Ray Bell is a Guitarist and Mandolinist based in Little Rock, Arkansas. When I first had the pleasure of jamming with Ray, at the 1996 Classical Mandolin Society of America in San Francisco, I found myself in awe of this gentleman's abilities. An accomplished Instructor, and Professional Musician, Ray has been teaching and performing in the Little Rock area, for forty years. He has written Guitar and Mandolin Instructional books, including writings for Mel Bay Publications. Ray regularly writes technique articles for The Mandolin Journal, the member publication for the Classical Mandolin Society of America.

     One of the unique aspects of Ray's writing is a cleverly dry wit. He pulls no punches from punch-worthy targets, and won't let you off the hook for laziness, or apathy. From the choice of picks, and the type of instrument to learn on, to the need to accept an instructors guidance, Ray's down-to-earth common sense approach to learning is a boon to the serious student. Upon casual reading one might find Ray's approach a bit harsh, after all, we expect a teacher to make us 'feel good' about learning. When you read with careful thought however, you discover that Ray will   make you feel good, but only   if you are really   learning. There is no molly-coddling here!

     Ray once wrote to me "I'm Glad you called yesterday. Our conversations are always fun. We are always exalted and the bones of our enemies are strewn around about. Nice touch that!" That type of perspective is exemplary of Ray's writing, for with words both humorous and grand, he has completely transferred the thought he intended to deliver. If you will follow his columns, as I have, I am sure you will discover the wealth of experience that shows in his teaching, and the great depth of wit that causes one to pay keen attention to his words. I assure you that reading his column, and incorporating his suggestions into your practice routine, will yield satisfying results.

May 1997 Edition

Reprinted with permission from

The Mandolin Journal Vol. X1 #1

     If I were going to build a submarine, I would have to go to someone that knows about such things, because I don't have a clue, and wouldn't know where to start, and where you start any project is very important. I might do something really silly, like leave the screen door off.
     Would you believe that it is not uncommon at all for people to go to a Guitar teacher and tell him what they want to learn? Get real folks! The teacher is supposed to tell you what you need to learn. What you want almost never has anything to do with what you need. Just general experience from one birthday to the next should tell you that. Also, as a teacher of some forty years, I feel I should tell you that I have no emotional ties to "Smoke on the Water."
     I was talking with a young fellow who is enrolled at a university in our city, and he was saying that he didn't like it because his teacher wouldn't even let him position his hands the way he wanted to. I told this young fellow: "I know your teacher, and I know him to be a very good and knowledgeable teacher, and if he won't let you hold your hands the way you want to, it would have to be because you are doing it all wrong. It's his job. The university pays him to do that!" Well, after that the young fellow didn't want to talk to me anymore. But that's as it should be. Those who want their own way should go their own way and stop pestering those who are serious about such things. If you see any rockets zooming over your house, they probably won't be products of this young man. When you see your teacher for the first time, just listen and try to do what he tells you. You should ask questions, but try to keep them pertinent to the problems at hand! Don't ask questions like:   If I sleep with my Guitar will it start to nag later? This can only be determined after you get to know your Guitar better.
     The pick is smaller than the Guitar so we should talk about it first. There are some people who use two or three different picks for different reasons or circumstances, but one good pick should do everything you need. So why so many different kinds?   It's the law of supply and demand. There are many more unschooled than schooled, so the manufacturers have to have something to sell to the larger group. I heard a manufacturer say in private: "If it smells it sells." No I can't tell you who said   that because they do a lot of good things as well. Those people live in a world of fierce competition and they have to go for what sells. If people stop asking for crap, they would stop making it. It is our responsibility to learn the difference. So what kind of pick then?   It should be a small to medium triangle with a smooth rounded, beveled point, and the strength should be heavy to extra heavy. I know most beginners like thin picks, and I also know why. It's because the thin pick does for you what you should be learning to do for yourself. So what's wrong with that? After all we need all the help we can get. The problem with the thin pick is that being thinner it is also weaker and as pressure is being applied, it bends easier and before enough pressure can be applied to achieve the full potential of the string, the pick, of it's own accord, slips across the string - straightens out very quickly and slaps the string below, thus producing a thin sound, followed by a slap, and if the pick does not follow through thus avoiding the slap, the sound is even thinner and not following through is very bad technique. But what if you want the thin slapping sound?   Then go very far away to the deepest darkest forest where little else matters but finding something to eat, and while you're not searching for acorns and grubs, you can practice the Guitar, and just click, clack, slap and splat all you want without fear of disturbing any gentle folk. In fact the pick should not bend at all, it should flex between the thumb and forefinger. I will probably never again explain that in such detail. (The world says "Hallelujah".)
     The pick stroke should be firm enough to create a moderately loud sound, and should come to rest on the string below, but loud or soft, the pick should always follow through. Do not place your unoccupied fingers down on the pick guard or top of the Guitar. This limits mobility. However you may place the little finger down, but only lightly, and it should be able to move easily if the hand feels restricted. There may be some that would disagree with even having just the little finger down. If so, may you go without underwear for the rest of your life. By the way, there is no evidence of a relationship between cholesterol and pick stroke.

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Mandolin Scales and Studies ............................................................ Mel Bay
      More scales, and scale studies than you would think could be packed in one book! This book contains scale studies in all positions and keys, as well as in several displays forms; Fretboard diagram, Standard Notation, and Mandolin Tablature.

The Guitar Chord Book ....................................................................... Ray Bell
      Thirty Seven pages packed with Guitar chords displayed in three forms; Fretboard diagram, Standard Notation, and Guitar Tablature. This book covers chords in all keys and positions. Included is a handy string chart.

Manuscript Paper (50 Sheets / 9 Staves) .......................................... Ray Bell
      Manuscript paper with just the right spacing for your Guitar composition.