cassette. With the help of Jonny Farnham, the sound technician for Christian Life Church, I multitracked, doing the vocal and playing the guitars and the mandolin. I had some fun getting the lead guitar and the mandolin talking to each other during the instrumental break. The upright bass is played by Kenny Marsh, a well-known musician in the area and the DJ for a weekly radio broadcast on WTTC in Towanda, Pennsylvania, the town I grew up in.

John Rath, a friend of mine here in Arizona, recently transferred the cassette to MP3 files, and you can listen to my rendition of Troublesome Waters from the link below. The recording equipment we used back in 1986 was primitive for its time, and the cassette copy was done on a not-so-great duplicator, so the sound quality is far from perfect--but it sounds better than some the old Gid Tanner and the Skillet Lickers recordings from the 1920's that I listen to--so I figured, what the hey--why not post it and see if anyone wants to listen to it. I love this song of simple faith and hope it is a blessing to you...
Click Here to Listen to Troublesome Waters

50 Excellent Blues Backing Tracks!

2008-07-12T07:28:00.000-07:00

Backing tracks (also known as jam tracks) are recorded arrangements of songs designed to provide a way for a guitar student to virtually practice with a playing band. Backing tracks can be an excellent tool for learning to play rhythm guitar parts in synch with other musicians. They are also great for learning how to improvise guitar solos while other instruments accompany you. They are great for helping guitarists with their timing application of licks and scales. In fact, backing tracks are the next best thing to playing with a live band and are included in best digital guitar instructionsl courses.

Professional guitarist and instructor Zack Roberts has put together 50 excellent backing tracks along with a great blues guitar instructional course. If blues is your passion, then you'll appreciate the value this amazing package gives you. 50Blues presents over 50 jamming tracks plus The Blues Guitar Essential Course for the guitarist. All your tracks comes with the keys, scales and improvisation tips and can be used for either electric or acoustic blues guitar. These are professional jamming tracks recorded live with a group of session musicians with real instruments made to give you the impression that you're surrounded by the band. For more details:
Click Here!

Mick Martin's Introduction to Flatpicking Guitar

2008-07-05T07:21:00.000-07:00

I hope you had a wonderful 4th of July, celebrating the independence of this great nation, the Unites States of America. I thank the Lord for the great principles of freedom our nation was founded on!

Speaking of independence, I have a friend who has always remained independent from the many commercial influences that are so common in music today. His name is Mick Martin and he plays pure, raw country blues on the acoustic guitar in the tradition of the old masters. A couple of weeks ago, I reviewed his CD and instructional DVD package, Revelator (See my June 21 post).

Mick is also an incredible flatpicker. The photo above is of Mick jamming with the late Bill Monroe, "the father of bluegrass." I'm pleased to announce that Mick has begun a teaching series by which the beginning guitarist can learn the fundamentals of flatpicking from the ground up--and this instructional course is absolutely FREE! His first lesson is an introduction to flatpicking guitar and rhythm, including the basic chords. More lessons will follow. To go right to Mick's first lesson:

Click Here!

Mick also teaches fingerpicking on his site--and don't forget to check out his great country blues CD and DVD instruction! Mick's home page is at:

http://www.Mick-Martin.com

The RiffMaster Pro Version 3 is Now Available!

2008-06-28T07:05:00.000-07:00

The RiffMaster Pro 2 has long been the best and least expensive instantly downloadable software to slow down the guitar solos (or solos from other instruments) without changing the pitch. This way you can break the solo down and learn what is really going on, note by note. Now, version 3 is available with even better technology!

Let's face it, in order to play fast, you need to go slow. By that I mean, to learn any difficult piece of music by ear, you must be able to hear all the notes and the way the notes are played by the musician. The Riffmaster Pro 3 with upgraded technology now makes it quite easy for you to break down and play anything. You can slow down those machine gun licks from any CD or from your files so you can pick out each note and nail down that solo!

Master difficult phrasing like never before and learn any guitar solo, lick or riff note for not. Great for all instruments--and even helps you learn lyrics! Plus, you can even transpose the music to the key in which you want to play the piece! The RiffMaster Pro 3 version includes cd ripping, file saving to mp3 or wav (yes as slowed down versions), superior tracking and 17 different playable files (including mp4, wma, Aff, ogg mp3 and wav). And this software is incredibly easy to download and use. Lots of great bonuses too--and we're talking only $49 here! For all the details:
Click Here!

Mick Martin's Revelator

2008-06-21T09:40:00.000-07:00

In a couple of my articles I have mentioned Mick Martin, an excellent flatpicker who I took about a half a dozen guitar lessons from back in the 1970's in Pittsburgh. Mick straightened me out on some guitar playing habits that were holding me back and set me on the path toward better flatpicking. Now, about 30 years later, Mick and I have again been in touch, and Mick has graciously offered to share some flatpicking lessons on this site, which will begin in the near future.

What I never knew about Mick is just how great a fingerpicker he is! He has just released a CD of country blues, Revelator, executed in the tradition of the old masters like Mississippi John Hurt, Blind Willie McTell, Robert Johnson, etc. Mick describes the album as "pure as Appalachian snow," in that it features just Mick and his guitar, without additional accompaniment. Included with the CD is an instructional DVD on which Mick teaches how to play the songs! What a bonus--and what a great concept! Now the instruction is not really designed for the beginning guitarist--but it will certainly inspire and motivate all guitarists to keep moving forward.

The song from which the title of the album is derived, John the Revelator, is the only song in which Mick is accompanied by other musicians: Bruce Foley playing the uilleann pipes and Les Getchell pounding out the beat on the bodhran. These seem like unusual instruments to accompany a traditional Gospel/blues call and response song, but it all works just fine. The driving, steady beat is exciting, yet the mood that it creates is just a bit haunting.

In my opinion, Mick kicks the foundation laid by the old masters up a notch, implementing a wonderful mix of bass runs, double stops and chords. My favorite cut on the CD is the blues standard, St. James Infirmary. Mick's arrangement of the song is quite unique, and I would liken the dynamics of his bass notes and complex (yet bold and punchy) chords in this song to the dynamics Louis Armstrong demonstrated with his horn: raw power under the control of a disciplined musician who knows how to use power. You can hear Mick's rendition of St. James Infirmary (though the audio quality is inferior to what you'll hear if you purchase his CD) as the second of two of Mick's songs posted at:

http://www.youtube.com/watch?v=R2fYSLiFosc

You can purchase Mick's CD and DVD set for only $16.85--what a deal! Go to Mick's website at:

http://www.mick-martin.com

The Gibson Icon Nick Lucas Signature Guitar

2008-06-14T07:11:00.000-07:00

In last week's post (see below), I wrote about Nick Lucas and the guitar Gibson made to his specifications: the Nick Lucas Special. As I noted in the article, Nick Lucas Specials are among the most sought after vintage guitars among players and collectors today. The orginal Specials, manufactured by Gibson from 1926 to 1941, are very hard to come by these days, and if you are able to find one, chances are you would not be able to afford it!

But there is good News! The Gibson Company has recently produced a limited reissue of the Nick Lucas, in its Acoustic Icon series, that is faithful to the original specs of the Nick Lucas Special. The thing that really set this guitar apart from all other acoustics was the deeper body (4" at the neck, 4 5/8" at the end pin). Read Norman Blakes comments about the acoustical benefits of this in last week's post below. Also, the back and sides were made from hand-selected figured Eastern hard rock maple at a time when mahogany bodies were the norm. Another great feature was the carefully radiused (slightly arched) AAA grade solid Sitka spruce top to give the top more tension and better projection.

Although a vintage Special would be preferred by many players, one great thing about going with the new Gibson Nick Lucas is that you start off everything new--with perfect action and saddle height--and everything is covered by a great Gibson warranty! And if you buy from Musician's Friend, you'll never find a lower price. I have purchased a number of instruments from Musician's Friend, and have been completely happy with them all. And they offer free shipping and an excellent no-hassle return policy. For more details about the Gibson Nick Lucas, just click on the link below:
Gibson Icon Nick Lucas Signature Acoustic Guitar Vintage Sunburst

Nick Lucas and the Gibson Nick Lucas Special

2008-06-07T06:08:00.000-07:00

In the late 1920's, Nick Lucas became one of the most popular singers on the radio, but prior to his fame as a vocalist, he had established himself as a guitarist. In 1922, Nick cut two sides of a record with the originals, "Picking the Guitar" and "Teasing the Frets." These were the first solo jazz guitar instrumentals recorded.

You can see and hear Nick sing and pick in 1929 at:

http://youtube.com/watch?v=sic_2r7-bHI

An older Nick (1951) is at:

http://youtube.com/watch?v=wuoiE9XHXbw

According to NickLucas.com, in 1924, Frank Campbell, the general sales manager for Gibson, tried to persuade Nick get rid of the Galliano he had been playing. Nick told Campbell, "If you'll build a guitar to my specifications that's not too bulky, I'll throw this guitar away." Nick wanted a wider neck, deeper sides, and a smaller body that would look better on stage. In 1925 Gibson made the guitar for Nick, and the rest is history. The Gibson Nick Lucas Special became available to the public from 1926 to 1941 and these vintage guitars are now among the most prized instruments sought by collectors and players. Don't let the small top and back fool you: Because of the unusually deep sides, the Nick Lucas Special has great projection and tone.

In an interview for an article, "Norman Blake: Flatpicking Legend," Flatpicking Guitar Magazine, August 1997, Norman Blake describes the virtues of his 1929 Nick Lucas Special: "I like that it has a shorter, punchy tone that is good for old time music. It has a deep tone, but it has a real short, gutsy, loud, spit-it-out kind of sound. It doesn't ring or sustain forever. I kind of equate, in my own idiosyncratic mind, lots of sustain in guitars with a more modern sound. In other words, if you get a guitar that rings and you can go out and get a hot dog and come back before it stops ringing, it starts to get a little modern sounding. It can also start to get a little generic sounding because they can all start to sound the same. It is like the A model Gibson mandolins, there is only about one in a hundred that is really a cut above the other ninety-nine. That is about the same thing with large guitars if you are not careful. There is about one in a hundred that you can pick out and say it has character."

An article, "What They Play," in Acoustic Guitar Magazine, October 1999, conveys Norman's thoughts on the unusual depth of the sides of the Nick Lucas Special: "Blake theorizes that the tone of a guitar has a lot to do with the size of its top in relation to the depth of its sides. 'If you have a large top,' he says, 'you need deeper sides. For a dreadnought to really balance out, it ought to have deeper sides, but it wouldn't be very comfortable to play. The sides on a 00 are deep enough for the size of it. L-series Gibsons are between Martin 000 and Martin 00 size as far as the top is concerned, and the sides are deeper than the Martin 000. That creates a better balance and a better tone. I'm talking about the old flattop Gibsons from 1926 up through World War II: the L-00, L-1, Nick Lucas, Century. And the Nick Lucas has even deeper sides on the same Gibson top. It gives you a sort of dreadnought sound, but with a lot more snap and a lot more articulation. And that short neck is a lot easier to get around on. I like the shape of the Gibson necks from the '20s and '30s.'"

For more information and some great photos of Nick Lucas and the Gibson Nick Lucas Special go to:

http://NickLucas.com

Frontal Photo of Nick Lucas Special courtesy of http://NickLucas.com. Photo of Nick Lucas Special label by Mark Stutman, courtesy of Folkway Music, http://FolkwayMusic.com.

Best Seller on My New Website!

2008-05-31T06:45:00.000-07:00

The best selling guitar instruction kit on my new website, All Your eBooks, is Jared Crebs' The Beginner's Guide to Unlocking the Guitar. Although there is a full money-back guarantee, I have had no returns so far!

With Jared Crebs' intensive, instantly downloadable instructional course, you can easily start playing and singing your favorite songs on the guitar, learn songs faster and more efficiently, and improve your guitar skills 150% in just one weekend!

Finally, never before released methods are now available to show you how to unlock the guitar, learn how to play any of your favorite songs, and perform like a seasoned player in less time than you have ever dreamed of! In as little as 48 hours, you will realize your lifelong dream of playing the guitar and improve your current guitar skills to learn songs faster. You will learn how to play your favorite songs from popular bands like Eric Clapton, Guns N' Roses, Blink 182, Nora Jones, The Beatles, Jimmy Buffett, Garth Brooks, Tim McGraw, Avril Lavigne, Blues Traveler, and many more... For more details about this great instructional course that is currently featured on the left hand column of my bookstore:
Click Here!

In Flanders Fields

2008-05-24T05:44:00.000-07:00

In Flanders Fields the poppies blow
Between the crosses row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

By Lieutenant Colonel John McCrae, MD (1872-1918)
Canadian Army

We remember with gratitude those who, throughout the generations, have given the ultimate sacrifice in service to our nation, securing our freedom through military victory!

The Pizza Tapes

2008-05-17T08:05:00.000-07:00

One of my favorite CD's is a collection of recordings from a historical meeting with Tony Rice and Jerry Garcia--the only time they ever played together. They were brought together by mandolinist David Grisman, and the fruit of this meeting was called The Pizza Tapes.

According to David's website, "Legend has it that a pizza delivery boy lifted Jerry Garcia's cassette tape of two evenings worth of very special music from his kitchen counter, thus paving its way into underground tape trading circles and giving a handle to these incredible performances. Now at last, from the vaults of Dawg Studios comes the sonically superb official release of this historic jam session, the only meeting of guitar greats Jerry Garcia and Tony Rice, introduced to each other by their mutual friend and musical associate, mandolinist/producer David Grisman. The Pizza Tapes capture these virtuosos at a rare moment in time, free of pressure, hassles or any given agenda other than making music and having plenty of fun."

Someone posted a sample from The Pizza Tapes, the song Shady Grove, at:
http://youtube.com/watch?v=p0ODUbDLS7A

You can purchase The Pizza Tapes from David's website at:
http://www.dawgnet.com/

Announcing: My New eBook Store!

2008-05-10T06:28:00.000-07:00

I am real excited about my new ebook store, All Your eBooks. At All Your eBooks you can browse and find ebooks that you can download instantly on just about any subject, plus instructional videos and unique software products! For example, are you interested in guitar lessons? Just enter the word guitar in the search field in the middle of the site and get the details on all kinds of instantly downloadable guitar instruction: from beginners to advanced, acoustic guitar, electric guitar, blues, rock, etc., just about all of the products I have reviewed on this site and in my weekly newsletter! Hobbies, Investing, Real Estate, Employment, Health, Fitness, Publishing, Education, Marriage, Relationships, Music, Home Improvement... The list goes on and on... Literally thousands of digital products! Browse and enjoy! To go directly to this ebook store:
Click Here!

"Deacon Dan" Crary, Flatpicker Extraordinaire

2008-05-03T11:35:00.000-07:00

Dan Crary (a.k.a. "Deacon Dan" Crary) catagorizes himself as a "solo flatpicker." He is, in fact, one of the greats, up there with notables like Doc Watson, Clarence White, Norman Blake and Tony Rice. Born in Kansas City, Kansas, in 1939, Dan has quite an intesting background as seminary student, a philosopher, and currently a speech communications professor at California State University, Fullerton. Dan is one of a handful of guitarists who played a role as establishing the acoustic guitar as a solo instrument in the bluegrass genre. Check out this exciting performance by Dan:
http://youtube.com/watch?v=uacil58Y_d8

Strummin'

2008-04-26T09:41:00.000-07:00

I love this print of Strummin', by Troy. It has such a loose feel to it, and yet it is a bit profound as well. You can get a beautifully framed 20x25" print of Strummin' for only $129.00. Just click on the link below and enter 11703619A in the search field at the top of the page. A 14 x 19" copy of this print, also framed, is $49.99. The item number is 11703618A. Unframed prints are available too. Click on:
Buy Guitars posters and prints at Art.com

Buying A New Acoustic Guitar? Things to Look For...

2008-04-19T06:39:00.000-07:00

If you are considering the purchase of a new acoustic guitar, be it
your first, or perhaps an additional guitar, there are some
important features to know about and to look for. This article will
provide you with some essential information for making a wise
guitar purchase.

If you are planning on purchasing a new instrument, there is good
news for you: There are many, many well-manufactured guitars on the
market today at very reasonable prices. I have recently seen some
well-made and decent sounding new acoustics for as little as
$150.00. You will probably get the lowest prices from the big
online sellers like Musician's Friend and Music123. I have
purchased a number of instruments from Musician's Friend. They have
very low prices, especially on their special sale items, and they
offer free shipping on many items. They also have a great return
policy. On the other hand, there is much to be said in favor of
purchasing your guitar from a good, local musical instrument dealer.
Your dealer can personally assist you in finding the guitar that is
just right for you, and you can play, and hear the sound of, a
number of guitars from which to choose. Also, your dealer may
provide a free set-up to adjust the guitar you buy, so you'll have
the perfect action for your playing style.

If you buy a new guitar, the chances are that the saddle and nut
will be more than high enough, so that they can be reduced to the
appropriate height for the best action. Most manufacturers send out
their guitars with the action a bit too high for the most
comfortable playing. As previously noted, many dealers offer a free
set-up on any guitar they sell. If not, a set-up on a new guitar
will probably cost about $20.00. If you've bought online and decide
to keep it, spend a few bucks locally to have your guitar set up
for optimum playing--it will be well worth it!

Try to stay away from laminated tops. Today solid tops are
available on even very modestly priced guitars. Laminated tops
produce a sound which I've always considered inferior to solid
tops. Most flat-top acoustics have spruce tops. Mahogany is also
popular. Yet another reason to buy locally is that you can try
guitars made of different woods to compare the sound. If you can
afford to go with solid wood back and sides, do so by all means.
However, having the back and sides of solid wood is not as
important as having a solid wood top.

Some manufacturers put plastic bridges on lower priced guitars. Do
not buy a guitar with a plastic bridge! The bridge is one of the
most important components for delivering resonant sound. An ebony
bridge is great, but ebony is very rare, and you'll only find it on
the most expensive guitars. Rosewood and ash make good bridges and these woods are much more common.

Size is an important factor to consider when buying a guitar. You
want a size that projects well, but is comfortable to play. Many
people assume you have to have a guitar the size of Dreadnought or
a Super-Jumbo to get good volume and bass. This is not the case! I
played a Gibson J-45 (Gibson's version of the Dreadnought) for over
20 years, but have since fallen in love with smaller-bodied
guitars. I have personally found smaller guitars to be more
sensitive to my picking techniques, resulting in a wider range of
dynamics.

These, then, are some of the things to consider when investing in
an acoustic guitar. Never be afraid to ask questions, and never be
pressured by a pushy salesperson into purchasing a guitar before
you are completely comfortable with the transaction. When you
finally decide to purchase, may your new acoustic guitar provide
you with many years of enjoyment!

Get $299.90 Worth of Recording Software FREE!

2008-04-12T07:02:00.000-07:00

Get professional home studio recording software (worth $299.90) for FREE when you pay $24.99 for the instantly downloadable guitar instructional course, Guitar Trade Secrets Exposed! This is excellent software for doing professional home recording and layering and comes with mixer, VST effects and other great features. The guitar course is a revelation of "tight-lipped secrets on how to massively improve your guitar playing in the fastest way possible. Other bonuses include:

The Virtual Guitar Amplifier (worth $99). This digital guitar amplifier for your PC functions just like a real amplifier with virtual tonal knobs and overdrive settings.

Easy Scales Generator (worth $27.90). Generate numerous scales for training your guitar solo without having to flip a real manual.

Easy Chords Generator (worth $24.50). Generate various chords for playing without having to flip a real manual.

Guitar Rhythm Generator/ Accompaniment (worth $24.50). Plot the chord progressions and haunting guitar playing rhythms will be generated for you! Excellent for Song-writing or Guitar Solo practice.

Virtual Metronome (worth $29.90). Use this to improve your timing and learning process.

For all the details:
Click Here!

Whiskey Before Breakfast

2008-04-04T07:35:00.000-07:00

I've always loved the Irish fiddle tune, Whiskey Before Breakfast, and I've heard it rendered beautifully by many musicians, including Norman Blake and Orrin Star. Here is a version that is as good as any as I've heard, by a great trio: Brad Davis, Robert Bowlin and Wil Maring. Their instruments really compliment one another, and you can tell these folks love the music! Listen to this treat at:
http://youtube.com/watch?v=VtxdaAui4tw

How To Make Money Teaching Guitar

2008-03-29T08:01:00.000-07:00

Are you looking for information on how to open your own guitar teaching business? Are you already teaching guitar and want to make more money from your lesson programs? Do you want to learn how to open your own guitar school? Perhaps you teach guitar from home or are teaching guitar for a music school that is not your own? Whatever your guitar teaching situation, you can make a fantastic living as a guitar teacher.

Author Bill Lurie covers everything from how to advertise to registration tips to income strategies in How to Make Money Teaching Guitar. Bill shows you all the techniques and strategies he used to get the guitar students to come in and register for guitar lessons. He was able to register over 75% of every guitarist who called or dropped by from his ads. It took Bill 27 years to develop these strategies. It is all revealed in this comprehensive, instantly downloadable ebook. To learn more:
Click Here!

Scales and Licks: The Building Blocks for Improvising

2008-03-22T07:37:00.000-07:00

When I was in my early teens, I remember an evening when I watched
and listened with amazement as one of my friends improvised lead
passages to "Hey Joe" in the style of Jimi Hendrix. Like the
Energizer Bunny, he kept "going and going," refrain after refrain,
each time adding something different, something new, something
fresh, something unique--all the while making it look so easy. He
even looked like he was a bit bored as those wonderful lead guitar
passages came forth! In later years I became enamored with
bluegrass music and I witnessed bluegrass guitarists doing the same
thing when it was their turn to take fast-paced lead breaks. Each
time around they did something completely different, sometimes on
the low strings, sometimes on the high strings.

It seemed like another world existed--a world beyond my
comprehension--a world where guitarists could, on their feet, at
any time, create new, rapid-fire music that would be perfectly
suited to fit the structure in which they were called on to
improvise. Were they actually creating new music on the spot, or
were they playing music they had already rehearsed? The answer is
that they were doing both: They were creating new music from
"building blocks" they had rehearsed time and time again. They
were, in rapid sequence, placing those building blocks where they
knew they would fit. What are these building blocks? Scales and
licks.

In music, a scale is an ascending or descending series of notes or
pitches. The pitches of the notes in any particular scale are
usually related by a mathematical rule. According to classical
guitarist Jamey Andreas (guitarprinciples.com), "The really
important thing about any scale is the SPACE between the notes, and
by space, I mean the space in terms of PITCH. It is the distance in
pitch between two notes that contains the EMOTIONAL CONTENT of
music."

There are different types of scales, based on the distances between
the pitches they contain. A G major scale will sound similar to D
major scale or an A major scale. Major scales all convey the same
"feeling," because they have the same pattern of spaces, or
intervals, in between each of their notes. I think of major scales
as being "happy" scales. Minor scales are spaced differently than
major scales, and the emotion they convey is what I would call
"sad," or subdued.

Andrés Segovia, the father of the modern classical guitar movement,
wrote, "...the study of scales will solve a greater number of
technical problems in a shorter amount of time than the study of
any other technical exercise." One of the best things the beginning
or intermediate level guitarist of any genre can do is to begin
learning to play basic scales in each key.

A lick is quite different from a scale. A lick is any phrase of
notes which is memorized so it can be applied in improvisation.
Andrew DuBrock, on acousticguitar.com, explains: "A lick is a
short, formulaic phrase generally used in improvised solos."
DuBrock expounds, "Many players string these licks together,
letting their fingers remember what to do next. They instill their
own personality in the solo in the way they play the lick or in the
moments between the licks, as well as in the melodies they pull out
of their head."

I remember a recording in which jazz saxophone player Eric Kloss
worked the phrase from the jingle "Things go better with Coke" into
one of his sax solos. That's an example of a lick. I play a lot of
old-time fiddle tunes on the guitar, so when I improvise a lead
break I often work in licks that are short phrases from the fiddle
tunes I've learned.

Do you want to create great lead breaks and be comfortable
improvising in any and every situation? Acquire the building
blocks: scales and licks. Get them ingrained so thoroughly in your
mind that your fingers know where to go without asking you.

Click Here for a Great Resource for Learning SCALES!

Click Here for a Great Resource for Learning LICKS!

Think You Know Guitar Strings?

2008-03-15T07:25:00.000-07:00

Many guitarists know their stuff when it comes to guitars and equipment. They know everything they need to know when it comes to selecting a good guitar or amplifier. Yet they are in the dark as to something that can be even more crucial to the way they sound. They could actually improve the sound of their guitars drastically with the right set of strings.

Professor String has just published a book about one of the most misunderstood components of the guitar: Strings. According to the professor, "All sounds made by your guitar or bass start with the vibration of a string. Yet most guitarist overlook the basic principles of how to select the best strings for their playing style. They often start with a particular brand of string and stick with it forever. Or, they are constantly switching brands and never focus on anything specific to their playing goals."

Especially intriguing is the chapter on Advanced String Intonation (ASI). For more details on this instantly downloadable ebook from the professor himself:
Click Here!

Keeping a Guitar Journal

2008-03-08T07:58:00.000-08:00

Here's an article that I put in my weekly newsletter awhile back. If you don't subscribe to my FREE newsletter, sent by email every Tuesday morning, why not sign up on the right hand column of this blog? The Flatpick Post Newsletter includes articles, product reviews, guitar playing tips and techniques, and guitar tablature for some great licks.

As some of you know, I paint (sporadically) in acrylics and egg
tempera. (You can see some of my work by going to
http://GriffsArtGallery.com and scrolling down to the bottom 5
paintings.) While I was working on one of my acrylics, I felt the
need to record some of the combinations of the colors I was using
so that I could refer to them as I continued with the painting. I
decided to buy a small and somewhat fancy soft, leather bound
sketchbook. I wound up using this book not only to record my paint
formulas, but for sketches and studies--and to track my progress
each session I painted. I also used this book to write down my
thoughts at different times--and even to write down quotes from
artists who inspired me.

Recently, I realized that keeping a journal would also be great for
a guitar player. What kind of things would you write in a guitar
journal? Well, for starters, you could track your progress on a
given song or lick between specific points of time. If you practice
with a metronome (which you should!) you can record the speeds at
which you able to play cleanly from session to session.

A guitar journal is also a great place to put your goals on paper
and then track your progress toward those goals. A journal can be a
good place to generate ideas. Write down the titles of songs you
want to learn and techniques you want to master. When you get
things on paper, one thought will often be the spark that leads to
other important considerations.

Write down, in notation or tablature, licks from your favorite
musicians that you want to learn. Create your own licks and get
them on paper so you won't forget them.

Observe a particular aspect of your playing and critique it.
Determine how you might make improvements and write it down.
Explore the possibility of expanding your style and genre and
record your ambitions.

Here and there, in your guitar journal, include quotes from some of
your favorite musicians, and even your favorite philosophers or
spiritual commentators. All of these things are just suggestions, of
course. It's your journal--do it your way--and enjoy!

Mastering Perfect and Relative Pitch

2008-03-01T08:37:00.000-08:00

Did you know that for centuries the world's greatest musicians and composers have had a secret weapon that few others knew about? And even more astounding is the fact that every single person has this same ability lying undiscovered inside!

This special ability is pitch recognition, more commonly known as perfect pitch and relative pitch. These two skills have been the guiding force behind some of music's biggest names.

So what exactly is perfect pitch? It is the ability to hear a musical note or chord and name it. Relative pitch is the ability to hear and comprehend the relationship between one note and another. In other words, a musical interval. For example, a perfect 5th is an interval. To learn how mastering these pitches can help you a be phenomenal musician:
Click Here!

The Metronome: A New Approach

2008-02-23T08:11:00.000-08:00

Developing speed in playing lead breaks on the acoustic guitar has always been a challenge to me. Bluegrass and fiddle tunes are usually played at about 200 beats per minute or more. I have written in the past about the importance of practicing with a metronome. My approach is to initially set the metronome at a very slow beat--slower that than I can actually play the piece I am practicing. Then, I gradually increase the speed. I wrote, "Decide which tune you want to practice and adjust the timing of the metronome until its rhythm is at a pace that is much slower than you would ever play the tune. Yes, that's right--much slower! By forcing yourself to play slower you are really getting in touch with what is actually going on in the piece of music you are playing." I still use that approach--but there is another approach I have discovered to use in conjunction with the slow method. It has helped me to quickly learn lead guitar parts that I can play to keep up with musicians who are playing at a rate of 200 beats per minute and higher. Here it is in 5 easy steps...

Step #1: If you're not familiar with my guitar tablature, don't worry, it's easy! My tablature is explained at:

http://flatpickpost.blogspot.com/2007/10/mngt.html

Step #2: Go to the FREE online metronome at:

http://www.metronomeonline.com/

Step #3: Set the metronome at 200 beats per minute. I am using the first phrase of the song, "Mary Had a Little Lamb," for my example, because everybody knows this song. The two lines below represent the bare-bones melody. With a flatpick, using down strokes only (strokes AWAY from the face), practice it until you can repeatedly play each note on the beat of the metronome. There should be one beat of the metronome after the seven notes where no note is
played--and then begin the same pattern again--and again. If you need to set the metronome a little slower, go ahead, but, with practice, try to get to the point where you can play these notes at 200 beats per minute:

B/0/d--X/0/o--G/2/d--X/0/o--G/0/d--X/0/o--G/2/d--X/0/o

B/0/d--X/0/o--B/0/d--X/0/o--B/0/d--X/0/o--X/0/o--X/0/o

Now, as I said, that's just the bare-bones melody. For a lead guitar break, we'll want something more interesting than that. So here's what we'll do...

Step #4: Turn the metronome down to 100 beats per minute, or half of the speed at which you played the above lines. Here is a lead lick I've written that is played off the melody. It is all eighth notes with no rests between. This is how I play a lot of my lead guitar licks. Use alternating down and up strokes as indicated in the tablature, and play two notes to each beat of the metronome (because they are eighth notes).

B/0/d--G/2/u--G/0/d--D/0/u--G/0/d--D/0/u--G/0/d--G/2/u

B/0/d--G/2/u--B/0/d--B/3/u--B/0/d--X/0/o--X/0/o--X/0/o

Then set the metronome just a little bit of a higher rate and practice these measures repeatedly until you can play them well. Then set the metronome a little higher yet, and practice! Now, unless you a very skilled guitarist, you won't be able to play this phrase of eight notes at 200 beats per minute--but not to worry, we're going to do something else!

Step #5: Now we will do a little bit of a compromise. I wrote this lick off of the previous lick, but with some rests, so that the lick is easier to play at a faster pace. I think that, because of the rests, this lick is actually more interesting than the previous one--and it's a heck of a lot easier to play when speed is required! Start this at about 160 beats per minute, paying attention to the rests, and the direction of the strokes.

B/0/d--G/2/u--G/0/d--D/0/u--X/0/o--X/0/o--G/0/d--G/2/u

B/0/d--X/0/o--X/0/o--B/3/u--B/0/d--X/0/o--X/0/o--X/0/o

As you practice this lick, gradually increase the speed of the metronome. In not too much time, you should be able to play this lick at 200 beats per minute. Think about it: By working this way, you can come up with licks with which you'll be able to keep up with the band and play some really great lead guitar!

The Ultimate Metronome

If you get serious about practicing with a metronome, you might want to consider paying $19.95 for this insatantly downloadable, new metronome that lets you...

1. Speed up your practice without pausing to reset the metronome

2. Speed drill--90% of all other metronomes lack this critical
feature!

3. Program X beats-per-minute of increase in tempo every Y
seconds--you choose the numbers!

4. Practice crazy time signatures like 9/8,5/4, or whatever!

5. Choose cool sounds like bass, snare, hh, cow bell, wood
block...not just dull clicks!

6. See visual beat indicators as well as hear audible ones

7. IMPROVE--fast! This metronome makes practice FUN again...like it
should be!

Only $19.95, PLUS you get these 6 F R E E Bonuses! (Over $100.00
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Gift #1: "Learn to Read Music," a 9-page ebook. No more staring blankly at the sheet music--this is a very straightforward, easy to understand primer on reading sheet music A $10 value.

Gift #2: "Learn to Play Classical Guitar," a 65-page ebook. Learn from the ground up, or expand your ability to play real classical style guitar. A $15 value.

Gift #3: "Improving Your Piano Playing," a 12-page pdf. Chock-full of terrific piano tools--includes scale exercises, mixed rhythm drills, crossing drills, swing, blues and ragtime exercises. A $20 value.

Gift #4: "Improving Your Guitar Playing," a 15-page pdf. Amazing collection of must-have guitar tools-- includes string skipping, sweep picking, pedal point and alternate voice exercises.

Gift #5: "Easy Chord," an ultra-convenient windows app for looking up guitar chords. Puts every chord at your fingertips, instantly!

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Download The Ultimate Metronome instantly at:
Click Here!

The Blues and Gospel of Robin O'Herin

2008-02-16T07:37:00.000-08:00

As you know, this blog, The Flatpick Post, emphasizes the flatpicking style of guitar playing. (Duh!) However, I love the sound of good acoustic, fingerpicked blues. About 25 years ago, when I lived in the Berkshires of western Massachusetts, I had the privilege of playing in a gospel band with some fine (and talented) people. Robin O'Herin, one of the members of that group, is still cranking out some fine music. In fact, through the years, her skill has blossomed into a fullness of expression that is truly a feast to the ears.

Robin, from Lee, Massachusetts, is an acoustic blues and gospel musician. She plays bottleneck and fingerstyle guitar and mountain dulcimer and her style includes "a hint of Appalachian mountain music." In schools, libraries, and small listening rooms, she performs concerts that are warm, historically rich, and often interactive. You can see and hear Robin at home, playing some great blues on her resonator guitar at:

http://youtube.com/watch?v=DPOOTgUtqBk&feature=related

Growing up in the 1960's, Robin says she was probably the only kid in her neighborhood listening to such legendary blues artists as Leadbelly, Robert Johnson, Mississippi John Hurt, Bessie Smith, Blind Willie Johnson and Lightning Hopkins, among others, on her father's old 78's. Her mother liked folk music, especially Joan Baez and Pete Seeger, so Robin grew up with a well-rounded diet of blues, folk and gospel. Check out Robin's great CD's at:

The Road Home

Red, White and Blues

Team Method Guitar--With Live Support!

2008-02-09T08:04:00.000-08:00

Based on the premise that no one teacher has all the answers, and to become a truly great guitar player you need to learn from more than one person, Ben Edwards has put together a new, state-of-the-art, instantly downloadable guitar instruction course: Team Guitar Method. Edwards, who is famous for his Jamorama guitar intstruction courses said, "I made a list of all the different skills that I felt were important to be considered an awesome guitarist. Then I added the skills and techniques that my students said they wanted to learn. Then I gathered a team of talented guitar experts to teach you comprehensively every one of these skills. Whether you want to play for personal pleasure, play in a band or write and perform your own songs, my team of guitar masters will teach you everything you want and need to know."

One of the truly unique features of team method guitar is that it offers live support. Ben recognizes that you may not see how a guitar course you download online "...can compare with having a real, live teacher in front of you so you can ask questions. Or you're not sure you'll be able to follow the lessons, or what you'll do if you run into problems. Good point! The team and I thought about this and we've put a schedule in place so that one of us is on hand to answer your questions live. Now the fact is that we're human and we can't stand by the computer 24/7, but we will offer regular live support to help answer your questions. You'll be able to log in and get live help!"

Ben goes on to explain, "This means that we are available to help answer questions, help you through any tough parts of the course and share ideas. Does any other online guitar course offer this? And if they did would they let you talk to the experts who put the course together? Team Method Guitar will! Like I said, I wish Team Method Guitar was around when I was learning to play the guitar."

The downloadable version of Team Guitar Method is only $97, and Ben offers a full refund if you are not completely satisfied. For more details:
Click Here!

Hammer-Ons, Pull-Offs and Slides

2008-02-02T07:52:00.000-08:00

Hammer-ons, pull-offs and slides are techniques which allow nuances of tone and the expression of dynamics on the guitar. These basic skills will be an essential addition to your "tool bag" of guitar techniques.

A hammer-on is accomplished by playing a note on the fretboard and then "hammering on" (fretting) another note on the same string. This results in two notes, the second note being higher in pitch than the first note. A hammer-on gives the picking hand a "break" since only one note is actually picked, while two notes are played. Here's how it works: Pick the D string (the fourth string) open (without fingering), and then quickly and firmly bring your second finger down behind the second fret. By doing this you can get two eighth notes while your picking hand has only been required to pick a quarter note. Here is another hammer-on: Pick the high E string (the first string) with your first finger behind the third fret. Then, quickly and firmly bring your third finger down behind the fifth fret. The notes are G to A. The hammer-on is such an excellent way to get two notes while your picking hand only does the work of one!

A pull-off is the reverse of a hammer-on. The pull-off is accomplished by picking a fretted note and then releasing the string to a lower note. Hold your second finger on the D string behind the second fret and pick--and then very quickly pull your finger off of the string. Did you hear the two notes? (E followed by D).

A slide is achieved by playing a note on the fretboard and (while the note is still ringing) sliding the fretting finger up or down the string to another note. Put your second finger down on the D string behind the fourth fret. Pick that not and just slide your finger up one fret. Now do the reverse: Pick the note while your finger is behind the fifth fret and then quickly slide down to the fourth fret.

Incorporating all three of these techniques into your guitar playing can help you play faster, since your picking hand executes fewer notes. Combining these techniques can help you to create some very fast and interesting licks for your lead guitar solos.

Guitar Note Mastery in Eleven Easy Steps

2008-01-26T09:22:00.000-08:00

Craig Bassett, the author of Guitar Note Mastery claims that it can actually be quite easy to learn every note on the fretboard--and the benefits are wonderful! Craig says, "Forget about using useless note learning methods that don't work and improve your guitar playing by learning to find any note on your guitar instantly...with eleven easy and simple steps to Guitar Note Mastery"

Gary Gladwin, of Milton Keyes, UK, calls Bassett's instantly downloadable instructional course "...one of the simplest and most useful educational tools that I have purchased on the internet. You wouldn't think that knowing every single note on the fretboard would make that much difference to your playing, but you would be wrong. All those scale and chord shapes that you already know suddenly seem to make sense when you intuitively understand where to place them. It doesn't matter what key--it's just so much easier. Craig's ebook is one of the best ways to gain this vital knowledge and I can honestly say that it has been one of the simplest and most useful educational tools that I have purchased on the internet. Don't think twice, buy it!" Get Guitar Note Mastery for a special introductory price of $17.00! For all of the details:
Click Here!

Floating...

2008-01-19T08:35:00.000-08:00

In bluegrass and old-time guitar lead breaks, open strings are played as often as possible. This is what gives bluegrass and old-time guitar a distinctive sound. The open strings drone after they are picked and are still heard as the fretted notes are played. Because open strings are used so much, the fretted notes are usually played within the first five frets. I've often said that I could get by pretty easily with a guitar that only had the first five frets on the fingerboard.

There is, however, a technique for playing open strings in combination with fretted strings played further up the neck. This technique is called "floating." You can really get some pleasant and interesting sounds by floating. However, in order for this to work, you have to learn the licks thoroughly and be accurate and nimble. If you hit a wrong note or wind up with a dead note, the effect is destroyed. When floating, you want to let those open strings ring out and sustain as long as possible.

Do you want to try a floating lick? If you're not familiar with my tablature, it is really simple, and it is explained at:

http://flatpickpost.blogspot.com/2007/10/mngt.html

Here is a classic floating lick that can be used with both the G and D chords. Pick with alternating down and up strokes as indicated in the tablature:

e/7/d--e/5/u--B/7/d--e/0/u--G/7/d--B/0/u--D/7/d--G/0/u

Here is a lick that works with the C and C7 chords:

e/8/d--e/0/u--B/8/d--G/0/u--G/8/d--G/9/u--D/8/d--G/0/u

Try creating your own floating licks. Just transpose notes that you would normally play within the first 5 frets up the fretboard into the 7 to 9 fret range and mix them with any open strings that will work. You might come up with some nice surprises. Floating is a great technique to use here and there to spice up your lead playing.

Guitar and Piano Chords Side-by-Side

2008-01-12T07:34:00.000-08:00

A lifetime of piano and guitar chord education--right on your computer desktop! If you went to a guitar teacher or a piano teacher, it would take months to cover all the chords--and even then you would only be learning them on guitar or piano--not both. But with the side-by-side guitar and piano chord finder, you have a lifetime of chord knowledge on both guitar and piano for just a few bucks.

Many musicians don't read music, but play by ear. That's great, but it doesn't hurt to also be able to recognize a chord written on sheet music! When you see the chord printed on a staff, you will begin to associate it with the guitar chord symbol and the piano chord symbol. So you will be actually br learning to sight-read music without even trying! Check it out at:
Click Here!

Mark Taylor and Crafters of Tennessee

2008-01-05T07:03:00.000-08:00

Mark Taylor's "Tennessee" instruments have found their way into places such as the Tennessee State Museum, the Country Music Hall of Fame, the Georgia State Museum, and the Smithsonian. Mark is the son of the well-known musician, craftsman, and vintage instrument collector, Tut Taylor. In the 1960's, Mark grew up going to the shows of some of the finest country and bluegrass musicians, such as Flatt & Scruggs and the Foggy Mountain Boys. Mark began building musical instruments with his dad in the 1970's, under the name "Tenessee." He is a master luthier with an eye for detail and an ear for great sound.

You may have read some of my articles where I have expressed my preference for smaller-bodied guitars. Here is a link where you can see and listen to a description of features of a couple of Mark's smaller guitars (Gibson L-00 size), and at the end of the tour is a special treat: Norman and Nancy Blake are in the studio, and they play a couple of songs on these guitars! Check it out at:

http://youtube.com/watch?v=035IctFPcns

The website of Crafters of Tennessee is at:

http://www.crafterstn.com

Unlock the Guitar in One Weekend!

2007-12-29T07:31:00.000-08:00

Happy New Year! Are you making New Year's Resolutions? How about this one: "I resolve to unlock the guitar in one weekend!"

With Jared Crebs' intensive, instantly downloadable instructional course, you can easily start playing and singing your favorite songs on the guitar, learn songs faster and more efficiently, and improve your guitar skills 150% in just one weekend!

Finally, the never before released methods are now available to show you how to Unlock The Guitar, learn how to play any of your favorite songs, and perform like a seasoned player in less time than you have ever dreamed of! In as little as 48 hours, you will realize your lifelong dream of playing the guitar and improve your current guitar skills to learn songs faster. You will learn how to play your favorite songs from popular bands like Eric Clapton, Guns N' Roses, Blink 182, Nora Jones, The Beatles, Jimmy Buffett, Garth Brooks, Tim McGraw, Avril Lavigne, Blues Traveler, and many more...

As a professional guitar player and mentor for over 12 years, Jared understands the difficulties most people go through when learning the guitar. This led him to create, refine and master the 8 simple steps that have dramatically cut the learning curve and allowed people from all over the world to improve their skills on the guitar!

Jared's course includes the new and revolutionary Muscle Memory Techniques?, countless "Press & Listen" sound files (no downloading required), easy-to-understand chord charts, over 150 quality pictures, and step-by-step instructions anyone can follow!

No matter what style you want to play, no matter what level you are at (beginner or intermediate), this information applies to you. I guarantee you will not only amaze your friends and family, but most importantly, you will amaze yourself! For all of the details:
Click Here!

The Greatest Gift Ever Given...

2007-12-22T08:11:00.000-08:00

But the angel said to them, "Do not be afraid; for behold I bring you good news of great joy which will be for all the people; for today in the city of David there has been born for you a Savior, who is Christ the Lord." --Luke 2:10-11

"For God so loved the world that He gave His unique Son, that whoever believes in Him shall not perish, but have eternal life."
--John 3:16

May You Have a Very Merry Christmas!

Jam With a Drummer and You'll Play Better!

2007-12-15T07:45:00.000-08:00

I have always promoted practicing with a metronome, but here is something even better! Quickbeat Human Drummer V1 is designed for beginner to pro guitar & bass players, QuickBeat is the next best thing to playing with a real drummer.

Jamming with a drummer is one of the quickest ways to improve your groove, just ask any pro musician. QuickBeat simulates playing with a real drummer, and you can download it right now. Typical drum machines are expensive, complicated & frustrating. QuickBeat makes it easy for you to jam with the drums anytime you want. The QuickBeat download turns your computer into a drummer with over 100 beats in styles such as Rock, Country, Blues, Folk, Hip Hop, Metal, Funk, Latin, Reggae, Dance, Punk & Jazz. QuickBeat costs less and is much easier to use than a regular drum machine... and it can help you play better.

Downloading QuickBeat is easy and designed for beginner Windows & Mac computer users. You'll receive the QuickBeat download immediately after payment. Download Quickbeat and jam! For more details:
Click Here!

Is Bigger Better?

2007-12-08T06:47:00.000-08:00

Back in the late 70's, when I started to learn how to play lead bluegrass and fiddle tunes on an acoustic guitar, every bluegrass player I knew would settle for nothing less than a Dreadnought. The Dreadnought is a style of guitar created in 1916 in a collaboration between the guitar manufacturer, the C.F. Martin Co. and the Oliver Ditson Co., a retailer.

The body of the Dreadnought was larger and deeper than most guitars. The name was coined from the huge British battleship, "HMS Dreadnought." Dreadnoughts were known for their bass response and projection. They produced greater volume than the smaller guitars of the day and appealed to singers who wanted the accompaniment of a guitar. Though poorly received at first, this style of guitar became Martin's best seller in the 1930's. Of course the rest of the industry followed, and today the Dreadnought is one of the most popular styles of acoustic guitar on the market and is produced by many manufacturers.

So, as I was saying, among the bluegrass guitar players (and the would-be bluegrass guitar players) I knew, everybody had to have a Dreadnought. Or, if not a Dreadnought, one of those big, gaudy Gibson J-220's that were just too "cowboyish" for my taste (yes, I guess I care how a guitar looks as well as how it sounds).

What I wound up playing was a 1955 Gibson J-45, Gibson's version of the Dreadnought. I bought it in 1978. It was a wonderful instrument, had a really sweet sound, excellent bass response--but sometimes it seemed to me that some of the notes I picked kind of got lost in the body of the guitar. If I wanted my notes to be crisp and punchy, I would have to pick way too hard, and that was just too much work for me. About 10 years ago I played some smaller bodied guitars and was amazed at their projection and the clarity of each individual note. I was also impressed by the perfect balance between the high end notes and the bass notes. I decided to take the plunge: I sold my J-45 and purchased a Gibson-made depression era Kalamazoo KG-11 (much smaller than Dreadnought). I had to have a lot of repair work done to make the guitar playable, but still wound up with a lot of change left over from my J-45 sale. Eventually I sold the Kalamazoo (I got into buying and selling on eBay), and bought a pristine Carson J. Robison (also by Gibson--same era) which is identical to the Kalamazoo KG-11, the only difference being the name on the headstock. I also bought a Gibson LC "Century," a small-bodied (00 size) guitar that Gibson designed for the 1933 Chicago exposition. This is my favorite guitar. It has all the volume and punch I need--even with silk and steel strings!

Today I don't own a guitar today larger than a 000 size. What I have discovered is that there are ways to get volume and bass response out of a small guitar, and small guitars have some benefits that are quite appealing: specifically, they are easier to handle than larger guitars, and you don't have to work so hard to make them bark. Norman Blake, in an article on http://www.acousticguitar.com, tells why he has changed from Dreadnoughts to smaller guitars: "I'm not the world's largest person in stature, and I sit down to play, so a dreadnought got to seeming like overkill. Plus I got tired of the lack of snap. It's kind of like stringing up the kitchen table and playing that. I got tired of reaching a little further for everything--having to punch it real hard to get anything out of it."

I have discovered that a smaller guitar is much more responsive and sensitive to the flatpick than a Dreadnought is, so you can make your licks ring out with a much wider range of dynamics. I also prefer a shorter scale, specifically the Gibson 24.75" scale as opposed to Martin's 25.25" scale. The shorter scale means a little less distance from fret to fret, so the fingers don't have to reach quite as far. It also allows the strings to be a tad more flexible, inviting a greater dynamics. Another preference of mine is a guitar that has 12 frets from the nut to the body instead of 14. This means you don't have to reach as far, plus, it causes the bridge to be a little further from the soundhole, down in the middle of the widest area of the lower bout, so there is a bigger sound and more bass. I also think that there is something about the body meeting the neck at the 12th fret (the octave) that actually makes the guitar sound better. I love something that is found on many of the 12-frets-to-the-body guitars: a slotted headstock. Guitars with slotted headstocks stay in tune better, and I think the over all sound is enhanced.

So, when it comes to acoustic guitars, is bigger better? I don't think so, but that's just me. Go to your local guitar shop, experiment with different sizes of guitars, and see what YOU think!

Click here to see one of my smallest and coolest guitars, and one of my least expensive:

My Sweet May-Bell

Here is my favorite--it's a 00 size:

The Gibson Century Model Style L-C

This one is a great one, but it's getting close to needing a neck reset:

The Depression Era's Carson J. Robison

This is the one guitar I have that I purchased new, and I love it:

The Martin 000-15S Acoustic Guitar

If you're thinking about purchasing a new guitar, this one is a gem:

The Martin 000-28-VS Acoustic Guitar

This model (very small and very nice) is based on the guitar Arlo's daddy Woody started him on:

The Gibson Arlo Guthrie LG-2 Acoustic Guitar

I used to own one of these. I paid even more than they go for now. Very affordable...

The Epiphone EL-00 Acoustic Guitar

Ben Edwards' Jamorama Guitar Learning Kit

2007-12-01T06:38:00.000-08:00

Ben Edwards is a highly respected guitar teacher. Ben is the former lead guitarist for the popular down-under band "DegreesK", which toured internationally. Before joining the band, Ben gained a Bachelor of Education. His passion for teaching others, especially guitar, sparked him to develop Jamorama: The Ultimate Guitar Learning Kit.

On this blog I have reviewed Ben's Jamorama Acoustic Guitar Learning Kit at http://lgriffith.jamaco.hop.clickbank.net/ and his Jamorama Lead Guitar Learning Kit at http://lgriffith.jamlg.hop.clickbank.net/.The best selling guitar instruction on the internet is Ben's Jamorama Guitar Learning Kit, which combines lessons for both acoustic and electric guitar.

What makes Jamorama so good? Ben put Jamorama together to get you results fast. Jamorama is full of video lessons, play-along jam tracks and software games to speed your learning. He also teaches you to play virtually any song by ear.

With 148 step-by-step video lessons and 26 jam tracks, plus many more goodies, you'll be soon beplaying first rate guitar and having a lot of fun doing it! To take a look at this great multimedia instructional kit:
Click Here!

The History of Flatpicking

2007-11-24T07:51:00.000-08:00

Just what is "flatpicking," and from where did it come? Flatpicking is a method of playing the guitar whereby a flat guitar pick (also called a plectrum) is held between two or three fingers to strike the strings. Flatpicking is distinguished from fingerpicking, where a bare thumb and fingers (or a thumb with a thumb pick and fingers with fingerpicks) strike the strings.

The use of a flatpick, which is usually made of plastic, nylon, or tortoise shell, provides a much crisper, brighter sound than the use of fingers. Personally, I don't think there is anything that is able to bring out the full dynamics of an acoustic guitar quite like a flatpick.

In America, the guitar was used almost exclusively as a rhythm instrument until the 1930's, when guitarists began to play occasional lead breaks. Throughout the 1940's and into the 1950's,picking melodies on the guitar became more and more popular. Lead guitar playing diverged into two main styles: "fingerstyle" and"flatpicking."
Fingerstyle players who used finger picks, thumb picks, or bare fingers to pick the strings included people like Maybelle Carter,Chet Atkins and Lester Flatt. One of the most innovative fingerstyle players today is Leo Kottke.

The European guitarist Django Reinhardt contributed greatly to the popularity of the use of the flatpick among jazz guitarists, as did American born Nick Lucas. In early country and bluegrass music, although Maybelle Carter and Lester Flatt used a thumb pick, their styles and the styles of others who used thumb picks were easily adaptable to a flatpick technique. By the late 1960's and early 1970's, the use of the flatpick was prominent among bluegrass and old-time music guitarists. Today some of the best flatpickers are Doc Watson, Norman Blake, Dan Crary and Tony Rice. The National Flatpicking Championship is held every year at the Walnut Valley Festival in Winfield, Kansas.

Tips for the Frustrated Guitarist

2007-11-17T07:45:00.000-08:00

I've recently discovered that there is a real demand for something. I wrote about this in my newsletter last week. (If you don't receive my FREE weekly newsletter, "The Flatpick Post," why not sign for it on the right hand column of this blog?) Anyway, I've been getting a lot of emails recently from people who are beginning to learn the guitar--and it is just not coming together for them. Playing chords that are free from "dead" notes and being able to change quickly from one chord to another has caused a lot of people a lot of frustration. I have found Louise Slavnic's Guitar Made Easy, an instantly downloadable workbook, to be one of the best resources for the frustrated beginner, or the person who is returning to the guitar after a long time of not playing.

Here is a hint Louise offers for helping you learn to switch chords quickly: "When changing chord positions, do not remove hand from the guitar neck. Likewise, do not move your hand/fingers away from the strings. Keep the hand close to the strings, 'hovering' over the frets as your change to the next chord. This promotes the 'flow' of chord changing and ensures that you are developing the skill correctly."

It can take a long time to become familiar with each chord and to remember which chord is which. In her workbook, Louise suggests,"As you practice what has been outlined in the chord practice routine, follow this pattern: Say the name of the chord as you begin change.- Say the name of the chord as you position each finger."

Louise even provides information on how to condition your fingers for pain-free playing. She suggests soaking the fingertips of the chord changing fingers in mentholated spirits before and after practicing. Says Louise, "This helps to harden the skin so that the pressing is not painful. The fingers do not become ugly and hard,they simply become hardened enough to alleviate the pain. Some beginners choose to use a cotton bud to dab the 'mentho' on to their finger tips."

Louise also stresses something that I often harp on: Keep those fingernails trimmed! She points out that not only do long fingernails hinder chord formation and slow down the process or chord changing, but over a period of time they will put grooves in your fretboard!

On a lot of sheet music, the chords are either directly above, or below, the lyrics they go with. It is not always apparent just when to change from one chord to another. Louise gives this word of encouragement: "As you develop as a guitarist you will understand more and more the need for a guitarist to 'feel' a song as you play it. It is important to play according to music, but it is just as important to be part of it. You will feel the time to change the chord sometimes even though the composer does not always point out exactly where to place the chord change--you feel it. The more familiar you are with a song, the better you will play it, so do not be discouraged by the way you play the song to start with." With time you will not even have to think about when to change the chords!

If you're one of those folks who have become discouraged and frustrated with the learning process, Louise's guitar instruction may be just what you need. For more information:
Click Here!

Thank You, Veterans!

2007-11-10T07:45:00.000-08:00

As tomorrow will be Veteran's Day, I wanted to thank all of you who have been, or are currently, in our nation's military. There is not a day that goes by that I do not reflect, with gratitude, on the freedom we enjoy in our great nation, the United States of America. That freedom has been secured only through the sacrifice of those in our military forces throughout the generations, including those serving at the present time.

While the media in this nation relentlessly puts a negative spin on our nation's mission in Iraq and our military, our troops continue, with high morale, to risk their lives daily and remain focused on their task. They are highly skilled professionals and they are doing an incredible job. I often pray that God will protect those who are in harm's way as they protect our lives, our freedom, and our very way of life. They are achieving success and Americans should not be willing to settle for anything less than success.

How would you like to be a blessing to some of those who are laying their lives on the line to protect us? The photos above are from Operation Happy Note. Operation Happy Note is a volunteer effort to send musical instruments to our deployed service men and women throughout the world. Steve and Barb Baker from Fergus Music started Operation Happy Note after their son was deployed to Iraq. They had sent him a guitar and then one of his buddies wanted one. These soldiers were so pleased with receiving and playing these instruments that Steve and Barb wanted to find a way to get more instruments into the hands of our troops: hence, "Operation Happy Note." Since March of 2005 Operation Happy Note has sent hundreds of instruments, including guitars, mandolins, banjos, violins, harmonicas, and accessories. Steve also wrote a lesson program with CD for those who don't know how to play. "We can’t stop now!" says Barb, just because her son is now back home with his family. "There are just too many requests that keep coming in. these soldiers need the joy that music brings to them." If you are interested in being a part of this wonderful effort, more details are available at their website at:
http://OperationHappyNote.com

Lester Flatt & Earl Scruggs

2007-10-31T18:49:00.000-07:00

Guitarist Lester Flatt and Banjo player Earl Scruggs met as members of the legendary Bill Monroe's band, the Blue Grass Boys, in 1946. They left the Blue Grass Boys in 1948 and shortly afterwards formed their own band, the Foggy Mountain Boys. The Foggy Mountain Boys became a prolific bluegrass band, performing and recording through the 1960's. Lester and Earl are well known for a number of performances together on the 60's sit-com, The Beverly Hillbillies. They were highly instrumental in bringing bluegrass music to a much wider audience.

While Scruggs was progressive minded, adding songs by people like Bob Dylan to the group's repertoire, Flatt, by nature a traditionalist, resisted such changes. Subsequently, the band broke up in 1969, and Lester founded the Nashville Grass and Scruggs, the Earl Scruggs Review. Lester Flatt died in 1979, while Scruggs is still performing occassionally.

Here is a great clip of them together back in the day, performing You are My Flower. While Scruggs is famous for his banjo playing, he is also a fine guitar player, as shown in this video. Notice his use of the thumb and fingers along the lines of the Carter style, which led the way to the use of the flatpick, common to this kind of music today. Notice also the size of Earl's pickguard. I can't imagine anyone needing a pickguard that large, with, perhaps, the exception of Peter Townshend. Notice also, Maybelle Carter is playing the autoharp:
http://youtube.com/watch?v=u3Itz0rTiMU

The Ultimate Guitar Speed Learning System

2007-10-27T07:45:00.000-07:00

This guitar course is not the least expensive online guitar course, and it is not for everyone, but if you are intensely serious about learning to play the guitar (acoustic or electric), you might want to consider this new package from Chris Elmore. I say "package" because this is actually a collection of 5 different best-selling guitar courses that cover all aspects of guitar playing. The audio and the video on these online courses are outstanding!

The Ultimate Guitar Speed Learning System is a unique combination of digital audio, professionally recorded audio and video clips, images and text based learning specially designed to fast-track your mastery in all aspects of guitar. It's all there, from basic playing to advanced techniques … plus lead breaks, solos, legendary songs, guitar theory and band jam sessions. Here's what you get:

Guitar Tips
Learn to play the guitar in 30 days online. With image, text and sound, you'll learn using all 3 mediums and really kick start your progress! With a lifetime access as well as the option to to download the entire site to your desktop, you can take it with you on your laptop, jam with friends as well as learn at the speed you're comfortable with!

Guitar Songs
Learn to play your favourite songs on the guitar using Chris's brand new step-by-step site. You'll get access to the hottest songs, tabs, video clips, step-by-step audio tracks and a whole lot more. You'll learn to play your favourite songs in an easy, step-by-step method any time of the day or night, in the comfort of your own home.

Guitar Leads & Licks
Take your playing to the next level with our latest project, Guitar Leads & Licks! Dive into the advance playing strategies of lead guitar and how you belt out those mind boggling leads you only see on television! You'll get into the fundamentals of the Ionian, Dorian and Phrygian scales. Guitar Leads & Licks will take your lead guitar playing to a brand new level.

Guitar Backing Tracks
Jam along with your own virtual band! With catchy drum beats, cool bass riffs and hundreds of synth tracks (including piano, violin and more), it's like having your own virtual band at your finger tips! Improve your strumming by jamming along to different drum beats. Compose your own original songs by exploring catchy bass riffs and synth tracks. Improve your lead guitar playing with your own backing tracks behind you... the choice is yours! With Guitar-Backing-Tracks, it's like having your own band to jam along with any time of the day or night!

Guitar Theory
Guitar Theory goes straight to the heart of music and explores the theory behind it all. Featuring lessons containing beats, signatures, rests, sharps, tempo's dynamics, consonants and a whole lot more... users will gain a thorough understanding of music theory and how it all comes together. Loaded with information, lessons, video's, sounds and songs, Guitar Theory is indispensable for the serious guitarist!

The Ultimate Guitar Speed Learning System is the most comprehensive guitar instruction I've seen. Plus 6 really nice bonuses--it would be well worth your time to check this one out! For all the details:
Click Here!

Norman Blake Plays His New Altman

2007-10-20T07:02:00.000-07:00

In 1998, Norman Blake (pictured to the right) had Bob Altman (pictured above) build him a custom guitar. Listen to the great sound of Norman playing "Salt River" on this guitar at:

http://youtube.com/watch?v=HkZXiENyijs

Bob Altman is a luthier from a family of carpenters. Born and raised in Florida, Bob grew up around friends who played the guitar. He owned acoustic guitars from the age of 14, but due to financial constraints, he could never afford a really good guitar. This gave him a great reason to build one!

Bob describes an unforgettable evening that motivated him to become a luthier: "I guess the real clincher that got me into building acoustic steel string guitars, was the evening I visited a friend, Weyman Dantzler, that was building violins. As we were sharing some very fine homemade muscadine wine, he brought out a violin he had built. It was complete but still in the white (unfinished). He handed it to me. Have you ever held a newborn baby in your hands? Four of our children were born at home. As I held that beautiful, delicate, light creation and heard it whisper from the friction of my fingertips moving over its’ surface, I knew I had found something I would love and could pass on to my family ( 7 children and 8 grand-children): designing and crafting fine musical instruments."

Bob provides a limited lifetime warranty to the original owner of all Altman instruments. Bob's website is at:

http://AltmanGuitars.net

Playing Through the Blues

2007-10-13T07:41:00.000-07:00

Do you love blues guitar, but are frustrated trying to get the sounds of the great bluesmen? Wouldn't it be great to be able to play like Eric Clapton, BB King, Jimi Hendrix, Stevie Ray Vaughan, Angus Young, or Buddy Guy?

Griff Hamlin has created a method that will catapult you from a wannabe blues guitar player into a truly great blues guitar player. No matter where you are now, no matter how long you've searched for the secrets, the tricks, or the techniques. Here's what you get...

How to solo over the entire fretboard effortlessly. No more getting "stuck" in one spot, unable to continue.

How to use the blues and pentatonic guitar scales to play great solos like those of Eric Clapton, BB King, SRV, and other great bluesmen.

How to understand the chord/scale relationships in the blues. This is literally how to play through the blues!

How to play blues bends and use them. You'll learn 1/2 step, whole step, and even 1 1/2 step bends.

How to play the best blues licks that have been used by generations of blues guitar greats.

How to use hammer-ons and pull-offs quickly within your blues solos to increase your speed.

A Step-by-step method that let's you learn at your own pace, and in the comfort of your own home or office.

How to pull off pinch harmonics (guitar squeals) effortlessly, every time.

Over 65 minutes (and counting!) of cut-to-the-chase style video lessons. I'll personally walk you through every note of the course.

Lifetime updates. There is more being added to the members area all the time. With your one-time payment, you get everything, forever!

Playing Through The Blues--A Guide For The Lead Guitar Player will help you achieve your goals in a simple, easy, and straight forward manner. You'll even amaze yourself in no time! For all of the details:
Click Here!

Remembering Clarence White

2007-10-06T05:17:00.000-07:00

Clarence White (1944-1973) was one of the greatest contributors of bringing the acoustic flattop guitar into prominence as a lead instrument in bluegrass music. Clarence White was born in 1944 in Madawaska, Maine, to French-Canadian parents. His father, Eric White, Sr., played the guitar, fiddle, banjo and harmonica. Clarence and his siblings, Roland, Eric Jr., and Joanne, began to play music at an early age. Eventually, a family band was formed: the Three Little Country Boys. They landed a couple of gigs on the Andy Griffith show. Here is a clip from one of these shows with young Clarence playing rhythm guitar. The guy playing the excellent break on that beautiful Gibson F-4 mandolin is Clarence's brother, Roland:

http://youtube.com/watch?v=RpKhWePGNPc

In 1962, the family band became the Kentucky Colonels. It was hard to make a living playing bluegrass during that time, and the Colonels dissolved in late 1965. White became associated with the Byrds in 1966. Here is a great clip of Clarence with the Byrds, showing his proficiency as a flatpicker with Black Mountain Rag:

http://youtube.com/watch?v=L27fIXIh5OM

Here is a great clip filmed on February 13, 1973, the year Clarence died. Clarence is playing New Camptown Races and Dark Hollow with David Grisman, Bill Keith, Peter Rowan, Richard Greene and Stuart Schulman:

http://youtube.com/watch?v=0RkxpFvo__k

On July 14, 1973 while loading his equipment in his car after a reunion gig with the Colonels, Clarence was tragically killed by a drunk driver, ending the life of one of the greatest flatpickers who has ever lived. Gram Parsons lead a singalong of Farther Along at Clarence’s funeral service.

My New Guitar Tablature

2007-10-06T05:05:00.000-07:00

Well, some of you have been subscribers to my weekly ezine long enough to remember when I was providing guitar licks via tablature. (If you are not a subscriber, why not sign up on the right hand column of this blog to receive my FREE weekly ezine?) The tablature didn't work out because I discovered that in the emails of some of my subscribers, the tablature was not properly aligned, and so it was confusing.

Well, now I think I have come up with a tablature system that will work in everyone's email. Here is an explanation of my new tablature: The first letter in each note is the guitar string which is played. The guitar strings are, from high to low (that is, from the smallest string to the largest string) e, B, G, D, A, E. Notice that the high "e" (the first string) is represented by a lower case "e," and the low "E" (the sixth string) is represented by the upper case "E."

The first letter is followed by a forward slash and then a number. This is the number of the fret which the finger is placed behind. The number is followed by another forward slash and then either a"d" or a "u." The "d" represents a down stroke (a stroke of the guitar pick away from the face) and the "u" represents an up stroke (a stroke of the guitar pick toward the face).

So, for example, the note represented by "e/7/d" is: the high"e" string (the first string), fingered behind the 7th fret, with a down stroke (a stroke of the guitar pick away from the face). "B/0/u" would be the B string (the second string), played open (with no fingering), with an up stroke (a stroke of the guitar pick toward the face).

I'll be doing one measure per line, in common time, each note being an eighth note in a series of 8. When there is a rest among these eighth notes, where no note is played, I'll indicate it with X/0/o.

So that you can see how all of this works, lets consider the first two measures of a song everyone knows--Bah, Bah, Black Sheep:

A/3/d--X/0/o--A/3/d--X/0/o--G/0/d--X/0/o--G/0/d--X/0/o

G/2/d--G/2/u--G/2/d--G/2/u--G/0/d--X/0/o--X/0/o--X/0/o

Did you figure out the timing with the rests? I'd appreciate some feedback as to how you like this system.

Updated Online Guitar Lesson Comparison

2007-09-29T06:19:00.000-07:00

Back on July 21 I posted a comparison of some of the best things I've seen in instantly downloadable guitar lessons. Here is an updated comparison. This list includes very basic beginner's lessons as well as more advanced and specialized areas of guitar.

A Music Institute Online!
Did you know there is an actual music institute online? I can see why lifetime memberships to this institute are selling like hotcakes--the cost is a one-time fee of only $29.95! You get lifetime access to Video courses for guitar(electric and acoustic), bass and drums for beginning, intermediateand advanced players. Great instructional material with hundreds ofvideos. To check out MusicMasterPro:
Click Here!

The Beginner's Guide to Unlocking the Guitar
There are some techniques Jared Crebs has developed that can
improve your guitar skills 150% in just one weekend. His system
includes "Press & Listen" files (no downloading required),
easy-to-understand chord charts, over 150 quality pictures, and
step-by-step instructions.
Click Here!

The Jamorama Acoustic Guitar Learning Kit
"Who else wants to discover the astonishing, step-by-step secrets
of how to play acoustic guitar like the Eagles, Jack Johnson, Joni
Mitchell, Ben Harper, James Taylor, Jewell ... and so on?" This is
the question that Ben Edwards asks as he introduces his
revolutionary new acoustic guitar course, The Jamorama Acoustic
Guitar Learning Kit. This product has me quite excited because it
is so different from anything I have seen in a long time. Jamorama
Acoustic comes in two books: Beginner and Advanced. These books
take the guitarist on a journey from having NO guitar playing
skills to being able to play and read guitar tab like a pro.
Jamorama Acoustic is based on the Jamorama Guitar Learning Kit, widely recognized as the best guitar course available. The Jamorama Acoustic Guitar Learning Kit specifically integrates the acoustic guitar player with 148 video examples and exercises and 26 Acoustic Jam Tracks for the student to play along with. Lots of Bonuses, too!
Click Here!

Jamorama Lead Guitar
Now Ben Edwards asks another question: Who wants to play lead
guitar like "...Eric Clapton, Jimi Hendrix, Jimmy Page, Chet Atkins,
Stevie Ray Vaughn, Steve Vai, Joe Satriani, ... and so many others?"
This is from the same great teacher who authored "The Jamorama
Acoustic Guitasr Learning Kit," but this one is obviously geared
toward electric lead guitar playing. Includes 29 Jam Tracks for you
to jam along with in a wide range of musical styles including rock,
jazz, country, blues, hip-hop and dance as your guitar playing
skills sky-rocket.
Click Here!

Playing Through the Blues
Griff Hamlin walks you step-by-step with a guaranteed method to
master blues guitar! Play like Eric Clapton, Buddy Guy, BB King,
Stevie Ray Vaughn, etc. Learn blues scales by which to create
awe-insoiring solos. This one is great for the guitarist at just
about any level.
Click Here!

Guitar Scale Mastery
Craig Bassett's approach is designed to permanently tattoo guitar
scales into your brain and fingers, while also improving your
technique, speed, improvising and musicality. It Works! This one is
a gem--a real organized and effective system.
Click Here!

The Guitar Scales Method
I don't like this one quite as much as the above, but it is very
good. "The Guitar Scales Method" is not for beginners only, but for
the intermediate or advanced guitarist as well. If you want to
develop top-class guitar scales and improvisation skills, the
Guitar Scales Method can be the means to your success. This system
takes you to the total mastery of scales, modes, and improvisation.
Click Here!

RiffMaster Pro Version 2
And don't forget this amazing lick, riff & run learning tool! Thisinstantly downloadable software lets you take a lick from yourfavorite musician on any CD, and slow it down without changing thepitch. Make a loop so you can listen and play to it over and overat any speed! It does other things too--Only $47!!!
Click Here!

The Music of Doc Watson

2007-09-22T06:17:00.000-07:00

When it comes to bluegrass and old-time guitar, no name is more of a household word than that of Doc Watson. Born in Deep Gap, North Carolina, "Doc" lost his vision before his first birthday from an eye infection. After learning his first song, "When Roses Bloom in Dixieland," Doc's father was so proud of him that he took Doc to the store and bought him a Stella guitar for $12.00. The rest, as they say, is history.

Doc played guitar and banjo as the folk boom of the 1960's grew. After playing on his first recording, "Old Time Music at Clarence Ashley's" he toured as a solo performer at popular clubs that featured folk music. Doc eventually got his big break at the renowned Newport Folk Festival in 1963, earning rave reviews. There is a great video of Doc playing Black Mountain Rag with Jack Lawrence at:
http://youtube.com/watch?v=3q9ea05XGbs

Discover How You can Profit from Your Guitar Interest on eBay!

2007-09-15T07:31:00.000-07:00

I have a lot of experience buying and selling guitars, mandolins and other fretted instruments on eBay. I know, firsthand, that there is a lot of money to made on eBay in this area. I've just checked out the Guitar Arbitrage System by Andy Rogers (an eBay powerseller who specializes in selling guitars and music gear). Andy claims that you can start from scratch and, in as little as 7 days, be successfully trading guitars and music gear on Ebay. His system reveals (among other things):

1. Where to buy guitars and music gear at ‘wholesale’ prices for resale on eBay.

2. An ingenious 10 step eBay sales system that makes people want to pay you higher prices than your competition.

The Guitar Arbitrage System also includes an amazing software program that can source out under-priced items on eBay ready for you to snap up before anyone else. The current version also contains a load of valuable bonuses which may not be included in further revisions. Existing customers get any further revisions and updates at no additional cost. For more details:
Click Here!

The Music of Orrin Star

2007-09-08T07:16:00.000-07:00

Orrin Star is one of my favorite flatpickers. He plays both guitar and mandolin, clearly loves the music, and plays a wide ranging repertoire which includes old-time and Celtic fiddle tunes, bluegrass, folk music and even fingerpickin' blues. Plus, he has a great sense of humor! Orrin's website is at:

http://orrinstar.com

Listen to a great medley of Alberta and Billy in the Low Ground by Orrin, backed up by John Seebach, at:

http://youtube.com/watch?v=AXL1srStjxg

Ben Edwards' Cutting Edge Lead Guitar Course

2007-09-01T08:05:00.000-07:00

Awhile back I reviewed Ben Edward's Jamorama Acoustic Guitar Lesson Kit, the hottest instantly downloadable guitar course on the internet. I believe this is the best overall acoustic course going. To check that out:

Click Here!

Ben has also designed a course with those who play electric guitar in mind. Jamorama Lead Guitar is a complete learning system and the easiest to follow guitar learning method available, for people who want to play lead guitar like Eric Clapton, Stevie Ray Vaughn, Jimi Hendrix, Joe Satriani, etc. It comes jam-packed with information, including 43 powerful video lessons, 29 of the broadest range of Jam Tracks available anywhere, 1000s of lines of tablature plus step-by-step instructions training you to play by ear, so you can play virtually any song that you ever hear on the radio.

With 29 Jam Tracks for you to jam along with in a wide range of musical styles including rock, jazz, country, blues, hip-hop and dance you can jam with the Jamorama Band and immediately put the things you've learned into practice. Watch your guitar playing skills sky-rocket You'll also discover how to recognize lead patterns and shapes, and how to transcribe songs from the radio and CD's simply by playing fun and sophisticated software games! For all of the details:

Click Here!

Buying Vintage: Learn to Look for Problems!

2007-08-25T07:01:00.000-07:00

Most of us don't "go looking for problems," but if you are considering buying a vintage acoustic guitar, it is best to recognize any problems or potential problems before the purchase. In my post of two weeks ago, Why Buy Vintage?, I noted some good reasons to buy vintage guitars (guitars that were made between the mid-1920's and about 1970). Now let's consider how to buy such guitars wisely.

In the previously mentioned post, I noted that there are two kinds of vintage instrument buyers: the collector and the player. The collector of vintage guitars, like the collector of anything, is looking for examples from specific time periods--examples that are as pristine as possible with original everything: original finish, bindings, inlay, tuners, fretboard, frets, bridge, bridgepins, etc.--all with the original case if possible. The player of vintage guitars is not so concerned with whether everything is original, but seeks vintage guitars because of the sound. Through the aging of the wood and the vibrations over many years of playing, the sound of a vintage acoustic guitar opens up into something quite wonderful. There are some players who are also collectors. They are concerned with issues of both playability and collectability. This article is written from the viewpoint of the player, not the collector. The problems discussed will not be about problems with cosmetic appearance, or about whether or not parts are original, but rather, things that may affect the structure and stability, and therefore the playability of the instrument.

This brings us to our first consideration. If you're sizing up an old guitar with the intention of possibly buying it, one of the first things you might notice is that there are fine cracks in the finish, running in all different directions. Are these finish cracks problematic to the playability or sound of the guitar? The answer is no. This is called "checking," something quite common to vintage guitars. Checking is the result of the temperature and humidity changes the instrument has been through. This affects the appearance only and even collectors put up with these cracks. I am actually quite fond of them myself. These little cracks say, "Look! Vintage!" And here is some good advice for anyone who owns a vintage guitar: Never refinish a guitar that still has the original finish, even if it heavily checked and all scratched and dinged up, to boot. Stripping and refinishing a guitar not only lessens its value, but also its uniqueness. The only conditions under which an old guitar should be refinished would be if the instrument has been damaged very severely or if it has already been refinished poorly.

Cracks that are actually in the wood are another matter entirely. Any separation in the wood of the top, back, or sides of the instrument should be taken seriously as they might cause the instrument to be unstable. Such separations might not be visible under normal conditions. In a dark room, put a flashlight inside the guitar and inspect the entire outside of the instrument.

This would be a good time to mention that buying an instrument online is not a good idea unless you are prepared for the worse case scenario. The previously mentioned cracks, as well as braces that are broken or coming apart, are all things that may not be mentioned in the description by the seller. It is not necessarily that seller is deceitful. Sellers often have no idea that there are problems with the instruments they are selling.

One of the most common features of a vintage acoustic guitar is a "bellying" of the top. Over the years, the tension of the strings will pull on top and cause it to raise, forming a slight bulge on which the bridge is the highest point. If the action of the guitar is satisfactory, there may be nothing to worry about. However, if the bridge has been shaved, or if the saddle has been drastically shortened to get the action where it needs to be there may be problems with playing and with intonation. When it comes out of the factory, the bridge on a steel-string acoustic guitar is usually about 1/4 to 5/16 of an inch high, with the saddle protruding about an eighth of an inch above the saddle. If the action can be made satisfactory without deviating too far from these specs, everything should be fine. If not, a neck reset may be required--a very expensive procedure. Also, you'll want to make sure the bridge is not separated from the top. See if you can slide a thin, but stiff piece of paper under the bridge at any place. If you can, the bridge is probably in the process of lifting and may need to be re-glued.

If there is no reinforcing truss rod in the neck, bowing of the neck is common. This can sometimes be alleviated by having the fretboard leveled and re-fretted. Or, you may have to have the neck steamed and clamped to re-straighten--and the problem will probably reappear unless you have a truss rod installed.

So, these are some of the things to look for when considering purchasing a vintage acoustic guitar. These problems should not necessarily discourage you from buying the instrument--you just want to make sure you can recognize the problems and potential problems and factor them into your decision. I've purchased some vintage instruments that have had to drastically overhauled, yet the end results have been quite pleasing. All in all, vintage acoustic guitars provide a rewarding experience to the guitar player.

Why Buy Vintage?

2007-08-11T06:22:00.000-07:00

The above photo, used by permission, is of Clay ("cfh"), a vintage guitar collector and scholar who has invested many years of research on the subject of vintage guitars. He has provided a wealth of important information for the vintage guitar enthusiast at:

http://www.provide.net/~cfh

The word "vintage" refers to the wine from a particular harvest or crop. The term has been expanded to describe various things that are old or choice. In the world of guitars, this extension of the meaning of "vintage" is used designate an older, and usually a desirable, instrument. Most collectors and many players value guitars from the mid 1920s to about 1970. Guitars that were manufactured before the mid-1920s are often considered by collectors and players to be too crude and primitive in design. There are of course exceptions this rule, such as Martin and Washburn parlor guitars dating back to the Civil War era. Guitars after 1970 are not highly collectable, not only because of their youth, but because of sub-standard manufacturing and material standards that developed during the 70's.

Why might you desire to seek out and purchase vintage acoustic guitars or other vintage stringed instruments? Well, there are actually two great reasons to buy vintage: Number one, you are a collector; and/or, number two, you are a player.

The collector of vintage guitars, like the collector of anything, is looking for examples from specific time periods--examples that are as pristine as possible with original everything: original finish, bindings, inlay, tuners, fretbard, frets, bridge, bridgepins, etc.--all with the original case if possible. Some collectors do not even play their trophies--they just exhibit them. Being a player, it seems to me that to put a fine vintage guitar into retirement as a wall hanger is almost a sacrilege. Instruments are made to be played!

The player of vintage guitars is an entirely different animal. He is not so concerned with whether everything is original. Furthermore, he might not even care if much of the finish is worn off the guitar and it is replete with nicks and dings and even someone's initials carved in the top! The main reason the player buys vintage is because of the sound. Through the aging of the wood and the vibrations over many years of playing, the sound of a vintage acoustic guitar opens up into something quite wonderful. Mellow, yet crisp; resonant; complex. Sometimes there is a haunting "aftertaste" of each note that really cannot be described.

Because they are collectable, vintage guitars can be quite pricey--however there are some great deals still out there, and there are many lesser known names that are much less expensive that the Gibsons and Martins--yet they have the virtues of vintage! One of my favorite guitars is a May-Bell arch-top guitar with a round soundhole made by Slingerland of Chicago during the Great Depression. My cost, including the work necessary to make this guitar playable, was $196.00! You can see this instrument at:

One caveat for the would-be vintage guitar buyer: Unless you are a luthier, or know one who works inexpensively, don't buy instruments from an online auction. If you're knowledgeable enough to recognize what the worst case scenario would be and have counted the cost, fine--otherwise, buy from a reputable dealer. Buying from a local dealer is great, but vintage instrument dealers are few and far between. There is no reason to feel uncomfortable buying a vintage guitar from dealer who will ship if the dealer offers and stands by a satisfactory return policy. Many dealers have websites with great photos and most of them completely understand that upon playing the guitar you might not be satisfied and may wish to return it.

There is one more thing you might want to consider before buying vintage. In my experience with vintage instruments, there always seems to be at least one minor playing problem in even the best repaired and restored vintage guitar: a slight buzz here--a little rattle there. This is why I own one guitar that I purchased new. When you buy a new guitar, you start with a perfect saddle height, perfect neck angle, perfect fingerboard, perfect frets, etc. New guitars have their merits--but if had to make a choice between buying only new or buying only vintage--I'd choose vintage hands down!

Learn Guitar Pieces That Were "Just Too Difficult" Before!

2007-08-04T08:16:00.000-07:00

This may well be the biggest innovation in video learning since video itself! I'm talking about Mike Herberts' new software, which according to Mike, "...manipulates video so that anyone can learn at least 3 times faster than normal--watching the same video--in a completely different way!" This is similar to one of the best selling pieces of software, The RiffMaster Pro, which I reviewed recently (See Saturday May 5 post), but Mike has created an audio and video version.

Rip your existing DVD's and capture streaming videos from websites using FREE software that you can download from the internet. Save them as .WMV and manipulate them with SloMoDirector! Then, loop those 'Impossible' bits so that the riff or lick you want to learn on the guitar will be repeated over and over again at the speed you choose. It keeps the same musical pitch so there is no need to retune your instrument or play in a different key. You can slow the video down and play along with the video until you are 'up to speed.

This great piece of software has many more applications than learning the guitar. Says Mike: "The more I thought about it the more I realized that this video learning aid can be used is tons of different areas--not just learning to play guitar--how about piano, dancing, skating, snowboarding, martial arts, magic tricks, saxophone..." Of course, mandolin, banjo and fiddle would be included, bluegrass and old-time music players! Actually, the list is probably endless! The cost is only $48.95, which includes some great bonuses. Mike offers a FREE trial version and some very impressive demos at: Click Here!

Midnight on the Water

2007-07-28T06:32:00.000-07:00

Back in the 1970’s, I fell in love with the old fiddle waltz, Midnight on the Water, as I heard it played by Jay Ungar and Molly Mason. This beautiful piece thrills me every time I hear it.

Recently I decided to go to youtube.com and type in “midnight on the water” to see what would come up. Quite an assortment of versions of the waltz came up, being performed by soloists on various instruments as well as ensembles. The most beautiful rendition of the song to my ears was the one by Celtic harpist Ellen Tepper.

Ellen, of Glenside, Pennsylvania, is both a harpist and historian who brings life to 500 years of harp music. She began the study of classical harp at age eight and spent much of her childhood exploring ancient ruins in Europe. She went on to earn a degree in Harp Performance from the Philadelphia College of Performing Arts. Ellen became an authority on the early harp and she is now demand as both a performer and a lecturer known for her humorous approach to historical anecdote.

Ellen’s website is at http://www.ellentepper.com/. She and guitarist Ray Duffy have produced a CD entitled The Space between the Strings. At http://www.ellentepper.com/space.html Ellen and Ray have graciously provided an absolutely enchanting audio of Midnight on the Water from their CD.

See and hear Ellen perform Midnght on the Water solo at:
http://youtube.com/watch?v=kMrsEghxxwk

There is a version by Ellen with Ray at:
http://youtube.com/watch?v=O67ZyY_Fdxo

You Don't Need to Go to Music School!

2007-07-21T06:55:00.000-07:00

I have just been made aware of this website that offers video courses for guitar (electric and acoustic), bass and drums for beginning, intermediate and advanced players. It is a music institute online! Hundreds of videos and you get lifetime access to them all for a very low fee. Here are some questions and answers from their website:

Q: What is MusicMasterPro.com? (Quick answer: An incredible Online Musician's Institute where you can learn everything there is to know about playing your instrument.)

A: MusicMasterPro.com is the only official online musician's institute, in the world, responsible for teaching thousands of musicians how to play drums, guitar and bass to an advanced level. Jay Dynasty, the founder and instructor, has worked with various mainstream artists in the industry and continues to work on major label projects all over the world. This site was created for striving musicians in the world who want top-notch resources and high level technique instruction, production, jam tracks and industry listings. Instrumentmaster.com is very easy to join, and extremely fullfilling.

Q: How do I join this website?

A: YOU can join MusicMasterPro for all instruments for a small, ONE-TIME payment. You will then get INSTANT ACCESS to the program, and our members section which is here THOUSANDS of lessons in all styles are in our database, with pieces of music and other valueable resources. No catch, no recurring fees and NO LIMITS! Members of our site can also reach us with AIM. We upload new lessons and techniques every week and add new resources every month. I'll say it again! -IT IS JUST A COUPLE BUCKS FOR THE WHOLE THING! -You dont have to pay for each lesson. -You get all of them. I'll see you in the members section.

Q: Do I get all the instrument courses when I sign up?

A: You get ALL the instrument lessons for $29.95. That includes Drums, Guitar and Bass Guitar. Upon purchasing your membership, you can download lessons for whichever instrument you want, whenever you want. It's the feature that makes Music Master pro quite unique.

Q: How is the membership section designed?

A: Our navigation system is extremely simple: You simply register, then you will be automatically granted access to the members section. The members section consists of the main instrument schools, Resource banks and daily updates. Once you access which instrument you would like to study, you will be given a choice of which level and style.

Q: How long have you been teaching?

A: Jay Dynasty and Greg Evans have both been teaching music for 15 years.

Q: Are there any hidden fees? Are there any costs after I pay the $29.95? How much does it cost?

A: NO HIDDEN FEES! -Sign up for a membership (which costs only $29.95), and study with us forever. with absolutely no re-occurring charges!

Q: Can I pick one style or instrument and then drop it and pick up another one?

A: Yes you can pick and choose as you like and we have over 10 styles and genres of instruction for each instrument.

Q: Do you have industry contacts? Can you help me get signed?

A: Yes, and we also upload new resources to the database every week.

Q: How long are the jam tracks and what format are they?

A: They are all around 3:30 minutes long, and high quality 192 kbps mp3's.

For more details: Click Here!

Tablature: Not as New as Many People Think!

2007-07-14T06:21:00.000-07:00

I think it’s high time I mention my free weekly newsletter, “The Flatpick Post Newsletter,” in a post on my blog! The sign-up form is on the column to the right. I’ve been getting new subscribers every day and invite you to sign up--if you do, you’ll receive it in your email every Tuesday morning. I’ve just added a new feature to this newsletter: From time to time, I’ll be including a fiddle tune arranged for the guitar, or a guitar lick or two, in tablature.

Tablature is a form of musical notation that has become commonly used for fretted instruments. Instead of the standard 5-line staff with notes that designate pitches, tablature tells players where to place their fingers on a particular instrument as opposed to telling which pitches to play. Tablature is an excellent resource for those who do not read traditional music, or for those who do, but simply would rather learn to play an instrument using tablature. For any who might be a bit "snooty" and criticize this "new" form of music notation, I would point out that tablature was used in Europe in the 1300's and in Asia long before that! The photo above is an example of tablature for the vihuela (a guitar-like instrument) tablature from 1554.

Explanation of My Guitar Tablature

2007-07-14T06:11:00.000-07:00

Above is an example of the guitar tablature I write (and that I’ll be including in my weekly newsletter from time to time--sign up at the left column if you haven’t already). Read each pair of measures from left to right and then proceed to the measures below, just like you would read a page of sheet music. The reason I have only two measures across is that the tablature must be narrow enough for emailing purposes.

Each measure has 6 broken lines representing the 6 strings of a guitar. The lower case "e" represents the high e-string (the 1st string). Each of the eight dashes in each measure represents the timing of an eighth note. So the timing is "common time," where there are 4 beats to each measure and a quarter note is one beat; hence 8 eighth notes per measure.

The upper case letters above the measures designate the chord that would be played by an instrument that might accompany the lead guitar shown in the tablature. The numbers which replace the dashes represent the fret of the string that a finger would be placed behind. "0" means that an open string is picked. The remaining dashes that have not been replaced by numbers are "rests" (time intervals where notes are not played), each dash representing an eighth of a measure.

The lower case letters ("d" and "u") directly above each measure show which direction the flatpick is picking on the string or strings being played. d = down-stroke (picking in a direction away from your face). u = up-stroke (picking in a direction toward your face).

So that you can see how this works, the above example of my tablature is the first two measures of a simple song everyone knows: "Bah, Bah, Black Sheep." Notice that the chords that would be used in accompaniment are C and G. This would be played in the first position on the fretboard, so you would use your third finger to press down the A-string behind the third fret and the second finger to press down the G-string behind the second fret.

The Martin 000-15S Acoustic Guitar

2007-07-07T07:07:00.000-07:00

As you may be aware of from some of my previous posts, I am fond of smaller guitars, especially smaller guitars with 12 frets to the body. They are easier to play and more responsive than those hefty Dreadnoughts. I also love guitars with slotted headstocks. They stay in tune better, and I believe they sound better that guitars with a solid headstock.

I Recently played a used, small mahogany Martin at a pawn shop, and it motivated to buy a Martin 000-15S online from Musician's Friend. I love the crisp, yet resonant, sound. I am also thrilled with the perfect balance of this guitar. There is just something about an all-mahogany guitar--at least with this particular Martin. What a great guitar for picking fiddle tunes! I also love the fact that the bridge and fretboard are of rosewood, not the "Micarta" compostition found on many of the Martins produced today. I like the "bare-bones" approach that the Martin company took with the 000-15S: a herringbone rossette around the soundhole, but no binding elsewhere: just a dark, flat, dull, gorgeous finish. This guitar just puts you in mind of an old blues box of the 1930's. Check it out at:
Martin 000-15S Guitar Natural

Help Provide Musical Instruments to the Men and Women Who Defend Our Freedom!

2007-06-30T06:37:00.000-07:00

As Independence Day approaches, I am ever thankful for our men and women in uniform who are in harm’s way defending our way of life and the freedom we enjoy. I was watching FOX News the other day and I found out about something really cool: Operation Happy Note.

According to their website, Operation Happy Note is a volunteer effort to send musical instruments to our deployed service men and women throughout the world. Steve and Barb Baker from Fergus Music started Operation Happy Note after their son was deployed to Iraq. They had sent him a guitar and then one of his buddies wanted one. These soldiers were so pleased with receiving and playing these instruments that Steve and Barb wanted to find a way to get more instruments into the hands of our troops: hence, "Operation Happy Note." Since March of 2005 Operation Happy Note has sent hundreds of instruments, including guitars, mandolins, banjos, violins, harmonicas, and accessories. Steve also wrote a lesson program with CD for those who don't know how to play. "We can’t stop now!" says Barb, just because her son is now back home with his family. "There are just too many requests that keep coming in. these soldiers need the joy that music brings to them."

If you are interested in being a part of this wonderful effort, more details are available at their website at:

http://operationhappynote.com

What an opportunity to be a blessing to those who lay their lives on the line to protect us!

Django Reinhardt

2007-06-23T07:42:00.000-07:00

One of the first major jazz musicians to come from Europe was Jean Baptiste “Django” Reinhardt, born in Belgium, January 23, 1910. Reinhardt was a Sinto, of a tribe of nomadic peoples related to the Roma (Gypsies). He spent his childhood in Gypsy camps near Paris, learning how to play the violin, banjo and guitar.

At the age of 18, Django was severely injured in a fire. With first and second degree burns all over his body, his right leg became paralyzed and his left hand badly burned. Although doctors thought that he would never be able to play guitar again, his brother bought him a new guitar and Django, with great pain and difficulty, trained himself to play solos using only the two fingers of his left hand that worked. He also used the two fingers to play some chords. He actually pioneered the concept of a “lead” guitar played with a backup of “rhythm” guitar. Django died of a brain hemorrhage May 16, 1953. Today Django Reinhardt is recognized as one of the most advanced guitar players of jazz music. Here is a rare video of Django playing some great “two-fingered” lead guitar:

http://youtube.com/watch?v=K6nkHJQnEPs

The Guitar of Norman Blake

2007-06-16T06:12:00.000-07:00

Norman Blake is, without a doubt, my favorite guitarist. The above photo of Norman, with his wife Nancy, was taken by Scott O'Malley, http://www.somagency.com/, and is used with Scott's permission.

I first became familiar with Norman's guitar playing in the 70's when I watched videos of the 1974 Philadelphia Folk Festival on WQED in Pittsburgh. That is when I fell in love with this thing called flatpicking. After that I went to a number of his concerts which were often in a "coffee house" setting. His wife Nancy usually accompanied him during part his performance.

Norman Blake was born on March 10, 1938 in Chattanooga, Tennessee. When he was a year old, his family moved to Sulphur Springs, Georgia. This is where he was raised. Although known as an acoustic guitar flatpicker, he plays include the mandolin, 6-string banjo, fiddle, dobro and banjo. His wife Nancy plays the cello, mandolin and guitar. Norman has played with John Hartford, Vassar Clements, Tony Rice, Doc Watson, Red Rector, David Bromberg, June Carter, Bob Dylan, Kris Kristofferson, and Joan Baez, and many other musicians.

As I said previously, Norman is, and has been for 30 years, my favorite guitarist. He is not the fastest flatpicker in the world--but he brings the wood of the acoustic guitar to life. He doesn't play very much beyond the first five frets of the instrument, but that is why he makes one acoustic guitar sound like an ensemble! The drone of the open strings picked here and there provide an anchor for the tune he picks, so that one acoustic guitar, without any backup, is complete in and of itself. His crosspicking techniques add to the fullness as well. Yet his guitar playing blends very well when he plays with other musicians. There is a great video of Norman playing (many years ago) with his wife Nancy, and fiddler James Bryan, at:

http://youtube.com/watch?v=KKLgXgVRqjk

Below are two great instructional DVD's by Norman. He not only teaches you how to play tunes, but he includes theory, information about the guitars he plays, and the historical background of some of the tunes he picks. Check them out by clicking on to:

Homespun Norman Blake's Guitar Techniques 1 (DVD)

Homespun Norman Blake's Guitar Techniques 2 (DVD)

Relearning the G Chord

2007-06-09T10:01:00.000-07:00

In the mid 1970's, after I had played guitar for about ten years, I took a few lessons from Mick Martin, an incredibly fast and versatile flatpicker. It was these lessons that put me on the right path toward getting those fiddle tunes to sound crisp and lively on the acoustic guitar.

I was told I had to "unlearn" a number of habits in order to get going in the right direction. The first thing he told me I had to do was to change the way I played the most basic of all chords: the G chord!

I had spent ten years playing G the way many people play it. You know, your second finger is behind the third fret of the sixth (low E) string, your first finger is behind the second fret of the fifth (A) string, and your third finger is behind the third fret of the first (high E) string. (See top photo, courtesy of http://forguitar.com/.) What could be easier?

But being easy wasn't the point. I had to learn something that was going to be very hard at first, in order to make a lot of other things much easier down the road. Here's what I had to do: I had to put my third finger behind the third fret of the sixth string, my second finger behind the second fret of the fifth string, and "Mr. Pinkie" behind the third fret of the first string. (See bottom photo, by Frank Ford, courtesy of http://frets.com/.) The first finger was not even going to be used in the chord!

I tried and it was so unnatural. It was painful. I couldn't even push the high E string down with my weak pinkie. What could possibly be the purpose in all of this? Mick told me to discipline myself to learn this and the purpose would become apparent. How true his words were!

After weeks of learning to play G in this new way, I found that I could switch to the C chord with much more speed that ever before. I also found that when I switched to the C chord, I could, at will, just leave my pinkie behind the third fret of the high E string, which gave the C chord an entirely new dimension. Then I could leave it on the same way and go right back to G. I also found that playing the G this way left my first finger and my other fingers in an ideal position to go quickly into lead licks. Why not try this yourself? Take the time to get it down and you'll never go back!

Guitar Lesson Comparison: Best "Picks"

2007-06-02T07:37:00.000-07:00

There is a lot of guitar teaching available on the internet. Some
of these courses are excellent, while others are a waste of time
and money. Here are some of the best things I've seen. This list
begins with very basic beginner's lessons and proceeds on up
through more advanced and specialized areas of guitar.

Guitar Made Easy
Louise Slavnic is the author of this easy, yet extremely effective
system to get you playing like a pro fast! This is for the
beginning guitarist or guitarists with experience who want to
eliminate bad habits and totally master the basics.
Click Here!

The Beginner's Guide to Unlocking the Guitar
There are some techniques Jared Crebs has developed that can
improve your guitar skills 150% in just one weekend. His system
includes "Press & Listen" files (no downloading required),
easy-to-understand chord charts, over 150 quality pictures, and
step-by-step instructions.
Click Here!

The Jamorama Acoustic Guitar Learning Kit
"Who else wants to discover the astonishing, step-by-step secrets
of how to play acoustic guitar like the Eagles, Jack Johnson, Joni
Mitchell, Ben Harper, James Taylor, Jewell ... and so on?" This is
the question that Ben Edwards asks as he introduces his
revolutionary new acoustic guitar course, The Jamorama Acoustic
Guitar Learning Kit. This product has me quite excited because it
is so different from anything I have seen in a long time. Jamorama
Acoustic comes in two books: Beginner and Advanced. These books
take the guitarist on a journey from having NO guitar playing
skills to being able to play and read guitar tab like a pro.
Jamorama Acoustic is based on the Jamorama Guitar Learning Kit, widely recognized as the best guitar course available. The Jamorama Acoustic Guitar Learning Kit specifically integrates the acoustic guitar player with 148 video examples and exercises and 26 Acoustic Jam Tracks for the student to play along with. Lots of Bonuses, too!
Click Here!

Jamorama Lead Guitar
Now Ben Edwards asks another question: Who wants to play lead
guitar like "...Eric Clapton, Jimi Hendrix, Jimmy Page, Chet Atkins,
Stevie Ray Vaughn, Steve Vai, Joe Satriani, ... and so many others?"
This is from the same great teacher who authored "The Jamorama
Acoustic Guitasr Learning Kit," but this one is obviously geared
toward electric lead guitar playing. Includes 29 Jam Tracks for you
to jam along with in a wide range of musical styles including rock,
jazz, country, blues, hip-hop and dance as your guitar playing
skills sky-rocket.
Click Here!

Playing Through the Blues
Griff Hamlin walks you step-by-step with a guaranteed method to
master blues guitar! Play like Eric Clapton, Buddy Guy, BB King,
Stevie Ray Vaughn, etc. Learn blues scales by which to create
awe-insoiring solos. This one is great for the guitarist at just
about any level.
Click Here!

Guitar Scale Mastery
Craig Bassett's approach is designed to permanently tattoo guitar
scales into your brain and fingers, while also improving your
technique, speed, improvising and musicality. It Works! This one is
a gem--a real organized and effective system.
Click Here!

The Guitar Scales Method
I don't like this one quite as much as the above, but it is very
good. "The Guitar Scales Method" is not for beginners only, but for
the intermediate or advanced guitarist as well. If you want to
develop top-class guitar scales and improvisation skills, the
Guitar Scales Method can be the means to your success. This system
takes you to the total mastery of scales, modes, and improvisation.
Click Here!

RiffMaster Pro Version 2
And don't forget this amazing lick, riff & run learning tool! Thisinstantly downloadable software lets you take a lick from yourfavorite musician on any CD, and slow it down without changing thepitch. Make a loop so you can listen and play to it over and overat any speed! It does other things too--Only $47!!!
Click Here!

Remembering with Gratitude...

2007-05-26T06:11:00.000-07:00

As Memorial Day approaches, I am ever more conscious of the freedom we have in our great nation. I am aware that I can enjoy my musical instruments and so many other things in life because of those who,throughout the generations, have given the ultimate sacrifice of their lives in military service to this nation. Our freedom is currently being protected by our men and women in uniform--many of whom are presently in harm's way. We in the United States of America have so much to be thankful for: God has blessed this nation so greatly!

As I think of those in our armed forces, I am reminded of how, in perilous times, our nation has come together to support our troops. During World War I, the Gibson company of Kalamazoo, Michagan, was committed to helping to win the war. In 1918, Gibson introduced a new product: The Army and Navy Special mandolin (style DY). This mandolin was a radical departure from the elagant mandolins with carved tops and backs that Gibson was noted for. The Gibson Army-Navy Style DK was an inexpensive mandolin with a flat top and back. The above photos of the style DK are used with the kind permission of http://guitarandbanjo.com/.

The price tag is hard to believe. Walter Carter, on http://www.gibson.com/magazines/amplifier/1997/8/archive/ said that "Gibson had already been doing its patriotic duty by making inexpensive mandolins for military personnel. The 'introduction' of the Army/Navy ... was an introduction to the general public, who could buy it for $15, while soldiers could get it for $12."

I've played a few of these mandolins ans they sound great! Thay don't bark like the Gibson A and F models with the carved tops, but economy was the idea with the style DK--and while these intruments were bare-bones mandolins, the integrity and quality of Gibson manufacturing was still there.

I own a Gibson "Alrite" which is similar to the Style DK, but a bit more elaborate, having purfling around the contour of the top. It was owned by a U.S. sailor who carved on the back the details of a WWI voyage he was on. Read about it and see the photos at http://flatpickpost.blogspot.com/2006/10/gibson-mandolin-tells-story.html

A Capo is a Wonderful Thing

2007-05-19T07:19:00.000-07:00

A capo is a clamp with which you can change the pitch of the open guitar strings, simply by placing the clamp behind different frets on the fingerboard. With a capo, you can change the key of any song quite easily. I love to use a capo, for a number of reasons.

The thing I do most on the acoustic guitar is play old-time fiddle tunes. Many fiddle tunes are played by fiddlers in the keys of A and D. However, when picking these tunes on a guitar, they sound the best, and are played most easily, in the keys of G and C. Now say that I wanted to jam with a fiddle player who wanted to play "Black-Eyed Susie" in the key of D. I would want to alternately play back-up for him while he played the lead, and then play lead on the guitar while he backed me up on the fiddle. All I would need to do to accommodate his key (D), yet play with the same fingering that I am used to (in the key of C), is to place a capo behind the second fret of the fingerboard. We would then be playing in the key of D, but I'd be using the fingering I always use when playing in the key of C without the capo. If he was playing in the key of A, I could keep the capo on the second fret and play the tune as I had learned it in G.

By using the capo, you can more easily play with musicians who play in keys that are different from the ones you are used to. However, I like to use the capo (usually behind the second fret and sometimes behind the fourth fret) even when I play the guitar all by myself. One reason is that the higher pitch allows the separation of the individual notes to be heard more clearly. Each note seems to ring out a bit more crisply and distinctly than it would at the lower pitch. Another virtue of using a capo is the ease of playing. The higher on the fretboard you use the capo, the less distance between each fret, so your fingers don't have to stretch as far. And the action becomes slightly lower, so the strings are easier to press down. And, you don't have to place the capo way up the fretboard to feel the difference. Just placing the capo behind the second fret results in playing that is noticeably easier.

One caution is important to mention. Do not leave the capo on the instrument when not playing it. The capo, when clamped on the neck, holds the strings down on the fretboard and creates extra tension on the neck and the top of the guitar. All acoustic guitars are destined, at some point in time, to have problems due to the tension of the strings. Why hasten the process by leaving a capo clamped on your guitar?

As to the best capo to use, there are a number of different kinds. I used to use the kind that is a bar with an elastic belt that is adjustable. In recent years, I have found the Shubb capo to be the best. It is easy to use, and clamps tightly and quickly behind any fret. Check with your local guitar dealer and determine what is best for you.

Capos make things much easier for the guitarist, and they provide many benefits. If you have never used a capo, you owe it to yourself to experiment with one!

To find out more about the Shubb capo, click below:
Shubb Original C Series Steel String Capo Nickel

Practicing with a Metronome

2007-05-12T06:16:00.000-07:00

The picture to the left is a of 75 foot tall, functional metronome overlooking the Vltava River and the city center of Prague, the capital of the Czech Republic.

A metronome is a device that produces a regulated pulse, and is used to establish a steady beat, or tempo, measured in beats per minute (BPM). Dietrich Nikolaus Winkel is credited with inventing this device in Amsterdam in 1812. Ludwig van Beethoven was the first major composer to use the metronome. Of course, with the advent of electronics, and then the internet, there are a wide variety of metronomes today that are in many respects superior to the old wind-up models!

If you want to be a fast and clean flatpicker, one of the smartest things you can do is to practice using a metronome. You might say, “I don’t have a metronome.” Well, I will not allow you to use that as an excuse--because you can now go to a online metronome any time you wish, and it doesn’t cost you a cent! Just go to:

http://www.metronomeonline.com/

So, now you have a metronome. Now you may wonder, “Why do I need a metronome?” You may think you have a perfectly good sense of rhythm. Be prepared to be shocked when you start to practice with a metronome. Though you think you are playing those bluegrass licks, fiddle tunes, or lead guitar breaks quite well, you may discover that you are playing some of the parts well, while you are quite sloppy on other parts--and you didn’t even know it--until it was exposed by that nasty, mean metronome!

How do you begin to practice with the metronome? Decide which tune you want to practice and adjust the timing of the metronome until its rhythm is at a pace that is much slower than you would ever play the tune. Yes, that’s right--much slower! By forcing yourself to play slower you are really getting in touch with what is actually going on in the piece of music you are playing. You are becoming intimate with it. Plus, you are establishing the pattern by which your fingers will learn to obey your brain, and your brain will learn what to tell your
fingers to do. Rob Gravelle, guitarist for Ivory Knight, suggested, “In my opinion the purpose of practice is to fine tune the muscle memory so that the muscles obey the brain with a minimum of conscious intervention - whether the practice is for music, sports, whatever...”

When you are playing your guitar at an abnormally slow pace you will find out that you didn’t really know those licks as well as you thought you did. You were fooling yourself. Now, after this humbling experience, and after you have played the tune many times at that painfully slow cadence, kick it up a notch (as Emeril would say!). Set the metronome one step faster and repeatedly play the piece at the new setting. Then take it up another notch. And another. However, never set the metronome at a speed beyond which you can play the whole piece you are practicing cleanly and with perfect timing.

Before you set the speed too high, listen to the notes you are playing within each measure. Consider the context and richness of each note. Experiment by accenting several notes in each phrase. Then play the same phrases and accent different notes. You are setting the stage to express some great dynamics that you had never considered!

Gradually, take the metronome to a higher speed. This is where it gets to be fun! You learn to play the whole piece (including the most difficult licks) perfectly at one pace and you reward yourself by graduating to the level.

I have found the metronome to be a most valuable tool in terms of instilling confidence for playing acoustic guitar solos. Practice with a metronome and don’t take shortcuts: The reward will be well worth the effort!

The Riffmaster Pro Version 2

2007-05-05T08:11:00.000-07:00

So many times I have tried to listen closely to a lick by Norman Blake or Doc Watson, so that I could learn how to play it--but they play it just too darned fast for me to hear what is really going on. That problem is now solved with a simple download of an inexpensive piece of software. Man, I love this thing--I am personally very excited about this nifty tool. First let me tell you the price: It's $47. There--now that we have that out of the way, let me tell you what $47 will get you.

For $47 you can own the instantly downloadable software for Windows, RiffMaster Pro Version 2. This program allows you to instantly slow down the guitar solos (or solos of any instrument) off of any CD without changing the pitch! Slow the solo way down, so you can learn it note for note and play right along with your favorite artist. Rock artists. Jazz artists. Bluegrass artists. Any artists! Master any solo, lick or riff! The RiffMaster plays Mp3, Wav, Mp4 (ipod/itunes), Ogg Vorbis and AFF files directly from your computer. And you can rip audio directly off a CD and save as an Mp3 or Wav! In other words, capture and slow down the riffs, note for note, of any player of any instrument!

A zoom feature allows you to find the phrase you want to work on (down to the note), and a loop feature allows you to clip a particular phrase and play it over and over again! You can finally end those hours of frustration you have experienced when you’ve tried to work out a solo or a riff by ear, but the part you were trying to learn was just a little too fast (or a lot too fast!). There are lots of other features as well (including the ability to transpose any solo to another key!)--and some nice bonuses. To check it out:
Click Here!

The Depression Era's Carson J. Robison

2007-04-28T07:59:00.000-07:00

Carson J. Robison was a great American songwriter and musician who lived from 1890 until 1957. Before his fame as a recording artist and performer, Carson was a cowpuncher, a farmer, an oilfield worker, and a railroad dispatcher. He got his first professional radio job on KDAF in Kansas City, MO, in 1922. In addition to singing, he developed a unique style of whistling whereby he could produce two tones in harmony at the same time! He recorded for Victor in 1924, and in 1932 he organized his own band, “Carson Robison and the Buckaroos.” During the late 1940’s and early 1950’s he appeared on the Grand Ole Opry.

During the years of the Great Depression, Gibson, of Kalamazoo, Michigan, stayed in business by producing more affordable bare-bones, “no frills” guitars. These bore names other than Gibson and were distributed through outlets such as Montgomery Ward. These instruments were well-made, but not ornate, and to save production cost, they were braced with ladder bracing (as opposed to “x” bracing) and did not have the necks reinforced with adjustable truss rods like the pricier Gibsons. “Kalamazoo” was the name on the headstock of many of these guitars. And some of these guitars were exactly like the Kalamazoo models KG-11 and KG-14, save for the fact that Carson J. Robison’s signature was on the headstock.

My “Carson” is like the KG-11. It’s a small guitar, but the width of the lower bout is of good size in proportion to the rest of the guitar, giving it a nice full sound with plenty of bass. The ladder bracing gives these guitars a chunkier tone than their Gibson counterparts with “x” bracing. These depression era gems make excellent blues boxes, though personally I am a fiddle tune player, and I love the way that fiddle tunes sound on my Carson. Also, the wider spacing of the strings and the heftier neck (necessary because there is no truss rod) make this instrument a joy for me to play.

If you like vintage instruments, but have a limited budget, these are the kind of guitars to look for. It may take awhile to track one down, but you may be able to find a guitar like this set up to play perfectly, from a dealer, for less than $800.00. I wouldn’t purchase one of these on eBay unless you know a good luthier whose repair work will not cost an arm and a leg. However, I have seen Kalamazoos that were in pieces glued back together and restored to perfect playing condition!

Norman Blake Teaches the Mandolin

2007-04-21T08:32:00.000-07:00

In last week's post I featured the Lyon & Healy Style B. If you want to see and hear one played (with wonderful sound quality), get The Mandolin of Norman Blake. Norman's L&H sounds crisp, full, perfectly balanced, resonant: beautiful. (I'll take a Lyon & Healy over a Gibson any day--though I do love Gibson mandolins.

Anyway, this is a teaching video, and what I love about it is that you don't have to be a super fast player in order to get these songs to sound great on your mandolin! Norman, accompanied by his wife Nancy, teaches some old-time fiddle tunes that sound great when you play them on your mandolin with or without accompaniment. This description on the jacket says it all:

"Before bluegrass, there were fiddle tunes, mostly brought to these shores from England, Ireland, Scotland and Wales. Norman and Nancy Blake teach several of these beautiful, little-known old-time and original instrumentals in the Celtic and southern mountain tradition."

I'm especially fond of a tune Nancy wrote: Father's Hall. This song stands alone on a mandolin without any backup--but of course it sounds great when someone accompanies with rhythm guitar. The same can be said of Campbell's Farewell to Red Gap and Green Castle Hornpipe. This DVD comes with a booklet for each tune which includes notation and tablature. Check it out at:
Homespun The Mandolin of Norman Blake (DVD)

"I Highly Recommend the Lyon & Healy Style B!"

2007-04-14T08:15:00.000-07:00

Pictured above is my grandson Corbin, working out some licks on my Lyon & Healy Style B mandolin. Corbin seems pleased with the quality of sound that this instrument produces.

In the early 1900's, Lyon & Healy, of Chicago, decided to give Gibson, of Kalamazoo, Michigan, a run for their money. Lyon & Healy produced a series of three mandolins to directly compete with the fine instruments that the company founded by Orville Gibson had produced.

The Lyon & Healy Style C was most like the "A" models that Gibson was producing. The Style B was a bit more ornate, with two "points" on the body, and a gorgeous flamed maple back. The Style A was the cream of the crop, with the two points plus a carved, scrolled head similar to a violin. The Style A is said to have retailed for about the same price as the Gibson F-4 Florentine Artist model. The original tailpiece on all of the models was an ornate, stylish lyre design. All of the models had unique pickguards which were sculpted of hard vulcanized rubber. (I recently sold the pickguard from mine, because I like the extra room for picking. I got $125 for it on eBay!) During at least some of the production years, these mandolins also had a telescoping leg rest to keep it from slipping while playing (see photos below).

I really love the sound of my L&H. These mandolins had a lighter, more delicate sound than their gibson counterparts. They don't bark like a Gibson--the tone is more like a cross between a Gibson A and a classical bowlback. They are great for playing classical music, fiddle tunes, and Celtic music. Below are some excelllent photos of a style B, taken by Frank Ford, and used by his permission. See this instrument and many more at:

http://www.frets.com/FRETSPages/Museum/museum.html.

The Blues Scale

2007-04-07T07:31:00.000-07:00

In my earlier years of playing guitar, I could never even begin to comprehend how guitar players could jam with other musicians and improvise, when it came their turn to take a break. I would listen and watch in amazement as a guitar player would (effortlessly, it seemed) play lick after lick of great sounding lead guitar. Then I read about “the blues scale.” This simple scale, the blues scale, which I learned in a day, and mastered in a week, opened up an entirely new world to me. By knowing this collection of notes which would go with a given chord, I was able to do amazing feats of improvisation in a few days!

This collection of notes can be played in any key and position on the guitar, but to begin, let’s try it in the key of A, in the fifth position (with your left hand moved up to where you are covering the 5th through the 8th frets).

Here is the Blues Scale in A…

On the 6th string (the low E string), play a note using the first finger on the behind the 5th fret, and then a note using the fourth finger (“pinky”) behind the 8th fret.

Then, on the 5th string (the A string), play a note using the first finger behind the 5th fret, then a note using the second finger behind the 6th fret, then a note using the third finger behind the 7th fret.

Then, on the 4th string (the D string), play a note using the first finger behind the 5th fret, then a note using the third finger behind the 7th fret.

Then, on the 3rd string (the G string), play a note using the first finger behind the 5th fret, then a note using the third finger behind the 7th fret, then a note using the fourth finger (pinky) behind the 8th fret.

Then, on the 2nd string (the B string), play a note using the first finger play a note using the first finger behind the 5th fret, then a note using the fourth finger behind the 8th fret.

Then, on the 1st string (the high E string), repeat the sequence you played on the 2nd string—that is play a note using the first finger play a note using the first finger behind the 5th fret, then a note using the fourth finger behind the 8th fret.

Play this using alternating picking strokes (downstrokes and upstrokes), and go up the scale (from the 6th string to the 1st string) and then down the scale (from the 1st string to the 6th string). Then, fool around with it—play different sequences, but use only the notes on this scale. It may open up a whole new world to you too!

The Guitar Scales Method

As you may know, I am a fan of the “Jamorama Acoustic Guitar Learning Kit” by Ben Edwards, for the beginning guitarist, or the person who is just getting back into the guitar. More details for this course are available at http://lgriffith.jamaco.hop.clickbank.net/. However, a great compliment to Jamorama is the “Guitar Scales Method.” The Guitar Scales Method is not for beginners only, but for the intermediate or advanced guitarist as well. If you want to develop top-class guitar scales and improvisation skills, the Guitar Scales Method is the means to your success. This system takes you to the total mastery of scales, modes, and improvisation. For more details:
Click Here!

A Wilhelm Kruse Harp Lute

2007-03-31T07:24:00.000-07:00

One of the most unique and interesting instruments that has ever passed through my hands is a harp lute made in the early 1900's by Wilhelm Kruse of Markneukirchen, Germany. His stamp is branded into the top. Through a bit of research on the internet, I found out that the violins made by Kruse are going for some hefty prices these days.

I bought this instrument on eBay. It was sold as a project, because of a number of serious structural problems which had developed over the years. There were several cracks in the top and some separations in the rounded back. The bridge was split in half.

I turned the project over to my friend, expert luthier Paul Gorman Meadors. He made a new bridge, patterned after the original, and completely repaired all of the structural problems. The the top remained slightly concave, but Paul made the instrument completely firm, sound, and stable. He set it up very well to play. The original fingerboard is unusual in that it is "scalloped," descending into slight valleys between the frets. The tuner buttons are most likely of reindeer antler, a characteristic of some of the finer instruments of the period.

When I first started playing it (and this was completely experimental, since I had never received harp guitar lessons), I was amazed at how delicate the sound was: light, resonant, and with plenty of bass. As fun as it was to fool around trying different tunings, alas, I soon decided to sell it to purchase a vintage blues box! I was tempted to keep this as an impressive wall-hanger, but I believe instruments should be played. I went back to eBay and sold this prize for just about what I had invested in it. The buyer is an experienced player of harp guitars and was happy to add this beauty to his collection.

The Merits of Silk & Steel

2007-03-24T09:42:00.000-07:00

"Silk and steel" acoustic guitar strings are made of silver-plated copper wire wound over a silk and steel core. A lot of my fellow bluegrass and fiddle tune pickers think I'm crazy, but I love silk and steel strings. Alright, the fact is I don't play in a bluegrass band, and when I jam it is usually only with one or two people who aren't playing too loud. But volume and projection are related to, not only the gauge and type of string or the size of the guitar, but picking technique as well. In fact, not only do I use silk and steel strings, but I use them on small guitars! I play only 00 and 000 size guitars: I quit playing dreadnaughts years ago. Yet, I get plenty of volume. In fact, I have my little May-Bell (the 12-fret parlor guitar I described in a recent post) strung with silk and steels and she has cutting power like you wouldn't believe!

But here's why I love silk and steel strings. First, they are in lighter gauges than their respective steel string counterparts. The GHS medium gauge silk and steels that I use run from .011 to .048 inches, where Martin light gauge phospher bronze strings range from .012 to .054 inches. The result is that silk and steel put much less stress on the top and neck of a guitar. I wouldn't dream of putting steel strings on my Gibson L-C Century from the 30's, because it has an extremely thin top. Silk and steels are also on my Carson J. Robison (A Gibson-made "no frills" depression era guitar), because it has no truss rod reinforcing the neck.

Another reason I love these strings is that they sound wonderful. I have not liked the sound of silk and steels on a few of the newer guitars, but on my vintage instruments I adore them. Though these strings sound mellower, they don't sound wimpy. In fact, if you play a guitar which is biased toward the high end, silk and steels may provide a wonderful solution. I love the sensitivity of these strings! You don't have to punch them hard to produce a wide range of dynamics. And, last but not least, because they are lighter in gauge, they are more flexible, and thus easier on the fingers and easier to play. If you'd like to try some, click below:
GHS 350 Silk & Steel Medium Acoustic Guitar Strings

Remembering John Hartford

2007-03-17T08:43:00.000-07:00

John Hartford was, without a doubt, an American original. The photo to the left was taken by Phil Zimmerman in 1972 and is used by permission. See Phil’s website at http://www.bluegrasstime.com. 1972 is right around the first time I saw John in concert. It was at a little coffee house kind of thing in Pittsburgh. At that time John drove in his car through his circuit of concerts, playing solo gigs where he would switch between the guitar, banjo, and fiddle. He was in the initial stages of doing his own shuffle tap dance move, sitting in a chair, clogging with his feet on an amplified piece of plywood that was in front of the chair, while he played and sang. (Shortly after that time he performed this while standing.) I was mesmerized.

Born on December 30, 1937, he was a cousin of Tennessee Williams and a descendent of Patrick Henry. Growing up in St. Louis, John fell in love with music and with the Mississippi River. This love affair continued for the rest of John’s life. In 1967 John recorded a song he wrote entitled “Gentle on My Mind,” which was a major factor in launching his career. It was, of course, Glen Campbell who caused the song to be more widely recognized. (Personally, I don’t think the way Glen Campbell did it holds a candle to the way John played and sang it.) For the last 20 years of his life, John fought a form of lymphoma and died of the disease June 4, 2001, at the age of 63. His fun and sometimes haunting music will be missed by many. As a friend of mine, Dave Kolars, who knew John, put it: “The good they die young…”

Here is a great tribute someone put together of John playing and singing "Gentle on My Mind" at just about the pace I like to hear it. Click on: http://youtube.com/watch?v=GeLPdn2KTSM

Review: The Jamorama Acoustic Guitar Learning Kit

2007-03-10T09:14:00.000-08:00

"Who Else Wants To Discover The Astonishing, Step-By-Step Secrets Of How To Play Acoustic Guitar Like The Eagles, Jack Johnson, Joni Mitchell, Ben Harper, James Taylor, Jewell ... and so on?" This is the question that Ben Edwards asks as he introduces his revolutionary new acoustic guitar course, The Jamorama Acoustic Guitar Learning Kit. Ben began his guitar teaching career doing private tutoring. In 2002 he completed a teaching degree from the University of Canterbury. After graduating, Ben began work on what would become the well known and popular Jamorama online guitar course. In addition, Ben Edwards has recorded in some of the worlds best recording studios as a session musician, writing and co-producing two full length studio albums. Ben has also toured internationally and shared the stage with many international acts.

This product has me quite excited because it is so different from anything I have seen in a long time. Jamorama Acoustic comes in two books: Beginner and Advanced. These books take the guitarist on a journey from having NO guitar playing skills to being able to play and read guitar tab like a pro.

Jamorama Acoustic is based on the Jamorama Guitar Learning Kit that is widely recognized at the best guitar course available. The Jamorama Acoustic Guitar Learning Kit specifically integrates the acoustic guitar player with 148 video examples and exercises and 26 Acoustic Jam Tracks for the student to play along with.

Jamorama Acoustic also comes with five free bonuses that make this a truly COMPLETE learning experience. These bonuses include:

JaydeMusica Pro
GuitEarIt!
Advanced Learning Techniques for Guitar
Guitar Tuner Pro and How to Tune Your Guitar
The Jamorama Metronome

These games and resources make learning to read music fun and also help students to develop their ear for transcribing their favorite songs from the radio. Both games are professionally designed and are invaluable in helping the guitarist develop the key skills necessary in being a better musician.

Also included is a free online consultation to customers who may have a specific training problem they would like to address!

This package is impressive because it is the most complete package available and covers the whole process of learning the guitar, from strumming, muting and bending, to timing, reading music and transcribing IN DEPTH.

Jamorama Acoustic Guitar comes with a 60 day, no questions asked, money-back guarantee.

For more details, Click Here!

My Sweet May-Bell

2007-03-03T10:23:00.000-08:00

In my post, Vintage Need Not Be Pricey, I said I would devote an entire post to my sweet May-Bell. Well, here goes… May-Bell guitars were marketed during the Great Depression by the Slingerland Company of Chicago. Dave Kolars has done extensive research on Slingerland and May-Bell instruments and shares a lot of information and photos at http://www.slingerlandguitar.com/

I bought my May-Bell from a sweet (yet feisty) elderly lady in Oregon who has since passed away. Her name was Crystal. She bought, repaired, and sold (at a very modest price) many old parlor guitars: pre-war Stellas, Regals, etc. She was not in it for the money, but for the love of the instruments and the music they produced. She was known and loved by people throughout the USA and perhaps the world.

I’m not sure what model my May-Bell is, nor was Slingerland expert Dave Kolars. Dave said it is like the model 75, but the model 75 is all mahogany. My May-Bell has a spruce top and mahogany sides and back. Inside the soundhole is stamped:

1933
Violin Craft
May-Bell

I assume that 1933 is the year that whatever model it is was introduced. Perhaps “Violin Craft” was the model name. I thought this may have even been something Slingerland came up with for the Century of Progress Exposition in Chicago. After all, the exposition was in 1933 and Slingerland was based in Chicago. We know Gibson designed a guitar for that exposition (See my post, The Gibson Century Model Style L-C). Maybe someone out there has some information about this May-Bell.

In any case, I paid Crystal $121.00 for my May-Bell. The neck was slightly warped, so I addressed the problem by having my luthier friend, Paul Gorman Meadors, level the fretboard and refret it which he did for $75.00. The result: a perfect player for $196.00.

Now let me tell you about May-Bell. She is small (38” long and 13 and 5/8” across the upper bout)—just the right size really! She is 12 frets to the body, and as I have shared in other posts, I love 12-fret guitars. She is not over-embellished, but she does have some nice binding around the contour of the top, the soundhole, and the fretboard. On the rosewood fretboard are nice mother-of-pearl inlays. So the quality of May-Bell is vastly superior to so many of the cheap guitars made during the depression era. She is so light she feels like balsa wood in my hands. So comfortable to play—like we were made for each other.

So, how does May-Bell sound? Well, Crystal described May-Bell’s sound as “spanky,” and I don’t think I could improve on her description. The arched top gives cutting power. When I’m jamming with people and picking lead parts (with a flatpick) on May-bell, the crisp notes are easily heard even if the background instruments are pretty loud. Yet, because of the round soundhole, she does not sound like an arch-top that has f-holes. There is a hint of that mellowness and resonance characteristic of a good flattop. Her sound is sassy, but not trashy. Complex. Sometimes I hear a hint of banjo in May-Bell; at other times a hint of Dobro. I’m sure a finger-picking blues player would love her—but she is a great flatpicking guitar too. When I pick fiddle tunes on May-Bell, I love the separation of the notes and the quick decay of each note. Yet there is something more going on. There is a lovely “aftertaste” after each note through which May-Bell seems to say, “I’m a bit more refined than you probably thought I was.” I love my sweet May-Bell.

Impress Your Mandolin Orchestra!

2007-02-24T10:47:00.000-08:00

Are you, like so many people, a mandocello player who is making do with a ratty looking old Gibson mandocello from the 1920's? Well, cheer up! Now you can impress your mandolin orchestra with the wonderful looking--and even more wonderful sounding--Weber Hyalite Mandocello. This beauty features a gorgeous hand-rubbed finish, precision carved natural spruce top, graceful twin F-holes, and rich ebony fretboard with small diamond inlays. She not only looks elegant, but delivers outstanding tone with incredible power! Mahogany back, rim, and neck; logo and knot inlaid on the ebony peghead veneer; an adjustable ebony bridge; and engraved Schaller tuners with pearloid buttons. Click below for more information:
Weber Hyalite Mandocello

The American Mandolin Orchestra Phenomenon

2007-02-17T11:34:00.000-08:00

In the 1890’s, in Kalamazoo, Michigan, Orville Gibson designed a mandolin which was a radical departure from the mandolins which had been produced in Italy for hundreds of years. The Italian mandolins had a deep, bowl-shaped back similar to a lute. Orville’s mandolin featured a very slightly arched top and back and a longer fretboard than that of the Italian models. Orville used two body shapes for his unique mandolins: the simple pear-shaped A model, and the Florentine style with fancy points and a scroll.

In about 1910, the Gibson Company came up with a very innovative marketing plan. Gibson introduced an entire mandolin family, each member being a different size with a different range of notes. These instruments corresponded to the various instruments of the violin family. Gibson’s mandolin family consisted of the mandolin, the mandola, the mandocello, and the mandobass. To promote these instruments Gibson introduced the concept of the mandolin orchestra. The mandolin orchestra could play the full range of orchestral music—all on these members of the mandolin family. The Gibson Company implemented a program whereby music teachers, on a commission basis, would sell a host of Gibson instruments by organizing a local mandolin orchestra—much like “Professor” Harold Hill in The Music Man. Mandolin orchestras sprang up all over America, and most of them played Gibsons. These orchestras were quite a fad in American culture for about a decade, boosting Gibson's bottom line considerably.

There are a number of mandolin orchestras in existence today. One of them, the Milwaukee Mandolin Orchestra, was started in 1900 and has been active since that time. Other present day mandolin orchestras include the Providence Mandolin Orchestra (of Providence, Rhode Island) and the Louisville Mandolin Orchestra. As I write this, a very short video clip of the Dayton Mandolin Orchestra may be seen and heard at:

http://video.google.com/videoplay?docid=3092496367759928501&q=mandolin+orchestra&hl=en

The photo of the orchestra above (not a "pure" mandolin orchestra because of the addition of two gutars and a banjo) came down from my wife’s family. One of her relatives was in this group in the heyday of mandolin orchestras. I sure wish one of those Gibson F-4’s would have come with the photo!

The Michael Kelly Legacy O Mandolin

2007-02-10T10:36:00.000-08:00

What an excellent sounding mando from the prestigious Michael Kelly! The Michael Kelly Legacy O, reminiscient of the old Gibson F-4's produces the tonal quality only an oval soundhole mandolin can offer. Personally I prefer oval soundhole mandolins over the f-hole ones because the sound is deeper and rounder. Solid carved spruce top with solid carved flamed maple back and sides: the usual Michael Kelly excellence. You can't go wrong!The Michael Legacy O is on sale at a special price at Musician’s Friend. I have purchased many instruments from this company. In fact, their prices are so low (the lowest you can find anywhere) that I have purchased guitars there and have turned right around and sold them on eBay for a profit! You can’t beat their free shipping and no-hassle return policy. Click below to see the Michael Kelly Legacy O mandolin:
Michael Kelly Legacy O Mandolin Tobacco Sunburst

The Gibson Century Model Style L-C

2007-02-03T10:55:00.000-08:00

"A Century of Progress" was the name ascribed to Chicago's World's Fair of 1933-34. The fair celebrated Chicago’s 100th anniversary and technological advancement and innovation. For the 39,000,000 visitors in two years, The Century of Progress Exposition in Chicago offered hope in the midst of the Great Depression.

The Gibson Company, capitalizing on this event, unveiled a guitar for this exposition. In honor of the fair it was named the Century Model Style L-C. The L-C is a unique Gibson because of the liberal adornment of white pearloid, a variety of celluloid designed to imitate mother-of-pearl. Often called "mother-of-toilet-seat" by today’s collectors, during the 1930's this material was considered modern and elegant. Gibson also made a Hawaiian guitar and a mandolin for the exposition, both with the same pearloid motif. Gibson produced these Century instruments from 1933 to 1941.

I bought my Gibson L-C on eBay a couple of years ago. It is about a 1938, and according to the Gibson brochure which still accompanied the instrument (see below), the price was $55.00 when new. On mine, the 3-ply binding on the headstock, fretboard, and top was replaced with a single strip of binding at some point in time, so the photos of the Style L-C (with the exception of the one of me holding my L-C) are of an unaltered one and are used by permission of Jesse Whiteside/Folkway Music. You can see great pictures of many vintage instruments on the website of these fine folks at http://folkwaymusic.com/

The L-C is a small guitar, being 14.75” across the lower bout. She is an unusual Gibson in that the back and sides are of figured curly maple. The top is, of course, selected spruce; the neck is mahogany.

When I opened the case to show my “Century” to a couple of my friends, one of them exclaimed, “Look, a whorehouse guitar!” Now I’ll admit my L-C is much gaudier in appearance than I like a guitar to be. I prefer the austere look of the L-00. But the sound; oh, the sound… The curly maple gives this instrument spunk. The top seems to be unusually thin, contributing, no doubt, to her responsiveness. This guitar is the quintessence of the sound I love: bold, sassy, crisp; yet she offers a hauntingly complex and resonant “aftertaste” (which I suspect is due in part to her age). I have my L-C strung with GHS silk and steel mediums (.011” to .048”), so as not to put too much stress on the top. Even with silk & steels, she has all of the punch and brightness I want in a guitar. My L-C is the crown jewel of my modest collection.

Bound peghead with
mother of pearl veneer
inset with rosewood
and pearl slotted diamond
and Gibson logo inlay

19 fret bound fingerboard with rosewood block
inlay with mother of pearl diamonds (some
L-C's had banjo style hearts-and-flowers or
wreath-pattern inlay)

Gibson Mandolin Tells a Story

2007-01-27T11:22:00.000-08:00

I often think about the stories vintage instruments would tell about the various people who have owned and played them; and about the many places they have been: if only they could talk. I have one instrument that actually tells quite a story. It is a Gibson Alrite mandolin. The Alrite was a flat-top “pancake” mandolin similar to the Army-Navy model, which was a bare-bones, no-frills instrument made to be sold in the PX’s for a few bucks. The Alright was a higher grade “pancake” with a nice spruce top embellished with some fancy inlay around the contour and around the soundhole. This Alrite put in some military service. She belonged to a crew member of the steamship USS Calamares toward the end of World War I. Carved into the back of this mandolin is a little picture of an anchor, and above it are the letters, USN. Neatly carved below, in letters about 3/16” high are the words, including carefully carved periods and commas:

SHOVED OFF AT
HOBOKEN, N.J. – SEPT. 15, 1918.
ARRIVED IN HARBOR
BREST FRANCE – SEPT 27, 1918.
LAY AT ANCHOR 4 ½ DAYS
BACK IN N.Y. HARBOR OCT. 11, 1918
ON BOARD U.S.S. CALAMARES
T.H.M.

According to information provided by the Naval Historical Center and NavSourceOnline, Calamares, a refrigerated cargo steamship, was built in 1913 at Belfast, Ireland. She was owned by the United Fruit Company. Acquired by the Army for World War I service, she was transferred to the Navy in April 1918 and placed in commission as USS Calamares (ID # 3662). She was used as a troop transport and made five voyages to France for this purpose. On October 11, 1918, she was assigned to the Naval Overseas Transportation Service, which used her to carry provisions from the U.S. to France on three more trips. October 11, 1918 was the very day that the sailor who carved this information reached N.Y. Harbor! Thus, we know that the voyage this sailor described was the last of the five voyages which had transported troops to France.

The photos of USS Calamares below are courtesy of the Naval Historical Center and Paul H. Silverstone. The one on top shows her at New York Navy Yard on June 28, 1918. In the photo on the bottom, a Navy Band plays on the dock of a French port as a group of sailors stand in formation with USS Calamares in the background. This photo is dated 1918. Perhaps “T.H.M.” is in this photo!

Calamares again returned to transport duty in March 1919 making five voyages which brought more than 10,000 U.S. service personnel home from Europe. The last of these trips was completed August 1919, and USS Calamares was decommissioned and returned to the United Fruit Company. In December 1941 Calamares was acquired again by the Navy for use during the Second World War. After being converted to a storeship she was commissioned in April 1943 as USS Calamares (AF-18). She was decommissioned in April 1946 and turned over to the Maritime Commission. She was sold for scrapping in December 1947.

I bought this wonderful piece of Americana on eBay. There was some work that had to be done so that the mandolin would be playable. My friend Paul Gorman Meadors, an excellent luthier, built a new ebony fretboard and a rosewood bridge, and put a spline inside the instrument, repairing a crack that extends up the entire back. He left the crack open at the top and bottom of the Gibson label so as not to obscure it. The result: a completely stable, perfect player! She is no Gibson A model, but she sounds full, with plenty of volume and plenty of bass, and is punchy, perky, and very well balanced. I am delighted with the sound—she sounds great for fiddle tunes and great for J.S. Bach (from whom I know only one piece!). All in all, I have a total of $463.00 invested in this instrument—a real steal as far as I’m concerned.

I love the mandolin and I love the story she tells. Every time I pick her up and play a tune I am reminded that I can enjoy musical instruments and so many other things only because of the freedom which has been secured through the great sacrifice of generations of our men and women in uniform—people like “T.H.M.” who once owned my Gibson Alrite.

Big Sound, Small Price: The Epiphone EL-00

2007-01-20T10:15:00.000-08:00

Now you don’t have to spend a bundle to own a guitar that is small-bodied, easy to play, and puts one in mind of the much cherished Gibson L-00’s of the 1930’s. On sale at a special price of $299.99, the Epiphone EL-00 is modest in ornamentation; yet in her simplicity, she conveys the elegance of those Gibsons of yesteryear. The top is solid spruce with a very rich vintage sunburst finish. She sounds great—every one I’ve played is lively, with perfect separation and balance. One thing that bugs me, however, is that Epiphone recently changed this model from the classic Gibson 24.75” scale to a 25.5” scale, (which I hate!), but apparently they have changed it back to the 24.75" scale (which I love!). Both the specs at Musician's Friend and Epiphone.com now show the 24.75" scale.

The Epiphone EL-00 is on sale at a savings of $282.01 off suggested retail price at Musician’s Friend. I have purchased many instruments from this company. In fact, their prices are so low (the lowest you can find anywhere) that I have purchased guitars there and have turned right around and sold them on eBay for a profit! You can’t beat their free shipping and no-hassle return policy. I am an affiliate of Musician’s Friend, so I make a small commission when their items are purchased through their links to this site. Therefore, I sure would appreciate it if you would purchase online any item you buy from Musician’s friend through this site. When you link on from any of my articles you will have access to every item they sell—and you pay the same price that you would pay if you went directly to their site. Thank you! Click below to see the Epiphone EL-00:
Epiphone EL-00 Acoustic Guitar Vintage Sunburst Chrome Hardware

The Gibson Arlo Guthrie LG-2 Acoustic Guitar

2007-01-13T10:04:00.000-08:00

The LG-2 is a classic Gibson, and the vintage ones are rare indeed. When Arlo was 5 years old his famous daddy Woody apparently gave him one: hence the Gibson Arlo Guthrie LG-2 Acoustic Guitar. Imagine how easy it to play a 22.75” scale, which is even shorter than the classic Gibson scale of 24.75”! I am especially fond of guitars with shorter scales. They are easier to play for two reasons: One, you don’t have to stretch your fingers as far, and two, the strings are more flexible, so they are easier to push down to the frets. I am of the opinion that a shorter scale usually makes an acoustic guitar sound better too. The increased flexibility translates into increased sensitivity: It takes less effort to produce a greater range of dynamics. I love shorter scales for flatpicking fiddle tunes solo. The LG-2 is especially mellow and resonant, with a solid Sitka spruce top and solid mahogany back and sides. A great guitar for child, ladies, a smaller person, or a not-so-smaller-person who likes a smaller guitar! The Gibson Arlo Guthrie LG-2 Acoustic Guitar is on sale at a special price at Musician’s Friend. I have purchased many instruments from this company. In fact, their prices are so low (the lowest you can find anywhere) that I have purchased guitars there and have turned right around and sold them on eBay for a profit! You can’t beat their free shipping and no-hassle return policy. Click below to see the Gibson Arlo Guthrie LG-2 Acoustic Guitar:
Gibson Acoustic Arlo Guthrie LG-2 Acoustic Guitar Vintage Sunburst

Jeff Row and guitargitaa

2007-01-06T11:14:00.000-08:00

Check out the blog of my long-time friend Jeff Row called guitargitaa at http://guitargitaa.blogspot.com/

In Hawaii Jeff grew up listening to the best of the best slack key guitarists play on their porches. During several of my pre-teenage years, I was privileged to listen to Jeff play surf music and rock ‘n’ roll in a band with my older brother, Jay. Green Onions, Walk Don’t Run, Penetration, Pipeline… It was all there. Although he probably doesn’t remember this, Jeff taught me some of the first licks I learned on the guitar.

guitargitaa is a forum on performance and cultural concepts of the guitar. Jeff loves the guitar and his enthusiasm shows. He has keen insight into some of the things going on in the world of music. It will be a treat to watch his blog develop.

Jeff—all the best to you!

The Martin 000-28VS

2006-12-30T11:42:00.000-08:00

In recent years, many flatpickers have turned from the dreadnaught in favor of smaller acoustic guitars. The prolific guitarist Norman Blake has noted that playing a dreadnaught can be kind of like “stringing up the kitchen table.” These guitars can be just too big to play comfortably and, because of their size, you have to punch them hard to get the desired projection. Unless you do, the sound can just kind of get lost in that big box. Not only is Norman in favor of smaller-bodied guitars, but he loves guitars that are 12 frets to the body, with a slotted headstock, and he plays numerous guitars of this type. There is something about the body meeting the neck at the point of the octave (the 12th fret) that makes every note sparkle. Also, the shorter neck allows for lower bridge placement (helping the bass response) and provides better visual perspective for playing. The slotted headstock seems to help the sound ring out a little more as well and keeps the guitar in tune better. Personally, I love 12-fret guitars with slotted headstocks. I own four of them, and two are Martins.

The Martin 000-28VS is the ultimate 12-fret guitar. The solid East Indian rosewood body and solid Sitka spruce top with scalloped bracing causes every note to ring out in a snappy, sassy, yet exquisite and rich, expression. The bass notes are crisp, yet full. Everything is in perfect balance.

The appointments are elegant, from the herringbone inlay to the solid ebony fingerboard with diamond and squares fingerboard markers to the ebony, pyramid bridge. This guitar expresses the pinnacle of Martin’s tradition of excellence.

The Martin 000-28VS is on sale at a special price at Musician’s Friend. I have purchased many instruments from this company. In fact, their prices are so low (the lowest you can find anywhere) that I have purchased guitars there and have turned right around and sold them on eBay for a profit! You can’t beat their free shipping and no-hassle return policy. I am an affiliate of Musician’s Friend, so I make a small commission when their items are purchased through their links to this site. Therefore, I sure would appreciate it if you would purchase online any item you buy from Musician’s friend through this site. When you link on from any of my articles you will have access to every item they sell—and you pay the same price that you would pay if you went directly to their site. Thank you! Click below to see the Martin 00028VS:
Martin 000-28VS Acoustic Guitar

Vintage Need Not Be Pricey!

2006-12-23T10:01:00.000-08:00

You love the warm, seasoned, resonant sound of vintage. You love the rich patina and finely checked finish of vintage. You love the inexplicable, slightly musty smell of vintage. You love the whole concept of vintage!

But you don't have the bucks to lay down for that pre-war Gibson L-00 or Martin 000-18. Well there is good news! You can experience the warmth, the sound, the mystique--the unadulterated joy of vintage--on a limited budget.

In the picture are three of my lower end guitars. I'm holding a Kalamazoo KG-11, one of those wonderful bare-bones guitars made by Gibson during the depression era. The ladder bracing gives it a little chunkier, woodier sound than an X-braced Gibson of the same era--but I love the sound of these for flatpicking old-time fiddle tunes--and bluesmen are fond of them too. I paid $377.00 for it on eBay and had to put a little more into some repair work than I thought I would (something you get used to when you buy on online auctions), but I still have less than $500.00 total into it, which is not bad at at all for an authentic pre-WWII Gibson-made guitar with a sound that cannot be duplicated by contemporary guitars!

On the left of the photo is basically the same guitar--Gibson-made, depression era, ladder bracing--but this bears, on the headstock, the name of Carson J. Robison, the great American song writer (you can find some interesting information about him on the internet). This is in almost mint condition and I didn't have to have any work at all done on it. I paid $775.00 for it to a dealer. Purchasing from a reputable dealer can be a great way to go, especially if you are not experienced in what to look for and how to spot potential problems in a vintage instrument.

On the right is one of my very favorite guitars--I paid $121.00 for it and put $75.00 into repair to make it a top-notch player--for a grand total of $196.00! This is a May-Bell pressed-wood, arch-top guitar (with a round soundhole) made by the Slingerland company in the 1930's. It has a nice sassy, yet complex, sound. I'm so thrilled with this guitar that I'm going to write a post devoted to this one guitar in the future.

To sum it all up, don't assume that buying a great vintage guitar necessarily means getting a line of credit against your home. There are some delightful affordable instruments out there--and you can still find some great deals on them.

This is a Flatpick

2006-12-16T10:12:00.000-08:00

This is a flatpick. The flatpick, a type of plectrum, is used on guitars and other stringed instruments to make a crisp, punchy, ringing, delightful sound. Acoustic guitarists who do not use a flatpick, but instead pick with their fingers, often turn green with envy when they hear a good flatpicker execute a piece of music which rivals or surpasses what a fingerpicker can do with three or four digits. Their countenance falls. They become pale, their heart flutters, and their breathing becomes rapid. They become agitated and disoriented...

Anyway, I'm excited about joining the blogging community and I look forward to discussing the many aspects of this really pleasurable thing called flatpicking. I especially love old-time fiddle tunes picked on a vintage Gibson or Martin small-bodied, flat-top acoustic guitar. This kind of music sounds great on an old Gibson or Lyon & Healy mandolin as well. Yet these tunes are also very edifying on far less expensive instruments, like the old May-Bells and Silvertones. The many perspectives on this subject are fascinating, and I welcome comments from readers and would like to learn from your experience in the wonderful world of flatpicking.