right hand technique (or left, if you're a lefty)

[rick-slo]

Keep vertical bouncing under control, especially on the faster stuff. The videos of Julia Lange TBman posted are a good example of control.

[Merlemantel]

Originally Posted by ljguitar

Hi Merlemantle…

If you were a student (I taught fingerstyle guitar for 40 years) I'd put you in a regimen to increase your vocabulary of, and precise use of, systematic patterns - both plucking and picking - involving the picking hand…anywhere on the fingerboard, and using spaced as well as adjacent patterns…so they remain precise and become language. When I was in kindergarten I could not read much, but I spoke fluently. Then I learned to read/write and it improved my communication but I never forgot how to tell stories and chat.

My piece of advice would be to understand realistic assessment that it would take several months/years to go from square one to a proficient level. When I started playing/singing folk music in the 60s and telling stories, then later built the skills to improve what I was sharing, it came together more organically. It also connected with others better and became a basis for interaction.

The formal classical training I had for 18 years was not learning to speak first and then spell, but trying to do both at the same time (with heavy emphasis on how perfectly our music was spelled rather than how it communicated and how well it was shared, understood and appreciated by listeners).

Proficiency for me means to be at a level somewhere between 'I-can-play-patterns-NOW' for patterns already learned, and 'if-I-think-it-NOW-I-can-play-it-SOON' when you encounter new applications and opportunities. And proficient players tend to play very free and relaxed. The music just flows from the brain-through-the-hands (or the mouth in the case of those who play and sing).

Despite fingerstyle being my main skill, there are still situations I play in (especially playing backing guitar in ensemble situations) that I need a minute/day to either adapt or build into my fingers/brain the new patterns I'm needing NOW.

Hope that made sense…

I bet your students love you. I studied music both as an undergrad and grad at IU, maybe you've heard of it. Maybe not. I get the necessity of tedious repetition. Luckily for me, at 67, I have the luxury of time to do that sort of practice. I began playing guitar when was 5, and have played seriously off and on since that time, BUT, I have never been serious about classical technique. Now, I am taking it on. I will never be truly skilled, too late of a start, and lots of burned in bad habits, but every day I am better, and I will take good information anywhere I can get it. It becomes fairly evident who knows what they are talking about and who doesn't after a while of paying attention, especially since I already have a rich background in classical music. Any book you would recommend, or online resource? Maybe I will approach a teacher, but for now, I am enjoying carving it out of granite with my hands (to use a metaphor) alone in the comfort of my home. Thanks for your response.

[ljguitar]

[QUOTE=Merlemantel;7275568…Maybe I will approach a teacher, but for now, I am enjoying carving it out of granite with my hands (to use a metaphor) alone in the comfort of my home. Thanks for your response.[/QUOTE]

Hi M-m
I'm guessing you've got enough education and experience to design your own path to successfully work your way through the grant at home and get great results!

…In Bloomington?

[Merlemantel]

Originally Posted by ljguitar

Hi M-m
I'm guessing you've got enough education and experience to design your own path to successfully work your way through the grant at home and get great results!

…In Bloomington?

Yep, in Bloomington. It was a surreal experience just walking down the hallway in the practice building. The sound coming out of nearly every room was extraordinary. The school draws very talented students. It is a no joke place to study. Wasn't very fun, to be honest, a lot of pressure. But I got what I needed.

[mawmow]

Originally Posted by TBman

It's going to come down to 1 thing in the end.

Slow and precise repetition.

Generally the thumb handles the 6th, 5th and 4th and the index (i), middle (m) and ring finger (a) are more or less assigned in order to the trebles as i 3rd, m 2nd, a 1st, but it depends on the music being played. You try not to use the same finger twice on a trebles string for speed and flow purposes.

I have found that learning simple classical etudes has really helped my overall right hand skills.

Also, Guiliani's 120 right hand exercises are excellent and can be found in notation with tab versions on the internet.

Lastly, find a finger style tune you want to learn to play, something a bit over your head and hammer at it.

I cannot stress more on that since it is the path I followed.

I can only add there is a series of tab books « Fingerpicking (genre) » with many
nice pieces going from blues and standard (jazz) to easy rock through pop, folk, etc.
There are also Stefan Grossman’s workshop (Vestapol company) and Homespun video directed by Happy Traum.

You would then get hundreds hours of pleasure !

[Merlemantel]

Originally Posted by mawmow

I cannot stress more on that since it is the path I followed.

I can only add there is a series of tab books « Fingerpicking (genre) » with many
nice pieces going from blues and standard (jazz) to easy rock through pop, folk, etc.
There are also Stefan Grossman’s workshop (Vestapol company) and Homespun video directed by Happy Traum.

You would then get hundreds hours of pleasure !

There really is no substitute for slow repetition. I am going at it that way and I have noticed a pattern. I think I am making no progress at all, and then one day, I improve noticeably. More rehearsal, no progress, then a few days later, a jump in my ability. Its interesting. The slow days are frustrating, but the days when it seems to fall in place are exhilarating. What should I google to find the book you mention? Thanks much.

[mawmow]

Originally Posted by Merlemantel

There really is no substitute for slow repetition. I am going at it that way and I have noticed a pattern. I think I am making no progress at all, and then one day, I improve noticeably. More rehearsal, no progress, then a few days later, a jump in my ability. Its interesting. The slow days are frustrating, but the days when it seems to fall in place are exhilarating. What should I google to find the book you mention? Thanks much.

I bought the fingerpicking book series on eBay, but you can buy online versions of Grossman’s Workshop directly on Vestapol co. and the others on Homespun Video.

I forgot to mention a bunch of free tabs with scores on the website of an Irish musician Will Fly.

Enjoy !

[Merlemantel]

Originally Posted by mawmow

I bought the fingerpicking book series on eBay, but you can buy online versions of Grossman’s Workshop directly on Vestapol co. and the others on Homespun Video.

I forgot to mention a bunch of free tabs with scores on the website of an Irish musician Will Fly.

Enjoy !

Thank you!!!

[JonPR]

Originally Posted by Merlemantel

What one piece of advice would you give to enhance right hand finger picking technique? (or left, if you're a lefty)

I'll echo RodB exactly: play like you mean it. Don't be half-hearted.

In terms of technical practice advice, that means precise and firm articulation, and working with a metronome to check your timing.

Decide whether you want to use fingernails, or thumbpick and fingernails, or even thumbpick and fingerpicks. The flesh of the fingertips can work - some of the old blues players did that - but it tends to sound less positive than nails or picks.

When learning patterns, don't separate thumb from fingers. The "independent thumb" is a myth. Use thumb and finger(s) as required, working together, just start as slow as necessary, and check your timing with the metronome if necessary.

It can be good to forget the fret hand entirely when working on a RH pattern. Or at least, just hold one chord all the way, so you can focus on the right.

There's a great exercise demonstrated by Clive Carroll, to train each finger to play with its own independent dynamic level, which really helps you focus on articulation
This is fingerstyle boot camp!


You don't have to use that specific chord shape, you just need a chord with all 6 strings.
Bert Jansch used the same RH pattern on different chords throughout this song: https://www.youtube.com/watch?v=_p2TvhzmxLc (starting with Eadd9: 0-2-4-1-0-0)

[Merlemantel]

Originally Posted by JonPR

I'll echo RodB exactly: play like you mean it. Don't be half-hearted.

In terms of technical practice advice, that means precise and firm articulation, and working with a metronome to check your timing.

Decide whether you want to use fingernails, or thumbpick and fingernails, or even thumbpick and fingerpicks. The flesh of the fingertips can work - some of the old blues players did that - but it tends to sound less positive than nails or picks.

When learning patterns, don't separate thumb from fingers. The "independent thumb" is a myth. Use thumb and finger(s) as required, working together, just start as slow as necessary, and check your timing with the metronome if necessary.

It can be good to forget the fret hand entirely when working on a RH pattern. Or at least, just hold one chord all the way, so you can focus on the right.

There's a great exercise demonstrated by Clive Carroll, to train each finger to play with its own independent dynamic level, which really helps you focus on articulation
This is fingerstyle boot camp!


You don't have to use that specific chord shape, you just need a chord with all 6 strings.
Bert Jansch used the same RH pattern on different chords throughout this song: https://www.youtube.com/watch?v=_p2TvhzmxLc (starting with Eadd9: 0-2-4-1-0-0)

This is great stuff!! Thank you