The contribution of Blues music to the development of many other genres of music is very significant. Jazz, rock music and country and western are just some of the styles that owe a lot of their progression from the original blues. Blues was originally grown out of the hardships endured by many generations of African Americans, and first arose from the rural Mississippi region, around about the time of the dawn of the 20th century. The style developed from work shouts (known as arhoolies), and became the vocal narrative style that we associate with blues music today.

The contribution of Blues music to the development of many other genres of music is very significant. Jazz, rock music and country and western are just some of the styles that owe a lot of their progression from the original blues. Blues was originally grown out of the hardships endured by many generations of African Americans, and first arose from the rural Mississippi region, around about the time of the dawn of the 20th century. The style developed from work shouts (known as arhoolies), and became the vocal narrative style that we associate with blues music today.

By the 1920’s it had developed a very particular style, based around a number of three-line rhymed stanzas. These stanzas contained one line of verse that was repeated, and finished with a final line of rhyming verse. As industry progressed and developed in to the 1920’s, so did the everyday lives of the people it affected, and by this time Blues music was also developing.

The style also included a repeating blues chord progression, which was the basis of the harmony. The text was set to a 12-bar chorus, and typically was between four and eight stanzas in length. The usual rule of thumb was a 12-bar pattern utilizing the 3 major chords of a scale.

The melody is formed, typically, by flattened third, fifth and seventh notes of the major scale. This then forms the ‘bent’ notes that give Blues music its distinctive sound – enforcing the notes to have that bittersweet emotional impact that so many of us love. For the majority of blues music the focus is on the vocals – contradicting the fact that performers will often improvise instrumental solos over the Blues chord progressions.

Country Blues
Often referred to as ‘Delta Blues’ (in tribute to the Mississippi Delta were they first originated), country blues arose from the Southern rural experience, particularly influenced by the impact of emancipation. Many itinerant musicians (the majority of which were men), travelled from one community to the next, singing songs that focused on love, freedom, sex and the general sorrows of life.

Classic Blues
Over time, African Americans began to migrate in search of work. They began to populate areas such as Memphis and New Orleans, and they brought their own brand of music with them. As their way of life evolved, so did the music. It began to feature male or female vocalist accompanied by either a single piano, or a full jazz-style combo. As these people settled in these new areas, Blues music became much more urban-orientated.

The music industry as a whole started to take note, and more and more compositions and marketing arrangements emerged, as people began to take notice. The popularity of this kind of music grew exponentially. In actual fact, what would become known as Classic Blues became so popular that many songs were released with the word ‘blues’ in the title to capitalize on this, even though they bared little or no relation to the style of music. The audience also grew, and Blues became more mainstream. Throughout the country as a whole, Blues music could now be heard in dancehalls and barrooms.

Electric Blues
The appetite for the style of music known as the Blues was quite voracious. Its center, previously clustered around Memphis and New Orleans, began to migrate, and soon cities such as Chicago became the central point of much of the music.

The end of the Second World War brought a new revival into the genre, and artists began to develop the music, primarily through adding a bit of extra emphasis on the bass drums and cranking up the guitar sounds. By the 1950’s this style was no longer centered around the African American community, and was universally practiced across all races. Artists like Elvis and Bill Haley began to incorporate the Blues methods into their own unique brand of rock n roll.

Although this incorporation into different genres still exists today, Blues music in its own right is still going strong, with top-selling artists still maintaining the original styles. Blues music is still evolving, and still producing exceptional music that stirs the soul of those who listen to it, and its influence on much of the music industry is undisputed.

Copyright 2009 Liam Gibson (Stage Guitarist)

What makes Jimi Hendrix’s sound easily recognizable from Carlos Santana? How can you easily tell metal from funk, even if let’s say the metal player and the funk player are playing the same song (very unlikely, but bear with me here)? The answer: guitarists use effects to color their sound and give it a kind of modification suited to the type of music involved.

Normally these effects can be housed separately in small effects pedals, or in multi-effects hardware, or built into amplifiers, or simulated in computer software. They can be used singly, or you can turn on combinations of effects to get a particular sound. Let’s try to identify the types of guitar effects available so you know which one is perfect for achieving the sound you want.

Distortion effects are popular in genres like rock, metal, etc. This is what produces the heavy, rough, raw sound you hear in these genres. Distortion effects can be divided into categories like overdrive/distortion (this is the well-known rough sound), fuzz (which is used to copy the sound of a vibrating torn speaker – thus being “fuzzy”), and high-gain (the thick, loud, “chugging” sound used in heavy metal). Almost all rock bands have these as a given, and is a good, basic investment.

Filtering effects are effects which shape the sound by enhancing or minimizing certain frequencies. Here you can find equalizers (similar to how normal equalizers work), and wahs (a foot-operated pedal that lets through increasingly higher or lower frequencies by rocking the pedal). The wah pedal is named because it sounds like a person saying a long “wah” when rocked (the low frequencies are the “w-“ and the high frequencies are the “-ah” part). You can hear this mostly in funky grooves.

Volume effects are just that, they modify the volume in different ways. Examples of these are volume pedals (these are just volume knobs in the shape of a pedal which you can rock back and forth), tremolos (which is used to copy the sound of a volume knob being turned up and down quickly, making the tone “fluctuate”), and compressors (used to preserve a certain volume level as the signal gets louder).

Time-based effects take a sound signal and copy it, making a kind of echoing sound. Delay pedals can change the delay time between the original sound and the copied sound, up to very long delay times, making a rolling echo-like sound (a notable user of delay effects is U2’s The Edge). Reverb pedals, however, copy the sound produced in a large space, where little echoes pile up and decay quickly. Aside from distortion effects, these are also popular, and may be an essential part of your rig.

Modulation effects are effects which actually change how the sound sounds. Examples of these are phase shifters (which makes a sort of whooshing sound by copying the original signal and then putting it out of phase regularly), flangers (which create a kind of speeding-up or slowing-down sound), chorus pedals (copying the sound of several guitarists playing at the same time), and rotary speakers (copying the sound of a signal going through spinning speakers, making a kind of wavy pitch-changing effect). These types of effects are used to create those experimental, space-age-sounds.

Pitch shifters change the pitch of a signal, then combines it with the original sound so that it sounds like two guitars blending together in harmony. It can even be used as a bass guitar if you set it one octave lower than normal, or produce a video-gamey sound if set one octave higher.

You can experiment with combinations of pedals and connect them in chains to figure out what type of sound you want to create. After a while you can tell which effects were used in your favorite songs, and I hope this introduction can help you on the road to creating your own sound, and adding new dimensions to your musical adventure.

If you are learning the guitar as a beginner, as a slightly more advanced player or as someone coming back to playing the guitar, you can appreciate how frustrating it is learning the skills and techniques without seeing any noticeable results. The time and effort that many put into exercises don’t seem to be reflected in their standard of playing. There also seems to be a frustration in the lack of quality information on the market.

Ben Edwards and the team at Jamorama have bucked the trend with the latest version of Jamorama. They had considerable success with their first release of Jamorama, and given the positive feedback from the success of this package, the team decided to develop the product further. They have come up with a new package that is unrivaled in terms of quality and its comprehensive nature. This package truly does enable guitar students to accelerate their learning, and includes an impressive array of features.

In addition to the quality information in the glossy two book series, the team at Jamorama has spent 1,000s of hours developing 148 video examples and exercises so the student can hear and see exactly what they should be doing. The Jamorama team have also included two exclusive educational computer games to develop your skills in reading and training your ear to transcribe music. They also included the pro version of Jayde Musica and GuitEarIt! as free bonuses that give the student the ability to train their ear to recognize notes and transcribe songs from the radio. Both of these programs are very well made and presented, and most of all are easy and fun to play.

Add to this package the two additional free bonus ebooks “Advanced Learning Techniques for Guitar”.and “How to tune your guitar”. Advanced Techniques introduces the idea of mental visualization, which is a powerful tool in speeding up your rate of learning. Mental visualization uses the same pathways inside your brain other than the fact you are not performing the activity physically. The second bonus book, “How to tune your guitar” solves the problem with tuning guitars, and introduces the reader to the most effective way of tuning a guitar.

If that weren’t already enough the Jamorama Metronome also comes with the package at no additional cost.

With all of the information in this package there really is no excuse to delay learning to play your guitar. The Jamorama team has given the reader four high quality books, two fun educational games and access the Jamorama forum with all the resources you need to play like a professional in no time.

This package is by far the most complete and fresh approach to guitar playing that I have seen in a long time. I highly recommend this product because I do believe it will deliver results and have you playing popular songs like a professional using the most effective techniques. There is something here for every guitar player, regardless of ability. And at the current cost, it really is worth every dollar spent!

Click here to find out more…and accelerate your guitar playing today!

Guitars have been used with so much diversity in many musical forms.  The instrument is known by many as a classical solo instrument and the basic musical instrument in rock music.

In the previous chapter we looked at the “lingo.”  Now, let’s apply some of what we learned and get acquainted with this magnificent instrument; know its parts:

1.  Headstock.

This is found at the edge of the guitar’s neck. It is tailored with the instrument’s head for adjusting the pitch.

2.  Tuners.

The tuners keep the strings of the guitar stretched beginning at the base down to the knobs. Tuners likewise allow the guitar player to alter or modify the pitch either flat or sharp, depending on the player’s choice of music.

3.  Nut.

This is a tiny strip of hard medium or material which supports the strings in the intersection whereby the “headstock” meet up with the “fret board”.  The strips can be made of plastic, bone, graphite, brass or any hard medium and indented so as to secure the stings in position. The nut acts as one of several endpoints assisting the tension of the string.

4.  Fret board.

Also known as the fingerboard, it is a lengthy wood plank inserted with frets of metal that composes the top of the guitar’s neck.

The fret board of a classical guitar is flat and is a little curved diagonally on an electric and acoustic guitar.  The curve is calculated by the radius of the fret board that is the range of a “hypothetical circle” of which the surface of the fret board makes up a segment.

The smaller is the radius of the fret board, the more that the curve is evident.  When a string is pinched against the board, the string’s “vibrating length” is shortened thus creating a higher pitch sound or tone.

5.  Frets.

These are strips made of metal, particularly nickel alloy set in alongside the fret board that are positioned in points in conjunction with the string’s length that mathematically divides it.

When the strings are pushed down from the rear of the frets, this cuts the string’s length of vibration to give off different tones or pitches.

6.  Neck.

The neck is composed of the guitar’s fret board, frets, tuners, truss rod and headstock; all are fastened to long extension made of wood.  Usually, the wood that is used for the fret board will be of a different kind from that used on the remaining neck parts.

The firmness or stiffness of the guitar’s neck in accordance to its body is one determining factor of whether it is of good quality or not.

7.  Body.

The acoustic guitar’s body is an echoing cavity projecting the vibrations through the guitar’s sound hole which enables the audio of such instrument to be clearly heard even with no amplification.

In acoustic guitars, its body is a big determining factor in the overall sound it produces. The soundboard or guitar top is a delicately engineered and crafted component that is usually made out of red cedar, spruce or mahogany.

This very thin slice of wood, generally measuring only 2 – 3 mm thick, supported by different kinds of internal brackets, is the most pronounced and important element in influencing sound quality.

Most of the sound is produced by the guitar’s top vibration as the momentum of the vibrating cords is transmitted to it.

8.  Pickups.

This is what really amplifies the cords sound. Most guitars have one to a maximum of three pickups. The kind of guitar pickup is reasonably important, depending on a particular sound that you are aspiring for.

9.  Pickguard.

Commonly called the scratch plate, is a plastic guard or any laminated medium which protects guitar’s top finish.

The pickups as well as almost all electronics in other electric guitars are framed and inserted atop the “pickguard”. On “acoustic guitars” and several “electric guitars”, the pickguard is directly inserted to the top of the guitar, and on guitars having carved tops; the “pickguard” is raised.

10.  Bridge.

On acoustic guitars, the key objective of the guitar’s bridge is to hand over or shift the string’s vibration to the “soundboard”, which then shudders the air within the guitar, thus increase and strengthen the sound created by the cords or strings.

Go ahead, explore the parts of your guitar to better acquaint you with this wonderful instrument, test it too and see where it will take you.  Enjoy!

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Knowing how to choose the right guitar and how to identify a bad one, will save you from countless headaches, not to mention finger aches.

Acoustic guitar bodies come in basically the same hourglass shape, with some variations, but they do vary in size, color, wood-type, style, and extra features. You can even buy an acoustic guitar so small that fits into a hiking backpack.

The most common type of guitar in use today is the folk-style of guitar. This is the guitar you will see played around most campfires and parties, and is the one found in most music groups, church choirs, and in the corner of most homes.

Guitars come in a very wide range of prices, but when it comes to instruments, in general, you get what you pay for, especially when you buy new. There’s a difference between getting a bargain and buying cheap.

But whether you buy new or used may be determined by many personal factors, and each has their own pros and cons.

Buying new, gives you a warranty and, hopefully, a return period, if for some reason you’re not totally satisfied with your purchase, or something goes wrong.

Under ‘normal’ circumstances, a used guitar can usually be purchased cheaper and has already gone through its “break-in” period.

Commercially built guitars are usually mass manufactured. “Custom-made” guitars are exactly that. They are custom built and tailored to your specifications by a highly skilled guitar maker.

Prices for a custom-built guitar vary considerably, depending on the skill level of the craftsperson you contract the job to, but, as a rule, they are generally quite higher than a commercially built guitar of “similar” quality. Each custom built guitar is unique and therefore hard to compare in price to a commercially built guitar.

FOR THE “TECHIES”

Understanding some of the parts of a guitar will definitely help you when it comes to the Pre-Purchase Checklist.

BODY: This is the part with the sound hole in the front. It is where the strumming is done, and it can vary in size. The actual size, shape, type of wood, coating, and general build of the body also affects how the guitar will “sound”, whether it’s a rich and warm sound, or a thin and ‘twangy’ sound. The body tends to be the part that also gets scratched, damaged, and generally banged-up the most.

NECK: This is the long piece extending from the body and ends at the ‘head’ of the guitar where the ‘Tuning Heads’ are, also known as ‘machine heads’. The strings travel from the ‘Bridge’ on the body, across the sound hole, along the ‘Fret Board’, which is attached to the front-side of the neck, and finally arriving at the tuning heads where they are wrapped around tuning posts. The tuning heads are then turned by hand, which then turns the posts, making the strings tighter or looser, thus affecting their ‘tuning’. Necks tend to warp and twist if not looked after, or if the guitar is left propped against a heat source.

BRIDGE: The Bridge is normally located on the front of the body, by the sound hole, and on the side of the hole opposite to the neck. The strings are usually fed through the bridge first before they cross the hole and travel up the neck to the tuning heads. The bridge is like an anchor-point for the strings. Metal bridges are best, but on most acoustics they are either hard plastic or wood. Bridges have a tendency to crack and split over a long period of time.

FRET BOARD: The fret board is glued to the front of the neck. This is the part you press the strings onto to make chords or play individual notes. Because it’s glued on separately, a fret board can be made of a wood that’s different from the neck.

The strings travel over the fret board and the distance they are above the fret board makes a difference to the playability of the guitar. If the strings are too far above the fret board, then they will be hard to press down, making the guitar hard to play.

When a beginner plays a guitar, initially his or her fingertips are very soft and need to be hardened. A guitar with the strings too far above the fret board, also known as having a ‘high action’, will cause the player’s fingers to hurt so much that they are likely to put the guitar away in discouragement and possibly stop playing altogether.

STRINGS: Acoustic guitar strings, come in a wide variety of ‘flavors’. They can be made out of nylon, brass, steel, or a combination. Nylon strings are usually only found on Classical guitars and Student guitars, because they’re easier on the fingertips. They have a rich, warm sound to them.

Strings sets come in different ‘weights’, or sizes. Strings that come from a package marked ‘Heavy’ are usually quite thick in size and sound “beefy”. Strings that are light, or extra light, are very thin and usually have a brighter sound to them, but are also quieter sounding than heavy strings.

String choices are purely personal taste. Light strings are easier to press than heavy strings but also sound quite different. The more often strings are played, the dirtier they get. If a cloth isn’t run over and under them, from time to time, the sound becomes very dull

THE PRE-PURCHASE CHECKLIST

- Before you buy a used guitar, cost-compare against the price of a new one, unless the guitar is quite old. You could also compare its used price to other used prices by going to an online auction and either searching for the same or a similar guitar.

- Check the overall condition of the wood for cracks, scratches, splits, dents, chips, etc.

- Also check the lacquer finish for cracks and splits.

- Check the neck/fret board for warping and twisting. You can do this by holding the guitar flat on its
back, with the sound hole facing upward. Bring the guitar up to eye-level, with the neck running away from you and the edge of the body almost touching your face. Let your eyesight skim across the front of the body and down the fret board. You should be able to see if the neck is twisted or bowing.

- Tune the guitar, or have the seller tune it for you.

- If you know how to play about five or six chords then play them. If you don’t know how to play, ask the seller to play them for you. This check ensures that the neck of the guitar is not warped, even though you couldn’t physically see it. If the neck is warped, and the guitar is properly tuned, then some of the chords will sound good, but others will sound as though the guitar is not tuned. If this happens, check the tuning again. If it persists, then don’t buy the guitar.

- Check the bridge of the guitar. If it’s made out of wood or plastic, make sure it’s not cracked or splitting. The bridge needs to be rock-solid, as a lot of pressure is exerted on the bridge by the strings.

- Check the tuning heads. Do they turn easily, or are they very stiff and hard to turn. Even with the high tension of the strings, a quality guitar will have tuning heads that are fairly easy to turn.

- Check the ‘action’ of the guitar. Are the strings a fair distance from the fret board? Are they easy or hard to press down at various points on the fret board?

- If you are buying the guitar for yourself, and you know how to play, even if you’re a beginner, then play the guitar.

- How does it feel?

- Is it easy or hard to play?

- Can you fit your hand around the neck/fret board comfortably to play chords?

- Is the guitar a comfortable size and shape for your body? Is it easy to hold?

- If you plan to play standing up, ask for a guitar strap.

- Do you like the sound, the color, etc?

- If you don’t play, have someone else play it for you so that you can judge what it sounds like.

WHERE TO BUY

Buying a guitar from a physical retail music store allows you to ‘test drive’ the guitar and ask more questions up front. Buying online or from a catalog may bring you more cash savings.

No matter where you buy your guitar, if you know what to look for, and spend a little extra effort in your search for that ‘perfect’ guitar, not only will your fingers thank you, but also your ears, and all those who will come to join you around the campfire, or even go to see you in concert. Who knows?

Happy playing.

Tags:
Guitar,
Instruments,
Music General,
Musical Performance

Source: Instruments

California-based guitarist Kenny Carr served as a sideman with the legendary Ray Charles for over ten years. He is one of many players that are not yet household names. Musicians such as Carr perform huge roles with major acts and largely go unnoticed except by fellow players. Changing Tide is Carr

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