# Fingerstyle exercises



## Solodini (Jul 19, 2014)

Hey, guys. 

I'm working on my 2nd book, on creative use, application and combination of guitar techniques. I'm at the stage of writing exercises but I'm having a spot of difficulty, in terms of knowing what levels people are at and how difficult to go with the exercises, especially with fingerstyle exercises. With this in mind, can people let me know what they consider to be really difficult fingerstyle pieces for them, from any style, and what is a comfortable level for them to push themselves with?

When I have a better idea of people's needs, I'll post a few exercises and see how you guys find them. 

Thanks in advance!

Adam


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## metaldoggie (Jul 19, 2014)

Id love to see a tutorial on bumblefoot's Real....its more hybrid than fingerstyle but its a cool lick.


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## Solodini (Jul 19, 2014)

Does that sit in the realm of something which would really be pushing you or you'd be comfortable but challenged by?


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## Solodini (Jul 19, 2014)

https://www.dropbox.com/s/vt63thqdkpkbg5a/Finger picking exercise.pdf
Here's the exercises I've been writing so far. The last few I've not bother to put in picking instructions yet. I will do soon. Let me know if they're undecipherable without.


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## OmegaSlayer (Jul 19, 2014)

Thanks Adam!
That's really cool.
I'm not a monster with fingerpicking and it's an area I want to get better at and you already nailed something that I had big troubles to do.

Before trying your exercise I wanted to say that one of the worst thing to learn is plucking 2 strings together then going into a section with multiple notes on a string.

After trying your exercise I say that is nothing compared to play 2 notes on the same string plucking them with the same right hand finger.

I think you have to make some steps to bring people that is used to play with I-M-I-M... or I-M-A-I-M-A... or I-M-A-M-I...to play 2 notes with same finger.

Also...is C the pinky?
I still don't understand if pinky is allowed or not in playing fingerstyle 
Just like I didn't understood how much is strict P for 4th-5th-6th strings and I for 3rd, M for 2nd and A for 1st strings.

I think you have to go through some theory and maybe history of playing to explain which right fingering is "canon" and which one is not and explain pros and cons of both.

Keep up the awesome job and thanks!!!


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## Solodini (Jul 19, 2014)

Cheers for the feedback! C is pinky, yeah. Some seem to think using the pinky is entirely wrong and will give your children cancer and rid the world to eternal damnation but if it helps the music be achievable, I say 'go for it'.

I'll maybe do some alternative picking methods for people to try out, based on your feedback. The goal is for people to develop a bunch of facility and be able to make their own choices, so that should help.

There's loads of text, explanations of different methods, pros and cons, advantages for certain uses and such written into the book itself, so it's good that's something you find useful. I'll carry on in the same vein. 

Any more feedback is very welcome!


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## Maniacal (Jul 19, 2014)

Very odd bunch of exercises in that PDF... 

How often are you going to need a 15/8 finger picking pattern with such a bizarre rhythm?

Surely if you want to get good at finger style patterns you can just get a book that already covers it? There are dozens of great books that cover this already, although not in 15/8. 

Also working through the Trinity grade repertoire is pretty much all you need to dominate finger style.


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## octatoan (Jul 19, 2014)

Solodini, I can't check the exercises right now from my phone, but are you including any pieces? 

There's a UG thread with recommendations. 
As for me, I'd say that Bach's Minuet in G is easy. I'm going through a drop-D tab of Canon in D right now. 

You could also include some Tárrega pieces. Làgrima and Étude in Em are both easy and beautiful.

As for difficult pieces... Recuerdos de la Alhambra, Asturias and Yngwie's Sorrow.


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## Given To Fly (Jul 19, 2014)

This is pretty standard in the classical guitar community. 
http://www.classicalguitar.org/freemusic/exercises/Giuliani120.pdf


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## octatoan (Jul 20, 2014)

Mmm. ^


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## Solodini (Jul 20, 2014)

Maniacal said:


> Very odd bunch of exercises in that PDF...
> 
> How often are you going to need a 15/8 finger picking pattern with such a bizarre rhythm?
> 
> ...



There seem to be a bunch of people around here who have difficulty with odd rhythms and such so I figure it's probably good to give them a chance to see application of odd rhythms in different settings. I don't feel the rhythms make things any more difficult mechanically but they at least offer up some possibilities and create some more unusual uses of the fingers to keep the brain busy.

No doubt there's lots of good stuff out there pertaining to fingerstyle playing. I imagine a lot of people from different approaches to guitar might not want to work their way through classical examples as there seem to be lots of people who don't want to invest time in styles outside of what is immediately pertinent to them. There's a bunch of creative exercises for people to apply things to their own music and see possibilities for their own music which uncommon picking approaches could help them to achieve.

As you say, lots of other books cover lots of good stuff but not necessarily within unusual time signatures and rhythms so why not facilitate the people who are into that side of things and help them to delve further? I certainly find it more interesting than spending hours on the same rhythms.

I'll have a look at the Trinity stuff, thanks. 



Awesoham said:


> Solodini, I can't check the exercises right now from my phone, but are you including any pieces?


I'm not including any pieces by others. I'll have some etudes and such, though.



Awesoham said:


> There's a UG thread with recommendations.
> As for me, I'd say that Bach's Minuet in G is easy. I'm going through a drop-D tab of Canon in D right now.
> 
> You could also include some Tárrega pieces. Làgrima and Étude in Em are both easy and beautiful.
> ...



I'll have a look into those pieces and see what challenges they offer. Thanks for the recommendations. 



Given To Fly said:


> This is pretty standard in the classical guitar community.
> http://www.classicalguitar.org/freemusic/exercises/Giuliani120.pdf



Thanks for the link.  

I feel like there's a lot of interesting fingerstyle stuff outside of classical, too: the James Taylors, Tommy Emmanuels, Adrian Leggs of the world. We've seen how John 5, Tosin, Javier, Josh Martin have applied these things but it seems people don't necessarily have an easy time of applying things themselves, or else we wouldn't see so many threads about how to adopt their methods, so I'm trying to bridge the gap between technique and creativity, breaking out of linear methods where necessary and such.


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## Maniacal (Jul 20, 2014)

Good answer, best of luck. Feel free to send stuff my way if you want some feedback.


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## JustMac (Jul 20, 2014)

Given To Fly said:


> This is pretty standard in the classical guitar community.
> http://www.classicalguitar.org/freemusic/exercises/Giuliani120.pdf


 Is it available in tab-form for the guitarded plebs among us?


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## octatoan (Jul 20, 2014)

JustMac said:


> Is it available in tab-form for the guitarded plebs among us?



I think Pumping Nylon has those. I _think_.


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## octatoan (Jul 20, 2014)

Solodini said:


> I feel like there's a lot of interesting fingerstyle stuff outside of classical, too: the James Taylors, Tommy Emmanuels, Adrian Leggs of the world. We've seen how John 5, Tosin, Javier, Josh Martin have applied these things but it seems people don't necessarily have an easy time of applying things themselves, or else we wouldn't see so many threads about how to adopt their methods, so I'm trying to bridge the gap between technique and creativity, breaking out of linear methods where necessary and such.



*drool*


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## OmegaSlayer (Jul 20, 2014)

If you want an idea about the direction I, as a metalhead, wants to go to and why I want to learn and get proficient with my right hand

The free flow of Estas Tonnè



to the crazyness of Jon Gomm



and groove of Miyavi



I think this dudes have a control of their hands which is incredible


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## Necris (Jul 20, 2014)

I've more or less converted to pure fingerstyle on both electric and acoustic at this point (bass too).

I think the Giuliani Studies should be a more than adequate starting point for those looking to start with fingerstyle, regardless of what genre they will be playing. They will certainly help build finger coordination (independence has never really seemed to be a fitting word to me).
It's a technique builder. No-one should turn their nose up at it because it's "Classical" technique.

The rhythms are basic, yes, but if a person can play those studies consistently and naturally, provided they can read complex time signatures they should have no problem translating what they've learned to a variety of different rhythms and time signatures. They should certainly be able to play any of your exercises with ease. 

If someone has an issue with reading complex time signatures learning a few exercises with some odd rhythms won't help them in any meaningful way, whether they learn them pick style or fingerstyle. It's a reading issue and as such they have to learn how to _read_ said rhythms, how to break down an odd time signature and count it.




OmegaSlayer said:


> Also...is C the pinky?
> I still don't understand if pinky is allowed or not in playing fingerstyle
> Just like I didn't understood how much is strict P for 4th-5th-6th strings and I for 3rd, M for 2nd and A for 1st strings.
> 
> ...



Note: This is based off of my experience and my playing. 

C does represent the pinky, sometimes you use it, sometimes you don't. Generally, outside of Rasgueados, I very rarely use it since my pinky is very short and quite weak compared to my others.

The "Standard" Classical fingerpicking technique is PAMI (Thumb, Ring, Middle, Index), it's generally the pattern you would be taught for tremolo by a Teacher. 
The pattern I default to for tremolo is PIMA (Thumb, Index, Middle, Ring); I find it far more natural. I can still play Recuerdos De Alhambra up to speed, so I don't believe I'm suffering from developing my tremolo that way. If I were to do a tremolo with 5 notes, I would do PIMAI rather than PIMAC.
(Standard picking I believe someone would do PAMIA)

Also, 3, 5,7 etc notes per string with a constant 4 finger pattern, like, for example, PIMA (or PAMI) is something that is a good practice tool for coordination.


> E-----------------------------------------------A-P-I--------------------------------------------------
> B--------------------------------------P-I-M----------M-A-P---------------------------------------
> G----------------------------I-M-A-----------------------------I-M-A-------------------------------
> D-------------------M-A-P-----------------------------------------------P-I-M---------------------
> ...


Users should also look into the proper nail shaping and nail maintainance as it is very important. One of my nails broke off 2 weeks ago while I was moving something and essentially that finger was useless until the nail regrew. The sound between a finger with nails and picking with the flesh of your finger is drastic, so if you lose a fingernail on one finger but not the others everything will start to sound weird (waiting is still better than cutting off the other nails, IMO). If you want to do hybrid picking stuff you need nails if you want the sound to be more consistent with that of a plectrum.

I find the tone without nails is far too muddy to be useful, at least on electric guitar.


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## Solodini (Jul 20, 2014)

Maniacal said:


> Good answer, best of luck. Feel free to send stuff my way if you want some feedback.



Appreciated, thanks. 

OmegaSlayer, thanks for the input. I appreciate it.

Necris, certainly people's difficulties with odd rhythms relate to the understanding of the rhythms themselves, rather than fingerstyle mechanics. I didn't mean that the two were interchangeable, but that I like to combine the two for completeness, and example of how those rhythms can be applied mechanically. I think people often struggle creatively with odd rhythms as they don't really see how they might flow, so things end up clunky initially and many don't work past that, so think odd rhythms inherently sound clunky and thus bad.
Reading a rhythm is one step, learning to be creative with it is another. Having varied examples can at least give some options.

Certainly, no one SHOULD turn their nose up at something because it's classical but I've encountered people who do reject things because they're not within their target style.

I'm pretty keen in the variation in tone from pick to fingers for hybrid picking, so I suppose it's just down to personal taste.

Thanks for the example regarding 3s, 5s, 7s, too.


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## octatoan (Jul 20, 2014)

Solodini, what else will the book cover? Sweeping? Hybrid picking? Eight finger tapp- _faints_


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## OmegaSlayer (Jul 21, 2014)

Solodini said:


> OmegaSlayer, thanks for the input. I appreciate it.



That's obviously pretty advanced stuff and that absolutely doesn't mean I'm not interested in playing classical masterpieces, but I guess most of the less naive electric players wants to go for a more creative approach.

My main gripe is that it's a real shame that some stuff has trade-off.
I mean, like...grow your nails for fingerpicking and you get better attack but you almost kill your tapping.


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## Solodini (Jul 21, 2014)

Awesoham said:


> Solodini, what else will the book cover? Sweeping? Hybrid picking? Eight finger tapp- _faints_



All of the above, plus various legato approaches: bends, prebends, behind the nut bends and whammy bar stuff, slides; bending tapped notes with either hand such as using the fretting hand to bend a note tapped with the picking hand, harmonics right up to 8th or 9th harmonic and the various nodes up the string, bending harmonics, various approaches to muting. There's also a bunch of chapters dedicated to various approaches to combining techniques, such as the bending tapped notes, bending harmonics, using prebent harmonic (including with the whammy bar) to expand your range of quickly available harmonics in addition to artificial harmonics, and so on. Also, economy picking and combination of sweep picking and hybrid picking, too. Good fun! I plan to release it in smaller volumes related to a uniting area of techniques so I can get each chunk out sooner and take people's advice on board in future volumes. 



OmegaSlayer said:


> That's obviously pretty advanced stuff and that absolutely doesn't mean I'm not interested in playing classical masterpieces, but I guess most of the less naive electric players wants to go for a more creative approach.
> 
> My main gripe is that it's a real shame that some stuff has trade-off.
> I mean, like...grow your nails for fingerpicking and you get better attack but you almost kill your tapping.



Yeah, as I say, I'm keen on the snap of plucking hard with your fingers and the available delicacy of going softer. I think it's nice to have contrasting options. 

My goal is obviously for creativity, so the text and diagrams (of which there are many more than in the first book) offer various possibilities for the technique, such as the different sorts of runs you can get when sweep picking with your pinky on the root not as opposed to your index finger, and suchlike. Lots of creative exercises with guidance to help people to discover things for their own style.


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## octatoan (Jul 21, 2014)

Solodini said:


> All of the above, plus various legato approaches: bends, prebends, behind the nut bends and whammy bar stuff, slides; bending tapped notes with either hand such as using the fretting hand to bend a note tapped with the picking hand, harmonics right up to 8th or 9th harmonic and the various nodes up the string, bending harmonics, various approaches to muting. There's also a bunch of chapters dedicated to various approaches to combining techniques, such as the bending tapped notes, bending harmonics, using prebent harmonic (including with the whammy bar) to expand your range of quickly available harmonics in addition to artificial harmonics, and so on. Also, economy picking and combination of sweep picking and hybrid picking, too. Good fun! I plan to release it in smaller volumes related to a uniting area of techniques so I can get each chunk out sooner and take people's advice on board in future volumes.
> 
> 
> 
> ...



All of that is fine...





But will it djent?


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## Solodini (Jul 21, 2014)

No. 

It will deedlydwee and bawm-bawm-hupdoogadaddle, though.


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## metaldoggie (Jul 21, 2014)

Solodini said:


> Does that sit in the realm of something which would really be pushing you or you'd be comfortable but challenged by?



I think anything Bumblefoot does is in the realm of really pushing me. 

Seriously though, as long as I can get it down at a slow speed I can play anything.

I try to find anything that feels odd to play and practice it over and over.

I feel I have accomplished more if it feels weird at first than just something with different notes.

I will try all these exercises you have posted!


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## Solodini (Jul 22, 2014)

Have you seen the Guitar Player tutorial of Real as presented by Bumblefoot on YouTube? It gives you the gist of the riff, although I'll still do something similar as an exercise.


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## metaldoggie (Jul 25, 2014)

Now that you come to mention it.....I think I have.


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## Solodini (Aug 31, 2014)

I've been busy lately so not really made much progress with new exercises I've been happy with. How do you guys like this one? If anyone would care to try it on bass, too, that'd be appreciated.

How many exercises would you guys want in the book? Would you likely think "right that's enough" move on to the next chapter but then go back later for more exercises from the fingerstyle chapter?


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## octatoan (Aug 31, 2014)

I, for one, would (if only to get closer to my long-term goal of a flawless Asturias!)


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## Solodini (Sep 1, 2014)

So how many exercises would be enough/too much for you?


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## octatoan (Sep 1, 2014)

icanhaz trem(e/o)lo?
Apart from that, something on the scale of Giuliani would be enough for me - something to keep coming back to.


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## Gothic Headhunter (Sep 1, 2014)

I find that the intro to Rush's "The Trees" is a great piece to practice for someone just starting with fingerstyle. 


Maybe you could use something similar to that as kind of an intro/beginner piece? Unless you already have something for that  but that's what I use to practice fingerstyle and I find it works really well.


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## Solodini (Sep 2, 2014)

Awesoham said:


> icanhaz trem(e/o)lo?
> Apart from that, something on the scale of Giuliani would be enough for me - something to keep coming back to.


 

Fingerstyle tremolo picking you mean? 
So you're fine with having a smaller set of exercises which you return to?



Gothic Headhunter said:


> I find that the intro to Rush's "The Trees" is a great piece to practice for someone just starting with fingerstyle.
> 
> 
> Maybe you could use something similar to that as kind of an intro/beginner piece? Unless you already have something for that  but that's what I use to practice fingerstyle and I find it works really well.





Thanks for the recommendation. I'll have a listen later. There's quite a variety in the exercises on the previous page but no harm in having a few using similar mechanics.


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## Solodini (Sep 6, 2014)

More!


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## Solodini (Sep 8, 2014)

Metaldoggie, the first bar of this exercise is pretty much the same mechanically as Real, with the remainder following in a similar vein.

Let me know what you think. 

Adam


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## megadave2002 (Sep 10, 2014)

Below is something I have used for a while to practice alternate picking between the thumb and index finger. This is more of a Chet Atkins/Mark Knopfler kind of exercise as opposed to classical though. Hope this helps.


e|---------------------------------------------------------------------|
B|---------------------------------------------------------------------|
G|---------------------------------------------------------------------|
D|------2-3-2---------------223322----------------------222333222-----------|
A|--2-5-------5-2-------2255------5522---------222555------------555222---|
E|3---------------3---33-----------------33--333-----------------------------333|


e|---------------------------------------------------------------|
B|---------------------------------------------------------------|
G|---------------------------------------------------------------|
D|-----------------222233332222---------------------------------------|
A|------22225555-----------------22225555-------------------------------|
E|3333----------------------------------------3333---------------------------|


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## Solodini (Sep 11, 2014)

Yeah, there's plenty for classical out there. I'm wanting to give exercises which are more stylistically general to expand people's creative possibilities. Is the Knopfler vein of things something you'd like to see more of?


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## octatoan (Sep 11, 2014)

^ I know _I_ would.

Edit: Iznaola's _Kitharology_ is fab, might wanna take a look at it if you haven;t already.


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## Solodini (Sep 12, 2014)

Is the Knopfler rhythm or lead playing of more interest, or both?


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## octatoan (Sep 12, 2014)

Both, actually.


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## Solodini (Sep 12, 2014)

Any particular songs, riffs, solos or sections of him you particularly like? Ideally something which doesn't really use legato, bends, slides too much, for comparison.


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## Solodini (Sep 12, 2014)

Awesoham said:


> ^ I know _I_ would.
> 
> Edit: Iznaola's _Kitharology_ is fab, might wanna take a look at it if you haven;t already.



https://www.youtube.com/watch?v=x0zv8Z4qn04
This stuff? Musically boring but certainly mechanically varied. I wanna make sure all of my exercises have some musical interest, not just focus on mechanical challenges. It won't further your music as directly without musical interest, I feel.

How's this for a kinda Knopflerian exercise. I'm going to do some more using more alternating thumb and finger stuff, too.


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## megadave2002 (Sep 12, 2014)

Solodini said:


> Any particular songs, riffs, solos or sections of him you particularly like? Ideally something which doesn't really use legato, bends, slides too much, for comparison.



Probably just breaking down some of the licks from "Sultans of Swing" and the intro to "Money for nothing" would be a good base in his picking style. I know that learning those parts helped me in all other aspects of playing such as being more conscious of actively muting open strings.


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## ElRay (Sep 12, 2014)

I'll add another vote to the syncopated/polymeter/polyrhythm right-hand exercises column and nominate "playing multiple voices as multiple voices" columns.

I have, but haven't started two books on Bartok piano pieces arranged for solo guitar and a book on Bach's two part inventions arranged for solo guitar to work these two areas.

Ray


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## Solodini (Sep 12, 2014)

megadave2002 said:


> Probably just breaking down some of the licks from "Sultans of Swing" and the intro to "Money for nothing" would be a good base in his picking style. I know that learning those parts helped me in all other aspects of playing such as being more conscious of actively muting open strings.



I want to avoid doing breakdowns of songs. Exercises in the style of x are fine but I don't want it to just be a compendium of other people's music which people feel like they need to learn as per the original. I feel that when it's an existing song, people struggle to deviate from that, but I want creativity to prevail.

I was thinking I'd look at the stacatto/muting style more in the chapter on muting.



ElRay said:


> I'll add another vote to the syncopated/polymeter/polyrhythm right-hand exercises column and nominate "playing multiple voices as multiple voices" columns.
> 
> I have, but haven't started two books on Bartok piano pieces arranged for solo guitar and a book on Bach's two part inventions arranged for solo guitar to work these two areas.
> 
> Ray



How are you liking the syncopation so far? I'll look into doing more polyrhythmic/metric stuff.

Can you elaborate on what you're meaning by "playing multiple voices as multiple voices"? Do you mean learning each voice independently then combining them?


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## octatoan (Sep 12, 2014)

I think what he means is something piano-like, where you can play contrapuntal (?) stuff with each voice being heard clearly. Like it is in the Two- and Three-Part Inventions, for example.


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## ElRay (Sep 15, 2014)

Awesoham said:


> I think what he means is something piano-like, where you can play contrapuntal (?) stuff with each voice being heard clearly. Like it is in the Two- and Three-Part Inventions, for example.



Pretty much this. Having Bach's Two Part Inventions arranged for guitar is nice, but the big value in the book I have is that there are performance notes for keeping the two parts sounding independent without relying on the timbral difference of separate instruments.


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## ElRay (Sep 15, 2014)

Solodini said:


> are you liking the syncopation so far? I'll look into doing more polyrhythmic/metric stuff.



I love the Bartok. I'm just starting and did not have the time to spend on it that I expected over the summer. If I could play Hungarian Folk Song on guitar as well as my daughter does on piano, I'd be stoked.


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## Solodini (Sep 16, 2014)

ElRay said:


> Pretty much this. Having Bach's Two Part Inventions arranged for guitar is nice, but the big value in the book I have is that there are performance notes for keeping the two parts sounding independent without relying on the timbral difference of separate instruments.


 
Cool, I'll do a bit more of that ilk, maybe some more Tommy Emmanuel type stuff, as well as other styles.



ElRay said:


> I love the Bartok. I'm just starting and did not have the time to spend on it that I expected over the summer. If I could play Hungarian Folk Song on guitar as well as my daughter does on piano, I'd be stoked.


 
I meant the syncopations in the exercises I've posted so far.


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## wespaul (Sep 16, 2014)

I'd love to see the end result of all this. I've studied the Royal Conservatory series, the Giuliani books, the Andre Segovia scale book, and both of Noad's solo guitar playing books. While some of the studies _can_ be interesting, most of them are really dry. A creative approach to the style is really needed, and you're correct with not letting it become like the stuff that's out there and already widely studied.

I think something like this would be nice to tie-in with voice-leading and arrangement-building. That may be a lot of ground to cover, and possibly out of the scope of you solely wanting to provide fingerstyle exercises, but there's a lot of fun and creativity to be had there.

Regardless, I can't wait to see how all this turns out. Good luck!


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## octatoan (Sep 16, 2014)

Adam, have you made any hybrid picking exercises yet?


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## Solodini (Sep 16, 2014)

wespaul said:


> I'd love to see the end result of all this. I've studied the Royal Conservatory series, the Giuliani books, the Andre Segovia scale book, and both of Noad's solo guitar playing books. While some of the studies _can_ be interesting, most of them are really dry. A creative approach to the style is really needed, and you're correct with not letting it become like the stuff that's out there and already widely studied.
> 
> I think something like this would be nice to tie-in with voice-leading and arrangement-building. That may be a lot of ground to cover, and possibly out of the scope of you solely wanting to provide fingerstyle exercises, but there's a lot of fun and creativity to be had there.
> 
> Regardless, I can't wait to see how all this turns out. Good luck!



Thanks for the enthusiasm! I appreciate knowing that people think I'm on the right track. What do you think of the exercises so far?
I probably won't go to the degree of depth of looking at specific arrangement styles and voice leading as I think that can be found elsewhere but I'll at least show some application of those sorts of things and how they can be used outside of classical repertoire. 



Awesoham said:


> Adam, have you made any hybrid picking exercises yet?



I have some but they'll be in a later volume of the book. The first volume will just cover what I consider core techniques: fingerpicking, basic flatpicking mechanics, hammer ons, pull offs, slides and bends.


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## Solodini (Oct 9, 2014)

I realised I hadn't done any exercises covering dynamics yet. That simply won't do!

Here's the first. I'll work on some more!

The markings are intentionally a bit counterintuitive, so make sure you're crescendoing, diminuendoing and suddenly dropping or jumping in intensity in the right places. 

Adam


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## Solodini (Oct 12, 2014)

A little bit of tremolo!

By exercise 20 would you want the picking pattern made explicit still or would you like some freedom to decide for yourselves?


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## Solodini (Oct 14, 2014)




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