Well, blessings all over your heart, Maggie, for the kind words (he said, blushing modestly)!!

I would have chimed in on this early, but the operational words seemed to be "electric" and "rock," and these are not my areas of expertise, so I thought I would leave it to those who know more about these things than I do. Were I to put forth my ideas of the best way to go, I figured I would probably have a whole batch of hard-charging folkies on me like pit-bulls on a pork roast.

But then, I took note of where you say, "He says he doesn't want to be like the kids who just hack around with them, he wants to really learn to play it." Ah, SO!!

And then Graham (Grab) said essentially what I would say. While I was cowering in the corner, he was A Man of Courage!

No matter what kind of music a person wants to play, the best (no, here come the pit-bulls again!) the most efficient way of learning to play an instrument (or singing, for that matter) is to learn classic technique. And this is best accomplished on a nylon-string classic guitar. Probably at age 14, a standard, full-size guitar would be fine (if not right now, he'll probably grow into it in a couple of weeks). Halfway decent student classics can be found for between $150 or so, and, say, $500. I have one student who has an Alvarez AC60S. She paid about $275 for it and it's a darn nice guitar, especially for the price!

Among pianists, there is no essential difference between the techniques of, say, classical pianist Artur Rubinstein, "country pianist" Floyd Cramer, and jazz/ragtime pianist Eubie Blake. Whether these virtuosi play on a concert grand piano, an upright, or an electronic keyboard, the technique is the same. Why should playing the guitar be any different? When watching guitarists of various musical styles (playing a wide variety of guitars, classic, acoustic, or electric), especially those who play with the right-hand fingers rather than with a pick, the better players' right hand position and technique duplicates or at least approximates that of classic guitarists. And, incidentally, a finger-style player can learn to use a pick in about a half-hour's practice, but not the other way around. The main difference in left hand fingering and technique that I've seen lies with the non-classic guitarists occasionally "thumbing" notes on the sixth string—having never learned how to properly do a barre chord (Wow, listen to those shrieks of protest!!). But most of the best guitarists keep the left thumb behind the neck, rather than wrapped around it.

As far as the guitar itself is concerned, quite a number of jazz guitarists prefer a nylon-string classic guitar over a steel-string. Probably the best known is Charlie Byrd. And I once saw (on the "Glen Campbell Goodtime Hour") Chet Atkins (yes, that Chet Atkins!) walk out carrying a José Ramirez concert guitar (same model Segovia played), sit down, prop his left foot on a footstool, place the guitar on his left leg, and play Francisco Tàrrega's Requerdo de la Alhambra (Tremolo Study) as well as I have ever heard anyone play it. One doesn't do that without studying a fair amount of classic technique. Ever wonder how come Chet Atkins was so prodigiously nimble-fingered compared to many other finger-pickers?

Efficiency. Classic technique on almost any musical instrument is the product of centuries of experimentation and gradual perfection. And, the process is still going on. Using classic technique doesn't mean you have to play classical music. But learning classic technique gives you the widest range of versatility. You can take off in just about any direction you want. Same as with the piano.

But then, would the young 'un really be interested in putting in the time and, perhaps, deferring instant gratification for a bit (which, while learning the basics of any style, he would have to do anyway)? With a good classic guitar teacher (preferably one who is open to the idea that he may or may not want to go on to play classical music like Pepe Romero or Christopher Parkening), within a year or two of lessons and "woodshedding" with the instrument, he would be off to a darn good start for just about any musical direction he wanted to go. Worth his thinking about carefully. Music, if one wishes, can become a life-long study and a source of immense satisfaction and enjoyment.

If he were to walk into a garage band rehearsal with a nylon-string classic and heard any hoots of derision from his confreres, would he have the courage of his convictions and the strength of purpose to imperiously stare the philistines down? To allow oneself to be a slave to mere image is to willingly fall victim to an insidious form of tyranny.

As my drinking uncle used to say, "Them's my sediments."

Anyway, more power to him, no matter what he decides to do. Good hunting!!

Don Firth