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Ernie for Blues Advice : bluesadvice@aol.com Email
Mike Chambers Alpharetta GA
I just had to thank you for the wonderful work you are doing
teaching the guitar of Reverend Davis. I am bass-string deep
in learning the songs on your Blues Guitar DVD set. I would
not have believed it possible to outdo the achievement of
The Gospel Guitar lessons, but you may have done so.
Just the stories alone of your time with the Reverend are
worth the price. I have longed loved the classics here--Cocaine
Blues, Dehlia, Candyman. I had worked out versions of those
songs; but of course, they weren't quite accurate. Your tablature
and patient teaching have shown me the way. The addition of
songs I had never heard, like Penitentiary Blues and Florida
Blues, makes this DVD set a treasure for all of us that love
and respect the artistry of Reverend Davis. Thank you so much
for doing this important work.
Spencer Lambert Ridgewood NJ
I just wanted to tell you how pleased I am with the Rev. Gary
Davis DVDs. Ernie is not only a master guitarist, he is wonderful
teacher, and he is one of the very few (maybe the only one)
to have mastered the art of conveying his knowledge via the
DVD medium
Tim Neale U.K.
I purchased your wonderful The Gospel guitar of Reverend Gary
Davis. It has to be the best set of guitar
dvd's I have seen by a mile. Your teaching style is superb
and without your explanations and break downs I could never
have hoped to start learning this haunting music, so thank
you so much!!!
I'm 29 years old, a beginner and have only been playing
guitar for just over a year. I started with 'I belong to
the band-Hallelujah' because its one of my favorite Davis
songs and the chords looked easier than some of the others
and I can now play it pretty much fluently (although the
second verse occasionally gets me in a muddle). Alongside
learning I belong to the band I started learning 'keep your
lamp trimmed and burning', 'Children of zion' and more recently'
death don't have no mercy'. Right I'll cut to the chase.
I'm about the same distance now through learning these 3
great songs (not that far into them) and my question is
should I concentrate on just one of these 3 and learn it
thoroughly or as I tempted to do learn all 3 simultaneously
and accept that progress will be slower?
Ernie
It is hard to give advice on these questions because everyone
is different. Do what you are comfortable with. If you keep
working on these songs, they will eventually all come together.
It has taken me a really long time to learn these songs
and I am still learning them. There is always a surprise
in the rev's playing no matter how well you know it. Every
time you go back to hear him, you hear something new. The
blues and rags are hard, just like everything else. You
are young, this is a project which will keep you happy for
a long long time. Most important thing is to listen to the
Rev himself because he is the fountain that produces all
this music.
Steve Briere Shaftsbury VT
My favorite video is your Guitar Artistry. Would
you please tell me what gauge strings you are using? You
get the best sound with finger picks.
Ernie
I use medium Martins. Part of the sound is heavy
plastic finger picks. The J200 I play is a very very bright
guitar so I use the 80-20's . Normally phosphor bronze are
good otherwise.
Tim Wood Tully NY
I'm thinking of getting another guitar to add to
my meager collection. I have thought for a while now that
I would like to try out a 12 fret to the body short scale
00 type. I was wondering do you ever use a smaller guitar
for any blues ? I'm looking at a Huss & Dalton. From
what I have read they make the best 00's. I can't believe
the sound that comes out of that small guitar. My only decision
is what body wood to get Rosewood or Mahogany.
Ernie
I don't have a smaller guitar. I wish I did. I
like those little Gibsons from the 30's or the reissues.
There are a lot of great ones out there. Collings, etc.
Get in a situation where you have these guitars next to
each other - different woods, different sizes - so you can
sit with them for a while. I like mahogany and am partial
to maple but your style should tell you instinctively what
you need when you hear it. This is a hard one.
Dave Pickel Carson City NV
A tempest in a teapot is brewing over the question
of the Reverend's possible use of the capo. I maintain that
he never did and that there is not a shred of evidence to
suggest he did. Can you shed any light on this?
I personally believe that the capo is a crutch and ultimately
limits the guitar player. My use of the capo is to keep
my strings in place when I decide to pull the saddle to
replace it or to lower the action between string changes
as the case may be. A rubber band and pencil works just
as well for this purpose.
Ernie
I vaguely remember the rev using a capo to show us something
once. He was curious about it. He could play anything in
any key so he really didn't need to use a capo as far as
his voice was concerned which could sing anything. He never
had one as far as I know or used it regularly.
Personally I like the sound sometimes of a capoed guitar
- particularly for African music.
Burruss Williams Palmyra WI
I find your instructional videos entertaining as well as instructional.
Your comments on the depth of the song When the Red, Red Robin
somes Bob, Bob Bobbin' Along from the pop standards dvd was
very interesting. The videos are well paced and thorough in
the presentation of the material. I particularly like how
you will teach a passage from a song, then explain how that
passage is used in various other songs. By using the particular
musical phrase in other songs it enhances their understanding
of song structure. Thanks for the great recordings and instructional
videos.
Frank Dessau San Francisco CA
I've been wanting to learn Cincinnati Flow Rag for a long
time. I love your Gospel Guitar of RGD. I never thought I'd
see the day I could play any of that music, but it's slowly
coming together. Many thanks for the careful systematic approach
and the easy going, but confident air you convey that it is
all completely doable.
Randy Felton Ravenna OH
I saw on the website someone felt you play Police Dog Blues
in standard tuning. Is that so? Most written versions of it
I see are open D.
Ernie
It was originally played in open D by Blind Blake. My version
is in standard tuning.
Tom Groh Lombard IL
Do you have any photo's of the reverend together with you?
You said that the reverend had a hard time playing blues music
because he was a preacher. In my thinking I believe the blues
is a beautiful music and art form and I don't see any conflict
between playing blues music and religion. I know that the
blues was called the devils music but so was jazz and rock
and roll. Stories on the internet about RGD playing the blues
seem to point the finger at his wife that she would say don't
play that trash and would discourage him.
Ernie
The only photo of me with the Rev is on Blues Advice. A lot
of black people thought that blues was a kind of low down
music. Particularly religious people who had a palpable sense
of who the devil was. The Rev. was not supposed to play blues
but there were loop holes. For instance when he was teaching
it was OK
Craig Detroit MI
I really love the latest CD and have a question about the
12-string sound you get. Can you talk about the guitar, how
you tune it (low or standard?) and about 12 string playing
in general a bit?
Ernie
That 12 string is just a regular 10 year old maple Guild,
light strings, tuned to pitch. I often use a Guild 12 string
with real big strings tuned two whole steps down when I am
playing Blind Willie McTell stuff.
Rich Lipscher Baltimore MD
The RGD DVD collection is wonderful. I feel like I am fourteen
again and Ernie has given my guitar playing new meaning and
direction. What Rev. Gary was to Ernie, Ernie has become to
me. It great to have someone pass on such a grand tradition
of music that might otherwise be lost.
Jim Walsh Austin, TX
I bought the Rev. Davis Gospel Guitar DVD about a year ago,
and have found it challenging and rewarding. After a year
I'm just now starting to get a feel for the driving, percussive
nature of the style.
Did the Rev. Davis ever use palm-muting on the lower strings
(a la Travis)? Is it a technique you would recommend for the
Gary Davis repertoire?
Ernie
He used all kinds of tricky right and left hand techniques
to entertain or get any kind of sound he wanted. Although
I don't recall him doing it, it was a common country blues
thing. And as he could imitate anybody's playing, I'm surer
he did it sometime. In general though, he has an open kind
of style. He let the strings ring, like Lightnin'.
David Washington Pittsburg, CA
I have out the Chord inversions and arpeggios according to
CAGED. I have yet to work on the passing chord connections.
My problem has always been that I get in a rush. In an effort
to break this habit I looking for structured method of practice
and progressing. Currently, my practice begins with a pentatonic
scale in the key of E. I then proceed with the CAGED arpeggios
in the first position followed by the chord inversions up
and down the neck. The final movement involves reciting the
1-3-5 pattern as I go through the chord inversions. How do
you suggest that I work in the passing chords?
Ernie
Sounds like you are doing the right things. Work through the
inversions in every key using the passing chords to connect
them. Move on to the 2nd dvd. and start playing songs particularly
Blue Monk. Self discipline is a problem for everyone.
Glenn Shockley Snow Hill MD
I just received my Christmas present to myself: Guitar
Artistry of Ernie Hawkins. Well folks, I am stunned. I
have just experienced one of the most pleasant Friday afternoons
I could have. This dvd is a solid killer. I knew from Ernie's
instructionals that he was very good, but this one left me
spellbound for an hour and a half. Flawless music. I'll be
ordering more of these for friends. Beautiful music.
Cliff Brown Durham NH
I’ve been working on your version of Police Dog Blues,
figuring it out from the Guitar Artistry DVD. It’s really
a masterpiece, and I love the idea of arranging a song originally
written for an open tuning in standard tuning. I feel grateful
for the opportunities I’ve had to learn from you, both in
person and via your instructional materials. You've really
helped my playing tremendously on both a technical and conceptual
level
Samer Montreal
Just received the Lipscomb DVD this week, it's wonderful
and you did a great job. I'm ordering the Rev Davis dvd's
next. I was wondering though what gauge Mance and other blues
guitarists used. I bought a 000 Blueridge, strung with lights.
Would mediums be more appropriate to get that sound?
Ernie
Mediums are more appropriate for Gary Davis but probably lights
for Mance. I generally use mediums for everything but lights
are fun because they are easier to play
Randy Harrison Fortville IN
When I play ball with my brown lab, my toy fox
terrier hangs on his ear when he's running after the ball.
What should I do about this?
Ernie
Call the Mean Little Poodle
Dave Stott Middletown CT
I love your latest guitar artisty DVD and your Blues Advice
CD listen to both quite often.
#1 Do you if any tab exists for Cold Winter Day?
#2 Can you tell me the basic chord progression on Call up
China?
I just can't seem to figure out your fingering from the DVD
#3 Any update on your work on the REV Gary Davis DVD lesson??
I WILL be at this years Summer Intensives in Maine, hope to
see there.
Ernie
I do not have tab for Cold Winter Day. I promise I will show
you both songs at Guitar Intensives.
Call up China moves between a D ninth and A with an E on the
turn around. The timing is strange.
The RGD Blues Guitar instructional dvds will be here after
Thanksgiving.
DJ Parker Jacksonville FL
I purchased "Rags & Bones" and have
almost worn it out. I’m getting ready to purchase your 3 DVD
series on the CAGED system and I just know it’ll be the best
money spent. Thank you for providing such excellent instruction
as well as such wonderful music.
I’m curious as to what guitars that were used on the R &
B cd. I see you holding a Gibson J200 but what were some of
the other instruments used?
Ernie
I think I use a 1989 J200 and a 1947 Southern Jumbo.
Willie Leebel Chesapeake Beach MD
I wanted to thank you for all of the wonderful music this
past weekend at Fur Peace Ranch. I especially enjoyed your
impromptu concert Sunday afternoon before dinner. I also enjoyed
our discussions about Pittsburgh and soon to be superbowl
champion Steelers. I have already signed up for a full plate
next year at the Ranch but was wondering if you have any workshops
in the works for 2008 other than those at FPR.
Ernie
As of now, I have two weekends at the Ranch and am
teaching at SAMW in NH July 13-19 and Guitar Intensives in
Bar Harbor Maine August 10-15. This is a great location on
the coast on the campus of the College of the Atlantic and
very close to Acadia National Park. The food is very good
and everyone has a grand time. Due to the RGD weekend at FPR
being moved to August, I will not be able to make the full
week at GI this year. Probably start teaching on the 13th.
Gary Hill Spring Hill KS
Saw you here in the Kansas City area a few years back;
a great inspirational show. Would be great if you came back…
I picked up the RGD set about a year ago. It has provided
many hours of playing enjoyment and challenges. You do a
GREAT job with your laid back but serious teaching style.
I have played these styles for thirty years and find it
amazing that one never runs out of new ideas to learn.
I recently picked up your Guitar Artistry DVD. It is terrific.
I had always wanted to fully learn Florida blues and Penitentiary
blues. I had them figured out probably 90% and seeing you
play them completed the deal. I also really like Hawkins
rag and the Rev. Davis medley. I’ve pretty well figured
out the RGD medley but would really like to see you teach
Hawkins rag on a future DVD.
One more question: where did you get that blue guitar shirt
you wear on the Guitar Artistry DVD? It is major mojo apparel!
Ernie
I am getting asked by quite a few people where
I got that shirt. My sister-in-law-bought it on sale and
doesn't remember where. Can't help you with this one
Klaus B. Jensen Denmark
I just love the way you play, I do the fingerstyle guitar
to, but not so good as you, I have to study Gary Davis
more he is great, I mail you because it could be so nice
if you one day came and playd in my home town, its mabe
just a dream but anyway, there is a lot of people that like
acustic blues ragtime and rootsmusic here, I dont no if
you are interestet to meet somewhere one day, I would love
to learn some songs from you. pardon my englis
Erik Gran Norway
Thanks for a great time in Stockholm!
I enjoyed both the concert and the workshop, and also had
a really good time listening to your cd's. "Massanga",
the last track on Rags'n Bones, is becoming one of my favorite
songs. Very beautiful, and also interesting to compare with
Gary Davis' playing.You've given me lots of inspiration,
and the workshop also put together a lot of information
about the neck that I sort of have already known, but not
have connected well enough to use in my playing. I think
I learned more from the 4 hours with you than I would have
done for months by myself, if I ever could have got that
kind of insight from reading.
I got completely lost at one point when we moved the blues
progression in A up the neck. I usually do that when I try
to play along with other people or recorded music, guess
it's because I have been playing almost exclusively alone
for many years, and have very little practice in playing
together with other players. Do you have any advice on how
to train the ability to carry on and fall back in after
a mistake? This may be a very silly question, and my first
thought is that I should play
more often along with recordings, and also find someone
to play with. I just wonder if there might be some kind
of exercises that efficiently focuses just on this. To me
it seems that I'm so used stop and go back when I practice
that I'm not focused enough on what comes after the mistake.
I've actually seen someone who believe it's better to learn
the
tunes from the end than from the beginning, that is starting
with the last bars, and working bar by bar towards the beginning.
Do you think that will be of any help?
Ernie
Try playing with people and records regularly and work on
the CAGED material. Once you get the chords down, go to the
1--3-5-- arpeggios up the neck through each chord form. Pick
a run or phrase you like and play it everywhere in every position
you can find. Nothing has made me more confident on the neck
than these things, I think.
Mats Sweden
Thank you for a great concert and workshop in Stockholm.
You have open a new world for me(it's a new way of playing
the guitar). Hope to see you soon. Maybe I´m going to visit
US next year. If it´s possible I would like to visit you for
private lesson. I`m going to work hard....
Jean-Claude Couret Fontenilles France
Vous etes SUPER.
Ernie
Merci beaucoup!
Casey Yoder Monroe Twp. NJ
I have the Lightnin' video - a great video. I've exhausted
all the turnarounds and I'm stuck in a terrible rut of not
being able to learn any more. Songs like "sittin here
thinkin" and "sometimes she will" I listen
over and over and just can NEVER get the tunarounds. I want
to move down the fretboard but have no idea where to go, tryin
to play along with the music and figure it out is impossible
for me. All I know is I'd give up
everything and anything to be able to play like that...
Ernie
The only thing I can suggest at this moment is to
buy the caged dvds. They talk a lot about turnarounds and
show you how to navigate the neck while playing blues in an
easy way. There may be another TX blues country dvd out in
the future. If you have any particular great Lightnin' tunes
that I haven't covered, send me a copy
Stokes Hagg Denver CO
I just wanted to let you know I have really enjoyed your instructional
DVD's. I own the Lightnin Hopkins and the Mance Lipscomb DVDs.
I have been playing in the Texas Pinch style ever since and
it has been a revelation. Thanks for sharing your knowledge
of this beautiful music. I am blown away with your playing.
Have you considered doing an instructional disc in the style
of John Lee Hooker?
Ernie
I don't have any plans for a JLH DVD but you can check with
Stefan Grossma
Kate Sullivan NYC
Just wanted to extend a big thank you for a great week of
instruction at Guitar Intensives. I'm looking forward to taking
a giant step to that world of possibilities utilizing the
CAGED language. Who knows maybe I'll internalize it so well
that I will one day find myself dreaming in the rhythmic flow
of its many conjugations, intonations and accents. Glory,
glory, AMEN.......
Ernie
A little bit everyday - you will find out how easy it is.
You already are a really good player and this will sink
in and become part of you. Best thing to do is teach it
to somebody. Then you'll really know it and come up with
your own angles. It was a special week and a pleasure getting
to know you
Phil Dollard Briarcliff Manor NY
Just a short note to say thanks for a terrific week at Guitar
intensives. "Shuffle Rag" is a little beyond me
right now but "There's a Table Set in Heaven"
is coming along and I'm trying to work 15-30 min. a day
on the CAGED DVD's. Mainly it was just a kick to hear you
play for a week in class & the concert . Also, your
kind words on my humble reading of "Hard Times."
Hadn't known Stephan Foster was buried in Pittsburgh; but
more poignantly, the fact that he only had 34 cents in his
pocket and a note with the words "Kind hearts and gentle
people" on it. I believe I'll not be able to do that
song henceforth without conjuring up those words.
Ernie
I appreciate you and your playing a lot. Find somebody to
teach stuff to and you'll really get to know everything
you've learned in a deeper way.
Mike Mojo Ithaca NY
I would like to thank you both for making last week a truly
magical experience. Thanks for all you have shared with
me. I feel I am a not only a better player but a better
person too. (Guitar Intensives Bar Harbor ME)
Charlie Means Providence RI
I was one of your students at SAMW a month or so ago. I
want to order CAGED 1 from your site, but before I do, am
wondering if you have recorded Table Settin’ in Heaven on
one of your albums, as if you have, I would want to order
that too. I think you may have taught this song in one of
your classes, but not in mine. I just heard it the one time
you played it at the evening concert… can’t get it out of
my head..
Also, do you have or know where I could find tab and/or
lyrics for it. Have looked at Rev. GD site but can’t find
it there..I think I have the melody more or less correct,
but the bass part is a mystery to me, as are most bass parts.
Loved you class and your playin’ !!
Ernie
I haven't recorded it yet but I will in the fall. I showed
it to Jorma and it is on his new CD "Stars in my Crown".
RGD recorded it in the '50's on " A Little more Faith".
The tab will be in the winter issue of SingOUT! magazine.
Jed
I have several of your instructional blues DVDs.
The one song I really want an exact, precise tab for is
Blind Blake's West Coast Blues. I have the Stefan Grossman's
Blind Blake book/cd but it doesn't have all the exact nuances
that you do in your instructional DVDs. Please let me know
if you can do the tab for this song and what your rate would
be.
Ernie
I don't have the tab and just don't have the time
to write it right now. Where do you live? Maybe I could
give you a lesson if I am coming through.
Andy
The Gibson you are playing (and your way of bringing out
the best in it by your playing ability!) on your Lightnin’
Hopkins “Shining Moon” video sounds fantastic. Is it an
L-00 or L-1, a J45? I should be able to tell but I am not
that familiar with the older Gibson models and that looks
like a classic!
Ernie
It is a 1950 J50.
Bernie
Pawlak Port Leyden NY
I'm working through the tapes (CAGED and Rev Davis
) and learning a lot.So far I'm making pretty good progress
but ole Gary makes it look a lot easier than it really is.
Anyway,I like that strap you have on your Gibson.Can you
tell me the make/model or where I might get one.
Ernie
It is from Beard Guitars. I don't know the model
Bob Mayberger Bellport NY
I am wondering if the Red Red Robin/Charleston DVD is too
advanced for me. I can do Mance's Captain Captain in a really
stripped down version w/o grace notes. His other stuff seems
too hard to work on. The Gary Davis 4DVD set is something
I have not really worked on, though I could probably do a
few of his tunes in my own stripped down version. In any case,
your DVD's are fantastic, and tremendous fun to just watch
and understand from. I am working with Mary Flower's Drop
D and Ragtime DVD's and find them very do-able.
Ernie
If you are doing fine on Mary's, you will do fine on the Red
Red Robin DVD.
Rob Clements Carlsbad NM
I am interested in a lesson via CD or DVD. I play acoustic
blues and gospel, mostly for my own
pleasure and "therapy." I am at an intermediate
level. I am blind therefore, tab does me no good. What would
recommend for a 58 year old man that is motivated to learn?
Ernie
Your best bet is to get together with someone and have them
guide you through. Learning by ear is possible but is hard,
particularly with Gary Davis because you have to understand
where he is on the neck. Find someone who can show this to
you and help you through the dvds. You could probably follow
the RGD dvd because I speak about where things are. It's not
expressly designed for someone who is blind but I think you
could pick things up particularly if you have someone you
can watch it with. Good luck. Let me know if I can help in
any way.
Nathan Greeley, Worcester MA
When comparing Blind Lemon's playing to Lightnin's, even though
there are some similarities, the boogie woogie bass lines
and the long free melodic phrases for example...there really
isn't a whole lot of common ground between them. Lightnin'
works with a much more limited palette. I guess you could
say he's much more redundant. If you wanted to put it in a
positive light you could say "master of a particular
sound and style." Lemon is a player that I can't do much
more than try to cop licks from, because he doesn't really
have a personal style per se, due to his playing being so
idiosyncratic on virtually all of his tunes, the early ones
at least. Whereas Lightnin's style, thanks in large part to
your DVD, I feel I have a pretty good grasp on. Composing
tunes on the spot in Lightnin's style and trying to implement
as many of his ideas as I can in a given tune has really helped
me to gain a lot of confidence with his bag of tricks in E
and A. What I really want to know is who was Lightnin' imitating
during his formative years back in the 20s and 30s besides
Blind Lemon? Who did his playing style, primarily in the keys
of E and A come from? Was the steady shuffle bass in almost
all of his tunes a Lightnin' innovation based upon the boogie
woogie rhythm or was someone doing it before him?
Ernie
This is a really good question. I don't know the answer. Obviously
there were many great players that we will never hear of.
Also piano players and records. Lightnin', particularly as
a young guy, was very inventive. So ... who knows. I agree
with you pretty much on the way you characterize the difference
between the two players.
Dave Pickel, Carson City NV
The Reverend is my favorite among all the 'traditional' acoustic
players. I am reluctant to classify him further, but Gospel,
of course, is a strong contender. I have been playing guitar
since 1969 and I didn't know until I heard some of the Reverend's
music to whom I aspired too in my acoustic playing (I'll take
Jimi for my electric inspiration though). I love the Reverend,
his music is of great comfort these days. I just have a heck
of a time trying to sing the lyrics to Samson and Delilah
while playing the bass figure behind it...
Thanks for keeping his music alive as I endeavor to do in
my small way.
David Goddy, Brooklyn NY
Ernie, you are a wonderful guitar player. I bought four of
your cd's a few months ago and have listened to them over
and over.
I have a question about the caged dvd's. I'm wondering what's
in them in terms of exercises and whether they're right for
where I am. I would describe myself as kind of an intermediate
guitar player, but have been doing fingerstyle only for a
couple of years. I can sit there for weeks struggling over
a few tabbed songs -- for example, "all my friends are
gone" version by Stefan Grossman. I don't yet have much
independent control over my fingers for doing melody or a
lead break (as opposed to playing a pattern to the chords
of a song). And I'm not a kid, so it comes slowly. What I've
been thinking is that I need some good exercises to develop
better control and more quickness in my fingers (I use thumb
and two, not three). I like the idea of the caged system from
what I understand of it, and the reviews are wonderful. But
I can't tell what's really in the lessons!
Ernie
One of the best ways to get facility from the word "go"
on the guitar is to work with the basic 1-3-5 arpeggios through
the different chord inversions up and down the neck. It is
something that is very simple sounding, but, because it is
fundamental, it is actually not so easy. Fundamental things,
particularly for us older guys, are harder to go back to.
But nothing is more important. My advice is to start there
Rob Wagner, PA
Want to thank you again for a great show last night at Longwood
Gardens. I had seen you on PBS. Great music, great weather
and a great place to be.
I got about half thru the CAGED dvd last night and it's
something that I had learned years ago but was good to review
it. I consider myself an beginner to intermediate player.
My biggest problem currently is finding the time to practice
- I can usually get 40 - 60 minutes in so end up just reviewing
things I alrady know how to play. I did purchase your Blind
Willie McTell DVD - it's a good one.
I do have one question - what is the basic difference between
a Rag and Blues? Is it the chord progression? The Blue notes?
Ernie
I'd say the basic difference between rags and blues is the
chord progression and the feel. Blues is usually 1-4-5.
Rags are usually a circle of fifths, more complex with more
parts. A lot of what was 20's jazz is called ragtime now.
Then of course you have the category of ragtime blues.
Zach Rosen
I just got The CAGED Guitar System which is terrific .There
is something that I don't understand, when I start with say
a "C" chord pattern I can easily visualize moving
the fretted portions of the chord up
a half, a whole, or more steps. However, I can't figure out
what happens with the open
strings, for example, the 6th string (3-E), the 3rd string
(5-G) or the lst string (3-E).
Ernie
I am not sure I understand your question. The open strings
are just what they appear when you are playing the first position
chord.
Thom Odell
Thank you for your dedication to the music! I have been working
on material from the Gospel Guitar video for several years
(slow learner). Do you know what will be on the next Gary
Davis instructional video?
I vote for "Lord, I Feel Just Like Going On."
Ernie
No, blues, rags and novelty songs. One gospel tune: "Stars
in my Crown".
Kate
Sullivan NYC
I received the DVD's today in the mail. Love the film footage
of the Rev. By the way, where did Ernie get his guitar strap?
I noticed it doesn't interfere with his left hand. I have
an old Gibson and don't want to have a strap pin installed.
Do you know where I can get a strap like his?
Ernie
I got the strap from Beard Guitar but just about any kind
of strap can be attached to the peghead. Your local music
store can help you out. I personally don't like putting strap
buttons into the sides of guitars. Look at a picture of Rev.
Davis.
Joe Lambert Dublin Ohio
I recently ordered "Rags & Bones" and
am really enjoying it.
You inspired me to work up an arrangement of "Cincinnati
Flow Rag."
I really like your version of Rev. Davis' "The Boy Was
Kissing The Girl..."
and wondered if there was a tab arrangement of that available
for purchase
somewhere. I've also been studying your DVD on Rev. Davis-style
guitar and it is a very
good tool.You have a lot of patience in the DVD when you break
the music down slowly!
Ernie
The tab for "The Boy was Kissing the Girl"
will be included in a RGD dvd that I am filming this month.
Nathan Greeley Worcester MA
First of all thank you so much for making the Lightnin' Hopkins
and Mance Lipscomb DVDs. If you're putting out another Texas
Blues DVD in the near future I'll definitely be buying it.
I was wondering about the guitar you're using in those DVDs.
I know it's a Gibson slope shouldered dreadnaught but what
is the exact year and make? Is it ladder braced? I ask because
I need to get one someday. Or something very similar at least.
That guitar has such great tone.
Ernie
It is a 1950 J50 - not ladder braced.
Robin Davies West Wales UK
From the CAGED series I have two questions:
1.
When you define the arpeggio 1,3,5 I understand how they relate
to the chord/form as stated and their use at whatever position/chord
form on the neck.
However should we then find/familiarize ourselves with the
whole scale related to that chord/form (ie we'll then move
on to become familiar with the 2,4,6,7 on each chord/form).
2. Why is it so important to have passing
notes between the same chord albeit in a different position
ie first C position to C chord G Form. I assume it is just
to make the tune interesting and bluesy.
Great DVD and am also working on Rev Gary Davis Gospel DVD
Ernie
Yes, you should familiarize yourself with the whole scale.
Starting with the 1 3 5 is just a way to approach it for me.
The connecting chords are important in countless ways, turnarounds,
etc. Always good to learn how these things come together.
Larry
Epstein Bloomfield MI
The workshop was GREAT. [Fur Peace Ranch] This morning I played
Blue Monk in the key of C and had all the positions and passing
notes down (unlike in our student performance). I'm sure that
as I work on it, all kinds of new understandings will come
along...a little finger memory wouldn't hurt either!
Anyway,
I just wanted to thank you for your patience and diligence
in getting ALL that information across. I'm just sorry I
couldn't have had access to this knowledge years ago.
It was
a pleasure spending time with you again. I'd be happy to
recommend your course to anyone. I hope to see you soon.
Maybe I can get on the waitlist for the Rev. Gary Davis
weekend in October.
Steve
Nelson Louisville KY
That
was my 3rd Fur Peace class, and by far the most beneficial.
Don’t get me wrong, I have enjoyed all my experiences
there, and learned some cool songs every time. But this time
I realize I have learned real practical music theory…
(actually I think music fact is a better description). I know
I have only scratched the surface with the method you have
given us, but we have the method now to understand the fret
board. And I am actually excited to practice the arpeggios
and progressions…. Never thought I’d say that…
Thanks for your patience. I thoroughly enjoyed the experience.
You are one ‘Bad Ass’ player!!
Jim
Talbert Fitzwilliam NH
QUESTION 1: Does Ernie wear a special thumb
pick? It looks like he wears
his thumb pick way up on the thumb joint and I have had some
trouble with
my thumb pick coming off in hard strumming.
Is that
why he wears it that way?
Question
2: Has Ernie ever done a DVD on open G slide guitar
technique? I
am using the Eric Clapton Unplugged DVD for some ideas but
would enjoy a
truly instructional video on how to slide better.
Question
3: I play slide on a 1966 Gibson B-25, what model
is Ernie using in the
DVD? Does he ever use a soundhole pickup?
Ernie
1. thumb pick - I use a golden gate large on my knuckle
a la Gary Davis for more control.
2. I never have done a dvd on an open G slide. I hope to
some day. Maybe Steve James has one.
3. Which dvd? I use a variety of sloped shouldered Gibsons:
J45, J50, SJ, or J200. I love those B25s.
Dan
White - Australia
Interesting stuff! Looked at the caged system a few
years ago and this is a different way looking at it, wonderful!
The RGD series is spectacular. Working on 2 songs and going
well. Tell Ernie that he's done a fine job on them. Though
I will have to alter some fingerings as I have white man hands
and unable to pull my thumb over the bottom 2 strings. Have
played years with the thumb on the E string but that A is
much too difficult with the other fingerings. Oh well I'll
get something close. Now I have a busy couple of months.........years.
Tom
Groh - Lombard, IL
The
diagram below shows you all of the primary notes on the fretboard
of the guitar. You'll use it in order to identify the name
of the key signature. In order to get a sharp (#) simply go
up one fret. To get a flat (b) just go down one fret. For
example F# (2nd fret, low E string) would be one fret higher
than F (1st fret, low E string). Hi Ernie I have been playing
my arpeggios I print out the fretboard and circle all the
1 3 5 notes and practice. Seems to be working
Click
Here for a printable version
Brian
Reitz - Apple Valley, MN
I very much enjoyed the lesson I had with Ernie the last time
I was in Pittsburgh. I've been playing one of the songs that
Ernie taught me, "God will take care of you" and
I'm really enjoying it. I'd sure appreciate the opportunity
to learn more from Ernie.
Gary
Alt - Galion, OH
Do you plan on making any more Lightnin' Hopkins instructional
dvds in the future?
I got so much out of your first one. It was great. Also wondering
if you know of any
other dvds that may be of some help on the style and playing
of Lightnin' Hopkins.
I am really into LIGHTNIN STUFF!
Ernie
I don't know of any other dvds to help you with Lightnin'.
I will be making a Texas blues dvd for
Stefan Grossman that will have some Lightnin' on it.
Steve
Nelson - Louisville, KY
I am signed up for his April class on the C-A-G-E-D system
@ FPR. I have a very basic exposure to the system given by
Marjorie Thompson at a FPR class last year. I do not own Ernie’s
DVD, but I have his RGD DVD’s and have worked on ‘Keep
your Lamps…’ and ‘Samson and Delilah’.
Would
you suggest I get the C-A-G-E-D Video and work with it before
the class?
Ernie
It
wouldn't hurt. It's not absolutely necessary but the more
you can prepare the better. I look forward to seeing you
next month.
Andy
Pitt - Montpelier, VT
I've
been finger picking for about 45 years. I do Gary Davis, Blake,
Fuller, etc.- Until about 4 years ago I've only used the flesh
of my finger tips. Then I got into finger picks -I like the
percussive quality. I started out with plastic Dunlops. The
problem was, (even after I got used to their cumbersome thickness),
- they would loosen or tighten depending on the temperature
of the environment or time of year. It would often happen
in the middle of a gig. I switched to metal which are easier
to reshape on the spot. However I much prefer the sound of
plastic. I spoke to Fred Kelly (I like his thumb picks) about
making finger picks- possibly a combo of plastic with metal
wrap arounds. I've tried Alaska's & pro pick--nothing
has done the trick--
Do you have any suggestions for:
1- Keeping the plastic ones on my fingers (I'd prefer not
to use tape)
2-
A thinner plastic finger pick- the Dunlops (I use the clear
large one) are pretty meaty
I would appreciate and look forward to any advice you may
be able to offer.
Ernie
The larger the picks, the meatier the tone. I boil them in
water and then shape them by squeezing them. The fat ones
stay on very tight.
Geoff
Caldwell - Stockton, NJ
Do you use bone bridge pins as well as saddle and nut? What
opinion do you have about the sound change. Also what strings
do you use? 
Ernie
I think my luthier uses bone on everything. I cannot tell
the difference.
I use Martin SP medium gage strings. For my '89 J-200 I
use the 8/20 bronze because the guitar is very bright. Normally
I use phosphor.
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