Category Archives: Fingerstyle

LIVE 096 • Sí Bheag, Sí Mhór (Taylor 912ce)

Here is another version of my arrangement of Si Bheag, Si Mhor (Little Fairy, Big Fairy), reportedly the first song composed by famous 17th century bard Turlough O’Carolan.  This version was recorded on my 912ce, which I feel is a perfect guitar for this arrangement.  Hope you enjoy.

Recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and a Neumann TLM 102 microphone.  

LIVE 090 • Moonglow (Alternate Take)

Here is an alternate take of Moonglow, a song I wrote years ago while sitting outside under a full moon. I’ve played it on and off for years, most always on steel string guitar. More recently I tried it on nylon and found it worked quite well – perhaps even better. Hope you enjoy.

Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.

LIVE 087 • Mino’aka – Keola Beamer

Mino’aka (Smile) is a short, sweet song from slack key master Keola Beamer’s Soliloquy album. Soliloquy is one of my favorite Dancing Cat era albums from Keola and a highly recommended listen. Keola’s book is one of the first I picked up when I really delved into the slack key style years ago, and this was one of my favorite songs featured in the book. In fact, I also recommend Keola’s book for beginner to intermediate fingerstyle players who are looking to learn some slack key. Although the version I recorded here is at a slightly faster tempo, I hope it still captures the original’s relaxed feel. Hope you enjoy.

Recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and a Neumann TLM 102 microphone.

LIVE 086 • Silver Threads – Slack Key Improv

Here is an improvisation I did based on Leonard Kwan’s famous slack key arrangement of “Silver Threads Among the Gold.” This classic tune is a popular piece in the slack key repertoire and often one of the first things people learn when exploring Drop C tuning. Most listeners of modern day Hawaii radio will recognize Silver Threads as the slack key passage quoted in the intro to Country Comfort’s Waimanalo Blues, a beloved song in the islands in its own right. Hope you enjoy.

Recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and Neumann TLM 102 microphone.

GEAR 514 • Taylor 912ce Review and Demo

The Taylor 912ce is an easy to play guitar with a balanced eq that is ideal for fingerstyle or light strumming. The Grand Concert body gives it a balanced EQ, the advanced performance bracing and vibrant top give it a clear, articulate speaking voice, and the higher grade rosewood back and sides add complexity and richness to both single notes and chords. Gotoh 510 tuners offer greater accuracy and tuning stability – a welcome upgrade to those who use a lot of open or alternate tunings. With the addition of a beveled armrest, the compact guitar is the perfect companion for hours of comfortable play.
Of course, people often notice the cosmetics of the 900 series first, mainly the upgraded inlay work on the headstock, fretboard, and in the rosette & soundboard trim. Yet the inlay work is more subdued than previous incarnations of the 900 series and the upgrades are more tasteful than showy. The guitar does indeed look great, but more importantly it plays and sounds even better. In short, if you’re looking for a small-bodied guitar with upgraded features, the 912ce is a great choice.

Sound demos recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and an Ear Trumpet Labs Edwina a Neumann TLM 102 microphone.

LIVE 088 • Auld Lang Syne (Alternate Take, Remix)

Here are an alternate take and a remix of my fingerstyle guitar arrangement of Auld Lang Syne. It’s a slack key tinged version with an added bridge/transition, but otherwise follows the familiar melody closely.

Remix of original post:

Alernate take:

Happy New Year!

Both takes recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb 80/20 Bronze HD gauge set) and a single Beyerdynamic MC 930 microphone in Honolulu, Hawai’i 12/30/14.

GEAR 513 • TC Electronic UniTune

Most of you know I have been a fan of TC Electronic’s Polytune Clip for a while now (review linked below). The Polytune Clip does really well with alternate and open-tunings on acoustic guitar; it latches on to notes quickly, has good tracking, and even does well reading the lower bass notes we sometimes tune our sixth strings to which other clip-on tuners can have trouble with. So I still love the PolyTune Clip even though I spend most of my time in open tunings and hardly ever use the PolyTune function. Recently, I learned that TC Electronic had partnered with music retailer Sweetwater to produce the Uni-Tune, which is just like the PolyTune Clip in every respect but without the PolyTune mode. (Also it is about $15 less expensive.)

As with the Polytune Clip, I found that TC Electronic’s Uni-Tune clip-on tuner latches on to notes quickly and accurately, has excellent tracking, and picks up the low 6th string bass notes well (even down as low as Bb). So if you use mostly open / altered tunings, or can otherwise live without the PolyTune function and want to save $15, you might consider the almost identical UniTune clip-on tuner from TC Electronic.

LIVE 059 • Perfect & Beautiful

One day in the fall of 2012, I sat down to record a set of improvised songs with a Taylor dreadnought acoustic guitar. I improvised five original songs and two versions of Amazing Grace. With only one or two false starts, they were mostly first takes. The set was nothing really mind altering, but it had some cool songs with good vibes – so I considered it a success. It’s not the kind of thing I do often – in fact I haven’t done the exercise since, haven’t played any of the original songs again, and don’t consider it the most incredible thing I’ve ever done. Yet somehow it stands out in my mind as a creative milestone, a memorable event. Sometimes it’s important to break out of the mold with such experiments to reach a new frame of mind, a new level. This was the fourth song in the set, which I dubbed “Perfect & Beautiful.”

Recorded with a Taylor 310 and a Tascam DR-40 in Louisville, Kentucky, 9/29/12.