19 Amplifiers for Acoustic Guitars Electrie guitar amplifiers generally do not work well with acoustic guitars. Better results can be got- ten from specially designed acoustic guitar amplifiers, keyboard amplifiers, and sound systems beeause they are typically designed with a greater frequency range in mind. Specifically, to capture the sound of an acoustic guitar, a greater high-frequency response is called for than what conventional electric guitar amplifiers can provide The ideal system should have standard microphone XLR input jacks as well as regular guitar input jacks. This way, a guitarist can use both a pickup and a microphone on his or her instrament and control, equalize, and blend the sound of each, Built-in equalization offers a great deal of tonal lexibility and can be set to reduce feedback to a minimum. The most significant difference between electric guitar amps and acoustic guitar amps is the speaker configuration, As stated above, acoustic guitars require speakers with a greater high-frequency response than what electric guitars need. To achieve this greater frequency response, most acoustic guitar ampli- fiers use small diameter, high-output speakers, and some systems even use tweeters, These amps are essentially PA (public address) systems disguised as guitar combo amps, RHYTHM GUITAR TECHNIQUE The vast majority of playing problems can be traced back to inadequacies in basic and Fundamental techniques such us posture, fingerings, picking and strumming. etc. A serious musician must constantly evaluate his or her performances in these terms. By constructively working on any problem areas, a musi- cian can not only improve and even master those problem areas, but can also gain valuable insight into his or her strengths The Right Hand The right hand controls the volume, tone, dynamics, and attack of the instrument's sound, Volume—Volume has to do not only with how loud oF soft the is played but also with how consistently the strings are attacked. The right-hand strum motion must be con- sistent and efficient, The goal here is to be able to strum the strings af a fingered chord so that they sound like one string. In order to avoid wasted arm mation, strum primarily from the wrist, ‘Tone—Differences in tone ean be achieved by selectively striking the strings at various distances from the bridge. The closer to the bridge a guitar is steummed, the brighter and thinner the tone, Conversely, the farther away from the bridge (or closer to the fretboard ) fa guitar is strummed, the darker and fuller the tone. A good spot for playing rhythm on many guitars is the point where the frethoard ends and the body of the guitar begins Dynamies—Musiec should be thought of as a living entity, and, as sueh, it has te display a wide range of emotions. This can be accomplished through the effective use of dynam- ies. By listening to the musicians that you are playing with and learning where the musie naturally rises and falls, the music will begin to come to life ks should not be underestimated. je the most control and yet h ner picks tend 10 hi The Pick—The importance of your choice of p Generally. a pick that is 10mm or thicker will prov enough weight to get the most sound out of the g “clicky” sound undesirable for this style of guitar playingThe Left Hand The left hand controls what chord voicings are played by both fingering the desired notes of a chord and simultaneously muting the unused strings. The majority of rhythm voieings use three or four notes, and it is very important not to have the unused strings ringing. The left hand also controls how long the notes in a chord will ring. This, in combivation with the right-hand sirums, allows the guitarist to articulate the chords. In other words. the groove can be adjust- ed by mixing long notes with short notes in each 44 measure. ‘The basic articulation for a single measure of 4/4 rhythm is as follows: beat long, beat 2-short and slightly accented, beat 3-long, beat 4 short and slightly accented. If this is done consistently, a certain groove or “feel” can be established. Please remember that this is a very subile efiet—not nearly as dramatic as it might look on paper. 1 have used staccato markings on beats 2 and 4, but in actuality the chords are not played as short as a nor mal staccato note. Likewise, beats | and 3 are played just a little bit longer than 2 and 4. Beats 2 & 4 are ented slightly. While we're on the subject, there are two other basic articulation patterns common tar. In the first below, constant staccato markings are used to indicate that each chord as possible, Think snare drum! 424 chythm gui- played as short em sy s— 7 [SFT SO =F uid feeling is desired here. This type of rhythm articulation dates back to the marches of the late nineteenth century (lohn Phillip Sousa, et. al.), The shortness of the notes is controlled totally by the left hand releasing each chord after it is strummed. The last articulation is most often used when playing ballads, The left hand must release each chord so that it does not cover up or ring into the space (quarter rest) between each chord: Cm fF SSS] ql | s = Again, as with the right hand, efficiency and economy of motion are required for good left hand tech- nique. The left hand fingers must work together as @ team or unit, and each finger must carry its weight in the task of proper fingering. Strive for the following in pursuit of good fingering + Identify your weakes! finger(s), und develop exercises for strength and endurance. + Always observe and monitor your hand motion while moving from chord to chord, and minimize any motion not needed. + When any particular chord is played that does not utilize all four fingers, make sure the unused fingers hover closely above the strings and do not extend themselves @ great distance. The unused fingers must remain in readiness at all times, and the smaller the distance they have to travel, the quicker and more aceurate they become. Use the tips of the fingers unless a single finger has to play more than one string + The thumb plays a supportive role ia fingering, and, as such, it must be centered in back of the guitar neck so that all four fingers can benefit from its sunport.PRACTICE: FOOD FOR THOUGHT Get Serious You already know that it will take practice to reach your full potential ay a musician, Don’t waste time! Get serious! OF course, there will be times when you don’t feel like it You will say that you don't have time, and you will be discouraged. Just remember that if you quit, or if you take a lazy, haphazard approach to playing musie, you will never reach your fll poten Music Means Listening One of the best habits a: musician ean develop is recording him or herself, both during rehearsals and performances. Record yourself when practicing alone or with others. Record youself in as many situa- tions as possible, Think about it—the only way that you can hear yourself the way others hear you is with & tape recorder. I’m not suggesting you rent studio time or invest in professional recording equipment. A simple battery-powered cassette recorder will work just fine. How many hours have you spent listening to your favorite recording artists? How familiar are you with the way your favorite guitarists sound? Well, now 1am suggesting that you listen to yourself and get familiar with Your own sound, from the per spective of rape recording. Do it at least enough so that you don’t feel self-conscious with the tape rolling, This will also help you develop the habit of applying yourself and always making your best effort, Don't try to pick and choose when you will try to play your best—always try to play to the best of your abili- ty at that particular moment! After recording yourself, be sure to listen to the tape. Be honest and critical. Ask yourself questions like the following: + What would have made me play this better? + What are my weaknesses? + Am [in tune? + Do | sound comfortable with the material? + Do | have a good sense of time? + Do | have a good tone and sound? + Am [ listening and being sensitive to the other musivians? + Is there emotion, feeling. or expression coming actoss on this recordin: + Am | making music? Imagine recording and listening to Your your playing would improve a lot! The Metronome elf every day for six months, a year, or more, Believe me. The metronome is a useful practice tool, bul there are a few things to think about if you are going use one. First of all, practice with the clicks on beats 2 and 4. instead of on 1, 2. 3. and 4, This comes closer to the way the musie feels when playing with other musicians. This means you'll actually be play ing at twice the tempo of Your metronome setting. If, for instance, your metronome is sel for quater notes al 88 dpm, your actual playing tempo is 2 x 88 = 176 bpm. The metronome is clicking once every two beats at 88 bpm and once every beat at 176 bpm. Tap Your fot on every beat if you want, but always have the metronome on 2 and 4 only Secondly, usc a variety of tempos, Don’t get into the habit of using the same tempo settings all the time. Your goal should be to develop consistency al any tempo. Practice Goals Lis extremely important to set goals when pr 2. As a serious musician dedicated to improving ding the most practice time your musical skills, it becomes necessairy to always challenge yourself by spe on the things that are most difficull for you. If you can't find anything that is diffieuh for you to play, you are in big trauble! There is al ays something else to loam. There is always room for improvement.attitude. Je honest with yourself. Identify and work on your weaknesses. Adopt a problem-solvin Part 3: Chord Reference Library We are now going to take a look at some general chord voicing concepts. which should shed some ion the how and why of rhythm chord construction. DROP AND RAISE CHORD VOICINGS Let's take a Jook at an E major triad and its inversions. These chords are in eloyed position, inean- at no other chord tone can be fit in between the chord tones. Root position First inversion Second os eer . . BI 3? 12 &é % a F are OK. bu y closed vote they're not very practical on the guitar. They"re also not very system known as drop and raise Closed position voie! iul|-sounding. However, ing the notes in a close be opened up by ust chord voicing, This works by first numb d positior 1,2, 3.4 ete —then simply moving the desired voice down or up an octave, Applying this to the E-1 hhord, [rom top to bottom: Iriad and its inversions generates the usefull rhythm chords that we have already seen. The following are an E major triad—the second note from the top af each closed voicing has been all drop two voicings of moved down fo the bass Closed position 248 Dropping 2 Dropping 2 Droppi veal © ote oor . . ee . . S14 2 3 14 Drop two E major triad Drop two E major triad | Drop two E major tria2a Adding @ seventh to a chord expands the number of drop of raise voicings possible. Let's generate drop three and drop to voicings for an Fimaj7 chor. Qosed position Fmaj7 chord Aller generating the first drop three voicing, make é gh the other inversions by moving to the neat higher chord & at tone on each string, as shown with arrows, | Dropping 3 ia Fee toi . . | 2 134 3 241 311 1342 Drop three Fmaj7 Drop three Fmaj7 Drop three Fmaj7 Drop three Fmaj7 Closed position Fmaj7 chord Alter generating drop. two voicing. ge make the other inversions by moving to the next $3 higher chord tone on each string, as shown with ane Dropping 2 ne jee on elgg ttiae 0 asi oo aff | oe . aah sail 1433 sts Drop two Fmaj7 Drop two Fmaj7 Drop two Fmaj? Drop two Fmaj7 Drop and raise voicings can also be formed by dropping or raising conmhinuriony of chord tones, For instance. there can be drop 2 and 3, raise 2 and 4. ete, However, because we are only concerned about 4/4 rhythm chords, drop nvo and drop three voicings on the low E through high B strings will be the only voicings we study. We won't be using raise voicings at all, | encourage you to further explore the concepts of drop and raise voicings on your own though and figure out other voicings for yourself,24 THE CHORD REFERENCE LIBRARY The following Chord Reference Library is for your general information and reference. It contains all the chord voicings required in the subsequent exercises contained in this book. Fach chord is illustrated in the following way Voicing type—DROP TWO. RHYTHM , oF DROP THREE Lowes cher tone shvaxs on the gas | ose These voicings are grouped into chord families as follows: Major group-riads, major seventh, and major sixth chords Minor group-triads, minor sixth, miner seventh, and minor 7>5 chords Dominant group-dominant seventh chords Altered dominant group-auzmented triads and dominant sevenths, dominant 7S chords Diminished group diminished seventh chords Please play each af the voicings, wilyze and examine them thoroughly. They are all shown with roots of C, so you will want to be able to tanspose them to any root. Here is what you should do: * Play each chord in the position given, naming each note and its function, i.e., root, third, ch, ete + Pay particular attention to the lowest note in each chord, because the exereises that follow will use this lowest note as a reference. + Move each chord up the fretboard one fret at a time (chromatically), and repeat the process.25 Reference Chords—Major Group ALL ARE OROP TWO & | RHYTHM) Ee ‘0 foot Oo a 5 an Cmaj7 DROP THREE RHYTHM, DROP TWO. 7 OT T . . 3241 3024 2314 om 2m Se a sh % si DROP THREE RHYTHM DROP TWO “si De agi ee + haa * 2x od a2# ou a oD fea = test 2 as C6 DROP MEE [RHYTHIM) ——exoPTwo o—= G) . . 4 an on d en a 3 oh 25 RHYTHM bxoP wo Se ow ey) iter : . . . rust ais ice prop Tice = RHYTHM pho wo Diserise Qo sn Qi ayeise ¢ ‘ be . sani is ait wag 8 2 = a4 Js a 2 mh a Sn DROP THREE RHYTHM DROP TWO: ° “hom ‘=r 3) ote . . Pid yi sin 7 Sith sth & ae ree Ss Ge Sod DROP THREE RHYTHM. DROP TWO (Ba eee sii 2333 2 ror ag 2 ret on 2 oe we one ane 2 an prop TREE | RHYTHM DRO? TWO “ee iit Ye lotr 0 tor . . | 314i x4 sth 8h Sth @ fe 5th ae ae . be1 001 root = OS soot aaP ae pe Reference Chords—Minor Group cm ALL ARE DROP TWO & [RHYTHM] fae @ileettsie Gyeteltaw Gwe ion . “Tt he . te es 3 a4 2 24 Z © 5m pose | © tot {| — DO 3d, ret ’ Cm7 prop tree [RFYTHM) pron nwo prop tac: [RHYTHM] ror wo ® On O77 DT yerae GA ee” . oo. oe . 2 t 2 44l 3 a1 4331 #33 2311 bea Sih pede OPE 9g oT Te @ rect 2 root root om 28 B08 wo td — rae 7 sth 7 stn 5th , mn " prope (RHYTHM) prop Two pror Ture: [RHYTHM] © orop two ae Sie Delee et Deco er Galen Tir GH Te “vo ERLi@ "Flom . . . . 2333 1 1423 21a 214 a gon sth 2B 07" sth 2 Sth a. 98 2 3H 5g 23 age Pg pet in 01 ribo — Lact — sabe sai be aes Ccm6é prop ture: [RHYTHM] DROP Two DROP THREE [RAYTHM) DROP TWO Ow On Om, * str et + 3121 412 3412 244 Ru gt toot” =e 001 || dm 2 2%, gs [od on Mee a m5 z 5th B 5in Fan oh Gh prop mire: [RATHI] _ pronto propre: [RHYTHM] —_orop two GY Xo. QD SD a GY ee He ned 4s an 1 ® © ore ©) an a sings ot * eye 100 fo) 2 to it a . . ° 213 2G mn 2a Dn 2414 - sar "sae 3s — BR ee a | aa Sih of on edi paethe. 4g sth {i2 Cm7>5. prop THREE | RHYTHM) DROP TWO DROP THREE OF Os Ortapiae ° ee . . 3 lat a4 4121 é so] arin beet00t bay 57h | foot 3 r00t 100153 bh ard) V2 che wnie sa 05 8 (Se ad be 5m : ee DROP THREE RHYTHM, DROP TWO DROP THREE [RHYTHM] ROP TWO. 2 of fy, S08 3 “eo Mote $i ate W tf ay Moe 10 CDQ =8h [1H Gy ipgt we HEH FHT | | . 2341 a2 in 2134 213 bean ame 7 ste 528 sora 98rd. 425 2804, 9g pol per 24 37h spin9 ssh 9B 7h aa pres © S00 2 wit 4 wot pas be bate: Notice there is a relationship between the major sixth chord and the minor seventh chord. In fact, they use the same notes! For example, A minor is the relative minor of C major, Therefore, C6 and Am? use the same notes oo 4 Co “Fa, AMT & = oth Th Likewise, the minor sixth chord is related to the minor 795. Cm6 and Am75 use the same notes, EAS . cme \o7 | Am7>S é am f 2810. root | © 2 sont ane @ i vn What this all means is that the same fingerings can be used for both sixth chords and minor seventh chords. This is also true for minor sixth chords and minor 7>5 chords, Practically speaking, this reduces the total number of fingerings you must memorize.28 Reference Chords—Dominant Group c7 parop-THare — [REYTHM] proe Two prop ture: [RHYTHM] DROP TWO. Orr © CD eet str - ~ ~¢ 3 241 21 24 Bil Snvezroct past ips |. eRe a 2 a oa ee bev We Th en prop tHree [RHYTHM DROP TWO. DROP THREE [RAYTHM] DROP THO. Der gge sir Dela sir Deja sie “ion B “rote ©, eiiTion $f 1243 133 1312 3 142 2413 in esr ah ath ng | 2H esi 23 & Bo 5259, 42 a | Ee 6 ae a one J oot = ead 2 Reference Chords—Altered Dominant Group Technically, C+ is a triad and not a dominant seventh chord, but it is a useful and yersatile substitu- tion for C+7 C+ ALL ARE DROP TWO & [RHYTHM] — @ “0 ow . ¢ . . . 314 314 314 é © Toit ood 30 rot OS on 2G ose 0 sm DROP TWO proptaare [RHYTHM] ROP TWO ary : 4213 231 1 a ase to0t Ti 0227 pe 27m ta i68 23 zn "O Ord aoe gat. 25 35h. FZ ond7 5h C+7 (cont'd) proe rHrer — [RHVTEIM paoP TWO Stree. | ste 8h ai Gere, f 1234 123 ty tsn 29 fia yg oe 2 ea 5G san 23 2 raat 6 roo! & root Technically, C95 is 2 triad and not a don Os = ALL ARE DROP TWO & [RHYTHM] 63) 23 123 4 101 ous 5d 2 16h * 585m = C75 prom tHner [REYTHM) ror two ea De 123 sal 4 ST Ru oie at ES prow nines [RHYTHM] oRop Two “Tie De “ste @ ste ¢ Os {¢ . MMI 244 1324 a 429 360%, ah 2 ook oe 29 DROP THREE [RHYTHM] pop TWO Qe oe @pigr foe @ te Tile fee 3 142 3 1F 2314 pein ze in ze sth | “boat % foot bee Ton La 30 ead pat Al seventh chord, but it can be a substitution for C795, (THM) DROP TWO rvs Dylgyior D, oghae ‘ Opt 474! . 4 a2 una [3s 54 50 gh be ai bd im 72 3, DROP THREE [RHYTHM] DROP TWO BD Nepsfiowr @/TepPow @ e Fow ee ‘ . ee . Vie a Mi git