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 Riverside
High on the list is “Am I too old to learn guitar in Desert Hot Springs ?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 Riverside
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.
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, 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. 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, Masters of Hawaiian Slack Key Guitar, Volume 1 in 2006, Legends of Hawaiian Slack Key Guitar—Live from Maui 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. 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 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 ^  George Winston's on-line Short History of Slack Key Guitar, "Chart of Recorded Tunings" ^ "Bio". Kawika. Retrieved June 9, 2017.
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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