Can't change chords quickly? Is it hard for you to solo? Sound dirty? Fingers not listening?
No problem. In this post, we'll talk about how you can for a couple self-study defeat the “whims” of coordination.
As a teacher, I often encounter the problem of "naughty fingers" in students. Approximately one in three beginners have difficulty changing chords and playing pieces of music with individual notes. There is nothing wrong with this, with proper work, this problem is quickly solved. Usually I give everyone the same exercises (I will post a video with them below). The only difference is how many times these exercises need to be played by one or another student - usually this is individual.
The real problem lies in the following:
Not the degree of lack of coordination main factor an unsuccessful start of the guitarist, but INITIALLY WRONG STATEMENT OF HANDS!
When a child comes to my lesson who has never held a guitar in his hands, everything is simple and clear. Even if now I have to tinker with his motor skills, I know that very soon he will be, rearranging his little fingers to play simple children's songs, and then, simple etudes, then build chord forms, play classical pieces, etc. Further more. It's not that hard to work with kids. Difficulties arise with the guys more middle age and with self-taught adults. When a student who has started learning on his own comes to the first lesson and says that he has a problem with sound and delays when changing chords, everything is immediately clear to me too. I even know why he fails before he plays me anything. Errors are usually the same, there are rarely exceptions. But I already think: here it will be a little more difficult.
Why? Yes, because you need to retrain.
But don't be afraid. If you have a similar problem, just think a little, and you can easily figure out how to fix your own mistakes.
So, let's start with the most important:
1. A GUITARIST'S WRONG HANDS POSITION IS USUALLY A CONSEQUENCE OF AN IMPROPER SEAT.
2. THE MOST COMMON MISTAKE OF A BEGINNING GUITARIST IS THE DESIRE TO PLAY YOUR FAVORITE SONG IMMEDIATELY.
3. A GUITARIST WHO STARTED LEARNING FROM PLAYING CHORDS WILL BE MORE DIFFICULT THAN A GUITARIST WHO PRACTICES AT THE BEGINNING OF PLAYING MELODIES IN SEPARATE NOTES.
You need to understand that there are two categories of beginner self-taught guitarists:
1. Those who immediately try to learn a song by chords, and at the same time try to play FIGHT, (this category includes the largest number practitioners).
2. Those who try to learn a melody or solo first by playing individual notes, or who try to play by BROKEN (arpeggio).
These two groups have completely different categories of inherent errors.
Let's start with the first group:
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The most common mistake a guitarist makes when starting out with chords is wanting to play their favorite song right away.
Instead of learning basic chord exercises first, then basic types fight, well, and then put everything together, a beginner guitarist often takes a song that he likes, looks at its analysis on the Internet and, as a rule, cannot learn it properly.
Usually the hardest part is coordinating the beat and chords.
Even those who are good at sound and transitions from chord to chord often fail to learn this or that fight when they watch song reviews. They just don't get into the rhythm. I'm not talking about singing anymore.
This comes from the fact that they often do not understand how to properly approach this and practice the rhythmic pattern of combat.
What is a rhythmic pattern? I'll explain now.
There are four main types of combat (I don't mean busts - this is an exception). Using these types of combat, you can play almost any song. Each fight has its own rhythmic pattern (rhythmomodus) which must be understood and not confused with the rhythmic pattern of another fight. Here are the names of rhythm modes, and hence the types of combat (the names are generally accepted among the people):
1. Fight four (rhythmomodus “four quarters”).
2. Fight eight (rhythmomodus "eight-eighths").
3. Fight three (rhythmomodus “three quarters”).
4. Fight six (rhythmomodus “six-eighths”).
So, the rhythm mode of each such battle is a kind of rhythmic turn (eng. Loop), which is repeated all the time. On musical language you can call it tact. Well, of course, many people know this. But how to remember such a beat, and not confuse it with the beat of another fight, and then also connect several beats together without confusing blows up and down to get a solid, stable fight, for many this is not an easy task.
So we've talked about the first problem for guitarists who start learning by playing songs by chords.
The second problem for this group of beginners is the difficulty in transitions between chords and poor sound. In principle, these are two problems, but let's combine them into one, since usually it all happens together.
Let's start with the left hand. Watch the following video, in which I will show how the left hand usually works for a guitarist who plays chords WRONGLY.
Pay attention - the hand is tense, “squeezed”, and the fingers seem to “stick together” together.
At the same time, the fingers do not “stand” on the strings, as required, but “lie down” on them, thereby blocking the strings located below and drowning out the sound.
Now look how the left hand should work, and what the sound should be:
So, let's try to understand why the left hand "does not obey" us.
Let's start with the fact that many guitarists have INITIALLY WRONG SEATS.
I already explained in one of the videos how to sit with the guitar correctly.
There is a "classic" landing when the guitarist holds the guitar on the left foot.
Usually they sit like this with a classical guitar.
And there is a “free style” where the guitarist holds the guitar on the right foot.
So they usually sit with an acoustic or electric guitar.
So, it doesn't matter which landing you choose. The most important thing for your LEFT HAND is that the angle of the bend of its elbow joint when playing is approximately 90 degrees.
It is precisely because beginner guitarists do not sit correctly that the neck of the guitar goes far to the left, the elbow unbends, because of this, the fingers cannot properly clamp the strings, and most often warp.
If you find yourself having a similar problem, just lift the neck of the guitar up a little. Try to bring your left hand closer to you and bend your elbow. The fingers of the left hand should line up perpendicular to the strings and pinch the frets STRONGLY.
Loose fit (guitar on right foot)
Classic fit (guitar on left foot)
Please note that if the fret is not clamped properly, you can change the angle of the elbow dozens of times, you will not have a sound. Fingers should pinch the frets on top and not warp.
I hope you understand.
To get the best sound, sit properly and play the chord progressions first. Take the simplest chords to start with. Don't strum right away, just play each chord four times up and down and work on the transitions, like this:
When the transitions start to work out well, and the sound becomes clear, take some kind of light song, consisting of three, four chords, without bare. Learn the fight separately, on open strings. Then play the chords of the song in sequence, in the simplest beat, from top to bottom (as in the video), and then connect the beat and chords together.
I assure you, you will see great results. If after that nothing happens, follow the link I gave above.
So now let's talk about the second group of beginners. About those who first learn solo, bust or try to play classical pieces and fingerstyle. In general, even a guitarist who started the game by fighting, sooner or later tries to play a solo melody or bust, so this information will be useful for everyone. Look, here's the most common mistake a beginner guitarist makes when playing solos or picks:
I call it "spider". Pay attention to the right hand. It is clamped, the brush is pressed against the deck. The fingers are strongly bent and move with difficulty.
Why do you think this is happening? The reason is simple, and we have already talked about it: INITIALLY WRONG FIT.
Watch the next video. This is how the RIGHT hand of a guitarist should work properly:
Look closely at the elbow right hand:
THE ARM IS ON THE TOP OF THE GUITAR, AND THE ELBOW ANGLE IS ALSO APPROXIMATELY 90 DEGREES.
And now look at the BRUSH of the right hand!
Its angle is also about 90 degrees, and it IS NOT PUSHED TO THE DECK IN ANY EVENT! PHALANGES OF THE FINGERS ARE PERPENDICULAR TO THE STRINGS!
So, usually, when a beginner guitarist picks up a guitar, he immediately lowers the neck and, as it were, “hugs the guitar” with his right hand.
At the same time, the guitar does not hold his hand, and as a result, the guitarist loses support, his hand does not lie on top of the side of the guitar, as it should be, but dangles in the air:
And now ATTENTION: It is because of the lack of support of the right hand that her hand is looking for support on the upper deck. The palm is pressed, the fingers are twisted, and this is how the “spider” turns out.
So what should be done to avoid this problem?
The answer is simple: Raise the neck and place the FOREARM OF THE RIGHT HAND ON TOP OF THE GUITAR BODY:
If anyone doesn't know or remember: The forearm is NOT the part of the arm from the shoulder to the elbow, it is the part of the arm from the hand to the elbow. It is this place that we PLACE ON THE SHELL.
You can check yourself if you relaxed your right hand and it fell off your guitar - it flew off the guitar, which means you are sitting incorrectly. The guitar must hold the hand and the hand must not fall.
Of course, if you are used to sitting incorrectly, a new position may seem unusual to you at first and it will be uncomfortable for you to play, but it’s better to retrain now than “pay for it later”, believe me. If you play incorrectly at a certain stage, you will slow down and will not be able to move on. And it will be much more difficult to retrain at that stage.
And be sure to try the classical position, with the guitar on your left foot, if your guitar is classical.
You may find it easier to keep the bar up. Don't forget to put a stand under left leg if you are sitting in the “classic” position.
In principle, there is no special, permanent point of support for the right hand, everyone finds it individually for themselves, in accordance with the length of their “lever”, but remember that you should not “hug” the guitar and bring your right hand out to the side. The hand lies on the shell from above, the fingers are perpendicular to the strings. Usually, if a guitarist, after playing a solo or busting, moves on to playing a fight, the right arm drops a little and the elbow approaches the side.
For those who want to learn how to solo, combine solo with bass, as well as read from a sheet in tablature, I give a link to my free video course - “LEARN TO PLAY TABULATION, AS WELL AS THE BASICS OF CLASSICS AND FINGERSTYLE”:
The course is ABSOLUTELY FREE, the only request is to like and share it with your friends.
The course consists of eleven video lessons with analysis of famous melodies, such as: “The Pink Panther”, “Evil, Bad, Good”, “Minuet in G Major” (J.S. Bach), and much more. All melodies are given in order from easy to difficult. After completing this course, you will be able to properly learn how to solo, play in two voices (with bass), and read tabs from sight.
Well, then you can test yourself in action. I give a link to the library of free tabs and notes. You can sort the works by difficulty level. If you are a beginner, choose works with a “student” or “beginner” level:
And now, as I promised at the beginning, I give two exercises that “remove rust”. It doesn't matter if you started with a fight or a bust, these exercises are a must for everyone. They the best way develop coordination between the fingers of the right and left hands. The exercises are called “Four Fingers”:
If you get good speed, try playing in reverse order - from the little finger to the first finger on all strings, the result is doubly!
These exercises can also be played with a pick if you want to work on developing coordination when playing with a pick.
Well, I hope this post will help you in your endeavors, read my other posts, I will try to post something new for you from time to time.
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Electric guitar or semi-acoustic?
From the very beginning, you need to understand whether you want a semi-acoustic or electric guitar. Electric guitars firmly hold their positions in the field of rock music - if only because they give less hard-to-control feedback with an amplifier ("wind up") than their semi-acoustic counterparts. Fans of semi-acoustic guitars - instruments with air cavities inside the soundboard - are looking for a better sounding of the wood itself, rather than pickups and amplifying systems. The most important part of any guitar- neck. This is the surface on which you will play, the part of the instrument that will come into direct contact with your hands. The width and thickness of the neck determine how comfortable you will be playing this instrument. Fans of hard fast music will appreciate the wide and thin necks. lovers classic styles- rock and blues - usually prefer standard, more rounded necks, which are good for playing chords. The fingerboard material also makes a significant contribution to the sound of the guitar, since the fingerboard itself receives vibrations from the strings and transmits them to the neck and body of the instrument, or reflects these vibrations. If the neck passed your tests, it's time to try it in the game. Do not immediately connect the guitar to the amplifier - listen to how the tree sounds. Play on all frets - from the first to the last, paying attention to the rattling of the strings and dead sound holes - infrequent places on the fretboard, on which, due to the nature of the structure of the wood of the fretboard, the notes practically do not sound, or they sound muffled and dim. If problems are found, it is not at all necessary that they are connected specifically with the neck - it is quite possible that the strings are lowered too low, and it is necessary to raise the tailpiece on the deck (machine). If the height of the strings is normal and it is comfortable to play, it's time to move on to the body (deck) of the guitar.
Deck sound.
The body (or body) of a guitar greatly influences the acoustic properties of the instrument, which in turn determine how the guitar sounds through the amplifier. Decks are thick or thin, made of soft or dense wood. It is believed that dense, heavy woods give more sustain.{ sustain - English, the duration of the sound of notes). Light wood species sound as neutral as possible, without embellishing the sound. They absorb string vibrations more than reflect them.
Accessories.
It is worth paying attention to the following points. All parts of the fittings must be free from dirt, rust and corrosion. All parts of the machine should not look played and worn. The mechanisms of the pegs should spin smoothly, without the slightest effort.
Strings.
Electric guitars usually use metal (steel) strings. This is due to the use of a mediator, with the nature performed music etc. It is desirable that already at the stage of choosing an instrument, a set of strings is ready for the next long work, i.e. the strings must be in good condition, the entire chord is tuned.
CONNECTING TO ELECTRICITY :
Now it's time to plug the cord into the guitar and listen to how it sounds through the amplifier. The first step is to listen to how the instrument sounds on each pickup separately, and whether the volume and tone knobs work correctly. The most common are guitars with two pickups. One of them is located near the typewriter - it has a bright sound and rhythm parts are usually played on it. The other is set closer to the fretboard - it is usually played for solos with a softer and more singing sound. Also, be sure to check the operation of the switch (tumbler) and the socket into which the cord is plugged,O When checking, plug the cord from the guitar directly into the amplifier (combo), without connecting the effects sources in the circuit. Listen to each pickup individually and in combination with others.
Amplifier.
The most popular is the so-called "amplifier" (amplifier) - a device that combines both a speaker and sound effects devices in one case. Effects, in turn, are divided into 2 main groups. The first imitates a sound "echo" - as if the natural resonance of a large audience - thisreverb, delay, chorus. The second group creates a specific "rock" guitar sound, ("goodguitartone"), which is associated with the "correct" non-linear, frequency and other distortions of the electric guitar signal. Thisfuzz ( fuzz ), overdrive ( overdriver ), sustain ( sustain ), distortion ( distortion ), galley ( grunge ).
Cords.
It's the little thing that makes a lot of difference. Try to keep cords, connectors, etc. always in your in perfect order, i.e. if possible best quality and in the mode of vigilant care - if possible (and necessary), do not trample them, check for dampness and moisture, let them get tangled in loops, etc.
guitar device
In all guitars - acoustic, semi-acoustic, electric with a solid body - the basic elements are the same. Now we draw your attention to those that you need in the first place.kolki serve to tension the strings or loosen them to the desired pitch. Onfretboard fingers are located when playing melodies and chords. Interchangeablevibrato rods on an electric guitar, they create fast vibrations (oscillations) of pitch on all six strings.Adapters on an electric guitar, they perceive the vibration of the string and transmit it to the amplifier, where the tone and volume controls, together with the amplifier controls, reproduce the desired sounds.frets, Strictly speaking, these are horizontal metal nut located across the neck under the strings. However, for practical purposes it is more convenient to understand by fretsspace between the thresholds. This is how it is usually depicted on chord diagrams. Pointers (marks)positions The fingerboards on acoustic guitars are usually stamped at the third, fifth, seventh, and twelfth frets. Electric guitars with longer necks have additional finger position markings. For example, if a chord chart starts at the tenth fret, you can quickly find it on the guitar because it is the next fret after the ninth mark. Most modern guitars steel strings are also providedsafety plates, because their hulls are often damaged by picks. Steelstrings can be of different thickness - for beginners, the average is usually recommended by default.
GUITAR TUNING
The pitch of a string is determined by its vibration between the tophis threshold to the bridge. The tension of the string also matters.By rotating the peg, you can adjust the tension of the string - pull it harderor weaken. On following scheme shows the notes corresponding tobuilding six strings. (In notation, notes are shown an octave higher than their actualsound).
In the international (English-speaking) tradition, the note C is denoted as V. VIn different editions, you can also find the designation of the note C as N.
There are many ways to tune your guitar. You can use the keys of the piano, you can use the tuning fork for the guitar, blowingcertain notes indicated on the pipe. Common way:build on a tuning forkMi the lowest (sixth) string. Next - atpress the fifth fret on the sixth string. You will hear the sound that shouldsound open fifth string. Likewise: 5th string on the 5th fretequals an open fourth; 5th string at the 4th fret equalsopen third; the fourth fret on the third string will give the pitch of the secondstrings, and the fifth fret on the second string is the height of the first.
how to hold a guitar
The main ways to hold the guitar are divided into the following - in positionsitting and, respectively, in a standing position. Sitting: 1) legs are not crossed, the guitar rests on the right hand; 2) put right leg to the left. Thisthe posture is often referred to as "sloppy" or "relaxed". 3) Classic -requires the use of a small guitar bench under the left leg 12-15 cm high. In this case, the guitar rests onleft leg. Standing poses (basic for electric guitar performance on stage) -£ with ribbon forguitar support or without it. Optionally, you can use a bench or low chair to support the guitar onright leg. It is advisable to immediately try to achieve an independent position of the left hand - so that you can shoot left hand from the guitar without changing the positiontool.
CORRECT STATEMENT OF THE LEFT HAND
In the initial position, the thumb and forefinger of the left hand are parallellazy to each other. If you look at them from the side, their position resemblesletter shapeU. The rest of the fingers are slightly bent:
The index finger should be approximately at right angles to the strings, and the middle of the thumb should be in the middle of the neck.Now press your index finger to the first fret across all the strings,and a large one - to the neck of the neck. thumbright pinch your handseach string from top to bottom and achieve a clean tone on each string. Then go to the second fret, then to the third and further alongneck, as high as you can get. When you are this wayuse your index finger on all fret strings, you get thiscalledbarre. When playing normal melodies and chords, the fingertipspress the strings perpendicular to the plane of the fretboard. Left hand fingersshould be placed on the frets closer to the right saddle. Press the stringstight enough so that there is no rattling, but at the same time it is impossible to overstrain your hand. Fingers that do not press the strings are at a minimum distance from the fretboard. Designation of fingers (fingering) for the left hand:1 - index, 2 - middle, 3 - nameless, 4 - little finger.
right hand play
First, we will say a few words about the classic right hand position. The quality of the sound and the development of playing technique depend on its position.guitar. With the correct positioning of the hand, the forearm rests freely onthe top of the guitar body. The hand is relaxed and freely "povilays "over the strings. Fingertips touch the strings: index - thirdto her; middle - second; nameless - first. In this case, the fingers and strings form a right angle. Rectified thumb slightly pushed forward and set on the sixth string. In this case, the hand will deviate slightly to the right. Designation of fingers (fingering) for the right hand: thumb-R or + ; index -1 or. ; average -T or.. ; nameless -A or...; little finger -ch ore. The main ways to play with the right hand: hitting all the strings ("battle"), bass chord (pinch), busting, playingthumb and forefinger without string change and with string change.
USING THE MEDIATOR
For the electric guitar, it is especially important to usediator and, accordingly, mediator technique.
Mediators are different forms and sizes, made from different materialsals, can be thicker or thinner, respectively, of different flexibility. Yourthe choice depends on the type of music, on the thickness of the strings you use, and,the most important thing is whether you like to play with this pick.
Hold the pick between the thumb and index fingers right handwithout tension, but still so that it does not fall out during the game. Whereinthe strings should be struck by the most pointed end, and the samependicular, as in playing with the thumb. Technology Development Methodologyplaying by a mediator is based on the development of the technique of playing with a variable stroke(alternating beats up and down).
First, playing on one string is practiced, then repeated upstrokes, then an alternating stroke on adjacent strings, and finallystring jumping technique. Bringing characterNew samples of rhythmic patterns:
MUSICAL NOTATION
The range of guitar sounding covers more than 3 octaves. All notes are writtenV treble clef(keySalt). We show you the entire working rangezones in a row - diatonic (pure) tones are highlighted with white notes, blacknym - chromatic. Neighboring chromatic sounds are equal to each other insound (F sharp = G flat). Usually when moving up, usesharps, when moving down - flat.
Traditional music is organized using modes (major and minor) andkeys. Tonality is the height position of the fret. "Cent"real" keys - without signs - are Domajor AndLa Minor. Up from them are sharp keys, down - flat:
Now the same thing, but in a different order. The octave scale consists of 7notes:Do, Re, Mi, Fa, Sol, La, Si. In Latin notation, they are denotedrespectively asWITH, D , E , F , G , A , IN. Notes with sharps - C-sharp. D-sharp...denoted classically with a prefix- is - Cis , Dis ..., in popular jeanrah; respectively, notes with flats - with a prefix- es - Des , Es … etc. We remind you once again that the noteC = B . Major keys in classical theory bothappear with a prefix- dur - C - dur , G - dur ; V popular music they bothare just capital letters.C , G ... Minor - in classicalwhich theory with a prefix- mall - A - mall , E - mall , in the popular - largeletters + letterm - Am , Em . The shortest distance between sounds (ladami) equals a semitone, between two white notes - two semitones,or one tone. Structure major scale: tone-tone-semitone-tone-tone-tone-semitone. Major scale standard fingering:
The structure of the minor scale (natural): tone-semitone-tone-tone-semitone-tone-tone. In the harmonic minor, the 7th step rises, in the melodic - when moving up, the 6th and 7th steps rise, with the reverse movementnii these stages are "naturalized", i.e., they are played with the cancellation of the increase.
We have given typical fingerings, i.e. most of the scales in differentscales are played with just such fingers. Everyone needs to play scales -it is on them that the correct setting of the fingers is best achieved, as well as fragments of scales that you will encounter in any melodicbuildings in the future.
POSITION OF NOTES ON STRINGS AND FRETS
DURATION OF NOTES AND PAUSES
A dotted note doubles the duration.
Sounds in duration correlate to each other in a ratio of 2: 1 - one whole is equal to two halves, four quarters, eight eighths, etc. Each note has a pause corresponding to its duration:
For finer gradations, as well as for continuing the duration beyondNotes are tied to each other by the deeds of the measure. This applies to notes on oneheight. (League connecting different notes means coherent performance andcalled phrasing).
BEAT AND TIME SIGNATURE :;
A piece of music is divided rhythmically into segments calledcycles. The bars are separated from each other by vertical bar lines.At the beginning of each work, on the staff, next to the key, twonumbers in the form of an arithmetic fraction are the time signature. Upper digitindicates the number of beats per bar, and the bottom indicates the duration of one beat.The time signature is also indicated each time it is changed. Firstthe share of the measure is the reference (accented) -strong share.
Play this theme using the A minor scale fingering. You canplay this melody both with your fingers and using a mediator. Alsoplay the theme an octave higher - you get a full-fledged piece. Downcarefully analyze the interval composition of the melody - you must, find the following intervals here: I will accept, a small and a large second, a smalland major third, fourth, minor and major sixth, octave.
chords. digitization
A chord is a combination of 3 or more sounds built according tothirds. Three-sound chords are called triads, four-sound -seventh chords, then, respectively, there will be non-chords (5), tertsdecima-chords (6), etc., but - in our practice, we will limit ourselves to triads and seventh chords. Major triads are denoted capital letter- WITH,D..., minor - with a letterm - cm, Dm; seventh chords - C7 or Cm7. Enlargedchords are indicated as + orAugust ( augmented). Reduced - ° ordim ( diminished). There are also chords with replaced tones, for example, a fourth instead of a third, such chords are denoted assus(sustain) - mixed.And there are chords with added tones, they are designated asadd ( adtraditional). For the accompanying guitar, special grids have been developed withdesignations:
chord tables
INin general in pop music and, in particular, jazz music used verya large number of chords, including seventh chords, nonchords, even morecomplex with alteration of all possible audible steps, with skippingsteps and added steps, etc. We, in order to save time andspaces, in this manual we indicate only those that are actually usedused in popular music. Note in addition that you canin any chord, take not all the indicated sounds (i.e., skip) - the main thing is that its mode, structure (triad or seventh) be heard in the chord,altered tones. And yet - in these tables we use the format"
EasyGuitar
",
i.e. the first, simplest chord positions; more difficultYou can find these in a special edition or choose your own.
SIMPLE WAYS TO ACCOMPANIMENT
There is no single way of accompaniment, in anycase in popular music. If you choose the accompaniment yourself, you'd better try different ways so that you end up choosing the one that suits you best. Certainly, big role has the tempo and character of the sound of the melody. To get started, we recommend playing melodies in your mind.rolling motion. The most suitable topics for such exercises arefolk songs. We give one of them, and separate fragments WeWe offer accompaniment in different ways.Attention: we are consciouswe carefully do not write the accompanying part with notes, but only give a generalmovement - please experiment and find the sounds you want by yourself!
SIGNS AND SYMBOLS OF ABBREVIATIONS
In music (especially in popular music), abbreviations are often used.notation of musical notation - for ease of reading, saving space and a clearerform submissions. The most used of them-reprise: the fragment is repeated in its entirety without changes or with a variation in the ending (optionsare designatedvolts - their number is equal to the number of different options).Two popular character - segno - return sign andflashlight - forward sign. A popular musical expression - "from segno to segno, from lantern to lantern" emphasizes that these are paired signs. If you are innotes saw one segno or a lantern, look for a pair to it and do it betterit immediately, so as not to get lost later.
PLAY CLASSICS
A rare novice musician in the learning process does without usinginterpretation of classical works, and this is far from accidental - if a melody from popular genres can be played not strictly (let's say so), then classicalwhich topic requires obligation, fulfillment of specified conditions, i.e. - whatwritten, it must be embodied, otherwise the music will sound out of tune.Usually the measure classical genre works of J. S. Bach are considered.For now, we will not run so far, but we will offer you two productsfrom the so-called "golden" collection. These themes sound quite contrastno, but on the guitar (with high-quality performance) they save as original sound, and emphasize the dignity of your instrument.
IMPROVISATION. MELODIC DESCRIPTIONS
A significant part of jazz improvisations is built on well-established melodic formulas that fingers perform automatically, based ongoing to mechanical memory. We invite you to usefingering of major and minor scales, on which the mournings are builtmajor and minor melodic segments.
HARMONY. TRITONE REPLACEMENT.
For jazz harmonies, starting from the swing period, it is characteristicfemale ("pushing") movement. Fifth chord ratios,appearing in circulationII - V-1, acquire chromatic tensionnie, of course, in the "blues" side. This is achieved by replacing traditional fifth patterns with their tritone counterparts:
WALKING BASS
Walking bass in Lately gained popularity assolid reception in solo and accompaniment. Structurally, this methodthe game is a combination of solo guitar accompanimentand bass guitar parts. Bass sounds are played with the thumb when playing.tsem, the rest - according to the fingering of the left hand. When playing with a mediator, only bass sounds are used, chord sounds are taken with the fingers. We are offering to youmaster the two main types of fingering:
This topic is very useful for the development of the right hand. in American Litarhythm such a rhythm is called"Tamb Bass" orsmooth bass. This play iswana on the 3-finger stroke technique. Play this piece slowly at first,then increase the pace to Moderate.
For some reason, other sites simply ignore this topic, but it is no less important than the playing technique, tricks, etc. I will try to explain the principle of tuning in the most accessible way.
There are various customization options. I personally use two or three. The simplest and most expedient is tuning the first string, the thinnest one, and then all the others. It is best to build a guitar under a tuning fork, which usually has the sound "la" of the first octave - in this case, the first string is clamped at the fifth fret. Having tuned the specified string, all the rest should then be clamped also at the fifth fret, adjusting to the open adjacent, thinner string. The exception is the third string, which must be pressed at the 4th fret. This rule worth remembering right now.
But the question may arise: "And if there is no tuning fork?" Of course, there are alternative ways to extract "la". Method one: what is "la"? This is 440 vibrations per second. Therefore, having programming skills, you can write a program, well, suppose, in Basic "e. Or by tuning a certain device to a given frequency. Difficult? It is possible to tune on the piano. Then it is better to build the first string to the sound of "mi" of the first octave (the string is not pressed , open). No piano? Well, then I advise you to use the phone. Just pick up the phone and build (like a tuning fork) the first on the fifth, and then according to the studied pattern. But you should also remember that the sound in the phone is about 400 vibrations per second, therefore , the string needs to be "stretched" a little, but I think it's better to buy a tuning fork, it's not that expensive.
The rest of the methods are good for fine tuning. Here are two of them.
You will study the properties of the guitar later, so you will have to take the word for it. Having configured according to the first method, check yourself:
The third string at the ninth fret sounds like the first open,
4th on the ninth - like the second open,
5th on the tenth - like the third open,
6th on the tenth - as the fourth open.
You can check with flags:
first on seventh = second on fifth,
third on the seventh = fourth on the fifth,
fourth on seventh = fifth on fifth,
fifth on seventh = sixth on fifth.
Do not be upset if you can’t set it up right away, over time everything will be brought to automatism. Note duration
The longest note is a whole note, which is broken down into shorter durations. Study the ratio of durations according to the table below.
Guitar soundtrack.
In the table below, the circles indicate the strings on which these notes should be played (located on the left). At the top (above the neck of the guitar) are the fret numbers. And accordingly, at the intersection of the columns (string-fret), you will find the desired note. 
It looks scary, but don't be scared! Just play. At first, very simple, then on the rise. And you yourself will not notice how to learn this table.
Alteration signs.
Semitone.Tone
Semitone- nearest, smallest distance between sounds. On the guitar neck, semitones are determined by metal plates (frets): any fret gives a semitone up (moving the finger along the string to the bottom) or down (up a fret). Those. if we pluck the first string and then press it at the first fret, we raise the sound by a semitone.Tone is a distance of two frets.
You can raise or lower the sound by a semitone or a tone by using special accidentals.
Accidentals
- sharp (a sign of raising a note by a semitone)- flat (sign of lowering a note by a semitone)
- bekar (a sign that prescribes a return to the main sound)
Basic types of dynamics.
ppp- piano-pianissimo (extremely quiet);pp- pianissimo (very quiet);
p- piano (quietly);
mf- mezzo-forte (medium);
f- forte (loudly);
ff- fortissimo (very loudly);
fff- forte fortissimo (extremely loud);
< - crescendo (gradual increase in sound strength);
> - diminuendo (gradual weakening of the strength of the sound).
Sheet music/tabs - what is it?
Now it’s worth figuring out what these very tabas are? Most accurately, we can say that tabs are a simplified notation of musical material. Let's see what this simplicity is.First, we no longer have stave, and the notation of six strings. Therefore, we will not see the notes either. Let's all take a look at the same excerpt from the song "Metallica"
Before us are six lines that symbolize the six strings of a guitar (the topmost line corresponds to the most thin string, and the bottom one, respectively, is the thickest).
Next we see the numbers. They indicate the numbers of frets on which (depending on the number of the line, i.e. strings) one or another string must be clamped.
If the numbers are strictly one under the other, then this fragment play a chord, i.e. all these strings should sound at the same time. Otherwise, it's overkill.
Under each number, we see those who migrated from music notation, the duration of the sound of the string. For more information about other notations, see the section
Finger play.
First, you need to set the elbow bend of the right hand on the edge of the shell and "drop" the brush over the voice box (hole in the body). In this place of the guitar body, the sounds are soft, thick and not very loud. Above the socket (in its lower part) the sounds are loud, at the stand - very loud, with a harsh sound. The movement of the brush has a very great importance, because it will allow you to achieve greater expressiveness in the performance of musical works.
Slide
Gliding (glissando) - artificial sliding along the strings up and down the fretboard with the fingers of the left (sometimes right) hand. "Sliding" is achieved by smoothly sliding the fingers along the strings, during which the fingers reproduce the sounds on the frets.Hammer and Pull (legatto)
This technique is often used in blues-rock music. Below are the main techniques of this technique:- the index finger takes the note as usual, and the other finger sharply beats the same string on one of the frets located above (this technique is hammer);
- first, the second note from the previous method sounds, then the other finger is removed and the note taken with the index finger sounds;
- repetition of the 1st or 2nd method on two notes gives a long legat sound (trill) and is indicated Tr.
Bendy
Bend (tightening) - one of the main techniques of electric guitar technique. Its essence consists in the movement of a string pressed to the neck across the neck, that is, perpendicular to the line of the neck. During this movement, the pitch changes smoothly and the note becomes higher.
Distinguish:
- semitone bend (indicated by 1/2)- the string should sound a semitone (one fret) higher.
- tone bend (indicated by 1 or "Full")- the string sounds a tone (2 frets) higher.
- one and a half tone bend (designation 1 1/2)- the string sounds one and a half (3 frets) higher.
- microbend (designation 1/4)- the string is slightly tightened, the sound slightly increases its sound (approximately 1/4 tone).
vibrato
Any movement of the string after the note is struck changes the character of the sound. Vibrato is the vibration of a finger on a string that changes the sound. This oscillation is barely noticeable, especially when compared to bending, where the string moves noticeably across the fretboard (along the fret).There are two popular ways of vibrato. The first is obtained by moving the finger itself and is often called a trill. In the second case, the vibration gives the movement of the brush. Individual style the musician is expressed by his vibrato.
BB King says he spent a lot of time making his vibrato his signature move. Vibrato is usually perfected after the player has mastered the basic techniques and can focus on finer details. Jony Winter says, "I can only tell if I like someone's style after listening to their vibrato for 10 seconds." 2006-07-25 01:42:48,
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Lesson number 27.
Useful articles:
The guitar tutorial is based on personal professional experience and consists of two sections: "Useful Articles" and "Guitar Lessons". Guitar lessons for beginner guitarists are presented in articles with a gradual gradation from simple material to more complex. It is for those who want to master the instrument to a greater or lesser extent in a certain period of time with a minimum knowledge of music theory, this tutorial is intended. The theory is given only when there is a certain experience of owning an instrument at the accompaniment level, subject to the desire to comprehend the secrets of mastery of guitar technique and solo performances. The first three lessons are introductory and contain information about the history of the guitar, its structure and how to properly tune the guitar. The fourth lesson is presented in the form of guitar chords for beginners and two songs by the Kino group based on four simple chords. You will learn how to play guitar fighting in the fifth lesson, which talks about strong and weak beats as the basis of guitar fighting, as well as examples of not complicated guitar fighting options. It must be noted that further education on the guitar without knowing the notes on the fretboard of the instrument is ineffective and therefore the table with the arrangement of notes on the guitar is presented in full in the article of lesson No. 6. Only after this lesson, guitar picks for beginners in the seventh lesson are simple and understandable for performance, as well as in lesson number 7, the setting of the right hand is presented. The next three lessons are beautiful short pieces, which can be learned without knowledge of music theory using only an abbreviated table of notes on the guitar neck. In each of these lessons, for clarity, abbreviated tables of the location of notes on the fretboard are presented. The lessons are based on the already familiar picks on the guitar of lesson No. 7, where they are shown on the open strings of the instrument.
In the "Useful Articles" section of the guitar tutorial, there are many necessary information for questions not included in the "Guitar Lessons" section. Articles are widely presented on how to choose the right acoustic guitar with a detailed description of the entire selection process. Special attention is paid to such a question as the choice of strings for beginners, and also which guitar to choose for a beginner. Presented chord chart for six-string guitar gives the most complete picture of the chords played on the first frets of the guitar neck, which is convenient for both beginner guitarists and those with some experience in playing the instrument. This section of the tutorial also focuses on how to practice the guitar correctly. What is the best time to digest new material and how much time you need to devote to the instrument in order to achieve maximum success in mastering the guitar. The tutorial is also presented in the article “How to read guitar chords”, which describes in detail all kinds of spellings and schematic representations of chords, followed by a link to the article “How to read guitar tabs”, which, which is an addition to the previous material and gives a more complete picture of possible chords.
The electric guitar, which began its triumphal march around the world in the second half of the 20th century and today at the beginning of the 21st century, remains one of the most iconic musical instruments. Let's talk about it in more detail.
If you self-taught, do not take electric guitar lessons in Podolsk or another city, then after learning the basics and acquiring technical skills, you can try to play famous compositions. And this is where a big disappointment awaits, in your performance, beautiful music has nothing to do with the recordings of master guitarists. Why is this happening, let's try to figure it out and understand what I will teach you in my electric guitar school.
Electric guitar lessons from Ars.
So why is your guitar playing so different from famous guitarists? It would seem that there is no falseness, you honestly use the learned techniques of guitar art, and the result is very far from the standard performance.
It's all about the wrong work of the hands, their initial precise setting is important. There are 10 principles of perfect guitar playing:
- impulsiveness;
- rhythm;
- purity;
- dynamism;
- optimality;
- synchronization;
- speed;
- melodiousness;
- drive;
- creative.
Of these above principles, 8 directly depend on the correct positioning of the hands. Without this, the implementation of the rules is not possible. Let's briefly go through this list to understand the meaning of the principles.
What is impulsivity. If we recall the lessons of physics, then the momentum is the result of multiplying mass by the speed of a physical body. Let's replace physical body with our hand:
- right - extraction of sound by a mediator;
- fingers of the left - legato.
If a guitarist, when working with a pick, acts only with his fingers, and not with the whole hand, then mass is lost and as a result we get a rather small impulse. This is a fairly common mistake, it occurs again due to the incorrect setting of the right hand.
On the other hand, a low speed of action on the string also reduces the momentum.
To prevent this from happening, it is necessary to work out the blow with a pick with a biting and sudden movement arms as if you were stabbing an enemy. And in the same way, the fingers of the left hand should hit hard on the fretboard, as if you are knocking out a fraction.
A good workout would be the following exercise: put your left hand on the table and hit the tabletop with your fingers in a certain sequence. This string of numbers is easy to remember: 4-3-2-1-2-3. The whole point of the exercise is to achieve a uniform and strong stomp without lifting your wrist from the surface. Exactly the same harmonious work phalanges are needed on the fretboard of a guitar.
The more impulsive the impact on the string, the more it vibrates and the more and longer the neck and body of the instrument resonate. The result is a rich surround sound.
The next important principle of the game is the purity of the sound extraction. The main rule: only the playing strings are pressed to the frets or open, and the extra ones are muffled at this moment. The silencing process is carried out with the first finger of the left hand and the edge of the palm of the right. Again we see a clear distribution of the work of the right and left hands.
Let's not forget about the role of pauses in the pure sound of the guitar. Here the coherence of the work of the hands is even more clearly visible: the pause is performed simultaneously with both hands. The fingers of the left hand squeeze the strings from the fretboard, or vice versa touch them without pressing them against the frets. At the same moment, the edge of the palm of the right hand is placed in the damping area.
Basic principles of correct electric guitar playing
It's a fact that only a small number of beginner guitarists pay proper attention to rhythm. That is why it is so important for a teacher to bring this to your attention. If all notes and pauses are multiples of a given tempo, then the listener literally begins to swing to the beat of the rhythm. All outstanding electric guitar players have the perfect rhythm, otherwise they would not become masters.
Let's conduct an experiment: let's take a metronome as a source of signals repeating through an equal interval of sounds, let's call them clicks. We need to play a dead note from the string at the same time as the click of the metronome. If the two sounds match exactly, then the metronome will not be heard, but a whole sound will be obtained - the strings and the metronome. But of course, achieving this is not an easy task, you can try. However, such training gives a lot for the perfection of playing the guitar.
Look at the hands of famous guitarists as they play a rich guitar part, you will be surprised to see how little movement they perform. It literally sounds like a flurry of various notes, and the hands of the master move calmly and evenly over the instrument. There is only one conclusion - any movement is valuable and meaningful. This is the optimality, which is developed by hard training.
Dynamism is the constant movement of sound, achieved by using a refined technique of movements: impulsive action on the strings, the angle of the guitar pick, the amplitude and trajectory of its movement, the position of the edge of the palm of the right hand in the damping area. This achieves the placement of accents on the notes and creates the dynamics of the sound.
Synchronization has a big impact on the rhythm and speed of the game. The opposite of this characteristic is race synchronization, when a double note appears due to inconsistency and non-simultaneity of the movement of the right and left hands. In perfect synchronization, these movements practically coincide.
The last, when mastering a new musical material speed is processed. All musicians, regardless of experience and skill level, play a new work slowly, paying attention to any nuance at this time: rhythm, hand placement, impulsiveness and dynamism, and so on. Only by hearing and delving into all the subtleties piece of music, we proceed to increase the speed of execution.
We add no more than 5 beats per minute, this is optimal for getting used to the brain and muscles. At any speed, achieve quality performance, only then move on. This works for all guitarists, only the master will cover the path faster.
Every guitarist wants to learn how to play in such a way that the guitar sings in his hands. And the effect of singing can be achieved only by the competent use of melismas. Melismas are the decoration of melodies; singers and musicians have them. In the case of guitar playing, bends, vibrato, slides and lever work serve as embellishments.
Now we got to the drive and creativity. Drive is understood as the culture of playing instruments, when the rhythm of sound is combined with the emotionality of performance into a unique pattern of music.
Creativity everywhere means novelty and originality, and playing the electric guitar, being able to correctly apply the technique of performance and the richness of the stock of musical phrases, means immeasurably increasing the beauty and interest of the sound.
Electric guitar school
In order to sufficiently master the correct technical skills, to master all 10 principles of playing the guitar, it is necessary to be trained by a good teacher. Nothing replaces attentive and professional guidance. contact my electric guitar school in Podolsk and I will try to teach you what I can myself. In the corresponding section of my website there is a video where you can watch and hear how my students play. If you are talented, purposeful and full of desire, you will master play the electric guitar I am ready to help you with this.
