Switching our muting attention to the fretting hand, Dan gives us the essential techniques we need to get the cleanest result.
Taught by Dan Sugarman in Sugarman's Shredding Revolution seriesLength: 14:52Difficulty: 2.5 of 5
Fretting Hand Muting Techniques
You might think we’re done with muting techniques, but we’ve only just begin! Up next is “Fretting Hand Muting Techniques”
After learning ways to clean up any noise that may be coming from the picking hand, let’s discover ways to minimize and mute out any noise that may be coming from the approach or escape in our fretting hand… These two hands working together to keep things under control is EXACTLY what 2 hand sync is about, though this is the piece that I’ve not heard enough people talk about. With that being said, let’s dive into the Fretting Hand Muting Techniques.
In the last lesson, we focused solely on things that our picking hand could be doing to help better our chances at cleaner sounding playing… Now I want to focus on the ways that our fretting hand can help aid us in this. These exercises will help you master the sensation of all 6 fretting hand muting techniques in one simple and short riff idea… Then I’ll expand that into a second riff that will include all 4 of the previous picking hand muting techniques into the mix as well resulting in 9 muting techniques happening within 4 measures of music.
As a point of reference, here are the fretting hand muting techniques we'll be talking about and using in this lesson:
First, we’ll be on fret 1 on the A string, using the pulse to get the exact note value we want, we’ll be pulsing 16th notes, and then I’ll remain in contact with the string in rest position and fill in some of the interior beats by striking the string with my picking hand to make a click sound… This is a really cool way to create a percussive interior rhythm to your riffs, as well as a great way to practice 2 hand sync with these new muting techniques. I’ll also be using the underside of my index finger to mute out all the higher strings - I call this finger fat muting.
Then I’ll hit fret 4, open string, and then use same techniques as before on frets 1, and 0 on a down-stroke followed by a second downstroke for the click pick, and then we close it out with a index finger roll from the A string, rolling back to the E string… when playing the A string, the E string is essentially muted by the sloppy joe, then we roll on the round-ness of our finger to the E string, thus muting out the A string with our finger fat. Then fret 4 and then an open string It sounds like this slowly, and then up to speed.
For Measure 2: I want you to notice the way that I’m strategically placing my index finger as I strum these first few octave chords… I have my index finger slightly placed sloppily so that the top of it is touching the string above it (the string lower in pitch)… I call that the Sloppy Joe… there’s tons of applications for it, but this is a great intro to it.
You may have noticed that we’ve changed keys here - we’re now playing in G harmonic minor, another one of my favorite keys to play in a drop tuning. Also, notice the way that it changes the way that my index finger arches so that I can use the underside of my index finger to mute out all the strings higher in pitch to the note that I’m playing… This means that I am virtually muting out all the strings with one finger (string all 6 strings playing only 1 note) I call this Finger Fat muting. Note, There is still a curve in this, but it is small and designed this way for a reason - So know that it isn’t a broken arch - that looks like this but it isn’t our typical arch that the other fingers have as well - this is something I am doing strategically and on purpose so take note!
The first 3 octave chords in measure 1 use the sloppy joe and finger fat to mute out everything, but on the 4th chord, I remove the sloppy joe so we can get that low note droning over our octave, but I’m still using the Finger Fat to mute the highest strings - then I slide up to fret 19 with my 3rd finger on the G string, using my thumb butt to mute out the lower strings as I ascend up this D major b6 by rolling on fret 19, then a hammer pull on fret 17, 18 on the high e string, then rolling back down 3 strings - notice the way I roll to mute the notes I’m passing, then supplementing with excess fingers on my picking hand, while using the finger fat on my fretting hand to bring it all home. Play this slow and make sure everything is lining up nicely!
Up next is a riff that will include ALL 10 muting techniques we’ve discussed into a 4 measure riff that loops. Measure 5 is in rhythm playing position, we’ll be up-stroking the first note so that we can accent it - notice the way that I’m also using my upstroke to tilt on the axis of my 1st point of contact to open the string up EVER SO SLIGHTLY so that it isn’t palm muting at all, then when I do my down strokes, or double down strokes on the low E string, they are palm muted and heavy - thus making my accented melody popping out on the A string that much more in your face.
I’ll be using the finger fat and sloppy joe on the first note, and then using the finger squeegee with my index at the very same my that I put my pinky down on fret 12. Then I’ll hit 9 again with the same techniques, and then do a cool little half picked half legato line to close out the measure - this line includes hammer ons, pull offs, sloppy joe, finger fat, and then closes with a squeegeed note on the g string, fret 11.
Then measure 6 is in lead playing position so that all my notes get their full tonal value. This is a cool legato line, starting with the first 6 note legato pattern we learned with the stow away going on, but I pick once with a pull off, then click again to start it up on the hammer to give a unique accent. I then descend down a 3 NPS line, before moving to the position behind it and do a pattern of 5’s with a double pick again for the accent with a stow away below, so its cocked and loaded for me to descending down fret 7 on the b, g and d string with a roll and excess finger muting.
Then we go back to the same riff idea that was in measure 5 with a slight variation, because we ended in this position we’ll use our 3rd finger on the first note, then continue the same way until we get to the legato line… this time we’re going to alternate pick it back down, with a heavier palm mute (rhythm position digging) and then we’ll do almost the exact same riff as measure 1 of this whole lesson, with the click picking/pulse idea, ending with a directional line with a thumb mute to close it - notice on the loop that you’ll need to mute that open G string with your finger fat or else you’re in the mud zone!
Right now, you might be feeling a little overwhelmed realizing there could be more then 1 muting technique - take these exercises slow, taking into account all the notes and details… Practice connecting them in your own creative ways, with and without my riff ideas so that you can perfect it in your own voice. Marinate on this one, and review this lesson again if you need it!
Sugarman's Shredding Revolution is all about discovering and creating ways to develop a new and unique level of understanding of two-hand synchronization, which is one of the core foundations of clean playing.
Dan Sugarman gives us an introduction and preview to his series - Sugarman's Shredding Revolution.Length: 5:13 Difficulty: 0.0 FREE
Dan begins his series by revolutionizing the way we approach our instrument. In this lesson, Dan shares a concept he calls The Speed of "Light".Length: 10:27 Difficulty: 1.5 Members Only
Finding the "Goldilocks" zone is key to getting your hands in the best position possible to shred, by finding the right amount of pressure to apply to the strings. Dan helps us find the touch that's "just...Length: 12:21 Difficulty: 1.5 Members Only
In this lesson, we put into practice what we've talked about so far in this series. This exercise is designed to help you find your Goldilocks Zone, and practice it enough to put it on auto pilot!Length: 7:49 Difficulty: 2.0 Members Only
Contrary to what some say, good posture feeds into good technique, which feeds into great guitar playing. In this lesson Dan gives us examples of good posture for two different ways of holding the guitar.Length: 5:21 Difficulty: 1.0 Members Only
Distributing the right amount of pressure throughout your hand is a key foundation to achieving two hand sync. In this lesson, Dan analyzes this concept and helps to get us on the right track.Length: 12:11 Difficulty: 1.5 Members Only
This lesson is designed to work on the hand to brain connection during the string change, and to help you "fall" into position as opposed to "flail" into position.Length: 2:56 Difficulty: 1.5 Members Only
Now it's time to sprinkle some legato playing into the proceedings. Starting with hammer ons, Dan shows us how to use "weight" not "strength" to achieve this technique.Length: 6:56 Difficulty: 2.0 Members Only
Now Dan shows us the next element of legato playing: Pull Offs.Length: 3:30 Difficulty: 2.0 Members Only
Using hammer-ons and pull-offs that we learned in the previous lessons, Dan now gives us an introduction to true legato - using three note per string patterns.Length: 5:08 Difficulty: 2.0 Members Only
Now that we've spent a good deal of time on the fretting hand, it's time to turn our attention to the picking hand. Dan starts with examining how to get the best tone from our instrument, using what he...Length: 11:43 Difficulty: 2.0 Members Only
In this lesson, Dan helps us apply some exercises to the home application that will help it become second nature in no time!Length: 8:59 Difficulty: 2.0 Members Only
A solid rhythmic foundation is a must when addressing the basics of good technique. In this lesson, Dan shows a very fresh and cool way to approach rhythm, with the ancient Indian method: Konokol.Length: 7:47 Difficulty: 2.0 Members Only
Now, Dan moves the Konokol rhythm system that we looked at in the last lesson to the guitar, exploring different rhythm configurations along the way.Length: 3:04 Difficulty: 2.0 Members Only
When it comes to complex rhythm, understanding the difference between polyrhythm and polymeter are very important. In this lesson, Dan gives us a crash course on how to tell the difference.Length: 3:08 Difficulty: 2.0 Members Only
Now it's time to put our hands together (so to speak). We're bringing what we've worked on for the left hand, and what we've worked on for the right hand together to get a firm grasp of our two hand sync....Length: 8:40 Difficulty: 2.5 Members Only
In this lesson, Dan continues to emphasize two hand sync, adding the new ideas of inside picking and outside picking.Length: 10:08 Difficulty: 3.0 Members Only
Now Dan introduces some 2 string patterns into our two hand sync exercises. In each lesson, he's ratcheting up the difficulty level!Length: 3:08 Difficulty: 3.0 Members Only
In this lesson, Dan explores more two string patterns, this time emphasizing odd two string patterns. Finger twisters and brain teasers for sure!Length: 8:03 Difficulty: 3.0 Members Only
Endurance is the name of the game in this lesson. Dan shows us one of his favorite techniques he calls "Phalange Laps".Length: 4:04 Difficulty: 3.0 Members Only
Subtle hand positioning can go a long way in determining the proper position for lead playing or rhythm playing. Here, Dan analyzes this concept in great detail, getting you on the right path and putting...Length: 4:30 Difficulty: 2.0 Members Only
Now we get to muting techniques. Starting off, Dan gives us all the details on muting techniques for the picking hand. These are a must if you want to truly reign in that beast of an instrument!Length: 12:49 Difficulty: 2.5 Members Only
Switching our muting attention to the fretting hand, Dan gives us the essential techniques we need to get the cleanest result.Length: 14:52 Difficulty: 2.5 Members Only
In this lesson, Dan teaches a great way to analyze our own playing, focusing in on our mistakes and how to correct them. It starts with quarantining our playing.Length: 9:19 Difficulty: 2.5 Members Only
What gives you your unique voice on the guitar? Well, there are a number of things that go into that equation. In this lesson, Dan takes a look at some of the key techniques that will go a long way in...Length: 18:01 Difficulty: 3.0 Members Only
Now Dan will help us focus on growing our weaknesses. First up is Rhythm vs. Lead Playing.Length: 5:28 Difficulty: 3.0 Members Only
Up next in working on strengths and weaknesses? Legato.Length: 3:49 Difficulty: 3.0 Members Only
Up next in the world of substrates - Alternate Picking.Length: 4:50 Difficulty: 3.0 Members Only
The last substrate Dan takes us through is Directional Picking.Length: 7:06 Difficulty: 3.0 Members Only
In the last lesson of the series, Dan gives us a musical, full band exercise that ties in all of the techniques that we've learned throughout the series.Length: 6:25 Difficulty: 3.5 Members Only
Who is Dan Sugarman? Get to know a little about Dan - his background, his music, and what drives him to excel at guitar in this JamPlay interview.Length: 8:44 Difficulty: 0.0 Members Only
About Dan Sugarman View Full Biography
Dan Sugarman is a 26 year old guitarist, producer, teacher and songwriter hailing from the South Bay of Los Angeles, CA. His tenacity and dedication to the art of music and guitar led him to the lead guitar position in the internationally touring band, As Blood Runs Black. Now as a solo artist, Dan continues to work on his original music being released through Patreon, and is currently producing and engineering other bands & artists at Sugartone Studios, and composing for film & television. He also maintains an ever-growing student body as a private guitar teacher, mentor, and educator in the crafts of songwriting, creativity, and modern day recording techniques.
Dan is currently working on his "living album", Inside Out - Part I, available on patreon.com and completing an album for his new group A Mind Made Me, featuring singer//actor Sarah J Bartholomew.
Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.
Rich Nibbe takes a look at how you can apply the pentatonic scale in the style of John Mayer into your playing.Free LessonSeries Details
JamPlay welcomes David Isaacs to our teacher roster. With his first lesson Dave explains his approach to playing guitar with...Free LessonSeries Details
Orville Johnson introduces turnarounds and provides great ideas and techniques.Free LessonSeries Details
Steve Eulberg does a quick review of this lesson series and talks about moving on.Free LessonSeries Details
Tyler Grant is back with an introduction to his new series "Classic Country Chops." In this series, Tyler goes in-depth...Free LessonSeries Details
JamPlay is proud to introduce jazz guitarist Peter Einhorn. In this lesson series, Peter will discuss and demonstrate a way...Free LessonSeries Details
Learn a simple mini song that illustrates just how intertwined scales and chords really are. Dave uses a G chord paired...Free LessonSeries Details
Jessica kindly introduces herself, her background, and her approach to this series.Free LessonSeries Details
Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience.
Bryan Beller of the Aristocrats, Dethklok, and Steve Vai takes you inside his six step method to learning any song by ear....Free LessonSeries Details
James explains how to tap arpeggios for extended musical reach.Free LessonSeries Details
Tosin explains some of the intricacies of the 8 string guitar such as his personal setup and approach to playing.Free LessonSeries Details
Welcome to Yvette Young's series! Join Yvette as she gets creative with open tunings.Free LessonSeries Details
In this lesson, Larry discusses and demonstrates how to tune your bass. He explains why tuning is critical and discusses...Free LessonSeries Details
In this lesson Eric talks about playing basic lead in the Memphis Blues style.Free LessonSeries Details
Brendan demonstrates the tiny triad shapes derived from the form 1 barre chord.Free LessonSeries Details
Allen shows you the 24 rudiments crucial to developing finger dexterity. This is a short lesson but the exercises here can...Free LessonSeries Details
JamPlay welcomes instrumental guitarist Aaron Marshall for a comprehensive master course. In this first lesson Aaron discusses...Free LessonSeries Details
Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour.
|Price Per Lesson||< $0.01||$4 - $5||$30 - $50||Free|
|Money Back Guarantee||Sometimes||n/a|
|Number of Instructors||124||1 – 3||1||Zillions|
|Interaction with Instructors||Daily Webcam Sessions||Weekly|
|Professional Instructors||Luck of the Draw||Luck of the Draw|
|Learn Any Style||Sorta|
|Multiple Camera Angles||Sometimes||-||Sometimes|
|Learn in Sweatpants||Socially Unacceptable|
|Gasoline Needed||$0.00||$0.00||~$4 / gallon!||$0.00|
Mike H."I feel like a 12 year old kid with a new guitar!"
I am 66 years young and I still got it! I would have never known this if it had not been for Jamplay! I feel like a 12 year old kid with a new guitar! Ha! I cannot express enough how great you're website is! It is for beginners and advanced pickers! I am an advanced picker and thought I had lost it but thanks to you all, I found it again! Even though I only play by ear, I have been a member a whopping whole two weeks now and have already got Brent's country shuffle and country blues down and of course with embellishments. Thank you all for your wonderful program!
Greg J."With Jamplay I can fit in a random session when I have time and I can go at my own pace"
I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg
Bill"I believe this is the absolute best site for guitar students."
I am commenting here to tell you and everyone at JamPlay that I believe this is the absolute best site for guitar students. I truly enjoy learning to play the guitar on JamPlay.com. Yes, I said the words, ""enjoy learning."" It is by far the best deal for the money.