Being new to this blogging thing, it occurs to me that I’ve got a book brewing here. The subtitle might be “An Outsider’s Guide to All Things Guitar.”
All I can do is post stuff as I think of it and as time permits. What will probably happen is a bunch of installments presented out of order, and later on I’ll have to re-organize it into chapters and sections.
I already have tons of written material that I created in the form of emails to friends, and one or two long essays that I wrote just for myself. Then there are sections that I have been mulling over for months but not committed to the word processor or paper. I’m not going to publish this all at once, because I want you, the reader, to keep coming back for more.
[A whole ‘nother thing that I can write about is my method for playing jazz guitar with the instrument tuned in all fourths, low-to-high Eb-Ab-Db-Gb-B-E.
I don’t use this method for classical guitar; I play classical in standard tuning, at least for now.
I did not invent the 4ths-tuning method, but I came up with all of my principles myself; I “re-invented the wheel” to suit my own needs. I call this “Stanley” tuning, after Stanley Jordan, but I’m talking about using it for traditional right and left hand technique, not tapping a la Jordan or playing a Chapman Stick. I have been receiving some consulting on this from guitar educator and guitar designer and manufacturer Matt Raines, who has made it his specialty to play seven-string guitar in 4ths with the traditional technique. He doesn’t endorse my work, yet, but I think I’m on to something.]
Anyway, Becoming a Guitarist will include, but will not be limited to, the following (in no particular order). I will present my insights and opinions on:
1. How classical guitar notation is too hard to read; here’s how to change it for the better. Lots of music notation examples. This is not about “tab” or tablature. It’s about traditional music notation.
2. Using computer tools for notation and arranging for guitar, and for studying scores. Do it yourself.
3. How to use extended-range bass guitar in the classical ensemble context; available instruments and strategies. 7-string, 8-string, 10 and 11-string classical guitars, regular scale, long scale, “fanned fret”, and a section on using the five-string acoustic bass guitar in the ensemble. There are several renowned ensembles using one or more of these instruments today.
4. How to cross-over from electric and acoustic guitar to classical guitar; specific modifications to the classical guitar design that are commercially available, and how to obtain them. I did a lot of research before I bought my unusual yet quite affordable Alhambra “crossover” guitar. This will contain an extensive section on fingerboard and nut width, radiused versus flat fingerboards, fret dressing, string spacing at the nut and bridge, action, intonation, and cutaway design. Then, once you have decided to play classical, can you continue to play your old electric and steel-string acoustic guitars? Should you?
5. How to make your classical guitar sing. Most classical repertoire consists of music that was written for other instruments and ensembles, “transcribed” to fit onto a guitar or ensemble of guitars. In many cases we are talking about vocal music with lyrics (think madrigals, Bach chorales, and Schubert lieder). Now, I’m a singer and chorister who has worked with all kinds of vocal music. So I think I’m entitled to give the guitarist (any kind of guitarist) some tips on how to make your guitar playing sound more like singing. I personally interviewed Paul O’Dette, the world’s greatest lute player, and got some insights on this subject. I also draw on a published interview with Sharon Isbin that I need to dig up and quote.
6. Related to (5), how to really learn and understand the music you are going to play, before you pick up the guitar. It has to do with taking the trouble to find the sheet music and a good recording of the original arrangement as the composer intended, even if it’s a symphony with a full orchestra, before you plunge into the guitar transcription or arrangement with which you’ve been provided. This goes doubly for lyrics. You shouldn’t play an instrumental arrangement of a song unless you know the lyrics and what they mean in English (if that is your language). This goes doubly for jazz guitarists playing out of the fake book. More advice from Paul O’Dette.
7. Posture, relieving stress in your body in practicing and performing. Footstools are archaic and obsolete, and in my case, needlessly stressful and painful. Putting both feet flat on the ground and propping up your guitar into the proper playing position using a special cushion or a support bracket that attaches to the guitar are better ways to play.
8. Keys, how to approach selecting a key, and the important but usually overlooked issue of guitarists being needlessly inflexible about keys. Important side-note on how guitars and writing songs based on playing licks built around open strings in rock and pop music have ruined life for singers everywhere, and how this could be corrected. The bottom line is that if you are working with a singer, you and your ensemble should let the singer select the key of each piece he or she is singing. The singer should select the key that works best for his or her particular voice according to the melody of the piece being considered. Everybody in the band should be prepared to play the song in any key requested at any time. This is the way it has always been done in classical music, folk music, and especially jazz. Many hit rock songs make this task impossible, due to the way in which they were written, which I will explain.
I’ll think of other stuff. Well, I’ve got my work cut out for me.
If you have some comments on these points, and I hope you do, you might want to wait until I publish the section in question and explain myself fully, rather than comment on my little outline above. On the other hand, if you have specific ideas on other topics about classical guitar and musicianship that you think I ought to address, please post comments here. I’m looking mostly for conventional, traditional things that everybody does that you think should be done differently.