Posted: Thu Nov 03, 2005 8:35 pm Post subject: Article 1 - Guitar Basics & a little basic blues info
Hi all,
This is at points a simple article and at others a little bit heavy, take whatever you can from it.
It is slightly from a non- plectrum based classical angle but it will help with any players approach to fingerstyle guitar.
Get stuck in! It might be worht printing it out!
This article is split into 2 sections.
1. Basic Guitar Principles & Facts
1.1 Strings - bass & treble
1.2 Right Hand Fingers - Notation & String assignment
1.3 Open string preparation and striking
1.4 Introduction of stable right hand technique - resting thumb & fingers
1.5 Using standard chords while keeping stable right hand - still resting thumb & fingers
1.6 Fingers index & middle their repetition & speed
1.7 Whole tone scale plucked with index & middle - repetitions & speed
2. Blues accompaniment & pentatonic scales
2.2 Learning the rhythm & chord progression for a standard blues
2.3 Understanding the particular notes that relate to the chords in order to solo
2.4 Pentatonic scale - repetition
2.5 Tricks & idiosyncratic blues turns
1. Basic Guitar Principles & Facts
1.1 Strings - bass & treble
Guitar has 6 strings
They are divided into two groups - Bass and Treble.
The bass strings are thicker and have an inner nylon goaway with steel wrapped around them.
The trebles are clear nylon and thinner.
Your thumb will more often than not play the Bass strings.
Your fingers will play the treble strings.
1.2 Right Hand Fingers - Notation & String assignment
When written down the fingers are indicated by letters, i for Index, m for Middle and a for Ring finger. When written down the thumb is indicated by the letter p. This code is to do with the Latin names for each note.
P = Thumb I = Index M = Middle A = Ring Finger
This can be easily remembered as PIMA.
The names of each string read from Bass to Treble as:
When striking or plucking a string the movement in your thumb should come from above and through the string making sure you have a good solid contact with the string and a clear follow through. Your finger again should come from above but they will pull backwards into the palm of your hand. A good contact is needed and again a clear follow through that does not collide with the other close fingers
1.4 Introduction of stable right hand technique - resting thumb & fingers
It's more than likely that most of you already know the names of each string and you have already played through the strings with the correct fingers.
I want you now to try resting the thumb on the D string when the fingers are playing and also rest each individual finger on it's assigned treble string. This gives you a solid stable right hand position that isn't floating in the air above the strings attempting to hit a moving target.
Your fingers and thumb are resting on the string waiting to strike.
Make the transition smooth, so when replacing the thumb back on the D string pluck with the index and begin the trebles.
Often players have a slight lift and shake in their right hands that often limits the volume and security of your stroke, if you repeat this exercise slowly and listening for a good sound you will relax the hand and get a very clear sound.
This is a technique of preparation and economy of movement that will take some time to filter it's way into your existing songs and chordal progressions. It is also will build a new technique and way in which you approach the guitar.
Take your time, don't go for speed, go for accuracy.
Go for a nice deep stroke and listen for a rounded tone.
Feel secure and balanced.
Remember you want a technique that is as simple and as stable as possible.
6TH String = P = E
5TH String = P = A
4TH String = P = D
3RD String = I = G
2ND String = M = B
1ST String = A = E
Try and go up and down the guitar nice and slowly try and keep your hand relaxed, this exercise will remind you of the feel of the strings and how to approach the guitar.
1.5 Using standard chords while keeping stable right hand - still resting thumb & fingers
With your left hand bring in the chords of Eminor, Cmajor, Gmajor and Dmajor.
Hold the chord for at least two repetitions of the right hand pattern going up and down the guitar.
These chords require 6 strings, 5 strings and 4 strings to be plucked if we want the root note of each chord in the bass.
This gives your thumb a different starting point for each chord. Remember to pivot through the changes in the left hand, try and link each chord to the next one.
No fret buzz or sloppy timing between the hands.
Complete synchronicity and always enough pressure to sound the note without buzzing, careful that you don't put down to much pressure.
1.6 Fingers index & middle their repetition & speed
When playing music that is formed in single lines, e.g. a guitar solo, the melody of a tune a run or scale make sure that your fingers alternate when plucking or striking the notes. The simplest way to approach this is to alternate between Index & middle fingers. These fingers are set beside each other and are also strong fingers so they should quickly get used to this type of alternation. The alternation gives a sense of rhythm and groove and will enable you to play twice as fast than if you used just your index.
1.7 Whole tone scale plucked with index & middle - repetitions & speed
Whole tone scale in 1st position.
No sharps or flat.
6TH String = 0-1-3 Notes E-F-G
5TH String = 0-2-3 Notes A-B-C
4TH String = 0-2-3 Notes D-E-F
3RD String = 0-2 Notes G-A
2ND String = 0-1-3 Notes B-C-D
1ST String = 0-1-3 Notes E-F-G
Play through the scale in repetitions of 4's, 3's, 2's and 1's changing at the bottom and top of each scale. This will test your alternation which was slipping into plucking everything with index finger at the consultation lesson.
Careful to always alternate index to middle. When playing the repetition of 4 or 2 this is easier than 3 or 1, the odd numbers create almost a little skip as you cross the string, relax your hand and concentrate on shifting the weight from finger to finger.
Careful that you don't bring your left hand to far from the fretboard, keep it close in so each finger it can be quickly depressed onto the strings. Tip of the fingers in the left hand at all times.
2. Blues accompaniment & pentatonic scales
2.2 Learning the rhythm & chord progression for a standard blues
We won’t be using the whole of each chord, instead we will be picking out specific notes within the chords and building them into a riff.
All of the above chords will begin in position 2 on the guitar and they will be contained to the bass strings.
You will be using a pick like motion in the right hand, if you have any experience with a plectrum give it a try.
There will be one extended scale like run at the end of each chord progression that will bring you back to the start of the blues pattern, this is called a loop and it can repeat until solo’s have been traded or it can be limited to a specific number of bars - hence a “12 bar blues“.
2.3 Understanding the particular notes that relate to the chords in order to solo
To choose the correct notes for a guitar solo, especially at speed when improvising it is not guesswork or pure chance. You can learn the notes that fit and sound in place above the chords that another player is using for the blues. We are using a very standard E/A/B blues pattern this would be referred to as an E minor blues. We will talk more about this during the lessons
2.4 Pentatonic scale - repetition
Very Basic Pentatonic scale in 1st position.
No sharps or flat.
6TH String = 0-3 Notes E-G
5TH String = 0-2 Notes A-B
4TH String = 0-2 Notes D-E
3RD String = 0-2 Notes G-A
2ND String = 0-3 Notes B-D
1ST String = 0-3 Notes E-G
Play through the scale in repetitions of 4's, 3's, 2's and 1's changing at the bottom and top of each scale.
2.5 Tricks & idiosyncratic blues turns
In blues music there are many idiosyncratic tricks and turns that we will work on and they will fall into line with the above scale, we will look at on:
Experiment with a forward sloping chair or a forward sloping posture (by means of tucking your feet underneath a horizontal chair, heels off the floor). The easiest way to have a forward sloping chair is to place a piece of wood under the back legs of your chair. You probably want to avoid backward sloping chairs. Seat cushioning should be comfortable but not too soft. Be wary of extremely goaway chairs with no cushioning and overly cushioned chairs. Experiment with using and not using a backrest.
Sitting Trick #1: If you have a horizontal chair and don't like sitting with your legs tucked underneath, then just initially tuck your legs underneath until your upper torso swings forward like a pendulum. You spine will reach a more natural curve. Then bring your legs back to the untucked position by only moving your feet foreword; do not let your upper torso move back to a slumped position, although it may swing back a very small amount.
Sitting Trick #2: To figure out a good placement for your feet and thighs try this: Sit with your feet touching each other. Do the same with your knees. Now, let go of the tension in your legs. Your knees and thighs will naturally move away from each other and point outward. The result is about the angle and placement you want for you thighs and knees. You can then move your feet under their respective knees/thighs. Point your feet in the same direction as your knees/thighs.
2. Try to sit with the entire body in a symmetrical position while still making minor movements and adjustments. Sitting well yet too rigidly makes for poor pressure distribution. Also, try wearing loose clothing as to allow for easier movement.
3. Foot stool users can experiment with a flat footstool or forward sloping footstool. If you use a strap, try tying one end to the headstock, not the upper bout, as this will take weight off the left shoulder.
4. Be careful about where you place your music stand. Don't place it so that your head must tilt either forwards or backwards; tilt the music stand rather than the head. Music stands should not be too far away or too close, as to strain the eyes.
5. If you must see your hands while practicing experiment with looking straight into a mirror as opposed to manipulating the body in order to see your hands.
6. Get out of your chair and move! Take breaks, walk around, walk in place, stretch, etc. The human body does not like monotony.
7. Ask yourself: "Do I really need to sit as much as I do?" Writing in fingerings, visualization, and having deep and mischievous thoughts about guitar technique don't need to be done while sitting. Try them standing up or lying down.
8. Eat well and exercise. People in good shape are less likely to have back and neck problems.
9. Be happy. People who can reduce the amount of stress in their lives are less likely to have back and neck problems. Exercise can also alleviate stress.
10. Don't let impatience be your master. Often guitarists feel that they must be making physical contact with the strings in order to be progressing. Taking a day to work on your sitting position with and without the guitar is just as valid as spending a day working on your rest stroke, composing, reading, writing, watching a film, and thinking about special people. Guitar isn't everything (I believe it's a reflection of life, so you have to understand life and humanity -ironically, many musician's don't have a clue) and you will actually play better as soon as you realize that. But, that's not an excuse to not practice!
I am already anxious to read the next part. I'm sure that some beginning guitarists here will appreciate it. Hell I play 10 years and it is even valuable for me
Posted: Sat Nov 19, 2005 9:17 pm Post subject: nylon string peoples
Good article. One thing I have learned is that anything, no matter how basic, information can be applied in a variety of ways. Example, I played the country music circuit for many years. Usually, there wasn't a steel player, so I was forced to devise a way to play steel sounds on the guitar. Now, I can in fact sound like a steel if the gig calls for it. But what it really taught me was independent use of the nails on my right hand. I use this in a lot of styles. If I had continued playing single line improvisation and chunking chords only, I would not have developed my right hand in this fashion. Teaching for a year and a half consistently, taught me many things I had long since forgotten, because I was forced to concentrate on the very basics once again. My students wanted to learn anything from Johnny Cash, to AC/DC, to Jobim. It forced me to assimilate the info in the most understandable fashion. And hell, they taught me stuff just from doing that. Soon, I will post some articles that will be so basic some will roll there eye's at it. But I'll bet it will fill a gap for many that read this forum.
Joined: 29 Nov 2005 Posts: 303 Location: Richmond bc canada
Posted: Fri Dec 09, 2005 5:14 am Post subject: I GOT ME THE BLUES
Hey merula I really enjoyed your lesson, even though I've been playing 36 years I took something away with me, you can teach old dogs new tricks (not really I've just gotten lazy) but its nice to have it like that because you cheat when its not spelled out for you( Om ba ba accordian lessons flash back to 1959 and hearing them) well thats another story for another time keep them coming so I do the basics again to help stimulate the cerebal cortex( brain) to work with my fingers again. louis
louis
