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