DianeB
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Posts posted by DianeB
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Here are some clues. And here. I defer to our guitar detectives to do the rest.
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From the Anchorage Daily News: the U. S. Fish and Wildlife Service intercepted a shipment of ten new PRS guitars intended for Hong Kong, but found to be without permits. They were donated to the Anchorage School District. See the article for photos and more details:
“Fish and Wildlife intercepted the instruments in Anchorage in July 2018, said Chris Andrews, supervisory inspector with the federal agency. The guitars, commercially shipped from the East Coast and bound for Hong Kong, were declared as clothing. When wildlife inspectors opened the cases, they found the instruments without required permits, he said.
The guitars feature Brazilian rosewood — protected by an international treaty — and can’t be exported without permits, Andrews said.
Andrews said it’s rare for inspectors to intercept illegally transported Brazilian rosewood products in Anchorage, Alaska’s air cargo hub. More often, they’re catching products made from crocodile skin such as handbags or watchbands that don’t have the proper permits, he said.
Each triggers a specific process. With the 10 guitars, Fish and Wildlife started a civil forfeiture proceeding, and the instruments were eventually given up. Andrews said a guitar dealer shipped the instruments, not the manufacturer. He declined to name the dealer.”
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@RaptorRich You'll have a great time, Rich!
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@costancr Sure, I have a couple of ideas for you or someone around Session 4. One is to start from a random string and fret (say, fifth string, third fret), and play a major scale from ear. Do, re, me, and so on. Just experiment until you find it. And don't worry about fingering, just find the notes, even if you stay on the same string. Then look for another. Something else you could try is to play a simple riff from a favorite song -- just a few notes -- without looking it up on YouTube first. Try to find it with your fingers and ear. Then tweak it; change a note here and there, and see what happens. This is not "noodling around", this is exploring your instrument with a purpose. No, it's not too early for this. 👍
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@rkl312 Lovely! Welcome to the Cordoba owners' family!
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@NeilES335 Thanks! And you don't even need Spotify. Listen online here.
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@BR-549 I’m not sure if your question is intended to be as straightforward as it seems, but here goes. If you want to play the melody, those are the notes that you play. In this simple example, “Ode to Joy”, the first note is an E, then an F and a G, and so on. If we want to play this song in G, we must transpose it up a perfect fifth (or down a perfect fourth) and start on a B, then C, and D, and so on, with F# as the single accidental in the key of G. In this example, the melody starts on a pitch in the scale (E) which is often, but not always the case.
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@Randy120 Pat led off his Side Eye tour here in Wilmington August 27 at our Baby Grand. (!) It's a smallish house, seating 300. I scored center seats in the sixth row (!!) with my guitar tutor, and we were both just over the moon. Afterwards, on the way to my car, we met the keyboardist James Francies and drummer Marcus Gilmore. (!!!) We might have just missed meeting Pat, as the trio was staying overnight in town for a second show -- I presume, at the adjacent hotel. Pat was probably still backstage with the crew. Wah! So close! 🤦♀️
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Live Lesson Tonight! Creating Walk-Ups and Walk-Downs on Guitar.
Whether you're playing Bluegrass, Country or Jazz adding bass lines to your rhythm playing is skill that you'll use constantly. Let's learn how to do it! Live from legendary Gruhn Guitars in Nashville. 7:00 pm CDT.
Steve's handout is below.
Watch here... https://www.youtube.com/channel/UCaKLy681H8BN4DYQkGF_UUw
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@randyh1953 Randy, whether you should continue with your teacher or not depends mainly upon the relationship. Does your teacher inspire and challenge you? Does he, or she, respect your skill level and goals? Do you practice what you agree to work on? Do you bring specific questions to each session? Are your expectations realistic?
I offer this as one who’s now starting my sixth year of private lessons — the fourth with the same teacher — and also as one who has tutored my own students (in another discipline) for 30 years.
You don’t have to be friends. But a student and teacher do need to share a mutual love of learning for the subject, and the ability to communicate, to recognize what works and what doesn’t. When you have those, the monetary cost is practically trivial. I wish you success, but keep in mind that luck has almost nothing to do with it.
"Old and all that?" did you say? Ahem! Unless you were born in the first three minutes of 1953, I'm older than you! 🤦♀️
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"Life begins at the end of your comfort zone!!!" Wow, @Pat L , what an exhilarating thought! 👍
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Yeah, Greg! That's getting it done! 👍
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@pkotof You're slightly mistaken, which will become evident when you watch the video. The very first exercise in Session 10, on page 57 of the lesson book, is played on all open strings. That's what the "0" means in the tab: zero fret = open string. This is standard tablature notation. The right hand pattern to be used is in the respective headings; "Finger Pattern 1, T123 (pima) and so on.
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That was a very good lesson, @Steve Krenz. I kept up for about 10 minutes, until around the time you left the middle strings (!) but you explained the central ideas very well. Happy to help with the chat any time. Neil picked up everything I missed, so we had it covered. 🙋♀️
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A tie like that indicates that the second note (here, probably for the vocalist) is not to be attacked, simply that its duration is added to that of the first note. Instrumentally, it's the same as a slur, meaning the two notes are to be played legato.
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@mrp777 During this week's broadcast (July 16), Steve said there was a technical problem at YouTube's end, and that he expected it to be available within a few days at the usual location.
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I lo-o-o-ve my Fishman Loudbox Mini, paired with an L R Baggs Anthem pickup in my Guild dreadnought. It has a second channel for a vocal microphone. I'm a chemist, so this is very scientific data, Ron @matonanjin 😉
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@ChrisJ032Chris, this is sure to elicit a spirited response! My first recommendation for you is Steve’s video on how to set up an electric guitar pedalboard. You’ll probably find a tuner convenient from the outset. I like my TC Electronics PolyTune; it’s now in its 3rd iteration. Beyond tuning, it gets really subjective and depends on what and how you want to play. My second pedal was a Ditto looper to help in practicing. There are several models but the basic version has been fine for me.
Around the time I was preparing for my first outing with my band, Steve had stocked a supply of the CAL MK.4.23 clean boost, which he swears by. I found out why. If you’ll be playing in an ensemble, consider a signal booster like this. I added a compressor, and put the four on a Pedaltrain Nano with a OneSpot power supply and patch cables. It’s good for me, for now; the delays and distortion and other effects can wait. As Steve advises, go one pedal at a time, and try them out as you go. It's part of the fun!
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@ChrisJ032 Chris, I'm not sure what you mean by "Dm alt form" in this context (D major with 2-3-4?). As Steve explains on the next page, from the D2/C# (= Asus4/C# here) you can hold that second string D with your third finger, let the open E ring, and reach for the fifth string C# with your pinky.
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Wow. 😮 Those infernal electrons will come off just about anything!
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@ChrisJ032 Chris, if you're looking at page 96, that 4 means the C# (root) on the 4th fret of the fifth string. All of those numbers in the tablature are fret positions.
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Epilog
After an extra week of visiting friends and family, I’m back home. Thanks for reading and for your kind words and support. I hope you enjoyed my little dispatches as much I as I did scratching them out at night.
As a postscript, I want to share perhaps the most vital lesson imparted to us at the gathering. It came near the end, during the student showcase, from my dear friend Reg. I must paraphrase, but in essence he said: Take your music to someone. Take it to the elderly, to children, to the infirm, to the lonely. Someone needs your music and your personal touch. Don’t wait until you think you’re good enough; that day might never come. Joy awaits. Go. Play. Live.
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It is Saturday. For me, it's the most emotional day of Gathering week. One last drive to campus on a gorgeous summer morning. I parked and pulled my electric guitar case from the car. "Okay, Judi," I said, patting her case. "You're back in Nashville, where I found you. Let's do what we came to do."
Another scheduling glitch, another quick key change. Our guest workshop leader had to cancel at the very last minute. In his place, Steve walked us through his chart of All the Chords You Need to Know. It can't be an easy trick to offer 80 students of all skill levels a useful takeaway, but he pulls it off, every time. Perhaps it slipped his mind -- I doubt it -- but Steve didn't announce the dates for next year.
Now for the real fun: the Student Showcase, when our fellow students take the stage and show us what they've got. They give it their all and it's pure joy to watch and listen. We had classical, folk, traditional, novelty, sacred, and someone even slipped in a country rocker. Pat brought some of her jam mates to the stage to lead the house in a play along finale. Steve and Paulette, beaming with pride, bade us farewell.
Soon the room was a cacophony of sliding chairs, snapping cases, and goodbyes. We signed Steve's Memory Book, traded phone numbers, shook hands and hugged each other to the door.
I opened the back of the car and made room for Judi. "You were great, baby," I said, giving her another pat. I sat behind the wheel, and let the tears run for a minute. A couple of tissues later, I drove off, waving so long -- for now -- to Trevecca.
And my guitar brothers and sisters were the final day.
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Today's theme was improvisation. A few days before we started, Steve's plans for a tour of the Gibson factory fell through, so he had to scramble for a morning program. He arranged for a visit to Curb Studio and a return to historic Columbia Studio B and the Quonset Hut. We listened to stories from our raconteur host, who was an engineer in its heyday. Yes indeed, Patsy Cline stood right there on 'Crazy'. Goosebumps.
Our schedule crimped, we had to dash back to Trevecca in time for lunch and our afternoon workshops. For me, it was more on chord substitutions with Steve.
The entire congregation reassembled for a session on improvising over "Stand By Me" with Steve and Dino Pastin. Our UK delegation contributed a great little solo line and our boys cooked up a fun lesson on the fly. Finally, we all piled on stage, guitars in hand, for the group picture.
We adjourned early to a have a little down time. Fatigue is showing on some of us. A large contingent hit 3rd and Lindsley for Jack Pearson's Birthday Bash. Terrific. But Dave, Keith, Collin and I bailed out before the finale; we were fading. If only we could take the weekend off and start it up again Monday, but no, the finish line approaches.
And the ii-V-I and the hallowed ground were the third day.
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What guitar is Frampton Playing?
in Guitar Gear, Amps, Effects, Pedals
Posted
@Bill Smith This seems to be the pressing question of the day. There's already a thread at: