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 Price In Los Angeles
High on the list is “Am I too old to learn guitar in Gardena ?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 Los Angeles
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.
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.
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.
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