Left Hand Technique (Bass / Guitar)

LEFT HAND TECHNIQUE

A. HAMMER ON (H)

This technique is played by the left finger tapping on the fret board, sounded the right index finger and then with the left hand first finger is still pressing on the fret board, the other left hand fingers hit the fret board (with a higher tone) without pronounced with right index finger.
The symbol of this technique is the "H".
Below is an exercise of the Hammer On.

--- | - 1 - | --- | - 3 - | --- | ---- strings 1
--- | - 1 - | --- | - 3 - | --- | ---- 2 strings
--- | - 1 - | --- | - 3 - | --- | ---- 3 strings
--- | - 1 - | --- | - 3 - | --- | ---- 4 strings

Train strings sequentially starting from 1 up to 4 strings. Then down again to the string 1. Train with a slow tempo first. Then the tempo is brought forward. How quickly the tempo of your day, try to even faster tomorrow. Here is a form of fingering can be trained:
1: finger
2: Central
3: Sweet
4: little finger

Training with a combination of finger:

1-2 2-3 3-4

1-3 2-4
1-4

2. PULL OFF (PO) 

This technique is the opposite of the Hammer On technique. Press the strings with fingers left: middle, or a little sweet (written with blue numbers). Then sounded, then the first left finger is lifted and the second left fingers press the strings with a lower tone is sounded again without the right index finger (written with red numbers).

--- | - 1 - | --- | - 3 - | --- | ---- strings 1
--- | - 1 - | --- | - 3 - | --- | ---- 2 strings
--- | - 1 - | --- | - 3 - | --- | ---- 3 strings
--- | - 1 - | --- | - 3 - | --- | ---- 4 strings

Practice with a combination finger on the left as exercises Hammer On.

3. HAMMER ATTACK (HA).
This technique is played by pressing a finger on the fret board with the left-enough energy to produce a tone is sounded by hand without the right. Train your fingers to combine your left until your left hand to feel quite tired.

4. HAMMER CROSS.
Use your left finger to press the fret board, then sounded the right index finger (written with blue numbers), then the second left finger ring the other strings with Hammer Attack techniques (written with red numbers).

--- | --- | --- | - 3 - | --- | ---- strings 1
--- | --- | --- | --- | --- | ---- 2 strings
--- | - 1 - | --- | --- | --- | ---- 3 strings
--- | --- | --- | --- | --- | ---- 4 strings
Train your fingers to combine, with different strings, and then try to run toward the chromatic bass body.

5. SLIDE (/ s)
This technique is used by the left finger pressing a note on the fret board, then sounded the right index finger, then the left finger (while still pressing the strings to the fret board) is shifted towards the body or toward the head in accordance with the intended tone.

--- | --- | --- | --- | --- | ---- Strings 1
--- | --- | --- | --- | --- | ---- 2 strings
--- | --- | --- | --- | --- | ---- 3 strings
--- | - 1 - | --- | - 3 - | --- | ---- 4 strings
======>
S

6. Vibrato
This technique is played with one finger to press the strings to the left of the fret board and sounded, then the string is bent vertically upward and down repeatedly with rapid. The resulting sound is the sound of the waves.

7. Vibrato SHAKE
This technique is played by the left fingers press the strings to the fret board and sounded, and finger plays slide techniques to the right out of the first fret then slide back into the first fret and then out to the left of the first fret. This process is done quickly and repeatedly. The technique is good when played solo with the Blues scale.

8. BEND
This technique is played by the left fingers press the strings to the fret board and sounded, then the finger to bend the strings to the head or toward the feet while holding down the strings. This technique is easier to do when the three left fingers press the strings are equal then bend them. Easier if done with the left thumb and three fingers gripping the neck press the strings are equal then bend them. The result is the first tone will rise to semitones or even whole tone.

9. Thrill
this technique is played by Hammer On technique and the technique alternately Pull Off quickly. Right index finger only once rang the strings. You must find the right moment to do this technique. The resulting sound is the voice fluctuates rapidly, giving rise to a wave effect.

10. Harmonic
the technique is done by attaching (without pressing) the strings at certain points on the fret board. In order to obtain a clearer harmonic sound, place your right hand closer to the bridge. The technique is much in use to tune- bass strings. Can also be played on a bass solo moments.

11. Barring
the technique is performed by pressing a few strings by using only one finger. (Usually combined with a double stop or raking techniques). This technique is useful to speed up the fingering in playing a bass line.

12. MUTE LEFT HAND
This technique is useful to stop the sound by placing the fourth finger of the left to the fret board without suppressing it, so just touch it.

13. GHOST NOTE LEFT HAND
The technique is performed by index finger across the three strings with the touch without pressure, then the third left finger slap to the four strings without producing a tone. A tone will create a tone that is just dead (dead note / ghost note).

Read more

Learning Bassline Technique

Bassline is one of bass technique that underlies the bass chord accompaniment and rhythm of a song.

Rhythm section is one part of the band (combo), which also determines the type rhythm / rhythm being played. They consist of drums, bass, piano / guitar. Piano / guitar also called chordal section.

Build BassLine

In building a bassline, played the most important notation is basic notes (root) of the chord itself. After that to support the basic notes, we can use the fifth tone of the base note, in this case are the tones 'Sol'. As an example we are playing in C major chord, then the basic notes are C, and fifth tones (sol) is G.

An example is like this:

C C F F

| C. G. | C. G. | F. C. | F. C. |

In the swing we would often play 4 tones with a value of ¼ in a bar like form below :

C C F F

| C C G G | C G C G | F C F C | F F C C |

Development of the above forms can be done in the following way:

1. Approach Trinada

Trinada or so-called Triad of a chord is the tone that the builders of a chord. Tone (in major and minor) consists of:

• 1 (do) as root / basic tone of the chord.

• 3 (mi) if the major and 3b (ri) if the minor, as third tone/3rd or determining the nature of the chord if the chord is major or minor.

• 5 (sol) as the fifth tone of the chord.

For example, the form becomes as follows:

C F C F

| C E G C | F A C F | C E G C | F A C F |

2. Arpeggio approach and Broken Chords

Arpeggio is a tone which consists of a chord in which the tone is played individually or sequentially. Named Broken Chords if played in no particular order.

In addition there are arpeggios trinada describing the tone of the extension or the quality of the chord so that explains the full chord.

For example in the C7 chord arpeggios it is 1     – -     3   –   -   5   -     7 b    .

From the example above can build a pattern bassline, one of them is as follows:

C F C F

| C E G Bb | F A C Eb | C E G Bb | F A C Eb |

3. Approach with semitones

Semitones or so-called half tone / tone that have a ½ intervals.

To my menus to the next chord we may also use or combine movements * chromatic chord towards the goal.

For example, combines with the movement of Chromatic Triads are as follows:

C F C F

| C E G Gb | F A C (B) | C E G Gb | F A C (B) |

Semitones

4. Interval Bassline (General Form)

In progress displacement chord in swing bassline commonly used form of intervals as follows:

Major = WHH (Whole - Half - Half) or intervals of 1 - ½ - ½.

Minor = WHHH (Whole - Half - Half - Half) or intervals of 1 - ½ - ½ - ½.

For example there are the following forms:

C F A-D-

| C D D # E | F / / / | | A B C C # | D E F F # |

From the above theory, let us try to apply the 12 Bar Blues Swing Progress in C.

Here's the form:

| C7 / / / | F7 / / / | C7 / / / |% / / / |

| F7 / / / |% / / / | C7 / / / | E-7 / A-7 / |

| D-7 / / / | G7 / / / | C7 / A-7 / | D-7 / G7 / |

^ ^ Good luck ^ ^

Read more

Tapping Electric Guitar technique

Various ways of playing the guitar, either acoustic or electric guitar. Not long ago young musicians Indonesia look stunning with his guitar.

Playing acoustic guitar can be done in ways such common Flamenco, Pop and Classic. Not much different to play on electric guitar.

The difference in electric guitars, guitar sound should wear additional noise amplifier (amplifier). Because the electric guitar does not have space to accommodate the acoustic resonance Stringed (string) guitar.

How to play guitar with style "Tapping" is, Stringed not picked as usual, but a knock Stringed use your fingers directly. On the electric guitar is very sensitive to touch on Stringed.

From the sensitivity Stringed that thrill "spool" electrically, making it more attractive tapping technique on the use of electric guitars. Is the acoustic guitar can also be done this way? Yes, acoustic guitar could just not as loud (loud) on electric guitar.



World-class guitarist who often plays guitar with Tapping attractions there include the name Eddie Van Hallen, Steve Vai, Paul Gilbert, Andy James and Balawan of Indonesia'spioneer style tapping in Indonesia.

To see how this musician plays his guitar can be seen in YouTube, Google, Yahoo and MSN to write the word "Tapping Guitar"

That my friend, with my fingers do not normally post-surgery forced me to re-learn to play guitar with tapping this way. For the same pal who is interested or concerned with this guitar technique... Let us share.

Read more

Arpeggio Techniques

Arpeggio
Arpeggio is a combination of tones that gradually and sequentially rung, which is formed by a particular chord.
Tips for practicing arpeggios should we pay attention to the accuracy of tone, picking technique, the position of the finger. remember to start training with a tempo that is until you become accustomed to and then speeding up the tempo little by little, if you just rely on the speed of the left hand fingers and not supported by picking an accurate then the result would have sounded notes are not clear, therefore the key is synchronization your left hand fingers with your picking. Start the exercise with a slow tempo, focus for the accuracy of the first tone.

Ex.1 Arpeggio descending

in this exercise we will use 4 Dmaj chord, Em, F # m and Gmaj, Dmaj chord we're going to do with the sequence of arpeggio tone DF #-ADF # (Dmaj) EGB-E'-G (Em), F #-AC #-F # '-A' (F # m), GDB-G'-B '(Gmaj).

Em Dmaj
---------------- 2 ------------------------- 3 ------- ---
------------- 3 ----- 3 ------------------- 5 ----- 5 ---- ---
--------- 2 ----------- 2 --------------- 4 ---------- 4 - ---
------ 4 ---------------- 4 ---------- 5 --------------- -5 -
--- 5 --------------------------- 7 ------------------ ---
-------------------------------------------------- ---

Gmaj F # m
---------------- 5 ------------------------- 7 ------- ---
------------- 7 ----- 7 ------------------- 8 ----- 8 ---- ---
--------- 6 ----------- 6 --------------- 7 ---------- 7 - ---
------ 7 ---------------- 7 ---------- 9 --------------- -9 -
--- 9 --------------------------- 10----------- ------- -
-------------------------------------------------- ---


Ex.2 Arpeggio ascending


---------------- 2 ---- 5 -----|----- 7 --- 5 ------------ -----
-------------|----------- 5 ------------- 3 ---------- -----
-----------------|--------------- 4 --------- 2 ------ -----
--------------------|------------------ 5 ------ 4 --- -----
--- 5 -----------------------|--------------------- 7 -----
---------------------------|---------------------- -----



---------------- 10 -----|---- 5 ---- 9 --- 7 ------------- ----
---------- 8 ------------- 7 -------------|----------- -----
-----------------|--------------- 7 --------- 6 ------ -----
--------------------|------------------ 9 ------ 7 --- -----
--- 9 -----------------------|--------------------- 10 ----
---------------------------|---------------------- -----


Simple Classic Ex.3 Arpeggio


~ ~ ~
-4 - 1 -------- 1-4 - 7 --- 4 -------- 4-7 --- 10-7 -------- 7-12 ----
------- 3 --- 3 ------------- 6 --- 6 -------------- 9 ---- 9 ----------
--------- 4 ----------------- 7 ------------------ 10 --- ---------
-------------------------------------------------- ----------
-------------------------------------------------- ----------
-------------------------------------------------- ----------

After Studying arpeggios above technique, try to train chord arpeggios with other positions with the aim of expanding knowledge, and the position of the finger. Purpose of studying the arpeggio technique is to achieve finger skills, accuracy of tone, and amazing speed as the guitar god who became our idol. But I remind you that you exercise gradually and regularly in order to get a good basic game first. Happy Practicing!

Read more

Blues Scale

The contents of the Blues Scale are similar to the contents of Minor pentatonic. The difference is the "b5" is usually called the Blue Note. So the contents of the Blues Scale are 1 - b3 - 4 - b5 - 5 - b7. Blues Scale can be used as a Bass Line or used to create a melody (solo).


In addition to the rhythm of Blues, Blues Scale is commonly used also in the shuffle rhythms, Rock, Gospel, R & B, etc... Blues is the foundation of Jazz music. So the blues scale is also sometimes can be inserted in the jazz game.


Below is an example of the Blues Scale fingerings.


|---|- 1 -|---|- 3 -|---|---|


|---|- 1 - | -2 - | -3 -|---|---|


|---|- 1 -|---|---|- 4 -|---|


|---|---|---|---|---|---|

Read more