Comments for Dave Keir

Comment on Martin 000-28 by R L

R L — Fri, 24 May 2013 01:47:13 +0000

I own a 1966 000-28, an instrument of balance and the comfort. Although I have a dreadnaught for when I must project, my 000-28 has a sweetness and ease that endears it to me. The action has not been trucked with, which I like because too easy means less versatile; some kinds of playing cannot occur. Alack, the top has a straight split, evidently because Martin put on the pick guard and shellacked; it isn’t the most pristine table. Moreover, the previous owner from whom I bought it—$650—dinged the top when he dropped the lid of the case on it; but that makes it less intimidating. This previous owner also replaced the neck dots with abalone ones. At least they aren’t too ostentatious. The back is spectacularly figured Brazilian rosewood. It has held up well. All in all, a lovely, modest guitar that I have had for decades. I love its responsiveness.

Comment on Martin 000-28 by R L

R L — Fri, 24 May 2013 01:46:29 +0000

I own a 1966 000-28, an instrument of balance and the comfort. Although I have a dreadnaught for when I must project, my 000-28 has a sweetness and ease that endears it to me. The action has not been trucked with, which I like because too easy means less versatile; some kinds of playing cannot occur. Alack, the top has a straight split, evidently because Martin put on the pickguard and shellacked; it isn’t the most pristine table . Moreover, the previous owner from whom I bought it—$650—dinged the top when he dropped the lid of the case on it; but that makes it less intimidating. This previous owner also replaced the neck dots with abalone ones. At least they aren’t too ostentatious. The back is spectacularly figured Brazilian rosewood. It has held up well. All in all, a lovely, modest guitar that I have had for decades. I love its responsiveness.

Comment on Martin 000-28 by R L

R L — Fri, 24 May 2013 01:45:30 +0000

I own a 1966 000-28, an instrument of balance and the comfort. Although I have a dreadnaught for when I must project, my 000-28 has a sweetness and ease that endears it to me. The action has not been trucked with, which I like because too easy means less versatile; some kinds of playing can;t occur. Alack, the top has a straight split, evidently because Martin put on the pickguard and shellacked; it isn’t the most pristine table . Moreover, the previous owner from whom I bought it—$650—dinged the top when he dropped the lid of the case on it; but that makes it less intimidating. This previous owner also replaced the neck dots with abalone ones. At least they aren’t too ostentatious. The back is spectacularly figured Brazilian rosewood. It has held up well. All in all, a lovely, modest guitar that I have had for decades. I love its responsiveness.

Comment on Fellow Guitarists: How Much Do You Get Into – And Out Of – Musical Theory? by Manfred Melcher

Manfred Melcher — Fri, 03 May 2013 14:27:09 +0000

Hi Dave-
I’m a fingerstyle guitarist, as you are, self-taught, self-guided, and still self-discovering music (theory, composition, and performance). My sense is that if one stays connected to and expresses from “the heart,” theory is not “needed,” (I think here of the young Alex DiGrassi and his writing some of the best guitar muisc to date without much awarness of or need for formal theory). On the otherhand, I reflect on and give consideration to theory as a “spice,” something that is only utilized to improve on thre main ingredient (I think now of Michael Hedges and his vast knowledge and use of theory to create fantastic music). The guitar, especailly contemporary acoustic fingerstyle guitar music, is intuitive, organic, and “pure,” at best, meaning, in my limited opinion, best when theory is an afterthought, especailly in composition. I love to discover something while noodeling the guitar, exploring a new tuning or chords. When I “let go” and simply allow the muisic to take me to where it wants to go, not only do I have fun, but I’ve composed my best pieces that way. Thanks for the question and allowing my thoughts to float into cyberspace. Manfred

Comment on Fellow Guitarists: How Much Do You Get Into – And Out Of – Musical Theory? by Nick Crosby

Nick Crosby — Sun, 21 Apr 2013 16:21:03 +0000

Greetings Dave,

I studied music (theory) for a time in college, but was a poor student according to the professor. Truth of the matter, every other student in the program already had all the rudiments down for many years (from high school), and I only knew the rudiments of rock-n-roll (a form the professor obviously detested). My naiveté was in thinking that taking college level music theory would teach me something ….. and it did …… about politics. Since then I’ve learned theory on my own, but I am still a comparative novice compared to folks steeped in classical and/or jazz. But to my credit, I can improvise in many styles/genres. I have classical muso friends that have steadfastly refused invitations to “jam” for over 30 years. They will play pieces they know, and have rehearsed for years, if the sheet music is in front of them. Ask them make something up on-the-spot and they get a look of horror and disgust. So, I wonder who is worse off; me being a late bloomer and still struggling to learn theory this late in the game ……. or those learned theorists who will never compose a piece worthy of their long-haired, long-dead composer icons?

Comment on Tabs and Notations Page Updated by chris broadhead

chris broadhead — Sun, 28 Oct 2012 13:56:37 +0000

well now Dave, there’s a thing…googled you and there you was, alive and picking.
You may need a single malt to get over the shock! Good to hear you’re still at it.
So am I…still trying to learn how to play the damn thing after all these years.
If you’re interested, get back via email above.
Too much water under many bridges to go into here….but, love my old strat and take it to Bielefeld now and again for a bit of collaboration. They come here too (Devon now)
Anyway, be good to hear from you…
all the best
Chris

Comment on Folk Music: Is It Art? by Daniel Davis

Daniel Davis — Sun, 28 Oct 2012 09:43:36 +0000

I happen to think that calling something ‘folk’ is not degrading. Yes it implies ‘unschooled’, and ‘of the people’ but it does not imply that it is anything but creative, passionate, practiced and skilled.
So I’m not going to argue that folk music is not art. But I do have a question:
The stuff called ‘classical music’ by most people is more correctly known as ‘art music’, ‘Classical’ being only a short period in the 18th-century. Now what do you propose to call ‘art music’ if all music is art? The assertion that JS Bach is performing the same category of activity as Cheryl Cole fills me with dread.

Comment on Celtic Tabs and MP3 Downloads by Peter

Peter — Thu, 25 Oct 2012 01:09:57 +0000

Dave, I have no talent but I love this music and the guitar.
Thanks for presenting your music here. Your tunes, in structure,
seem so simple but are played so fast that they sound so
complicated. Is there any advice you can give to someone like
me interested in simply learning to play these kinds of tunes with
conviction and some elementary level of mastery.
Regards, Peter Houghtaling

Comment on My Cat the Composer by Tom Zartler

Tom Zartler — Thu, 18 Oct 2012 13:54:06 +0000

Nice story. Now if my dogs would do that for me. I guess I shouldn’t keep them locked out of the control room…but then who knows what would be released…

Comment on Dougal The Producer (R.I.P) by Michael

Michael — Wed, 13 Jun 2012 14:43:50 +0000

Though we have never met, may I offer my heartfelt condolences.