photo by Ben Pearson
CLASSICAL GUITAR IS A GAS
I started playing bass in a band in High School, but as my interest grew in popular music, I though it would be exceedingly cool and most excellent to strum along with my favorite hit tunes on the AM radio. Using money I earned working at BBF (Burger Boy Food-A-Rama) I bought an acoustic guitar at Arlan’s (a store kinda like Wal-Mart) for $11 and learned a few chords. About that time, a classical guitarist played a demonstration at my school. I was amazed; you could make all that music like a teeny orchestra, all by yourself. This was way better than just playing chords. The fascination stayed with me, and when I came home from college in 1971, I started lessons from the same guy who played at my high school: Bill Powell, who was half owner of Powell and Clark Music in Parkersburg. Being familiar with the drudgery of practicing scales and studies from my cello lessons, I told Bill I just wanted to learn some cool classical guitar music, skipping the boring stuff entirely.
For some reason, I put much more effort in to practicing the classical guitar than the cello. During that period I was playing bass in band, mostly weekends, and it left a lot of the week free for practice. By the next year I began lessons with Andy Ketterman, who was more demanding (in a good way). Of course, I ended up working on scales and studies again. Around 1973, Andy and I both auditioned at Shenandoah Conservatory in Winchester VA for either acceptance or a scholarship. Not sure why, I don’t remember wanting to return to school. Lessons became more fragmented as I started going on the road with various bands (as a bass player). I started listening to Leo Kottke and realized this here classical technique set me in good stead for down-home fingerpicking. (Hee Haw!) I would benefit from this years later when I started performing solo on the guitar and writing songs.
For some reason, I put much more effort in to practicing the classical guitar than the cello. During that period I was playing bass in band, mostly weekends, and it left a lot of the week free for practice. By the next year I began lessons with Andy Ketterman, who was more demanding (in a good way). Of course, I ended up working on scales and studies again. Around 1973, Andy and I both auditioned at Shenandoah Conservatory in Winchester VA for either acceptance or a scholarship. Not sure why, I don’t remember wanting to return to school. Lessons became more fragmented as I started going on the road with various bands (as a bass player). I started listening to Leo Kottke and realized this here classical technique set me in good stead for down-home fingerpicking. (Hee Haw!) I would benefit from this years later when I started performing solo on the guitar and writing songs.
During my sojourn Upstate New York starting in 1975, there were some opportunities to perform on the classical guitar at church functions. Phil Keaggy and I played a couple of his instrumental compositions on classical guitars for a Christmas program (crude recordings of our practice sessions are on YouTube). Later, assisted by other church members, there were performances at church events of a Boccherini string quintet (string quartet plus classical guitar) and Vivaldi’s Guitar Concerto. A few opportunities to play solo also came up, but nothing too serious.
Some years later, back in West Virginia, my wife and I began to play for weddings and events; she on celtic harp, and I on classical guitar. The harp was a real draw for brides-to-be. Guitars were dime-a-dozen for this purpose, but I played my guitar and acted as “roadie”. Also my down-home fingerpicking became more of a focus as I began to do instrumental and (increasingly) vocal gigs on my own playing covers and original music. My first recording (available in re-mixed form as “RIVER FLOW”) was mostly multi-tracked instrumental impressions featuring the classical guitar. There were 2 short solo tracks that fit in: Sarabande by Robert DiVisee and Prelude by Fransisco Tarrega. There is also an extended classical guitar track in the Spanish style (Someday I’ll Visit Spain) on my 2nd CD, “I Think Of Home”. In my later recordings, I didn’t often use the classical guitar and headed off in another direction musically.
Some years later, back in West Virginia, my wife and I began to play for weddings and events; she on celtic harp, and I on classical guitar. The harp was a real draw for brides-to-be. Guitars were dime-a-dozen for this purpose, but I played my guitar and acted as “roadie”. Also my down-home fingerpicking became more of a focus as I began to do instrumental and (increasingly) vocal gigs on my own playing covers and original music. My first recording (available in re-mixed form as “RIVER FLOW”) was mostly multi-tracked instrumental impressions featuring the classical guitar. There were 2 short solo tracks that fit in: Sarabande by Robert DiVisee and Prelude by Fransisco Tarrega. There is also an extended classical guitar track in the Spanish style (Someday I’ll Visit Spain) on my 2nd CD, “I Think Of Home”. In my later recordings, I didn’t often use the classical guitar and headed off in another direction musically.
It was not till the late 90’s that I became serious about the classical guitar again and took lessons from Bulgarian guitarist, Alexander Petkov. Back to studies and scales, which revealed the fruits of sloppy practice habits over the years. He required that I use the correct right-hand fingers for each note instead of grabbing the notes with whatever finger seemed best at the time. Correcting this bad habit nearly drove me insane, but the effort yielded great improvement as I got things under control.
I continue to enjoy “picking at” my favorite classical guitar music around the house, but over the years my competence level has declined. It takes continued dedication to play this serious music at an acceptable level, and advancing age has had it’s effect also. It’s now just for fun.
I continue to enjoy “picking at” my favorite classical guitar music around the house, but over the years my competence level has declined. It takes continued dedication to play this serious music at an acceptable level, and advancing age has had it’s effect also. It’s now just for fun.
photo by Ben Pearson
