Mick Goodrick - The Advancing Guitarist

UI YING GUITAR CONCEPTS &TECHNIOUES MICK GOODRICK is dedicated to Pat, because he made it possible, because he never needed it. by John Cerullo by John Flannery by Rick Mattingly Edited by Jefferson Newman O1987 by Third Earth Productions, lnc. Reserved. Any Unauthorized duplication book or its contents is a violation of copyright laws. MUSIKHAUS c. HAID Nfg. GmbH HALoLEONARD- COF'POFTA-I'ION haid@chelto"at 1O9O WIEN, ALSERSTRASSE 36 BLUEMOUNp RD. F.O.BOX 13819 MTLWAUKEE, Wl 5E219 TEL.405 34 59 s.88188-589-4 CKNOWLEDGiTENTS thanks to some ol my most important leachers": LaPorta, Jack Petersen, Herb Pomeroy, BillLeavitt, CarlShroeder, Abe Laboriel, Burton, Steve Swallow, Jefl Berlin, Jerry Bergonzi, and Gary Chaffee. finally, specialthanks to Liz Hamill, who typed, edited, did the manuscript, ;ested, questioned, encouraged, leamed, taught, and laughed a lot. Wthout her help (in seemingly all directions at once), I could never have wdtten this book. Dontdepend. ii."Joiiy.ve ' This isn't to say that vou can't or shourdn't tearn from others.siness .i. you do it seem i mportanr suggestions arong thq*"y r re tevant.re ready. By itself' a book has absolutely no value. lhar you are what's varuabre.s not a methodbook."r.lir. However. r can't stress.."neeo-wrritvou.nvbn. rn."nuse. with a living r. of being .fiiliffi know.p very uusy tbi a'east riferimes. MickGoodrick .rntr'J begun ro nrir. not tnr il. put it away for a wtiite.itn lr ir-6 nti rJri vl J-rn bu o-o totailyuptoyou.e you have to.:Tt to aranse tnii ooorso t iii"'niiiii6. fnen weLiOoin'Ue the book. rn music. tano *. it's a dead thing. (Don'rassume3yllnorl. INTRODUCTION This is a do-it-yourset book..) so dont asdumgtnitl r**iririrn.s $:Tf.i. . The materiar presented in thi.-uch as (r. a odt can o" very usetut.on.on.id[.ust severar ir. r may make some method.outyoursertoryo'uioilnrr. you nappy. it. whenyou. you supprythe yourserf .ffiffirseff as m. i..rir.ve come oicx when you. 6iiiori _ *r" things that o er.arr honestx r "n. book c... rt.argrowth.oi ] t'ie taxen the time to suppry take the time to supptyyou.fu nii Vo.nd serf-motivated.li". But in conjunction human being who can und. Guaranteedt Bestwishes.m saying b.'."rr-rrri"ri.io"gp]u.r*n.iioririn"t scratch the surface of what's pre. pliing ror 28 years and teachins lor 23. "ri* ro bam as much as I had enough.ersfana.gn?qgl m"irp"tir"r. in mv opinion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . feeling. a lot of ineff icient energy expenditure is very "hidden.) meets the instrument and is lransformed into what's outside you (sound. so you don't tend to think ol other possibilities ol balance between your hands. shoulders. how clean (precise) they play. Some Thoughfs on Technique Usually. The second thing that's "hidden" is that when the note does ring clear.) One of the most important things to keep in mind relative to technique is what I call "efficiency of energy expenditure.. and everything btse in between all of these extremes. suppose you want to play the A on the 5th lret of the high E string. oneof twothingshappens:eitherthenoteringsoutclear. there are a number of diff erent things to try: 1. etc. For a guitarist. we all know that more energy is needed in the left-hand finger. (Eitheryou're wasting energy in the left-hand for the volume the right hand is playing. Thenyoupluckthestringwithapickoraright-handfinger(orthumb). so a more complete assessment of the situation that occurs when the note doesn't ring clearwould be : Either too little energy in the left-hand linger. secondly. what can we do about all ol this? Well. but in a less obvious way). lf it does ring clear. Play a note over and over at a regular and even rate (maybe quarter notes al MM = B0) and at the same volume level. arms. a case of overcompensation. and back. we'd tend to think everything is just fine. Even after it's clear. neck." This phrase means to use exactlythe right amount of energy for whatever the task at hand requires no more and no less.) often. Experiment with left-hand linger by gradually relaxing the pressure untilthe note begins lobuzza little." what we mean is: how ast they play. you are already used lo the 'Teel" of whatever kind ol balance your hands are accustomed to. you may begin to notice unevenness between the four left-hand {ingers. so you think "Mission Accomplished"l) so. lt's the point where what's inside you (intention.) The otherthing that needs to be considered is the coordinated balance of the two hands. we tend to blame one hand when we'd be much better off examining the balance between both hands. (Once you start to examine this in detail.litile" finger than with the other three f ingers. how sloppy. This kind ol energy waste is very "hidden. Now. Again. technique is involved. lt also involves how slovr. Continue lessening the pressure untilthe note actually ceases to be a clear pitch at all and is just a muffled attack with no sustain. You place it right below the 5th lret (very close to thefret). ortoo liltle energy in the right hand. However. Right? lf il doesn't ring clear. that you have to be pretty clever and very observant in order to f ind it at alll) Let's see if we can clarify this point. (Whenever you play anything on the guitar. lt's also movement.) So. Then gradually increase the pressure back through allthe "buzz" stages untilthe note rings clear again. Many guitarists use more energy with the ." in fact. when we think of guitarists as having "great technique." we don't want notes to buzz." The tirst thing that's "hidden" is that when the note doesnt ring clear. it may not necessarily be the most efficient balance that could be possible in terms of energy expended. Right? okay." (so "hidden. a more complete assessment of the situationthatoccurswhenthenotedoesringclearwouldbe: Eitherloomuchenergyin the left-hand finger. (How can you tell? The note is clear. keep adding . ortoo much energy in the right hand. Technique includes everything involved in the way(s) you play the instrument phyiicaily. this means primarily hands and fingers (also wrists. music). now let's look at what's "hidden. Most ol us use far too much energy in our left hand. it could ring clear if the right hand picks the string at a lower volume level. so we overcompensate with too much left-hand energy. Good lechnique is like that. you decide what finger (lefl hand) you're going to use.orelseitdoesn'tringoutclear. Sometimes this is very difficult for people to see in themselves for two reasons. (Think of focusing - a lens on a movie projector. Firstly. every guitarist who can play even a litile does have a coordinated balance between the two hands already. or else you're not attacking the string hard enough given the energy level o{ the left hand finger. thought. But technique really involves much more f than that. there's really only one very small area where the image is in clear focus. Technique is touch. you mignt oe using more energy in the left-hand linger than is necessary. Documents Similar To Mick Goodrick - The Advancing GuitaristSkip carouselcarousel previouscarousel nextMick Goodrick - Voicing Leading Volume 1uploaded by Martin Emanuel SotoMick Goodrick - Advancing Guitaristuploaded by Andrea Moretti92491743-Vincent-Persichetti-Twentieth-Century-Harmony.pdfuploaded by Aaron SaylorFundamentals of Guitar book by Miles Okazakiuploaded by Kachipio32926549 Arr Encyclopedia of Arranging Techniquesuploaded by paco_7314705832-Reharmonization-Techniques-2002.pdfuploaded by Isaac Poochon LuvuezoEd Friedland - Building Walking Bass Linesuploaded by Miguel Cervantes González262785100-Mick-Goodrick-The-Advancing-Guitarist-pdf.pdfuploaded by Ismael PessanhaGuitar Grimoireuploaded by osturnasterVincent Persichetti Twentieth Century Harmonyuploaded by Cameron MilneFrank Gambale Technique Book 2.pdfuploaded by Yuri CastroBuilding Walking Basslinesuploaded by l_a_vieiraFrank gambale Improvisation made easeruploaded by Crhistian OrdoñezFrank Gambale - The Great Explorers.pdfuploaded by pedro martinezThe Jazz Guitar Chord Compilationuploaded by marcosma5892Extreme - Pornograffittiuploaded by Victor LiangBeyond.functional.harmony Wayne.j.naus v2uploaded by ivan3220Mick Goodrick Almanac - Drop2 Cycles Copyuploaded by Leo FernándezGeorge Van Eps - Guitar Methoduploaded by qtguyRon Miller - Modal Jazz Composition & Harmony - Vol 2uploaded by Chantal Mondè EcamAgency149307153-Ted-Greene.pdfuploaded by Jason PastranaBerklee - Guitar Ensemble Workbook - Sight Reading, Vol1 (Don Sterling & William Leavitt)uploaded by wintermanguitarReading Guitaruploaded by Mano Dos Santos FranciscoBook Advancing Guitaristuploaded by Mihai FelseghiDon Mock - Jazz Rhythm Chops.pdfuploaded by wintermanguitarThe Frank Gambale Technique Book 1uploaded by PabloFilippiA Modern Method for Guitar (Berklee) 3uploaded by diegoemerith194479397 FunctionalJazzGuitar Published Vershionuploaded by David GrechReading Studies for Guitar - William Leavitt.pdfuploaded by nicolascbernaMore From EgidioSkip carouselcarousel previouscarousel nextSpeedy Entry (Finale 25)uploaded by EgidioDante Agostini - Solfeggio Ritmico 1uploaded by EgidioScott Henderson - Jazz Guitar Chord System.pdfuploaded by EgidioSnarky Puppy - Binkyuploaded by EgidioThe World's Greatest Jazz Fake Bookuploaded by EgidioFooter MenuBack To TopAboutAbout ScribdPressOur blogJoin our team!Contact UsJoin todayInvite FriendsGiftsSupportHelp / FAQAccessibilityPurchase helpAdChoicesPublishersLegalTermsPrivacyCopyrightSocial MediaCopyright © 2018 Scribd Inc. .Browse Books.Site Directory.Site Language: English中文EspañolالعربيةPortuguês日本語DeutschFrançaisTurkceРусский языкTiếng việtJęzyk polskiBahasa indonesiaMaster your semester with Scribd & The New York TimesSpecial offer for students: Only $4.99/month.Master your semester with Scribd & The New York TimesRead Free for 30 DaysCancel anytime.Read Free for 30 DaysYou're Reading a Free PreviewDownloadClose DialogAre you sure?This action might not be possible to undo. Are you sure you want to continue?CANCELOK