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 Basics In Santa Barbara
High on the list is “Am I too old to learn guitar in Lompoc ?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 Santa Barbara
Although twelve string guitars are much less common than their six string counterparts, they can be a valuable addition to any guitarist's collection. Let's take a look at what 12 string guitars have to offer.What is a 12 string guitar?Although the exact ancestry of this type of guitar is unknown, it seems to have originated in the US or Mexico in the late 19th century, and was initially regarded as little more than a novelty instrument. However, the instrument gained great popularity throughout the 20th century, and is now an integral part of many musical styles.As the name suggests, these guitars have 12 strings rather than the usual six. On most twelve stringed guitars, the strings are arranged in pairs or 'courses'. The paired bass strings are generally tuned an octave apart, whereas the treble strings feature unison tunings. However, some guitarists may use non-standard tunings, or remove some of the strings in order to produce a more individual sound.When playing a guitar with 12 strings, each pair of strings is normally struck together, although some guitarists will play on individual strings within each pair - this takes considerable skill however.Advantages of the 12 stringed guitarThe 12 string guitar's popularity is based on its rich sound. The extra strings give it a striking chorus-like effect, and its distinct ringing sound makes it an excellent choice for use as an accompaniment instrument. In fact, in its early days the 12 string guitar was very popular among buskers, who found that they did not need other musicians to play with, thanks to the guitar's full orchestral tone.The 12 string type of guitar is mostly used for rhythm guitar playing, because the paired strings make most lead playing techniques difficult. For this reason, many guitarists use a 12 string as their secondary instrument, reserving it for those songs which require something extra when it comes to the accompaniment.However, there are many well-known musicians who are particularly identified with the 12 string guitar, in either its acoustic or electric forms. These include Leadbelly, Pete Seeger and Roger McGuinn. Guitarists such as Jimmy Page and John McLaughlin are also known for their work with the Gibson EDS-1275 double neck guitar, which features a choice of twelve string and six string necks.Overall, it is well worth buying a 12 string axe to add to your guitar arsenal, even if you don't intend to make it your main instrument. Most guitarists find that the 12 string version of the guitar is not that much more difficult to play, and the beautiful tones it can produce make any little extra effort more than worthwhile.
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.
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.
Continue reading CA-Lompoc Guitar Amp