Leaderboard

The Tele does seem more reasonnably priced, but I'm also a huge fan, especially of Bob Dylan. I actually named my son Dylan after him. I'm also a huge Beatles fan, and the autographs of the 2 Beatles that passed away surely add value. However, appart from being George Harrison's first electric guitar it was not part of anything major in history; I have never seen a picture of George with it (even from the Quarrymen era) and in interviews he always talks about his actual first guitar: an acoustic that his mom bought for him. Regardless of the condition, it's great that it survived. If someone's willing to pay, then it's not too expensive. It's hard to tell with collectibles, you never know how crazy the interest will be. Kirk Hammett paid $2M for Peter Green's 1959 Les Paul and he plays it at every concert. I looked into it and found a very interesting list of The 60 most valuable guitars ever sold at auction. I wanted to list a few, but you should really check it out as they are all really interesting and it turned out to be a great read; I couldn't even pick just a handful to list here. Out of 60, only the top 27 fetched more than $300,000. The "cheaper" ones include John Lennon's first guitar, a few of Clapton's, Jimi's Strat from Monterey, the first Les Paul (owned by Les Paul), a few of Jerry Garcia's most famous guitars, Elvis' guitar between 1954 and 1956 (the Sun sessions), Hank Williams' main guitar and much more. Wow sorry for the long response, but thanks for making me wonder how much it might actually be worth, that list was really interesting.

At Session 3, Steve says that this session is probably the most important. It deals with intervals of 3rds, 6ths, and 10ths. Though I have played these a fair amount, I have never really delved into them the way that Steve does here. So, every day, as a warmup, I pick a note at random, find it all over the fretboard (a valuable exercise from Ted Greene's "Chord Chemistry"), and then use that note as the root of the scale for the day to play the 3rds, 6ths, and 10ths all over the fretboard at every string set suitable to the interval. I have only been doing that a few days and already I am getting a good handle on it. So now it is time to start picking out melodies, as Steve suggests, and experiment with applying the intervals to them as he demonstrates along with the tips for doing so. I am also paying particular attention to the pieces that Steve created (Teri's Song" and "Springtime" because there is a lot in these that is helpful for making up my own music. I have not even gotten to the advanced workshop yet. The things I a doing are not difficult, but instead very worthwhile to explore in depth before moving on. I want to thoroughly be comfortable with these intervals because they really are at the heart of arranging tunes, which is the subject of the next session and the incentive for me to study this course. I plan to spend a lot of time with that session, arranging a lot of tunes as "extra credit", just as I am doing now with melodies. Tony

Thanks NeilES335. I can guess at least one of your guitars. My approach to this fingerstyle course is that I really want to learn how to do some specific things. I can play fingerstyle - other people's tunes, but I want to make my own music. Steve seems to address this by encouraging us to make these Sessions our own by constantly experimenting with the material beyond the specifics of the lessons. Tony

I agree, I've been watching Marty's tutorials for the past year. Not only Jazz but many popular songs. He keeps it simple and I like that. Henk