Visit Your Local PBS Station PBS Home PBS Home Programs A-Z TV Schedules Watch Video Donate Shop PBS Search PBS
Great Performances
HomeBroadcast ScheduleFeedbackNewsletter Great Performances Shop
Musical TheaterOpera on FilmClassical MusicDanceRegional PerformanceCinema
Multimedia PresentationsDialogueEducational ResourcesRegional Performance
Eric Clapton's Crossroads Guitar Festival banner
Carlos Santana (photo by Kevin Mazur/Wire Image)
Related Web Sites
Eric Clapton
Crossroads Centre
Radio Smithsonian: Guitar: Electrified, Amplified and Deified
The Lemelson Center: The Electric Guitar Les Paul Present at the Creation: The Electric Guitar Telling the Story of the Guitar The Blues American Roots Music
Doyle Bramhall II
The Official J.J. Cale Website
The Robert Cray Band
Jerry Douglas
The Official Nathan East Website
Mississippi Writers and Musicians Project: David "Honeyboy" Edwards
Vince Gill
Buddy Guy
Robert Lockwood, Jr.
Hubert Sumlin Blues
Robert Randolph & The Family Band
The James Taylor Website
Alison Krauss + Union Station: Biographies: Dan Tyminski
Jimmie Vaughan
Joe Walsh


By Ed Ward

A festival devoted to the guitar? A great idea and, not to mention, an ambition of Eric Clapton's for many years that finally came to fruition in Dallas, Texas, in June 2004 as the Crossroads Guitar Festival.

The guitar is an instrument that, although neglected for a long period of its existence, has become central to popular music today and a vital part of blues, jazz, classical, and many other genres. Its ancestry goes back to the Arab world, from which a many-stringed instrument with a flat, fretted fingerboard and a huge gourd-shaped body called an al'ud was brought to Spain. Both instrument and word mutated into lute, and by the 16th century, it was a common accompaniment to vocal and instrumental music, with a growing number of pieces written specifically for it. The instrument did have drawbacks, however: it wasn't very loud and couldn't produce much in the way of harmony. But it was portable and light, as was its cousin, the guitar, which began to show up in southern Europe in the 17th century. (Trivia: Antonio Stradivari was as well known during his lifetime for his guitars as for his violins.)

By the middle of the 19th century, the guitar was well established in the popular and folk traditions of Spain, Portugal, and Italy. European sailors brought it all the way to Hawaii, where the residents enthusiastically adopted it. According to legend, one day in the 1890s a music student at the Kamehameha School was walking home with his guitar and found a metal bar by the side of the railroad tracks. His experiments with the bar, sliding it up and down the strings, produced a remarkable sound and led to the development of the Hawaiian guitar.

By 1900, the guitar had spread all across the United States, thanks to mail-order houses like Sears, Roebuck, and great luthiers (guitar makers) like C. F. Martin & Co. and Washburn were supplying high-quality instruments at modest prices. It had also become popular with home music makers, especially those who didn't own pianos, and commercial sheet music often had guitar-chord diagrams above the piano parts.

The 1893 World's Columbian Exposition had fired a craze for Hawaiian music, and groups performing on ukulele, guitar, and slide guitar (and, of course, those daring hula dancers!) played vaudeville and tent shows across the nation -- and Europe. Thousands of people took Hawaiian guitar lessons, but in rural areas, they taught themselves or adapted the technique to what they were already doing. In his autobiography, the self-proclaimed "Father of the Blues," W. C. Handy, recalls in a famous passage how a "lean, loose-jointed Negro" woke him up in Mississippi as he dozed waiting for a train, by "press[ing] a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars." Twenty years after this incident, which occurred in the early 1900s, Jimmie Rodgers recorded some of the first million-selling country albums with a similar guitar accompaniment.

Other players, both blues and country, preferred to play the guitar "straight," and developed complex flat-picking and finger-picking styles. By the 1930s, guitar players found themselves playing for larger and larger audiences and up against the same limitation the lute had had: the guitar was hard to hear. So American ingenuity went to work. Two Slovakian immigrants, the Dopyera brothers, invented a thin resonant metal piece that made Hawaiian-style playing much louder on the guitar: the dobro (played at the Crossroads Festival by Jerry Douglas) was born. Leo Fender, an inventor and guitar player, came up with a way of transforming a steel string's vibrations into an electric signal that could be amplified by a separate device. This idea also led the Rickenbacker company to reduce the Hawaiian guitar to an instrument that was basically all neck. The electric guitar and the lap steel guitar had arrived.

Top banner photos: John Mayer, Eric Clapton flanked by Doyle Bramhall II on guitar and Nathan East on bass, and a close-up of Clapton (Jun Sato/Wire Image).

Clapton's graffiti Fender Stratocaster

"Crash 3," Clapton's graffiti Fender Stratocaster.

Jimmie Vaughan backed by Clapton

Jimmie Vaughan performed "Six Strings Down."

Great Performances Shop

This program is available on DVD.

Print this article
E-mail this page
Celebrating 30 Years of Great Performances