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
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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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A Baker’s Dozen

[Disclaimer:  I have not received as a promotional consideration any guitar or music related product, nor am I mentioning anything in this post to secure compensation / income for myself or the manufacturer(s) of the products mentioned.  I am only posting about this / these item(s) because I personally purchased it / them and am excited to be learning about music and playing guitar.  This is a long post…  You’ve been warned!    —    kmab]
Background:  If you’ve been following this blog for the last two years, you are probably aware I’m trying to learn / teach myself how to play guitar.  I began this journey in late 2020, when I decided to try, and, then in January 2021, when I purchased my first guitar.  Since then, I’ve gone deep into Guitar Acquisition Syndrome  (G.A.S.) and I now have thirteen!  So, yes, after a brief 25-ish months, I’m averaging about one new guitar every two months.  How’s that for “G.A.S.”?!!
My most recent purchase is:  “Idyllwild (by Monoprice) Full-Size 4/4 Spruce Top Classical Nylon String Guitar with Accessories and Gig Bag“.  This is the “bigger brother” of the “Idyllwild by Monoprice 3/4 Classical Guitar with Gig Bag, Natural“, which I bought back in June of 2021.  The 3/4 cost me (roughly): $43 and this full-size version cost: $75.  Despite the fact I feel like I’m pretty hooked on guitar at this point – “doubt I’d keep playing” was the main reason for buying “inexpensive” (re:  cheap) guitars when I started out.  I’m pretty happy with all of my purchases, but I’m STILL resisting the urge to splurge on an expensive “big-name” guitar.
This is my third “Monoprice” guitar and second “Idyllwild” brand guitar.  I have the two already mentioned (this and the 3/4) and I have one “Indio” guitar (by Monoprice).  That guitar is an electric “telecaster” style.  I guess, their electrics are “Indio‘s” and their acoustics are “Idyllwild“.
Start of review:
So, this (4/4 size “classical” acoustic) is the latest guitar I’ve purchased – as of March 2023.  It was ordered on 24 February and received on 1 March, so shipping was less than a week – an initial very good impression!  The box had a couple of slight (1in x 1in) dents in it, so that was a negative, but they did not necessarily have anything to do with the manufacturer / seller, so it’s merely a comment on delivery status.  (Note:  Virtually every guitar I’ve purchased has come with a slight – or not so slight – issue with the shipped box / container and NONE have resulted in a damaged instrument.  I may just be lucky…)
Per their site, this is what I received for $75 and change – all-in (including tax and shipping).
Strings:  6 – nylon;  the three bass strings are metal wrapped.  The strings do not feel “real”.  They feel like they should be on a $2 plastic, toy guitar, BUT though cheap feeling, they have held tune surprisingly well.  By not “real”, I mean they feel VERY thick.  They are BY FAR the thickest strings I’ve ever played on a guitar.  I don’t know what gauge they are.
Electronics:  N/A
Tuners:  typical chrome (three to a side, linked) classical tuners, but they neither look nor “feel” flimsy.  They also do not have dead spots (when you turn and nothing happens, then suddenly the gears seem to grab).  The tuners on the 3/4 were a “brassy” looking color.  I don’t know if they were actual brass.  I doubt it.
Neck Shape:  I’m not sure how to describe it.  It is WIDE.  The top is flat;  almost to the point of being concave.  I have very wide fingertips and this is BY FAR the most string separation I have on any guitar I own.  To be honest, I LOVE it!!  I have virtually NO bleed over from my fingers in ANY chord.  The down side, of course, is that any chord with a 6th string is much harder to reach.  I had thoughts of buying a twelve-string guitar and removing the extra strings, just to see what it would feel like to have room for my fingers.  This is no longer necessary.  I now know what it will feel like…
Neck Material:  Okume
Top Material:  Spruce / Solid
Body Size:  4/4, 39in total length
Body Shape:  Classical (no cut-away) Acoustic
Number of Frets:  19  (but the “upper range” 7 frets are virtually unreachable except for tapping)
Note:  the above image is from the Monoprice product site and I make no claim to ownership.
Fretboard:  no idea (unspecified)  Note:  As with most “classical” style guitars there are NO fret markers inlaid on the face of the  fretboard.  Unlike, most classical style guitars there are “dots” on the upper side (the base strings side) of the fretboard.  I don’t know if they are true inlaid or simply painted under the gloss varnish.
Frets Size:  2.2mm
Nut / Saddle:  Plastic (Minor tuning adjustments make the strings “ping” at the nut.  This means I need to “lube / graphite” the nut a little when I get around to changing the strings.)
Nut Width:  not stated;  but I believe it is “classical”:  i.e. 2 inches wide
Bracing:  not stated
Back / Sides:  No idea.  I am assuming it is Okume, like the neck, but I haven’t seen this documented.  I don’t know if the back and sides are solid or laminate.
Bridge:  no idea, but the saddle appears to be plastic (like the nut)
Pickguard:  none
Finish:  Natural gloss all over (including the full neck and headstock).  Wonderfully smooth to the touch!
Included Accessories:  Battery operated electric tuner, extra set of strings, 3 picks, strap, gig bag  (Note: the picks were NOT received and the strap is useless as there are no knobs to attach a strap to.  Most classical guitars are held, not strapped.)
Gig Bag:  Included.  This bag is ok considering the total price.  It is more than a dust cover in thickness (but with no padding at all), and it seems tough, (but not waterproof).  The zippers look medium weight and works smoothly.  There is also a zippered pouch on the front of the bag.  The bag is sufficient for most carrying about, but it is baggy (not form fitting) and offers only the slightest of protection.  It does not have a super sturdy handle or padded shoulder straps, but the straps are adjustable, so that’s something.  Lastly, the strap guides are metal – not plastic – as you would expect on a simple, unpadded gig bag.
Not mentioned on the site:
They give you an Allen wrench to adjust the truss rod which runs through the guitar’s neck.  The truss rod is accessed via the sound hole, so there is no visible clue on the headstock.  The neck is visibly straight;  not bowed one way or the other.  The top fret is 12, where the neck joins the body.  I believe this is why the nut can be tuned and open chords sound good, but the top frets are all uniformly (still) sharp ended and will be a devil to round (if I decide to make the effort).  (Note: it is my understanding that most “classical” style guitars do not come with a truss rod.  Also, you cannot put steel strings on a guitar meant for nylon strings. They lack the physical support to hold steel strings and you will most probably either severely bend or outright snap the neck off the guitar body when you try to tune it.)  As the intonation is already perfect, there is no need to adjust the truss rod.
Main Review –
First:  the guitar is light weight.  Even in the box, it feels weightless!
Second:  my first visual and hold – the finish is beautiful and the guitar does not “feel” cheap (or inexpensive) – except for the extreme light weight.  The top is blonde and the sides and bottom (body and neck) are a beautiful, dark honey-yellow color.  The fret ends do not extend past the neck edges (good), but they are not rounded, so they feel a little bit sharp.  This is the same as was true for the 3/4 purchased earlier.  The fret board surface seems slightly ash grey-ish – again, like the 3/4.  I believe it is supposed to be black.  Again, I think this means it is just overly dry.  I will add some lemon oil to it when I get around the rounding the fret ends.  The neck is good for relief (not bowed up or down) and is not warped.  As mentioned above, the string action is high at the high frets which I would have thought would effect the intonation.  It did / does NOT.  Once tuned, this guitar is the best intonated guitar I have EVER received.  It is PERFECT at open, 5th and 12th frets!!
Third:  the strings are new and appear wrapped enough to hold without slipping, but they are not excessive – as was true for the 3/4.  It is nit-picking, but the strings do not appear to be wound consistently – all left or all right.  In practice, this means they could vibrate against each other.  They don’t at the moment and it will be a simple thing to correct when I get around to restringing.
Fourth:  There are two very minor blemishes on the finish.  One looks like the side got a wide brush scratch and the other looks like a speck of something was caught under the varnish.  Both are virtually undetectable without very close examination.  There is no dip or lump in the varnish finish to provide a tactile clue there is any damage / fault.
Fifth: (exactly like for the 3/4) the “gig-bag” is a functional dust cover / carry-all.  It will NOT protect the guitar from any but the most trivial bumps.  Having said that, it is FAR better than one of the “gig-bags” I got for “free” with a more expensive guitar.  It has a handle and un-padded shoulder straps.  The straps are not long enough for someone my size to use, but I suppose they would be fine for a child or slender teenager.
Sixth: This guitar has very high action!  Visually, it is off-putting.  In practice, it is irrelevant!  The intonation is perfect at open, 5th fret and 12th fret AND the strings are very flexible and easily pressed.  Today was my second time using the guitar and I practiced for well over 2 hours with no discomfort to my fretting hand finger tips.  There is no buzzing (high frets) and there are no dead frettings.
Finally:  What this guitar reinforced was that nylon strings are extremely forgiving for longer (over one hour) practice sessions. The flat neck definitely has more room for my chubby fingers to practice scales and chords, but is only slightly more difficult to practice / play barred chords.
Recommendation:  I would highly recommend this guitar to any adult thinking of beginning guitar lessons who would like to learn guitar with an inexpensive “starter” guitar.  The fretboard may be too wide for children or adults with shorter finger lengths.  You may outgrow this within a year or two, but you’ll keep it handy and pick it up frequently because if it gets a little banged up, it can be easily (and inexpensively) replaced.  Like it’s little brother (the 3/4), I bought this specifically to keep laying around, for a quick pickup to practice (specifically finger-picking and classical style playing).  It will certainly exceed those simple requirements.   Caution:  unlike my inexpensive electric guitars and LIKE my other acoustic guitars, you should NOT purchase this thinking you will be able to use it for a “mod” (modification) platform.  Other than changing the strings and (maybe) polishing fret ends, there is almost nothing you can do to make this a “better” instrument.  Just bite the bullet and shell out for a more expensive replacement guitar when you get past what this has to offer.  Then, keep this one for when you go to the beach or camping.  Please remember if you pay full retail price, it is STILL only a $75 guitar.  Actually, “my” guitar was $75.  The “normal” retail price is $99 as of March 2023.
One final “comment” – which may sound unfair – this is a “listeners” guitar, more than a “players” guitar.  By that I mean if you play it, it feels good and sounds okay.  Not great.  Just okay.  But if you turn the guitar face so the sound hole is to your ear, this guitar sounds fantastic.  The difference is – to me – amazing and I repeat the exercise every time I pick it up.  I have noted this effect on my other acoustics, too, but nowhere near this level of difference.
Because my impressions / opinions of the guitar may change over time, updates to my reviews will appear on the specific guitar review page and not in a daily blog post…
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On This Day In:
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2021	Even If It’s A Nice View
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2020	First Steps – The (California) Primary Vote
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2019	Hearts Torn In Every Way
2018	Recently Seen On A T-shirt:
2017	Rhythmical Creation
2016	In The Beginning
2015	False Gods
2014	But Sometimes Careers Choose People
2013	Pretty Sure Of Uncertainty
2012	Face Reality
2011	Intelligent Luck

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Hanging On By My Fingertips…

In my continuing efforts to learn more about playing guitar and making music, towards the end of last year, I began trying some  “finger-picking” styles.  Before that I was either using a “plectrum” (guitar pick) or just casually strumming with my thumb / index finger.  There is an obvious tonal difference between the two: using a pick tends to be louder and with individual notes better defined;  no pick (to me) sounds “fuller” but softer (muffled isn’t the right word to describe the sound, but it’s all I can think of).
Finger-picking is used the most extensively (exclusively) in Classical and Spanish style guitar playing and frequently in Country (“Travis Style”) and Jazz.  As these styles are all far beyond my basic skill set, I have (to date) paid little heed of the physical requirements of this / these style:  Fingernails.
As I began exploring these styles (yes, my reach exceeds my grasp), I kept stumbling on advice for how to maintain appropriate nails – length and shape.  And, in turn, I’ve tried growing my nails out…
“PIMA“: P = pulgar (thumb); I = indice (index finger); M = medio (middle finger); A = anular (ring finger)
Traditional “Classical” style uses the thumb (“P”) and three fingers (“I”, “M”, “A”).  The “pinky” is unused.  Traditional “Travis” style uses only thumb and index finger, but most guitarists nowadays use at least two fingers (and usually three).
1 – 2 mm past your finger / nail join point
The traditional “strike-zone / sweet-spot” for finger-picking is the point where the nail and finger join.  This allows the guitarist to both deaden a moving string (using the finger pad) and get the most precise release point for the string (the edge of the finger nail).
Of course there are a variety of individual factors which determine how long and what shape your nails need to be, including: the shape of your fingers, the width of your nails, the shape of your nails, the distance from the join point (finger and nail) to the top of your individual fingers and the angle of “attack” you use to pluck each string.
Poorly shaped, but approaching the correct length
Bottom line?  Too much, too soon.  Yes, I can feel the difference when playing, and yes, I can hear the difference, but this is a LOT of hassle.  I have a LONG history of OCD with my fingernails.  I don’t bite them, but I keep them VERY short and just going a few weeks to grow them out this far is driving me crazy!  LoL!!
So, no, I won’t be keeping my right hand nails long…  And, so, my dreams of becoming the next Andrés Segovia / Merle Travis must fall by the wayside…  (Just kidding.  I have NEVER dreamed that!)  Now, where are my clippers?
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On This Day In:
2022	Do People Know What You Stand For?
2021	The Republican Party Can Survive Trumpism (If It Wants To)
	Don’t You Ever Ask Them Why
2020	Art Work
	One Person (Republican) Can Make A Majority
2019	Hopefully, Closer To Noon
	Can You See The Bottom?
2018	Stock Market Sets Another Record Under #DumbDonald
	#LyingDonald: About That Special Prosecutor Testimony
2017	We Ain’t Seen Nothin’ Yet
2016	But You Have To Learn It Feels Good
2015	Never Stop
2014	Caution
2013	Treat Her Like A Lady
2012	Build New Worlds
2011	I Grok Elegance
	Standing Relish

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Musical Notes

Today’s post is just an update on my “learning” guitar progress…  Two years and counting…
I’m continuing to practice most every day for at least an hour.  There have been quite a few more days in the last six weeks when it’s only been 30-45 minutes, but that’s life.  Most of those times, I’ve been playing until fatigue / sleepiness and stopping when I start nodding out.  LoL!  I do most of my practicing between 11:30pm and 1am.  I can sit out in the front room and not disturb anyone (our bedrooms are on the other side of the house).
I’m still alternating between my various guitars.  I’m now up to 11, split mostly in favor of electric (7 to 4).  I’ve had them in a rotation schedule of a couple of acoustics laying in the living room and bedroom (for quick access) and then the rest in a monthly rota, but I’ve recently shifted to a three week rota as I don’t feel like I’m actually touching each enough with now having so many.  The perils of G.A.S. (Guitar Acquisition Syndrome)…   If you’ve been counting, or reviewing my “Learning Guitar” page, you’ll see I don’t have all of my guitars accounted for (only eight reviews).  My original intent was to do initial impression reviews and then subsequent updates as and when I “modded” them.  “Life” and my procrastinating nature have more or less shot that plan down.  It’s too late to do the initial impressions and I haven’t done very many mods, but I still plan to do reviews at some point.
I am still planning to get two more guitars to round out my collection – a full size nylon-string classical / acoustic and a single neck-humbucker telecaster style electric.  After that, any additional purchases (quality upgrade) will necessitate a charitable donation to make room for the new toy.)  The “Happy Wife” policy…
As far as “playing” goes, I’ve already forgotten more than I’ve learned.  I’ve been skimming the odd book and watching a lot of guitar videos, but while they “teach” you a lot – it’s really more a case of “informing” you about motivation, techniques and concepts.  The more I’m practicing, the more I’m realizing that if “it” (a given action) isn’t under your finger tips as muscle memory, you really haven’t learned it…  And all of that muscle memory takes time and (more) practice – not more awareness / understanding.
Fortunately, for me (and not so fortunate for my family), my OCD allows me to be fairly content with just practicing things (scales, chords, spider walks, children’s songs) over and over and over again.  I enjoy the repetitive action(s) and I feel like I’m finally starting to hear the notes.  I mentioned in a prior post that I am “kind of” able to hear myself hum an “F#” and then tune the guitar from there.  I’m continuing to get better at this.  I’m also a little better at using a A400 tuning fork to tune the guitar.  This is as opposed to using an electric tuner as a default tuner.  I still (also) use the electric tuners, but I’m gaining confidence in my ear for relative pitch.  Starting out, if ANYONE had said I’d be able to do this AT ALL, I’d have told them they were crazy and it’ll NEVER happen.  LoL.  The old dog is learning new tricks!
Most of the relatives feel I’m going about this “learning guitar” all wrong and that I should be learning songs.  While I appreciate their viewpoint, I don’t find learning “songs” to be that interesting.  I have two “songs” memorized (finger-style): “Taps” and “God Save the Queen“.  I also have a couple more close to memory: “Ode to Joy” and “Drummer Boy”.  On “Ode“…, no, not the full version – get serious…  But enough so you can tell what the song is.  Random people I discuss “learning guitar” with generally say: “As long as you’re having fun, who cares what you’re playing.”  But I have a feeling they’re thinking, “TWO YEARS(!!!), and that’s all he can play?”  (LoL)
So, I still haven’t settled on a single guitar I want to specialize with.  I still haven’t decided if I want to concentrate on finger-style or plectrum-style.  I still have very poor (almost none) rhythm – which makes leaning to strum problematic.  I’m still SLOW at changing chords – even the few I know.  And, I still haven’t decided what kind of music (rock, country, jazz, classical, blues, Spanish, folk, pop) I want to play.  Slowly, slowly.
And, finally, other hardware…  I’ve added a second “amp” and a “looper pedal” to my collection of kit.  The second amp is a portable, super-mini (3 watt) battery operated job.  It sounds slightly better than my original amp, but I don’t know enough about either to have the faintest idea of why – or if I should care.  The looper allows me to record a few seconds of playing chord changes and then play it back in a loop to play lead over.  The problem (of course) is my chord transitions are soooo bad, there is little point in trying to record / loop them – particularly when there are already hundreds of good background loops available on YouTube.  Oh, well, another toy to play with…  Slowly, slowly.
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On This Day In:
2022	A Murmuring Note
2021	Satisfied If Not Fulfilled
	You Don’t Know
	Urban Ballroom
2020	R.I.P. Kobe
2019	Looks A Lot Like #45
2018	Trying To Stay Young
2017	Seems Reasonable To Me
2016	We Can Get Through This Together (In Time)
2015	How Long Is A Piece Of String?
2014	Heathen, n.
2013	Wisdom’s Folly
2012	When The Student Is Ready
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2011	The Complex Richness Of Life

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Caution Before Starting…

Music is an addiction.
–     Miles Davis
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On This Day In:
2021	Are You A Loner?
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2020	I Wish Republicans Valued Democracy As Much As They Say They Value Freedom
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2019	Something Very Different
2018	For Most Of Us
2017	Stories We Need On Life’s Edge
2016	Heart Trouble
2015	From The Inside Out
2014	Alone And Free
2013	Superstition Is Your Way
2012	Escape Hatches
2011	Sing Like No One Is Listening

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Deadlines And Bills

A composer’s job involves the decoration of fragments of time.  Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.  Living composers are entitle to proper compensation for the use of their works.  (Dead guys don’t collect — one reason their music is chosen for performance.)
—    Frank Zappa
From his book:  “The Real Frank Zappa Book“
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On This Day In:
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2020	#45: And State Prison Waits When You Leave Office
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2019	Looking For A Republican With A Profile In Courage
2018	Hammers, Bells And Songs
2017	My Friends
2016	In Need Of Some Work
2015	Elections Have Consequences
2014	An Ear Of Happy Accidents
2013	Powerful Substitute
2012	Heroes Restored
2011	As You Should

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Discovering Humanity

The joy of playing classical guitar extends beyond the prize (the perfect performance).  It’s the daily journey and how we travel it.  That’s where we find the gold.  That’s where we discover the humanity, in both the music and in ourselves.
—    Allen Mathews
Allen Mathews is a professional musician and classical guitar instructor who maintains a site located at:  https://classicalguitarshed.com/
Every Tuesday, Allen posts a quote (which may or may not be specifically about music).   He then goes on to tie the quote to a “teaching moment”.  Allen’s “Quote page” is located at:  https://classicalguitarshed.com/tuesday-quotes/
[Disclaimer:  Although I have viewed many of Allen’s videos and subscribed to his emails for over a year, I have not personally purchased any of his packages of instruction as I am merely dabbling in “classical” guitar to see what it’s about.  I have no other association with Allen or his site and have not requested permission to re-post this quote.  If he requests it, I will remove or substantially edit this quote.    —    kmab]
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On This Day In:
2021	Likely To Be Subtle
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	Scratching A Persistent Itch
2020	A Word Of Assurance They Are Not Alone
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2019	It’s Obvious
2018	Passed Too Swiftly
2017	On Our Wall (Part 1)
2016	Or The Ripples From A Good Life
2015	Titles And Reputations
2014	Unfolding
2013	Again
2012	Needs
	Damned
2011	Potter & Prejudice
	Blink, Blink

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And Longer To Stay That Way

Man, sometimes you have to play a long time to be able to play like yourself.
—    Miles Davis
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On This Day In:
2021	Press On
	Mama Said There’d Be Days Like This
2020	AMA
	Still Shiny
2019	Things That Go Bump In The Night
	Hoping I’m Careful
2018	I Must Be Truly Wise
2017	My Sensei
2016	The Worst Sin
2015	Rules Of Thumb
2014	A Prayer
	Orange October (IX) – Giants Lose Game 2 In Bullpen Collapse
2013	Complacent Reality
2012	Two-minute Sex
	Just Staring, Why?
2011	A World Of Difference

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Practicing Barre Chords On The Guitar

Where fatigue begins, technique ends.
—     Walter Gieseking
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On This Day In:
2021	Givin’ It All Away
	Memories Will Remind You
2020	Does Blogging Count?
	Just Like You
2019	None Absolutely Certain
	Destroying The Republic
2018	Maps For Those Difficult Times
2017	A True American Hero
	Or Desserts
2016	What #AmnestyDon Is Really Afraid Of
2015	What Are You Doing?
2014	The Ideal Man
2013	Daring Ripples
2012	Evermore
2011	Unpredictable Opportunity
2010	Giants Fall In Game 2 (1 to 6) – Leave PA With 1-1 Split !!

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On A Diet Of…

The Ulitimate Rule ought to be:  “If it sounds GOOD to YOU, it’s bitchen;  and if sounds BAD to YOU, it’s shitty.”  The more varied your musical experience, the easier it is to define for yourself what you like and what you don’t like.  American radio listeners, raised on a diet of ____ (fill in the blank), have experienced a musical universe so small they cannot begin to know what they like.
—     Frank Zappa
From his book:  “The Real Frank Zappa Book“
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On This Day In:
2021	A Model Democrat
	Listen Mister
2020	The Main Thing: Vote!
	No Other Reason
2019	A Big “IF”
2018	Committed To Thinking
2017	More Pictures From My (Family) Retirement Party
	A Fondness For Sins
2016	Are You Waiting?
2015	The Future Myth
2014	Hands
2013	Because You Have Lived
2012	47%
2011	Conservative Values: Low And Lax
2010	A Non-Zero Sum Game
	What If “c” Isn’t A Constant?
2009	Pictures from UCLA trip…

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Maybe, If You Are Bach

It’s easy to play any musical instrument:  all you have to do is touch the right key at the right time and the instrument will play itself.
—     Johnannes Sebastian Bach
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On This Day In:
2021	Already In That State
	Reflections In The Waves
2020	Register And Vote
	Feel It In Your Feet
2019	Always Surprises
2018	You’ve Got To Stand For Something
	Day 24: Hand Touching Hand
2017	The Tide Will Turn
2016	Dreamers
2015	Three Roars
2014	Be R-E-L-E-V-A-N-T
2013	Lacking
2012	So Small A Thing
2011	Is Your Time Valuable?

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Atmospheric Perturbations

A person with a feel for rhythm can walk into a factory and hear the machine noise as a composition.  If we expand that concept to include light, behavior, weather factors, moon phases, anything (whether it’s a rhythm that can be heard or a rhythm that is perceived, i.e., a color change over time — or a season), it can be consumed as music.
If it can be conceived as music, it can be executed as music, and presented to an audience in such a way that they will perceive it as music…
When someone writes a piece of music, what he or she puts on the paper is roughly the equivalent of a recipe — in the sense that the recipe is not the food, only instructions for the preparation of the food.  Unless you are very weird, you don’t eat the recipe.
If I write something on a piece of paper, I can’t actually ‘hear’ it.  I can conjure up visions of what the symbols on the page mean, and imagine a piece of music as it might sound in performance, but that sensation is nontransferable;  it can’t be shared or transmitted.
It doesn’t become a ‘musical experience’ in normal terms until ‘the recipe’ has been converted into wiggling air molecules.
Music, in performance, is a type of sculpture. The air in the performance space is sculpted into something.  This ‘molecule-sculpture-over-time’ is then ‘looked at’ by the ears of the listeners — or a microphone.
SOUND is ‘ear-decoded data.’ Things which MAKE SOUND are things which are capable of creating perturbations. This perturbations modify (or sculpt) the raw material (the ‘static air’ in the room — the way it was ‘at rest’ before the musicians started fu**ing around with it).  If you purposefully generate atmospheric perturbations (‘air shapes’), you are composing.
—     Frank Zappa
From his book:  “The Real Frank Zappa Book“
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On This Day In:
2021	An Afternoon Nap
	How Should I feel?
2020	Magical Voices In My Head
	I Still Need Educating
2019	And I’m Not Letting Go
2018	The Continuing Failure Of Speaker Paul Ryan
	Day 3: Approaching The Half Way Point
2017	Orange Comb-Overs Unite!
2016	Speaking Of Which
2015	Complexity Has A Strict Architecture
2014	Just Support
2013	Wandering Free
2012	Contribute = Paying Taxes
2011	How Will You Be Judged?

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Hope For Me, Yet

Because music, like color, or a cloud, is neither intelligent nor unintelligent – it just is.  The chord, the simplest building block for even the tritest, silliest chart song, is a beautiful, perfect, mysterious thing, and when an ill-read, uneducated, uncultured, emotionally illiterate boor puts a couple of them together, he has every chance of creating something wonderful and powerful.  All I ask of music is that it sounds good.
—     Nick Hornby
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On This Day In:
2021	Would You Know How?
	Understand The Way I Feel
2020	Learn To Forgive Yourself
	Violating Guidelines
2019	I Walk Faster (Too)
2018	Modern Day Behaviour
2017	On Misogynist Tweets From #DumbDonald
2016	Cowboy Boots & Missing Teeth
	Or Electricity
2015	Oh, To Be Vulnerable
2014	Neglected Horror
2013	The Price Of Illusions
2012	Once Again
2011	And The “Market” Isn’t Always Right

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Goals / Test

The following is my “goal” for learning / playing guitar for the remainder of this year (2022).  (It will be quite a stretch-goal for me.  LoL!)
	Guitar Test
1.)	How much do you practice  —  # of Day (6) / week (52);  # of Hours (1)
2.)	How well do you know the fretboard
3.)	Knowledge of major & minor scale for natural notes
4.)	Knowledge of major & minor chords  —  open & barred
5.)	Perform three:  Maj7, Min7 & Dom7 chords
6.)	Playing & modifying a chord progression
7.)	Perform three different Arpeggios  —  anywhere on the fretboard
8.)	Build A Major scale (at least 3)  —  demonstrate a knowledge of scale formulas (along 1 string)
9.)	Name the tones of four major key signatures
10.)	Name & explain three time signatures  —  count, beat, stresses & accents
11.)	Explain note duration  —  whole, half, 1/4th, 1/8th, & 1/16th
Of course the object of “learning” these things is not the inherent value of knowledge.  It is the ability to put the knowledge into use why playing the guitar.  Some of the items on the list are things I already “know”.  They are just (still) not yet under my fingertips.  That will come with time and practice…  Inshalla
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On This Day In:
2021	Waiting For The Sting
	Right From The Start
2020	Reward Truth In November
2019	Prepare For The 2020 Election
2018	Why #45 Is Uncivil And Sinking
	Ole! … Ole, Ole, Ole
	Is This Still The United States Of America?
2017	Go Where?
2016	Returning To The Same Box
2015	The Hunter’s Music
2014	Dedication
2013	Unhappy Alternatives
2012	Implications
2011	Never Let Us Down

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Taking The Chance To Improvise

I want to know three things when I go on stage:  [1] that my equipment is working, [2] that the band members absolutely know the material, so I don’t have to worry about them, and [3] that the rhythm section can hear what I’m playing and that it has some ‘concept’ of it so it can help build the improvisation.
If those conditions are met, if the acoustics are reasonable, and if I’m satisfied with my amp sound…, then all I want to do is go on autopilot, wiggle my fingers and listen to what comes out.
During the 1984 tour, I would usually play eight solos per night (five nights a week, times six months), and out of that there might have been twenty solos that were musically worth-while enough to put on a record.  The rest of it was garbage.  It’s not that I wasn’t trying to play something;  most of it just didn’t come off.
If you’re working this way, the chances of doing it ‘right’ every time are not good — but I’ll take the chance.  I don’t feel I have anything to apologize for, or any exalted reputation to uphold.
—     Frank Zappa
From his book:  “The Real Frank Zappa Book“
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On This Day In:
2022	Taking The Chance To Improvise
2021	A Bit Like Politics
	How About Tonight?
2020	Independent Isolation
2019	This Pilgrim Has Had A (Mostly) Happy Road
2018	And Men, Too
2017	Damned If You Do
2016	A Storm Over The Horizon
2015	What About Today?
2014	Idiot, n.
2013	Temporary Reality
2012	The Great Objective
2011	Read A Book

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