DianeB

Way to go Greg! I hope you got a picture.

A beauty from every angle, Mike! Congratulations, and enjoy!

Taliesin?! Now I'm envious! ?‍♀️

If you would like to download a YouTube video to save the file, a simple free app for this is 4K Video Downloader; available for macOS 10.11+, Windows, or Linux. The default download location on macOS is: ~user/Movies/4K Video Downloader. Thanks, Paul! You are one rocking cameraman! ?‍♀️

That started out as "Amazing Grace". By the seventh pass, it was more like "The Grace from Ipanema". ?

Thanks, Paul! I saw it, I heard it, but it's still hard to believe!

Finally, the coda. This morning we met at Columbia Studio A in the heart of Music Row. Lay Lady Lay. Blue Velvet. Six Days on the Road. Be Bop A Lula. You Ain't Woman Enough. Sweet Dreams. The magic happened in these rooms. Patsy stood here? Not quite. Right there. Whoaaaa. This is Sacred Ground. Studio A and the adjacent Quonset Hut that the Bradley brothers built have been renovated and modernized somewhat. They are now used for training audio techs through Belmont University, which leases and curates the property for educational purposes. We performed the Student Showcase there, under the same roof where Peter Frampton and the Stones laid down tracks. What a treat to just be there -- to hear my friends play so wonderfully -- and then to play for them? And for Steve? Whoaaaa. Fittingly, Collin closed it out with a medley. He killed it. Simply gorgeous. Steve said he is waiting for Trevecca to schedule a window for next year, so the dates in 2019 aren't yet set. Then came the snaps and clicks of guitar cases; the handshakes and hugs and goodbyes. We piled into our cars, turned onto Music Circle South, and drove off, individual notes of a great communal song fading out and away.

Supersaturated adj. A physically unstable state in which a solvent contains more dissolved solute than it can normally hold at that temperature and pressure. So ends Day 3. I can't even remember how today started. Oh, yes -- Steve took us through some of the exercises in his major scale workout. That was another good choice because everybody could participate. Then our friend Johnny Hiland shared his advice for learning Chickin' Pickin'. Colorful and charming as ever, Johnny mixed his licks and anecdotes with his big three: "One, have fun. Two, lose your fear. Three, [corrected in edit] melody is number one." The main room was chilly and the cafeteria was even chillier, so after lunch I had ice cream. They say that as hypothermia sets in, the mind starts to go. Back for another round of music theory with Steve. Oh, he was cooking chord substitutions to "Amazing Grace" on the whiteboard "like a Hindemith gone haywire in Harlem", to use Donald Fagan's simile. "Somebody stop him! He's out of control!" came the cry from the back row. "Wait," Steve went on, "what if we used a Dm13 here? How would that work?" He played the progression while I scribbled on staff paper "D + F + x = 13. Solve for x." By the time the major ninths came marching in, the ii minors were sounding righteous. Amen, brother. Ah, a respite: improvisation workshop for all with Steve and Dino Pastin. Let's all play a 12 bar blues in G. That was okay, Steve said, but we want to make these dominant 7ths, it's blues. Off we go. Better still, continues Fearless Leader, we can lead into the IV chord with the V of the IV like we just did in the advanced theory session. Uh, oh, he's got that look in his eyes again. Dino, and not a few others, seem to be wondering, should we unplug his mic? Let's split the measure with the IV to IV and iv minor, no, iv minor seventh, yeah, okay, Dino, one and two and -- all right. It was cool stuff. I kept up until the C# diminished crashed the party. Then it was time for the group photo. One last blast: group blues jam in E, with Steve and Dino keeping the groove as several of us took turns on stage to solo. Yeah, our gang can play. Tomorrow morning, the outro. Tour of Columbia recording studio and student showcase. Then, we fade out.

Imagine watching eight Live Lessons in a row. You now have an idea of what Day 2 was like. When I arrived this morning before the first session, there was already an early bird jam going in the hallway with Dwayne and Pat and a few others. Steve led off with a lesson in upgrading your I-vi-IV-V that had something for everyone. Next up was Joe Robinson, with his compelling story of learning to play as a boy in a hardscrabble situation at home in Australia. You might think someone of his proficiency would practice very differently than we mere mortals, but not so. Just more so. The afternoon was again devoted to a variety of topics and tracks. I attended Steve's music theory lesson on chord construction and managed to hold my own. In the jazz workshop Mel Deal recruited Collin to comp on "All of Me" while he soloed, to the delight of, um, all of us. Then it was an abbreviated Beatles jam for me with George McIntyre and more practice with Nashville Number System charts. Our long time Gathering friend Will McFarlane alternately dazzled us and cracked us up in the final session. He returned tonight with the rest of Blues Counsel and Phil Keaggy to peel the paint off the walls; they were smokin' hot. Excuse the short post but my brain is fried. A technical hiccup is preventing me posting my photos right now. Pics should start appearing here soon.

Gasp! My vision is getting blurry and my ears are ringing, but I'll keep writing as long as I can... We're at full strength, now that the representatives from Israel and Australia have arrived. Steve again led off with a warm welcome and his favorite finger stretchers. Christie Lenee, just back home from a tour of California and probably reeling from jet lag, taught a session on alternate tunings and tapping techniques. I had to skip out early for my appointment with Greg Voros, who seems more entertaining with each renunion. We enjoy lunch together at the student union. It's a short walk away, the food is delicious, and the price is unbeatable at $5.25. Perfect. Workshops in the afternoon included classes in music theory, fingerstyle, blues, jazz, flatpicking, and guitar maintenance. I opted for basic fingerstyle with Steve, and a survey of seventh chords with Mel Deal in the jazz class. These were followed by jam groups that gave everyone a chance to play. I was delighted to see George McIntyre had returned, a last minute addition to Steve's roster, to lead the Beatles jam. At about 50 minutes each, you can't cover much ground, but there's always that one "apple" -- a tip, an insight -- you can take home (Steve's analogy). Out in the hallway, Paulette and Timothy monitor the "store" where we can purchase some of Steve's resources: cables, courses, music books, and -- music socks. Guitar socks. Sorry, I did not see bass socks. Unobtrusively, and to me, heroically, Paul is again behind the video camera this year recording the main events. We returned after dinner for an evening of brilliant acoustic guitar from Steve, Collin Hill, Joe Robinson, and Christie Lenee. I can only shake my head in wonder at their level of skill and musicianship. And the goosebumps, the shared laughs, the warm handshakes, the hugs? Those are my "apples".

Hi, all, I'm coming to you tonight from my hotel room on a warm and muggy night in Nashville. Today was Tuesday. I started the day in Chattanooga with yet another visit to the Songbirds guitar museum. This time my host was different, and so were some of the guitars on display, as they rotate the collection. Really, the Gathering should kick off there, followed by a motorcade up I-24 to Nashville. Just a proposal. I arrived at Trevecca at 3:00, just as Steve was setting up our guitar show and tell. We put a dozen or so of our babies on stage to commiserate about: Steve's Macpherson and Brent Mason Tele, my Guild, and some real beauties from the rest of the gang. It was so good to see familiar faces: Andy, Dave, Reg, Dwayne, George, Rick, Collin, David, Paul, and of course Paulette and Timothy. Looks like about 60 are registered; down from last year, and half had arrived by 5:00 today. Southerner that I am, I did not pass up the watermelon in the corner. This year I coaxed my friends Bud and his wife Donna, from near me in Maryland, to come down. I needled him about his white lanyard -- "Hey, rookie, you think you can play guitar with us?!" (Well, he most certainly can.) Along with Collin and Dave, we hit Third and Lindsley tonight to see Mandy Barnett. I discovered her back in 1999 and her voice on CD just blew me away. Tonight she did it in person, and I got to meet her afterwards. Here's the view from the Inner Santum at Songbirds, the Holy of Holies. Check out those Explorers! More to follow, I hope.

Hi, Deuce, Jerry is right. Play guitar with your pals. Dive in. There’s no competition. Play what you can, sit back where you must, but go for it. Sing some background lines or responses until you gain more confidence in your voice. Please be wary of thoughts like: “Yes I should be further along from where I'm at presently.” How do you know that? How do you know you’re not better than you "should" be? Banish that word “should” from your thinking; it’s the food of disappointment. Practice. Play. Enjoy your friends. Savor it all. PS / Three or more notes played at the same time is a chord.

For attendees who aren't on Facebook: Steve confirmed that there are no group activities scheduled Friday night. You're free to explore the city on your own. The Station Inn will feature a brother and sister act, Theo and Brenna, at 9:00 playing bluegrass. Third and Lindsley will have: Lera Lynn featuring special guests John Paul White, Rodney Crowell, Peter Bradley Adams, Nicole Atkins, Andrew Combs, Dylan LeBlanc, and Caleb Caudle at 8:00 (doors 6:00). Neither has reserved seating, so arrive early for the best seats.

Know your enemy. Writer Steven Pressfield gives it a name: Resistance. It is the dark force of distraction, procrastination, rationalization, evasion, ego, perfectionism, and judgment. It unfailingly appears whenever we seek to improve ourselves or pursue a noble ambition, and its only purpose is to destroy our calling. We ignore it at our peril. The sword and armor we take up daily against this beast is discipline. Professionalism. Doing the work for its own sake. Paying the price, out of respect for our craft. If you want to understand what you’re really up against, listen to Pressfield.

Well done, Mandy, that has attitude! I think I hear some Blondie in there, too.

Wow, again! That's terrific, Wim. I'm with Neil: very few on the forum have made it to that level. Congratulations!

Hi, Dale, you might want to see my post for first timers on the previous page of this thread. Any day now, Steve should be sending out his e-mail survey to registrants. I suspect it's overdue because of last minute changes to the schedule. See you there!

Erich Andreas in Randy's post above gets to the chase quickly, when he addresses our lust for instant gratification in our "ego-centric world". George Leonard and Thomas Sterner have the antidote. It's taken time for me to internalize it, but this remedy works, and it's been around for centuries: Process, not product. Feed your soul, not your ego. Be in the present. And watch your flower grow.

Colder, the main room will be secured every night. There's plenty of room. Your gear will probably be safer there than in your hotel or your car, but that's up to you. You will only have to carry your guitar a few times, a short distance, from there to the classrooms. I would simply bring the case that you prefer to transport the guitar in.

Halfway through my cheeseburger, I realized, that’s enough: you’re about to go on. My fellow neighborhood Memorial Day picnickers were starting on their desserts and coffee in the community clubhouse as Rick leaned in my ear. “Take your time,” he said, “we’ll be downstairs checking.” I nodded. “Be there in a minute,” I said. I had a couple of bites of fruit salad and stopped by the ladies’ room to brush my teeth, check my hair, and fire up a panic attack. I was alone. I stared at myself in the mirror and heard someone — was that my voice? All right, sweetie, it’s show time, so listen up. You’re still thinking you’re not good enough. Stop it. You’ve outgrown that. You’ve done the work. Your band is ready. No, you’re not a 25-year old Linda Ronstadt. You’re not Glenn Frey. But nobody is. And nobody expects you to be. Just be you. Now go play your music. The face in the mirror was calm. She reassured me. I brushed my hair, set my headband, and marched downstairs. People started taking their seats in front of the band. Before dinner we ran a full sound check, so there was little left to do. I switched on the lamp on my music stand and laid the set list on the floor at the pedalboard. I laughed at myself, thinking, “I’m not going to look at that, but it’s what they do on Austin City Limits. So there.” I pulled my Strat around me, checked the tuner, high-fived my band mates, and perched on my stool. I watched as my neighbors, thirty or so, took in the sight before them: five amps, a Bose tower PA, an eight member band and a tangle of cables where they normally find yoga mats. I saw some familiar faces and smiled back. Where were the nerves? This is when you always get the shakes, isn’t it? I turned around: Ron on lead guitar, Henry on lead vocals, Joe on alto horn, Chet on drums, Ray on Fender bass, Pete on tenor sax, and Rick on keyboards. My guys. Pros. We’ve got each other’s back. My leg refused to twitch. We led off with a tribute to the services, a medley of their marches and anthems. Then a few patriotic tunes, and solemnly, “Taps”, from Joe’s horn. A respectful pause. I switched to my acoustic amid an awkward silence. I pulled up my microphone. “Hey, everyone,” I announced, “what do you say we rock for a while?” “Yeah!” they shouted. “Well, then,” I said, turning to Chet, “Let’s go!” Click - click - click - click — We kicked in. Ron nailed the lick. I leaned into the mic. Was that my voice? Well, I’m a-runnin’ down the road, tryin’ to loosen my load...

Sweet! Shades of Peter Green and Fleetwood Mac!

Thanks, Randy. This might be worth a listen if basic theory is new to you. Some sections could use improvement. His definition of “scale” is simplistic; it would not include pentatonic scales and others, and he makes unfortunate overuse of “extremely” and “incredibly”. At 46:00 he refers to what is normally an add9 (1-3-5-9) as a 9 chord (normally a dominant 9, 1-3-5-b7-9). Then he uses a minor chord (Gm) to derive the corresponding diminished chords. Nothing wrong with that, except that in the previous example he started with a major chord (A). With the 3rd already flatted, it’s harder to see how the diminished chords relate to the major. Maybe that's just me. At the end, it’s a big conceptual jump from the circle of fifths to modulation. And “modes are pretty much just as simple as everything else”? Ummm, okay.