A Modern Guitars reader recently asked me to talk a bit about the seven-string guitar, why I chose it and what keeps me playing it. My introduction to the seven-string was hearing the recordings of the great George Van Eps.

The first time I heard about Van Eps was in high school at the school's library. They had a good supply of back issues of Guitar Player magazine one of which had Van Eps on its cover. What high school library today would have something like this? I learned so much about jazz guitar and other guitar styles from reading GP back when it was less concerned with what was popular. So, before heading to Berklee I knew quite a bit about Van Eps and Johnny Smith courtesy of Guitar Player.

Once at Berklee I spent many hours listening to the reel-to-reel tapes held in its library. That's where I first heard all of the rare Van Eps and Johnny Smith recordings I could never find or afford. I believe that Bill Leavitt had a lot to do with getting those recordings in there. While studying with Bill I became fascinated with plectrum guitar like early Van Eps, Johnny Smith and Oscar Moore. I worked my way through Van Eps' first method book; the slim volume published by Plymouth Music and later by Mel Bay. I held onto the pick exclusively until after Berklee when I decided to attempt fingerstyle.

Van Eps and Lenny Breau were my main influences in the fingerstyle arena. Studying all of the books and recordings of George Van Eps led me to the seven-string guitar. While doing the Van Eps motion studies on the 6-string I wanted to continue the bass line to its logical conclusion. If the study were in the key of C, I'd want to get down to a low C. (I tune the seventh string to a low A which is the same pitch as a bassist's A string.) A few years ago John Pisano told me that my hands are about the same size as Tal Farlow's so I have no excuse when it comes to reach. I feel very comfortable playing a seven string with a fingerstyle right hand. Even when I play pickstyle rhythm and single note lines the seven string still feels good to me.

The advantages of the seven string are many. Whatever key the song is in there will always be sufficiently low bass notes. Chords will sound bigger with fewer notes in them and that is the real secret with a seven-string. Three note chords can sound huge and there is always at least one free finger to assist in creating movement within the chord or getting to the next chord in the progression. In the Lenny Breau style of 2 note comping chords below a melody line, if played in open keys, low bass notes can be added with the seventh string. (Lenny used a seven-string with a high A.) When playing single note lines I like to dip down onto the seventh string to continue an idea. When composing a song the extended range can be beneficial in hearing the full harmonies without the aid of a bass player or going over to the piano.

I have no doubts that I'll continue to play the seven string guitar. It has been about 13 years since I've played one exclusively. Philadelphia luthier Bill Comins designed my favorite seven string guitar. Bill is a great artist and a wonderful human being. I feel privileged to be an endorser of such a fine instrument. It is a 16" Concert Model seven-string, the most comfortable seven-string I've ever played.

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Above photos by and courtesy of Michael G. Stewart.