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iBreatheMusic.com -- The Pulse
Issue #2 -- 19 October 2002
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In this issue

@ Some Stuff ...
@ What's New on IBreathe
@ Pulse Bites: Articulation
@ Eric's Shred 101-Lick
@ Sizzling Hot Topics

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Some Stuff ...

Hello all, and welcome to issue #2 of 'The Pulse'.

First of all, I'm happy to report that the first issue of the pulse
went smoothly without any hickups. However, if there is anything you
would like to let us know about, please contact us at
ThePulse@iBreatheMusic.com.


The Archives

Because this is the second issue, you can now go into the archives
where previous issues of 'The Pulse' can be found in both text and
HTML formats. So if you'd like to look something up or if you missed
out on an issue you can find it here. The archive can be found at
http://www.ibreathemusic.com/pulse/archives.php


iBreathe T-shirts

We've been thinking for quite some time about making some
iBreatheMusic T-shirts. We've mocked up a few early ideas at 
http://www.ibreathemusic.com/forums/showthread.php?threadid=466. 
We look forward to your feedback and please let us know if you have
any cool ideas. All suggestions welcome .... 

Till next time,

Guni

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New Articles on iBreatheMusic

MAILBAG: PICKING / SMOOTHING IT OUT
by Eric Vandenberg

After all the articles on picking, here is a final one focussing on
our discussions of picking at the forums and per Email... and
introducing the next step

http://www.ibreathemusic.com/article/72


TEACHING BY TRAVEL BROCHURE
by Jamie Andreas

Many guitar players, along the course of their lives, become guitar
teachers. They are often people who have a good amount of what is
called "natural talent".The problem comes when these people start to
"guide" others to do the same thing ...

http://www.ibreathemusic.com/article/79


GOOD MORNING, LEFT HAND!
by Eric Vandenberg

Let's talk about legato techniques. After all the alternate picking
articles it would be a good idea to pay attention to the left hand and
this time, well let it do most of the work while we take a look at
hammer ons, pull offs and more...

http://www.ibreathemusic.com/article/69


PICK CONTROL
by Charles H. Chapman

Against popular opinion, searing single note lines are not the
hallmark of having great pick technique. To play effectively with a
pick you must have control and synchronisation between both right and
left hands and be able to mute inside strings ...

http://www.ibreathemusic.com/article/74


USING ARPEGGIOS TO DEVELOP GOOD LINES
by John Baboian

When I was much younger and first starting to realize the difficulties
in being able to play over chord progressions, I discovered arpeggios
can give a good sense of the linear sound of a harmonic progression ..

http://www.ibreathemusic.com/article/76


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Pulse Bites: Articulation

In the last issue we talked about the importance of Dynamics. In this
issue we have a look at the closely related topic of articluation and
the musical terms we use to describe the different articulations in
use.

Accent Marks

An accent mark indicates that the note or voicing it attends is to
receive an emphasized attack. There are two types of accent marks: the
forzato (^) and the sforzando (>). The forzato accent represents
the heavier, or stronger, of the two types of accents. Please note
that neither of these accents alter the duration of the notes or
voicings they attend.

Staccato Marks

The staccato mark (.) indicates that the note it attends is to be
detached from the note that follows it. In order to achieve this
separation, the staccato note's duration must be shortened. Staccato
marks are generally applied to notes of a quarter-note's value or
less.

Legato / Tenuto Mark

The legato, or tenuto mark (-), indicates that the note it attends is
to receive a soft or dull attack and is to be held for its full
duration.

A few practicing ideas: 
- Pick a scale, play it up and down while focussing on different
combination of articulation, e.g. switch from staccato to legato with
every other note while also playing a sforzando on every 1 of the
beat.
- Improvise with focus on articulation only. You could just use one
note. Try to create tension and release with using different
articulations
- Listen to recordings and analyze the melody or solo in terms of
articulations. What articulations does the artist use and how does it
effect the performance.

---------------------------------------
Eric's Shred 101-Lick

Greg Howe is an amazing, quite unique player, and he sure is an
influence of mine. He combines all the cool techniques (picking,
legato, tapping) to create mind-boggling solos that leave you saying
"HOWE did he DO that?".

Here is a Howe-style lick in Em, combining hammer ons / pull offs,
tapped notes (consider the tapping finger an extension of your left
hand this time) and string-skipping. The first note on each string is
actually hammered on, not picked! 

Have fun!



    (G)
   4/4
          T      T        T       T      T       T           T
    |------6------||------6-------| |------6-------||------6-------|

||------------------10h12-15---------------10h12-19p12p10h12-17p12p10-||
||o------------------------------------------------------------------o||
||----------9h12-16-----------------9h12-16---------------------------||
||--------------------------------------------------------------------||
||o-10h12-17----------------10h12-17---------------------------------o||
||--------------------------------------------------------------------||



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Sizzling Hot Topics

Difficult Picking Exercises
http://www.ibreathemusic.com/forums/showthread.php?threadid=414

Concept: Playing a Song
http://www.ibreathemusic.com/forums/showthread.php?threadid=295

ii V I changes
http://www.ibreathemusic.com/forums/showthread.php?threadid=319

Guni's Intervals (the Key to HU)
http://www.ibreathemusic.com/forums/showthread.php?threadid=66

Something about metronom?
http://www.ibreathemusic.com/forums/showthread.php?threadid=250


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