Enjoy!

The research was carried out by Professor Adrian North of Heriot Watt University, is the largest study of its type.

His research concluded that classical music fans were shy, while heavy metal fans were gentle and at ease with themselves.

Prof. North said the research was “significant” and “surprising”.He said: “We have always suspected a link between music taste and personality. This is the first time that we’ve been able to look at it in real detail. No-one has ever done this on this scale before.”

The Professor believes his research could have many uses in marketing toward music fans, adding: “If you know a person’s music preference you can tell what kind of person they are, who to sell to.

“There are obvious implications for the music industry who are are worried about declining CD sales.

“One of the most surprising things is the similarities between fans of classical music and heavy metal. They’re both creative and at ease but not outgoing.

“The general public has held a stereotype of heavy metal fans being suicidally depressed and of being a danger to themselves and society in general. But they are quite delicate things.”

The study asked the 36,000+ people to rate 104 styles of music and asked questions about their personality. The study continues, and Prof. North is looking for people to take part in his online questionnaire.

The first ‘band’ i was in was one with my brother and my second cousin, we jammed Nirvana covers (well it was the early nineties after all!) in our school music room but we never got as far as playing any gigs!

The second band I played in was an indie-style, ‘Gomez’ style band. This was my first real experience of playing in front of an, albeit rather small, crowd. I played quite a few shows with the band as a bass player, which is what I was trained to play at school and by my father who played as a bassist for many a band for over 30 years.

Part 2 tomorrow…

One says Nevin is music and Bach is noise. One declares Mozart to be noise and Stravinsky, music. Another reverses the definition. Even the dictionary tells us that “music is the art of combining tones to please the ear.” Whose ear – yours or mine?

A French writer, Jules Combarieu, is more general, and declares it to be “the art of thought in tone.” In other words, it is an art, not a natural phenomenon; it deals with tones, and it presupposes thought; that is, educated mental action and discrimination. “Thought, using tone as its medium, creating an art work.”

And still, this leaves open to discussion, “What is an art work?” We journey back to the starting point, you saying Mozart created art works, and Schonberg didn’t; while I may pin my faith to Cadman and Herbert.

One might reduce the definition a little, and make it more generally satisfactory, by saying music is “thought expressed in tone.” This would exclude noises – casual, unbrained combinations of tones – and require definite mental application, presupposing a knowledge of the essentials of musical construction.

While this definition may be satisfactory to you and to me, there are those whose idea of music is so different from ours, that only a definition to fit their own particular style would suit them.

One says music should be impersonal, abstract. Another school declares that it should always tell a story. Still another division of the musical public says that music should go much farther than the dictionary definition above quoted; that it not only is the art of “combining tones to please the ear,” but that music should represent the whole of life, whether it pleases the ear or not.

In other words, if the subject portrayed is one of pain, horror or calamity, then the music must be of clash, cacophony, discord, entirely abjuring the idea of beauty or “pleasing the ear.” Out of all this, long ago, arose the question whether it was the function of music merely to be beautiful, or whether, like painting, its mission is to portray all of life – good and bad, pleasure and sorrow, happiness and horror.

That is a question no part of the world can settle for the rest. Ever since music reached an advanced stage of development, it has been a bone of contention among musicologists and composers, and, no doubt, it will so continue for decades, and possibly for centuries.

So, not to enter discussion of it, the simpler way is to accept such a generalised definition as that suggested above, and classify music as “thought expressed through tone,” to which hardly any school of music, or composition, can take exception.

Group Lessons: Learning guitar in a group setting can be less intimidating for the beginning musician. You not only get the benefit of having a teacher to help you along you can often judge your progress by where the other students are in the class. The worst part about taking guitar lessons in a group setting is the teachers time is divided so you may not get as much attention as you might need.

Private Lessons: This is the best way to learn to play the guitar if you can find the right teacher. The instructor can gauge your progress each week and custom design your lessons for you. You have your teachers’ undivided attention and you can ask anything you feel is not clear. CD Lessons: There are many instruction CDs available in nearly any style you can think of. The advantage of this style of learning is you can listen to the CD as many times as you want. Any part that is not clear can be replayed as many times as needed. The disadvantages include the songs may not be the ones you desire to learn and the instruction is more general without any way of knowing where you are in your musical journey.

DVD Lessons: Instruction on DVD includes all the good and bad points of the CD instruction. The number one advantage to learning guitar by watching DVD video is you can see what the instructor is doing. Visual learning goes a long way toward answering the questions burning in your mind.

Music Books: Music books are a time-honored way to learn how to play the guitar. You can find more books on more different styles than most any other way to learn. You need to be proficient in reading music if you do not know the song you are learning. Most folks have a hard time getting the song right if they do not know the song they are learning.

Internet: In these modern times the Internet is a wonderful resource in learning to play the guitar. There are many websites that will show you how to play the exact notes your guitar hero plays. Membership sights are plentiful where for a small monthly fee you can learn most any style you choose.

Friends: Do not overlook your guitar playing buddies. Most guitar pickers are a friendly bunch who will be more than happy to help you along.

Slowing Down Recordings: You can purchase software that slows down your favorite recordings. This allows you to hear each phrase at a speed where you can pick out the different notes. This is a great way to learn to play.

Playing With Other People: The very best way to learn to play the guitar is to get together with other people and play. This is the fastest way to learn. You will learn more by getting out and playing with other people than you ever will sitting at home playing by yourself.

The method you decide to use to learn to play guitar is up to you. Try to practice four or five times a week for 30 minutes at a time and you will be playing guitar before you know it.

Let’s consider some potential threats to your acoustic guitar. Some of these threats may be glaringly obvious while others may be a bit more obscure. While it would be impossible to include every scenario or potential threat element in one article, perhaps the items mentioned in this article will prevent a new guitar owner from experiencing the certain regret associated with a damaged instrument.Here is a list of things to be aware of that could be a potential threat to your acoustic guitar:

1. Stage Damage

I mention stage damage first because it is the most common factor I have seen regarding damage to acoustic guitars. Countless guitarists have severely or irreparably damaged their acoustic guitar by failing to take extra precautions on stage. When setting up on stage, it is necessary to have a solid and secure guitar stand. Quality acoustic guitar stands are designed to stabilize your instrument. Be sure to buy a sturdy stand that has a low center of gravity. You will be well advised to spend the extra money required to obtain a higher quality guitar stand.

Also, set your guitar on the stage in an area where it is less likely to be upset by anyone passing by the instrument. Be sure to do the best you can to set the instrument away from cords and cables. This may prove to be easier said than done, especially in a tight stage setting, but the bottom line is to do your best.

Finally, whenever possible, place your guitar on stage as one of the last items to be set up. The less time the instrument is on stage, the less risk there is for accidental damage.

2. Climate and Element Effects

One might be surprised to note the statistics related to acoustic guitar damage which are caused by the elements. Some of the scenarios associated with this damage are very obvious while others may not be so easily recognized.

A. Heat and Sun Damage:
Be very careful not to leave your guitar in a closed automobile in the summer months. Extreme heat can severely damage the instrument and may void your manufacturers warranty. Be very careful not to leave the instrument in direct sunlight for extended periods of time. This rule applies even if there is sufficient ventilation in the area.

B. Rain and Water Damage:
Be careful not to leave your acoustic guitar outside during wet weather. Also, be very cautious when you are playing around a pool or fountain. Be mindful of the wind if you are playing outdoors near a fountain or waterfall.

C. Humidity Effects:
If you live in a very dry climate such as Arizona, you are well aware of the effect that extreme dry conditions can have on many objects. Your guitar is not exempt. However, you do not have to live in Arizona or any other extremely dry climate to be mindful of the effects dry air can have on your guitar. This is especially true over long periods of time.

TIP: Here is a great tip that will prolong the life of your guitar. Also, over time it will help the instrument to age with mellow tonal qualities:

Get a zipper style plastic sandwich bag. Create perforations in one side of the bag (15 to 20 holes with a hole punch). Get a small household sponge, one that fits easily into the sandwich bag. Make sure you get a clean, new sponge. Saturate the sponge thoroughly, but NOT dripping. Place the sponge in the sandwich bag. Close the zipper. Place the sandwich bag in your guitar case with the perforated side of the bag facing up. This practice will keep your acoustic guitar from drying out in any climate. Over time it will also help prevent your guitar finish from crazing (cracking). This simple tip will add life to your guitar.

3. Improper Storage

During the life of your guitar you may find it necessary to place the instrument in storage. If you find you need to store the guitar for an extended period of time, consider these simple tips.

A. Store In A Snug Fitting, Plush Lined, Hard Shell Case
B. Remove The Strings
C. Clean And Polish The Instrument (Using Protective Wax Or Wood Preserving Oil)
D. Place The Plastic Baggie Containing Wet Sponge In The Case (TIP: Mentioned Above)
E. Store In A Cool, Dry Place
F. Loosen The Truss Rod (If Applicable)

Taking the time to properly prepare your acoustic guitar for storage will extend the life of the instrument. It will also help to ensure your guitar is unaffected by its time in storage.

4. Children And Pets

This category is obvious. Keep your guitar protected from damage and abuse by keeping it out of the reach of children. This will not only protect your guitar, it will also protect a small child from being injured by the instrument. A falling guitar can be dangerous to a small child. The guitar also has sharp string ends that can puncture the skin. If your child is old enough to have an interest in the instrument, by all means provide the child with an inexpensive entry level guitar of their own.

Finally, many times Fido loves to chew or Felix loves to scratch. Keeping your acoustic guitar out of the reach of your pet is safe and beneficial for everyone involved, especially your guitar.

Picks used to be earlier made from animal bone or tortoise shell, but nowadays they are mostly made of plastic. They come in various sizes and shapes. I recommend beginners to use medium size picks because these are the easiest to play with. This is of course only a suggestion, a general rule of thumb and not an absolute. You might experiment with picks of different shapes, sizes and materials to find out the one most suitable for yourself. Also because picks get easily frayed and perhaps, as easily lost, it is a good idea to keep quite a few picks with you at home. Having a few picks in reserve is not difficult as they are fairly cheap.

Let me now tell you the proper way to hold a pick. In the following guidelines, I shall assume that you are a right handed guitar player, i.e. you hold the pick with your right hand.

The first step is to hold out your right hand and stretch out the palm with its face open towards the left side of your body. Now lightly clench your fingers onto your palm and place the thumb on the upper side of the first (the biggest) joint of your index finger. Next place the pick into this gap between your thumb and index finger and hold it firm. Do not hold it very tight. Also be careful not to hold either too much or too little of the pick. You should leave uncovered just enough of the tip of the pick for you to strum the strings.

Then try to strum the strings slowly one by one, upwards and downwards. Your aim would be to generate clear and sharp notes. In the beginning the pick might just slip from your fingers. Do not be frustrated. Use this exercise to determine exactly how strong your grip on the pick is required to be and how much of the pick is required to be left free. Remember: you can acquire your own rules only with practice.

As for the rest of your fingers apart from the thumb and the index finger, you can position them in two ways. You can either keep them in a curled grip or you can leave them loose. Personally, I prefer to leave them loose and extended, because these can then be used for several different purposes. As you gradually acquire more advanced guitar playing skill, you could use these free fingers to pluck the strings at the same time as you use the pick. You can also use these fingers to tap a beat on the body of the guitar, or to use the tremolo mechanism, as also to adjust the volume of your electric guitar.

Apart from this, there are three other ways to hold the pick. Although I perso nally would not recommend them, you might find that those methods suit you better.

Some people hold the pick between the thumb and the middle finger. This method allows you to hold the pick firmly and steadily but it makes it difficult for you to use your remaining fingers to strum properly when you require. Alternatively some people place the thumb on the second joint of the index finger to grip the pick. Although this, once again, allows a strong grip, it reduces the flexibility of the picking. And finally, some people use the thumb, the index finger and even the middle finger all together to hold the pick. In this method, since you take up one additional finger to hold the pick, you have only two free fingers to pluck the strings which could possibly handicap your style and make it unsuitable for the more difficult guitar scores.

I hope that following my guidelines for holding a pick will prove effective and beneficial for you. I am sure that if you can practice keeping my advice in mind, you shall find playing the guitar that much easier and more productive. Happy playing!

The first step is to familiarize yourself with the tone that each of the strings should produce. The sequence, starting from the thickest and going to the thinnest string, i.e. from top to bottom, is: E, A, D, G, B, E. the grave or low E is referred to as the 6th string, the A as the 5th, and so on. It is best to start at the grave E and to tune it as best as you can. Having another instrument which is in tune, like say a piano or a harmonica, makes it easier to tune a guitar, for it can then provide a tangible reference. But even without it, one can attempt the tuning based on the 6th string. Usually, because the 6th string is the heaviest, it is also the most resilient to the impact of forces that cause the guitar to go out of tune. So, this 6th string is most often already in, or close to, tune. The 6th string note should match with the 1st E below middle C. In case any other instrument or tuner is absent then simply try to get these as close as you can. What really matters is that the guitar should be in tune with itself.

The second stage of the tuning begins by your positioning the index finger of your left hand just behind the 5th fret on the 6th string. This would give you an A note. Now pluck the 5th and 6th strings one after the other while adjusting the tuning peg for the 5th string so that the two notes sound identical. Next, position the index finger of your left hand just behind the 5th fret on the 5th string. This would give you a D note. Pluck the 5th and 4th strings in turn and adjust the tuning peg of the 4th string until the two notes sound the same. The same procedure can be used to tune the remaining strings right up to the high E. This part about tuning the guitar is fairly straightforward, and easy to manage with a little practice. What is, however, more difficult is keeping the guitar in tune, and preserving your instrument against damage.

Always take precautions to keep your guitar in a place which is not exposed to extreme temperature variations. This will not only undo the tuning of the strings but may also warp and damage the wood.

It would pay to remember that any violent impact or jostling tends to cause the guitar to go out of tune. It is therefore advisable to check the tuning every time the guitar gets dropped or bumped. Before tuning any particular string which you consider to be out of tune, always remember to match it with the other strings. The one you suppose to be out of tune could very well turn out to be the only one in tune!

Learn to trust your ear. Refine it and treat it as your ally. If while striking a note or a chord, the sound appears a little off key, take the time out to investigate. If required re-tune the string.

If a string breaks, take care to attach the new string properly to the machine head and not only to the tuning peg. When tuning these new strings always ensure that you have stretched them to tune. You could try pressing them down with your right hand while picking them with your left. This would allow the string to stretch into tune and prevent any variations of note later on due to slackness.

And most cardinally, make it a habit to tune your guitar every time that you play. Yes, guitars do go out of tune at the slightest opportunity. But rather than be bothered by this, learn to use it as an opportunity for tuning your guitar and attuning yourself with it.

As the soundboard vibrates, sound waves are produced from both the front and back faces. The sound box provides both a support for the sound board and a resonant cavity and reflector for the sound waves produced on the back face of the soundboard. The air in this cavity resonates with the vibrational modes of the string (see Helmholtz resonance), increasing the volume of the sound again. The back of the guitar will also vibrate to a lesser extent, driven by the air in the cavity. Some sound is ultimately projected through the sound hole (some variants of the acoustic guitar omit this hole, or have f holes, like a violin family instrument). This sound mixes with the sound produced by the front face of the soundboard. The resultant sound is a complex mixture of harmonics that give the guitar its distinctive sound.

No amplification actually occurs in this process, in the sense that no energy is externally added to increase the loudness of the sound (as would be the case with an electronic amplifier). All the energy is provided by the plucking of the string. The function of the entire acoustic system is to maximize intensity of sound, but since total energy remains constant, this comes at the expense of decay time. An unamplified guitar (one with no soundboard at all) would have a low volume, but the strings would vibrate much longer, like a tuning fork. This is because a damped harmonic oscillator decays exponentially, with a mean life inversely proportional to the damping. When the strings are driving the larger soundboard and sound box, the damping is much higher.