Hello fellow string pluckers.

I 've noticed that there are two types among my guitar students - the semi-serious and the serious. My approach to unraveling the guitar is to introduce them to Berklee College of Music, Vol 1. This book will have a non-reader not only sight reading but have them playing melodic and harmonic materials. These exercises enlighten one as to how much music potential is found in only 12 notes.

I also introduce them to a few little guitar melodic things that can be taught by rote to the novice, hopefully, things they have heard before. Next, I'll stress the importance of finding melodies on one string because this helps facilitate relative pitch and playing out of position so one can access similar timbres and helps develop access in a more musical way, giving you more of a pianistic look at the instrument.

Most students are amazed at this perspective. I tell them to look at the way Wes used to play mainly with only three fingers of his freting hand. I believe the 3-finger approach helps to maintain a "stronger" sound, string to string. I was always told to use all the fingers. Well, I do for chords when needed and a few single line solos, but even George and Django use a three finger approach.

I've had to facilitate alternate picking. It's good practice to alternate your picking on one string while even watching TV. In fact, I often practice while watching TV. I didn't do this for several years, especially when first learning and stealing ideas from others. Now, I'm amazed at the lines I can come up with that will fit different chords.

I always tell students I want to show you enough for you to teach yourself. I stress that copying others or having a role-model is essential for awhile but eventually becomes a dishonest way of expressing oneself. The "words", while derived from other sources, shouldn't be a carbon copy of others.

It's amazing how much technical ability is often appreciated over someone who has left that crazy/deceptive arena and who has tried to be honest musically and non-musically speaking. I remember certain guitarists/critics using Grant Green as an example of non-technical prowess. Bet you he will be remembered more than they will by those who know better.

Time feel is the essence of "jazz" not the notes. Ever wonder why people who have perfect pitch are often not that happy inwardly until they have stopped "stealing" from others and started creating? Wes was an example. I try to tell musicians the importance of playing with time as well as playing on time. I used to have a time problem, mainly the result of me thinking too much while playing. If I had been more fortunate to have worked more with the naturally great cats jazz-wise, the B.S would have have been stifled. Most of the school cats have yet to learn this.

Until next time.