Aug 21, 2012 NEWCOMB GUITAR METHOD
Posted by Larry Newcomb
Regarding ‘Hand Vibrato’, here’s a suggestion which may resonate:
Use vibrato sparingly and with much consciousness because a little goes a long way. Know when to use vibrato. When it’s appropriate, know how much to use. Go slow with this!!! Less is more, IMO.
Running Fender Amps on 10!
With the amp on 10, the volume potentiometer on the guitar can be just slightly open and you still get very rich tones.
JAZZ TONES ON A FENDER TELECASTER (Neck or Middle Position)
Here’s the opposite approach. See what works best for you!
Run your volume knob almost full! Run your tone knob about half-way up!
You may prefer to use a tube amp; but, a Polytone seems to sound “jazz” no matter what.
A fellow guitarist said — and I agree — a Telecaster can sound great no matter what amp it’s plugged into.
The bottom line: 98% of tone in your touch!
Concerned Friend: “How many guitars does a guitar player need? Guitar Player: “One more!”
I am enjoying FREEDOM from G.A.S. (Guitar Acquisition Syndrome) because I finally realized guitars are not here to comfort me; they are vehicles with which I express something about myself and my life.
Guitars are not here to energize me so much as I am here to energize them! To express my energy through them. In order to keep things in proper order, I need to be connected to an internal source of energy and to stop searching outside myself for that energy.
Granted, over the years, I’ve put together a fine assortment of guitars & amps. I use them all in my job as a working player & teacher. By resisting the eternal quest for the “perfect” guitar — “one more” never is — I’m enjoying the ones I already own like never before.
In my experience, Guitar Mastery comes as a result of Simplicity & Repetition:
Focusing on small manageable bit of musical information – such as a two-bar phrase – and playing it at a slow tempo and in time; with a clear view of the strings and the fingering involved; and with good & comfortable technique … then repeating that “musical cell” many times. I find it very helpful at the same time to visualize the chords on which the “cell” is based on the fingerboard.
After many repetitions, execution of the phrase or fragment becomes “second nature” or what I call “owning it.” To relieve monotony, try playing the phrase at positions I thru XII up and down the neck and on as many “string groups” as possible. For instance, if the phrase takes 3 adjacent strings to play, you can play it on strings 1-3; 2-4, 3-5, and 4-6. After a while, when repetition and relaxation come together, good tone begins to emanate along with a feeling of confidence and accomplishment.
Practicing in this way day after day builds excellent technique and is very enjoyable.