Jump to content

DianeB

Moderators
  • Posts

    684
  • Joined

  • Last visited

  • Days Won

    140

Everything posted by DianeB

  1. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Gruhn Guitars in Nashville, TN, 7:00 pm CT. Topic to be announced. Manage Event
  2. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Topic to be announced. Manage Event
  3. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Guitar Success Q & A. Manage Event
  4. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Using a Metronome.
  5. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. How to Play Double Stops. By the way, that should be September 20, not January 25. 😄
  6. If you have been contemplating taking the plunge into full-featured notation software, good news: Finale is now priced at $299, a full 50% drop from its previous list price of $599. The learning curve is a bit steep (think Photoshop) but the help system is voluminous and there are many online tutorials to get the beginner up and running. Finale has been a huge boost to my music education. The ability to write music and hear it played back is priceless. The principal competitors to Finale are probably Avid's Sibelius and the open source, free MuseScore. I believe Steve uses Finale. Their capabilities are essentially equivalent; in my case the choice was a matter of compatibility with my theory instructor. Here's a sample of mine from a couple of years ago, created six weeks from the starting line.
  7. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Jazz Soloing with the Jazz Deck, part 2.
  8. It's September, so I suppose it's time to post the roster:
  9. @Eduardo It's not important that the thumb stay on the three low strings, unless the music calls for it. It's important that the thumb does what you want it to do. Session 10 is a toe dip into the shallowest water of fingerstyle and classical. You can't go wrong with advice from Mauro Guiliani or, say, Christopher Parkening.
  10. @Eduardo Glad you asked, because that question also arises frequently. I wondered myself. From the Harvard Dictionary of Music: "Suspension (under 'Counterpoint'): normally a dissonant tone occurring on a strong metrical position, having been sustained (or "suspended" or "prepared') from an initial attack as a consonance and converted to a dissonance as a result of motion in another voice. It is most often resolved downward by step." (Italics mine.) So whether to notate a chord as G2 or Gsus2 is merely a matter of convention and preferred usage. If we regard the dissonant note (the second or fourth in the chord) as "lifted", then the physical meaning of "suspension" is applicable to a fourth but not a second. Steve reports that "sus2" usage is more common in the UK, and "2" in the US. I can't say, because I've seen "sus2" over chord blocks in a lot of music books here in the US. He uses "2". It seems to be like "color" vs. "colour". And yes, this is the essence of almost all Western music from the Classical period on, tension and resolution. -- Diane
  11. @Eduardo Good eye, my dear man! Yes, this has been called out here before, but I've forgotten where, so let's clarify. A major triad is the root, major third, and perfect fifth, abbreviated 1-3-5. A suspended fourth (sus4) chord is the root, perfect fourth, and perfect fifth, 1-4-5. As you observe, the middle pitch is raised a semitone to form this from the major triad. At this stage in the course, to avoid unnecessary complication, Steve uses "sus" to mean "sus4". There are also "two" chords, written as either "sus2" or simply "2", as in G2 (= Gsus2). These come later, in Session 12. He also makes another simplification here for the student, again for the same reason. He does not distinguish between "sus4" and "7sus4", a suspended dominant seventh, which is 1-4-5-b7, referring to both as "sus". The open position Em7 chords shown are variations on 1-b3-5-b7 (E-G-B-D). The open position Dsus (Dsus4) is 1-4-5 (D-G-A) and the open Esus (Esus4) is also 1-4-5 (E-A-B). The first position Fm7 is 1-b3-5-b7 (F-Ab-C-Eb). But the "Fsus" illustrated is actually an F7sus4. Fsus4 is 1-4-5 (F-Bb-C), but F7sus4 is 1-4-5-b7 (F-Bb-C-Eb). The A# pitch class is not in the key of F, but rather its enharmonic, Bb. Note the presence of the b7th (Eb). A true Fsus4 (1-4-5 = F-Bb-C) in the first position is 133311, or an Esus4 shape two frets behind a full barre. Even in Steve's full chord chard (attached), he has labeled F7sus4 as "Fsus7" (?!), complexicating things even more. Fsus4 does not appear on the chart probably because Steve has found little use for it. In classical guitar, it's not that unusual. The F7sus4 shape is slightly easier to form, and it works harmonically because the (added) b7 will function as a leading tone much like the 4th. Steve is not being misleading, but doing what all good teachers do in not introducing complexity too early and needlessly. But sharp eyed students will catch these moments every time! Chords You Need to Know.pdf
  12. @Matt_B Hi, Matt, it happens. Life will always be there. Be kind to yourself and keep your expectations modest. Over the years the discussion board has accumulated (and Doug collated) a mountain of good advice that you can refer to as you need. But here in the beginning, I suggest you identify a small window of time in each day, 10 to 30 minutes, that will be free of distractions, in which you can focus on music. An appointment with yourself, every day, same time. No excuses. Steve explains here. If possible, it should have something of each of these four elements: (1) warm up, (2) skills, (3) songs, and (4) exploration. At first, it will mostly 1 and 2 and a bit of 4. Your finger tips might get sore, especially on a steel string acoustic. Don't practice with pain; your finger tips will gradually toughen and your endurance will grow. Have your guitar professionally set up, even if it is new, to ensure its maximum playability and proper intonation. The best advice on music practice I've found has been distilled into a delightful little volume by guitar instructor Tom Heany, "First, Learn to Practice". This and related books appear in my Reading List. Lesson 1: Enjoy your practice!
  13. @Matt_B Relax. I can not find any errors in the tablature in my lesson book through Session 10, and it's a first edition (possibly 9th printing). It's possible I missed something, but it's unlikely because I made lots of pencil annotations, such as note names, and I would have corrected an error if I found one. My Bonus Resources book is version 1.2, and it's possible some typos were in the earlier printings of that. The only hiccup I corrected was p. 35, exercise 6: it should read "Key Signature = G" (not F#), and that's trivial. On p. 98 of the Bonus Resources book, Steve refers to typos in the tab of Canon in D in the Lesson Book, but both of mine match exactly, so those typos must have been in an earlier printing.
  14. @Matt_B Welcome to the course and the discussion board! Yes, when you first open that lesson book and consider all that's ahead, it can seem overwhelming. But you will be making enjoyable music quite soon. Make full use of all the advice here (see Doug's link above), at least the parts that speak to you. Here is some of the best I've read. Whatever difficulty you might encounter, it won't be new — someone here will have met the dragon before and can help you conquer it. I collected a few other resources here that might be useful as you progress. Happy practice!
  15. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Jazz Soloing with the Jazz Deck.
  16. Wow, Ron, congratulations! That is quite the accomplishment. Take a bow! 👏
  17. @Dbarker Hi, there, and welcome to our forum! Because you're new, some background could be helpful. You might already be aware that a number of years ago, Steve created a complete guitar course on DVDs and CDs, published by Legacy Learning Systems in association with Gibson. More recently, he has repurposed and enhanced much of that material in his Live Lessons and workouts. The "How Music Works" series is essentially the music theory portion of the course. The first lesson is concerned only with concepts: simple intervals (seconds), major and relative minor scale relationships, and key signatures. The practice of locating and playing major scales is addressed later, and quite thoroughly in his major scale mastery workouts. Of course, you can work on these sequentially or simultaneously, as you like. There are many systems and aids for learning the notes on the fretboard; find and use what works for you.
  18. Hi, there! And welcome to our group. May I offer two suggestions, one internal and one external. First, the internal: after a couple of years, you are enjoying guitar and want to progress. Now you recognize the overwhelming number of options open to you. We all go through this. It's time to consider what part of your life you want guitar to occupy. How much time can you realistically devote to it each day? What style of music are you attracted to? And what do you want to do with your music? Play for yourself and friends? Join an ensemble or band? What are you willing, and not willing, to sacrifice for it? As you contemplate these questions — and make no mistake, this is work — the answers to your questions of what is best for you will soon become obvious. Which brings me to my second suggestion, the external, and it will help you with the first. Find, and bring into your personal circle, as many experienced musicians as you can. Music teachers, church musicians, open mic-types, professionals, anyone who is farther along the path. You want to be seek out those who will encourage you, coach you, and be stone cold honest with you. It might be just for one conversation, it might develop into a long friendship. It is quite impossible to research every option. That’s no excuse for doing some research. The magic word is practice. That comes first. Here are a few words from Steve you might find helpful. I hope you make many new guitar friends here and at home!
  19. Obviously I can not speak for Steve, but I can share some insights gleaned from my from ten years here. The Learn and Master course was a “work for hire” by Steve. He does not own the rights to the content; they belong to Legacy Learning Systems. It would be up to them to migrate the content to another platform, and nothing suggests to me they have plans to do so. This idea has come up many times before. I think Steve recognizes that now there are many online avenues for learning guitar, and rather than compete directly, he occupies a different niche. He teaches in academic settings (and is doing so as I write this), conducts his YouTube Live Lessons, hosts two annual guitar conferences, and performs professionally in multiple capacities. He has produced specialty courses for fingerstyle and blues that are available in the store. Anyone who wants to learn to play guitar will find a way. The cost of the L&M physical media, along with a DVD player, is trivial when compared to a few hours of private lessons from a comparable professional.
  20. No Live Lessons for the last two weeks in July, as Steve will once again be conducting a Teaching Guitar Workshop at Trevecca Nazarene University. For those who are curious about this national outreach program in music education, I’ve looked up their web site. As it says: “The Teaching Guitar Workshops were started by members of GAMA, NAMM and NAfME in 1995. The objective: help school music educators start or enhance classroom guitar programs and deliver more music making opportunities to children. Between 1995 and today over 4,000 school music teachers across the United States and Canada have enjoyed TGW. GAMA’s studies suggest that over 2 million students have learned guitar in schools because of the TGW.”
  21. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Chord Inversions, Part 3.
  22. @ChristopherArt It's not a typo, Christopher. In that G7 shape the D (the fifth of the chord) is doubled on beat 2; this is evident in the staff notation. You will often see the D doubled in G major in the open position as 320033. The Guiliani studies provide training for movements and shapes that are rarely encounter in simple strumming.
  23. DianeB

    Live Lesson

    until
    Live Lesson with Steve Krenz from Nashville, TN, 7:00 pm CT. Chord Inversions, continued.
  24. until
    The 2022 Fall Fingerstyle Retreat will be held at the Deer Run Retreat near Thompson's Station, Tennessee. Richard Smith, Sean McGowan, Gareth Pearson. Full details here.

About us

Guitar Gathering is a community of guitar lovers of all types and skill levels.  This is a place of learning, support and encouragement.  We are unapologetically positive.

If you've come here to gripe, demean others or talk politics then this isn't the place for you.

But if you've come to talk guitars, ask questions and learn from professionals and guitar learners from all over the world then come on in!

Get in touch

Follow us

facebook feed

Recent tweets

×
×
  • Create New...