Chord Basics, Pt. III – Reading Chord Diagrams

Last month I discussed using one finger chords and quarter note strums as a simple way of introducing chords to students. However, before moving on to more complex chords (using two or more fingers) it is important for students to understand how to read a chord diagram. Moreover, it may be prudent to introduce to the idea of reading chord diagrams prior to learning one finger chords. 

Next month I’ll continue with “Chord Basics” and delve into having students playing two finger chords.

Chord Basics, Pt. II – Simple Strumming

Last month I talked about using the one finger open chords G7 and G as a good starting point for introducing chords to guitar newbies. But, what is a good way to approach strumming those chords? This is a great point to introduce your student to music notation - using rhythmic notation is a great visual aid for students to help them understand what they are physically doing.

Start with quarter notes have the student count in groups of four (1234, 1234); play through each chord individually by looping a one measure rhythm and counting out loud to help keep their timing smooth. 

Once students are comfortable playing each chord, have them switch chords every four beats. Allow the player to take as much time to switch at first without a strict rhythm and once they can switch chords smoothly with a problem then enforce a stricter rhythm.

Next month the topic of“Chord Basics” will continue by outlining how to read chord diagrams.

Chord Basics, Pt. I

I’ve seen a good number of students get discouraged because of the way they are introduced to chords. For whatever reason, when learning chords many teachers start their students off with open position three-finger chords such as the “classic” E, A or D. It may be a bit much for those still developing finger independence to utilize three-finger chords, so I prefer to have students use one-finger open chords. 

The first open chords that I introduce to students to are the one-finger G7 and G. Although technically called G7/D and G/D, those new to the guitar are on a “need to know” basis and understanding chord inversions when you can’t play a chord is a bit much to ask.

Over the next few posts I’ll delve into strumming these chords and the mechanics of strumming.

Getting the Music Started - Simplified Rock Riffs, Pt. III

         For the last two months I have been discussing teaching beginning students “simplified rock riffs” as a way to begin their journey playing actual music. Each riff that you teach students should offer a new challenge to overcome, yet be mastered with a sufficient level of effort. 

   Previously I spoke regarding the merit of riffs like “Smoke on the Water” and “Sunshine of Your Love” as learning tools. These are personal favorites and riffs I feel offer the student a sufficient challenge for their skill level and can act as jumping off points for new topics. 

  This month I wanted to tackle a simplified version of “Kashmir” by Led Zeppelin - a great riff for introducing concepts such as playing on multiple strings or string muting with the palm. Furthermore, it is a riff that can be played using only one finger of the left hand! 

   Start stockpiling your own list of riffs for students, but always be thinking about what can be taught through the riff. Learning a new riff can be fun for students, but helping them progress while having fun is always better.

Getting the Music Started - Simplified Rock Riffs, pt. II

Last month I introduced the topic of teaching beginning students ‘simplified’ rock riffs as way to have them play music they may be familiar with, poses particular challenges, yet can be mastered on a basic level. The first simplified riff that I spoke of was “Smoke on the Water” because the riff is easily recognizable, one finger is all that is required to play it, it can be played on a single string, the melody is easily memorized and students can begin to navigate the length of the guitar neck as well as begin to read guitar tab. Keep in mind that this riff can take a student several weeks to master (depending on their natural ability, time devoted to practice, etc.) and do not feel the need to introduce a new riff until the first is under their fingers.

The next simplified riff I like to introduce is “Sunshine of Your Love” as it will challenge the student by employing multiple fingers and strings, introduce chromatic movement and teach reading tab on multiple lines. I have indicated the appropriate fingering below the tab to facilitate ease of playing.  

 As a teacher you should be making a list of simple riffs or melodies that can be simplified to serve a particular purpose. Students do not need to learn full songs when they first start playing guitar; they need to be developing skills that will make learning full songs easier. Each riff/melody will have a particular skill that is required to play it and you as the teacher should be putting those skills in the proper order so students can develop.

Getting the Music Started - Simplified Rock Riffs, pt. I

When a student begins to play the guitar they are generally chomping at the bit to play music and have fun. However, you can bet their enthusiasm is usually greater than their ability. After establishing a foundation of knowledge and the basics have been covered (see posts February 2013 forward) I like to have students start playing actual music. Keep in mind all the basics and exercises I posted about in 2013 should only take a couple of lessons – discussing the material in depth requires more time than actually teach it.

 The music I choose to start guitar newbies with are ‘simplified’ classic rock riffs to meet the needs of the beginning student. It may be cliché, but the first riff I like to teach new students is “Smoke on the Water.” My reasoning is simple: the riff is easily recognizable (surprisingly even young students have heard it), one finger is all that is required to play it, the riff can be played on a single string , the melody is easily memorized and students can begin to navigate the length of the guitar neck as well as begin to read guitar tab.

I hope this short post has not only gotten you thinking about other simple melodies to use with students, but how they fit into their development. Next month I’ll continue on the topic of simplified classic riffs and discuss one that uses multiple fingers.

  

Tab vs. Notation, Part IV - Summing it Up

In last month’s post I discussed the pitfalls guitar teachers may encounter when they have a “tab only” approach. But, on the opposite side there are teachers who have a “notation only” policy – whereas some instructors refuse to use tab at all. Such a policy may prevent a student from progressing or worse - discourage a student from playing at all. I have heard many students lament about note reading and how it is the part of playing they liked the least. Some teachers keep their students playing ability limited to what they can read and this approach may prevent a student from experimenting on their own, searching out tabs on the Internet or using song books by their favorite artist.  

 

Most guitarists play better than they can read music – meaning their playing skills are far stronger than their reading ability. I have met only a handful of players who read music so fluidly that it is like reading words on a page. Reading music notation is a skill, and like any skill it can be developed through practice. However, reading music even on a basic level is not a skill most players will require. 

 

 I realize some readers may take issue with this statement, but most students are not trying to become professional musicians and do not require the skill of reading music. Although I know the majority of my students will not require note reading skills, I do like students to read at least on a very basic level. Why? Because even on a basic level reading notation can help students:navigate the fretboard,understand chord structure and

visually understand rhythm parts which otherwise might be difficult to master by ear only

 

My approach is to use a combination of tab and standard notation to help students reach their goals. As I have outlined over the last few posts both systems have their pro’s and con’s, and what you are trying to achieve should guide the system employed. A good example of this is playing major scales – should a student wait to learn this major scale pattern until they can sight-read on the four strings it employs? Of course not, but by using tab students can begin to learn to play scales and develop skills such as picking technique and finger independence.

 

 

Tab vs. Notation, Part III – Tab Only

Last month I posted regarding the advantages tablature has over standard notation when it comes to the guitar. This month I’ll continue the discussion by pointing out the pitfalls tablature can have when guitar instructors use it as their primary mode of communicating music.

Over the years I have noticed many guitar teachers are taking a “Tab Only” approach to teaching - meaning they rely solely on tab and do not show their students how to read standard notation at all. Those who use this approach generally use tablature without rhythms and can cause their students not develop, be weak in or totally lack certain skills which can impede their growth. Some of these skills may include, but are not limited to:
 

• Fretboard Knowledge: students who rely on the tab numbering system may not learn “how to navigate” the guitar neck by note names and pitches. Therefore, they may never really understand how music actually works or how it translates on the guitar. 
• Reading rhythms: students may not understand how to read or notate rhythms. A teacher can hinder a student’s development by only having students play what they can hear. Playing by ear is an amazing skill to have, but it is one of an array students should possess. Additionally, some students are visual learners and their learning experience can be enhanced by visual representation. 
• Playing by Ear: A fundamental skill fledgling musician’s need is the ability to “hear” music. Those studying the guitar and strictly rely on tab may not develop the basic listening skills needed to discern pitches because their eyes dictate where to put their fingers and not their ear. Whereas, they are forsaking the basic skill musicians need – a trained ear. 

I have found that many guitar teachers who take a tab only approach generally cannot read music themselves and because it is not a skill they care to address in their own playing pass this deficiency onto their students. As a teacher, I believe it is important to help our students develop to their full potential and if that requires learning a new skill (even on a rudimentary level) then it can be a benefit not only to the student by ourselves as well. 

 Next month I will continue the discussion and talk about my personal approach to teaching tab and notation.

Tab vs. Notation, Part II – The Clarity of Tab

Last month I began my discussion of “Tab vs. Notation” by briefly outlining what the two notational systems offer. Furthermore, I delved into a brief history of tablature and the three types that are currently used. This month I wanted to continue the discussion by talking about the advantage tablature may have over notation when it comes to the guitar.  

During the 1980’s tablature saw a resurgence because of guitar magazine transcriptions, educational videos from top-notch players and “like the record” transcription books. Today tab is commonplace and in some cases is the preferred method for communicating “guitar music.” Moreover, it has become an extremely useful tool for young players and hobbyists to learn from as many inexperienced players cannot read music well; if at all.

Learning to play from tablature is easier than using standard notation because it clearly identifies the strings and frets to play - in some sense it is like “paint by numbers” for guitarists. This is not a bad thing, but keep in mind it was specifically intended to communicate the music of fretted string instruments.

Standard notation on the other hand was not meant for any one instrument, but rather as a way to convey music for all instruments. Since it is not instrument specific standard notation requires guitarists to take extra steps in order to “interpret” the music. Whereas, the player must: (1) Identify the note(s) to be played. (2) Decide what position to play the note(s) in - the tonal quality will vary depending on the strings employed. (3) Determine the appropriate fingering. The example below takes a simple C/G triad and demonstrates *only four* of the numerous fingering choices a player can make.

 

Obviously, tablature has an advantage over standard notation when it comes to the guitar – it is a clearer and more concise system of notation for our given instrument. However, there are some pitfalls to being a “strictly tab” kind of player/teacher and I’ll discuss this more next month. 

Tab vs. Notation, Pt. I

It is no secret that today there are two forms of notation for the guitar – “tab” (tablature) and standard music notation. These two forms have been competing for several decades and many guitar teachers take a stand to teach one or the other.

Guitar tablature (or “tab” for short) is a form of music notation specific to the guitar. Tablature utilizes six lines (each line representing a guitar string) with numbers placed on these lines corresponding to a fret to be played. Tab generally comes in three forms: (1) tab which is placed below standard music notation – the music notation indicates rhythm/note name and the tab the location of the pitch. (2) Tab which has rhythms attached directly to it (without standard music notation to name the note). (3) Tab only – which neither indicates rhythm or the name note being played. In this case the player is forced to know how the rhythm is to be played. This is fine for simple melodies or “riffs”, but not so great for full length songs unfamiliar to the player. The best example of “tab only” transcriptions are free tabs one would find on Internet websites.

Tab Video

Many guitarists may think that guitar tab is a 20th century invention having come into prominence sometime in the 1980’s when periodicals like Guitar for the Practicing Musician began publishing transcribed rock songs with accompanying tablature. The truth is that tablature has a much richer tradition which can be traced back hundreds of years to other plucked string instruments such as the vihuela, lute and Baroque guitar. Up until the mid-1700’s tablature was widely used, but once the tuning of the guitar became standardized music notation became the dominant form of notating music for the guitar.

Standard music notation (unlike tab) is not guitar specific and is used by all musicians to communicate their ideas. It conveys musical ideas like rhythm, pitch, dynamics, phrasing, tempo, key, meter and many other things. Furthermore, there music notation can used for “specific purposes” such as chord charts that indicate chord changes and rhythms or lead sheets that contain melody, harmony and song lyrics. Music notation is a language unto itself and like any language requires time and effort to become proficient with.

Next month, I will continue discussing the topic of “Tab vs. Notation” and discuss the advantage tab may have over notation when it comes to the guitar.

 

 

 

 

Synchronization

Most advanced players think very little about how their left and right hands work in tandem to create smooth and effortless playing. This process, otherwise known as “synchronization” is one of the abilities that separate the advanced player from the beginner.Synchronization is a skill that will develop over time; however the skill can be expedited if students are aware of what it is.

The ability to differentiate between the sound of synchronized and unsynchronized hands is essential for players to improve their playing/overall sound. It is not a concept that needs to be “drilled,” but rather explained to students so they can distinguish between the two. The videos below demonstrate the difference between synchronized and unsynchronized hands.


Video #1: Unsynchronized Hands         Video #2: Synchronized Hands

In the first video the 2nd finger of the left hand finger attempts to play a note, but is placed on the string before the right hand can pluck the string. The result is “unsynchronized hands,” whereas the ringing string is stopped before the next note can be played causing a detached sound. In contrast, the second video represents “synchronized hands” - the 2nd finger of the left hand finger is placed on the string as the right hand simultaneously plucks the string creating a legato sound.

The concept of synchronization should be introduced to students early on, and if done at the beginning stages will enable them not only to develop a more fluid legato sound but a discerning ear when it comes to their own playing.

Ukulele in the General Music Classroom, Pt. II

This is a link the article "Ukulele in the General Music Classroom, Pt. II" which I co-authored for Tempo magazine (pages 38 - 40 of the digital version). It is geared towards music educators, but anyone who has an interest in learning about the ukulele may find it helpful.

First Exercises, Pt. IV - Traversing the Fretboard Continued...

This month I’ll continue discussing the exercise “Traversing the Fretboard” as most students create a staccato sound when switching strings, but in general a legato sound is desired. Having students understand the difference aurally is a simple matter – play the exercise both ways so the student can hear the difference. The teacher may have to do this several times, but students can recognize the difference. However, having them physically create a legato sound when switching strings is another matter.

 

                                       Video – Exercise Played Staccato

 

                                       Video – Exercise Played Legato

In this exercise each finger remains down after it has played, but to create a legato sound from string to string follow these directions:

 

• Lift the 1st finger after the 4th has played (and remains down) 
• The 1st finger will be placed on the next string (4th finger remains down)
• As the 1st finger is played simultaneously lift the 4th finger

  

The objective is to pluck the 1st finger and lift the 4th finger simultaneously so that the sounds “bleed” together, but do not sound together as if playing a chord. Allowing one note to “bleed” into the next will result in a legato (smooth/connected sound). This same technique will then be repeated on each successive string until the exercise is completed.

 

You may notice in the videos that some fingers are lifting in preparation to be placed on following string. This is another technique called “Advanced Preparation” which will be discussed more at a later time.