DianeB

Update: It's a real treat: even better than its predecessor because the time frame is more recent with better footage, it has fewer subjects, and they're all still pals. Delightful interviews with Russ, Leland, Waddy, Danny, and a number of the artists they worked with.

Keep watch in your area for "Immediate Family," Denny Tedesco's follow up to "The Wrecking Crew". Now in limited screenings, it goes into general release December 15. Or watch at home. Waddy, Kooch, and the gang finally have their moment center stage.

@Cuong Dang Hello, and welcome to the forum. There are several guitar courses available from Udemy, but if it is using the Learn and Master course materials, it might be doing so without authorization and illegally. We have witnessed a prior instance of this, and Legacy quickly had the course removed. It's possible that since that time, Legacy has authorized such use to someone, but you should verify that so you are not contributing to the practice. Although Steve does not list the Blues or Fingerstyle courses in his store at this time, it's possible that he might still have a copy. You can ask by e-mailing him at: service[at]guitargathering.com. There is little demand for physical media these days, and the last I heard was that, as you report, Legacy has sold out of some courses.

The file downloads fine for me.

@AllThumbs Hello, and welcome to the discussion board! We should begin by noting that two editions of the Learn and Master Guitar course were published. One, the less expensive version distributed through retailers, does not contain the Bonus Resources book. This volume, still available separately from Steve, details the criteria, including bpm, for "You're Ready to Move On" after each lesson. If your copy of the course did not contain this, I strongly encourage you to obtain it. The Lesson book only describes the tracks on the jam along CDs as either slow, medium, or fast, as you describe. These terms are arbitrary and have no fixed meanings. One of our devoted students measured the tempos to each of these tracks some time ago and collected the results; I have attached a PDF that tabulates them all. If you would like to acquaint yourself with the terminology of tempo, this Wikipedia article is a good start. The traditional terms are not often encountered in guitar music outside classical and jazz genres. Jam Along Tempos.pdf

Hi, Jeff, and welcome to the discussion board. In the settings you describe, I suggest that your intro take into account factors such as where that song comes in the set (do you want a dramatic finish), the level of background noise from the audience (single notes might get lost), and how familiar the audience might be with the song (will they expect a certain lick). Some common tricks are to strum over the opening chord during a narration; open with the last four bars of the chorus (if it starts with the verse), or the first bar, or first few bars of the first verse. A good intro should blend well with the song and hint at what's to follow, so consider where the verse starts in the progression: on the I? the IV? the vi? Let your ear be your guide. If it pleases you, it will likely please your audience. I'm sure our gang will have other suggestions.

Good to hear from you, Six! Don't be a stranger.

Here are some videos of our guests performing. Walter Rodrigues (blue shirt), Ron Block (black shirt), Thomas Leeb (goatee), and Matt Thomas (blue shirt and glasses). IMG_3221.mov IMG_3241.mov IMG_3254.mov IMG_3295.mov

Epilog One more day on the road tomorrow. Almost home. At Deer Run, I mopped the floor, extinguished a fire, and took my turn in front of the fireplace. (Use your imagination, it will be more dramatic.) For now, I leave you with a final lesson learned, or more accurately, re-learned. Our guest artists are phenomenal, inspirational, humble, world class musicians. But I can’t aspire to their level of play. I so look forward to hearing my fellow students perform. In them — in you — I can better imagine my future self. Yet of my two dozen companions this week, only five of us elected to play a song for the group. There was time for at least twice that number. It’s ironic that so many of us who love to make music in privacy are so terrified of performing the very same music for others. No, it’s worse than ironic, it’s joy denied. I get it. Steve gets it: “You sit in front here and you freak out.” People, please: make peace with making mistakes. I have, because what matters is what happens along the way. I knew my song would be shaky after three days of travel without rehearsing. But I reminded myself that two months ago, I couldn’t play a single note of it. It was getting better. In front of my teacher and my friends, I stumbled here and there, but I caught a little magic. You deserve some of your own. Give us what you’ve got. It might have been things I missed But don’t be unkind, it don’t mean I’m blind… You see, it’s all clear, you were meant to be here From the beginning — Greg Lake, “From the Beginning”

Sunday dawned with the clouds giving way to sunshine, then back again. As Steve started the morning workshop, I settled into the press box with my reporter’s notebook, glanced around, and realized to my horror that I was the only one without a guitar. “Where’s your guitar?” Steve wondered aloud to the whole group. I buried my face in shame (!) and hurried to retrieve it. I thought we were here for the Cornhole. Matt Thomas demonstrated how right hand exercises in DADGAD can give the left hand a rest while the exercise still sounds musical. As he explained “See how it sounds when we drop to the parallel minor, from C major to C minor?” it occurred to me to raise my hand and point out how that’s a Picardy Third in reverse. I kept my mouth shut, and my remaining dignity for the day intact. Finally, announcements time: next year’s retreat will be October 17–20, 2024. Maybe, Christie Lenée again. The registration link is up. Guitars quieted, the lodge filled with the sounds of thumping staircases, rolling suitcases, and shouted goodbyes. We jotted our thanks in Steve’s memory book, messaged our photos back and forth, and loaded our cars — as the falling acorns tapped their gentle polyrhythm on the ground.

The balmy temperatures have turned the season upside down: looks like autumn, feels like spring. It was so warm upon arrival that Deer Run had the AC on rather than the heat. I spent my first night balled up like an armadillo, then I remembered the spare blanket and space heater hidden behind the bunk beds. All better. Steve started Saturday with a lesson on movable chord shapes. Thomas Leeb returned for a workshop focusing on polyrhythms, which figure prominently in his Michael Hedges-like percussion playing. As we recessed for lunch, fellow student Jim Felter and I slipped out to the back porch where I made another, cleaner pass at “From the Beginning” — and with him playing a duet with me. What a happy surprise. Practice methods was the first afternoon topic with Steve. Bill Cooley used “Amazing Grace” to illustrate variations in progressions when creating arrangements. Then, the final, raucous, high-stakes final rounds of the GG Cornhole Championship. Last ones standing were the Pickups: David White (for the second year in a row) and partner Jim Nash. Best team name: “All Rights Reserved”, but I might be, ahem, biased. After dinner, Steve presented the Cornhole trophy, and Vanessa’s granddaughter drew the names of the door prize winners. Prizes included subscriptions to Acoustic Guitar Magazine, Fishman pickups, and a Fender acoustic as the grand prize, carried home by a thoroughly deserving Bob. He left a gig in Virginia Beach at 1:00 am, caught four hours’ sleep, then drove 742 miles to join us: Matt Thomas seems human enough, but it’s hard to believe. For the next 90 minutes he blew the roof off. As we recovered in the warm night air, we didn’t need the fire pit. The rocking chairs on the front porch did just fine.

Birdsong. Acorns dropping from trees and crunching underfoot among the leaves. A lilting melody wafts into the lodge from the back porch. Laughter from the dining room. Amid the lessons and performances and animated mealtime gatherings, the small pleasures, easy to overlook, can found in all directions. Friday began with a workshop by Walter Rodrigues on arranging. As I recognized the approach chords and contrary motion, I silently thanked my theory teacher. After lunch, Grammy winner Ron Block offered his masterclass on technique, which could be summed up as: touch. He related a story about Allison Krauss describing him to another guitarist who had to fill in: “When Ron plays, it’s like he’s either talking to a baby, or talking to Jesus.” We adjourned to the Field of Honor for the first rounds of the Guitar Gathering Cornhole Championship. Details to be published elsewhere in Pseudosports Illustrated. Our evening concert was a tour de force by percussive powerhouse Thomas Leeb. We dialed it back for the day over cookies, cake, and Paulette’s hot chocolate and apple cider. IMG_3248.mov IMG_3241.mov

Today, reunion day. I began once again at the airport, this year to pick up newcomer Anne from Maine. We had time for the traditional lunch at M. L. Rose’s, then we were off through the balmy afternoon to the Franklin countryside and into Deer Run. New faces and old friends greeted us once more. A full house. What a joy to see Steve again and especially Paulette. Once we found our rooms, Steve welcomed us and we went around the living room for introductions. After a short lesson in the basics, with help from volunteers Gary and Carson, it was time for dinner. The Deer Run kitchen staff were on their game, with beef brisket for the entree and chocolate mousse cake for dessert. Now hyperglycemic as well as thoroughly unrehearsed, I led off the student performances with a shaky take on Greg Lake’s “From the Beginning”: from here things could only get better. Our evening guest was Walter Rodrigues, Jr., who entertained us with his bright, warm, and brilliant original arrangements on his customized Cordoba. We retired to the fire pit in the back for s’mores and conversation. A bright moon glowed above on a comfortably warm night as we charred marshmallows and chatted away. Finally it was time for Steve to put out the fire, and with that cue, we called it a night.

We are unofficially under way. I was slumming around Carter’s Vintage Guitars today, craning my neck for the telltale cap and golf shirt, but Dave wasn’t in sight. The shop was busy and I had nowhere to sit with a guitar, so I turned south in the direction of the aroma. No, not Hattie B’s — I mean that new guitar smell. I visited with Britt and Benjamin — Greg was off — and indulged my Macpherson crush a while. Sigh. Back at the hotel, on a hunch, I texted Dave and learned I had just missed him and Keith at Carter’s. We met for dinner at Bonefish Grill, aware that the Deer Run menu doesn’t extend to filet or scallops. Pro tip: if you go to Carter’s, take a Land Rover; that parking lot is brutal.

@matonanjin Oh, dear, Ron, I was sure you were the first in line. It might cost you a lot of HoneyDo points, but you need to see this movie! Thanks for the kind words.

@matonanjin That's all mine.

Bet you didn't see this coming: https://www.nytimes.com/2023/10/02/us/politics/antony-blinken-guitar-state-department.html The cool factor of Foggy Bottom just went up a couple orders of magnitude.

We are less than a month away from our fingerstyle retreat. For the benefit of any first timers, and to give Steve a break, I offer this little heads up. In a few days, we can expect Steve to e-mail registrants with a survey, asking: Will you need a ride to or from the airport? Can you provide a ride? Do you want a guitar setup appointment? Do you want to perform in the student showcase? Do you have any special dietary or ambulatory needs? Do you snore like a chainsaw? (Okay, maybe not that.) Steve will also request a photo of you, preferably with your guitar, to use in the slideshow that will run in the main room to introduce everyone (see photo below). Deer Run Retreat will not admit any guests before 3:00 pm sharp on Wednesday, so time your arrival accordingly. And we must be out no later than 12:00 noon on Sunday. We will be in close quarters, carrying our guitars up and down stairs from room to room. Floor space will be limited during lessons. A compact guitar stand like the Cooperstand is recommended. Bring whatever materials you may need for taking notes, and perhaps a tabletop tripod if you want to record performances. Steve and Paulette will likely have the store items for sale. You might want to have some cash to purchase artist CDs, as sometimes they are not prepared to accept cards. Finally, because we will be in close quarters for three full days: please consult your physician and consider updated vaccines for influenza, covid, and RSV. We want to be healthy, happy musicians! See you soon!