Practicing Guitar: A Labor of Love

“Some of us want to be the next great guitar god, some are happy just sitting at home jamming along with the radio”

DIFFERENT STROKES TO RULE THE WORLD!

Practicing is different things to different people. Some people progress faster than others. Some have as they say, a “natural gift,” while others labor away hour after hour, week after week, month by month and only progress a little at a time. But no matter what, if you want to improve and get better, you have to put the hours in and practice. Now again, this is going to be different for all of us, since some of us want to be the next great guitar god, and some of us are happy just sitting at home jamming along with the radio, creating our own melodies, or whatever. We are all on different levels due to the time we put into it. I recently asked several guitar players of various skill levels questions about their practice routines and the time they have committed sharpening their skills. Here’s what I learned….

HOW MANY STRUMS DOES IT TAKE?

For the most part, the professional guitar players I questioned had a few things in common. Each had put in countless hours practicing to develop their skills and style. Playing till their fingers bled (really!), playing 10+ hours a day, every day, were typical responses. Most had come up with their own unique way of practicing. Some had developed different techniques to create their own sound, while others used different tunings. Some had taken lessons early on while others did not. Most felt that they had learned much of what they knew on their own through the dedication and countless hours spent practicing. Most also started creating their own music not long after starting to play the guitar. And while these individuals no longer spend 10+ hours a day practicing, it is very typical that they spend at least a few hours daily playing/practicing. Comparing it to the need to breathe, or (something I feel myself), the days I don’t play, I feel like something was missing or out of place.

LET THIS BE A LESSON TO YOU

Still, others have different practice routines. Some are limited to how much time they put into practicing/playing due to, well let’s face it…. Life! We all have different priorities. Not everyone can devote 10+ hours a day into playing/practicing guitar. A couple of different players I asked told me that they practice whenever they get the chance. Which varied as much as a few times a week to maybe once a month. Weekly lessons are an avenue some take (myself included) to improve our skills. But, even with lessons, if you don’t practice what you learned, you don’t get anything out of it.

IT’S NOT WORK WHEN YOU’RE HAVING FUN

Something that nearly all of the guitar players I questioned had in common….most felt like they were never really practicing. They all had an inner passion that drove them. Some to create, some the need to express themselves. While others just wanted to be able to play their favorite songs, or maybe even just to impress the hot girl down the street! Another thing many had in common… no matter how much they practiced/learned or played, there was always going to be more to learn. Another cool riff to work out, another driving rhythm or beautiful melody to discover. Which is something you can probably say about any musical instrument. But we are guitar players. Whether or not you view it as practicing or just playing it is a labor of love…. it’s what we do!

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Caption Competition: Tell us why Zen isn’t looking very, er, Zen and win tickets to Baroque. Contrasted.

Angry ZenWhen we did our ‘Green’ picture a while back we saw afterwards that on one of the shots we took our Digital Content Officer, Zen, had a particularly angry/shocked expression on his face…unusual for him given that, as his name suggests, he’s a particularly calm person.

Anyway – what do you think is on the piece of paper he seems to be reading? Or, what’s he thinking of saying? Post your suggestions here and our favourites will receive a pair of tickets to their choice of one of the following events this weekend at Kings Place:

Saturday 9 April at 12.30pm: Sing Baroque! Join OAE Co-Principal Keyboard Steven Devine to sing music by Purcell

Sunday 10 April at 11.30am: Coffee Concert with the OAE Experience Ensemble, directed by Alison Bury – music by Telemann, Boyce, Purcell and Handel.

Deadline for entries is 9pm tomorrow evening.

Baroque. Contrasted: final Daily Trivia

It’s the last day of our hugely exciting trivia section… *sob*

Here are the final titbits for your musical pleasure:

Johann Hermann Schein (1586-1630) was a German composer of the early Baroque era and was afflicted with poor health- his wife died in childbirth; four of his five children died in infancy; he died at age 44, having suffered from tuberculosis, gout, scurvy and a kidney disorder.

Hugh Aston (1485-1558) was an English composer of the early Tudor period. His initial salary at The Newarke (a musical institution in Leicester) was £10 a year, only £2 a year less than that of the Dean. Listen to his Hornpype (which we’re playing on Friday) here.

William Brade (1560-1630) was an English composer, violinist, and viol player of the late Renaissance and early Baroque eras and liked to change jobs frequently- during his career, he moved 13 times!

If you’d like to hear more music from these composers, why not try one of our hour-long concerts at Kings Place?

Concerts start tomorrow night from 6.45pm and more details can be found on our website.

The Beatles: Guitar Heroes – Revisited

Here is the first in a series of guest posts by John F. Crowley about guitars owned by the Beatles. Last year we unleashed a new article each week. If you missed them then, have a look now and check out the guitars that made amazing music and read a bit about the fantastic history!

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SMG_Lennon_Rickenbacker_325

JOHN LENNON’S 1958 Rickenbacker 325

Purchased in 1960: 1958 Rickenbacker 325 Capri (5/8 scale, hollow-body electric). Serial No. V81: The Holy Grail of guitars. Lennon bought this “short arm” guitar, with a natural finish, gold pickguard and Kaufmann vibrato, on the Beatles’ first trip to Hamburg, after he saw jazzman “Toots” Thielmans playing a Ric model on an album cover. Later in 1960, in Hessy’s Music, Chris Huston of The Undertakers mounted a Bigsby B-5 vibrato and “bow tie” bridge (for more on this operation, click here). At the same time they replaced the “oven” knobs with new ones from Curry Electronics. Somewhere along the line, Lennon disconnected the middle pickup, and in September ’62 had it painted black. In his well researched piece Baby’s In Black, Peter McCormack tracked the job to a subcontractor, Mr. Derek Adams, and suggests the refinishing was part of Brian Epstein’s effort to spruce up the band’s look. But another source credits the refinish to coach painter Charles Bantam, who reportedly sprayed the Rickenbacker with black coach paint while the band took a brief holiday. Later inspection led Ron DeMarino (below) to speculate the finish had been brushed on! So perhaps we’ll sort out this point in time. At any rate, in ’63 Lennon changed the knobs again when he had some electrical work done by Burns of London.

‘LADIES AND GENTLEMAN…. THE BEATLES!’

Lennon played this guitar onstage and in the studio right through to the first Sullivan show (below) and the Carnegie Hall shows (2/12/64), then, except for a bit of work on Beatles For Sale, retired the beat-up workhorse. In 1972 he had it restored to its natural finish by Ron DeMarino of New York, who also replaced the tuners and cracked pickguard. (Read DeMarino’s account here.) This guitar may very well have made its final appearance during the Double Fantasy sessions, as producer Jack Douglas and Yoko Ono both confirm seeing it in the studio. There is also speculation that Lennon used this guitar on Yoko’s “Walking On Thin Ice” in December 1980, the last piece of music to which Lennon contributed. Regardless, as guitar aficionado Frank McLallen wrote: “That guitar . . . from Hamburg to the Plaza in New York City, and a national broadcast on the Ed Sullivan Show — doesn’t get any better.” This priceless instrument, recently displayed at the Lennon museum in Japan, is now owned by Sean Lennon.

CLICK HERE to revisit the complete series of Beatles guitar posts!

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Matthew Truscott on Purcell’s emotional depths and Handel’s borderline smugness

Now you get to hear from a player rather than just office bods! In this latest vid OAE leader Matthew Truscott talks about the concert he has devised and is directing at Kings Place on 9 April, – a programme which features Purcell, Bach and Handel, including how the concert fits into the Baroque. Contrasted. theme of the festival.

Next up, another round of Baroque trivia.



SMG Guitar Lesson: Tips On Rhythm

I have students all the time that ask me things like “How do you know when to strum up or down?” and “How do you develop good timing?”

Even for an experienced musician and guitar teacher, rhythm is still one of the most challenging things to teach. That’s because, while it may take just a few minutes to explain the basics concepts of rhythm, it can take years to really develop your sense of rhythm to the point where it becomes second nature.

Here are a few tips on how to develop a good sense of rhythm

  • Learn the note values of standard notation and learn how to pick apart and analyze rhythms. Learning even a little bit of the basics will get you pretty far.
  • Tap your foot while you play. Get to the point where you can feel the rhythm moving through your whole body. It really works!
  • Try alternating your picking up and down steadily like clockwork. If there is already a part of your body that is working like a metronome, then it’ll be much easier for you to keep up with the beat. If it worked for Stevie Ray Vaughan, it’ll work for you!
  • Take it slow at first. Playing a song very slowly at first when you’re first learning it helps to train your motor memory for when you’re ready to attempt playing it up to speed. Don’t sweat it, even the pros do this. Regardless of how long you’ve been playing or what level you’re at, every time you learn a new song it’s something that you’re completely unfamiliar with, so it’s ok to stumble through it a few times and take it piecemeal at first.
  • If there is a particular song you’re trying to learn, practice along with the recording of it. This will allow you to hear things you could improve on that you may not have otherwise noticed. You’ll also feel more inclined to learn the song from start to finish. (There are way too many people who can only play the intros to a handful of songs and nothing more. Don’t be “that guy”!)
  • Practice improvising along with jam-along backing tracks or “guitaraoke” tracks of your favourite songs. You can even jam along to random songs on the radio, creating your own guitar parts as you go. It doesn’t always have to sound great for you to learn something, so don’t sweat it – just do it! Improvising is a great way to improve your phrasing, timing, and delivery.
  • Practice playing along with a metronome. When we play music, we instinctively tend to get excited and want to speed up, getting faster as we go. While we may be having fun at the time, it tends to sound kind of amateurish. The metronome trains us to play with a steady beat. – This is especially important if you want get to the point where you can perform your music live.
  • Find a group of other musicians to get together and jam with. Make sure they are at your same level or, if you’re lucky, slightly more experienced but still in your league. There is no greater way to improve your musicianship than hanging around and playing with other musicians. You’ll also be held more accountable for your progress. It’s a lot harder to shrug off practicing when you know your buddies are counting on you to play what you agreed to learn for the next jam session.

For those of you who are into writing your own music – here is a cool technique that I use to come up with funky new rhythms

Remember…. there is absolutely NO quick fix, NO silver bullet, and NO substitute for practicing your guitar for hours on end. The more you put in, the more you’ll get out!

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Baroque. Contrasted: Daily Trivia 3

As promised, here’s another dose of daily trivia for you, featuring some of the lesser known composers we’ll be showcasing this week at Kings Place:

Biagio Marini (1594-1663) was an Italian virtuoso violinist and composer of the first half of the seventeenth century who married three times and had five children.  He was the first composer to notate tremolo (trembling) effects into his music.

Francisco Correa de Araujo (1584-1654) was a notable Spanish organist, composer, and theorist of the late Renaissance as well as a priest.

Orlando di Lasso (1532-1594), a Franco-Flemish composer of the late Renaissance, was rumoured to have been kidnapped three times because of the singular beauty of his singing voice.

More random facts tomorrow!

OAE staff natter about Baroque. Contrasted.

We let three OAE office staff loose on camera to talk about our concerts at Kings Place this week – and here are the results. There is some logic to this as the staff have all been closely involved not just with co-ordinating running and marketing the events but also with devising some of the more unusual events, such as Barqoue from Scratch and Sing Baroque! Have a watch and do come along this week – and if you recognise us from the video do come and say hello! Next up is another video with OAE leader Matthew Truscott talking about the programme of Bach, Purcell and Handel he has devised for the festival.



Baroque. Contrasted: Daily Trivia 2

Some more baroque trivia in the run up to our concerts at Kings Place this week. You can hear music from all the composers featured during our hour-long concerts this Thursday and Friday.

Tarquinio Merula (1594/5-1665) got into trouble with some of his students at a musical institution in Bergamo, and was charged with indecency. Listen to his Chiacona which features in Thursday’s concert

Giovanni Zamboni – whose exact dates are unknown –  was an accomplished composer for the theorbo as well as a jewel-maker and fine swordsman!

Bendinelli (1542-1617) was the author of the first known course of published trumpet lessons, Tutta L’arte Della Trombetta which gathered together the earliest known pieces for the clarino (higher) register, dating from 1584-88.

More trivia tomorrow, and we’ll be testing you all on Saturday!

SMG Review: Epiphone Limited Edition Riviera Custom Royale P93

Getting down with the Epiphone Limited Edition Riviera Custom Royale P93!

EPIPHONE GUITARS

The Epiphone Company is a musical instrument manufacturer founded in 1873 by Anastasios Stathopoulos. Epiphone was bought by Chicago Music Company, who also owned Gibson Guitar Corporation, in 1957. Epiphone was Gibson’s main rival in the archtop market. Their professional archtops, including the Emperor, Deluxe, Broadway and Triumph, rivaled (and some contend surpassed) those of Gibson.

OFF THE RACK

The Epiphone Riviera has a warm, vintage tone that is perfect for instrumentals or clean based styles.  A double cutaway, semi-hollow body gives this guitar the classic style that many guitarists have long loved and continue to play. The three P-90 single-coil pickups produce the raw tone that many blues and rock stylists seek. The P90′s traditional combination of high output and brilliant tone is still considered a favorite among many top musicians. The Bigsby tailpiece delivers superb vibrato and has been guitarists favorite for decades. A pearl white finish and gold hardware add a touch of class to the vintage design. The neck is not the fastest, but let’s face it, it’s not meant to be. The smooth comfortable action is very grippy and fits the hand nicely. The Ltd Edition Riviera Custom Royale P93 would be a nice addition for any serious musician looking for a classic axe.

THE SPECS

  • Double cutaway semi-hollow guitar
  • Laminated maple top Arched with hand-scalloped bracing
  • Sound post Laminated maple back & sides
  • Set mahogany neck
  • 1.68″ nut width C-shape neck Adjustable truss rod
  • 24.75″ scale length Rosewood fingerboard with mother-of-pearl inlays
  • 12″ fingerboard radius
  • 22 frets
  • 1-ply binding on fingerboard and body
  • Three Alnico V P-90 pickups
  • 3 volume controls 1 tone controls 3-way toggle pickup selector
  • Tune-o-matic bridge
  • Bigsby vibrato tailpiece
  • Gold hardware Grover tuners Pearl white finish

THE LOW DOWN

The Epiphone Riviera is an awesome, classic guitar that has powerful clean tone and perfect for blues, rock and country. With its smooth playability, you will get a lot out of this guitar. The three P-90 pickups will blow you away with all the clean tone combinations you can create. The Bigsby is always a great addition to any axe, delivering just the right amount of twang and vibrato. The semi hollow design makes this guitar light and comfortable. I found that the Ltd Edition Riviera Custom sounds best through VOX amplifiers. Test one of these babies out for yourself and discover the many brilliant tones you can create with this monster axe.

Pros: Bigsby tailpiece, P-90 pickups ,light weight, classic tone.

Cons: Thick neck.

Street price – $500 – $549

Till next week, thanks for reading and keep on shredding!

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