
Premier Guitar talks to certified music therapists across the U.S. about their specialized approaches to using guitar as an instrument of healing.
Over the course of just two months, guitarist Tom Peterson from Cincinnati, Ohio, was diagnosed with testicular cancer and lost both his job and the unborn child that he and his wife had been expecting—their first. The one bright spot that year came at Christmastime, when Peterson received a special gift from his family: a PRS Mira that has since become the prize of his guitar collection for reasons difficult to quantify.
"You never think that this inanimate object is going to have such a mental connection with you and get you through your darkest hours," Peterson shared in PG's Conversations in the Key of Life podcast ("Episode 3: Guitar as Therapy," June 2016).
"I can't tell you how many times—especially dealing with the post-traumatic-stress aspect of things, when the triggers come around—that I've just picked up the Mira, laid on my back, and plunked around on it. Nothing in particular … just me and the guitar. When you feel like your body can't move on to do anything else, it seems like the music—that connection—drives you just for that brief moment while you're contemplating that next string bend. You forget everything else."
But beyond the scores of untold private battles like Peterson's, where music becomes both shield and weapon against encroaching darkness, there are many other instances where guitar has played a more oblique role in therapy, whether through 6-string stars playing benefits for rehab centers, selling their instruments and donating the proceeds, or, in Eric Clapton's case, both. Anecdotes and superstars aside, the guitar has found a more institutional place in the healing process through the relatively new field of music therapy.
Roots and Branches
To get an overview and history of music therapy and understand the guitar's place in it, we chatted with health professionals who administer this treatment on a daily basis. One such person is Dr. Robert Krout, professor and director of music therapy in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas. Krout also teaches guitar online and has taught at the National Guitar Workshop, as well as guitar workshops around the world.
"Music therapy as a profession started in 1950," explains Krout. "You use music-based experiences in the relationship with the therapist to help achieve desired health outcomes, whether they be physical goals, social rehabilitation, helping with developmental issues, and so on."
Krout notes that people are usually referred to a music therapist by a psychiatrist, nurse, social worker, or health insurance company. The therapist then conducts a comprehensive assessment to see if the referred individual might benefit from music therapy. "The patient doesn't necessarily have to be able to play or sing," says Krout, "but the therapist would assess whether music might be beneficial for them based on their needs, and also based on how they respond to music either actively or passively."
Potential music-therapy beneficiaries run the gamut from parents anticipating an addition to their family to individuals who've recently lost a loved one—and all sorts of related situations in between: Krout works with expectant mothers and couples in Lamaze training, using music to help with the timing of contractions. He also works with patients who are nearing the end of their lives or are in hospice care. Music therapy can also help bereaved siblings, spouses, children, grandchildren, and other survivors with grief healing. Meanwhile, music can often stimulate forgotten memories or buried emotions in patients with Alzheimer's or cognitive impairments. Music therapy can also be a great way to communicate with children on the autism spectrum, especially those who are nonverbal.
"I work with people with eating disorders, and often they have a series of verbal defenses that shield them from how they're feeling. When we do music-based experiences, many of those defenses fall away and they have an emotional reaction to the music—even when they try not to." —Dr. Robert Krout
The work that Dr. Krout and others are doing with music therapy is often effective where other forms of therapy have come up short—for instance, with clients who lack the verbal skills to benefit from talk-based therapy. Further, it can often make inroads with patients who have highly developed verbal skills that have, for one reason or another, proved an impediment to treatment.
"I work with people with eating disorders, and often they have a series of verbal defenses that shield them from how they're feeling," says Krout. "When we do music-based experiences, many of those defenses fall away and they have an emotional reaction to the music—even when they try not to. We can sometimes use that emotional reaction to take the discussion deeper into some of the issues they're facing."
Music therapy has been found to be very helpful in treating post-traumatic stress disorder (PTSD), particularly that suffered by troops returning from combat. Thanks to George Hauer—whose organization Operation: Music Aid supplies thousands of musical instruments to recovering military and armed forces personnel—we chatted with music therapist Bobbi Blake about her experience working with veterans at a VA medical center in Connecticut. She began by explaining that music therapy had its beginnings in the U.S. Department of Veterans Affairs system after World War II.
"They found when they played music for the veterans it was very helpful in calming them down and soothing them," Blake says. "They started to investigate it more, and that began the music-therapy research in the '50s. There has been extensive research ever since. Now, they're doing neurological work on how music affects the brain. In working with veterans with PTSD, I'm trying to use music to help engage their coping skills and self-expression."
Like patients with eating disorders, PTSD patients often have a hard time expressing the multitude of profound, overwhelming feelings bubbling just beneath the surface. They can become socially isolated or be fearful of being around other people, crowds, and trying new things.
"Bringing them together to play music is a wonderful way to have them be with other people in a safe place and learn a skill that's going to help them with anxiety, mood swings, and relaxation," she adds.
Music therapy can play an important role in treating those with substance addictions. Paul Pellinger, one of the founders of Recovery Unplugged (a Florida-based rehab center), uses music to engage clients in different ways. For example, the center organizes live performances by famous musicians, who share stories and songs related to their own issues with drug addiction and alcoholism.
The program incorporates music as early as the pre-assessment process. Before being accepted, a prospective client is asked about his or her favorite genre of music. "If they say, 'classic rock,' I'll ask if there is a particular song that describes their life," says Pellinger. "When I pick them up [to bring them to the center], I have that song playing in the van. Right away, rapport is established and they feel heard versus being yelled at. When they get to our facility, we don't have to deal with a two-week adjustment to the new environment."
Like people with PTSD or eating disorders, many addicts have trouble accessing their emotions. But music can often be a gateway through those mental walls. "Identifying what you think or feel is an obstacle for most people in general, and it's especially difficult for addicts—but I guarantee you somebody has written a song about it," Pellinger says. "We often let song lyrics be the catalyst to verbalize what's going on. We're using music not only to engage the clients, but also to make recovery more of a payoff than using drugs. If you look at [a scan of] the brain after somebody takes a hit of crack cocaine, it lights up similar to how it does after hearing a simple chord change."
Guitar in Therapy
Dr. Robert Krout from Southern Methodist University (center) poses with a class that includes special-needs students at the Hope Town School on Elbow Cay island in the Bahamas.
When music therapy began in 1950, it traditionally employed piano as the accompanying instrument. But at the same time, electric and acoustic guitars were becoming mainstream instruments. Guitar gained more popularity and began to be used, in part, because it was portable. As a teacher of guitar, Krout has a unique view on the instrument's special place in music therapy.
"Clients of different ages and needs are very attracted to the guitar—the look of it and sound of it," he says. "I've worked with emotionally disturbed teenagers who normally would not have any reason to relate to me, but if I walk in with a Fender Stratocaster they relate to that. So the guitar can be used as the go-between. I do a lot of songwriting for music therapy, and the acoustic guitar is a musical instrument I can hold while sitting across from the client. They relate to the guitar, which creates a therapeutic space, and then we can safely do other things with singing, lyric discussion, or songwriting. With autism, it might be the way the guitar smells. A person with a psychiatric syndrome might have played guitar when they were younger, before the disease took over, and they connect to that."
To maximize effectiveness, Krout adapts his choices of instrument and songs to the background of the patient. For example, if a patient is a baby boomer, he may rely on the guitar-based music of the '60s. Meanwhile, if radio hits from the 1950s were the soundtrack of his nursing-home patients' youth, Krout might use Buddy Holly songs as an emotional connection.
The guitar also figures prominently in Blake's work with the Connecticut VA health system. Perhaps the country's best-known nonprofit working with veterans via the 6-string is Guitars for Vets, which provides a free guitar and lessons to veterans through local chapters set up all over the country from its base in Milwaukee, Wisconsin. In contrast, Blake's Six Strings for Soldiers program is much smaller and locally focused, with more of an emphasis on the music-therapy side than on the guitar-centric aspects.
"With an instructor, the primary concern is about instrumental skills, like teaching someone how to play chords, rhythms, or notes," she says. "I'm more concerned about how playing guitar is helping them with their coping skills and stress."
Blake says one of the most rewarding parts of working with Six Strings for Soldiers is that patients use what they've learned when they return home. If they start to get anxious, they pick up the guitar and it calms them. She also finds that even small improvements in learning the instrument quickly reward patients with increased self-esteem.
"Within four weeks it's possible to teach somebody how to play some I-IV-V chord songs," says Blake. "And to accomplish that is very exciting! Guitar is, of course, very complicated to play well—as any instrument is—but for a beginner it's very accessible. It can be particularly effective with isolation issues. It's empowering for socially isolated and fearful PTSD patients when they walk around with a guitar, because it's like walking a dog. People say, 'That's a nice dog' or 'What kind of dog is that?' Similarly, they say, 'You play guitar?' The patient may then say, 'Well, I'm learning,' and it encourages a conversation."
When they leave our facility, we don't just give them a certificate and coin and tell them not to drink, and to go to meetings." —Paul Pellinger
Meanwhile, Pellinger from Recovery Unplugged—which has centers in Austin, Texas, and Fort Lauderdale—has yet another perspective. As the center's name implies, acoustic guitar figures prominently in its treatments. Three or four guitarists work full-time with the program. One of the musicians on staff is Richie Supa, a songwriter who has worked with Gladys Knight & the Pips, Bon Jovi, and Aerosmith—and who performs acoustic sets of songs about addiction and recovery for Recovery Unplugged patients.
But Recovery Unplugged clients don't just consume music, they can also make it. The centers offer musical workshops where Supa and other staff members help interested patients learn to create songs or take their guitar playing to the next level. Recovery Unplugged even found a way for clients to take their musical experiences home after completing treatment by providing a recording studio where patients can create soundtracks of their stay. The soundtracks can be any combination of prerecorded songs they've chosen, performances they've witnessed, or tunes they've performed or written.
"When they leave our facility, we don't just give them a certificate and coin and tell them not to drink, and to go to meetings," Pellinger says. "We give them earbuds and an MP3 player. Music is used as a catalyst for recovery, whether to help them be grateful, call their sponsor, or remember the consequences of using. For instance, Richie Supa wrote a song called 'I Got This.' That's one of the things addicts say when someone asks for their car keys because they are in no shape to drive—'Go away, I got this.' The song was on the soundtrack of a client who graduated from our treatment center. He was on his way to use drugs instead of going to a meeting. He was thinking, 'I got this,' when the song reminded him he didn't have 'this' and should go to a meeting."
Of course, Recovery Unplugged isn't the only music-therapy center that celebrates the unique attributes of flattops. SMU's Krout finds that acoustic guitar can work especially well with certain patients because of the physical vibrations they feel through the back of the instrument.
"With an electric guitar, the sounds are coming out of a speaker across the room," he explains. "Sitting across from a person with an acoustic guitar, it is the vibrations that actually connect us in that moment and create the shared therapeutic space."
Despite that advantage, Krout often uses electric guitars as well. "I worked with Fender for a number of years to bring the electric guitar into music therapy," he says. "We were trying to introduce music therapists to more contemporary sounds by using electric guitar."
Even so, not everyone relates to guitar—acoustic or electric. Krout says the instrument's popularity has fallen off a bit with younger patients in recent years, as it has become less the currency of popular music—especially in the inner city, where rap and hip-hop are often the music of choice.
"With teens, often I will work from an iPad using GarageBand. I use loops with hip-hop, electro, and techno types of sounds," Krout explains. "But many times they want to be doing something active, and even if they hadn't [previously] thought about being a guitarist, if I've got a guitar and they see me playing along with a GarageBand track, it might be attractive to them. I'm working with a young man now from India who is into Bollywood movies and soundtracks. We're working on guitar with very simple chords in the context of a huge Bollywood arrangement. It may just be guitar chords, but it feels like Bollywood to him."
Get Involved
For guitarists wanting to explore career alternatives that involve music and guitar, music therapy is a path worth considering. Therapists must meet educational and clinical training requirements set up by the American Music Therapy Association (AMTA). Graduates must take and pass a comprehensive exam administered by the Certification Board for Music Therapists in order to become certified music therapists (MT-BC), which qualifies them to work as a member of treatment teams in schools, hospitals, or nursing homes.
"You don't have to be a doctor or go to medical school, though you will learn about some medical conditions in a music-therapy program," says Blake, who achieved certification in the aforementioned manner. "It's music training combined with psychology." She adds that, just as medical doctors often specialize in certain areas, music therapists can, too. "I work at a VA hospital with veterans. Other therapists work with the elderly, kids with autism, pain management, people who are developmentally disabled, and so on. Depending on what you choose as a specialty, you may need advanced training to be able to work with that population."
According to the AMTA, music therapists must have a bachelor's degree or higher in music therapy from one of AMTA's 72 approved colleges and universities. They must also complete 1,200 hours of clinical training. Some states also require a license for board-certified music therapists.
Premier Guitar readers know the big and small ways in which playing guitar and listening to music can be therapeutic. The admirable work of music-therapy practitioners like Krout, Blake, and Pellinger is but a small sample of how the instrument we love is helping countless others.
[Updated 11/12/21]
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A 6L6 power section, tube-driven spring reverb, and a versatile array of line outs make this 1x10 combo an appealing and unique 15-watt alternative.
Supro Montauk 15-watt 1 x 10-inch Tube Combo Amplifier - Blue Rhino Hide Tolex with Silver Grille
Montauk 110 ReverbThe two-in-one “sonic refractor” takes tremolo and wavefolding to radical new depths.
Pros: Huge range of usable sounds. Delicious distortion tones. Broadens your conception of what guitar can be.
Build quirks will turn some users off.
$279
Cosmodio Gravity Well
cosmod.io
Know what a wavefolder does to your guitar signal? If you don’t, that’s okay. I didn’t either until I started messing around with the all-analog Cosmodio Instruments Gravity Well. It’s a dual-effect pedal with a tremolo and wavefolder, the latter more widely used in synthesis that , at a certain threshold, shifts or inverts the direction the wave is traveling—in essence, folding it upon itself. Used together here, they make up what Cosmodio calls a sonic refractor.
Two Plus One
Gravity Well’s design and control set make it a charm to use. Two footswitches engage tremolo and wavefolder independently, and one of three toggle switches swaps the order of the effects. The two 3-way switches toggle different tone and voice options, from darker and thicker to brighter and more aggressive. (Mixing and matching with these two toggles yields great results.)
The wavefolder, which has an all-analog signal path bit a digitally controlled LFO, is controlled by knobs for both gain and volume, which provide enormous dynamic range. The LFO tremolo gets three knobs: speed, depth, and waveform. The first two are self-explanatory, but the latter offers switching between eight different tremolo waveforms. You’ll find standard sawtooth, triangle, square, and sine waves, but Cosmodio also included some wacko shapes: asymmetric swoop, ramp, sample and hold, and random. These weirder forms force truly weird relationships with the pedal, forcing your playing into increasingly unpredictable and bizarre territories.
This is all housed in a trippy, beautifully decorated Hammond 1590BB-sized enclosure, with in/out, expression pedal, and power jacks. I had concerns about the durability of the expression jack because it’s not sealed to its opening with an outer nut and washer, making it feel more susceptible to damage if a cable gets stepped on or jostled near the connection, as well as from moisture. After a look at the interior, though, the build seems sturdy as any I’ve seen.
Splatterhouse Audio
Cosmodio’s claim that the refractor is a “first-of-its-kind” modulation effect is pretty grand, but they have a point in that the wavefolder is rare-ish in the guitar domain and pairing it with tremolo creates some pretty foreign sounds. Barton McGuire, the Massachusetts-based builder behind Cosmodio, released a few videos that demonstrate, visually, how a wavefolder impacts your guitar’s signal—I highly suggest checking them out to understand some of the principles behind the effect (and to see an ’80s Muppet Babies-branded keyboard in action.)
By folding a waveform back on itself, rather than clipping it as a conventional distortion would, the wavefolder section produces colliding, reflecting overtones and harmonics. The resulting distortion is unique: It can sound lo-fi and broken in the low- to mid-gain range, or synthy and extraterrestrial when the gain is dimed. Add in the tremolo, and you’ve got a lot of sonic variables to play with.
Used independently, the tremolo effect is great, but the wavefolder is where the real fun is. With the gain at 12 o’clock, it mimics a vintage 1x10 tube amp cranked to the breaking point by a splatty germanium OD. A soft touch cleans up the signal really nicely, while maintaining the weirdness the wavefolder imparts to its signal. With forceful pick strokes at high gain, it functions like a unique fuzz-distortion hybrid with bizarre alien artifacts punching through the synthy goop.
One forum commenter suggested that the Gravity Well effect is often in charge as much the guitar itself, and that’s spot on at the pedal's extremes. Whatever you expect from your usual playing techniques tends to go out the window —generating instead crumbling, sputtering bursts of blubbering sound. Learning to respond to the pedal in these environments can redefine the guitar as an instrument, and that’s a big part of Gravity Well’s magic.
The Verdict
Gravity Well is the most fun I’ve had with a modulation pedal in a while. It strikes a brilliant balance between adventurous and useful, with a broad range of LFO modulations and a totally excellent oddball distortion. The combination of the two effects yields some of the coolest sounds I’ve heard from an electric guitar, and at $279, it’s a very reasonably priced journey to deeply inspiring corners you probably never expected your 6-string (or bass, or drums, or Muppet Babies Casio EP-10) to lead you to.
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The sensation and joy of playing a guitar cabinet
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The author in the spray booth.
Does the type of finish on an electric guitar—whether nitro, poly, or oil and wax—really affect its tone?
There’s an allure to the sound and feel of a great electric guitar. Many of us believe those instruments have something special that speaks not just to the ear but to the soul, where every note, every nuance feels personal. As much as we obsess over the pickups, wood, and hardware, there’s a subtler, more controversial character at play: the role of the finish. It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.
It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.
Nitrocellulose lacquer, or “nitro,” has long been the finish of choice for vintage guitar buffs, and it’s easy to see why. Used by Fender, Gibson, and other legendary manufacturers from the 1950s through the 1970s, nitro has a history as storied as the instruments it’s adorned. Its appeal lies not just in its beauty but in its delicate nature. Nitro, unlike some modern finishes, can be fragile. It wears and cracks over time, creating a visual patina that tells the story of every song, every stage, every late-night jam session. The sonic argument goes like this: Nitro is thin, almost imperceptible. It wraps the wood like silk. The sound is unhindered, alive, warm, and dynamic. It’s as if the guitar has a more intimate connection between its wood and the player's touch. Of course, some call bullscheiße.
In my estimation, nitro is not just about tonal gratification. Just like any finish, it can be laid on thick or thin. Some have added flexibility agents (those plasticizers) that help resist damage. But as it ages, old-school nitro can begin to wear and “check,” as subtle lines weave across the body of the guitar. And with those changes comes a mellowing, as if the guitar itself is growing wiser with age. Whether a tonal shift is real or imagined is part of the mystique, but it’s undeniable that a nitro-finished guitar has a feel that harkens back to a romantic time in music, and for some that’s enough.
Enter the modern era, and we find a shift toward practicality—polyurethane and polyester finishes, commonly known as “poly.” These finishes, while not as romantic as nitro, serve a different kind of beauty. They are durable, resilient, and protective. If nitro is like a delicate silk scarf, poly is armor—sometimes thicker, shinier, and built to last. The fact that they reduce production times is a bonus that rarely gets mentioned. For the player who prizes consistency and durability, poly is a guardian. But in that protection, some say, comes a price. Some argue that the sound becomes more controlled, more focused—but less alive. Still, poly finishes have their own kind of charm. They certainly maintain that showroom-fresh look, and to someone who likes to polish and detail their prized possessions, that can be a big plus.
“With those changes comes a mellowing, as if the guitar itself is growing wiser with age.”
For those seeking an even more natural experience, oil and wax finishes offer something primal. These finishes, often applied by hand, mostly penetrate the wood as much as coating it, leaving the guitar’s surface nearly bare. Proponents of oil and/or wax finishes say these materials allow the wood to vibrate freely, unencumbered by “heavy” coatings. The theory is there’s nothing getting in the way—sort of like a nudist colony mantra. Without the protection of nitro or poly, these guitars may wear more quickly, bearing the scars of its life more openly. This can be seen as a plus or minus, I imagine.
My take is that finishes matter because they are part of the bond we have with our instruments. I can’t say that I can hear a difference, and I think a myth has sprouted from the acoustic guitar world where maybe you can. Those who remove their instrument’s finish and claim to notice a difference are going on memory for the comparison. Who is to say every component (including strings) went back together exactly the same? So when we think about finishes, we’re not just talking about tone—we’re thinking about the total connection between musician and instrument. It’s that perception that makes a guitar more than just wood and wire. The vibe makes it a living, breathing part of the music—and you.