What are Alternate Tunings?

  I have always felt that being a Guitar Player means you're part of a special club. Guitar is just different than many of the other instruments - it just is. We have our own notation, our own terminology, and our own culture (well, sort of). And all of that carries with it, a sense of adventure and a little bit of mystery that you don't get with the other instruments.  Guitar has mojo. One of the greatest points of interest to me early on, was alternate tunings.  What? You can re-tune the Guitar? You bet and for certain kinds of music, you'll have to.

  So what is an alternate tuning? Well, let's first look at standard tuning. The six strings of a Guitar tuned from high to low are: E B G D A E. So, basically any other combination of notes would, in theory, constitute an alternate tuning.  However, since tuning is such a hands on experience for Guitarists (we pretty much have to tune up every day), re-tuning our instrument isn't that big of a deal. And the even better news is that you don't have to invent your own alternate tuning ; there are some standard ones that already exist. Three of the more popular tunings include (low to high): D A D G A D (think Jimmy Page), D G D G B D (open G tuning), and E B E G# B E (open E tuning). With all of that in mind, here are three reasons why alternate tunings might be for you:

• Variety: It's the spice of life isn't it? And for playing a musical instrument, it can be vital in keeping things interesting for you. I can't remember how many times I've heard another Guitar Player mention that their playing felt stale. Simply learn one of these cool alternate tunings and watch all of your cliche's get washed away in an instant.

• Stylistic Concerns:  Sometimes you have no other choice but to learn them! Many songs and musical styles demand that you re-tune your guitar otherwise the music will be nearly impossible to play. Want to learn how to play "Kashmir" by Led Zeppelin? Well, to play it right you'll have to re-tune. How about Slide Blues Guitar? Most likely you'll have to re-tune to one of several open tunings to make everything playable and sound correct. 

• Musical Concerns: Somewhat related to the previous reason, sometimes there will be instances when it will be necessary to re-tune the Guitar to accomplish a particular Music Goal. There have been a number of times when I've had to re-tune the Guitar to make a passage or Bass line work better. And when translating Classical Music, for example, into Guitar Music, re-tuning is often a way to make the Music flow better.

  So there you have it - Alternate Tunings! While this is really a primer on the subject, I encourage everyone to explore this subject further on his or her own. If you can meet up with an Qualified Instructor, that would be the fastest way to get going on this topic. Additionally, there are loads of books and articles covering these tunings as well. Have fun!


Tune in next week for the next installment of Have Guitar Will Travel.

What's the Deal with Ukulele?

  I LOVE Ukulele. No, I really mean it. And it's a funny thing because I never thought I'd be interested in something so kitschy. Let's face it, on the surface it appears that we've got a tiny guitar - like Christmas tree ornament with four strings. Simply utter the name Ukulele and images of Tiny Tim and Don Ho are conjured up in one's mind - not exactly poster children for hip, modern and cool. Then why was the Ukulele one of the biggest growing imports from overseas this past year? Why is it being used on loads of new pop recordings by the likes of Train, Jason Mraz, and Eddie Vedder? Hmmm? So, what's the Deal with Ukulele?

  The Ukulele actually started it's life as another instrument from Portugal, the Machete. It was first introduced to the Hawaiian Islands in the 19th century by Portuguese immigrants and slowly developed into the instrument we know today as the Ukulele. The Uke, as it is often called, eventually made it's way to the United States and began appearing in Popular and Jazz music around the time of World War I. It quickly made it's way into Tin Pan Alley / Vaudeville acts and was transformed into variant forms of the instrument such as the Banjo Ukulele to fit the idioms. In response to it's popularity, instrument manufacturers such as Martin, Gibson, and Harmony all began to make Ukuleles on the mainland U.S. After World War II however, the popularity of the Ukulele began to wane, most likely as it was overshadowed by the emergence of the Guitar.

  However, all was not lost for the little Guitar and in the 1990's,  production of Ukuleles began into increase as did it's popularity. By the early 2000's, the Ukulele was definitely on the up swing probably thanks to Native Hawaiian singer,  Israel Kamakawiwo'ole and his now famous rendition of "Somewhere Over the Rainbow".Since then, many other brilliant Ukulele players began to emerge such as Jake Shimabukuro and Rob MacKillop, each bringing their own unique flair and influence to the instrument.

  So what's so cool about the Ukulele? Here are 4 reasons why I believe YOU need to check it out.

• Range: While people often view the Ukulele as a limited, accompaniment instrument, it is capable of real beauty and intricate musical passages. In fact, it has a lot in common with the Baroque Guitar, as it has a similar kind of Re-entrant Tuning. The great news is that from Baroque Guitar Music, to Jazz, to just strumming away to your favorite song, the Ukulele can handle it all and handle it well.

•  Variety: The Ukulele actually comes in 4 sizes (starting from the smallest to the largest): Soprano, Concert, Tenor, and Baritone. While they all look and sound like Ukulele's, they all have their own unique tone and characteristics.

• Portability: For traveling with an instrument, it doesn't get any easier than this. Occasionally, I have trouble with my Guitar not being able to travel with me on the plane, but never the Ukulele. It fits perfectly in the over head compartment of any plane and is easy to carry around ; even in it's case, it weighs only a few pounds.
  

• Timbre:  Or tone of the Ukulele is unique with it's Re-entrant tuning. This gives it a brighter, higher pitched sound within the texture of the various chords being played. Overall,  most players would probably agree that the Ukulele basically has a sound similar to a higher pitched Classical Guitar. However, some Ukulele's are tuned to tunings other than the standard C6 tuning. Some even have a Low G rather than a High G as it's last string, opening up the sonic possibilities even further.

 So there you have it, my low down on the amazing Ukulele. Whether you're looking for a great first instrument for your kindergartner,  are an adult looking to play Pop Songs for fun, or a Guitar Player looking for something new, the Ukulele has something for everyone. And, it's probably one of the easiest instruments to pick up and learn.

For a great first Ukulele, check out: Eddy Finn Ukuleles, available at:

The School of Music

1331 Rockville Pike, Unit S

Rockville, MD 20852

www.theschoolofmusic.net

301-340-1150

  

Tune in next time for the next installment of Have Guitar Will Travel.

Guitarists and Rhythm: The Missing Link Beckons With Urgency

Among most teachers of academia as well as privately, the study and training in proper rhythmic fluency and rigor is currently almost entirely neglected. Great artists are not affected in their early development  as they are born with their rhythmic consciousness expanded; However, this state of affairs is to the detriment of the majority of aspirants  who cannot ascend to the higher levels of improvisational  mastery present in their heros given the current incomplete music education programs and to most  private teachers neglect.

Contrary to the real world experience of a master, rhythm is not considered to be very important in contemporary music curriculums and harmony and scale theory are considered to be the foundation of music and musical education, when in the real world of improvisational mastery it is rhythm that is the foundation of all music. Without it there is diffuse amateurism and tentative grasping for coherence at best. The result is disappointingly  powerless performances that do not inspire and audience in any genre.

Most dissect solos by Hendrix, Pat Martino, Coltrane, Holdsworth, Chick Corea, Clapton, Jack Bruce, Jaco Pastorius and other masters, but purely on a harmonic level and in a modal framework, atonal, polyphonic, etc... But there is no realization that it is the rhythmic variations and accents, as fundamental  elements of phrasing, that give life, power, grace and transcendence to these masterpieces.

Most players cannot play in time for very long and improvise at the same time . That in itself  reduces their power by 95%. Yet it is not even acknowledged by them in most cases, but an audience knows when it is missing and when it is there. A Coltrane or Dolphy or Michael Brecker solo exists in a state of timeless wonder only because they were both absolute masters of playing in time and using rhythmic variations very deliberately, with exalted fluency and superb control and spontaneity.

John Mclaughlin is explosively transcendental because the  elements -seen by most as otherworldly- in his improvised language are held tightly in his finely honed dominion over rhythm and time signatures. Emerging master improviser  Bryan Baker was forged into a  musical colossus by his long and focussed study of the elements of rhythm. As a result he as ascended as a unique voice rather early in his career. Allan Holdsworth is admired for his melodic fluency and harmonic conception but nothing is said about his mastery of rhythmic fluency, where one finds the relentlessly hypnotic momentum behind his phenomenal legato and sometimes staccato phrasing.

It is high time in 2012 that music educators ad the missing link of absolute rhythmic study to their curriculums. If not the current situation will continue with only  the very few born with rhythmic awareness going on to great musical expression and the great majority staying mired in  frustration and  imprisoned in mediocrity.

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Diatonic Harmony - Triads

 When I first started playing Guitar, I really had no sense for how to put chords together. I knew a handful of them and I knew which ones I liked, but I had no idea how to consistently put together a chord progression. Or analyze one for that matter. The problem only compounded itself as I became interested in Jazz and began learning chords like E7#9 and Cma7. I was totally lost. The good news is that you don't have to be lost when it comes to understanding chords and their relationships to one another. There is a way to tie chords together into a concept called Diatonic Harmony and it begins with the Major Scale.

  The Major Scale is a series of pitches, seven in all, that is the foundational building block of all Western Music. If we look at the C Major Scale for example, we see that it is made up of the notes C D E F G A B C. What makes the scale unique is it's formula ; the distance between each of the pitches is either a whole step or a half step. All together, the formula for the Major Scale is: W W H W W W H (ie. C to D is a whole step, D to E is a whole step, E to F is a half step, etc). See the diagram below.

  So, where is all of this going? Well, each one of these notes is the Root, of seven different three note chords called Triads. The process is simple. If we start with each note of the C Major Scale, we'll get a chord starting from C, a chord starting from D, and so on. This process is called Harmonization and all we have to do is take each note of the C Major Scale and skip every other note in the scale. For example, the first chord we get is C and it is made up of the notes C E and G. The second chord is D minor and it's made up of the notes D F and A. Get the idea? Check out the diagram below.

 

  Play through the chords and see if you recognize any of the sounds and combination's present within the Diatonic Harmony. Chances are that you'll have a few moments where you find yourself saying, "Oh, so THAT'S what that is....". The more of those the better! Try playing the chords in order, backwards, in different sequences or plug them into an appropriate song. Have Fun!

Tune in next week for the next installment of Have Guitar Will Travel.

Pick vs. Fingers

  As we've seen in the previous months, there are a number of different decisions that one has to make about playing guitar. Should I play electric or acoustic? If I choose electric, which brand should I pick? If I choose acoustic, should I buy a nylon string or a steel string? And hey, what exactly is a Twelve String Guitar? Well the good news is that these decisions are all part of the fun of playing a musical instrument. Sort of  like having to choose between cake and pie for dessert. However, one decision which needs to be made early on, which is  important, is how to pluck the strings. Some people use a pick, some use their fingers, and others do something in between. Here is an explanation of the three most useful and common modes of plucking the strings of the Guitar.

• Pick / Plectrum: A pick for those who've never seen one, is a small triangular piece of plastic used for striking the strings of a Guitar. It's generally held between the thumb and index fingers of the strumming hand. The benefits of using a pick are that it's generally the fastest method of playing single note lines, it has a unique percussive type of quality when used for strumming, and it's usually easier to master than finger style. While there are a number of different styles, thicknesses,  and brands of picks, it really is just a matter of personal taste as to which one is best for you. As far as technique is concerned, you'll get the most out of using a pick if you use it in a down and up motion. A pick is used in pretty much every style of Guitar Playing except Classical.

• Finger Style: The standard method of playing Classical Guitar, this approach involves using the thumb, index, middle, and ring fingers of the plucking hand. Sometimes the pinky finger is used, sometimes only the thumb, index and middle are used, but it generally involves using more than one finger. While it can be used for Classical, Jazz, Country, or Latin, Finger style Guitar Playing really shines when used for polyphonic music. As far as whether to use your nails or not, yes for Classical and the rest is up for grabs.

• Pick and Fingers / Hybrid: The final method in our list is a combination of the first two mentioned : Pick and Fingers. For this method of Playing Guitar, a pick is held between the thumb and index fingers of the plucking hand, while the middle, ring, and sometimes pinky are used as well. In many ways, this is a good compromise between pick and finger style playing ; many of the benefits of each style are synthesized into one style. While pick and fingers can be used in really any style of Guitar Playing (except Classical), it's generally seen being used in Country and Jazz.

  Well there you have it! Three time tested methods for picking the Guitar. My only suggestion is please do try one of the above methods of playing Guitar. When you're first starting out, trying to invent your own style of picking is typically not a good idea. I've observed many Students over the past ten years try to just use their thumb to pluck the strings thinking this was the easy way out. Unfortunately, while this can work in the beginning, it usually closes more doors than opens them. However, if you immerse yourself in one of these three styles, you'll be on your way to getting a real handle on how to play the Guitar. Have fun and good luck!


Tune in next week for the next installment of Have Guitar Will Travel.

Chord Scales

  Have you ever tried to solo over a chord and it just didn't sound right? I think we all have. Often times, it has to do with trying to fit a square peg into a round role type of situation. What I mean is that often the scales that we know and use are either the Major/Minor scale or some form of Pentatonic Scale. The problem is that while those are arguably the most important scales to learn, they don't always fit in every situation. Here is where the concept of Chord Scales comes in handy.

  If you've ever tried to jam over an F7 chord, you may have noticed that using the F major Scale doesn't exactly work 100%. And there's a good reason for this - one of the notes in the F major Scale doesn't fit the chord F7. More specifically, if we break down a F7 chord we get four notes: F - A - C - Eb. In comparison, a breakdown of the F major Scale reveals seven notes: F - G - A - Bb - C - D - E - F. Notice the discrepancy? The F7 chord has an Eb and the F major Scale has an E. Now we could just avoid playing Eb and E altogether, but there's another solution.

  If we simply adjust the F major Scale so that it has an Eb rather than an E, our problem will be solved. And by doing this, we are essential playing an F Mixolydian Scale. The F Mixolydian Scale which is really derived from the Bb Major Scale is spelled: F - G - A - Bb - C - D - Eb - F. So, it's a perfect candidate for our F7 jam.

  Below is a diagram of the F Mixolydian Scale. Make sure to play it on the first fret as it is a movable shape and can be transposed to all 12 keys. For further explanation of this topic, click here. Otherwise, make sure to go over it with an instructor if possible and definitely spend as much time as you can learning the unique sound of the scale. Remember, being able to hear music is just as important as learning scale patterns on the neck of the Guitar! Have fun!

Tune in next week for the next installment of Have Guitar Will Travel.

The Electric Guitar

  Lots of things are considered symbols of America. Apple Pie, Baseball, Muscle Cars, and Rock and Roll. And if you'll allow me to add one more to the list, I'd have to say the Electric Guitar. In fact, I'll go as far as to say that few things symbolize the freedom that we have here in the US more than what the Electric Guitar represents -the spirit of Rock and Roll. In the 1950's Rock and Roll was born and it was no coincidence that the first mass produced Electric Guitar came into this world in 1950. And much like many a budding Guitar Player since then, it was the Electric Guitar that first truly sparked my interest in Music. But like many of us interested in this wonderful symbol of our Rock and Roll heritage, first learning about Electric Guitars was a bit confusing to me. What are the difference between the various styles of these Guitars? What does each kind sound like? What's the best choice for the style of music I want to play? Here is the low down on the three most common and popular Electric Guitar body styles.

• The Fender Telecaster: In 1950 Leo Fender revolutionized the world with  the first mass produced, solid body Electric Guitar. Originally called the Broadcaster, it was renamed the Telecaster ( inspired by another new invention the "Tele" - vision ) due to patent issues. While it's known as one of the more spartan Electric Guitars due to it's simple, straight forward operation, it's nonetheless a tried and true design (a lipstick pickup,a single coil pickup, tone, and volume controls). What's really unique about the Telecaster however, is it's bright, cutting tone often heard in country music, for which it is commonly known. It is however, quite a versatile instrument and can be heard in styles such as rock, blues, and jazz. To hear some of the masters of the Telecaster, check out Danny Gatton, Roy Buchanon, and Mike Stern.

• The Fender Stratocaster:   Four years later, in 1954, Fender introduced the Stratocaster and yet again changed the landscape of American Music. The new, contoured design supposedly influenced by 1950's muscle cars,  introduced some new features such as 3 single coil pickups, 2 tone controls, volume, and a vibrato bar. These new features spawned a whole new palette of sound which in turn influenced all kinds of popular music for years to come. It is perhaps for this reason that the Stratocaster is a bit more versatile than it's predecessor, the Telecaster. To hear some of the finest music ever played on a "Strat" (as it is commonly known), check out Jimi Hendrix, Jeff Beck, Wayne Krantz, and Buddy Guy.

• The Gibson Les Paul:  In 1952, the Gibson Guitar Company issued forth it's Les Paul model guitar. Named after the famous Jazz / Pop guitar player of the same name, the Les Paul featured a marked departure from Fenders Telecaster and later Stratocaster guitars. In both sound and design, the Les Paul was different. Here was now a guitar more reminiscent of Gibson's earlier Jazz Guitar designs but with a solid body as well as 2 humbucking pickups, 2 tone controls, and 2 volume controls. The result is a darker, thicker sound with more sustain. And while it's suitable for any kind of music, it's often associated with hard rock, blues, and sometimes jazz. Prominent Les Paul players include Jimmy Page, Al Di Meola, Randy Rhoads, and of course, Les Paul.

Hopefully this all helps shed some light on at least the beginnings of what Electric Guitars are all about. And while there are many more derivatives of the three designs mentioned here, I think this represents a great deal of what's typically used by people who love and play the Electric Guitar. I have to admit this article only scratches the surface of this subject but now it's up to you to take it from here and do your own explorations. Go to your local Guitar shop and check them all out - see what speaks to you. Soon you'll be on your way to creating your own new sounds and sonic explorations. Now what could be more American than that?! To learn more about how to play Electric Guitar, click here.

Tune in next week for the next installment of Have Guitar Will Travel.

Is it more effective to play fast or with feeling?

In my experience, it is not a matter of concerning oneself with playing fast or slow, loud or soft, etc.... I never is, actually, if one takes the time to become music. As an artist one must be an intermediate between music and the public. Not an egotistically centered individual, as is favored by many.

When egotism is dominant during improvisation and interpretation, one becomes artistically ineffective as one relies on powerless and very limited ideology, or personality cravings for attention and admiration to make intellectual decisions that in fact, actually prevent access to inspiration and create contrived, unmusical, performances.

Personal concerns and intellectual polarization are obstacles to attain an inspired state where one has consciously become music itself, or realized that one is music itself. Such a state is beyond the personally focussed and intellectually focussed state of mind.

If One simply let's music itself come through , it will play itself as it must. In that way one becomes a true artist and servant of music, by virtue of letting inspiration take it's course.

All matters of tempo and dynamics become spontaneously manifest according to one's technical ability. If capable of great technical range of expression, music will manifest with great range in speed and dynamics, etc..; if not, music will manifest it's power in a technically simpler manner, but with immense melodic power nonetheless, as present in slower melodies and songs.

I hope this helps towards an understanding of what inspiration is and how to attain it more consistently. 

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In Praise of the Blues

  My musical journey thus far, like most musicians, has had it's ups and downs. It has been filled with moments of achievement, failure, exploration, and monotony. Through, all of this, my perception of music has changed quite a bit over the years. And just like my feelings about Pop Music with only three chords has changed, so have my feelings about the Blues.

 Unbeknownst to me for many years, I actually began my musical experience in Blues based Rock and Roll. I say unbeknownst because I really had no idea how much the Blues has influenced my playing. And now as I analyze Classic Rock Bands such has Led Zeppelin and Pink Floyd as well as many forms of Jazz, it's easy to see this. But at some point, the idea of playing and practicing the Blues seemed boring to me. Perhaps it just seemed too familar or just not as exotic as the Jazz I was studying. Whatever the reasons were, I'm glad to say that I've come full circle and love playing the Blue regardless of the setting (ie. Traditional Blues, Jazz, Rock, etc). And, here's why:

• Improvisation- While a standard Blues may only include three chords and 12 measures such as in a Blues in C (ie. C7 F7 C7 / F7 / C7 / G7 F7 C7 G7),  a more sophisticated Jazz version might involve many more (ie. C7     F7     C7     /     F7     F# dim7     C7     Em7A7     D7     G7    C7 Eb7    Dm7 G7). So you can rock out with your pentatonic scales or practice with making the changes with arpeggios, melodic minor, and the dimished scale.

• Musicality-  When learning to hear musical form, you'd be hard pressed to find something more useful than the 12 Bar Blues. When it comes to Pop, Rock, Country, and Jazz, the 12 Bar Blues shows up more often than not and is simply a must for any serious Student. 

• Connection- We've all heard the phrase, "Music is the Universal Language",  right? Well, it's true. And for Blues music, it's especially true. Given the popularity of Blues based music throughout the world, it's no wonder that musicians everwhere often know how to play a 12 Bar Blues. In fact, I've been in situations where I couldn't even speak to the people I was playing with due to language barriers, but when we started playing the Blues, everyone knew what to do and we could communicate through the music. Very powerful indeed.

  Hopefully that gives you some reasons to seriously consider studying the Blues. Even though it appears to only have three chords and twelve measures, there's A LOT you can do with it. And you may find like me that it's really not so simple after all. What it is however, is a beautiful, powerful, style of music that transcends musical genres, language, and even geograhic boundaries. Without Blues, Rock and Roll, Jazz, and many other forms of music may never even have developed. So what are you waiting for? Let's get to it!


Tune in next week for the next installment of Have Guitar Will Travel.

Virtuoso Technique: It's your consciousness!

In my experience, each musical item, as it were, from a symphonic soloist part, to song to a single note, has a working speed. That speed can be as slow as slow motion to any speed above that.

The big defeat that awaits so many students, when unsupervised by an experienced master, is that they do not work at their working speed because of impatience, in most cases. They work usually way too fast or too slowly due to pseudo-perfectionism. That means that, when practicing too fast, they are practicing their glitches/chronic mistakes very, very well, and it shows! And, some stay too long at one speed with a given musical item, when they have already mastered it.

For the slow-fixated person, it is necessary to remind them to define their goal: Are we practicing to play music or are we using the guitar to indulge in a pseudo-perfectionistic mania? Staying stuck at one speed when it has been mastered and the goal attained, is not perfectionism…it is not music making either since the musical goal is to play that part faster.

Perfectionism means work until you get it right and then practice something else that needs to be worked on. Not “kind of right”, put perfectly clear and expressive as it should be, and then do it flawlessly and easily every time you play, like a musician is supposed to do! Otherwise how can we expect to enjoy our music if it is horribly disfigured by us?

So the working speed is very useful because you can tell after a bit that “it is time to play a little faster” at the new working speed…because now you actually can do it easily and perfectly!

Where most fail is that they move to a speed that is a bit too fast for the time being, where they cannot practice easily and perfectly, and so they acquire those glitches and handicaps instead of a wonderful technique! :)

Playing the guitar…very well…requires a very expanded form of consciousness. Such an expanded consciousness is present in all of us, but not often cultivated. Only those of us born with that destiny will spontaneously listen to our inner-master. So in that light it is easy to understand why most of us fall into technical inadequacy and seem unable to get out of that state. We need to expand our consciousness to the basic level of an artist’s consciousness. That means transforming ourselves into something we (mistakenly) think we are not: An artist!

But if we stop, put the smart phone down, put the iPad down, and think for just one moment: If music is an art and artists play guitar..How am I going to play guitar without becoming an artist? or realizing the artist inside myself?..without expanding my mind like an artist? without changing radically the way I experience life, reality, and all human experience?

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Using a Metronome

  During the first couple of years of my playing Jazz Guitar, I  adopted a rather smug attitude towards various kinds of popular music. I felt that in comparison to Jazz with it's extended chords, exotic scales, and complex rhythms, Pop Music seemed.......well, simple. "Why should I bother with songs that only have three chords in in them - what can I learn from that?",  I would often say. For a number of years that was my view and I rarely partook in anything musically other than Jazz or Classic Rock.

  However, one day while in college, I heard another Guitar Player playing a pop tune while I waited for our class to begin. He sounded great and the worst part of it was......HE WAS ONLY PLAYING THREE CHORDS! What was going on here? Analytically, I knew he was only strumming the chords G, C, and D, but I still couldn't account for how or why he was able to make it all sound so good. What was going on here?

  What I began to realize shortly after this experience, is how important timing is. A person with a good sense of timing and feel can almost make anything sound good. This isn't to say that you should play the right notes, but without a good sense of timing, it's very hard to make anything sound very good. And, if you're timing isn't good, you can forget about being able to play with anyone else. Not good.

  What I found was playing with a Metronome or drum machine, was the best way to practice my timing. Playing along with recordings is great too, but it can still allow you to "hide out" in the music, whereas when playing with a metronome, you're much more exposed and have to deal with the time more directly. Ok great - but how do I use a Metronome?

  What I do with my Students, is first have them be able to just play on beat. I'll set the Metronome to around 50-60 beats per minute and have them play Quarter Notes (one note for every click of the metronome).The idea here is not to be able to play fast, it's to be able to play WITH the beat (or simulateously with the beat). And be able to do it for a long period of time. This is the key to playing in time ; you have to be consistent.

  The next thing I usually have people do is work with Eighth Notes, Triplets, and Sixteenth Notes - all at the same initial tempo of 50-60 BPM. This step usually takes longer as the notes seem faster and more is required musically to evenly play the rhythms over each beat. However, these are really the most common, core rhythms used in most music and are more fun! In fact, you can really spend a long time working on these three rhythms and not feel stale.

  Hopefully this sheds some light onto what a metronome is and how important it is to use. In fact, I always remind my Students that the little green quartz metronome in my room is mine and I'm just using it for our class. My point is not to be stingy ; I want them to realize that I too use this thing and it's important to me! I think if you start to use a metronome you'll begin to feel the same way after a short while. Have fun!

Tune in next week for the next installement of Have Guitar Will Travel.

 

What is I-IV-V ?

  If you've played Guitar for more than a few months, you'll have inevitably heard of the phrase, I-IV-V (1-4-5). Visit any music store, online forum, or Music School, and you'll be hard pressed to NOT hear about it. As for myself, snippets of conversations like, "It's just one, four, five, MAN!!", uttered by some grizzled old bass player still roll around in my head from decades ago. So what's all the fuss about? What is I-IV-V?

  Without going into alot of detail about how chords are constructed (see music theory/harmony), let's quickly look at the C Major Scale. The C Major Scale is made up of the notes: C D E F G A B C. It is arguably the most important scale in Western Music, at least from a theory standpoint. And, it's the source of many of the important chords that are used in music. Basically, each note of the scale yields a different chord ; we have seven notes and therefore seven different chords emerge. From the C Major Scale, the following basic chords appear:

• I.   C
• ii.  Dmi
• iii. Emi
• IV. F
• V.  G
• vi.  Ami
• vii. B dim

  Now, if you notice, each chord has a roman numeral next to it, one through seven. Starting to see something emerge? Well, I-IV-V is simply the 1st, 4th, and 5th chords associated with any major scale. In the key of C Major, I-IV-V is the chords C, F, and G. Sound familiar yet? It should!  If I had a dollar for every song made up of C, F,  and G, I'd be a millionaire many times over!! Additionally, the reason these three chords are so commonly used is that they're the strongest and most stable chords in any key. And, they fit into every genre of music, from Jazz, to Classical, to Punk Rock. In fact, the only three chords in most Blues Songs is I-IV-V.

  Not only are the I-IV-V chords ubiquitous, as I hinted at above, they're recycleable. For example, if you learn how to play a Blues in G (G, C, and D), there are a lot of Blues tunes that use those very same chords. You could learn I-IV-V in a handful of keys and be able to sit in on a Blues Jam without even knowing the specific songs. You can think of them as Chord Templates. And, as I mentioned earlier, many genres of music use I-IV-V. If you know I-IV-V in the key of D (D, G, and A), you can play songs like Margaritaville, Southern Cross, and Back in Black (the chorus section). Nice huh?

  So, the moral of this story here is this: YOU GOTTA KNOW I-IV-V! And more specifically, I-IV-V in all twelve keys. You will literally cut the learning curve in half when you get these chord patterns nailed down. Not to mention you'll be on your way to being a great rhythm Guitar Player. And next time someone shouts at you, "Come on, it's just I-IV-V, MAN!!", you'll be in the know! Welcome to the inner circle!

  Tune in for the next installment of Have Guitar Will Travel.

Dealing With Frustration

 Let's face it, if you've played Guitar for any amount of time (or any other instrument for that matter) you'll have inevitably felt the pangs of frustration over your playing. Whether it's a part of a song you're trying to nail or some new, difficult technique, it can be very frustrating. As for myself, I'd like to say that this has never happened to me, but I'd really lying through my teeth! And unfortunately, I don't see this frustration ever completely going away any time soon. However, over the years I have been given some great advice and have found some ways to deal with these various frustrations about my playing, at least to a manageable level. Here are three tips that I think can help.

One thing to realize is that being frustrated about your playing can be a blessing. WHAT?! That's right, if you're always content with your playing and you never feel any frustration, you're probably never going to get very good! Think about it. Without the desire to improve, how would you improve? Getting better at Guitar doesn't happen by magic, you have to deliberately work at it. So while being in the throes of frustration and anxiety over your Guitar playing, try to remind yourself that this all comes from your desire to improve. And if channeled properly, will help you succeed in doing just that.

Another thing that has helped me feel better about all of this is the fact that many famous musicians often feel frustrated themselves. Sure while there are many grand, seemingly invincible master players out there in the world of music, the reality of it is that most musicians wish they were better than they are. I remember watching an interview of Jazz Piano legend Bill Evans where he discussed, "the problem" of Jazz. As he elaborated on this, he basically talked about the enormity of playing Jazz music and how musicians often didn't grasp how difficult it really was. Evans was also quoted as once being terrified of Jazz and improvisation, feeling that he'd never learn how to do it. Additionally, Jazz Fusion guitarist Mike Stern has said the same thing in interviews. Now no one, would ever accuse either of these guys as being bad at what they do yet they've clearly been frustrated over their playing at times.

Lastly, I think the thing that has helped me the most deal with being frustrated over my playing, is trusting in the process and loving the Guitar. If you have a holistic approach to playing / studying, meaning that you work on technique, ear training, transcription, sight reading, etc, you really will get better. You'll have a system of checks and balances with all of the various approaches cross pollinating one another. And of course anything that you love doing is much more palatable, even during the tough times.

So, when you're bummed out about your playing, remember, 1) it can be a good thing, 2) you're not alone - everyone feels that way and, 3) if you work smart and love what you're doing, you will get better!


Stay tuned for the next installment of Have Guitar Will Travel.

How to Choose a First Guitar

  So you've taken the leap and decided to start playing the Guitar - good for you! I can honestly say that if you stick with it, it will be one of the best decisions you've ever made. And you can do it through old age - I can't say the same for jogging and my knees! However, before you start serenading, jamming, and rocking out, you need to get an axe (musician's code for an instrument). While there are many opinions out there about which guitar to get as a first instrument, there are three considerations that I think all Guitar Players can agree upon.

  One of the biggest issues that plagues neophyte Guitar Players is Ease of Play. Some guitars are just simply easier to play than others. Generally speaking, of the three main types of Guitar, Acoustic, Classical, and Electric, there are three levels of Ease of Play between the different Guitars. On average, most Guitar Players will tell you that an Acoustic Guitar with it's heavy steel strings is the hardest to play, a Classical Guitar with it's nylon strings is moderate, and an Electric Guitar with it's light,  metal strings is the easiest to play. With this in mind, there are two schools of thought in terms of why to choose one Guitar over another:

• Choose the harder guitar to play(acoustic) because once you've mastered that, everything else is easy. 
• Choose the easier guitar to play (electric or Classical) because you'll be able to succeed earlier on with basic concepts which will boost confidence.

  Another thing to consider about picking a first Guitar is of course, Price. Like everything else out there, there's a huge range in price for Guitars. From $60 for the cheapest acoustic Guitar, to $5000 for a custom electric, there are a lot of choices. So where's the middle ground right? My opinion is that for around $100, you just can't beat a Classical Guitar. They're great for everything from Classical, to Bossa Nova, to Pop Music. Ok, so playing heavy metal on a Classical Guitar isn't going to happen, but then again, you don't have to worry about blowing out a speaker either.

  The third piece of this puzzle here is Logistics. While there's nothing really complicated logistically about Playing or owning a Guitar, there are some things to think about. For starters, while Electric Guitar is my favorite, it's a little more involved than the various types of acoustic Guitars. An a Electric Guitar requires an amplifier, cables, and occasional repairs (see Jack Repair, Truss Rod Adjustment, and Intonation). Another thing to think about is that when electricity is unavailable, so is your Electric Guitar! And because of that, you can't really bring it camping with you.

  So with all this in mind, my pick as a great first Guitar is a Classical or Nylon String Guitar. They're inexpensive, easy to play, and portable. In my estimation, you just can't go wrong with one. And even though I'll never give up my Electrics, I'll always have at least one Classical Guitar. Guess what I bring with me when I travel!

 Stay tuned for the next installment of Have Guitar Will Travel.

How Should I Practice? (part two)

  Hopefully last week's article on practicing helped. However, there's more. While working on your Theory, Technique, and Repetoire are all very important, still there are some other details to consider. You might ask, how often should I practice? And for how long? How do I know if I'm improving? Well, here are some tips to help round out your practice routine.

• Frequency: I often liken practicing Guitar to exercise ; it's better to do it 30 minutes a day for 5 days then several hours crammed into one day on the weekend. In short, you need lots of repetition and time for it to sink in. To paraphrase Martial Arts legend Guro Dan Inosanto, you have to do something 2000 times before it really sticks.I think the same concept applies to learning the Guitar.

• Length: If you can practice 8 hours a day, that's great. But we both know that's not happening. Even I don't have time for that these days. But, the more the better. If you can get in an hour or so an night, you'll begin to see a lot of improvement. Additionally, it's a good idea to break up your practice into segments. For example, if you know you've got an hour to practice, split up your time into 3 or 4 sections. Maybe 10 - 15 minutes for a warm up (technique) 10 -15 minutes to work on your timing / reading / etc (theory), and the rest for songs and goofing off. That's fair isn't it?

• Measuring Improvement: Well, I'm going to toot my own horn here, but the best way to get quick and accurate feedback is to study with a qualified Teacher. That way you're not guessing ; he or she can tell you what you specifically need to work on and what you're improved upon. It can save you a lot of time and headaches. If lessons aren't in the cards for you right now, try recording your playing about once a month and sit down to review it periodically.

 I hope that gives you some ideas and incentive to hit the books a bit more with your Guitar practicing. So remember, yes being good at Guitar is hard, but that's why it's so special when you learn to play something on it. And, that Guitar playing is all yours - no one can borrow, buy or steal it away from you. It's a hard earned thing. Alright! Everyone to the woodshed - HO!!!


Tune in next week for the next installment of Have Guitar Will Travel.

How Should I Practice? (part one)

   Practicing Guitar has never been an issue for me. I've always loved it and while trying to get better at Guitar has been frustrating at times, I've always practiced. In fact, for my first 10 - 15 years of playing, the idea of missing a day of practice was an anathema. However, even though I used to practice 3 - 6 hours a day, now that I look back on those years, I can say that the way I practiced wasn't always optimal. These days, I think I have a better method for getting things done in the "wood shed".

  At some point early in my playing career, my teacher at the time Paul Wingo, made a list of about 8 things that all players needed to do in order to get better at Guitar. The list involved repertoire, transcription, listing to others, composing, etc. What I took away from that beyond the specifics of the list, is that practice isn't only about learning tunes. While playing songs is usually the fun part of playing a musical instrument, doing other things in addition to that can actually help you play those songs even better! For beginners, I've come up with 3 areas of focus to help structure a students practice routine :

• Technique: Even working some basic scales with the correct down and up picking can sharpen your skills way beyond what you might realize. And if you don't know about things like arching your fingers, making the C chord sound clean is going to be very difficult!

• Theory: While some think it's boring, just remember, if you can't keep a beat, you'll never be able to play with anyone else or jam out with your favorite song. Remember, anyone can play a song badly; we wan't to sound good when we play, right?

• Songs / Fun Stuff: All work and no play is no fun - and playing Guitar is supposed to be fun! Not to mention that there's a lot of good, practical knowledge you can pick up from learning songs.

This list is by no means the end all of practice routines, but I think it can really help students who are just starting out or who don't have any structure to their daily practice. When in doubt, ask your Teacher to give you some pointers. Give it a try!


Tune in next week for the next installment of Have Guitar Will Travel.

What Age to Start Music Lessons

  I've been Teaching Guitar for over ten years now and for six of those year have owned / operated my own studio, The School of Music. Every day, we get calls from parents wanting to set up music lessons for their children. And a least once a week, the parent of a very young child will ask, "At what age do most kids start playing an intrument?". "Well...", we'll say, "......6 years old is a good starting point, but it really depends on the kid.....". Let me explain.

  The biggest issue I've noticed with teaching very young children (3-5 years old) an instrument like Guitar, is that most of them have a hard time focusing for more than a few minutes. Since most Music Lessons are 30-60 minutes long, it can be a real challenge for a 4 year old to sit still for a half hour and focus on their instrument. The same problem often continues when they get home and have to practice every night (which is really important).

  The other big stumbling block for teaching young kids an instrument, is communication. While the schools are teaching  kids to read and write at a younger age these days, many preschoolers cannot reasonably understand much of what needs to be taught in a music lesson. Things such as note/letter names and counting are crucial to understanding any musical instrument. So, if the child hasn't learned his or her ABC's yet, learning a G chord won't have a lot of significance.

  So, with that in mind,  it does really come down to each individual child. What I usually do at my studio, is try a single lesson so that the teacher and parents can evaluate how things look in terms of potential progress. If we think the child can sit still for 20-30 minutes and understand some of the basic concepts, than it's a safe bet that things can progress very nicely. If not, it's no big deal. There's nothing wrong with waiting a year and trying it again later on.

  In conclusion, Music Lessons for young children are wonderful (ok, yes I know I am biased). And while the idea of having one's 3 year old blazing through a Bach Invention on the Piano sounds thrilling to most parents, it's not very realistic. Actually, that's difficult teens and adults! I think a better, more optimal approach is to introduce children to an instrument around the age of 6 and really have the parents involved. There's nothing better than sitting in on the lesson and really finding out what your child needs to practice each night and how to do it. In many cases, you may learn just as much about music as your kid!

 Tune in next week for the next installment of Have Guitar Will Travel.

Pentatonic Scales (part three)

   As we've seen over the past few weeks, the Major and Minor Pentatonic Scales are pretty important to know. They're like a certain credit card company says, never leave home without them. However, like I said in the previous weeks, a Pentatonic Scale is simply a five note scale. Therefore, any scale made up of five notes would be classified as Pentatonic. And since in Western Music we have a total of 12 notes (A A# B C C# D D# E F F# G G#), that leaves us with quite a few possibilities. Actually,there are many more Pentatonic Scales used throughout the World which have nothing to do with Western Music......

From the end of September through October 2001, I traveled through Indonesia with nothing but a Guitar and a Backpack. It was there, on the island of Bali, that I was able to participate in a cool, musical, cultural exchange. While sitting at the local Warung having a meal, I met up with some local guys that happened to have a Guitar with them. After chatting for a few minutes, we began to talk about music which led to me scribbling an E minor Pentatonic Scale on a napkin for them. In return, one of the guys showed me the Balinese Scale.

The example below is the G Balinese Scale. While it's usually played on pitched percussion instruments associated with the Gamelan, it can be played on any pitched instrument. It's made up of the notes G B C D and F# (or Root, 3rd, 4th, 5th, and 7th) - kind of like an abbreviated G major scale. Play the scale slowly up and down and experiment with your own fingerings. Then close your eyes while you listen to the notes resonate and imagine you're in sitting above the rice terraces, sipping a strong cup of coffee.

Tune in next week for the next installment of Have Guitar Will Travel.

Pentatonic Scales (part two)

   Hopefully last week's opener and example of the Minor Pentatonic Scale was useful. Chances are however that if you already play Guitar, it's nothing new to you. And it's undoubtedly something you're heard hundreds of times before. But, it's really only the beginning. Like I said in last week's post, a Pentatonic Scale is simply a five note scale. While the Minor Pentatonic Scale is probably the most commonly used of these scales, there are many more. Take for example, the Major Pentatonic Scale.

  The Major Pentatonic Scale is of course another five note scale but with a twist ; it sounds a little happier, sweeter. Typically in music, we associate Major with a "happy" sort of sound and Minor, with a "sadder" kind of sound. Whether it be chords, scales, or arpeggios, this is generally the case. And, it's no different with our Pentatonic Scales.

  What's great about these scales, regardless of which one you use, is that they are versatile. The Major Pentatonic Scale is used by Jazz players like Pat Metheny, Blues players like BB King, and Country players like Brad Paisley. And if you've heard Traditional Chinese melodies like The Bamboo Flute, it's used there as well. The example below is an A Major Pentatonic Scale. The notes in it are: A B C# E and F# (or Root, 2nd, 3rd, 5th, and 6th). Practice and memorize the example. Then see if you can play it both ascending and descending. If you really want to get a handle on it, ask your Guitar Teacher about the Five Positions of the Pentatonic Scale.

  Tune in next week for Have Guitar Will Travel's  next installment of Pentatonic Scales. This one will be a little different.

Pentatonic Scales (part one)

  When I started playing guitar as a teenager, there was a veritable mountain of Classic Rock tunes that I wanted to learn. I felt if I could play just like David Gilmour, Jimmy Page, or Hendrix....well, that would be it. What else does one need in life?  And the one thing that they all seemed to have in common, was they all played amazing lead Guitar. That's what I wanted to do too. No.......had to do. 

However, I had one problem - I had no idea what these Guitar heroes were doing. I knew it was Guitar, I knew I liked it, but it seemed more like magic to me than anything else. Eventually, my parents, tired of listening to my feeble attempts at teaching myself Guitar, decided to get me Guitar Lessons.

I don't remember exactly when it was, but early on in my lessons I learned the Pentatonic Scale. And I quickly realized that even though I didn’t instantly sound like my heroes, I was getting a lot closer to figuring this stuff out. What is a Pentatonic Scale you ask? Only the easiest and most versatile scale ever devised!

A Pentatonic Scale is simply a five note scale. Some are more commonly used than others, but any configuration of five notes could be considered a Pentatonic Scale. It can be used in everything from Rock, to Country, to Jazz, to Traditional Chinese Music. On Guitar, it’s one of the easiest scales to finger. Sold yet? How about this: want to play Comfortably Numb by Pink Floyd? How about Freebird by Lynyrd Skynyrd? Or how about a Brad Paisley tune? Knowing Pentatonic Scales can lay down the foundation of learning how to play lead Guitar in these different idioms.

Below is an example of the A Minor Pentatonic Scale. It's made up of the notes: A C D E and G (or Root, b3rd 4th, 5th, and b7th). It has a slightly dark yet open sound to it. Go ahead, give it a try and commit it to memory. It’s not magic and will not transform your playing overnight, but it will get you a lot closer.  Tune in next week for Have Guitar Will Travel's  next installment of Pentatonic Scales.

An Experience in Musical Creation by Ney Mello

The musicians who can transform me are always poets, not virtuosos, or shredders.  I simply don't like shredding and virtuoso culture since it is not related to musical transcendence. This may seem contradictory coming from someone who is a virtuoso and who plays with virtuosos. There is difference between virtuosity and cold tedious technical display. Those who reach my soul may or may not be "sick" technically but their are always "sick poets!"

But I can understand why to most guitarists who have not experienced technical freedom yet, who are still trying to play what they would like to be able to play, shred culture is so pervasive.

But virtuosity per se, never was interesting to me since I was a little boy...only music mattered....the full experience...and that includes being a virtuoso, but only as a tool, so one can experience music completely.

Being technically incompetent is very limiting if one desires the full experience, but being a shredder and   technique worshipper is also much worse as it becomes an egotistical  perversion, that cuts one off the musical realms of absolute bliss. 

Furthermore, in my experience, the worse perversion and comical self-delusion of grandeur is to be an intellectual theorist and ideologue in art. Poets do not separate themselves from art in this way. In fact any artist cannot exist if he separates himself from absolute art  in this way.  

So, to me it is very simple: Be a poet. Be music. Learn all you can theoretically and master it as a tool, and never think that the tool is a definition of music or formula for fabricating what cannot be fabricated intellectually.

In this way you will be free to experience the absolute.

http://en.wikipedia.org/wiki/Ney_mello