Solovyov Pavel Viktorovich presents his School of guitar accompaniment.

FROM THE AUTHOR

I dedicate this work of mine to my friend, a reliable and exceptionally decent person, guitarist Damir Mukhametkhabirovich Galeev, director of the company "DO Major" (IP Galeev). He is the first person who believed in my abilities, made the first publication of my "School" (the initial period of study) in the magazine "DOmazhor" (No. 1, 2005)

An unknown musician passionately proved to Damir Mukhametkhabirovich that his system and experience of mass learning to play the guitar are unique. Solovyov Pavel Viktorovich brazenly asserted that his system of education was the simplest and most effective in Russia.

You can easily learn how to play at the School even without a teacher (sometimes there is nowhere to get one - small towns, remote villages, etc.). True, I have no documentary evidence that someone independently learned to play the guitar at my School. Now the situation can be corrected.

I appeal to people who, thanks to my School, independently learned to play the guitar and to all the children and adults who studied at different time playing the guitar I have: - Please send your feedback about my work:

E - mail : [email protected]

The company "DO Major" (IP Galeev) has the exclusive right to publish and distribute my "School" in print or in in electronic format. The author of the School of Accompaniment is Soloviev Pavel Viktorovich.

READING THE CHORD LIST is the key to success, rapid development performance level of beginner guitarists.

I didn’t come up with anything new, I just use my teaching experience correctly.

The most basic thing that I understood is that you need to teach children to play the guitar without using the “Barre” technique at all (when all the strings are clamped index finger). This technique is difficult for beginners - so you need to do without it.

An understanding has come of the fact that when working with kids, one cannot rely on children's song repertoire (all children's songs, as a rule, are difficult to perform due to the fact that G, G7, C, F, H7).

I had to find a suitable repertoire. Over the years, I can list these songs as a keepsake:

1. Island of bad luck

2. Do not be upset! (tourist song)

3. You are my only one (Vizbor)

4. There, behind the mists (Lube)

5. Autumn (DDT)

6. Rain (Shevchuk)

7. Raft (Yu. Loza)

8. My horse (LOVE)

9. Come on.. (LOVE)

10. Three tankers

11. Katyusha

After the first few lessons, children are able, according to my School, to teach other people to play the guitar using only four chords (of course, without using the “barre” technique). Song selection is important!

When working with my School of Play Song Supplement, please note that most of the songs are recorded by me by ear, from discs or from bad tape recordings. If there is a discrepancy in harmony with the printed original, then this must be attributed to the imperfection of my hearing.

Many songs are reworked by me from printed originals.

Do not forget, please - the amateur version of learning to play the guitar provides for a free landing (not the way they teach playing the classical guitar).

The thumb of the left hand often lies along the neck of the guitar, or peeks out at the top of the neck almost halfway (as with balalaika players). Strings can be anything - even metal, even synthetic. There are no strict homework assignments - students come with a conscious desire to learn. There is only one recommendation - exercise at home every day for at least 15 minutes!

At the competition “I give my heart to children”, I gave an open lesson. The conditions were as follows: a group of specially selected children of 10 people (none of them had previously studied music) had to be taught certain guitar skills for an hour. I taught them to play, and at the end of the hour they all played one song, and each of them I gave another song. The only thing I told the jury was that the head of these children already works well, but the hands should be trained long and hard (all participants had to help in moving the chords).

Everything went well. This is what it wasthe first official presentation of my method of small group teaching guitar accompaniment

Then I was very surprised thatbecame the laureate of the review, took third place . And he received as a reward a large Italian service of 99 items and a memorable prize for the winner - a cup with the inscription:

Department of Education of the Kalininsky District. The winner of the competition "Teacher - out-of-school student. Chelyabinsk. 2006"

Express course for beginners.

How to practice daily.

It is from the fulfillment of the requirements that are set out in this section that it will depend on how soon you will master the guitar.

Landing.You can put the guitar on your right knee, you can play standing up.

The first time you can look at the neck of the guitar.

The main thing is not the right hand, do not devote much time to it at first.

The main thing here is that the strings must always be struck with a relaxed brush so as not to break all the strings with one powerful blow.

Exercise to relax the left hand.

Put your fingers in position Am. Then mentally hit the strings with your right hand (only mentally!). At this time, press the strings with your left hand, then, remaining on the strings, instantly relax the brush. Repeat this exercise very slowly until automaticity appears. This is very important for your later life in music.

It is simply impossible to play with "clasped hands"! As a result, a hand injury, translated into musical language- “Prof. badness" or "overplayed hands". In fact, this is a disability: a person cannot squeeze the ball in his hand when he carries a load - the fingers open themselves. Change of weather brings a lot of unpleasant and painful sensations.

Be careful, alternating wrist tension and subsequent instant relaxation is the most important thing for you!

Now about how incredibly fast to learn to play the guitar. Everything is very simple.

Begin your practice each day by practicing transferring chords from one position to another. This exercise can be performed only with the left hand, while you can watch a movie on TV. Having completely eliminated even the slightest pressing of the strings with your left hand, slowly practice the transfer of the Am chord to the chord E position. This transfer should be practiced every day about 500 times, but no less! Here the whole secret is not in a fussy transfer, but in a quick throw of a necessarily relaxed left hand. After about a week or two of such exercises, you will turn on the “automatic” - with just a glance at the chord, the fingers automatically, without asking for your consent, will instantly take the desired position themselves. After a week of classes, you will never look at the guitar neck again - you will not need this.

Now your gaze will always be directed only to digital or musical text, tablature.

The last - if you know how to exactly count to two (double size), to three (triple size), and to four (quadruple size) - then all song music opened the door for you!

It doesn't matter to you whether you play one hundred songs or ten hundred.

The chords you know just alternate in different combinations.

If you do not know the chord - just look at the chord table (they are also on my disk, they are also on sale in the C major store and in other music stores.)

Pick up a guitar, practice daily, follow all the requirements from the "Express Course for Beginners" - and in the shortest possible time I will be at the address [email protected]- I expect joyful messages from you about how you have perfectly mastered the art of guitar accompaniment in shortest period time.

FROM respect and wishes of success - your author,

Solovyov Pavel Viktorovich.

You can download the School of Guitar Accompaniment from the following links:

Free program - autoaccompanist. It will be useful for those who study music and need rhythmic accompaniment.

Screenshot gallery

Others are not judged by themselves, but I dare to suggest that any musician at least once in his life would like to play not alone, but with a team. For example, I have a kind of "idiot's dream" to gather my own big band :) But in reality it often turns out that there is simply no one to organize even a small group...

There is always a way out! As an assistant in your musical affairs, you can safely take a regular computer. Fortunately, there are plenty of programs for it: if you want, write music according to the notes, but if you don’t know the notes, then you can, in principle, do without them, you just need to visually navigate in the piano keyboard.

But it takes quite a long time to write all the parts of the instruments in such programs ... But I would like it to be the same as with a real ensemble: you give chords and in a couple of minutes everyone is already playing what they need. And, it turns out, there are also such programs, but free ones are rare among them :(

Until recently it was possible to use ChordPulse Lite. Its, even truncated, functionality was quite enough to quickly create a rhythm section of a melody in the desired style. However, today the Lite version has been abolished, replaced by a completely free, but extremely "small" version, in which only 4 chords are available - 4 Chord Songs.

Maybe four chords will be enough for someone, but this is not enough for me :) And I decided, as always, to try to find an alternative. The result of the search was, suddenly :), a program from Microsoft - Songsmith (Academic Edition).

In general, the program is paid and costs almost 30 bucks ... But, if you are a teacher or a student, then you have the opportunity to use it free of charge, that is, for free. Naturally, for the sake of a freebie, we can call ourselves at least astronauts :) But you don’t need to do this either! Since the program has not been updated since 2012, Microsoft has suspended its sales. Now, in fact, either a demo version is available on the official website, or a fully functional edition "for teachers and students" described on this page :)

Comparison with the ChordPulse Auto Accompanist

The program for its work uses realistic-sounding styles that were created by the developers of the well-known Band-In-A-Box auto-accompanist program, so the sound of the resulting rhythm section is practically not inferior to that in ChordPulse. However, there are significant differences between the programs. I propose to compare Songsmith and, now fully paid, ChordPulse:

So, let's analyze a little the pros and cons of both programs. Undoubtedly, and a huge plus of ChordPulse is a large number of styles (more than 100 pieces, and only 24 in the free version). However, Songsmith also has its "trump card":) This program allows us to enter chords both manually (using the mouse or keyboard), and by simply singing the melody into the microphone! The program will automatically select the desired chords according to your voice - the main thing is to sing more or less accurately :)

You can save the finished melody in Songsmith, both as a MIDI file, and directly into an audio file in WAV or WMA format, and even with vocals!

But, for any barrel of honey there is its share of tar... In Songsmith, such tar is the lack of a function for cyclic playback of a melody (although there is a tricky way to get around this problem :)), as well as the ability to use no more than two chords in one bar (in ChordPulse you can divide by quarters). Plus, it turned out that Songsmith does not always work correctly with a microphone... Perhaps this is due to the fact that I have Windows 8, but sometimes the program simply did not record anything when I tried to sing a melody into the microphone (the manual input option always worked ).

Installing the auto accompanist

To install the program legally, as mentioned above, you need to register in the project for teachers from Microsoft. However, for informational purposes, the program can also be downloaded directly from our website;)

The Songsmith installer comes as an MSI file, which is no different from traditional EXE installers. We launch it and press "Next" all the time - nothing more is required of us :) The only caveat is that the installation may take a little longer if you do not have .NET Framework 3.0 (or higher) libraries and a hotfix for Windows Presentation Foundation on your computer. All these components, in case of their absence, will be automatically downloaded and installed.

When everything is ready, you can run the program and start using it.

Songsmith project preparation wizard

Each time we start Songsmith, we will open a special project preparation wizard (unless we turn it off in the settings), which will allow us to quickly prepare for creating an accompaniment in a step-by-step mode:

In the start window, we will have the option to create new song("New Song"), jump to the last edited project and play one of the three demos. Below there will be a "Preview Selected Starting Point" checkbox. If unchecked, Songsmith will not play a demo of the selected item when selecting an item in the wizard.

If you are an advanced user, you can refuse to work with the wizard at all by clicking the "Cancel" button at the bottom center. But for review, let's go through the points of the assistant by clicking the "Next" button:

The first step in creating an accompaniment is to set up styles. Here, using the vernier or the buttons on the sides of it, you can choose one of the available 30 styles of different musical directions. Here I advise you to turn to the panel to the right of the style switcher. You have the opportunity to select the mood ("Style Mood") of the melody (the default is "Light" (light), but there is also "Lively" (live), as well as turn on the display additional information about style ("Show Style Details").

In principle, there is nothing more interesting here, so click the "Next" button again and proceed to setting the tempo:

This is the last window of the settings wizard and here, apart from the tempo itself, there is nothing more to configure :). The playback speed is traditionally measured in beats per minute (BPM) and is adjusted by the vernier or the up and down buttons on the right. After choosing the right pace, press the button"Finish" and we begin to study the working area of ​​the program itself.

The Songsmith interface is quite simple and, like in ChordPulse, it consists, in fact, of one single working window, divided into zones:

The entire interface can be divided into three large areas:

1. Top control panel. Here are collected global project management buttons, such as create, load and save, the record and playback panel, as well as cancel, clear the workspace and settings.
2. Work zone. This is the area in the center of the program window, in which our melody will be displayed in the form of measures and chords on them.
3. Bottom toolbar. This is the most colorful and rich part of the Songsmith interface. Here are settings for style (genre, mood, and "jazzy" level of chords), measures (number of chords per measure and buttons to add/delete measures), tempo (the slider will not work if you set the tempo through the setup wizard) and sound level (indicator recording level, vocal and master volume controls, and a virtual instrument mixer).

Before you start working with the program, it is advisable to familiarize yourself with the settings and adjust them to your needs.

You can get into the settings by clicking the "Options" button in the upper right corner:

Since everything here is in English, I think it's worth paying attention to some points and translating them. So:

• Count-In Bars (introductory bars). In fact, this is a score, usually beaten out with drumsticks, so that the group can tune in to the right rhythm. By default, there is one, but, in the program, you may not have time to quickly tune in one clock cycle, therefore, you can increase this number;
• Include "Ending" Bars (include final bars). Musically, this is called a "coda", that is, one or more bars at the very end of your melody. In Songsmith, these are two extra measures at the very end, which are not counted in the duration of the song, but serve to "revive" its ending;
• Drum Style for Recording Backing Track (drum style). In this program, we can vary the rhythm of our song by using a drum style different from the current main style;
• Open "New Song Starter" at Start-up (use setup wizard at startup). This item allows you to disable the constantly annoying assistant for creating a new melody when you turn on the program.

I also advise you to click on the "Microphone Configuration" button and adjust the microphone sensitivity.

Creating an accompaniment

We exit the settings and now we are all set to work. If you have a microphone, then turn it on, preferably put on your headphones and press the red record button in the center. A measure (or more) of the introductory score will sound, after which you can begin to sing - recording will begin. To stop recording, click the "Stop" button in the form of a black square on the top panel. You should get something similar to the following screenshot:

I was creating a fast song with a dynamically changing melody, so I set the maximum possible division of the measure into two in the program (the default is one chord per measure). This must be set in advance, because later, when the breakdown is changed, the whole melody will shift.

Try to start playback (button with a green triangle) and evaluate the quality of the selection of chords for what you sang. There is a nuance here. You can get the melody without a microphone, but it will be a standard improvisation of the program around the default key (I have it in D major). In any case, music synthesis algorithms are far from perfect, so the finished song almost always requires editing chords.

Editing chords

There are two ways to work with chords in Songsmith: using direct keyboard input and using the mouse and menu system. To enter from the keyboard, you just need to select the measure in which you want to change something and just enter a new one. letter designation for the chord you want. Mouse control comes down to calling the menu (down arrow on the right) and selecting the desired item. There are only four of them (see the previous screenshot):

1. Lock (lock) - a function that allows you to protect the selected chord from edits (for example, when rewriting a melody with the imposition of a second voice;
2. Edit (edit) - in fact, the entrance to the chord editing menu;
3. Suggest (suggest) - a drop-down menu that contains a small list of recommended alternative chords for the current key;
4. Clear (clear) - allows you to remove the chord from the selected measure.

To change the chord, you can use one of those recommended in the "Suggest" section, but it's not a fact that the program will include exactly the triad we need in this list. Therefore, most often you have to either enter from the keyboard (if you are well versed in notation), or use the "Edit" menu:

The chord editing window is quite simple and consists of two lines. The first line - "Simple Chord" - allows you to select the tonic of the chord in the first list with the mouse, and its configuration in the second list (minor, major, seventh chord, etc.). If you need to add a complex chord with modified bass and amplifications, then you must manually enter it in the "Complex Chord" field. The checkbox "Automatically play chord" allows you to immediately listen to the sound of the selected chord.

Everything seems to be simple, but there are a few secrets. You can diversify the rhythm by adding different rests at the right places. This is done by adding a certain number of points to the current chord. For example, you could write this: "C..." This would mean that the C major chord will sound only for one fourth, and after it there will be a pause for the remaining three quarters of the bar (a common technique in rock and roll).

But that's not all :) If necessary, you can leave some instruments to continue playing when all the others are silent! In the same rock and rolls, the first beat is often played together, and during the pause only drums (or drums and bass) sound. You can do this by specifying which instruments should sound. For example, in relation to the technique mentioned above, we can apply the following notation: "Cd ...". This means that our C major sounds the same for only one quarter of a measure, but during the pause, the drums continue to play (abbreviated from drums - drums).

By analogy, you can also control other tools using the first letter of their English name:

• d (drums) - drums;
• b (bass) - bass;
• k (keyboard) - keyboards;
• g (guitar) - guitar;
• s (strings) - strings (strings or synthesizer, depending on the style).

Tool setup

The final touch when creating your melody can be to change the standard for this style set of instruments and adjust their volume. You can do this by clicking on the "Mixer" button in the lower right corner:

In the window that opens, you will find five sections for different types of instruments. Using the drop-down list, you can select an instrument variant, and use the slider on the right to adjust the volume of its sound. Under the list of instruments there is an option to choose a mood, "light" (default) or "lively" (more energetic and assertive).

And now the most main secret:). Songsmith does not have a melody looping feature, however, if you activate the "Preview Instrument Changes" option (at the very top) in the mixer mode, the song will start playing again in a loop when it finishes playing. True, at the beginning it will be interrupted for a split second, but this is not very critical, the main thing is that, in fact, we get non-stop music, under which you can improvise even to infinity :)

Options for saving finished projects

Now that the song is written, we have played enough and want to turn off the program, it would not hurt to save everything that we wrote. To do this, click on the "Save Song" button on the top control panel and select the save type:

By default, pressing the button saves the project as a .songsmith file for later opening in the program. However. if you click on the down arrow to the right of the button itself, then we will get to the menu, where there is also the function of exporting our work to an audio file.

We can choose to export either to an audio file in WMA or WAV format (the vocal part will also be saved), or to MIDI for subsequent editing and fine-tuning in a MIDI editor (vocals are not saved). Also at the very bottom there is another option that allows you to export our entry directly to Windows Movie Maker (again in WMA format), but it is unlikely to be useful to you :) After selecting all the parameters, all that remains is to click the "Export" button.

Pros and cons of Songsmith

• a good selection of styles for any occasion;
• melody recognition using a microphone;
• the ability to customize the rhythm pattern and variations of instrument sets;
• saving the project to audio and MIDI files;
• the ability to manually enter chords (including complex ones) even without a microphone.

• requires registration in the MicroSoft teacher network for legal use;
• there is no way to edit styles and create your own;
• it is not possible to break the beat into more than 2 parts;
• the function of looped playback is not provided (partially solved in the mixer mode);
• does not always work correctly with a microphone (possibly a bug in Windows 8.1 x64).

conclusions

The program is positioned by Microsoft as a universal tool for creativity. They claim that with Songsmith you can write your own unique and inimitable song. However, this is somewhat exaggerated :) Yes, the program, unlike analogues, gives us some degree of freedom in choosing tools and placing accents, but, alas, nothing more: .

However, this is not necessary. The standard set of styles is enough for you to create simple training backing tracks in almost any direction. contemporary music. You will be able to record background music parts quite quickly desired genre and use them to hone your vocal or instrumental skills, practicing as if with a real ensemble. What else does a musician need to be happy?! :)

P.S. It is allowed to freely copy and quote this article, provided that an open active link to the source is indicated and the authorship of Ruslan Tertyshny is preserved.

P.P.S. If you need more control over the process of synthesizing a melody to your musical works, then try using the following program to write MIDI scores from scratch:
Creating a MIDI melody Anvil Studio: https://www..php

There are many sites with guitar backing tracks. We represent what others do not have - guitar backing tracks Russians songs.

"Minus track", speaking on plain language is a music track that lacks one of the instruments or vocals. Hence the name: minus one instrument/part. Most often, we are used to using this term precisely in relation to music in which there is no vocal part of the performer at all, or only the backing vocals accompanying it remain. But there are also instrumental backing tracks, including guitar ones. This means that in the track with special programs removed the guitar part.

The search for backing tracks is also available through the songbook. The page with the backing track contains, as far as possible, tabs and notes for ease of execution.

Guitar backing tracks are created not only for the purpose of learning or training, but also for real performances and even concerts. A fully live performance, for example, in a restaurant is often quite difficult in terms of connection, setup, instrument placement. This affects the final cost for the restaurant and the public. But performances to the phonogram where "live" sounds not only vocals, but also the guitar - much simpler and cheaper. At the same time, that "magic" of a live performance is preserved.

But still, the main role of backing tracks is training. For example, if you need to rehearse the same part of the work at home, or the guitarist simply does not have musicians accompanying him. Often, "minus" is used by musicians to play along with the compositions of their favorite artists. In this case, you can play both the original guitar part and practice the art of improvisation.

The backing tracks of the same song may differ from each other, both in sound quality and in the length of the sound track. In the latter case, this is often due to the fact that the original contains a technique or solo part that is too difficult for an ordinary guitarist to perform, or a large number of repetitions that needed to be cut.

Today on the Internet you can find great amount backing tracks for guitar for every taste. Unfortunately, the quality of many of them leaves much to be desired. Why is this happening? This is because different methods are used to create a backing track. Conventionally, they can be divided into the following categories:

• Original. Such a backing track is created on recording studio and, often, by the composers themselves. Further use such a track: concert, rehearsal, less often further sale.
• Arrangement. This type of backing track may differ from the original sound, as it is recorded in the studio professional musicians, which simply replay the song, as close as possible to the original.

It is not always possible to find an original or an arrangement on the Internet, so there are also simplified types of backing tracks.

• Slicing. If the quality and structure of the original track allow, then you can cut and “glue” the composition again. At the same time, the pieces in which the guitar part is present are cut out completely, or replaced with specially written and similar in sound.
• Driving. If there is a shortage of cut materials, the missing parts are added in the sequencer.
• Squeeze is a type of processing in which the part of a guitar or any other instrument is muffled using special programs. The quality of the product can be significantly affected in this case. In this case, several types of creating a backing track are combined, simply adding tracks from above.

The manual is intended for those who would like to independently master the basics of the art of accompaniment. Lesson materials will be useful not only for beginners - those who picked up the guitar for the first time. Those who already know the chords and try to compose or select songs by ear will find a lot of interesting things for themselves in the manual.

Guitar device. Guitarist seating
Guitar tuning. Build a guitar. Finger designation
"Chord gymnastics for the left hand"
staging right hand
Learning the song "Dombai Waltz" by Y. Vizbor
Songwriting using generic "squares"
Learning the melody of "Dombai Waltz" by Y. Vizbor using tablature
Accompaniment selection for Yu. Vizbor's song "Shkhelda"
Accompaniment selection by trial and error
The "bust" game
"Shkhelda" Y. Vizbor. Music application
Barre
Transposition.
Learning the song "Dombai Waltz" by Y. Vizbor in the key of D-minor
How to quickly learn notes and find them on the staff?
Finding notes on the fretboard of a guitar
Guitar neck
morning exercises. V. Vysotsky. Music application
General concepts of rhythm. Tact line. Tact. Zatakt. Time signature
Comparative table of poetic meters and time signatures in music
How to calculate the duration of notes and rests?
Learning from the notes of the song by G. Shangin-Berezovsky "The Princess-Nesmeyana"
The unsmiling princess. G. Shangin-Berezovsky. Music application
Position play. Conductor leg
Song learning algorithm
Learning B. Grebenshchikov's song "City"
City. B. Grebenshchikov. Music application
The "fight" game
Learning the song by Y. Shevchuk "Autumn"
Autumn. Y. Shevchuk. Music application
How to learn to invent different types of "combat" yourself
Size 2/4
Size 3/4
Size 4/4
Size 6/8
The use of dance rhythms in musical practice
Basic schemes of some dance rhythms.
Special types of rhythmic division
Algorithm for calculating a rhythmic pattern, including triplet, duol, quartole, quintole, septole
Examples from songs: "Dream in hand" A. Rosenbaum. Note application.

Chord Dictionary for six-string guitar. 3000 chords.
Terms of use.
Alphanumeric notation for chords
Table of the simplest chords for a six-string guitar.
Summary chart of chords in five positions

• Song Application.
  • Dombay waltz. Y. Vizbor
  • Shkhelda. Y. Vizbor
  • Morning gymnastics. V. Vysotsky
  • Princess Nesmeyana. G. Shangin-Berezovsky
  • City. B. Grebenshchikov, A. Volokhonsky, A. Khvostenko.
  • Autumn. Y. Shevchuk. From the repertoire of the group "DDT"
  • Dream in hand. A. Rosenbaum
  • Enchanted, bewitched. A. Lobanovsky. From the repertoire of M. Zvezdinsky
  • You are my only one. Y. Vizbor
  • A star called the Sun. V. Tsoi
  • Bouquet. Words by N. Rubtsov. Music by A. Barykin
  • yesterday. D. Lennon, P. McCartney
  • In the upper room. Words by N. Rubtsov. Music by A. Morozov
  • Hotel California. From the repertoire of the group «Eagls»
  • Everything is against us now. From the repertoire of Zh. Bichevskaya
  • Musician. A. Nikolsky. From the repertoire of the group "Resurrection"
  • Candle Ballad. A. Lobanovsky. From the repertoire of M. Zvezdinsky.
  • Maestro. From the group's repertoire Blue berets»
  • I h yak mkyachna. Ukrainian folk song
  • This company. From the repertoire of M. Gulko

Application.
Recommendations for the selection and operation of guitars by guitar master S. Shchegolev
The simplest types of accompaniment. Addition to lesson number 12
Exercises to develop a sense of rhythm. Addition to lesson number 12
Note abbreviation
Short list the most common musical terms

Beginner guitarists, having heard new song, often ask the question: what kind of enumeration is the accompaniment played with? Or what is the best way to play a composition when it comes to arranging for one guitar?

It is impossible to answer these questions unambiguously. To a greater extent, the choice will depend on artistic taste and individual style performer. There are a lot of options for this sound extraction method.

The guitarist should regularly replenish his musical arsenal various types searches. The more of them the performer has, the better, the more beautiful and original the chords of the song will sound. In addition, the means of expression are significantly expanded for a more subtle transfer of mood and emotions to the listener.

So, for example, the great Italian guitarist M. Giuliani once developed 120 picks. They are presented as separate exercises and divided into 10 separate groups. These achievements of the great master undoubtedly deserve praise and seem to be fertile ground for cultivating his ideas.

A little theory before class

What is overkill in terms of musical theory? This arpeggio is the alternate extraction of chord sounds: from the lowest note to the highest (ascending) and vice versa (descending). The sounds of a chord can vary in their order.

Within the framework of this article, the most common and easy-to-perform types of arpeggios used in guitar accompaniment.

In the exercises, next to each note of the arpeggio there is a designation indicating which finger of the right hand you need to play the note. The whole scheme can be found in the figure with a hand.

To quickly remember the match Latin letters to each finger, you need to conditionally combine them into one word “ pimac“ and, as it were, pronounce it letter by letter, mentally fingering, starting from the big one.

In some exercises there are chords with complex alphanumeric notations - do not pay attention if they are difficult to understand, you can return to this topic later, now the main task is to master the types of enumeration. All chords are easy to play and are not particularly difficult.

Types of guitar picks (arpeggios)

A simple enumeration of 3 sounds.

This type of arpeggio uses only three strings. First you need to analyze which note, which finger to play. It is necessary to strictly adhere to the fingering of the right hand. First, the picking is practiced on open strings, this allows you to concentrate more on honing your technique. Feeling confident, you can already play chord progressions with this enumeration.

Don't forget about reprises - repeat bars 1 and 2, bars 3 and 4, 5 and 6. The fingerings of the right hand are indicated in the guitar grids.

A simple enumeration of 4 sounds.

It is played very simply - the bass string, and alternately plucking the strings, starting from the third to the first and back. This type of arpeggio, despite its triviality, can sound quite impressive. A prime example is the accompaniment in the second verse of Harry Moore's most beautiful blues ballad - still got the blues. Watch the video with this music:

Having mastered the open strings, you can start playing chords:

Two Small Exercises in C Major and A Minor

Fingering on distant strings

Mastering this type of arpeggio can seem incredibly difficult at first. Although, upon closer examination, there is nothing super complicated in it. The first four sounds of this enumeration are nothing more than the enumeration considered in the first exercise, then the sound is extracted on the first string, and again 3.2 and again the 3rd string. To play this arpeggio, you need to start at a very slow pace, controlling the order in which the sounds are extracted with the corresponding fingers.

Picking with simultaneous plucking of 3 strings in waltz tempo

Fingers i,m,a, as if they were previously laid for the strings, in such a correspondence i -3, m -2, a -1 (but the sound is not yet extracted). Then hitting the bass string and simultaneously plucking with three fingers. Rhythmically on the count - one, two, three - one, two, three - etc.

Notice how the bass string changes alternately in each measure, imitating the bass part:

Picking with simultaneous plucking of 2 strings in tempo 2/4

This type of arpeggio is very often used in classical romances. At the same time, strings 2 and 1 are plucked. As you can see, often the types of enumerations and their choice depend exactly on what genre this or that song belongs to. You can read something about genres here - ““. And here is a variant of this enumeration in A minor:

With an increase in performing experience, clear lines in the concept of “sort of enumeration” are erased, each chord in a song can emphasize different strokes. The arpeggio can stretch over several measures and be transformed rhythmically, expressing the nature of the theme.

Arpeggio exercises do not need to be played mechanically and pointlessly. At a slow pace, keeping the time evenly - first on open strings and then with chords. The sequences in the exercises are just examples, the arpeggios can be played randomly according to the harmony you like.

If you want to take a full course in playing the guitar, then you are here:

Beautiful enumerations and original sound!