Folk Guitar

“The Folksinger’s Guitar Guide” (1962©)   —   book review
This review is for the book: “The Folksinger’s Guitar Guide“, written by Jerry Silverman.  Silverman is a prolific writer of music books (over 200 to his credit) with an emphasis on “folk” music.  The interesting thing is his credits are not exclusively “American” folk music.  He has also written about folk music from several European countries and Afro-Caribbean / Calypso, too.  This book is one of his earliest and considered his most popular (at least in terms of sales).  This book was given to me as an early birthday present and was purchased from the “1/2-off” bin at a local music store (Rockin’ Robbies).  We got it for $3!!
As with all music tutorial books, this book must be evaluated by two standards:  1)  is it a good book?  And, 2)  will it help you “master” the topics covered?  For the second question, only time can truly tell…  For the first…  This appears to be an EXCELLENT book!
This is NOT a music theory book – but you will get “some” theory.  The is NOT a “method” book (according to the author), but you WILL get A LOT of method.  This is NOT a history of “folk” music book, but you WILL get considerable background and a list of historically significant guitarists and their works.  This IS a short (79 pages) and very fast read – mainly because it’s mostly songs / music and lyrics.  The writing style is as approachable as the music itself.  I learned a host of details / nuances about topics I haven’t heard addressed in my two years of watching (and re-watching) YouTube guitar instructional videos and “reading” various books.  For example:  picks are “meant” for steel string guitars.  Fingers are for nylon strings.  Striking with steel strings sounds different and nylon string guitars are not “meant” to have the harsh sound of a pick.  You are supposed to grow your right hand finger nails “a little” if you want the sharper sound, but it will still sound different than a pick.  The author also suggests if you are going to use a pick, to use the most flexible one you can find – particularly for strumming.
Now, of course, the example is purely the author’s opinion, but (to me) it intuitively makes sense.  I have noticed differences between plectrum (“pick”) types and fingers.  I had settled on a stiffer pick, because I haven’t practiced strumming as much as I have picking and I’ve moved away from growing my fingernails because I don’t like how they feel.  I believe it does give you that “almost” pick sound, but they simply don’t “feel” right to me and I spend most of my day living life, not practicing guitar.  (You also have to have strong nails.  I’m not sure I do.  And you have to keep the nails trimmed “just so”.  Yes, I’ve read the recommendations, but every individual has slightly different fingers – and nails – and I’m not sure it is worth the time and effort to experiment with all of the various lengths and angles / cuts until I can already play a LOT better than I do now.)
As for “playing”, I’ve been gravitating towards fingerstyle:  Travis picking, “regular” fingering, classical style, Spanish / Flamenco style(s) and blues.  Obviously, individually these various forms take considerable time to learn and years to master, but I’ve not found “my” sound / style yet, and playing (beginning) the various styles is tremendously interesting.  So, this book is right in line with my current investigations / interests.
Although the author claims this book is not “really” a method book – it is…  It covers all of the main beginner topics (holding a guitar, parts of a guitar, and tuning).  It then introduces chords “D“, then “A7“, then keys (theory).  (Remember how I said Silverman sneaks in a bit of theory.)  He finishes the “D” key with the “G” chord.  He quickly moves into “transposing” keys (more sneaky theory).  Next comes right hand work:  strumming, timing and alternating base;  then, base runs and a few more keys (“G“, “E” and “C“).  All of this is done with songs for / at the appropriate skill level.
Finally, there are advanced topics:  arpeggios, hammer-ons, and a brief introduction to various styles of music at the border of “folk”:  Blues, Boogie, Calypso, alternate tunings, barre-ing and the use of capos.  Silverman wraps up with a chord chart and discography and bibliography.  Whew!!
After completing the reading I asked myself:  would I be further along in playing guitar if I had found and read this book two years ago – when I first started.  I would have to admit, yes.  I would probably be considerably further along in playing ability if I had started with this book.  But there is a difference between playing and knowing / understanding.  And, here, I’m not sure…
I’ve taken the road less traveled.  That is true.  I’ve explored multiple guitar types: classic acoustic, modern acoustic, semi-hollow, full-size and 3/4 size, nylon and steel string, and then there is the whole range of electric guitars I’ve also begun to explore…  Am I a better guitar player for this experience.  I would say: NO.  I consider myself to be just slightly ahead of absolute beginner.  But I think I am a better guitarist because of the roundabout method I’ve taken to get where I’m at in my ability.
The author proposes three main criteria for learning to play guitar:  1)  listen to as much music as you can – over and over again, until you can feel the music you’ll be playing (what to play).  2)  watch as much music being played as you can (how to play), so you can get ideas about playing from those who’ve gone before.  And, 3)  play as much as you can, at every opportunity (practice, practice, practice).  Build a foundation and then add to it.
Final recommendation:  This is a wonderful book for any potential guitarist who is trying to learn this historical style of music: folk music.  I believe it would be of benefit to any type of guitarist, but if you have little or no interest in styles outside of your own favorite genre (hard rock or heavy metal with lightening fast solos), you may find the book too simplistic.  As for me, “folk music” was never on my radar, but it definitely is now!  Very highly recommended!
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On This Day In:
2022	A Whole New Kind
2021	Yea, Spring!
	Smile On Your Brother
2020	Spoken And Shared
2019	Real Tools
	Three Cruelties
2018	United States
2017	Out Of Luck
2016	Wavelengths Of The Earth
2015	God Said What To You?
2014	Not Saying
2013	Ears And Tongue
2012	The Story Of Joe (Middle-Class Republican)
2011	Happy Birthday, Diana
	Depending On Kindness

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Then We Probably Don’t Really Agree

We all agree on the necessity of compromise.  We just can’t agree on when it’s necessary to compromise.
—    Larry Wall
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On This Day In:
2022	A Whole New Kind
2021	Yea, Spring!
	Smile On Your Brother
2020	Spoken And Shared
2019	Real Tools
	Three Cruelties
2018	United States
2017	Out Of Luck
2016	Wavelengths Of The Earth
2015	God Said What To You?
2014	Not Saying
2013	Ears And Tongue
2012	The Story Of Joe (Middle-Class Republican)
2011	Happy Birthday, Diana
	Depending On Kindness

Read Full Post »