ACOUS­TIC MAS­TERY 50 acous­tic gui­tar tips!

With bril­liant ex­er­cises to mea­sure your progress and keep im­prov­ing for years to come!

Guitar Techniques - - CONTENTS -

Wel­come to our mega, ‘50 tips to be­come a bet­ter acous­tic gui­tarist’ be­he­moth. With such a broad base of tech­niques and ideas cov­ered there’ll be some­thing in here for ev­ery­one. The acous­tic gui­tar is a beau­ti­fully ex­pres­sive in­stru­ment that has been used in many a hit record, in all gen­res from coun­try to hip-hop. Singer-song­writ­ers armed with just a hand­ful of open chords have writ­ten and recorded songs on acous­tic gui­tar that have changed the face of pop­u­lar mu­sic. No mat­ter how tech­no­log­i­cally ad­vanced mu­sic cre­ation be­comes, acous­tic gui­tar-sling­ing singer-song­writ­ers such as Ed Shearan and Jack John­son con­tinue to be right in the mid­dle of it all. The ‘un­plugged’ for­mat of stripped-down acous­tic per­for­mances is as strong as ever and many per­form­ers these days have an acous­tic sec­tion in their show.

You may well have al­ready looked at im­prov­ing var­i­ous ar­eas of your acous­tic gui­tar play­ing. Our aim is that this fea­ture will con­tain some new ideas and fresh ap­proaches for acous­tic gui­tar play­ers of all styles and abil­i­ties. Be it in­cor­po­rat­ing ad­vanced har­monic tech­niques or try­ing the show stop­ping YouTube friendly spec­ta­cle of adding in per­cus­sive el­e­ments, there is hope­fully some­thing in here for ev­ery­one. Prac­tis­ing slowly is great for de­vel­op­ing con­sis­tent, ac­cu­rate re­sults.

Prac­tis­ing a tech­nique, riff or lick slowly of­ten gets over­looked, as it’s not the most ex­it­ing way to spend time on the in­stru­ment and re­quires fo­cus and pa­tience. By prac­tis­ing slowly you are pro­gram­ming your brain with the cor­rect in­for­ma­tion and from this po­si­tion it is easy to up the tempo. By prac­tis­ing too fast in the early stages there is more chance that mis­takes will be made and learnt. A good way to set a good learn­ing tempo is to take some­thing that seems slow and then half it.

And there are many ba­sic things that can lift your play­ing to the stan­dard of a pro: think of open-string mut­ing; it’s of­ten over­looked, but any strings that aren’t damped by ei­ther the fret­ting or pick­ing hand can ring out and make your play­ing sound am­a­teur­ish. You will find that im­ple­ment­ing some of these less ex­cit­ing, core con­cepts can knock the rough edges off your tech­nique and pro­vide truly no­tice­able gains in the long run.

While you may have al­ready looked at im­prov­ing var­i­ous ar­eas of your play­ing, the hope is that this fea­ture will con­tain some new ideas and fresh ap­proaches

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