DianeB

@DavidMc Your question arises now and then (see this thread) but I think you'll need a DVD player. From there you can rip the files to a hard drive or SSD for convenience. It appears that now even CrowdGuitar is defunct, so the few lessons that were once there are gone. There are still some lessons by Arlen Roth here.

Ron, that link didn't work for me. Try this for the Chicago Blues Boot Camp. Sounds terrific!

His house was hidden from the street. I drove past and into the apartment complex where my GPS seemed to be pointing me. My young guitar tutor of six years moved here in East Asheville last year. When I started fingerstyle lessons with him, he was a college sophomore. Jonathan was already a gifted musician and teacher, and our age difference led our conversations into delightful side trips about the sixties and seventies. He graduated and remained in Delaware for a few years to sort out his goals. Meanwhile he coaxed me through the basics of classical guitar. We were nearing the finish line of Pachibel’s Canon when the pandemic struck. During those alarming early weeks, he made my grocery runs. He needed income; I needed to avoid crowds. Eventually he decided to move to Asheville. He loaded his Ford Focus with all his worldly possessions and came to say goodbye. When I met him at the door, he had a gig bag on his shoulder. He handed it to me. “What’s this?” I asked. “I want you to have it. It’s my first guitar” I opened the bag. Inside was a Squier Strat, plastered with stickers, a popped string dangling free. “Jon, you shouldn’t. You should keep this to embarrass your kids one day.” “There’s no room in the car with my other three.” I could only shake my head, as a plan took shape. The apartment complex was clearly a detour, so I stopped and called him. He came out to the street and led me to his driveway. “How was your guitar camp?” he asked. “Amazing, as usual. I’m saturated with guitar. Ready for lunch?” “Sure, I know a good place.” “Oh, before I forget, I have something for you.” I reached in the car. “It’s the latest from Joe Robinson.” I gave him the CD. “Oh, wow, thanks.” He showed me around the house he shares with a roommate, as I flashed back to my first apartment and setting out on my own. I recalled the excitement of my mid-twenties and the anxieties of what might lie ahead. We drove into town for sandwiches al fresco at a cafe. He had to be at work that afternoon, so there was no time to play guitar. Back at the house we said goodbye. “Oh, yeah, I almost forgot. There’s one more thing.” I reached in the back seat, took out the gig bag and gave it to him. “I think this is yours. Have a look.” His eyes widened. “I took it to my guy, Chuck. He replaced the broken tuner. The jack was bad, so he did that too. I tried it. Sounds like new. He cleaned off the old glue. But we thought we should leave the stickers. All the better to show your kids.” His expression told me that he couldn’t quite imagine the scene, but I could. This progression was meant to resolve.

A photo essay from The Guardian: https://www.theguardian.com/artanddesign/gallery/2019/aug/19/string-theory-make-acoustic-guitar-in-pictures

History recounts otherwise, here and here.

It’s hard to say which is more impressive, the man’s musicianship or his hair retention. I saw Pat again last night (7th time around) and he is just ageless. He’s touring now with keyboardist James Francies and drummer Joe Dyson. Remarkably, they have Lyle Mays and Antonio Sanchez covered note for note and beat for beat. This current "Side-Eye" trio will be performing steadily in the US through February of 2022 before heading to Europe in the spring. Pat left his omnipresent striped shirts on the bus in lieu of a black tee, apparently in subtle solidarity with his bandmates. They performed two hours to a virtually full house at the Keswick Theater in Glenside, a town northwest of Philadelphia. He has devoted fans around Philly. For the encore, Pat played a solo acoustic medley, then they said goodnight with the crowd pleaser “Are You Going With Me” from Offramp. The Pikasso and Orchestrion had their moments. So did a misbehaving pedal — I’m guessing a tuner was left switched on — when Pat switched out guitars, but you would have never known it from their sound. Pure professional artistry.

The technique has been around for decades, but languished in obscurity until perhaps most significantly the late Michael Hedges brought it to a wider audience in the eighties. Acoustic virtuosos like Christie Lenee, Tommy Emmanuel, and Ian Ethan Case cite Hedges as an influence. As Fretless observes, it crossed over to rock with EVH, who amusingly attempted to keep the technique a trade secret at first by turning away from his audience.

She's a beauty, Gary! Enjoy!

Just one more: this might take the prize. It’s been staring at me for weeks in, of all places, Steely Dan’s “Peg” — what appears to be a quinary dominant. Peg it will come back to you CM7 G/B A7sus Esus G: IV I II VI Then the shutter falls you see it all in three D it’s your fav'rite foreign movie A/C# C G F#7 Bm7 E7#9 Am7 D7 CM7 Gadd9 G: II IV I V/V/V/V/V V/V/V/V V/V/V V/V V IV I (VII) (iii) (VI) (ii) I'm puzzled about how to analyze the A-E-A; it doesn't seem to qualify as a tonicization as the chords (notwithstanding the C#) are diatonic. The boys used a “Hendrix chord” (E7#9) to create an extension of Michael McDonald’s tonsils. More augmented trivia: Jay Graydon, who played the solo, was the inspiration behind “Wah Wah” in Doonesbury — not that I’m old enough to remember. Go forth, grok those dominants and mu majors.

I understand. Too much to expect, but not too much to ask. What matters is that she's engaged and learning. Good for the whole family.

If you search Amazon for books of "guitar scales", dozens come up. But scales are merely a means to an end. What, exactly, is your musical goal in the near term? The answer will narrow your focus.

@duck There are some with TrueFire. But I strongly encourage your daughter to meet with an instructor in person. Shyness and awkwardness come with being 14 years old. Avoiding personal interaction is a sure route to poor technique and bad habits, especially in the young. She will miss out on encouragement and direction. Look for a community music school near you, if possible, where you are likely to find an instructor with experience with young people. She can always work with recorded lessons as well.

Nashville's loss is Anaheim's gain.

Folded into the memories of those who knew World War II, or at least anyone who recalls the final sequence of "Dr. Strangelove", is the 40s standby “We’ll Meet Again”. Written in 1939 by English songwriters Ross Parker and Hughie Charles and best known as performed by Vera Lynn, its signature harmonic climb reveals a rare but unmistakable sequence of extended dominant function. Illustrated here in D, following the sheet music I have (a couple of passing chords omitted): We’ll meet again, don’t know where, don’t know when, D6 F#7 B6 C7 B7 D : I V/V/V/V V/V/V bc V/V/V but I know we’ll meet again some sunny day. Keep… E7 Em7 A7b9 D6 V/V V I That’s a dominant (A7), preceded by a secondary dominant (E7), preceded by a tertiary dominant (B6 and B7), preceded by a quaternary dominant (F#7). The C is a borrowed chord. As I was culling some charts of songs I don’t play anymore, I was about to toss this one in the recycling, when I paused to study the progression. It came from my former neighbor Don. He played banjo, and invited me to his house a few times to play some of the classic tunes. Don was a Korean War veteran. We enjoyed some pleasant afternoons together until his health began to fail. He’s been gone a few years now, but he’d be pleased to know he still had something to show me.