LESSONS IN­TRO­DUC­TION

Lessons from the world’s great­est teach­ers and schools...

Guitar Techniques - - CONTENTS -

Mu­sic editor Jason Sid­well in­tro­duces this is­sue’s fun-filled lessons sec­tion.

What would you have done dif­fer­ently in your early gui­tar days to be a bet­ter mu­si­cian now? Four hours a day boot­camp­ing chops? Learnt more songs? Dealt with mu­sic read­ing? Stud­ied more gui­tarists in a bid to be less em­u­la­tive? Jammed with oth­ers more? And what of now; what changes could boost your progress from to­day on­wards?

Let me high­light an op­tion that has proved help­ful for my own stu­dents. The com­mon de­nom­i­na­tor ap­proach in­volves ap­prais­ing the gen­eral gui­tar ter­rain - ev­ery­thing from check­ing out songs to the de­tail in big name in­ter­views - to see what mu­sic top­ics crop up most of­ten. These are the ‘big pic­ture’ skills that these gui­tarists have and you want too. As re­gards the top­ics them­selves, they can span any­thing from know­ing the Mi­nor Pen­ta­tonic (all five shapes in all 12 keys) to hav­ing a great al­ter­nate pick­ing tech­nique (4,3,2,1 notes-per-string and string jump­ing abil­ity all with ex­cel­lent syn­chro­ni­sa­tion be­tween hands). This should all re­sult in im­proved mu­si­cian­ship and em­ploy­a­bil­ity; other mu­si­cians will want to play with you as you’ve solid tech­nique, the­ory and reper­toire to in­spire in­ter­ac­tion.

This is­sue, there are var­i­ous ref­er­ences to arpeg­gios; an arpeg­gio in­volves the notes of a chord played one at a time. Mu­si­cians love them, count­less fa­mous melodies rely on them and au­di­ences re­ally like them too. Arpeg­gios are big com­mon de­nom­i­na­tors in all shapes and at all speeds. Our guest video artist, Nick John­son (p48) em­pha­sises how im­por­tant arpeg­gios are to his play­ing. Check him out, spot the arpeg­gios. Then nip over to Cre­ative Rock (p82) where Shaun demon­strates nu­mer­ous ap­proaches to Mixoly­dian arpeg­gio se­quenc­ing. While the ex­am­ples are quite quickly played, start at slow speeds to be­gin with (af­ter mem­o­ri­sa­tion, say, one note per click at 80-90bpm) and then play along to the back­ing track a lit­tle later. Get to the point where the arpeg­gio se­quences are be­com­ing sec­ond na­ture and part of your ex­pand­ing vo­cab­u­lary. So, I’ve in­tro­duced the com­mon de­nom­i­na­tor ap­proach, high­lighted one topic wor­thy of study and then sug­gested a solid prac­tice route. See how you get on; you might just take this ap­proach to heart in a bid to be both time savvy and im­prove­ment driven. En­joy the is­sue! The In­sTI­TuTe of Con­Tem­po­rary mu­sIC per­for­manCe

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