I occasionally get email inquiring about how to get started on the guitar. Questions asked include: What should one look for in a first guitar? How about teachers? What is the best way to start a process as open-ended as guitar playing? Below is an attempt at answering these questions.
Guitars for Kids
For young teens, a standard-size guitar is good. For a child, say, 10 or younger, you can find 1/2 and 3/4-size guitars (smaller body, shorter and smaller fingerboard, etc). I’d suggest a nylon-string instrument, as the string tension is less, and the nylons are much easier on young fingers than steel. For very young children, try a baritone ukelele (inexpensive, only four strings, which are tuned as the first 4 strings of the guitar). Unless your progeny insists upon it, avoid electric guitars—they require amplifiers, do not build strength in the hands as readily as do acoustic guitars, and encourage loud noise-making best left to professionals.
Regarding that last opinion, several young shredders have written me complaining about my ‘flaming dis’ of electric guitars. Most have pointed out that they had, in fact, started out on electrics, and their playing has not suffered. I have respectfully and thoughtfully considered each and every challenge to my position that acoustics are preferable to electrics for beginners—took a fresh view—reconsidered the matter…. and I stand by my statement: generally speaking, I observe that acoustics, being the versatile instruments they are, make better first guitars for most beginning guitarists—ones who are tentatively seeking to learn music and/or define themselves as players.
However, if you know what you need to do, then certainly do it! If you were born to rock, I say get an electric guitar into your hands as soon as possible. I see no particular reason to forego practicing on an electric just because an acoustic will build hand-strength more efficiently. I will only say that, after teaching hundreds of students and observing their progress and attitude about the whole process of learning to play guitar, it seems to me practically, economically, and musically more beneficial to begin on an acoustic—*generally speaking*. That said… an artist should always follow that inner light, which will naturally lead them to a particular sound or instrument. Following one’s intuition is the way to go, ultimately.
What to Look For in a Guitar
Besides looking for generally solid construction in a prospective guitar, the “action” is most critical. Basically, action refers to the overall distance of the strings from the fingerboard. This is unique to every guitar, and is a function of:
1) the angle of the neck to the body;
2) the height of the bridge saddle (the point of contact on the body of the guitar over which the strings are stretched);
3) the nut (the similar point of contact located at the end of the neck, immediately below the tuning keys); and
4) the relative straightness of the fingerboard to the tuned strings.
What all this means is that if the strings are too far from the neck (which can often happen on inexpensive instruments), the guitar will be hard to play, won’t play in tune (due to the strings having to be stretched so much when fretted), and the student will become discouraged.
Checking the Action
* Hold the prospective guitar so that you can sight down the neck (much like aiming a rifle) and observe the string distances from the frets (the short metal strips inlaid into the fingerboard) at all points on the neck (I like to sight from each end of the neck for more perspective). Check the straightness of the neck in relation to the strings. Check for uneven fret height (the very tops of the frets should be quite level in relation to one another, with no one fret taller than the others).
* The fingerboard itself should be straight from the nut to where the neck joins the body, at which point a little widening of the action is typical and generally OK (especially in acoustics, and classics in particular). Some instruments may play better with a little “relief” to the neck, i.e. a very slight concave bow. However, if the neck has too much of a concave bow, the strings will be too high from the fingerboard. If the neck has a convex bow, the strings may rattle against the frets at the low end of the neck, and some notes may even become unavailable.
* The fingerboard should be nearly parallel to the strings, and lie quite close to the fingerboard. Using a very solid attack with the picking hand, play each string at each fret, all the way up the neck, and listen for any buzzing, and to determine if the strings are hard to press against the frets. Buzzing generally occurs when the action is so low that there is insufficient space for a fretted string to completely clear the next fret up the neck. This is especially an issue with the bass strings, which require more room for vibrating.
* Check the nut, just below the tuning keys. The nut should be grooved deeply enough to position the strings just above the first fret, without the clearance being so close that the open strings rattle or buzz.
* If the neck itself is nearly straight, but the action still high and stiff, then often the guitar’s action can be adjusted. Classic (nylon-string) guitars still by and large do not have adjustable necks (referring to a truss rodd, essentially a long bolt going down the center of the neck which counteracts the pull of the strings, adjustable at one end or the other), so be sure the neck is a good one before you buy. Most steel-string guitars do have adjustable necks (not to be confused with simple reinforced necks, which offer no adjustment).
Adjusting the tension on the truss rod, along with tweaking the bridge saddle and nut, can often solve the action problems. Most reputable music stores will have guitar techs who can quickly improve the action, and you should ask that this be done, at no cost to you, prior to purchase. No store should sell an instrument that is difficult to play, especially to a beginner.
Caveat: Every guitar is different, so there are no absolute dimensions I can offer here with respect to string distance. There is for every instrument, in conjunction with a particular player, an optimum state of adjustment. In searching for a good beginning instrument, we are looking to weed out the grossly out-of-whack necks, which may never be adjustable to a satisfactory extent for serious practice.
Don’t worry too much about the sound quality of inexpensive student instruments—you will no doubt be disappointed. But if a guitar plays well, then any music may be well played upon it. When it comes to tone, you generally get that for which you pay.
Guitar Teachers
As to teachers, find someone whom you feel can play relatively well, preferably knows how to read music notation, and above all has a personality which can inspire you and make it a fun experience. Music is a difficult language to learn, and consistent practice is required in order to teach the hands what the mind may already know. This can often require a great deal of energy from the teacher. For if your imagination is not set ablaze, boredom may soon enough thwart even your best efforts. This is always a great pity.
And, it often happens that the best teacher is not necessarily the best of players. I have seen many a moderately good player excel at teaching the instrument. First off, most lessons are given to beginners or intermediate players—those whose musical talents are a gift from God often find their own way through the maze of musical mastery. Secondly… personality, dedication and determination, overall energy-level, and a host of other factors all contribute to a successful teaching career.
Parents, monitor the student’s progress, and change teachers if attention and desire wane. Sit in on some lessons, if possible. Be serious about giving your child the gift of music, and firm in requiring daily practice, if only for 10-15 minutes a day by young ones. The daily repetition of scales, chords, and songs is the physical conditioning necessary for playing a musical instrument. Strength in the arms and fingers, callouses on the fingertips, coordination, speed and grace result from playing, not looking at notes. I always tell my students: It’s not how many years you’ve been playing guitar that matters—it’s how many hours.
Wanting to play guitar is a dream many humans share. Some dream of becoming rich rock stars, or successful jazz composers; or of playing music with their friends at the local pub or on the back porch, or writing and singing songs to free their minds, or singing a lullaby to their children; or connecting to some prayerful sound which takes them beyond the real world. Music is all these things and more, of course, which is the beauty of it.
Vibration is the essence of existence, and we all want to experience that. Playing music is at once totally frivolous and deeply profound, as well as a natural talent that each of us possesses to some degree. I have yet to meet a person devoid of talent for music. I *have* met many who do not claim their talent, and so forego the joy of playing.
To be a musician is to surrender to process, as music is never a thing to be mastered, but rather a universe to be explored. Explore this world every day, and your natural talent will find it’s voice.
RESOURCE: Find a Teacher in Your Area
There is simply no substitute for the one-on-one interaction offered in a good teacher/student relationship. All the videos, software, books and internet tablature cannot duplicate an experienced musician sitting there observing you play and giving you constructive suggestions.
You might think there are no qualified teachers in your area, but you might be surprised. Many, many musicians throughout the world supplement their income by teaching, and there is every chance that one is teaching near you right now!
There are several teacher registries online where you can search for teachers in your area. MusicStaff.com offers one of the largest registrars of active teachers in the US.
Why not start today?
Copyright 1997 Jeff Foster. All Rights Reserved.
Updated June 5, 2005 and March 21, 2010.