
Carved for Sound: How the Acoustic Archtop Guitar Keeps Swinging
In this feature, we’ll trace the history of the acoustic archtop guitar—from its 19th-century origins and golden-era prominence to its postwar decline and modern-day revival.

In this feature, we’ll trace the history of the acoustic archtop guitar—from its 19th-century origins and golden-era prominence to its postwar decline and modern-day revival.

Our wide-ranging interview with the blues legends was a frequently funny call and response between Mo’ and his humble baritone and Mahal’s gravelly, cosmic perspectives.
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Penned in collaboration with composer Harry Brooks and lyricist Andy Razaf, the song made its debut in 1929 and was an instant sensation.

“When I’m Sixty-Four” makes a great guitar song—whether played with a pick, fingers, or hybrid style, as it’s arranged here.

Even if you usually stick to rhythm playing, all you need to craft cool, musical solos are some straightforward ingredients that are right at your fingertips.
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We’ll begin by exploring how dropped-D shapes work on the I, IV, and V chords in the key of D, then build from there with ways to move through the full 12-bar form.

The arrangement presented here sits well on the guitar while intentionally retaining the playful rhythmic bounce of the melody.

This arrangement draws on both the joy of my early classroom memories and the song’s evolution into a broader message of renewal.
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Never fear. Slacking all the strings at once is something every guitar technician needs to do every day.

Welles, 32, is a genuine phenomenon—an internet-era troubadour clearly in the tradition of Guthrie, Dylan, Prine, and Ochs (and Cobain, too), yet also very much of this moment.

The MS-00 is a guitar that’s straightforward, well-balanced, and built to be played, not pampered
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This brief practice can lead to improved skills, enhanced creativity and flow, and more enjoyable playing sessions

The Nashville singer-songwriter talks about her bond with her instruments, her songwriting philosophy, and more.

In July 1948, Kessel purchased this early Gibson L-5 from Smith and went on to use it for two decades of studio sessions.

The arrangements are rustic but current; the harmonies, tight but never smug, infuse the record with a sense of quiet inventiveness.