I'm John Goldstein, a lifelong professional musician, composer and guitar teacher. At the time of turning the last century I'd been teaching for thirty years, and had mentored literally thousands of students. Somewhere near this time Jonathan Raskas answered one of my sporadic newspaper ads, telling me he sought lessons for his older two children; a daughter and son Ralph, ages nine and six. I explained that usually age six was somewhat young for starting a guitarist, because the left-right hand coordination is not fully developed enough until typically age 8 or 9, and also because in the first few months, the physical demands of the left hand fingers pressing the strings into the neck causes extreme pain, before calluses can be formed.
He told me he had played when he was a child, and had experienced this, and thoroughly understood my points; but countered by saying Ralph was extremely determined, enthusiastic and ready to learn, having recently seen Fleetwood Mac in concert, also; he was incredibly fired up, his interest had been piqued, and he was intensely aroused. Raskas said, “I'm biased of course, but it's been my observation as his father that when Ralph is effected this way, his drive, determination and zeal will create all the follow through necessary for success.” Before I could even suggest obtaining a decent scaled-down learner instrument, Jonathan mentioned that he had recently purchased perhaps the finest model available, the “baby” Taylor, and was proud to report, “He's already plunking on it.” I said let's sign them up for a month, we'll see how it goes.
When I first met Ralph he was small, even for a first grader---but it was clear he was smart, making fine eye contact. While speaking very little, he exuded a supreme confidence as I showed him how to properly hold the instrument and pick. Having recently seen Fleetwood Mac's Lindsey Buckingham's impressive playing (without pick) employing finger-style exclusively, he asked if it was mandatory to use one. Delighted by his question I explained, “We'll eventually do both, but you already know naturally how not to use a pick, so let's start out with first teaching you how to use one.”
I began each of the children with the same method book, and after the first two weeks I told Jonathan he was correct about Ralph. Left-right coordination was no problem, and he was perfectly fine and willing to endure the pain of very sore fingertips. He was cheerful yet reserved, rarely speaking unless asking a question, and always totally cooperative. As the months moved on it was clear that this young soul was very mature, belying his tender years. He did not seem like a child, but a well-realized emotionally full-formed small human. He was never fidgety, never seemed bored, never failing to study, practicing his full assignments, never complaining, joyful and fully content, with a gently subtle, even impish sense of humor.
His rate of learning quickly doubled, skyrocketing exponentially past that of his sister, and quickly we moved on to learning “real” songs, popular music not found in the method book. I asked him what he would like to learn first, and without hesitation he said, “Would I be able to play (Fleetwood Mac's) Rhiannon?” Off we went, and with this song we began his learning to “finger” pick. His dad has unearthed a video of Rhiannon, tiny Ralph playing it with my accompaniment. It's at a reduced tempo, played with only very few flaws. Watching the recording I was surprised to notice that Ralph was mimicking my placement of the right hand's pinky finger planted firmly on the guitar's body, anchoring it near the bridge. I had not taught him to do that, because it's somewhat quirky, and some teachers don't recommend it.
I recall at the time feeling honored by this gesture, and it was not to be the only time; guitar picks come in all sizes, shapes and thicknesses. When I start a new student I bring them a mixed handful for experimenting, to determine for themselves which is most comfortable in their hand. I placed them on the music stand, explaining the logic, demonstrating the benefit and sounds of the various picks, which (like golf clubs) can have a vast difference in performance, usage and resulting timbre. He tried them all that day, but after a few months I noticed he always chose the identical pick I would most often employ. I asked why, and with deepest eye contact, as if to say, “don't be silly,” his simple reply: “They're what you always use, so that's the best for me.”
As the years passed, Ralph became one my best, most promising students, and we added many many pop and classic rock standards to his guitar repertoire. I worked with him developing his ear, and cultivated in him the ability to hear something and be able to find it himself on the fretboard. He was fascinated with electronics, computers and audio equipment, and as a result he was intrigued by the notion of one guitarist contributing several different parts in the building, arrangement and recording of his beloved, ornate musical extravaganzas---we dissected and he learned many of these multi-layered songs, with his favorites remaining Fleetwood Mac and Lindsey Buckingham.
The family had a piano in the living room, upon which his youngest sister took lessons. Some time around the age of ten he expressed interest in learning something about the keyboard, and I told him we could use an entire lesson period sitting at the piano, and I could explain its relation to the guitar, and show him some rudimentary accompaniment styles. From what I've learned in later years, after his lessons with me had stopped, Ralph had become quite proficient tickling the ivories, and of that I am very proud and profoundly pleased.
I suffered a horrible shoulder injury in 2006 after an auto accident, causing me to miss several months of lessons during my recovery from surgery. It was then that I began realizing how kind and compassionate he was, based on his expression and very mature questions as I relayed how this had caused my playing career to be so suddenly ended; as I was now somewhat crippled, he would always set up the equipment for his lessons, which by then had involved amps, special FX, audio equipment, music stand, guitar stands and chairs.
What a sweet boy, with so many various renaissance-man level interests and talent, an actual wunderkind, a true mensch; so sad that his brilliant life and potential were so shockingly cut short---Ralph Raskas serves as an inspiration and teaching for us all, on the fleeting nature of this precious human existence.
