Right Hand Exercises for the first Year Guitarist: Marching towards Mastery

This is a right hand exercise using only the right hand thumb and index finger.

It is a little tricky at first as the movement collapses from the top to the bottom (lower) 6th string. In order to keep the exercise within the first year limitation, the thumb plays on the 6th string only.

*Keep in mind that we are working towards the Travis Style of picking and in that vein, you will use both the index and middle fingers on the upper three strings. 

Please take your time with this going slowly and carefully. This will develop your ability to play more complex patterns with independence between the thumb and the index, middle, and ring fingers.

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A Music Nerd Who Is In Search Of The Beat

 

Yesterday, beginning at 1:00 pm I set out on a mission of sorts. I left early to assist a current student on her first day at Jiffy Lube Live (Live Nation). I won’t go into the details of the early part of the day but let’s just say the she saw the “other side” of the music industry up close and personal.

After our three or so hours in purgatory we took 5 minutes to recover and then moved into the house area. She and the majority of the 16,000 (more or less) fans understand well what was to come. But I remain perplexed. As I got closer the music got louder…much louder. As I descended the steps into the pit area the energy was as high as I can ever remember in my two plus years working on the floor.

I can still feel those first few moments. But alas, I am left this morning with a puzzling problem that won’t go away. Why do I remain in a state of confusion over an element of music that I was sure I had mastered. An element that is present even when it’s not obvious, that is, the beat.


The show, G-Easy and Logic was basically, and for lack of a better term
, was (mostly) White Rap. The crowd was energized and looking at the faces of the mostly 17-24 year old audience I realize once again just how powerful this music is.


There’s no use, nor is it my intention, in analyzing or getting into the lyrical content, the delivery, or the sometimes conflicting messages and  meanings behind this musical phenomenon. I have a bigger issue with the music, and if you are honest with yourself, you can find socio-lyrical dilemmas in all styles and genres of popular music.

 

It’s been bugging me for a while that I cannot get what makes a good hip hop/ rap beat. I know, and can construct, rock beats, Latin beats, jazz beats, funk beats, metal beats, and electronic beats. But when it comes to rap I don’t have it “locked in” yet. I just want to understand it in theoretical terms


I’ll say one thing for rap, they have the bass sound locked and loaded. There was a point last night where I thought my body was going to split in two. I was positioned directly in front of and slightly below the wall of bass cabinets that were stacked on top of the stage. The bass was not just loud but was vibrating every cell in my being.Wait, I think I’ve hit on something here! Is it possible that the bass supersedes the beat and is subservient to it? If this is so then hell, I’m letting it go. I mean, I’m not going to become a rap dj or a producer of rap beats for that matter. But wait, I’m a nerd. I have to know. I can’t drop it.


Someone help! I need the beat! Just tell me what is different a
bout the role of the beat? What should it have? What shouldn’t it have? Do I need a cowbell?

 

 

-Mark Jeffery Campayno

 

“Nylon Fantasy #2”

A Nylon String Guitar Original Work

Prelude

This “classical guitar” work in the new acoustic style is by far my favorite of the ones I’ve written 'Air Guitar' byso far. Both its sound and construction are exactly what I look for in instrumental guitar works. Like anything else that comes as a pleasant surprise, this was one of those sessions where everything came together. I must say however, that I never go into a session with a preconceived idea, well at least not one that is carved in stone. My brain doesn’t work that way even though I can be very conservative and by the book in other areas of performance and study.

 

Methodology

I go in to such sessions randomly trying not to get caught up in the guitarists mindset that can plague your endlessly. The thoughts and schemes such as what key? What scales or chords? Should I go intblockdiagramo an altered tuning or not? Should I play fast or slow? That does nothing more than push your spirit into a one-dimensional force bent on being traditional. Traditional for the sake of tradition. Not to pay homage to it, but to be bound by it.

The Work

I don’t remember consciously doing this but it has a logical rhythmic flow to it. The piece starts out by stating the melody in between a very dense foundation harnomics.gif
of dark arpeggiated chords. I overdubbed some, but not all of the harmonics onto the work as a decorative effect. I, like many non-guitarists, tend to find them aurally attractive and very desirable especially on acoustic guitar.

 

Technique

slurs

The slurred sections were not easy but flowed surprisingly well considering that I had no plan for incorporating them. I’m very happy with how they turned out. It’s my climbing Mount Everest moment as that are fairly athletic. It will take quite a few minutes to pull them back under my fingers in that exact configuration. However, I must take the time to score out the work so as to codify it. In that way, it becomes “official”, solid, unbending. Unless, of course, I go back and change the score.

Angular Thinking

As musicians, we all have areas that are endemic to our playing. I love the angular in music, but to produce it well is not easy. This was one time that it happened without the usual struggle and gnashing of teeth. The fleeting moments of non-compliance with the voices in our heads that would doubt us.The total control one has sought from the beginning of the Screen+Shot+2013-03-07+at+10.01.40+PMjourney. However, I’m sure I’ll go back to the struggle until I can take control of angular and the unexpected in my playing.

 

Thank God for the guitar.

 

-Mark Jeffery Campayno

Guitar tab/score: Justin  Timberlake’s “Can’t Stop This Feeling”.

This is a guitar transcription of Leroy Sanchez’s cover of the Timberlake release. It is an acoustic guitar/vocal performance.

https://drive.google.com/open?id=0B7AH_jj2jg2-NXN2aUgzOTFhOGc

Charlie and Selena Don’t Talk Anymore?

The Acoustic Guitar Score for Charlie Puth’s new single, “We Don’t Talk Anymore” featuring Selena Gomez

Youtube Official Audio Version from Charlie’s Vevo Channel:

“We Don’t Talk Anymore” Official Audio

“We Don’t Talk  Anymore” the new single by Charlie Puth, featuring Selena Gomez, contains a very exciting guitar part that will keep your concentration on high alert. Even though consists of only two separate but similar chord progressions, one little slip can cause a bit of a mess due to its fast tempo.

wedonttalkcolorProgression 1 (4 measures)

A Major – B Major – C#minor – G#minor.

Progression 2 (4 measures)

A Major – B Major – C#minor – C#minor.

*For clarity’s sake let’s call these sections A and B, which is clearly marked on the score.

wedonttalkbw

The entire song is played arpeggio style with a fast 1/16th-note texture and it never strays from these two sections.

The difficulty with playing “We Don’t Talk Anymore” will lie in the speed at which the parts are played. The tempo is a “brisk”

It will be easier to play this song using finger style technique on an acoustic guitar. Using a pick will require extreme accuracy for the entirety of the song (3:37). If you are up for it, God bless you!

Here is the structure of the song:

  • wedonttalkcolorThe intro is: A B
  • Charlie’s Verse is: A A
  • Charlie’s Pre-Chorus is: A B
  • The Chorus is: A A
  • Selena’s Verse: A A
  • Selena Pre-Chorus: A B
  • The instrumental: A A
  • The Outro (Charlie and Selena): A B
  • The Outro Double Chorus: A A A A

-Mark

Guitar Score:  “We Don’t Talk Anymore” PDF Guitar Pro File

Here is the Youtube link:  Youtube Tutorial for “We Don’t Talk Anymore”

Dan Kanter and JB

 

 

Screen Shot 2016-01-18 at 12.13.19 AM“What Do You Mean” Acoustic Guitar Tutorial

When I set out to do a guitar tutorial on the Justin Bieber (acoustic version) hit, “What Do You Mean?”Dan Kanter Acoustic Version I had no idea how important that innocuous, deceptive, but irresistible guitar accompaniment would become to me and many others. It truly woke up a whole nation of guitar players to the “coolness” of the acoustic guitar in a pop/hip hop setting. The song would be to so many a “slap back to reality” of sorts to the guitar community of the expressive and colorful possibilities of an acoustic guitar and a voice.

Before you accuse me of leaving out countless other guitar vocal duos, Tuck and Patti Tuck & Patti surely come to mind first, none of them were at their peak during a communication revolution. With information moving faster than we can keep up with,  Dan’s guitar playing on the acoustic “What Do You Mean?” has single-handedly sparked a very big interest in taking the guitar more seriously.

Maybe, just maybe, this has demonstrated that it can be cool to play three, four, maybe a rare five chords and make them groove. Not only that, but when played by a bassist, pianist, guitarist, composer, arranger, music director, producer, current holder of a New York University music degree, and a future York University YorkU Master’s Degree in Musicology YorkU Musicology Program graduate, you see that the word guitarist can now carry much more weight that it has in the past.  

One thing is sure, in a world of incessant musical delivery it’s refreshing to see someone come along and stir up some of us who had become rather comfortable. Keep it up Dan and thanks for the infusion of relevance into the world of the guitar.