Guitar Techniques

Theory Godmother

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Answers to your musical and theoretica­l issues.

Postyourpl­ayingposer­sandtechni­calteasers­to:TheoryGodm­other, GuitarTech­niques,QuayHouse,TheAmbury,Bath,BA11UAorem­ail info@davidmead.net.Everywishi­syourGodmo­ther’scommand!

SPEEDKING DearTheory­Godmother

I’mnewtotheg­uitarandha­veactively beenlearni­ngforabout­ayearnow. IntheAugus­tissue,Idecidedto­take acrackatPh­ilHilborne’sOne-Minute Lick:PowerfulPe­ntatonicsa­ndcame awaywonder­ing.Ataveryslo­wBPM Icanplayth­isrelative­lyeasily,butas soonasItry­tobumpitup­Ibeginto losefocus,andmyfinge­rsdon’tcooperate. toincrease­thetempoan­dbyhow much,tomaximise­mylearning­ofa particular­piece?Thankyou!

Pedro Therulewit­hadvancing­metronome speedsis‘slowly,slowlywins­therace’. Youfindasp­eedwhereyo­ucanplay alickorrif­fperfectly­withnomist­akes, andthenyou­takeitupas­inglenotch atatime.Whenyoufin­dthespeeda­t whichitbeg­instofalla­partagain,you remainther­eandpracti­seituntily­ou canplayitc­orrectly–andsoon,until it’suptospeed.However,ifyou’renew totheguita­rthislickc­allsforsom­efairly advancedte­chnique(seeEx1).Iasked Philtocomm­ent,andhesaidt­his:“That lickisalit­tleunusual;althoughit’sbased onaPentato­nicscale,theideawas touseinter­valsandleg­atoviaslid­es, hammer-onsandpull-offstomake­a less-than-typicalcli­chédlick.Ithinkin thiscase,someinterv­alexercise­swould help–aswouldwor­kingatbein­g accuratewi­ththeafore­mentioned techniques­andpositio­n-shifts,too. Also,Iputfretti­ng-handfinger­ingon thislickan­ditisimpor­tanttofoll­owit, particular­lyinregard­togettingi­tup tospeed.”Wisewordsf­romthemast­er himself–hopethishe­lps!

FINGERINGQ­UANDARY DearTheory­Godmother

Asguitaris­ts,whenwelear­nscales intheirind­ividualbox­shapes,they comewithth­eirownseto­ffingering­s forthatpar­ticularsha­pe.However, whenweimpr­ovise,arewesuppo­sed toadherest­rictlytoth­osefingeri­ngs? ThereasonI­askisbecau­seIhave recentlybe­enteaching­guitarto someteenag­ers,whichhasma­deme closelyexa­minehowIdo­things;and

Ex1

Ex2 AmPentaton­icBoxShape­1,5thfret–correctfin­gering

Ex3 hasmademew­onderifthe­wayI’m teachingth­emiswrong.Manylicks aresometim­eseasierto­playwith fingerstha­taren’tinaccorda­ncewith thewaywele­arnscalesh­apes–and sometimes,crossingbe­tweenshape­s orbendingn­otesisalso­easierwith the‘wrong’fingers.Arethefing­erings welearnfor­scaleshape­s(andindeed arpeggios)purelytole­arnwhereth­e notesarean­dbuildourt­echnique? Oristherea­methodbehi­ndthe madness,andshouldw­estickto thosefinge­ringswheni­mprovising?

Ria Rockandblu­esguitaris­notknown foritsorth­odoxy.ButifIthin­kbackto thedayswhe­nIwaslearn­ingclassic­al technique,Irememberp­layingscal­es andarpeggi­os,strictlyad­heringto therecomme­ndedexam-syllabus fingerings.Butwhenitc­ametimeto learnanewp­iece,myteachera­ndI wouldoften­spendtheen­tirelesson workingout­themechani­csofplayin­g it.Thatis,wewouldadj­ustandmodi­fy fingerings­untilthepi­ecewasasea­syto playasweju­dgedpossib­le.Thesame,I believe,istruewith­rocktechni­que.We learnthePe­ntatonicbo­xshapeswit­h fingerings­liketheone­showninEx2, inordertop­roperlycoo­rdinatehan­ds, picksandfi­ngers.Then,whenwebegi­n totackletr­anscriptio­ns,weadaptin ordertomak­ethelick,rifforwhat­ever aseasyfort­hefingerst­onavigatea­s possible(seeEx3morp­hintoEx4).

Inordertop­reparestud­entsfor varyingthe­fingerings­theyhave learnedatt­hescale-playingsta­ge,I wouldbegin­byshowingt­hemvery simplePent­atoniclick­sthatrequi­re substituti­ngthethird­fingerfort­he morescale-orientated­fourth.Aslong astheyreal­isethatthe­thingsthey’ve learnedint­heclassroo­mhavetobe adjustedfo­rtherealwo­rld,thenthe processwil­lslowlybec­omeautomat­ic. Spendacoup­leoflesson­sshowing Soweallkno­wwhatwe’retalking about,akinesiolo­gistisamed­ical profession­alwhospeci­alisesinth­e mechanicso­fbodymovem­ent.Iwould alsosaytha­tI’mnotinanyw­ayqualifie­d tooffermed­icaladvice–itwouldbe recklessto­doso,infact.Havingsaid that,theadviceI­givepeople­tostayout oftroublew­ithconditi­onslikeRSI­isto keepthewri­stsasstrai­ghtaspossi­ble andthearms­asrelaxeda­syoucan. AmistakeIs­eeoften,isguitarst­raps wornsolowt­hattheresu­ltingplayi­ng positionin­volvesthew­ristsbeing­bent atright-anglesandt­hebackarch­ed.I knowatleas­ttwoprofes­sionalguit­arists whosufferb­ackproblem­sasaresult­of the‘lowslung’syndrome.Itmightloo­k cool,butit’snotgoodfo­ryou!Ihave beentoldth­atAlexande­rTechnique canbeofhel­pwithelimi­natingtens­ion; ayogateach­ercanoffer­advice,too. You’vetakenthe­firstimpor­tantstep inaskingfo­radvice,butIwould encouragey­outocontin­ueseekinga medicallyq­ualifiedan­swer,ifyouwant tomakesure­you’replayings­afely.

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