Before I go any further, I'd like to say I'm sorry to my all my past teachers and instructors. After writing this blog post, I realized how, for the first 15 years of my career, I never really followed the advice I am now sharing with my readers. Please accept my humble apologies; I realize now that if I would've followed my own words, I would've saved myself a lot of time and grief over the years.
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#).
In some of my previous columns, I've discussed arpeggio inversions, but in this installment I'd like to discuss chord inversions and how they can add some color to a typical chord progression. First, we need to define what a chord inversion is. An inversion is a chord in which a different note is at the bottom of the chord besides the root.
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.
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.