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Matteo Carcassi 25 Etudes Op. 60


2010
02.05

Posted in Guitars, Tricks and Tips on Guitar | 1 Comment »

Friday, February 5…
The weather is still cold – to me at least but not if you came from Montreal – and there is nothing like staying home and when the kids are not around, just cooking, baking, reading… and play music!
Fortunatly, Carl Fisher Publishing asked me to do a very interesting work:
- revise and finger the Matteo Carcassi 25 Etudes Op. 60
Step by step I will share the process and thoughts with you.

Matteo Carcassi

Matteo Carcassi

The original edition does not have a lot of fingerings… which is surprising for a pedagogical work. However you have the freedom to put your own. The questions arising to my mind were:

- should I put “objective fingerings” the ones that will fits everybody classically trained or propose the way I play?

When I think about teachers and students, my idea is facilitate their work. But the traditional way to play classical guitar is still evolving. Postition, right and left hand techniques… It was the tradition to play scales with two fingers but, more and more I see classical guitarists playing with 3 fingers… and that since I posted this video on Youtube 3 years ago> http://www.youtube.com/watch?v=-WYIW0eeHWE (in the next one I will teach you how to play with 4 fingers.)

Then after thinking about all that, I decided to teach the way I play and share with you my main influences. This blog will also allow to interact with you all and will open up new doors to me. So, if you want to participate with your questions, videos and comments, please feel free! It will be my great pleasure to feature you and have your valuable opinion.  A mutual enrichment will be the result.  

When I think “Classical Guitar” it always remind me my teacher, my mentor, Alexandre Lagoya – Read more… – we were always taught to phrase (play) with the Art of Bel Canto (beautiful singing in Italian)  in mind. Therefore, following this advice the fingerings I choose tend not to cut, chop, a musical phrase but help to draw a line and respect the breathing.
All the proposed fingering will be also based on what you study in each etude. That can be a specific arpeggio, a scale or position shiftings… The new edition will present notes about the particular guitaristic and musical aspect of each etude.  Soon… Etude #1

Hasta Bientot~ Philippe

2 comments

The Right Strings for your guitar…


2009
07.10

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Posted in Endorsement, Tricks and Tips on Guitar | 2 Comments »

Hey Folks!

That is like the question I get all the time:
- Philippe, what strings do you put on your guitar?
and, I know when I look in your eyes that you guys had… and maybe still have if you did not read this article yet, the same issue(s) I had. Finding the right strings!
Honestly, if you get into a store and look at the brands, you really start feel ing woozy, and then you start to try one set, and another, and another… and arrive on my blog – or come to one of my clinic – and anxiously ask me about strings.

Because I tried them all, and there is not a week I do not receive a set from a string company. Some are okay… the first days of their life but, like the butterflies, they do not last a long time. Others – let’s be honest – most of the brands have intonation issues… you have to run to the store to buy other 1st or 3rd strings (no kidding! I live in Texas and the time I get to the store it’s pitch dark, that’s how far it is!!!) and you realize you have to go back to the store because the new ones you get still have intonation problems… Other sets have they basses dead in 2 or 3 days… or break.
Seriously: do you want me to break in string during a show? I tour and play a lot and want to have reliable strings!  And y’all know I bang the guitar and take all the guts out of the poor thing.

You never see me re-tuning the guitar when I perform (if you saw me, it’s because I was about to play open tuning… or it was when I did not have Alhambra Guitar… just buy the right stuffs guys)  It’s not because I’m deaf … neither because I’m blond… it’s because the strings I use stay in tune, never break, last forever… are cheap and American. Read that well coming from a Frenchy: they are MADE IN ZE USA! Okay… Should I share more about the spirit? You want me to tell you I fence my Texas ranch with those strings?

So, what is the mistery? Well, I went to Africa to meet a wizard in Zambia and he gave me the answer… are you ready?

The basses are round anb rich because they use the best wire, the highest quality. Not the cheap one that will rust in no time. Also for the “EXP” basses, they put the coating ON the wire, not just on the strings. See? Have you tried the other ones? The ones that have been made the “fast way”? Just the coating sprayed on the whole string… and what happenend after that? It’s peeling off!!! Not only it looks nasty, like if your guitar contracted leprosy – or you which is worst! – and because of the peeling-off-fast-spayed-coating… your strings buzzes. Hey, you know what I’m talking about.
 
But not the strings I use… Did you hear my guitar buzzing? Peeling? Strings shredding away? Mais non!
 
I go great basses strings! The “Must”, the “Best”. They got the sustain you are looking for and the harmonic support.
What am I talking about?
- Go to the end of the concert hall next time you attend a classical guitar recital… you barely hear the basses. They are weak. But not the one I use!
 
And the trebles… no intonation issues. Why? Because they want to be so perfect they measure each string two hundred times.
How many times? 200 – TWO HUNDRED TIMES, dos cientos, zwei hundert, δύο εκατό!!!  200 times!  
Those guys are so crazy about precision, they measure EACH string 200 times. It’s not only for fun .. or because they have time to kill… It’s because they have a vision:
- They want to make the best products ever because they take pride into what they do.
- One dissatisfied player will be talking to 8 people about how the strings caused them problems and they will talk to others who will talk to others… and so forth.
 
First, to measure the strings with such precision, they thought about hiring a bunch of elves, fairies and dwarves from the “Enchanted Forest” but, over the past 30 years, guitar strings have benefited from a wealth of engineering and manufacturing improvements and the brand I use are now made by utilizing automated computer-controlled winding machines. The result has been unprecedented quality and value for the guitarists. The trebles are sorted by a sophisticated computer-controlled laser machine which performs diameter/tension measurements and quality checks to insure precise intonation.
They want to make you satisfied… And they are.

What do I play?
The only real strings for pro… D’Addario. 

I use the Pro-Arte and also, on my spruce top guitar the Composites to give it a “warm gut alike touch”.

D'Addario Strings. Buy Them at a Cheap Price!

D'Addario Strings. Buy Them at a Cheap Price!

D’Addario Composite wound strings exclusively feature Zyex(R) multi-filament stranded core material, which delivers gut-like tone with extremely long life and consistency. The trebles come with two 3rd strings, one from the regular Pro Arte line (clear nylon) and one made from composite polymer (coffee colored) which has a brighter tone (the 1st and 2nd are also from the regular Pro Arte line).

Say you love me now… okay… a thank you would be enough.

Cheers!

3 comments

Alhambra Guitar Club


2009
07.06

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Posted in Endorsement, Tricks and Tips on Guitar | 3 Comments »

Click to join AlhambraGuitarClub

Howdy y’all!

Keeping in touch with guitarists, exchange ideas, having a place to perform and a goal to practice is sometime challenging!

The Alhambra Guitar Club start in Arlington next month, completely free!
On the top of meeting players once a month and performing in a cool and friendly environment, I will do some short presentation jus for you:
~ About guitar construction
~ How to overcome technical problem
~ The French Fries recipe
~ and more…

Just a click to become a member
Click to join AlhambraGuitarClub

Click to join AlhambraGuitarClub

See ya!

1 Comment

Three notes per string – lesson 2


2009
06.12

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Posted in Tricks and Tips on Guitar | 1 Comment »

There is another run, in the Yngwie Malsteem’s fashion, at the very end of Smells Like Teen Spirit. Because I play the top string, I will use a thumb, ring finger, middle and pointer to play it. If you did not practice your tremolo exercises, and this technique is based on it, well, you better have to.
Otherwise, let’s go!
First of all, the right hand alone to make it even.


The Speed Bursts:
Here we are going to break down the Run by fingering patterns. As you probably noticed, I play a snippet, repeat it on the string above, move down, play another, repeat on the string above and so forth. Not complicated so far. Let’s work on each one… first at a slow pace, followed by speed bursts and putting everything together with your metronome…

Complete Run:

7 comments

Three Fingers for Your Scales…


2009
06.12

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Posted in Tricks and Tips on Guitar | 7 Comments »

Hi there!

Today, the subject is:
How to play fast with no hassle. I do not believe in a 3 hours warm-up to be able to play. Neither in a 10 hours daily practice. You have many things to do to enjoy your life, why staying in your bedroom practicing the guitar for hours and hours when, what you want, is to play music.
Technique is just a tool and here is another one to help you playing fast (do not listen the ones who tell “everybody has limits”. We do not have any and the World is in a constant expansion.
This subject will be developed in the next DVD (release in October) “Tricks and Tips on the Acoustic Guitar”. The examples are 2 runs I play at dazzling speed in my arrangement of “Smells Like Teen Spirit” by Nirvana. You easily can do the same and will probably do even better.
Ready? OK, let’s go.

This technique is inspired by the banjo roll, PMI (in other words: Thumb, Middle and Index)
Practice on open string first and make sure your triplets are even.
Notice you have the same left hand fingering except for the ending. A long slide in the Django’s fashion:

To make it even and have entire control, you’ll be working on different rhythmic figures. First you aim the first not of each triplet:

Then the second note of each triplet:

And finally the third. The advantage of such exercise is that you a total control on each note.
It is adapted from snare drum exercise book…

Play several times each formula until you are comfortable.
You can increase the speed using your metronome. Then we will use some speed bursts to progressively play the whole deal fast. Start with one string at a time…

And the complete run.
To play it fast, just focu on the first note of each MEASURE. Use it as a spring board to launch the whole lick. And let go…

Next time I’ll teach you the second run, longer but you get the idea:
Just let it go after the first note…

Cheerios!
Philippe
PhilippeBertaud.com

6 comments

DVD Philippe Bertaud on the Music of Villa Lobos


2009
06.12

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Posted in Biography, Business, CD's, MP3's and DVD's, Tricks and Tips on Guitar | 6 Comments »

Villa Lobos: From Rio to Hollywood, history of a passionate.

Most of the students coming to a master class will play a Villa Lobos’ prelude or etude. Sharing with them this passion for the Brazilian composer, I decided to work on an instructional DVD.

First question: What do I have to say about him? Classical is known for being conservative but not Villa Lobos!
He had a lot of “non-intellectual” way to compose – what he used to call the Natural way. For instance, to move a chord shape all the way down or up through the finger board. Just like if you take a D Major and play it at any place on the neck and find some good ideas. Wes Montgomery used to do that a lot and not just him.
He also said that he did not want to use dissonances to sound modern. The idea is to portray Villa Lobos as a mix of popular and classical composer. Like Gershwin. Here was a guy from a not rich family, playing guitar in bars and streets to make some money. He used to tell a lot of stories about his travels in the Rain Forest, cannibals chasing him and other funny things… A lot of humor and the constant search for the Brazil’s music soul.

The passion, the unlimited faith into his own talent leaded him to travel to Europe where he found a publisher (Max Eschig) and made friendship with famous artists like Stokowsky, Segovia and others…
1944: He went on tour to the U.S and composed for Hollywood! What a move! This picture is far from the desperate-romantic-intellectual composer driking to forget his sadness… Villa Lobos appears all the time with a smile, a big cigar from Bahia… more appealing to me!

As a teacher I try to present several options to the students for the fingerings and the interpretation with one motto:
Be Yourself!

The highest thing to me is when people can recognize your tone. Santana, Pat Metheny, Lee Ritenour, Paco de Lucia… just a few notes on the radio and you know who’s playing.

I do not care for the supposed tradition. Can you imagine just following a model, specialy as an artist you want to be personal! Specially when models kill the expression to just play by the letter.
Everybody will play the same: Why bother to listen to a bunch of guy when you can listen to just one?

For the DVD I was looking for a lot of different type of fingerings, worked on them and decided to have a series of excercises that you can access from the menu.And, the top notch feature: a close up of both of my hands on the screen as I saw in a Chet Atkins video.The style can be important also – if you choose that option – also but the spirit comes first.

Villa Lobos assiduously took part in various “Choros“, a type of popular music performed in the café or open air and for which it’s necessary to have a good ear and improvisation ability. The Choro musicians play during the carnival, in the street for fun and it reminded me to be in Rio and listen to choro bands on Sunday morning… or being in Laranjeiras on the beach at night, people jamming, chatting and having coco milk.
The Choros is also a rhythm. It’s like a samba figure but slower and we have different parts, generally a verse alternate with a bridge.After that, you are free to forget about it and do your own. But I like to go back to the Brazil I have inside.Look at what I like about him. Music has to be enjoyable, a sensual experience, something you share with heart, soul.


The Brazilian life is the mold for the 5 preludes:

- The sertanejo (people living in North East). I love to imagine them riding their horses (you have a lot of ranches there… an extension of Texas maybe) Yep! Texas is big. You drive… drive, drive and still are in Texas… drive to Paris… you’re still in Texas!

-The outlaws (sounds like Villa Lobos shared that taste for the lawbreakers with Jorge Amado). They are like picaresque… in the book at least. But some of them practice the capoera, live on the beach and use it as a house and a bed for love… nice, uh?

-Indian song (Lobos said he composed this one after he arrived into an Indian village where each one have been killed. The fast arpeggio represents the Indians running away in front of the death.

-Yemanja, the goddess of the sea also a tribute to Bach. When I play this one I love just to remember when, at the beach, I used to keep my head under water and listen to the waves dying on the shores.

-The young lovers in Rio. Evocation of the social life. The ball, the romantic conversations…You don’t want to remove the expression from that and kill it!

This fellow knew how to write music, though I like to point at some details like the time signature in prelude 5 (every body plays that like a waltz instead of a 6/4). The rhythm in prelude 3 or the andantino tempo in the first one… Those leads are important for me to phrase the right way. And if I feel I have like an understanding, the music becomes mine. I love to dream when I play and want to share it.

There is cool website about Villa Lobos, it’s the Museum in Rio de Janeiro.here it is: http://www.museuvillalobos.org.br/

Two years ago I started to work on the script and watch a bunch of DVD’s and Videos. One of my favorite ones is Chet Atkins teaching some of his hits: Little Waltz, Young Things… He’s way too fast in the teaching part – yeah, even for me – but the screen is splitted diagonally and you get a close-up of his hands. That’s genious. Therefore it was one of my things.

When I moved to Austin and met Gary Powell I came up with this project and he was interested. Then, I worked some more on the script because I wanted to have it perfect. Gary is an artist, a true one with a lot of taste. We had a lot of conversation and visionned together some of my favorite DVD’s.

Finally, even if Gary was hyper busy with 2 CD’s productions, we schedule the session and I drove to Austin with one of my instrumental students, Brock Griffith. For one complete day he worked with Gary and David on the light set up. They end up with a cozy-inside tropical house looking that just amazed me.

The Thurday morning, at 10:00, we get into the studio and Brock arrange a prompteur for me…And then, we started to shoot the DVD. I was really ready, at 5:00pm it was done and ready for the editing phase. We took a breack and get a diner.
8:00pm we get back to recorded the preludes to complete the CD I started to record in Brazil few months ago with Bossa singer Denise Pinaud. At 11:00pm both projects were completed.

Then, we spend a huge amount of time conversing with Gary about the fact I should record a CD with songs. Which I never did. The Saturday, Amy and Gary had setup a concert in their fantastic house and Gary asked me to sing for the whole second set. So did I.

The reaction of the audience was so good that, right after the show, we stayed together brainstorming about the song project… that will be another story!

See you around, Philippe

Philippe Bertaud on the Music of Villa Lobos. Production Miramuse, Distribution Carl Fisher.
You already can watch some of the lesson and live performance on my website.

3 comments

Everything You Want to Know About the Blues


2009
06.12

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Posted in Business, Tricks and Tips on Guitar | 3 Comments »

Howdy,

with the help of Nick Kinkade – great bluesman and Panda savior – I wrote:
Everything You Want to Know About the Blues.

It is very intricate to write a blues, I mean A BLUES, a good, a real one and a lot of people are asking me about “how to write a blues”:
3 chords but the magic you’ll put in between the notes will make all the difference in the world. The lyrics are really important too…
However you have some rules you cannot forget about the Blues, otherwise it will be everything but a blues, like a kiss without the salt of emotion.

The folks who know me also know how much I love the American Culture:
from the Levi’s 501 – my favorite – to Panic at the Disco, I look at America and love each inch of the country and especially you people. Rickie Lee Jones is also another fantastic reason to love the US.
If you are new to Blues music, or like it but never really understood the whys and wherefores, here are some very fundamental rules:

1. Most Blues begin with: “Woke up this morning…”

2. “I got a good woman” is a bad way to begin the Blues, unless you stick something nasty in the next line like, “I got a good woman, with the meanest face in town.”

3. The Blues is simple. After you get the first line right, repeat it.
Then find something that rhymes – sort of: “Got a good woman with the meanest face in town.Yes, I got a good woman with the meanest face in town… Got teeth like Margaret Thatcher and she weigh 500 pound.”

4. The Blues is not about choice. You stuck in a ditch, you stuck in a ditch…ain’t no way out.

5. Blues cars include Chevys, Fords, old Cadillacs and broken-down trucks. Blues don’t travel in no Volvos, BMWs, or Sport Utility Vehicles…Most Blues transportation is a Greyhound bus or a southbound train. Jet aircraft and state-sponsored motor pools ain’t even in the running…
Walkin’ plays a major part in the Blues lifestyle. So does fixin’ to die.

6. Teenagers can’t sing the Blues. They ain’t fixin’ to die yet. Adults sing the Blues. In Blues, “adulthood” means being old enough to get the electric chair if you shoot a man in Memphis .

7. Blues can take place in New York City but not in Hawaii or anywhere in Canada . Hard times in Minneapolis or Seattle is probably just clinical depression. Chicago , St. Louis , Kansas City, Memphis , and N’awlins are still the best places to have the Blues. You cannot have the Blues in any place that don’t get no rain.

8. A man with male pattern baldness ain’t the Blues. A woman with male pattern baldness is. Breakin’ yo leg ’cause you been skiing is not the Blues. Breakin’ yo leg ’cause a ‘gator be chomping on it is.

9. You can’t have no Blues in an office or a shopping mall. The lighting is wrong. Go outside to the parking lot or sit by the dumpster.

10. Good places for the Blues:
a. highway
b. jailhouse
c. empty bed
d. bottom of a whiskey glass

11. Bad places for the Blues:
a. Nordstrom’s
b. gallery openings
c. Ivy League institutions
d. golf courses

12. No one will believe it’s the Blues if youwear a suit, unless you happen to be an old person, and you slept in it.

13. Do you have the right to sing the Blues? Yes, if:
a. you’re older than dirt
b. you’re blind
c. you shot a man in Memphis
d. you can’t be satisfied

No, if:
a. you have all your teeth
b. you were once blind, but now can see
c. the man in Memphis lived
d. you have a trust fund or a $400k salary

14. Blues is not a matter of race or color.It’s a matter of bad luck.
Tiger Woods cannot sing the Blues. Sonny Liston could have. Ugly white people also got a leg up on the Blues.

15. If you ask for water and your darlin’ gives you gasoline, it’s the Blues.Other acceptable Blues beverages are:
a. cheap wine
b. whiskey or bourbon
c. muddy water
d. black coffee

The following are NOT Blues beverages:
a. Perrier
b. Chardonnay
c. Snapple
d. Slim Fast

16. If death occurs in a cheap motel or ashotgun shack, it’s a Blues death. Stabbed in the back by a jealous loveris another Blues way to die. So are the electric chair, substance abuse, anddying lonely on a broken-down cot. You can’thave a Blues death if you die during a tennismatch or while getting liposuction.

17. Some Blues names for women:
a. Sadie
b. Big Mama
c. Bessie
d. Fat River Dumpling

18. Some Blues names for men:
a. Joe
b. Willie
c. Little Willie
d. Big Willie

19. Women with names like Amber, Jennifer, Jade, Kitty, Kimberly, or Heather, and men with names like Christopher, Gary, Larry, David, Robert,or Biff can’t sing the Blues no matter how manymen they shoot in Memphis .

20. It doesn’t matter how tragic your life is,if you own a computer, you cannot sing the blues,period…Sorry.

2 comments

Choosing The Right Wood Type For Your Guitar


2009
06.12

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Posted in Tricks and Tips on Guitar | 2 Comments »

Spruce
Its high stiffness combined with the lightweight characteristics of most softwoods, makes it a natural for high velocity of sound.
A strong fundamental-to-overtone ratio gives Sitka spruce a powerful direct tone capable of retaining its clarity when played forcefully.

Sitka Spruce from North West Canada and Alaska -
Its high stiffness combined with the lightweight characteristics of most softwoods, makes it a natural for high velocity of sound.

Red spruce is relatively heavy, has a high velocity of sound, and the highest stiffness across and along the grain of all the top woods.
Like Sitka, is has a strong fundamental, but also a more complex overtone content.

Engelmann Spruce from North America is prized for its similarity in color to European (German) White spruce as well as its extreme lightness in weight which seems to produce a slightly louder and more projective or “open” sound than Sitka spruce.

Western Red Cedar from Western Canada and the Pacific Northwest of the United States.
It has long been used as a soundboard material by classical guitar makers for its vibrance and clarity of sound.
It’s extremely light weight compared to spruce, and the tonal result is a slightly warmer tone, more open response.
An interesting characteristic of Red Cedar is that it sounds broken in, even when it’s new.
Cedar looks a lot like redwood: darker and reddish compared to spruce.

Brazilian Rosewood
All the rosewoods contribute to tonal coloration. Brazilian rosewood is known for its high sound velocity and broad range of overtones, and is also characterized by strength and complexity in the bottom end and an overall darkness of tone in the rest of the range. Strong mids and highs also contribute a richness of tone to the upper registers.
Rosewood guitars also have a pronounced reverberant-like tone quality, caused by audible delays in the onset of certain harmonics. Brazilian rosewood has tremendous clarity in the bottom end and sparkle in the top.
When used for necks, Brazilian rosewood adds sparkle and ring.

Indian rosewood is also known for high sound velocity and broad range of overtones, strength and complexity in the bottom end and an overall darkness of tone in the rest of the range. Strong mids and highs also contribute a richness of tone to the upper registers. Indian rosewood has a thicker, more midrange overall coloration.
When used for necks, Indian rosewood can help fatten up the midrange.

Ebony, the traditional material found on the necks of violins, classical guitars, and high-end steel strings, has the lowest velocity of sound of all the woods commonly used and has definite damping characteristics.
While not a problem for large-bodied guitars made of red spruce or Brazilian rosewood, it may be something to consider when designing smaller guitars, particularly those using less resonant tonewoods for tops and backs.

7 comments

How to Use a Metronome


2009
06.12

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Posted in Endorsement, Tricks and Tips on Guitar | 7 Comments »

Choosing a Metronome

I use a very advanced Metronome allowing all the beats combination. It’s also a very precise tuner and is sturdy. The only metal enclosure that I know of:
Click to buy it!
The Planet Waves Full Function Tuner & Metronome is the ultimate all-in one musicians practice tool. An intuitive, patent-pending rotary LED interface is combined with a precision dual-mode sweep/strobe chromatic tuner and professionalmulti-function metronome.
The lightweight, durable metal enclosure includes a pull-out easel for desktop use.
• Intuitive patent pending 12-segment rotary LED display
• Sweep and Strobe Mode Tuning
• Full-featured Metronome
• Full-range pitch pipe function
• Sensitive condenser mic
• 1/8 headphone jack
• DC power input jack for optional AC adapter
• Seperate mute and volume controls• Accurate to +/- 3 cents
Using A Metronome
Why is this necessary? What are the objectives?
Human beings are not born with “perfect time” or “internal clocks”. All musicians must and will spend much time practicing with a metronome to develop a sense of tempo and groove. Musicians have to learn to keep steady beat in spite of fluctuate constantly.
So, daily practice with the metronome will help you master the music pieces you want to play and measure your progress.
 
Coordination:
The metronome forces us to listen to a consistent click and match it.
In ensemble playing we must be able to listen to and match other players. To do this we have to feel when the next beat will come, we can’t listen for it then play it. To this end it is necessary to play consistently from beat to beat and measure to measure.
Rhythm is the spine of music because it will give the drive and in ensemble playing it is one more contributor to ragged groove (I’m even talking about classical here).

The students usualy say they can’t hear it.
But, the idea is to split your attention into something besides your own playing, in this case the sound of the metronome.

You can learn to hear it; firt by singing the rhythm instead of playing it directly on your guitar.
Practicing with the metronome does not make the music rigid. It helps you to gain control of tempo, learn to play with others and improve one’s playing. It is easy to play a loose tempo; you won’t forget how when you need to.
For all these reasons it just makes sense that you practice your music pieces in time. This way you will develop the technical ability for your fingers to remember the scale and chord shapes and at the same time learn to play them on the beat. It only takes a little extra effort to practice this way but pays huge dividends in your playing.
A metronome is as a tool to gauge you progress. By starting on a slow tempo and working your speed up, you can see how much progress you are making, set goals, achieve the goals and move onward!
Hints:
1) Always play slow and clean.
2) Start with quarter notes (1 note per click)
3) Advance to eighth notes (2 notes per click)
4) Do triplets too! (3 notes per click)
5) Keep track of you metronome speed settings and try to improve them.
6) Move your foot up and down with the down matching the click.
Exercises:
Set the metronome at 60 (that means 60 beats per minute) listen to it and count quarter notes along with the beats: 1 – 2 – 3 – 4. Make sure you can listen to the metronome and then play 1/4 notes on an open string along with the beats. Just be sure you can hear the metronome.When you are comfortable with 1/4 notes, count eight notes and, once you’re doing OK, play 1/8 notes on open string.Repeat the same thing with triplets and 1/16.
Let’s take a chromatic pattern on frets 5-6-7-8 and repeat excercises.
The goal is not to go fast but accurately play on the beat.
Just play 1/4s to get a feel for the beat and get comfortable.
Once you feel comfortable, increase it to 1/8ths

hold it there for a while, then increase it to triplets

old it there for a while then increase it to 16ths
Do not increase the number of notes per bar until you are totally comfortable with what you’re playing.
Now increase the tempo, but only increase it by 10bpm at the most – then start practicing 1/4s at this tempo, and work up to 1/16ths as you did at the previous tempo.

Advanced Metronome Practice Tricks
A helpful trick to strengthen your timing ability is to play around with adding and removing subdivisions of the click.

For example, instead of playing sixteenths over a quarter-note click, try doubling up the click so it is doing eighths. Yet as you play over this, retain the feel of the main pulse only on downbeats (every other click). In this case the “middle” eighth click is there just to help you mark the upbeat more precisely so you can focus on hitting that note (the 3rd sixteenth) precisely on time.
After playing like this a while, then halve the click tempo back to quarter notes and focus on supplying the same articulated feel of the upbeat — but without that middle click to support you.
Along the same lines, try removing beats entirely. Transform 16th notes into 32nd notes by halving the speed of the click. Or you can think of this as still playing 16ths, except the click only cues you to every other beat. Then let the click hit just every third beat. That’s tough! The slower the click goes, the more space you must fill to stay in time.
When playing exercises or pieces containing a constant flow of notes-straight eighths for example-my favorite trick is to move the click to hit different notes of the pattern. The 3:2 ratio (a hemiola) is the best place to start.
So instead of playing eighth notes, for example, change the beat to fall on every 3rd note and play the same sequence in triplets. Wow! That breathes new life into old, stale exercises. The 3:4 (triplets on sixteenths) pattern gives a similar effect. You can also try 4:3 and 5:4 for a little more adventure. After a little practice with this kind of rhythmic interplay, it comes easy yet always feels more interesting. It literally feels brand new, yet your fingers seem to already know the way.
Next try moving the click to a rhythm off of the beaten path. That is, instead of making the click define the pulse, you make it play quarter note triplets for example. Now YOU generate the feel of the pulse and it clicks away somewhat “against” you. On top of that, play your exercise in eighth or sixteenths or whatever. That puts an entirely new spin on things!
OK, now practice on a study or sniplet. It is important to set the metronome clicks to a very comfortable, slow, speed when starting to learn a piece. If used when starting to learn a piece, inaccuracies in note values will not be learned. Repeating a phrase or two at a time, and using the metronome to count the beats between repetitions is a very useful technique. As notes are learned, additional phrases can be added to the loop until an entire section is practiced.
The metronome can be used as an anchor through long repetition practice. This ensures that note and rhythmic accuracy are maintained. Players can use the metronome to physically settle in to a piece.The metronome can be used to gain familiarity and memorization.
Before a piece is performed, there needs to be complete mastery of the notes, there cannot be any insecurity. Once the notes are mastered, then sing the rhythm and, if it’s a really difficult one, play only the rhythm on open string. Then, when you get it down ad the notes at a comfortable tempo. Make sure the phrasing is flowing and not patched. An easy, steady pace encourages the release of tension in the arms and hands. Many technical problems work themselves out by using the metronome wile playing.
How to use the metronome to overcome technical difficultiesLet’s say you have to play an arpeggio in 16ths at a fast tempo.

First, start to learn all the notes and play the chords first

Then, play 8ths

Are you ready? OK, play the first beat with 16ths, and a 1/4rest, second beat, 1/4rest, 3rd and rest, 4th and rest.Now, play the arpeggio without the rest.

You want play faster?
Do not target all the beat, but, instead, aim the 1st and 3rs beat and emphasize them:

 
 

 

Practice a few measures at a time. When you’re ready take another group of a few bars… One you’re comfortable, put them together.Do the same thing with next groups and the first page… and so on.

Always start with a little group. The metronome will also be as a gauge to measure your progress.

Note the speed you reached and try to go faster the next day… You’ll build up the speed every day.
Makes sense you have to practice on a regular basis…
Have any question? Write a comment and I will answer.
Cheers,
10 comments

Want to learn tremolo?


2009
06.11

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Posted in Tricks and Tips on Guitar | 10 Comments »

The key in a good tremolo is evenness and articulation.You need to focus on regularity and each note should have the same volume and duration.

First of all you’ll need a metronome.
Then, practice the first speed burst exercise on all the open string. I start at 60 but you can start slower. Always use a speed you’re comfortable at and can control every thing. Practice on the 6 strings.
[Click on images to enlarge]

When you feel comfortable, practice 2 and 3, increasing the speed burst. Keep the metronome at 60 and progressively go to 120.

Exercise 4 introduces P playing on different strings to create a bass line.

Exercise 5 is the same but without the rest. You will play now a continuous tremolo but still at the half of the speed. A tremolo is usualy written in 32nd notes and, at this point we are still playing 16th notes:

Exercise 6 introduces the 32nd notes, still on open strings:

Exercise 7 is the same but with chord changes: C – G – Am – Am – F – G7 – C

Working on a song like Recuerdos de la Alhambra, start with just the chords and then ad your tremolo.
Have any question? Write a comment.
Take it easy,
Philippe
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