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Sheet music??

4/21/2014

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Forgot to mention in my last post about interesting books I’ve read recently one that I found just fantastic: “How Music Works” by David Byrne. He is probably best known as the leader and creative force behind the group Talking Heads but this book is much, much more than just his ruminations on that group. It covers many thought-provoking subjects such as how music shapes cultures, emotional components of the writing process, the nuts and bolts of the music industry and how it has changed over the last three or four decades and more. I was never a fan of the Talking Heads so the middle third of the book in which Byrne describes the evolution of the New Wave scene in the 1970s and 80s didn’t hold my interest but the first and last thirds of the book would make a great basis for a college course. Written in a style that is both accessible and engrossing, “How Music Works” is quite simply the best book about modern music that I’ve ever read.

A few other quick hits….

There seems to be something of a rebirth of live music going on in the bars and restaurants in our area. This is a GREAT development, after many years of scarce opportunities for musicians due to the scourge of karaoke and DJs. I’m not sure what is causing this. Perhaps it’s a positive reaction to the proliferation of reality shows on television that feature singers in competition, often playing guitar? Does the popularity of those shows make people want to go out and hear live performances? I really don’t know, but the results are more work for local musicians. Here on Cape Cod, where we definitely have a seasonal, tourist-driven economic base it is expected that in the summer there will be work for musicians but in our small town there were at least half dozen places that had bands or single performers all winter.

I am a bit removed from that scene as I don’t really go after the bar work much anymore so I can’t tell what the pay scale is (my guess is that it hasn’t improved all that much) but at least a player can find work on an occasional basis if he or she is willing to put in the leg work required. This was not the case a few years ago. Hooray!

Last week one of my students asked me to recommend a good place to buy sheet music. Unfortunately, I had to confess that I didn’t really know any, not locally anyway. I suggested that he do some internet searches of the artists he likes and he would most likely find what he was looking for. This is a tough one – copyright issues come into play as it’s pretty easy to find free downloads of just about any music one seeks. It appears to me that music publishing companies have just about given up fighting this, which is sad. Writers deserve to be compensated for their work. But perhaps there is another mind set at work here. If an amateur player downloads the free (i.e., pirated) sheet music or even just a lead sheet/chord sheet of a song they’re interested in learning does that inspire them to purchase an MP3 file of that music? Music downloads are protected more vigorously so it’s much more likely that the artist will see some return (although as outlined in Byrne’s book, the cut taken by ITunes is almost criminal).

Some people still do buy printed sheet music of course. I think this is much more common when it comes to piano and vocal music, as compared to guitar music, except perhaps classical pieces. And when it comes to just basic chord sheets, an intermediate level player will most likely be able to figure out the changes “by ear” once he or she understands the basics of playing in a key and scale-line triads because in some genre’s such as country and folk music (and a fair amount of rock) the writers don’t tend to stray much outside the key a song is written in. Jazz is something altogether different of course!

Peace & good music,

Gene

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A few good reads

4/8/2014

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As much as I love playing the guitar (and buying them!) it’s always fun to read about guitars and of course the musicians who use them. Here are a few recommendations of books I’ve read recently.

“Guitar Lessons” by Bob Taylor. This is a fascinating overview of how Taylor built his brand into one of the most popular and respected high-end, mass produced guitars in the world in a relatively short time. Taylor readily admits he is more of an inventor and technician than a player but that didn’t stop him from doing what he needed to do to succeed. It’s a fairly well known fact that he is not universally liked in the guitar world for various reasons but he makes a solid case for the decisions he made over the years. Not only a cool insight into the world of a guitar company but also a great overview of how to “grow” a company.

“Martin Guitars: An Illustrated History” by Jim and Richard Johnston. The most hallowed and respected American manufacturer of acoustic guitars from the 1840s to the present day. I found the evolution of Martin body sizes and materials particularly interesting. Martin continues to have the most devoted – some might say obsessed! – following in the world, with good reason. Still a family owned business, now in its fourth generation, Martin has endured the ups and downs of music trends and this book will show you why. Plus the photography is drool inspiring!

“The Mayor of MacDougal Street” by Dave Van Ronk (2013 updated edition). With the recent release of the Coen Brothers film “Inside Llewyn Davis” I made a point to finally read this book upon which the movie was loosely based. Originally published in the late 1990s, shortly before Van Ronk passed away, it chronicles his life in New York’s Greenwich Village at the height of the “folk era.” Just one GREAT story after another of famous folk and blues musicians met, the scene in the Village and much more, told in Van Ronk’s wonderful, self-deprecating style. I found myself saying “wow” more than a few times when I read it, as it was a time and place that put me on my own musical journey. Highly recommended if you have an interest in American folk music.

“Wild Tales: A Rock and Roll Life” by Graham Nash. Nash chronicles his life from humble beginnings in northern England to his days with the Hollies; Crosby, Stills & Nash; and his later adventures with David Crosby and as a solo artist. His concerns with environmental causes and his work as a photographer and painter are very interesting but his personal relationships with other famous musicians, especially his long relationship with Joni Mitchell are what make the book. All told in a light, breezy style, not unlike his music!

“Backstage Passes and Backstabbing Bastards” by Al Kooper. Subtitled “Memoirs of the Rock ‘n Roll Survivor” this one was tons of fun to read. Stories of performing with and producing some of the most iconic musicians in American popular music, Al’s stories at times border on the unbelievable but I’m sure they’re all true. How he played the classic organ solo on Dylan’s “Like a Rolling Stone” is funny and amazing, alone well worth the price of the book.

If your fingers are sore from all that practicing, put down your guitar and pick up one of these books. You’ll be thanking me!

Peace & good music,

Gene

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Finger picking techniques, Part 2

4/3/2014

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Sorry about the delay in posting part 2 of this article! I was out of the country for a big chunk of March but back on Olde Cape Cod now, so back to guitar adventures. I think I’m back up to speed, playing-wise but even after playing the guitar for five decades (gulp!) it still takes time to get back to previous levels when you don’t play for a while. Hey, that might make a good blog entry later on! Anyway….

Continuing the discussion about right hand technique, one of the most important aspects is very basic but often very difficult: relaxation. Keeping your picking hand as relaxed and loose as possible is critical for success. Most players find this quite difficult in the beginning for many reasons. But to be accurate and to build up speed your hand and fingers can’t be tense and tight. A very fine classical guitarist I know always begins his practice sessions by “shaking out” his right hand before he begins to play – keeping his hand as relaxed as possible he shakes it up and down for 10 seconds or so and this seems to help. Also, remember to play softly, at least in the beginning. Volume is not all that important; clarity is! Which gets to the next thing.

One of the most common questions I get from students who are learning to finger pick is whether or not to use their fingernails. You can find many discussions about this on various guitar forums but I think for most people using finger tips rather than nails is easier and the sound is more pleasing. Remember, I am talking about playing steel string acoustic guitar. Classical guitarists always use their nails because nylon strings will produce a more crisp sound when played with fingernails. Steel strings are brighter sounding to begin with.

This is not to say there aren’t some very fine steel string guitarists who use their nails. The great James Taylor even has a video on his web site showing how he applies and files artificial nails. I have found however that being able to feel the strings with my fingertips allows me to be more accurate and by slightly varying the angle of attack (plus locating my hand closer or farther away from the sound hole) I can get a pretty wide range of tonal variation. Plus, as the tips are used on the steel strings they too, just like on your fretting hand, will build up calluses and this too aids in attaining a crisp tone.

How about the question of where you play in relation to the sound hole? As I said in the previous post, the angle of attack on the string should be about 45 degrees compared to being totally vertical (as many classical guitars play) and horizontal (i.e., playing “down” the string toward the bridge – an effect employed by many blues style players to generate a funkier, thuddy tone). For most players maintaining that 45-degree angle of attack means they will slightly behind the sound hole. The only reason you would want to change this is for tonal variation; playing directly over the sound hole gives a warmer, mellower sound. Playing back toward the bridge gives a tighter, more crisp sound. For what it’s worth, when I play a very fast tune I do move my hand slightly back toward the bridge because the strings move less than farther up toward the sound hole. This allows me to be more accurate, plus the clarity of individual notes is better. On slower, mellower tunes I adjust to be slightly over the sound hole. The overall tone is pleasing and the notes seem to blend better, which may be important in songs that have longer lasting melody notes.

I hope this discussion of hand position helps as you explore finger style playing. Everyone develops their own little technique adaptations and this is just fine. Just remember – if you’re struggling with things like accuracy, speed and tone there are adjustments that can be made to make your playing more pleasurable for both you and the listener.

Peace & good music,

Gene

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