As a former engineer, I constantly ask myself: "What is the best way to learn guitar?" (or more specifically "What is the best or most efficient way learn a musical instrument?". This is especially true after I went back to college at age 36 to study jazz guitar. With pretty good technique from being an 80's shredder, and with a good work ethic (from Master's Degree in Engineering, and Diploma in Object-Oriented Programming) people were telling me I'd have no problem learning jazz - I just needed to "learn the theory" since I already had the chops. Boy was this a wrong assumption!

In Classical music, in which I don't claim to be an expert, musicians spend a lot of time playing songs. These are scores by Bach, Mozart, Beethoven, Paganini, etc and these composers usually have written many etudes. This means 'study' in English and provides a means to develop one's chops, but in a musical manner. Sure these musicians also practices their scales. When you go to see a classical concert, the performer has undoubtedly spent countless hours playing and replaying the piece until it is up to speed and perfect. While no one really understands how learning works exactly in the brain, the usual comments are that this practice builds up muscle memory in the hands and head. I doubt any musician could play a challenging piece at full speed the first time it is placed in front of them. There are stories of famous jazz musicians who couldn't solo over songs like Giant Steps at first because of the unusual chord progressions - these are people who were excellent musicians, knew all their scales and theory but were frozen. I view improvisation and the spontaneous combination of pre-rehearsed ideas, not as mysterious as many artists would like to project. Even Charlie Parker was quoted as saying "Learn the changes, then forget 'em". I interpret this to mean "learn what works over the progressions, get them into your ears so that you hear them and reproduce them without much thinking".

When I think back to how I learned guitar, I spent most of my time trying to learn songs. This was because I was inspired after hearing a song. I needed to be able to play that tune! The challenge was that often these songs were so far beyond my technical ability at the time. And they usually incorporated way too many techniques in just one solo - bends, slides, hammer ons, pull-offs, two-hand tapping, sweep arpeggios, economy picking, legato playing, pinch harmonics, you name it! When this happened I had to isolate the issue (sweep picking) and get this working before adding it back into the main song.

Music is a language - the way we learn a language is by imitation. Early on ,we learn words and phrases without really understanding what we're saying, then we assimilate the information and eventually innovate or improvise in daily life when we speak sentences to each other. Learning a style of music like rock or jazz should be the same way. Most of us never learned all the technicalities of the english language but we picked it up by listening, reading, speaking and making mistakes and being correct by our parents or teachers. Learning music should be the same.

There are many components to being a well rounded, professional musician, especially when improvisation is required. You need to learn scales, intervals, triads, arpeggios, chords, sight reading and ear training to name a few. These things as practice items themselves should be a smaller percentage of your overall practice time (say 20%). You need to have at least the basics down -such as the ability to alternate pick, hammer on, pull off, chords, etc. I had top marks in courses like jazz theory, put in tons of practice time, but still wasn't happy with my improvisation ability. Most times it felt like a deer in the headlights.

I recently was lucky enough to find Jazz Sax Etudes by Greg Fishman from Chicago. He teaches differently than most, using tunes to inspire and teach students, and focusing on the songs. His instructions are to first get the tunes up to full speed BEFORE diving into all the theory.

So in summary, my point is that the best way to learn guitar in any style is by learning songs you love. Songs you love will inspire you to keep practising and to get better. These songs will teach you the techniques you need to learn. Transcribe the songs, slow them down, buy a book to get the correct tab, do whatever you have to do to get the song down on paper. Remember that at slower speeds any song is playable by anyone! I use software called "Amazing Slow Downer" to slow down tunes and then I play along with the slowed down version. Play it slower at whatever speed you can play it perfectly, then slowly increase the speed until you have it at the actual tempo. If you have problems at speeds of 50% or less, isolate the problem areas until they match your ability with the rest of song.

Will Kriski is a guitarist, songwriter and teacher. He can be reached at wkriski@hotmail.com or via his website http://www.willkriski.com Will gives out many free songs and video lessons on youtube with tab.



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Richly talented Smooth Jazz artist Boney James has released his latest album titled Sweet Thing and Wow! It's good.

Sweet Thing grabs your attention right from the very first note with East Bay and won't let go until the very last note of the very last song It's All Good, which by the way is another great track.

Sweet Thing has a pleasantly varied, mix of 10 tracks that are very well written songs by this clearly gifted artist. With many of the songs displaying a lot of the kind emotion that makes for a really great listen.

If you're even mildly into Smooth Jazz music you'll enjoy this CD. Overall Sweet Thing is an outstanding release. I give it my double thumbs up. You will not be disappointed with one single track.

While the entire CD is outstanding some of my favorites are track 2, Nothin' But Love, track 3, Words, and track 9, Ivory Coast.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 5, It's All Good. What a nice track!

Sweet Thing Release Notes:

Boney James originally released Sweet Thing on Mar 10, 1998 on the Warner Bros. Records label.

CD Track List Follows:

1. East Bay

2. Nothin' But Love

3. Words (Unspoken)

4. Sweet Thing

5. It's All Good

6. After The Rain

7. Innocence

8. I Still Dream - (featuring Al Jarreau)

9. Ivory Coast

10. It's All Good - (bonus remix, featuring Eric Benet)

Personnel includes: Boney James (saxophone, keyboards); Tony Maiden (vocals, guitar); Al Jarreau, Maxayne Lewis, Dee Harvey, Eric Benet (vocals); Dan Higgins (tenor saxophone); Jerry Hey (flugelhorn); Bill Reichenbach (trombone); Dan Shea, David Torkanowsky, Jeff Carruthers, Darrell Smith, John Stoddart, Alex Al, Daddy Shakespeare (keyboards); Paul Jackson, Jr., Peter White (guitar); Larry Kempel, Alex Al (bass); Lil' John Roberts (drums); Lenny Castro, Paulinho Da Costa (percussion); Bridgette Bryant-Fiddmont (background vocals).

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Their advertisements are everywhere you look. On telephone poles at the corner intersections. In the entertainment section of the local daily newspapers and Pennysaver Magazine. In your mailbox on direct mail postcards and of course the internet. A quick "google" search for Mobile Disc Jockey NY can yield 191,000 potential sources of information. Now of course most of us would limit our search to the first couple of response pages and go from there, but even with that kind of response how is someone supposed to know if they are choosing the right DJ for their event.

In order to make the right decision it is important to first have an understanding of six key points:

1. First off your DJ is responsible for 85% of the success of your event. That's right, next to the food, your Mobile Disc Jockey is the most important person you can invite to your party. If your DJ "sucks", you can rest assured your event will as well. Stop and think about it for a second. Who is the one who is in control of the pace of your event? Who is responsible for the entertainment of your guests? Who is responsible for keeping the right music playing and the dance floor full?

2. Second, not all Mobile Disc Jockeys are created equal. Just because a person has some sound equipment and some music CD's does not mean that person's equipment is professional, or his music library adequate. Believe it or not there are Mobile Disc Jockey's out there who are microphone shy. That's right! These DJ's absolutely refuse to use the microphone in any way, manner, shape or form. Some will make use of the microphone, but have absolutely no personality at all. In addition, some DJ's have elaborate equipment without the slightest idea as to how make it work properly.

3. Third, if you shop for price first you will be sorry in the long run. This is not to say that you can't find a great DJ at a great price, but let's make sure that when the event is over you fell not only that you've gotten your money's worth, but you and your guests had a really great time. I always say, "If the food is all gone and nobody is leaving, rest assured your guests are enjoying themselves and the Mobile DJ is doing his or her job properly.

So, with these three points in mind, how can you insure that you are making the right entertainment decision?

4. Fourth, get to know the DJ who answers the phone. From the minute they answer your call you must judge that person on their professionalism and ability to answer your questions. It's important to know how long they have been in business. Is your DJ, if required, licensed and insured? I know in most New York and Pennsylvania venues any reputable catering hall requires the Mobile Disc Jockey to have liability insurance. What kind of personality is it that you are looking for and does the person on the other end of the phone have the capability of providing just that personality. What about voice? Will the DJ put you to sleep or energize you and your guests, without going overboard? Where has the DJ performed before and are there references, testimonials and photographs available to you? Is the DJ a part time or full time Mobile Disc Jockey? Are they an owner operator and is it the person you are speaking to that will actually attend you event? Have they ever been booked for a party and just now shown up? Have they ever been late to an event? Don't be afraid to initiate a friendly conversation and judge accordingly on the DJ's ability to make you feel comfortable, or not. Remember your first impression is usually your best guide in making this type of decision.

5. Fifth, what kind of sound equipment will the Mobile Disc Jockey be bringing to your party or event? Is it new or old? What is the quality of the sound? Can it handle the size of your event room or will amps overheat and equipment breakdown? Will back up equipment be available at a moments notice if needed? I suggest asking for a list of the potential entertainer's equipment and doing a little checking on the internet. If nothing else you'll get to see what the DJ's setup will look like at your event. What kind of lighting will the Mobile Disc Jockey be providing? Are you looking for nothing special or a Studio 54 environment? What kind of microphones will the Mobile Disc Jockey have available? Will they, or it, be wired or wireless? Will a microphone be available to you if requested? Will the DJ handle the announcements? Will the DJ be dressed accordingly? How many people accompany this Mobile Disc Jockey? Will the DJ's music be provided on vinyl, CD or MP3 format? Exactly how many songs will be available to play at you event? Here's a fact for you. Most DJ's don't have the songs listed in their music libraries. The DJs website lists thousand of songs, but their actually repertoire is not anywhere close to the count. Will you have the opportunity to prepare a play and do-not-play list, and will the DJ abide by your requests? A play list will insure that you are listening to the music you want to listen to! Will there be back-up music available in case of a problem with a piece of equipment? Remember you have a right to ask questions to insure your satisfaction. Ask for an actual song list of the songs that the potential Mobile Disc Jockey has readily available.

6. Sixth, OK, price. You've seen the ads. Up to 4 hours only $195.00. Let me tell you something right here and now. If you believe that for $195.00 you are getting a Mobile Disc Jockey that will provide you with any type of quality entertainment, you are wrong. Let's take into consideration equipment, music, transportation, insurance, clothing, etc. There is no way that anyone could offer that kind of price and be legit or professional. Prices for Mobile Disc Jockeys vary in range from $500.00 to over $3000.00. It depends on the event and exactly what it is that you, the client are looking for. Some DJ's put together package deals that include this and that. I have always chosen to offer one price for everything. My philosophy is that if you are going to do something, then do it right. Do not shop price first! Make sure, no matter what you are paying, or should I say investing in a Mobile Disc Jockey is worth every penny you spend. It'll do no good to save a couple of hundred dollars and lose all of the potential memories that could have, or should have been made.

Eric Koppelman has been a Mobile Disc Jockey for over 24 years and still works very actively throughout New York, New Jersey, Pennsylvania and Connecticut. He is the owner of New York Mobile Disc Jockey.com and Chordiac Arrest Mobile Disc Jockey Entertainment. His clients describe their events as nothing short of amazing! Eric can be reached at 1-800-435-5760, via email at dj@newyorkmobilediscjockey.com or at http://www.newyorkmobilediscjockey.com



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Late Registration is the latest Rap CD put out by the highly talented Kanye West who once again has delivered a brilliant collection of tracks. I’m confident Kanye West fans, and Rap fans alike will be pleased with this one.

Unfortunately, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Late Registration. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

One of the refreshingly nice things about this CD is the way all of the participating artists seem to be really enjoying themselves. Combine that with the overall presentation and you’ve got one of Kanye West’s most impressive releases ever.

Listen to and I think you’ll agree that the song choices are excellent, the production is outstanding and Kanye West is clearly in top form.

While the entire album is outstanding the truly standout tunes are track 3 - Touch The Sky, track 10 - Bring Me Down, and track 21 - Late.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Wake Up Mr. West. Great track!

Late Registration Release Notes:

Kanye West originally released Late Registration on August 30, 2005 on the Def Jam label.

CD Track List Follows:

1. Wake Up Mr. West

2. Heard 'Em Say - (featuring Maroon 5/Adam Levine)

3. Touch The Sky - (featuring Lupe Fiasco)

4. Gold Digger - (featuring Jamie Foxx)

5. Skit #1

6. Drive Slow - (featuring Paul Wall/GLC)

7. My Way Home - (with Common)

8. ***** Music - (with The Game)

9. Roses

10. Bring Me Down - (with Brandy) 11. Addiction 12. Skit #2

13. Diamonds From Sierra Leone - (remix, with Jay-Z)

14. We Major - (featuring Nas/Really Doe)

15. Skit #3

16. Hey Mama

17. Celebration 18. Skit #4

19. Gone - (featuring Consequence/Cam'Ron)

20. Diamonds From Sierra Leone - (Bonus Track)

21. Late

Personnel: Kanye West (vocals); Common, Consequence, GLC, Jamie Foxx, Jay-Z, Adam Levine, John Legend, Keyshia Cole, Nas, Paul Wall , The Game, Cam'Ron, Lupe Fiasco, Really Doe, Deray, Tony "Penafire" Williams, Plain Pat, Don C., Brandy, Charlie Wilson (vocals); Dave Tozer (guitars); Ervin "EP" Pope, Tom Craskey (keyboards); Keenan "Keynote" Holloway (bass guitar); Michele Gondry (drums); A-Trak (scratches).

Recording information: Grandmaster Recorders, Los Angeles, California (2005); Sony Music Studios, New York, New York; Record Plant, Hollywood, California.

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Semitones and tones are distances from one key to another key on a keyboard. For example if we play middle C on the keyboard and then play the next white note to the right which is D then that distance is one tone. For those of you not familiar with a keyboard then get my Lesson 1 e-Book here, which will show a 61 note, keyboard with the correct notes names printed on each key.

The thing to remember when counting semitones and tones on a keyboard is to count the distances and not the notes. A semitone is the closest distance from one note to another note. So again, if we play middle C on a keyboard and want to move one semi-tone to the right the note you should be playing is C sharp that is the black note between C and D. When you first look, at the C and D keys they might appear to be closest to each other but the black notes are placed between the white notes, which make them closer. Now starting from middle C again if you move one semitone to the left, you will notice there is no black key between the white keys so the closest key is B.

Counting semitones on a keyboard is very useful especially for finding chords. For example if you wanted to find C chord which consist of a root, third and a fifth we use distances to find the notes. The distance from the root to the third is four semitones and the distance from the root to the fifth is seven semitones. Now since the root is always the name of the chord in this case C, count four semitones (distances) to the right from C to get E then count seven semitones to the right from C to get G and you have just found your C chord C, E and G and since all major chords (triads) use a root, third and fifth you can find all twelve major chord by counting semitones.

I personally count distances in semitones, that's just my preference. Instead of saying two semitones, you can of course say one tone. It's up to the individual. Remember to count distances and not notes.

Mike Shaw is an organist and music teacher who has produced a selection of downloadable music books for anyone who wishes to learn to play the piano, organ or keyboard. To find out more visit his websites http://www.mikesmusicroom.co.uk, http://www.keyboardsheetmusic.co.uk and http://musical-instruments-uk.mikesmusicroom.co.uk/

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One word describes the CD Glitter from Mariah Carey... AWESOME!

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that’s exactly what I must say about this one. There simply isn’t a bad one in the bunch. No fillers here at all, with each song standing tall on it's own.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

I’m of the opinion that Glitter is certainly Mariah Carey’s best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it’s a collection that even the casual Pop fan can appreciate and enjoy.

While the entire CD is really very good some of my favorites are track 2 - Lead The Way, track 6 - All My Life, and track 12 - Loverboy - (featuring Cameo)

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Loverboy. It’s a great track!

Glitter Release Notes:

Mariah Carey originally released Glitter on September 11, 2001 on the Virgin Records label.

CD Track List Follows:

1. Loverboy - (remix, featuring Da Brat/Ludacris/Twenty II/Shawnna) 2. Lead The Way 3. If We - (featuring Nate Dogg/Ja Rule) 4. Didn't Mean To Turn You On 5. Don't Stop (Funkin' 4 Jamaica) - (featuring Mystikal) 6. All My Life 7. Reflections (Care Enough) 8. Last Night A DJ Saved My Life - (featuring Busta Rhymes/Fabulous/DJ Clue) 9. Want You - (featuring Eric Benet) 10. Never Too Far 11. Twister 12. Loverboy - (featuring Cameo)

Personnel includes: Mariah Carey, Cameo, Ludacris, Da Brat, 22, Mystikal, Nate Dogg, Ja Rule, Fabulous, Eric Benet, DJ Clue, Busta Rhymes, Shawnna. Producers include: Clark Kent, Mariah Carey, Damizza, Jimmy Jam, Terry Lewis.

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Beer Bottle Openers

Starting with her first solo CD, Little Earthquakes, Tori Amos has used unorthodox arrangements that often focus on the piano with minimal accompaniment. In "Crucify," the drum part is largely just kick drum and, in the chorus, a low tom that evokes a relentless hammering. In the verses of "Precious Things," the underlying rhythmic element is not even percussion but what sounds like eighth-note bursts of breath, perhaps inspired by the opening line "so I ran faster."

In those early days when she toured by herself with nothing but a piano, her live performances were marked by an especially nuanced performance style: pauses in the tempo, rubato in the vocal melody (an expressive technique of rhythmic freedom contrasted with rhythmic regularity), and liberal use of ritardando (a slowing of the tempo at the end of phrases). She scales back these techniques somewhat on the CDs or when she performs with a band, but some good, representative recorded examples include "Mother" and "Anastasia."

In addition to her unorthodox arrangements and approaches to tempo, she plays with the regimentation of pop song structure by introducing unusual chord progressions, irregular phrases, and musical sections that break the expected "verse / chorus" set-up. She utilizes all of these techniques effectively in "Professional Widow" from Boys for Pele. The basic structure of this brilliant song is:

verse / chorus / little coda

contrasting section A

verse / chorus / little coda

contrasting section B

The "verse / chorus" sections are arranged for harpsichord, drums, bass and dissonant guitar in a 4/4 meter. At the last line of the chorus, the instruments all stop and, in an unusual move, she sings the phrase unaccompanied. Then, instead of returning to the verse, she tacks on an unexpected coda with the phrase "it runs in the family" repeated twice. Violating pop song formula, the tempo completely stops as her voice sings a gradually rising pitch on the last syllable of "family."

The music starts back up and we think we're going back to another "verse / chorus," but she surprises us with a complete shift in the music to a loose 3/4 tempo punctuated with irregular phrases. She heightens the contrast by changing the instrumentation to piano and voice.

Following this detour, she gives us at last the delayed "verse / chorus" section. But it's not exactly the same as before. The first time, the phrasing was 3+4+8; now it's still irregular but is lengthened to 4+4+9. The coda, too, is lengthened for dramatic effect.

She then brings back the contrasting 3/4 tempo with irregular phrases, but it's a different melody, and she keeps the song's primary instrumentation of harpsichord, drums, bass and guitar. The irregular phrases soon are dropped and the music builds to a climax, propelled by a steady 3/4 beat to the final shocking word of the song.

Other examples of her genius include her many covers. She successfully transforms a hard-edged rock tune like Nirvana's "Smells Like Teen Spirit" into a dirge for piano. Her version of "Have Yourself a Merry Little Christmas," unlike most recordings of this familiar holiday tune, perfectly captures the melancholy, the awareness of time passing too quickly, that is at the heart of the lyrics.

She even approached her "greatest hits" album, Tales of a Librarian, in a unique way. Many of the songs are subtly remixed, revealing elements that were hidden in the background or omitted in the earlier versions. "Professional Widow" is a dance remix by Armand van Helden originally released in 1996 that suggestively uses some of Tori's vocal tracks from the song. She also includes new material such as the ravishing "Snow Cherries from France."

I haven't even touched on the way she uses her voice or her eccentric, enigmatic lyrics. But in terms of the sheer expressive power of her music, she is a brilliant composer and certainly one of the greatest pianists of the 20th century.

More music articles at Song of Fire (obergh.net/songoffire)



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Why learn to play the guitar? Well, as a youngster, I wanted fame fortune and lots of woman throwing themselves at my feet. I had this idea that if I could become a famous lead guitarist, then the world would be my oyster. Then I grew up and the fantasy looked as though it was going to remain just that. A fantasy! However, although I’m no musical guru, I did learn to play the guitar and it was probably the finest recreational activity I have ever undertaken.

The guitar, like most instruments, is best mastered if the learner starts young. It can be quite an easy instrument if the budding musician just wants to learn a few songs to entertain friends and family, but it can also be mastered as a professional instrument, and a good guitarist can really make those strings talk. In fact, for a talented and dedicated player the guitar becomes and extension to their arms.

I’ve been teaching the guitar for many years now and one of my more recent students was a 57 year old coal minor with fingers like bananas. He told me that he and a few of his buddies wanted to form a band called the Coal Minors (what else!). I just cannot believe his progress. In just 6 month starting from scratch, he has mastered bar chords, scales, and even written a couple of impressive songs with the chords G, C, D, DM, and E. It just goes to show that if you are committed, anything is possible at any age. Reg, and the Coal Minors are due to perform at their next work’s function and I can’t wait to see them.

It’s also important to note that you do not need to be able to read music to play the guitar well. If I’ve read my music history right neither the Beatles, nor Jimmy Hendrix could read a note, yet their guitar playing did them proud.

Learning the guitar is like anything we achieve in life, and that is you will only succeed with patience and persistence. Out of 100 students, I would guess that only a very small percentage continues playing this wonderful instrument throughout their life.

I play guitar because it gives me great pleasure. You can never stop learning new skills and improving your playing techniques no matter who you are. It’s also a great instrument to take traveling with you. Anyone with a guitar slung over their back will have instant friends wherever they go. And finally, a beautiful guitar is very ornamental. Sit a guitar on an upright stand and place it strategically in any room, and it will do wonders for the décor.

Andy Maingam is a proficient writer and webmaster for InstructHow dot com where he writes on such issues as How to Talk to Girls in the 21 st Century! and How To Make Money Fast. He also has many other ‘How to’ related pieces on the site.

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A wedding ceremony is about two people coming together to marry but it is also about entertainment. The guests need to enjoy themselves after all it is a happy event. Music is one principal way to provide entertainment for your guests. The visitors would need to be kept amused with music. They may want to dance, relax or just listen to the tunes whilst they have their food. Music generally puts everybody into a party mood.

For such an important feature of a wedding, you would want to put a lot of effort and preparation into it so it ends up well-organized.

Your first approach towards a great music provision would be to decide on the type of event you are holding. What kind of wedding are you having? Is it a traditional wedding? Formal wedding? Or some other kind? The music must match the wedding type. If it is formal wedding, you would need a live band with good tunes. A traditional wedding can call for local instrumentalist or some folk musical group. The essential part is to create the right mood for your guests.

For a wedding with a beach or causal theme, you can hire a DJ to play some music. You would have to bear in mind that the DJ would have to b an MC as well. For this reason, you need somebody with experience and well versed in the art of entertaining a large number of people.

Do not hire a band or DJ based on your musical preferences. Many people have done that and realized it was an error. The music is been provided for your guests. You would have to consider their taste and provide the music accordingly. It is better you give your visitors what they want than what you would like to hear.

Find more advice on wedding planning and wedding vows. In addition you can get more information on wedding favors.



Fishing Gear

So, you want to know how to buy a new guitar. Whether you are just
learning to play the guitar or you've been playing for some time,
choosing to buy a new guitar can be one of the most exciting experiences.

You will soon learn that people have their own opinions about the type of
new guitar to buy. You will need to consider what is important to you.
In addition, learning how to buy a new guitar is similar to buying a new
pair of shoes. They are better once they have been used a bit.

In guitar terms, they need to have a good "setup."

There are essentially three types of guitars on the market: electric,
acoustic, and classical. You can also find acoustic guitars that have pickups.
These are properly called acoustic-electric guitars.

If you're are just learning to play the guitar you may be interested
in purchasing a brand new guitar instead of a used one. You may think
that there is much more trouble associated with purchasing a used guitar.

You shouldn't have to worry about the general condition, but there are some
tips for how to buy a new guitar that can save you a headache and point you
in the right direction.

Getting Your Money's Worth

One aspect of new guitars that you will learn quickly---they're not cheap.
As with anything you buy, the highest price doesn't necessarily correspond
to the best. When you are considering how to buy a new guitar, the best deal
that you want to secure is one where you get a quality guitar with the lowest
prices possible. Quality in terms of the guitar relate to its construction and tone.

When you look at the construction, notice the wood that is used. Inspect the
entire guitar and look for peeling or chipping. Also look closely to notice the
shape of the guitars. Guitars are typically kept in storage areas.

If a guitar spends a significant amount of time in such an area, it is very
possible that the wood may become affected so that the instrument loses its shape.
Now that you are learning how to buy a new guitar, you will be able to tell the
difference in a new guitar that is worth its price tag and one that is not.

Checking the Action

If there is one aspect of guitars that separate them from each other, it's tone.
Another tip for how to buy a new guitar is to refrain from judging a guitar
simply by its looks alone. You need to take it down from the shelf and listen
to its tone. If you are just learning to play, you don't have to worry that you
don't know enough to test out the tone. You can tell if a guitar has good tone
by simply strumming a few strings on it. Action is an important thing to check as well.

Action refers to the amount of space between the strings and the fretboard.

When you play a note, you have to press down on the strings so that they touch
the fretboard. If there is too much space between the string and the fretboard,
the action is considered high. If there is very little space between the two,
the action is considered low. Either extreme can affect your guitar playing.
You want to aim for an action that is somewhere in the middle.

The tips presented here are only a few to show you how to buy a new guitar.
The more time you spend talking to other guitar enthusiasts you will learn
more about new guitars.

For more more information about buying a new guitar please visit http://www.guitar-directory.net



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