Difference between revisions of "Position-Shifting Exercises"
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| + | {{Top-Level Crumbs|2}} | ||
| + | {{Exercise Crumbs|1}} | ||
| + | {{Technical Exercises Crumbs|6}} | ||
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== Note on Tab Slide Markings == | == Note on Tab Slide Markings == | ||
The '/' and '\' characters in tab generally represent either | The '/' and '\' characters in tab generally represent either | ||
| Line 6: | Line 10: | ||
In each case, the slide is audible. In all examples below, the '/' and '\' are intended to simply show when to shift positions. To prevent confusion I am only placing these markings in the fingering patterns below the tab and not in the tab. | In each case, the slide is audible. In all examples below, the '/' and '\' are intended to simply show when to shift positions. To prevent confusion I am only placing these markings in the fingering patterns below the tab and not in the tab. | ||
| − | + | == Shift on every finger == | |
--1--2--3--4--5--6--7--8--7--6--5--4--3--2--1-- | --1--2--3--4--5--6--7--8--7--6--5--4--3--2--1-- | ||
i /i m /m /r /r p /p \p r \r m \m i \i | i /i m /m /r /r p /p \p r \r m \m i \i | ||
| Line 12: | Line 16: | ||
--12-13-14-15-16-17-18-19-18-17-16-15-14-13-12- | --12-13-14-15-16-17-18-19-18-17-16-15-14-13-12- | ||
i /i m /m r /r p /p \p r \r m \m i \i | i /i m /m r /r p /p \p r \r m \m i \i | ||
| − | + | == Invisible Shifts == | |
| − | |||
Here you are shifting to a note that is already being played. You should focus on making the shift virtually inaudible, so it sounds like you are simply playing each note twice. Below each line of tab are 1 or more fingering patterns. For each pattern, repeat the exercise on every string. | Here you are shifting to a note that is already being played. You should focus on making the shift virtually inaudible, so it sounds like you are simply playing each note twice. Below each line of tab are 1 or more fingering patterns. For each pattern, repeat the exercise on every string. | ||
| Line 29: | Line 32: | ||
i p /i p /i p /i p /i p \p i \p i \p i \p i | i p /i p /i p /i p /i p \p i \p i \p i \p i | ||
| − | + | == Shift Positions w/o Overlap == | |
--1--2--3--4--5--6--7--8--9--10-9--8--7--6--5--4--3--2--1-- | --1--2--3--4--5--6--7--8--9--10-9--8--7--6--5--4--3--2--1-- | ||
i m r p /i m r p /i m i \p r m i \p r m i | i m r p /i m r p /i m i \p r m i \p r m i | ||
| Line 35: | Line 38: | ||
--10-11-12-13-14-15-16-17-18-19-18-17-16-15-14-13-12-11-10- | --10-11-12-13-14-15-16-17-18-19-18-17-16-15-14-13-12-11-10- | ||
i m r p /i m r p /i m i \p r m i \p r m i | i m r p /i m r p /i m i \p r m i \p r m i | ||
| + | |||
| + | --1--2--3--4--5--6--7--8--9--10-11-12-11-10-9--8--7--6--5--4--3--2--1-- | ||
| + | i m r /i m r /i m r /i m r m i \r m i \r m i \r m i | ||
| + | m r p /m r p /m r p /m r p r m \p r m \p r m \p r m | ||
| + | |||
| + | --10-11-12-13-14-15-16-17-18-19-20-21-20-19-18-17-16-15-14-13-12-11-10- | ||
| + | i m r /i m r /i m r /i m r m i \r m i \r m i \r m i | ||
| + | m r p /m r p /m r p /m r p r m \p r m \p r m \p r m | ||
| + | |||
| + | --1--2--3--4--5--6--7--8--9--10-9--8--7--6--5--4--3--2--1-- | ||
| + | i m /i m /i m /i m /i m i \m i \m i \m i \m i | ||
| + | m r /m r /m r /m r /m r m \r m \r m \r m \r m | ||
| + | r p /r p /r p /r p /r p r \p r \p r \p r \p r | ||
| + | |||
| + | --10-11-12-13-14-15-16-17-18-19-18-17-16-15-14-13-12-11-10- | ||
| + | i m /i m /i m /i m /i m i \m i \m i \m i \m i | ||
| + | m r /m r /m r /m r /m r m \r m \r m \r m \r m | ||
| + | r p /r p /r p /r p /r p r \p r \p r \p r \p r | ||
| + | |||
| + | == Targetting Octaves == | ||
| + | This exercise helps you target notes for long-distance slides, which helps immensely when shifting positions by a large number of frets. The idea is to get from the note to its octave as quickly and cleanly as possible. Try not to undershoot or overshoot your mark - start with slower slides and make sure you don't stop or ease up your slide until you hit the target note. Once your accuracy is improved, then work on speed. | ||
| + | |||
| + | --1-/13-13\1--2-/14-14\2--3-/15-15\3--4-/16-16\4-- | ||
| + | i i i i m m m m r r r r p p p p | ||
[[Category: Guitar]] | [[Category: Guitar]] | ||
Latest revision as of 23:46, 6 July 2015
Basic Technique
Advanced Technique
Alt. Picking
Scales
Rhythm
Position-Shifting
String Skipping
Arpeggios
Contents
Note on Tab Slide Markings
The '/' and '\' characters in tab generally represent either
- a legato slide between two notes
- a picked slide into a note
In each case, the slide is audible. In all examples below, the '/' and '\' are intended to simply show when to shift positions. To prevent confusion I am only placing these markings in the fingering patterns below the tab and not in the tab.
Shift on every finger
--1--2--3--4--5--6--7--8--7--6--5--4--3--2--1-- i /i m /m /r /r p /p \p r \r m \m i \i
--12-13-14-15-16-17-18-19-18-17-16-15-14-13-12- i /i m /m r /r p /p \p r \r m \m i \i
Invisible Shifts
Here you are shifting to a note that is already being played. You should focus on making the shift virtually inaudible, so it sounds like you are simply playing each note twice. Below each line of tab are 1 or more fingering patterns. For each pattern, repeat the exercise on every string.
--1--2--2--3--3--4--4--5--5--6--5--4--4--3--3--2--2--1-- i m /i m /i m /i m /i m \m i \m i \m i \m i m r /m r /m r /m r /m r \r m \r m \r m \r m r p /r p /r p /r p /r p \p r \p r \p r \p r
--1--3--3--5--5--7--7--9--9--11-9--7--7--5--5--3--3--1-- i m /i m /i m /i m /i m \m i \m i \m i \m i i r /i r /i r /i r /i r \r i \r i \r i \r i m p /m p /m p /m p /m p \p m \p m \p m \p m
--1--4--4--7--7--10-10-13-13-16-13-10-10-7--7--4--4--1-- i p /i p /i p /i p /i p \p i \p i \p i \p i
Shift Positions w/o Overlap
--1--2--3--4--5--6--7--8--9--10-9--8--7--6--5--4--3--2--1-- i m r p /i m r p /i m i \p r m i \p r m i
--10-11-12-13-14-15-16-17-18-19-18-17-16-15-14-13-12-11-10- i m r p /i m r p /i m i \p r m i \p r m i
--1--2--3--4--5--6--7--8--9--10-11-12-11-10-9--8--7--6--5--4--3--2--1-- i m r /i m r /i m r /i m r m i \r m i \r m i \r m i m r p /m r p /m r p /m r p r m \p r m \p r m \p r m
--10-11-12-13-14-15-16-17-18-19-20-21-20-19-18-17-16-15-14-13-12-11-10- i m r /i m r /i m r /i m r m i \r m i \r m i \r m i m r p /m r p /m r p /m r p r m \p r m \p r m \p r m
--1--2--3--4--5--6--7--8--9--10-9--8--7--6--5--4--3--2--1-- i m /i m /i m /i m /i m i \m i \m i \m i \m i m r /m r /m r /m r /m r m \r m \r m \r m \r m r p /r p /r p /r p /r p r \p r \p r \p r \p r
--10-11-12-13-14-15-16-17-18-19-18-17-16-15-14-13-12-11-10- i m /i m /i m /i m /i m i \m i \m i \m i \m i m r /m r /m r /m r /m r m \r m \r m \r m \r m r p /r p /r p /r p /r p r \p r \p r \p r \p r
Targetting Octaves
This exercise helps you target notes for long-distance slides, which helps immensely when shifting positions by a large number of frets. The idea is to get from the note to its octave as quickly and cleanly as possible. Try not to undershoot or overshoot your mark - start with slower slides and make sure you don't stop or ease up your slide until you hit the target note. Once your accuracy is improved, then work on speed.
--1-/13-13\1--2-/14-14\2--3-/15-15\3--4-/16-16\4-- i i i i m m m m r r r r p p p p