So start out counting out loud. Remember to go slow. The 1 and 4 are long strums. You want to all the strings, and make the strum well pronounced on the 1 and 4. Then for the strums of the 2 3 5 and 6, just strum 2 or 3 strings at a time; lightly. Before you start changing chords. Just make the Am chord and sit and practice counting. While you strum. After you get that under your belt. To make it easier see the Song Lyrics below. There is a house in New Orleans. They call the rising sun. And its been the ruins of many a poor boy.
My mother was a taylor. She sewed my new blue jeans. My father was a gamblin man. Way down in New Orleans. Now the only thing a gambler needs. Is a suitcase and a trunk. And the only time you keep him satisfied. Oh mother tell your children. Not to do what I have done. Spend your life in sin and misery.
In the house of the rising sun. I got one foot on the platform. The other on a train. To swing that ball and chain. Yeah, there is a house in New Orleans. For the more advance guitarist there are two ways to pick the strings. The other is picking each individual strings. Lets start with picking the strings. Make the first chord which is the Am. Then what you want to do is pick strings You probably know that the strings start 6 5 4 3 2 1.
The next chord in the progression is the C chord. You want to play the same strings after your fretting hand is set to play the C. Pick strings After that position your hand to make the D chord shape. Then pick strings Then fingers in position to play the F chord.
Play the same strings, Which we all ready covered which strings to pick. The E chord is next in the chord progression. Which is played by picking strings Then there is the Am and E again. Life was that way then and young people were used to discipline, punishment, and grueling training: : :. My teacher would play a passage, maybe fifteen minutes long, just once. I was expected to play along with him. Next I was made to play the passage solo. My teacher would sit there scowling at me, scolding, sometimes hitting me in the face.
In those days, our whole life was Bunraku. We had no movies, no coffee shops, no radios, no popular music to distract us: : :. Our heads were full of Bunraku and only Bunraku. The bunraku theater went through difficult times after , partly because of a decline in the wealth of its former sponsors and partly from an overall decrease of interest in the traditional arts.
As professional bunraku performers found it more difficult to make a living, new trainees declined in number. Even those who were willing to study for a career with such an uncertain future were often discouraged by the rigorous training involved. To counter these trends, new teaching methods were developed to ensure that bunraku music, u-bushi, would be passed on to future generations.
New features of this training a government-sponsored insti- course include the use of standardized instructional methods, scores, and tape tution that contains facilities for recorders to record lessons and performances. Although these methods do the presentation of traditional produce an adequate narrator or shamisen player in a short amount of time, theater, dance, and music as well the resulting uniformity of performance and interpretation is deplored by as for the training of future older musicians: artists.
They [the performers trained by the new methods] make no distinction in their playing between scenes with different settings. Even the same melody should have different emotional tones, depending on the context. It all comes from practicing with tapes, without giving any thought to the meaning of the text. They master the form but cannot express the content. With tapes you can practice in your sleep. Motegi In short, the modern methods used to transmit bunraku music allow students to learn faster and with less pain.
But the new training produces a different quality of performer. All of the musical genres described in this chapter so far are closely tied to the social life of the Tokugawa period, from which several common threads emerge. For one, we see how the four-tiered class system shaped and defined various aspects of musical life. Social change during the Tokugawa period also reflected changes in music and class, as formerly elite instruments such as the koto spread to the lower merchant class.
The next two kinds of music that we shall examine, folk music and festival music, have traditionally belonged to the farming class or the poorer merchants in the cities. But people from many levels of society, in Tokugawa times as now, know these kinds of music. Folk and festival music are still found in many everyday locations: in the streets, in the fields, and at social occasions of both the city and countryside.
Folk songs accompanied many daily activities, serving to relieve boredom, provide a steady beat for some activity, encourage a group working at some task, provide individual expression, and so forth.
Although the everyday uses of folk music have not entirely disappeared from Japan, fewer contemporary Japanese are finding them relevant to their lives. The continuing popularity of folk songs is tied to their identification with the countryside and a sometimes romanticized vision of rural life on the part of city dwellers.
Folk songs evoke a past thought to be simpler and more natural, and this appeals to many Japanese today. The same is true in many parts of the modern, industrialized world; but the uses of folk songs today, and the institutions that surround its presentation and preservation, contrast in interesting ways as they reflect the particular music-cultures in which they are found.
In addition to an association with rural life, many Japanese folk songs connect with a specific region of the country. With the growth of industry in the years after World War II, many Japanese left the rural areas to find work in the cities.
Today people from a particular region—or their descendants—gather in many of these urban areas and sing folk songs as reminders of the villages from which they came. Despite increasing geographic mobility and cultural homogenization, the Japanese identification of people and songs with their original home areas is still very strong. For example, a Tokyo laborer whose family roots are in the northern prefecture of Akita will be expected to enliven a festive gathering with an Akita folk song Hughes Folk music, with its associations and allusions to a particular region, expresses their nostalgia for a faraway place.
Thus, nostalgia not only for a different time but also for a different place underlies its popularity. Often they sing them at parties, when they are called on to sing a favorite song. Real enthusiasts take lessons with a good singer and attend folk song clubs or other gatherings where they can perform in front of other enthusiasts. Folk song preservation societies have sprung up around the country Groemer The activities of these clubs help foster pride and a sense of identity among the dwellers of a village or a neighborhood within a city Hughes , — For example, kobushi, the sometimes complex vocal ornamentation of a melodic line, is frequently used to separate the good performers from the bad.
One critic of this trend claims: There is a tendency to think that the most excellent kind of folk song is that sung by a person with a good voice who can produce interesting kinds of vocal ornamentation. On the changed so much since that perhaps there is no way to avoid change in folk right is Asano Sanae, who sings singing. A Training to sing folk music at a professional level demands years of study.
In the manner of the iemoto system, she Washington, D. As a teenager, she moved from Osaka to Akita to become his apprentice, and she now participates regularly in concerts and competitions. Her teacher, in his seventies at the time of this recording, grew up in the Akita area and spent most of his life as a farmer, while slowly gaining a local and then a national reputation as a fine player of the Tsugaru shamisen, a type of shamisen used for virtuoso accompa- niment of folk music.
His former students live throughout Japan and teach his style of shamisen playing and singing. According to Asano Sanae, Asano Umewaka Figure 6 can be hard taskmaster, but he teaches his pupils with great care. This shamisen is indeed different in construction, with a Linda Fujie larger body, longer neck, and thicker skin. Linda Fujie before beginning the piece. You can hear the pitch change slightly as the player Track 3 adjusts the strings. Performed by guide.
Asano Sanae, vocal; Asano The text of each stanza is set to almost identical music, even down to the Umewaka, shamisen lute. Field ornamentation used. Similarly, the patterns heard in the shamisen part between recording by Karl Signell. Washington, D. As in the kouta example, the instrument plays a more or less steady pulse, while the voice has a flexible rhythm.
Look, for example, at the long notes and ornamentation in the vocal part, as seen in Transcription 7, which shows the beginning of the second stanza. A time line underneath the notation marks the regular beats of the shamisen part, so that the vocal part can be seen in relation to a steady unit of time. This transcription was made at half speed in order to catch the different pitches that normally hit our ears at a rapid pace. We also find several instances for example, during the word o-yama when a trill is performed between two notes that are as far apart as a perfect fourth.
This technique of ornamenting the line requires great vocal control. Interlude Shamisen player retunes strings Shamisen repeats the fast patterns of the introduction. Verse 2 Vocalist sings second verse with Takai o-yama no On a high mountain similar ornamentation. The perfect fourth and perfect fifth are important intervals in many Japanese 00 0 folk songs. In the transcribed section, for example, the longest notes are D , G 0 and D , the pivotal notes throughout the song.
On the other hand, his student has studied purposefully to become a professional folk singer. Her performance reflects this training in many ways, including her ornamentation, precision, clarity of voice, and general presentation. As people spill over from the sidewalks into the streets, a parade marches by with people dressed up in kimonos, some riding in floats or carrying huge portable shrines. In the heart of all the activity is a Shinto shrine, with the distinctive red torii gate, where scores of vendors sell steaming noodles and old-fashioned toys, or offer chances to win a goldfish.
In the background, the music of the festival, matsuri-bayashi, adds life and gaiety to the scene as the sounds of a graceful bamboo flute and booming drums fill the air Figure 7. Even in Tokyo, the capital and largest city of Japan, Shinto festivals are still held within the business districts and small neighborhoods scattered across the city. Every corner of the city—even in the most expensive commercial districts— has a Shinto shrine that serves as the tutelary or guardian shrine for that area.
Although there is no legal or official relationship between a Shinto shrine and its neighborhood, many residents still feel it is important to help sponsor and participate in the traditional festival each year. They form committees and raise money to buy costumes, repair the parade floats, and so on. Older neighborhoods with a stable population usually maintain the festival because of tradition—the residents have enjoyed their neighborhood matsuri for several generations.
In Japanese cities, the neighborhood has been traditionally an important social unit— neighbors all knew one another and helped each other when needed, through both formal neighborhood associations and informal ties. The grounds of the Shinto shrine are covered with the booths of food and game vendors. Neighbors tend to know each other less and share fewer professional ties.
As a result, urban neighborhood social ties have become more fragile. Thus, some neighborhoods with a high turnover of population are also finding the traditional matsuri a good way to encourage a feeling of neighborhood friendliness. With the high cost of living in Tokyo, families with roots in that city are moving in greater numbers to the suburbs. But there still remain some people who have lived in Tokyo for several generations.
This is the older commercial area, long since passed up in large-scale development projects, where narrow streets are still lined with small, two-story wooden houses. Tokyo has some of the highest land prices in the world, and most houses seem to take up an unbelievably small amount of land. They are built so that their sliding front door comes right up to the sidewalk, leaving no land left unused. To provide some greenery in their surroundings, many residents put out pots of flowers and small trees on the sidewalk.
Because the walls of the house are so thin, one can often hear, just walking by, all that goes on within— the television blaring, arguments between children, dishes being washed, and so on. Some of the buildings have small shops on the first floor, above which the shopkeepers and their families live. The women go shopping for groceries at the neighborhood stores, though they also sometimes shop at the big department stores outside their neighborhood.
If there are no bath facilities in the house, the whole family bathes in the neighborhood public bathhouse. Bringing soap and a plastic bucket with them, they spend time there each day chatting with friends.
This close proximity and everyday contact with neighbors brings about a spirit of cooperation and solidarity rarely seen in the suburbs of Tokyo. When it is time to hold a festival at the small neighborhood shrine, much of the neighborhood becomes involved. The festival is usually held over two or three days. On a stage on the shrine grounds, a musical group—the matsuri-bayashi— plays throughout the day as a musical offering to the kami spirit. At some shrines, mimed skits and dances are also performed to musical accompaniment.
The main event of the festival is a parade that winds through the neighborhood streets. Its principal element is the mikoshi, a portable shrine that temporarily holds the kami. Fifty to more than one hundred men and lately women, too hoist it on their shoulders and, tossing it up and down, carry it through the streets for several hours.
Along the parade route, spectators cheer them on. During this often rowdy parade, several festival music groups play at different locations: Some remain at the permanent shrine, some perform on platforms along the parade route, and others play on floats in the parade Figure 8. In other parts of Japan, different instruments are used for festival music, but these almost always include flutes and drums.
A close musical relationship is crucial to the performance of matsuri-bayashi. Each of the musicians, although specializing in one instrument, must learn them all to become proficient. The gong player must keep an absolutely steady beat though not sounding all the possible beats. After treating the constant beat so flexibly throughout most of the piece, all the instruments should meet exactly together at the end of each phrase.
When well done, this simultaneous finish is regarded as the sign of a truly skillful ensemble. Only the best ensembles, with years of experience performing together, can carry off this rhythmic game properly.
The highly ornamented flute melody leads in and out of each excerpt from Kiri-bayashi The main Performed by Ueno Shachu. At Tokyo, Japan, This is the first piece taught to a new pupil in matsuri-bayashi by the Ueno family of downtown Tokyo: rapid repetition occurs, student copies teacher. A lesson with Ueno Mitsuyuki and his son Mitsumasa might proceed as follows. There, on the tatami mats, work. The lesson takes place in the room entered by the front door, and because musical instruments and household items are stacked along the walls, the sitting space is only about two by two meters.
The family is still eating dinner and talking loudly to each other over the sound from the television set. The teacher likes to chat with students before beginning a lesson. He might talk about his experiences in Tokyo during the war, or the latest kabuki performance he attended, or a recent argument with a neighbor.
Then, after more students have arrived, either he or his son begins the lesson. This tire is placed in the middle of the tiny front room. Students and teacher sit on their knees around it, sticks in hand. The teacher begins to teach a new phrase of a piece by hitting the tire in mirror image of the way the performer normally plays so that the students looking at him can easily learn the correct hand movements.
All parts are taught through a type of solmization the syllables that stand for pitch or rhythm. Most genres of traditional Japanese music have their own solmization systems. You can reproduce this rhythmic pattern by tapping a flat surface with your fingers. Begin each phrase with the right hand, and do not use the same hand for two consecutive beats, except at the beginning of a new phrase which should start with the right hand again.
No syllables are spoken on the last beat of the phrase, though a rest of one beat occurs there. Students write down these syllables to help them remember the rhythmic patterns of the drums, and a similar system helps them to memorize the flute melody. However, merely hearing the syllables without hearing them performed gives only a vague notion of how they are to be played.
As we have seen, Japanese music characteristically lacks a detailed notation system. Without teachers who are willing to convey a great deal of their musical knowledge, students would be helpless because scores do not give them access to real musical knowledge. A good relationship with a knowledgeable teacher is also essential if a student wants to learn any hikyoku, or secret pieces. Found in many genres of traditional music, including matsuri-bayashi, the secret repertoire consists of rarely performed pieces handed down only to the most trusted of pupils.
In the style of festival music taught by the Ueno family, the son said that secret pieces are not technically difficult but are valued mainly because of their exclusivity. In the past, this knowledge was so guarded that some hikyoku have disappeared because teachers have died before finding pupils worthy of learning their secrets.
The lives of Ueno Mitsuyuki and his son vividly exemplify the traditional and contemporary backgrounds of those who love Tokyo festivals and festival music. Therefore, he performs only at the festivals themselves. The son, however, while preferring to play at festivals, also plays occasionally with some of the professional kagura musicians who have learned how to play matsuri-bayashi. These musicians are frequently hired to provide a musically festive atmosphere at secular occasions such as wedding receptions and department store openings.
This intricate art uses silver and gold to create jewelry such as pins and ornaments for the kimono , sword guards, Japanese pipe holders, and small, elegant statues of Buddha.
A combination of engraving and inlay, this technique requires years of training and great patience. His grandfather was of the samurai class, which was dissolved with the class system during the Meiji period.
At age fourteen, Ueno began to study metal carving seriously, dropping for a time all other hobbies and interests. After he had finished his metal-carving training with his father, Ueno studied matsuri-bayashi with his uncle, a talented musician. Ueno says, In the old days, the teacher told the students they were stupid and played poorly and maybe even hit them, but without explaining exactly what was wrong. In this way, I learned both matsuri-bayashi and metal carving—the technique became a part of my bones.
But these days, people want to be told exactly what is wrong so that they can learn the art quickly and start making money from it. He learned matsuri-bayashi easily and soon became well-known for his flute- playing style. Too old to be accepted in the military during World War II, Ueno became active in the neighborhood association, which organized drills and fought fires in his area.
He recalls the many times U. But he also blames the military leaders of Japan for dragging their country into such a bloody war and laments the loss of life on all sides. When he was thirty-six, relatively late in life, Ueno married a woman from his own neighborhood in Tokyo. His son Mitsumasa was born in By then already in his fifties, Ueno was determined to teach the boy the skills he knew as early as possible.
Knowing how long it would take to learn the intricate arts of metal carving and matsuri-bayashi, Ueno feared that he would not have enough time to teach everything he knew to his son.
Lessons were conducted every day for one hour after school. By the time he was fifteen, Mitsumasa had become proficient enough in both arts to satisfy his father that his skills had been faithfully transmitted to the next generation.
Ueno told me that he was never bored. Every day he rises after only four or five hours of sleep and, no matter what the weather, strolls to the various shrines in his neighborhood at A. He then begins his workday upstairs in his workshop, together with his son. Sitting side by side, they work almost every day of the week. Because the work is so intricate, working by daylight is much easier than by artificial light.
Around P. As there is a great deal of chatting and serving of tea, the lessons sometimes go on until or P. For instance, he refuses to sell favorite pieces of his metal carving. Also, he readily turns down commissions for work, even when in need of it, if making the requested object does not appeal to him.
The father once confided that they would rather give the lessons free but found that people did not take them seriously without paying. In spite of their relative poverty and busy lives, the Uenos still find the materials and the time to create with their own hands many of the items needed for the annual neighborhood festival. Ueno feels that his profession of metal carving and his hobby of matsuri- bayashi have one important quality in common. Mitsumasa is one of the few young practitioners of metal carving, and he has already won many prizes for his work.
As for matsuri-bayashi, the younger Ueno and many other Tokyo matsuri-bayashi players feel the lure of professional troupes, aware of the income and prestige they could attain as members of such companies. As musicians join iemoto and professional organizations, the pressure to conform to certain performance standards increases.
Popular Music For many centuries, the traditional Japanese music genres had been conveyed from performer to audience without electronic technology.
At a single perfor- mance the audience of these genres was relatively small, and success depended on establishing rapport with that audience. Today, music performances regularly appear on radio, television, and other media. Millions of people unseen to the musicians may hear a single recorded performance. Music recorded specifically transmitted by the various mass for commercial release in Japan, with the aim of appealing to the mass audience, media.
Although some genres of exhibits several characteristics: so-called popular songs that flourished among the masses in 1. Performance within a set time limit generally three to five minutes pre-Meiji Japan have exerted an 2. A focus on themes that appeal to a broad public though regional or specialty impact on the popular music of audiences are also sometimes targeted today, only those genres particu- 3. Stanza form and a steady beat, making the music more accessible to the larly linked to contemporary Japanese who have become more accustomed to Western music popular genres are discussed here.
Today, scarcely a home in Japan does not have a radio, television set, or stereo, and many have all three. As people listen to the same recordings and to the same performance of a song, they are united by a common musical experience; they also develop certain expectations as to what music should sound like. In Japan, the spread of music through records, tapes, and compact discs has advanced rapidly.
Furthermore, the Japanese have far more opportunities to hear American and European popular music than Western listeners generally have to hear non-Western popular music.
One industry survey shows that since , about two-fifths of all popular music recordings produced in Japan were recorded by foreign musicians, most of whom were American or European Mitsui Interestingly, in a country known in the past for its high degree of cultural homogeneity, the present-day music scene has become exceedingly diverse.
The rise of this heterogeneous music-culture and specifically Japanese popular music can be traced to the latter half of the nineteenth century. At this time, wide-ranging reforms were introduced to Japanese society to enable the country to deal with Western powers. The traditional class system was abolished, and the authority of the Tokugawa regime was replaced by a government headed by the Emperor Meiji. Leaders rapidly installed a system of compulsory education and decided, from reading about the Dutch and French school systems, that Japan also needed compulsory singing in its schools.
In the late s Izawa Shuji, a Japanese school principal who had studied in Massachusetts, and Luther Whiting Mason, an American who was the director of music for the Boston primary schools, developed a plan for music instruction in Japanese public schools. The newly composed songs used melodies based on a traditional Japanese scale within the structure of a stanza form and a regular meter.
One faction claimed that Japan should work toward a democracy similar to that of the United States. Wherein in the preferred embodiment of the invention, said elongated shaft has a height adjustable shaft. In al alternative embodiment not shown, said elongated shaft has a flexible gooseneck.
Wherein said second substrate is a backless mobile guitar shoulder strap comprising: a padded aluminum shoulder support, an adjustable front strap, said U shaped mounting bracket, said adjustable front strap has said U shaped mounting bracket attached to said strap, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said mobile guitar shoulder strap. Wherein said third substrate is a belt having a means for attaching said U shaped mounting bracket to said belt, said belt has connecting mean for attaching said belt to said user and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said belt.
Wherein said fourth substrate is a wall mount having means for attached to a wall and said U shaped mounting bracket, wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said wall mount. Wherein said pivot axle member has a plate that attaches to the back of said guitar and screws for connecting said plate to said guitar. Wherein said guitar stand comprising: a base, an elongated shaft, said U-shaped mounting bracket for securing said guitar to said stand, said shaft has a first end that is mounted to said base and a second end that is attached to said mounting bracket, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said guitar stand.
Wherein said guitar stand has an adjustable and flexible extending shaft that allows the user to move around while operating the guitar on the stand. Wherein said backless mobile guitar shoulder strap comprises: a padded aluminum shoulder support, an adjustable front strap, said U shaped mounting bracket, said adjustable front strap has said U shaped mounting bracket attached to said strap, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said mobile guitar shoulder strap.
Wherein said backless mobile guitar shoulder strap has an adjustable strap and said U shaped mounting bracket which it is attached to, wherein said U shaped mounting bracket has slidable connecting means for connecting said guitar to said strap, thereby allowing said user to be mobile or move around while operating the guitar. Wherein said belt having a means for attaching said U shaped mounting bracket to said belt, said belt has connecting mean for attaching said belt to said user and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said belt.
While the description above refers to particular embodiments of the present invention, it will be understood that modifications may be made without departing from the spirit thereof. The presently disclosed embodiments are therefore to be considered in all respects as illustrative and not restrictive. A multi-purpose holding device for use with guitar shaped instruments, said device comprising: a pivot axle member which has a plate that attaches to the back of a guitar and screws for connecting said plate to said guitar;.
The device of claim 1 , wherein said first substrate is a backless mobile guitar shoulder strap comprising: a padded aluminum shoulder support, an adjustable front strap, said U shaped mounting bracket, said adjustable front strap has said U shaped mounting bracket attached to said strap, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said mobile guitar shoulder strap.
The device of claim 1 , wherein said second substrate is a guitar stand comprising: a base, an elongated shaft, said U-shaped mounting bracket for securing said guitar to said stand, said base has an elongated flat surface, said shaft has a first end that is mounted to said base and a second end that is attached to said mounting bracket, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said guitar stand.
The device of claim 1 , wherein said second substrate is a belt having a means for attaching said U shaped mounting bracket to said belt, said belt has connecting mean for attaching said belt to said user and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said belt.
The device of claim 1 , wherein said second substrate is a wall mount having means for attached to a wall and said U shaped mounting bracket, wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said wall mount to provide an eye catching display.
The device of claim 1 , wherein said guitar is selected from a group consisting of classic guitar, flamenco guitar, plectrum guitar, acoustic guitar, string guitar, Hawaiian guitar, electric guitar, electric bass and guitar video game controller.
A multi-purpose holding device for use with guitar shaped instruments, said device comprising: a pivot axle member having attachment means for attaching said member to a guitar;. The device of claim 7 , wherein said second substrate is a guitar stand comprising: a base, an elongated shaft, said U-shaped mounting bracket for securing said guitar to said stand, said base has an elongated flat surface, said shaft has a first end that is mounted to said base and a second end that is attached to said mounting bracket, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said guitar stand.
The device of claim 7 , wherein said second substrate is a belt having a means for attaching said U shaped mounting bracket to said belt, said belt has connecting mean for attaching said belt to said user and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said belt. The device of claim 7 , wherein said second substrate is a wall mount having means for attached to a wall and said U shaped mounting bracket, wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said wall mount to provide an eye catching display.
The device of claim 7 , wherein said guitar is selected from a group consisting of classic guitar, flamenco guitar, plectrum guitar, acoustic guitar, string guitar, Hawaiian guitar, electric guitar, electric bass and guitar video game controller. The device of claim 12 , wherein said first substrate is a backless mobile guitar shoulder strap further comprising: a padded aluminum shoulder support, said adjustable front strap, said U shaped mounting bracket, said adjustable front strap has said U shaped mounting bracket attached to said strap, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said backless mobile guitar shoulder strap.
The device of claim 12 , wherein said second substrate is a guitar stand comprising: a base, an elongated shaft, said U-shaped mounting bracket for securing said guitar to said stand, said base has an elongated flat surface, said shaft has a first end that is mounted to said base and a second end that is attached to said mounting bracket, and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said guitar stand. The device of claim 14 , wherein said elongated shaft has a height adjustable shaft.
The device of claim 14 , wherein said elongated shaft has a flexible gooseneck. The device of claim 14 , wherein said guitar stand has an adjustable and flexible extending shaft that allows the user to move around while operating the guitar on the stand. The device of claim 12 , wherein said second substrate is a belt having a means for attaching said U shaped mounting bracket to said belt, said belt has connecting mean for attaching said belt to said user and wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said belt.
The device of claim 12 , wherein said second substrate is a wall mount having means for attached to a wall and said U shaped mounting bracket, wherein said U shaped mounting bracket has slidable connecting means for detaching and reattaching said guitar to said wall mount to provide an eye catching display.
The device of claim 12 , wherein said guitar is selected from a group consisting of classic guitar, flamenco guitar, plectrum guitar, acoustic guitar, string guitar, Hawaiian guitar, electric guitar, electric bass and guitar video game controller. USP true USB1 en. Modular approach to large string array electronic musical instruments such as specialized harps, zithers, sympathetic string arrays, partch kithara and harmonic cannon. USB2 en. You should inspect the neck curve on a monthly basis and adjust the truss rod accordingly.
You must allow the neck wood to stabilize and help it a little bit using your hands and carefully bend or stretch it out, depending on if you loosen or tighten the truss rod. A minor truss rod adjustment, i. You should play the guitar as much as possible after adjusting truss rod to stimulate the neck curve change. When the temperature varies or if you change to a different string gauge, you might have to adjust the truss rod again. Adjusting the truss rod involves loosen the strings, tighten or loosen the truss rod, tune back the strings and measure the neck curve by looking upwards from the bridge.
You can also press and hold down the high E string on the first and last fret to measure the distance between the string and the fret.
The string should be very close to the frets but it must not touch any of them. If you have old, worn and uneven frets you will have to adjust the action to suit the highest frets, those who are less worn. This means a higher action than necessaryon the neck areas where the frets are worn. These guitars will eventually need a fret job, meaning either re-fretting or leveling the frets.
Also called string height, adjusted on the Strat bridge. This step requires you to have adjusted the truss rod first. Otherwise the action will be changed when you adjust the truss rod afterwards. There is no correct answer in high vs. We set the action by playing and tweaking by ear and feel.
We will rather share a strategy and way of thinking for how to find your own preferences. Selecting an optimal string action depends on your playing style, string gauge, hard vs. But most important is how much fret buzz can you live with. You need to check action regularly bi-monthly by ear together with inspecting the neck curve and adjusting truss rod.
You will benefit from a low action when playing chords since lower action requires less finger strength. You need sufficent string action to allow sustain, meaning the strings can vibrate freely without buzzing into the frets. The drawback with higher action is that you must apply more strength to press the strings down against the frets, and it gets harder to play fast.
The action is adjusted in several ways. Truss rod, nut adjustment filing, sanding and raising or lowering the bridge saddles. Start with the nut, and inspect the gap between the bottom side of the strings and the highest point of the first fret open string of course.
Use sand paper or sanding files and file the nut slots carefully so that the strings are lowered. If you sand too much and get fret buzz, the nut is spoiled. Either the nut has to be replaced or the whole nut must be raised by inserting a piece of paper or wood below the nut.
Raising or lowering the bridge saddles is much easier. The strategy is the same here, lower them much as possible without getting any fret buzz when you are playing licks high up on the neck and bending the strings a whole note. If you are never playing any notes above the i. Any potential fret buzz higher up will not be a problem for you. After adjusting the action from a low and high neck position, you must verify the action and fret buzz halfway on the neck.
Play with regular strength and pick attack. See if you must increase the bridge saddles or if you can possibly lower them. One of the advantages with vintage guitars is the worn neck wood. The worn wood and lacqer is smoother to play. Newer necks and fretboards with glossy lacquer will create lots of friction, particularly when your hands are warm and sweaty.
Lots of friction between fingers and fretboard will limit your playing a lot and makes it difficult to play aggressive solos with strings bends and shakes.
It will feel like your strings are thicker and harder to bend. We recommend sanding one-piece maple necks with sand paper to partly remove the glossy lacquer. We also recommend sanding the back side of the neck to allow smooth and friction-less change of grips. You can move up and down the neck fast and precisely. Use a fine grained sand paper. Needless to say. If you play chords and licks high up on the neck, you need to adjust the intonation or else the guitar will sound of tune.
An important step for tone. It is crucial that you inspect and adjust the pickup height after adjusting the truss rod and string action nut and bridge saddles. Pickup height adjustment is an iterative process that can take weeks depending on neck tension and potential truss rod adjustment.
Depending on how hot the pickups are magnet strength, number of windings you need to adjust the distance accordingly. Treble side: 2. Bass side: 2. Start with the bass side. Press down the low E against the last fret and measure the gap between the pickup magnet pole and the bottom side of the string. Repeat for treble side, the high E string.
This is the starting point and from now you must adjust be ear. We feel it is better to have the pickups far away than close. When we adjust by ear we are playing chords and licks with the neck, mid and bridge pickup until the balance gets right. The three different pickup positions shall all sound equally loud in our opinion, but we know many who want to increase the volume on the bridge or neck pickup since they use these for solos.
This is amp tremolo, by definition. Vibrato is an adjustment of frequency. Tremolo is volume. Personally we adjust the tension of the five vibrato springs on the back side so that there is a little gap between the tremolo bridge and the guitar body.
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