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Make it easy on yourself!

5/28/2019

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There’s an interesting thread going on one of the guitar forums right now regarding a dilemma. It seems the person posting has inherited a fairly valuable Martin from the 1960s and he is seeking a way to increase the nut width (or the neck width) from the standard Martin width at that time of 1 11/16” to 1 13/16”. That’s impossible in my opinion. Even increasing the string separation with a new nut will only gain a tiny fraction of an inch and in doing so would most likely make the strings apt to slip off the side of the fingerboard at times. Most of the responses are along the lines of: sell it and get what you really want.
 
So why does this person want to do such a thing? Because he has wide fingers and the 1 11/16” nut width means it’s difficult to play without a finger or fingers touching adjacent strings. This is something I see all the time. But I see other issues too. Mostly they fall along the lines of, man, this guitar is so hard to play! What can be done?
 
Back in the 1970s I ordered a guitar from a local guitar maker named Jim Boyce. He is long gone now and mostly forgotten as a guitar maker; his output was only perhaps 50 or so guitars and he preceded the “boutique guitar” movement of the last 20 or so years. The guitar I wanted was a mahogany body/spruce top, slope-shoulder jumbo. It was to have the standard 1 11/16” nut width of course and Jim never put adjustable truss rods in his guitars so I would be stuck with the action as he created it. In one of our first discussions about the guitar he said:
 
“You know what I hate? When someone says they want the action as low as it can be without buzzing!” Jim was a character, to say the least.
 
I kind of gulped and swallowed my words, which were about to be exactly what he didn’t want to hear. That guitar is long gone now, mostly because at the time I was into V-shaped necks and that one was built with a sharp V. 
 
This gets to crux of the matter. We all want our guitars to be as comfortable as possible for our fretting hand. These days there are a multitude of neck shapes from wide and thin to deep and with semi-V profiles. More and more makers of guitars in all price ranges are going to 1 ¾” nut widths as standard. I think these are good starting points.
 
Where is gets tough is a simple fact: most recreational players will buy just one guitar in hopes they won’t have to buy another. Some realize that it’s a classic “you get what you pay for” scenario and decide to upgrade when they realize both comfort and sound improve as you spend more money. Most of the time, anyway. I’m really talking about the player who wants the instrument they are playing to just get a bit easier. There are a few things you can do.
 
First and foremost, if you are fortunate enough to have a well-qualified guitar tech in your area (I’m lucky – there are now two good ones close to where I live), go to them for a “set up.” This may be a simple thing and the results can be remarkable. One guy who I’ve used for decades, Fran Ledoux of Bay Fretted Instruments is truly a magician when it comes to adjusting my guitars; I’ve known him so long that he knows exactly what I like and yes, he can get the action incredibly low with no buzzes unless I strum really, really hard. We also have a new guy in town, Ron Bolduc of Fretwerk’s. I’ve only used his services a couple times and he does stellar work. If you live in Southern Massachusetts (or Connecticut in the case of Ron), drop me a PM through my contact page and I’ll get their contact info to you.
 
The first thing you’ll want to do is look down the neck of your guitar along the edge from the body to the headstock. It is a commonly held belief that guitar necks are supposed to be straight. This is untrue for the simple fact that the strings move more radically in the middle than at the ends and a perfectly straight neck with low action is sure to have buzzes from the middle of the neck on up. All guitar necks must have a tiny bit of “relief,” which is almost imperceptible curvature. There is a way to measure this using a flat edge device like a steel yardstick and I urge you to check out You Tube for detailed instructions. If you need to adjust the neck you will find a small, round hole in the brace inside the sound hole on the neck side. A wrench is inserted to join with the end of the truss rod at the neck joint. You will most likely need a hex head wrench and unfortunately there is no standard size; you should do some research online to find the appropriate one for your guitar. Some guitars come with them. In the case of Martins (my favorites, if you’ve been reading this blog for a while!) you may want to purchase one directly from the company via their 1833 Shoppe. 
 
Some guitars may even have too much pressure from the truss rod i.e., a “backwards” bend. That is absolutely the first thing to eliminate before going any further. As you hold the guitar on your lap or laid flat on a table, turning the truss rod adjustment nut clockwise straightens or eliminates relief; turning counter clockwise increases relief or curve in the neck. This should always be done with at least a few of the strings on the guitar, although it is easier to do with them all off. That way you will get a more accurate idea of the amount of relief due to the string pressure on the neck. If you opt for removing all the strings you may have to do this a few times to get the guitar to the point you want. And don’t be surprised if there is a slight change a few hours later as the neck gets used to the new amount of pressure from the truss rod. It’s wood, after all! FWIW, I adjust the truss rods on my guitars at least twice a year, in the last Spring and Fall, to compensate for different levels of humidity and temperature where I live.
 
If you’ve never done it before on your guitar – and it’s never been done on that particular guitar – don’t be surprised if it takes a bit of elbow grease to get the nut to turn. Sometimes a disconcerting creak will be heard. In any case, take it slow, only a fraction of a turn at a time, and if the nut refuses to budge or is at its maximum or minimum range of movement, best to take the guitar to a guitar tech for further adjustment. Sadly, some guitars (less expensive ones especially) just won’t respond to this process at all, or develop nasty bends at certain points in the neck. Again – this is a job for a guitar tech.
 
What else can you do? Well, some simple things. First, change your strings! While there was a time that medium gauge strings were the norm, light gauge is now far and away more common. You could opt for extra light gauge or even “silk and steel,” which are low tension and easy to press down. But going that route will certainly diminish the tonal response from the guitar. If you can live with that you will find extra lights or silk-and-steels easier on your fingers, for sure.
 
You can change the saddle height, either by buying a new saddle from a company like Stewart McDonald or sanding the saddle you have. Saddles should be easy to remove from their slot in the bridge; they never should be glued in. If you try sanding, be sure to sand the BOTTOM of the saddle. It is imperative that the bottom is perfectly flat. I have a wood block onto which I glued some 120-grit sandpaper and this allows me to keep the saddle flat as I carefully sand a bit, replace on the guitar, string it up, check the action, and then repeat as needed. Remember to take your time, sand lightly and check the height frequently. Some guitarists keep a few saddles of different heights so they can swap them out as the action changes seasonally or their playing style requires different string heights.
 
Sharp fret edges can be an issue and are annoying at best and painful at worst. Stewart McDonald offers a variety of fret files to deal with this. Be sure to mask off the edge of the neck and the fretboard before trying to file and use the correct file. Again, take your time. You Tube has plenty of videos on how to do this adjustment. 
 
One thing I do not recommend is filing the nut slots. Although there are plenty of videos on how to this – and specialized nut files are an absolute requirement – there are way too many ways to mess this up and the result will be buzzing or muffled tone. Leave this one to a qualified guitar tech unless you are very brave and patient. Sometimes the best course of action is having a guitar tech install a brand-new nut, cut at the correct height. This can also improve the tone because good techs often use bone rather than the plastic that is often used on less expensive guitars; this improves tone and sustain.
 
A brand new nut made and installed by a guitar tech will also have the exact and correct distances between the strings and to edge of the fretboard. I’ve seen and played many less expensive guitars (and recently a quite expensive one by a premium import maker that was very disappointing) that have the strings kind of squashed together, making them virtually impossible to play cleanly and some that had high and low E strings so close to the fretboard edge that they slipped off when a string was depressed. These things are totally unacceptable and require a new nut.
 
So there you have it. Sorry for the long post but I feel it’s vital that a guitarist not struggle with his or her guitar any more than is absolutely necessary, especially the beginner. Said it before, I’ll say it again: In almost five decades of teaching I’ve seen bad guitars do more to discourage players from continuing than all other causes combined.
 
Peace & good music,
Gene

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Go along, get along - Playing with others

5/16/2019

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So let’s say you’ve learned some tunes and want to get together with other players and have some fun, maybe even think in terms of putting a group together. You’ve been to plenty of shows and it seems the players are having a wonderful time. Maybe they are, maybe not. How do you avoid the “not” and even learn something in the process?
 
We’ve all heard stories of players who have been together for years but basically hate each other. Perhaps you even know some groups like this. Why do they bother? Well, because when things do go right there is magic that happens and that can sometimes transcend all the squabbling. In the big leagues there is a money factor that figures in. What about smaller time groups? What can we do to avoid those situations?
 
Well, there are a number of roads to take here. One way of thinking is that you should just dive in and play with as many people as possible. If you throw enough of it at the wall, some is bound to stick as they say. I’ve tried this in years past and while I did manage to meet and play with some great people there were a few bad moments too. It was worth the effort, however.
 
Another school of thought is that you should start by being an observer. Go to places where live music is featured, hit up as many open mics as you can, network with friends and family. That last one can yield some pretty amazing results. Once in awhile someone will tell me about a friend of theirs who’s a “closet musician,” one who may be quite good but hasn’t the courage or interest to play with anyone else. Singers are the most common of this category. For example, right now I know a woman who I see on a weekly basis who is a fabulous singer. She can nail anything from blues and country to jazz and even show tunes. But for whatever reason she won’t sing with me! I’ll keep after her though. I know it would be worth it. The point is, with these types it may take some time.
 
So let’s say you’ve found another guitarist or other type of instrumentalist or singer and you’ve decided to get together. I’ve found that it really pays to be prepared. If you don’t have one, make a list of songs you know and if you have chord or lead sheets to share, so much the better. Nothing kills the buzz like sitting around going – what do you wanna play? Uh, I dunno…
 
Keep your expectations within reason. When I get together with another player for the first time I hope that maybe three or four songs will come out OK. If more do, so much the better. Write them down so you don’t forget which ones they were. Sounds silly, but it’s easy to forget. Keep the first couple of times you get together a reasonable amount of time and keep things loose. If your new playing partner or partners are inclined, a beer or two can’t hurt. 
 
Where things often go wrong when people get together with the idea of actually forming a group is the level of experience various members have. The best analogy I know is sports like tennis or golf. If one player is heads and shoulders better (or worse) than the others that person will not enjoy the experience unless all the others have a deep well of patience. In my experience that level of patience is a rare circumstance. Raw beginners can have a marvelous time playing together if for no other reason than they tend to be the best cheerleaders for the people they’re playing with. At the other end of the spectrum, highly experienced players can communicate on a level that allows some very fine music to be made right away. So if possible try to find players that are roughly at your own level. A positive session will usually be the result.
But getting back to those famous groups who hate each other, we have to ask – how did it get to that point? I believe it comes down to expectations and motivation.
 
The relationship between the Beatles, especially John and Paul has been well documented and scrutinized for decades. They started out as fast friends, endured a few years of grueling work in places like Hamburg and Liverpool. This forged their bond and the result was some of the greatest music the world has ever heard. But as time went by different members found their expectations diverging widely and when that happened the levels of motivation became impossible to reconcile. In spite of his continued success I’m sure on some level Paul will regret this for the rest of his life.
 
On a much smaller scale, what about a group you’ve been playing in for a while that’s starting to fray around the edges? Ego issues inevitably become more prevalent and if we’re talking about a group with three or more players, alliances begin to form. These things will break up a group as sure as the sun will rise. One good way around this is to work on projects with other players or go out and do a single. The result will be an ability to focus on what made you get together in the first place, the good stuff in other words. I had a conversation a couple years ago with a musician I played with decades ago who was in terms of pure ability the finest player I will ever have the privilege to play with. This person dumped me for one of the finest bluegrass guitar players alive and went on to have great career in studios in Nashville and elsewhere. But when we spoke this person said: You know, I think the most pure fun I ever had playing was when we were together.
 
This warmed my heart and I know if we didn’t live on opposite sides of the country we would probably get back together at least from time to time. All I’m saying is that sometimes a bit of time and distance can do wonders for musical relationships.
 
As a practical matter, when getting together with other musicians, check your ego at the door. Never try to show someone up even if you are clearly a more advanced player. If you are the lesser of the players, don’t be afraid to ask questions and admit what you DON’T know. Our egos may give us a push-back on that one but believe me, you will be a better player – and a better playing partner - for it. 
 
Don’t automatically assume you are instantly in some kind of obligatory musical relationship. You may end up getting together just once or twice. You may go further than that but finally figure out that expectations and motivation are just too wide apart and go your separate ways. 
 
But you may end up in a duo, trio or band that just clicks. There’s no way to know unless you try. 
 
And finally, keep an open mind. Shared musical interests should only be viewed as a starting point. Everyone benefits when this is understood.
 
Peace & good music,
Gene

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Embrace the Inner Game

5/14/2019

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Whether we play in front of one person or a thousand there’s no denying the fact that nervousness can be an issue. I think that is the case with just about any performer regardless of his or her level of experience. In my case, dealing with this reality has been a life-long struggle. The trick is finding a way to channel this energy because – and I believe this firmly – without that energy a performance will be lackluster at best.
 
I’m reading a great book called “The Inner Game of Music” by Barry Green (with W. Timothy Gallwey). I’m a bit late to the party on this one; it was published back in 1986 and is based on concepts put forth in Gallwey’s best seller, “The Inner Game of Tennis.” There are so many ideas, concepts and practical exercises covered in Green’s book that it would be impossible to cover them all here but the basic premise is that by tapping into the creative side of one’s brain to the exclusion of everything else your performance and satisfaction will radically improve. One of those things to exclude is nervousness.
 
Not everything in the book is applicable to playing the guitar. Green is a classical bass player and professor at a major university, or he was when the book was published anyway. So his examples and anecdotes relate to performance on many other instruments, and the musical examples he uses may not be familiar for someone whose interests and experience are in the world of popular music played on a guitar. However, there are plenty of take-aways.
 
He puts forth the idea that we are really two people when it comes to musical performance, which he calls Self 1 and Self 2. Self 1 is someone or something that is talking. Self 2 is the person in our brains who’s being spoken to. Any aspect or circumstance that interferes with your potential is Self 1. Any aspect or circumstance that expresses your potential is Self 2. 
 
“Self 2 may have access to the unconscious, or right brain, or whatever; so might Self 1. The point is simply to know whether you are experiencing interference or expressing you fullest resources.”
 
Of course, it is much, much more complex than that and a host of influences come into play. And when we factor in age and especially experience, pushing away or “leveraging” Self 1 becomes much more difficult for most of us. Think about how children learn and react. If they are trying an activity for the first time and find some success they almost instantly continue with that activity without thinking all that much about it and often find unbridled joy. First steps, blowing bubbles, petting and playing with a dog. It’s only when an adult cautions them (“Careful! Don’t fall!” “Don’t let the soap in the bubble blower get in your mouth!” “Be nice to that doggie!”) that their little Self 1’s begin to be heard.
 
A couple of my favorite points in the book: 
 
“Permission to fail leads to success.”
 
This is something I tell my students over and over. To be frank, I wish I was better at taking my own advice! Knowing that you will always have another chance is liberating, if you let it be. The result is often a better performance because you have a deeper sense of awareness. Self 1 wants to be critical and cautionary. Push him away.
 
 
“Our musical challenge is to imagine that we always have a second chance. Giving ourselves permission to fail sidesteps any concern we might otherwise feel about performance. We are left free to accomplish the task at hand. We can stop trying, and allow ourselves to become part of the music.”
 
Sometimes it helps to categorize and deal with exactly what is making us nervous, even to the point of listing individual responses. Green recommends going so far as to write down each physical manifestation of the nervousness. He lists such things as loss of breath, dry mouth, increased heartbeat, sweaty hands, shaking hands, fingers or knees. He also lists mental problems such as forgetting words or fingering, losing sense of timing, even forgetting the music entirely. 
 
Then, says Green, the object is to focus on those individual elements brought to the forefront by Self 1. His belief is that by focusing on them individually rather than in the whole (i.e., I’m so nervous I just can’t play!) you will begin to minimize those individual elements over a shorter amount of time overall. I think this is valid.
 
As I said, there is much, much more in this book. If I had to find a major fault with it I would have to say that he assumes the player has at least a basic command of the piece of music as a starting point. What if you don’t have that command? Is it possible to still apply his techniques?
 
I don’t really know. What I do know is that I have some things I do when I’m nervous, which can be from any number of causes. 
 
First and foremost: simplify. Even if I’ve been practicing a piece for weeks before I put in front of people and I’m proud of some elements I’ve added or the overall sound of the piece I always start by playing it without embellishments, “straight ahead” as jazzers say. Maybe I’ll play an entire piece that way. Hopefully, assuming that rendition was satisfactory I’ll try adding those cool little things the next time I play it. Or not. Depends on how I’m feeling.
 
That gets to another thing I try to do. No matter what has been going on in my life externally or internally I do my best to let those things go before I play a note. This is sometimes difficult, for sure. The trick for me is to refocus. For example, if I’ve succeeded in dialing in the best overall sound possible (new strings, perfectly adjusted amp) I try to rejoice in that. It almost always helps.
 
Taking my time before I begin to play is key, for me anyway. I know some professional musicians who can arrive 10 minutes before a gig, set up and jump right in and sound great. Not this guy. I always try to arrive AT LEAST a half hour before I’m supposed to start playing; an hour is better. That way I can focus on the playing as soon as I start and my Self 1 is not asking if I left the lights on in the car, if I wore the right clothing, how heavy the traffic will be when I drive home and what I have to do when I get there. None of those things have any place in my consciousness if I’m going to play well and play relaxed.
 
Breathing. Don’t forget to breathe! I always take a few relaxed, deep breaths before I start playing and things are sure to get off right. This is another thing I remind my students regularly, even when they are about to begin practicing at home. What bookends with breathing is counting a measure or two before I start playing. It’s another way to focus.
 
As soon as possible when I’m playing in front of people I try to find at least one person who is enjoying the music. This doesn’t always happen of course; most of the places I play are NOT concert situations and the people have every right to pay little or no attention to me. These days, being a recent grandfather, what will banish any nervousness I may have is seeing a youngster enthralled with my playing. Kids are the best audience you could hope to have! 
 
Although I can’t recommend The Inner Game of Music without a couple reservations – there may be some ideas that you just can’t put into practice – I still feel just about everyone who plays guitar, beginner or seasoned pro will find something in there that will benefit their playing, or at the very least give them lots to think about.
 
Peace & good music,
Gene
 
 

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