DianeB
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Posts posted by DianeB
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Beautiful guitar! I love the sound of a 12-string. Enjoy!
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@BenBob Well, hello, stranger! Long time, no see! Good to have you back.
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Repeats can be indicated in various ways; one being the measure repeat symbol (
). Some others are illustrated here.
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@ChrisJ032 Chris, here's the exercise by Phil Keaggy that Dave describes above.
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@Stefan Hi, Stefan, at this stage, having learned the key signatures, you should be also able to identify all the relative major/relative minor pairs (B major -> G# minor, Eb minor -> Gb major, and so on). I made my own flash cards for this. It's also time (I think) to start learning, in some way, the circle of fifths (here's my recommendation). Steve does not take up this topic directly; he covers an absolute minimum of music theory in the course itself, probably to make it seem less intimidating.
Session 9 introduces intervals. This subject, too, is diluted: all the exercises deal with intervals above a pitch; none ask about intervals below a given pitch; and the student is not required to locate any of them on the staff. I see what Steve is doing: he's preparing the student to spell chords in the shortest (ahem) interval possible. But Session 13 is a long time to wait to understand what a triad is.
Around this point in the course, I suspect, each of us decides just what our relationship with music theory should be. As for me, I've completed all the theory topics in the course and more. It's worth it. Carry on!
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December 10th, 2019
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@Triple-o This article should answer your questions. The fees that licensing companies and publishers charge will vary, depending on the intended use.
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22 hours ago, Quilter1958 said:
You deserve that guitar, Diane!
Sherry, I appreciate you thinking of me, but, um, I think you meant to say, "Maria"!
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@Oldjock Apparently so. I don't have the app, but I did find this in the online instruction manual. You might want to explore the descriptions of other settings. For optimum readability, it would probably work best on the larger iPad Pro.
Scale
Instead of making all monospaced fonts in tablature a common size, OnSong provides a scale for the font. This allows the size of the tablature to be adjusted along with the chords and lyrics sizes. Options include values between 30% and 130% in 10% increments. Default is 100% of the size of the chord font size.
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@NeilES335 Congratulations, Neil! Quite an accomplishment! Well done! 🙋♀️
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@zeve Your question comes up regularly as students start out in the course. Steve has addressed it several times here in the forum and on live lessons, and I’ll paraphrase: you can learn to play guitar without learning to read music notation. Tablature has its place, but it is a guitar-specific, limited vocabulary, language.
Tablature shows where, and sometimes when, to place the fingers, but it says nothing about why. With tablature, it is all but impossible to see how a bass line or melody moves, what kind of modulation may be taking place, or what intervals or chords are in use. These are in plain view when music is written on the staff, and from there you can often choose your fingerings.
Music notation is perhaps the most universally recognized printed language we have. It’s understood by singers, pianists, drummers, trumpet players, and violinists around the world. How tragic it would be to go through life and see nothing on a page of printed music but lines and dots.
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On 11/18/2019 at 9:12 AM, Triple-o said:
I’ve come to the conclusion that the C.1 is a reference to the chorus section.
Ohhh. That was really ambiguous without context.
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Just a reminder: Steve and the Belmont Guitar Ensemble are on tonight, Tuesday, November 19!
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@zeve Hello, zeve, and welcome to the course and the forum! It's great to see someone new join in.
What you are experiencing is entirely normal. Everyone goes through this. At this early stage, you are asking your fingers to move in strange, unfamiliar, and unnatural ways. They don't know how (yet), so they tend to revert to their more familiar and comfortable positions. Regard them as toddlers learning to walk. Approximations, misses, buzzes are all fine for now. Stretch, rest, and stretch some more. Stop if it hurts. Come back to it later. Your fingertips will toughen up. Do not place a time frame or deadline on any particular skill. Go slow, get it as close as you can, repeat, repeat, repeat, and it will come.
Do not be concerned if you can not land a full C or G7 chord at this stage; Steve is merely making you aware of what a chord is like, and a chord only requires three notes.
If at all possible, find a teacher who can encourage you and help you develop good technique and practice habits. You don't want to practice mistakes. If that's not possible, absorb as much of the collected wisdom of good teachers as you can. And everyone here on the discussion board is here to help you along the way!
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@Triple-o We mustn't leave you feeling lonely and dreary! A full Fmaj9 is, of course, F-A-C-E-G (1-3-5-7-9), requiring a minimum of root (F), major third (A), major seventh (E), and major ninth (G) intervals. The fifth is often absent. If the seventh is absent, then technically we have an Fadd9 (or Fadd2). In the G-F-A voicing/inversion you cite, I suspect that's just a consequence of the way the voicings are moving in the melody at that beat.
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Annoying, yes, but there is a simple explanation for why the printed music to many published songs do not include guitar or other instrumental solos. The published music is (almost always) copyrighted, and that requires that whatever is in fixed form be the original work of the author(s), in this situation, the songwriter(s). This normally means the melody, lyrics, and chords. At recording time, any number of embellishments might be added by others: intros, riffs, solos, background vocals, and so on. These may or may not appear in the published music credited to the songwriters, as the recording is typically copyrighted by the production company. Moreover, the owner of the publishing and performance rights is likely a third entity, a licensing company.
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Well, gang, I'm finally home. Thank you for reading and for all your kind words. Correction: the song Steve and Gregg (on the far left in the group photo) played that roused me from my nap so sweetly was Orleans' "Dance with Me". Don Ross is third from the right. The only persons not pictured, I think, are Collin, who was off to do a podcast that afternoon, and, of course, our photographer Chuck. The winner of the big prize, a Fishman Bluetooth-equipped Loudbox Mini, was my roomie Marion, a mere 9,000 miles from her home in Brisbane, Australia. Now, that's dedication.
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Eat, tune, play. Just as we get settled into our rooms, adapt to our new routine, and get acquainted, it's time to wrap up. We started with an early 7:30 breakfast, finger exercises, and a bit more ear training. Our final lesson was a kind of panel discussion with Van Larkins, Collin, and Steve in the living room. They offered their thoughts on real world guitar learning. The practice world: mechanics, metronomes, scheduling, goals, motivation, and dealing with frustration. And the performance world: focus, automaticity, dealing with the unexpected and stage fright.
I sat in a literal corner, still wearing my metaphorical dunce cap from Thursday night. Don't you dare wear that home, my teachers implored. As I listened, I imagined myself reaching up, snatching the thing from my head and heaving it away into the lobby.
Finally it was time to leave. The sweet music that had filled the lodge was now replaced by the bass of thumping guitar cases and the treble of excited goodbyes. Hugs for all, from all. This is my guitar family. As Steve said this week, we leave no one behind. We're on the same mission, no matter what our skill -- to bring some beauty, some love, some magic into the world.
I found Patrick. We loaded our gear into my car, and set off for the airport for his return flight. In a few days, my new friend will be in the cockpit of an Air Canada jetliner somewhere over the Pacific on his usual run. Later, he will check into his hotel in Shanghai, retrieve the guitar he keeps there, and add another layer of polish to "Autumn Leaves".
Meanwhile, on the other side of the world, I will pick up my guitar, with her new spandex-ey nylon strings and prop her up on my left leg. I will recall Steve eagerly coaxing, "Diane, come on, get up here." I'll be back. I haven't been left behind.
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After warm ups today, almost everyone crowded the living room for Collin's lesson. I took a chance and checked into Steve's cozier session on jazz voicings. I knew I had no chance of playing those progressions. But I held my own with the music theory, so I extracted a morsel of satisfaction.
We enjoyed an afternoon workshop on ear training -- identifying the I, IV, V, and vi, that is -- then Don Ross arrived to get us psyched for the evening concert. After a bit of baritone funk, it was time for recess.
I was roused from my nap by the familiar riff of Orleans' "Still the One" filtering up from the dining room. The source was Gregg and Steve, rehearsing. I stared, mesmerized.
After dinner, we had time for a few more student performances. But to my ear, these were too polished and proficient for the word "student". Gregg and Steve performed their duet of "Dance with Me", then Steve officially announced the dates for next year's retreat (Halloween week again). Next we made room for virtuoso Don Ross, with his fan fretted guitars and harp guitar. Don fought off a cold and sleep deprivation (airline issues) to put on a killer show.
We took a break for ice cream floats. I plopped into a couch with my nylon and discreetly shadowed Vic's progression for a few bars. Dave appeared with a new Maton fresh from Artisan's, and Collin helped him break it in. Vic and Patrick took turns, then Carol gave us an impressive "Classical Gas". The music went on until we were all exhausted.
We pick up an hour tonight but have to start a half hour earlier in the morning. Forgive my brevity, but I'm fuzzier than year old Elixir Polywebs. The finish line approaches.
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Sunshine returned this morning and defrosted the Franklin countryside, to our collective relief. After a hearty breakfast, we assembled for Steve's exercises: a medley of finger swaps, spider crawls, and the notorious Phil Keaggy digital stretcher. Van Larkins followed with a surprisingly accessible tutorial on left hand hammering, even taking time to roam among us to check our technique and answer our individual questions.
After lunch most of us jammed the upstairs meeting room for Collin Hill's basic workshop. Meanwhile downstairs, Steve taught a session on jazz harmonizing. Collin continued with a more advanced lesson on a couple of his compositions, while I opted for Steve's more basic lesson on "All You Need Is Love" in the dining room. Next to us, my hero Julio quietly went about his business of checkups and setups.
Today's master class was led by Ian Ethan Case. "Give yourself permission to experiment, to try things," said the man who invented a wholly new playing style. "Don't sentence yourself to failure from the outset." We recessed for down time. I desperately needed a nap. During Collin's lesson, sleep deprivation, a ham sandwich, and chicken tortilla soup combined to anesthetize me; I could barely focus on the music.
After dinner, refreshed and recaffeinated, I settled in the living room for another set of delightful student performances. Four lucky campers won Keyser capos. Then Ian took his post at his monster pedalboard for the evening concert. He is a dazzling, modest, articulate, imaginative, and hard working artist. He and his wife Stephanie packed up the double neck guitars, the fretless guitar, the monster pedalboard and all the rest, waved goodbye, and dashed home to St. Louis tonight, only to return for Tuesday's live lesson. I think they like us.
We scattered for s'mores around the fire pit outside, shopping at the store, and jamming in the living room. I curled up under a wool throw in the lobby while Patrick serenaded me with "Autumn Leaves". Eleven o'clock, and Steve was a blur, helping Ian haul his gear, dumping trash, unpacking magazines. I was toast, so I said goodnight to my roomies Nancy and Marion and returned to the, ahem, editorial desk.
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Our first day began with more cold rain and wind. I made another run to Gruhn's in the morning to practice my homework on a $14,000 Breedlove. What harm could it do? Then it was off to the airport to pick up Patrick, a veteran of the first retreat. The rain relented as we arrived at Deer Run to a full house, found our rooms and roommates, and settled in the now familiar living room for Steve's welcome.
A few of my companions volunteered to get us started with some of their favorite tunes. There are more attendees this year, more women, and some are staying in the freestanding cabins. I counted 32 dinner settings. The opening acts for the evening concert were Carol, Gregg ("with three Gs"), Vic, Dommie, and (gulp) me. Sigh. Nerves got me tonight; it wasn't my best. Fortunately Collin was behind me to clear the air. We have a pro photographer, Chuck, grabbing candids when he's not playing harp guitar in costume as Sasquatch. It is Halloween, after all.
Finally, our featured artist, Van Larkins performed for our evening concert. His set was partly a reprise of the pieces he played at the Gathering, which is to say, jaw dropping. I reached for my phone to take pictures, and found the battery was dead. At least my luck this week is consistent.
We wound down the evening with hot cider and snacks, passed around the harp guitars, bugged Van for autographs, and milled around the fire pit in the back yard. Collin and Gregg were still jamming in the dining room when I headed for the showers. Time to file this with the front desk before deadline. My fingers need a good night's sleep.
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Maybe it was intuition, premonition, or just the weather forecast, but it told me to be prepared and keep my head up on this trip. I'm glad I listened.
Monday and Tuesday were beautiful fall days driving through the golden mountains of Virginia and East Tennessee. I settled into my hotel outside Knoxville last night after dinner to watch Steve and Dommie on the live lesson. Okay, I thought, time for one more practice pass on my étude, then I'll watch the World Series. I picked up my guitar and -- Blunngg! -- the D string blew. It's a year old hybrid classical with the original strings, which I figured had just finally finished stretching out. No spares, and I was scheduled to play my ditty in A in 48 hours. Swell.
Today, Wednesday, dawned cloudy, then came the Tennessee Wash. A deluge. Remember how I described I-40 west of Knoxville as an exhilarating downhill run in good weather? This time, it was an X Games water slide competition with UPS tractor trailers doing 70.
When I landed in the foothills for lunch, it was a hour earlier. Either I was hauling the mail at relativistic speeds, or I crossed time zones. I called Gruhn's and threw myself at their mercy. Yes, Julio would be happy to help with the guitar. See you in a couple of hours. Indeed, not only did Julio restring it for me, he patiently showed me exactly how to do it. My hero! He'll be with us on Friday.
As I rolled to a stop and switched off the engine here at my hotel in Cool Springs, Dave White called. What timing. If we were a band, we'd be crazy tight. We scooped up Collin and enjoyed talking shop over an exquisite dinner together. Tomorrow, we'll meet up at Deer Run.
Tonight, I have to figure out a way to get new nylon strings to do a month's worth of stretching in 24 hours. Hmmmm, there's a steam iron in the closet. Use the silk setting?
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Live Lesson Tonight! Lifelong Music Learning, with Dave Isaacs
Nashville musician, teacher, and performing songwriter Dave Isaacs, the "Guitar Guru of Music Row" will be Steve's guest. Dave is the author of the newly published The Perpetual Beginner: A Musician's Path to Lifelong Learning. Live from legendary Gruhn Guitars in Nashville. 7:00 pm CDT.
Watch here... https://www.youtube.com/channel/UCaKLy681H8BN4DYQkGF_UUw
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Session 4 and the Holiday Spirit
in Gibson's Learn & Master Guitar
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@dan0725 Dan, yes, those are slurs, as the curved lines connects notes of different pitch. It means the notes are to be sounded legato -- in this instance, I believe as sung, rather than played, from my reading of the lyric and the tab.