ONTHE CD Tracks 4652 ten Op GT RATING ADVANCED ‘With dynamics, it's Possible to increase the mileage and range of everything that you play.” YOUR GPTUTOR ‘See p9 for more info ‘onal the Pastors 90 Guitar Techniques juvy 2003 Tur into a geetar dynamo with these helpful tips on technique. MAKE YOUR PLAYING MORE DYNAMIC MSS555 Somme w ny picking, accented notes are marked with 1 part 6 is very important considera nv marks are litered thoughout ans anu yet most ruck guitar players FOR THIS MONTH'S WORKOUT, | used my pink Japanese Fender 'S7-reissue Swat, which is fixed withthe Kinman'bluesirock’ set pickups. This wen through the Stroke pattern of whatever it °OD-2' channel of» Marshall MPI valve programmable playing. As a msicin, i sim wou toe preamp (with the'bass shift or) and a Palmer speakar these artistic constraints, and regain contr simulator The JMP-I was on the following settings: LET'S WORK OUT All the pick directions shown inthis month’ workout fallow the rules of economy pleking: ths is how | playedWORKSHOP ‘ws reducing your dyramic range. This means that a clean (undistorted) guitar bas a much larger dynamic: range than a distorted one. On the GT CD, I used a semisistorted setting so that ‘you could hear the quiet notes more clearly. If T used a clean setting, you probably woulda’ be abe to hear the ‘unaccented notes at all ADDING ACCENTS. Personally, find it easier to addl accents to a picking action (which is mainly wrist orientated) sith an extra twitch of the pick using the thumb and fist finger of my picking hand. KEEP CONTROL ~ ADD VARIETY ‘This workout should take your picking up to a new level, Decause it will demand aleve of control and atention to detail that wil be new fora lot of you, tS interesting how, by superimposing diferent to lay these sequences, with these particular accents rhythms (as we've done in this workout), its possible to Rather, the exercises in this month’ workout will ‘make an otherwise straightforward sequence into hopefully get you to stat to focus on the question of something almost unrecognisable. This should star to _dyamies in general, as well as setting you on the road to indicate to you how, by experimenting with dynamics, gaining the sort of control that wil allow you to be able it's possible to increase the mileage and range of to pay anything with the accents of your choice, everyting thet you play. Next month, we're going to be looking at ways of Remember, these exercises are only a start. I don't crossing from string to string using right-hand want to enforce my taste on people, by saying: “You have tapping, Until then, keep practising, a ‘THIS FIRST EXERCISE conforms to this one-beat pattem (16th notes range as posible. At fist, you may fd that everything gets loud = four notes on each beat): 123.4. You should aim to make the when focusing on the accents, and vice versa. As you play each accented notes as loud as possible, while reducing ll the other notes exercise, imagine someone standing n another room listening. They to whisper pitch. In other words, try to produce as big a dynamic should only be able to hear accented notes, not the ones in between, (60) (20) 100) 43-12-10 19-10-10 (1101918 12=10-9—12-10-9 a VRVRYR YR 10 1209} 2189 Teg Oe te a VRmMV MY mY mY mY mY yuvy 2003 Guitar Teciques 91WORKSHOP ps TED accentuation pattern that followed by an E note, which, melodically, is higher in piteh placed on THIS EXERCISE FOLLOWS 4 REPE istwobeatslont:1 23 4 1 2 3.4 Here, the second A down beat and played with a down stroke, thus foreng you Lo accent, placed on the last 16th note ofthe frst ofthe two beats in emphasise it. Most wil ind it revealinaty dificult to avoid stressing this pattern, moans that you have Lo shod restraint for the note that lie E note even though we are dealing with a asie aspect of music Immediately folows it.I you isolate and repeat the frst eight notes of here, emphasising my earlier point that accent placement is dictated EXERCISE 1B, the second ascont (C) son a weak beat, and is rmotv by mooie and plysieal ease, rather than musical deliberation, (60) (20) (100) 3 32 SS — a eR yAvmi mim ve PVR yA Ym HE REPEATED accentuation patter in this exercise takes a whole that is higher in pte: on the down beat ancl played with a down bartocomplete. 1234 1234 1234 1234 stroke making this exercise more dificult than the previous one Her, there oa acess of feat accents, llawed bya nate (2) 2100) Pot (nf rears eas a eT 1210912109 —_— 109 ry 10 e108 08 AVY RV MY mV myo 92 Gute Techniques jury 2003,previous three, only this time they an sequence of four (60) 20) (100), THESE THREE EXERCISES (2A, 28, 20) are the equivalents ofthe applied toa descending scale eer YRYRYRVA VARY VR — a poe 9 10 / et Ta ae VV RY RR V YY Vm VY Rs ee eee 1012101219 (£0) 0) (100) — 1019 0a 1011012 1019 1e 4 prt t0—ta—t9 94 Guta Techniques utr 2003‘WORKSHOP “5 ONTHE CD track 4652 (60) (80) (100) 10910-12902 210 2 e108 10-4 vmomay 1012-13219.