Sunday, September 9, 2012

Scales and Timing

Introduction to forming scales and understanding tempo

Having linked together a series of chords, the next step is to pick out individual notes and play them as scales. To play any sort of scale structure, or melody, it is important to develop the ability to play notes evenly, and build up timing control. To play a scale, the left hand must be able to pick out each individual note clearly. To be effective, the right hand must be co-ordinated with the left. These skills are vital in laying the foundations of playing correctly.


Introducing scales
Melody and harmony are based on the organization of individual notes into an ordered succession. This sequence is termed a SCALE. Most scales used in western classical music are made up using seven notes, with fixed intervals within an octave.


Scale positions
The guitar is constructed in such a way that the same notes can be played in different positions in the fingerboard. The same scale can be played by moving along one string or across different strings.











RHYTHM & TIMING
Rhythm and timing is the framework within which the notes are placed to define their character and effect. Up until now, chords and scales have been played as a sequence of movements without any sort  of strict time value. However, virtually music is played or written down using an ordered system for the duration and positions of musical sounds. Once the left hand has be come reasonably comfortable when forming E major and A minor chord shapes, the next logical step is to develop smooth and even movement between chords, creating a basic rhythm structure. With practice, co-ordination between the hands will gradually improve, paving the way for playing chords changes in a set period of time. 

Tempo & crochet speed
As the beat in music can be vary in speed, the amount of time between each beat changes: this is referred to as the tempo. The crochet is often used as a reference point for tempo. A crochet written down with a number next to it indicates how many are play each minute. 
For example, if a crochet is marked as the picture above, the rate of movement in the music is one crochet beat per second.

Metronomes and sound sources
Using a source to provide an even beat can be of great help when trying to acquire basic rhythm co-ordination. The "click" from a metronome, or a regular beat from a drum machine or sequencer can be adjusted to provide a comfortable speed to strike notes and individual notes. This will help to develop the ability to coincide right-hand movement with the beat.

Some exercise for scales
Here's a simple major scale pattern. Use the metronome on the right side of the page and set it to 60 bpm. Play according to the picture across the fingerboard. The red dotes indicate the root of the scale. The root of this scale pattern would be F#.

Playing in time
Play each note on each metronome "click". Then, with the same speed, play 2 notes per "click. And it goes on and on.
This would be minor scale. It depends on where do you start.

Happy practicing!

Information adapted from:
-The Complete Guitarist book by Richard Chapman
-Photos:




Monday, August 20, 2012

Guide to Effective Guitar Practicing By David Wallimann


Have a Plan
I find it very easy to just spend time playing what I already know and enjoy my time with the instrument. That's a good thing to do, but not very effective when it comes to practice. Practicing should be a time when you develop your strengths, learn new things and eventually become a better player.

Because there are so many elements involved in practicing, it's always a good idea to have a plan. First of all, determine how much time you have to practice. Try to be consistent by including your practice time in your schedule. Find a place that is free from distractions and comfortable for you. Unplug your phone and keep the TV off. In other words you should find a place that is suitable for learning. In the right conditions, one hour of serious practice is more effective than four hours playing in front of the TV. Keep that in mind!

Planning ahead of time what you will work on is a powerful thing. A good way to do this is to prepare your next practice session at the end of your actual practice. That way you will be able to pick up right where you left and just continue to build your skills in an effective manner.

Following is an example of how a one hour practice session can look like:
Warm up exercises: 10 minutes
Learning new scales: 20 minutes
Technique: 20 minutes
Improvisation and writing: 10 minutes
This is only an example. Your practice session will most likely look a little different than this one. Each individual should prepare their work session according to their own skills and needs.

Be Honest With Yourself
Practicing your instrument is much more efficient when you know what you need to work on. Honesty is the key. It can be quite easy to fake your way out of a hard solo while playing in a band. But when you are alone with your guitar, you should be honest with yourself and be aware of your weaknesses.

For example, some of your friends might say that you pick very fast and they always complement you on that particular technique. It makes you feel great, but you know that if you were to play the same thing in front of some better players, you wold be embarrassed. That's something you would want to focus on while practicing.

Don't Burn Steps
Don't try to speed up your learning progress. This is especially true while working on developing speed. Playing fast is very easy to do, but takes a long time. Speed is something that takes time. Your job is to work on training your fingers to play with precision. That should be your main focus. If your fingers are precise and know where to go, speed will follow naturally. Don't burn any steps! The same goes for any technique or musical concept you are working on. You should be patient and confident that serious practice will eventually pay off.

Everything that you learn should be played at a speed that feels very comfortable to you. Don't worry about trying to impress yourself with speed while practicing. Working at an easy tempo with a metronome is the best way to ensure a solid technique and serious progress.

Don't Overdo It
Guitar virtuosity is often compared to high level sportsmanship. Both require much work while avoiding injuries. Preparing your practice sessions can help you prevent muscle tension and unnecessary pain. You should make sure that you spend enough time warming up. Spend a fair amount of time with very basic exercises. Following are a few examples that you can use and develop new ones from there.

Massages and Stretching
Massaging your muscles is also a very efficient way to warm up while avoiding injuries. You should try to keep that in mind while practicing. Take time massaging your wrists and fingertips before working out on your guitar. I find it extremely effective to spend the 1/4th of the time you worked on a specific technique massaging. If you consistently use that ratio of workout/relaxation, your technique will improve faster.

It is also important to spend time stretching. Your palm opposing your body, gently pull your fingers of your left hand towards you. Doing so on a regular basis will help you reach larger intervals on your fretboard.

Take Breaks
If you practice everyday seriously, you should try to take a break from your instrument for a day. Just like an athlete, you need to rest. Your muscles need to relax and your technique will actually benefit from that time off. Breaks also keep you from losing interest. I always find it extremely gratifying to pick up the guitar after a few days of rest.

During a long practice session, make a point to take regular small breaks. Get up and stretch your back. Take a small walk and drink plenty of water. You will be able to last longer in your work session and avoid frustration during your study.

Be Open Minded
There is always something new to learn. Don't pass the opportunity to learn something new. We all have our own musical tastes and no one is asked to be passionate about all styles of music. But keep an open mind when it comes time to learning. All musical styles as different as they are from each other have this in common: they use notes and rhythm. There is always something to get out of a musical idea.

A great idea is to take a song, no matter the style, and try to find something that you like about it. It can be anything: a sound, the feeling it gives you, a rhythm... Isolate that element and try to understand why you like that part. Once you determined what makes that section appealing to you write a little musical idea using that element. Working like that is a wonderful way to develop new techniques and reach new heights.

Analyze Your Technique
This is one of my favorite aspects of practicing because it really pays off. When you are working on a specific technique, be attentive to all the movements you are making to achieve what you are doing. Once you are aware of these movements, analyze them and eliminate all the unnecessary ones.

When playing at high speed, you can't afford to lose time with the superfluous movements. Eliminating them is preserving time and energy. Once you spotted these movements that don't need to be there, work on eliminating them and think about ways to achieve the same effect without any wasted energy. This can be quite a difficult task, but the pay off is amazing. The correction must be done at very slow speed.

Keep Track of Your Progress
Keep track of the metronome speed you are comfortable playing at and raise the bar very gradually. Raising the speed by two beats per minute every three days is a fair progression. If you find that you are struggling at a certain speed, slow it down. You need to be comfortable at the tempo you are working with.

If at all possible, record yourself playing. At the end of the week, listen to what you have and take notes. Write down anything you you hear that you don't like and take that into consideration when you prepare your next practice session.

Vary Your Sounds
Try to remember practicing with both lead and clean sounds. The reason is that if you practice with distortion all the time, you will feel that your playing sounds terrible in clean sound and vice versa. Your technique should sound good no matter what sound you are using. Clean sounds and lead sounds both have their advantages and inconveniences. Force yourself to get to playing with all kinds of sounds.

Have a Dedicated Practice Space
If you are serious about practicing and improving your skills in a consistent way, you might consider setting up a design practice room. Find somewhere that you will use only for that purpose. If you can have a room where everything is already set up for you, you won't waste superfluous time arranging your space.

Unplugging your phone is also a good idea. The last thing you want is to be disturbed during your session. Have all the study material you need in the same room (practice program, tabs, recorder, blank paper, pencil...)

Get Some Sleep
A serious musician is like an athlete, your body needs to be as healthy as possible to retain all the information you will learn in your daily practice sessions, make sure you get enough sleep. Not only will your hand and arm muscles be able to accomplish more technical difficulties, but also you will be able to retain more information.

Drink plenty of water. Water helps the blood circulate which will help you stretch more. Last but not least, stay away from drugs and alcohol. Virtuosity and drugs never went well together.

Play in Front of Others
Playing in front of others is a good way to see how good or bad your guitar skills are. The goal is get creative feedback from others. You should be asking the audience what you can improve. Do not look for praises only, but take feedback as an opportunity to focus on your weaknesses.

When asking someone to listen to you play, ask him to pay attention to what doesn't sound good. Its better to play in front of someone who is more experienced than you are. Playing in front of someone who doesn't know much about music might not be the best thing to do when you are trying to improve and push your limits higher.

Take note of the feedback given to you and prepare your practice sessions accordingly. Once you've worked on your weaknesses, ask for more feedback.

Be creative to avoid frustration and boredom, and try to come up with new exercises. When practicing a specific technique, try to write a song using that technique. Not only will your practice be more enjoyable, but your creativity will also be strengthened. The more ideas you come up with, the easier your practice session will be.

There are a lot of ways to come up with new ideas. Here are a few suggestions:
1. Listen to different instruments in a different style of music and try to reproduce what you heard on your guitar.
2. Create a musical theme in your head and reproduce it on the instrument.
3.Watch a movie with the sound turned off and play along to what you see.
4. Ask other musicians what they are practicing and try it on your own.
5. Practice a scale using only one string.
These are only suggestions. Try to vary your sessions and come up with your own ideas. Have fun and practice well!

http://www.jamplay.com/articles/5-guides/25-guide-to-effective-guitar-practicing

Some practicing tips I found on the net :)

Tuesday, April 24, 2012

Some videos of Phil Phillips from American Idol!

I am an American Idol fan. So the guy in this video is Phillip Phillips. Phil Phillips for short. He's jus amazing. Take note of his playing. It's fabulous!

Phil Phillips in American Idol season 11 audition, singing "Thriller". The best thing is it's in acoustic version!

Phil Phillips top 8 performance

Monday, April 16, 2012

Some extra knowledge...

MINOR 7, SUSPENDED 4, SUSPENDED 2 CHORDS
Figure 1

By merely moving beyond the basic major chords - where appropriate - to other shapes aren't much more difficult to play, simple songs can take on added tension and atmosphere. Here are three other types of chord that are often found in songs, and can be useful mood builders. The minor sevenths are the minor version of the A7, B7 and so on previously shown. The Bm7 will yield an alternative Am7 if you take off the barre and move the fingers two frets down toward the nut. The little finger with F#m is optional.

The suspended fourth chords are often used to inject drama into song accompaniment because of their tension. In the case of Asus4, Dsus4 and Esus4 all that is required is to add a note to a simple major chord shape. The Asus2 and Dsus2 are popular because the reverse happens: you just lift a finger off a string that would usually be fretted for A or D. The sus2 is not as tense and has an open, "hollow" sound.

Figure 1

A MISCELLANY OF EFFECTIVE ACOUSTIC CHORDS
Figure 2 and 3

Here are 16 chords that sound great on an acoustic guitar. Some are created by either lifting a finger off a note with a common barre shape (Bmadd4, F#madd11, Fmaj7add11) or moving a chord shape up (D6/9, Amaj7), or are unique "voicings" - like the C which has a 12-string resonance because within it there are two Gs and two Es at the same pitch.

Also included are two first inversion chords - G/B and D/F# - which often feature in acoustic songs. First inversion simply means that the root note is not the lowest in the chord, the "third" above it is played instead - the note that is two tones higher than the root in a major chord. Try these out and learn the ones you like for your own playing.

Figure 2

Figure 3

Picture below shows an american finger-stylist Leo Kottke. A seminal instrumentalist and one of the true "godfathers" of the acoustic scene over the past thirty years. Running from folk, to jazz, to bluegrass, to blues, his work is consistently inspiring.

Materials are taken from the book Guitar.

Sunday, April 1, 2012

Some other styles

One way to make your strumming more interesting is to pick some of the bass notes of the chords individually and then hit the chord, as the picture below:


This style is known as pick'n'strum. The bass note is usually the root note of the chord. Here is a well-known chord sequence that lends itself to this approach.

For this picture below,


the bass notes are not all root notes, though the technique is the same. Introductions to songs and links between choruses and verses sometimes feature a phrase played in single notes, wit chords in between, like:


A song like Wish You Were Here by Pink Floyd or the intro to Led Zeppelin's Over The Hills And Far Away are examples of this popular approach to pick'n'strum.

Materials are from the book Guitar.

Saturday, March 24, 2012

Capo

USING A CAPO

In order to make playing in difficult keys easier, guitarists use a device known as a "capo". This may look like a medieval instrument of torture but, as a guitarist, it's one of your best friends! It acts as a first finger substitute holding a barre, or can be alternatively thought of as a movable nut. If a key would normally mean lots of barre chords (and an aching hand) the capo will allow you to turn most of the barre chords into open string shapes.

Here's an example: you need to play a song that was recorded in Ab major and uses Bbm, Cm, Db, E, and Fm - all barre chords. If you put the capo at the first fret each chord can be played with the shape of the chord a semitone below it.


Actual pitch: Ab Bbm Cm Db Eb Fm
Capo 1 shapes: G Am Bm C D Em

Much easier, and it sounds better too! And that's not the only way we could do it...

Actual pitch: Ab Bbm Cm Db Eb Fm
Capo 4 shapes: E F#m G#m A B C#m


Or, for an extreme contrast...

Actual pitch: Ab Bbm Cm Db Eb Fm
Capo 8 shapes: C Dm Em F G Am

You will notice that as the capo goes up the neck the timbre of the guitar will change. This is something that songwriters use deliberately. They also use a capo to shift a chord sequence up or down a key to better suit their voice, which saves learning a new set of chords. Lastly, if you play guitar with a friend, using a capo high on one of the guitars can create a resonant sound with the two guitars playing the same chords high and low:

Actual pitch: G Am Bm C D Em F
Guitar 1

Open chords: G Am Bm C D Em F
Guitar 2

Capo 7 shapes: C Dm Em F G Am Bb

Materials are from the book Guitar.

Sunday, March 18, 2012

6/8 Strumming

So, you know how to strum 4/4. So what about 6/8?

Obviously you can't strum like a 4/4 anymore when it comes to a 6/8 tempo songs. It wouldn't fit. Doesn't sound nice. So here it is a video for you..


Of course there are a lot more different types of strumming pattern for a 6/8. For this video, the metronome is set to 138bpm. The chords are used in the song 'Beautiful Savior' by Planetshakers. You should try that song out :)

I personally like Orianthi. So, there's this song, she played it in 6/8. Check it out and learn :)
Don't Tell Me That It's Over

And When I Look at You in the movie The Last Song.

Have fun!