How to sit?

[goinbaroke]

As a classical guitarist recently getting into jazz, I have been used to sitting in a chair with left foot on a small stool. Now with a heavier electric guitar, I can't break the habit!! If I prop it on my right knee the neck is too far to the right. I'm sure jazz guitarists don't sit on a kitchen chair to play, a neck strap is okay for a while but to practice for several hours it feels like a cinder block around my neck.
What do you suggest??
Dick C. (goinbaroke)

[BigDaddyLoveHandles]

Les Paul?

[goinbaroke]

How did Les Paul do it?
Dick

[BigDaddyLoveHandles]

Sorry, this Les Paul:



they're just the canonical heavy solid-body guitar.

Anyhowdy, if you're not playing a big ass jazz, can you not just rest the guitar on your left leg and use the strap to just keep the guitar at the right angle? A wider strap helps, too.

[skei]

I tried sitting, and it's ok with the les on the right leg, preferably with the right leg resting on the left leg. To get it up a bit (short hands/fingers). Prefer to stand though, walking about to not get too tired from one position. I don't know, works for me.
Peace
Skei (the round midnite one)

[Archtop Bill]

Also being classically schooled, I still use a footstool when playing jazz on my Epi Broadway.

[goinbaroke]

I don't have a big box; just an Ibanez AK85. I will try to use a strap as well as the chair for awhile. Trying to learn with the instrument sliding off of me is frustrating. Speaking of sliding; I'm having trouble keeping the pick firmly in my fingers....thinking of super-glue LOL!
When starting a 6 string scale or arp near the front pickup I always end up near the rear pickup....I must be pivoting from my elbow. Should I be moving my arm across the fingerboard? Seems awkward.
Thanx,
Dick C. (goinbaroke)

[derek]

I bought a Forshage Ergo for this very reason. I too played classical for a while, and MUCH prefer that position when sitting. I play my ES175 with it between my legs, and use the strap to keep the neck in position. However, with the Ergo (design cues from Klein), it sits on the right leg with the neck at the perfect classical angle. Here is an internet buddy, Roger Placer, who turned me on to the Forshage. He has a good demo vid.

[YOUTUBE]http://www.youtube.com/user/rpguitar#p/u/31/mtK310fJsdc[/YOUTUBE]

Mine is black burst with two Benedetto buckers. Same sound hole, and thin lines for fret markers. Black hardware also. Great guitar for travel, as it is about the size of an oversized tennis raquet in it's custom padded gigbag.

[Goofsus4]

I am not classically trained, but that position just seemed the most comfortable to me, so that's how I learned. When I play my electric guitar, while sitting, I use a strap for support and also to hold the neck in proper alignment. I also use a small stool for me left foot. That's fine for jazz. Now, when I play rock, though - I always stand and lengthen out my strap so the guitar rides about at my knees, and then I commence with the Pete Townshend windmills.

[goinbaroke]

Thanks for all the replies, guess I'll stay sitting in the chair with stool and the strap. I'm in my 70s and have no desire to play out anywhere, it's just for my own enjoyment so 'image' means nothing.
Dick C. (goinbaroke)

[BigDaddyLoveHandles]

I'd also say there's a big variation in electric guitar size, weight and comfort. You would benefit from a different guitar.

[Archtop Bill]

Originally Posted by BigDaddyLoveHandles

I'd also say there's a big variation in electric guitar size, weight and comfort. You would benefit from a different guitar.

I agree. Part of what attracted me to the Broadway is that it has the closest feel to my classicals. Granted there are differences, but the longer scale length of the Epi and the body size are about as close as I can get electrically to a 664mm scale length Ramirez on my current budget. Using a footstool with the Broadway is comfortable for me. I never play standing up.

[BigDaddyLoveHandles]

Originally Posted by Archtop Bill

I agree. Part of what attracted me to the Broadway is that it has the closest feel to my classicals. Granted there are differences, but the longer scale length of the Epi and the body size are about as close as I can get electrically to a 664mm scale length Ramirez on my current budget. Using a footstool with the Broadway is comfortable for me. I never play standing up.

664mm -- what's that, 26"? Yeah, the best you can do with most non-classical guitars is 25 1/2", on some archtops and on Fenders. Were you looking for a 2" nut?

[Archtop Bill]

I wasn't so much looking for a 2" nut, as nylon strings are so different from electric. I think the Epi is 1.68 and it is pretty comfortable for steel strings, but I would have an awful time with nylon strings spaced that narrowly.

[TommyD]

Goinbaroke:
Just to give you a reference point, I play a Gibson ES model, and I too have a foot rest. I sit in a straight chair, place the guitar on my right knee, and place my right foot on the footrest. I set its height at about 4, 5 inches so the guitar is nice and high on my chest. Works out well, because my right arm is then supported and stabilized by the lower bout of the guitar, and my left hand just has to be lifted straight up to the neck. Seems to work fine. Not tiring at all.

Tommy/

[Fritzjazz]

Hi,

I'm a classically trained guitarist and I find the position that works best for me is to play while doing the Chuck Berry "Duck Walk". I find I always score higher at my recitals when employing this method here at Peabody.

Hope this helps.

(just a little humor, forgive me)

[BigDaddyLoveHandles]

Another crowd pleaser is to do Recuerdos de la Alhambra while holding the guitar behind your neck.

[cosmic gumbo]

I see some guys like Pass sitting on a stool with a foot up on a rung and the guitar resting on that leg.

[bkdavidson]

BDLH, I always found the best crowd-pleasing way to perform Recuerdos was with my teeth. That's how I did it at my Junior Recital, anyway. To the OP, I'd go with the guys who say to sit in a normal classical position and use a strap to position the guitar where you want it. I also went through a classical program in college, and found that position more favorable for any style of playing. I just wear my guitars really high, and that way I can also kick my feet way out and relax when playing sitting down and still keep the guitar in the right spot.

[Fritzjazz]

I've seen photos of some of the early jazzers playing without a strap (don't see many straps early on). One photo in particular I remember, Eddie Lang I think, standing with his right foot on the seat of a chair and the guitar resting on his right knee. He was sort of leaning in over the guitar. This position got the guitar high enough to project acoustically, left the top and back free to vibrate (because the guitar was just sort of balanced on the right knee). It provided excelent visibility of the neck and a good view (eye to eye contact) with the vocalist he was accompanying (who just happened to be Bing Crosby).

Fritz

[Little Jay]

Look how Wes did it:

[img]http://media.collegepublisher.com/me...s/llvp849g.png[/img]

[TommyD]

I've watched Wes for a lot of years, and I never saw him use his pinky finger when soloing. I'm sure the pinky hit a note sometimes, but very rarely, seems to me.
Take a close look sometime. How he learned to play that way I'll never know. A lot of moving up and down, that's for sure.
Also, he back-picked with his thumb! Now that's amazing.
I only knew one other guy, Tommy Ferguson, who never used his pinky while soloing.
Tommy/

[BigDaddyLoveHandles]

Originally Posted by TommyD

he [Wes] back-picked with his thumb! Now that's amazing.

Martin Taylor uses thumb upstrokes to accent notes in his bass lines. I wish I could do that . He makes it sound so easy

YouTube Video

(Starts doing that around 5:25)

[randalljazz]

Originally Posted by TommyD

I've watched Wes for a lot of years, and I never saw him use his pinky finger when soloing. I'm sure the pinky hit a note sometimes, but very rarely, seems to me.
Take a close look sometime. How he learned to play that way I'll never know. A lot of moving up and down, that's for sure.
Also, he back-picked with his thumb! Now that's amazing.
I only knew one other guy, Tommy Ferguson, who never used his pinky while soloing.
Tommy/

ancient principle...e.g., fernando sor (his method 1830), general maxim #6 "never give work to the weakest fingers, whilst the strongest are doing nothing."

[TommyD]

Originally Posted by randalljazz

ancient principle...e.g., fernando sor (his method 1830), general maxim #6 "never give work to the weakest fingers, whilst the strongest are doing nothing."

Only trouble is, that was in 1830 - 180 years ago. "Ancient principle" is right. We know better now, as evidenced by nearly every player we see. Using three fingers instead of four is a handicap, as I'm sure Wes knew.
T/

[randalljazz]

Originally Posted by TommyD

Only trouble is, that was in 1830 - 180 years ago. "Ancient principle" is right. We know better now, as evidenced by nearly every player we see. Using three fingers instead of four is a handicap, as I'm sure Wes knew.
T/

not sure who "we" might be...but you don't get sor's point, apparently...which it NOT to never use or develop your weaker fingers, but rather, that it is INEFFICIENT to utilize them while the stronger ones are idle. good technique works with anatomy whenever possible.


__________________

[franco6719]

Originally Posted by BigDaddyLoveHandles

Martin Taylor uses thumb upstrokes to accent notes in his bass lines. I wish I could do that . He makes it sound so easy


(Starts doing that around 5:25)

Yeah, maybe at 12 hours a day for the next 40 years or so.

[franco6719]

The first one minute was not enough for the fellow obviously!

[TommyD]

Originally Posted by randalljazz

not sure who "we" might be...but you don't get sor's point, apparently...which it NOT to never use or develop your weaker fingers, but rather, that it is INEFFICIENT to utilize them while the stronger ones are idle. good technique works with anatomy whenever possible.

'We" is the people living in the 21st century, but I guess you already knew that. I don't think that Fernando Sor was an expert in physiology. I may be wrong, but I think Sor, like so many earlier-century masters, was being rigid and pedantic. I really can't see that moving a hand up and down the frets is more efficient than developing all four fingers. When I encounter a lick that's difficult because of having to use the pinky a lot, I just shed it for a while; it soon becomes easy(ier). and I'm just thinking of all the great players who use a four-fingered approach - Pass, Raney (both), Farlow, Joe Cohn, Bauer, Galbraith, Bruno,and on and on. I want to emulate them. And no, I never get to talk to Wes Montgomery.
I'm not trying to pick a fight here. There's enough hate in the world already. I'm just expressing my (apparently) lonely opinion. Sorry if I offended.

Tommy/

[Goofsus4]

You also could have your fingers fused together in a caravan fire like Django, or get arthritis like Les Paul, and then what would you do?