Tips for guitarists!
Hints that will improve your playing, ways to adjust and improve your guitar, plus recommended accessories and much more!
Beef up your sound with a capo
If you regularly play guitar with another guitarist you can expand your sound by using a capo to play other voicings of chords while one player stays in 1st position. Most people use a capo to change the key of a song to make it more comfortable to sing but there are other uses and this is a great one.
Every fret you move up with a capo you’re raising the pitch of your guitar by ½ step. That is – if you put the capo on the second fret (or more accurately, just behind the 2nd fret) and play the formation of a basic D Major chord, what coming out of your guitar is actually an E Major. Even raising one guitar by this small amount can make a huge difference, sound-wise, when played with another guitar playing a basic, open, first position E Major. Try it!
For more dramatic results, capo farther up the neck. You will usually find that capoing at the 5th fret allows for easy fingerings of basic chord shapes for both players, assuming the songs you’re playing are in the very common keys of G Major, D Major and C Major.
At the 5th fret you have raised the pitch of your guitar 2 ½ steps. I’m assuming you know the relationships between notes (i.e., that all notes/chords in sequence are a whole step apart except B & C and E & F, which are a half-step). Here is a basic chart that will make it easy for the two guitars to play together:
(Guitar 1 – 1st position) (Guitar 2 – capoed 5th fret)
G Major D Major
D Major A Major
C Major G Major
E minor B minor
A minor E minor
B minor F#minor
A Major E Major
B7 F#7
E7 B7
D minor A minor
F Major C Major
Bb Major F Major
This is a great idea if you do any home recording and use overdubs, too. While it’s perfectly fine for two players to play the same voicing in the same place on the neck, why not expand your sound? I guarantee it will sound much more interesting.
Every fret you move up with a capo you’re raising the pitch of your guitar by ½ step. That is – if you put the capo on the second fret (or more accurately, just behind the 2nd fret) and play the formation of a basic D Major chord, what coming out of your guitar is actually an E Major. Even raising one guitar by this small amount can make a huge difference, sound-wise, when played with another guitar playing a basic, open, first position E Major. Try it!
For more dramatic results, capo farther up the neck. You will usually find that capoing at the 5th fret allows for easy fingerings of basic chord shapes for both players, assuming the songs you’re playing are in the very common keys of G Major, D Major and C Major.
At the 5th fret you have raised the pitch of your guitar 2 ½ steps. I’m assuming you know the relationships between notes (i.e., that all notes/chords in sequence are a whole step apart except B & C and E & F, which are a half-step). Here is a basic chart that will make it easy for the two guitars to play together:
(Guitar 1 – 1st position) (Guitar 2 – capoed 5th fret)
G Major D Major
D Major A Major
C Major G Major
E minor B minor
A minor E minor
B minor F#minor
A Major E Major
B7 F#7
E7 B7
D minor A minor
F Major C Major
Bb Major F Major
This is a great idea if you do any home recording and use overdubs, too. While it’s perfectly fine for two players to play the same voicing in the same place on the neck, why not expand your sound? I guarantee it will sound much more interesting.
Two MORE tips to improve your picking accuracy!
Here are a couple more simple tips that may improve your accuracy and speed with a flat pick. First of all, don’t be afraid to lightly rest your pinkie and perhaps your ring finger too of your picking hand on the face of the guitar. What this does is give your hand a reference point, i.e., your hand will “know” where the strings are and your pick will attack the string you’re looking for with much more accuracy than if your entire hand floats above the strings. One proviso here – many bluegrass pickers would argue this hand position (they almost always keep their hands above the strings) but if you observe most of the great single string soloists out there in rock, blues, jazz and folk music you will see that the vast majority keep at least their little finger on the guitar when they play single note passages.
The other tip is something that will help you warm up and get your hand to relax before your begin playing single notes. Beginning with your 1st string, play a measure of fairly rapid 8th notes (4/4 time) using a down-up-down-up motion with the flat pick. Then, without breaking the beat, move directly to the 2nd string and do the same thing. Then on to the 3rd string and so on until you’re playing your 6th (low E) string – then reverse the process, ending up back on your 1st string. Do this sequence a few times without stopping and if possible, increase your speed.
When you finish I guarantee your picking hand will be good and warmed up. Then when you dive into some single note improvising or playing specific licks or runs you will be faster and more accurate.
The other tip is something that will help you warm up and get your hand to relax before your begin playing single notes. Beginning with your 1st string, play a measure of fairly rapid 8th notes (4/4 time) using a down-up-down-up motion with the flat pick. Then, without breaking the beat, move directly to the 2nd string and do the same thing. Then on to the 3rd string and so on until you’re playing your 6th (low E) string – then reverse the process, ending up back on your 1st string. Do this sequence a few times without stopping and if possible, increase your speed.
When you finish I guarantee your picking hand will be good and warmed up. Then when you dive into some single note improvising or playing specific licks or runs you will be faster and more accurate.
Improve your accuracy with a flat pick!
I often have students who struggle with being accurate with a flat pick. Sometimes they are so worried about playing the correct notes or chords with their fretting hand that the majority of the mistakes they make become the fault of the picking hand. If this is your problem too, here are a couple ways to become more accurate.
First, and this sounds simple (but somehow many folks don't realize it), but it is very important to experiment with different flat picks. There are literally hundreds of shapes, sizes and thicknesses of picks on the market. Keep trying different ones until you find one that is comfortable. It's out there, believe me!
Beyond that, here are two simple exercises that involve "cross picking" - moving back and forth between strings on the bass and treble side. It is vitally important to alternate your pick (down, up, down up....) when doing these.
The chord sequence is: G major, E minor, A minor, C Major, then repeat at least a few more times.
Pick these strings in this order: Root (6 or 5, depending on the chord), 1, 2, 3, repeat.
Keep a steady beat and increase speed gradually, only to the point you can continue to be accurate, even if that is a fairly slow speed.
This one is more difficult (same chord sequence):
Root, 1, 5, 2, 4, 3 (repeat)
Again, alternate your pick and do not be satisfied with sloppy sounds or missed strings!
I promise if you do these two exercises faithfully every day you WILL see an improvement in your pick accuracy in a short amount of time!
First, and this sounds simple (but somehow many folks don't realize it), but it is very important to experiment with different flat picks. There are literally hundreds of shapes, sizes and thicknesses of picks on the market. Keep trying different ones until you find one that is comfortable. It's out there, believe me!
Beyond that, here are two simple exercises that involve "cross picking" - moving back and forth between strings on the bass and treble side. It is vitally important to alternate your pick (down, up, down up....) when doing these.
The chord sequence is: G major, E minor, A minor, C Major, then repeat at least a few more times.
Pick these strings in this order: Root (6 or 5, depending on the chord), 1, 2, 3, repeat.
Keep a steady beat and increase speed gradually, only to the point you can continue to be accurate, even if that is a fairly slow speed.
This one is more difficult (same chord sequence):
Root, 1, 5, 2, 4, 3 (repeat)
Again, alternate your pick and do not be satisfied with sloppy sounds or missed strings!
I promise if you do these two exercises faithfully every day you WILL see an improvement in your pick accuracy in a short amount of time!
A trick to begin "playing by ear"
A year or so ago I posted in my blog a 3 or 4-part discussion on the elements of “playing by ear,” which most people define as being able to figure out either chords or notes of a song by just listening to it a few times. Recently I’ve been working on this with a couple students and I was reminded of the single best tip I know to aide in the process, as these two students progressed rapidly when they began applying it. Quite simply, it is trying to identify not what the guitarist is playing, initially at least, but rather listening to and trying to match the pitch (usually an octave higher) the bass player is playing. Assuming one is playing of course!
Why is this important? Because in almost all cases, the first note a bass player plays in almost all popular music is the Root of the chord that is being played. I’m assuming anyone reading this knows the basic elements of chord construction, that almost all chords come from either the Major or minor family, and each is comprised of what is known as the root, the 3rd note above the root, and the 5th note above the root. Refer back to my blog for an in depth discussion of chord construction or search out some basic music theory related to chord construction online if you don’t know what I’m talking about at this point.
Anyway, assuming you do, the trick is to try to match that pitch, albeit an octave higher in most cases on your low E or A string. Write that down if you have to, then listen for another chord change and try to match what the bass player does at that point too. You will have to determine if the chord is Major or minor of course, but at least this gives you a solid starting point. Another thing to remember is that most popular songs begin with the “I” chord, that is, the chord that is the name of the key you’re playing in. If you know the basics of scale-line triads (the chords made up of notes in a key) you can them extrapolate what most if not all the other chords in song will probably be. Again, more info on the concept of scale-line chords in my blog.
In any case, the take-away point here is to listen to and try to match with a bass note on your guitar what the bass player is playing when a chord first is played by the guitarist. Then try the matching chord, both Major and minor forms – I can say with great certainty that this will reveal what the guitarist is playing most of the time!
Why is this important? Because in almost all cases, the first note a bass player plays in almost all popular music is the Root of the chord that is being played. I’m assuming anyone reading this knows the basic elements of chord construction, that almost all chords come from either the Major or minor family, and each is comprised of what is known as the root, the 3rd note above the root, and the 5th note above the root. Refer back to my blog for an in depth discussion of chord construction or search out some basic music theory related to chord construction online if you don’t know what I’m talking about at this point.
Anyway, assuming you do, the trick is to try to match that pitch, albeit an octave higher in most cases on your low E or A string. Write that down if you have to, then listen for another chord change and try to match what the bass player does at that point too. You will have to determine if the chord is Major or minor of course, but at least this gives you a solid starting point. Another thing to remember is that most popular songs begin with the “I” chord, that is, the chord that is the name of the key you’re playing in. If you know the basics of scale-line triads (the chords made up of notes in a key) you can them extrapolate what most if not all the other chords in song will probably be. Again, more info on the concept of scale-line chords in my blog.
In any case, the take-away point here is to listen to and try to match with a bass note on your guitar what the bass player is playing when a chord first is played by the guitarist. Then try the matching chord, both Major and minor forms – I can say with great certainty that this will reveal what the guitarist is playing most of the time!
Time for a drink!
Well, it’s that time of year again – if you live in a part of the country that has changes in weather when the seasons change it’s time to pay attention to your guitars physical well being. What I’m talking about is humidity, or more accurately the lack of it! Here in the Northeast and especially on Cape Cod we experience hot, humid summer and cold, dry winters. Wood reacts to those changes quite dramatically. Even the best guitars tend to sound like they’re stuffed with pillows when it’s humid but believe it or not, that’s not a truly bad thing (except to your ears!). Well humidified wood expands a bit and while sometimes that can lead to glue softening up and problems like bridges beginning to lift, dryness is the true enemy. Yes, the air dries out and that nice guitar again rings like a bell and reminds you why you fell in love with it in the first place but dry wood has the very real possibility of cracking. This is especially true of very expensive acoustic guitars, believe it or not, because they are made of all solid wood (no composites – a nice word for plywood) and are built to fine tolerances with in many cases the thinnest wood possible to produce the best tone.
So exposing your guitar to and maintaining the correct humidity is crucial. Most guitar manufacturers agree that something in the range or 45% to 50% or so is about right. There are many ways to accomplish this. Specially made guitar humidfiers such as the one from Planet Waves are easy to use and do the job well, as long as you remember to dampen the sponge inside the unit every few days. Ideally you have a room humidifier in use too – the added bonus is that you will physically feel the benefit too as dry skin and for some people, headaches are a byproduct of a very dry living space. The least expensive and effective solution I know is to take a plastic soap container such as you would use while traveling, drill a few small holes in the top and close it with a damp piece of sponge inside. Then keep it inside your guitar case, with the guitar in there too and the case shut. This will almost always supply a decent amount of humidity to the wood and you won’t find that beautiful 2-piece bookmatched spruce top has turned into a 3-piece model!
So exposing your guitar to and maintaining the correct humidity is crucial. Most guitar manufacturers agree that something in the range or 45% to 50% or so is about right. There are many ways to accomplish this. Specially made guitar humidfiers such as the one from Planet Waves are easy to use and do the job well, as long as you remember to dampen the sponge inside the unit every few days. Ideally you have a room humidifier in use too – the added bonus is that you will physically feel the benefit too as dry skin and for some people, headaches are a byproduct of a very dry living space. The least expensive and effective solution I know is to take a plastic soap container such as you would use while traveling, drill a few small holes in the top and close it with a damp piece of sponge inside. Then keep it inside your guitar case, with the guitar in there too and the case shut. This will almost always supply a decent amount of humidity to the wood and you won’t find that beautiful 2-piece bookmatched spruce top has turned into a 3-piece model!
A word to the wise for summer comfort - for your guitar!
In my last two blog entries I’ve talked about the dangers of summer heat to your guitar. But there is one other small but important climate condition that can have detrimental effects on your prized instrument and that is – dryness! But wait a minute, you may be thinking. Where I live it’s hot and usually humid all summer long. Well, here on Cape Cod we certainly deal with that for a few months, so how do we escape it? With air conditioning of course! The problem is, air conditioners, as wonderful as they are blow extremely dry air into your living areas. You probably use some sort of guitar humidifier all winter long (if not, you should) and you might be amazed to find those same dry conditions exist in a well air-conditioned room or house. Be absolutely sure NOT to allow the unit or vent to blow that nice, cool air directly at your guitar. This can lead to cracks, lifting bridges, protruding frets due to neck shrinkage and can even make the neck move to the point that the dreaded neck reset becomes necessary. So buy a humidity gauge and keep a close watch on the relative humidity in the place where your guitar is stored; most luthiers agree that 45% is about perfect. Use that guitar humidifier as long as your air conditioner is operating. Better safe than sorry. Your body might love that cool, dry air but I promise, your guitar does not.
Control the tempo, conquer the beat
Timing – tempo – a steady beat. No matter how you look at it, the single most important aspect of playing music is being absolutely solid rhythmically. No matter how many hot licks or fancy changes you can make they mean NOTHING without a constant, steady and predictable beat. Sure, there may be times that you might want to slow down for effect but even then, internalizing the beat and always being aware of it is essential.
I have a student who is a solid intermediate level player but he is struggling with keeping a steady beat throughout a finger pattern. I’ve encouraged him to tap his foot, count out loud or use a metronome – maybe all those things – but he continues to struggle. I’ve said this before in this space but it bears repeating: rhythm is the single most misunderstood and taken-for-granted musical concept. We all “have rhythm,” right? Well, yes – to the extent that our heart (hopefully!) keeps something like a steady beat. But that most certainly does not mean it can be easily transferred to something your hands are doing.
While going through the basics of keeping the beat with him I suddenly remembered something my dad – a great drummer with impeccable rhythm – had told me a long, long time ago: always play a song a tiny, tiny bit slower than you think you can!
The average listener will never notice this as long as it’s not radically different than a song normally sounds. The benefit is most likely almost entirely psychological for the player: going that tiny bit slower inspires a feeling of command of the song. That is, there won’t likely be a place where the beat “runs away” from you as you tackle a difficult passage.
Take a deep breath, then breath normally. Count out a measure or two at a slightly slower speed than you know in your heart-of-hearts you can play a song. The result will most likely be a tune that sounds like it is in the control of the player, which can only build confidence and satisfaction.
I have a student who is a solid intermediate level player but he is struggling with keeping a steady beat throughout a finger pattern. I’ve encouraged him to tap his foot, count out loud or use a metronome – maybe all those things – but he continues to struggle. I’ve said this before in this space but it bears repeating: rhythm is the single most misunderstood and taken-for-granted musical concept. We all “have rhythm,” right? Well, yes – to the extent that our heart (hopefully!) keeps something like a steady beat. But that most certainly does not mean it can be easily transferred to something your hands are doing.
While going through the basics of keeping the beat with him I suddenly remembered something my dad – a great drummer with impeccable rhythm – had told me a long, long time ago: always play a song a tiny, tiny bit slower than you think you can!
The average listener will never notice this as long as it’s not radically different than a song normally sounds. The benefit is most likely almost entirely psychological for the player: going that tiny bit slower inspires a feeling of command of the song. That is, there won’t likely be a place where the beat “runs away” from you as you tackle a difficult passage.
Take a deep breath, then breath normally. Count out a measure or two at a slightly slower speed than you know in your heart-of-hearts you can play a song. The result will most likely be a tune that sounds like it is in the control of the player, which can only build confidence and satisfaction.
"Seeing" is believing!
I was trying to explain to a young student who the late, great Doc Watson was and played a track of Doc doing “Black Mountain Rag.” My student thought that was pretty cool but he was blown away when I told him Doc was blind. How could he do it? my student wanted to know. Then I remembered a little trick a great guitarist once told me.
Here’s one of the simplest tips I’ll ever share. If you’re having trouble with a chord change the first step (beyond memorizing the fingering) to getting there quickly is to anticipate the change, i.e., be ready for it: look up at the fretting hand BEFORE it’s time to change, not when the time to change is upon you. But if that is still not working, try this. Without worrying about what comes before the chord and without trying to play in rhythm, CLOSE YOUR EYES and try to finger the chord correctly. Then open them and make note of which finger or fingers were giving you trouble. Try this a few times until you can get it with reasonable consistency. Then press down on the preceding chord and still with your eyes closed, move to the problem chord. Repeat until you can do it with accuracy. Then back up a couple chords, keep a steady beat whether strumming or finger picking and with your eyes still closed try to accomplish all three chords without looking.
Of course, what Doc could do in some way was “visualize” the fretboard even though he’s never actually seen it. This little exercise may not make you a player of Doc’s stature but it will definitely help you learn and retain chords – and anticipate them.
Here’s one of the simplest tips I’ll ever share. If you’re having trouble with a chord change the first step (beyond memorizing the fingering) to getting there quickly is to anticipate the change, i.e., be ready for it: look up at the fretting hand BEFORE it’s time to change, not when the time to change is upon you. But if that is still not working, try this. Without worrying about what comes before the chord and without trying to play in rhythm, CLOSE YOUR EYES and try to finger the chord correctly. Then open them and make note of which finger or fingers were giving you trouble. Try this a few times until you can get it with reasonable consistency. Then press down on the preceding chord and still with your eyes closed, move to the problem chord. Repeat until you can do it with accuracy. Then back up a couple chords, keep a steady beat whether strumming or finger picking and with your eyes still closed try to accomplish all three chords without looking.
Of course, what Doc could do in some way was “visualize” the fretboard even though he’s never actually seen it. This little exercise may not make you a player of Doc’s stature but it will definitely help you learn and retain chords – and anticipate them.
Keep that sax player happy!
Jamming with other instruments is a blast and in many cases a good place to start song-wise is with blues tunes. The format of standard 12-bar blues is familiar and predictable for most players at the intermediate level or higher. However, when playing with “flatted” instruments such as the sax, trumpet or trombone things can get dicey when trying to pick out a key in which to try a song. Guitarists love to play the blues in E Major and A Major but those brass players usually hate those keys because they have to mentally transcribe everything they’re trying to play from flatted keys like F Major (one flat), Bb Major (2 flats), or Eb Major (3 flats) into the guitar comfort zones of E (4 sharps) and A (3 sharps). Conversely, guitarists hate to try to play in those aforementioned flatted keys because they all involve LOTS of the dreaded barre chords. What to do?!
The answer is actually quite simple: take out that capo and put it on (or more accurately, just behind) the 1st fret. Now when you play those tried-and-true I-IV-V chords and licks in what you’re thinking of as the key of E (E7, A7, B7) what you’re actually playing is a I-IV-V in the sax/trumpet friendly key of F Major (F7, Bb7, C7). What you’ve done is raise the sound of your guitar ½ step – 1 fret – and thereby you’ve moved into a place that is familiar and comfortable to those brass players, while still avoiding the bar chords for the most part. Likewise with the capo on the 1st fret, playing in what you’re seeing as the key of A Major (the home of many blues and swing tunes) you’re actually in Bb, which the brass guys love. Everybody is happy, the jam continues, and hopefully some great times and great music are the result!
The answer is actually quite simple: take out that capo and put it on (or more accurately, just behind) the 1st fret. Now when you play those tried-and-true I-IV-V chords and licks in what you’re thinking of as the key of E (E7, A7, B7) what you’re actually playing is a I-IV-V in the sax/trumpet friendly key of F Major (F7, Bb7, C7). What you’ve done is raise the sound of your guitar ½ step – 1 fret – and thereby you’ve moved into a place that is familiar and comfortable to those brass players, while still avoiding the bar chords for the most part. Likewise with the capo on the 1st fret, playing in what you’re seeing as the key of A Major (the home of many blues and swing tunes) you’re actually in Bb, which the brass guys love. Everybody is happy, the jam continues, and hopefully some great times and great music are the result!
Barre chord blues - battle it out and WIN!
Perhaps the biggest hurdle every guitarist must cross to progress beyond the beginner stage is conquering barre chords. I’ve had more than a few self-taught students who begin lessons with me having avoided them for years. Sure, there are many songs that can be played entirely in first position with none of the dreaded bar chords but there comes a point when it is impossible to improve fretting hand technique without using them. What I usually see when bar chords are introduced is a very basic technique issue that must be addressed for any hope of success. This is a radical repositioning of the wrist and even the whole arm. With regular first position “open” type chords the hand and arm are more or less straight behind the neck at something like a 45 to 90-degree angle relative to the neck. But to succeed at bar chords the wrist and arm must DROP below the neck, for one simple reason. If the first finger, the one that is “barring” is not straight (and ideally, slightly turned toward its side, that being a harder surface) and curved in the least you can be sure some or all the notes in the bar chord will be muffled or will not sound at all. If I see the tip of the thumb as a student is trying a bar chord, I don’t even need to hear it. I know it’s not going to work. The pad of the thumb MUST be centered behind the neck, directly beneath the barring finger. Imagine what a clothespin would look like on the neck – that is the form you want. Dropping that wrist and forearm are necessary to accomplish this. By the way – this is another good reason to avoid the habit I’ve spoken of before of resting your forearm on your leg if you sit down to play. Doing that makes it impossible to drop the wrist, and therefore impossible to locate that thumb pad beneath the barring finger so the first finger can remain nice and straight.
All guitarists hate barre chords, even the most experienced players. They are always tough to play. But if you’re going to explore that alien territory above the third fret and learn some new and interesting chords they are an unfortunate necessity. So remember: drop that wrist and forearm, place the pad of the thumb centered behind the neck, directly beneath the barring finger – and keep that finger STRAIGHT, not curved in the slightest. Sooner or later your success rate will increase and hopefully you’ll learn to view barre chords as an annoying inconvenience rather than a major catastrophe!
All guitarists hate barre chords, even the most experienced players. They are always tough to play. But if you’re going to explore that alien territory above the third fret and learn some new and interesting chords they are an unfortunate necessity. So remember: drop that wrist and forearm, place the pad of the thumb centered behind the neck, directly beneath the barring finger – and keep that finger STRAIGHT, not curved in the slightest. Sooner or later your success rate will increase and hopefully you’ll learn to view barre chords as an annoying inconvenience rather than a major catastrophe!
Tuner basics: Be nice to your tuner and it will be nice to you.
Digital tuners are perhaps the greatest innovation available to guitarists – ever! But if you own one and have been annoyed by it (slow response, difficulty “dialing in” the correct tone) here are a few basics to remember.
Depending on the type you own – clip-on, plug-in or mic – you must remember that there are variables related to your guitar and how the tuner responds to it. Ironically, it seems that a very good quality guitar that produces those wonderfully complex sounds based on resonance and overtones is the most difficult for any tuner to “hear.” The poor little thing must decide just which tone it wants to focus on. But you can help it by employing a couple very simple things. First of all, be patient. Play the open string and wait for a few seconds for the image or needle to stabilize. Don’t rush to tune the string a micro second after you pluck it. A good tuner will hold the image for at least ten seconds.
Play the string softly. Don’t pluck hard because the open string can vary in pitch considerably before it settles on its actual pitch. And be sure to pick it up over the top of the fretboard, not way back next to the bridge because the tone at the bridge will be artificially treble-dominant and this could throw off the tuner.
Most important: turn the tuning button on the string you’re tuning just a tiny, tiny bit at a time, allowing the image on your digital tuner to stabilize. Be sure to approach the correct note from BELOW; that is, if the string is reading sharp, tune down below the true pitch and raise (tighten) the string slowly – all tuners react and are more accurate if you go UP to the desired pitch. If you happen to go past it, tune back down a bit, and repeat the process of gradually raising the pitch.
After you’re in tune, play a harmonic at the 12th fret of each string to confirm or “fine tune” each pitch. DO NOT press down at the 12th fret because 99.9% of guitars will emit a pitch there (an octave higher than the open string) that is slightly sharp. Annoying, yes, but inevitable, at least in the “ears” of the tuner! The act of pressing down bends the string and this is why it tends to be sharp.
Finally, don’t forget to turn it off after you’re done tuning. Many good quality tuners will turn themselves off automatically after a minute or more, but even at that you are prematurely draining that expensive little battery. And in that vein – always be sure to have a spare, fresh battery.
Yes, digital tuners are a Godsend. But only if you treat them right!
Depending on the type you own – clip-on, plug-in or mic – you must remember that there are variables related to your guitar and how the tuner responds to it. Ironically, it seems that a very good quality guitar that produces those wonderfully complex sounds based on resonance and overtones is the most difficult for any tuner to “hear.” The poor little thing must decide just which tone it wants to focus on. But you can help it by employing a couple very simple things. First of all, be patient. Play the open string and wait for a few seconds for the image or needle to stabilize. Don’t rush to tune the string a micro second after you pluck it. A good tuner will hold the image for at least ten seconds.
Play the string softly. Don’t pluck hard because the open string can vary in pitch considerably before it settles on its actual pitch. And be sure to pick it up over the top of the fretboard, not way back next to the bridge because the tone at the bridge will be artificially treble-dominant and this could throw off the tuner.
Most important: turn the tuning button on the string you’re tuning just a tiny, tiny bit at a time, allowing the image on your digital tuner to stabilize. Be sure to approach the correct note from BELOW; that is, if the string is reading sharp, tune down below the true pitch and raise (tighten) the string slowly – all tuners react and are more accurate if you go UP to the desired pitch. If you happen to go past it, tune back down a bit, and repeat the process of gradually raising the pitch.
After you’re in tune, play a harmonic at the 12th fret of each string to confirm or “fine tune” each pitch. DO NOT press down at the 12th fret because 99.9% of guitars will emit a pitch there (an octave higher than the open string) that is slightly sharp. Annoying, yes, but inevitable, at least in the “ears” of the tuner! The act of pressing down bends the string and this is why it tends to be sharp.
Finally, don’t forget to turn it off after you’re done tuning. Many good quality tuners will turn themselves off automatically after a minute or more, but even at that you are prematurely draining that expensive little battery. And in that vein – always be sure to have a spare, fresh battery.
Yes, digital tuners are a Godsend. But only if you treat them right!
Good posture is important! (your mom was right!)
Some guitar students make the physical aspects of playing
much more challenging than they have to be. It starts with how the neck of the
guitar is supported. When the novice devotes so much psychic effort to the many
details of getting pleasing sounds out of his or her guitar it’s easy to
overlook something as simple as the angle and position of the neck. I often see
beginners or self-taught intermediate players resting their forearms on their
thighs as they play. Although they are not conscious of it, they are doing this
to support the weight of the neck. Problem is, it’s almost impossible to move
the hand quickly in this position and it is all but impossible to drop the
wrist down, which is essential to playing barre chords. So hold up that neck and don't rest your forearm on your leg!
One way to make this easier is to use a guitar strap, even when playing while
seated. If you do use it while seated you may have to adjust the length to make
it shorter than it would be when you stand up and play. The benefit is that the
strap now supports the weight of the guitar, allowing the neck to be angled slightly upward and your hand to move freely
up and down the neck.
Another common misplacement of the guitar is to hold the body slightly on a horizontal or "flattened" angle – this may allow you to see the fretboard more easily but it also forces you to reach farther around the neck for correct finger positioning. It’s difficult enough to arch those fingers and come straight down with your fingertips without having to reach around the neck as if you were doing pull-ups! Hold the back of the guitar flush against your body and learn to look over the neck to play chords and single note runs.
Your mom was right! Good posture IS important!
At least if you want to be a good guitar player..... (!)
Another common misplacement of the guitar is to hold the body slightly on a horizontal or "flattened" angle – this may allow you to see the fretboard more easily but it also forces you to reach farther around the neck for correct finger positioning. It’s difficult enough to arch those fingers and come straight down with your fingertips without having to reach around the neck as if you were doing pull-ups! Hold the back of the guitar flush against your body and learn to look over the neck to play chords and single note runs.
Your mom was right! Good posture IS important!
At least if you want to be a good guitar player..... (!)
Neck adjustments: What a relief!
It is a fairly common misconception that guitar necks should
be straight. If you think about the way a guitar string vibrates it should be
obvious that there is more movement (in all directions) in the middle of the
string as compared to the points where the string crosses the nut and the
saddle. Because of this it’s important that there is a slight curvature (known
as “relief”) in the neck. Otherwise the string can make contact with the upper
frets when first position or “open string” type chords are played, resulting in
annoying buzzes and rattles.
To check the relief on your guitar’s neck, place a straight edge running from the first fret to the highest one. If the straight edge – a builder’s metal yard stick placed on edge works great for this – makes contact anywhere from the 7th to the 14th fret you know that neck needs more relief, or curvature. Adjusting the relief is done with the appropriate allen wrench or hex head wrench. Refer to the manufacturer’s specifications for the correct size. You will find the adjusting point either inside the guitar on the upper inside at the end of the neck or under a cover on the head of the guitar. Usually, turning in a clockwise direction straightens the neck and turning in a counter-clockwise direction imparts relief.
It’s important to leave at least four of the strings on the guitar when you do this so there is tension on the neck. That way you will get an accurate reading of the amount of relief. Turn just a bit, perhaps a quarter turn and recheck the relief with the straight edge. Don’t be surprised if this requires a bit of force and you hear a somewhat disturbing clicking sound. This is just the nut turning for perhaps the first time since the guitar was built. DO NOT crank the nut down more than one complete turn, or loosen it to the point it feels sloppy and loose. When you can barely slip a business card between the strings and the 12th fret you can be reasonably sure the neck has the correct amount of relief. By the way – this process will also reveal any high frets: ones that are sticking up more than they should. If you find any you should bring your guitar to a competent repair person for adjustment or replacement of the offending fret.
If like me you live in an area where there is a pretty radical difference in temperature and humidity on a seasonal basis don’t be surprised if you need to adjust the relief a couple times a year. Yes, it is a bit of a scary operation the first time you try it but if done correctly your guitar will have nice, low action – with no buzzes!
To check the relief on your guitar’s neck, place a straight edge running from the first fret to the highest one. If the straight edge – a builder’s metal yard stick placed on edge works great for this – makes contact anywhere from the 7th to the 14th fret you know that neck needs more relief, or curvature. Adjusting the relief is done with the appropriate allen wrench or hex head wrench. Refer to the manufacturer’s specifications for the correct size. You will find the adjusting point either inside the guitar on the upper inside at the end of the neck or under a cover on the head of the guitar. Usually, turning in a clockwise direction straightens the neck and turning in a counter-clockwise direction imparts relief.
It’s important to leave at least four of the strings on the guitar when you do this so there is tension on the neck. That way you will get an accurate reading of the amount of relief. Turn just a bit, perhaps a quarter turn and recheck the relief with the straight edge. Don’t be surprised if this requires a bit of force and you hear a somewhat disturbing clicking sound. This is just the nut turning for perhaps the first time since the guitar was built. DO NOT crank the nut down more than one complete turn, or loosen it to the point it feels sloppy and loose. When you can barely slip a business card between the strings and the 12th fret you can be reasonably sure the neck has the correct amount of relief. By the way – this process will also reveal any high frets: ones that are sticking up more than they should. If you find any you should bring your guitar to a competent repair person for adjustment or replacement of the offending fret.
If like me you live in an area where there is a pretty radical difference in temperature and humidity on a seasonal basis don’t be surprised if you need to adjust the relief a couple times a year. Yes, it is a bit of a scary operation the first time you try it but if done correctly your guitar will have nice, low action – with no buzzes!
A Most Important Progression
When trying to figure out a song “by ear” – listening to it
and then trying to figure out the chords that are being used – most guitarists
at the intermediate level or above understand the importance and popularity of
the I - IV – V progression. After all, it has been the basis of thousands of
rock, folk, and country songs for the past 50 years or so. Some common I – IV –
V progressions are:
G Major – C Major – D Major
E Major – A Major – B Major
D Major – G Major – A Major
A Major – D Major – E Major
C Major – F Major – G Major
(If you’re unfamiliar with this concept, refer back to my “Playing by Ear” entries in my blog from last year)
However, many players are less familiar with the I – bVII – IV progression. In recent years it has become almost as common as the I – IV – V and many songwriters depend on this for a slightly more “outside” sound. Why does this progression sound more compelling than the sometimes boring old I – IV – V ? Quite simply, because the “root” of the bVII is not in the Major Diatonic Scale from which the standard scale-line chords are constructed. That one note makes all the difference, but the rest of the chord (assuming we’re talking about straight Major triads and not altered chords) uses notes that ARE in the Major Key. So that bVII chord doesn’t sound too strange in conjunction with the other chords used in the song.
To find the bVII in any key, lower the root of the naturally occurring VII chord (which is a diminished traid/chord) by ½-step. In other words, “flat” the root of that diminished chord. What you get is a Major chord – the most common and pleasing sounding chord used in Western music for last 300 or so years. Some common I – bVII – IV progressions are:
G Major – F Major – C Major
E Major – D Major – A Major
D Major – C Major – G Major
A Major – G Major – D Major
C Major – Bb Major – F Major
Try them! I’ll bet you recognize some very familiar sounds and even some songs. Some songwriters such as James Taylor have made that progression the basis for many songs although it’s likely some other chords will be present in the tunes (“Fire and Rain,” “Country Road,” “Machine Gun Kelly,” “Riding on a Railraod,” and many others). In rock music, listen to “Sympathy for the Devil” by the Rolling Stones, “Sweet Home Alabama” by Lynyrd Skynyrd. The old country rock tune “Amie” by Pure Prairie League is another example of the I – bVII – IV.
If you can recognize both the classic I – IV – V and also the I – bVII – IV when you hear them, you’ve taken a big step in learning songs “by ear.”
G Major – C Major – D Major
E Major – A Major – B Major
D Major – G Major – A Major
A Major – D Major – E Major
C Major – F Major – G Major
(If you’re unfamiliar with this concept, refer back to my “Playing by Ear” entries in my blog from last year)
However, many players are less familiar with the I – bVII – IV progression. In recent years it has become almost as common as the I – IV – V and many songwriters depend on this for a slightly more “outside” sound. Why does this progression sound more compelling than the sometimes boring old I – IV – V ? Quite simply, because the “root” of the bVII is not in the Major Diatonic Scale from which the standard scale-line chords are constructed. That one note makes all the difference, but the rest of the chord (assuming we’re talking about straight Major triads and not altered chords) uses notes that ARE in the Major Key. So that bVII chord doesn’t sound too strange in conjunction with the other chords used in the song.
To find the bVII in any key, lower the root of the naturally occurring VII chord (which is a diminished traid/chord) by ½-step. In other words, “flat” the root of that diminished chord. What you get is a Major chord – the most common and pleasing sounding chord used in Western music for last 300 or so years. Some common I – bVII – IV progressions are:
G Major – F Major – C Major
E Major – D Major – A Major
D Major – C Major – G Major
A Major – G Major – D Major
C Major – Bb Major – F Major
Try them! I’ll bet you recognize some very familiar sounds and even some songs. Some songwriters such as James Taylor have made that progression the basis for many songs although it’s likely some other chords will be present in the tunes (“Fire and Rain,” “Country Road,” “Machine Gun Kelly,” “Riding on a Railraod,” and many others). In rock music, listen to “Sympathy for the Devil” by the Rolling Stones, “Sweet Home Alabama” by Lynyrd Skynyrd. The old country rock tune “Amie” by Pure Prairie League is another example of the I – bVII – IV.
If you can recognize both the classic I – IV – V and also the I – bVII – IV when you hear them, you’ve taken a big step in learning songs “by ear.”
String changin' tricks
Some people actually tell me they enjoy changing their guitar strings. Well, I enjoy the results but the process can be annoying. Here are a few little tricks and tweaks to make the process go smoothly.
First, always remember to change the strings one at a time and tune as you go. I've read that certain guitar makers say this is not important - that you can remove them all and then replace them. This makes very little sense to me. Steel strings put a huge amount of pressure on the neck and the bridge. Why subject your guitar to the complete removal of that pressure and then its reapplication? Take a pencil and bend it back and forth, over and over. What happens? Some guitar makers like Martin even seem to encourage the logical changing of strings by packaging strings two to an envelope, with strings from either side of the head in each: Low E and G; A and B; D and E. I'm all for that!
Before you place the ball end of a new string down through the bridge, make a slight bend in it as close to the ball as possible. This will help the string ball seat firmly against the bridge plate as you tune up. If you just stick the ball down through it can sometimes get "stuck" against the bottom of the bridge pin and then snap hard up against the bridge plate, making a loud pop. That smack under pressure surely cannot be a good thing for the wood. Or worse yet, it never gets unstuck from the bottom of the pin, never making contact with the bridge plate at all. This robs that string of both tone and resonance, and worse yet, can make the bridge pin suddenly go flying across the room. Scary and potentially dangerous! I'm reminded of the line from the movie "A Christmas Story" referring to Ralphie's lusted after Daisy Red Ryder BB gun:
"You'll put your eye out, kid!"
Take one complete turn around the post on the tuning head, (making sure the business part of the string in on the INSIDE of the head of the guitar) then push the tag end through and pull it so the wind is close to the post. Take a couple turns with the thinner strings, and perhaps three on the high E. Then gradually begin tuning up. Those turns should be enough to hold the string securely. Taking too many turns results in a big glob of tone-robbing excess string building up on the post. You want the string to rest against the post, not excess string. This allows for the maximum vibration of the head and neck of the guitar, which in turn vibrates the body to a certain extent. And this is good!
Buy a small tube of dry graphite lubricant at your local hardware store and with a toothpick, place a tiny bit in the grooves of the nut before you lay a new string in the groove and tune up. This will often serve to eliminate that annoying little snap that sometimes happens when you're very, very close to being perfectly in tune, sending the string too high or too low. Just don't use a lot of the graphite as it can stain the fingerboard, especially ones made of rosewood.
DO NOT yank on the string in the middle with the idea that you can prematurely stretch it so it will stay in tune better and sooner. All you're doing is stretching the ends of the string near the nut and the saddle, which will result in a string going dead much sooner than it should. Better to tighten up to pitch, play for a few minutes, tune again, play some more and then tune again. It won't take long for the new string to stop stretching and stay in tune - and they will last much longer than if you use the stretching method with a partially tuned string.
When they've stretched to the point that they're staying in tune pretty well, it's time to cut off the excess. Back in the day, we used to make little circular winds with the excess. We used to tell each other it was because if the string broke down by the saddle, we would have "extra" string to work with and would not have to buy new ones. But actually we just did it because we thought it looked cool. Problem is, those tight little winds can buzz when you play, plus they have the annoying habit of catching on sweaters and other clothing. So cut off the excess! Leave about 1/4" to 3/8" of tag end and after cutting bend that tag down toward the head of the guitar. This will cause the guitar to go out of tune when you do it but that's easily fixed with your digital tuner (you have one, right?!?). Cutting the string too close to the post invites slipping and then the really annoying exercise of trying to insert that tiny tag end around and back through the post. On the high E and B string, cut the excess leaving about an inch, then sharply bend that excess in the middle. The little "V" of string you're left with makes pushing it back through the post hole much, much easier when it comes time to remove the string - no more punctures in your fingers!
And now you're done. Tune up one more time, and strum a nice big sounding chord like first position E Major. Ahhhhh, what a sound! New strings - the single best thing you can do to improve the sound of your guitar.
First, always remember to change the strings one at a time and tune as you go. I've read that certain guitar makers say this is not important - that you can remove them all and then replace them. This makes very little sense to me. Steel strings put a huge amount of pressure on the neck and the bridge. Why subject your guitar to the complete removal of that pressure and then its reapplication? Take a pencil and bend it back and forth, over and over. What happens? Some guitar makers like Martin even seem to encourage the logical changing of strings by packaging strings two to an envelope, with strings from either side of the head in each: Low E and G; A and B; D and E. I'm all for that!
Before you place the ball end of a new string down through the bridge, make a slight bend in it as close to the ball as possible. This will help the string ball seat firmly against the bridge plate as you tune up. If you just stick the ball down through it can sometimes get "stuck" against the bottom of the bridge pin and then snap hard up against the bridge plate, making a loud pop. That smack under pressure surely cannot be a good thing for the wood. Or worse yet, it never gets unstuck from the bottom of the pin, never making contact with the bridge plate at all. This robs that string of both tone and resonance, and worse yet, can make the bridge pin suddenly go flying across the room. Scary and potentially dangerous! I'm reminded of the line from the movie "A Christmas Story" referring to Ralphie's lusted after Daisy Red Ryder BB gun:
"You'll put your eye out, kid!"
Take one complete turn around the post on the tuning head, (making sure the business part of the string in on the INSIDE of the head of the guitar) then push the tag end through and pull it so the wind is close to the post. Take a couple turns with the thinner strings, and perhaps three on the high E. Then gradually begin tuning up. Those turns should be enough to hold the string securely. Taking too many turns results in a big glob of tone-robbing excess string building up on the post. You want the string to rest against the post, not excess string. This allows for the maximum vibration of the head and neck of the guitar, which in turn vibrates the body to a certain extent. And this is good!
Buy a small tube of dry graphite lubricant at your local hardware store and with a toothpick, place a tiny bit in the grooves of the nut before you lay a new string in the groove and tune up. This will often serve to eliminate that annoying little snap that sometimes happens when you're very, very close to being perfectly in tune, sending the string too high or too low. Just don't use a lot of the graphite as it can stain the fingerboard, especially ones made of rosewood.
DO NOT yank on the string in the middle with the idea that you can prematurely stretch it so it will stay in tune better and sooner. All you're doing is stretching the ends of the string near the nut and the saddle, which will result in a string going dead much sooner than it should. Better to tighten up to pitch, play for a few minutes, tune again, play some more and then tune again. It won't take long for the new string to stop stretching and stay in tune - and they will last much longer than if you use the stretching method with a partially tuned string.
When they've stretched to the point that they're staying in tune pretty well, it's time to cut off the excess. Back in the day, we used to make little circular winds with the excess. We used to tell each other it was because if the string broke down by the saddle, we would have "extra" string to work with and would not have to buy new ones. But actually we just did it because we thought it looked cool. Problem is, those tight little winds can buzz when you play, plus they have the annoying habit of catching on sweaters and other clothing. So cut off the excess! Leave about 1/4" to 3/8" of tag end and after cutting bend that tag down toward the head of the guitar. This will cause the guitar to go out of tune when you do it but that's easily fixed with your digital tuner (you have one, right?!?). Cutting the string too close to the post invites slipping and then the really annoying exercise of trying to insert that tiny tag end around and back through the post. On the high E and B string, cut the excess leaving about an inch, then sharply bend that excess in the middle. The little "V" of string you're left with makes pushing it back through the post hole much, much easier when it comes time to remove the string - no more punctures in your fingers!
And now you're done. Tune up one more time, and strum a nice big sounding chord like first position E Major. Ahhhhh, what a sound! New strings - the single best thing you can do to improve the sound of your guitar.
Breakin' it down
My dad, the late Warren Bourque was a fabulous drummer and believed in a strict practice regimen. Late in his life he decided he wanted to learn how to play the guitar, and being "old school" he dove into pure classical method, which has quite a few technique rules that can be hard to conquer. We had a great time playing duets together in the years before he passed away and one day he called me and said in frustration, "You know, I think there are infinite number of ways to screw up a piece of music!" Actually, the verb he used was a little more forceful!
The mistake he was making, as so many diligent beginning guitars tend to do was he would practice a piece of music beginning to end, over and over, with the firm belief that repeating that piece of music in its entirety dozens of times would eventually lead to perfection. Problem was, after a certain point all he was doing was practicing his mistakes.
Repetition is an essential part of practicing, for sure. But a better plan is to break a piece of music down and spend time on shorter parts rather than trying to play a piece, mistakes and all many times in hopes that the mistakes will disappear, eventually. If you're trying to play a finger pattern or a strum with a piece of music that will be sung, try learning the changes that go with just one line of lyrics. Work on that line - try to figure out why individual changes are giving you trouble. Is one finger always late going down into a chord? Well, that is a dead giveaway that you have what I call a "problem finger" - next time you make that change, really focus on that one finger and chances are the others will go where they're supposed to go without you paying much attention to them (this assumes of course that you have the fingering of the chords memorized).
When that one sequence is right, move on to the next line and do the same thing. Then go back and combine the two lines. Move on to the third line, work on it by itself, then combine it with the previous lines that you're playing correctly.
What this will do is make you focus on just WHY you're making mistakes in particular changes. Ultimately you will get the piece in its entirety much sooner than if you had practiced the entire thing from beginning to end over and over, making the same mistakes each time.
My dad had a saying that helped me many a time in not only playing the guitar, but in life.
"You can't solve a problem if you don't know what it is."
Words to live by - and play the guitar by, I think.
The mistake he was making, as so many diligent beginning guitars tend to do was he would practice a piece of music beginning to end, over and over, with the firm belief that repeating that piece of music in its entirety dozens of times would eventually lead to perfection. Problem was, after a certain point all he was doing was practicing his mistakes.
Repetition is an essential part of practicing, for sure. But a better plan is to break a piece of music down and spend time on shorter parts rather than trying to play a piece, mistakes and all many times in hopes that the mistakes will disappear, eventually. If you're trying to play a finger pattern or a strum with a piece of music that will be sung, try learning the changes that go with just one line of lyrics. Work on that line - try to figure out why individual changes are giving you trouble. Is one finger always late going down into a chord? Well, that is a dead giveaway that you have what I call a "problem finger" - next time you make that change, really focus on that one finger and chances are the others will go where they're supposed to go without you paying much attention to them (this assumes of course that you have the fingering of the chords memorized).
When that one sequence is right, move on to the next line and do the same thing. Then go back and combine the two lines. Move on to the third line, work on it by itself, then combine it with the previous lines that you're playing correctly.
What this will do is make you focus on just WHY you're making mistakes in particular changes. Ultimately you will get the piece in its entirety much sooner than if you had practiced the entire thing from beginning to end over and over, making the same mistakes each time.
My dad had a saying that helped me many a time in not only playing the guitar, but in life.
"You can't solve a problem if you don't know what it is."
Words to live by - and play the guitar by, I think.
Four finger independence
A couple months ago I wrote about the importance of developing strength in your little finger (pinkie) on the hand you use to press down on the strings (which for most right-handed guitarists is the LEFT hand, but it would be the right hand if you are a left-handed player). Assuming you've been practicing your 1st position chromatic scales religiously - you have, right?! - the next step in gaining equal strength with all four fingers is to develop a practice routine that hastens the process. Here's what I do.
Beginning in 1st position, using my index finger I play the note on the 1st fret of the 6th string (low F), then, without removing that finger, play the note on that same string, two frets higher (low G) , with my 3rd (ring) finger. Now I remove my first finger but leave my 3rd finger down and play the note on the fourth fret (G#) with my pinkie.
Without stopping I move over to the A string and do the same thing: 1st fret, 3rd fret, 4th fret, with fingers 1,3 and 4. Then I move to the D string and repeat the pattern. This pattern is repeated on all the strings until I reach the G# on the 4th fret of the high E string with my pinkie. Then - and this is important - I reverse the sequence, moving back to the low E string WITHOUT STOPPING - A STEADY BEAT, NO MATTER HOW SLOW, IS CRUCIAL, AS IS ALTERNATING YOUR PICK IF YOU'RE USING ONE.
Next, I move my hand up one fret (1st finger now starts the pattern on the 2nd fret of the 6th string), play the three notes on each string, reverse when I reach the highest note. Then - move up yet another fret and repeat. Eventually I end up with my 1st finger on the 12th fret, 3rd finger on the 14th fret and little finger on the 15th fret. Throughout the exercise I am careful to arch my fingers and use only the tips, and stretch to press down as close to the fret as possible without being on top of it. This ensures a clean, clear tone from each note.
Know that this is a workout and your hand will be aching after the first few times you try it but hang in there! Assuming you can get through this exercise, the next step is to return to the 1st fret and repeat the sequence, but this time play 1st finger, 2nd finger, then 4th (pinkie) on each string, bottom to top to bottom again, move up a fret, repeat the pattern, up another fret, and so on.
Give these two versions of the exercise about five minutes before you play anything else and in a few short weeks I guarantee your fretting hand will be stronger, faster, and more accurate. They are not "fun" and they don't sound like much in a purely musical sense but the results with things that are much more "musical" will be gratifying.
Beginning in 1st position, using my index finger I play the note on the 1st fret of the 6th string (low F), then, without removing that finger, play the note on that same string, two frets higher (low G) , with my 3rd (ring) finger. Now I remove my first finger but leave my 3rd finger down and play the note on the fourth fret (G#) with my pinkie.
Without stopping I move over to the A string and do the same thing: 1st fret, 3rd fret, 4th fret, with fingers 1,3 and 4. Then I move to the D string and repeat the pattern. This pattern is repeated on all the strings until I reach the G# on the 4th fret of the high E string with my pinkie. Then - and this is important - I reverse the sequence, moving back to the low E string WITHOUT STOPPING - A STEADY BEAT, NO MATTER HOW SLOW, IS CRUCIAL, AS IS ALTERNATING YOUR PICK IF YOU'RE USING ONE.
Next, I move my hand up one fret (1st finger now starts the pattern on the 2nd fret of the 6th string), play the three notes on each string, reverse when I reach the highest note. Then - move up yet another fret and repeat. Eventually I end up with my 1st finger on the 12th fret, 3rd finger on the 14th fret and little finger on the 15th fret. Throughout the exercise I am careful to arch my fingers and use only the tips, and stretch to press down as close to the fret as possible without being on top of it. This ensures a clean, clear tone from each note.
Know that this is a workout and your hand will be aching after the first few times you try it but hang in there! Assuming you can get through this exercise, the next step is to return to the 1st fret and repeat the sequence, but this time play 1st finger, 2nd finger, then 4th (pinkie) on each string, bottom to top to bottom again, move up a fret, repeat the pattern, up another fret, and so on.
Give these two versions of the exercise about five minutes before you play anything else and in a few short weeks I guarantee your fretting hand will be stronger, faster, and more accurate. They are not "fun" and they don't sound like much in a purely musical sense but the results with things that are much more "musical" will be gratifying.
It's all in the thumb
I see quite a few self-taught guitarists who start lessons after playing for many, many years who are damn good with a flat pick but can do very little with their fingers on the same hand. They usually recognize the value of being able to finger pick but they are intimidated by the process of learning to do it. I always start by emphasizing the importance of the thumb. This is because (from a rhythmic standpoint) it all gets back to keeping a steady beat with the thumb. In essence what's being done is just what a bass player does most of the time in popular music: play the root and fifth or the root and third of the chord, usually on the primary beats of the measure (1 and 3 in 4/4 time, for example, or on each beat). I use a straight alternating bass pattern to get them into this concept but if you're trying to do it on your own I urge you to try this exercise:
Start with a sequence of first position chords, something like this: G Major, E minor, C Major, A minor, D Major, D7, G major, D7. Now practice going from the root of the chord to the fifth or third with the thumb, one beat on each note, 4 beats in a measure. So it looks something like this:
G: 6,4,6,4 Em: 6,5,6,5 C: 5,4,5,4 Am: 5,4,5,4 D: 4,5,4,5 D7: 4,5,4,5 G: 6,5,6,5 D7: 4,5,4,5
I happen to subscribe to the idea of keeping your 4th (little) finger anchored on the top of the guitar with the other fingers cupped over the strings while finger picking although I know there are many fine players who don't anchor the 4th finger. Your call on this, but I feel it's easier to keep fingers close to the strings with the anchored 4th finger, something that is essential to get into the habit of moving the fingers and not the whole hand while finger picking.
It's essential to keep a steady beat and change chords without breaking the beat for this exercise to be effective. Go as slow as you like, just keep a steady beat! You can gradually increase the beat as your become comfortable with moving the thumb and not the whole hand.
What this does is "internalize" the habit of keeping the beat with the thumb, which will surely make learning complex finger patterns much easier. And always remember that finger style playing is not just for folk music or blues - some very very fine lead players like Mark Knophler and the late great Clarence White (while with the Byrds) play or played some amazing riffs with their fingers. Steven Stills does ALL his lead work with his thumb, and my jazz guitar hero Martin Taylor does some awesome runs with his thumb while playing counterpoint with his other fingers. And then there is the legendary Wes Montgomery (!!!).....
So learn to depend on your thumb and before long it will seem like second nature to keep the whole thing together with what blues players call "a solid thumb"!
Start with a sequence of first position chords, something like this: G Major, E minor, C Major, A minor, D Major, D7, G major, D7. Now practice going from the root of the chord to the fifth or third with the thumb, one beat on each note, 4 beats in a measure. So it looks something like this:
G: 6,4,6,4 Em: 6,5,6,5 C: 5,4,5,4 Am: 5,4,5,4 D: 4,5,4,5 D7: 4,5,4,5 G: 6,5,6,5 D7: 4,5,4,5
I happen to subscribe to the idea of keeping your 4th (little) finger anchored on the top of the guitar with the other fingers cupped over the strings while finger picking although I know there are many fine players who don't anchor the 4th finger. Your call on this, but I feel it's easier to keep fingers close to the strings with the anchored 4th finger, something that is essential to get into the habit of moving the fingers and not the whole hand while finger picking.
It's essential to keep a steady beat and change chords without breaking the beat for this exercise to be effective. Go as slow as you like, just keep a steady beat! You can gradually increase the beat as your become comfortable with moving the thumb and not the whole hand.
What this does is "internalize" the habit of keeping the beat with the thumb, which will surely make learning complex finger patterns much easier. And always remember that finger style playing is not just for folk music or blues - some very very fine lead players like Mark Knophler and the late great Clarence White (while with the Byrds) play or played some amazing riffs with their fingers. Steven Stills does ALL his lead work with his thumb, and my jazz guitar hero Martin Taylor does some awesome runs with his thumb while playing counterpoint with his other fingers. And then there is the legendary Wes Montgomery (!!!).....
So learn to depend on your thumb and before long it will seem like second nature to keep the whole thing together with what blues players call "a solid thumb"!
From start to finish
I recently heard a band that was really good. They were tight and featured very accomplished players on all instruments. There was just one problem. They would begin their songs in a somewhat random way and unfortunately no one seemed to know exactly when to end the tunes - players would kind of dribble out until finally no one was playing. The audience reacted with only cursory applause even though it was obvious they had listened intently for most of the tune. Why? Because in those last, crucial moments they had lost interest - because it sounded like the band had, too.
One of the most fun groups I ever played with worked very hard on getting the arrangements just right but we also spent plenty of time on those crucial openings and endings. In fact we used to have what we called "beginnings and endings rehearsals." On those occasions that's all we would work on. And I have no doubt that having tight, concise and well-planned intros and endings was one of the reasons we always had great reactions from our audiences.
I think this is especially important in acoustic music, even for a single performer. In fact, maybe even more so for a single performer! If you're playing in a loud electric band you can often get away with the classic cresendo ending, where everyone strums and pounds faster and faster, leading up to a moment of silence and then a loud THWANG. Not so with acoustic music. You cannot get the audience's attention with volume alone. They have to know, without a doubt, when a song begins and ends.
So spend some time working out just what's going to happen when the music starts and especially when the end of the tune is near. It tells the audience that you care about the music, beginning to end. And it leaves them no doubt about when they should start cheering! Plus, the overall impression will one of professionalism and a commitment to playing the tunes RIGHT.
One of the most fun groups I ever played with worked very hard on getting the arrangements just right but we also spent plenty of time on those crucial openings and endings. In fact we used to have what we called "beginnings and endings rehearsals." On those occasions that's all we would work on. And I have no doubt that having tight, concise and well-planned intros and endings was one of the reasons we always had great reactions from our audiences.
I think this is especially important in acoustic music, even for a single performer. In fact, maybe even more so for a single performer! If you're playing in a loud electric band you can often get away with the classic cresendo ending, where everyone strums and pounds faster and faster, leading up to a moment of silence and then a loud THWANG. Not so with acoustic music. You cannot get the audience's attention with volume alone. They have to know, without a doubt, when a song begins and ends.
So spend some time working out just what's going to happen when the music starts and especially when the end of the tune is near. It tells the audience that you care about the music, beginning to end. And it leaves them no doubt about when they should start cheering! Plus, the overall impression will one of professionalism and a commitment to playing the tunes RIGHT.
Acclimation of your guitar: Take it slow!
I was reminded yesterday of the temperature variations and subsequent stress that guitars often have to endure. Playing an outside gig in the bright sunshine, I could feel the body of my expensive Martin getting hotter and hotter and I was concerned to the point that I almost cut short the gig. (And no, there was no possibility of setting up in the shade.)
When I got back to my studio I resisted the temptation to open the guitar case. This was because my studio was at least 10 degrees cooler than the outside. A shock to the wood such as this can make some very, very bad things happen - split wood, warping, lifting frets and bridges and more. Guitars are under a huge amount of stress from the strings and while they are built to accept this stress under normal circumstances, any rapid changes in temperature and/or humidity can cause the wood to expand and contract radically. Not a good thing at all!
So as we approach a time of year when in many places there is big difference in outdoor and indoor temperatures, remember to (if possible) leave your guitar in its case for at least an hour or so in order for it to gradually adjust to a difference in temperature. If you know you're going to have to open the case right away, be sure to keep the cased guitar in the warm vehicle with you and it should be fine when you get where you're going.
If you're receiving a new guitar that has been shipped in the winter, no matter how strong the temptation, don't open the box for a few hours when the guitar is delivered. If the case is still cold to the touch, wait another hour. You've waited a long time for that nice new guitar - waiting a few hours more so you don't get a rude surprise is well worth it!
When I got back to my studio I resisted the temptation to open the guitar case. This was because my studio was at least 10 degrees cooler than the outside. A shock to the wood such as this can make some very, very bad things happen - split wood, warping, lifting frets and bridges and more. Guitars are under a huge amount of stress from the strings and while they are built to accept this stress under normal circumstances, any rapid changes in temperature and/or humidity can cause the wood to expand and contract radically. Not a good thing at all!
So as we approach a time of year when in many places there is big difference in outdoor and indoor temperatures, remember to (if possible) leave your guitar in its case for at least an hour or so in order for it to gradually adjust to a difference in temperature. If you know you're going to have to open the case right away, be sure to keep the cased guitar in the warm vehicle with you and it should be fine when you get where you're going.
If you're receiving a new guitar that has been shipped in the winter, no matter how strong the temptation, don't open the box for a few hours when the guitar is delivered. If the case is still cold to the touch, wait another hour. You've waited a long time for that nice new guitar - waiting a few hours more so you don't get a rude surprise is well worth it!
Relative chords
A few months ago in my blog I outlined the basics of "playing by ear," i.e., figuring out a song by listening to it and applying some basic concepts related to keys, scale-line chords and more. Please refer back to those posts if this is something you've been trying to do with varying success. There are very few absolutes in music (thank goodness!) but having a good starting point makes the task much, much easier than just trying every chord you know and hoping that one sounds right!
A few of my students have used or are applying these concepts and one problem that they seem to run into from time to time is that two chords will sound equally good. Which one to use?
I've found that this is usually a case of what are called relative chords. Every major chord has what is known as a relative minor. They are called that because the scale that these chords are the "tonic" or "I chord" of use the same notes, with different starting points of course. This is based on the fact that the two most common scales or keys in Western music for the last 400 or so years are the Major Diatonic and the Natural Minor Scales.
Without getting into the music theory behind this statement, here's a short cut to try when two chords seem to be equally appropriate in a song you're trying to figure out by ear:
Put simply, if one of these doesn't sound quite right, try the other. It very well may the one you're looking for. I will list the most common relative major and minor chords.
G Major is relative to E minor
C Major is relative to A minor
D Major is relative to B minor
E Major is relative to C# minor
F Major is relative to D minor
A Major is relative to F# minor
Bb Major is relative to G minor
B Major is relative to G# minor
Eb Major is relative to C minor
Ab Major is relative to F minor
Good luck and keep at it! Figuring out songs by ear is like most things: the more you do it, the easier it gets!
A few of my students have used or are applying these concepts and one problem that they seem to run into from time to time is that two chords will sound equally good. Which one to use?
I've found that this is usually a case of what are called relative chords. Every major chord has what is known as a relative minor. They are called that because the scale that these chords are the "tonic" or "I chord" of use the same notes, with different starting points of course. This is based on the fact that the two most common scales or keys in Western music for the last 400 or so years are the Major Diatonic and the Natural Minor Scales.
Without getting into the music theory behind this statement, here's a short cut to try when two chords seem to be equally appropriate in a song you're trying to figure out by ear:
Put simply, if one of these doesn't sound quite right, try the other. It very well may the one you're looking for. I will list the most common relative major and minor chords.
G Major is relative to E minor
C Major is relative to A minor
D Major is relative to B minor
E Major is relative to C# minor
F Major is relative to D minor
A Major is relative to F# minor
Bb Major is relative to G minor
B Major is relative to G# minor
Eb Major is relative to C minor
Ab Major is relative to F minor
Good luck and keep at it! Figuring out songs by ear is like most things: the more you do it, the easier it gets!
Tuner options
Time was quite a few years ago when I said to myself: If I ever have to depend on an electronic tuner for my guitars I'd better just give it up! If my ear was ever that bad - that I couldn't tune my guitar using the standard "by ear" methods of matching pitches on adjacent strings (or by using harmonics - a much more accurate way) I must have lost it, so to speak.
Well, that was just a passing thought. I bought one of the first digital tuners about 20 years ago and while it was not exactly easy to use there was no question that it was way more accurate than my ear, even then. The added bonus was that plugging in an electric guitar and using it meant that I was no longer forced to try to hear my guitar in a crowded, noisy room. In fact, I didn't need to hear the guitar at all. It was just a matter of making the little needle stand straight up and each string was in tune. Those early tuners had a couple disadvantages though. Most of them required that you press a button to change the setting for each string, something that was annoying, plus they ate batteries at an alarming rate and many of them could not be plugged in and had to be run on batteries. Even more intimidating where the very, very expensive Peterson strobe tuners, admittedly very accurate but difficult to use and the size of a small amplifier.
That was then, this is now. As with everything else running on digital chips, tuners have become much easier to use, less expensive, more reliable and accurate and there are dozens and dozens of choices. Until recently the most common types were those that had both a built in mic to "hear" an acoustic guitar that did not have electronics and a 1/4" standard guitar cord input to plug directly in with an acoustic/electric or an electric guitar. There are still many of those on the market offering either a digital display or the old style analog display with a needle. I prefer the needle type.
However, a couple years ago a new type of tuner appeared - one that clips on the head of the guitar and works off the vibration of the instrument itself. These are wonderful little devices that run on small watch-type batteries. Some have automatic shut-off features, which is great if you're like me and forget to turn it off, saving battery life. Two of the most popular are made by Korg and a new company called Snark. They are inexpensive enough that a guitarist can afford to buy two and keep one in the guitar case as a back-up.
If you're still trying to balance a tuner on your knee and play your acoustic guitar close to it so the mic can pick up the sound - a very annoying thing that usually leads to the tuner dropping on the floor - there is even a good option for you. You can purchase a clip-on sensor that plugs into the input on your old tuner and you then have a functioning vibration type tuner - no more balancing acts!
If you're still hassling with tuning by ear (an essential skill but one that you can easily avoid) do yourself a favor and buy a tuner. Or upgrade the one you have - they are cheap enough, compared to the not so recent past. Your guitar, your ear, and your audience will thank you!
Well, that was just a passing thought. I bought one of the first digital tuners about 20 years ago and while it was not exactly easy to use there was no question that it was way more accurate than my ear, even then. The added bonus was that plugging in an electric guitar and using it meant that I was no longer forced to try to hear my guitar in a crowded, noisy room. In fact, I didn't need to hear the guitar at all. It was just a matter of making the little needle stand straight up and each string was in tune. Those early tuners had a couple disadvantages though. Most of them required that you press a button to change the setting for each string, something that was annoying, plus they ate batteries at an alarming rate and many of them could not be plugged in and had to be run on batteries. Even more intimidating where the very, very expensive Peterson strobe tuners, admittedly very accurate but difficult to use and the size of a small amplifier.
That was then, this is now. As with everything else running on digital chips, tuners have become much easier to use, less expensive, more reliable and accurate and there are dozens and dozens of choices. Until recently the most common types were those that had both a built in mic to "hear" an acoustic guitar that did not have electronics and a 1/4" standard guitar cord input to plug directly in with an acoustic/electric or an electric guitar. There are still many of those on the market offering either a digital display or the old style analog display with a needle. I prefer the needle type.
However, a couple years ago a new type of tuner appeared - one that clips on the head of the guitar and works off the vibration of the instrument itself. These are wonderful little devices that run on small watch-type batteries. Some have automatic shut-off features, which is great if you're like me and forget to turn it off, saving battery life. Two of the most popular are made by Korg and a new company called Snark. They are inexpensive enough that a guitarist can afford to buy two and keep one in the guitar case as a back-up.
If you're still trying to balance a tuner on your knee and play your acoustic guitar close to it so the mic can pick up the sound - a very annoying thing that usually leads to the tuner dropping on the floor - there is even a good option for you. You can purchase a clip-on sensor that plugs into the input on your old tuner and you then have a functioning vibration type tuner - no more balancing acts!
If you're still hassling with tuning by ear (an essential skill but one that you can easily avoid) do yourself a favor and buy a tuner. Or upgrade the one you have - they are cheap enough, compared to the not so recent past. Your guitar, your ear, and your audience will thank you!
Most common chord progressions
In a recent tip I recommended practicing first position chromatic scales to develop four finger strength, which is directly related to being able to play flowing single note runs. You should also practice the most important chord progressions to not only get your fingers used to working between chords that are frequently found together but also to help your ear - that is, to at least begin to recognize those progressions or combinations of chords when you hear them. Here are the three most common progressions in popular music regardless of style (rock, folk, country, blues, jazz and most every other form or modern popular music).
The I - IV - V is used by just about every songwriter at one time or another. The I chord is the "tonic" or the key you're playing in. The most commonly used are:
G - C - D
E - A - B
A - D - E
D - G - A
C - F - G
The I - bVII - IV is almost as common and certain writers (like James Taylor) use it frequently. Most used are:
G - F - C
E - D - A
A - G - D
D - C - G
C - Bb - F
The II - V - I is the basis of many, many jazz tunes. It is cool sounding because the I chord doesn't appear right away, giving the progression a bit of tension/release, something that is the hallmark of good songwriting:
Am - D - G
Bm - E - A
Em - A - D
F#m - B - E
Dm - F - C
With the I-IV-V, finish by repeating the I chord; same thing with the I-bVII-IV. This will give the progression a sound and feeling of finality. Start by just strumming each chord once and repeat the sequence a few times. Then try keeping a steady beat with the strumming hand, perhaps two measures of 4/4 strum on each chord. If you're really ambitious, play some altered chords in place of the straight Majors and minors, things like a dominant 7 version of the IV and V, a Major 7 on any or all the Majors, or perhaps a minor 7th in place of the straight minors in the II-V-I.
Don't surprised if you're playing a few of these and suddenly you think: "Hey that kind of sounds like...." And you know what? You'll probably be correct! Thousands of familiar songs have been written using the above progressions. Practice them and you'll have a head start on learning many a new tune!
The I - IV - V is used by just about every songwriter at one time or another. The I chord is the "tonic" or the key you're playing in. The most commonly used are:
G - C - D
E - A - B
A - D - E
D - G - A
C - F - G
The I - bVII - IV is almost as common and certain writers (like James Taylor) use it frequently. Most used are:
G - F - C
E - D - A
A - G - D
D - C - G
C - Bb - F
The II - V - I is the basis of many, many jazz tunes. It is cool sounding because the I chord doesn't appear right away, giving the progression a bit of tension/release, something that is the hallmark of good songwriting:
Am - D - G
Bm - E - A
Em - A - D
F#m - B - E
Dm - F - C
With the I-IV-V, finish by repeating the I chord; same thing with the I-bVII-IV. This will give the progression a sound and feeling of finality. Start by just strumming each chord once and repeat the sequence a few times. Then try keeping a steady beat with the strumming hand, perhaps two measures of 4/4 strum on each chord. If you're really ambitious, play some altered chords in place of the straight Majors and minors, things like a dominant 7 version of the IV and V, a Major 7 on any or all the Majors, or perhaps a minor 7th in place of the straight minors in the II-V-I.
Don't surprised if you're playing a few of these and suddenly you think: "Hey that kind of sounds like...." And you know what? You'll probably be correct! Thousands of familiar songs have been written using the above progressions. Practice them and you'll have a head start on learning many a new tune!
Use it or lose it!
While it's true that the great Django played with only two fingers on his left hand and he did just fine I'll bet if he had the other two he would have been even more amazing. Many great blues players created awesome solos using only their index, middle and ring fingers but my guess is using three fingers in that type of music is directly related to the triplets that are part of every blues guitar solo.
But don't forget the little guy! Yes, that pinkie finger that sits forlornly up in the air while the other fingers do most of the work. I readily admit that it took me many years, decades in fact, to force myself to use the little finger both while chording and during solos. The upshot has been that my left hand technique has improved radically since I started using it. So how can you get into the habit of making the pinkie an equal partner to those other fingers?
First you have to make it stronger and the best way I know to do that is to start playing 1st position chromatic scales. Yes, they are not exactly exciting to play and downright annoying for anyone else to listen to, but they work! I'm talking about one-octave scales, beginning with an open string. For example, a one octave E chromatic should begin on the open 6th string, ascending, with each finger playing up that 6th string, one fret at a time. After playing the G# on the fourth fret with your pinkie, move to the open A string and repeat the ascending pattern. On the D string, go just to the second fret, AND THEN REVERSE THE SEQUENCE. Keep a slow, steady beat, strive for clear, clean tone by using the tips of the fingers and not placing or removing a finger until the instant before you play the next note. What you're striving for is a smooth, flowing sound, not choppy single notes.
You'll find the stretch between the third and fourth finger the most difficult, but that's a good thing! Be sure to streeeetch to the frets. This will accomplish what you've set out to do: make the 4th finger strong and independent of the others.
Then do the same thing starting on the A string open, the D string open and the G string open, making sure to take into account the intervals between the strings to determine whether you should be playing up to the second, third or fourth fret in each one-octave scale. Give these about five to ten minutes a day and I promise in about a month, using your pinkie will seem more natural to use and I guarantee your technique WILL imporve!
But don't forget the little guy! Yes, that pinkie finger that sits forlornly up in the air while the other fingers do most of the work. I readily admit that it took me many years, decades in fact, to force myself to use the little finger both while chording and during solos. The upshot has been that my left hand technique has improved radically since I started using it. So how can you get into the habit of making the pinkie an equal partner to those other fingers?
First you have to make it stronger and the best way I know to do that is to start playing 1st position chromatic scales. Yes, they are not exactly exciting to play and downright annoying for anyone else to listen to, but they work! I'm talking about one-octave scales, beginning with an open string. For example, a one octave E chromatic should begin on the open 6th string, ascending, with each finger playing up that 6th string, one fret at a time. After playing the G# on the fourth fret with your pinkie, move to the open A string and repeat the ascending pattern. On the D string, go just to the second fret, AND THEN REVERSE THE SEQUENCE. Keep a slow, steady beat, strive for clear, clean tone by using the tips of the fingers and not placing or removing a finger until the instant before you play the next note. What you're striving for is a smooth, flowing sound, not choppy single notes.
You'll find the stretch between the third and fourth finger the most difficult, but that's a good thing! Be sure to streeeetch to the frets. This will accomplish what you've set out to do: make the 4th finger strong and independent of the others.
Then do the same thing starting on the A string open, the D string open and the G string open, making sure to take into account the intervals between the strings to determine whether you should be playing up to the second, third or fourth fret in each one-octave scale. Give these about five to ten minutes a day and I promise in about a month, using your pinkie will seem more natural to use and I guarantee your technique WILL imporve!
Cure the pick dropsies!
Do you find yourself dropping your flat pick when you play? How about feeling the pick starting to rotate as you strum until you're trying to get a clean attack with the long side of the pick rather than the tip, which of course is all but impossible.
In a certain way these are good problems to have because it means you're keeping your hand, wrist and arm as loose as possible, a necessary part of fast strumming and fluid single note picking. But that doesn't make it any less annoying, or borderline terrifying if you're in a performance situation.
What I do to minimize this problem is quite simple. Using a Dremel tool or a variable speed regular drill I make a small hole through the center of the picks I prefer to use. Just that little hole is enough to give me at least some gripping power without having to squeeze. You'll have to experiment a bit to find the drill bit size that gives you the best size hole. Don't make it too big or you'll weaken the pick or make it too flexible.
There are plenty of picks that are available with holes in them for this purpose, but the ones I like (Fender teardrop shape jazz picks, heavy gauge) do not have holes and the standard Fender, Martin, Dunlop and other brands in the larger triangular shape don't either. There is also a substance with the unappealing name of Gorilla Snot that is supposed to help avoid pick dropping when a tiny bit is rubbed on the pick. I have not used this stuff so I can't offer an opinion. There are also picks on the market that have a textured upper half to help with gripping.
But if your favorite flat pick is smooth, slippery and prone to wandering away when you play, try the hole trick. It works!
In a certain way these are good problems to have because it means you're keeping your hand, wrist and arm as loose as possible, a necessary part of fast strumming and fluid single note picking. But that doesn't make it any less annoying, or borderline terrifying if you're in a performance situation.
What I do to minimize this problem is quite simple. Using a Dremel tool or a variable speed regular drill I make a small hole through the center of the picks I prefer to use. Just that little hole is enough to give me at least some gripping power without having to squeeze. You'll have to experiment a bit to find the drill bit size that gives you the best size hole. Don't make it too big or you'll weaken the pick or make it too flexible.
There are plenty of picks that are available with holes in them for this purpose, but the ones I like (Fender teardrop shape jazz picks, heavy gauge) do not have holes and the standard Fender, Martin, Dunlop and other brands in the larger triangular shape don't either. There is also a substance with the unappealing name of Gorilla Snot that is supposed to help avoid pick dropping when a tiny bit is rubbed on the pick. I have not used this stuff so I can't offer an opinion. There are also picks on the market that have a textured upper half to help with gripping.
But if your favorite flat pick is smooth, slippery and prone to wandering away when you play, try the hole trick. It works!
Simple trick for correct hand position
I've written in this space before about the importance of correct left hand position as it relates to both clear, clean tone and fast movement. Here is a neat little trick to remember that will always force your fretting hand into the correct position: ALWAYS MAKE SURE THE TIP OF YOUR THUMB IS POINTED TOWARD THE TIP OF YOUR SECOND (MIDDLE) FINGER.
Of course, if you're playing bar chords the pad of your thumb should be centered behind the neck directly below the finger that is forming the "bar." But when playing all other chords anywhere on the neck - single note passages too - if your thumb is pointed toward the second finger you always have the correct drop of your wrist, and this will also encourage keeping your fingers arched and the use of only your finger tips.
Your thumb should never, ever point back toward the head of the guitar. This encourages what I refer to as the "baseball bat grip" on the neck, where your wrist and hand come up and the entire inside of the hand makes contact with the back of the neck. This formation makes it all but impossible to arch your fingers and get the separation necessary to get close to the frets - a vital component in attaining clear tone with no buzzes or muffled notes.
Try out this cool trick - you'll be thanking me, I promise!
Of course, if you're playing bar chords the pad of your thumb should be centered behind the neck directly below the finger that is forming the "bar." But when playing all other chords anywhere on the neck - single note passages too - if your thumb is pointed toward the second finger you always have the correct drop of your wrist, and this will also encourage keeping your fingers arched and the use of only your finger tips.
Your thumb should never, ever point back toward the head of the guitar. This encourages what I refer to as the "baseball bat grip" on the neck, where your wrist and hand come up and the entire inside of the hand makes contact with the back of the neck. This formation makes it all but impossible to arch your fingers and get the separation necessary to get close to the frets - a vital component in attaining clear tone with no buzzes or muffled notes.
Try out this cool trick - you'll be thanking me, I promise!
Think ahead and be prepared
Rhythm - a steady beat - the great equalizer of music and the most basic, essential part of playing any piece music. Do you find yourself stopping at difficult points in a song, no matter how many times you practice it? If so you are most likely not ready for that hard passage and wait until it's upon you to deal with it.
Many players are guilty of this - I am myself when I'm learning a new, difficult piece. But I try to remember one simple trick. Always, always be thinking ahead when you play! An essential part of this is looking up at your fretting hand well before the change will happen and imagine where your fingers will have to go. This can be scary because if you're reading a chord chart or printed music there is the danger you will lose your place. But every good guitarist looks at his or her fretting hand from time to time. The key is understanding that they are most likely NOT looking at what they're playing - they are looking up a few seconds before a change to imagine where their fingers will have to go.
Some songs stay on a chord for a long time, maybe four or more measures. Those are places where you can relax a bit and kind of glide along and get into the music. Unfortunately, the more challenging and frankly, more interesting pieces don't have a lot of these passages. As soon as you make a change you must instantly be thinking about the change that is about to happen.
One way to practice these harder tunes is to break them down into smaller sections, say, eight or so measures that include the most difficult parts and practice just those sections. Then you can bite off a bigger chunk of the song, maybe the whole thing and play through those hard parts.
Just remember that the most common bond the listener and the player have is rhythm. Most people have no idea what a Bbm9 is supposed to sound like, but you can be sure they know how to tap their feet! Work on keeping that bond intact by always being ready for what is about to happen!
Many players are guilty of this - I am myself when I'm learning a new, difficult piece. But I try to remember one simple trick. Always, always be thinking ahead when you play! An essential part of this is looking up at your fretting hand well before the change will happen and imagine where your fingers will have to go. This can be scary because if you're reading a chord chart or printed music there is the danger you will lose your place. But every good guitarist looks at his or her fretting hand from time to time. The key is understanding that they are most likely NOT looking at what they're playing - they are looking up a few seconds before a change to imagine where their fingers will have to go.
Some songs stay on a chord for a long time, maybe four or more measures. Those are places where you can relax a bit and kind of glide along and get into the music. Unfortunately, the more challenging and frankly, more interesting pieces don't have a lot of these passages. As soon as you make a change you must instantly be thinking about the change that is about to happen.
One way to practice these harder tunes is to break them down into smaller sections, say, eight or so measures that include the most difficult parts and practice just those sections. Then you can bite off a bigger chunk of the song, maybe the whole thing and play through those hard parts.
Just remember that the most common bond the listener and the player have is rhythm. Most people have no idea what a Bbm9 is supposed to sound like, but you can be sure they know how to tap their feet! Work on keeping that bond intact by always being ready for what is about to happen!
Careful with that AC !!!
As the major heat wave builds in the middle of the country and the East, air conditioners are running at full blast. And the key word there as far as your guitar is concerned it "blast"! As in - DO NOT place your guitar, even in its case, in the path of cold air coming from the air conditioner. This is especially important if you use your air conditioner on an occasional basis. A guitar living in a house that is air conditioned all the time should be tended to as you would your guitar in the winter, that is, be sure to use a guitar humidfier to avoid the wood becoming too dried out, which can lead to cracks and other nasty things.
Using a humidifier on an occasional basis subjects your guitar to quite a variation in conditions, from possibly hot, humid air to dry, cool air. On a seasonal basis this is what happens in many parts of the country of course, but your guitar adjusts to these gradual changes. Not so in the summer when an air conditioner is used. So, what to do? None of us want to die of heat exposure! So go ahead and use that air conditioner, but just be sure to leave your guitar in its case when it's not being used - and use that guitar humidifier!
Summer stickiness - smooth out and slick up that neck
If you live in a place where humidity in summer makes playing the guitar a sticky challenge you can often improve the playability of your guitar with a little effort. You'll need to make a trip to your local hardware store where you'll buy some 0000-grade steel wool and a can of naptha.
First, clean the back of the neck as well as possible using a high quality cleaner. I think the best stuff on the market is Virtuoso Cleaner www.virtuosopolish.com which I have available in the items-for-sale part of this site.
Next step is to apply a bit of the naptha to a clean rag and GENTLY rub it up and down the back of the neck a couple times, being sure to hit every bit of the surface (but not the top of the fingerboard). Wait a couple minutes allowing the naptha to evaporate, then rub down again with a clean, dry cloth. This will remove all traces of both the cleaner and any residue that was left from the cleaning. Next, gently but firmly rub the 0000 steel wool up and down the neck, moving in the same direction as the grain in the wood. Do this for a minute or so, no more, and by all means NEVER use anything heavier than the 0000-grade.
Then wipe and polish with a clean rag. You will be astounded by the results! Even on a hot, humid day your guitar neck will feel slick, smooth and fast. This is sure to make playing a more pleasurable experience, which in turn will inspire you to pick up your guitar more often!
First, clean the back of the neck as well as possible using a high quality cleaner. I think the best stuff on the market is Virtuoso Cleaner www.virtuosopolish.com which I have available in the items-for-sale part of this site.
Next step is to apply a bit of the naptha to a clean rag and GENTLY rub it up and down the back of the neck a couple times, being sure to hit every bit of the surface (but not the top of the fingerboard). Wait a couple minutes allowing the naptha to evaporate, then rub down again with a clean, dry cloth. This will remove all traces of both the cleaner and any residue that was left from the cleaning. Next, gently but firmly rub the 0000 steel wool up and down the neck, moving in the same direction as the grain in the wood. Do this for a minute or so, no more, and by all means NEVER use anything heavier than the 0000-grade.
Then wipe and polish with a clean rag. You will be astounded by the results! Even on a hot, humid day your guitar neck will feel slick, smooth and fast. This is sure to make playing a more pleasurable experience, which in turn will inspire you to pick up your guitar more often!
7/1/2011: Strap button placement - the RIGHT way!
Taylor GA-3 with strap button - installed correctly!
Just a bit more regarding straps - or rather, how to attach them. In last weeks Tip I mentioned that I dislike the "old school" method of attaching the top end of a guitar strap by tying a piece of cord under the strings above the nut. The reason being, this method often makes the strap come into contact with the back of the hand that is fretting in 1st position. A much better way is skipping the cord and attaching the leather end directly to a strap button installed on the heel of the guitar.
Many guitars come through with the metal button already installed but if you choose to do the job yourself it's important to carefully drill and screw in the button but also to be sure to put it in the right place. This is important because you want the strap to not only securely hold the guitar but also to make it come to rest against your body in a comfortable fashion and not have a tendency to tip forward.
Sometimes guitarists install a button on the bottom of the heel of the neck but this is bad because not only will the guitar tend to tilt forward when the strap is used but the strap will be twisted and uncomfortable. Worse yet is installing it in the body of the guitar, which will surely decrease the resale value of the instrument (this is the case with putting it into the bottom of the heel too).
The process must be done carefully but it is not that difficult. Use a variable speed electric drill and be sure to select a drill bit slightly smaller than the diameter of the screw that holds the button. Use the finish carpenter's trick of carefully measuring the distance you want the drill bit to penetrate the wood - which should be about 1/64th" less than the length of the screw when it is in the button - and wrap some masking tape around the drill bit to ensure you only go into the heel to that point. You will be installing the button about half way between the bottom of the heel and point where the heel tapers out, on the side of the heel below rather than on top - in other words, pointed at your shoes. It should be at about a 45-degree angle. Drill slowly and carefully. Carefully examine the picture above if you're unclear about any of this information. If you happen to drill a hole that is too large or "sloppy" (you want the screw to bite into the wood securely) a piece of broken toothpick inserted into the hole will help. Do not use any type of glue in case you want to remove the button at a later date.
Be sure to use a felt washer between the bottom of the button and the wood so there won't be any danger of the metal cracking the finish or wood. Tighten the screw to the point that you're sure the button is making firm contact with the heel but don't over-tighten.
There is some controversy about whether strap buttons generally reduce the value of guitars but my opinion is this. Perhaps it does with very, very expensive instruments and I certainly wouldn't put one in a true vintage instrument. But on any other guitar - including some very nice ones - I feel the advantages outweigh the possibility a potential new owner might not like the thing.
Many guitars come through with the metal button already installed but if you choose to do the job yourself it's important to carefully drill and screw in the button but also to be sure to put it in the right place. This is important because you want the strap to not only securely hold the guitar but also to make it come to rest against your body in a comfortable fashion and not have a tendency to tip forward.
Sometimes guitarists install a button on the bottom of the heel of the neck but this is bad because not only will the guitar tend to tilt forward when the strap is used but the strap will be twisted and uncomfortable. Worse yet is installing it in the body of the guitar, which will surely decrease the resale value of the instrument (this is the case with putting it into the bottom of the heel too).
The process must be done carefully but it is not that difficult. Use a variable speed electric drill and be sure to select a drill bit slightly smaller than the diameter of the screw that holds the button. Use the finish carpenter's trick of carefully measuring the distance you want the drill bit to penetrate the wood - which should be about 1/64th" less than the length of the screw when it is in the button - and wrap some masking tape around the drill bit to ensure you only go into the heel to that point. You will be installing the button about half way between the bottom of the heel and point where the heel tapers out, on the side of the heel below rather than on top - in other words, pointed at your shoes. It should be at about a 45-degree angle. Drill slowly and carefully. Carefully examine the picture above if you're unclear about any of this information. If you happen to drill a hole that is too large or "sloppy" (you want the screw to bite into the wood securely) a piece of broken toothpick inserted into the hole will help. Do not use any type of glue in case you want to remove the button at a later date.
Be sure to use a felt washer between the bottom of the button and the wood so there won't be any danger of the metal cracking the finish or wood. Tighten the screw to the point that you're sure the button is making firm contact with the heel but don't over-tighten.
There is some controversy about whether strap buttons generally reduce the value of guitars but my opinion is this. Perhaps it does with very, very expensive instruments and I certainly wouldn't put one in a true vintage instrument. But on any other guitar - including some very nice ones - I feel the advantages outweigh the possibility a potential new owner might not like the thing.
Strap it on!
Back in 1969 I bought a leather guitar strap that I thought was the coolest thing ever. It was made by (I kid you not!) a blonde haired hippie chick with round tinted wire rims whose name was Sunshine. No one knew or even cared what her real name might be. Sunshine had a small "leather shop" in my home town of Mysitc, Connecticut and while it may have seemed a bit curious why love, peace and flowers types would be so into leather (i.e., dead animal skin) sandals, belts, bags and custom guitar straps, such was the case back then. Sunshine made my strap of nice, supple mahogany colored leather with vines and flowers worked into the surface. I think it cost me something like five dollars.
I used if for many years and still have it but as a practical matter the thing was and is functionally a bit difficult. It is about 5 inches wide and believe it or not, the thing is downright hot to wear for any length of time so I stopped using it some time ago. In spite of that, I still have a crush on Sunshine though, wherever she may be. But I digress...
The point here is, a good guitar strap should be not only attractive to look at but also functional to use. Fortunately, today we have literally thousands of choices in guitar straps and with some effort you're sure to find one you like. A few things to consider, however.
First and foremost, obviously the strap has to hold your guitar securely and not get in your way when you play. If you've ever had a guitar suddenly become disengaged from the strap while you're playing you know what I'm talking about. There are some nifty "strap locks" that you may want to look into but they require attaching a mechanism semi-permanently to the bottom and top strap button; then you disengage the strap not from the button but with a click/lock plastic device similar to what you find on things like backpacks. I find these things a little to bulky so I don't use them.
That gets to the importance of the strap interfacing with the buttons on the bottom and heel of your guitar (assuming you have a button installed on the heel - and you should - using the old school method of tying the top of the strap on with a piece of cord behind the nut is annoying from a playing perspective as it seems to always want to rest against the back of your fretting hand). However, it may take using a new strap a few times for the holes in the leather ends to open up to the point you can easily attach and then disengage the strap when not in use.
And there's another thing you should always do: take that strap OFF the guitar when you're not using it. One good reason for this is that leather portion with the opening can gradually come loose and let go of the guitar as you're playing, or worse yet, when you're putting in on, which is one of the prime ways guitars end up getting dropped.
Select a strap that is wide enough to be comfortable but not overly wide because those types can end up being uncomfortable over the course of a playing session. Some players like the older leather designs that feature a wide portion that fits over the shoulder and a much narrower section that attaches to the instrument.
Always avoid straps with metal parts that can scratch your guitar and be especially wary of old straps that have a vinyl covering on one side. I have seen many expensive vintage guitar with ugly bubbling of the finish where a vinyl strap came into prolonged contact with the gloss finish.
So go into your local music store and carefully examine the many straps they'll have on display. You're sure to find one that fits your personality, graphically speaking, but also is comfortable and holds your guitar securely. It probably won't be made by Sunshine, though, sad to say!
Expand your range in the key of D Major
Many, many popular songs are written in the key of D Major (If you're unclear about what it means to play in a key, check out the series "Playing by Ear" in my blog). The problem is, the lowest D natural, the root of the I chord and probably the single most important tone in that key is really not very low sounding at all: the fourth string, open. All the other first position chords have lower roots and the player has a bigger sounding chord at his or her disposal. Compared to the other predominant chordal instrument, the keyboard, guitar is quite limited in range under the best circumstances and with that mid range D natural being the lowest root in the key of D Major or D minor the sonic possibilities are disappointingly small.
What to do? Many players employ the simplest of the "open tunings" - Drop D Tuning. There are at least a dozen common open tunings - where one or more strings are re-tuned so a chord is produced by the open strings - but many of them require a virtual relearning of chords. Drop D is just lowering the low E string one whole step (2 frets) to a D natural, that note being one octave lower than the 4th string open. To do this, either use an electronic tuner - the best option - or play a harmonic at the 12th fret of the 6th string and make that note sound the same as the 4th string OPEN. See last week's Tip if you don't know about harmonics.
After you've done this, strum a first position D Major chord, playing all six strings. What a sound! That thin, weak D Major in normal tuning is now a deep, rich and resonant chord that just begs to be finger picked. In fact, many songs by artists like Crosby, Stills & Nash, James Taylor, Paul Simon and many others utilize this tuning.
Keep in mind that because you've lowered your low E string down one whole step, or two frets in distance, you'll have to play any parts of chords that have fretted notes in normal tuning on the 6th string, two frets higher. Or you could just skip using the 6th string on anything but the D chord. Another option is to play that wonderful low D with chords that don't normally include a D. This will "imply" the I chord through a bunch of changes and the effect can be quite pleasing. Fool around with Drop D Tuning. I think you'll discover some very cool sounds!
Using harmonics to tune
Is there anything worse than a good guitar performance being ruined by an out-of-tune guitar? Well, maybe a few things worse but not many! Digital electronic tuners are an absolute essential as far as I'm concerned as they have become very affordable and much more durable and accurate than a decade ago. But suppose you use your tuner and your guitar still doesn't sound quite "right"? Digital tuners are great but sometimes they have little quirks that make them more accurate on some pitches and less so with others. What to do?
It is a fact that the human ear can differentiate between higher pitches much better than lower ones and I suspect many tuners have the same problem for some reason. So your best bet is to make those lower open strings an octave higher to use your ear or a tuner to make them true.
There are two ways to make an open string sound one octave higher. You can press down at the 12th fret but this usually in not accurately in tune, even on very expensive guitars because the act of pressing down bends the string, making it sharp to varying degrees. The other way is much better and that is to use a harmonic. What you are doing is actually making the string vibrates in half, with each half moving in opposite directions, thereby emitting the true note of the open string one octave higher. To accomplish a harmonic, lay the flat part of your finger exactly centered over the 12th fret (not behind it, as if you were going to press down) and touch the string LIGHTLY, not pressing down. Play the string, wait a couple seconds, then remove your finger. The note you'll hear will be softer than a fretted note but it will be a perfect octave higher than the open string.
Then look at your tuner and adjust the string as needed. You may have to play the harmonic a few times to get it vibrating to its maximum capability. This little trick is especially effective on the low E, A and D strings.
Volume: Friend or Foe?
Back in the days before there were high quality guitar pick-ups designed for acoustics, learning how to use a microphone was essential if you wanted be heard in a performance. Very few of us could afford a professional sound person on the control board making sure that volume and balance between instruments is perfect, so it was necessary to listen very carefully to what was coming out of the PA system and knowing the perfect distance between the instrument and the mic was a constant challenge.
Today of course things are much easier, although knowing how to use a mic is still an essential skill. High quality monitors (some in the form of ear buds that you can wear!) and superb, non feedback inducing acoustic guitar pick-ups make controlling your levels as easy as can be. But how much volume is the "right" amount? In an acoustic performance I feel strongly that there should only be enough to be heard above ambient noise in your performance environment. But be careful here - it is easy to inadvertently get in a volume contest with the audience in a place like a bar or restaurant where a percentage of the audience wants and should be able to converse. You turn up a bit, they talk louder, you turn up a bit more, they talk louder and before long people are shouting and you are too when you try to sing. Not a good thing, and the absolute mark of an inexperienced performer.
There was a commercial some years ago, for perfume or something, that had a tag line of: "If you want to get his attention, whisper...." This can be a great strategy when performing. Turn up to a level that you can hear but if the talkers insist on competing with you, let them. It's been my experience that other audience members shushing loudmouths is much more effective than trying to beat them at their own game. If it turns out that basically no one can hear you...so it goes. I guarantee the management would rather that than have unhappy patrons dealing with an auditory assault from the band.
And one other little tip. When it comes time for a band member to take a solo, all other members should immediately reduce their volume. This way the overall auditory effect does not change, only the focus does.
Understanding how to use volume to your advantage is an absolute essential part of a successful performance. Be aware of it all times!
Make those chords sound good together!
When deciding which versions of chords to use in your own arrangement of a song, remember that no matter whether two chords in sequence are "inside" or "outside" the key, playing inversions that are close together will ALWAYS sound better. If possible, employ the concept of "voice leading," which means using versions of chords that include at least one note that is common to each chord in sequence. Of course, this assumes you know your bar chords pretty well because strict voice leading will inevitably involve their use.
Yes, it may look cool to see some guitar hero suddenly jump all over the neck but the reality is that radical jumps of position sound jarring and they're pretty hard to accomplish with accuracy in most cases. A really great guitarist can play an inversion of any chord that exists within just about any 4-fret range up the neck. You may not want or need to go to that extent but knowing a few ways to play individual chords and keeping them close together through the changes in a song makes sense - it sounds good AND it's easier!
Experiment with right hand position
Perfect right hand position, or angle of your hand and wrist relative to the strings is the first and most important component in clean, accurate and fast finger style playing. Ideally the angle your fingertip "attacks" the string should be about 45-degrees, or half way between picking straight up and across the top of the guitar (sometimes used by classical guitar players but impractical and uncomfortable for steel string guitarists) and picking down the string toward the bridge, which encourages muddy tone and at some point becomes downright impossible.
This may be a matter of consciously moving the entire hand BACK just a bit, toward the bridge or if you play like I do with the 4th finger anchored on the top, repositioning the pinkie back from the sound hole, a bit more toward the bridge. This may initially feel a bit awkward but I guarantee the awkwardness with be easy to ignore when you hear how the sound of your finger picking improves.
So just for kicks, try playing finger style a bit farther away from the sound hole, toward the bridge. You may already have the correct angle of attack and find this adjustment is not necessary but I've had more than a few students who come to me after teaching themselves to finger pick, complaining about lack of speed, fatigue in the right hand and unsatisfactory tone. In almost every case, this little adjustment makes their playing cleaner and faster with improved accuracy.
This may be a matter of consciously moving the entire hand BACK just a bit, toward the bridge or if you play like I do with the 4th finger anchored on the top, repositioning the pinkie back from the sound hole, a bit more toward the bridge. This may initially feel a bit awkward but I guarantee the awkwardness with be easy to ignore when you hear how the sound of your finger picking improves.
So just for kicks, try playing finger style a bit farther away from the sound hole, toward the bridge. You may already have the correct angle of attack and find this adjustment is not necessary but I've had more than a few students who come to me after teaching themselves to finger pick, complaining about lack of speed, fatigue in the right hand and unsatisfactory tone. In almost every case, this little adjustment makes their playing cleaner and faster with improved accuracy.
Don't give your guitar heatstroke!
With summer just around the corner this is a good time to remind everyone to avoid leaving that guitar in a hot vehicle. Temperatures of well over 100 degrees are well-documented in locked up cars with the windows shut, even in moderate climates.
Most people know how bad dryness can be for a guitar but few give thought to the combination of heat AND dryness. I've seen the results of this and a couple guitars I know of were completely ruined. If you must take a guitar along on a trip in the summer be sure to carry it when you leave your car. You may want to think about investing in a good quality gig bag too because those fancy black cases that many expensive guitars come with can virtually cook a guitar inside when exposed to the direct sunlight in the back seat of a car.
If your case is warm to the touch when you take it out of a vehicle and you're going into an air conditioned space, use the same commons sense approach you would in the winter when going from a very cold environment to a warm one: leave the guitar in the case for at least a half hour to let it gradually acclimate. Exposing a guitar to a cool room when it is warm to the touch is asking for warping - or worse.
Most people know how bad dryness can be for a guitar but few give thought to the combination of heat AND dryness. I've seen the results of this and a couple guitars I know of were completely ruined. If you must take a guitar along on a trip in the summer be sure to carry it when you leave your car. You may want to think about investing in a good quality gig bag too because those fancy black cases that many expensive guitars come with can virtually cook a guitar inside when exposed to the direct sunlight in the back seat of a car.
If your case is warm to the touch when you take it out of a vehicle and you're going into an air conditioned space, use the same commons sense approach you would in the winter when going from a very cold environment to a warm one: leave the guitar in the case for at least a half hour to let it gradually acclimate. Exposing a guitar to a cool room when it is warm to the touch is asking for warping - or worse.
Spread out the sound of two guitars
Playing with another guitarist is more than just fun - it makes you a better player overall because you have to make your playing match and respond to what the other player is doing. While two guitarists playing the same chords in the same places on the necks of their guitars sounds good, there is a way to expand that sound and come up more interesting arrangements. It involves knowing some basic music theory - and the use of a capo.
The vast majority of players use a capo to change the key of a song without changing the chord fingerings and thereby make it easier (i.e., more comfortable) to sing. This is fine and sometimes you can get some very interesting sounds by moving into higher voicings of chords via a capo. However, suppose you like the "open" chords just fine but you want the two guitars to play different parts?
Keeping in mind that every fret on the guitar is equal to 1/2 step, musically speaking, every time you move up the capo one fret, you're raising the pitch of the guitar 1/2 step. So, suppose you put the capo on the 5th fret. You've raised the pitch by 2 1/2 steps. Therefor, if one guitar plays an open G Major chord in first position, and the second guitarist plays a D Major with the capoed guitar - eureka! Both guitars sound the same, and yet... different. Put another way, both are ACTUALLY playing a G Major chord, even though the capoed guitar is setting up a D Major.
How does this work? Remember that the capoed guitar has been RAISED 2 1/2 steps. So - think BACK 2 1/2 steps from that first position G Major and you get..... D Major! As long as you think back the number of half-steps you're capoed up you will be playing in tune with the open guitar! Just remember to play in the same family (Major or minor) and add any altered tones (6ths, 7ths, etc.)
Try these: Open guitar, G Major; 5th fret capoed guitar, D Major. Open guitar, C Major; 5th fret capoed guitar, G Major; Open guitar, D Major; 5th fret capoed guitar, A Major. Open guitar, A minor; 5th fret capoed guitar, E minor. Get the idea?
I promise you will LOVE the sound of one guitar playing open, first position chords while the second guitar capos up and plays the appropriate other set of chords!
The vast majority of players use a capo to change the key of a song without changing the chord fingerings and thereby make it easier (i.e., more comfortable) to sing. This is fine and sometimes you can get some very interesting sounds by moving into higher voicings of chords via a capo. However, suppose you like the "open" chords just fine but you want the two guitars to play different parts?
Keeping in mind that every fret on the guitar is equal to 1/2 step, musically speaking, every time you move up the capo one fret, you're raising the pitch of the guitar 1/2 step. So, suppose you put the capo on the 5th fret. You've raised the pitch by 2 1/2 steps. Therefor, if one guitar plays an open G Major chord in first position, and the second guitarist plays a D Major with the capoed guitar - eureka! Both guitars sound the same, and yet... different. Put another way, both are ACTUALLY playing a G Major chord, even though the capoed guitar is setting up a D Major.
How does this work? Remember that the capoed guitar has been RAISED 2 1/2 steps. So - think BACK 2 1/2 steps from that first position G Major and you get..... D Major! As long as you think back the number of half-steps you're capoed up you will be playing in tune with the open guitar! Just remember to play in the same family (Major or minor) and add any altered tones (6ths, 7ths, etc.)
Try these: Open guitar, G Major; 5th fret capoed guitar, D Major. Open guitar, C Major; 5th fret capoed guitar, G Major; Open guitar, D Major; 5th fret capoed guitar, A Major. Open guitar, A minor; 5th fret capoed guitar, E minor. Get the idea?
I promise you will LOVE the sound of one guitar playing open, first position chords while the second guitar capos up and plays the appropriate other set of chords!
Fix a small but annoying problem
Do you ever find that a certain string is very difficult to tune because just a tiny bit of a turn of the tuning machine makes the string suddenly go very sharp or flat? That it is all but impossible to get it to stay at just the point where it would be perfectly in tune? This is usually because the string has developed a slight crease at the "perfect" point where it would be in tune and that crease slips up or down, making it all but impossible to get exactly in tune.
The root cause of this, beyond the slight bend, is a nut that is "binding" the string. In other words, the groove into which it fits is slightly smaller than the diameter of the string. If you happen to have a micrometer and a set of fine, small files you could attempt to widen the gap but this job is best left to a qualified guitar tech. It is likely that if you do it yourself you will widen the gap too much, which could affect the distance of the string to the fretboard and will most likely make the string sound very dead.
You could have the nut replaced of course, but the best first course of action is to buy some POWDERED graphite at a hardware store (NOT any type of liquid graphite or oil) and apply a tiny bit in the groove. More often than not this will solve the problem by allowing the string to slip freely through the groove. Be sure to use it very, very sparingly so you don't end up smudging the stuff into the fretboard. You may have to do it every time you change strings.
If this doesn't solve the problem you should get a new nut to solve this small but very annoying problem. Being is tune is absolutely essential for a pleasing playing experience - make that happen with the least amount of aggravation but being sure those string glide through the nut!
The root cause of this, beyond the slight bend, is a nut that is "binding" the string. In other words, the groove into which it fits is slightly smaller than the diameter of the string. If you happen to have a micrometer and a set of fine, small files you could attempt to widen the gap but this job is best left to a qualified guitar tech. It is likely that if you do it yourself you will widen the gap too much, which could affect the distance of the string to the fretboard and will most likely make the string sound very dead.
You could have the nut replaced of course, but the best first course of action is to buy some POWDERED graphite at a hardware store (NOT any type of liquid graphite or oil) and apply a tiny bit in the groove. More often than not this will solve the problem by allowing the string to slip freely through the groove. Be sure to use it very, very sparingly so you don't end up smudging the stuff into the fretboard. You may have to do it every time you change strings.
If this doesn't solve the problem you should get a new nut to solve this small but very annoying problem. Being is tune is absolutely essential for a pleasing playing experience - make that happen with the least amount of aggravation but being sure those string glide through the nut!
Think backwards to conquer difficult passages!
I've had quite a few adult students over the years who practice faithfully but seem to get bogged down in certain songs by difficult chord changes or sequences of changes - that is, until I get them to employ a very simple but effective way to practice.
Until they get this concept, their practicing goes something like this. Play through a few measures with no problems, then suddenly up comes a tough chord. They then stop - knowing of course that they shouldn't stop, but there is no way around it until that difficult chord is mastered. They set it up, then continue on until the next problem point, stop, set up, and move on.
Now, over a number of practice sessions they might reduce the amount of time they stop as they memorize the fingering, but unfortunately the break in the beat still happens - a shorter break, but a break nevertheless.
What I tell them to do is this. First, separate out the previous two measures leading up to the problem chord. Then, slowly but keeping a steady beat, work on "jumping" into the difficult chord (and fixing it while continuing to play, if necessary). This way the student can really focus not just on the hard chord, but the transition - that is the rub! In other words, thinking "backwards" from the difficult chord to focus on what is really breaking the beat - the transition between the two chords.
By separating out difficult passages from the song as a whole you can locate just why the beat stops at that point. You can't solve a problem by massive amounts of repetition alone. You must practice both the difficult chord - and what comes just before it.
Until they get this concept, their practicing goes something like this. Play through a few measures with no problems, then suddenly up comes a tough chord. They then stop - knowing of course that they shouldn't stop, but there is no way around it until that difficult chord is mastered. They set it up, then continue on until the next problem point, stop, set up, and move on.
Now, over a number of practice sessions they might reduce the amount of time they stop as they memorize the fingering, but unfortunately the break in the beat still happens - a shorter break, but a break nevertheless.
What I tell them to do is this. First, separate out the previous two measures leading up to the problem chord. Then, slowly but keeping a steady beat, work on "jumping" into the difficult chord (and fixing it while continuing to play, if necessary). This way the student can really focus not just on the hard chord, but the transition - that is the rub! In other words, thinking "backwards" from the difficult chord to focus on what is really breaking the beat - the transition between the two chords.
By separating out difficult passages from the song as a whole you can locate just why the beat stops at that point. You can't solve a problem by massive amounts of repetition alone. You must practice both the difficult chord - and what comes just before it.
Determining the Key
If you've been following my blog for a while you've read my five-part series on the basics of "playing by ear," that is, figuring out the chords in a song by listening to it and experimenting on your guitar. One point I made toward the end of the series bears repeating here: a good trick for figuring out the first chord in a song, possibly the most crucial aspect of playing by ear.
The first chord that is played when the vocals begin is almost always the "I" chord - the chord which names the key in which you're playing. If you can figure that one out, by applying the theory involved with Scale Line Triads will lead you to most if not all the chords the writer used to compose the song. If you haven't read my blog for an explanation of this, take a few minutes to check it out. You'll beg glad you did, promise!
The trick to figuring out that all-important first chord is not to listen so much to the guitar. Listen to the bass! (assuming there is one, of course). Try to match up the single pitch on your 6th string to what the bass plays on the downbeat, or when the first measure with vocals begins. You will be at least an octave above the bass of course, but you'll find it's not terribly difficult to match what you hear. Then take a look at that note. You can assume that the bass is playing the ROOT of the first chord, and that first chord almost always identifies the key!
Then you have a starting point - by applying the scale line chords in that key you will most likely find the majority of the chords used in many, many popular songs.
This is not an exact science of course and as with most aspects of music, there will be exceptions. But having a starting point lets you begin the process.
The first chord that is played when the vocals begin is almost always the "I" chord - the chord which names the key in which you're playing. If you can figure that one out, by applying the theory involved with Scale Line Triads will lead you to most if not all the chords the writer used to compose the song. If you haven't read my blog for an explanation of this, take a few minutes to check it out. You'll beg glad you did, promise!
The trick to figuring out that all-important first chord is not to listen so much to the guitar. Listen to the bass! (assuming there is one, of course). Try to match up the single pitch on your 6th string to what the bass plays on the downbeat, or when the first measure with vocals begins. You will be at least an octave above the bass of course, but you'll find it's not terribly difficult to match what you hear. Then take a look at that note. You can assume that the bass is playing the ROOT of the first chord, and that first chord almost always identifies the key!
Then you have a starting point - by applying the scale line chords in that key you will most likely find the majority of the chords used in many, many popular songs.
This is not an exact science of course and as with most aspects of music, there will be exceptions. But having a starting point lets you begin the process.
Clear tone primer
It really doesn't matter how many fancy licks or complex pieces you can get through if the individual notes and chords sound muddy. Most players figure out almost immediately that it's vital to arch those fingers so adjacent strings aren't touched, and of course to press down HARD. But I often see relatively experienced self-taught guitarists who neglect another vital aspect to clear tone: staying close to the frets.
We're lucky on the guitar. Fiddle, cello and stand-up bass players don't have those nice little fret wires to divide the strings at specific points and thereby produce notes which are in tune. The problem is, setting up half-way between two frets can allow a string to "bounce" up and down, producing that annoying buzz sound that we all know and hate. The closer your fingertip is to the fret - without overlapping it - the firmer the contact is with the fret and buzzes disappear.
Unfortunately it's not always that easy to get as close as we'd like to the frets. Some chords in first position, such as A Major, are just not able to be played with all fingers equally close to the frets. That being the case, the only solution is to press extra hard with the fingers that must be set up some distance from the fret that is dividing the string. You can mitigate this somewhat by trying different fingers in the chord formation but keep in mind that you may be making movement to chords that commonly follow even harder to accomplish. I always encourage my students to anticipate changes and move as little as possible. So it's your call on that one!
Clear, clean tone is essential. Even very simple melodies can be quite pleasing if each and every note and chord doesn't include buzzes or muffled notes. So.... arch those fingers, press down hard - and if at all possible, stay close to those frets!
We're lucky on the guitar. Fiddle, cello and stand-up bass players don't have those nice little fret wires to divide the strings at specific points and thereby produce notes which are in tune. The problem is, setting up half-way between two frets can allow a string to "bounce" up and down, producing that annoying buzz sound that we all know and hate. The closer your fingertip is to the fret - without overlapping it - the firmer the contact is with the fret and buzzes disappear.
Unfortunately it's not always that easy to get as close as we'd like to the frets. Some chords in first position, such as A Major, are just not able to be played with all fingers equally close to the frets. That being the case, the only solution is to press extra hard with the fingers that must be set up some distance from the fret that is dividing the string. You can mitigate this somewhat by trying different fingers in the chord formation but keep in mind that you may be making movement to chords that commonly follow even harder to accomplish. I always encourage my students to anticipate changes and move as little as possible. So it's your call on that one!
Clear, clean tone is essential. Even very simple melodies can be quite pleasing if each and every note and chord doesn't include buzzes or muffled notes. So.... arch those fingers, press down hard - and if at all possible, stay close to those frets!
Small but important technique tip
I get quite a few students who have been playing for a while but want to improve their technique and one simple adjustment can make a huge difference. It has to do with the way the guitar is supported with their fretting hand.
Interestingly, the problem seems to be more common with men than with women. It has to do with the ability to drop the wrist and not use what I refer to as the "baseball bat grip." Ideally, you should hardly ever make contact with the inside of the fretting hand and the back of the neck; your thumb should apply pressure to the back of the neck, not the inside of the hand. To do this, your wrist must be able to drop and the forearm must be free to reposition the hand as you change chords.
What I see many men do is rest their forearm on their leg as they play. This is done to help brace and support the weight of the neck. While this does serve that purpose, it makes rapid repositioning of the hand very difficult at best. One caveat here: If you play (right handed) with your guitar on your left leg, as classical guitarists do, this is not an issue at all. But most people playing popular music on the guitar rest the instrument on their right leg, which encourages the bad habit.
Correct positioning requires the neck to be held slightly up, away from the leg. Why do men find this more difficult than women? My theory is that men are used to sitting with their legs somewhat apart, whereas women (who have been wearing skirts at least occasionally since they were young) are used to sitting with their legs together. Legs splayed apart offer a convenient resting place for the forearm; legs together do not.
So - if you are used to resting your forearm on your leg while you play, try keeping your legs together when you sit and play, and hold the neck at a slightly elevated angle, away from your leg. You will find your arm can move freely and because of this your wrist can easily drop down to play those pesky bar chords, especially ones up the neck. Try it!
Interestingly, the problem seems to be more common with men than with women. It has to do with the ability to drop the wrist and not use what I refer to as the "baseball bat grip." Ideally, you should hardly ever make contact with the inside of the fretting hand and the back of the neck; your thumb should apply pressure to the back of the neck, not the inside of the hand. To do this, your wrist must be able to drop and the forearm must be free to reposition the hand as you change chords.
What I see many men do is rest their forearm on their leg as they play. This is done to help brace and support the weight of the neck. While this does serve that purpose, it makes rapid repositioning of the hand very difficult at best. One caveat here: If you play (right handed) with your guitar on your left leg, as classical guitarists do, this is not an issue at all. But most people playing popular music on the guitar rest the instrument on their right leg, which encourages the bad habit.
Correct positioning requires the neck to be held slightly up, away from the leg. Why do men find this more difficult than women? My theory is that men are used to sitting with their legs somewhat apart, whereas women (who have been wearing skirts at least occasionally since they were young) are used to sitting with their legs together. Legs splayed apart offer a convenient resting place for the forearm; legs together do not.
So - if you are used to resting your forearm on your leg while you play, try keeping your legs together when you sit and play, and hold the neck at a slightly elevated angle, away from your leg. You will find your arm can move freely and because of this your wrist can easily drop down to play those pesky bar chords, especially ones up the neck. Try it!
Repeating phrases to predict phrases
Learning to play "lead" guitar and improvising comes easy for some players but for most it's an exercise in just listening to your guitar, at least in the beginning. The problem is, this is backwards from what the creative process should be. Ideally we "hear" a line or group of notes before we play it. But that is very difficult until we know the range of our instrument. Whether or not we're playing notes in a particular scale or key, all we can really do is play something and listen to what comes out.
It should be your goal to predict what a group of notes will sound like before you play. That is the creative process - painters do it with their brushes: most of the time they have an idea in the most basic sense what an image will be before they start a painting. We must do that on the guitar to be a good lead/improvisational player.
This is a good reason to learn melodies. Yes, you are listening to confirm if the melody is correctly played or not, but you are predicting the outcome before a note is played. Take the time to learn the melody of a song, even if it is very simple. This is a good way to start reversing the process of just playing a scale and hoping what comes out sounds good.
Another great trick of pure improvising (inventing phrases) is to come up with a simple line, first by playing a group of notes in a particular scale that matches the key in which you're playing. But then - and this is the important part - try to repeat that phrase exactly as you just played it. Sounds easy, right? You'll be amazed how difficult it really is. Repeat it a few times, then try adding one or two notes, and repeat THAT phrase a few times. Then, move to another point in the scale or position and try to create another line - perhaps with the same number of notes as the first one you created - and try to repeat that exactly, a few times.
What you're doing is initially just listening to the phrase, but after that you're making your fingers create something that is already in your head. That is what playing lead is all about.
A side benefit of this is that you'll begin to amass a "battery" of licks - phrases that you may find will work in other songs and in other keys. Every great player has lots of these. In fact, the truly great ones sometimes struggle to reach the next plateau, which is creating something entirely new in each improvisation and not fall back into phrases and lines that they know will work but are not new or (in their minds, at least) creative. The great Sonny Rollins once said that he has to play for a half-hour just to get past all the previously played phrases he has running around in his brain! Wouldn't it be wonderful if we could all get to that point?!
So work with repeating phrases and working out strict melodies. Then what happens in your head will emerge through your fingers!
It should be your goal to predict what a group of notes will sound like before you play. That is the creative process - painters do it with their brushes: most of the time they have an idea in the most basic sense what an image will be before they start a painting. We must do that on the guitar to be a good lead/improvisational player.
This is a good reason to learn melodies. Yes, you are listening to confirm if the melody is correctly played or not, but you are predicting the outcome before a note is played. Take the time to learn the melody of a song, even if it is very simple. This is a good way to start reversing the process of just playing a scale and hoping what comes out sounds good.
Another great trick of pure improvising (inventing phrases) is to come up with a simple line, first by playing a group of notes in a particular scale that matches the key in which you're playing. But then - and this is the important part - try to repeat that phrase exactly as you just played it. Sounds easy, right? You'll be amazed how difficult it really is. Repeat it a few times, then try adding one or two notes, and repeat THAT phrase a few times. Then, move to another point in the scale or position and try to create another line - perhaps with the same number of notes as the first one you created - and try to repeat that exactly, a few times.
What you're doing is initially just listening to the phrase, but after that you're making your fingers create something that is already in your head. That is what playing lead is all about.
A side benefit of this is that you'll begin to amass a "battery" of licks - phrases that you may find will work in other songs and in other keys. Every great player has lots of these. In fact, the truly great ones sometimes struggle to reach the next plateau, which is creating something entirely new in each improvisation and not fall back into phrases and lines that they know will work but are not new or (in their minds, at least) creative. The great Sonny Rollins once said that he has to play for a half-hour just to get past all the previously played phrases he has running around in his brain! Wouldn't it be wonderful if we could all get to that point?!
So work with repeating phrases and working out strict melodies. Then what happens in your head will emerge through your fingers!
How to use a capo
One of the most useful accessories a guitarist can buy is a capo. Time was when there were only a couple choices available in these cool little devices: a metal number that had the very annoying habit of gouging the edges of the fingerboard and one that had one or two elastic straps that supplied pressure. Those didn't damage the guitar but those elastic straps stretched out in a short amount of time, making the device unusable.
Now there are dozens of choices, all of them made so the above issues are a thing of the past. Companies like G7, Shubb, and Kyser are making some fine capos that are easily adjustable, hold the strings down without putting the guitar out of tune, last for years and are reasonably priced.
What a capo does is change the key you're playing in but still allows you to use chords that are easy to play. Raising the overall pitch of the guitar can be a very nice effect too, plus you'll find fretting is easier up the neck because the capo pushes the strings closer to the neck, your arm is closer to your body making wrist position easier and as the frets go up the neck they are closer together, making chords easier to play. Some songs need to be played with a capo to get a sound like the artist gets - songs like "Scarborough Fair" by Paul Simon and "If I Had a Boat" by Lyle Lovett are two examples.
Correct placement of the capo is important. Keep it close to but not on top of the fret and be sure it is straight across the neck. Make sure it comes straight down on the strings - avoid "bending" them with the capo because if you do your guitar will sound out of tune.
Most people use a capo fairly arbitrarily, which is fine. Where you want to use it to make a song easier to play or sing is the "right" place. But here's another use. Suppose you're playing with another guitarist. Both players playing the same chords in the same place on the neck sounds OK, but if you'd like a much more interesting sound, try having one player use a capo and the other play in 1st position. How do you accomplish this and have the guitars playing in the same key?
Understanding a bit of basic music theory is necessary. Every time you capo up one fret, you're raising the overall sound of the guitar 1/2 step. (For an explanation of steps and the distances between notes, see my latest blog entry) For starters, place your capo at (just behind) the 5th fret. You have now raised the sound of the guitar by 2 1/2 steps. So for you to sound the same as the person playing in open position, you must move every open position chord name BACK or DOWN 2 1/2 steps. So if the music calls for a G Major chord in first position, you must play what you'll be fingering as a D Major chord above the capo. If the first position player plays a C Major, you should play a G Major. Minors (and all chords) are the same. If the player in first position plays an E minor, you should play a B minor; first position Am, you play an Em. If altered chords like 7ths and 9ths are called for, just add that to the "first name" of your chord: Am7 in first position = Em7 above the capo at the 5th fret.
I absolutely guarantee you will LOVE the sound of two guitars playing together with one capoed up and the other playing open chords in first position. Try it!
Now there are dozens of choices, all of them made so the above issues are a thing of the past. Companies like G7, Shubb, and Kyser are making some fine capos that are easily adjustable, hold the strings down without putting the guitar out of tune, last for years and are reasonably priced.
What a capo does is change the key you're playing in but still allows you to use chords that are easy to play. Raising the overall pitch of the guitar can be a very nice effect too, plus you'll find fretting is easier up the neck because the capo pushes the strings closer to the neck, your arm is closer to your body making wrist position easier and as the frets go up the neck they are closer together, making chords easier to play. Some songs need to be played with a capo to get a sound like the artist gets - songs like "Scarborough Fair" by Paul Simon and "If I Had a Boat" by Lyle Lovett are two examples.
Correct placement of the capo is important. Keep it close to but not on top of the fret and be sure it is straight across the neck. Make sure it comes straight down on the strings - avoid "bending" them with the capo because if you do your guitar will sound out of tune.
Most people use a capo fairly arbitrarily, which is fine. Where you want to use it to make a song easier to play or sing is the "right" place. But here's another use. Suppose you're playing with another guitarist. Both players playing the same chords in the same place on the neck sounds OK, but if you'd like a much more interesting sound, try having one player use a capo and the other play in 1st position. How do you accomplish this and have the guitars playing in the same key?
Understanding a bit of basic music theory is necessary. Every time you capo up one fret, you're raising the overall sound of the guitar 1/2 step. (For an explanation of steps and the distances between notes, see my latest blog entry) For starters, place your capo at (just behind) the 5th fret. You have now raised the sound of the guitar by 2 1/2 steps. So for you to sound the same as the person playing in open position, you must move every open position chord name BACK or DOWN 2 1/2 steps. So if the music calls for a G Major chord in first position, you must play what you'll be fingering as a D Major chord above the capo. If the first position player plays a C Major, you should play a G Major. Minors (and all chords) are the same. If the player in first position plays an E minor, you should play a B minor; first position Am, you play an Em. If altered chords like 7ths and 9ths are called for, just add that to the "first name" of your chord: Am7 in first position = Em7 above the capo at the 5th fret.
I absolutely guarantee you will LOVE the sound of two guitars playing together with one capoed up and the other playing open chords in first position. Try it!
Action Issues
A guitar maker and repairman I used to know once told me that the single most annoying request he receives goes like this: Can you adjust the action as low as it can be without buzzing?
The annoying part for the guitar guy was that this was just about impossible to do in a single adjustment because he had no idea what gauge strings were usually used or the style that the owner played most often - two huge factors in determining correct distance of the strings from the fretboard, commonly known as the "action."
That was back in the days of inefficient adjustable truss rods or in the case of Martins, no adjustable truss rods at all. It was up to the guitar tech to carefully cut the saddle and nut to accomplish low action with minimal buzzing, assuming something more radical like a neck reset wasn't required.
Now things are totally different. Virtually all guitars are made with quite good adjustable truss rods and players can easily make adjustments themselves. However, there are a few basics to understand. First of all, when you adjust the truss rod to affect the action what you are really doing is adjusting the "relief" on the neck. This the angle of the neck relative to the body of the guitar. Although many players think a perfectly straight neck is desirable that is not the case. Think about the way a guitar string moves when it is played. The widest range of movement is in the middle of the string. If the action is the same and very low all the way up the neck due to the neck being perfectly straight it is likely that the string will make contact with the frets in that middle section and buzzes will develop - not a good thing!
To check the relief, place the edge of a yard stick or some other straight piece of material down on the neck with one end on the first fret and the other end extending to at least the 14th fret. You should be able to slip a business card between the straight edge and top of the frets at about the 7th fret. If you can't, the relief is too severe; if you can easily slip it in and there is still a slight space, more tension on the truss rod is probably needed.
Some guitars have access to the nut that adjusts the relief under the upper part of the fretboard inside the guitar. Other have access under a small cover up on the head of the guitar. A few have access in both places. Usually the relief can be adjusted with a hex head wrench (get one of the multi head units available at most hardware stores) or in the case of Taylor guitars you'll need a hex nut driver that slips over the head of the nut. If you won a Martin you will want to purchase a longer hex wrench available directly through Martin via their web site because the standard ones won't reach the nut.
Loosen at least the G and D strings but do not take all the tension off the neck before you make an adjustment because you will not get an accurate read of the relief with that straight edge if you do.
Then, keeping in mind the old "right is tight, left is loose" rule of turning a screw or nut, make a slight turn with your tool, perhaps a half turn of the nut. Then re-check the relief with the guitar tuned up to pitch. If you have adjusted the relief to the optimum point, so be it. If not, loosen those two strings and take another half turn. DO NOT take a few aggressive turns and hope you get it right - take your time and things will work out fine. Don't be alarmed if you have to exert some force initially to get the nut to move and don't worry about strange noises. It's likely that this operation has never been done and you need to convince that nut to get loose!
Don't be alarmed if you have to do this a couple times a year. Unless you're fortunate enough to live somewhere with very consistent humidity and temperature on a year-round basis, your guitar's neck will change angle of relief on a seasonal basis.
If this doesn't work - that is, the action is still too high or too low and you're still getting buzzes here and there you most likely need to take your guitar to a qualified guitar tech for a new nut and/or saddle. This is annoying but I promise you'll be happy with the results.
There is no need to struggle with high action or annoying buzzes when you play. Making the correct adjustments result is truly a "relief!"
The annoying part for the guitar guy was that this was just about impossible to do in a single adjustment because he had no idea what gauge strings were usually used or the style that the owner played most often - two huge factors in determining correct distance of the strings from the fretboard, commonly known as the "action."
That was back in the days of inefficient adjustable truss rods or in the case of Martins, no adjustable truss rods at all. It was up to the guitar tech to carefully cut the saddle and nut to accomplish low action with minimal buzzing, assuming something more radical like a neck reset wasn't required.
Now things are totally different. Virtually all guitars are made with quite good adjustable truss rods and players can easily make adjustments themselves. However, there are a few basics to understand. First of all, when you adjust the truss rod to affect the action what you are really doing is adjusting the "relief" on the neck. This the angle of the neck relative to the body of the guitar. Although many players think a perfectly straight neck is desirable that is not the case. Think about the way a guitar string moves when it is played. The widest range of movement is in the middle of the string. If the action is the same and very low all the way up the neck due to the neck being perfectly straight it is likely that the string will make contact with the frets in that middle section and buzzes will develop - not a good thing!
To check the relief, place the edge of a yard stick or some other straight piece of material down on the neck with one end on the first fret and the other end extending to at least the 14th fret. You should be able to slip a business card between the straight edge and top of the frets at about the 7th fret. If you can't, the relief is too severe; if you can easily slip it in and there is still a slight space, more tension on the truss rod is probably needed.
Some guitars have access to the nut that adjusts the relief under the upper part of the fretboard inside the guitar. Other have access under a small cover up on the head of the guitar. A few have access in both places. Usually the relief can be adjusted with a hex head wrench (get one of the multi head units available at most hardware stores) or in the case of Taylor guitars you'll need a hex nut driver that slips over the head of the nut. If you won a Martin you will want to purchase a longer hex wrench available directly through Martin via their web site because the standard ones won't reach the nut.
Loosen at least the G and D strings but do not take all the tension off the neck before you make an adjustment because you will not get an accurate read of the relief with that straight edge if you do.
Then, keeping in mind the old "right is tight, left is loose" rule of turning a screw or nut, make a slight turn with your tool, perhaps a half turn of the nut. Then re-check the relief with the guitar tuned up to pitch. If you have adjusted the relief to the optimum point, so be it. If not, loosen those two strings and take another half turn. DO NOT take a few aggressive turns and hope you get it right - take your time and things will work out fine. Don't be alarmed if you have to exert some force initially to get the nut to move and don't worry about strange noises. It's likely that this operation has never been done and you need to convince that nut to get loose!
Don't be alarmed if you have to do this a couple times a year. Unless you're fortunate enough to live somewhere with very consistent humidity and temperature on a year-round basis, your guitar's neck will change angle of relief on a seasonal basis.
If this doesn't work - that is, the action is still too high or too low and you're still getting buzzes here and there you most likely need to take your guitar to a qualified guitar tech for a new nut and/or saddle. This is annoying but I promise you'll be happy with the results.
There is no need to struggle with high action or annoying buzzes when you play. Making the correct adjustments result is truly a "relief!"
Tuning machine basics
Is there anything more annoying to listen to than a good guitarist who can't seem to tune his or her guitar? With electronic tuners now being required equipment for just about all guitarists, you can't blame it on someone's ear - those wonderful little devices take all the guess work out of tuning.
There is another factor though, one that we often don't think too much about and that is those little twisty things that make the string tighter or looser. Although most guitars these days come equipped with fairly decent tuning machines, some rather expensive guitars are sold with machines that are barely functional at best. If you find yourself struggling with getting strings dialed in to the exact pitch your electronic tuner is suggesting, there are a couple things you can do.
First, be sure the mechanism is turning smoothly. Most tuning machines are "self lubricating" (that usually means there is a plastic bushing in the gears that is supposed to keep the thing turning smoothly) but some dry graphite powder (available at most hardware stores) is a good lubricant if you can apply some directly to the gears. Avoid wet lubricants like WD-40 or 3-in1 oil as they will inevitably spread out onto other surfaces.
Adjust the tension with the screw that you'll see on the end of many tuners. You want it to have some tension, but not too much - if you have to apply force when you turn a tuning machine it is all but impossible to make the minute adjustments that will put your guitar perfectly in tune. (Here's a hint regarding tuning: Always try to tune UP to a note, rather than down. All machines handle this better because going down to a note is releasing tension, which can allow the string to go out of tune quickly when you play.)
Lastly, if you just can't get along with the tuners that came on your guitar, consider replacing them with some better quality ones. The Grover machines the I offer in my store are a great choice - they have been standard on many high end guitars for decades, and Martin has just returned to using them on many of their guitars. Schaller and Gotoh are also excellent. Waverly machines, offered by Stewart - McDonald are considered by many to be the ultimate but they are very, very pricey.
Replacing machines is not all that difficult. You may have to ream out the holes in the headstock a tiny bit or use the bushings that come with all good machines but chances are your new machines will fit without any modifications. One or two tiny screws hold the machines in, which makes replacement and installing new ones very simple.
Being in tune is not optional - it is absolutely essential to an enjoyable playing experience for both the player and the listener. Pay attention to your tuning machines and you'll find getting in tune and STAYING in tune are no problem.
There is another factor though, one that we often don't think too much about and that is those little twisty things that make the string tighter or looser. Although most guitars these days come equipped with fairly decent tuning machines, some rather expensive guitars are sold with machines that are barely functional at best. If you find yourself struggling with getting strings dialed in to the exact pitch your electronic tuner is suggesting, there are a couple things you can do.
First, be sure the mechanism is turning smoothly. Most tuning machines are "self lubricating" (that usually means there is a plastic bushing in the gears that is supposed to keep the thing turning smoothly) but some dry graphite powder (available at most hardware stores) is a good lubricant if you can apply some directly to the gears. Avoid wet lubricants like WD-40 or 3-in1 oil as they will inevitably spread out onto other surfaces.
Adjust the tension with the screw that you'll see on the end of many tuners. You want it to have some tension, but not too much - if you have to apply force when you turn a tuning machine it is all but impossible to make the minute adjustments that will put your guitar perfectly in tune. (Here's a hint regarding tuning: Always try to tune UP to a note, rather than down. All machines handle this better because going down to a note is releasing tension, which can allow the string to go out of tune quickly when you play.)
Lastly, if you just can't get along with the tuners that came on your guitar, consider replacing them with some better quality ones. The Grover machines the I offer in my store are a great choice - they have been standard on many high end guitars for decades, and Martin has just returned to using them on many of their guitars. Schaller and Gotoh are also excellent. Waverly machines, offered by Stewart - McDonald are considered by many to be the ultimate but they are very, very pricey.
Replacing machines is not all that difficult. You may have to ream out the holes in the headstock a tiny bit or use the bushings that come with all good machines but chances are your new machines will fit without any modifications. One or two tiny screws hold the machines in, which makes replacement and installing new ones very simple.
Being in tune is not optional - it is absolutely essential to an enjoyable playing experience for both the player and the listener. Pay attention to your tuning machines and you'll find getting in tune and STAYING in tune are no problem.
Record it - Surprise yourself!
No matter what our level of ability one of the biggest challenges we all face is tracking our progress. Sometimes it may seem that no matter how much practice time we put in, we're just not getting any better. But you know what? You are! Even if you have to measure your progress in larger increments - assuming you put in regular practice sessions - it is definitely possible to judge yourself accurately.
All it involves is recording what you're playing. This is now easier than ever thanks to the nifty little digital recorders made by companies like Tascam and Zoom. Many of these little units have built in condenser mics that are surprisingly good, and some allow you to plug in your own mics. Most of them are quite reasonable priced too.
The trick is to make a recording but don't be too critical of your playing. Mistakes are OK; this is not for public consumption, after all. Then remove the sound card and PUT IT AWAY! If you can stand the suspense, don't even listen to it. Then go back to it a couple months later and take a listen. Chances are very, very good that you'll think: wow, did I really play that song like that? I sure know it better now!
We all need strokes once in a while when it comes to our playing and the kind comments of loved ones only go so far. And who knows? Maybe you'll find when you re-record that song that was giving you so much trouble that it is good enough to take to the next level. Download a free sound editing program like Audacity, do some basic sound editing of your song, then burn it to a CD. Makes a nice gift and I guarantee your friends will be impressed!
All it involves is recording what you're playing. This is now easier than ever thanks to the nifty little digital recorders made by companies like Tascam and Zoom. Many of these little units have built in condenser mics that are surprisingly good, and some allow you to plug in your own mics. Most of them are quite reasonable priced too.
The trick is to make a recording but don't be too critical of your playing. Mistakes are OK; this is not for public consumption, after all. Then remove the sound card and PUT IT AWAY! If you can stand the suspense, don't even listen to it. Then go back to it a couple months later and take a listen. Chances are very, very good that you'll think: wow, did I really play that song like that? I sure know it better now!
We all need strokes once in a while when it comes to our playing and the kind comments of loved ones only go so far. And who knows? Maybe you'll find when you re-record that song that was giving you so much trouble that it is good enough to take to the next level. Download a free sound editing program like Audacity, do some basic sound editing of your song, then burn it to a CD. Makes a nice gift and I guarantee your friends will be impressed!
Finger angle with picking hand
I've mentioned in this space the importance of the correct angle of attack on the strings with a pick, but what about with bare fingers? Assuming you don't use your fingernails to fingerpick - something few steel string guitarists do because the steel strings break down fingernails very quickly, in contrast to nylon strings - you are using the pads of the tips of your fingers. How you attack the string has everything to do with the quality of tone you achieve.
The first thing to consider is a finger that probably isn't being used at all - your pinkie. There is a lot of debate in the acoustic guitar world about whether or not your pinkie should be anchored on top of the guitar when you're fingerpicking. I know there are thousands of very fine players who do it or don't do it but I subscribe to keeping it down with the tip in contact with the top of the guitar at all times. When you're learning to use your fingers it forces you to keep the other fingers close to the strings, something that is essential for accuracy and control. After you get used to having the little finger anchored it gives you a "leverage point" - somewhere to rest the weight of your hand and your arm - and this results in much more control over things like dynamics and speed.
Then comes angle of attack. This seems to be much more of an issue with men than with women and that is probably because men usually have longer arms than women. The temptation is to keep the angle of the arm close to the plane of the strings, i.e., straight and flat with no bend in the wrist. This is bad because usually the result is picking along the string rather than into it and the tone is muffled and unclear.
Classical players are just the opposite. They often drape the arm over the waist of the guitar and their nails attack the string at a 90-degree angle to the strings, which is necessary for a crisp attack with fingernails. But remember - we're talking about using finger tips, not nails.
The best angle for steel string players is about 45 degrees, or half way between the same plane as the strings and the 90-degree angle of classical guitar players. This means that you'll have to force your wrist to bend slightly, with the fingers cupped and each finger close to the string it controls. What you'll get a nice, clean and clear attack. No, it won't be as crisp as using nails but it is far superior to playing down the string toward the bridge. Give it a try!
The first thing to consider is a finger that probably isn't being used at all - your pinkie. There is a lot of debate in the acoustic guitar world about whether or not your pinkie should be anchored on top of the guitar when you're fingerpicking. I know there are thousands of very fine players who do it or don't do it but I subscribe to keeping it down with the tip in contact with the top of the guitar at all times. When you're learning to use your fingers it forces you to keep the other fingers close to the strings, something that is essential for accuracy and control. After you get used to having the little finger anchored it gives you a "leverage point" - somewhere to rest the weight of your hand and your arm - and this results in much more control over things like dynamics and speed.
Then comes angle of attack. This seems to be much more of an issue with men than with women and that is probably because men usually have longer arms than women. The temptation is to keep the angle of the arm close to the plane of the strings, i.e., straight and flat with no bend in the wrist. This is bad because usually the result is picking along the string rather than into it and the tone is muffled and unclear.
Classical players are just the opposite. They often drape the arm over the waist of the guitar and their nails attack the string at a 90-degree angle to the strings, which is necessary for a crisp attack with fingernails. But remember - we're talking about using finger tips, not nails.
The best angle for steel string players is about 45 degrees, or half way between the same plane as the strings and the 90-degree angle of classical guitar players. This means that you'll have to force your wrist to bend slightly, with the fingers cupped and each finger close to the string it controls. What you'll get a nice, clean and clear attack. No, it won't be as crisp as using nails but it is far superior to playing down the string toward the bridge. Give it a try!
Poorly packed guitars = heartbreak.
A case study
A couple weeks ago I received a guitar that had been shipped via UPS. Upon visual inspection of the shipping box I had no reason to suspect what I found when I opened it. There was no damage to the box beyond the usual scuffs and nicks. But when I opened the bottom of the box (a good trick - open the bottom rather than the top if you think you're going to be dealing with those awful plastic peanuts - it is much easier and less trouble to pull the guitar case out bottom first) I immediately noticed that the person who sent it had totally neglected to put any padding whatsoever between the bottom of the case and the inside of the box.
Sure enough, I could see the case was split along the bottom seam, and when I opened the case after letting it sit to warm up for a couple hours, there it was: a severe crack along the seam of the lower bout, and long crack with the grain up the back. Now, the obvious recommendation here is to carefully pad the case inside the box, but even without the padding the guitar could have perhaps survived if the owner had done one simple thing.
The guitar was not a tight fit in the case, even though it was original equipment. It was one of the manufacturer's less expensive hardshell cases and the guitar was able to move and inch or so inside the case even when it was closed. This is a sure recipe for disaster. I'm sure at some point in the shipping the box was dropped or slid down to crash into some hard object. With the guitar able to move inside the case the force of this action caused the guitar to absorb the force of the fall and the result was right there in my hands. Such a waste, and totally unnecessary.
If you have to ship a guitar be absolutely dead certain that it fits snugly in its case. This may mean carefully padding it inside the case around the body with a towel. But most of all, place extra padding around the upper neck and especially in that space between the very top of the head of the guitar and the inside top of the case. This extra protection may very well be the difference between a guitar surviving the rigors of shipping and arriving with cracks or splits or even worse damage.
Sure enough, I could see the case was split along the bottom seam, and when I opened the case after letting it sit to warm up for a couple hours, there it was: a severe crack along the seam of the lower bout, and long crack with the grain up the back. Now, the obvious recommendation here is to carefully pad the case inside the box, but even without the padding the guitar could have perhaps survived if the owner had done one simple thing.
The guitar was not a tight fit in the case, even though it was original equipment. It was one of the manufacturer's less expensive hardshell cases and the guitar was able to move and inch or so inside the case even when it was closed. This is a sure recipe for disaster. I'm sure at some point in the shipping the box was dropped or slid down to crash into some hard object. With the guitar able to move inside the case the force of this action caused the guitar to absorb the force of the fall and the result was right there in my hands. Such a waste, and totally unnecessary.
If you have to ship a guitar be absolutely dead certain that it fits snugly in its case. This may mean carefully padding it inside the case around the body with a towel. But most of all, place extra padding around the upper neck and especially in that space between the very top of the head of the guitar and the inside top of the case. This extra protection may very well be the difference between a guitar surviving the rigors of shipping and arriving with cracks or splits or even worse damage.
Anticipating chord changes = fast movement & accuracy
It's funny how some people assume when they're learning the guitar there is some rule against looking at their hands. This may be because when they see guitarists, especially those singing and playing at the same time, it seems the player looks straight ahead or sometimes even closes his or her eyes, paying no attention whatsoever to what their hands are doing.
While this is sometimes true, I always explain that it's certain that player is doing something relatively simple, or has played it many, many times - or both. I then advise them to watch the OTHER players backing up the singer if there are any, and they will see that the guitarists doing the fancy stuff are almost always looking at the hand that is on the fingerboard. But this is somewhat deceptive. The fact is that they are most likely not focusing on what they're playing at that moment - they are looking at the neck and imagining where there fingers will go next.
This hugely important and absolutely necessary for fast changes and accurate landings. Of course, for the novice guitarist this means that they will have to know what is coming next, and that requires looking at their music. If you factor in the learning of playing with individual fingers on the playing hand, there's something else that bears watching. Confusing? Yes! So the key is this. Your eyes should always be moving between the printed page and the neck of the guitar (with glances at the playing hand if you're trying to locate individual strings). But the bottom line is you MUST always be thinking ahead and anticipating where your fingers will go next, at least until you have the song memorized. Unfortunately this also means there are few places you can totally relax and just get into the music you're making. But trust me on this: if you conquer changes by knowing where and how you will make each move, the time will come before long that your hands will move more and more with something like a mind of their own.
While this is sometimes true, I always explain that it's certain that player is doing something relatively simple, or has played it many, many times - or both. I then advise them to watch the OTHER players backing up the singer if there are any, and they will see that the guitarists doing the fancy stuff are almost always looking at the hand that is on the fingerboard. But this is somewhat deceptive. The fact is that they are most likely not focusing on what they're playing at that moment - they are looking at the neck and imagining where there fingers will go next.
This hugely important and absolutely necessary for fast changes and accurate landings. Of course, for the novice guitarist this means that they will have to know what is coming next, and that requires looking at their music. If you factor in the learning of playing with individual fingers on the playing hand, there's something else that bears watching. Confusing? Yes! So the key is this. Your eyes should always be moving between the printed page and the neck of the guitar (with glances at the playing hand if you're trying to locate individual strings). But the bottom line is you MUST always be thinking ahead and anticipating where your fingers will go next, at least until you have the song memorized. Unfortunately this also means there are few places you can totally relax and just get into the music you're making. But trust me on this: if you conquer changes by knowing where and how you will make each move, the time will come before long that your hands will move more and more with something like a mind of their own.
Taylor Guitars JKSM
String health - do's and don't's
It really doesn't matter how nice your guitar might be - dead strings will kill the sound. I've played guitars in some music stores that were definitely wonderful instruments but it was a guessing game in terms of just how good they really were. After being played by dozens of people the strings were nothing more than metal rubber bands, sound-wise. Such a shame!
I confess to going way too long without changing strings at certain points in my life. Back in college I would go months and months without changing them and sometimes it was so bad that there was actually corrosion on the strings when I opened the case. I've gone to the other extreme, too. When I was recording with fiddler Marie Rhines and we spent about 10 days in the studio I think I changed my strings four times, just to keep that ringing, crisp sound that my Martin D-28 could produce. That was extreme I know, but I absolutely believe in keeping my guitars sounding as good as they possibly can be.
These days I fall somewhere between those extremes. Students often ask me how often I change my strings, and that is a tough one to answer. I am fortunate to have fairly dry hands so my strings tend to stay on for at least a couple months, although in the summer if I'm playing a lot of gigs, particularly ones outside, I will change them about once a month due to the humidity. That comes down to how important it is to you that your guitar sound its best.
So how can we get the most life out of our strings? The most basic way is to wipe them off with a clean rag (I use a dry facecloth). But there is a right and a wrong way to do this. Start by gently wiping down the entire length of the string, from the saddle all the way up to the nut. Here's part two, that very guitarists take the time to do. Pull the rag UNDER the strings and holding it on each side of the strings, run it all the way up and down the string again. This way you can be sure you've hit every surface.
There is a point of diminishing returns here, unfortunately. What kills wound string is microscopic dirt and grime between the winds making the string less able to vibrate. Some of the new coated strings such as the ones I sell, Martin SP with Cleartone coating delay the build up of grime and those strings stay new-sounding for a longer amount of time. But while the act of cleaning with a cloth does remove some surface grime it also pushes some of it into the windings. This is why I say to use gentle rubbing action rather than pushing the rag along forcefully. By all means, avoid using products such as StringEase and the like that give the strings a nice silky feel but kill the strings' vibration in a short amount of time. I am also skeptical of the cleaning agents for strings that are on the market, for the same reason - that stuff may remove surface grime but it will also push stuff in between the windings. They are all alcohol based and also may damage your guitars finish if used regularly.
Another factor in making strings last is not the strings at all - it is the condition of the fretboard. Grime builds up, especially near the frets in first and second position. That grime can be transferred to the string as you play. Every few months, take all the strings off and thoroughly clean the fretboard. The Virtuoso Cleaner I sell is excellent for this job. You'll be amazed how much gunk has built up when you finish this job and look at the cleaning cloth!
Some people, sad to say, have very sweaty hands and their guitar strings don't last long; there is really nothing that can be done about this. I have a friend who is a very good guitarist but I won't let him touch my guitars because he can kill a set of strings in five minutes! So assuming you're not like him, take the time to wipe your strings down after you play. It only takes a minute or so and you'll find you're not changing your strings nearly as often.
I confess to going way too long without changing strings at certain points in my life. Back in college I would go months and months without changing them and sometimes it was so bad that there was actually corrosion on the strings when I opened the case. I've gone to the other extreme, too. When I was recording with fiddler Marie Rhines and we spent about 10 days in the studio I think I changed my strings four times, just to keep that ringing, crisp sound that my Martin D-28 could produce. That was extreme I know, but I absolutely believe in keeping my guitars sounding as good as they possibly can be.
These days I fall somewhere between those extremes. Students often ask me how often I change my strings, and that is a tough one to answer. I am fortunate to have fairly dry hands so my strings tend to stay on for at least a couple months, although in the summer if I'm playing a lot of gigs, particularly ones outside, I will change them about once a month due to the humidity. That comes down to how important it is to you that your guitar sound its best.
So how can we get the most life out of our strings? The most basic way is to wipe them off with a clean rag (I use a dry facecloth). But there is a right and a wrong way to do this. Start by gently wiping down the entire length of the string, from the saddle all the way up to the nut. Here's part two, that very guitarists take the time to do. Pull the rag UNDER the strings and holding it on each side of the strings, run it all the way up and down the string again. This way you can be sure you've hit every surface.
There is a point of diminishing returns here, unfortunately. What kills wound string is microscopic dirt and grime between the winds making the string less able to vibrate. Some of the new coated strings such as the ones I sell, Martin SP with Cleartone coating delay the build up of grime and those strings stay new-sounding for a longer amount of time. But while the act of cleaning with a cloth does remove some surface grime it also pushes some of it into the windings. This is why I say to use gentle rubbing action rather than pushing the rag along forcefully. By all means, avoid using products such as StringEase and the like that give the strings a nice silky feel but kill the strings' vibration in a short amount of time. I am also skeptical of the cleaning agents for strings that are on the market, for the same reason - that stuff may remove surface grime but it will also push stuff in between the windings. They are all alcohol based and also may damage your guitars finish if used regularly.
Another factor in making strings last is not the strings at all - it is the condition of the fretboard. Grime builds up, especially near the frets in first and second position. That grime can be transferred to the string as you play. Every few months, take all the strings off and thoroughly clean the fretboard. The Virtuoso Cleaner I sell is excellent for this job. You'll be amazed how much gunk has built up when you finish this job and look at the cleaning cloth!
Some people, sad to say, have very sweaty hands and their guitar strings don't last long; there is really nothing that can be done about this. I have a friend who is a very good guitarist but I won't let him touch my guitars because he can kill a set of strings in five minutes! So assuming you're not like him, take the time to wipe your strings down after you play. It only takes a minute or so and you'll find you're not changing your strings nearly as often.
Hand position for the best tone
I sometimes hear and see finger style guitarists who produce muddy, thumpy and indistinct tone, something that could be cured with a very simple adjustment. Classical players almost always get a clear, clean attack because they play with their fingernails, but there is another reason and this can relate to steel string playing.
Assuming the player is right handed, a classical player holds his or her guitar on the left leg, with a small stool or the guitar case under the left foot so the guitar is elevated. They then drape their right arm over the guitar, usually across the waist of the instrument between the upper and lower bout. What this accomplishes is an almost 90-degree attack with their fingernails and the result it crisp tone - something that is vital for a nylon string guitar to sound good.
On the other hand (no pun intended!), right-handed steel string players usually play with their guitar on the right leg, not elevated. What this inadvertently encourages is attacking the string in a motion that makes the finger move not only against the string but often slightly down it, toward the bridge. The result (especially if the player is using the finger tips, not nails) is a less than crisp sound from each of the strings. Not good!
So - to cure this, you must adjust the attack to something like at least a 45-degree angle and the easiest way to do it is by moving your hand back a bit from a position over the sound hole, more toward the bridge. At the same time, move the forearm and wrist to more of angle, or put another way, less on the same plane as the strings themselves.
The more you approach a 90-degree angle of attack, the better. Yes, it might feel a bit awkward at first but you will notice an immediate improvement in sound!
Assuming the player is right handed, a classical player holds his or her guitar on the left leg, with a small stool or the guitar case under the left foot so the guitar is elevated. They then drape their right arm over the guitar, usually across the waist of the instrument between the upper and lower bout. What this accomplishes is an almost 90-degree attack with their fingernails and the result it crisp tone - something that is vital for a nylon string guitar to sound good.
On the other hand (no pun intended!), right-handed steel string players usually play with their guitar on the right leg, not elevated. What this inadvertently encourages is attacking the string in a motion that makes the finger move not only against the string but often slightly down it, toward the bridge. The result (especially if the player is using the finger tips, not nails) is a less than crisp sound from each of the strings. Not good!
So - to cure this, you must adjust the attack to something like at least a 45-degree angle and the easiest way to do it is by moving your hand back a bit from a position over the sound hole, more toward the bridge. At the same time, move the forearm and wrist to more of angle, or put another way, less on the same plane as the strings themselves.
The more you approach a 90-degree angle of attack, the better. Yes, it might feel a bit awkward at first but you will notice an immediate improvement in sound!
Alternate and anticipate!
Just to expand on last week's tip a bit, here are a couple more ideas to develop those clean, flowing single note runs.
First, it is absolutely necessary to learn how to alternate your pick. That is, to pick a series of notes (such as a run of 8th notes) in a fluid fashion you must follow a downstroke with an upstroke. There are certain blues guitarists I've seen who use only downstrokes and they sound fine but generally they accomplish faster, extended runs by using lots of pull-offs and hammer-ons with the fretting hand. Remember too that they are often playing electric guitars on which those hammers and pulls are much easier to accomplish compared to an acoustic.
Think about it: in order to play two downstrokes in a row, what do you have to do in between? Bring the pick back up of course! If you can get comfortable with picking on that upstroke (see the tip below for comments on pick angle, which will surely help with this) you will not only immediately double your speed but you will also develop the clean attack that is vital to long, flowing lines.
I often give my students one-octave 1st position chromatic scales, beginning on open strings low E, A, D and G to help with learning the down-up-down-up picking style. They are don't exactly make you want to get up and dance, tonality-wise, but they are the best way I know to practice the alternating pick style! Try some - you will see results in a relatively short amount of time. Promise!
What does hand-in-hand with the right hand alternating pick to get that flow is anticipating which note comes next - in fact, anticipating a few of the notes in sequence. Some beginning players seem reluctant to look at their fretting hand when they play but this must be done to know where your fingers will go next. Watch some experienced players and unless they are just strumming chords I guarantee they spend a lot of time looking at the neck. But you know what? They are NOT looking at what they are playing at that moment - they are imagining where their fingers will be next. Anticipate movement and you will be accurate.
First, it is absolutely necessary to learn how to alternate your pick. That is, to pick a series of notes (such as a run of 8th notes) in a fluid fashion you must follow a downstroke with an upstroke. There are certain blues guitarists I've seen who use only downstrokes and they sound fine but generally they accomplish faster, extended runs by using lots of pull-offs and hammer-ons with the fretting hand. Remember too that they are often playing electric guitars on which those hammers and pulls are much easier to accomplish compared to an acoustic.
Think about it: in order to play two downstrokes in a row, what do you have to do in between? Bring the pick back up of course! If you can get comfortable with picking on that upstroke (see the tip below for comments on pick angle, which will surely help with this) you will not only immediately double your speed but you will also develop the clean attack that is vital to long, flowing lines.
I often give my students one-octave 1st position chromatic scales, beginning on open strings low E, A, D and G to help with learning the down-up-down-up picking style. They are don't exactly make you want to get up and dance, tonality-wise, but they are the best way I know to practice the alternating pick style! Try some - you will see results in a relatively short amount of time. Promise!
What does hand-in-hand with the right hand alternating pick to get that flow is anticipating which note comes next - in fact, anticipating a few of the notes in sequence. Some beginning players seem reluctant to look at their fretting hand when they play but this must be done to know where your fingers will go next. Watch some experienced players and unless they are just strumming chords I guarantee they spend a lot of time looking at the neck. But you know what? They are NOT looking at what they are playing at that moment - they are imagining where their fingers will be next. Anticipate movement and you will be accurate.
Angling for tone
Ever notice how some acoustic guitarists get that sweet, clean pop with each single note they play? Listen to amazing flatpickers like Doc Watson and Tony Rice if you're not sure what I mean. Although their lines flow, each individual note is a tiny gem in and of itself. Some of that comes from the left hand, i.e., fretting cleanly but much of it comes from both using a fairly thick pick and most importantly, the angle at which the pick attacks the string.
When players begin using flat picks, either by choice or inadvertently they often turn the pick a bit on its side. This is because the tip slides over the string with little resistance when the string is attacked this way. Problem is, the result it a mushy attack with poorly defined notes. Holding the pick so the flat part of the tip (rather than the edge) strikes the string is harder to do because of the resistance of the string to the flat surface, but this angle is absolutely essential for the best tone - that crisp, clear punchy sound that great flat pickers all seem to get.
Once you master attacking at the correct angle, try some picks of slightly different shapes and with different amounts of "pointy-ness" in the tip but keep in mind: the more rounded the tip, the mushier the sound. Ideally you will find the right compromise between the sharpness of the point of the pick, the correct thickness (ALWAYS go with thicker rather than thinner for the best tone) and the various materials that picks are made of - there are marked differences in tone between the various types of plastic. And oh - by the way - you MUST master both the downstroke and the upstroke at the same angle to play those nice clean lines with the fluid grace of a great player.
But no matter what, attack the string with the flat part of the very tip of the pick, not the side. Yes, it takes some time to master but the result is a clear and clean attack that makes even simple lines sound well defined and deliberate.
When players begin using flat picks, either by choice or inadvertently they often turn the pick a bit on its side. This is because the tip slides over the string with little resistance when the string is attacked this way. Problem is, the result it a mushy attack with poorly defined notes. Holding the pick so the flat part of the tip (rather than the edge) strikes the string is harder to do because of the resistance of the string to the flat surface, but this angle is absolutely essential for the best tone - that crisp, clear punchy sound that great flat pickers all seem to get.
Once you master attacking at the correct angle, try some picks of slightly different shapes and with different amounts of "pointy-ness" in the tip but keep in mind: the more rounded the tip, the mushier the sound. Ideally you will find the right compromise between the sharpness of the point of the pick, the correct thickness (ALWAYS go with thicker rather than thinner for the best tone) and the various materials that picks are made of - there are marked differences in tone between the various types of plastic. And oh - by the way - you MUST master both the downstroke and the upstroke at the same angle to play those nice clean lines with the fluid grace of a great player.
But no matter what, attack the string with the flat part of the very tip of the pick, not the side. Yes, it takes some time to master but the result is a clear and clean attack that makes even simple lines sound well defined and deliberate.
Seasonal Action and Getting a Buzz! No, not that kind ;~)
A student of mine showed up for his lesson yesterday with his really nice 1963 Martin D-18, a guitar that he's owned since it was new. He was asking about whether or not I thought it was wise to refinish the neck, which has some spots where the finish has rubbed off after decades of loving use. That is the probable subject of my next blog entry - the relative merits of various guitar repairs and/or upgrades so I won't go into that here. However, running my hand up the neck I noticed a common malady that many guitarists face at this time of year.
The ends of the frets were protruding out the sides of the neck to the extent that running a hand quickly up to the higher frets could actually cut the inside of the hand. I also noticed that the action was significantly lower than it had been when he started lessons a few months ago. I asked him the key question: did he humidify his beautiful old D-18? No, he said a bit sheepishly.
Now, if you've been ready this page for a while you know I am adamant about the importance of proper humidity for guitars. I don't blame this gentleman with the Martin though - my guess is that less than 10% of the folks who need to humidify their guitars actually do it, either via a device like the Planet Waves humidifier or via a room humidifier. 'Nuff said about that - try to keep the humidity in your house at about 45% for the sake of your poor guitar!
What this is about this week is how to react to the changes that the dry season brings. The most obvious one for most people is the action, i.e., the distance of the strings from the neck. In the winter most guitars actually end up with lower action and for some people that may not be a bad thing. However, if that lower action results in buzzes developing here and there on the neck you may have to adjust the relief of the neck via that little hex shaped screw thing you see inside the upper part of the body of your guitar, or under the plate up on the head. The appropriate hex head driver device may have been included with your guitar but if not (if your guitar is the imported variety) go to your local hardware store and buy a "hex key set" to be sure to have the correct size. If you own a Martin, unfortunately you will have to purchase a special neck adjusting wrench. Go to the Martin web site store to purchase this truss rod tool.
Relief is the bend in the neck. Some people think the truss rod adjustment lowers or raises the entire neck but this is not the case; only the bend in the neck is altered by turning that screw. Remember: Turn clockwise to straighten the neck; turn counterclockwise to allow more of a bend. Take no more than a half a turn, then retighten the strings and check the action. If necessary, repeat the process.
You may find this is something you have to do twice a year, in the winter and the summer. I hope not though - repeatedly adjusting the relief will over the long term loosen the truss rod to the point that a neck reset may become necessary. So think twice before adjusting the relief.
Are you suddenly getting buzzes and rattles from inside your guitar that weren't there before? This is very annoying because if often happens when certain notes are played and not with others. What if often means is one one of the braces inside the guitar is a bit loose. The buzz will most likely go away with some humidification but if it doesn't you have two choices. You can bring your guitar to a qualified luthier, someone like Fran LeDoux at Bay Fretted Instruments or you can try to fix it yourself. To do that, begin by moving a finger around on top of the guitar when the buzz/rattle is produced to try to find the approximate location of where it's coming from. This may or may not produce results. Then take the strings off. You'll need a small inspection mirror, the type on a wand. Put that down inside the guitar and with your other hand, run a small piece of paper along the edges of the braces where they are glued to the top of the guitar. If that paper goes under the brace even a little bit you've most likely found the culprit.
Put a small amount of wood worker's glue (hide glue - NOT epoxy or plastic based glue) on a toothpick and apply it to the area where the brace is loose. With a tissue, wipe off any excess. Press the brace against the top for as long as you can. Wait at least a few hours before tuning the guitar up. This should solve the problem.
Anticipate changes. Be ready!
I think one of the most basic issues that can stymie a beginner is that playing the guitar just looks so darned easy! If you were to survey a random group of non-players and ask them: which do you think is harder to play? Drums or guitar? the vast majority would say the drums, and perhaps from a purely physical standpoint they would be right. The fact is, playing the guitar is a very small physical action. Therefor it can't be all that hard, right?
Of course we know the reality. This realization can be extremely daunting to a beginner. Practicing chord changes over and over and over, hoping that repetition alone will eventually make those changes happen with speed and accuracy. It just might, but there is a way to shorten the journey and what a player must do is figure out WHY those changes are problematic. You can't solve a problem unless you know what it is.
If a few fingers are involved in a chord you will find it's usually just one that is hanging up the change. Focusing on that finger when it's time to make the change will certainly help. But the biggest, most important and essential element in fast and accurate changes, whether it be a single note passage or a series of chords is looking at the neck and imagining where the fingers will be with the change. In other words, thinking ahead.
Every good guitarist does this. When you see a guitarist looking up at his or her fretting hand, I promise they are not looking at what they're playing. They are imagining where their fingers will be in a few moments. This is absolutely essential for fast, clean and accurate playing.
I don't pretend this is easy! Far from it, in the beginning. You may be worrying about a finger pattern with your playing hand, or which string or strings you're supposed to be playing. Meanwhile, if you don't know the song you're trying to play you have to be looking at the music too.
So what has to happen is this. Your eyes have to move between all those elements, pretty much constantly, always being ready, always thinking ahead and (unfortunately, in the beginning anyway) never quite relaxing. Don't worry though, the time will come when you'll be able to relax and "just play." But not yet. Think ahead, look ahead, imagine where your fingers have to be on the next change. If you do this, before too long those changes will feel right and become almost automatic. Then you can smile out at your adoring audience where there is sure to be at least one person who's thinking: "Wow, that doesn't look hard at all! I bet I could do that!"
Of course we know the reality. This realization can be extremely daunting to a beginner. Practicing chord changes over and over and over, hoping that repetition alone will eventually make those changes happen with speed and accuracy. It just might, but there is a way to shorten the journey and what a player must do is figure out WHY those changes are problematic. You can't solve a problem unless you know what it is.
If a few fingers are involved in a chord you will find it's usually just one that is hanging up the change. Focusing on that finger when it's time to make the change will certainly help. But the biggest, most important and essential element in fast and accurate changes, whether it be a single note passage or a series of chords is looking at the neck and imagining where the fingers will be with the change. In other words, thinking ahead.
Every good guitarist does this. When you see a guitarist looking up at his or her fretting hand, I promise they are not looking at what they're playing. They are imagining where their fingers will be in a few moments. This is absolutely essential for fast, clean and accurate playing.
I don't pretend this is easy! Far from it, in the beginning. You may be worrying about a finger pattern with your playing hand, or which string or strings you're supposed to be playing. Meanwhile, if you don't know the song you're trying to play you have to be looking at the music too.
So what has to happen is this. Your eyes have to move between all those elements, pretty much constantly, always being ready, always thinking ahead and (unfortunately, in the beginning anyway) never quite relaxing. Don't worry though, the time will come when you'll be able to relax and "just play." But not yet. Think ahead, look ahead, imagine where your fingers have to be on the next change. If you do this, before too long those changes will feel right and become almost automatic. Then you can smile out at your adoring audience where there is sure to be at least one person who's thinking: "Wow, that doesn't look hard at all! I bet I could do that!"
A little more on picks
A couple weeks ago I recommended putting a hole in your flat picks for better grip. But backing up just a bit, it is very important to start with the right pick before you start punching those holes! Flat picks are available in myriad shapes, sizes, materials - and prices: There are now companies making "boutique" flat picks that retail for upwards of $30 each! Are they worth it? I can't say, because spending that much for a single pick seems nuts to me, in spite of the fact that I am totally attracted to guitar gadgets. But that's your call.
Most picks cost about 100th of those fancy ones so we can experiment with various designs and especially materials, because different types of plastic definitely have quite different tonal qualities. But the most basic determination, to my mind at least, is thickness. Almost all guitarists start with very thin picks because they seem to be easier to use. What they don't realize is that they are depending on the flexibility of the pick to accomplish what they should be doing themselves - that is, turning the wrist to accomplish a controlled attack. Ultimately those thin picks actually slow your playing down, because believe it or not, the time it takes a thin pick to return to a flat plane imposes an upper limit on your attack, speed-wise.
Quite a few years ago one of the guitar magazines ran a pictorial showing close-ups of the favorite picks of some famous players. It was a real eye-opener, to say the least: Without exception, the fastest players in the group ALL used very thick picks. It didn't matter - country, rock, jazz - all thick picks! One that really sticks out in my memory is the one used by fusion jazzer John McLaughlin, at the time generally thought of as one of the fastest guys around. His pick appeared to be about the thickness of a nickel - just amazing. This inspired me to move on from my standard size, medium gauge picks to the small, heavy gauge ones preferred by most jazz players. I still use them, twenty or so years later, and I know my playing is better for it. Dynamics, attack angle, speed and especially a clear tone with no "side scratching." I love those little guys!
So if you're still using thins, time to move on! You will thank me for it, I promise. If you're using mediums, consider taking the big step into very stiff flat picks. Your technique WILL improve, and with it your speed, tone and accuracy.
A technique reminder and a practice suggestion
They are a necessary evil. No guitarist likes them. I've even had students who went years avoiding them. You know what I'm talking about. Bar chords! Those contorted exercises in frustration that make a guitarist who's conquered all the open string, 1st position chords feel like he or she is starting all over again. But the simple truth is that if you want to move up to all those mysterious frets above the third one, you have to at least get to the point that they are a minor nuisance rather than a major disaster.
The two most common mistakes I see people make when trying to learn bar chords are:
1. Wrist angle. "Dropping" the wrist is vital to keeping the index finger straight (and slightly turned on its side) and the key is to make sure the pad of the thumb is located in the middle of the back of the neck, directly below the index finger. Also,
2. Arching the other fingers in the chord and stretching them out so the finger tips are as close to the frets as possible. This is not easy if you've done #1 correctly but it is vital.
Bar chords are a pain in the..... hand. That is just a fact. But they are an essential part of becoming an advanced guitarist.
Regarding practice. Many years ago I played with a bass player and on some of our gigs we used a (gulp!) drum machine. We called it Korg the Relentless. We junked it after a brief tenure in our little group but using it did remind of the importance of practicing with a steady beat. The only way to measure that steady beat unfailingly is with some sort of mechanical rhythmic generating device. In other words, a metronome. Not that you have to use it all the time when you practice but there is no better way to force yourself to keep a steady beat. There are many electronic tuners on the market that include a metronome function. Use it when you practice, or if you don't have that type of tuner, here is a free on-line version on a site that also features some very good insights about the importance of practicing with one.
I think the best aspect of practicing with a metronome is that you have an actual, measurable way to gauge your progress. Start by practicing that challenging piece of music with metronome set a fairly slow speed. Then each practice session, try to increase the speed just a bit. At the end of a week or so of practice sessions you will most likely find you are playing that piece faster than you could initially. And that is a pretty good feeling!
The two most common mistakes I see people make when trying to learn bar chords are:
1. Wrist angle. "Dropping" the wrist is vital to keeping the index finger straight (and slightly turned on its side) and the key is to make sure the pad of the thumb is located in the middle of the back of the neck, directly below the index finger. Also,
2. Arching the other fingers in the chord and stretching them out so the finger tips are as close to the frets as possible. This is not easy if you've done #1 correctly but it is vital.
Bar chords are a pain in the..... hand. That is just a fact. But they are an essential part of becoming an advanced guitarist.
Regarding practice. Many years ago I played with a bass player and on some of our gigs we used a (gulp!) drum machine. We called it Korg the Relentless. We junked it after a brief tenure in our little group but using it did remind of the importance of practicing with a steady beat. The only way to measure that steady beat unfailingly is with some sort of mechanical rhythmic generating device. In other words, a metronome. Not that you have to use it all the time when you practice but there is no better way to force yourself to keep a steady beat. There are many electronic tuners on the market that include a metronome function. Use it when you practice, or if you don't have that type of tuner, here is a free on-line version on a site that also features some very good insights about the importance of practicing with one.
I think the best aspect of practicing with a metronome is that you have an actual, measurable way to gauge your progress. Start by practicing that challenging piece of music with metronome set a fairly slow speed. Then each practice session, try to increase the speed just a bit. At the end of a week or so of practice sessions you will most likely find you are playing that piece faster than you could initially. And that is a pretty good feeling!
An inexpensive add on to radically improve the sound of an acoustic electric!
One of the biggest challenges facing someone who wants to amplify their acoustic guitar is getting a sound that is as close as possible to what their instrument sounds like without amplification. There are dozens and dozens of pick-ups out there and some sound quite good but to my ear anyway, most sound artificial and "quaky." I've tried bunches of them with various guitars and I've also tried some of the popular DI boxes that allow more control over the signal, including one very expensive model that "modeled" the sound of various types of acoustics. I used it for about an hour, then sent it back. I've tried equalizers too and while they can be used to de-emphasize really annoying frequencies, the overall sound quality didn't improve much.
I finally resigned myself to the fact that the only way to get a true acoustic sound was via a good quality microphone but that meant schlepping around the mic in a protective case, a mic stand and yet another cord. Plus, as any performer will tell you, mics are prone to causing feedback and you must stay at an optimum distance away to get the best sound, usually a very small area that doesn't allow for much much movement as you play.
Then one day a musician friend recommended an easy way to get rid of that quacky, abrasive sound made by a contact pick-up: an inexpensive tube pre-amp. Every electric guitarist knows that the way to get a warm sound is by using a tube rather than a solid state amp and the same improvement can be gained by acoustic guitarists who play through an amp designed for acoustic guitars and even directly through a PA system. You can find quite a few tube pre-amps on the market ranging from as little as $30 up to a few hundred for the fancier models but the one I use (ART Project Series Tube MP) cost about $60. I run it between my Martin 0000-28H with K&K Pure Western Mini passive pick-up and my Carvin AG100 acoustic amp. Although I am reasonably satisfied with the sound of the pick-up and amp by themselves, when I use the tube pre-amp the sound is so good that I almost always have someone comment on it when I do a gig. I get a warm sound with no harshness, even when I strum with some force. It also comes in handy when I'm recording in my home studio.
So if you are less than happy with the sound you're getting from your acoustic-electric, warm things up with a tube pre-amp. You may still not get the pure acoustic sound you're seeking but you will get an overall tonality that is much more pleasing to the ear than with a pick-up alone.
Fixin' a hole
The great classical guitarist Andres Segovia was disdainful of them. Some of the greatest jazz guitarists, virtuosos like Charlie Byrd and more recently, Earl Klugh see no need for them at all, and the late Elizabeth Cotton invented an entire style that had nothing to do with them.
Most of us however cannot imagine playing the guitar without using them at least some of the time. I'm talking about flat picks of course. Those simple little pieces of flat plastic that we use to get a louder, more crisp sound than what we can produce with our fingers alone. These days you can find hundreds of designs, shapes and thicknesses and considering their relatively low cost, most guitarists enjoy experimenting with a wide variety to discover the different sounds they produce and to find which one enhances the playing experience.
The problem is, the darn things are an alien object between you and the guitar strings and picks have the disturbing tendency of shift position as we play, which is annoying. In extreme strumming it's quite easy to inadvertently launch the thing across the room, which is why you'll often see pick holder devices attached to microphone booms and even guitar straps that hold a bunch of picks, kind of like a gunslinger's bandolier with a half dozen spares at the ready.
Squeeze that pick too hard to keep it from turning between your fingers or dropping out entirely and your playing will be adversely affected - that squeezing causes your wrist and arm to tighten up and strumming and single note playing becomes much more difficult. Pick manufacturers know this and have come up with many solutions, some good and some not. Years ago you could buy picks that had a circular flat piece of cork glued to one side but these cost about four times as much as regular picks and the cork would come off in a short amount of time. Some picks today have a wider, curved portion into which the pad of your thumb fits. Others have textured sides on the wider upper portion.
I came up with a solution many years ago that apparently was not so original because there are even companies that offer picks like mine already altered. What I did was this. Starting with the standard, rounded triangle Fender picks, I took a single hole punch designed for use with paper and punched a hole through the middle of the pick. That hole became a real aide in holding the pick and I found that I hardly ever dropped my picks anymore and they didn't turn between my thumb and index finger as I played. Eureka!
This is not practical with heavy gauge picks of course and if you use heavies I suggest you use something like a Dremel tool to drill a small hole. And as I said, you can buy picks with holes in them already - Everly "Star Grip Picks" are one example.
If your flat picking is suffering because a "wandering" picks, give this little trick a try. I know you'll like the results.
Come on, your guitar neck is not that heavy!
I've noticed a bad habit that some guitarists slip into when they're sitting down and playing. Interestingly, it almost always is guys who do it. Could it be that guys are naturally lazier than women? No need to answer that, ladies.
It has to do with the way they hold up the neck of the guitar. What happens is this (assuming we're talking about someone who is playing with his right hand and fretting with his left). The neck of the guitar is allowed to "fall down" to the point that the player's forearm is resting on his thigh.
What's bad about that? you ask. It certainly is less fatiguing than holding the neck up with the fretting hand.
Well, that is certainly true. The problem is - what about your wrist? There is no way to drop the wrist, which is essential for fast changes to different parts of the neck. There is is just no way for this to happen with the forearm resting on the thigh. The result is something like this: "Oh, no, I don't play anything too fancy. I have real trouble with bar chords and I don't play much up the neck..."
The solution is so very, very simple. Hold up the neck. Keep the forearm away from the thigh. Drop the wrist. Result: better playing.
Your guitar is getting thirsty
In many parts of the country and certainly here in New England the seasons are changing quickly. Those warm, moist days of summer are a memory and maybe (like me) you've even had to turn the heat on or throw a log or two into the wood stove. My grandmother used to say that Fall got her blood running again and I think many of us relish the brisk, dry air. Well, your guitar doesn't feel that way.
It's ironic that in many cases, dry guitars sound better than ones that are well humidified. I know with ALL my good quality rosewood instruments that has been the case. But this is a dangerous condition. Wood that is dry can crack very easily; bridges can come unglued; sometimes the neck relief (angle) can change so much that buzzes develop when strings are pressed down. In extreme cases, seams separate, binding comes loose and fret edges protrude along the sides of the neck. Some of these things can be cured easily with some moisture in the air but sadly, sometimes the damage is permanent.
Fortunately there are plenty of ways to protect your guitar. One of the first devices designed to humidfy guitars was nothing more than a piece of rubber surgical tubing that was perforated, with a long thin piece of sponge inside and something like a paper clip on the end. You would hold it under a running water faucet, let the sponge soak up some water, squeeze out the excess (important!), then clip it on the side of the sound hole of the guitar, dangling inside the instrument. There are many new versions of this sponge/holder type of humidifier on the market and they work OK, but you MUST be sure to not overload them with water or that water will drip out inside your guitar - not a good thing. And of course you had to remember to reload them with water every few days.
Another simple solution is to poke some holes in a plastic soap case, the kind that you use when you travel, then put a piece of moistened sponge inside and keep it in your guitar case up by the head of the guitar. But of course, that means you must keep your guitar at all times when you're not playing it. I'm sure there are other gadgets out there too.
These days I run a vaporizer in my studio, a relic from when my kids were little and needed thing in their bedrooms from time to time. I also have a humidity gauge on the wall and do my best to keep the relative humidity at about 45%.
So give that nice, expensive guitar a drink. It will thank you by staying in one piece. Literally!
It's ironic that in many cases, dry guitars sound better than ones that are well humidified. I know with ALL my good quality rosewood instruments that has been the case. But this is a dangerous condition. Wood that is dry can crack very easily; bridges can come unglued; sometimes the neck relief (angle) can change so much that buzzes develop when strings are pressed down. In extreme cases, seams separate, binding comes loose and fret edges protrude along the sides of the neck. Some of these things can be cured easily with some moisture in the air but sadly, sometimes the damage is permanent.
Fortunately there are plenty of ways to protect your guitar. One of the first devices designed to humidfy guitars was nothing more than a piece of rubber surgical tubing that was perforated, with a long thin piece of sponge inside and something like a paper clip on the end. You would hold it under a running water faucet, let the sponge soak up some water, squeeze out the excess (important!), then clip it on the side of the sound hole of the guitar, dangling inside the instrument. There are many new versions of this sponge/holder type of humidifier on the market and they work OK, but you MUST be sure to not overload them with water or that water will drip out inside your guitar - not a good thing. And of course you had to remember to reload them with water every few days.
Another simple solution is to poke some holes in a plastic soap case, the kind that you use when you travel, then put a piece of moistened sponge inside and keep it in your guitar case up by the head of the guitar. But of course, that means you must keep your guitar at all times when you're not playing it. I'm sure there are other gadgets out there too.
These days I run a vaporizer in my studio, a relic from when my kids were little and needed thing in their bedrooms from time to time. I also have a humidity gauge on the wall and do my best to keep the relative humidity at about 45%.
So give that nice, expensive guitar a drink. It will thank you by staying in one piece. Literally!
Clear, clean tone
I see guitarists on a regular basis, both students and local professionals, who fall into a very basic and seductive trap. They allow their ears to focus on what's right about the sound of a chord and ignore what's not so good. I'm talking about buzzing or muffled strings. This is a natural tendency when strumming is going on, but when it comes time to finger pick or use the flat pick to play individual strings the result is way less than satisfactory.
So how can this be changed? It's all about paying close attention to left hand finder positioning. Here are the basics:
1. Drop that wrist and arch those fingers! Use the finger tips only. Dropping the wrist so the thumb is more toward the side of the neck (or directly under it for full bar chords) is essential. You should NEVER make contact with the inside of the fretting hand against the neck. And arching plus using the tips of the fingers, i.e., bending at the first knuckle ensures accurate placement and not touching adjacent strings.
2. Stay close to the frets. This means - make sure the fingers are well separated and stretttttchhhh them out toward the frets. The firmer the contact with the fret, while not being on top of it, the clearer the sound.
3. Press down HARD! Well, of course, you say. But the reality is that pressing down on the strings hurts, for goodness sake, and we all want to avoid pain whenever possible. But here's the thing. Pressing down hard is another factor in making firm contact with the fret, which makes clear sound. And pressing down hard in the beginning makes for increased finger strength, sooner.
Some of the people who have the most trouble with these basic concepts, believe it or not, or people who may have been playing for a long time. In some cases they are so used to a less-than- perfect sound from certain chords that they can't even hear what's wrong. Don't be satisfied with muddy, muffled tone. If you do accept it you will just be practicing your mistakes.
Don't abuse those new strings!
OK, I'll admit it. I used to do what I'm about to tell you NOT to do. But I learned and there's no doubt my strings last longer than they used to.
When you put on those shiny new strings, resist the temptation to pull and stretch them to facilitate your guitar staying in tune. Yes, it will stay in tune almost immediately but your strings WILL go dead sooner because you've stretched them unevenly, i.e., the pulling action stretches the string more at points of resistance (the nut and saddle) than throughout its length. In the most extreme cases it can actually effect the intonation of the string.
The right way is to tighten the string with the tuners, gradually but steadily. Then play for a few minutes, tune again, and play some more. You may have to go through this quite a few times with a nylon string classical guitar but believe me, it's worth it! Your strings will maintain that resonant, clear sound for a much longer time and if your guitar sounds good it will inspire you to pick it up more often!
When you put on those shiny new strings, resist the temptation to pull and stretch them to facilitate your guitar staying in tune. Yes, it will stay in tune almost immediately but your strings WILL go dead sooner because you've stretched them unevenly, i.e., the pulling action stretches the string more at points of resistance (the nut and saddle) than throughout its length. In the most extreme cases it can actually effect the intonation of the string.
The right way is to tighten the string with the tuners, gradually but steadily. Then play for a few minutes, tune again, and play some more. You may have to go through this quite a few times with a nylon string classical guitar but believe me, it's worth it! Your strings will maintain that resonant, clear sound for a much longer time and if your guitar sounds good it will inspire you to pick it up more often!