The Metronome: A New Approach

Developing speed in playing lead breaks on the acoustic guitar has always been a challenge to me. Bluegrass and fiddle tunes are usually played at about 200 beats per minute or more. I have written in the past about the importance of practicing with a metronome. My approach is to initially set the metronome at a very slow beat--slower that than I can actually play the piece I am practicing. Then, I gradually increase the speed. I wrote, "Decide which tune you want to practice and adjust the timing of the metronome until its rhythm is at a pace that is much slower than you would ever play the tune. Yes, that's right--much slower! By forcing yourself to play slower you are really getting in touch with what is actually going on in the piece of music you are playing." I still use that approach--but there is another approach I have discovered to use in conjunction with the slow method. It has helped me to quickly learn lead guitar parts that I can play to keep up with musicians who are playing at a rate of 200 beats per minute and higher. Here it is in 5 easy steps...

Step #1: If you're not familiar with my guitar tablature, don't worry, it's easy! My tablature is explained at:

http://flatpickpost.blogspot.com/2007/10/mngt.html

Step #2: Go to the FREE online metronome at:

http://www.metronomeonline.com/

Step #3: Set the metronome at 200 beats per minute. I am using the first phrase of the song, "Mary Had a Little Lamb," for my example, because everybody knows this song. The two lines below represent the bare-bones melody. With a flatpick, using down strokes only (strokes AWAY from the face), practice it until you can repeatedly play each note on the beat of the metronome. There should be one beat of the metronome after the seven notes where no note is
played--and then begin the same pattern again--and again. If you need to set the metronome a little slower, go ahead, but, with practice, try to get to the point where you can play these notes at 200 beats per minute:

B/0/d--X/0/o--G/2/d--X/0/o--G/0/d--X/0/o--G/2/d--X/0/o

B/0/d--X/0/o--B/0/d--X/0/o--B/0/d--X/0/o--X/0/o--X/0/o

Now, as I said, that's just the bare-bones melody. For a lead guitar break, we'll want something more interesting than that. So here's what we'll do...

Step #4: Turn the metronome down to 100 beats per minute, or half of the speed at which you played the above lines. Here is a lead lick I've written that is played off the melody. It is all eighth notes with no rests between. This is how I play a lot of my lead guitar licks. Use alternating down and up strokes as indicated in the tablature, and play two notes to each beat of the metronome (because they are eighth notes).

B/0/d--G/2/u--G/0/d--D/0/u--G/0/d--D/0/u--G/0/d--G/2/u

B/0/d--G/2/u--B/0/d--B/3/u--B/0/d--X/0/o--X/0/o--X/0/o

Then set the metronome just a little bit of a higher rate and practice these measures repeatedly until you can play them well. Then set the metronome a little higher yet, and practice! Now, unless you a very skilled guitarist, you won't be able to play this phrase of eight notes at 200 beats per minute--but not to worry, we're going to do something else!

Step #5: Now we will do a little bit of a compromise. I wrote this lick off of the previous lick, but with some rests, so that the lick is easier to play at a faster pace. I think that, because of the rests, this lick is actually more interesting than the previous one--and it's a heck of a lot easier to play when speed is required! Start this at about 160 beats per minute, paying attention to the rests, and the direction of the strokes.

B/0/d--G/2/u--G/0/d--D/0/u--X/0/o--X/0/o--G/0/d--G/2/u

B/0/d--X/0/o--X/0/o--B/3/u--B/0/d--X/0/o--X/0/o--X/0/o

As you practice this lick, gradually increase the speed of the metronome. In not too much time, you should be able to play this lick at 200 beats per minute. Think about it: By working this way, you can come up with licks with which you'll be able to keep up with the band and play some really great lead guitar!

The Ultimate Metronome

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The Blues and Gospel of Robin O'Herin

As you know, this blog, The Flatpick Post, emphasizes the flatpicking style of guitar playing. (Duh!) However, I love the sound of good acoustic, fingerpicked blues. About 25 years ago, when I lived in the Berkshires of western Massachusetts, I had the privilege of playing in a gospel band with some fine (and talented) people. Robin O'Herin, one of the members of that group, is still cranking out some fine music. In fact, through the years, her skill has blossomed into a fullness of expression that is truly a feast to the ears.

Robin, from Lee, Massachusetts, is an acoustic blues and gospel musician. She plays bottleneck and fingerstyle guitar and mountain dulcimer and her style includes "a hint of Appalachian mountain music." In schools, libraries, and small listening rooms, she performs concerts that are warm, historically rich, and often interactive. You can see and hear Robin at home, playing some great blues on her resonator guitar at:

http://youtube.com/watch?v=DPOOTgUtqBk&feature=related

Growing up in the 1960's, Robin says she was probably the only kid in her neighborhood listening to such legendary blues artists as Leadbelly, Robert Johnson, Mississippi John Hurt, Bessie Smith, Blind Willie Johnson and Lightning Hopkins, among others, on her father's old 78's. Her mother liked folk music, especially Joan Baez and Pete Seeger, so Robin grew up with a well-rounded diet of blues, folk and gospel. Check out Robin's great CD's at:

The Road Home

Red, White and Blues

Team Method Guitar--With Live Support!

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One of the truly unique features of team method guitar is that it offers live support. Ben recognizes that you may not see how a guitar course you download online "...can compare with having a real, live teacher in front of you so you can ask questions. Or you're not sure you'll be able to follow the lessons, or what you'll do if you run into problems. Good point! The team and I thought about this and we've put a schedule in place so that one of us is on hand to answer your questions live. Now the fact is that we're human and we can't stand by the computer 24/7, but we will offer regular live support to help answer your questions. You'll be able to log in and get live help!"

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Hammer-Ons, Pull-Offs and Slides

Hammer-ons, pull-offs and slides are techniques which allow nuances of tone and the expression of dynamics on the guitar. These basic skills will be an essential addition to your "tool bag" of guitar techniques.

A hammer-on is accomplished by playing a note on the fretboard and then "hammering on" (fretting) another note on the same string. This results in two notes, the second note being higher in pitch than the first note. A hammer-on gives the picking hand a "break" since only one note is actually picked, while two notes are played. Here's how it works: Pick the D string (the fourth string) open (without fingering), and then quickly and firmly bring your second finger down behind the second fret. By doing this you can get two eighth notes while your picking hand has only been required to pick a quarter note. Here is another hammer-on: Pick the high E string (the first string) with your first finger behind the third fret. Then, quickly and firmly bring your third finger down behind the fifth fret. The notes are G to A. The hammer-on is such an excellent way to get two notes while your picking hand only does the work of one!

A pull-off is the reverse of a hammer-on. The pull-off is accomplished by picking a fretted note and then releasing the string to a lower note. Hold your second finger on the D string behind the second fret and pick--and then very quickly pull your finger off of the string. Did you hear the two notes? (E followed by D).

A slide is achieved by playing a note on the fretboard and (while the note is still ringing) sliding the fretting finger up or down the string to another note. Put your second finger down on the D string behind the fourth fret. Pick that not and just slide your finger up one fret. Now do the reverse: Pick the note while your finger is behind the fifth fret and then quickly slide down to the fourth fret.

Incorporating all three of these techniques into your guitar playing can help you play faster, since your picking hand executes fewer notes. Combining these techniques can help you to create some very fast and interesting licks for your lead guitar solos.