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Time to change strings. Actually way past time. 

I usually use split string sets on my guitars, but laziness has prompted me to try a full set of these on my spruce Burguet, because I have three full sets in house.

So far they sound great.

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In about three weeks I’ll be performing classical guitar live at a staged reading of The Good Person of Szechwan. There are 6 songs called out in the script, but the actors will be treating them as spoken word rather than as melodic. So it’s up to me to keep things musical! I’ve written music for 3 of the 6 so far, and recorded temp versions for the actors so they know what’s coming. I’m also seeing lots of opportunities for underscoring during scenes. I think it’s going to be fun!

I was approached to do a different reading a few weeks ago. But that was during the chaos of trying to get Julius Caesar open, so my good friend Martin Blasick took the musical reins for that one.

The reading happens May 19th 2015 at East West Players in Downtown Los Angeles. Stephen Rockwell directs. There are almost 20 actors involved in this reading, some from the three plays I recently worked on; Threepenny Opera, Figaro, and Julius Caesar. So it will be nice to see old friends and make some new ones.

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Things I could get done if I had 2 to 3 days with no interruptions:

Rearrange kitchenette (storage) area to make room for 3-drawer filing cabinet from upstairs office.

Move aforementioned file cabinet downstairs to studio.

Organize big piles of sheet music and music books into file cabinet.

...

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I'm putting these Titaniums on my Burguet spruce. This set was given to by Sean Samimi to try out. Thanks, Sean! This will be the first time I've tried something other than Hannabachs on this guitar, but I freely admit - I really liked the Hannabach Goldins because of the color. Yes, I'm that shallow. The trebles on this new set look almost lavender.

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This reminds me that I need to practice.

No. 10 - Fixed Finger Exercise for Classical Guitar (by Bradford Werner)

Get my classical guitar technique ebook (PDF) via: http://www.thisisclassicalguitar.com/… This exercise is great for stabilizing the left-hand position needed for playing counterpoint or other multi-voice textures. I have notated the exercise in first position only, remember to practice it up the frets as well. I repeat each pattern up to the 12th fret. The goal here is to gain finger independence. Keep the first note/finger of each group down but only press lightly. The notation can be confusing so check the tab and remember it’s one finger per fret.

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Pericles, Prince of Tyre

I'm beginning work on a score for Pericles, Prince of Tyre. The play will be produced at A Noise Within in Pasadena. If what I hear in my head ends up in the play, be a thematic score, wherein classical guitar will figure prominently.

I'm just starting to sketch out themes for the three main characters now. Then, during the rehearsal process, I'll start to get an idea of where music will be up front, and where it will act as underscoring.

So off we go...

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Some samples of music I've composed over the years. Primarily for theater, but there's some film music in there too...

Listen to: Music from Play and Movies, Vol. 3 by Robert Oriol

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Bluegrass Jam School!

I attended one of these classes last night, and will definitely be going back. That's Randy on guitar. Very nice guy, makes it look easy.

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Em McKeever, self-described “classical guitarist gone haywire,” is a Newark-based singer-songwriter and multi-instrumentalist, often writing for banjo, dulcimer, tin whistle, and any other instrument that crosses her path.

Her songs vary in sentiment and topic - stinkbugs and coffee play a comedic counterpart to her more emotive compositions.

Here she is playing "The Wild Rover".

I hope she doesn't mind me paraphrasing from her blog. Her playing is really fun!

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If I had a huge house, I'd want stuff like this in it.

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Oh, to be younger, a lot wealthier, and more talented...

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An interesting video that explains how music therapy works, featuring my friend and guitarist Michael Kessler. The woman in the blue dress is not Michael.

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Best. Stand. Ever.

I have two of these Hercules stands. They are by far the most solid, stable and trustworthy guitar stands I've ever used. During the run of my last show, I had to change between guitars quickly - sometimes while actually running - and these stands allowed me to do that without worrying about the guitars at all.

The guitar "hangs" from the upper arm, and the two downward-pointing fingers swivel up to lock the guitar in place. This locking action is triggered by the weight of the guitar. As soon as you pick the guitar up, the fingers swivel back to the down position, releasing the guitar.

The padded legs protect the finish of the instrument, and help to keep the guitar in place. The neck height is adjustable for different guitar sizes. Of course, the whole thing folds up for easy transport.

Guitar stands haven't changed much in the time that I've been playing. So it's nice to see that somebody actually put some thought into this design, and gave us guitarists something that really works.

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I helped Theatre @ Boston Court find the right guitar for a rockabilly play called American Misfit (which, by the way, was AWESOME), and ended up with the guitar when the play closed.

Hurray for me!

I turned around and lent it out to a friend who has a much more immediate need for a white semi-hollow with gold hardware than I do, so the time this guitar actually has spent in my possession can be counted in hours rather than days. But I'll get it back when I need it.

And now - back to classical!

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All lined up like soldiers ready for battle.

My guitar lineup for The Grapes of Wrath.

Tacoma dreadnaught, Nice guitar from an interesting company that is no more - as far as I can tell. This guitar was mostly there as a backup.

Harmony 000. Great for slide. Awful for anything else.

1974 Martin D35S. My main guitar for this show. Good for flat picking and finger picking. A great guitar.

Those dimmer packs in the background emitted a persistent drone just flat of B natural. Made tuning a challenge...

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"Man Going Back".

A solo piece from the Grapes of Wrath theatrical score. Performed by Robert Oriol on a 1974 Martin D35S.

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I'm posting this here so that I always know where to find it. This has gotten me through several cracked nails and allowed me to play within 20 minutes of applying this technique.