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 Amplifier In Los Angeles
High on the list is “Am I too old to learn guitar in Manhattan Beach ?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
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.
Jump to navigation Jump to search The lap steel guitar is a type of steel guitar which is typically played with the instrument in a horizontal position on the performer’s lap or otherwise supported. The performer changes pitch by pressing a metal or glass bar against the strings as opposed to a traditional guitar where the performer's fingertips press the strings against frets. The bar placed against the strings is called a "steel" or "tone bar". There are three types of lap steel guitars: Freddie Roulette holding console or double-neck steel guitar. A lap steel guitar's strings are raised at both the nut and bridge ends of the fingerboard, typically to about half an inch. The strings are too high to contact the surface of the neck, so frets, if present, are only for reference and are often replaced by markers. Some lap steel guitars can be converted between lap and fretted playing, or are modified versions of conventional guitars—the only difference is usually string height. Round-necked resonator guitars set up for steel playing fall into this category. Instruments designed exclusively as lap steel guitars typically have modified necks that make fretted playing impossible. The hollow neck acoustic lap steel, developed by Chris Knutsen and popularized by Weissenborn, extends the body cavity behind the neck all the way to the head. The square-necked resonator guitar has a strengthened square profile neck, allowing heavier string gauges and/or higher tunings that would normally be considered impossible (or certainly ill-advised) on a conventional guitar. The electric lap steel guitar typically incorporates the entire neck into the solid body of the guitar, again providing extra strength to allow a greater variety of string gauges and tunings. Console steel guitars, typically with more than six strings and/or multiple necks, are rarely played in lap steel fashion (without their legs), but are often referred to as lap steel guitars by many makers and authorities. See table steel guitar. Kaki King performing on lap steel guitar. The lap steel guitar is typically placed on the player's lap, or on a stool in front of the seated player. When playing with stand-up musicians, such as in a bluegrass band, it has become an alternative for the player to also play standing up; supporting the guitar with a guitar strap around the neck, with the guitar suspended horizontally, resting against the stomach area; providing stage mobility, such as for mic accessibility for singing. Unlike a conventional guitar, the strings are not pressed to a fret when sounding a note; rather, the player holds a metal slide called steel (or tone bar) in the left hand, which is moved along the strings to change the instrument's pitch while the right hand plucks or picks the strings. This method of playing greatly restricts the number of chords available, so lap steel music often features melodies, a restricted set of harmonies (such as in blues), or another single part. David Gilmour playing lap steel guitar - 26 January 1977 The steel guitar, when played in Hawaiian, Country, Bluegrass, or Western Swing styles, is almost always plucked using a plastic thumbpick affixed to the right hand's thumb, and metal or plastic "fingerpicks" fitted to the first 2, 3, or even all 4 fingers of the right hand. This allows the player greater control when picking sets of notes on non-adjacent strings. Some Blues players, especially those who use a round-neck resonator guitar played upright, conventional-guitar-style, with a bottleneck or hollow metal slide on one left-hand finger, forgo the fingerpicks and thumbpicks, and use their bare fingers and thumb instead. On the other hand, a minority of Blues players, and many Rock players, use a conventional flatpick. Tut Taylor is one of the few Dobro players that use a flatpick. Ben Keith playing lap steel guitar + pedal steel guitarIt is widely reported that the lap steel guitar was invented by a man named Joseph Kekuku in 1885. It is said that, at the age of 7, Kekuku was walking along a railroad track and picked up a metal bolt, slid the metal along the strings of his guitar and was intrigued by the sound. He taught himself to play using this method with the back of a knife blade. Various other people have also been credited with the innovation. The instrument became a major fad in the United States during the 1920s and 1930s. The instrument became especially popular in Hawaii, as musicians played in tent-rep shows. It was electrified in the early 1930s, and in 1932 the first production electric guitar was introduced, the aluminum Ro-Pat-In (later Rickenbacker) A22 "Frying Pan" lap steel. This made the so-called "Hawaiian" guitar the first electric stringed instrument (just a few years before Les Paul and Charlie Christian modified their instruments and after the theremin was patented in 1928). The earliest documented performance with an electrically amplified guitar was in 1932, by Gage Brewer. The Wichita, Kansas-based musician had an electric Hawaiian A-25 (frypan, lap-steel) and a standard electric Spanish from George Beauchamp of Los Angeles, California. Brewer publicized his new instruments in an article in the Wichita Beacon of October 2, 1932 and through performances that month. The first electric instrument on a commercial recording was made and played in 1935 by Bob Dunn, a musician in Houston, Texas who played in the Western swing band Milton Brown and His Musical Brownies. Dunn owned a music store that bore his name in the Houston area. The lap steel, dobro and pedal steel guitar are associated most closely with Hawaiian music, country music and bluegrass, though some players have used them in rock music, jazz, blues, and other musical genres. The round neck, metal-bodied resonator guitar is used almost exclusively by blues, rock, or blues-rock musicians. Harmon Davis playing steel guitar The Lap steel guitar is not tuned in standard guitar tuning (E-A-D-G-B-E, low to high). Rather, it is usually tuned to an open chord, often an extended chord like a 6th, 7th, or 9th. (All tunings are shown low-to-high; that is, thickest string to thinnest, or 6th string to 1st string). The earliest Hawaiian lap steel tuning was A low bass, E A E A C# E. Blues and Rock players tend to favor one of two tuning families: open G/open A, or open D/open E. Open G is tuned D-G-D-G-B-D; open A raises each of those notes a whole-step (2 frets) to E-A-E-A-C♯-E. During the 1920s and 1930s, much of the sheet music written for lap steel utilized open A tuning as the de facto standard tuning for the instrument. Other tunings such as E7 ( B D E G# B E ), C#m (B D E G# C# E), and many other tunings were developed. Open D is tuned D-A-D-F♯-A-D, and open E is a whole-step higher: E-B-E-G♯-B-E. Joe Perry of Aerosmith uses Open E on his electric lap steel. David Lindley is another player who uses transposed variations of these tunings. Bluegrass and Country Dobro players using a square-neck instrument tend to favor an altered G tuning, often called "High-G", where the 6th string is tuned up to "G" instead of down to "D", and the 5th string is also tuned up, to B: G-B-D-G-B-D. They also sometimes raise it up to "High-A": A-C♯-E-A-C♯-E. These are examples of tunings possible on a lap steel that could cause serious damage if attempted on a round-neck resonator or standard guitar. Henry Kaleialoha Allen in his book uses a modified C6 tuning, with a B♭ in the bass: B♭-E-G-A-C-E. Jerry Byrd has a C6 variant with C# in the bass: C# E G A C E. Dobro players also generally use a set of strings with different gauges than those used on standard electric or acoustic guitars to help them to project more sound and to achieve their higher tunings. Many Western Swing lap steel players, and some Old-Time Country lap steel players, use a C6 tuning. There is no "standard" C6 tuning; one popular one is C-E-G-A-C-E. This tuning is a good one for learning Don Helms' lap steel melodies from old Hank Williams records, although Helms used a lap steel with legs (a "console steel"), with two necks having 8 strings each; Helms actually used an E13 tuning, which adds the 7th (D) and the 13th (C♯) to the E tuning, making it B-D-E-G♯-B-C♯-E-G♯, low to high. An extended C6/FMaj7 is used by Western Swing pedal steel guitarists on their 10-string pedal steels. This tuning, C-F-A-C-E-G-A-C-E-G, is difficult to achieve on the 6-string steel but a subset thereof is achieved as previously mentioned. A6 is a commonly used alternate for C6 and was used by greats such as Billy Hew Len, Leon McAuliffe, Herb Remington, etc. The E7 tuning is used by many players, especially those who begin learning with the Mel Bay Steel Guitar Method instructional books. The E7 tuning in those books is spelled either B0-D-E-G♯-B-E or with the 6th string lowered to the tonic E: E-D-E-G♯-B-E. Note the similarity of this second tuning to the open E tuning above: the only difference is the 5th string, which is lowered from the tonic E to the 7th note in the key of E, which is D. There are many other tunings used by players. Pedal Steel guitarists switching over to lap steel often bring over a modified version of the 10-string E9 tuning that is the standard for Country pedal steel; pedal steels, and a few non-pedal "console steels" actually have multiple necks, each in a different tuning, and very often on a pedal steel the 2 main necks will be in E9 and C6 tunings. As noted under the C6 tuning, an A6 tuning is also used. See the links below for a list of additional tunings.
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