San Diego Spanish Guitar

Why is it so important to learn these basic chords in San Diego?

Chords form the backbone of most rock and pop songs, and provide the harmonic accompaniment to the melody and instrumental solos.Rhythm guitar based on basic chords provides many of the most memorable rock riffs… think AC/DC’s “Back in Black” or The Who’s “Won’t Get Fooled Again” in San Diego. What’s really amazing is that by learning no more than 10 to 15 basic guitar chords, you will be equipped to play thousands of rock and pop songs!First let’s establish the definition of a chord. A chord is three or more different musical notes played together.

Top 7 Hard Rock And Heavy Metal Guitar Tunings

12 string acoustic electric guitar One very common way of transitioning from one chord to another on the guitar is by means a "walk down".A walk down involves starting on the first chord, then playing a transitional chord, and then arriving at the destination chord.You have probably heard walk downs many times, possibly without even realizing it. But becoming aware of them, and learning how to perform some of the more common ones is essential to enhancing your guitar playing skills.A simple walk down is typically comprised of a three chord movement (original to transitional to destination), but others can be played as four or more chord movements.In a three chord movement, the transitional chord is one that is often just a one note variation on the original chord. For example, the bass note of the original chord may "walk down" a half or whole step in the transition.In another variation, a note higher in the chord formation may walk down while the bass note remains the same.This is what we will cover today using the "D" chord. In this walk down we will do a walk down starting on D (major), and arriving on D7 at the end.The transitional chord in this example will be a Dmaj7.Here is the TAB for the walk down:E------2-----2-----2-----B------3-----2-----1-----G------2-----2-----2-----D------0-----0-----0-----A--------------------------E--------------------------Notice that only one note changes throughout the walk down, the notes on the 2nd string. Just looking at that string you will see that in the first chord (D major), it starts on the 3rd fret, then in the transitional chord (D maj7), it moves to the 2nd fret, then on the destination chord (D7), it winds up on the 1st fret.The trickiest part about this walk down is that the fingering will change completely for each of the three chords.In the first, you will use a standard D chord formation - open 4th string, 1st finger on the 2nd fret of the 3rd string, 3rd finger on the 3rd fret of the 2nd string, and 2nd finger on the 2nd fret of the 1st string.Then in the transitional chord - continue to play the open 4th string, then just barre the 1st, 2nd and 3rd strings with the 1st finger.Finally on the D7 - Play the open 4th string again, place the 2nd finger on the 2nd fret of the 3rd string, the 1st finger on the 1st fret of the 2nd string, and the 3rd finger on the 3rd fret of the 1st string.Overall, this is a fairly simple, and common walk down. Practice it slowly to begin with until you are comfortable with the changes. Once you have it down, be sure to incorporate into your playing whenever you can. 

In the case of the guitar in , this means that at least three strings are strummed or plucked simultaneously to sound three or more notes. Since the guitar has six strings, the maximum numbers of notes in a guitar chord is six. All chords can be placed in one of three groups based on the musical structure of the chord: Major, Minor, or Seventh.

Guitar Lessons For Beginners in San Diego

Should your guitar be subjected to cold temperatures in San Diego , say in the rear of an automobile, for an extended duration (even in the hard shell case), never pull the guitar out and expose it to room temperatures as soon as you get it inside. The guitar will need to have time for it to slowly adapt to the new warm temperatures, so leave it in the case until it has had enough time to do so.

An Easy Guitar "Walk Down" in D

how to play guitar chords There are many different guitar tunings that are used in Rock and Metal music besides standard tuning. Guitar players in these genres like to use these tunings because they give a heavier and darker sound to their music.Some of the more popular tunings used are Dropped D, Dropped C, Dropped B, E Flat, D, C and open G. Here are the descriptions of how the strings should be tuned and some of the bands that use them.Dropped D tuning:E ----------1st stringB ----------2nd stringG ----------3rd stringD ----------4th stringA ----------5th stringD ----------6th string (thickest)This tuning enables power chords to be played with a single finger on the lowest three strings and produces a dark sound with it. If you're music doesn't fit together with this dark sound, you can place a capo on the 2nd fret and can still easily play power chords.Some bands that use Dropped D tuning are:Alice in Chains, Foo Fighters, Godsmack, Led Zepplin, Nirvana, Rage Against The Machine, Silverchair, Soundgarden and Velvet Revolver.Dropped C tuning:D ----------1st stringA ----------2nd stringF ----------3rd stringC ----------4th stringG ----------5th stringC ----------6th string (thickest)Dropped C tuning is the Dropped D with each string lowered one whole step. Dropped C tuning produces a very low and heavy sound and is used by many of the new Heavy Metal bands.Some bands that use Dropped C tuning are:30 Seconds to Mars, Atreyu, Buckethead, Bullet for My Valentine, Children of Bodom, Godsmack, Bad Religion, Metallica, Mudvayne, P.O.D., Papa Roach, Rammstein, Shadows Fall, System of a Down, Three Days Grace and Ozzy Osbourne.Dropped B tuning:C# ----------1st stringG# ----------2nd stringE ----------3rd stringB ----------4th stringF# ---------5th stringB ----------6th string (thickest)This tuning will need heavier gauge strings to be effective. Also you might have to widen the string grooves as well as adjust the tension in the neck of your guitar.Some bands that use Dropped B tuning are:Audioslave, Limp Bizkit, Machine Head, Mudvayne, Slipknot and Stone Sour.Eb tuning:Eb ---------1st stringBb ---------2nd stringGb ---------3rd stringDb ---------4th stringAb ---------5th stringEb ---------6th string (thickest)This tuning is Standard tuning turned down a half step. There are a few reasons that bands use this tuning instead of Standard tuning. One reason is to sound heavier by using heavy gauge strings. By tuning down a half step it is easier to bend these heavy gauged strings. Another reason why some bands use this tuning is to compliment the lead singers voice.Bands that use Eb tuning are:Alice in Chains, Anthrax, Dream Theater, Guns N' Roses, Jimi Hendrix, Kiss, Megadeth, Metallica, Motorhead, Nirvana, Poison, Slayer, Stevie Ray Vaughan, Stone Sour, Van Halen, Weezer and Yngwie Malmsteen.D tuning:D ----------1st stringA ----------2nd stringF ----------3rd stringC ----------4th stringG ----------5th stringD ----------6th string (thickest)D tuning is also known as whole step down tuning and as you have probably already guessed, it's Standard tuning tuned down a whole step. D tuning has been used mainly in Heavy Metal music.Bands that have used D tuning are:Alice in Chains, The Beatles, Bullet For My Valentine, Bob Dylan, Children of Bodom, Dream Theater, Guns N' Roses, Motley Crue, Nirvana, Pink Floyd, Racer X and Soundgarden.C tuning:C ----------1st stringG ----------2nd stringEb ---------3rd stringBb ---------4th stringF ----------5th stringC ----------6th string (thickest)C tuning also produces a low sound that is mostly used by Hard Rock and Metal bands. The tuning is 2 whole steps below Standard tuning, which gives it a heavy sound but still maintains the same intervals as Standard tuning.Bands that have used C tuning are:Atreyu, Black Sabbath, Bullet For My Valentine, Deftones, Dream Theater, Jimi Hendrix, P.O.D., Queens of the Stone Age, Slipknot, Steve Vai and The Who.G tuning:D ----------1st stringB ----------2nd stringG ----------3rd stringD ----------4th stringG ----------5th stringD ----------6th string (thickest)Other than the Drop D tuning, G Tuning is one of the most popular alternate guitar tunings.Some bands that have used G tuning are:The Rolling Stones, The Black Crowes, Led Zeppelin, The Who, Pink Floyd and Pearl Jam.These are just some of the alternate guitar tunings that are available to you to experiment with. Play around with them and see which tunings fit your style of music.

Guitar Tab - How to Play Twinkle, Twinkle Little Star on Guitar

learn to play guitar free Many of the visitors to my website ask about vintage guitar values. Do you have a guitar about which you would like to have information? Do you have a question about Fender guitar value, Gibson guitar value, or maybe the value of a Martin guitar? Even if you don't know what kind of guitar you have, a little research will help you to find the value of your guitar.What makes a guitar valuable?Several factors figure into the value of a guitar. In general, the guitar must be one which is sought after by collectors and musicians. The demand for a guitar is determined in general by quality, beauty, and playability. This demand must outweigh the available supply.Age is an important factor in the value of a guitar, but a guitar is not necessarily more valuable just because it is older. It must have been made with a high standard of quality in the first place. An old mediocre quality guitar is just that--an old mediocre guitar! The actual year that a guitar was made may not be as important as the PERIOD in which it was made.For example, electric guitars which are most valuable today include Fender Telecasters made before 1954, Fender Stratocasters made between 1954 and 1959, and Gibson Les Pauls made between 1958 and 1960. Acoustic guitars of the greatest value include Pre-World War II Martins and Gibsons.This is not to say that other guitars are not valuable. Many vintage guitars will bring a good price. The trick is to know approximately how much YOUR guitar is worth.How Do I Determine the Value of My Guitar?In order for you or anyone else to determine the value of your guitar, you must have certain information available. Ideally, you would know the brand, model, and serial number. The brand and model, however, can often be determined through the serial number. Then you must determine the condition of your guitar--prices differ greatly according to condition. Here are some guidelines: (these guidelines are from the "Blue Book of Acoustic and Electric Guitars")100% - New - New with all factory materials, including warranty card, owner's manual, case, and other items that were originally included by the manufacturer. On currently manufactured instruments, the 100% price refers to an instrument not previously sold at retail. Even if a new instrument has been played only twice and traded in a week later, it no longer qualifies at 100%.Excellent - this Excellent condition range is represented by both High Excellent and Low Excellent condition. High Excellent refers to an instrument that is very clean, looks almost new (perhaps a few light scratches/dings only), and has hardly been used. Low Excellent refers to a guitar that has been played/used, and has accumulated some minor wear in the form of light scratches, dings, small chips, etc. The older an instrument, the less likely it will be in High Excellent condition Even Low Excellent is seldom encountered on instruments over 50 years old, since most acoustic instruments were originally purchased to be playedAverage - The Average guitar condition factor indicates an acoustic guitar that has been in a player's hands and has worn due to player use (hopefully, no abuse). High Average condition instruments have normal dents, small chips, and light dings on the body, and/or scratches on the top and back. However, there should be no problems unless indicated separately. Low Average condition instruments may reflect major finish problems, replacement parts, previous repairs (especially on older instruments), alterations, and neck/fret wear is typically visible.Once you have this information at hand, you can attempt to find the value of the guitar by consulting various sources on the internet or you can have it appraised by an expert. Researching the value of your guitar on the internet may be free. The downside is that this research requires a big expenditure of time and a wide knowledge of guitar pricing resources. If you have your guitar appraised, remember that the appraiser may also be a dealer who is, after all, wanting to make a profit by reselling the guitar. For this reason, the appraisal MAY be biased.Because so many of my website visitors have inquired about the value of their guitars, I have begun to offer a GENERAL guitar evaluation service. This service is FREE. If you are interested, please visit:Vintage Guitar Values at the May Music Studio Website.

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CA-National City Cort Guitars

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Semi Acoustic Guitar In San Diego 

High on the list is “Am I too old to learn guitar in National City ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Guitar Finish Checking: What It Is and What To Do About It

guitar lessons for beginners If you've had a bit of experience playing or fixing unrestored vintage guitars, then chances are you are aware of the sight of very small cracks appearing all throughout the finish. It is described as finish checking and it is particularly typical on aged guitars that have a lacquer finish, but could possibly appear on new instruments also under the right (or wrong) circumstances.Lacquer is a very "breathable" finish. It has the ability to contract and expand with the wood of the guitar while it moves through a range of temperature and humidity levels. This is an important feature on high quality instruments given that it isn't going to lock the wood of the guitar below the finish as would a polyurethane finish, which won't expand and contract similarly.Nevertheless, the disadvantage is that after some time the lacquer finish can begin to crack or "check" as it is typically described as. If you're in the camp that doesn't want to see this on your guitar, you will be wise to pay attention to this warning when dealing with a lacquer finished instrument which has no current checking.Should your guitar be subjected to cold temperatures, say in the rear of an automobile, for an extended duration (even in the hardshell case), never pull the guitar out and expose it to room temperatures as soon as you get it inside. The guitar will need to have time for it to slowly adapt to the new warm temperatures, so leave it in the case until it has had enough time to do so. Otherwise your lovely laquer finish will likely commence to crack as the wood in the guitar heats up and begins to swell before the lacquer has a chance to adjust.Poorly humidified guitars can also be a factor in finish checking, normally as a result of drying out. So keep the humidity correct at between 45-50% and ease into temperature changes and you should be good.While I undoubtedly would not be happy to see this occur to a brand new $4,000 guitar that I just acquired, on a vintage guitar I look at things just a bit different. I could never think about a finish-checked guitar from the 1950's or 1960's as less than desirable. Nor would I ever think of refinishing one.As I said there are two schools of thought on this subject however the natural finish checking, if you ask me, creates a degree of individuality and history that you simply can't obtain on a fresh, new guitar. Each knick, ding, buckle scrape and finish fracture is a part of the battered history of the instrument. Every musician who picked it up and played it left a tiny bit of himself behind. All those campfire melodies, lounge room singalongs, bar room gigs and late-night jam sessions are all right there, and the finish cracks are a part of that story.I would personally not ever wish to obscure that beneath a glistening finish. We have new guitars for that.

Guitar Center

best site to buy guitars online One very common way of transitioning from one chord to another on the guitar is by means a "walk down".A walk down involves starting on the first chord, then playing a transitional chord, and then arriving at the destination chord.You have probably heard walk downs many times, possibly without even realizing it. But becoming aware of them, and learning how to perform some of the more common ones is essential to enhancing your guitar playing skills.A simple walk down is typically comprised of a three chord movement (original to transitional to destination), but others can be played as four or more chord movements.In a three chord movement, the transitional chord is one that is often just a one note variation on the original chord. For example, the bass note of the original chord may "walk down" a half or whole step in the transition.In another variation, a note higher in the chord formation may walk down while the bass note remains the same.This is what we will cover today using the "D" chord. In this walk down we will do a walk down starting on D (major), and arriving on D7 at the end.The transitional chord in this example will be a Dmaj7.Here is the TAB for the walk down:E------2-----2-----2-----B------3-----2-----1-----G------2-----2-----2-----D------0-----0-----0-----A--------------------------E--------------------------Notice that only one note changes throughout the walk down, the notes on the 2nd string. Just looking at that string you will see that in the first chord (D major), it starts on the 3rd fret, then in the transitional chord (D maj7), it moves to the 2nd fret, then on the destination chord (D7), it winds up on the 1st fret.The trickiest part about this walk down is that the fingering will change completely for each of the three chords.In the first, you will use a standard D chord formation - open 4th string, 1st finger on the 2nd fret of the 3rd string, 3rd finger on the 3rd fret of the 2nd string, and 2nd finger on the 2nd fret of the 1st string.Then in the transitional chord - continue to play the open 4th string, then just barre the 1st, 2nd and 3rd strings with the 1st finger.Finally on the D7 - Play the open 4th string again, place the 2nd finger on the 2nd fret of the 3rd string, the 1st finger on the 1st fret of the 2nd string, and the 3rd finger on the 3rd fret of the 1st string.Overall, this is a fairly simple, and common walk down. Practice it slowly to begin with until you are comfortable with the changes. Once you have it down, be sure to incorporate into your playing whenever you can. 

Guitar Amplifier

learn to play guitar dvd Did you know that when you picked up your acoustic guitar, you're picking up an instrument with 5,000 years of history attached to it? Acoustic guitars are descendants of stringed instruments that were found in a variety of cultures thousands and thousands of years ago. As civilizations merged and the world became smaller, the guitar began taking on a unified shape and style. Since then, there has been a lineal evolution of several hundreds of years of instruments that can be directly compared to today's acoustic guitars.The Medieval PeriodDuring the Medieval Period of European history, there were several different forms of guitars. These guitars had between three and five strings and were much smaller than the guitars we know today. There were variations of these instruments which had pairs of strings, known as courses. The popular guitars of this period were commonly separated into two groupings. The first, the Guitarra Latina was likely developed from Spain, while the Guitarra Morisca was brought to Spain by the Moorish culture.The Renaissance and BeyondWhile in the Middle Ages, the guitar instruments were not terribly popular, being overshadowed by other contemporary instruments, in the Renaissance the guitar began to take a real hold. It was in Italy in 1779 that the first six string guitar was created. Gaetano Vinaccia created this instrument in Naples. Following that, the man known as the "Father of Modern Guitar" made his permanent mark on the course of the guitar and how it would be designed and played.Antonio de Torres Jurado made many key changes that in essence from the creation of what is known today as the modern classical guitar. Among these changes were the design elements that are recognizable as an acoustic or classical guitar today. The body was made larger and wider to help make sound travel farther and be louder, while the construction was also sturdier, more complete and more technically savvy.The Acoustic GuitarThe instrument that Antonio de Torres created and made popular was the Classical guitar. The acoustic guitar is commonly misinterpreted as being the same as the Classical guitar. This is not true, there are many key differences in the design of these two separate guitars. The most important of which is that the acoustic guitar has steel strings, while the Classical guitar is strung with nylon strings.The body was also made larger and sturdier still. The acoustic guitar was much better for performing in larger areas as it was increasingly louder than the Classical guitar; the two guitars also produce different ranges and textures of sounds which various styles of music correspond to.The acoustic guitar was actually developed in America from European immigrants. The last major development of the acoustic guitar is the electrical-acoustic guitar. These acoustic guitars can be plugged into an amplifier for increased volume or can be left unplugged and played as is.So next time you pick up an acoustic guitar, remember the history you hold in your hands.

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CA-Carlsbad Guitar Basics

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Classical Guitar In San Diego 

High on the list is “Am I too old to learn guitar in Carlsbad ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

History Of The Acoustic Guitar

electric guitar online shopping In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety. High on the list is "Am I too old to learn guitar?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let's see...off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period. That is the truth. However, as with everything else in life, the devil is in the details!The Correct Approach Is EssentialYes, anyone can learn at any age if they use the correct method to learn the guitar. The bad news is that virtually every guitar method on the market is severely deficient in the information that will guarantee success for everyone. Only the very talented and the very dedicated can learn from the many flawed guitar methods on the market today. The average guitar student is in for a tough time.This is because the biggest obstacles to learning guitar are physical obstacles, meaning, getting your fingers to actually make movements they have never made before, and getting them to do them smoothly and quickly. What all guitar methods are failing to address is that when you learn guitar you are really attempting to teach your fingers, hands, and arms new abilities. You are not really learning "guitar", you are actually engaged in "body learning", so, you must know and follow the well established laws of how the body (your muscles, nerves, and brain actually learn to do new and unfamiliar movements.For instance, one of the laws of body learning is that all movements must be practiced extremely slowly, with great focus on relaxation throughout the body. If you do not do this, if you allow your shoulders to tense when your fingers are stretching, that tension will stay in the shoulders and be reinforced every time you practice. It will feel "normal" to you and you will not know your shoulders are tense. All you will know is that you cannot control your fingers.This happens to a very large percentage of people of every age who try to learn guitar. It will tend to happen more with adult students and seniors because they have had more years to acquire tension in their bodies even apart from practicing guitar. However, if a student knows how to practice the necessary finger movements in a way that does not allow excess tension into the hands, arms, shoulders, and the rest of the body, they will be successful at learning to play no matter how old they are.Learning According To the Body; Not the GuitarGuitar instruction is a disorganized, unscientific, and (compared to piano or violin) a young and immature profession. Many, perhaps most, "guitar teachers" are not teachers; they are guitar players. There is a vast difference. Guitar players know how to play the guitar; guitar teachers should know how to cause other people to play the guitar. However, most of the people I have met who have failed at guitar have taken lessons for years. They were told they had no talent, when the fact is their teacher had no knowledge of how to teach. Unfortunately, such "teachers" often write the method books that the unsuspecting guitar aspirant buys and places their trust in!Such books are often mere collections of guitar information, pages full of chord diagrams, scales, songs, etc., containing no information about how to actually get your fingers to be able to do these things. Worse, the information and exercises are given according to how the guitar works, not how the human body and the human hand work.For instance, all guitar books begin by teaching you chords or notes in the first position at the first fret. By custom, the area of the guitar fingerboard furthest from the body is called the "first" position. So, everyone assumes that a student should learn that first. The problem is that this requires the arm to extend farthest away from the body, which requires the deltoid muscle in the shoulder to work hard to support that weight. This effort (especially in the beginner or older student) will inevitably cause muscle tension throughout the body, even to the point of the student holding their breath! After that, everything locks up and the student will be unable to control their fingers, or will struggle to control them, which is really no control at all. They will become either a failure at guitar, or a handicapped player.Students will suffer greatly from these flawed guitar learning methods, and being insecure of their own potential to begin with, will blame themselves. It does not have to be this way. There is a method of learning guitar that is scientific and based on the laws of body learning. It works for everyone. It is called "The Principles of Correct Practice for Guitar", and you can find out more about it by following the link at the end of this article.I wish you all success in your sincere desire to learn to play this most beautiful and rewarding of musical instruments.

Guitar Amplifier

classical guitar strings Each year, the National Association of Music Merchants (NAMM) complies a global report on musical instrument sales. This report gives us a snapshot of the numbers of people buying guitars, and ownership trends.In 2010, 2.38 million guitars were sold in the US, and these had a retail value of $839 million.Sales of acoustic guitars increased (6.9%), while electric guitar popularity declined (-2.1%). This trend reflected changes in the 2010 Billboard top 200, in which acoustic guitar strummers appeared at nearly twice the frequency of rock/metal bands. Similarly, the trend in amplifier purchase moved away from high-end valve amps, and towards smaller, less expensive combos.The average price of a guitar fell, but further analysis led those compiling the report to speculate that changes to were mainly due to new players entering the market, and established players not adding to their high-end guitar collections, rather than guitar prices falling due to the availability of cheaper imports.Here in the United Kingdom, we are generally two years behind our American cousins. However, UK sales figures reflected the currently depressed state of our economy: guitar sales were down on 2009 by 13.1% in terms of revenue, and 10.6% in sales volumes. Nevertheless, in 2010, £159.69 million was spent in the UK, on more than 768,000 guitars! That's a staggering number of guitars, and does not include private sales of pre-owned instruments.Sales trends between 2007 and 2010 show a steady decline in electric, and bass guitar sales. Conversely acoustic guitar sales over the same period have increased. Despite a fairly uniform fall in sales of all types of guitar during 2010, the popularity of acoustics is still growing. In 2007, acoustics accounted for 52.8% of all guitars sold, and this has risen steadily to 57% of all guitars sold in 2010.Elsewhere in the media, there have been pockets of speculation that the rising popularity of acoustic guitar music is both a catalyst for, and indication of more women taking up the instrument. Playing the guitar is an almost exclusively male past-time, so manufactures and retailers are delighted by the possibility of rising female interest: the size of their market could double. Meanwhile, manufacturers of electric guitars appear to be hoping for the emergence of a new Guitar Hero, on the scale of Hendrix or Clapton, to save their declining market share.As a guitar teacher, the report is very encouraging. It shows that the potential number of students is vast, despite the continuing UK recession. It enables us to check that we are in step with the dominance of acoustic guitar music, and adapt if necessary. It shows us that there is a need to encourage, and support women to take-up the guitar.I cannot help but feel that the NAMM should have a far greater interest in supporting guitar teachers. We have a part to play in ensuring that their customers return to up-grade and expand their guitar ownership. It is my firm belief that the majority of those 768,000 guitars will never get played, and merely function as ornaments to decorate homes.Maybe the new Hendrix is out there, and just needs a few guitar lessons to set him (or her) on the path that will reinvigorate music and the music industry.

Lap Steel Guitar

acoustic guitar players One very common way of transitioning from one chord to another on the guitar is by means a "walk down".A walk down involves starting on the first chord, then playing a transitional chord, and then arriving at the destination chord.You have probably heard walk downs many times, possibly without even realizing it. But becoming aware of them, and learning how to perform some of the more common ones is essential to enhancing your guitar playing skills.A simple walk down is typically comprised of a three chord movement (original to transitional to destination), but others can be played as four or more chord movements.In a three chord movement, the transitional chord is one that is often just a one note variation on the original chord. For example, the bass note of the original chord may "walk down" a half or whole step in the transition.In another variation, a note higher in the chord formation may walk down while the bass note remains the same.This is what we will cover today using the "D" chord. In this walk down we will do a walk down starting on D (major), and arriving on D7 at the end.The transitional chord in this example will be a Dmaj7.Here is the TAB for the walk down:E------2-----2-----2-----B------3-----2-----1-----G------2-----2-----2-----D------0-----0-----0-----A--------------------------E--------------------------Notice that only one note changes throughout the walk down, the notes on the 2nd string. Just looking at that string you will see that in the first chord (D major), it starts on the 3rd fret, then in the transitional chord (D maj7), it moves to the 2nd fret, then on the destination chord (D7), it winds up on the 1st fret.The trickiest part about this walk down is that the fingering will change completely for each of the three chords.In the first, you will use a standard D chord formation - open 4th string, 1st finger on the 2nd fret of the 3rd string, 3rd finger on the 3rd fret of the 2nd string, and 2nd finger on the 2nd fret of the 1st string.Then in the transitional chord - continue to play the open 4th string, then just barre the 1st, 2nd and 3rd strings with the 1st finger.Finally on the D7 - Play the open 4th string again, place the 2nd finger on the 2nd fret of the 3rd string, the 1st finger on the 1st fret of the 2nd string, and the 3rd finger on the 3rd fret of the 1st string.Overall, this is a fairly simple, and common walk down. Practice it slowly to begin with until you are comfortable with the changes. Once you have it down, be sure to incorporate into your playing whenever you can. 

Continue reading CA-Carlsbad Guitar Basics

CA-Oceanside Guitar Musical Instrument

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Epiphone In San Diego 

High on the list is “Am I too old to learn guitar in Oceanside ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Music Of Hawaii

guitarist magazine latest issue Jump to navigation Jump to search Slack-key guitar is a fingerstyle genre of guitar music that originated in Hawaii. Its name refers to its characteristic open tunings: the English term is a translation of the Hawaiian kī hōʻalu, which means "loosen the [tuning] key". Most slack-key tunings can be achieved by starting with a guitar in standard tuning and detuning or "slacking" one or more of the strings until the six strings form a single chord, frequently G major. In the oral-history account, the style originated from Mexican cowboys in the late 19th century. These paniolo (a Hawaiianization of españoles—"Spaniards") provided guitars, taught the Hawaiians the rudiments of playing, and then left, allowing the Hawaiians to develop the style on their own. Musicologists and historians suggest that the story is more complicated,[1] but this is the version that is most often offered by Hawaiian musicians. Slack-key guitar adapted to accompany the rhythms of Hawaiian dancing and the harmonic structures of Hawaiian music. The style of Hawaiian music that was promoted as a matter of national pride under the reign of King David Kalākaua in the late 19th century combined rhythms from traditional dance meters with imported European forms (for example, military marches), and drew its melodies from chant (mele and oli), hula, Christian hymns (hīmeni), and the popular music brought in by the various peoples who came to the Islands: English-speaking North Americans, Mexicans, Portuguese, Filipinos, Puerto Ricans, Tahitians, and Samoans. The music did not develop a mainland audience during the Hawaiian music craze of the early 20th century, during which Hawaiian music came to be identified outside Islands with the steel guitar and the ukulele. Slack key remained private and family entertainment, and it was not even recorded until 1946–47, when Gabby Pahinui cut a series of records that brought the tradition into public view.[2] During the 1960s and particularly during the Hawaiian Cultural Renaissance of the 1970s, slack key experienced a surge in popularity and came to be seen as one of the most genuine expressions of Hawaiian spirit, principally thanks to Gabby Pahinui, Atta Isaacs, Leonard Kwan, Sonny Chillingworth, Raymond Kāne, and the more modern styles of younger players such as Keola Beamer, his brother Kapono Beamer, Peter Moon, and Haunani Apoliona. During this period, luthiers such as the Guitar and Lute Workshop in Honolulu specialized in the development and manufacture of guitars custom made to order for slack-key performance. Many currently prominent Hawaiʻi-based players got their starts during the Cultural Renaissance years: Cindy Combs, Ledward Kaapana, George Kahumoku, Jr., his brother Moses Kahumoku, Dennis Kamakahi, Ozzie Kotani, three Pahinui brothers (Bla, Cyril, and Martin), the Emerson Brothers and Owana Salazar. These artists, and slack key in general, have become well known outside Hawaiʻi largely through George Winston's Dancing Cat Records record label, which has most often showcased the music in solo settings. One indication of slack key's increasing visibility beyond the Islands is that the first four winners of the Grammy Award for Best Hawaiian Music Album were slack key collections: Slack Key Guitar, Volume 2 in 2005,[3] Masters of Hawaiian Slack Key Guitar, Volume 1 in 2006,[4] Legends of Hawaiian Slack Key Guitar—Live from Maui[5] and "Treasures of Hawaiian Slack Key Guitar – Live in Concert from Maui." Players from outside Hawaiʻi have also taken up the tradition, for example, Chet Atkins (who included slack key pieces on two of his albums), Yuki Yamauchi (a student of Raymond Kāne's and an advocate of Hawaiian music in Japan), pianist George Winston, and Canadian Jim "Kimo" West (perhaps better known as guitarist with "Weird Al" Yankovic). Kī hōʻalu is often characterized by the use of an alternating-bass pattern, usually played by the thumb on the lower two or three strings of the guitar, while the melody is played on the three or four highest strings, using any number of fingers. Many kī hōʻalu players incorporate various embellishments such as harmonics (chimes), the hammer-on, the pull-off, slides, and damping. Slack key compositions exhibit characteristics from indigenous Hawaiian and imported musical traditions. The vamp or turnaround (a repeated figure, usually at the end of a verse) is descended from the hula tradition, and other harmonic and structural features are descended from hīmeni and from the hula kuʻi encouraged by King David Kalakaua.[6] Nearly all slack key requires retuning the guitar strings from the standard EADGBE, and this usually means lowering or "slacking" several strings. The result is most often a major chord, although it can also be a major-seventh chord, a sixth, or (rarely) a minor. There are examples of slack key played in standard tuning, but the overwhelming majority of recorded examples use altered tunings. The most common slack key tuning, called "taro patch," makes a G major chord. Starting from the standard EADGBE, the high and low E strings are lowered or "slacked" to D and the fifth string from A down to G, so the notes become DGDGBD. As the chart below shows, there are also major-chord tunings based on C, F, and D. Another important group of tunings, based on major-seventh chords, is called "wahine". G wahine, for example, starts with taro patch and lowers the third string from G to F♯, making DGDF♯BD. Wahine tunings have their own characteristic vamps (as in, for example, Raymond Kāne's "Punahele" or Gabby Pahinui's 1946 "Hula Medley") and require fretting one or two strings to form a major chord. A third significant group is Mauna Loa tunings, in which the highest pair of strings are a fifth apart: Gabby Pahinui often played in C Mauna Loa, CGEGAE. George Winston has identified fifty slack key tunings[7] Some are only commonly used for a single song, or by particular players. Mike McClellan and George Winston have developed similar schemes that organize the tunings by key and type. The chart below follows their categories and naming conventions. ^ For example, Elizabeth Tatar, "Slack Key Guitar", in Hawaiian Music and Musicians, ed. George S. Kanahele, University Press of Hawaii, 350–360. ISBN 0-8248-0578-X ^ See updated and corrected liner notes to the compilation CD History of Slack Key Guitar, by Harry Soria, Jr., Jay Junker, and George Winston. ^ "Slack key wins first Hawaiian Grammy", by Tim Ryan, Honolulu Star-Bulletin, February 14, 2005 ^ "'Masters' of the Grammy", by John Burger, Honolulu Star-Bulletin, February 9, 2006 ^ Derek Pavia (February 12, 2007). "Slack Key Snags Third Hawaiian Grammy". Honolulu Advertiser. Archived from the original on August 7, 2009.  ^ Tatar, "The Technique" and "The Chant Tradition" sections of "Slack Key Guitar" in Hawaiian Music and Musicians ^ [1] George Winston's on-line Short History of Slack Key Guitar, "Chart of Recorded Tunings" ^ "Bio". Kawika. Retrieved June 9, 2017. 

How to Set Up Your Guitar - Setting Guitar Action

online guitar price in india Have you ever wished you could play a melody on your guitar? Now you will learn how to play Twinkle, Twinkle, Little Star without sheet music! Let me take you to the first note of the song with the help of guitar tab notation!Here you have the first note written with number guitar tablature:03The first number tells you which fret to play, in this case you will not press down any fret which is indicated with the number 0. This is called to play an open string. The second number indicates which string to play. In this melody you will start with the third string.The strings are numbered starting with the bottom string on your guitar. You will use three strings to play the melody. The first string or the bottom string is called E, the second string B and the third string G. We will give the G-string a number instead and as you already have seen call it 3.Now it is time to start playing the melody. Here is the first line of lyrics with the corresponding melody written with number guitar tabs:(G)Twinkle, twinkle, (C)little (G)star03 03 32 32 01 01 3232 means, press down the third fret on the second string and play the note! As you can see I have included the suggested chords to use in brackets before the syllable where you are to change chords. Great if you are two guitarists playing together!Here are the next guitar tabs:(D7)How I (G)wonder (D7)what you (G)are!12 12 02 02 23 23 03I suggest that you use your right hand index to play the notes on the first fret, the middle finger for notes on the second fret and your middle finger for the third fret notes!You might feel that it is a bit difficult to use your left hand fingers this way but if you are patient you will find that you are able to keep your hand in the same position as you play which will help you when you play more advanced melodies!Another advantage is that your fingers will have their fixed frets to work with which will help you find your way better on the fretboard and you will be able to play without looking at your fingers all the time!(G)Up a(D7)bove the (G)world so (D7)high32 32 12 12 02 02 23(G)Like a (D7)diamond (G)in the (D7)sky!32 32 12 12 02 02 23The actual length of the individual notes in the melody is not indicated with this type of guitar tab notation but as you already know the melody I suggest that you learn how to play the rhythm by singing the melody aloud or in your head!(G)Twinkle, twinkle, (C)little (G)star03 03 32 32 01 01 32(D7)How I (G)wonder (D7)what you (G)are!12 12 02 02 23 23 03Now you have learned how to play Twinkle, Twinkle, Little Star on your guitar!As I mentioned, I call this type of notation number tablature and it is a convenient way to display melodies in text form but a more common way to show guitar tabs is by using a staff with six lines representing the strings and numbers on the lines indicating the frets. You will find this notation on many guitar sites!I suggest that you memorize the melody line by line instead of looking at the numbers. This way you will have access to the melody whenever a guitar is available!

Guitar Sales Trends and Volumes

12 string acoustic electric guitar Jump to navigation Jump to search Guitar Center is an American music retailer chain. It is the largest company of its kind in the United States, with 269 locations.[1] Its headquarters is in Westlake Village, California. Guitar Center oversees various subsidiaries including Music & Arts, GuitarCenter.com, LMI, Giardinelli, Musician.com, Private Reserve Guitars, Woodwind and Brasswind, Music 123, and used to own Harmony Central until its April 2015 sale to Gibson. Founded in Hollywood by Wayne Mitchell in 1959 as The Organ Center, a retailer of electronic organs for home and church use, it became a major seller of Vox electric guitars and guitar amplifiers, changing its name to The Vox Center in 1964. Toward the end of the 1960s, Vox—whose sales derived largely from its association with The Beatles, who made extensive use of its amplifiers—fell in popularity as Marshall amplifier users Eric Clapton and others captured musicians' imaginations. Accordingly, Mitchell once again changed the name, this time to Guitar Center.[2][3] Guitar Center West LA, Pico & Westwood, Los Angeles The popularity of rock and roll in the 1970s allowed Mitchell to open stores in San Francisco and San Diego, as well as several suburbs of Los Angeles. Ray Scherr, previously the general manager of the San Francisco store, purchased the company from Mitchell in the late 1970s. Scherr owned and operated it until 1996 from its Westlake Village headquarters. Although synthesizer-driven disco and new wave pop sapped rock's audience in the late 1970s, the 1980s "guitar rock" revival led by Van Halen and a concurrent influx of Japanese-produced instruments brought guitar sales to unprecedented levels.[4] Guitar Center took full advantage of this sales bonanza, and by the end of the decade began an ambitious program of expansion across the entire United States.[5] Using its size as leverage over the musical instrument business, it developed into the largest musical instrument retailer in the country, and made an initial public offering of stock in 1997.[6] In 2005, Guitar Center, Inc., started The Fender Music Foundation, a nonprofit organization that supports music education.[7] Activision partnered with Guitar Center in 2006; all purchases made during game play of Guitar Hero, beginning with the second installment, are made in a virtual Guitar Center store. On June 27, 2007, Guitar Center agreed to a $1.9 billion buyout from Bain Capital, totaling $2.1 billion including debt. The deal was led by Goldman Sachs and amounted to a per-share price of $63, or a 26% premium on the June 26 closing price. The deal was approved by shareholders on September 18, 2007, and closed October 9, 2007.[8] In mid-2009 Guitar Center opened the first of its rehearsal and lessons studio facility in Woodland Hills, California. The eight studios with full backline range in size from 350-550 square feet. Guitar Center also hosts annual events such as the Drum Off, King of the Blues, contests, and artist appearances throughout the nation.[9] In 2011, Guitar Center added equipment rentals to the store in San Diego, California. Since, Guitar Center has opened rental departments in ten other existing locations and plans to offer rental services in various other stores across the country. In May 2013, Standard & Poor's cut its debt rating on Bain Capital-owned Guitar Center Holdings Inc to "junk bond" status, citing struggles with "weak operating trends." The corporate credit rating on the company dropped from 'B-' to 'CCC+'.[10] In April 2014, Ares Management took a controlling stake in Guitar Center. Bain Capital, Guitar Center's former owner, retained partial ownership of the company, along with representation on the board. According to Mike Pratt, the retailer's previous chief executive, the deal will reduce Guitar Center's total debt and provide it with the resources to expand its footprint and invest in its business.[11] In August 2014, Guitar Center opened a new 28,000 square foot flagship location in the heart of Times Square in New York City.[12] The grand opening included a celebratory concert featuring the band The Roots.[13] The Guitar Center Times Square location is now the permanent home of Eric Clapton's Blackie Fender Stratocaster,[14] which Guitar Center purchased at a Christie's Crossroads Centre auction in 2004 for $959,000.[15] In April, 2017, Moody's Investors Services revised the outlook on Guitar Center's B2 rating to negative, meaning it could downgrade the rating further into junk territory in the medium tern. The concern is that Guitar Center may be overwhelmed by its $1 billion debt in the face of flat sales in the musical instrument industry as a whole.[16] First debuting in 2010, each episode of Guitar Center Sessions showcases exclusive live performances by noteworthy artists captured in hi-definition at Guitar Center's iconic Hollywood, CA location. Some past guests have included Linkin Park, Saint Motel, Wiz Khalifa, Billy Idol, The 1975, Sum 41, Weezer, Smashing Pumpkins, Peter Gabriel, Alanis Morissette, 311, Megadeth, Snoop Dogg, Soundgarden, Seether, The Cult, CAKE, Jakob Dylan, Blondie, Rodrigo y Gabriela, Bush, Ben Folds Five, Korn, Joan Jett, Cheap Trick, Skylar Grey, Peter Frampton, Frank Turner, Coheed and Cambria, and Jane’s Addiction. Guitar Center Sessions is hosted by Nic Harcourt, and was created, developed and produced by Guitar Center exclusively on DirecTV.[17] Guitar Center Sessions has won several awards, including a Lumiere Award from the International 3D Society for the episodes featuring Jane's Addiction and Peter Gabriel. To celebrate their 50th anniversary, Guitar Center asked Linkin Park to play a show on October 24, 2014; the performance first aired on DirecTV on December 5, 2014.[18] The At: Guitar Center web series (formerly At: Guitar Center podcast) features interviews and intimate performances with some of the biggest names in music. Some past guests have included Travis Barker, Sevendust, T-Pain, Joe Bonamassa, The Crystal Method, Buddy Guy, Daughtry, Jimmy Cliff, Meiko, Rza, Steve Vai, Joe Satriani, Brandi Carlile, and Minus the Bear, The podcasts are available on the iTunes, Zune and BlackBerry networks and on the Guitar Center website.[19] The show is hosted by Nic Harcourt. Connections Made by Guitar Center, a collaboration between 88.5 KCSN Los Angeles and Guitar Center, was a weekly one-hour radio program featuring fresh, new music from across the globe and musical spectrum. Signed or unsigned, the show offered an electric mix of progressive and innovative artists. The show was hosted by radio host and taste maker, Nic Harcourt.[20] The “Guitar Center Legends Collection”[21] consists of four classic guitars made famous by music legends Eric Clapton, Stevie Ray Vaughan, and U2’s The Edge. Guitar Center purchased Clapton’s “Blackie” Fender Stratocaster, his vintage Gibson “ES-335,” and Vaughan’s “Lenny” Stratocaster for over $2.4 million from the Clapton Crossroads Centre charity auction at Christie's New York in 2004. They added The Edge’s cream white Gibson Les Paul Custom after purchasing it for $240,000 at the Music Rising Charity Auction in 2007.[22] Over the years, the collection has been exhibited in one-of-a-kind, “Legends’ Collection” display cases, which provide high level protection and climate control as the instruments tour prestigious musical events and key Guitar Center locations, such as “Guitar Center Road to Crossroads” held at Madison Square Garden in conjunction with Clapton’s Crossroads Guitar Festival in April 2013.[23] In August 2014, Clapton’s Blackie and ES-335 were moved to their new permanent location at Guitar Center’s Times Square flagship location. Clapton's “Blackie” was purchased by Guitar Center for $959,500. Clapton’s Cherry Red Gibson “335,” purchased for $847,500, was used to record Cream’s versions of “Badge” and “Crossroads (from their final live performance in November 1968),” as well as many other historical performances, during his 40 years of ownership. Steve Ray Vaughan’s “Lenny,” which was purchased for $623,500, was used to record his classic love songs including “Lenny” and “Riviera Paradise.” All of the proceeds from these three guitars purchased by Guitar Center were for the benefit of Clapton’s Crossroads Centre charity. The Edge's cream colored 1975 Les Paul Custom (faded from its original white) found fame as a go-to guitar for stage and studio on many of U2’s most famous recordings and performances. In 2005, The Edge partnered with producer Bob Ezrin, Gibson and the Guitar Center Music Foundation (now known as the Fender Music Foundation) to establish Music Rising, a charity founded to benefit musicians whose lives were torn apart by Hurricane Katrina. In 2007, he donated this prized guitar to be auctioned for the cause. The winning bid was $240,000 from Guitar Center ($288,000 including Buyers Premium).[24] Since 1988, Guitar Center has held an annual search for the next great undiscovered drummer. Developed to spotlight the drumming community, Guitar Center’s Drum-Off is the music retailer’s longest running artist-discovery program, providing an outlet for drummers to be recognized for their skill and attain success in their field. For over a quarter of a century, the program has unearthed some of the day’s top undiscovered drummers and provided a platform for established drummers to be acknowledged.[25] Guitar Center’s Drum-Off[26] breaks down into three rounds of store preliminary competitions at 250+ Guitar Center locations nationwide. Every contestant is allowed five minutes of set up time and three minutes to perform. One winner from each store finals competition is chosen to move up to the quarterfinals, (hosted at 30 Guitar Center locations nationwide), followed by semi-finals at five store locations at which point performance time is increased to allow five minutes to each contestant. The winners from these five semifinal locations convene in Los Angeles, CA to compete in Guitar Center’s Drum Off finals in front of a live audience and a panel of celebrity judges. Each contestant is required to perform on a 5-piece acoustic drum kit complete with hardware, cymbals, cowbell, throne and the option to incorporate the Roland SPD-30 Octapad into the competition kit. As of 2016 however, the SPD-30 Octapad will no longer be part of the competition kit. All contestants are evaluated by a panel of independent and credible judges on the following criteria: skills & technique, groove, originality, stage presence, and overall performance. In years past, some of the world’s most renowned drummers have participated in and supported Guitar Center’s Drum-Off, including: Terry Bozzio, Aaron Spears (Usher), Dennis Chambers (Parliament/Funkadelic), Chad Smith (Red Hot Chili Peppers), Steve Gadd, Questlove (The Roots), Travis Barker (Blink-182), Tommy Lee (Motley Crüe), Dave Lombardo (Slayer), Carmine Appice, John Tempesta (The Cult), Taylor Hawkins (Foo Fighters), Steve Smith, Gavin Harrison, Jojo Mayer, Thomas Lang, Josh Freese (Nine Inch Nails, A Perfect Circle), José Pasillas (Incubus), Billy Cobham, Nicko McBrain (Iron Maiden), Stephen Perkins (Jane’s Addiction), Danny Carey (Tool), Brann Dailor (Mastodon), John Blackwell, and more. According to their website, and as of 2017, Guitar Center will no longer sponsor the annual drumoff. Instead, Guitar Center announced it will create a community outreach program specifically geared toward drummers. RockWalk RockWalk detail The Sunset Boulevard location in Los Angeles hosts Hollywood's RockWalk, a hall of fame honoring musical artists.[27] Artists are invited to place their handprints into cement blocks that are put on display at the Guitar Center.[27] Some past inductees have included B'z, Eric Clapton, AC/DC, Aerosmith, Alanis Morissette, B.B. King, Black Sabbath, Carlos Santana, Cheap Trick, Def Leppard , Dick Clark, Ernie Ball, Herbie Hancock, Iron Maiden, James Brown, Jerry Lee Lewis, Jimi Hendrix, Jimmy Page, Joe Satriani, Bonnie Raitt, Johnny Cash, KISS, Les Paul, Little Richard, Lynyrd Skynyrd, Melissa Etheridge, Nancy Wilson, Slash, The Doobie Brothers, The Wrecking Crew, Van Halen, Simon Kirke, as well as countless others. A Guitar Center retail store in Houston In 2000, Guitar Center purchased mail order and Internet retail house Musician's Friend[28] for $50 million, asserting that the merged company was the world's largest seller of musical instruments.[29] Musician's Friend became a wholly owned subsidiary that was headquartered in Medford, Oregon until 2011, when Musician's Friend's headquarters operations were gradually consolidated into Guitar Center's facilities in Westlake Village, California.[30] In 2005, Guitar Center Inc. acquired Music & Arts, the largest school music dealer in the United States, and merged their subsidiary band and orchestral chain American Music Group into Music & Arts (as the company was renamed).[31] Music & Arts was founded in 1952 in Bethesda, Maryland and sells band and orchestra instruments, guitars, keyboards, drum sets, printed sheet music, and related supplies. In the summer of 2006, Guitar Center purchased four stores in Texas from the popular South Texas and Central/South American company, Hermes.[32] In February 2007, the direct response division of Guitar Center, Musician's Friend, purchased assets of the Indiana-based company Dennis Bamber, Inc., which included leading band and orchestra retailer, Woodwind and Brasswind, plus Music 123 and Lyons Music. There was a television series known as Guitar Center Sessions, which featured artists such as 311, Bad Religion, and Smashing Pumpkins.

Continue reading CA-Oceanside Guitar Musical Instrument

CA-Chula Vista Rock Guitar

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Buy Guitar Online In San Diego 

High on the list is “Am I too old to learn guitar in Chula Vista ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Guitar Sales Trends and Volumes

new guitars for sale online Each year, the National Association of Music Merchants (NAMM) complies a global report on musical instrument sales. This report gives us a snapshot of the numbers of people buying guitars, and ownership trends.In 2010, 2.38 million guitars were sold in the US, and these had a retail value of $839 million.Sales of acoustic guitars increased (6.9%), while electric guitar popularity declined (-2.1%). This trend reflected changes in the 2010 Billboard top 200, in which acoustic guitar strummers appeared at nearly twice the frequency of rock/metal bands. Similarly, the trend in amplifier purchase moved away from high-end valve amps, and towards smaller, less expensive combos.The average price of a guitar fell, but further analysis led those compiling the report to speculate that changes to were mainly due to new players entering the market, and established players not adding to their high-end guitar collections, rather than guitar prices falling due to the availability of cheaper imports.Here in the United Kingdom, we are generally two years behind our American cousins. However, UK sales figures reflected the currently depressed state of our economy: guitar sales were down on 2009 by 13.1% in terms of revenue, and 10.6% in sales volumes. Nevertheless, in 2010, £159.69 million was spent in the UK, on more than 768,000 guitars! That's a staggering number of guitars, and does not include private sales of pre-owned instruments.Sales trends between 2007 and 2010 show a steady decline in electric, and bass guitar sales. Conversely acoustic guitar sales over the same period have increased. Despite a fairly uniform fall in sales of all types of guitar during 2010, the popularity of acoustics is still growing. In 2007, acoustics accounted for 52.8% of all guitars sold, and this has risen steadily to 57% of all guitars sold in 2010.Elsewhere in the media, there have been pockets of speculation that the rising popularity of acoustic guitar music is both a catalyst for, and indication of more women taking up the instrument. Playing the guitar is an almost exclusively male past-time, so manufactures and retailers are delighted by the possibility of rising female interest: the size of their market could double. Meanwhile, manufacturers of electric guitars appear to be hoping for the emergence of a new Guitar Hero, on the scale of Hendrix or Clapton, to save their declining market share.As a guitar teacher, the report is very encouraging. It shows that the potential number of students is vast, despite the continuing UK recession. It enables us to check that we are in step with the dominance of acoustic guitar music, and adapt if necessary. It shows us that there is a need to encourage, and support women to take-up the guitar.I cannot help but feel that the NAMM should have a far greater interest in supporting guitar teachers. We have a part to play in ensuring that their customers return to up-grade and expand their guitar ownership. It is my firm belief that the majority of those 768,000 guitars will never get played, and merely function as ornaments to decorate homes.Maybe the new Hendrix is out there, and just needs a few guitar lessons to set him (or her) on the path that will reinvigorate music and the music industry.

How to Set Up Your Guitar - Setting Guitar Action

new guitars for sale online Jump to navigation Jump to search Example of a cedar top flamenco guitar with traditional tap plates/golpeadores installed A flamenco guitar is a guitar similar to a classical guitar but with thinner tops and less internal bracing. It is used in toque, the guitar-playing part of the art of flamenco. Traditionally, luthiers made guitars to sell at a wide ranges of prices, largely based on the materials used and the amount of decorations, to cater to the popularity of the instrument across all classes of people in Spain.[1] The cheapest guitars were often simple, basic instruments made from the less expensive woods such as cypress. Antonio de Torres, one of the most renowned luthiers, did not differentiate between flamenco and classical guitars. Only after Andrés Segovia and others popularized classical guitar music, did this distinction emerge.[2] The traditional flamenco guitar is made of Spanish cypress, sycamore, or rosewood for the back and sides, and spruce for the top. This (in the case of cypress and sycamore) accounts for its characteristic body color. Flamenco guitars are built lighter with thinner tops than classical guitars, which produces a "brighter" and more percussive sound quality. Builders also use less internal bracing to keep the top more percussively resonant. The top is typically made of either spruce or cedar, though other tone woods are used today. Volume has traditionally been very important for flamenco guitarists, as they must be heard over the sound of the dancers’ nailed shoes. To increase volume, harder woods, such as rosewood, can be used for the back and sides, with softer woods for the top. In contrast to the classical guitar, the flamenco is often equipped with a tap plate (a golpeador), commonly made of plastic, similar to a pickguard, whose function is to protect the body of the guitar from the rhythmic finger taps, or golpes. Originally, all guitars were made with wooden tuning pegs, that pass straight through the headstock, similar to those found on a lute, a violin or oud, as opposed to the modern classical-style guitars' geared tuning mechanisms. "Flamenco negra" guitars are called "negra" after the darker of the harder woods used in their construction, similar materials to those of high-end classical guitars, such as rosewood or other dense tone woods. The harder materials increase volume and tonal range. A typical cypress flamenco guitar produces more treble and louder percussion than the more sonorous negra. These guitars strive to capture some of the sustain achieved by concert caliber classical guitars while retaining the volume and attack associated with flamenco. Classical guitars are generally made with spruce or cedar tops and rosewood or mahogany backs and sides to enhance sustain. Flamenco guitars are generally made with spruce tops and cypress or sycamore for the backs and sides to enhance volume and emphasize the attack of the note. Nevertheless, other types of wood may be used for the back and sides, like rosewood, maple, koa, satinwood and caviuna. A well-made flamenco guitar responds quickly, and typically has less sustain than a classical. This is desirable, since the flurry of notes that a good flamenco player can produce might sound muddy on a guitar with a big, lush, sustaining sound. The flamenco guitar’s sound is often described as percussive; it tends to be brighter, drier and more austere than a classical guitar. Some jazz and Latin guitarists like this punchy tonality, and some players have even discovered that these guitars’ wide-ranging sound also works well for the contrapuntal voicings of Renaissance and Baroque music. Flamenco guitarist Paco de Lucía Flamenco is played somewhat differently from classical guitar. Players use different posture, strumming patterns, and techniques. Flamenco guitarists are known as tocaores (from an Andalusian pronunciation of tocadores, "players") and flamenco guitar technique is known as toque. Flamenco players tend to play the guitar between the sound hole and the bridge, but as closely as possible to the bridge, to produce a harsher, rasping sound quality. Unlike classical tirando, where the strings are pulled parallel to the soundboard, in flamenco apoyando strings are struck towards the soundboard in such way that the striking finger is caught and supported by the next string, hence the name apoyando (from Spanish apoyar meaning "to support"). At times, this style of playing causes the vibrating string to gently touch the frets along its length, causing a more percussive sound.[3] While a classical guitarist supports the guitar on the right leg, and holds it at an incline, flamenco guitarists usually cross their legs and support the guitar on whichever leg is on top, placing the neck of the guitar nearly parallel to the floor. The different position accommodates the different playing techniques. Many of the tremolo, golpe, and rasgueado techniques are easier and more relaxed if the upper right arm is supported at the elbow by the body of the guitar rather than by the forearm as in classical guitar. Nonetheless, some flamenco guitarists use classical position. Flamenco is commonly played using a cejilla (capo) which raises the pitch and causes the guitar to sound sharper and more percussive. However, the main purpose in using a cejilla is to change the key of the guitar to match the singer’s vocal range. Because Flamenco is an improvisational musical form that uses common structures and chord sequences, the capo makes it easier for players who have never played together before to do so. Rather than transcribe to another key each time the singer changes, the player can move the capo and use the same chord positions. Flamenco uses a lot of highly modified and open chord forms to create a solid drone effect and leave at least one finger free to add melodic notes and movement. Very little traditional Flamenco music is written, but is mostly passed on hand to hand. Books, however are becoming more available. Both accompaniment and solo flamenco guitar are based as much on modal as tonal harmonies; most often, both are combined. In addition to the techniques common to classical guitar, flamenco guitar technique is uniquely characterized by: Flamenco guitar employs a vast array of percussive and rhythmic techniques that give the music its characteristic feel. Often, eighth note triplets are mixed with sixteenth note runs in a single bar. Even swung notes are commonly mixed with straight notes, and golpes are employed with the compas of different types of rhythms (i.e. bulerias, soleas, etc.) as is strumming with the strings damped for long passages or single notes. More broadly, in terms of general style and ability, one speaks of:

Guitar Center

acoustic guitar online store Jump to navigation Jump to search The lap steel guitar is a type of steel guitar which is typically played with the instrument in a horizontal position on the performer’s lap or otherwise supported. The performer changes pitch by pressing a metal or glass bar against the strings as opposed to a traditional guitar where the performer's fingertips press the strings against frets. The bar placed against the strings is called a "steel" or "tone bar". There are three types of lap steel guitars: Freddie Roulette holding console or double-neck steel guitar. A lap steel guitar's strings are raised at both the nut and bridge ends of the fingerboard, typically to about half an inch. The strings are too high to contact the surface of the neck, so frets, if present, are only for reference and are often replaced by markers. Some lap steel guitars can be converted between lap and fretted playing, or are modified versions of conventional guitars—the only difference is usually string height. Round-necked resonator guitars set up for steel playing fall into this category. Instruments designed exclusively as lap steel guitars typically have modified necks that make fretted playing impossible. The hollow neck acoustic lap steel, developed by Chris Knutsen and popularized by Weissenborn, extends the body cavity behind the neck all the way to the head. The square-necked resonator guitar has a strengthened square profile neck, allowing heavier string gauges and/or higher tunings that would normally be considered impossible (or certainly ill-advised) on a conventional guitar. The electric lap steel guitar typically incorporates the entire neck into the solid body of the guitar, again providing extra strength to allow a greater variety of string gauges and tunings. Console steel guitars, typically with more than six strings and/or multiple necks, are rarely played in lap steel fashion (without their legs), but are often referred to as lap steel guitars by many makers and authorities. See table steel guitar. Kaki King performing on lap steel guitar. The lap steel guitar is typically placed on the player's lap, or on a stool in front of the seated player. When playing with stand-up musicians, such as in a bluegrass band, it has become an alternative for the player to also play standing up; supporting the guitar with a guitar strap around the neck, with the guitar suspended horizontally, resting against the stomach area; providing stage mobility, such as for mic accessibility for singing. Unlike a conventional guitar, the strings are not pressed to a fret when sounding a note; rather, the player holds a metal slide called steel (or tone bar) in the left hand, which is moved along the strings to change the instrument's pitch while the right hand plucks or picks the strings. This method of playing greatly restricts the number of chords available, so lap steel music often features melodies, a restricted set of harmonies (such as in blues), or another single part. David Gilmour playing lap steel guitar - 26 January 1977 The steel guitar, when played in Hawaiian, Country, Bluegrass, or Western Swing styles, is almost always plucked using a plastic thumbpick affixed to the right hand's thumb, and metal or plastic "fingerpicks" fitted to the first 2, 3, or even all 4 fingers of the right hand. This allows the player greater control when picking sets of notes on non-adjacent strings. Some Blues players, especially those who use a round-neck resonator guitar played upright, conventional-guitar-style, with a bottleneck or hollow metal slide on one left-hand finger, forgo the fingerpicks and thumbpicks, and use their bare fingers and thumb instead. On the other hand, a minority of Blues players, and many Rock players, use a conventional flatpick. Tut Taylor is one of the few Dobro players that use a flatpick. Ben Keith playing lap steel guitar + pedal steel guitarIt is widely reported that the lap steel guitar was invented by a man named Joseph Kekuku in 1885.[2][3][4] It is said that, at the age of 7, Kekuku was walking along a railroad track and picked up a metal bolt, slid the metal along the strings of his guitar and was intrigued by the sound. He taught himself to play using this method with the back of a knife blade. Various other people have also been credited with the innovation.[5] The instrument became a major fad in the United States during the 1920s and 1930s. The instrument became especially popular in Hawaii, as musicians played in tent-rep shows.[6] It was electrified in the early 1930s, and in 1932 the first production electric guitar was introduced, the aluminum Ro-Pat-In (later Rickenbacker) A22 "Frying Pan" lap steel. This made the so-called "Hawaiian" guitar the first electric stringed instrument (just a few years before Les Paul and Charlie Christian modified their instruments and after the theremin was patented in 1928). The earliest documented performance with an electrically amplified guitar was in 1932, by Gage Brewer. The Wichita, Kansas-based musician had an electric Hawaiian A-25 (frypan, lap-steel) and a standard electric Spanish from George Beauchamp of Los Angeles, California. Brewer publicized his new instruments in an article in the Wichita Beacon of October 2, 1932 and through performances that month. The first electric instrument on a commercial recording was made and played in 1935 by Bob Dunn, a musician in Houston, Texas who played in the Western swing band Milton Brown and His Musical Brownies. Dunn owned a music store that bore his name in the Houston area. The lap steel, dobro and pedal steel guitar are associated most closely with Hawaiian music, country music and bluegrass, though some players have used them in rock music, jazz, blues, and other musical genres. The round neck, metal-bodied resonator guitar is used almost exclusively by blues, rock, or blues-rock musicians. Harmon Davis playing steel guitar The Lap steel guitar is not tuned in standard guitar tuning (E-A-D-G-B-E, low to high). Rather, it is usually tuned to an open chord, often an extended chord like a 6th, 7th, or 9th. (All tunings are shown low-to-high; that is, thickest string to thinnest, or 6th string to 1st string). The earliest Hawaiian lap steel tuning was A low bass, E A E A C# E. Blues and Rock players tend to favor one of two tuning families: open G/open A, or open D/open E. Open G is tuned D-G-D-G-B-D; open A raises each of those notes a whole-step (2 frets) to E-A-E-A-C♯-E. During the 1920s and 1930s, much of the sheet music written for lap steel utilized open A tuning as the de facto standard tuning for the instrument. Other tunings such as E7 ( B D E G# B E ), C#m (B D E G# C# E), and many other tunings were developed. Open D is tuned D-A-D-F♯-A-D, and open E is a whole-step higher: E-B-E-G♯-B-E. Joe Perry of Aerosmith uses Open E on his electric lap steel. David Lindley is another player who uses transposed variations of these tunings. Bluegrass and Country Dobro players using a square-neck instrument tend to favor an altered G tuning, often called "High-G", where the 6th string is tuned up to "G" instead of down to "D", and the 5th string is also tuned up, to B: G-B-D-G-B-D. They also sometimes raise it up to "High-A": A-C♯-E-A-C♯-E. These are examples of tunings possible on a lap steel that could cause serious damage if attempted on a round-neck resonator or standard guitar. Henry Kaleialoha Allen in his book[7] uses a modified C6 tuning, with a B♭ in the bass: B♭-E-G-A-C-E. Jerry Byrd has a C6 variant with C# in the bass: C# E G A C E. Dobro players also generally use a set of strings with different gauges than those used on standard electric or acoustic guitars to help them to project more sound and to achieve their higher tunings. Many Western Swing lap steel players, and some Old-Time Country lap steel players, use a C6 tuning. There is no "standard" C6 tuning; one popular one is C-E-G-A-C-E. This tuning is a good one for learning Don Helms' lap steel melodies from old Hank Williams records, although Helms used a lap steel with legs (a "console steel"), with two necks having 8 strings each; Helms actually used an E13 tuning, which adds the 7th (D) and the 13th (C♯) to the E tuning, making it B-D-E-G♯-B-C♯-E-G♯, low to high. An extended C6/FMaj7 is used by Western Swing pedal steel guitarists on their 10-string pedal steels. This tuning, C-F-A-C-E-G-A-C-E-G, is difficult to achieve on the 6-string steel but a subset thereof is achieved as previously mentioned. A6 is a commonly used alternate for C6 and was used by greats such as Billy Hew Len, Leon McAuliffe, Herb Remington, etc. The E7 tuning is used by many players, especially those who begin learning with the Mel Bay Steel Guitar Method instructional books. The E7 tuning in those books is spelled either B0-D-E-G♯-B-E or with the 6th string lowered to the tonic E: E-D-E-G♯-B-E. Note the similarity of this second tuning to the open E tuning above: the only difference is the 5th string, which is lowered from the tonic E to the 7th note in the key of E, which is D. There are many other tunings used by players. Pedal Steel guitarists switching over to lap steel often bring over a modified version of the 10-string E9 tuning that is the standard for Country pedal steel; pedal steels, and a few non-pedal "console steels" actually have multiple necks, each in a different tuning, and very often on a pedal steel the 2 main necks will be in E9 and C6 tunings. As noted under the C6 tuning, an A6 tuning is also used. See the links below for a list of additional tunings.

Continue reading CA-Chula Vista Rock Guitar

CA-Poway Spanish Guitar

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Musical Instruments In San Diego 

High on the list is “Am I too old to learn guitar in Poway ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Top 7 Hard Rock And Heavy Metal Guitar Tunings

how to play guitar chords Jump to navigation Jump to search Example of a cedar top flamenco guitar with traditional tap plates/golpeadores installed A flamenco guitar is a guitar similar to a classical guitar but with thinner tops and less internal bracing. It is used in toque, the guitar-playing part of the art of flamenco. Traditionally, luthiers made guitars to sell at a wide ranges of prices, largely based on the materials used and the amount of decorations, to cater to the popularity of the instrument across all classes of people in Spain.[1] The cheapest guitars were often simple, basic instruments made from the less expensive woods such as cypress. Antonio de Torres, one of the most renowned luthiers, did not differentiate between flamenco and classical guitars. Only after Andrés Segovia and others popularized classical guitar music, did this distinction emerge.[2] The traditional flamenco guitar is made of Spanish cypress, sycamore, or rosewood for the back and sides, and spruce for the top. This (in the case of cypress and sycamore) accounts for its characteristic body color. Flamenco guitars are built lighter with thinner tops than classical guitars, which produces a "brighter" and more percussive sound quality. Builders also use less internal bracing to keep the top more percussively resonant. The top is typically made of either spruce or cedar, though other tone woods are used today. Volume has traditionally been very important for flamenco guitarists, as they must be heard over the sound of the dancers’ nailed shoes. To increase volume, harder woods, such as rosewood, can be used for the back and sides, with softer woods for the top. In contrast to the classical guitar, the flamenco is often equipped with a tap plate (a golpeador), commonly made of plastic, similar to a pickguard, whose function is to protect the body of the guitar from the rhythmic finger taps, or golpes. Originally, all guitars were made with wooden tuning pegs, that pass straight through the headstock, similar to those found on a lute, a violin or oud, as opposed to the modern classical-style guitars' geared tuning mechanisms. "Flamenco negra" guitars are called "negra" after the darker of the harder woods used in their construction, similar materials to those of high-end classical guitars, such as rosewood or other dense tone woods. The harder materials increase volume and tonal range. A typical cypress flamenco guitar produces more treble and louder percussion than the more sonorous negra. These guitars strive to capture some of the sustain achieved by concert caliber classical guitars while retaining the volume and attack associated with flamenco. Classical guitars are generally made with spruce or cedar tops and rosewood or mahogany backs and sides to enhance sustain. Flamenco guitars are generally made with spruce tops and cypress or sycamore for the backs and sides to enhance volume and emphasize the attack of the note. Nevertheless, other types of wood may be used for the back and sides, like rosewood, maple, koa, satinwood and caviuna. A well-made flamenco guitar responds quickly, and typically has less sustain than a classical. This is desirable, since the flurry of notes that a good flamenco player can produce might sound muddy on a guitar with a big, lush, sustaining sound. The flamenco guitar’s sound is often described as percussive; it tends to be brighter, drier and more austere than a classical guitar. Some jazz and Latin guitarists like this punchy tonality, and some players have even discovered that these guitars’ wide-ranging sound also works well for the contrapuntal voicings of Renaissance and Baroque music. Flamenco guitarist Paco de Lucía Flamenco is played somewhat differently from classical guitar. Players use different posture, strumming patterns, and techniques. Flamenco guitarists are known as tocaores (from an Andalusian pronunciation of tocadores, "players") and flamenco guitar technique is known as toque. Flamenco players tend to play the guitar between the sound hole and the bridge, but as closely as possible to the bridge, to produce a harsher, rasping sound quality. Unlike classical tirando, where the strings are pulled parallel to the soundboard, in flamenco apoyando strings are struck towards the soundboard in such way that the striking finger is caught and supported by the next string, hence the name apoyando (from Spanish apoyar meaning "to support"). At times, this style of playing causes the vibrating string to gently touch the frets along its length, causing a more percussive sound.[3] While a classical guitarist supports the guitar on the right leg, and holds it at an incline, flamenco guitarists usually cross their legs and support the guitar on whichever leg is on top, placing the neck of the guitar nearly parallel to the floor. The different position accommodates the different playing techniques. Many of the tremolo, golpe, and rasgueado techniques are easier and more relaxed if the upper right arm is supported at the elbow by the body of the guitar rather than by the forearm as in classical guitar. Nonetheless, some flamenco guitarists use classical position. Flamenco is commonly played using a cejilla (capo) which raises the pitch and causes the guitar to sound sharper and more percussive. However, the main purpose in using a cejilla is to change the key of the guitar to match the singer’s vocal range. Because Flamenco is an improvisational musical form that uses common structures and chord sequences, the capo makes it easier for players who have never played together before to do so. Rather than transcribe to another key each time the singer changes, the player can move the capo and use the same chord positions. Flamenco uses a lot of highly modified and open chord forms to create a solid drone effect and leave at least one finger free to add melodic notes and movement. Very little traditional Flamenco music is written, but is mostly passed on hand to hand. Books, however are becoming more available. Both accompaniment and solo flamenco guitar are based as much on modal as tonal harmonies; most often, both are combined. In addition to the techniques common to classical guitar, flamenco guitar technique is uniquely characterized by: Flamenco guitar employs a vast array of percussive and rhythmic techniques that give the music its characteristic feel. Often, eighth note triplets are mixed with sixteenth note runs in a single bar. Even swung notes are commonly mixed with straight notes, and golpes are employed with the compas of different types of rhythms (i.e. bulerias, soleas, etc.) as is strumming with the strings damped for long passages or single notes. More broadly, in terms of general style and ability, one speaks of:

Instrument Amplifier

musical instruments online Have you ever wished you could play a melody on your guitar? Now you will learn how to play Twinkle, Twinkle, Little Star without sheet music! Let me take you to the first note of the song with the help of guitar tab notation!Here you have the first note written with number guitar tablature:03The first number tells you which fret to play, in this case you will not press down any fret which is indicated with the number 0. This is called to play an open string. The second number indicates which string to play. In this melody you will start with the third string.The strings are numbered starting with the bottom string on your guitar. You will use three strings to play the melody. The first string or the bottom string is called E, the second string B and the third string G. We will give the G-string a number instead and as you already have seen call it 3.Now it is time to start playing the melody. Here is the first line of lyrics with the corresponding melody written with number guitar tabs:(G)Twinkle, twinkle, (C)little (G)star03 03 32 32 01 01 3232 means, press down the third fret on the second string and play the note! As you can see I have included the suggested chords to use in brackets before the syllable where you are to change chords. Great if you are two guitarists playing together!Here are the next guitar tabs:(D7)How I (G)wonder (D7)what you (G)are!12 12 02 02 23 23 03I suggest that you use your right hand index to play the notes on the first fret, the middle finger for notes on the second fret and your middle finger for the third fret notes!You might feel that it is a bit difficult to use your left hand fingers this way but if you are patient you will find that you are able to keep your hand in the same position as you play which will help you when you play more advanced melodies!Another advantage is that your fingers will have their fixed frets to work with which will help you find your way better on the fretboard and you will be able to play without looking at your fingers all the time!(G)Up a(D7)bove the (G)world so (D7)high32 32 12 12 02 02 23(G)Like a (D7)diamond (G)in the (D7)sky!32 32 12 12 02 02 23The actual length of the individual notes in the melody is not indicated with this type of guitar tab notation but as you already know the melody I suggest that you learn how to play the rhythm by singing the melody aloud or in your head!(G)Twinkle, twinkle, (C)little (G)star03 03 32 32 01 01 32(D7)How I (G)wonder (D7)what you (G)are!12 12 02 02 23 23 03Now you have learned how to play Twinkle, Twinkle, Little Star on your guitar!As I mentioned, I call this type of notation number tablature and it is a convenient way to display melodies in text form but a more common way to show guitar tabs is by using a staff with six lines representing the strings and numbers on the lines indicating the frets. You will find this notation on many guitar sites!I suggest that you memorize the melody line by line instead of looking at the numbers. This way you will have access to the melody whenever a guitar is available!

Guitar Sales Trends and Volumes

electric guitar online shopping The main purpose of setting guitar action is to get maximum playability and sound quality out of that instrument. If you do not feel comfortable while playing on your guitar or if it is making buzzing sounds, it needs action adjustments or setup. If you prefer to do the setup yourself, you may require tools like screwdrivers, wire cutters, feeler gauges, nut files, and Allen or Hex keys.The main adjustments for setting guitar action include the following:Truss Rod Adjustment: This is a metal object that runs along the length f the guitar. The main job of this part is to counter the tension of the strings and to control the neck curvature. Check truss rod if your instrument shows the tendency to buzz when playing low positions. You can adjust truss rod by turning the truss rod nut with help of an automotive feeler gauge and a Cap. Adjustment of this part cannot change the action, but it can avoid buzzing noises. This is a very delicate job and you should be careful not to break anything while adjusting it.Nut Height Adjustment: If you find it very difficult to play chords and notes on the first few frets, it indicates that the nut slots are not deep enough. Use a nut file or needle file to deepen the nut slots. If they are too deep, it will cause buzzing sounds. Raise the slots by placing a shim under the nut or replace the nuts.Saddle Adjustment: Adjusting the action or height of the strings can have great impact on the playability of the instrument. If you want to lower the action, after removing the strings, take the saddle out. Draw a line on it to mark your preferred height. Rub the saddle on the sandpaper to reduce its height. If you need to higher the action, place a shim under the saddle to raise the height of strings.Intonation Adjustment: Intonate your guitar after any adjustment is made. This can be done with help of a tuner, cable, and screwdriver. After tuning with a tuner, play a harmonic note at the 12th fret. Then, make a fretted note at the 12th fret and compare its pitch with that of the harmonic note. If the pitch of the fretted note is sharp, you have to raise the height of the strings and move the saddle away from the neck using saddle adjustment screws. If the pitch is flat, you should shorten the screws by shifting the saddle towards the neck.

Continue reading CA-Poway Spanish Guitar

CA-Coronado Guitar Playing

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Guitar Tutorial In San Diego 

High on the list is “Am I too old to learn guitar in Coronado ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Lap Steel Guitar

acoustic guitar online india Each year, the National Association of Music Merchants (NAMM) complies a global report on musical instrument sales. This report gives us a snapshot of the numbers of people buying guitars, and ownership trends.In 2010, 2.38 million guitars were sold in the US, and these had a retail value of $839 million.Sales of acoustic guitars increased (6.9%), while electric guitar popularity declined (-2.1%). This trend reflected changes in the 2010 Billboard top 200, in which acoustic guitar strummers appeared at nearly twice the frequency of rock/metal bands. Similarly, the trend in amplifier purchase moved away from high-end valve amps, and towards smaller, less expensive combos.The average price of a guitar fell, but further analysis led those compiling the report to speculate that changes to were mainly due to new players entering the market, and established players not adding to their high-end guitar collections, rather than guitar prices falling due to the availability of cheaper imports.Here in the United Kingdom, we are generally two years behind our American cousins. However, UK sales figures reflected the currently depressed state of our economy: guitar sales were down on 2009 by 13.1% in terms of revenue, and 10.6% in sales volumes. Nevertheless, in 2010, £159.69 million was spent in the UK, on more than 768,000 guitars! That's a staggering number of guitars, and does not include private sales of pre-owned instruments.Sales trends between 2007 and 2010 show a steady decline in electric, and bass guitar sales. Conversely acoustic guitar sales over the same period have increased. Despite a fairly uniform fall in sales of all types of guitar during 2010, the popularity of acoustics is still growing. In 2007, acoustics accounted for 52.8% of all guitars sold, and this has risen steadily to 57% of all guitars sold in 2010.Elsewhere in the media, there have been pockets of speculation that the rising popularity of acoustic guitar music is both a catalyst for, and indication of more women taking up the instrument. Playing the guitar is an almost exclusively male past-time, so manufactures and retailers are delighted by the possibility of rising female interest: the size of their market could double. Meanwhile, manufacturers of electric guitars appear to be hoping for the emergence of a new Guitar Hero, on the scale of Hendrix or Clapton, to save their declining market share.As a guitar teacher, the report is very encouraging. It shows that the potential number of students is vast, despite the continuing UK recession. It enables us to check that we are in step with the dominance of acoustic guitar music, and adapt if necessary. It shows us that there is a need to encourage, and support women to take-up the guitar.I cannot help but feel that the NAMM should have a far greater interest in supporting guitar teachers. We have a part to play in ensuring that their customers return to up-grade and expand their guitar ownership. It is my firm belief that the majority of those 768,000 guitars will never get played, and merely function as ornaments to decorate homes.Maybe the new Hendrix is out there, and just needs a few guitar lessons to set him (or her) on the path that will reinvigorate music and the music industry.

Lap Steel Guitar

how to play guitar songs There are many different guitar tunings that are used in Rock and Metal music besides standard tuning. Guitar players in these genres like to use these tunings because they give a heavier and darker sound to their music.Some of the more popular tunings used are Dropped D, Dropped C, Dropped B, E Flat, D, C and open G. Here are the descriptions of how the strings should be tuned and some of the bands that use them.Dropped D tuning:E ----------1st stringB ----------2nd stringG ----------3rd stringD ----------4th stringA ----------5th stringD ----------6th string (thickest)This tuning enables power chords to be played with a single finger on the lowest three strings and produces a dark sound with it. If you're music doesn't fit together with this dark sound, you can place a capo on the 2nd fret and can still easily play power chords.Some bands that use Dropped D tuning are:Alice in Chains, Foo Fighters, Godsmack, Led Zepplin, Nirvana, Rage Against The Machine, Silverchair, Soundgarden and Velvet Revolver.Dropped C tuning:D ----------1st stringA ----------2nd stringF ----------3rd stringC ----------4th stringG ----------5th stringC ----------6th string (thickest)Dropped C tuning is the Dropped D with each string lowered one whole step. Dropped C tuning produces a very low and heavy sound and is used by many of the new Heavy Metal bands.Some bands that use Dropped C tuning are:30 Seconds to Mars, Atreyu, Buckethead, Bullet for My Valentine, Children of Bodom, Godsmack, Bad Religion, Metallica, Mudvayne, P.O.D., Papa Roach, Rammstein, Shadows Fall, System of a Down, Three Days Grace and Ozzy Osbourne.Dropped B tuning:C# ----------1st stringG# ----------2nd stringE ----------3rd stringB ----------4th stringF# ---------5th stringB ----------6th string (thickest)This tuning will need heavier gauge strings to be effective. Also you might have to widen the string grooves as well as adjust the tension in the neck of your guitar.Some bands that use Dropped B tuning are:Audioslave, Limp Bizkit, Machine Head, Mudvayne, Slipknot and Stone Sour.Eb tuning:Eb ---------1st stringBb ---------2nd stringGb ---------3rd stringDb ---------4th stringAb ---------5th stringEb ---------6th string (thickest)This tuning is Standard tuning turned down a half step. There are a few reasons that bands use this tuning instead of Standard tuning. One reason is to sound heavier by using heavy gauge strings. By tuning down a half step it is easier to bend these heavy gauged strings. Another reason why some bands use this tuning is to compliment the lead singers voice.Bands that use Eb tuning are:Alice in Chains, Anthrax, Dream Theater, Guns N' Roses, Jimi Hendrix, Kiss, Megadeth, Metallica, Motorhead, Nirvana, Poison, Slayer, Stevie Ray Vaughan, Stone Sour, Van Halen, Weezer and Yngwie Malmsteen.D tuning:D ----------1st stringA ----------2nd stringF ----------3rd stringC ----------4th stringG ----------5th stringD ----------6th string (thickest)D tuning is also known as whole step down tuning and as you have probably already guessed, it's Standard tuning tuned down a whole step. D tuning has been used mainly in Heavy Metal music.Bands that have used D tuning are:Alice in Chains, The Beatles, Bullet For My Valentine, Bob Dylan, Children of Bodom, Dream Theater, Guns N' Roses, Motley Crue, Nirvana, Pink Floyd, Racer X and Soundgarden.C tuning:C ----------1st stringG ----------2nd stringEb ---------3rd stringBb ---------4th stringF ----------5th stringC ----------6th string (thickest)C tuning also produces a low sound that is mostly used by Hard Rock and Metal bands. The tuning is 2 whole steps below Standard tuning, which gives it a heavy sound but still maintains the same intervals as Standard tuning.Bands that have used C tuning are:Atreyu, Black Sabbath, Bullet For My Valentine, Deftones, Dream Theater, Jimi Hendrix, P.O.D., Queens of the Stone Age, Slipknot, Steve Vai and The Who.G tuning:D ----------1st stringB ----------2nd stringG ----------3rd stringD ----------4th stringG ----------5th stringD ----------6th string (thickest)Other than the Drop D tuning, G Tuning is one of the most popular alternate guitar tunings.Some bands that have used G tuning are:The Rolling Stones, The Black Crowes, Led Zeppelin, The Who, Pink Floyd and Pearl Jam.These are just some of the alternate guitar tunings that are available to you to experiment with. Play around with them and see which tunings fit your style of music.

Vintage Guitar Values - How Much Is Your Guitar Worth?

learn to play classical guitar One of the first challenges faced by the advancing guitar player is learning a core group of basic guitar chords. Why is it so important to learn these basic chords? Chords form the backbone of most rock and pop songs, and provide the harmonic accompaniment to the melody and instrumental solos.Rhythm guitar based on basic chords provides many of the most memorable rock riffs... think AC/DC's "Back in Black" or The Who's "Won't Get Fooled Again". What's really amazing is that by learning no more than 10 to 15 basic guitar chords, you will be equipped to play thousands of rock and pop songs!First let's establish the definition of a chord. A chord is three or more different musical notes played together. In the case of the guitar, this means that at least three strings are strummed or plucked simultaneously to sound three or more notes. Since the guitar has six strings, the maximum numbers of notes in a guitar chord is six. All chords can be placed in one of three groups based on the musical structure of the chord: Major, Minor, or Seventh. Each of these chord groups has its own "sound" or "feel". Major chords sound stable and complete. Minor chords can evoke a more somber or pensive mood, and Seventh chords are jazzy and somewhat incomplete sounding.There is no standard list of "basic guitar chords" that every one agrees to. However, there is general agreement that there is a list of somewhere between 8 and 18 basic guitar chords (open string) that every guitarist must know cold. These chords are used in all musical styles from rock and pop to country, jazz, and classical. No matter where you are on your guitar-playing path, you should take the time to learn and master the basic chords. Getting these right will ensure you have the basic tools and skills to learn many songs and increase your playing enjoyment.So what are the basic guitar chords? Our basic stable includes the major and minor chords from four common musical keys, A,G,C, and D. They are played as "open chords", that is at least one string in the chord is not fretted (pressed down with a finger). Open chords are easier to learn and play than more advanced chords such as Barre chords, or complex chords further up the guitar neck. Our list of basic major and minor chords is: A Major (or A), A Minor (or Am), C, D, Dm, E, Em, F, GThese chords can be best learned as chord "families" (by key) that can be combined into great-sounding chord sequences that make up lots of popular songs. Using this chord family approach is much more interesting and useful than just memorizing a bunch of chords in random order!These chords grouped by chord family (key) are as follows:A Family (Key of A): A, D, ED Family (Key of D): D, Em, G, AG Family (Key of G): G, Am, C, D, EmC Family (Key of C): C, Dm, Em, F, GTips for Learning the Basic Chords:1. Pick a Chord Family and master it. This will give you quick success and let you play great sounding progressions right away. 2. Use a Guitar Chord Chart as a reference tool. A chord chart shows each chord as an easy to read "chord diagram" with exact finger positions. See this example of a chart of basic guitar chords.3. Find the chords and lyrics for an easy song that is based on the chord family so you can apply your skills. Many great songs are based on only three chords!4. Ensure each string sounds right. Take care to make sure that each string is sounding clearly, and that only the strings that should be played are played.5. Practice, practice, practice! Every day, practice continually change from one chord to another until you can do it rapidly. Learn the chord families one at a time.6. Master all the basic chords first. Only then move on to Barre chords and other more complex chords. First things first! 7. Expand with 7th chords. As a next step you can easily expand on your basic chord knowledge by adding 7th and minor 7th chords based on the nine basic major and minor chords.8. Have fun using your new skills! Enjoy your musical ability by applying it to learning a small set of 5-10 songs you know really well and can confidently play at any time.Copyright 2005 Peter Bussey of http://www.guitar-players-toolbox.com This article can be reprinted freely online, as long as the entire article and the resource box are included.

Continue reading CA-Coronado Guitar Playing

CA-San Diego Electric Guitar

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Acoustic Guitar In San Diego 

High on the list is “Am I too old to learn guitar in San Diego ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Basic Guitar Chords: How to Easily Master the Guitar Chords You Must Know

learn to play guitar free The main purpose of setting guitar action is to get maximum playability and sound quality out of that instrument. If you do not feel comfortable while playing on your guitar or if it is making buzzing sounds, it needs action adjustments or setup. If you prefer to do the setup yourself, you may require tools like screwdrivers, wire cutters, feeler gauges, nut files, and Allen or Hex keys.The main adjustments for setting guitar action include the following:Truss Rod Adjustment: This is a metal object that runs along the length f the guitar. The main job of this part is to counter the tension of the strings and to control the neck curvature. Check truss rod if your instrument shows the tendency to buzz when playing low positions. You can adjust truss rod by turning the truss rod nut with help of an automotive feeler gauge and a Cap. Adjustment of this part cannot change the action, but it can avoid buzzing noises. This is a very delicate job and you should be careful not to break anything while adjusting it.Nut Height Adjustment: If you find it very difficult to play chords and notes on the first few frets, it indicates that the nut slots are not deep enough. Use a nut file or needle file to deepen the nut slots. If they are too deep, it will cause buzzing sounds. Raise the slots by placing a shim under the nut or replace the nuts.Saddle Adjustment: Adjusting the action or height of the strings can have great impact on the playability of the instrument. If you want to lower the action, after removing the strings, take the saddle out. Draw a line on it to mark your preferred height. Rub the saddle on the sandpaper to reduce its height. If you need to higher the action, place a shim under the saddle to raise the height of strings.Intonation Adjustment: Intonate your guitar after any adjustment is made. This can be done with help of a tuner, cable, and screwdriver. After tuning with a tuner, play a harmonic note at the 12th fret. Then, make a fretted note at the 12th fret and compare its pitch with that of the harmonic note. If the pitch of the fretted note is sharp, you have to raise the height of the strings and move the saddle away from the neck using saddle adjustment screws. If the pitch is flat, you should shorten the screws by shifting the saddle towards the neck.

History Of The Acoustic Guitar

learn to play classical guitar Jump to navigation Jump to search Guitar Center is an American music retailer chain. It is the largest company of its kind in the United States, with 269 locations.[1] Its headquarters is in Westlake Village, California. Guitar Center oversees various subsidiaries including Music & Arts, GuitarCenter.com, LMI, Giardinelli, Musician.com, Private Reserve Guitars, Woodwind and Brasswind, Music 123, and used to own Harmony Central until its April 2015 sale to Gibson. Founded in Hollywood by Wayne Mitchell in 1959 as The Organ Center, a retailer of electronic organs for home and church use, it became a major seller of Vox electric guitars and guitar amplifiers, changing its name to The Vox Center in 1964. Toward the end of the 1960s, Vox—whose sales derived largely from its association with The Beatles, who made extensive use of its amplifiers—fell in popularity as Marshall amplifier users Eric Clapton and others captured musicians' imaginations. Accordingly, Mitchell once again changed the name, this time to Guitar Center.[2][3] Guitar Center West LA, Pico & Westwood, Los Angeles The popularity of rock and roll in the 1970s allowed Mitchell to open stores in San Francisco and San Diego, as well as several suburbs of Los Angeles. Ray Scherr, previously the general manager of the San Francisco store, purchased the company from Mitchell in the late 1970s. Scherr owned and operated it until 1996 from its Westlake Village headquarters. Although synthesizer-driven disco and new wave pop sapped rock's audience in the late 1970s, the 1980s "guitar rock" revival led by Van Halen and a concurrent influx of Japanese-produced instruments brought guitar sales to unprecedented levels.[4] Guitar Center took full advantage of this sales bonanza, and by the end of the decade began an ambitious program of expansion across the entire United States.[5] Using its size as leverage over the musical instrument business, it developed into the largest musical instrument retailer in the country, and made an initial public offering of stock in 1997.[6] In 2005, Guitar Center, Inc., started The Fender Music Foundation, a nonprofit organization that supports music education.[7] Activision partnered with Guitar Center in 2006; all purchases made during game play of Guitar Hero, beginning with the second installment, are made in a virtual Guitar Center store. On June 27, 2007, Guitar Center agreed to a $1.9 billion buyout from Bain Capital, totaling $2.1 billion including debt. The deal was led by Goldman Sachs and amounted to a per-share price of $63, or a 26% premium on the June 26 closing price. The deal was approved by shareholders on September 18, 2007, and closed October 9, 2007.[8] In mid-2009 Guitar Center opened the first of its rehearsal and lessons studio facility in Woodland Hills, California. The eight studios with full backline range in size from 350-550 square feet. Guitar Center also hosts annual events such as the Drum Off, King of the Blues, contests, and artist appearances throughout the nation.[9] In 2011, Guitar Center added equipment rentals to the store in San Diego, California. Since, Guitar Center has opened rental departments in ten other existing locations and plans to offer rental services in various other stores across the country. In May 2013, Standard & Poor's cut its debt rating on Bain Capital-owned Guitar Center Holdings Inc to "junk bond" status, citing struggles with "weak operating trends." The corporate credit rating on the company dropped from 'B-' to 'CCC+'.[10] In April 2014, Ares Management took a controlling stake in Guitar Center. Bain Capital, Guitar Center's former owner, retained partial ownership of the company, along with representation on the board. According to Mike Pratt, the retailer's previous chief executive, the deal will reduce Guitar Center's total debt and provide it with the resources to expand its footprint and invest in its business.[11] In August 2014, Guitar Center opened a new 28,000 square foot flagship location in the heart of Times Square in New York City.[12] The grand opening included a celebratory concert featuring the band The Roots.[13] The Guitar Center Times Square location is now the permanent home of Eric Clapton's Blackie Fender Stratocaster,[14] which Guitar Center purchased at a Christie's Crossroads Centre auction in 2004 for $959,000.[15] In April, 2017, Moody's Investors Services revised the outlook on Guitar Center's B2 rating to negative, meaning it could downgrade the rating further into junk territory in the medium tern. The concern is that Guitar Center may be overwhelmed by its $1 billion debt in the face of flat sales in the musical instrument industry as a whole.[16] First debuting in 2010, each episode of Guitar Center Sessions showcases exclusive live performances by noteworthy artists captured in hi-definition at Guitar Center's iconic Hollywood, CA location. Some past guests have included Linkin Park, Saint Motel, Wiz Khalifa, Billy Idol, The 1975, Sum 41, Weezer, Smashing Pumpkins, Peter Gabriel, Alanis Morissette, 311, Megadeth, Snoop Dogg, Soundgarden, Seether, The Cult, CAKE, Jakob Dylan, Blondie, Rodrigo y Gabriela, Bush, Ben Folds Five, Korn, Joan Jett, Cheap Trick, Skylar Grey, Peter Frampton, Frank Turner, Coheed and Cambria, and Jane’s Addiction. Guitar Center Sessions is hosted by Nic Harcourt, and was created, developed and produced by Guitar Center exclusively on DirecTV.[17] Guitar Center Sessions has won several awards, including a Lumiere Award from the International 3D Society for the episodes featuring Jane's Addiction and Peter Gabriel. To celebrate their 50th anniversary, Guitar Center asked Linkin Park to play a show on October 24, 2014; the performance first aired on DirecTV on December 5, 2014.[18] The At: Guitar Center web series (formerly At: Guitar Center podcast) features interviews and intimate performances with some of the biggest names in music. Some past guests have included Travis Barker, Sevendust, T-Pain, Joe Bonamassa, The Crystal Method, Buddy Guy, Daughtry, Jimmy Cliff, Meiko, Rza, Steve Vai, Joe Satriani, Brandi Carlile, and Minus the Bear, The podcasts are available on the iTunes, Zune and BlackBerry networks and on the Guitar Center website.[19] The show is hosted by Nic Harcourt. Connections Made by Guitar Center, a collaboration between 88.5 KCSN Los Angeles and Guitar Center, was a weekly one-hour radio program featuring fresh, new music from across the globe and musical spectrum. Signed or unsigned, the show offered an electric mix of progressive and innovative artists. The show was hosted by radio host and taste maker, Nic Harcourt.[20] The “Guitar Center Legends Collection”[21] consists of four classic guitars made famous by music legends Eric Clapton, Stevie Ray Vaughan, and U2’s The Edge. Guitar Center purchased Clapton’s “Blackie” Fender Stratocaster, his vintage Gibson “ES-335,” and Vaughan’s “Lenny” Stratocaster for over $2.4 million from the Clapton Crossroads Centre charity auction at Christie's New York in 2004. They added The Edge’s cream white Gibson Les Paul Custom after purchasing it for $240,000 at the Music Rising Charity Auction in 2007.[22] Over the years, the collection has been exhibited in one-of-a-kind, “Legends’ Collection” display cases, which provide high level protection and climate control as the instruments tour prestigious musical events and key Guitar Center locations, such as “Guitar Center Road to Crossroads” held at Madison Square Garden in conjunction with Clapton’s Crossroads Guitar Festival in April 2013.[23] In August 2014, Clapton’s Blackie and ES-335 were moved to their new permanent location at Guitar Center’s Times Square flagship location. Clapton's “Blackie” was purchased by Guitar Center for $959,500. Clapton’s Cherry Red Gibson “335,” purchased for $847,500, was used to record Cream’s versions of “Badge” and “Crossroads (from their final live performance in November 1968),” as well as many other historical performances, during his 40 years of ownership. Steve Ray Vaughan’s “Lenny,” which was purchased for $623,500, was used to record his classic love songs including “Lenny” and “Riviera Paradise.” All of the proceeds from these three guitars purchased by Guitar Center were for the benefit of Clapton’s Crossroads Centre charity. The Edge's cream colored 1975 Les Paul Custom (faded from its original white) found fame as a go-to guitar for stage and studio on many of U2’s most famous recordings and performances. In 2005, The Edge partnered with producer Bob Ezrin, Gibson and the Guitar Center Music Foundation (now known as the Fender Music Foundation) to establish Music Rising, a charity founded to benefit musicians whose lives were torn apart by Hurricane Katrina. In 2007, he donated this prized guitar to be auctioned for the cause. The winning bid was $240,000 from Guitar Center ($288,000 including Buyers Premium).[24] Since 1988, Guitar Center has held an annual search for the next great undiscovered drummer. Developed to spotlight the drumming community, Guitar Center’s Drum-Off is the music retailer’s longest running artist-discovery program, providing an outlet for drummers to be recognized for their skill and attain success in their field. For over a quarter of a century, the program has unearthed some of the day’s top undiscovered drummers and provided a platform for established drummers to be acknowledged.[25] Guitar Center’s Drum-Off[26] breaks down into three rounds of store preliminary competitions at 250+ Guitar Center locations nationwide. Every contestant is allowed five minutes of set up time and three minutes to perform. One winner from each store finals competition is chosen to move up to the quarterfinals, (hosted at 30 Guitar Center locations nationwide), followed by semi-finals at five store locations at which point performance time is increased to allow five minutes to each contestant. The winners from these five semifinal locations convene in Los Angeles, CA to compete in Guitar Center’s Drum Off finals in front of a live audience and a panel of celebrity judges. Each contestant is required to perform on a 5-piece acoustic drum kit complete with hardware, cymbals, cowbell, throne and the option to incorporate the Roland SPD-30 Octapad into the competition kit. As of 2016 however, the SPD-30 Octapad will no longer be part of the competition kit. All contestants are evaluated by a panel of independent and credible judges on the following criteria: skills & technique, groove, originality, stage presence, and overall performance. In years past, some of the world’s most renowned drummers have participated in and supported Guitar Center’s Drum-Off, including: Terry Bozzio, Aaron Spears (Usher), Dennis Chambers (Parliament/Funkadelic), Chad Smith (Red Hot Chili Peppers), Steve Gadd, Questlove (The Roots), Travis Barker (Blink-182), Tommy Lee (Motley Crüe), Dave Lombardo (Slayer), Carmine Appice, John Tempesta (The Cult), Taylor Hawkins (Foo Fighters), Steve Smith, Gavin Harrison, Jojo Mayer, Thomas Lang, Josh Freese (Nine Inch Nails, A Perfect Circle), José Pasillas (Incubus), Billy Cobham, Nicko McBrain (Iron Maiden), Stephen Perkins (Jane’s Addiction), Danny Carey (Tool), Brann Dailor (Mastodon), John Blackwell, and more. According to their website, and as of 2017, Guitar Center will no longer sponsor the annual drumoff. Instead, Guitar Center announced it will create a community outreach program specifically geared toward drummers. RockWalk RockWalk detail The Sunset Boulevard location in Los Angeles hosts Hollywood's RockWalk, a hall of fame honoring musical artists.[27] Artists are invited to place their handprints into cement blocks that are put on display at the Guitar Center.[27] Some past inductees have included B'z, Eric Clapton, AC/DC, Aerosmith, Alanis Morissette, B.B. King, Black Sabbath, Carlos Santana, Cheap Trick, Def Leppard , Dick Clark, Ernie Ball, Herbie Hancock, Iron Maiden, James Brown, Jerry Lee Lewis, Jimi Hendrix, Jimmy Page, Joe Satriani, Bonnie Raitt, Johnny Cash, KISS, Les Paul, Little Richard, Lynyrd Skynyrd, Melissa Etheridge, Nancy Wilson, Slash, The Doobie Brothers, The Wrecking Crew, Van Halen, Simon Kirke, as well as countless others. A Guitar Center retail store in Houston In 2000, Guitar Center purchased mail order and Internet retail house Musician's Friend[28] for $50 million, asserting that the merged company was the world's largest seller of musical instruments.[29] Musician's Friend became a wholly owned subsidiary that was headquartered in Medford, Oregon until 2011, when Musician's Friend's headquarters operations were gradually consolidated into Guitar Center's facilities in Westlake Village, California.[30] In 2005, Guitar Center Inc. acquired Music & Arts, the largest school music dealer in the United States, and merged their subsidiary band and orchestral chain American Music Group into Music & Arts (as the company was renamed).[31] Music & Arts was founded in 1952 in Bethesda, Maryland and sells band and orchestra instruments, guitars, keyboards, drum sets, printed sheet music, and related supplies. In the summer of 2006, Guitar Center purchased four stores in Texas from the popular South Texas and Central/South American company, Hermes.[32] In February 2007, the direct response division of Guitar Center, Musician's Friend, purchased assets of the Indiana-based company Dennis Bamber, Inc., which included leading band and orchestra retailer, Woodwind and Brasswind, plus Music 123 and Lyons Music. There was a television series known as Guitar Center Sessions, which featured artists such as 311, Bad Religion, and Smashing Pumpkins.

Instrument Amplifier

online guitar price in india One of the first challenges faced by the advancing guitar player is learning a core group of basic guitar chords. Why is it so important to learn these basic chords? Chords form the backbone of most rock and pop songs, and provide the harmonic accompaniment to the melody and instrumental solos.Rhythm guitar based on basic chords provides many of the most memorable rock riffs... think AC/DC's "Back in Black" or The Who's "Won't Get Fooled Again". What's really amazing is that by learning no more than 10 to 15 basic guitar chords, you will be equipped to play thousands of rock and pop songs!First let's establish the definition of a chord. A chord is three or more different musical notes played together. In the case of the guitar, this means that at least three strings are strummed or plucked simultaneously to sound three or more notes. Since the guitar has six strings, the maximum numbers of notes in a guitar chord is six. All chords can be placed in one of three groups based on the musical structure of the chord: Major, Minor, or Seventh. Each of these chord groups has its own "sound" or "feel". Major chords sound stable and complete. Minor chords can evoke a more somber or pensive mood, and Seventh chords are jazzy and somewhat incomplete sounding.There is no standard list of "basic guitar chords" that every one agrees to. However, there is general agreement that there is a list of somewhere between 8 and 18 basic guitar chords (open string) that every guitarist must know cold. These chords are used in all musical styles from rock and pop to country, jazz, and classical. No matter where you are on your guitar-playing path, you should take the time to learn and master the basic chords. Getting these right will ensure you have the basic tools and skills to learn many songs and increase your playing enjoyment.So what are the basic guitar chords? Our basic stable includes the major and minor chords from four common musical keys, A,G,C, and D. They are played as "open chords", that is at least one string in the chord is not fretted (pressed down with a finger). Open chords are easier to learn and play than more advanced chords such as Barre chords, or complex chords further up the guitar neck. Our list of basic major and minor chords is: A Major (or A), A Minor (or Am), C, D, Dm, E, Em, F, GThese chords can be best learned as chord "families" (by key) that can be combined into great-sounding chord sequences that make up lots of popular songs. Using this chord family approach is much more interesting and useful than just memorizing a bunch of chords in random order!These chords grouped by chord family (key) are as follows:A Family (Key of A): A, D, ED Family (Key of D): D, Em, G, AG Family (Key of G): G, Am, C, D, EmC Family (Key of C): C, Dm, Em, F, GTips for Learning the Basic Chords:1. Pick a Chord Family and master it. This will give you quick success and let you play great sounding progressions right away. 2. Use a Guitar Chord Chart as a reference tool. A chord chart shows each chord as an easy to read "chord diagram" with exact finger positions. See this example of a chart of basic guitar chords.3. Find the chords and lyrics for an easy song that is based on the chord family so you can apply your skills. Many great songs are based on only three chords!4. Ensure each string sounds right. Take care to make sure that each string is sounding clearly, and that only the strings that should be played are played.5. Practice, practice, practice! Every day, practice continually change from one chord to another until you can do it rapidly. Learn the chord families one at a time.6. Master all the basic chords first. Only then move on to Barre chords and other more complex chords. First things first! 7. Expand with 7th chords. As a next step you can easily expand on your basic chord knowledge by adding 7th and minor 7th chords based on the nine basic major and minor chords.8. Have fun using your new skills! Enjoy your musical ability by applying it to learning a small set of 5-10 songs you know really well and can confidently play at any time.Copyright 2005 Peter Bussey of http://www.guitar-players-toolbox.com This article can be reprinted freely online, as long as the entire article and the resource box are included.

Continue reading CA-San Diego Electric Guitar

CA-Del Mar Ibanez Electric Guitar

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Acoustic Guitar In San Diego 

High on the list is “Am I too old to learn guitar in Del Mar ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Flamenco Guitar

bluegrass guitar lessons The main purpose of setting guitar action is to get maximum playability and sound quality out of that instrument. If you do not feel comfortable while playing on your guitar or if it is making buzzing sounds, it needs action adjustments or setup. If you prefer to do the setup yourself, you may require tools like screwdrivers, wire cutters, feeler gauges, nut files, and Allen or Hex keys.The main adjustments for setting guitar action include the following:Truss Rod Adjustment: This is a metal object that runs along the length f the guitar. The main job of this part is to counter the tension of the strings and to control the neck curvature. Check truss rod if your instrument shows the tendency to buzz when playing low positions. You can adjust truss rod by turning the truss rod nut with help of an automotive feeler gauge and a Cap. Adjustment of this part cannot change the action, but it can avoid buzzing noises. This is a very delicate job and you should be careful not to break anything while adjusting it.Nut Height Adjustment: If you find it very difficult to play chords and notes on the first few frets, it indicates that the nut slots are not deep enough. Use a nut file or needle file to deepen the nut slots. If they are too deep, it will cause buzzing sounds. Raise the slots by placing a shim under the nut or replace the nuts.Saddle Adjustment: Adjusting the action or height of the strings can have great impact on the playability of the instrument. If you want to lower the action, after removing the strings, take the saddle out. Draw a line on it to mark your preferred height. Rub the saddle on the sandpaper to reduce its height. If you need to higher the action, place a shim under the saddle to raise the height of strings.Intonation Adjustment: Intonate your guitar after any adjustment is made. This can be done with help of a tuner, cable, and screwdriver. After tuning with a tuner, play a harmonic note at the 12th fret. Then, make a fretted note at the 12th fret and compare its pitch with that of the harmonic note. If the pitch of the fretted note is sharp, you have to raise the height of the strings and move the saddle away from the neck using saddle adjustment screws. If the pitch is flat, you should shorten the screws by shifting the saddle towards the neck.

Electric Guitar

musical instruments online Jump to navigation Jump to search The music of Hawaii includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well-known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a contribution to country music with the introduction of the steel guitar.[1] In addition, the music which began to be played by Puerto Ricans in Hawaii in the early 1900s is called cachi cachi music, on the islands of Hawaii. Music of Hawaiian people is largely religious in nature, and includes chanting and dance music. Hawaiian music has had a notable impact on the music of other Polynesian islands; Peter Manuel called the influence of Hawaiian music a "unifying factor in the development of modern Pacific musics".[2] Major music festivals in Hawaii include the Merrie Monarch Hula Festival, which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: Big Island Slack Key Guitar Festival, Steel Guitar Association Festival and the Gabby Pahinui/Atta Isaacs Slack Key Festival. April's Aloha Week is a popular tourist attraction, as is the Moloka'i Music Festival held around Labor Day.[1] There was also a Hawaii International Jazz Festival, which ran from 1993 until 2007.[3][4] The annual Pacific Rim Jazz Festival occurs in mid-autumn at the Hawaii Convention Center.[5] The annual Manoa Jazz & Heritage Festival takes place in early autumn at the Andrews Amphitheatre on the University of Hawaiʻi at Mānoa campus.[6] Hawaii is home to numerous hotels, many of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, the Sheraton Waikiki, the Halekulani, Casanova's and the King Kamehameha Hotel.[1] Large music venues in Hawaii include the University of Hawaii at Hilo Performing Arts Center, which has 600 seats[7] and is the largest venue on the Big Island.[8] A 560-seat venue and cultural exhibition center on Kauai is the Kauai Community College Performing Arts Center.[9] In Honolulu, the Neal S. Blaisdell Center Arena, Concert Hall, and Exhibition Hall are three of the largest venues in the state.[10] Other venues for Hawaiian music on Oahu include the Waikiki Shell an establishment used primarily for concerts and entertainment purposes. Over the years many local, as well as international artists have graced the stage there. It is unique outdoor theater located in Kapiolani Park. This venue seats 2,400 persons, with the capacity to hold up to 6,000 more on the lawn area. Concerts, graduation ceremonies and hula shows are very popular at this site.[11] As well as Kennedy Theatre and Andrews Amphitheatre on the campus of the University of Hawaii at Manoa, the Blaisdell Center Concert Hall, the Hawaii Theatre in downtown Honolulu, the Red Elephant (a performance space and recording studio in downtown Honolulu), Paliku Theatre on the campus of Windward Community College and the Leeward Community College Theatre. The historic Lanai Theatre is a cultural landmark on Lanai, dating back to the 1930s.[12][13] Hawaii is home to a number of renowned music institutions in several fields. The Honolulu Symphony Orchestra is an important part of the state's musical history, and is the oldest orchestra in the United States west of the Rocky Mountains, founded in 1900.[14] The Orchestra has collaborated with other local institutions, like the Hawaii Opera Theatre and the Oʻahu Choral Society, which sponsors the Honolulu Symphony Chorus and the Honolulu Chamber Choir.[15] Numerous businesses have been created supporting the special musical styles and instruments suited to the Hawaiian musical tradition. The Guitar and Lute Workshop was an early manufacturer and proponent of specialty slack-key guitars in the early 1970s, and the Kamaka Ukulele company was established as key manufacturer of ukuleles for Hawaiian musical acts. Dancer with ʻuliʻuli, hula kahiko competition, Merrie Monarch Festival 2003 Hawaiian folk music includes several varieties of chanting (mele) and music meant for highly ritualized dance (hula). Traditional Hawaiian music and dance was functional, used to express praise, communicate genealogy and mythology, and accompany games, festivals and other secular events. The Hawaiian language has no word that translates precisely as music, but a diverse vocabulary exists to describe rhythms, instruments, styles and elements of voice production. Hawaiian folk music is simple in melody and rhythm, but is "complex and rich" in the "poetry, accompanying mimetic dance (hula), and subtleties of vocal styles... even in the attenuated forms in which they survive today".[2] Hula performance at a ceremony turning over U.S. Navy control over the island of Kahoolawe to the state performed by Uncle Frank Kawaikapuokalani Hewett The chant (mele) is typically accompanied by an ipu heke (a double gourd) and/or pahu (sharkskin covered drum). Some dances require dancers to utilize hula implements such as an ipu (single gourd), ʻiliʻili (waterworn lava stone castanets),ʻuliʻuli (feathered gourd rattles), pu`ʻli (split bamboo sticks) or kalaʻau (rhythm sticks). The older, formal kind of hula is called kahiko, while the modern version is ʻauana. There are also religious chants called ʻoli; when accompanied by dancing and drums, it is called mele hula pahu. In the pre-contact Hawaiian language, the word mele referred to any kind of poetic expression, though it now translates as song. The two kinds of Hawaiian chanting were mele oli and mele hula. The first were a cappella individual songs, while the latter were accompanied dance music performed by a group. The chanters were known as haku mele and were highly trained composers and performers. Some kinds of chants express emotions like angst and affection, or request a favor from another person. Other chants are for specific purposes like naming, (mele inoa), prayer (mele pule), surfing (mele he'e nalu) and genealogical recitations (mele koihonua). Mele chants were governed by strict rules, and were performed in a number of styles include the rapid kepakepa and the enunciate koihonua. Historical documentation of Hawaiian music does not extend prior to the late 18th century, when non-Hawaiians (haoles) arrived on the island. From 1778 onward, Hawaii began a period of acculturation with the introduction of numerous styles of European music, including the hymns (himeni) introduced by Protestant missionary choirs. Spanish-speaking Mexican cowboys (paniolos), were particularly influential immigrants in the field of music, introducing string instruments such as the guitar and possibly also the technique of falsetto singing, while Portuguese immigrants brought the ukulele-like braguinha.[1] also immigrants from all over the world had brought their own instruments along with them to the islands. Elizabeth Tatar divided Hawaiian music history into seven periods, beginning with the initial arrival of Europeans and their musical cultures, spanning approximately from 1820 to 1872. The subsequent period lasted to the beginning of the 20th century, and was marked by the creation of an acculturated yet characteristically Hawaiian modern style, while European instruments spread across the islands. Tatar's third period, from 1900 to about 1915, saw the integration of Hawaiian music into the broader field of American popular music, with the invention of hapa haole songs, which use the English language and only superficial elements of Hawaiian music; the beginning of the Hawaiian recording industry was in 1906, when the Victor Talking Machine Company made the first 53 recordings in the state.[16] By 1912, recorded Hawaiian music had found an audience on the American mainland.[17] Puerto Rican immigration to Hawaii began when Puerto Rico's sugar industry was devastated by two hurricanes in 1899. The devastation caused a worldwide shortage in sugar and a huge demand for the product from Hawaii. Hawaiian sugarcane plantation owners began to recruit the jobless, but experienced, laborers in Puerto Rico. They took with them their music and in the early 1900s introduced what is known as Cachi Cachi music, on the islands of Hawaii.[16] From 1915 to 1930, mainstream audiences outside of Hawaii became increasingly enamored of Hawaiian music, though by this time the songs marketed as Hawaiian had only peripheral aspects of actual Hawaiian music. Tahitian and Samoan music had an influence on Hawaiian music during this period, especially in their swifter and more intricate rhythms. The following era, from about 1930 to 1960, has been called the "Golden Age of Hawaiian music", when popular styles were adapted for orchestras and big bands, and Hawaiian performers like Lani McIntire, John Kameaaloha Almeida and Sol Hoʻopiʻi became mainstream stars. In the 1960s, Hawaiian-style music declined in popularity amid an influx of rock, soul and pop acts from the American mainland. This trend reversed itself in the final period of Hawaiian music history, the modern period beginning with the Hawaiian Renaissance in the 1970s and continuing with the foundation of a variety of modern music scenes in fields like indie rock, Hawaiian hip hop and Jawaiian.[17] Lili'uokalani Queen Liliʻuokalani was the last Queen of Hawaii before the Hawaiian monarchy was overthrown. She was also a musician and prolific composer who wrote many musical works. She was best known for Aloha 'Oe. A compilation of her works, titled "The Queen's Songbook", was published in 1999 by The Queen Lili'uokalani Trust. Aloha'oe performed by Madam Alapai in 1911. Lili'uokalani was one of many members of the Hawaiian royal family with musical inclinations. They studied under a Prussian military bandleader, Henri Berger, who was sent by the Kaiser at the request of Kamehameha V. Berger became fascinated by Hawaiian folk music, and wrote much documentation on it. However, he also brought his own musical background in German music, and heavily guided the Hawaiian musicians and composers he worked with. King Kamehameha V also, in 1847, sent to Germany for a "band Leader" for "The Kings Own Band", now the Royal Hawaiian Band, William Mersberg, from Weimar, Germany. He is Henry Kaleialoha Allen's great grandfather. Henry Kaleialoha Allen is "one of Hawaii's Living Treasures of Hawaiian Music" and a master music educator and has been honored many times on the Senate Floor and by the Legislature for such. Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently told story is that it accompanied the Mexican cowboys (vaqueros) brought by King Kamehameha III in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (paniolo) used guitars in their traditional folk music. The Portuguese introduced an instrument called the braguinha, a small, four-stringed Madeira variant of the cavaquinho; this instrument was a precursor to the `ukulele.[1] Steel-string guitars also arrived with the Portuguese in the 1860s and slack-key had spread across the chain by the late 1880s. A ship called the Ravenscrag arrived in Honolulu on August 23, 1879, bringing Portuguese field workers from Madeira. Legend has it that one of the men, João Fernandes, later a popular musician, tried to impress the Hawaiians by playing folk music with a friend's braguinha; it is also said that the Hawaiians called the instrument `ukulele (jumping flea) in reference to the man's swift fingers. Others have claimed the word means gift that came here or a corruption of ukeke lele (dancing ukeke, a three-string bow).[1] The popularity throughout the 1920s of Hawaiian music, with its unique slide-style of guitar playing, prompted the invention of the electric guitar in 1931, as a lap steel guitar, the "frying pan", by George Beauchamp. Electric amplification allowed the Hawaiian-style guitar to be heard in performances of larger popular bands. 1913 sheet music cover In the 1880s and 90s, King David Kalakaua promoted Hawaiian culture and also encouraged the addition of new instruments, such as the ukulele and possibly steel guitar; Kalakaua died in 1891, and so it is highly unlikely he would have heard it [See: Kanahele, George S., Hawaiian Music and Musicians, pp 367–368]. Kalakaua's successor, his sister Lili'uokalani, was also a prolific composer and wrote several songs, like "Aloha 'Oe", which remain popular. During this period, Hawaiian music evolved into a "new distinctive" style, using the derivatives of European instruments; aside from the widespread string instruments, brass bands like the Royal Hawaiian Band performed Hawaiian songs as well as popular marches and ragtimes.[1] In about 1889, Joseph Kekuku began sliding a piece of steel across the strings of a guitar, thus inventing steel guitar (kika kila); at about the same time, traditional Hawaiian music with English lyrics became popular. Vocals predominated in Hawaiian music until the 20th century, when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental.[1] From about 1895 to 1915, Hawaiian music dance bands became in demand more and more. These were typically string quintets. Ragtime music influenced the music, and English words were commonly used in the lyrics. This type of Hawaiian music, influenced by popular music and with lyrics being a combination of English and Hawaiian (or wholly English), is called hapa haole (literally: half white) music. In 1903, Albert "Sonny" Cunha composed My Waikiki Mermaid, arguably the first popular hapa haole song (The earliest known hapa haole song, "Eating of the Poi", was published in Ka Buke o na Leo Mele Hawaii...o na Home Hawaii in Honolulu in 1888 [See Kanahele, George S., Hawaiian Music and Musicians pp 71–72]). In 1927, Rose Moe (1908–1999), a Hawaiian singer, with her husband Tau Moe (1908–2004), a Samoan guitarist, began touring with Madame Riviere's Hawaiians. In 1929 they recorded eight songs in Tokyo. Rose and Tau continued touring for over fifty years, living in countries such as Germany, Lebanon and India. They even performed in Germany as late as 1938 when the Nazi racism was on the rise and people of a darker color were regarded as inferior people; it is said that they even performed for Adolf Hitler himself.[citation needed] With their children, the Tau Moe family did much to spread the sound of Hawaiian folk music and hapa haole music throughout the world. In 1988, the Tau Moe family re-recorded the 1929 sessions with the help of musician and ethnomusicologist Bob Brozman. The 1920s also saw the development of a uniquely Hawaiian style of jazz, innovated by performers at the Moana and Royal Hawaiian Hotels.[18] Main article: Slack-key guitar Slack-key guitar (kī ho`alu in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (the most common is G, which is called "taro patch" tuning) or a major 7th (called a "wahine" tuning). A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the Hawaiian Renaissance, though, the example of players such as Auntie Alice Namakelua, Leonard Kwan, Raymond Kane, and Keola Beamer had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing. The guitar entered Hawaiian culture from a number of directions—sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawaiʻi in the first half of the 19th century. These paniolo brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument. Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride and cultural revival, drew rhythms from traditional Hawaiian beats and European military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American). An advertisement for the Broadway show "The Bird of Paradise" In the early 20th century Hawaiians began touring the United States, often in small bands. A Broadway show called Bird of Paradise introduced Hawaiian music to many Americans in 1912 and the Panama–Pacific International Exposition in San Francisco followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced blues and country musicians; this connection can still be heard in modern country. In reverse, musicians like Bennie Nawahi began incorporating jazz into his steel guitar, ukulele and mandolin music, while the Kalama Quartet introduced a style of group falsetto singing. The musician Sol Hoʻopiʻi arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the Nashville sound of popular country music.[1] Lani McIntyre was another musician who infused a Hawaiian guitar sound into mainstream American popular music through his recordings with Jimmie Rodgers and Bing Crosby. A 1916 advertisement for Hawaiian music records from Victor Records. In the 1920s and 30s, Hawaiian music became an integral part of local tourism, with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the Kodak Hula Show, sponsored by Kodak, in which a tourist purchased Kodak film and took photographs of dancers and musicians.[1] The show ran from 1937 through 2002. Several vinyl LPs featuring music from the Kodak Hula Show were released by Waikiki Records, with full color photographs of the show's performers.[19] In the first half of the 20th century, the mostly young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the Waikiki Beachboys and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists. Popular Hawaiian music with English verse (hapa haole) can be described in a narrow sense. Generally, songs are sung to the ukulele or steel guitar. A steel string guitar sometimes accompanies. Melodies often feature an intervallic leap, such as a perfect fourth or octave. Falsetto vocals are suited for such leaps and are common in Hawaiian singing, as is the use of microtones. Rhythm is mostly in duple meter. A musical scale that is unique to Hawaiian music imbues it with its distinct feel, and so is aptly named the Hawaiian scale. The Panama-Pacific Exposition in San Francisco in 1915 introduced Hawaiian steel guitar to mainland country music artists, and by the 1930s country stars Hoot Gibson and Jimmy Davis were making records with Hawaiian musicians.[20] The influx of thousands of American servicemen into Hawaii during World War 2 created a demand for both popular swing rhythm and country sounds. The western swing style, popular on the mainland since the 1930s, employed the steel guitar as a key element and was therefore a natural evolution. Beginning in 1945, the Bell Record Company of Honolulu responded to the demand with a series of releases by the western swing band Fiddling Sam and his Hawaiian Buckaroos (led by fiddler Homer H. Spivey, and including Lloyd C. Moore, Tiny Barton, Al Hittle, Calvert Duke, Tolbert E. Stinnett and Raymond "Blackie" Barnes). Between 1945–1950 Bell released some 40 sides by the Hawaiian Buckaroos, including a set of square dance numbers. In recent decades, traditional Hawaiian music has undergone a renaissance, with renewed interest from both ethnic Hawaiians and others. The islands have also produced a number of well-regarded rock, pop, hip hop, Dubstep, soul and reggae performers, and many local musicians in the clubs of Waikiki and Honolulu play outside the various "Hawaiian" genres. Hawaii has its own regional music industry, with several distinctive styles of recorded popular music. Hawaiian popular music is largely based on American popular music, but does have distinctive retentions from traditional Hawaiian music.[2] Main article: Hawaiian Renaissance The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like Gabby Pahinui found their careers revitalized; Pahinui, who had begun recording in 1947, finally reached mainstream audiences across the United States when sessions on which Ry Cooder played with him and his family were released as The Gabby Pahinui Hawaiian Band, Vol. 1 on a major mainland label. Pahinui inspired a legion of followers who played a mix of slack-key, reggae, country, rock and other styles. The more traditional players included Leland "Atta" Isaacs, Sr., Sonny Chillingworth, Ray Kane, Leonard Kwan, Ledward Ka`apana, Dennis Pavao, while Keola Beamer and Peter Moon have been more eclectic in their approach. The Emerson brothers rekindled the classic sound of Sol Ho'opi'i with the National steel guitar on their vintage 1920s stylings. George Kanahele's Hawaiian Music Foundation did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert.[1] Don Ho (1930–2007), originally from the small Honolulu neighborhood of Kaka'ako, was the most widely known Hawaiian entertainer of the last decades of the 20th century. Although he did not play "traditional" Hawaiian music, Ho became an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often combined traditional Hawaiian elements and older 1950s and 1960s-style crooner music with an easy listening touch. Loyal Garner also embraced Hawaiian elements in her Vegas-style lounge act and in the songs she recorded. A third notable performer, Myra English, became known as the "Champagne Lady" after recording the song "Drinking Champagne" by Bill Mack in 1963 became her signature song in Hawaii, and she achieved considerable commercial success both locally and abroad. Jawaiian is a Hawaiian style of reggae music. Reggae music is a genre that evolved in the late 1960s and earlier in Jamaica. It has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as Native Americans, Pacific Islanders, and Australian Aborigines. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1980s, although it was not until the late 1980s that it became recognized as a new genre in local music. The band Simplisity has been credited by Quiet Storm Records as originators of the Jawaiian style. By the end of the 1980s, Jawaiian came to dominate the local music scene, as well as spawning a backlash that the Honolulu Star-Bulletin compared to the "disco sucks" movement of the late 1970s.[21] Reggae culture as a whole began to dominate Hawaii, as many locals can be seen sporting Bob Marley memorabilia, and lots of local merchandise and souvenirs have been emblazoned with the red, yellow, and green colors of the Hawaiian sovereignty as well as the Ethiopian flag, a known symbol of the Rastafari movement. The Rasta colors have also become a symbol of local pride. Rock and Roll music has long been popular in Hawaii - numerous rock and roll artists spent their developmental years in Hawaii (i.e. members of The Association, The Electric Prunes, 7th Order, Vicious Rumors, as well as guitarists Marty Friedman and Charlie "Icarus" Johnson), and its local popularity dates back to the earliest days of rock music.[22] Elvis Presley's career included several Hawaii-related performances and records: a March 1961 live performance to raise money for the construction of the USS Arizona Memorial at the Pearl Harbor Bloch Arena in March 1961,[23] his Aloha from Hawaii Via Satellite "comeback" record and concert in 1973, and three of his movies were based in Hawaii (Blue Hawaii, Girls! Girls! Girls!, and Paradise, Hawaiian Style). Through the 60's and 70's, rock concerts were frequently held at venues like the Honolulu International Center and The Waikiki Shell by artists like Jimi Hendrix, Led Zeppelin, The Rolling Stones, The Doors, Eric Clapton, Deep Purple, Jeff Beck and many other top rock artists.[24] The 3 day long Crater Festivals (held over the New Years and July 4th holidays) at Diamond Head in the 60's and 70's were well attended through the era,[25] and frequently featured popular bands like Fleetwood Mac, Journey and Santana (Carlos Santana and Buddy Miles actually released their 1972 Crater Festival performance on the LP Carlos Santana & Buddy Miles! Live!). Some notable current and retired jazz musicians in Hawaii include Gabe Baltazar (saxophone), Martin Denny (piano), Arthur Lyman (vibraphone and marimba), Henry Allen (guitar), vonBaron (drums), David Choy (saxophone), Rich Crandall (piano), Dan Del Negro (keyboards), Pierre Grill (piano/keyboards/trombone), Bruce Hamada (bass), DeShannon Higa (trumpet), Jim Howard (piano), Steve Jones (bass), John Kolivas (bass), Noel Okimoto (drums/percussion/vibes), Michael Paulo (reeds), Rene Paulo (acoustic grand piano)was a forerunner of recording Hawaiian music in the jazz venue in the early 1960s and is one of Hawaii's legendary music greats, Robert Shinoda (guitar), Arex Ikehara (bass), Phil Bennett (drums), Aron Nelson (piano), Tennyson Stephens (piano), Dean Taba (bass), Betty Loo Taylor (piano), Tim Tsukiyama (saxophone), Reggie Padilla (saxophone) and Abe Lagrimas Jr. (drums/ukulele/vibes). Notable jazz vocalists in Hawaii, both current and retired include Jimmy Borges, Rachel Gonzales, Azure McCall, Dana Land, Joy Woode and I. Mihana Souza. Although Hawaiian vocalist Melveen Leed is known primarily for singing Hawaiian and "Hawaiian country" music, she has also earned good reviews as a jazz singer. There are frequent performances by the University of Hawaii jazz bands. Regular venues to hear jazz in Honolulu include: Main article: Ukulele The ukulele was introduced to Hawaii by Madeiran immigrants near the close of the 19th century. The Portuguese brought a small guitar-like instrument, known as the machete. The instrument became a very popular one in Hawaiian culture, and a majority of Hawaiian songs involve the ukulele. In Hawaiian, ukulele literally means "flea (uku) jumping (lele)." It was named as such because when plucked, the high pitch of the strings brings to mind the image of a jumping flea. There are currently four sizes of ukulele; soprano, concert, tenor and baritone.[27] Queen Liliuokalani, the last Hawaiian Queen, believed that the name for the ukulele means "The gift that came here". She believed this because of the Hawaiian words "uku" which means "gift or reward" and "lele" which means "to come."[28] The ukulele can be played with simple or elaborate strums, as well as fingerpicking. The ukulele is mostly recognized as being Hawaiian, even though it is originally based on the Madeiran machete. Koa wood is one of the more higher quality woods which creates a deep and also clear sound for the ukulele. This makes Koa ukuleles very distinguishable by sound. Because of this, koa wood is known as a revered wood to create an ukulele. Not only are koa ukuleles distinguishable by sound, but also by looks. They have a very unique grain pattern and color that allows them to stand out more than the average wood.[29] The Ukeke is a Hawaiian musical bow played with the mouth. It is the only stringed instrument indigenous to Hawaii. The 'ohe hano ihu, (Hawaiian: `ohe = bamboo +hano = breath + ihu = nose) or Traditional Hawaiian Nose Flute in English, is another type of Hawaiian instrument that has cultural and musical importance. It is made from a single bamboo section. According to Arts and Crafts of Hawai`i by Te Rangi Hiroa, old flutes in the Bishop Museum collection have a hole at the node area for the breath, and two or three fingering holes. In the three-finger-hole specimen, one fingering hole is placed near the breath hole. Lengths range from 10–21 inches (250–530 mm). Oral tradition in various families states that numbers of fingering holes ranged from one to four, and location of the holes varied depending on the musical taste of the player. Though primarily a courting instrument played privately and for personal enjoyment, it also could be used in conjunction with chants, song, and hula. Kumu hula (dance masters), were said to be able to either make the flute sound as though it were chanting, or to chant as they played. Kumu hula Leilehua Yuen is one of the few contemporary Hawaiian musicians to perform with the nose flute in this manner. Into the 19th and early 20th centuries, young men still used the 'ohe hano ihu as a way to win the affection and love of a woman.[30] Today, the `ohe hano ihu is enjoying a resurgence of popularity. Two different oral traditions explain the use of the nose for playing the `ohe hano ihu. According to one, the `ohe hano ihu is played with air from the nose rather than from the mouth because a person's hā, breath, is expressive of the person's inner being. As the hā travels from the na`ao, or gut, through the mouth, the hā can be used to lie. When the hā travels through the nose, it cannot lie. Therefore, if a young man loves a woman, that love will be expressed in the music he plays with his `ohe hano ihu. According to the other tradition, the instrument is played with the nose to enable the player to softly sing or chant while playing. Modern folklore says that the Hawaiian flute expresses "aloha" because to hear the flute one must come close to the alo, "face" or "presence" of the player to hear the hā, "divine breath" and so the listener experiences "being in one another's presence sharing the divine breath." While useful as a way to remember the contemplative and personal nature of the traditional Hawaiian flute, there is no actual etymological evidence, nor is there evidence in traditional chants or stories, to support this etymology. In the Hawaiian language, hā, breath, is unrelated to the word ha, a causative prefix. a search of cognate words in related languages also reveals no such etymologies for the word "aloha". According to the book `Ohe, by Leilehua Yuen, the instrument was popularized in the 1970s by members of the Beamer family who played it during performances on tour in North America, as well as in the Hawaiian Islands. Segments of the children's educational TV show, Sesame Street, showing Keola Beamer and Mr. Snuffalupagus, one of the large puppet characters, playing `ohe hano ihu brought the instrument to national attention. Winona Beamer, Keola Beamer's mother, a noted kumu hula, also taught the use of the `ohe hano ihu in hula. Her hānai daughter, Maile Beamer Loo, continues to preserve and teach that legacy, and document such important aspects of Hawaiian musical and performing heritage through the Hula Preservation Society. Notable late 20th Century and early 21st Century musicians of the`ohe hano ihu include Mahi Beamer, Nona Beamer, Keola Beamer, Kapono Beamer, Calvin Hoe, Nelson Kaai, Anthony Natividad, and Manu Josiah. The music that is considered popular or "underground" in Hawaii does not necessarily correspond to similar genres in mainland areas of the U.S.A. This is partly a result of Hawaiian music, which appeals to many generations; in contrast, music like heavy metal or punk rock appeals primarily to a more youthful generation, and is not considered as commercially attractive to tourism. Na mele paleoleo is an emerging form of Hawaiian rap. It is difficult to promote popular acts from the mainland due to its geographical isolation, and the smaller group of people interested in the music. Bruno Mars from Honolulu has 6 #1 Billboard Hot 100 hits, including "Uptown Funk" in 2015. Yvonne Elliman, from Honolulu, had a #1 Hot 100 hit with the disco song "If I Can't Have You" from Saturday Night Fever in 1978. Bette Midler, also from Honolulu, had a #1 Hot 100 hit with "Wind Beneath My Wings" in 1989. Glenn Medeiros had a #1 Hot 100 hit in 1990 with "She Ain't Worth It" ft. Bobby Brown. Tane Cain, who was raised in Hawaii, had a #37 Hot 100 hit with "Holdin' On" in 1982.

Guitar Sales Trends and Volumes

learn to play guitar free One very common way of transitioning from one chord to another on the guitar is by means a "walk down".A walk down involves starting on the first chord, then playing a transitional chord, and then arriving at the destination chord.You have probably heard walk downs many times, possibly without even realizing it. But becoming aware of them, and learning how to perform some of the more common ones is essential to enhancing your guitar playing skills.A simple walk down is typically comprised of a three chord movement (original to transitional to destination), but others can be played as four or more chord movements.In a three chord movement, the transitional chord is one that is often just a one note variation on the original chord. For example, the bass note of the original chord may "walk down" a half or whole step in the transition.In another variation, a note higher in the chord formation may walk down while the bass note remains the same.This is what we will cover today using the "D" chord. In this walk down we will do a walk down starting on D (major), and arriving on D7 at the end.The transitional chord in this example will be a Dmaj7.Here is the TAB for the walk down:E------2-----2-----2-----B------3-----2-----1-----G------2-----2-----2-----D------0-----0-----0-----A--------------------------E--------------------------Notice that only one note changes throughout the walk down, the notes on the 2nd string. Just looking at that string you will see that in the first chord (D major), it starts on the 3rd fret, then in the transitional chord (D maj7), it moves to the 2nd fret, then on the destination chord (D7), it winds up on the 1st fret.The trickiest part about this walk down is that the fingering will change completely for each of the three chords.In the first, you will use a standard D chord formation - open 4th string, 1st finger on the 2nd fret of the 3rd string, 3rd finger on the 3rd fret of the 2nd string, and 2nd finger on the 2nd fret of the 1st string.Then in the transitional chord - continue to play the open 4th string, then just barre the 1st, 2nd and 3rd strings with the 1st finger.Finally on the D7 - Play the open 4th string again, place the 2nd finger on the 2nd fret of the 3rd string, the 1st finger on the 1st fret of the 2nd string, and the 3rd finger on the 3rd fret of the 1st string.Overall, this is a fairly simple, and common walk down. Practice it slowly to begin with until you are comfortable with the changes. Once you have it down, be sure to incorporate into your playing whenever you can. 

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CA-San Marcos Guitar Tuner

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Guitar Strings In San Diego 

High on the list is “Am I too old to learn guitar in San Marcos ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

An Easy Guitar "Walk Down" in D

classical guitar strings Jump to navigation Jump to search Example of a cedar top flamenco guitar with traditional tap plates/golpeadores installed A flamenco guitar is a guitar similar to a classical guitar but with thinner tops and less internal bracing. It is used in toque, the guitar-playing part of the art of flamenco. Traditionally, luthiers made guitars to sell at a wide ranges of prices, largely based on the materials used and the amount of decorations, to cater to the popularity of the instrument across all classes of people in Spain.[1] The cheapest guitars were often simple, basic instruments made from the less expensive woods such as cypress. Antonio de Torres, one of the most renowned luthiers, did not differentiate between flamenco and classical guitars. Only after Andrés Segovia and others popularized classical guitar music, did this distinction emerge.[2] The traditional flamenco guitar is made of Spanish cypress, sycamore, or rosewood for the back and sides, and spruce for the top. This (in the case of cypress and sycamore) accounts for its characteristic body color. Flamenco guitars are built lighter with thinner tops than classical guitars, which produces a "brighter" and more percussive sound quality. Builders also use less internal bracing to keep the top more percussively resonant. The top is typically made of either spruce or cedar, though other tone woods are used today. Volume has traditionally been very important for flamenco guitarists, as they must be heard over the sound of the dancers’ nailed shoes. To increase volume, harder woods, such as rosewood, can be used for the back and sides, with softer woods for the top. In contrast to the classical guitar, the flamenco is often equipped with a tap plate (a golpeador), commonly made of plastic, similar to a pickguard, whose function is to protect the body of the guitar from the rhythmic finger taps, or golpes. Originally, all guitars were made with wooden tuning pegs, that pass straight through the headstock, similar to those found on a lute, a violin or oud, as opposed to the modern classical-style guitars' geared tuning mechanisms. "Flamenco negra" guitars are called "negra" after the darker of the harder woods used in their construction, similar materials to those of high-end classical guitars, such as rosewood or other dense tone woods. The harder materials increase volume and tonal range. A typical cypress flamenco guitar produces more treble and louder percussion than the more sonorous negra. These guitars strive to capture some of the sustain achieved by concert caliber classical guitars while retaining the volume and attack associated with flamenco. Classical guitars are generally made with spruce or cedar tops and rosewood or mahogany backs and sides to enhance sustain. Flamenco guitars are generally made with spruce tops and cypress or sycamore for the backs and sides to enhance volume and emphasize the attack of the note. Nevertheless, other types of wood may be used for the back and sides, like rosewood, maple, koa, satinwood and caviuna. A well-made flamenco guitar responds quickly, and typically has less sustain than a classical. This is desirable, since the flurry of notes that a good flamenco player can produce might sound muddy on a guitar with a big, lush, sustaining sound. The flamenco guitar’s sound is often described as percussive; it tends to be brighter, drier and more austere than a classical guitar. Some jazz and Latin guitarists like this punchy tonality, and some players have even discovered that these guitars’ wide-ranging sound also works well for the contrapuntal voicings of Renaissance and Baroque music. Flamenco guitarist Paco de Lucía Flamenco is played somewhat differently from classical guitar. Players use different posture, strumming patterns, and techniques. Flamenco guitarists are known as tocaores (from an Andalusian pronunciation of tocadores, "players") and flamenco guitar technique is known as toque. Flamenco players tend to play the guitar between the sound hole and the bridge, but as closely as possible to the bridge, to produce a harsher, rasping sound quality. Unlike classical tirando, where the strings are pulled parallel to the soundboard, in flamenco apoyando strings are struck towards the soundboard in such way that the striking finger is caught and supported by the next string, hence the name apoyando (from Spanish apoyar meaning "to support"). At times, this style of playing causes the vibrating string to gently touch the frets along its length, causing a more percussive sound.[3] While a classical guitarist supports the guitar on the right leg, and holds it at an incline, flamenco guitarists usually cross their legs and support the guitar on whichever leg is on top, placing the neck of the guitar nearly parallel to the floor. The different position accommodates the different playing techniques. Many of the tremolo, golpe, and rasgueado techniques are easier and more relaxed if the upper right arm is supported at the elbow by the body of the guitar rather than by the forearm as in classical guitar. Nonetheless, some flamenco guitarists use classical position. Flamenco is commonly played using a cejilla (capo) which raises the pitch and causes the guitar to sound sharper and more percussive. However, the main purpose in using a cejilla is to change the key of the guitar to match the singer’s vocal range. Because Flamenco is an improvisational musical form that uses common structures and chord sequences, the capo makes it easier for players who have never played together before to do so. Rather than transcribe to another key each time the singer changes, the player can move the capo and use the same chord positions. Flamenco uses a lot of highly modified and open chord forms to create a solid drone effect and leave at least one finger free to add melodic notes and movement. Very little traditional Flamenco music is written, but is mostly passed on hand to hand. Books, however are becoming more available. Both accompaniment and solo flamenco guitar are based as much on modal as tonal harmonies; most often, both are combined. In addition to the techniques common to classical guitar, flamenco guitar technique is uniquely characterized by: Flamenco guitar employs a vast array of percussive and rhythmic techniques that give the music its characteristic feel. Often, eighth note triplets are mixed with sixteenth note runs in a single bar. Even swung notes are commonly mixed with straight notes, and golpes are employed with the compas of different types of rhythms (i.e. bulerias, soleas, etc.) as is strumming with the strings damped for long passages or single notes. More broadly, in terms of general style and ability, one speaks of:

History Of The Acoustic Guitar

acoustic guitar players One very common way of transitioning from one chord to another on the guitar is by means a "walk down".A walk down involves starting on the first chord, then playing a transitional chord, and then arriving at the destination chord.You have probably heard walk downs many times, possibly without even realizing it. But becoming aware of them, and learning how to perform some of the more common ones is essential to enhancing your guitar playing skills.A simple walk down is typically comprised of a three chord movement (original to transitional to destination), but others can be played as four or more chord movements.In a three chord movement, the transitional chord is one that is often just a one note variation on the original chord. For example, the bass note of the original chord may "walk down" a half or whole step in the transition.In another variation, a note higher in the chord formation may walk down while the bass note remains the same.This is what we will cover today using the "D" chord. In this walk down we will do a walk down starting on D (major), and arriving on D7 at the end.The transitional chord in this example will be a Dmaj7.Here is the TAB for the walk down:E------2-----2-----2-----B------3-----2-----1-----G------2-----2-----2-----D------0-----0-----0-----A--------------------------E--------------------------Notice that only one note changes throughout the walk down, the notes on the 2nd string. Just looking at that string you will see that in the first chord (D major), it starts on the 3rd fret, then in the transitional chord (D maj7), it moves to the 2nd fret, then on the destination chord (D7), it winds up on the 1st fret.The trickiest part about this walk down is that the fingering will change completely for each of the three chords.In the first, you will use a standard D chord formation - open 4th string, 1st finger on the 2nd fret of the 3rd string, 3rd finger on the 3rd fret of the 2nd string, and 2nd finger on the 2nd fret of the 1st string.Then in the transitional chord - continue to play the open 4th string, then just barre the 1st, 2nd and 3rd strings with the 1st finger.Finally on the D7 - Play the open 4th string again, place the 2nd finger on the 2nd fret of the 3rd string, the 1st finger on the 1st fret of the 2nd string, and the 3rd finger on the 3rd fret of the 1st string.Overall, this is a fairly simple, and common walk down. Practice it slowly to begin with until you are comfortable with the changes. Once you have it down, be sure to incorporate into your playing whenever you can. 

Guitar Center

learn to play guitar dvd One of the first challenges faced by the advancing guitar player is learning a core group of basic guitar chords. Why is it so important to learn these basic chords? Chords form the backbone of most rock and pop songs, and provide the harmonic accompaniment to the melody and instrumental solos.Rhythm guitar based on basic chords provides many of the most memorable rock riffs... think AC/DC's "Back in Black" or The Who's "Won't Get Fooled Again". What's really amazing is that by learning no more than 10 to 15 basic guitar chords, you will be equipped to play thousands of rock and pop songs!First let's establish the definition of a chord. A chord is three or more different musical notes played together. In the case of the guitar, this means that at least three strings are strummed or plucked simultaneously to sound three or more notes. Since the guitar has six strings, the maximum numbers of notes in a guitar chord is six. All chords can be placed in one of three groups based on the musical structure of the chord: Major, Minor, or Seventh. Each of these chord groups has its own "sound" or "feel". Major chords sound stable and complete. Minor chords can evoke a more somber or pensive mood, and Seventh chords are jazzy and somewhat incomplete sounding.There is no standard list of "basic guitar chords" that every one agrees to. However, there is general agreement that there is a list of somewhere between 8 and 18 basic guitar chords (open string) that every guitarist must know cold. These chords are used in all musical styles from rock and pop to country, jazz, and classical. No matter where you are on your guitar-playing path, you should take the time to learn and master the basic chords. Getting these right will ensure you have the basic tools and skills to learn many songs and increase your playing enjoyment.So what are the basic guitar chords? Our basic stable includes the major and minor chords from four common musical keys, A,G,C, and D. They are played as "open chords", that is at least one string in the chord is not fretted (pressed down with a finger). Open chords are easier to learn and play than more advanced chords such as Barre chords, or complex chords further up the guitar neck. Our list of basic major and minor chords is: A Major (or A), A Minor (or Am), C, D, Dm, E, Em, F, GThese chords can be best learned as chord "families" (by key) that can be combined into great-sounding chord sequences that make up lots of popular songs. Using this chord family approach is much more interesting and useful than just memorizing a bunch of chords in random order!These chords grouped by chord family (key) are as follows:A Family (Key of A): A, D, ED Family (Key of D): D, Em, G, AG Family (Key of G): G, Am, C, D, EmC Family (Key of C): C, Dm, Em, F, GTips for Learning the Basic Chords:1. Pick a Chord Family and master it. This will give you quick success and let you play great sounding progressions right away. 2. Use a Guitar Chord Chart as a reference tool. A chord chart shows each chord as an easy to read "chord diagram" with exact finger positions. See this example of a chart of basic guitar chords.3. Find the chords and lyrics for an easy song that is based on the chord family so you can apply your skills. Many great songs are based on only three chords!4. Ensure each string sounds right. Take care to make sure that each string is sounding clearly, and that only the strings that should be played are played.5. Practice, practice, practice! Every day, practice continually change from one chord to another until you can do it rapidly. Learn the chord families one at a time.6. Master all the basic chords first. Only then move on to Barre chords and other more complex chords. First things first! 7. Expand with 7th chords. As a next step you can easily expand on your basic chord knowledge by adding 7th and minor 7th chords based on the nine basic major and minor chords.8. Have fun using your new skills! Enjoy your musical ability by applying it to learning a small set of 5-10 songs you know really well and can confidently play at any time.Copyright 2005 Peter Bussey of http://www.guitar-players-toolbox.com This article can be reprinted freely online, as long as the entire article and the resource box are included.

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