I've read that you only want to wind the low E string and then knot the rest. I'm really shakey on knotting with classical tuning gears in that I don't know how to wind the strings with uniformity. Uniformity as in the string not overlapping itself and winding into a cluster
I have a couple questions regarding to restringing steel strings onto a classical guitar. I've restrung my 1920's Washburn once but did it wrong and sloppy, (yes I admit it, it was my first time restringing a classic guitar), so how would I string it up properly?
YouTube video's that I have watched only show Nylon strings being practiced with. I don't want to use their examples just in case I have there is a safer way of restringing with steel. I mean safety in terms of the weight of the steel strings compared to Nylon and pull on bridge.
Neapolitan isn't just any major chord though, it's like a major II chord. So in the key of C instead of playing Dm (D-F-A) you'd play (Db-F-A)....you pretty much just flat the root note of the second chord. It's all about how you use the chromaticism though and where you place it within your progression.
So I got my first guitar when I was 15 (7 years ago) and started self teaching myself on it. I purchased it for $200 from Musicians Friend and it's since been out of stock and no longer produced (Ibanez PF5). I really love it but haven't played it in the past six months because I've upgraded to my restored pre-1920's Washburn Steel String that sounds AMAZING (look for my topic when I got it for pictures).
So cut to present day and I was offered $110 from a lady at work who's husband has been in an up and down battle with cancer. She said he REALLY wants a guitar to play to help him through his troubles and I alluded to having one for him before my subconscious kicked in and I started feeling sentimental value. I'm gonna miss it but I don't see any time in the near future that I'll be playing it.
I think I'm gonna sell it because I want to help her husband get through his tough times and I'd like to do the good deed BUT at the same time I'm kind of attached to it even though I don't play it anymore.
So here's my question...would you sell your first guitar in this situation? I'm on the fence because of his situation and I'd know he'd love it. I'm also in a financial bind and she promised me it would go to a good home. I figure I can always get a better acoustic later on when I'm more financially stable and continue playing my awesome Washburn in the meantime, yet I'm unsure if I will regret the decision to sell. It's a cheaper guitar so monetary value means nothing to me but I'm worried the sentimental value will tear me apart.
Learn the other basic chords such as G, B(b), Fm,Gm,Cm,Dm etc etc. Learn some diminished chords (read up on where they fit in a progression), Neapolitan chords, big chords if you're into a jazz sound (9th, 11th and 13th chords).
musictheory.net, learn how chords are built....it's essential.
There's A LOT to learn, especially if you're teaching yourself. I went through four semesters of theory taught by an amazing professor with his PhD and it gelled really well in my learning process. I couldn't imagine teaching it all to myself though, because there are so many nuances and rules to apply. I strongly suggest getting someone who knows theory (teacher/friend) to help you along your theory path.....
Yes, very reasonable. Going into the restoration the wood was anciently dry. The tuning gears were rusted, which the restoration cleaned up completely. Almost all the bracing needed re-glueing, the bridge was lifted up along with the screws being ancient and snapping in half almost as soon as he tried to get them out.
He told me not to be suprised if a brace or two needs to be reglued in a year or so. He said a guitar this dry may tend to move around here or there but since the original shape of it was pretty good to begin with I shouldn't be worried.
Ha ha ha. Yeah I spent a year at the Culinary Institute right out of high school. Decided it wasnt for me and started MCC in 09. I've been commuting an hour back and forth every day so my schedules have been tinkered with every semester so its taking longer than usual. Plus I work 30+ hours on the side. If it wasn't for Theory class I would of stopped going four semesters ago. Liberal Arts degrees are 100% worthless in job markets around here
Wow small information super highway huh, ha ha. I'm in Conesus, went to highschool in Dansville. One of my friends went to OCC for something different and said he didnt like it much. MCC's music courses are pretty good too. I'm a liberal arts major so the only music I've taken is Guitar I, Piano I and Music Theory I-IV.
Thanks for all the views and kind compliments. It has a special place in my heart. If anyone lives near Rochester NY I strongly suggest you go to Bernunzio's on East Ave for any restoration or repair. They're great people there and treated my baby well.
Another great piece of info the restorer told me will add value to it is the original pick guard. I guess back in the day you had to order Washburn's through a catalog and the pick guard was a special option that cost anywhere from .50 cents to $2.00 depending on era. He said he has never seen a Washburn in person with an original catalog pickguard. He said it could raise the value just that much more. I'm never selling it though so its just another cool factoid I learned about it.
The shop owner I got the restoration from said it's appraised at around the $1800-$2000 range. To think last week I was practicing on a $185 Ibanez PF5 that I've had for 8 years now. Something new to play with!
I'm still smiling ear to ear from the restoration. My great uncle actually used this guitar in the 1950's for Bob Hope and Frank Sinatra's USO tour. I still have the vintage guitar mic he screwed into the top (which the restoration fixed the screw hole nicely) too. It's a Monarch Guitar Mic, made in Japan BUT I have yet to find anyone that knows anything about it. I'll post pictures if you want me to.
The restoration on this baby cost me $400, the hardshell Superior Classical Case cost me $110, got a Oasis humidifier for $20, some Duck Wax for string cleaning and a couple cloths to keep it looking pretty. Sounds like a dream. My great uncle is smiling right now from the other side, I'm sure of it.
Here they are. The guitar sounds full and bright. Amazing sound and SOOOOO fun to play!
Here are some of the pictures. My great uncle got it when he was 12 in 1926 but the guy who restored it for me said the bracing is not X bracing and since it is a steel string guitar he thinks this could be one of the earlier steel string models that were made before they learned how to build with an X brace. Anyway NGD!!!! Here are some pictures of my beaut!
Thanks for looking! Keep on rockin' in the free world!
The guy said it's gonna sound as good as anything from that era and will probably come close to drowning out most Dreadnaughts. The restoration will cost me (haven't paid for it yet BUT he did give me a better quote) $360-$400. I need to buy a gig bag for it for now though because they don't have any custom made cases in shop that fits it.
The guy had to glue a bunch of bracing back into place, the screws in the bridge were broken, cracks in the back and a screw hole in the top from the Monarch Guitar Mic. Other than that he said the restoration was a smooth one and EVERYTHING on the guitar is original.
I really cannot wait. Just typing this is hyping it even more for me.
So I posted my story of the 1920's parlor sized Washburn guitar I am getting back from restoration tonight in the Acoustic/Classical forum. My question for you gear heads is have you ever heard of this brand and does it have value?
If you need the back up story on how I found this piece of gear please go to my thread in the Acoustic forum (title: So EXCITED!....)
Anyways it is a guitar microphone made by a Japanese company named Monarch. It's in complete shape (in original box etc.) and I looked on eBay for something similar and the closest I found was a Jazz pickup made by the same company, in an identical box but just a different model #. The seller was asking a buy it now of $300 and labeled the auction as a 1960's Jazz Pickup.....it didn't sell.
So my question is does any gear head here have any info on it? The place that is restoring my guitar had never heard or seen one of them so they couldn't help me. I know my Great Uncle used it because me and the restorer found a screw hole in the top of the guitar where my uncle one used it. You can tell it's vintage (simply IMO) because it wasn't a clamp on mic that is used today but you actually had to physically screw it into the guitar top.
The story behind the guitar is pretty amazing. I am getting the guitar back tonight after work! My mom's uncle recently passed at the tender age of 96 last summer. Well, she goes through his house and tells me he has a 1920's era classical guitar he use to play (but little did I know HOW much he played).
My great uncle Art got the guitar for his 12th birthday in 1926. I'm not sure if it was brand new when he had gotten it but either way the shape I took it in at wasn't bad at all.
So I take it to my local vintage instrument shop (Bernunzio's Uptown Music in Rochester NY) and ask how much it's worth and if it's worth getting restored to playing condition. I get a quote of $300-$500 and a couple month wait time due to a couple small cracks in the back, the bridge being pulled up a bit, tuning gears rusted and it being completely dried out. The guy doing the restoration said it took about a month and ten days for the wood to humidify fully.
BUT the story gets even better. So after telling my mom the restoration would be done in a week she said "Aw, Uncle Art would be so happy. He played the hell out of that thing". She then proceeds to tell me she sent original pictures back to his family in Missouri (we/he lived in Western NY) of my Great Uncle Art playing in Frank Sinatra and Bob Hope's USO Tour bands. I told her to write his family in Missouri to see if they could make copies ASAP.
I am so excited for this because as soon as she told me that I put the pieces together. Along with the guitar I found a 1950's guitar microphone (It's a Monarch Guitar Mic, complete and in great condition) that he use to have screwed into the top of the guitar. I could see a nice sized screw hole before I brought it in for restoration.
I will be posting pictures of the guitar tonight or tomorrow if anyone is interested in seeing it!
So I'm in Music Theory III currently and decided to do a practice progression in the key of F. Just wondering what all you guys think. I'm using Finale NotePad to notate it all. Sounds pretty good, and very similar to the original Castlevania in a way.
So I was just wondering what you guys think and if you can spot anything wrong with it.
in Ab the chord G7 would be V7/IV, right? The dominant of Ab is Eb and G7 could be used at IV in the key of Eb? The Key's being flatted really throw me off for some reason. Regular natural keys I understand but once you throw in flatted keys I have no clue on how to adjust.
I'm in Music Theory III so it would be technically would be my third semester if I was a music major. I've been going to college for three and a half years now but this is my third consecutive semester taking a theory class.
BTW, that was a mental mistake thinking that was a V7/V, so with that cleared up I think it's a V7/vi.
For the second part the original key is already given. For example, for the first one I got V7/V out of it because my teacher gave us the key of "Eb" so I went to Eb's fifth which is "Bb" (or more simply the key of B) and then found the dominant chord of Bb(B) is "G" so I figured since G-B-D-F is the chord given that V7/V is correct. The flats really screw me up but I remember my professor saying it doesn't matter if the key is sharped or flatted as long as I get the letter names dominant chord right.
Yeah I understand that a secondary dominant can only be found off of the dominate note of the key you are writing in. I was just having trouble finding the dominant of a flat key such as Eb, Db etc. Since there are flats in both those keys wouldn't using sharps be augmenting the secondary dominant chord as opposed to using just natural's?
So I am in the first four weeks of Music Theory III class at college and we were just introduced to Secondary Dominant chords that are relevant to the key you're playing in. I know what they are and how they work for most keys but a few keys have been giving me trouble in terms of figuring out which notes to use on my homework. If anyone could help me along with this I would be VERY grateful.
Here they are and my answers (in notes I wrote down) beside them:
1) Key of "Eb" V/V, I answered F-A-C as the secondary dominant.
2) "G" V7/iii, I answered F#-A#-C#-E
3) "D" V7/vi, I answered F#-A#-C#-E
4) "Db" V7/IV, I answered Db-F-Ab-Cb
I guess the flat keys are giving me trouble as I don't know what secondary key to use and how that flat key translates into the notes I play.
The second part of the homework I could use help on involves the notes (all natural) G-B-D-F and I have to figure out what those notes would represent in each key. The key's they give are:
1) "Eb"- and I guessed that G-B-D-F would be a V7/V
2) "Bb"- I guessed G-B-D-F would represent a V7/ii
3) "Ab"- I worked out a V7/iii out of the G-B-D-F given
4) "G"- I worked out a V7/IV out of the G-B-D-F that was given.