In case you're new to fingerpicking, the right hand has letter names. The thumb is p, the index finger is i, the middle finger is m and the ring finger is a. But the difference in this exercise is we will associate the left-hand fingers with the right-hand letters. The first finger of the left hand will always be played with p.
This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for this exercise. The first measure is an ascending I chord/arpeggio of the major scale, which extended out (1 3 5 7), is a major 7th chord/arpeggio, which is a G major 7th chord/arpeggio (G,B D,F#).
I'm always looking for new and challenging ways to make my practicing and playing more fun and creative — and in the process, dig down deep to discover something new about the guitar and myself. In this lesson, I will discuss and demonstrate my first finger twister, a combination of a major and minor scale and arpeggios across the fretboard.
All of a sudden it's not a guitar in their hands. It's an extension of their bodies. They've achieved what we refer to as "the zone." But how many times have we, as musicians, reached that place ourselves? This column will help to demystify this thing called "the zone" and offer insights as to how to train our minds and fingers to get there.
In this column, I'd like to expand a bit upon my last column, in which I discussed some basic fingerpicking patterns. We are going to take those basic patterns and expand upon them — but not with more right-hand patterns. This time, we will change the left hand. In this exercise, we will keep the right-hand pattern/approach the same. However ...
In case you are new to fingerpicking, the fingers on the right hand now have letters to denote which finger patterns you will play in a particular section. The thumb is p, the index finger is i, the middle finger is m and the ring finger is a. So the right hand now spells out pima.
Hey, everyone! In the past few blog posts, I've been discussing various arpeggio exercises in order to show you how notes on the fretboard are connected, and also how to master the fretboard. In this column, I'd like to continue the arpeggio discourse but also really challenge you by taking it up a notch. I present arpeggio inversions!
This past week, I was doing some spring cleaning, and I came upon some notes given to me from a few lessons I took from a famous jazz teacher in the late 1980s in NYC. I took only three lessons from this gentleman, mostly due to the fact that during every lesson he was under the influence of certain mind-altering substances, which I found really unprofessional considering the amount he was charging me.
As you can tell from my previous blog posts, learning and knowing the fretboard to the best of one's ability is of the utmost importance to me — and something I stress to all my guitar students. How much do I stress this point? So much that last week one of my students wanted to know why is it so important to me. I thought about it for a day or two. That's why I love teaching; it gets me to reevaluate all that I know.
Hey, everyone. In my last two blog posts, I discussed arpeggios and how to incorporate them into your playing to learn the fretboard and add some color to your leads. This time, I'd like to discuss some really cool major- and minor-scale exercises that will help your overall guitar playing on many levels.