In this lesson, David gives you an exercise for each of your hands. These exercises are designed to synchronize your hands together. You will also build finger strength and dexterity.
Taught by David Anthony in Basic Guitar with David Anthony seriesLength: 16:00Difficulty: 3.0 of 5
This lesson strays away from chord applications to discuss technical mechanics. Technical work should be added to your daily practice regimen. Each day, before you begin to work on repertoire, technique must be addressed. Technical practice should be done before work on pieces in order to warm up the hands and prepare them for the music they are about to play. In the lessons that follow, you will learn some great left-hand exercises some fingerpicking basics.B. Left Hand Exercise
This is a great left hand warm up, because it gets all four of your fingers moving. Although this exercise is geared primarily towards left-hand development, it is also develops right and left hand synchronization. Synchronization of the hands is absolutely essential to playing scalar lines cleanly and musically.
When playing any left-hand exercise, there are several key guidelines that must always be observed.
1. Do not bring the thumb over the top of the neck. It should rest perpendicular to the back of the neck.
2. Do not slant the thumb sideways towards the headstock. This will cause your left hand fingers to slant, resulting in limited reach.
3. Do not squeeze the neck tightly! This will result in unnecessary fatigue and intonation problems.
4.Keep all left hand fingers as close to the fretboard as possible at all times. This will dramatically effect your overall speed and coordination.
5.Play on the tips of your fingers rather than the fleshy pads of the fingers.
6. Keep all left hand joints loosely bent. Don not straighten any of your joints!
7. Keep your left hand nails trimmed as short as possible.
David breaks this exercise down into two basic components. When learning anything new, it is always a good idea to break the exercise or piece into smaller, manageable sections. The first section of the exercise involves fingers 1, 2, and 3. The second half adds in finger 4 and omits finger 2. Pay very close attention to the tablature and the designated fingerings underneath it! Chapter 3: (4:56) Second Part of Exercise As David recommends, play this exercise very slowly to begin with. To start, play each note as an eighth note. Set your metronome at a slow tempo, and gradually work your way up. Once you are comfortable with dividing the beat into eighth notes, play the exercise as a series of sixteenth. This will definitely require moving the metronome back down again. Speed is simply a means to a musical end. Clarity and musicality should always be your highest priorities.
For additional practice, play this exercise lower on the fretboard. This will enhance your overall reach development.
Note: David plays this exercise only with his thumb. For now, use alternate picking to perform this exercise. To properly fingerpick the exercise, use your index and middle fingers in place of up and down and downstrokes. Fingerpicking will be discussed in the following scene. Chapter 4: (4:51) Right Hand Exercise This exercise will get you started on the basic mechanics of fingerpicking. Although David plays the exercise with muted strings, maximum benefit will be achieved by playing each string open. Play this exercise VERY slowly! The primary objective of this exercise is to produce a solid tone using the right hand fingers. Here are some steadfast rules to help you with this process.
1. All of the movement in your right hand should come from the knuckle joint.
2. Keep the tips of your right hand fingers loose. This will promote overall speed, control, and comfortability. It will also improve your tone.
3. When plucking a note, the right hand finger should pass through the string all the way into the palm of the hand. This will generate the clearest and loudest tone.
4. The thumb typically will play the bass strings. The index, middle, and annular finger will typically play the G, B, and E strings respectively. This is more of a guideline than a rule. As you learn more complicated music, this guideline will eventually go out the window.
5. If you are playing a steel string acoustic, keep your right hand nails as short as possible. When playing a classical, nylon string guitar, the nails should be kept short and manicured to perfection. (This topic will be discussed in detail in Matt’s Phase 2 Jazz lesson series.)

David Anthony is an acoustic guitar aficionado. In this series you will learn basic concepts that are essential to playing any style of guitar music.
About David Anthony
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David Anthony was born David Anthony Volckmann, on November 9th, 1982, in the small town of Mount Hope, NY. As a child he absorbed the church flavored musical environment that his parents provided. With this influence he realized at a young age that music would not simply be a passive experience for him. It was not until the age of 15 that he decided to string up his first guitar. Relying solely on his father for his foundational chord knowledge, he quickly became enamored with the possibility of endless melodic structures, and the goal of becoming a fantastic player himself.
His early shredder influences came from Kirk Hammet of Metallica. During his first few years of guitar playing, he developed a very workable knowledge of pentatonic, major and minor scales.
Over the years his musical interests swayed from rock to standards, from jazz to classical, and a strong love of the art of flamenco guitar; Spanish finger style. It was not until the age of 18
that he decided to surround himself entirely with the music of Steve Vai and Joe Satriani. This influential exclusivity enabled him to learn more about thinking outside of the musical box. In
one year he had learned than in the prior 3 years. Picking up multiple ways to structure melodies, create chords and use different modes, his writing and improvisational abilities grew exponentially.
In his senior year of high school, he was responsible for the development of the first Musical Appreciation class in the schools history, and had aided the instructor in the teaching of those classes.
After high school, his focus started to rest mainly in writing. With this he realized that he would need additional, abstract influences to develop a unique style of writing. After a couple more
years of playing in a small band, and writing some decent material, he greeted 2004 with a move to Nashville, TN. There he found the exact influence that would change his opinion of the guitar forever.
Attempting to weed out a strong foundation in shredding and solo techniques, he began learning finger style guitar, and quickly realized the options that his door would open for him.
As he picked up more complex chord structures and jazz scales, his style became a passion for him that continues to drive him and push him to learn more. He feels strongly about the connection
between musical input and the music you write. He notes that his subconscious pool of influence, developed from the music he listens to, is almost directly responsible for the type of music that
he writes. He adamantly believes that in order to create a unique, soulful style, the pool must remain unpolluted by substandard music. What's that mean? As David puts it, "If you don't want to play
crap, don't listen to crap."
David currently teaches Jazz guitar in Fort Collins, Colorado, with plans to move back to Nashville in the spring to pursue a career in writing.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.this guy is amazing.. i wish i could play like him.
Great lesson. What are you doing at the end of scene 3 to spice it up. An extra note and pulloff? Thanks, Ross
Liked this lesson,can't wait to start practicing it.