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Developing a practice routine

7/28/2011

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Perhaps the most common question I hear from my students is: how long should I practice? I usually reply, as long as you can. I'm not trying to be glib or evasive. I happen to believe that very few of us (myself included) really put in the time we should on our guitars. Always remember one thing. Playing the guitar is, in its most basic sense, nothing more than exercise for the fingers. To see progress from ANY sort of exercise you must do it often and with consistency.

Unfortunately, most of us have lives! As much as we'd like to immerse ourselves in the musical process, our obligations, annoyances and just plain fatigue take their share of our time. So maximizing the time we do steal from something else is really important. Here is a basic outline of a practice routine. It may not work for everyone and you very well may want to adapt it to your own musical path. But at least it's a starting point!

Say you have an hour to practice each day. This may seem like a lot of time to some and not nearly enough to others so you can adapt this accordingly. I'm also assuming I'm talking to a student or recreational player who has some experience. A raw beginner will need another course of action entirely.

The first thing to do when you pick up the guitar is tune it! Seems basic and simple but I've seen many a player dive right in and I can tell you that no matter how well you play a piece of music, and out-of-tune guitar will make it sound bad. After you're in tune begin playing an exercise or two, something like a very basic 1st position diatonic or chromatic scale. Start slowly but always keep a steady beat, gradually increasing the tempo as you ascend and descend repeatedly and without stopping. I'm assuming you're using a flat pick to do these scales and be sure to alternate the direction of the pick from one not to the next.

Practicing scales has both advantages and disadvantages. They definitely will warm you up and in the longer term, help with strength and learning to use fingers independently of each other. The down side is that they can end up taking way too much of your precious practice time as you learn more and more of them. Also, advanced players with are into improvising will tell you that implanting the sound of a diatonic scale on your brain can in some ways stifle the creative/improvisational process. So give those scales just a few minutes, certainly no more than 10% of the time you have to practice.

Next, try playing through a song or two (or more!) that you know you can play fairly well. This builds confidence, plus it's fun! No matter how "simple" or non-technical a song may be, playing it and playing it well pays off both in the short term and long by reinforcing important musical concepts. Give this portion of your practice routine at least 50% of the time you'll be playing.

Then it's time to work on more challenging stuff. If you're taking lessons, that should be your latest lesson or a recent piece that was giving you trouble - maybe even a couple of those types of songs. Your teacher understands that you cannot be expected to play a piece perfectly in a week or two so even if you've done fairly well on your most recent lesson there surely will be small elements that need polishing up. Don't get frustrated with your latest piece and don't give up if it's giving you trouble. The trick is to break it down into smaller sections, keeping in mind that the most basic concept you're trying to conquer is rhythmic consistency, i.e., moving from one measure to the next or even within a measure without stopping. This may mean you only get through a line or two of a song but ultimately that will pay dividends. It is far, far better to do this than to pracitce a piece from beginning to end over and over, stopping at the same places each time, with the idea that if you play that piece a hundred times those stops will go away. They will not, and you'll just end up practicing your mistakes! Give this most challenging part of your practice session perhaps a third of the time you're playing.

Then, go back to the fun stuff! Play those easier tunes again or perhaps some different ones that you've also played well in the past. Remember, the whole reason you started playing in the first place was that it looked like fun - and it should be.

Don't be surprised if you look up at the clock and find you've played quite a bit longer than you intended. But if you find that the real world intrudes and you can't play as long as you'd like, make a vow to play longer next time! Again, remember that what you're doing is exercise, plain and simple. And like all exercise, a moderate amount on a frequent basis is far more beneficial than a LOT on an infrequent basis.
Good luck and enjoy!!!

Peace & good music,
Gene

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Sitting in: Etiquette and commons sense

7/26/2011

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A couple months ago I had a situation that was awkward, annoying and rather embarrassing. A guitarist I used to play with many years ago heard I was doing a regular thing at the Daily Brew every weekend on Saturday and Sunday mornings. He called me and allowed as how maybe he would stop by some time and sit in.

I wasn't thrilled about this. Not because he is a bad player - he is actually pretty decent - but because I know the way he operates in terms of taking over any musical situation he is in. Also, I never hear from this guy unless he wants something so I certainly wouldn't put him in the "friend" category. What to do?

I was hoping he would forget about it but sure enough he showed up. As it happened, I was out of town at the time and he asked the owner if it would be OK if he played. She somewhat reluctantly said it would be fine. Long story short, it was pretty much a disaster, with him forcing himself upon customers, musically speaking. This was what I was afraid would happen. He called me later that week to complain about how rude everyone was to him. I tried to explain what the gig was all about but I don't think he understood. In any case, I count not being there as a stroke of luck because if I had been the same thing would have happened but his antics would surely have reflected on me, and I may have lost the gig.

Fortunately, the owner understood the situation and was totally empathetic to my dilemma so nothing much came of it, except for the certainty that he would not be back.

This kind of thing is just one example of the dangers of letting someone "sit in" - or trying to do it yourself. Professional musicians who have been around for a while understand the etiquette of sitting in. First and foremost, you should never, ever suggest to the person whose gig it is that you sit in. If the performer asks you, that is another thing altogether. And even that can be somewhat problematic. Many years ago I was in San Antonio when their annual fiesta was going on and I struck up a conversation with a player in a bluegrass band when they were on break. I was touring with fiddler Marie Rhines at the time, playing quite a bit of bluegrass and I told this guy about that. He asked me to sit in during the next set and I agreed. Well, his guitar was set up with heavy gauge strings with the action set so high that for me, the guitar was almost impossible to play. I couldn't very well beg off after I realized this and needless to say my performance was pretty lame. Lesson learned!

So, bottom line: in the incredibly unlikely event that Eric Clapton happens to show up at the Daily Brew I will most certainly ask him to sit in. Likewise, any of a few players I've played with or know to be on the same page as me, musically speaking. Otherwise - no way!!! And this rule goes for me too, even when I happen to hear a band that I know I could play with. It seems like it would be fun and maybe it can be, but I've seen too many times when the situation does nothing to add to the performance, except to perhaps inflate the ego of a player who secretly thinks he's way better than the players who are up there. And I call this bad karma, in the extreme.

Peace & good music,
Gene
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Cutaway vs non-cutaway - factors in your decision

7/25/2011

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The photo image you see above is of a Larrivee L-03R with a cutaway. I sold it about a year ago and the new owner was thrilled with its strong bass end and surprisingly good treble. It was, in my opinion at least, pretty exceptional for an acoustic guitar with a cutaway body design. Exceptional in that the overall tone and sound was very even (although it had the "woody" sound that is typical of Lari's) and it had plenty of volume. Unfortunately that is pretty rare with this body design.

One of my students was recently considering the purchase of a very high end guitar with a cutaway. He does play beyond first position and the whole idea of a cutaway is so the player can more easily access those high frets. He went to two of the mega guitar stores in our general area, plus a trip to the premier retailer of high end guitars in New England. Amazingly, all three of the stores had an example of the very expensive guitar he was considering. When he came for his lesson the next week I immediately noticed he was carrying the case of his old guitar.

The model he was considering is rigged with a fancy internal pick-up and it is the signature model of a certain popular singer/songwriter. What my student soon found out was that there was a good reason this model is equipped with a pick-up. Played without amplification all three examples had, according to him, weak volume, very little sustain and no character or resonance whatsoever. Not a good thing when you're talking about a guitar with a "discounted" retail price of just under $4k !!

Now, in defense of this particular guitar model and the company that produces it, very few brand new guitars come close to their potential for some period of time. However, my student was very disappointed and we talked at length about his experience. First I asked him - beyond the previously mentioned access to upper frets - what attracted him to the cutaway design (one note here - he is a recreational player, not someone who is gigging)? This was a loaded question. I knew what his answer would be. Well, he kind of sheepishly explained, they just look so cool.... And he was right. Cutaways all but say - hey, I'm a hot guitar player! I need to get to those high notes when I take an awesome lead break! Kinda the same mindset as putting a "spoiler" on the trunk of your car, I think (!)

I asked him, as gently as possible: now really, think about it. How often do you really play up there? Five percent of the time? Less?

He thought about it and agreed.

So why don't most cutaway acoustics sound as good as the same model without a cutaway? Simple physics, really. First, you've eliminated about 20% of the vibrating surface area - which is called the "sounding board" for good reason! Also, in order for the entire face of the guitar to vibrate evenly and to its maximum capability the vibration of the strings needs to be able to disperse evenly. Think of the concentric ripples when a pebble is thrown into smooth water. With a cutaway this concentric pattern of vibration transmission is disrupted. One part of the face of the guitar vibrates less than the opposite side. This HAS to quickly kill the vibration and therefor both volume and resonance.

So if you're considering a cutaway, understand that the cool look and access to the upper frets comes with a pretty severe sacrifice, sound-wise. If you're always going to plug in, no big deal. But if you usually play without amplification, think long and hard about just how much you use those high frets.

Peace & good music,
Gene

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Sin City report

7/21/2011

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No post here for a while, sorry, because I was out in Vegas for most of last week and this week has been about getting back into the swing of teaching and practicing.

Ah, Vegas. One of my favorite places. "Adult Disney World" it has been called, with good reason. Obviously, it's not for everyone and some people are just grossed out by the place. Which I can understand. Every excess of the human condition is openly on display, and mostly in an accessible manner. When I go there I gladly subscribe to a concept that is taught in drama classes: The Willing Suspension of Disbelief. This concept basically states that yes, everything I see is phony but you know what? I don't care!! I'm going to have a good time.

And showing you a good time is what that town is all about. For a price of course. I've been there about a dozen times now and one thing that becomes obvious very quickly is that almost everyone is as nice as they can be, and every one of those people have their hand out to a lesser or greater degree. This is fine - that's their business. We certainly understand the necessity of separating a tourist from his money right here on Cape Cod.

Anyway, I won't bore you with stories of employing my "system" at roulette or the fabulous food we ate. I'll tell you about the music. We attended the absolutely astounding Cirque du Soliel show, "Love" at the Mirage where we stayed. It was my third time seeing this show and all I can really say is: see it. See it if you're ever out there, even if you do nothing else. Based on the music and life of the Beatles, not only is the overall production almost beyond description but you will be blown away by the music, how it is arranged, blended and played through the most incredible sound system I've ever heard. Basically, George Martin, Paul McCartney, Ringo Starr, Yoko Ono, George Harrison's wife and many others were totally involved with how the music is presented. The vocals are subtracted and then snatches of dozens and dozens of songs, plus a few selected longer pieces are played while the Cirque performers present interludes based on the music. I've been a hardcore Beatles fan since they hit these shores in 1964 and know EVERY song but I can tell you no matter how much you know their music you will hear things, amazing things, you've never heard before. In a nutshell, "Love" is the best show of any type that I have ever seen. If you love Beatles music or just love visual and aural spectacle, see...this...show.

And on the other end of the spectrum..... there is Big Elvis. He performs in the late afternoon a couple times a week at one of the sleazier casinos on the Strip, Bill's Gamblin' Hall. Big Elvis has been there many years, and a couple years he ago supposedly weighed in at a robust 500 pounds. He has slimmed down to the high 200s so the effect is, ahem..., not quite as dramatic but it is a fun experience nevertheless. He sings (very well!) with recorded tracks of not just Elvis tunes but other of the same era and the crowd loves hin. He has become a true Vegas institution and hey, it's free. I got almost as much of a charge from watching him work the crowd and flirt with ladies "of a certain age" as the music and his overall performance, which was very good. Worth checking out, with tongue placed firmly in cheek.

Also heard some great jazz at one of the bars in the casino at Bellagio, which remains my favorite hotel/casino in Las Vegas for its classy vibe and great people-watching. This bar always has great performers and this time it was a piano/bass duo playing mostly Great American Songbook selections. They were as good as any jazz duo anywhere and again - free of charge.

I do wish jazz was easier to find on the Strip though. But with the "ultra lounges" and Cirque du Soliel, plus of course Cher, Celine Dion and other top names being the real money makers I can understand why its not there.

Heard a show band at the Venetian in their main lounge just off the casino floor playing everything from classic rock and Motown to U2, Green Day and more modern dance music. The guitarist was great and the band could cook. You'd pay a steep cover to hear such a band around here. Free in Vegas.

Las Vegas. Not for everyone, for sure, but if you want to entertained, they will gladly provide. Sometimes for a price, sometimes for free but you can be sure you'll hear some great music there.

Peace & good music,
Gene



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Acoustic guitar strings, Part 2: Which gauge?

7/7/2011

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Strings are marketed under general categories when we're talking about thickness, or "gauge." There are variations of these but most people choose one of the following:  Extra light; light; light/medium; or medium.

Although you may find some very slight variations from one manufacturer to the next, here are how those categories generally break down in diameter (low E to high E, all listed in inches):

Extra light:  .050, .040, .030, .022, .015, .011
Light:  .054, .042, .032, .025, .016, .012
Light/Med.:  .055, .0435, .0335, .0255, .0165, .0125
Medium:  .056. .045, .035, .026, .017, .013

I should add that some strings from certain manufacturers are formulated to have a softer or firmer "feel," which is related to the amount of tension that is needed to bring the string up to pitch. Keep in mind that a softer feeling string may be easier to press down but buzzes are more likely to develop as you play due to the lower tension of this type of string.

So which gauge should you use? That is difficult to answer but you should consider your overall playing style (if you strum aggressively you probably should use mediums) and the size of your guitar (smaller bodied guitars are best used with light strings, although that is subjective). It should be noted here that although almost all guitar makers will say that their guitars will hold up just fine with long term use of medium gauge strings I have seen more than a couple very nice acoustics that needed neck resets way before their time and although I can't prove it, I think that the use of higher tension/thicker mediums contributed to this. I also feel that living in a climate with seasonal variations in temperature and humidity exasperates this.

Mediums do bring out most of the sound your guitar is capable of delivering, no doubt about it. This is why they are preferred by bluegrass guitarists who's job it is to provide loud, driving rhythm. Finger style players who want clarity and also need to be able to run through complex musical passages without being impeded by a string that needs a forceful attack usually prefer light gauge. I happen to fall into that category, even when I'm playing a large bodied guitar like a Taylor 810 or a Martin dreadnaught. I'm willing to get a bit less volume in exchange for ease of playing. You may want to try a set of the light/mediums to see if these "compromise" strings accomplish what you're looking for in both strumming and finger style playing.

A couple final thoughts about strings. We're fortunate, compared to, say, violin players in that our strings are quite inexpensive compared to theirs. A very fine fiddler I used to play with used to order her strings from a company in France (!) and she paid about 10 times more than what I paid for my strings. So the point is: change your strings fairly often to keep your prized guitar sounding as good as it can. If you have dry hands and play at least a few times a week, think about changing your strings every 2 - 3 months; if your hands get sweaty when you play you'll need to change your strings much more frequently.

I'm not going to get into the mechanics of string changes at this time but I know there are plenty of You Tube videos that explain the process. All it takes is a few minutes of your time and less than $10 out of your pocket, in most cases. I have an extensive variety of strings available both on this site (Guitar Accessories page) and over in my online store:
www.capecodacousticsstore.com

Don't be afraid to experiment with different gauges and brands of strings. You're sure to find one you like. And just remember - putting new strings on your guitar not only makes it sound at its best but knowing your guitar is sounding good will inspire you to pick it up more often!

Peace & good music,
Gene

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Acoustic guitar strings, Part 1 - so many choices!

7/5/2011

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A couple days ago a young man called me from Dennis, MA - about an hour drive away, at least, on Fourth of July weekend - and wanted to buy some new strings. I was somewhat amazed that he was willing to drive here on a Saturday evening to buy them but it reminded me of how important a new set of strings can be.

There was a time not too many years ago when there were maybe a half dozen choices in steel strings for acoustic guitar, and perhaps that many for electric. Even fewer for classical (nylon stirng) guitar. Today there must be at least three dozen major manufacturers of strings offering many, many options in various metal alloys, gauges (string diameter), tensions, coatings, etc. It can be confusing to say the least.

But for most acoustic guitarists the choice begins with materials, which for the most part can be reduced to either phosphor bronze or 80/20 bronze. I don't know the actual alloy compositions of each, but the 80/20s have more brass. All-steel strings work well on electric guitar but sound much to harsh and "tinny" on an acoustic. It's best to look first at the actual strings and define what we're talking about under the banner of "steel strings."

All so-called steel strings have a solid steel core. Except for the top two strings (B & high E, which are in essence cores themselves) those cores are wrapped with the above mentioned materials, those wrappings being thicker to give a lower sound on the lower strings and gradually decreasing in overall diameter on the strings that will be tuned higher. The outer wrapping lends little to the overall strength and durability of the string; that comes from the core. This is were the manufacturer tweaks the tensile strength to give the string qualities like a firm or soft "feel," which in turn translates to variables in tone and volume. However, the wrappings do certainly lend subtle but important and noticeable varieties to the overall sound of the string.

It is generally accepted that the 80/20 strings sound brighter than the phosphor bronze. If you are looking to improve the high end of your guitar these should probably be your choice. I happen to prefer phosphor bronze because I think their sound is more "even," for lack of better description.

The other big, big issue is the guitar on which the strings will be used. On my Taylor 810 and all the larger bodied Martins I've owned those phosphor bronze strings bring out the punch and resonance in the low end, something that I love. Smaller bodied guitars will exhibit less variation between the two st

I'm still on the fence about the new generation of coated strings that feature a micro plastic coating that is supposed to radically increased the life (i.e., new string sound) of strings. I know that many, many thousands of guitarists love them - and they are standard on new Taylors - but I am not a fan of the Elixer brand coated strings. To my ear they are just too brash and bright. The Martin/Cleartone SP series however sound quite good. Other coated strings are showing up all the time and while they cost almost twice as much as non-coated strings they may be worth a try, especially if you have the misfortune to have very sweaty hands that kill new strings quickly.

Next:  String gauges - the biggest conundrum of all!

Peace & good music,
Gene

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