I don’t know why anyone would string a guitar by putting the end of the string through the tuner-hole, and then winding and cranking and winding and cranking … winding some more … cranking some more … and winding and cranking and winding and cranking … man! Have you ever seen the wad of string that sits around the peg of a guitar strung that way? Pulleeeze!!! That is not the reason they give you all that extra string.

Whenever I see a guitar strung in this manner, I know I’m looking at a guitar that goes out of tune every ten minutes or less! Consider all the pressure created when a string is fully cranked to it’s proper pitch. I wouldn’t want my finger between that string and the nut! There’s alot of pressure going on, eh? Mere common sense tells you that a string wound some twenty or thirty revolutions — and rather loosely at that! — around that little peg, is gonna stretch for quite some time before all that slack is taken up! What a miserable experience! Have you ever noticed, after putting a fresh set of strings on your guitar, that it takes a couple of days before all the strings stop stretching? It’s a real pain, ain’t it? Well, let’s put an end to that, once and for all.

When I string up my guitar with a new set of sweet crunchy bronze wound honeys, and set all the strings in tune, I can put it back in it’s case and be fully confident that the next time I take it out of the case, it’ll be in perfect pitch. And here’s how it’s done:

For the Record:
E.A.D.G.B.E
6.5.4.3.2.1
Heavy – - – - – Thin

Procedure for Steel Strings | Acoustic or Electric Guitars:

Picturing the #6, #5, and #4 Strings:

NOTE: This illustrates the procedure when all of the tuning pegs are on one side of the neck – like a Fender Strat.

1. Starting at the bridge, set the ball-end of the string into it’s proper seat, at the bridge of the guitar, firmly. If you are using bridge-pins, drop the ball-end a couple of inches into the hole … put the bridge pin almost all the way in, and pull the ball-end up against it – then press the bridge pin all the way in while pulling the ball-end against it. Press firmly on the pin.

2. Next, take the other end and slip it through the appropriate tuner, at the top (head) of the guitar, and pull it all the way through the peg hole … snug … don’t pull too tight, but gently take up the slack …

NOTE: The fatter the string, the more slack it needs — on the high-E (thinnest) string, I’ll pull it *snug* — the string is not relaxed (laying down) but off the fretboard and straight as a ruler; on the *low*-E (fattest) string, I’ll pull the string less snug, letting it relax enough to lay on the fretboard.

3. Next, kink the string at the peg — to the right on the #6, #5, and #4 strings – see illustration above … and to the left on the #3, #2, and #1 strings – see illustration below.

4. Now, bring the string around … under … then up and over, as you bend the string back over the top (see illustration) … only, unlike the illustration, pull tightly on the string, maintaining a very snug wrap.

You do not want the string (from the bridge, up to the tuners) to be tight … you do want the wrap around the tuner to be tight. Capeesh?

Picturing the #3, #2, and #1 Strings:

5. Start cranking the string up, and you’ll notice – as the peg turns – the string immediately bites down on itself … it will not stretch beyond that “bite” point – and therein lies the key.

6. All six tuners — I mean the part that you turn with your hand, in the interest of tightening the strings — are turned counter-clockwise, so that the string rests on the inside of each peg.

7. Tune the string up to pitch. Then, grab the string at the 12th fret and pull it up, off the fretboard, 2 to 3 inches … bearing a good amount of pressure on the string, as you stretch and pull the slack out of it. Ummm … if you don’t know your own strength, be cool about this … you don’t want to bust and snap strings here – the idea is to stretch it a little bit. Then, tune it to pitch once again.

Repeat the above “stretch.N.tune” procedure until the string no longer goes out of pitch after pulling on it – it usually takes 5-7 applications.

Finally, you can neatly coil the ends, or cut them off with a small pair of “nippers,” as I do.

Frets.com | The Wonderful Frank Ford
If you need further clarity concerning the above procedure, Frank Ford will repeat the process for you, with photographs of each and every step – including a few more cool tips, to boot! THANKS Frank!

Procedure for Nylon Strings | Classical Guitar:

1. Starting with the bridge, as you can see by the illustration below, you pass the string through the bridge hole, then loop it around itself and wrap it 3 times:

2. Pull on both ends to snug up the wrap as much as you can.

3. Bring the long end of the string up to the headstock … poke it through the appropriate hole … bring the string up over the tuner … wrap 3 times … and start cranking up the slack, tightening each string.

Schedule for Changing Strings:

People often ask how frequently strings should be changed … but the answer to that question depends on a number of things. Once conventional strings start showing a fair amount of oxidation (darkness in color) they become increasingly difficult to tune, and their sound quality will leave much to be desired. Once perspiration gets onto the strings, and especially into the windings, oxidation begins, and consequently, sound quality rapidly deteriorates.

Everyone has different body chemistry, so some may prefer one brand over another … and you’ll find your own eventually … but, generally speaking, a new set of strings should be installed once a month – at the very least. They will lose their initial brilliance after 10 hours, or so, of playing … and after a week of daily playing there isn’t much brilliance left … though they may sound “passable.”

I use to put a new set on every week or so … but now that I use Elixir Strings, I can go 2-3 months (easy) before needing a new set! ELIXIRS are coated, so they don’t oxidize very easily and are a pretty safe bet, no matter what your body chemistry is like. Elixir’s are 3 times more expensive than conventional strings … but since they last ten times longer, I consider them to be the least expensive strings on the market! Honestly … these strings last a remarkably long, long … long time.

Cleaning Your Guitar:

Regarding acoustic guitars, wax is not cool … and non-drying oils (like lemon oil) are even worse. Oils, waxes, and silicates penetrate the finish, entering the wood itself … and over a period of time, they’ll add a density to the wood that detracts from it’s resonance. These “nasties” also turn simple repairs into nightmares – ask any experienced luthier, and you’ll find no question about the matter.

The more the wood DRIES and ages, the more resonant and rich it’s sound will become.

Generally, wiping the guitar down, with something like a chamois cloth, after each playing session, is all the maintenance your guitar will ever need. Most players have it backwards — over attending to waxing and fretboard lubricants (bad stuff!), while abusing the wood by not keeping the guitar in it’s case, where it should be whenever it’s not being played.

I like to clean my guitar when I change the strings, so I can get at all those spots UNDER them. A damp rag is all that’s needed – dipped in a little water, and wrung dry. Put some serious elbow grease into it though, with a soft, non-abrasive cloth (like an old t-shirt) … and wipe the guitar down thoroughly – same for the fretboard. A little Murphy’s Oil Soap, diluted with water (as instructed on the bottle) is excellent! Don’t worry about the water: STANDING water is what damages wood — we’re talking about a damp rag.

After a few years, you may want to remove the “grunge” off your fretboard by giving it a very light brushing with #000, or #0000 steel wool. And if you want to use a polish, use Martin Guitar Polish (the only one I’ve ever heard confidently recommended by luthiers) … but not on the fretboard! If you want something for the fretboard, luthiers recommend almond oil … just a drop or two … once per year.

Tuning Your Guitar:

Learning to tune your guitar is a process that takes time, and kind of grows into a maturity over the first few years of playing. You have to develop an “ear” … you must become familiar with the nuances of what’s “sharp” and what’s “flat” and what’s “in” pitch. I think a good practice excersize is to play with one note … tuning it to pitch … raising the pitch and *hearing* what “sharp” means … lowering the pitch, and *hearing* what “flat” means, and so on.

NOTE: Electronic tuners are great tools … especially on stage, when it can be hard to listen to the pitch variances involved in tuning. But aside from the stage, you should learn to tune your guitar by ear. The more familiar you become with tuning by ear, the better you will be at discerning the accuracy of what you’re doing, even when you are using a tuner. Don’t develop a lazy ear by using the tuner all the time!

Whether you are really serious about becoming an accomplished professional, or just want to play for fun … if acoustic guitar techniques are what you’re after, this site can bring you some information that you may not be able to find anywhere else. I say that because I play in a style all my own … and also, because my focus has been on acoustic instruments — and only acoustic instruments — for more than 3 decades. I don’t mean to brag … I personally don’t consider myself much of a “guitarist” or “musician” — though I’ve received high praise from some of the best … it’s just that I don’t think much about the mechanics behind guitar techniques, or about the music theory behind the glory of a particular riff … I just like to play.

Basically put, I’m not one for imitating others. No big deal … I’m not putting the idea down … I just happen to prefer interpretation over impersonation. The only time I ever wanted to play a song EXACTLY the way I heard it, involved a song by Leslie West (Mountain) … it was in an open tuning … it was an instrumental … it was 1970 … and it was one of the most complicated pieces I’d ever heard. I don’t remember the name of the song, but it wouldn’t be hard to find — it’s the only acoustic instrumental to be found on any of Mountain’s albums, as far as I know. I kind of wanted to prove to myself that I could pull off the “musician” thing and play, note for note, exactly as Leslie did. And I did. It took me about 3 days. Bravo, Alan…

How I Started …

I started playing when I was 12 or 13, using a standard tuning … E.A.D.G.B.E — and my first 8 hours of playing involved me writing my first song, too. It was rather on the involuntary side, and I didn’t have a clue about what I was doing! I just strummed the top 3 strings (…G.B.E) while I placed my index finger on the 1st string/3rd fret … strum a little … then, the 2nd string/1st fret … strum a little … etc., etc. It was really quite silly, but nonetheless, I had a great time! And, I wrote a beautiful song about Janet Kinlin … titled “Four O’Clock Blues” — mostly ’cause it was 4 a.m., and we had just broken up.

Next thing I did was buy some song books — Bob Dylan … Joni Mitchell … and some obscure old Blues stuff, with songs by guys with funny names like Muddy Waters and Lead Belly — where I learned some really cool techniques, like “hammering on” and “pulling off.” But the reason I bought them was the “pictures” of chord fingerings that were placed above the lyrics — right where the chord changes occurred. That made a lot of sense to me. You’re familiar with those “pictures” right? … the ones that look like this:

When The Student Is Ready, The Teacher Will Appear

It’s funny how you always wind up talking to another musician who has the answers to the questions you’ve most recently been carrying around with you. I met a guy at Rutgers University once, who played like a god! A true “musicians’ musician.” He played his guitar in a wheelchair … and he was missing TWO fingers on his LEFT hand! … think about THAT and then just TRY to complain about the five you’re sporting! I could write a book (as the saying goes) about the musicians who’ve captivated me in such significant ways. But, I guess my point is, there are no obstacles but yourself … and your next “lesson” is *usually* staring you right in the face.

I had teachers of another sort, too … from some really cool TV shows on “educational TV” … Channel 13 in New Jersey (“the 7th channel” — we’re talkin’ 1966, ‘67, ‘68) … Pete Seeger had a show — I remember seeing a very young Dylan on that show, talking about playing and writing. Andres Segovia had a show too, or made appearances on a show, that taught classical guitar — I watched that one religiously! And lastly, I remember a girl who taped a show out at KCET, in Los Angeles — I think her name was Laura Weber — she had a sort of mischievous smile … and taught folk, rock, and blues guitar techniques. Man, I learned a lot from her!

If the idea of formal, structured lessons turns you off … as it does me … you can conduct your own concentrated search for the “bearers of information” that God will surely send your way. Whether it’s through a website, a television show, an instructional video, or best of all, a player who is more advanced than you are … your next step up the ladder of learning shouldn’t be too hard to find.

I met a most wonderful artist years ago … Ronnie Ostrow. Ronnie was very actively teaching fingerstyle guitar and performing his original songs in the New York/New Jersey area, with a rather large following. We were good friends and spent a lot of quality time together. One day he picked up his guitar and played the most amazing song I had *ever* heard him play … I mean, I was slayed! I said, “WHEN did you write that, Ronnie?!!” And he replied, “Just now…” with that very special ex-Trapist-Monk grin of his. And then he went on to make a very interesting statement … he said, “Alan, how would you like it if I decided to teach you absolutely everything I know about being an artist?” I said, “Man … I would cherish it!” And he immediately replied, “Okay, I want you to be here every Thursday at exactly 2 p.m. … and if you are ever even one minute late the whole deal is off. … NOW, how do you feel about it?” I said, “Like crap!” He put his guitar down with that same grin and said, “Let’s go get us a cup of coffee.” He sure knew how to make a point!

I Took Guitar Lessons … Once.

As far back as I can remember, I’ve always had a strong distaste for anything that portends to be “written in stone” … i.e. schools … organized religion … clubs, fraternities, and cults … rules and regulations, and those (especially) who think they have the right to impose such on others. In my world, there is no set way of doing anything. All things are possible with God … and all things are *not* possible with Mr. Schoolhead, Ms. Diploma.equals.success, and certainly not with Cap’t. I. M. Heretobustyerass! So … I’d rather hang with God. To me, that means finding your very own path through these woods we call Life. And even though it’s most popular, looks safer, is all lighted up, and cuts right through the woods, that big well-traveled highway also keeps you from knowing the woods at all. Usually, I get just close enough to see what’s happenin’ there, and head straight back towards the thicket! Does that make any sense to you? If it does … well … good luck. :o)

Very understanding of my nature, my dad knew I liked to carve my own way through things, and made sure I at least made the attempt of giving lessons a try -”If you don’t like it, that’s okay …” he said, “… but at least give it a shot, eh?” And so I did. I told my teacher I wanted to learn to play rhythm guitar, and he started teaching me to play something that sounded like “Mary Had A Little Lamb” — on the high E-string! Hello? Anyway, I tried to push this guy’s envelope and it ripped, so I told dad to save his hard-earned cash. He was cool. He was always cool.

My desire was so strong that you couldn’t stop me from learning if you tried! What else is there but desire? Can anyone teach you without it? Well, I’m assuming since you’re here, you’re of the same cut … and are here, looking for ways of learning some stuff on your own.

I have nothing against accredited schools or instruction, mind you … but, I certainly think it can get more attention than it deserves. A lot of musicians have been discouraged from playing at all by taking that route, and many others are playing with all the technical skill anyone could ever want, while boring people to death for want of some heart.

Amateur or Pro?

From Day One, I was playing six to eight hours a day … maybe more. It was all I thought about! In a year’s time, I began teaching stuff to the older guys who originally taught me some of the ropes. And after two years, I won 2nd Prize at the local 4-H Fair — a handmade classical Garcia guitar with a hardshell case — (1st Prize went to a folk-trio; a phatter Garcia). And it wasn’t long after that, I was playing original songs at open mic nights at local clubs and coffee houses. If you are going to become a pro player, that’s how you’ll know — you won’t have time for anything else. Period.

If, on the other hand, you find yourself picking away at it for an hour here, and an hour there, my guess is you won’t be going pro with your efforts. But hey! What’s wrong with that? At least you know you won’t be starving to death most of your life … or experiencing the great, unbelievably painful and unbearable levels of frustration that God has reserved solely for his beloved “artists.” You can live a normal, happy life and have lots of fun being in the spotlight at all the parties … and instead of developing work-a-day-willie ulcers, you can avoid such anxieties through the wonderfully healing experience of self expression.

Either way, if you want to be good, you’ll have to be persistent about it.

Where Do I Begin?

Right here. By doing just what you are doing.

But, first of all, learn how to tune your guitar will ya? :o) Most of the guitars I pick up that belong to “beginners” are so far out of tune, I’m sure they’ve made no progress. You certainly can not enjoy playing chords that aren’t chords!

Learn to know when the pitch is sharp or flat … take some time to twist a tuning peg around and listen to a note move to the flat or sharp zone so you become familiar with which is which. Do this by fretting the D (4th) string at the 5th fret and playing a G note, while you twist the G (3rd) string above proper pitch … then down to match the exact pitch … then below it … and back up again. Do this a million times.

Also, join some discussion groups … ask questions — there’s no such thing as a stupid question — you’ll be surprised to learn how eager other players are to help you. My favorites are Fingerstyle-L@yahoogroups.com and Acoustic_Guitar@yahoogroups.com … check them out – you’ll see me there.

Purchasing A Guitar…

My advice is: Forget what you think you know, and what you think you don’t know; make a written list of every music store within a 30-mile radius of your home; don’t bring any money with you; visit each and every guitar retailer you found; play everything you see that represents the kind of axe you want (probably 2-5 guitars per shop); center yourself as you play each one; notice how you feel … physically; notice how you feel … emotionally; LISTEN to the instrument! Is it happy? Is it gutsy? Does it have the “voice” you thought it would? If it doesn’t, then move on. Use your head … and use your heart. When you have finished taking your inventory, there will be one guitar that you just can’t get out of your head. That’s the one! Problem now is, you also know how much it’s gonna cost you. Don’t be fooled though – the last time I did it, I found my Washburn … and it was literally half the price I would’ve willingly paid for it! Stuff like that always happens to me. I think if you go out there LOOKING for a hidden treasure, you’re likely to find one.

Okay? Okay. Here’s lesson number one — It’s a very crucial part of your kick … I know – you just want to fly off with big, beautiful wings and have your way with the sky! Man! What else is there?! And you feel that way because you KNOW that sky is yours! But the funny part is, before you can be so free, you’ve got to wear some chains … in order to understand something of the weight and the laws of gravity. Tame the flesh … free the Spirit.

It is through discipline itself, that freedom is born …

The early basics — like, “learning to tune your guitar” … or, it’s evil twin, “learning to play in time” (don’t worry about the “evil twin” right now; that comes after you begin switching chords and playing progressions) — can require what seems to be an overwhelming amount of discipline! These excercises can become monumentally boring in a very short span of time! So rather than beat yourself into the ground, creating a negative experience out of what should be an enjoyable one, I suggest you pace yourself.

Break your sessions up into three or four 45-minute workouts a day … broken up by 30-minute (minimum) respites … do something else, and do it in a different place; go out for an hour or two and come back refreshed, and you’ll more than double your learning curve! You should become a proficient guitar tuner in a few days … displaying an intermediate ability in a few months … and as good as you’ll ever be in a year or so.

One final note: Learn to play one song at a time. Pick a song that is very,very important to you, and play it over and over again – until you’ve ironed out every kink you can find. I’d much rather hear someone who can only play one song, but make me go, “Wo!! Way to go!!!” … than to hear someone who knows a kazillion songs, and it’s like, “er, well, kinda, but not really! … thanks for wasting my time.” You know what I mean.

Remember that bit (above) about “Flesh & Spirit”? Well, it’s the flesh that requires the discipline … mostly so that “it” will perform it’s task without further supervision … THEN the spirit may fly! For example, I write a new song and in the first 48 hours I’m entrenched with it. I play it and sing it probably sixty to a hundred times a day – the first day or two, anyway. I’m getting to know how it moves … from the first measure to the last … memorizing … familiarizing … falling in love with it’s movements … moving it into my being, until I’m not thinking OF it … but FROM it. Then — when I know that song so well that I don’t need to be conscious of it’s movements anymore, I am suddenly able to find it’s “perfect performance” … effortlessly!

Now, that having been said, let’s see you get to work! __ ; – P __ I’ll see ya later.

Coffee Houses and Churches make the best settings for creating an appropriate atmosphere. Clubs, or venues serving alcohol, are usually bad for “intellectual art,” which is what open mics are, in my opinion. Let’s face it, alcohol doesn’t exactly put people in a state of focused awareness, eh? So, if you have a choice, or if you are thinking of starting your own venue, avoid the places that are offering alcohol. Of course, this isn’t ALWAYS true, and often it isn’t avoidable. But it is worth noting.

Open mics are a lot of fun! Instrumentalists, poets, solos, duos, trios, bands … you name it … will usually perform 3 or 4 pieces at a time – which makes it palatable for any audience to enjoy. If you don’t like the act that’s presently up, well, in 20 minutes they’ll be gone and you can enjoy the next surprise. And, often, it is a surprise! You never know when some real talent might step up and do something uniquely from the heart. If you’re just observing, you’ll find yourself thinking how well you would do in comparison to all that you’ve witnessed … but be forewarned! This is not as simple as it looks!

You may have done all your homework … practiced to the max … compiled songs that are pure hits … vocals and parts worked out to dazzle any audience … until you’re sure you’re better than anything you’ve seen at the local open mics. But on your first try you will most likely drop a bomb as big as any you’ve seen – and in total disbelief! And, these will be the excuses you find dripping off your bottom lip: “The room was too noisy – I couldn’t focus!” … “I couldn’t hear myself! That sound guy is a real jerk!” … “The guitar wasn’t loud enough.” … “The vocal mic wasn’t even turned on!” … I could keep on going, but what’s the sense? Fact is, you didn’t know what you were doing, and did a poor job. You didn’t really think you’d pull it off perfectly your very first try … did you? Of course you did! You worked hard at this! You prepared thoroughly! So what went wrong? Distraction. Unfamiliar surroundings. Lack of experience. That’s what.

So. What to do? Go back next week, and do it all over again. Simple as that. This is what open mics are for! Let’s face it … until you pull THIS gig off, you aren’t gonna be touring or getting paid for what you do. But if you focus, keep at it, and figure out all the little things that go on in a club atmosphere, it won’t be long before you’re a popular and welcomed face at the local open mic scene.

Rule Number One:

Understand this: Absolutely every person in the audience … in ANY audience … wants to see you do well. Really well. They are rooting for you from the moment you get on stage. Think about this for a minute, okay? Slow down … give this some serious thought … in fact, stop and dwell on this whole idea for a while, and recognize just how true it really is: The audience is not sitting there judging your talent. And, the audience is not sitting there waiting for the next big thing to strike America like a bolt from heaven, either. They don’t care how “great” you are … or how wonderful you think you are. They are very simply out to have a fun evening … and when you get up on that stage, they are HOPING you will be wonderful! If they see you struggling at all … with anything … they are secretly praying for your success … sending you their energy and their precious love … why? Dig this: Because they are putting themselves in your shoes, man! They are being “you!” Isn’t that what you do when you are watching and listening to an act? Meditate on this concept. It’s a true concept … and it’s a healing one, too. When you get up in front of an audience, you start with them on your side.

If you get up there trying to prove how good you are, you’re likely to do just the opposite. Try to let go of your ego … this isn’t easy, ’cause it takes quite a bit of ego to get up there in the first place, eh? But get this straight – you are there for them … they are not there for you. The performers who have this one twisted around, are very obvious … and it’s offensive … not entertaining.

Now here comes Mr. Dichotomy: Forget about the audience and just do your thing … don’t think about them, or how they are going to react … just do what you usually do … you know, when no one’s around … and let them witness that. Go inside yourself … focus on what you love … and let it happen. If you are thinking about the audience, you are not going to be focused about what you are doing and you are going to make a mistake … and then you’ll be thinking about what the audience is thinking about you for making that mistake … and while you are concentrating on that dilemma, you’ll make yet another mistake and then … oh, man.

In short, it all becomes a matter of what you really care about. If you’re overly concerned about what an audience is thinking of you, you are bound to blow it. On the other hand, if you care about what you are doing, it’ll show as a sincere presentation of whatever talent you have … and that is all anyone can ask for – including you.

Just know that any audience, from the very start, is on your side … so, be there for them by focusing on your song and giving yourself over to that. It’s not easy to develop this kind of trust in yourself, let alone a room full of strangers … but you may as well, because in the end that’s the way it’s going to be – or you won’t be playing in front of people for very long.

Rule Number Two:

Now … the technical side of things. This is tough at first, but after a few times it gets real easy: The first thing you do when you get up in front of the mic, is plug your guitar in … test it in conjunction with your mic … and get a happy balance happening. Don’t get all flustered, and don’t expect anyone to know what you need! You are the only one who knows that. Simply say, “A little less guitar, please.” Or, “A little less vocal, please.” Notice I said “less.” Amateurs tend to ask for “more.” Wrong idea. Less is more … as I’ll be pointing out. The only time I ask for “more” is in reference to my monitors. Those are the speakers (usually on the floor, right at your feet, pointing up at you) that let you hear what you are doing. If they aren’t loud enough, you might wind up playing in one key and singing in another … without ever knowing it! The audience will though … be sure your monitors are comfortable for you.

Okay. You’ve got a nice balance happening. You can hear your guitar and you can hear your vocal. Now you are ready to play. If you ever start playing before applying this discipline (and you probably will), you will know – and you will never forget – why it is so very important. If you can’t hear yourself in those monitors, you are going to do a lot of very silly things … and, like I said, you probably won’t even know it … but the audience will.

Rule Number Three:

Relax. Pull back. I’m tellin’ you … this is a hot tip! Play your instrument … sing your songs … quietly! Don’t be fooled! This applies to rock and roll bands too! I repeat – pull back and play softer than you think you should … especially in a noisey room! There is something that happens when you do this … it can not be explained … but you’ll see what I mean when you successfully apply this technique. It seems to create a “controlled tension” in your performance that adds magic and professionalism to any performance.

There was an open mic I use to hate playing. It was a long narrow room with the stage all the way back at one end … the acoustics in this room sucked so bad it was unbelievable! And to add to it, the place was usually packed with loud, drinking, partying college students. I honestly dreaded the thought of playing there, but went faithfully every week. I knew it was one of the most important gigs I could play … because it was the toughest. I use to say, “Man, if you can play this room and pull it off, you can play anywhere.” And that’s why I did it. And, the first time I conquered that room was the first time I played that room. I followed a popular rock band who had the place filled with their fans … no one knew, or cared who I was … and with just me and my guitar, I got on stage and set up … by the time I was ready to play my first song, the room was so packed and so loud I couldn’t hear anything that mattered! I focused … started playing WAY softer than usual … and with a quiet ballad, to boot! By the time I reached the end of the first verse, I had the attention of the entire room. And, man … I can’t tell you how good a feeling THAT is! The next song was upbeat, and from then on, they were all “mine.” And, afterwards, everytime I played that room I had their attention … because “first impressions are lasting ones.” If I would’ve tried to beat the noise of the room, instead of creating “my own quiet, private party,” I would never have done it.

Learn how to apply “controlled tension” by pulling back and focusing on having your own private party on stage … and everyone will want to join you!

Some Other Stuff:

If you are using a mic on your guitar, don’t place it directly in front of the soundhole … just slightly below the centerpoint of the soundhole, pointing up at a 45 degree angle is better … I prefer using a pickup, for the same reason I prefer using a headset mic … I like the freedom to move around, and I don’t like seeing a “silver stick” in front of my face and body.

Try and get there early, and place your guitar/equipment near the stage … there’s usually a designated area – find out where it is, and when you are called to play, be organized and quick about your setup without sacrificing your satisfaction with the monitors and sound.

When you feel your performances are up to snuff, ask the club owner to listen to your sets and let him/her know you’re interested in a paying gig – be ready, also, with a promo package for her/him to look at and listen to, and be sure your name and phone number are on every thing.

Be supportive of every act that performs … no matter what your opinion may be. Everyone needs encouragement – especially those who may *seem* to be wasting your time. If they have the guts to get up there, they deserve your attention and applause.

While you are on stage, keep an eye on the head-honcho-in-charge for any signals … he/she may want you to do another song, or they may want you to wrap it up. Act like a pro.

Don’t make excuses about or for anything. No one wants to know whether or not you have a cold, etc., etc. – there’s nothing so unprofessional as making excuses about your voice, or rambling on about some other unrelated issue. If you have a cool story to relate about a song, tell it like a friend, and it can truly add to the show … but keep it to the point and, for the most part, let your music speak for itself.

Last, but certainly not least, don’t play any song you haven’t practiced to the hilt. As my other tutorials point out, you should know your stuff backwards, forwards and upside down if you ever expect to let the muse have it’s way.

If you are interested in performing at an “Open Mic Nite ” check out more open mike tips from John Carrahars’s article Getting Up On The Stage