CA-Jurupa Valley Musical Instruments

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.

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High on the list is “Am I too old to learn guitar in Jurupa Valley ?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

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bass guitar lessons 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!

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how to play guitar chords 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.

Flamenco Guitar

software for guitar players 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. 

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