First Exercises, Pt. 3 - Traversing the Fretboard

This month’s exercise will help beginning students to: (1) traverse the fretboard by using multiple fingers and strings (2) develop pick and fret hand fluency (3) understand the difference between a staccato and legato sound (4) how to create a legato sound when moving from string to string (5) help develop finger independence and coordination.

This exercise is done in the upper register where the frets are smaller to facilitate ease of movement between the fingers and to gain experience in using the upper register. Moreover, I recommend using down picking only at first and integrate alternate picking once fluency is developed with the exercise. Additionally, have the student keep each finger down after it has played - for example: the 1st finger remains down while the 2nd finger is played, the 1st and 2nd finger remain down while the 3rd is played and the 1st, 2nd and 3rd remain down as the 4th is played. This will help aid in developing finger independence and avoid excess tension in the fretting hand due to the hyperextension of fingers.

Next month I will continue with this exercise and explore how students can understand the difference between creating a legato and staccato sound.

Ukulele in the General Music Classroom, Pt. 1

     Here is a link to the latest article "Ukulele in the General Music Classroom, Pt. 1"  I have co-authored for Tempo - the magazine for the New Jersey Music Educators Association.

     This is a two part article which offers music educators insights into using the ukulele in their classroom. The article is on pages 38 - 40 of the digital version.

Educational Material Review – The Guitar Wheel

         This month I will be diverging from beginning exercises to review a music theory reference tool called the Guitar Wheel – a product which I am proud to endorse. The Guitar Wheel is essentially an “all in one” music theory reference tool that musicians (regardless of instrument) can use. However, it is specifically geared towards guitarists – hence the name. 

         The first thing one must know about the Guitar Wheel is that the product has a great deal of information in a very small package. That being said, if one is new to music theory and is using this reference tool I recommend beginning slowly because not only is it jam-packed with information, but there is a bit of a learning curve with understanding how to unlock that information. The folks at Guitar Wheel realize this and include a “Quick Start Guide” to help navigate all the information. Additionally, their website has insightful videos to clarify and expand upon what the Guitar Wheel can offer.

The Guitar Wheel - video

       There are two sides to the Guitar Wheel – the Music Theory side which has a keyboard reference picture and the Guitar side also has music theory but is specific for applying it to the fretboard of a guitar. The “wheel” portion of the name pertains to the circular tab which can move clock and counter clockwise adjusting to various musical keys. Each side of the Guitar Wheel is divided into sections which detail specific aspects of music theory such as: intervals, major/minor keys, diatonic triads and various chord structures. These sections are “color-coded” to make for easy referencing – Green/Major, Red/Minor and Orange/Diminished. 

       The Music Theory side of the product contains information that all musicians can use – some examples are: a picture of the “grand staff” (both treble and bass staves) with note names of lines and spaces written in, enharmonic equivalents of sharps and flats and even a keyboard diagram with note names on the keys (with enharmonics). Additionally, this side outlines: major/minor/diminished scales and triads, intervals, the circle of 4th & 5ths, chromatic scales, I IV V chords and even transpositions from Eb, Bb and F instruments!

      While the Guitar side of the wheel does contain some of the same information, it is laid out differently and there is a section with a curved guitar neck for easy reference. A guitarist can then “visualize” how various triad inversions, scales and bar chord shapes are laid out on the fretboard. Furthermore, it provides “number schemes” (1, b3, 5) for major/minor triads, minor 7th/dominant 7th chords, Roman numeral scale degrees and chord inversions . As I stated earlier – the product is jam-packed with information.

       If there is a downside to the Guitar Wheel, it is that there is so much information in a small space that if one is on the outset of learning music theory it may seem overwhelming. Moreover, because of the way the material is presented on the Guitar Wheel sharp and flat keys may be confusing at first. By this I mean because of the reference wheel’s layout, the Music Theory side is built for flat (b) keys and as such a G major scale will be listed as:

G A B C D E Gb G
1  2 3  4  5  6  7   8

The Guitar side however, is arranged for sharp (#) keys and a G major scale will be listed as such:

G A B C D E F# G  

1  2  3  4  5 6  7  8

That being said, as a musician is developing knowledge the topic of “enharmonic equivalents” will eventually come up, so this may be good a place to navigate those waters. 

            The Guitar Wheel is a wonderful reference tool for those just starting out or even those who have a working knowledge of music theory. I have found it to be an ingenious device that should be in the hands of all teachers and students of the guitar. 

First Exercises, Pt. II - Left Hand Finger Independence

Last month I began discussing beneficial right hand picking exercises guitar teachers can use with new students. This month I’ll exam an exercise for the left hand which helps promote finger independence and use of the pinky/fourth finger – a highly under used commodity by many guitarists.
 

 

Video - Fingers 1 & 2                Video - Fingers 1 & 3

Video - Fingers 1 & 4                Video - Fingers 2 & 3

Video - Fingers 2 & 4                Video - Fingers 3 & 4

                                      

 

There are several ideas to keep in mind when doing this exercise: first, each exercise is done separately – it is not meant to be one continuous exercise. Second, keep the fingers "arched" (diagram 1) as they play each note – finger-tips should not “collapse” (diagram 2).This is because the natural weight of a curled finger will lessen the amount of pressure to push down on a note and have it ring clearly; a collapsed finger will require more pressure resulting in excess tension in the hand. This is not to say that as a player advances they will never collapse their finger, of course they will, but the idea is to develop good habits with the least amount of tension from the start.

Third, make sure fingers are playing on their tips and not the pads. If a finger is properly arched the finger will be playing somewhere in the middle of the fingertip. Fourth, always keep the finger playing the lowest note down on the string – do not lift it to play the next note. This helps promote finger independence and understanding that fingers playing lower sounding notes do not need to be lifted off a string if they are be played soon after a higher sounding note on the same string.

Fifth, the thumb should be placed on the neck behind the first finger and should be “collapsed” (diagram 3). Some students tend to “arch” their thumb joint which can cause excess tension. Sixth, check the students’ fingernail length! It may sound funny, but if the nail is too long it will cause the finger to collapse, resulting in the finger playing on its pad and not the fingertip. Whereas, the nail touches the fingerboard and not the flesh of the finger so the finger must then collapse back so that the flesh of the finger can play the string.
I hope this has given you some new ideas about approaching finger independence for the left hand.

Next month I’ll continue with an exercise to help the student transverse the fretboard and help create a legato sound.

First Exercises, Pt. I - Open String Picking

       For a number of months I have been discussing basic concepts that guitar teachers should be able to incorporate into their first lesson with students. These concepts included: parts of the guitar, seating position, naming the strings, how to hold the pick, picking hand position and the three main types of picking. This month I’ll begin posting a series of effective exercises guitar teachers can use with their students to help develop picking technique and finger independence.

     The exercise below is used to develop pick technique and proper movement of the picking hand. The exercise is simple enough as it utilizes only open strings, the emphasis however, is not on “what to

 

 

do” but “how to do it”. Meaning, the palm should remain lightly anchored, moving from the wrist when picking and adjusting hand placement while moving from string to string. Additionally, the pick itself should be held straight to the string when picking and not angled.

                                                                                    Pick Held Straight to the String    

     The picking exercise above uses both down (1) and alternate-picking (2); make sure the student is comfortable down-picking before tackling alternate-picking. Moreover, regarding alternate-picking in this exercise, clarify with the student that when playing each string the first pick is always down and the last pick is always up. 

     The videos below show a cupped hand approach, the back of the    palm lightly anchored on the strings and the picking motion deriving from the wrist. As a player moves from one string to the next the hand slightly adjusts to accommodate picking that string. The palm remains lightly anchored on the strings the entire time, adjusting as needed until it reaches the 5th and 6th strings. At this time the palm will shift from the strings to the top of the guitar where it is again lightly anchored in order to maintain a continuous hand position on the lower strings.  

 

                                                Video #1: Open String Exercise Done with Down-Picking

 

                                                                                     Video #2: Open String Exercise Done with Alternate-Picking

 

 

 

 

 

 

 

 

 

 

Building a Foundation, Pt. VI – Types of Picking

     In the June and July posts I discussed how to hold the pick with the fingers and various hand positions when picking. This month I’ll continue the topic of picking by outlining the three basic types: down, up and alternate. Of course I am aware there are other forms of picking such as sweep and hybrid, but these are technical aspects of playing beyond the scope of this post which are geared toward beginning students. 

     Down-picking as its name implies, is when the picking hand moves in a downward motion toward the floor.

 

 

 Conversely, when up-picking the picking hand moves in an upward motion toward the ceiling.

 

 

Alternate-picking is a combination of the two starting with a down-pick followed by an up-pick creating an alternating motion – down/up. 

 

 

Below are the symbols associated with each form of picking.

 

  

Next month I'll be discussing some simple picking exercises to give to beginning students. Enjoy!

Building a Foundation, Pt. V – Picking Hand Position

      Last month I discussed the different variants of how to hold the guitar pick; this month’s post will discuss hand position when picking. No matter how the student holds the pick, their hand position is generally adjusted over time for maximum effectiveness. To clarify, a picking hand position differs from a strumming hand position as the picking position is one the hand assumes when playing things such as individual notes, power chords or palm muting. Whereas, a strumming hand position is one the hand takes when playing multi-string chords such as the open “E” which requires all six strings. A player will need to master each position and easily switch between them depending upon the musical situations.     

      As an advanced player, my picking hand position leans back onto palm of my hand. The hand is anchored so that it has a stable base from which to play from resulting in an accurate pick attack and clearer, well defined notes. If the hand is not anchored and

Anchored Hand Position - best for individual note picking



 floats above the strings when playing, picking will become inaccurate and notes will not sound clearly. Although the floating hand may not be optimal for single picking and the like, it is the hand position of choice for strumming.

 

Floating Hand Position - more suited for strumming 

 

      For many students anchoring the hand from the palm is not a desirable position when they first start to play; therefore, I have them adopt a modified anchor position. In the modified anchor position the hand is anchored by the “extended” fingers of the

 Modified Anchor Position

 

fan formation (see June post on Pick Basics) as opposed to the palm. Then, over the course of weeks as a student develops picking facility the hand is gradually adjusted to the anchor position. Next, month I’ll be discussing the three basic types of picking that  beginning students will need to be familiar with– til’ then!

Building a Foundation, Pt. IV - Pick Basics

         When most players are starting out they will be using a pick or plectrum to play the guitar. Although there are slight differences in how the guitar pick is held from player to player, generally it is held between the thumb and index finger.

Pick is held between thumb & index finger

The thumb should be straight and relaxed to avoid tension build-up, while the index finger is slightly curled to avoid interference with the strings when playing. Moreover, in my experience the more a

                              Index finger curls to avoid strings


player “chokes-up” on a pick the more control one will have – i.e. the less of the point of the pick a player uses the easier the pick is to control. This is especially true when playing single notes as opposed to chord strumming.

                                                          

                                      Choking-up on the pick

                                                                   

 

Not choking-up on the pick

          Another consideration to mention regarding “Pick Basics” is how the pick is held in conjunction with the rest of the hand. There are three formations that the hand will generally take when playing: the fan, fist or cup. First, in the fan formation the fingers which are not holding the pick (middle, ring and pinky) are outstretched and slightly bent at the second knuckle to create a relaxed hand. This formation takes its name from the outstretched fingers mimicking the “guard-sticks” of a hand fan. Second, the fist formation has the remaining fingers actually “tucked” into the hand as if making a fist. Third, the cupped formation is somewhere between the fan and fist, as the remaining fingers curl-up to “cup” the hand.

 Fan

Fist

                                                                         

Cup

          The hand formation a player adopts seems to be of natural occurrence. I have experimented with all three and favor the fan or cupped formation as my hand feels relaxed and the weight more evenly distributed throughout. Conversely, the fist formation feels “heavier” or “awkward” and my hand tends to tense-up. Needless say, with my students I tend to stress extending the fingers outward in a relaxed manner when playing.
           I hope this has provided some food for thought as next month we’ll be continuing with more building blocks to be covered in the first lesson.

Building a Foundation, Pt. III - Naming the Strings

            It may seem like a trivial thing to mention, but since these first few posts are dealing with the initial guitar lesson Naming the Strings is on my “To Do” list. I generally like to introduce the strings of the guitar in conjunction with a diagram that the student can refer back to. Moreover, I emphasize that this is a diagram they will want to become familiar with as they will be seeing it or something similar many more times.
          Since the strings of the guitar are named by both numbers and letters, I prefer to introduce the “numbers” first as it is easier for a student to memorize. We do discuss the letter names in the first lesson, but naming strings by letter is stressed as we delve into sight reading, movable chords and basic improvisation.

                                         



                                                 

 

Higher Education and the Young Guitarist, Pt. III - Popular Guitar Studies

       Here is a link to the third article in the series Higher Education and the Young Guitarist - Popular Guitar Studies
which I co-authored for Tempo - the magazine for the New Jersey Music Educators Association.

     This series of articles offers music educators with a limited background in guitar information about studying the instrument at the university level. In this current article we tackle by discussing  "music trade schools" - with particular attention paid to Musician's Institute in Los Angeles, CA. The article is on pages 44 - 45.

                        

Right or Left - Which Way to Go?

        Soon after my previous post Building a Foundation, Pt. II (seating position) student begin lessons. In my phone conversation with her father prior to the lesson he mentioned the fact that she was left-handed and wanted to know if this would be a problem. This reminded me of the handful of left-handed players I had taught over the years and how I approached teaching them.
        Whenever I have taken on a new student who is left-handed with no prior playing experience my approach is always the same – have them play right handed. This is because two hands are needed to play the guitar and by playing right-handed there is the opportunity to play a multitude of guitars. To play the guitar both hands are employed regardless of which is dominant, and each will develop technical facility specific to the job it will be doing (picking, fingering, etc.). This being the case, it makes sense for a “lefty” to learn to play right-handed because the vast majority of guitars are built for right-handed players. Those who choose or have teachers choose to have them play lefty become limited in the instruments available to them. Whereas, in order to play lefty an instrument may need to be custom made, specially ordered, professionally set-up or just difficult to find.
         In the past I have had experienced left-handed players as students and of course it makes no sense to try to “convert” them – that is the way they have learned. However, be aware that teaching lefties can be a bit tricky – especially if you are going to adjust chord diagrams or even tablature. Teaching materials are geared toward right-handed players so you will need to make a judgment call as to whether or not you will “flip” the materials for them. However, in the end you are teaching a student how to play the guitar – lefty or righty your approach is still the same.
         Next month I’ll get back on track with what to cover in our first lesson in Building A Foundation, Pt. III.

Building a Foundation, Pt. II - Seating Position

        The seating position is a basic concept many guitar teachers overlook, but how one sits with the instrument can be an essential part of a player’s development. Of all the styles of guitar playing classical guitarists have the most uniform position in which they hold their instrument. One of the reasons for this is that classical guitarists, as opposed to other styles, have a significant pedagogic tradition (the art or science of teaching). These players recognize that the proper seating position can help: develop technique, easily balance the instrument and give the ability to survey the guitar when playing.

          A traditional classical seating position involves sitting close to the edge of an armless chair and elevating the left leg with a footstool while holding the guitar. 

When the guitar is held correctly it will come in contact with the body at four points: (1) on the side of the guitar where it is placed over the left leg (2) the lower bout as it “rests” against inner thigh of the right leg (3) the back of the guitar as it touches the chest of the player (4) on the top/side of lower bout when the right forearm is in playing position. This playing position enables the guitar neck to be angled upward much like when one is standing and playing allowing more freedom of movement in the fretting hand - the footstool is an important part of the seated position.
         The classical seating position works for any style of guitar playing, it also helps support a “structured” approach to learning for young students.Whereas, each time a student sits down to practice they know how to sit, rather than sitting in a different position each time - it helps create cohesiveness for practice sessions.  I have all my students use this seating position until they have developed a proficient technical facility and then allow them sit in a manner which they like. If your students are not sitting this way already, have them try it. It may seem a bit strange for them at first, but in the end it will prove most beneficial.

Higher Education and the Young Guitarist, Pt. II - Jazz Guitar

      Here is a link to the second article in the series Higher Education and the Young Guitarist - Jazz Guitar which I co-authored for Tempo - the magazine for the New Jersey Music Educators Association.

     This series of articles offers music educators with a limited background in guitar information about studying the instrument at the univeristy level. In this current article we tackle jazz guitar and interview teachers from across the country. The article is on pages 28 -30.

                                   

Building a Foundation, Pt. I - Parts of the Guitar

        The first lesson with a new student is always an interesting one and some teachers are never really sure where to begin. Those walking into your studio for the first time don’t know what to expect either, so it’s your job to put them at ease. These next few posts will deal with the first lesson and the things that we should expect to accomplish. 

       Our gut instinct with a new student is to dazzle them with our vast knowledge and teach them a song right off the bat to get them hooked so they come back again. Let’s start here – FIGHT AGAINST THIS URGE! Your job in the first lesson with a new student is to lay a foundation on which everything you do with them in the future can be referenced back to. Learning a song right from the word go is fun but if they can’t move their fingers, hold the guitar correctly or tell you anything about the instrument they play what’s the point of the lesson? Let’s put aside all the minor chit-chat we have in the first lesson – the introductions, questions about why they want to play guitar and what their favorite bands are and dig right in.

       The first thing your new student needs to know is something about their chosen instrument. So we’ll begin by going through the parts of the guitar, however mundane it may seem it’s a necessity. Begin with the large parts and work your way to the smaller ones - head, neck, body, tuning heads (and various other names), nut, frets and so on. Make sure to point these items out on your diagram (and their guitar) so the student can easily reference them. Moreover, describe what these things do, don’t just tell your students what they are. 
         Mel Bay offers a wall chart which can be displayed in your studio for easy reference in several guitar styles, classical, acoustic, electric, lap steel, resonator as well as banjo and ukulele!

            It may seem like a trivial thing to have a student be able to identify the parts of the guitar, but it takes some of the mystery of the instrument away and empowers them to know what they are talking about. You may be surprised at how many students I have taught from other teachers who could not tell me the parts of the guitar – even after years of playing. Remember your building a foundation and it should start with knowing your instrument.

Selling Yourself (As a Private Studio Teacher)

     Most private instructors consider themselves musicians, but in reality the successful ones are adept salespeople as well. Why? Well, consider that many successful private instructors do not rely on a storefront to attract students, and must directly sell their skills to a “potential student/parent.” When the telephone rings we need to think about the business end of music - something most musicians rarely do.
     The first contact from a potential student/parent may come in the form of a phone call or an email. If a lesson inquiry is by email, do not return the email, call them and speak with that person directly. In speaking to a person directly you position yourself to better sell your skills, address questions and schedule the first lesson. Simply returning an email lacks a “human quality” and is unprofessional. Furthermore, make a phone call to the potential student/parent within 24 hours after first contact – this is simply good customer service.
     Like it or not or not that first phone call from a potential student/parent relates their impression of you: your personality, teaching style, educational background and of course teaching experience. Potential students want to know who you are before stepping into the studio with you. Fair or not the first impression often determines who parents let their child study with privately. Regardless of what you charge (i.e. more or less than the area “going rate”), if you can sell yourself during that first contact the student/parent will step into your studio and not someone else’s.
   Generally speaking there are two types of students/parents who call about instrument lessons: individuals who have experience with private lessons and those who have not. Those who have usually know what they are looking for: someone who is affordable, has teaching experience (knows what they’re doing), and displays a pleasant personality. Those who have not had such experience need to be convinced that your rates are affordable and that you know how to teach, all while displaying your “endearing” personality. This may sound simple but it’s not.
     When a potential student/parent calls about lessons try to put them at ease by displaying a professional demeanor. In part this means being prepared to answer questions. First calls usually cover two questions: how much are lessons and where are you located.You the teacher need to garner much more information: the student/parents’ name and phone number(s), the age and musical training level of the student, the musical style the student wants to learn, and whether they have an instrument. Having handy answers and asking relevant questions gives your potential student/parent a favorable impression and displays competence and knowledge. Also, don’t forget to have a pen and paper ready to write all this information down; it’s not just for show.
     In anticipating such first conversations, consider how you should best present yourself: what aspect of your teaching and experience do you want to present? Things to included are: how long you’ve been playing a particular instrument, how long you’ve taught, the age range and skill levels you have taught, what students can expect the first few lessons, a brief overview of your teaching style (i.e. songs you use, method books, whether note reading and theory are emphasized) and where you formally studied (if applicable). You’ll be surprised at what first callers are interested to know about you.
     When you are talking for the first time the main objective is of course to sell yourself. Yet, don’t be afraid to tell the caller you may not be able to help them. If for example their goal is to learn jazz guitar and this is not a style you teach let them know and (if possible) provide contact information of instructors in the area who may be able to help them. Honesty about your skill set and being networked with other area instructors shows competence and a willingness to help. Although they may not use the information at this time, the respect garnered from such an interaction may cause students/parents to think of you the next time they discuss private lessons for another family member or friend. In addition, the local teachers to whom you refer will appreciate the “word of mouth”, and hopefully in return they will send business your way as well.
     Teaching private lessons from our homes makes sense given the low overhead costs. However, potential students/parents who do not know you may feel awkward about coming to your residence rather than the typical music store setting. To ease such concern offer to give the names and contact information of current students (if possible). Let potential students/parents know current students/parents will speak to them and are willing to answer questions about you and your teaching methods. Remember to clear this in advance with current students/parents though! This goes a long way in putting people at ease when coming to a strangers’ home – particularly parents. Even if new students/parents do not know these current students/parents simply talking to them lets them know that everything is safe and professional when coming to your home. Additionally, you may consider asking new parents to “sit-in” on their child’s lesson until both are comfortable around you and your home studio.
     Next, keep in mind that potential students may not have a guitar so be ready to discuss: different brands, advice on whether to purchase an acoustic or electric, nylon string vs. steel string, various price ranges and appropriate size/model for their child (if needed). This lets potential students/parents know you are knowledgeable about instruments on the market. Also, consider offering to meet at a music store to “test-drive” or try out instruments with the student – this always goes over well. Two hours out of your day may mean a year’s worth of extra income!
     Finally, keep complete and accurate records which allow follow-up calls to potential students/parents. If they have not called you back it doesn’t mean that they are not interested, rather they may have lost your number or have simply been busy. Always keep in mind that they called you about lessons first – and that you offer a service they are interested in. Moreover, if they are not currently interested in lessons they may recommend you to other people – remember word of mouth is the best form of advertising. 

     When trying to develop a successful home studio one of the key ingredients is the professional demeanor of the instructor. The strategies discussed within are those that I have found to be beneficial in developing and maintaining my own studio. I hope that these approaches are valuable to those who may be just starting out, given a new concept to someone teaching for years or even led to a re-evaluation of old ideas for others.