Right Hand Revisited Guitar Lesson

Chapter 1: (13:46) Right Hand Revisited As discussed in the previous lesson, the right hand is mainly responsible for controlling the rhythmic feel of the music. Simply stated, the right hand drives the groove. Without the groove, a musical performance ceases to be effective. When playing guitar, always keep your listener's perspective in your mind. Would you want to listen to a performance that is rhythmically sloppy?

Lesson Overview

At this point, Jim has discussed two basic strumming patterns. He has demonstrated how to strum a chord in steady quarter notes and in steady half notes. In the current lesson, he explains how to add interest to a strumming pattern by altering these basic patterns.

Exercise 1

Note: Tablature and standard notation to all lesson exercises can be found under the "Supplemental Content" tab.

This exercise features a chord progression that consists of the G, C, and D chords. The same chord progression was played in Exercise 2 in the previous lesson. Now however, the strumming pattern of the exercise is changed. Breaking up the monotony of the strumming pattern adds much needed variety to this accompaniment figure. The rhythm for this exercise is played in steady quarter notes in 4/4 time. On beats 1 and 3, the lowest root note of the chord is picked. On beats 2 and 4, the remaining strings within the chord are strummed. Be careful that you do not pick the lowest root note on these two beats.

Practice this strumming pattern with each individual. Then, switch between the chords while maintaining the new strumming pattern. Remember to tap your foot along with the click of the metronome. Also, count the beat out loud.

Note: For additional practice, play the exercise along with Jim in the lesson video at 06:50. At first, Jim plays each chord for two measures. At 07:55, he plays each chord for one measure.

Flatpicking Basics

I. Choosing a Pick

When it comes to choosing a pick, there really is no right and wrong. Picks come in a wide variety of shapes, sizes, thicknesses, and textures.

A. Pick Size / Shape

Almost all picks are made in relatively the same shape. There is a broad end and a pointed end. However, there is a wide variety of choices within this stipulation. The majority of picks are taller than they are wide and measure roughly one inch in height. A common example of this pick type is the Dunlop Tortex.

However, there are other available options. For example, Fender makes a pick that is just as wide as it is round. Fender also makes picks in the shape of isosceles and equilateral triangles. Most guitarists can't stand these picks. However, System of a Down / Scars Over Broadway guitarist Daron Malakian has been known to use these picks almost exclusively. In addition, most jazz players prefer a very small pick. This allows the picking hand to be as close to the strings as possible. This is not desirable for hard rock and metal players who frequently palm mute.

B. Pick Texture

Ideally, you want to choose a pick that is easy to hold onto. For example, many players find the Dunlop Tortex and Dunlop Nylon picks very easy to hang onto. The Dunlop Nylon picks have a convex logo printed on them that makes them easier to grip. However, players with very dry skin often find these picks difficult to hold onto. These players usually prefer picks with smoother surfaces such as picks made by Fender.

C. Thickness

Almost all JamPlay instructors recommend that you play with a medium or heavy pick. Thin picks produce an annoying clicking sound when they strike a string. They also tend produce a very weak tone. However, make sure that you do not choose a pick that is too thick. Picks that are too thick are clumsy and awkward to use. Rapid strumming is quite difficult with a heavy pick. Using such a pick also puts you at a higher risk of string breakage.

D. JamPlay Recommendation

When starting out, it is best to use a pick that represents the middle of the road. Use a standard shaped pick of medium thickness. The green Dunlop Tortex and the Fender Medium are two great picks that meet this description. As you advance as a player and become more stylized, you will probably find that a certain type of pick works better for you. For example, a thicker and slightly smaller pick might work better for rapid single note lines that occur frequently in metal and jazz music. If you find yourself playing a lot of strummed acoustic music, you might want to use a thinner, more flexible pick.

II. Holding the Pick

In order to properly swing a golf club, you must first learn how to hold it. Similarly, in order to use your picking hand properly, you first have to learn how to hold the pick.

A. Method 1

Many parallels can be drawn between the act of shaking someone's hand and holding the guitar pick. When holding the pick, keep the wrist straight. Do not curl the wrist inwards or outwards. Curl the index finger inwards until the side of the finger rests directly under the fleshy pad of the thumb. The pick should be gripped between the side of the first finger and the pad of the thumb. Do not grip the pick between the pads of both fingers. This will contort your wrist into an awkward position.

Do not grip the pick too tightly! Relaxation and comfort are two of the most important components of proper playing technique. Hold the pick with just enough pressure so that it does not fall out of your hand. Gripping the pick tightly will result in unwanted tension in the finger, palm, and forearm muscles. This tightness will cause unnecessary fatigue. Fatigue will lead to slower playing speeds and decreased accuracy.

The tightness of your grip on the pick also has a large bearing on volume. Holding the pick with a tight grip will produce a louder, more deliberate tone. Inversely, a light grip on the pick will produce a softer tone.

Note: There are two other acceptable ways to hold the guitar pick. However, they are not as widely accepted by qualified guitar instructors as the method described by Jim in the lesson video.

B. Method 2

Some rock players, such as Metallica's James Hetfield and Krist Novoselic of Nirvana, Sweet 75, and Flipper prefer to hold the pick between the pads of the thumb and both the index and middle fingers. These players feel that this method provides them with the firmest, most stable grip on the pick. It also allows them to play with punishing heaviness.

C. Method 3

Eddie Van Halen has been known to grip the pick between the pad of his thumb and the pad of his middle finger. This method frees up his first finger for rapid tapping licks. This method is not recommended unless you play tapped licks very frequently.

Regardless of which method you eventually choose, slightly less than a fourth of an inch of the pick should extend outward from the fingers holding it. This is the only portion of the pick that should make contact with the strings. Almost all guitarists strike the strings with the pointed side of the pick. However, some jazz players such as Scott Henderson advocate holding the pick upside down. Scott holds his pick this way in order to achieve a slightly softer, darker tone. Many modern bluegrass flat pickers also use this technique.

III. Pick Angle

The angle at which the pick strikes the strings has a huge impact on tone production. Holding the pick totally parallel to the string yields the brightest tone. JamPlay instructor Dennis Hodges prefers to hold his pick this way. However, the tone produced by this method may not be ideal for you. Other instructors such as Matt Brown prefer to slightly angle the pick into the strings. This produces a slightly darker tone similar to the effect of rolling down the tone control by 1 or two settings.

The pick angle also has a profound effect on rapid picking. Some players prefer to angle the pick slightly when tremolo picking so that the pick slices through the string. Other players find this technique undesirable and choose to keep the pick parallel to the string while tremolo picking.

Note: If you do not have a "hitchhiker" thumb, you will most likely not be able to hold the pick perfectly parallel to the string. If this is the case, do not try to force the thumb into a position that is uncomfortable. The thumb should remain as relaxed as possible at all times.

When strumming chords, the angle of the pick must change slightly. When performing a downstrum, the pick must be tilted slightly towards the floor. When performing an upstrum, the pick must tilt in the opposite direction.

Note: Jim discusses the upstrum in detail later in the lesson.

IV. Picking Motion

Almost all guitarists generate the picking motion completely from the wrist muscles when playing single notes. The forearm only gets involved when three or more strings are strummed simultaneously. However, some players prefer to generate the picking motion between the thumb and index finger. The thumb pushes the index finger towards the middle finger to produce a downstroke. Allowing these fingers to return to their normal, relaxed position produces an upstroke. Dave Navarro is a strong advocate of this technique.

IV. Fingers Not Holding the Pick

Keep these fingers as relaxed as possible. Many players prefer to curl them inwards towards the palm. Or, you can let them extend out naturally. Jim prefers the latter method when strumming chords with a flat pick. When playing rapid single note lines, he often rests these fingers on the pickguard. However, many guitarists argue that it is not appropriate to anchor any of the fingers on the body of the guitar. Chapter 2: (06:49) Proper Right Hand Technique Proper Playing Posture

Playing the guitar properly begins with proper posture. Proper posture involves the entire body. Remember that the entire body is one system. One part affects everything else. Playing with proper posture will enable you to play with the greatest ease and comfort. Improper posture results in poor playing technique and potentially career-ending injury.

Sitting in a Chair

Do not sit in a chair with arm rests. This will prevent you from holding the guitar in a comfortable position. Also, do not sit on a very soft chair or couch. Otherwise, you will sink in to the cushioning. This prevents you from playing with proper posture.

Legs

The legs are the foundation of the body and proper posture. Any structure requires a solid foundation. Always follow the following guidelines regarding proper leg positioning.

1. Never cross your legs. It limits circulation. It's awkward. Most people do this just to raise the guitar higher. That's why you should always wear a strap instead!

2. Keep the feet about shoulder width apart. When playing sitting down, keep them parallel. When standing up, you may find it more comfortable to keep one foot slightly in front of the other. This is perfectly acceptable. However, leading too much with one foot can cause back issues that affect the shoulders. This tension can spread to the hands and affect your playing.

3. The groin area and feet should form an isosceles triangle (two equal sides). The ancient Egyptians understood that the triangle is the strongest geometric shape. Consequently, you must position the base of your body in this formation.

Shoulders

Keep the shoulders relaxed and loose at all times. Don't shrug them at all. Your arms should feel like they are hanging effortlessly from your body. Do not lift your right shoulder to bring your right hand closer to the strings.

Do not lean over so that your face is closer to the fretboard. Keep the spine as straight as possible at all times. Playing slouched over for extended periods of time will hurt your back.

The Strap

Always wear a strap regardless of whether you are playing sitting down or standing up. This is true of both electric and acoustic guitars. Raise your left hand slowly until the bicep no longer must use any force to raise the arm. Adjust your strap so the neck meets your left hand at this position. Play with the strap adjusted the same way regardless of whether you are standing up or sitting down. Pay no attention to rock guitarists who play with the guitar slung down around their knees. This is very improper posture. It makes playing the guitar much more difficult.

Positioning the Guitar

The guitar should remain flat against your body. Do not let the guitar tilt down your leg. This will make it hard for your left hand to play chords and scales. A lot of students complain that they cannot see the fretboard as easily when the guitar is flat against their body. You will get over this in time. Use the dots on top of the neck to help orient you if necessary.

Choosing the Right Guitar

Don't play a guitar that is too big, bulky, or heavy for you. Many players run into back and shoulder problems from playing heavy guitars such as Les Pauls night after night. Similar problems may result from playing a large hollowbody or acoustic guitar. Most likely, these problems will not manifest themselves immediately. It may take decades for the issue to come to a head. However, they could eventually knock you out of commission for a long time. Why would you do anything that could potentially lead to injury?

A Few Thoughts on Muscle Memory

Muscle memory plays a very important role in playing accurately. With repetitious practice, the finger muscles gradually build up memory. Muscle memory will allow you to find the proper string with the right hand or the proper fret with the left hand without looking.

As a beginner, it is perfectly acceptable to watch your hands to ensure accuracy. However, you will gradually want to develop the ability to play without looking. There are several specific reasons for this. Down the road, you may find yourself playing in a poorly lit venue. In this situation, it might be very difficult to monitor your hands. Second, if your eyes are not focused on your guitar, you are free to make important visual cues with the other musicians you are playing with. You can also acknowledge the audience by making eye contact. Finally, it is impossible to site read a piece of music if your eyes are focused on the guitar. Chapter 3: (03:54) Timing, Music, and the Right Hand All of the strumming patterns that Jim has demonstrated thus far have been played in 4/4 time. You may have seen 4/4 at the beginning of a piece and not really understood what it meant. 4/4 is a particular type of time signature. The top note in a time signature indicates how many beats are in each measure. The bottom number indicates which note value receives the beat. This is where things get confusing for many people. Simply memorize the note value that is indicated by each bottom number.

16: Sixteenth Note
8: Eighth Note
4: Quarter Note
2: Half Note
1: Whole Note

Thus, 4/4 indicates that each measure consists of four quarter notes. Or, the sum of the rhythmic values within the measure add up to a total of four quarter notes.

Sometimes 4/4 time is indicated with an upper case letter "C." Before Johannes Gutenberg invented the printing press in about 1439, it was much easier to write a "C" legibly than writing 4/4. "C" stands for "Common Time." This traditional indication of 4/4 time is still frequently used today.

Exercise 2

When the bass note and subsequent strums of a chord are placed on different beats, the overall feel of an accompaniment pattern is drastically changed. Within this exercise, Jim plucks the lowest root note of the chord on beat 1 of each measure. The remaining strings in the chord are strummed on beats 2, 3, and 4 of each measure. This exercise is demonstrated at 01:24 in the lesson video.

3/4 Time or "Waltz" Time

This signature indicates that there are three quarter notes in each measure. 3/4 time can be a little bit tricky, because there is an odd number of beats per measure. The waltz is an example of a common rhythm played in 3/4 time. In a waltz rhythm, the first beat of each measure is accented. This gives the rhythm a steady "oom pah pah" sound.

Exercise 3

This new accompaniment pattern is played in 3/4 or waltz time. The lowest root note of each chord is plucked on beat 1 of each measure. The remaining strings in the chord are strummed on beats 2, and 3. Watch at 02:47 as Jim demonstrates this new strumming pattern. Play this exercise in time with a metronome. Tap your foot along with the beat. Also, count the beat out loud. Count "1, 2, 3" for each measure. When playing in 3/4, be careful that you do not add an extra beat to each measure! Chapter 4: (11:09) The Upstroke In addition to strumming chords in a downwards direction, chords can also be strummed in an upwards direction. This technique is referred to as the "upstroke" or "upstrum." Typically, upstrums are used on metrically weak beats or within syncopated strumming patterns.

Follow the same basic right hand guidelines discussed in Scene 1 when performing an upstroke. The strumming motion is still generated from the wrist and forearm muscles. Remember to maintain a relaxed grip on the pick. Otherwise, the pick might get hung up on one of the strings. In addition, the angle of the pick must tilt slightly in the opposite direction in comparison to a downstroke. This is accomplished by turning the wrist in a manner similar to turning a door knob. Watch Jim in the lesson video for a clear demonstration of this technique.

Practice the upstroke with a G major chord. Make sure that the pick travels across all six strings. Practice the same exercise with the C and D chords as well. With these chords, right hand accuracy becomes even more important. Do not strum the low sixth string when strumming a C chord. You must avoid the fifth and sixth strings when strumming a D chord.

Exercise 4

A. Rhythm

Exercise 4 is played in 4/4 time. The rhythm of this exercise combines quarter notes and eighth notes. An eighth note receives the value of half a quarter note or one eighth of a measure in 4/4 time. Play this exercise along with a metronome while tapping your foot. Count "1, 2, 3, 4 and" along with each measure. The word "and" is used to count eighth notes that occur on upbeats. Often, a "+" symbol is substituted for the word "and" when a specific counting rhythm is written out.

B. Exercise Directions

The lowest root note of the chord is strummed on beat 1 of each measure. On beat 2, the remaining strings within the chord are strummed. A downstrum is applied to the "downbeat" of beat 3. Finally, a single down strum is applied to the downbeat of 4. An upstrum is applied to the "and" beat of 4. Be careful that you are only picking the lowest root note of the chord on beat 1 of each measure.

C. Strumming Indications in Notation

In sheet music, two symbols are used to indicate the strumming direction for a particular chord. A box with one side missing represents a downstroke. A pointed triangle symbol indicates an upstroke.

Exercise 5

Throughout this exercise, the low root note is no longer isolated from the remaining notes in each chord. The full chord is played with each strum. Quarter notes are played on beats 1 and 3. A group of two eighth notes is played on beats 2 and 4. Count "1 2+ 3 4+" for each measure. The appropriate strumming pattern for this rhythm is indicated in "Supplemental Content."

Exercise 6

Once again, the bass note is no longer isolated from the remaining notes in each chord. The full chord is played with each strum. Quarter notes are played on beats 1, 2, and 3. A group of two eighth notes is played on beat 4. Count "1 2 3 4+" for each measure.

Muting Techniques

The right hand can further alter the feel of an accompaniment pattern by applying various muting techniques. Jim provides a brief preview of this concept at 07:05 in the lesson video. The right hand can apply a technique called palm muting or it can muffle the sound of the strings altogether. These techniques will be discussed in greater detail in later lessons.

Review / Final Thoughts

-When playing guitar, the right hand is the timekeeper. It controls the rhythmic feel or groove of the music.

-Rhythm is the single most important aspect of music. It's what makes people bob their heads, dance, or start a mosh pit. Without solid rhythm, the audience will not enjoy your playing. Remember to consider the audience's perspective at all times.

-The best way to improve rhythm is through constant practice with a metronome.

-You must have a solid rhythmic foundation regardless of which styles you wish to explore.

-Guitarists with perfect rhythm are always in high demand.

-Perfect rhythm is important when it comes to playing lead guitar as well. The rhythm guitar skills that Jim teaches in this series will transfer directly to your lead guitar playing.

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