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Another great post from Scott over at, which I appreciate as someone who’s hit more than his fair share of walls. I used to always think ‘these guys don’t know anything about playing flamenco guitar’, but as I grow up I’m realizing that the advice from the outside is often the most useful to me.


Here’s Part 2 of Scott’s article on practicing and muscle memory. The part about posture won’t apply to most of us classical and flamenco types, but the muscle memory part will.


Poking around the web looking at guitar blogs and stuff (I know…) I stumbled across a site called GuitArchitecture, and ended up spending like an hour reading all the stuff there. The posts were all really insightful, informative and – and this is what I love about it – rational. It just all makes sense, and he covers everything from practicing to theory and improvising to all sorts of gear I totally don’t understand (pods and laptop related stuff that has nothing to do with classical or flamenco, but it’s still interesting). I’m not doing it justice, but I really think it’s a brilliant site.

Then it turned out the guy behind GuitArchitecture was none other than Scott Collins – we were at Berklee together and I knew his wife, Candace, who’s been in the flamenco scene for a while and is a mean trumpet player. But we move in different circles, so I never knew Scott was such a guitar-ninja or sensei or whatever you want to call it. Anyway, I got in touch with Scott and we’re going to be featuring some of his GuitArchitecture posts here on a regular basis because I think they’re brilliant. Poke around his blog (where you can also find out where to catch him live) or come back here to see some of what he’s writing and some of my favorite posts of his.

In the meantime, here’s part 1 of his series on practicing – if it seems very fundamental stay tuned for more (and don’t be fooled – that fundamental stuff is, well, fundamental).


There has been a minor whirlwind of articles about this subject in the past few weeks that started in response to an article written by an NPR intern and college radio station general manager, Emily White, who copped to owning thousands of songs and paying for almost none. This was followed by many passionate responses (on both sides, it turns out) and what I fear will be a soon-forgotten and short-lived desire to discuss a better way for musicians to make a living making music. You can read two of the responses here and here. You can also read a great response to the whole hulabaloo by Scott Collins, writer of the Guitarchitecture Blog.

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From Scott Collins over at GuitArchitchture. This stuff got me thinking: