Have you ever wondered if it’s too late to pursue your dream of playing guitar? In this article we’ll delve into the question, “Am I too old to start playing guitar?” Age should never be a barrier to exploring your musical passions. Join us as we discover the numerous benefits of learning guitar at any age and find inspiration to embark on your musical journey.
Embracing the Benefits of Learning Guitar Later in Life
Learning guitar later in life offers unique advantages that enhance both mental and emotional well-being. Playing guitar stimulates the brain, improving memory, coordination, and problem-solving skills. Additionally, it provides a creative outlet for self-expression and emotional release, effectively reducing stress. No matter your age, you can experience the cognitive and emotional benefits that learning guitar brings.
Tailoring the Learning Process to Your Needs
As an adult learner, you have the advantage of understanding your own learning preferences and goals. Take a personalized approach by focusing on the musical styles and techniques that resonate with you. With flexible online tutorials, self-paced learning options, and customizable lesson schedules, you can fit guitar practice into your busy lifestyle. Embrace the freedom to learn at your own pace and tailor the learning process to suit your needs.
Building a supportive network of fellow guitar enthusiasts is essential on your musical journey. Seek out local meetups, online forums, or social media groups where you can connect with like-minded individuals. Engage in discussions, share experiences, and seek advice from experienced guitarists. Their encouragement and camaraderie will inspire you to keep progressing and overcome any doubts or challenges you may face.
Embracing the Journey and Setting Realistic Expectations
Learning guitar is a gradual process that requires patience and persistence, regardless of age. Embrace the journey and celebrate small milestones along the way. Rather than striving for perfection, focus on progress and enjoy the learning process. Set realistic goals that align with your aspirations, whether it’s playing your favorite songs, performing in front of others, or composing your own music. With dedication and a positive mindset, you’ll continue to grow as a guitarist.
Remember, it’s never too late to pursue your passion for guitar. Embrace the numerous benefits of learning guitar later in life, customize your learning journey, find support within the guitar community, and set realistic expectations. Age should never hinder your musical aspirations. So, pick up that guitar, immerse yourself in the joy of playing, and embark on an enriching and fulfilling musical adventure!
Embarking on your guitar journey is an exciting adventure, but one question often arises: Should you start with an electric or acoustic guitar? In this article, we’ll explore the pros and cons of both options, helping you make an informed decision based on your musical aspirations, preferences, and circumstances. Whether you’re drawn to the versatility of an electric guitar or the intimacy of an acoustic, I’ll guide you through the factors to consider when choosing your first instrument.
Electric Guitar
The electric guitar opens up a world of sonic possibilities. With its ability to be connected to various effects pedals and amplifiers, you can shape and experiment with different tones, from clean and mellow to overdriven and distorted.
Electric guitars typically have thinner necks and lighter strings, making them easier on the fingers for beginners. This feature can facilitate faster progress and ease the learning curve.
Acoustic Guitar
Acoustic guitars are self-contained and do not require amplification, allowing you to play anywhere without the need for additional equipment. This makes them ideal for impromptu jam sessions or intimate performances.
Playing an acoustic guitar builds a solid foundation of finger strength, coordination, and technique. The absence of effects and amplification encourages a focus on precise playing, chord structures, and strumming patterns.
Consider the genres or styles of music that inspire you the most. Electric guitars are commonly associated with rock, blues, jazz, and metal, while acoustic guitars are versatile across multiple genres, including folk, country, pop, and singer-songwriter styles.
Budget and Financial Considerations
Evaluate your budgetary constraints and factor in the costs of the guitar, necessary accessories, and potential amplification equipment if choosing electric. This includes an amplifier, cables and optional effects.
Personal Preference and Inspiration
Trust your gut feeling and choose the instrument that resonates with you on a personal level. Follow your musical inspirations and aspirations to ensure long-term motivation and enjoyment.
Ultimately, whether to start with an electric or acoustic guitar depends on your personal preferences, musical aspirations, and budget. Each option offers its own unique benefits and considerations. Consider the versatility and sonic exploration of the electric guitar versus the intimate charm and fundamental skill development of the acoustic guitar. Whichever you choose, remember that the joy of playing music is at the heart of your decision. So, pick up that guitar, let your passion guide you, and begin your remarkable musical journey.
As a guitar player, you know that proper maintenance and setup are vital for keeping your instrument in top shape and ensuring it delivers the best sound possible. I’ve been building and repairing electric guitars for the better part of twenty years at this point. Rest assured, with a little knowledge and a handful of tools, you’ll be able to keep your guitar in peak condition without having to take it to the repair man. In this comprehensive guide, I’ll take you through essential steps for guitar maintenance, string changing, truss rod adjustments, and basic setup. By following these tips, you can keep your guitar in optimal playing condition and enjoy years of musical bliss.
Cleaning and General Maintenance
Keeping your guitar clean and well-maintained not only enhances its appearance but also prolongs its lifespan. Here are some tips for effective guitar cleaning:
After each playing session, take a soft, lint-free cloth and wipe down the guitar body, neck, and strings to remove sweat, dirt, and oils.
Avoid using household cleaners or solvents, as they can damage the finish. Instead, invest in guitar-specific cleaning products.
Inspect the tuning machines and bridge for any loose screws or parts. If you find any, gently tighten them to ensure stability.
Remember to store your guitar in a suitable case or stand to protect it from physical damage and changes in humidity.
Regularly changing your guitar strings is essential for maintaining a fresh and vibrant tone. Here’s a step-by-step guide to help you with the process:
Start by loosening the tuning pegs to release the tension on the old strings. Remove them from the bridge and discard.
Before installing new strings, take the opportunity to clean the fretboard using a specialized fretboard cleaner or a small amount of lemon oil on a cloth. I like to use Forby’s Lemon Oil Treatment which can be found cheaply at any hardware store. Be careful not to use excessive oil.
Now, it’s time to install the new strings. Begin with the low E string and insert it into the bridge, pulling it through until it reaches the appropriate tuning peg.
Leave enough slack in the string before winding it around the tuning peg. I like to hold the string about four inches above the fretboard before winding to get the appropriate amount of slack. Ensure that the strings are properly seated in the nut slots and the bridge saddles.
Gradually tighten each string, tuning it up to pitch. To minimize tuning instability, gently stretch the strings, retuning until they hold their pitch.
Truss Rod Adjustment
The truss rod plays a crucial role in controlling the curvature of the guitar’s neck. If you notice excessive bowing or backbow, it may be time for a truss rod adjustment. For me in SE Wisconsin, this is required maintenance in the spring and fall when temperatures and humidity change. Here’s what you need to know:
Locate the truss rod adjustment nut, typically found at the headstock end of the neck. It’s often covered by a plastic or metal plate.
Using a suitable truss rod wrench or hex key, make small adjustments. Turning the nut clockwise increases neck bow caused by the tension of the strings, called “relief.” Turning it counterclockwise decreases relief, bringing the neck back.
Remember to make quarter-turn adjustments at a time and allow the neck to settle for a few hours before assessing the results. Repeat the process as necessary, being careful not to over-adjust.
Basic Setup
A proper setup ensures optimal playability and performance. Here are some key aspects to consider:
Action: Adjust the bridge or saddle height to achieve your desired string action. Higher action can offer more sustain, but it may be harder to play. Lower action may provide easier playability but could lead to fret buzz.
Intonation: Use a tuner to check if your guitar is in tune across the fretboard. If certain notes are consistently sharp or flat, adjust the saddle position to correct the intonation.
Pickup Height: Set the pickup height to balance the output of each string. Follow the manufacturer’s guidelines or experiment by ear to find the sweet spot for your desired tone.
Nut: Ensure the nut slots are properly filed to prevent binding or excessive string height at the first fret. If necessary, consult a professional for nut adjustments.
There you go. By following the steps outlined here, you should be able get the most out of your guitar, and avoid most trips to your local tech. Happy Playing!
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Whether you’re a complete beginner, intermediate or advanced player looking to refine your skills, in blues, rock, jazz or latin styles, Dave understands the unique challenges you face. He tailors the lessons to suit your individual needs, ensuring that you progress at a comfortable pace while continuously challenging yourself. No matter what aspect of guitar playing you struggle with, be it chords, scales, technique, or improvisation, he will provide the personalized attention and expert guidance you need.
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But it’s not just about solving your problems; it’s about nurturing your love for music and fostering a deep connection with your instrument. Dave is not just an instructor; he is a mentor who genuinely cares about your musical journey. He creates a supportive and inspiring environment where you can explore your creativity, build confidence, and cultivate a lifelong passion for playing the guitar.
When you choose Dave Dohearty as your guitar teacher, you gain access to a wealth of knowledge and expertise that will transform your playing. He possesses a vast repertoire of teaching methods, ensuring he can adapt to your unique learning style. By breaking down complex techniques into manageable steps and providing clear explanations, he makes even the most challenging concepts easy to grasp.
Moreover, Dave is well-versed in the art of motivation. He understands that learning an instrument can sometimes feel like an uphill battle, but knows how to keep you motivated and focused on your goals. Celebrate your victories, no matter how small, and provide constructive feedback to help you grow. With unwavering support and encouragement, you’ll never feel alone in your guitar journey.
So, why continue to struggle and face frustration on your own? Embrace the transformative power of finding the right guitar teacher. Let Dave Dohearty help you conquer your challenges, overcome your obstacles, and unlock your true guitar-playing potential. Take the first step towards a brighter musical future by getting in touch today. Your dream of becoming an accomplished guitarist is within reach, and we’re here to make it a reality.
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We built a major scale, now we can derive larger intervals based on the position of a note in the scale relative to the tonic.
We’ll name these intervals: the distance between the first note of the scale in the third note is the interval of a third for example. The first note to the fourth note of the scale is the interval of a fourth, and so on.
We’ll also learn that these intervals have different qualities: major, minor, perfect, augmented and diminished.
You can also play these intervals in one of two ways, either one note at a time as a melodic interval, or as a harmonic interval, the two notes played simultaneously.
Let’s put these half steps and whole steps to work!
In this lesson we’re going to start on a tonic note, and string together a series of whole step and half step intervals to create the seven note major scale.
You can also download the major scale positions and start learning how the scale occurs on the fretboard.
Half steps and whole steps are the most basic building blocks in music, and the first step in understanding how music theory is applied to guitar. Most people are generally aware of these intervals, but how many of you have really taken the time to figure out how they occur on the guitar neck, and what to do with them?
Nelson Faria is one of those guys whose name starts showing up over and over again as you start digging into contemporary Brazilian music. He’s played with almost everybody in Brazil’s MPB scene (that’s the Portuguese initialism for Brazilian popular music), including Nico Assumpção, João Bosco, Nana Caymmi, Zélia Duncan, Cássia Eller, Toninho Horta, Edu Lobo, Paulo Moura, Milton Nascimento, Leila Pinheiro, Carol Saboya, Marcos Suzano, Dan Costa (composer) and Wagner Tiso. He’s written essential books on Brazilian guitar styles and techniques including the aptly titled Brazilian Guitar Book. He hosts an incredibly good Youtube channel: Um Café Lá em Casa, featuring the who’s who of Brazilian artists. This is a player worth checking out.
Nosso Trio (“Our Trio”) features Faria with two of his bandmates from the legendary João Bosco’s touring lineup: bassist Ney Conceição, and drummer Kiko Freitas. The trio released their one and only album Vento Bravo in 2006, and can also be heard on Bosco’s live album Na Esquina Ao Vivo.
Brooklyn High is a tune I’ve always liked, and it strikes me as one of the stronger tunes on Vento Bravo, with a guitar solo that I feel is representative of Faria’s improvisation style.
While the song is not a not a direct contrafact, it seems to draw inspiration from the João Bosco song “Incompatibilidade de Gênios.” Since Faria was the lead guitarist and arranger for Bosco’s band, it seems likely Brooklyn High could have been written as an hommage.
The Tune
The tune has a 32 bar A section with a fairly straight forward Cm chord progression. An interesting chord to point out is the Db6/9, which can be seen as a substitute for the Fm7 chord (more on that later). Other than that, II-V’s and altered chords lead us around the progression in typical jazz harmony fashion.
The B section of the song showcases a typical voice leading technique in Latin music involving chromatic inner movement between chords. In this case the third of the F minor chord (Ab) moves to up a half step to an A natural in the F9 chord, and then to a Bb to create the F9sus4. The progression then heads back the other direction, arriving back at the Fm9.
Solo Analysis
THE FIRST CHORUS
The solo starts with a straightforward C minor phrase played almost exclusively on the upbeats. This type of syncopation is typical of samba melodies. Even if the rhythm doesn’t explicitly follow partido alto, it’s still heavily implied or approximated through the use of upbeats.
As bar five rolls around the chord changes to a Db6/9, and Faria grabs what looks like an F minor phrase. This is a perfectly reasonable thing to do, as it gets you all of the important chord tones (minus the root, which can be redundant) along with a few extensions for color. In this case the G natural against the Db6/9 chord gives the chord a Lydian flavor.
Treating the Db6/9 chord with F minor vocabulary also keeps us within familiar harmonic territory by treating the progression as a Im7-IVm7 progression, as in a minor blues, as opposed to an oddball Im7-bII6/9.
Bars 9 through 16 begin the turnaround with a II-V-I-V progression. The common substitution of a II7(#9) chord is used in place of the diatonic IIm7 chord.
Faria negotiates these changes in the first chorus by ignoring the D7(#9) altogether, and jumping ahead to the G7 altered chord with a G half whole diminished scale. This lick showcases the diminished scale’s most common usage in jazz: implying a 7(b9) sound to a functioning dominant chord. This works particularly well in a minor context.
Further, bars 10 and 11 illustrate how we might visualize and phrase the diminished scale. Rather than a string of consecutive notes (G-Ab-Bb-B-C#-D-E-F), it can be seen as consisting of a G7(b9) arpeggio (G-B-D-F-Ab) with a half step approach tone below each note. The only quirk is that the root functions as an approach note to the b9th rather than being a note to be approached. So, with this method you’re essentially outlining a “rootless” G7(b9) arpeggio, or a B diminished 7th: (G)-B-D-F-Ab.
The G approaches the Ab by a half step. The Bb approaches the B by a half step. The C# approaches the D by a half step. And the E approaches the F by a half step.
After resolving to the Cm7 in bars 13 and 14, Faria plays through the last G7 of the chorus with a similar
idea to the concept above, although it doesn’t quite fit the half-whole diminished scale. This time he
outlines a Db major triad, which can be analyzed as the tritone substitute to G7.
THE SECOND CHORUS
Things pick up in the second chorus with a bop oriented 16th note line over the Cm7 chord. The first part of the phrase in measures 18 and 19 remind me of a common 8 note digital scale pattern: 1-2-3-4-5-7-6-5. Like many digital patterns, this would work swimmingly well starting on the down beat, maintaining mostly chord tones on down beats.
However, the phrase in measure 18 starts on the upbeat and thereby offsets the chord tones to land on upbeats, so a passing tone is added to get those tones back on track. The last note of the measure is the flatted 5th (Gb) that shifts the more consonant G note to the strong downbeat (beat one) of the next measure.
The last half of bar 19 and the first part of bar 20 is a phrase I hear a lot of in Nelson Faria’s playing. So much so, that I’ll refer to it from here on out as “The Faria Lick.” It’s an effective way of building some tension and forward motion on a static chord, which is exactly how the lick is being used here.
The lick is a cell derived from the altered scale, (a.k.a, if you don’t feel like a goof using the term: “Super
Locrian”) which is the seventh mode of melodic minor. It appears as though he’s thinking G altered,
which makes sense as that’s the altered V7 chord that resolves to Cm. This part of the line starts on the Ab
and ascends four notes to the Db.
Chromaticism from the Bb down to the Ab ends the phrase. Even though I can barely hear it on the
recording, I’ve included a Gb as a half step approach to the G serves as the resolution to the Cm7.
From there, the Cm pentatonic phrasing that served as the resolution earlier bleeds over into the Db6/9
chord. This implies a Db Lydian sound again. To firm up the Db major sound he shifts into a two octave
Maj7 arpeggio. It’s not strictly in root position, he leaves out the 5th in the first octave which creates some
intervallic interest with a leap between the F and C notes.
Sweep picking combined with slides that occur between the 7th and root of the arpeggio contribute to the
“slippery” sound of this phrase.
In measure 26 “The Faria Lick” returns over the D7(#9) chord, to which it’s not necessarily related. We
could analyze the lick’s placement as a “bar line shift,” that is: he’s playing a phrase intended for the
G7alt chord earlier than that chord occurs.
In fact, it doesn’t appear Faria is making any effort at outlining the D7(#9) chord with it’s own scale or
arpeggio so far. In this second chorus we see some nondescript chromaticism that does nothing to
accommodate the chord, but it sounds cool nonetheless.
The B section opens with a flurry of sweep picking and sliding over the Fm9 chord. It makes the most
sense to analyze this as two separate arpeggios: an Fm7 (F-Ab-C-Eb) followed by a Cm(add9) (C-Eb-G-
D). The sum total of these notes gets you to an F Dorian sound (F-G-Ab-Bb-C-D-Eb).
The Cm(add9) arpeggio is also a clever way of transitioning to the F9, a dominant chord with an A natural. By avoiding the changing third altogether, Faria found a way to pivot between the minor and dominant versions of the chord by capitalizing on the common tones.
The F9sus4 chord brings back explicit minor tonality with an example of common minor latin jazz
vocabulary, much of which is based on the second inversion minor triad.
In measure 39 he continues into melodic minor territory even as the chord changes to the F9. While you
can generally get away with murder over a dominant chord, if you had to pick the one note that the Jazz
Theory Orthodoxy deemed sacred and immovable it would be the b7. Yet here is an E natural hanging out
there in all its glory – over a strong beat nonetheless. It also doesn’t resolve immediately to the root as a
leading tone would in a bebop scale or traditional harmony application. Instead, Faria delays the
resolution by hitting the 9th (G) before getting back to the root.
“The Faria Lick” makes a third appearance over the D7(#9) chord in bars 43 and 44, this time with a bop-
approved chromatic enclosure that surrounds the first note. This one implies Bb melodic minor, or an A
altered sound. If I had to explain this away theoretically, I’d guess that after years of playing over VI-II-V-
I progressions – as any respectable student of jazz improvisation does – Faria was implying the altered A7
(VI) chord before the D7(#9)(II).
A likelier explanation would be that a II-V was coming up, some tension was desired, and his hand
happened to be is this position for execution of a rote lick. So whether he played the phrase starting on
Bb, or on any other pitch, it would probably sound like an altered lick in this context.
Bars 49-52 feature more harmonic generalities with a repeating Cm7 before descending into a chromatic
line. As we saw earlier, the Cm7 accommodates the Fm9 and the F9, by touching on their shared common
tones, while cleverly avoiding the descriptive 3rd tone.
“The Faria Lick” shows up for the fourth and final time in measures 54 and 55. This time it’s played on
the 2nd and 3rd strings (B and G), which changes the intervals slightly from what we’ve seen before.
Here the lick seems to be functioning as chromatic vocabulary in the midst of other excited chromatic
information contained in the bars before and after.
Bar 60 starts to wrap things up with a C harmonic minor/G Phrygian Dominant run over the G7(alt) in
typical minor V-I fashion. Notice that once again Faria takes a pass on playing over the II chord in bar 59.
The final G7(alt) receives more diminished treatment, this time as a straight B diminished 7th arpeggio, as
opposed to the scalar idea we saw way back in bars 10 and 11.
The last measure contains Faria’s final thought: an Ebmaj7 arpeggio that, even though it occurs over the
G7, is another bar line shift to the Cm7 chord coming in the next chorus.
Why Ebmaj7? This is another “rootless” arpeggio that implies a Cm9 sound (C-Eb-G-Bb-D). If you
remove the C note from the Cm9 voicing, you’re left with an Ebmaj7 chord.
So there we have it. If there are a few ideas to take away from this solo, they might be the following:
Takeaways
LESSONS TO GLEEN
The “Faria Lick”
This lick started life in this solo as an altered idea, but became more flexible. By the third or fourth iteration it was more or less a chromatic device. So don’t get too bogged down in lining up the “right” notes, especially when the idea is to create tension.
Rhythm
Most of the time Brazilian melodies in this style will adhere to partido alto rhythm, or simply float over the downbeat with heavy use of upbeats. We can see some of Faria’s more melodic lines capitalize on that tendency in this solo.
Strong Phrases are More Important than “Correct Notes”
The takeaway here is phrasing. If the phrase is strong enough – i.e. a logical and singable melody, and played with enough conviction – the notes can directly contradict the chord quality and the ear will not only accept it, but beg for more! So there you go, throw out all the chord/scale theory you know and play strong melodies!
Bar Line Shifts
It’s always important to keep an eye on context when you’re analyzing a solo. That last phrase might incorrectly be analyzed against the G7, and one could make the argument that he’s playing some convoluted substitution to imply a G7(#9b13), which is what the Ebmaj7 arpeggio gets you over G7. But we’ve gotten to know some of Faria’s devices and his treatment of this tune. We’ve seen he’s not prone to overly complex substitutions. We also have precedence for this kind of anticipation of the proceeding chord. Taking that into consideration it makes more sense to analyze this as a bar line shift to the Cm7. This can be a very cool technique that builds tension against the chord of the moment, and resolves as the band “catches up.”
Substitutions
Faria relies on arpeggio substitutions quite a bit in this solo, many of which are well documented in jazz guitar pedagogy. But it’s worth noting here, especially with regard to the B section. The substitution of a C minor seven sound over the F minor and F dominant chord can simplify the thought process over the rapidly changing harmony.
Ignore the II Chord.
This could stem from a sort of unwritten tradition among jazz improvisers of glossing over the II chord when playing over a II-V-I progression. This simplifies the thought process, and makes life easier, especially at quicker tempos. It also cuts right to the musical punchline: the rise and fall, tension and release of a V-I cadence. The listener’s ear usually responds the bigger harmonic movements anyway. So why not play that way?
When I saw João Bosco would be performing at the Birdland jazz club in Manhattan in 2017 – his first show in the US in about a decade – my wife and I had a flight booked from Milwaukee to New York that same day!
João Bosco is a former civil engineer turned guitarist/singer/songwriter/bandleader. He’s become one of the most important artists in Brazilian music over the past five or so decades, and for good reason.
