DianeB

Karl, that is one gorgeous piece of craftsmanship. Congratulations, we have a new luthier in the house. 👍

@ChrisJ032 Yes, Chris, it's in 3/4, so we might better say: T-1-2-3-2-1 (p-i-m-a-m-i).

Hi, @Stefan , way to go! Session 7 is a big step. The answer to your question really depends on where you want to go on guitar. But I would advise: yes, unequivocally, learn all 12 scales. The flats, sharps, and key signatures. Give it a couple of minutes every day until, as Steve says, you can say them as fast as you can write them, even as you start on Session 8. The payoffs are big. Knowing the scales will demystify intervals and prepare you for spelling any chord in the book. And when you practice all those scales, as in Steve's major scales workout, the fretboard begins to open up. You start seeing notes instead of dots. Go for it.

Rrrrr-i-i-i-i-pppp! I peeled the label off my plastic box of lead sheets that read “Band”. Seven months and no word from our leader. Time to admit it: I wasn’t in a band anymore. After four years of almost weekly practices and rehearsals, and five gigs, my neighborhood band had dispersed. Our neighborhood social committee decided that although they enjoyed the band, the music was distracting from — to put it bluntly — the gossiping. Four of the guys returned to their continuing education rock group, of which I was not a member. Sigh. It was good while it lasted. Rrrrr-i-i-i-i-pppp! Off came the label from the box that read “Jam”. After six years and sixty meetings with my local acoustic jam, I decided, it too had run its course. The group leader had been exhibiting some troubling signs the past couple of years. Lately he could not, or would not, play in time. He just wasn’t fully present. He complained about a person who never brought music to share, and instead played to show off — no one could play along. But when this guy showed up, the leader said nothing. A few weeks ago I sat silently twirling my pick between my fingers as this diva performed his Elvis set for me and a first timer yet again, and I heard myself thinking, “That’s enough.” One box remained, labeled “Lessons”. That would stay. I twisted up the other labels and tossed them in the trash. I expected a wave of letdown. And I felt something, all right — but it was energy — a fresh resolve. I felt good. I surveyed my practice room: the guitars, the books, the music, the framed photos. So familiar, so friendly, and still so right. Now what? “Good for you, kid,” they answered. “You’ve learned how to let go. Now you’re the captain of your own ship. So go back to work, and keep your eyes and ears open. The universe isn’t finished with you yet.” The first sign appeared at the bowling alley. As always, I started the night at the grill for my iced tea and cookies. I handed the cashier my money. This time she gave me a conspiratorial smile and shook her head. “Keep it,” she said, “you’re good.” Really? I asked. She waved me off. The next signal arrived in the mailbox. The National Archives had located my late father’s record of service in the Civilian Conservation Corps. It identified his camp, a detail no one in the family could recall. From that, I discovered that a book had been written about his camp. I ordered a copy. In the center spread was a group photo of his company, May, 1934, just before his discharge. My finger ran across the faces. And there, a month shy of his 21st birthday, in a surplus army uniform shirt and tie — is it? It must be. I sprang to the living room for the picture of him and mom in 1938, just after they were married, to compare. Yes, that’s my dad. No one in the family knew this picture existed. Soon after that, an e-mail from Neil: Would I consider serving as a moderator for the discussion board? Days later, I attended a concert by fingerstyle virtuoso Shaun Hopper. The usher led me to a center seat in the second row. I introduced myself to the couple next to me. Shaun and his sax player Chris took off. It was bliss. A few times I led the small, reticent audience into applause for a solo, or to coax them into clapping along to Stevie Wonder’s “Superstition”. They’re knocking themselves out up there for you, girl, I thought. Let them know you’re pulling for them. As intermission ended, the husband sitting next to me returned from the lobby and handed me a copy of Shaun’s CD. “Would you like this? For a donation, they gave me two.” “Seriously? It’s still on my Amazon Wish List,” I said, incredulous. “Thank you.” After the show, Shaun autographed it. “Thanks for coming back to Wilmington, Shaun,” I said as I shook his hand. “Say, do you know Christie Lenée?” “Sure do,” he said, smiling, “and what a great singer!” I walked out to my car in the cool spring night and started home down the long avenue that is Wilmington’s King Street. All the lights were green.

Early arrivals take note: Tuesday evening, June 11 at the Station Inn, 7:00 pm: Doyle & Debbie; 9:30 pm: The Wheelhouse Rousers. The calendar for 3rd and Lindsley is filling up, but nothing as of today for June 11. I could go for another round of Mandy Barnett. ❤️ She'll be back May 25.

Eric (@Sonicfreq), the normal hours at Gruhn's are Monday through Saturday 10:00 am - 6:00 pm. If we assume that Steve follows the same timetable as last year, your best window is probably Tuesday afternoon June 11. There will be an early registration Tuesday at Trevecca from about 3:00 - 4:30, but that's optional. Nothing will be scheduled for the group as a whole on Tuesday evening. Typically after early registration we carpool to dinner and hit Third and Lindsley or the Station Inn if there's a good show. Then it will likely be nonstop until 4:30 Friday afternoon. We will probably wrap up around noon on Saturday, which might give you another window for Gruhn's, depending on when you have to get to the airport. There is also a remote chance that Steve might conduct a live lesson that week from Gruhn's, but I consider that unlikely because (1) now the number of attendees exceeds the capacity of the store and (2) it's not on the live lesson schedule. In mid May we can expect Steve's e-mail with the final schedule of events, an invitation to play in the student showcase, and sign up for guitar setups with Greg Voros. Our posts from last year's gathering are here, which should give you an idea of what to expect. PS / Oops, sorry, I linked to the fingerstyle retreat; the gathering posts are here.

A reminder: the early registration discount ends April 14. Here are the workshop presenters Steve has lined up so far: Guitar Care and Maintenance: Greg Voros Songwriting: Kim McLean Jazz Guitar: Mel Deal Blues Guitar: Mike Pachelli Fingerstyle Guitar: Collin Hill Improvisation: Dino Pastin

Let’s hear from those who have volunteered their guitar skills in some form of service: teaching children, seniors, or vets, entertaining the infirm, elderly, or incarcerated, in worship, charity work, or the like. Don’t be modest; inspire us with your stories. How did you get started? What did you learn?

@William Nelson Hi, William, you’re in for a great time, whatever your background in music theory. Last year there were two workshops on theory. The basic one, led by Paulette Krenz, assumed no prior knowledge. Steve led the advanced one, which assumed some knowledge of notation, chord construction, and progressions. Each was about an hour for two successive days. These ran concurrently with two other workshops on other topics, such as songwriting or a blues jam. They all seemed well received, so I would expect Steve to plan something similar this time. We only have time to dip our toes in the water for any subject. The instructors and artists are all aware that the attendees span a wide range of knowledge and skill.

Beautifully played, Mike: steady, textured, nuanced, and a sweet landing. Amen.

Well done, Cliff! 👍 I took about 7 months on session 4. Give my regards to Pat; I wish I could be there. 🤦‍♀️

You're welcome! Remember, you can always write to: Mr. C. Santana, c/o Creative Artists Agen -- oh, never mind. 🤣

@matonanjin Ron, there's a fully tabbed chart at Ultimate Guitar, but it's a "Pro" version that presumably requires a subscription for all the bells and whistles. There is a free trial offer. I've never tried the Pro version; so far the free versions have been fine for my needs.

@Curtis, I think an acoustic is probably a better choice for the workshops and lessons. In the main room, there may be as many as 80 guitars going off at once during workshops, and you will need to carry your guitar around to the smaller classrooms. The main room has amps and a full PA system for those who want to play their electric in the student showcase. No need to bring a music stand, Trevecca has them, but Steve does carry a dandy collapsible stand in his store. One accessory I recommend is a collapsible guitar stand like the Cooperstand. A year or two ago in a live lesson Steve discussed his experiences flying with his guitar. I wish I could recall the exact lesson; maybe someone else can. I do remember two points he made: leave your really good guitars at home, and get a tough hard case. Here are some other thoughts on the subject. And here's my post from last year for first timers.

@CliffMcCartney Cliff, I think a lot of us share your experience. Finding the optimum tempo for practicing a piece, or even a small section, is like hitting a moving target. Every day is a little different. We’re human, not machines. You’re in session 4. I would not be concerned about failing to play anything perfectly until session, oh, 25. Just don’t practice mistakes. By that I mean: don’t repeat the same error sequentially. Stop and diagnose it. Likewise, don’t worry that you haven’t eradicated it either. Seek improvement, not perfection. Struggle a bit, but don’t founder. Play for anyone you can, every chance you get. The more mistakes you make for a friendly audience, the less concerned you will become about those hiccups, and paradoxically, you will get better faster. Play on! ?

@Jkindgren Jeff, I agree with Neil. Consider what kind of music and guitar(s) you want to play, any past experience, and go from there. Your acoustic will serve you well for now.

David, here's a good tutorial on transposition.

@Slug Welcome back, Peter!

Hi, Cliff! Welcome to our guitar family! The guitar-in-retirement story is a familiar one in these parts. I like to direct the new folks to my reading list. With your background, you obviously won't need the basic resources, but there are some there that you might find helpful. The answer key to the lesson book is here. Enjoy the journey. PS / Here are some Resources for Study.

@gotto Way to go, Greg! ?

“Miss? Hello, miss? Are you all right? Can you hear me?” I tapped on the driver’s side window. She was slumped over the wheel, parked in a space with the engine running outside our apartments. I recognized her as a downstairs neighbor, but we had never spoken. Rain pelted me and I felt a twinge of fear. As I reached for the door handle, she stirred, woozy. She had fallen asleep. That was how Terrie and I met, years ago. I didn’t know it at the time, but she was ill and slowly getting worse. As the weeks and months passed, we would see each other occasionally, smile and make small talk. She was only a little younger than I, a wisp of a woman, and her frailty concerned me. During the cold months, she would seem to disappear, only to emerge in warmer weather to sunbathe on a lounge chair. Eventually I learned that she was too weak to hold a job, and lived alone with only an indifferent sister somewhere in town for family. She invited me over to watch TV in her ground floor apartment. It seemed too much to ask her to hike up to the third floor where I lived. We laughed over schlocky sitcoms and sighed at romantic old movies. Once I took my guitar with me to strum a little for her. The situation came into focus: doctors, hospitals, bills, cancer. Terrie was a trooper, but it was clear that the prognosis was grim. One night I found myself alone at an Applebee’s preparing to order a nice dinner. I thought of Terrie and the bleak cavern of Ensure that was her refrigerator. I asked the waiter to duplicate my order for a steak dinner, dessert and all, and box it to go. Terrie answered my knock on her door in her pajamas. “For you,” I said, extending the bags. “For just one night, eat what you want.” She was overjoyed. I left her in disbelief and tears. A few months later, I moved out of the apartments. I had scarcely unpacked the boxes in my new home when the phone rang. It was Terrie’s sister. “She left a note asking me to call you,” she said, and hung up, leaving me in disbelief and tears. The memories linger. Now I hold in my hands a new Cordoba. Her name will be Terrie, for a friend who suffered so alone for so long. Peace be with you, sweetheart. Your namesake looks and sounds beautiful, and makes me smile, like you.

From what I've read, the concept of "perfect" intervals dates back to at least the Pythagoreans. They were familiar with the particular consonance of a string divided by ratios of 1:1 (perfect unison), 1:2 (perfect octave), 4:3 (perfect fourth), and 3:2 (perfect fifth). I will leave discussion of equal temperament and the Pythagorean comma to more informed scholars!

@costancr , Welcome back! Yes, move along. The first four sessions are an introductory unit. Here is Steve's overview of the course, and the links to his Roadside Assistance videos. A theme you hear Steve repeat often is: aim for competence, not perfection. And rest your hand as long as necessary if it cramps. Play on!