Words from a student

Nov. 30th 2009


Wavicles

By Greg Arney11. November 2009 18:04

My first guitar teacher at college, Lauren Passarelli, taught me a number of things that I am still learning years after the fact.

After carefully eyeing my picking hand, she faulted it for being inflexible. She prescribed several pieces which made use of the floating, string-skipping picking hand that is necessary for versatility and large leaps. A natural skeptic, I wondered if the effort of changing my technique was worth it, or if the “setback” would somehow slow me down. Many musicians, particularly those who have achieved some level of comfort with a playing style, are reluctant to try new techniques, fearing that it will render their current technique worthless. Months later, I discovered the problem on my own – and returned to her prescription. Now, years later, I am happy to say I have conquered this difficulty. However, I do face many more. I have a bad habit of practicing within my “comfort zone”, even though I am fully aware that two hours of discomfort is probably more effective than 8 hours of comfort.

My current goal is to lay out all of the techniques and concepts that I really don’t want to work on, things that make me feel uncomfortable or weak, and practice them relentlessly, going so far as to forbid any familiar activity for the duration of four weeks. If my playing is significantly changed in that time, I will know I have found another keystone on my path to mastery.

Lauren taught me another important lesson. My usual attitude as a student was that I must push as hard as I can against the wall. Occasionally, I would express my patient frustration to teachers and mentors. Having a need to organize the Universe, I told Lauren that I knew I would get X good if I practiced X amount of hours. For those of us who train ourselves to have high expectations and work hard to achieve them, we tend to want others to validate this view, even going so far as to expect that anyone we respect or admire will share this method. However, Lauren’s response shocked me. She said that it wasn’t the amount of time spent practicing or even how badly I wanted mastery. She told me that if I focus and have the right mindset, these things will find me, instead. The conversation took a turn into quantum physics, and we talked about ever-fascinating concept that light can be constrained as both a wave and a particle, and the view among many physicists that the expectations of the observer can affect the outcome of the observed. She called this a “wavicle”, and when we parted for that lesson (which was one of our last), she left me with this: “Control the wavicles!”


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Insatiable Love Affair

Jun. 22nd 2009


(Here’s an essay I was asked to write about Gretsch Guitars)


Insatiable Love Affair

The plastic guitar at age two wasn’t enough, and when i saw the Beatles on the tele at age 4, I fell deeply in love with guitar.

A couple of acoustic guitars came, one fake that had nails for two of
the tuning pegs, and one real that actually stayed in tune. And finally
lessons. But I needed an electric guitar. An american guitar. I wanted
to bend strings & play the solos I’d been learning on an electric. I
was playing chord solos too, learning how to play legato & hold notes
while others note moved & I wanted to hear more sustain.

Because of George Harrison I wanted a Gretsch guitar! And at 12, in
1972 my parents bought me a 1961 Gretsch Anniversary model. Whoa! The passion went deep. It was wildly known the best guitars were American made. George had wanted an American guitar since he was a kid. His lass="Apple-style-span" style="font-family:Verdana, -webkit-fantasy;">Gretsch Duo Jet was his prized possession. It was his first American guitar & he kept it his whole life.

George & I were both influenced by super guitar players. Masters.
Players who had a feel & tone that personified the notes they chose.
Serious guitar players that were so clever & articulate the music
flowed & looked effortless to create. That’s the mark of an expert. It
looks so easy when they play and it sounds brilliant. It’s all about
the touch & feel; the magic happens with your hands, at your fingertips & you need an instrument that can respond to your whispers & moans.

A Gretsch neck has always felt perfect in my small hand. I love the
round shape & made-for-each-other fit. Gretsch guitars have a good
weight to them. The workmanship is smooth, every line & crease, every curve is finished. No rough spots, nothing feels dinky. I still have my ’61 Anniversary model. I’ve written many songs with it. This guitar’s every shape & form is in my muscle memory. Playing it is like visiting a dear friend. In 2000 I picked up a Country Classic Jr., similar to the Country Gentleman George bought in 1963. This body size couldn’t be more comfortable. It was love at first touch. I feel like George when I’m playing this guitar. There’s a magical essence, chemical reaction, blend of wood & soul when I play Beatle songs on this guitar.

I get verklempt when I think of Gretsch guitars. They’ve loomed so
large in my legendary Beatle life’s frame work. George, Gretsch,
George, Gretsch, George, Gretsch. They’re in the blueprint of my
childhood, the groundwork of my musicianship, the discovery of music & life itself.

Lauren Passarelli ~ This Day Came


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