How To Play A 12-String Guitar

 

This guest blog post is presented by our friends at Deplike Guitar FX

If you're a fan of the sound of an acoustic guitar, then you're probably listening to a song that features two guitarists playing together seamlessly. 

Various models on the market can accommodate different budgets. With various features and options, 12-string acoustic guitars can provide a unique and authentic sound.

The sound of 12-string electric and acoustic guitars has captivated listeners for decades. Whether you're looking for an electric or acoustic guitar, there's something special about this versatile instrument.

This guide will walk you through the steps needed to learn how to play a 12-string guitar. Although it's commonly considered the same model as a six-string guitar, the small differences can make it hard to transition seamlessly.

What is a 12 String Guitar?

Before the electric guitar became a common instrument in rock music, 12-strings were a staple in folk music. These instruments' added power and resonance made them an ideal choice for artists who wanted to perform without amplifiers. The jangle and shimmer of these instruments also added a more appealing dimension to their voices. For solo acoustic performances, 12-strings had an advantage.

Due to the emergence of the electric guitar industry during the 1950s and 1960s, companies such as Danelectro and Rickenbacker started making electric versions of 12-strings. While these instruments were no longer necessary for volume, their unique vibrations and choruses became more apparent with the addition of electric pickup systems.

The 12-string guitar is not equipped with 12 strings specifically tuned to different notes, such as those used in seven- and eight-string models. Instead, it has six strings that are the same as those used in a regular guitar. These are then paired with six other strings tuned to the same standard. The resulting strings are then tuned to unison.

Unlike other extended-range models, the 12-string guitar doesn't open up any notes on the fretboard. Its appeal is due to the added resonance and the jangle of the additional six strings. Also, since their bodies and necks are close to the size of six-string models, the learning curve for these guitars is shorter.

Like other six-string models, the 12-string guitar can be played similarly. Just like with regular six-string models, the finger is placed on the bridge so that the body covers both the original and the matched strings simultaneously.

What Does a 12-String Guitar Sound Like?

Due to the extra strings, some 12-string models are referred to as "shimmering" and "bright." This type of guitar has a natural tone often used by rhythm players and lead guitarists who need a more balanced sound. The extra weight of these strings makes them ideal for players who need a more accurate and fuller sound.

Besides being more balanced, 12-string models also have a deeper and more harmonically rich sound. This is because there are double the strings that are typically found in a six-string guitar. These extra strings create a more balanced sound when compared to a standard 12-string. Besides the notes that your guitar produces when it plucks a string, these are also the notes that are added to the instrument's body. With flatwound strings, you can achieve a more vintage sound by adding a more balanced tone.

A 12-string model can provide players with greater sustain than a six-string guitar. The increased vibration helps the sounds carry longer, and it also adds to the overall playing experience. The world's most famous 12-string models are acoustic or hollow-body instruments.

Semi-hollow and hollow-body models provide a more balanced sound than standard 12-string models. They also offer a warm and woody tone. Some companies, such as Taylor, make exceptional 12-string models. The 150e 12-string is an example of their finest acoustic models.

How Do You Tune a 12-String Guitar?

Although 12-string electric guitars are more painful to play than normal ones, they follow the same tuning rules as six-string models. The lower four strings have pairs of higher notes, while the top two have double-coiled strings at the same pitch.

Some 12-string models follow a different arrangement. For instance, the standard 12-strings place the higher string on top, which means that if you strum down, you can hit the "pair" first string. However, this setup is only slightly different from other setups. You can use Deplike Guitar FX for good and strong tuning.

Neck Tension on 12-String Guitars

Adding six strings to a 12-string guitar increases the tension on the body and neck of the instrument. This is especially true for acoustic models, which have thinner soundboards and are more delicate. If you're planning on tuning a 12-string guitar, remove all of the strings from one side at a time.

Doing so will cause a drop in tension that can affect the neck and body of the instrument. This can lead to various issues, such as cracks and pulling.

One of the most important factors you should pay attention to when tuning a 12-string guitar is the high-octave G string. This is the highest string on the body and neck of the instrument, and it has the most tension of any other string. You might accidentally snap this string while trying to pitch it if you're not careful.

The heavier gauge strings are more likely to resist breaking and should be tuned gradually. You should also avoid using a string winder to speed up the process, as this can cause the tension to drop. To minimize the risk of flying strings, keep one hand over the neck while working with these strings.

After you've cut the old strings off, replace them with new ones as quickly as possible. Doing so will allow you to free up some space between the tuning pegs, which will allow you to insert a new string. To avoid jarring shifts to the neck, ensure the tension is balanced on both sides of the instrument.

After a while, the re-treading and tuning process will become easier, as it will allow you to get the most out of your 12-string guitar. It may take a couple of hours to re-tread a traditional model, but the enhanced tone will be worth it.

How to Play a 12-String Guitar

A 12-string guitar is similar to a standard ax in terms of playing it the same way. It can be used for all of the parts that you usually play with just six strings.

Contrary to popular belief, a 12-string guitar is not a replacement for a traditional instrument. It has a unique sound and characteristics that allow players to create their unique style. Besides its unique sound, the 12-string also has a variety of other factors that contribute to its distinct playing style.

Besides its unique sound, the 12-string also has a variety of other factors that contribute to its distinct playing style. One of these is the traditional techniques and styles that are associated with it.

Before you start playing a 12-string guitar, most guitarists have already experienced playing six-string instruments. This doesn't mean that they need to re-learn anything in order to play it well. While most players will be able to carry over their knowledge, there are some techniques that dozen-string players can use to improve their playing.

Techniques

Although 12-string instruments are similar in terms of their body size and shape, there are some notable differences. These include the unusual features that make them an ideal choice for players who are familiar with the techniques used on six-string instruments.

Some of the tricks commonly used on 12-string instruments are focused on the hand technique, while others are on the arm and picking. To make the transition from a six-string to a 12-string guitar as smooth as possible, keep these tips in mind.

The width of the neck of a 12-string guitar is slightly wider to accommodate the extra strings. Many players are not used to the extra weight when they first pick up a new instrument. To keep the instrument in tip-top shape, you may need to purchase various accessories. One of these is a capo, which is designed for nylon-string instruments.

The addition of extra strings can also be a challenge for guitarists. Manufacturers of different types of instruments provide varying spacing between the strings, which means that they can be pressed down with one hand at the same time. If the strings are close enough, you can still play the same way if you have a six-string model.

Fretting

Due to the complexity of playing both strings simultaneously, many guitarists struggle to maintain a consistent tone when they fret both instruments simultaneously. To solve this issue, some 12-string guitarists use a flatter fret technique. Instead of pressing down on the strings directly with the tip of their fingers, they flatten their hand and fret them with a larger portion of the finger.

Keep your fingers on the palm to maintain a proper hand position and not lean over the fretboard. The additional surface area helps ensure that both the standard and the matched strings ring properly. Also, ensure you don't accidentally mute the other strings on the sides.

Picking

When it comes to picking a 12-string guitar, the extra strings can sometimes make it feel a bit more difficult to play. This is because the body of the instrument tends to feel stiffer.

Since adding extra strings can make it difficult to play, 12-string guitarists must avoid accidentally skipping any notes while they're playing. To achieve the full potential of this instrument, they must practice all 12 strings simultaneously. Having a consistent practice routine can help improve this skill.

To improve this skill, it's important that you keep your hands and wrists moving as you strum. Doing so will allow you to carry out all of the work while you're playing. Having a compact strumming motion will also help you perform better with single-note lines and chord progressions.

Who Plays 12 String Guitars?

The 12-string guitar has been a prominent part of guitar history, both in terms of its popularity and in other genres. Some of the most prominent individuals who have played this instrument are some of the most famous musicians in the world. Their techniques and innovations have helped shape the instrument that we play today.

Although there are many famous players of the 12-string guitar, it might be hard to choose a list that is representative of all of them. This page aims to provide a list of some of the most inspirational individuals who have played this instrument.

Most people know Roger McGuinn for his work with The Byrds, but he is also known for his contributions to the development of the electric guitar. Among the many people who play the instrument, he is regarded as one of the first individuals to use a 12-string. Take a listen to the song "I'll Feel a Whole Lot Better" by The Byrds. The song's rhythm guitar makes the song's pulse move forward.

Although McGuinn was one of the first guitarists to use a 12-string, George Harrison from The Beatles started using it before he was even given a prototype model in 1964. He would go on to play numerous historical recordings with the help of his 12-string. One of the most prominent songs that Harrison would play with his 12-string was "A Hard Day's Night." Here, he demonstrates how he uses his instrument to carry the song's weight by strumming the opening chord.

After Harrison and McGuinn established a trail for the use of the 12-string in popular music, Peter Buck started to expand its sonic possibilities. His style became more prominent during the 1980s and 1990s. Most of his work was influenced by the extra shine and tone that the 12-string provided. Buck was the only guitarist in R.E.M., and he was able to create his own unique sound by blending the various elements of his instrument.

The 12-string version of the standard six-string axe is one of the most popular variants. It has been used in the development of various forms of music, such as rock and roll and indie rock.

Although it's easy to play for guitarists who are familiar with standard six-string models, the 12-string model offers a unique tone and feel. If you're interested in learning more about this type of guitar, take the time to experiment with it.

When playing 12-string guitar, you can use Deplike Guitar FX to get a more effective and saturated sound or to get better sound outputs. You can click here to get information about Deplike Guitar FX, see how to use the application, and download it.

Change Your Guitar Playing In 5 Steps - 097

Are you ready for a big change?

Sometimes it takes drastic measures to pull yourself out of a playing rut.

Today, I’m outlining the process that I’m putting into place to transform my own guitar playing.

If you are unhappy with your playing, or want to be able do play a certain way, but aren't sure how, this process I'm using can be very helpful for you.

These ideas may seem simple, but unfortunately they are seldom used to get real results on the guitar. By following the 5 steps in this podcast, you will keep your self focused and ready to achieve your goal by the date you set. 

You can also watch my progress over the next three months on YouTube (https://www.youtube.com/playguitaracademy), as I document my progress to become a better blues guitarist. 

Slayer's Kerry King Endorses Dean Guitars

Dean Guitars

Slayer's Kerry King has joined Dean Guitars' artist roster.

In addition to beginning their partnership with a run of 50 King-signed, USA-made guitars, Dean also announced that the company will work with King to create a new, never-before-seen guitar design.

“I'm super-stoked to be part of the Dean Guitars family," King said. "This has been an insane[ly] long time coming!

"Together we're going to create some amazing guitars that Dean, Slayer and Kerry King fans will be as excited as I am to play. It's gonna be a wild ride for years to come!"

In the meantime, be sure to keep an eye on deanguitars.com. We know we will!

Stealing Guitar Solo Ideas from Miles Davis

Miles Davis' 1959 album Kind of Blue and his song "So What" often represent a gateway into jazz for many musicians with rock, pop or blues backgrounds.

But while some of us are drawn to the opening chords of "So What" and learn them on the guitar where they fit nicely on the fretboard, we might stop there rather than dig into making single-note shapes out of these same chords.

In today’s lesson, you’ll learn how to take the classic "So What" chord shapes and turn them into single-note soloing ideas in your improvised lines and phrases, bringing a bit of Davis and Bill Evans onto the fretboard at the same time.

The "So What" Chords

As a review, here are the opening chords played by pianist Evans on the classic recording of "So What." The chords are built by stacking 4th intervals until you hit the top two strings, where there is a 3rd between those last two notes.

Also, there are two different chords going on here under the written Dm7—an Em7 and Dm7 shape that, when combined, outline the intervals written in the last two bars of the example.

Before going on to the next part of this lesson, one thing to take away from the "So What" chords is that when you see Dm7 on a lead sheet, you can move between Dm7 and Em7 in your comping ideas in order to play on the given chord, as well as add color by outlining the R-9-11-5-13 when playing the Em7 chord.

After you’ve reviewed (or learned, if they are new) these shapes in your practicing, it’s time to move on and take the first step into breaking these ideas up and making single-note melodies out of the "So What" chords.

Breaking Up "So What" Chords

While playing these full chord shapes will get the "So What" chords under your fingers, they can be a bit bulky and hard to move around the fretboard, especially at quicker tempos. So the first thing we’ll do is break up these larger chords into smaller shapes that you can then use in your comping ideas and to create single-line melody lines in your jazz guitar solos. Here's how those shapes would look for both the Em7 and Dm7 "So What" chords, where both have been broken up into three-note groups to make them easier to move around and build single-lines out of.

Now that we’ve broken up the "So What" chords into three smaller shapes for both the Dm7 and Em7 shapes, you can arpeggiate these forms in order to create single-line versions of these chords. You can see an example of this in the following example, where I’ve picked each three-note from the lowest to highest notes in order to create single-line versions of each shape.

Try working these in all 12 keys around the neck to get them under your fingers and into your ears on the fretboard. From a picking perspective, you can use economy picking such as down-down-up for each shape, sweep picking such as down-down-down, or hybrid picking where you would use your pick and fingers to pick each shape.

To keep things simple on the page, I’ve written ascending versions of each shape only, but you can also play down each shape as you work up and down the fretboard using these three-note shapes to break up the "So What" chords on the neck. Once you’ve got these shapes in Dm7 under your fingers, try putting on a Dm7 backing track and soloing over that chord using these shapes as the basis for your lines. From there, you can take these ideas to other keys and tunes when applying them to a soloing situation.

After you have worked these shapes all ascending in the woodshed, move on to the next section of this lesson where you’ll be learning how to add a few variations to these three-note shapes in your practicing.

"So What" Chord Variations

Once you have worked on breaking up the "So What" chords into single-line shapes on the fretboard, you can work these shapes with a few common variations in your practice routine. Here are a few of the variations that I like to use, but feel free to come up with your own after you’ve worked on these in 12 keys in the woodshed. The first variation focuses on playing each three-note shape descending from the highest to lowest note, then moving to the next shape on that chord until you’ve reached the top note. In the second variation, you play the first three-note shape ascending and then the second shape descending until you’ve reached the top of the chord you’re on.

For simplicity, I’ve written these variations out over the Dm7 chord shape we learned earlier, but you can also practice these variations over the Em7 shape as well when moving forward with these ideas in the practice room. You can also put on a Dm7 vamp, or other chord progression, and practice soloing over those harmonies using one or both of these variations to create your improvised lines and phrases when taking these variations to a musical situation.

Now that we’ve looked at a few variations when breaking the "So What" chords into single lines, let’s move on to a sample lick and see how this idea can be applied to a ii V I chord progression.

"So What" Chords Lick

To help get you started with these ideas in a soloing context, here is a sample lick that you can check out and work in the given key of C major, and then in all 12 keys as your work it around the fretboard. As well you can practice applying this lick to tunes you are working on, and when it’s comfortable, begin altering the lick by changing the rhythms, adding in notes, taking notes away, playing bits of the lick, and so forth as you personalize this phrase in your playing.

I’ve used the "So What" chords in the first measure, and then finished the idea with some bebop techniques from there. When you’ve got this lick worked out with the above variations, then try writing out a few of your own as sometimes composition can be a great way to work on improvisation in the practice room.

Do you have any questions on this lesson? Share your thoughts in the COMMENTS section below.

Matt Warnock is the owner of mattwarnockguitar.com, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors).

Who is Mel Bay?

Dodd's Music was in the white building

I started taking guitar lessons when I was 13 years old; first at the YMCA in a group setting and then at Dodd’s Music Store, in Covington, Kentucky.

One of the acts on WLW radio

My teacher at Dodd's was an old guy named George Olinger. George made a living playing guitar in Country groups around town as well as being a staff guitarist on WLW radio, back in the days when the station played live music.

George taught me the basic chord patterns mainly from the books he had me purchase, which seemed to all be written by one man; Mel Bay.

Tommy Flint

Last week I learned that a fairly well-known guitarist named Tommy Flint had passed away. It seems that Mr. Flint was not only an excellent finger-style guitarist, in the style of Chet Atkins, but also an author of guitar instruction books that were published by Mel Bay.

This got me to wondering, who was Mel Bay?

Mel 1928 with National Triolian

Mel grew up in a small Missouri town in the Ozark Mountains. He bought his first guitar at the age of 13 from a Sears and Roebuck catalog. Within months of acquiring the guitar, he was playing in front of people. Mel Bay never had a guitar teacher.  He watched other guitar player perform and memorized their fingering on the fretboard.


That is the way I learned to play guitar.  I stood in front of bands and watched the lead guitar player and copied his fingerings. I am certain many of you reading this article honed your skills in much the same manner.

Bay was not satisfied to just learn the guitar. No sir. He went on to learn fingerings on the tenor banjo, mandolin, ukulele and Hawaiian slide guitar. This was all back in the 1920's when he was still a young man.

D'Angelico with "Melbourne Bay"
engraved on the pickguard

Mel Bay became hooked on playing in front of audiences and decided to make a career out of being a professional musician. So he moved to St. Louis in 1933 and joined numerous local and traveling bands. He also was hired by several radio stations as a staff guitarist.

He put together The Mel Bay Trio, which consisted of him, a bass player and a drummer. And this became his steady gig for the next 25 years. His career was briefly interrupted by a stint in the US Army during WWII.

His custom D'Angelico New Yorker

As a working musician he had extra time and was able to teach guitar to others. In fact Mel Bay taught as many as 100 students a week. During those years he found out there was not a lot of instructional material available at the time.

He determined some of the material availabe was flawed. It only offered students chord patterns; not the ability to learn notes on the guitar.

So Mel began writing his own instruction books. These books became the basis for the Mel Bay Publication House.

Mel Bay's 1st Book

After getting out of the Army, he published his first instruction book in 1947 and called it The Orchestral Chord System for Guitar. This book was the first of many to be published it under his own business; Mel Bay Publishing Incorporated. Amazingly this the book is still in print, but now it is titled The Rhythm Guitar Chord System. This book has been used by countless students to learn how to play guitar.

Mel Bay's 2nd Book

By 1948 another book was published called Modern Guitar Method. Through the years Modern Guitar Method has sold more than 20 million copies in its original version.

Mel teaching guitar to
high school students

By the mid 1950’s Elvis Presley's career was the talk of the nation, and this caused the guitar to experience a surge in popularity. During these years Mel Bay traveled around the country talking to guitar teachers and their students about his publications with the goal of selling them as texts.

In doing this he came to know most every guitar teacher in the United States on a first name basis. Guitar Player Magazine dubbed him as The George Washington of Guitar.

Mel Bay playing a mandolin

Since first publishing guitar instruction books, his company has branched off into publishing method books for violin, banjo, mandolin, clarinet, saxophone, trumpet, harmonica, folk instruments, and accordion. His books for guitar include methods for differing styles, including folk, jazz, classical, rock, blues and jazz.

Mel Bay Book by Tommy Flint

Getting back to Tommy Flint, who I mentioned early on; Mr. Flint was the author of Mel Bay’s books on Finger Style guitar, Chet Atkins style picking, as well as Bluegrass Guitar and Christmas Songs for Fingerstyle Guitar.  In all, Tommy Flint wrote over 40 books for Mel Bay Publishing

Mel Bay received a Lifetime Achievement Award from the Guitar Foundation of America from the Retail Print Music Dealers Association and he also received the Owen Miller Award from the American Federation of Musicians.

Bay received a Certificate of Merit from the St. Louis Music Educators Association, as well as a resolution from the Missouri House of Representatives honoring his achievements. He ever was sent a letter of commendation from President Bill Clinton, and was honored by St. Louis mayor Freeman Bosley Jr. Making October 25, 1996 “Mel Bay Day” for citizens of that fair city.

Mel's D'Angelico New Yorker 

I often wondered about the image of a D’Angelico guitar on the cover of the Mel Bay instruction book that I purchased so many years ago. A similar guitar image also shows up on the cover of other Mel Bay guitar instruction books. It seem that Mel used to sell D’Angelico guitars and kept a half a dozen D'Angelico guitars at his home that were for sale to perspective students.


One of Mel's personal guitars was a New Yorker model with a cutaway and a slightly thinner neck custom made for him.

Mel Bay

Mel Bay kept playing guitar every day until his death at age 84 in 1997.

From St. Louis WOF Inductees

On June 30 of 2011, the city of St. Louis, Missouri honored him one more time by inducting him into the St. Louis Walk of Fame. There is also a Mel Bay Jazz Festival held annually in DeSoto, Missouri; the town where he grew up. The music center at the town’s high school is named in his honor.

Ode To Mel Bay

A song was written by Michael “Supe” Granda of the Ozark Mountain Daredevils called “Ode to Mel Bay”. It is featured on the album by Tommy Emmanuel and Chet Atkins called The Day Finger Pickers Took Over the World. It sort of makes fun of Mel’s instruction books.

Mel Bay Books

Today Mel Bay Publications offers hundreds of books for a variety of instruments that were written by many different authors including Mel’s son, William Bay, who is a very proficient guitarist as well as an author and runs Mel Bay Publications

.