|
|
#31
09-24-2011, 02:59 PM
|
|||
|
|||
Quote:
I did try all the available fingertip pick products but none of them were to my satisfaction. 
|
|
#33
09-25-2011, 03:51 AM
|
|||
|
|||
|
Well Nina your question raises quite a few other questions.
This has to be a subjective assessment. Which techniques do you consider to be basic? Which techniques are intermediate and which are advanced. The answers to these questions are going to be different for different people. If you can settle on a consensus then you will have developed a guitar curriculum. This probably already exists in classical guitar but in non classical finger style playing I'm not so sure. Could this be a subject for a separate thread?
|
|
#34
10-23-2011, 03:51 AM
|
|||
|
|||
|
Refer to Stanron's thread on which finger is assigned to what string. Then practice some arpeggios...in the dark....turn the lights out and get those fingers memorized to their string. Have fun with it!
__________________
- Cordoba C5-CET - 814CE TSB
|
|
#35
10-23-2011, 05:28 AM
|
|||
|
|||
|
Quote:
Firstly, when you say "where should one look", do you mean where can you go to hear such styles, or where can you find lessons on how to play them? Whichever it is, it still depends on what you mean by "advanced", because there are many different kinds of advanced fingerstyle (while there's only a couple of "basic" styles, and just a few basic techniques). Many players in folk, blues or rock have developed their own styles, branching out from the standard techniques. In one sense (outside classical guitar), there's almost as many "advanced fingerstyle techniques" as there are advanced fingerstyle players! "Basic" means something like the excellent exercises stanron posted earlier - which are of two types: classical (3 fingers on strings 3-2-1, limited thumb action, arpeggiating chords and incorporating melodies); and folk-style alternating thumb bass (thumb leads, finger action is simpler and less strict, mostly for vocal accompaniment). It's good to practise both, of course, but you will probably find you prefer one to the other as you progress. In fact, becoming "advanced" tends to mean specialising in one direction. And perhaps (unless you go in the classical direction) developing some kind of personal approach of your own. Eg, Merle Travis is an example of "advanced" alternating thumb style (contrary to what stanron said, he used it for instrumental performance as well as vocal accompaniment, but the style does need to be pretty advanced to allow that, so you can play melodies on top of the bass). Players like John Martin and John Mayer developed percussive right hand picking styles - which are "advanced" if you don't know how to do them! (There are other advanced elements to their styles.) This is a rough demo of it: http://www.youtube.com/watch?v=ED-nMpwgbLA And there is a whole new school of percussive style, incorporating tapping techniques, and using the body of the guitar as well as the strings. AFAIK, this style doesn't have a name yet - some call it "lap style", but it's not always played on the lap. Here's the same guy showing some of that: http://www.youtube.com/watch?v=j63jR...eature=related (this maybe doesn't count as "fingerstyle" at all...)
|
|
#36
10-23-2011, 06:18 AM
|
|||
|
|||
|
Fingerpicking, fingerstyle, heavy wood approach, alternate or open tunings, classical technique, flamenco technique, the field is HUGE!
Once you've mastered basic/intermediate to some degree, advanced you should be able to pick up from there without too much help... Regardless of style and dialect, the basic principles are pretty much the same. What you need is determined by which direction you want to take. Classical technique is the only way to go, if you want to play classical. For fingerpicking it could be not that good though, depending on how easily (or not) you can adept your posture and hands to a different style. The only truly standarised field of playing for guitarists is the classical repertoire. Beyond that people get excellent results with very different approaches. I don't think Merle Travis felt limited, but he wouldn't stand a chance in hell performing Leyenda. On the other hand, Segovia couldn't groove... Any usefull help beyond the bare basics can only be given if you specify what you want to learn. For the basics, the exercises given in the tabs look like a really good start for the techniques. Easy pieces that are nice help as well. Learn Dust in the wind. Once you can play the original guitar part, you're well into travis picking. And it's not too difficult. Is there anybody out there by Pink Floyd is nice for some simple arpeggios. Like the giuliani exercises, allthough I find the classical exercises musically less interesting on the whole. And the more arppegios and picking patterns youīve learned, the easier it becomes to learn yet another one. And there is plenty of nice stuff. Slightly more advanced Bring on the night, by the Police for example. Another thing for the whole solo arrangement fingerstyle thing on guitar, if you want to develop in that direction, donīt focus on guitar alone. Work on what a bassplayer would play, work on what the rhythm guitar would do, learn to play melody, all separately, next to working on ways to combine those elements. Travis picking, itīs just the beginning of what can be done.
|
|
#38
10-23-2011, 09:41 AM
|
||||
|
||||
|
The most direct approach if you have some finger independent skills already is to find the right songs and practice them until you can do them.
Practice controlling the volume produced by each finger. On more espressive pieces play with the tempo, stretching, compressing, playing inside and outside the beat. For most people the repertoire they pick, and playing that well, is basically what they become as a guitarist. On top of that develop a good ear from careful listening so that you can comfortably morph things around thus providing a little spontaneity and variation in how you play.
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above
|
|
#39
10-23-2011, 10:02 AM
|
|||
|
|||
|
Quote:
And for banjo players anchoring is mandatory, and all their speed comes from the picking hand...
|
|
#40
12-16-2011, 06:19 AM
|
|||
|
|||
|
Thanks a bunch for this!! Good stuff.
Quote:
|
