Transcripts
1. Introduction to the Course: Hello fellow. That is the materials. Living and working
in little k. This is the second part of my
guide on speed and accuracy. In this guide,
we're going to talk a little bit about legato and how the techniques
that we need to have under our belt to be
able to play legato, what it is, and how we can bring it up to speed
with accuracy. See you on the next one.
2. Right Hand Picking Techniques and Legato: In this first segment, we're going to talk about the right-hand technique that you need in order
to play legato. And what of course, is legato? Legato means basically small. Okay. You need
whatever you play, you need to play it
smoothly in a mother. And all the nodes need to
have some kind of cohesion, like, like moving
inside one another. The nodes need to
be so small that it sounds like
something floating. Alright? And how do you do that? You can do this in
several techniques. Of course, there are
some techniques on the right hand that
you can use that they cannot played with the
cannot make legato sound. The legato sound
as it should be. The ultimate
beginning, let's say the Alderman picking
that we already saw, you cannot use it for
legato is too hard. So again, when
you, when you pick something, this is not like God. Alright? With legato, we need
to use tokens to kind of techniques for some
things on the left hand, like the hammer on a bull loves. And on the right
hand, basically, we need to use very
sporadic bit peaking. Okay. Let me show you in a
very simple manner. Like I'm gonna ship one time
with my peak and I'm gonna do hammer ons on the next nodes. So pyramidal. Okay. Let's multiply that
to the next thing. Tomorrow. Tomorrow. Okay? Alright. You already see those
kinds of exercises when, when we did the
ultimate begging them, we are going to use exactly, basically the same semi chromatic scale
that we use to do, to do those kinds of things. There is another technique
that you can use, the legato, and basically it's the habit
begins meaning that you can use your middle
finger or right finger or both of your fingers
to play some of the some of the strokes
instead of picking them. So let's, let's take a look. The first one is
going to be big. When I'm going go to the
next thing is going to be blocking with
my middle finger. So pyramidal. Okay? Okay. This is it basically. And of course, if you want
to go higher and higher, you are doing the same thing. So on the Fed wants thing, the next thing I'm
going to plug, next thing, next up
we're going to black. So big, big black. There is not a fixed method that this is the one
that you should use. And end of discussion. Everybody is doing it a
little bit different. There are people that are using whatever fields
feels right for you. But basically when you are
using your fingers with a pig, we say that you were
playing hybrid picking. When I'm using only my pig. I'm just using my big. The rest of those things are hammered on simple
loves and comment on ampulla of the basic techniques.
If you don't know it. The goal is for the hammer on or the
pool for that matter, is to sound the next nodes that we are going to
hammer to make it sound exactly like
the note we picked. So the same dynamics, we need to keep
the same dynamics like from this
node to this node. They need to sound like
every mode is the same. Okay? Every node must be the same
dynamic with previous ones. So the dynamics must
not go up and down. That's what gives the
smoothness in legato. Okay? The dynamics do not
go up and down, or we don't have vaccines. We don't have, we don't do that. Legato. You need all the nodes need to be in the
same plane field. Okay? Now, what else? This was about the
techniques, of course, you can use mix-and-match
techniques and, you know, get to know everything and experiment. Let's
go to the next one.
3. Usage of the Semi-Chromatic: Just as we did the
previous time, the exercises were
based on what we call semi chromatic,
semi chromatic scale. Basically, we are affecting
everything here in, in every string and we're doing
that, that kind of thing. 341234. Now, again, just a disclaimer. If you are feeling really like what I'm talking about here. If you're feeling that
you are not getting it, then you are definitely not
for this kind of level. You need to go and look
more basic stuff for k. But this is, I think this
is very easy to understand. Every finger takes afraid
and uses that for it. Now, let's take, let's take a look of the previous techniques that
we've talked about. And let's put it from the D
string all the way down to the E string in a semi chromatic fashion with the techniques
that we talked about. It's gonna be legato first with no kind of hybrid
picking evolved. We are going to start in the district and the
first-year there's gonna be down heat and all the
rest are going to be. In this case, Hammer runs
until we read everything. When I'm going to send strings, I'm going to make one upstroke. All the rest are Cameron's
downstroke upstroke cameras. Okay. Let's take a look at now. I'm exaggerating a little
bit because right now I need to keep things separate
so you can hear them. Okay. I'm exaggerating the
heat a little bit. Normally in legato
should be something like very, very smoothly. Okay? Very smoothly for the transition from
one node to the next. Okay? And then we're
gonna take that and simply put it on
a metronome and stop. Okay? Make it faster
and faster and faster. The second technique, of course, is going to be the legato with the hybrid picking
on our right hand. Now, for this one, we are going to do downstroke. And when we are going
to change things, the upstroke is gonna
be our middle finger. Middle finger that I can okay. I think it's simple enough. Of course, you can do. For notes is a
little bit harder. You can start with three nodes, but thing and techniques. Okay? Just try to keep things as even as
possible from now. When you are taking this, this kind of thing gets its
speed is very important. If you went through
the first guide and you've got
some speed by now, it's very important
to keep it liquid. I mean, this is, this is quite hard to
explain how to do it. It's a little bit of what
kind of sound do I have with what kind of field? Why have? But it needs to be like to have a field like what? Like water flowing. Something like I don't know how to express
in words really. It's it's a flowing thing. Okay, you need to keep afloat. And of course, since we are here in this
kind of exercise, we need to talk a little
bit about reversing things. Okay, we started, we used
the techniques to go high, but we also need them back. This, for this one, we need to use the
hammer, the blocks. So first we're going
to hit the first node, and then we're
going to pull off. Now, you can use that
however you want. First Ultimate. Now, as I said, I really don't like to to
use hybrid when I go up, I think it's very
cumbersome, so, but this is, this is
applicable. Also. There is another thing
that sometimes when I, when I play this
thing, things fast, I I kind of got them in my mind. Like I'm playing an arpeggio or something, a quick arpeggio. All my sheets are gonna be down. I'm just doing a big downstroke. I'm not going down. Going down. Just like a big gap. Okay.
Just like an arpeggio. Okay, it's the same
thing when I want to go up all my hicks on the
big car upstrokes. Okay. You can use this
also as an exercise, is a good exercise to start like this is a good exercise to do. But of course, do everything
in all possible ways.
4. Finger Permutations: We talked about the
semi-nomadic thing. We talked about using basically every finger
on every frame. But a good, very good exercise for you would be to also use finger permutations. What is fingerprint
permutations? Fingerprint, there's some
scenes when basically I use different variations
of my fingers. Lead to the variation.
We are going to use the finger, the middle finger. So index, middle, and pinky. Let's say this person
would be 123-13-1313. Okay. So one pick the rest, hammer ons, one pig virus pull-ups when I'm going
the opposite direction. Okay, Very, very basic. Let's do that again
a little bit faster. This is it. Okay? Let's
use another permutation. Another permutation
could be first finger, third finger, the pinky. Now, the pull-ups here
are a little bit harder. This kind of pull off
between the pink and the third is a little bit. Okay? So you need
practice for that. But it's a very
cool thing to do. Let's do another
useful presentation. Another useful permutation would be like to open a little
bit our fingers and do this kind of thing.
Most three nodes. So, um, my first finger
is on the fifth fret, second finger, middle
finger that IS, goes on the 7th and 9th. Pinky. And we're going to
do all these nulls things, all the strings that you
will use so far from this string to e. Okay? This is another good
exercise to do. And of course we can do hybrid hybrid picking for
this and try to always, but always, as we already said, keep the metronome gradually. Take the metronome from, I don't know where to start. Start somewhere where you
can feel really comfortable that this is something that
you can do in your sleep. And then start gradually getting the metronome
up by then, then BPM solar already
talked about this. Then BPMs up again until
you find that you will find that you will block somewhat aware,
you will stop you. You will not be able
to play it as well or and then the
real work starts. Okay? You are starting to go on the metronome
again and again. You might bring it a little
bit back again, try it again. Maybe take it ten bpm faster, and go again back. Anything that you can improve
on that barrier. Okay.
5. Expansion on All Strings: In this next segment, we're going to do a
very simple thing. Since we talked about the
fingers presentations. We're going to take
all that we did until now and we are going to
basically expand it. How are we going to expand it? Basically, we're going to
expand it to all six things. You may start with
a very simple, starting on the sixth string. Only three fingers, like so. Okay, you can use
that and make a loop just like the previous
one, that's less strings. You can make a loop continuously looping
around the same thing using the techniques
that we've talked about. And of course, you can do
that with four fingers. Okay, loop it around
and do the same thing. This is the first
form of expansion that we can do to
make things harder. Okay? Because when you
are doing legato sin, whenever you need to be able, you need to be acquainted with all the widths
of the string, okay? You are not doing it only on those highest things you
are doing it inevitably. Basically, your fingers need
to know the difference. If you get what I mean here. And of course, by
this expansion, you'll continue on with the conditions that we
already talked about. And you are making loops. And we're doing this
as exercises in order to get all of
urbanization or fingers up to a good level of strong. There is another way of
expansion, of course, that goes beyond changing strings and playing
on all six things. And that is expansion
through the neck. That will help us very
much with also endurance. If you want to have endurance
and you're playing. If you want to continue playing like all the time with any technical or God
or not legato or whatever. This, this kind of
expansion is good for any kind of exercise and style. It said that I said that up
because it will help you to keep up keep up with
more and more time. Your hands doing the same thing. Let me show you what
what basically we do. The basis of this is where
you start on the 12th fret. Let's say, let's use only
the three-finger for now. Now I'm gonna go back. I'm gonna go back, back one fret again until I'm gonna
reach the first position. Okay? And this is basically
if you're taking this and you're putting it through all the positions until you
reach the first position. Okay. Then when you
finish that thing, just take a breath
and do it again. Okay? The more times
that you can keep that, you might reach
the first position and you might find yourself. Okay, I have the stamp and I
have developed some stamina. So let's go back up. With the exact same manner
we're going to start. You're going to finish here. Okay? And you're gonna go back again until you reach
that well-framed. And I don't know. You can tell them to yourself
how many times you can go from the 12th fret to
the first fret and back. It would be nice talent.
6. Bringing the Technique to Scales: The last thing that you
need to do is bring all those kinds of
things to scales. Like the most common
way of bringing those legato techniques and the right hand so
that I can move. The left-hand moves is basically on scales and specifically on three
nodes, best Thanksgiving. So again, most of the guys
use them in three notes per string rather than the normal. The normal patterns that
we all know and love. Basically, you are going to
take the three string scales, let's say in C. And you are going to try to
use those techniques and adopted for the scales. Of course, you can pass it
through all the neck with, with the same thing with the patterns of course
that you have on three mode. But it's the next gates
to cover all the neck. And when you do that, when you have that kind of
flexibility and understanding, then you will start to basically
randomize the process. What do I mean? It's not
exactly randomize the process, but like making many phrases that basically move you
around to the next, something like this phrase here was something
that took me from C major here all the way
up to the second fret. And you need to
continue doing that in longer and longer
and longer phrases that go in 16th notes, basically, or eight nodes in
a row, 60 nodes, whatever. It depends on the metronome
that you are using. If you're using 16 kt, we can go like 300 metronome. Just take it on a
pace that you are. Always be able to do it
in a normal patient. Sink a little bit about
how the thing sounds like. Okay, This was a
big, big phrase. Of course, it was not
cleansing medulla. I just put a couple of motion. But if you take this
this kind of phrases and make them faster
and faster and faster, you're getting a little
bit into the style of the modern fusion guys doing crazy stuff
that I'd said that.
7. Conclusion: Alright guys, we are, it's the end of this guide. I want to thank you very much. Of course. All of those things take time and basically really
never stopped to you. We'll never stopped to develop. You never stopped to being
better and better your art. And hopefully, I gave
you a little bit of an understanding about what unit do this specific subject. I want to thank you
very much and I'm gonna see you on the next gate. Bye-bye.
Dimitrios - All Things Guitar, Guitar Tutor
