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Q: I've been trying (perhaps stupidly) to play 'Every Breath You
Take' on my cheap steel string acoustic guitar the way I've seen you
play it on an electric. However I'm finding it impossible to stretch
and fret the chords the way you do. I don't know whether to buy a new
guitar with smaller frets (but which one?), have my hands surgically
replaced or just give up. What would you advise? I'm a bit worried
about developing bad technique and/or early arthritis. - from Graham
A: It is a stretch but doable even with small hands. It's all down to
the thumb being strictly positioned directly behind the neck and not
over it (like many players do). Its almost a classical position. It is
also important to have your arm in a good position to allow you to
make the stretch. Try making the stretch just with your hands and
without a guitar and see where your arm is. Then do the same with the
guitar. If this doesn't work take up gardening... Either way please
let me know if this helps!
Q: Dominic, have you used strings with polished or semi polished E,A,D
on your P-Project or Guild Paloma? If not, what do you do to reduce
finger noise on the wound classical strings? - from Garry
A: I only wash my hands AFTER playing. This helps. In my opinion,
natural sweat and general grime from the fingers is the best squeak
deterrent. Also, I don't change the strings on the nylon until they
are dead which can take months. Don't be fooled into buying silly
products that claim to have the answer. In the end it's only Pledge
with different packaging. Finally, the difference between
professionals and amateurs is that amateurs always feel the need to
complicate matters when in fact the solution is more often than not
quite simple. I hope this helps.
Q: I find it very difficult to play and sing at the same time and it's
especially hard in a rhythm part. Should I try to learn singing and
playing separately or I should try to practice both of it same time? -
from Swanse
A: I am sure you can do this provided you use patience. Try just
looking at the first line of the song and just work on that for as
long as it takes which might even be a whole day. Then take it from
there. When I am learning a new piece of Bach I look at perhaps two
bars of music a day (equivalent of about 6 to 10 seconds of music).
After two or three weeks I know the whole thing and am very connected
to every note. Look at EVERY syllable and note and analyse their
relationship. By doing this really slowly you will get there quicker.
Q: What do you think it is most important playing guitar (or playing
another instrument) the feeling or the technique? What is most
important for you? - from Xaloc
A: I believe that with a good technique you can achieve more feeling.
I always prefer feeling over technique but they work together.
Q: Last night, my boyfriend and I went to see you open for Sting here
in Atlanta. It was an incredible show! On the way home we were
discussing how a great guitarist gets his big break. My boyfriend is
an awesome guitarist. The problem is that he just turned 40 and feels
like his big break should have come in his 20s. He gets depressed
thinking that he will never fulfil his dreams. He just wants to make
great music and needs to meet someone who can help him do just that.
Do you have any advice that you could give him? - From Erica
A: I know hundreds of guitarists who are in a similar position who
would like to get the 'break'. Think of how many guitarists out there
who listen to me and think 'I can do it better'. There are literally
thousands of players who want my job. The trouble is they don't know
what it really entails. For example, let's say I am playing something
jazzy and there's a jazz guitarist in the audience, he would say 'I
can do it better' therefore I should be there instead if him. Same
with Rock, Country, Heavy Metal, Folk, Spanish, Classical, Bossa Nova,
Bluegrass, Funk, etc etc. This job and any job that can bring on a
'break' is about being able to adapt to ANY style at the drop of hat
or at the artist's whim. I may not like country, but I can play it
sufficiently to make it convincing to the person I am working with or
to the audience. Just not a country guitarist. Same with all the other
styles. Before anyone says I can do it better that 'him' he or she
needs to ask themselves if they are adaptable, not just
musically/stylistically but emotionally as well.
All breaks I have had have been of my own making. It takes a lot of
determination and open mindedness to create opportunities for oneself.
For example, if someone asks your boyfriend to play a session for an
artist he thinks is not worth it, he might not realise that the tape
op or receptionist in the studio is the one who will remember him thus
passing on his number to whoever. That's the way it worked for me. My
biggest 'break' came working with Phil Collins. But the way it
happened is so unrelated to his world. It was through meeting a
percussionist at a session for a girl singer I didn't want to
particularly work with who knew someone who knew someone else who knew
Hugh Padgham (Phil and Sting's producer) who eventually recommended me
for Phil.
Finally, getting a break or a good job is one thing. Holding it down
is another. I have to keep the standards up on a daily basis or else I
know someone will take my place. I hope you find this useful. I wish
someone had told me stuff like this when I was in my twenties.
Q: Do you think its to late for me to become a professional musician,
and if I have the passion for it to happen do you think it could
happen? It’s just that I actually got to play with Chris Botti behind
stage before one of his performances and it really changed my outlook
on that possibility. I mean you don't every day get to play with a
professional trumpet played, let alone my idol Chris. I just would
like to know what you think I should do. - from Manny
A: I don't think it is too late to become a professional musician as
long as you are prepared do be disappointed on a regular basis.
There's a big difference between being an accomplished amateur and a
pro. Once you "come out" as a pro people will start to judge you which
is not for the faint hearted. No one judges an amateur. There are many
ups and downs involved, mostly downs so again, if you are willing to
put up with it I would say go for it.
Q: What I wanted was a little advice on how you think I should market
my music in an unfortunate time where boy bands and pop idols have a
major influence in the charts. I am constantly writing till the early
hours because that's when I get my mind going. - from Demitri
A: It's always a good time to get into songwriting and recording.
Don't be put off by boy bands etc. It's only temporary in the grand
scheme of things. Artists like Nora Jones are not like that at all and
are selling millions. Do your own thing. I find the best time to write
music is early in the morning because your mind is fresh and you are
still in touch with your subconscious mind. A lot of authors get up at
5am!
Q: I not only want to be a great guitarist, I want to be a great
musician - what does it take, in your opinion? - from Alan
A: I don't think you can one can ever call one self a great musician.
I think if you are prepared to always study and listen well you can
become something like that. Learning about theory can improve you as
an instrumentalist.
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