Guitar Nine Columns

Displaying 295 - 336 of 4148

Enjoy over 25 years of staff columns, guest columns, interviews and more!

June-July 1996
Guitar Nine

What we are all about and why you care.

June-July 1996
Guitar Nine

Share your knowledge of the guitar and music with the rest of the world.

April-May 1997
Guitar Nine

Official press release for Dan McAvinchey's "Guitar Haus" CD.

October-November 1996
Guitar Nine

E-mail comments, testimonials, kudos, feedback and other observations from around the world.

June-July 1996
Guitar Nine

Write-ups from artsts who have demonstrated a great appreciation for the guitar, and who strive to show what can be done with a guitar in the hands of a creative artist.

December-January 1997
Guitar Haus

If you're a typical musician, you lack one or both of these critical qualities. Let's see how important they are to your success.

December-January 1997
Sean T. Gill

If you`ve got the urge to explore jazz after a background in rock, you`ll need to understand the differences between the two styles. Guitarist Sean Gill gives you the keys to unlock the door to jazz.

December-January 1997
Rusty Cooley

Houston guitarist Rusty Cooley figures that with ten fingers, there`s got to be times when you can use over half of them to express your ideas.

December-January 1997
Guitar Haus

I`d really like to develop into a good composer. I`m not a Greg Howe or an Allan Holdsworth when it comes to soloing, so I have no choice but to work on developing my compositional skills so that people will have a reason to listen! To me, the ideal is someone like Scott Henderson, or Shawn Lane, who are not only amazing players, but equally strong, if not better, composers. That`s the pinnacle, to me.

December-January 2002
Guitar Nine

Read about the history of instrumental guitar, and learn about the passion fans feel for their sub-genre of choice.

December-January 1997
Guitar Nine

Multi-Instrumentalist Tracks Cool, Contemporary Jazz

December-January 1997
Guitar Nine

Summoning The Ghosts Of Pop, Folk & Rock

December-January 1997
Guitar Nine

One Of Those (Guitar) Guys

December-January 1997
Guitar Nine

Energetic, Unpredictable Fingerstyle Guitar

December-January 1997
Guitar Nine

Instrumental Guitarist Challenges The Musical Trends Of Today

December-January 1997
Guitar Nine

Alternative Acoustic With A Pure, Emotional Edginess

December-January 1997
Guitar Nine

Rock Guitar Virtuoso Plans New CD

December-January 1997
Guitar Nine

Guitarist/Songwriter Works Studio Magic Close To Home

February-March 1998
Guitar Haus

Is it really true? Will you get 30,000,000 music fans checking out your music just by creating a web page? Let's separate the hype from the reality.

February-March 1998
David Knopfler

British guitarist David Knopfler has a few words to say about the separate lead guitarist vs. rhythm guitarist identities.

February-March 1998
Guitar Haus

I can`t ever remember deciding to release a CD, it`s just something I always dreamed of. I think every musician would like to, deep down. I did it for myself, and I suggest others do the same. Don`t put out your first CD and expect to get rich, because it just doesn`t happen that way.

February-March 1998
Guitar Nine

A True Journeyman Guitarist, Vocalist And Producer

February-March 1998
Guitar Nine

Explosive, Contemporary Jazz With A World Feel

February-March 1998
Guitar Nine

Explosive, Contemporary Jazz With A World Feel

February-March 1998
Guitar Nine

More Rock 'N Roll Fun Than Ought To Be Legal

February-March 1998
Guitar Nine

Instrumental Guitarist Stresses Music Over Flash

February-March 1998
Guitar Nine

Melodic, Hard Rock Instrumentalist From Down Under

February-March 1998
Guitar Nine

Instrumental Electro-Acoustic Guitar Music

February-March 1998
Guitar Haus

Be prepared do a lot of work promoting and marketing. I strongly suggest people make a plan detailing how they will be selling and marketing their record. Rather than trying to sell one CD at a time, shop it for licensing and other types of deals, since ultimately, that is where a large number of sales will come from.

April-May 1998
David Knopfler

British guitarist David Knopfler recalls the days when the Stratocaster was held in esteem as the instrument of choice--if you could afford one, that is. A tale of how dreams can come true, and how old feelings never quite die.

April-May 1998
Joe Bochar

Instrumentalist Joe Bochar serves up a thinly disguised look at chromatics.

April-May 1998
Guitar Nine

What They're Saying About These Michigan Bluesmen

April-May 1998
Guitar Nine

Solo Guitarist Creates Unique Blend Of Musical Mediums

April-May 1998
Guitar Nine

Instrumentalist Bridges Modern And Traditional Stylings

April-May 1998
Guitar Nine

Mad Guitar, Electronic Sounds, Experimental Vibe

April-May 1998
Guitar Nine

Bringing A New Edge To Contemporary Jazz

April-May 1998
Guitar Haus

How to keep from destroying your confidence by setting realistic expectations for your recording projects.

April-May 1998
Guitar Haus

I decided to do the independent route because that is the only route that is available to me at the present time. I have had releases on A&M Canada and Legato Records but I can`t wait for the "grown ups" to decide whether or not to release the music. I want to have my music out there like anybody else and if I have to do it all myself--so be it!

April-May 1998
Guitar Haus

I just released my first CD after 27 years of playing. For me it represents the end of a struggle to accept my influences, yet still feel I have a voice of my own. I also wanted to express the fact that I just love to play, and that I love music without borders. Most importantly, I want to create music that expresses my true heart, and that inspires the listener to do the same.

June-July 1998
Guitar Haus

No man is an island. No indie label is an island either. The importance of cooperation.

June-July 1998
Paul Kuntz

Guitarist Paul Kuntz is back with some fresh ideas on getting out of playing `in the box` and save untold wear and tear on your frets.

June-July 1998
Guitar Haus

The best marketing tip though, is not to think of the market when you are composing or playing your music. Play only what is true to you--as an independent musician, you have that luxury.

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