The pace of scientific research into music making has never been greater. New data about music’s relationship to brainpower, wellness and other phenomena is changing the way we perceive mankind’s oldest art form, and it’s having a real-world effect on decisions about educational priorities.

The briefs below provide a glimpse into these exciting developments. For a more in-depth treatment of current music science, visit The International Foundation for Music Research, and to see updates on the latest findings, check the “Build Your Case” section of SupportMusic.com.

Did You Know?

Middle school and high school students who participated in instrumental music scored significantly higher than their non-band peers in standardized tests. University studies conducted in Georgia and Texas found significant correlations between the number of years of instrumental music instruction and academic achievement in math, science and language arts.

Source: University of Sarasota Study, Jeffrey Lynn Kluball; East Texas State University Study, Daryl Erick Trent

Did You Know?

Students who were exposed to the music-based lessons scored a full 100 percent higher on fractions tests than those who learned in the conventional manner. Second-grade and third-grade students were taught fractions in an untraditional manner ‹ by teaching them basic music rhythm notation. The group was taught about the relationships between eighth, quarter, half and whole notes. Their peers received traditional fraction instruction.

Source: Neurological Research, March 15, 1999

Did You Know?

Music majors are the most likely group of college grads to be admitted to medical school. Physician and biologist Lewis Thomas studied the undergraduate majors of medical school applicants. He found that 66 percent of music majors who applied to med school were admitted, the highest percentage of any group. For comparison, (44 percent) of biochemistry majors were admitted. Also, a study of 7,500 university students revealed that music majors scored the highest reading scores among all majors including English, biology, chemistry and math.

Sources: “The Comparative Academic Abilities of Students in Education and in Other Areas of a Multi-focus University,” Peter H. Wood, ERIC Document No. ED327480

“The Case for Music in the Schools,” Phi Delta Kappan, February, 1994

Did You Know?

Music study can help kids understand advanced music concepts. A grasp of proportional math and fractions is a prerequisite to math at higher levels, and children who do not master these areas cannot understand more advanced math critical to high-tech fields. Music involves ratios, fractions, proportions and thinking in space and time. Second-grade students were given four months of piano keyboard training, as well as time using newly designed math software. The group scored over 27 percent higher on proportional math and fractions tests than children who used only the math software.

Source: Neurological Research March, 1999

Did You Know?

A McGill University study found that pattern recognition and mental representation scores improved significantly for students given piano instruction over a three-year period. They also found that self-esteem and musical skills measures improved for the students given piano instruction.

Source: Dr. Eugenia Costa-Giomi, “The McGill Piano Project: Effects of three years of piano instruction on children’s cognitive abilities, academic achievement, and self-esteem,” presented at the meeting of the Music Educators National Conference, Phoenix, AZ, April, 1998

Did You Know?

Data from the National Educational Longitudinal Study of 1988 showed that music participants received more academic honors and awards than non-music students, and that the percentage of music participants receiving As, As/Bs, and Bs was higher than the percentage of non-participants receiving those grades.

Source: National Educational Longitudinal Study of 1988 First Follow-Up (1990), U.S. Department of Education.

Did You Know?

Research shows that piano students are better equipped to comprehend mathematical and scientific concepts. A group of preschoolers received private piano keyboard lessons and singing lessons. A second group received private computer lessons. Those children who received piano/keyboard training performed 34 percent higher on tests measuring spatial-temporal ability than the others ‹ even those who received computer training. “Spatial-temporal” is basically proportional reasoning – ratios, fractions, proportions and thinking in space and time. This concept has long been considered a major obstacle in the teaching of elementary math and science.

Source: Neurological Research February 28, 1997

Did You Know?

Young children with developed rhythm skills perform better academically in early school years. Findings of a recent study showed that there was a significant difference in the academic achievement levels of students classified according to rhythmic competency. Students who were achieving at academic expectation scored high on all rhythmic tasks, while many of those who scored lower on the rhythmic test achieved below academic expectation.

Source: “The Relationship between Rhythmic Competency and Academic Performance in First Grade Children,” University of Central Florida, Debby Mitchell

Did You Know?

High school music students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on the math portion than students with no coursework/experience in the arts.

Source: Profile of SAT and Achievement Test Takers, The College Board, compiled by Music Educators National Conference, 2001.

Did You Know?

College-age musicians are emotionally healthier than their non-musician counterparts. A study conducted at the University of Texas looked at 362 students who were in their first semester of college. They were given three tests, measuring performance anxiety, emotional concerns and alcohol related problems. In addition to having fewer battles with the bottle, researchers also noted that the college-aged music students seemed to have surer footing when facing tests.

Source: Houston Chronicle, January 11, 1998

Did You Know?

A ten-year study, tracking more than 25,000 students, shows that music-making improves test scores. Regardless of socioeconomic background, music-making students get higher marks in standardized tests than those who had no music involvement. The test scores studied were not only standardized tests, such as the SAT, but also in reading proficiency exams.

Source: Dr. James Catterall, UCLA, 1997

Did You Know?

The world’s top academic countries place a high value on music education. Hungary, Netherlands and Japan stand atop worldwide science achievement and have strong commitment to music education. All three countries have required music training at the elementary and middle school levels, both instrumental and vocal, for several decades. The centrality of music education to learning in the top-ranked countries seems to contradict the United States’ focus on math, science, vocabulary, and technology.

Source: 1988 International Association for the Evaluation of Educational Achievement (IAEEA) Test

Did You Know?

Music training helps under-achievers. In Rhode Island, researchers studied eight public school first grade classes. Half of the classes became “test arts” groups, receiving ongoing music and visual arts training. In kindergarten, this group had lagged behind in scholastic performance. After seven months, the students were given a standardized test. The “test arts” group had caught up to their fellow students in reading and surpassed their classmates in math by 22 percent. In the second year of the project, the arts students widened this margin even further. Students were also evaluated on attitude and behavior. Classroom teachers noted improvement in these areas also.

Source: Nature May 23, 1996

Did You Know?

“Music education can be a positive force on all aspects of a child’s life, particularly on their academic success. The study of music by children has been linked to higher scores on the SAT and other learning aptitude tests, and has proven to be an invaluable tool in classrooms across the country. Given the impact music can have on our children’s education, we should support every effort to bring music into their classrooms.”

Source: U.S. Senator Jeff Bingaman (NM)

Did You Know?

“The nation’s top business executives agree that arts education programs can help repair weaknesses in American education and better prepare workers for the 21st century.”

Source: “The Changing Workplace is Changing Our View of Education,” Business Week, October 1996.

South Jersey Music stands behind the data provided here. We work closely with the school districts to promote music education in the school curriculum.

Please continue contacting your politicians and school board officials to emphasize this importance

One of the most common misunderstandings we see in our store is: The longer you play, the stronger the reed you’ll need. More often than not, I see high school freshman trying to compete with the seniors, so they come in and ask me for a Vandoren #4. I’ve been playing sax for over twenty years, and I use a 2-soft Rico Jazz Select. Why? I use a mouthpiece with a fairly open tip. Rule of thumb – 1) The lower register plays easy with a soft reed – Too soft, and the tip will tend to close, and make the the upper register sound thin. 2) Stiff reeds make the upper register play free – Too hard, and ALL registers have more air than sound.

Rule #1 – The ENTIRE reason we play music is to create a beautiful sound. Playing sax isn’t like a bench press. While weight lifting, you want to get up to 200 pounds. While playing the sax, your goal is to have the best tone.

Rule #2 – Stiffer reeds don’t make you play louder. I know some are saying “Yeah it does!” You can get a great tone and the most volume out of the PROPER size reed. The reason why I need to say this is, once again, a high school freshman comes in wanting a #4 reed because the Drum Major wants him to play louder. I’ll see the veins in his neck and his jaw muscles bulging, but there’s so much air in his tone he sounds more like a leaking tire.

Rule #3 – Reed strength has absolutely NO relation to any measurements of size. It’s not a size 2, it’s a strength 2. When the factories run the machines down the reeds, they take over 40 measurements of strength. It does NOT measure the length, width, or thickness of the tip. Since it’s cane, you can have a thinner reed, but has really dense fibers, so the tip is stiffer than a reed with a thicker tip.

Rule #4 – Between the different manufactures, there’s no standard of measurement of reeds – Every manufacturer’s measurements are different. If I take a #2 1/2 reed from the Rico Factory California, and fly to the Vandoren factory in France, they’ll measure it a #3. Why? Call it Metric vs. Standard, but the true reason is all their machines are different. They measure at different points, take all the numbers, put it into an equation, and burn in the number in the back of the reed with a laser. I hear TOO many times, “Vandorens are harder because they have better cane.” That’s absolutely ridiculous! Both companies harvest their cane from both Argentina and Var Valley France. In fact, a lot of their fields are right next to each other! The origin of this urban legend is because we all started playing with those beginner Rico “orange box” reeds. Vandoren only makes pro reeds. If it’s not up to their specs, they throw it in the stove that heats up the factory…no joke! Rico’s “non-select cane” is used for brands like Symetricuts, and nova packs (orange box). Rico’s professional reeds like La Voz, Jazz Select, Grand Concert Select, and Hemke (to name a few) are every bit as good as Vandoren. Yes, the pro Rico reeds last just as long as well.

Rule #5 – Know what your band director plays before you take his advice – Oops…I might get in trouble for saying this, but let me explain. Once again, I own a band & orchestra store (not a guitar shop). I’m also a professional sax player & repairman. Every single high school student that comes in asking for a reed that’s too stiff for them does so because their band director (who plays trumpet) told them to. Remember, it’s you playing the sax, not him. Chances are, he’s only played the sax for 2 weeks to pass his basic proficiency. This means, on this particular subject, you know what’s best for you more than he does. Always listen to and respect the advice of your elders. Anytime someone’s advice makes your lip bleed though….

All this to say, if I’m against selling hard reeds, why do they make them? There are a lot of great players who legitimately need hard reeds, and they sound great. Alot of them are classical players who use professional mouthpieces with a small tip opening (like a Selmer C*). There are some, however, with “Iron Chops” who have a 120 tip opening, and still use a Vandoren 4…and they play 4 hour gigs every other day! This brings me to my final rule…

Rule #6 – Just choose the reed that makes you the most comfortable – Always remember, we play the sax because it’s fun! There’s always going to be inherent difficulties with playing the sax. Don’t complicate it and purposely make it harder!

This guide was written by Jim Scimonetti, former owner of Scimonetti Band & Orchestra

At South Jersey Music we really believe this, and honestly, we try to explain this to our friends and customers who have children, we tell them that encouraging a kid to learn to play an instrument or to sing, or, as a matter of fact, to get engaged in any artistic activity, will open the universe of the little one to tones of new possibilities, helping him or her to build a creative mind.

The fact is that a lot of people say that hey, I don’t want my son to be an artist, let him learn and get formal education, forget music, that’s bullshit!

No, man, that’s no bullshit! And I have arguments here, so pay attention cause I’m going to say it only once:

1. If a kid will learn how to play the guitar, or piano, or how to draw or paint, this will not necessarily mean that he or she will follow an artistic career. No. It is his or her choice in the future, the grown up kid may end up being a lawyer or a doctor, or a manager, or whatever you think best for your child. But playing the guitar(if guitar is the chosen instrument) will always be a part of his life…
2. Any kind of artistic activity will stimulate your kid to be more creative and active, to stand out of the crowd. Suppose you have in mind that great career as a manager for your kid, right? Do you know what makes the difference between a good manager and a great one? Creativity. The capacity to think out of the box, to come up with fast solutions to problems, to come up with solutions and plans others couldn’t think of. That’s creativity, you know? And being creative is something you can teach your child.OK, some are gifted, think Mozard, for ex. Or let’s forget about music and think about those little guys you see on TV that at 6 years can count better than a computer. That’s something else and honestly, that’s not something you plan, but for the rest of us, real people, creativity can be stimulated.
3. You may not think about it this way, but playing an instrument is one of the best way to relax in the evening. Trust me, I should know. Computers, spending time in the office, all these things may be stressful and may get you to a point where you can just snap. Just play the guitar, have a beer, sing along, bring some friends over, you can not imagine how well you’ll feel! I think that only for this, it is worth to spend money on teaching a kid to play the guitar.
4. Playing the guitar will help your kid be more sociable in school, make friends easier, feel cool, more sure of himself. I guess all of us know that being a teenager is not the easiest period, right? Playing the guitar really helps here.

And you know what? Point 4 can be extended to all your life, no matter your age. I was reading a few months ago an article on one of the blogs I regularly read (unfortunately I don’t remember which one so if you recognize this, scream out loud and I will add a link to you here) where the author was saying that it is easier to start a conversation in some cases on guitar basis. Hey, you play guitar? Me too! What do you know?!!

South Jersey Music provides an atmosphere that fosters learning. Our teachers are top notch and are highly motivated to get your child to learn and instrument, practice and strive to improve. Most of our students say “they can’t wait to come for their lesson every week”. The teaching staff at South Jersey Music will not only have your child playing an instrument in a very short period of time, they make is fun to do so.

Give us a call or stop in to South Jersey Music Academy to tour our lesson facility and learn more about our great programs.

Perhaps the largest emerging market in guitar strings continues to be coated strings. The coated guitar string is still new to many players, and yet widely used. We are going to take a closer look at this type of string and touch on some subjects that rarely get mentioned about this specialty string.

What exactly is a coated guitar string? It is a guitar (or bass) string that has been treated with a polymer coating. The polymer is often a Teflon PFT (Polytetrafluoroethylene). Typically the wound strings are coated. The polymer coating was originally developed to prevent string corrosion. Specifically, highly corrosive strings such as bronze acoustic strings are almost impossible to keep fresh sounding without a protective polymer layer. By keeping the alloy oxygen free, the strings can sound fresh out of the box for months. Whereas uncoated bronze strings can sound dead after a much shorter duration of time (sometimes just days!). In some regards, the coated string has pumped a little more life into the acoustic guitar market. It used to be a real problem for music stores to carry expensive acoustic guitars, left on the wall for a few weeks with bronze strings, only to sound completely dead. The strings would corrode as the guitar hung on the wall. How difficult is it to sell an expensive dead sounding acoustic guitar? It is not easy.

The polymer coating allows string manufacturers to claim reduced finger squeak, reduced fret wear, and better tuning capability. It also gives them the ability to apply colored polymer to achieve the appearance of colored strings. More recently, some string companies have introduced copper into their alloy mixes. This has historically been a problem, but the coating can prevent the copper from corroding prematurely. Upon reading about all the marketing surrounding coated strings, one could be convinced into thinking…“This is the best thing since buttered bread!”…okay maybe not. But there is a lot of hype and buzz driving the coated string market.

Applying the polymer coating is not a simple process. The trick is getting a very thin microscopic layer of polymer uniformly across the entire length of a string. It requires special equipment and careful quality control. There is a real balancing act to be performed for a coated string to be premium quality. There are some strings with excellent polymer coating, but the metal string itself is poor quality. Yet, there are some strings that have a very poor polymer coating, but the metal string is well made. How does this happen? String companies are not polymer experts, and polymer resin companies are not string experts. A string manufacturer that is able to bring these two disciplines together is the winner.

Here are five things to consider when selecting coated guitar strings:
1. Coating Thickness – The amount of polymer thickness applied to the string will have a direct effect on the string’s sound. Do not buy into the hype and claims of the polymer not effecting tone. It is simple physics: String mass is proportional to tonal frequency. Thinner coatings are more transparent to tonal changes than thicker coatings. However, there is a price to be paid. The thinner coating is more likely to wear away faster.

2. String Construction – This is important! If possible, try to understand how the string was coated. Was the string coated after being wound? Was the wrap wire coated prior to winding? Was the core wire coated? I did some consulting with a polymer coating company looking to coat strings for a string manufacturer. The coating company was advocating shipping spools of coated bare music wire to the string company. This made it more profitable and easier to manufacture by processing bulk wire with a coating to the string manufacturer. Likewise, the string company thought it would also help their bottom line by not having to send finished strings to the polymer company. They would simply wind the coated wire and ship it out. Executives from both companies were eager to a get a new product out to market. Going against my advice and some of their testing, the decision was made, and the product went to market. Customers bought the strings at a premium price…and did not like them. The Web was filled with poor reviews as players vented about the strings sounding worse than the old set they replaced. The strings were soon discontinued. So what was the problem with these strings? Answer: The core wire could not couple to the wrap wire due to the coating. It resulted in a loss of sustain and tone. There is something to be said in the difference between strings coated BEFORE winding versus strings that have been coated AFTER winding. Your ears will notice the difference. Take the time to try different sets as not every manufacturer uses the same coating process.

3. Adhesion – It is important that the polymer adhere to the string. It is normal to gradually wear away with hours of strumming. Once the polymer wears away, the string will start to corrode and lose that clean sparkle. In our lab, when we do accelerated benchmark testing, we gently take some 320 grit paper up and down a string to see how the polymer will wear away. Some strings have the polymer come right off after a single stroke. Yet, others will take numerous strokes before the polymer starts to come off in large sections.

4. Application – As mentioned earlier, the acoustic market has benefited greatly from string coatings. Bronze, Phosphor Bronze, and Brass strings are something to consider for coating as they corrode so quickly. However, the need for coated electric guitar strings is still undetermined. The corrosion factor is simply not as high as their acoustic counterparts. Electric guitar strings have leveraged less corrosive alloys such as stainless steel and used tin plantings to prevent corrosion.

5. Friction – One of the advertised advantages of string coatings is their ability to reduce finger squeak. The good news is polymer coated strings do reduce finger squeak. Unfortunately, there is another problem that arises with this anti-squeak characteristic: Slippery strings. Remember, the coating is, a Teflon polymer…think of no-stick cooking pans. A very similar polymer. Some coated strings are downright difficult to bend without slipping out from your finger tips. The absence of string friction can be a problem for some players. Since practically nothing sticks to Teflon, there is nothing that can be applied to the strings to increase friction. Again, string coatings vary from manufacturer to manufacturer. Get to know which one has a coating that works best to your liking.

As you become more experienced with coated strings, you will soon start to see the traits that will work best for your situation. When it comes to coated guitar strings, it is no longer about the metallic string itself. It is also about the polymer component. It plays such an important role in sound, feel, and expense.

We carry a full line of coated and uncoated strings at South Jersey Music.

Buying a guitar is easy, right? It’s gotta be. First of all, they’re everywhere: electronics stores, discount stores, guitar chain stores, eBay sellers and a fleet of online retailers are all clamoring for your business. Next, there’s a dizzying array of research out there about guitar materials, specs, and brands, and the virtues of P90s vs. humbuckers and swamp ash vs. alder and on and on and on. With all these choices and resources, finding and buying a great guitar has never been simpler.

Or has it?

There are a lot of very common misconceptions out there about what (and just as importantly, who) makes a good guitar. Most of those misconceptions come from a natural desire to simplify and make sense of an overwhelming amount of information in a frankly pretty technical field. The problem is that relying on those misconceptions is an easy way to waste your money and make sure that the new player (or “victim,” as we call them here) has a frustrating and unsatisfying experience and quickly gives up on the whole idea.

Can Junior really get started on something you bought along with the groceries? Are all guitars the same? Are certain brand names a reliable indicator of quality? Some folks would like you to think these things are true, but we know you’re smarter than that.

Read on, and let’s see if we can’t make some sense of this.

A few pointers to get us started . . .

• Thanks to the boom in overseas manufacturing, it’s now possible to get a good, solid guitar for surprisingly little money.
• Also thanks to the boom in overseas manufacturing, it’s now possible to get a guitar-shaped piece of firewood for the same amount of money.
• Trusting your grocery or discount store to sell you a good guitar is kind of like trusting your plumber to do open-heart surgery.
• A good guitar will encourage and aid the learning process, while a bad guitar will do the reverse. Bad guitars create obstacles to learning, even if the player can’t identify the obstacles themselves. They only know that the guitar isn’t comfortable or hurts their wrist or won’t stay in tune and the whole thing is frustrating and no fun.
• Many of the qualities that make or break a guitar are difficult for the first-time buyer to identify and assess. Just because it looks right doesn’t mean it is right!
• Sadly, brand doesn’t matter nearly as much as it used to. Many of the best-known guitar names don’t make much of their own product anymore. There is no name brand in the beginner market that guarantees quality.

Okay, that was kind of depressing.

Now what?

Buck up! Just by reading that little list above you’ve probably saved yourself time, aggravation, and money. Now that you’re probably feeling like you know less than you did when you came in, let’s set about creating a plan of attack.

(What was that quote? The first step in knowing is knowing how much you don’t know? Something like that.)

How To Buy a Beginner Guitar

• Do your research. (Duh. If you’re here, you’re off to a good start.)
• Set a budget. We suggest a minimum of about $150ish. Of course, you can spend much more, but we’ve never seen a guitar for much less that’s good for more than re-enacting that scene from Animal House.

Anyway . . .

right, back to business

• Decide whether you want an acoustic guiar, an electric guitar, or an acoustic-electric guitar. While it’s typically more affordable to get started on an acoustic since you don’t need an amplifier and cable, many beginners prefer to start on an electric since it’s easier to play. We recommend that you start with what appeals most to you. The idea is to have fun, right?
• Buying online may not be the way to go on this one. Really. If you absolutely must, then make sure the seller has a great reputation, a great guarantee, and a very liberal return policy, then have a qualified technician check out the guitar as soon as it arrives. Be very, very wary of eBay deals that look too good to be true.
• Get out there and go shopping! Playing the guitar is a very physical, tactile experience, so choosing a guitar should be as well. Even if you’ve never played a note in your life and you aren’t shopping for yourself, go check out some guitars. Hold them. Look at them. Ask questions. Lots of them. You’ll be surprised what you learn.
• Find good help. If you have a friend who plays guitar, ask them to go shopping with you. Check out shops in your area and find one with a knowledgeable staff or a salesperson you feel you can trust. Try your local independent retailer!
• Check out the actual individual guitar you plan to buy. Give it a good, hard look. Does it seem solidly built? Do the pieces fit together well? Take a look down the neck, like you were looking at a 2×4. Does it look straight and level? Does the guitar feel balanced in your lap and hands?
• Conversely, does anything about it seem cheap or weird? Does the hardware seem flimsy? Do the frets (the metal bars running across the neck) stick out or feel sharp on the sides? Does the neck have any humps, divots, or twists? (If you see a twisted neck, run, do not walk. That’s definitely not the one.)
• A good general rule is not to buy a guitar at any store that sells toilet paper. A minute of convenience can cost you a mountain of aggravation and/or just plain old wasted money when you or your child never really gets going on guitar.
• Unfortunately, big box stores just don’t have the time, expertise, or personnel to inspect guitars, their selection is very limited, and their employees don’t have the training necessary to help you make a good, informed decision. A box store won’t be able to provide you with any service or support after the sale, and frankly the stuff they sell is, uh, let’s say “not so great” in terms of quality. (Remember that mention of firewood?)
• Speaking of which, does the guitar come with a warranty? How is that warranty supported? If something goes wrong with it, what do you do? If the answer is “take it straight back to where you bought it and they will help you,” you’ve probably found your place to buy.

If You Want Mythology, Try the Greeks

if you want good, reliable information, read on.

There are lots of commonly held perceptions about guitars that are, well, somewhat off-base today. Here are a few guitar myths that belong in a storybook, not a store:

1. If it says “BRAND X” on the headstock, it’s gotta be good.
2. Guitars from China are junk.
3. Only the biggest stores and the internet have good prices. Everybody else is a ripoff.
4. It doesn’t matter what you start on. Beginners can’t tell the difference.
5. All the best guitars go to the biggest stores because they buy the most.

The Truth, One Step at a Time

Here’s the real deal on those myths, in order:

1. The brand on a guitar means less than ever before. Many of the largest brands don’t even make most of their own guitars anymore. That’s right, that guitar that says “BRAND X” on the headstock very likely came out of a factory owned by another company entirely, and that company probably has its own brand of equal or superior quality that’s a whole lot cheaper than “BRAND X.” There are far fewer factories than there are guitar companies, and many guitar companies are sharing factories with one another. Surprising, eh?
2. Though there is certainly a fair share of scary junk coming out of China, there are also very good guitars being made there for shockingly affordable prices. The same is true of Korea and Indonesia. Overseas manufacturing can be a great thing for the first-time buyer. Just make sure you use the shopping criteria above and you’ll be in good shape.
3. Most independent music retailers are very motivated to compete in today’s marketplace and willing to work with you to get you the best possible price. Many will match or beat competitors’ prices and/or provide you with additional service and incentives to win your business. If there is an independent store in your area, stop by. It certainly doesn’t hurt to ask, and you may very well find that you are much happier in the end.
4. A really crummy guitar is going to ensure that the beginner never makes it to intermediate. Factors like how easy the guitar is to play, how it sounds, and whether or not it will stay in tune all influence the beginner’s experience. A beginner doesn’t need a $5,000 guitar, but they do need a decent starter guitar if they are to succeed.
5. All retailers get shipped the same stuff. Independent stores are far more likely to actually inspect the guitar, make adjustments, and catch any defects.

In Conclusion

just like our English teacher taught us

The bottom line is that if you have an open mind and get some good advice you can get far more guitar for your money than you had probably ever imagined. Remember that in today’s market brand names mean less than ever before, and that it’s probably best to buy from an expert who can provide you with support for your purchase.

Do your research, find good help, and trust your instincts, and the result can be a wonderful instrument that will be enjoyed for years to come.

Good luck!

Where To Buy A Good Guitar

Where you can actually touch them in person and talk to someone who genuinely knows his stuff – at your local independent music store! Some people rush to say “Musician’s Friend” or some other catalog/online dealer. Let me ask you one question, what does that guitar feel like in your hands? You don’t know because you are basing your purchase off a 2″ by 3″ stock photograph that isn’t even the actual instrument you’re buying.

Anybody who tells you it isn’t important to feel the instrument doesn’t have a clue. Within seconds you will know if you like it or not, even if you aren’t experienced, you will know. How’s the balance, the weight, the neck profile?

The next knee jerk reaction is Guitar Center. True, you can put them in your hands there, I’ll give you that. However, and please understand that this is a general statement and not true in every situation, but Guitar Center employee turnover is notoriously high and the training given is not as much based on product education but selling. Large chain stores rarely do repairs or setups and any good player will tell you that setup is very important. Guitars are rarely ready to play their best right out of the box.

But what about price? Won’t the internet/catalog/big box discounter be cheaper? Not necessarily! In today’s competitive market where anyone within seconds can comparison shop online most retailers are close to the same price on musical instruments. Don’t sell out your guitar playing future for a few bucks if they are a little higher, often it doesnt pan out in the long run. A guitar setup before you buy it may save you more money then getting the setup done after the purchase somewhere else. So what is it about an independent music store that is so special? In most cases they are owner operated. This means that the person who the business’s success matters most to is probably in the building, maybe the guy you are talking to. Ever get lousy service at a fast food chain? Of course, we all have! Do you think if the owner (not the manager) was on the premises that you would get better service? Yep! Secondly, the indie music shop was most likely started by someone who truly cares about music, not someone out for a quick buck. Sure, sales are important but any business owner worth a grain of salt knows that repeat business is where it is at. Third, building a relationship with a store can pay off in the long run. Being taken care of (favorite strings in stock, privy to new gear, setup tweaks, advice) is well worth the effort in the long run. Yes, there are bad independent dealers out there to which I say don’t shop there either! But as I mentioned, an indie store is going to have more incentive to treating you right, cool unique gear and service that the others can never match when you find a good one. Certainly good guitars can be found online, through a catalog or in a big box. Great guitars can be found at a local music store.

Wanna Start Music Lessons, Here are some important details to know before jumping in

So you’ve got an instrument, you’re starting music lessons, and you’re ready to rock.  Here are some things to think about that will help you accelerate your learning process and become a more improved, well-rounded musician.  The first part of this blog discusses the meaning and significance of music.  The other part uses playing the guitar as an example to apply the basic principles of learning music that will help you to make the most out of music lessons.

First of all, how do you describe music in its simplest term?  How do you explain the beauty of a perfectly executed classical minuet, or the wonder behind a lightning fast guitar solo?  What about the raw power and sheer earthiness of rock & roll, or the tear jerkiness and thought provoking lyrics of country music?  Is it possible to understand the massive energy and influence behind R&B and hip-hop where practically every kid from age 8 to 18 can recite all of the Black Eyed Peas’ lyrics from memory?  Music is so much more than a means of recreation and entertainment.  It is an art form that breaks down all language barriers and allows us to express and release emotions that we often conceal in everyday life.  The great part about playing music is that it’s not limited to professional artists like the Beatles, Led Zeppelin, Maroon 5, Dave Matthews, Garth Brooks, and Eminem.  Anyone can do it and beginner instruments don’t cost nearly as much as they did several years ago.

When it comes to playing music, some people have natural gifts, and others claim they are physically inept.  The fact of the matter is music is in every single one of us, whether we choose to accept it or not.  It is basically an expression of our being by means of sound whether through another instrument or by our own instrument the vocal box.  So you may believe that your music is really good.  Or you may believe you must have been absent the day musical talent was being handed out.  Well, regardless of your musical ability or beliefs, to truly appreciate and play good music, it’s important to know what makes music “GOOD”?  Some people think rap and hip-hop is “GOOD” music.  Others think heavy metal is “GOOD” music.  Still other people think country music is “GOOD”.  So who is right and who is wrong?  In true art, is there really a right or wrong?  I think music is “GOOD” when it’s sincere and is played from the heart.

So two basic concepts to master when playing any musical instrument is melody and rhythmn.  I’m going to talk about basic concepts to master playing the guitar, since it’s generally the most popular instrument to learn.  However, you can apply these principles to help learn how to play any instrument better.  Mastering the guitar is about putting the following three elements together.  One, strum the proper strings with one hand.  Two hold the proper strings down with the other hand.  Three, putting elements one and two together in various timing (rhythm) patterns.  Of course, just as the basic principle for making money in the stock market is buy low; sell high, this is easier said than done.  The good news is that 75 percent of all popular songs can be played if you know how to finger a few basic chords and apply simple strumming patterns when playing and changing between these chords.

So where do you begin?  The first thing I would suggest is to decide what your goals are.  Where do you see yourself after playing the guitar for a year?  Are you in a band?  Are you playing songs for people at a campfire?  Are you still trying to figure out how to keep the strings from buzzing?  If you are unsure of your goals, here are some questions to ask yourself to better understand what you want from playing an instrument.

Do I want to play with other people in a band?  Do I want to become a rock star?  Do I want to be able to write songs or put my poetry to music?  Do I want to be able to play songs that I like to hear?  Do I simply enjoy playing the guitar for fun?  Are my parents forcing me to learn an instrument?  Do I want to learn how to read sheet music?  Do I want to show my friends that I can play cover tunes note for note?  Think of your goals or dreams as a road map.  It’s hard to get to your destination if haven’t the foggiest idea of where you want to go.

The second thing I would recommend is to find out who your favorite group or artist is?  What is it about them that you like so much?  What style of music do they play?  Ask your instructor if you don’t know.  Pick 5 bands that you want to sound like.  Find out something personal about each one of them, such as where they grew up or the age when they first started playing.  Here’s an example:

My favorite artist is Stevie Ray Vaughn.  He started playing guitar at the age of 8 with a Roy Rogers guitar.  He had a very genuine personality.  He poured his emotions into his music.  I can relate to the way he seemed to view music and life.  He believed music has the power to heal.  He was truly amazing on the guitar. His style is blues/classic rock.  It’s the style I am most familiar with and most passionate about when I’m playing the guitar.  It’s packed with a great deal of raw emotion, energy and sincerity.  For 5 artists to sound like, I would have to say James Taylor, Eric Clapton, Jimi Hendrix, Alex Lifeson from Rush, and Jimmy Page from Led Zeppelin.

James Taylor was in a mental institution twice and through the power of music overcame years of substance abuse and addiction to heroin, ultimately becoming a legend in acoustic folk rock.  Jimi Hendrix started playing air guitar on a broom cause his family was too poor to buy him a guitar.  Eric Clapton had a thing for George Harrison’s wife.  Rush pretended to be like Cream for a while cause each of them were a 3-man band and started playing together when Cream was getting famous.  Led Zeppelin got booed off the stage before becoming a classic rock legend where kids to this day are still intrigued by Jimmy Page solos.

These are some basic concepts that will help you get the most out of music lessons and learning to play an instrument.  Stay tuned for future blogs that will discuss specific techniques to improve your playing and practicing.