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• The Right Chord for The Job

To create a rhythm guitar part with some breathing space between the notes, you need to stop the strings from ringing momentarily. And I’m talking very small moments here  much smaller than can be indicated by a rest symbol in the music. You can stop the strings instantly with the left hand  letting the left hand go limp is the best and quickest way to stop a string from ringing far faster and more controlled than anything you can do with the right hand.

This left hand technique may seem out of place in a chapter devoted to the right hand, but it belongs here because it’s a coordinated effort between the two hands, which can only occur when the right hand plays.

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A well known recording trick is to pitch a song in a key that is slightly too high for the singer, so the straining for notes performance. Motown writers like Holland-Dozier-Holland used to pitch songs in keys that were just a bit too high for M Stubbs of The Four Tops, to bring out more passion in their voices. But if you’re going to sing your songs live, don’t use many  or you’ll never get through a set with your voice intact. The opposite effect is not so common, but worth conside something from Michael Stipe singing at the low end of his range, and as for Lee Marvin’s ‘Wanderin’ Star’. . . .With age, the voice naturally loses some of its range. This has had an interesting consequence for a singer-songwriter like relied on altered guitar tunings. Over the years her tunings have had to move down to match the drop in her voice  problems as the guitar strings have got slacker.

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“Standard music notation” is more common. Believe it or not, notation is not hard to learn,and once mastered it will speed your learning of new music. Any system that has survived for centuries and is used to record all types of music must be a valuable one to learn!

music is written in standard notation for the guitar. We learn about the musical staff and how it differs from the one used for tablature. We see how notes are written on the staff and also above and below it, and we relate this to rising and falling pitch.Tones and half tones are discussed and related to the frets of the guitar. Then we put theory into practice and start actually playing from notation, with easy examples of notes on each string.

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Learning this new skill is an important step, since it distinguishes the experienced player from the novice. If done correctly, it is an easy and comfortable device; if done wrong, it can cramp the hand and offend the ear.In this chapter we learn to do it the right way.

We’ve seen in our previous study that the first finger of the left hand is sometimes used to cover more than one string, as in the F chord, where it is used for two strings. When the finger goes across all the strings this is known as a full bar. Somewhat illogically, anything less than a full bar is known as a half bar.

Beginners tend to find barring difficult until the left hand has acquired a degree of strength and control. However, if the bar is done correctly it is not necessary to use great strength. As with the half bar, it is far more important to find the right position for the finger so that all the notes can sound clearly with only moderate pressure.

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Up to now, most of what we have covered could be played with a pick, but we will be studying arpeggios that are much easier to play with the fingers. For the single-note melodies that follow, a pick could be used, but now is a good moment to learn the principal stroke used for melody lines on the finger-style and classical guitar, known as the rest stroke.

The rest stroke is the technique that produces the fullest sound from a single note. It is played by plucking the string in such a way that, when the movement is completed, the fingertip comes to rest on the adjacent stringhence the name.

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• Nylon strings are used on classical guitars. In fact, it is dangerous to use heavier strings on a classical guitar, because the instrument is not designed to withstand the high tension they produce. The three lowest strings are made of silver-plated copper wire wound on a core of nylon strands. The upper three are pure nylon filaments.
• Steel strings are designed for acoustic folk guitars. The bass strings are wound on a core of silk or nylon.
• Heavier wound metal strings are designed for electric guitars.

Core and winding materials vary among string makers, and you may wish to experiment with different types to see which produces the sound you like best.Strings are also available with different shapes or contours, from flat to fully rounded. Strings are also sold in light, medium, or heavy gauges. This has to do with the amount of elasticity in the string: light-gauge strings are more elastic and therefore easier to play than heavy ones. Again, depending on the kind of music you play and your own personal taste, you’ll be able to choose the proper string for you. It’s always worthwhile to try different types of strings on your instrument to see if a simple change of strings can lead to improved sound and playability.

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If the setting is too high, the nut bone needs to be removed and filed down from the underside.If it is too low, a sliver of cardboard or similar material may be inserted underneath, but this should be a temporary solution until a new bone of the right height can be obtained. On a classical guitar the height of the strings at the first fret will be about 1/16 in (1.5 mm).

At the bridge end, a similar adjustment can be made to the bridge bone to produce a height at the twelfth fret of approximately 3/16 in (5 mm). The reason the measurements are approximate is that the exact amount depends on the height of the frets and the total string length, both of which vary from maker to maker.

Note that these measurements are for the nylon string guitar. The metal strings of the acoustic guitar are set lower due to the greater tension, and for the sake of the left hand, steel strings need to be as low as is practical, consistent with clear sound.

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Distinguishing features include the violin-like f-holes which replace the circular sound hole of the traditional guitar. Often jazz guitars are larger in size than classical or acoustic guitars,and they usually have arched tops and backs, like a violin. This is said to improve their sound projection. Pickups are now built into the guitar, as are volume and tone controls.

The pioneering guitarist Les Paul was a technical as well as musical wizard. He is famous for multitrack recorded performances, and his developments on the instrument itself led to the extensive use of solidbody guitars with no innate acoustic resonance. Used for chords and lead in contemporary rock groups, the solid-body guitar has no sound until it is plugged into an amplifier. The electronic sound from pickups is processed in inventive ways for special effects, including deliberate distortion. The result is a new creation that has a fingerboard and strings but acoustically shares little with the traditional guitar.

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Traditionally the sides and back of a flamenco guitar differ in that they’re made of cypress wood, which is distinguishable by its yellow color and lighter weight, but this is not always the case today because some of the great flamenco players prefer hardwood.

Classical guitars usually have a slotted peg head and are strung with nylon strings. Generally they are smaller than acoustic or electric instruments. The neck width is greater than on acoustic or electric guitars to facilitate the intricate left-hand work demanded in classical compositions.

Although the term “acoustic” really applies to any non-amplified guitar, it is commonly used to describe the steel-strung guitar used in country, folk, and blues styles. The steel strings give more volume than nylon, and also have a “brassier” sound.

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