I listened recently to your interview about your experience with Wes Montgomery, It was strangely similar to mine. It took place when I was 16 and it was also at Pep’s Bar. After a set, Wes came to my table and said “Hi! I’m Wes Montgomery. I understand that you play guitar. Do you have any questions?” I asked about his octaves. At the time, I thought he pinched the 2 notes. He laughed and corrected that wrong impression. He then went to the bandstand and brought his guitar over to me. He handed me the guitar and showed me how to play octaves.I was thrilled and still have his picture in my studio. At that time, he had just released Boss Guitar, a vinyl LP. He asked if I had any requests. I was so flustered that I asked for “Pied Fries” which of course was actually “Fried Pies”. When he played the song in the next set, he announced the song as “Pied Fries” Just thought I would share that memory with you.

Coreen and I send our love to you and Aya.

Chuck Anderson www.ChuckAndersonGuitar.com

Chuck Anderson

Lafayette Hill, PA USA – Saturday, April 25, 2009 at 23:49:48 (EDT)

Jazz guitarists are, like many other guitar players, obsessed with speed. Although speed is a good measurement of how much you’ve practiced, it’s not a good measurement of how musical you are.

Today’s advice is simple. Remember that whole notes , half notes, dotted half notes and quarter notes are not only permitted in guitar solos but are actually desirable.

Rhythmic variety is an important tool in making a guitar solo interesting.

To organize the topic of rhythm, visit www.modularphoneticrhythm.com or check out my site at

To claim that this has anything to do with classical or neo classical guitar borders on the ridiculous!

We certainly recognize the form called classical guitar as a nylon string instrument, played on the left leg, using the nails and fingertips of the thumb (p), the index finger (i), the middle finger (m) and the ring finger(a). This is the form made popular by Andrea Segovia. Its repertoire as well as its sound and technique stamped this form as classical guitar.

I think the form that I developed in the 80’s qualifies as Neo Classical Guitar. It’s characterized by the use of the modern guitar, acoustic or electric, played with a pick and performing transcriptions of recognized classical composers.

If you would like to hear this form, check out Kaleidophon the Art of the Neo Classical Guitar.

There is a demo at www.ChuckAndersonGuitar.com. The CD is also available on the same site.

Look for two new Neo Classical Guitar CDs titled “Timeless”: and “Virtuosity” to be released in the Fall!

An objective assessment of the two alternative approaches leads me invariably towards the formal route. Why? Because without guidance, there is a tendency to go in circles, What do you practice, when do you move to the next topic? When are you doing something wrong? How do you practice what doesn’t exist to you?

Many complain about time as a factor leading to the decision not to study. I would suggest that exactly the opposite is true. Those with less time need the efficiency of study. Without it, there’s a tendency to “practice” what you’re already good at. Study ensures that you will be working on your weaknesses. The results of self teaching are obvious. A player may get good at one thing but have blatant weaknesses in another.

If you use famous players in the past as your justification for not studying, you’d be wrong! Wes Montgomery was self taught – there’s your justification. But is it? Wes was self taught because there were no teachers at that time. I don’t mean no qualified teachers. I mean no teachers. Wes told me “Make sure you study. Don’t do what I did.”

All this, of course is premised on the presumption that you study with a qualified teacher. What makes a teacher qualified and how do find such a teacher? We’ll save that one for the next installment.