BARRE

CONTENTS
1. Small bar chord (the topic is covered in Lesson 20 of Andrey Nosov's Guitar School);
2. Half bar chord (the topic is covered in Lesson 21 of Andrey Nosov's Guitar School);
3. Great bar chord (the topic is covered in Lessons 22 and 23 of Andrey Nosov's Guitar School).

PURPOSE
Recommended for students of elementary, secondary and higher education institutions. You can read about the particular features of exercises
in Lessons 20-65 of Andrey Nosov's Guitar School.
It is possible that these materials might interest amateur guitarists who have some accompanying skills (for example, in song accompaniment)
and want to improve their skills by learning guitar solo. Specifically for them, I say: "If you want to succeed in playing guitar solo, irrespective of the
Andrey Nosov's Guitar School... Only the Best Materials...

genre of the composition to be performed, you'll have to reconsider the way you are playing the "barre" techniques. Only the way you are playing it and
nothing more. The "barre" technique was and will always be considered as a means for holding down the strings with just one finger. And it is performed

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specifically by means of the first (index) finger.
The problem is that most guitarists who started their study with chord-playing techniques and kept learning this for a particular period of time have never
thought about how much force they are applying to the neck of the guitar while holding down the strings and how they are distributing this force among
the fingers that are forming the chord. The only thing that matters to them is clarity of sound. This approach can be considered appropriate because all
fingers forming chords are placed in the same position for the duration of the whole chord, which can often be long.

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But it cannot be appropriate in guitar solo. In guitar solo, everything happens at lightning speed, including the performance of the "barre" technique, where
only the first (index) finger is usually stationary, while the others are constantly being placed on or removed from the neck. Such increased mobility of the
fingers in solo playing is due to the fact that a guitarist has to both produce the melody and accompany himself. Both melody and accompaniment are
being developed, along with the sounds produced by means of the "barre" technique, which creates an illusion of several musical instruments being played
at the same time. And no guitarist of sound mind and body would ever refuse to achieve this illusion because this is precisely the beauty of guitar solo.

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Therefore, in learning the "barre" technique as used in guitar solo, the primary goal is to develop the skills for securely holding down "barre" with one
finger and being able to quickly move the others. But this is just a brief description. You will find detailed information in Lessons 20-23 of Andrey
Nosov's Guitar School. Read them before starting the exercises.
And one more thing. You won't be able to properly do the exercises and, therefore, acquire the skills necessary for playing guitar solo if the space between
the strings and the neck is larger than required or the strings are too taut. Detailed information on how to tune the guitar and make it comfortable for
playing can be found in Lesson 1 of Andrey Nosov's Guitar School, which is free for viewing.
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GOALS AND OBJECTIVES
The exercises (see Contents) that I would like to bring to your attention are included in the training program of my (Andrey Nosov's) guitar
school and are mostly exclusive. Their goal is to develop the strength and endurance necessary for playing "barre" with the first finger and the skills for
positioning the "barre" with the other fingers.

SPECIFIC FEATURES OF LEARNING

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Each exercise shall be learned at a tempo sufficient for analyzing a playing situation to eliminate any possible sound flaws in good time. And
the slower the tempo is, the more useful the exercises are (because, first of all, they are aimed at developing the strength and endurance of your finger
muscles). But this is just a theoretical assumption. In practice, it's enough to play at a speed equal to two sounds per second.
Each exercise starts on fret V (as described) and then is practiced on frets IV, III, II and I, after which you should take a rest. This will be quite
enough to develop the skills necessary for playing "barre" with the index finger. Continuous, uninterrupted playing of "barre" on frets V through I at a
A

slow tempo with the appropriate clear sound is the bare minimum you should achieve before moving on to the next exercise.
If the exercises are too easy for you, try to repeat the "barre" again and again or slow the tempo down. It will help you to learn advanced compositions
more quickly. But be careful! Such harsh, through very helpful, exercises can cause an injury. So be conscious of what is happening to your hand.
Stop playing AS SOON AS you feel that something is wrong with it.
I wish you success in learning the materials...
Andrey Nosov, the author of the manual "Andrey Nosov's Guitar School"
and several hundreds of arrangements for guitar solo, guitar ensembles, voice and guitar.

1. SMALL BAR CHORD

1. Small bar chord – 3 strings (you will use this pattern to play from fret V to fret I)

                
V


        
m
m i
i p
p

2. HALF BAR CHORD

1. Half bar chord – 4 strings (you will use this pattern to play from fret V to fret I)

                  
V

           
a
a m
m i
i p
p

Barre from A.Nosov,

and many other interesting and useful materials can be found on the website
http://www.guitarnosov.com
 3. GREAT BAR CHORD
1. Great bar chord – 5 strings (you will use this pattern to play from fret V to fret I)

        
V

        
     
  
      
    p
a
m
i
p
p p p p p
Andrey Nosov's Guitar School... Only the Best Materials...

2. Great bar chord – 6 strings (you will use this pattern to play from fret V to fret I)

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           
V

    
               
a

        
m

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i
p
p
p p p p p p

 
 
p

a
2
m m py N
3. Great bar chord: 1-2 (you will use this pattern to play from fret V to fret I)

       
V

a
2
m


2 2
         
  
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i

4. Great bar chord: 1-3 (you will use this pattern to play from fret V to fret I)

                    

nd

  
3 3 3 3
a

p    
m m a m
i
A

5. Great bar chord: 1-4 (you will use this pattern to play from fret V to fret I)

              
V

 
     
4


4 4 4
a
m m m

p    
a
i

6. Great bar chord: 1-2-1-3 (you will use this pattern to play from fret V to fret I)

           

  

V

 
   
3


2 3 2
a
m

p    
m m a
i

7. Great bar chord: 1-2-1-4 (you will use this pattern to play from fret V to fret I)

             
V

        
2 4 2 4
a
m

p    
m m a
i

2
 8. Great bar chord: 1-3-1-2 (you will use this pattern to play from fret V to fret I)

                    
V

      
3 2 3 2
a
m m

p    
a m
i

9. Great bar chord: 1-3-1-4 (you will use this pattern to play from fret V to fret I)
Andrey Nosov's Guitar School... Only the Best Materials...

             
    
V

 

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   
3 4 3 4
a m

p    
m m a
i

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10. Great bar chord: 1-3-2-3 (you will use this pattern to play from fret V to fret I)

                  
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V

 
      
3 2 3 3 2 3
a m
m

p    
m a
i
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11. Great bar chord: 1-3-2-4 (you will use this pattern to play from fret V to fret I)

                      
V

 
nd

    
3 2 4 3 2 4
a m
m

p    
m a
i
A

12. Great bar chord: 1-4-1-2 (you will use this pattern to play from fret V to fret I)

              
V

 
      
4 2 4 2
a
m

p    
m a m
i

13. Great bar chord: 1-4-1-3 (you will use this pattern to play from fret V to fret I)

              
V

 
     
4 4


3 3
a
m

p    
m a m
i

14. Great bar chord: 1-4-2-3 (you will use this pattern to play from fret V to fret I)

                   
V

 
      
4 2 3 4 2 3
a
m m

p    
a m
i

3
 15. Great bar chord: 1-4-2-4 (you will use this pattern to play from fret V to fret I)

                  
V

      
4 2 4 4 2 4
a
m m m

p    
a
i

16. Great bar chord: 1-4-3-4 (you will use this pattern to play from fret V to fret I)
Andrey Nosov's Guitar School... Only the Best Materials...

                
V

  

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   
4 3 4 4 3 4
a a
m m m m m

p p   
m a a
i i

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17. Great bar chord: 1-2-3-2; 1-3-2-3 (you will use this pattern to play from fret V to fret I)

               
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V

       
2 3 2 3 2 3
a a
a m m

p p   
m m m m a
i i
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18. Great bar chord: 1-2-3-2; 1-4-2-4 (you will use this pattern to play from fret V to fret I)

                 
V

   
nd

   
2 3 2 4 2 4
a a
m m a m m

p p   
m m a
i i
A

19. Great bar chord: 1-2-3-2; 1-4-3-4 (you will use this pattern to play from fret V to fret I)

              
          
V

 
   
 
2 3 2 4 3 4
a a
a m m

p p   
m m m m a
i i

20. Great bar chord: 1-2-4-2; 1-4-2-4 (you will use this pattern to play from fret V to fret I)

         
     
V

 
     
2 4 2 4 2 4
a a
a m m m

p p   
m m m a
i i

21. Great bar chord: 1-2-4-2; 1-4-3-4 (you will use this pattern to play from fret V to fret I)

             
     
V

     
2 4 2 4 3 4
a a a
m m m

p p   
m m m a
i i

4
 22. Great bar chord: 1-2-4-3; 1-4-3-4 (you will use this pattern to play from fret V to fret I)

                     
V


      
2 4 3 4 3 4
a a a m
m

p p   
m m m m a
i i

23. Great bar chord: 1-2-3-2; 1-2-3-2 (you will use this pattern to play from fret V to fret I)
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          
     
V

  

ht ov

   
2 3 2 2 3 2
a a
a a

p p   
m m m m m m
i i

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24. Great bar chord: 1-2-3-4; 1-2-3-4 (you will use this pattern to play from fret V to fret I)

                 
     
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V

     
2 3 4 2 3 4
a a
m m


m m

p p  
a m m a
i i
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25. Great bar chord: 1-2-3-4; 2-3-4-3 (you will use this pattern to play from fret V to fret I)

                         
V


nd

  
4 4

  
2 3 2 a 3 3
a a
a m

p p   
m m m m m
i i
A

26. Great bar chord: 1-2-3-4; 2-4-3-2 (you will use this pattern to play from fret V to fret I)

                         
V

 
4

    
2 3 4 2 3 2
a a
a m m m

p p   
m m a m
i i

27. Great bar chord: 1-2-3-4; 3-4-3-2 (you will use this pattern to play from fret V to fret I)

                       
V


     
2 3 4 3 4 3 2
a a
m m m

p p   
m m a a m
i i

28. Great bar chord: 1-2-3-4; 1-2-4-3 (you will use this pattern to play from fret V to fret I)

                
     
V

 
     
2 3 4 2 4 3
a a
m a

p p   
m m a m m m
i i

5
 29. Great bar chord: 1-2-3-4; 1-3-2-4 (you will use this pattern to play from fret V to fret I)

                            
V

      
3 4 3 4
2 2
a a
m m m m

p p   
m m a a
i i

30. Great bar chord: 1-2-3-4; 1-4-3-2 (you will use this pattern to play from fret V to fret I)

                           
V
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
 

ht ov
   
3 4 4 3
2 2
a a m
m

p p   
m m a m a m
i i

rig os
31. Great bar chord – 6 strings (you will use this pattern to play from fret V to fret I)

a        
V

              

 
   
 p


p

py N


p



i

2
m

p
2

  
p p p

p
 2
Co rey
32. Great bar chord – 6 strings (you will use this pattern to play from fret V to fret I)

a        
V

     
  p     

3
    
i m

        
nd

p 3
3
p
p p p p p
33. Great bar chord – 6 strings (you will use this pattern to play from fret V to fret I)

        
A

              

     
4

       
a
m

     p p  p  
i
p
p
p p p

Other "barre" exercises can be found at the link:

Andrey Nosov's Guitar School > Guitar Tips & Tricks > Exercises > Legato

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