Scenario of the singer's concert. Solo concert

How much has already been said and discussed about how you can play the guitar! All kinds of tutorials (from professional-tedious to primitive-amateurish), numerous Internet articles (both sensible and stupid), online lessons - everything has already been reviewed and re-read several times.

You ask: “Why should I waste my time studying this article if there is more than enough information around?” And then, it’s quite difficult to find a description of all the ways to play the guitar in one place. After reading this text, you will be convinced that there are still places on the Internet where information about the guitar and how to play it is presented concisely and accurately.

What is a “method of sound production”, how does it differ from a “playing method”?

At first glance, these two concepts are identical. In fact, the difference between them is significant. A stretched guitar string is the source of sound and how we make it vibrate and actually sound is called "method of sound production". The method of sound extraction is the basis of the playing technique. And here "game reception"- This is in some way a decoration or addition to the extraction of sound.

Let's give specific example. Ring all the strings with your right hand - this method of producing sound is called hit(alternating blows - the battle). Now strike thumb right hand along the strings in the area of ​​the stand (the blow should be performed in the form of a sharp turn or swing of the hand towards the thumb) - this playing technique is called tambourine. The two techniques are similar to each other, but the first is a method of extracting sound and is used quite often; but the second one is in some way a type of “strike”, and therefore is a technique for playing the guitar.

Read more about the techniques, and in this article we will focus on describing the methods of sound production.

All methods of guitar sound production

Strike, fight and rasgueado

Beating and striking are most often used as an accompaniment to singing. They are quite easy to master. The most important thing is to observe the rhythm and direction of hand movements.

One type of strike is rasgueado- a colorful Spanish technique, which consists of alternately striking the strings with each of the fingers (except the thumb) of the left hand. Before performing rasgueado on the guitar, you should practice without the instrument. Make a fist with your hand. Starting with the little finger, springily release the pinched fingers. Movements should be clear and elastic. Have you tried it? Bring your fist to the strings and do the same.

Tirando and apoyando

Next move - tirando or pinch play. The essence of the technique is to alternately pluck the strings. This method of sound production is played by standard fingerpicking. If you decide to master tirando, then pay special attention to your hand - when playing it should not be clamped in the hand.

Reception apoyando(or playing with support from an adjacent string) is very characteristic of Flamenco music. This method of playing is easier to perform than tirando - when plucking a string, the finger does not hang in the air, but rests on the adjacent string. The sound in this case is brighter and richer.

Keep in mind that tirando allows you to play at a fast tempo, but playing with a support significantly slows down the guitarist's performance tempo.

The following video presents all the above-mentioned methods of sound production: rasgueado, tirando and apoyando. Moreover, apoyando is played predominantly by the thumb - this is the “trick” of flamenco; a single-voice melody or a melody in the bass is always played on a support with the thumb. When the tempo accelerates, the performer switches to plucking.

Slap - the signature “technique” of bass guitarists

Slap can also be called exaggerated plucking, that is, the performer pulls the strings in such a way that, when they hit the guitar saddle, they make a characteristic clicking sound. It is rarely used as a method of producing sound on a classical or acoustic guitar; here it is more popular in the form of a “surprise effect”, imitating a shot or the crack of a whip.

All bass players know the slap technique: in addition to picking up the strings with their index and middle fingers, they also hit the thick ones with their thumb upper strings Basukhi.

An excellent example of the slap technique can be seen in the following video.

Tapping or piano technique

The youngest method of sound production (it is no more than 50 years old) is called tapping. One can safely call the harmonic the father of tapping – it was improved with the advent of ultra-sensitive guitars.

Tapping can be one- or two-voice. In the first case, the hand (right or left) strikes the strings on the guitar neck. But two-voice tapping is similar to the playing of pianists - each hand plays its own independent part on the guitar neck by striking and plucking the strings. Due to some similarities with playing the piano, this method of sound production received a second name - piano technique.

An excellent example of the use of tapping can be seen in the unknown film “August Rush”. The hands in the rollers are not the hands of Fradie Highmore, who plays the role of the boy genius. In fact, these are the hands of Kaki King, a famous guitarist.

Everyone chooses for themselves the performance technique that is closest to them. Those who prefer to sing songs with a guitar master the technique of fighting, less often busting. Those who want to play pieces study tirando. More complex blind and tapping techniques are needed for those who are going to connect their lives with music, if not from a professional side, then from a serious amateur side.

Playing techniques, unlike methods of sound production, do not require special effort in mastering, so be sure to study the technique of performing them in the article.

Any person who one day becomes interested in playing the electric guitar will find on the Internet great amount video with the participation of masters of guitar art. As a rule, after several viewings of live performances by the same John Petrucci, Paul Gilbert, Nuno Bettencourt and other leaders of guitar music, a desire arises to learn how to play the works of your favorite musicians. This is a natural development of events in such a situation, and oddly enough, a person begins to spend hours, days and even years trying to disassemble the electric guitar, learn a specific piece and play it literally note-B-note with the original. It could be a riff, a solo, or even the entire song - in in this case it doesn't matter.

So, suppose years have passed since the first notes were learned. The electric guitar part of the selected composition “settled” in your hands, or one might say “sewn into” your muscle memory. This means that a person’s intellectual resource is practically not involved in the process of playing the electric guitar. Everything is done by hand.

The next stage will be a series of attempts to make a cover for this item. A simpler, but less popular option is audio cover. Audio cover is simpler than video cover. Firstly, there is a chance to register the guitar in pieces. Those. played the phrase and listened. Happened? Let's move on, etc. The higher the level of a musician’s performing skills, the larger the pieces he can record in one take. Secondly, when the lens is looking at you and the red light is blinking, reminding you that you are being “followed,” it can be more difficult to control yourself. Again, this applies to musicians learning the basics.

By the way, periodic practice of studio work is valuable because by listening to yourself in a recording, you can notice most of your mistakes. While when playing live, only 30% of inaccuracies are heard. This is due to the fact that playing the guitar takes a certain amount of attention, and most of the mistakes slip away. This is why practical studio work is very useful in the educational process.

Let's assume the plan was a success, the cover was done - the task was completed. The guitarist, after listening to his work, plays the original track, and then his own, and then there’s a disaster! It seems that, apart from the backing track, there is nothing in common between the two tracks. Although it would seem that all the notes are in their place, there is no falsehood anywhere. And don’t blame your guitar for allegedly having the wrong strings, pickups, picks, bad amps, gadgets, etc. This is all secondary and not so important. The real reason The huge difference between the original and the cover is the incorrect work of the guitarist’s hands. Believe me, if the same people were in the place of the beginning musician Andy Timmons, Greg Howe, Guthrie Govan, Doug Aldrich and others, a bad result could not have turned out. And here, again, it is not so important whether the author himself plays his piece or another good professional does it. In both cases it will be a well-executed work.

So what is the main secret? How to play the electric guitar? The answer is: you must comply.

Let me clarify right away - 8 out of 10 principles directly depend on the positioning of your hands. (" Positioning the right hand" And " Left hand position"). If there is something wrong with the production, then with a 99.9% probability most of the principles will be violated.

So, let's talk about each principle in more detail.

Impulsiveness

The more impulsive the attack of the string, the more it vibrates. And the more the string vibrates, the stronger and longer the neck and body of the electric guitar resonate, and this results in a tenacious, rich sound. If you take an electric guitar in the $3,000 and $200 price categories and attack their strings with equally little impulsiveness, the difference between the sound of an expensive instrument and a cheap one will be negligible. However, if you do the same thing, but with high impulsiveness, everything will immediately fall into place, and there will be no wet spot left of a $200 guitar.

So what is impulsivity? From the school physics course we know that P=m*v, where P is momentum, m is mass, v is velocity. It is this impulsiveness that we are talking about. From the formula it is clear that momentum is proportional to the mass and speed of the physical body. In our case, the physical body is the right hand ( sound production with a mediator) or the fingers of the left hand (legato). Accordingly, if a guitarist, when attacking with a pick, uses only fingers p and i, and not the entire hand, mass m is lost (this is a classic mistake). The result is automatically a small pulse. To prevent this from happening it is necessary correct positioning right hand, as already discussed in the corresponding lesson.

In turn, low string attack speed also has a negative impact on impulsiveness. Therefore, at the moment of impact with the pick, the movement of the right hand should be biting and sharp, like a slap in the face. Likewise, the hammer-on of the left hand should literally hit the fingerboard. For comparison, you can place your left wrist on a wooden table and hit its surface with your fingers in the following sequence: 4-3-2-1-2-3. You need to achieve the effect of a uniform strong stomp. In this case, the wrist should not come off the table surface. This will help you work only with the phalanges of your fingers. The same should happen on the fretboard.

Purity

The purity of sound production has already been discussed in the lesson "". Let me briefly remind you that only playing strings can be pressed to the frets or open. All extra strings must be muted. Jamming is carried out with the 1st finger of the left hand and the edge of the palm of the right hand. The 1st finger of the left hand mutes all the underlying strings from the playing string and one overlying one, and the edge of the palm of the right hand mutes everything else. This way we get a clear distribution of responsibilities between the right and left hands.

Another aspect of clean picking is pauses. Without having information about correct execution pauses, it is impossible to even play riffs on an AC/DC electric guitar - Back in Black or Highway to Hell, which are built on three or four chords, which is what attracts beginners. It should be noted that pauses can only be performed with both hands at the same time. Left hand fingers must press the strings away from the fretboard (if the strings were clamped) or touch them without pressing them to the frets (if the strings were open). And the edge of the palm of the right hand must be placed in the damping area. In case you use only left hand, then instead of a pause a hum will be heard, similar to the echo of damping. If we use only the right hand, then instead of a pause we will hear a ringing resemblance to a natural harmonic.

Rhythm

For some reason, an extremely small number of beginning guitarists pay attention to rhythm. If anyone is interested in this topic, then only on the urgent advice of a person competent in music. Unfortunately, not all guitarists whom we see on TV screens and at concert venues in our vast Motherland have an understanding of rhythm. But since “people are eating”, why bother? I can say that this situation has developed due to the musical illiteracy of the overwhelming majority of our compatriots. Indeed, where can literacy come from when the stage is filled with low-quality, low-quality music? Even the Internet can’t save the situation, because it’s not so easy to stumble upon a team with a good rhythm section—you have to know what to look for.

When all notes and rests are multiples of a given stable tempo, a person in literally starts to “pump”. For example, any songs of the same AC/DC, Van Halen, Extreme, Ozzy, Guns’n’Roses, Motley Crew, Whitesnake are written rhythmically and with high quality. All company guys have an ideal rhythm section, otherwise they wouldn’t become one. Among the modern ones, I especially want to highlight Nickelback and Godsmack. Their electric guitar riffs aren't particularly fancy, but give them a try. I bet that even after a month of daily and persistent attempts, a person who does not master the rhythm will not succeed in anything good. Such things are not done “for a fool.”

Naturally, in this lesson I will only consider rhythm from the guitarist's perspective. Suppose there is a source of signals (clicks) repeating after the same period of time. This source is the metronome. No one doubts his evenness. Task: to play a “blind” note (teal) simultaneously with a click. If an accurate hit is made, the metronome signals will not be heard. This happens because the sounds add up, the peaks in the amplitude of the click and teal sound waves will coincide, and you will get a denser, more solid sound. Now imagine, if it’s so difficult to fall under the click of a metronome, how difficult is it then to play riffs by Nuno Bettencourt, Van Halen, Zakk Wylde or play solos by Paul Gilbert, Jason Becker, John Petrucci? How do guitarists achieve such rhythmicity? Practice and awareness of what needs to be done. And first of all, it is necessary learn to play with alternating strokes.

The meaning of the variable stroke is that the right hand breathes in 1/16th beats. This means that every movement of the hand is carried out exactly in every 1/16th beat, not earlier and not later. Hand movements are divided into two types: real (strikes) and imaginary (swings). Therefore, if I want to play a 1/16th note, I only have to make one stroke (up or down). If I need to play a 1/8th note, I will do 1 hit and 1 swing, since 1/8 = 2/16; 1/4th note - 1 beat and 3 swings, because 1/4 = 4/16 and so on. Thus, provided that the right hand breathes perfectly, ideal notes are obtained in terms of duration.

Literally within six months of studying, my students have strong associations between the durations of notes and the number of movements of the right hand. I would like to note that this way of thinking greatly simplifies reading sheet music and tablature. These associations can be written in the form of a system of equalities:

1/16T = P = V;

1/8T = 2/16T = P (V) = V (P);

1/8T. = (1/8+1/16)T = 3/16T = P (VP) = V (PV);

1/4T = 4/16T = P (VПV) = V (ПВП).

In the above system of equalities “ T" - full beat, " P" - downward blow, " V" - blow up, " (P)" - swing down, " (V)"- swing up.

99% of riffs are played with alternating strokes, with rare exceptions. Exceptions are changes in the breathing rate of the hand, usually by 1/8 or 1/32 of a beat. In the case of solos, some clarity needs to be provided. Without mastering variable strokes from riffs, you will not develop the habit of playing rhythmically. If a guitarist is not able to play a rhythmically even riff, which by definition is a natural and logically looped part consisting of quarters, eighths or, in extreme cases, sixteenth notes, then he will never play a rhythmically even solo part in his life. Even if a guitar solo is not played with an alternating stroke, it must still obey the laws of rhythm, which you need to learn to observe precisely on riffs. You need to move from simple to complex, without trying to overturn the foundations of the universe.

I must say that the variable stroke is only a small component of the guitarist's correct rhythmicity. It is necessary to regularly record yourself with a metronome, and then analyze deviations from clicks in the sequencer and try to reduce them to a minimum. This reveals your own rhythmic pattern, which you must subsequently adhere to. Already based on this, it will be clear whether the guitarist will play with the bassist or drummer, whether their rhythmic patterns will coincide. If this does not happen, then most likely the rhythm section will fail.

Optimality

If you carefully look at the hands of good guitarists while they are performing a more or less intense guitar part, it is not difficult to notice how few movements they make. It would seem that a flurry of notes scattered in different octaves sounds, but at the same time the hands calmly and calmly do their work. The conclusion suggests itself: any movement must be justified. Any swing of the right hand, flexion of the phalanx of the finger, change in the angle of the wrist, etc. must make sense.

Only with optimized movements can you play something well. Take, for example, sextuplet passages played with alternating strokes. In this case, the sound will be produced by the right hand, and the fingers of the left hand will simply pinch the desired strings. Consequently, the impulsiveness of the fingers of the left hand can be neglected, which means that the distance of the fingers from the string can be minimized. That is, the finger should come off the string at a distance exceeding the amplitude of vibration of the string itself by no more than 5 mm. This will significantly increase the speed of execution of the passage. If the same passages are played legato, and the right hand is used only when moving from string to string, then the sound will be produced by the left hand, which means that its fingers must work impulsively. But in this case, it becomes possible to optimize the movements of the right hand. The fewer unnecessary movements of her palm edge, the less likely appearance of dirt. Therefore, it is necessary to arrange the directions of blows with the pick in such a way as to minimize the vertical movement of the right hand.

By the way, the Hybrid Picking, Chicken Picking and Economy Picking techniques are a consequence of optimizing the movements of the right hand. With their help, you can play quite complex passages and riffs, in which there are large and frequent transitions from one string to another.

Dynamism

Almost every beginner or already playing guitarist sooner or later enjoyed Guitar program Pro. If you add a guitar part to it, you can then turn it on and listen to it. What we heard is an example of the complete absence of any dynamics. And no wonder, because this is MIDI sound. There is no need to become like the sound of a soulless program.

To achieve dynamic sound production, it is necessary to vary such parameters as the impulsiveness of the attack, the angle of inclination of the mediator, its amplitude and trajectory of movement, and the position of the edge of the palm of the right hand in the damping area. It is through correct adjustment of the above parameters that guitarists have the opportunity to place different accents on certain notes, thereby creating the necessary dynamics.

Synchronization

Hand synchronization are a necessary condition in the first place rhythm and speed of the guitarist. The opposite of synchronization is desynchronization, which comes in two types. To make this “classification” easier to understand, let’s assume that the right hand has a standard rhythmicity. Then the left hand can either lag behind the right (the finger of the left hand does not have time to press the string to the fret, and the pick has already struck), or vice versa - ahead of it (the finger of the left hand pressed the string a little before the strike with the pick). In the first case, the note will sound dull, or may not sound at all and it will just turn out “teal”. In the second case, the left hand actually performs a hammer-on, after which the pick attacks the string. This creates a double note.

In the case of perfect synchronization, the moment of pressing the string to the fret and the moment of striking with the pick occur almost simultaneously. For a negligibly small period of time, the left hand still acts earlier.

Speed

This principle is always worked out last. This is an axiom, the meaning of which is not subject to debate. It doesn’t matter how experienced the guitarist is: student, teacher, session player, etc. All guitarists (and musicians in general) study new material, play it slowly. talked about this Steve Vai at his master class in 2006. He used himself as an example: having come up with another complex phrase, Steve plays it like a “schoolboy” - slowly and carefully, gradually increasing speed.

The tempo when putting new material into the hands should be so low that the guitarist has time to pay attention to all the nuances: hand placement(if we are talking about beginners), rhythm, dynamism, impulsiveness, etc. Only fulfilling all the principles gives a signal to increase the pace of the game. Moreover, the increase in the number of beats per minute should be no more than 5. This limitation is optimal, because the human brain, and therefore muscle memory, will hardly notice the changes. Therefore, the likelihood that most of the principles will not be violated will be quite high, and the guitarist will not lose much time on the next increase in tempo.

The main thing is not to lose objectivity in your game and methodically bring the quality of the game at all intermediate speeds to ideal. The difference between an experienced guitarist and a beginner in this matter is determined by the following parameters: the initial tempo and the time of work at intermediate tempos.

Intonation

Here we will first of all talk about intonation(the ability to accurately reproduce a sound tone). In other words, the guitarist must play notes in strict accordance with their frequencies. A necessary condition good intonation is a properly tuned guitar. Otherwise, everything depends on the performer. If with static notes in general the situation is relatively simple (press the string on the desired fret, you get the desired note. Although here you can make a mistake, because many guitarists often make mistakes in intonation, pressing the strings and displacing them when clamped). However, in certain cases, in terms of the difficulty of hitting the notes, a guitar can be equated to fretless instruments. This is about bendach, where guitarists are forced to use their hearing and proper motor skills. Therefore, intonation deserves special and very close attention.

Moreover, one of the most difficult tasks facing musicians is making an instrument sing. Not just play a beautiful melody, but sing. Surprisingly, this is an order of magnitude more difficult than learning to play sextuplets at a tempo of 140-160 (14-16 notes per second). My favorite example of the “songability” of a guitar is this piece May Lian - Grief . There is not a single fast note in this piece, however, only a few can play it really well. For those who have doubts, for the sake of experiment, I suggest trying to play this work and record yourself on audio or video. I assure you that after comparing yourself with the original, you will understand what we are talking about. I am proud to note that May Lian gave the highest rating to my performance of Grief (see section “ Video »).

Complexity of guitar parts Such works consist in extremely developed melismas (melismas are melody decorations). In relation to the guitar, melismas are bends (returnable and non-returnable), slides (definite and indefinite), vibrato (stable and unstable), lever operation. It is melismas, when handled correctly, that create the effect of a musical instrument singing. However, the above applies not only to solos, but also to riffs. Take, for example, the riff in the Ozzy Osbourne song “Desire” and list the melismas performed by Zakk Wylde. If you remove them, it will appear a large number of pauses, the so-called “quality” will disappear and the riff will be, to put it mildly, orphaned.

Drive and creativity

When discussing these principles, one cannot do without talking about high matters. This is partly why drive and creativity are last on my list. But this in no way diminishes their importance in electric guitar playing and music in general.

Drive in relation to the electric guitar (from the English “drive” - movement) - this is the culture of sound production on the electric guitar, implying the continuous implementation of the principles of rhythm, dynamism, impulsiveness, purity and synchronization in conjunction with the emotionality of performance. Of course, the degree of implementation of the principles varies within reasonable limits. For example, Slash from Guns’N’Roses, with all due respect, is obviously inferior in terms of sound production to the same Paul Gilbert, John Petrucci, Nuno Bettencourt and Steve Vai. The latter play more synchronously, cleaner, they have a greater safety margin in terms of speed, etc. But despite this, Slash has an equally solid army of fans who get a kick out of his game.

Creative Regarding the electric guitar, it presupposes the ability to competently manage the available technical arsenal (from the point of view of hand work) and vocabulary (from the point of view musical phrases), What allow diversify the guitar part in order to increase the interest of the sound. Creativity is needed not only to create your own compositions, but also to play covers. Quite often, when we hear a cover of something, we compare it with the original. It happens that even playing note-B-note does not bring any particular pleasure. However, if the guitarist competently introduces his style into the cover (we are not talking about a total change in the guitar part), then this can stick in the listeners’ heads for a long time, while leaving a positive impression. We must be aware that too much creativity often does a disservice. And if you add the so-called “own sound”, then only if it is really good, and in non-vulgar proportions.

Conclusion

So we looked at 10 Principles of Playing the Electric Guitar. They are the basis of playing the guitar. You need to learn how to perform them by playing works of different genres, in different styles and in different situations. And this must be done constantly. Then and only then can the performance be called quality.

The electric guitar, which began its triumphal march around the world in the second half of the 20th century and today at the beginning of the 21st century remains one of the most iconic musical instruments. Let's talk more about it.

If you studied on your own, do not take electric guitar lessons in Podolsk or another city, then after learning the basics and acquiring technical skills, you can try to play famous compositions. And here it waits big disappointment, in your performance wonderful music has nothing in common with the recordings of master guitarists. Why is this happening, let's try to figure it out and understand what I will teach you in my electric guitar school.

Electric guitar lessons from Ars.

So why is your guitar playing so different from that of famous guitarists? It would seem that there is no feeling of falsehood, you are honestly using the studied techniques of guitar art, and the result is very far from the standard performance.

It's all about the incorrect work of the hands; their initial precise positioning is important. There are 10 principles for perfect guitar playing:

• impulsiveness;
• rhythm;
• purity;
• dynamism;
• optimality;
• synchronization;
• speed;
• melody;
• drive;
• creative

Of these above principles, 8 directly depend on the correct placement of the hands. Without this, compliance with the rules is not possible. Let's briefly go through this list to understand the meaning of the principles.

What is impulsiveness? If you remember your physics lessons, momentum is the result of multiplying mass by the speed of a physical body. Let's replace the physical body with our hand:

• right - producing sound with a mediator;
• left fingers - legato.

If a guitarist, when working with a pick, acts only with his fingers, and not with the whole hand, then mass is lost and as a result we get a rather small impulse. This is a fairly common mistake; it occurs, again, due to incorrect positioning of the right hand.

On the other hand, a low speed of action on the string also reduces the impulse.

To prevent this from happening, you need to practice the blow with a pick with a biting and sharp movement of your hand, as if you were striking an enemy. And in the same way, the fingers of your left hand should hit the fingerboard hard, as if you were knocking out a shot.

A good workout would be the following exercise: place your left hand on the table and hit the tabletop with your fingers in a certain sequence. This chain of numbers is easy to remember: 4-3-2-1-2-3. The whole point of the exercise is to achieve a uniform and strong stomp without lifting your wrist from the surface. Exactly the same coordinated work with the phalanges of the fingers is needed on the guitar neck.

The more impulsive the impact on the string, the more strongly it vibrates and the more and longer the neck and body of the instrument resonate. The result is rich surround sound.

The next important principle of the game is the purity of sound extraction. The basic rule: only the playing strings are pressed to the frets or open, and the extra ones are muted at this moment. The jamming process is carried out with the first finger of the left hand and the edge of the palm of the right. Again we see a clear distribution of work between the right and left hands.

Let's not forget the role of pauses in the clean sound of a guitar. Here the coherence of the hands is even more clearly visible: the pause is performed simultaneously with both hands. The fingers of the left hand press the strings away from the fretboard, or vice versa, touch them without pressing them to the frets. At the same moment, we place the edge of the palm of the right hand in the damping area.

Basic principles of playing the electric guitar correctly

It's a fact that only a small number of new guitarists pay enough attention to rhythm. That’s why it’s so important for a teacher to draw your attention to this. If all notes and pauses are multiples of a given tempo, then the listener literally begins to sway to the rhythm. All great electric guitar players have perfect rhythm, otherwise they wouldn't become masters.

Let's conduct an experiment: let's take a metronome as a source of signals that repeat at equal intervals of sounds, let's call them clicks. We need to extract a dead note from the string, simultaneously with the sound of the click of the metronome. If the two sounds exactly match, then the metronome will not be heard, but you will get a solid sound - strings and metronome. But of course, achieving this is not an easy task, you can try. However, such training does a lot to improve your guitar playing.

Watch the hands of famous guitarists when they play a busy guitar part, you will be surprised to see how little movement they make. A literal flurry of various notes sounds, and the master’s hands move calmly and evenly across the instrument. There is only one conclusion - any movement is valuable and meaningful. This is optimality, which is developed through persistent training.

Dynamism is the constant movement of sound, achieved by using a refined movement technique: impulsive action on the strings, the angle of the guitar pick, the amplitude and trajectory of its movement, the position of the edge of the palm of the right hand in the damping area. This achieves the placement of accents on the notes and creates sound dynamics.

Synchronization has big influence on the rhythm and speed of the game. The opposite of this characteristic is dissynchronization, when, due to inconsistency and non-simultaneity of the movements of the right and left hands, a double note appears. In perfect synchronization, these movements are almost identical.

The last one, when mastering a new musical material speed is being worked out. All musicians, regardless of experience and skill level, play a new piece slowly, paying attention at this time to any nuance: rhythm, hand placement, impulsiveness and dynamism, and so on. Only after hearing and delving into all the subtleties of a piece of music do we move on to increasing the speed of performance.

We add no more than 5 beats per minute, this is optimal for the adaptation of the brain and muscles. At any speed, achieve quality performance, only then move on. This works for all guitarists, only a master will overcome the path faster.

Every guitarist wants to learn how to play so that the guitar sings in his hands. And the effect of singing can be achieved only by the competent use of melismas. Melismas are the decoration of melodies; singers and musicians have them. In the case of guitar playing, embellishments include bends, vibrato, slides and lever work.

Now we get to drive and creativity. Drive is understood as the culture of playing instruments, when the rhythm of the sound is combined with the emotionality of the performance into a unique pattern of music.

Creativity everywhere means novelty and originality, and when playing the electric guitar, being able to competently use the technique of performance and the wealth of musical phrases means immeasurably increasing the beauty and interest of the sound.

Electric guitar school

In order to sufficiently master the correct technical skills and master all 10 principles of playing the guitar, you must be trained by a good teacher. There is no substitute for caring and professional guidance. Contact my electric guitar school in Podolsk, and I will try to teach you what I can do myself. In the corresponding section of my website there is a video where you can watch and hear how my students play. If you are talented, purposeful and full of desire, you will learn to masterfully play electric guitar I'm ready to help you with this.

Electric guitar or semi-acoustic?

From the very beginning, you need to understand whether you want a semi-acoustic or an electric guitar. Electric guitars firmly hold their position in the field of rock music - if only because they provide less difficult-to-control feedback with an amplifier (“start up”) than their semi-acoustic counterparts. Semi lovers acoustic guitars- instruments with air cavities inside the soundboard - they are looking for a higher quality sound from the wood itself, rather than from pickups and amplification systems. The most important part of any guitar- vulture This is the surface on which you will play, the part of the instrument that will come into direct contact with your hands. The width and thickness of the neck determine how comfortable it will be for you to play this instrument. Lovers hard fast music Wide and thin necks will be appreciated. Lovers classic styles- rock and blues - usually prefer standard, more rounded necks, which are good for playing chords. The fingerboard material also makes a significant contribution to the sound of the guitar, since the fingerboard itself receives vibrations from the strings and transmits them to the neck and body of the instrument, or reflects these vibrations. If the neck passes your tests, it's time to try it in the game. Don't immediately connect your guitar to an amplifier - listen to how the wood sounds. Play on all frets - from the first to the last, paying attention to the rattling of the strings and dead sound spots - infrequent places on the fingerboard, on which, due to the structure of the wood of the fretboard, the notes practically do not sound, or sound dull and dim. If problems are discovered, it is not at all necessary that they are related specifically to the neck - it is quite possible that the strings are lowered too low, and it is necessary to raise the tailpiece on the deck (machine). If the height of the strings is normal and it’s comfortable to play, it’s time to move on to the body (soundboard) of the guitar.

Soundboard sound.

The soundboard (or body) of a guitar significantly affects the acoustic properties of the instrument, which in turn determine the sound of the guitar through the amplifier. Decks can be thick or thin, made of soft or dense wood. Dense, heavy woods are said to give greater sustain.{ sustain - English, duration of notes). Light woods sound as neutral as possible, without embellishing the sound. They absorb string vibrations more than they reflect them.

Accessories.

It is worth paying attention to the following points. All parts of the fittings must be free from dirt, rust and corrosion. All parts of the machine should not look worn or worn. The pegs mechanisms should rotate smoothly, without the slightest effort.

Strings.

Electric guitars typically use metal (steel) strings. This is due to the use of a mediator, the nature of the music being performed, etc. It is advisable that already at the stage of choosing an instrument, a set of strings should be ready for the next long work, i.e. the strings should be in good condition, the entire chord should be tuned.

ELECTRICAL CONNECTION :

It's time to plug in the guitar and listen to how it sounds through the amp. The first step is to listen to how the instrument sounds on each individual pickup, and whether the volume and tone knobs are working correctly. The most common guitars are those with two pickups. One of them is located near the machine - it has a bright sound and rhythm parts are usually played on it. The other one is installed closer to the neck - it is usually used for solo parts with a softer and singing sound. Also be sure to check the operation of the switch (toggle switch) and the socket into which the cord is plugged in,O During the test, plug the cord from the guitar directly into the amplifier (combo), without including any effects sources in the circuit. Listen to each pickup individually and in combination with others.

Amplifier.

The most popular is the so-called “combo” (combo amplifier) ​​- a device that combines both a speaker and sound effects devices in one housing. The effects, in turn, are divided into 2 main groups. The first simulates a sound “echo” - like a natural resonance large audience- Thisreverb, delay, chorus. The second group creates a specific "rock" guitar sound, ("goodguitartone"), which is associated with the "correct" non-linear, frequency and other distortions of the electric guitar signal. Thisfuzz ( fuzz ), overdrive ( overdriver ), sustain ( sustain ), dis-tortion ( distortion ), galleys ( grunge ).

Cords.

This is the very little thing on which a lot depends. Try to ensure that you always have cords, connectors, etc. in perfect order, i.e. if possible best quality and in the mode of vigilant care - if possible (and necessary), there is no need to trample them, check them for dampness and moisture, let them get tangled in loops, etc.

guitar device

All guitars - acoustic, semi-acoustic, solid body electric - have the same basic elements. Now we turn your attention to those that you need first.Pegs serve to tension the strings or loosen them to the desired height. Onfretboard fingers are positioned when playing melodies and chords. Replaceablevibrato rods on an electric guitar, they create rapid vibrations (oscillations) of pitch on all six strings.Adapters on an electric guitar, they perceive the vibration of the string and transmit it to the amplifier, where the tone and volume controls, together with the amplifier controls, reproduce the desired sounds.frets, strictly speaking, these are horizontal metal thresholds located across the fingerboard under the strings. However, for practical purposes it is more convenient to understand by fretsspace between the thresholds. This is how it is usually depicted on chord diagrams. Pointers (marks)positions Acoustic guitar fingerboards are usually placed on the third, fifth, seventh and twelfth frets. Electric guitars that have a longer neck have additional finger position markers. For example, if the chord diagram starts at the tenth fret, you can quickly find it on the guitar because it is the next fret past the mark at the ninth. Most modern steel string guitars also havesafety plates, because their bodies are often damaged by picks. Steelstrings can be different thicknesses- for beginners, medium is usually recommended by default.

GUITAR TUNING

The pitch of a string is determined by its vibration in the range from the topfrom the threshold to the bridge. The degree of string tension also matters.By rotating the peg, you can adjust the tension of the string - pull it tighteror weaken. The following diagram shows the notes corresponding toconstruction of six strings. (In the notation, notes are shown an octave higher than their actualth sound).

In the international (English) tradition, the note C is designated as B. BIn different publications you can also find the designation of the note C as N.

There are many ways to tune a guitar. You can use the keys of a piano, or you can use a tuning fork for a guitar, blowingcertain notes marked on the pipe. Common method: onbuild according to a tuning forkMi the lowest (sixth) string. Next - whenpress the fifth fret on the sixth string. You will hear the sound you shouldsound the open fifth string. Similar: fifth string at fifth fretequals an open fourth; the fifth string at the fourth fret equalsopen third; the fourth fret on the third string will give the height of the secondstrings, and the fifth fret on the second string is the height of the first.

how to hold a guitar

The main ways to hold a guitar are as follows - in the positionsitting and, accordingly, in a standing position. Sitting: 1) legs are not crossed, the guitar rests on the right hand; 2) put right leg to the left. Thisthe pose is often referred to as "casual" or "relaxed." 3) Classic -requires the use of a small guitar stool for the left foot, 12-15 cm high. In this case, the guitar rests onleft leg. Standing poses (basic for performing electric guitar on stage) - £ with ribbon forguitar support or without it. If desired, you can use a bench or low chair to support the guitar onright leg. It is advisable to immediately try to achieve an independent position of your left hand - so that you are able to remove your left hand from the guitar without changing positiontool.

CORRECT POSITION OF THE LEFT HAND

The index finger should be positioned approximately at right angles to the strings, and the middle of the thumb should be located in the middle of the neck of the neck.Now press your index finger to the first fret on top of all the strings,and the big one - to the neck of the neck. Thumbright pinch your handseach string from top to bottom and achieve a clean tone on each string. Next, move to the second fret, then to the third and further alongbar, as high as you can get it. When you're this wayuse your index finger on all strings of the fret, you get something like thiscalledbarre. When playing regular melodies and chords, the fingertipspress the strings perpendicular to the plane of the neck. Left hand fingersshould be placed on the frets closer to the right nut. You need to press the stringstight enough so that there is no rattling, but it cannot be overstrain your hand. The fingers that do not press the strings are at a minimum distance from the fingerboard. Designation of fingers (fingering) for the left hand:1 - index finger, 2 - middle finger, 3 - ring finger, 4 - little finger.

right hand play

First we will say a few words about the classical position of the right hand. The quality of sound and the development of playing technique depend on its position.guitar. When the hand is positioned correctly, the forearm rests freely onthe top of the guitar body. The hand is relaxed and free to movesits" over the strings. The tips of the fingers touch the strings: index - thirdto her; middle - second; nameless - first. In this case, the fingers and strings form a right angle. The straightened thumb is slightly pushed forward and placed on the sixth string. In this case, the hand will deviate slightly to the right. Finger designation (fingering) for the right hand: thumb-R or + ; index -1 or. ; average -T or.. ; nameless -A or...; little finger -ch ore. The main ways to play with the right hand: hitting all the strings (strumming), bass chord (plucking), picking, playingwith the thumb and index finger without changing strings and with changing strings.

USING A MEDIATOR

For an electric guitar, the use of mesh is especially important.diator and, accordingly, mediator technique.

Picks come in different shapes and sizes, made from different materialsals, can be thicker or thinner, corresponding to different flexibility. YourThe choice depends on the type of music, the thickness of the strings you use, and,the most important thing is whether you like playing with this particular pick.

Hold the pick between the thumb and index finger of your right hand.without tension, but still so that it does not fall out during the game. Whereinthe strings must be struck with the most pointed end, and also with theperpendicular, as when playing with the thumb. Methodology for technology developmentplaying with a pick is based on the development of the technique of playing with an alternating stroke(alternating up and down strokes).

First, playing on one string is practiced, then repeated upward strokes, then an alternating stroke on adjacent strings and, finally,playing technique using jumps through the strings. Bringing characterExamples of rhythmic patterns:

MUSICAL NOTATION

The guitar's sound range covers more than 3 octaves. All notes are writtenin treble clefSalt). We show you the entire working rangezones in a row - white notes highlight diatonic (pure) tones, blacknym - chromatic. Adjacent chromatic sounds are equal to each othersound (F sharp = G flat). Typically used when moving upsharps, when moving down - flats.

Traditional music is organized using modes (major and minor) andtonality. The pitch of a fret is called tonality. "Cent"ral" keys - without signs - are Domajor AndLa Minor. Up from them are sharp keys, down are flat ones:

Now the same thing, but in a different order. The octave scale consists of 7notes:Do, Re, Mi, Fa, Sol, La, Si. In Latin notation they are denotedrespectively asWITH, D , E , F , G , A , IN. Notes with sharps - C-sharp. D sharp...are designated classically with the prefix- is - Cis , Dis ..., in popular jeanrah; respectively, notes with flats - with a prefix- es - Des , Es … etc. We remind you once again that the noteSi = B . Major keys in classical theoryare indicated with the prefix- dur - C - dur , G - dur ; V popular music they are aboutare simply written in capital letters -C , G ... Minor - in classicalwhat theory with prefix- moll - A - moll , E - moll , in popular - largeletters + letterm - Am , Em . The shortest distance between sounds (ladami) equals a semitone, between two white notes - two semitones,or one tone. The structure of the major scale: tone-tone-semitone-tone-tone-tone-semitone. Standard fingering for the major scale:

The structure of the minor scale (natural): tone-semitone-tone-tone-semitone-tone-tone. In a harmonic minor, the 7th step rises, in a melodic minor, when moving upward, the 6th and 7th steps rise, when moving backwardsIn the future, these steps are “naturalized,” that is, they are played with the abolition of the increase.

We have given typical fingerings, i.e. most scales in differentin realities it is played with precisely such fingers. Everyone needs to play scales -it is on them that the correct positioning of the fingers is best achieved, and you will also encounter fragments of scales in any melodicbuildings in the future.

POSITION OF NOTES ON STRINGS AND FETS

DURATION OF NOTES AND PAUSES

A note with a dot increases the duration by half.

Sounds in duration are related to each other in the ratio 2:1 - one whole is equal to two halves, four quarters, eight eighths, etc. Each note has a pause corresponding to it in duration:

For finer gradations, as well as for extending the duration beyondBy the actions of the measure, the notes are tied to each other. This applies to notes on oneheight. (A line connecting different notes means a coherent performance andcalled phrasing).

BEAT AND TIME TIMER :;

Musical composition is divided rhythmically into segments calledbeats. The bars are separated from each other by vertical bar lines.At the beginning of each piece, two notes are written on the staff next to the key.numbers in the form of an arithmetic fraction are time signature. Top digitindicates the number of beats in a bar, and the bottom one indicates the duration of one beat.Also, the time signature is indicated each time it is changed. Firstthe beat of the measure is a supporting (accented) - strong beat.

Play this theme using the A minor scale fingering. You canperform this melody both with your fingers and using a pick. Alsoplay the theme an octave higher - you will get a full-fledged piece. Vnicarefully analyze the intervallic composition of the melody - you must, find here the following intervals: prim, minor and major second, minorand major third, quart, minor and major sixth, octave.

chords. digitalization

A chord is a combination of 3 or more sounds built according tothirds. Three-note chords are called triads, four-note chords are calledseventh chords, then, respectively, there will be non-chords (5), tercidecimal chords (6), etc., but in our practice we will limit ourselves to triads and seventh chords. Major triads are designated by a capital letter - C,D..., minor - with letterm - Cm, Dm; seventh chords - C7 or Cm7. Enlargedchords are indicated as + oraug ( augmented). Diminished - ° ordim ( diminished). There are also chords with substituted tones, for example, a fourth instead of a third, such chords are designated assus(sustain) - mixed.And there are also chords with added tones, they are designated asadd ( additional). For the accompanying guitar, special grids have been developed withnotation:

chord charts

INIn general, in pop and, in particular, jazz music, verya large number of chords, including seventh chords, non-chords, even morecomplex with alternation of all possible audible steps, with propstripped and added steps, etc. We, to save time andspaces, in this manual we indicate only those that are actually usedused in popular music. Let us additionally note that you canin any chord, do not take all the indicated sounds (i.e., skip) - the main thing is that its mode, structure (triad or seventh) can be heard in the chord,altered tones. And one more thing - in these tables we use the format" EasyGuitar ", i.e. the first, simplest chord positions; more complexYou can find them in a special publication or select them yourself.

SIMPLE WAYS OF ACCOMPANIMENT

There is no one way of accompaniment, in any case.case, in popular music. If you choose the accompaniment yourself, it is better for you to try different methods so that you ultimately choose the one that seems most suitable to you. Of course, the tempo and character of the sound of the melody play a big role. To begin with, we recommend playing melodies in your mindreal movement. The most suitable topics for such exercises are:folk songs. We give one of them, and we provide individual fragmentsWe offer accompaniment in different ways.Attention: we are consciousWe definitely don’t write the accompanying part in notes, but only give the generalmovement - please experiment and find the right sounds yourself!

ABBREVIATION SIGNS AND SYMBOLS

In music (especially in popular music) shortcuts are often used.nia musical notation- for ease of reading, saving space and clearerform representations. The most common ones-reprise: the fragment is repeated in its entirety without changes or with a variation in the ending (optionsare designatedvolts - their number is equal to the number of different options).Two popular symbols -senyo - sign of return andflashlight - forward sign. The popular musician's expression - "from senyo to senyo, from lantern to lantern" emphasizes that these are paired signs. If you are inin the notes you saw one seño or lantern, look for a pair for it and better makethis right away, so as not to get lost later.

LET'S PLAY CLASSICS

It’s a rare beginning musician who gets by without usingunderstanding of classical works, and this is far from accidental - if a melody from popular genres can be played not strictly (let's say), then the classicalWhich topic requires commitment, fulfillment of specified conditions, i.e. - thatwritten, it must be embodied, otherwise the music will sound false.Usually the measure classical genre The works of J. S. Bach are considered.We won’t go that far for now, but will offer you two productsitems from the so-called “golden” collection. These topics sound quite counterintuitive.natively, but on the guitar (with high-quality performance) they remain as originalunique sound and emphasize the advantages of your instrument.

IMPROVISATION. MELODIC CHANCES

A significant part of jazz improvisations is built on established melodic formulas, which the fingers perform automatically, restingrelying on mechanical memory. We invite you to use it againfingering of major and minor scales, on which the singing is builtmajor and minor melodic sections.

HARMONY. NEWT REPLACEMENT.

Jazz harmonies, starting from the swing period, are characterized by tensionfeminine ("pushing") movement. Fifth chord ratios,appearing in circulationII - V-1, acquire chromatic tensiontion, of course, in the “blues” direction. This is achieved by replacing the traditional fifths patterns with their tritone counterparts:

WALKING BASS

Walking bass in Lately gained popularity as an independenttelny technique in solo and accompaniment. By its structure, this methodgame is a combination of solo guitar accompanimentand bass guitar parts. When playing, bass sounds are produced with the thumbtsem, the rest - according to the fingering of the left hand. When playing with a pick, only bass sounds are used, chord sounds are played with the fingers. We are offering to youmaster two main types of fingering:

This topic is very useful for developing the right hand. In American LitaIn rhythm, such a rhythm is called"Thumb Bass" orsmooth bass. This play is basedVan using the 3-finger stroke technique. Play this piece slowly at first,then increase the pace to Moderate.

Plan

I. History of the guitar

1. Pre-classical period

2. Classical period

3. Guitar in jazz

4. Traditional jazz

5. Swing period

6. Contemporary jazz

7. Guitar in rock music. Fusion

8. About guitar and tapping

II. Guitar playing technique

a) Guitar player’s position;

b) Guitar tuning;

c) The simplest fight.

2) Acoustic guitar playing techniques:

a) Arpeggio;

c) Tremolo;

d) Rasgueado;

d) Pizzicato;

f) Legato;

g) Staccato.

3) Nail method of playing the guitar:

a) Natural harmonics;

b) Melismas

4) Change of positions.

І. History of the guitar

1. Preclassical period

According to a number of researchers, the prototypes of the guitar are the most ancient musical instruments: the Assyrian-Babylonian kephara and the Egyptian kifara. The roots of these instruments go back to the primitive system, when people learned to use the bow in the struggle for existence. Primitive hunters could not help but notice the dependence of the sound of the bowstring when releasing an arrow on the size of the bow (length, tension force, thickness of the bowstring). If you pull not one string on a bow, but several, then they will all produce a sound of different pitches. Perhaps this is exactly what the primitive “cithara” had, which formed the basis for almost all stringed musical instruments.

In the centers of the first civilizations, Mesopotamia and Egypt, varieties of kifars (including the Egyptian nabla and Arabic el-aud (1) musical instruments similar in appearance to the modern guitar) received further constructive development. Thanks to economic and cultural ties, the citharas spread along the entire Mediterranean coast already in the 3rd - 2nd millennia BC, including to the south of the Iberian Peninsula in the ancient state of Tartess (modern Spain, which is considered the birthplace of classical guitar). Ancient authors (Herodotus, Posidonius, Strabo) noted the high education of the Tartessians, who had writing and a unique musical culture (3). Subsequently, citharas spread to Greece (in the 1st millennium BC). Unfortunately, one can only guess purely logically about the musical and performing-technical forms of that time. Studying historical written documents, archaeological excavations with images of ancient musicians, it can be assumed that sound was produced on citharas in three ways:

1) - pinch

2) - light strokes on the strings with the whole hand

3) - using a special brush or other devices.

All three types of guitar playing still exist today. Playing with a pluck became the basis of the classical school, with a wrist movement (razgeado) - a folk style and sound production with the help of various devices was reflected in modern playing of the electric guitar using mediators.

2. Classical period

Having gone through a difficult path of development, at the turn of the 15th-16th centuries, the design of the guitar took on a modern look. Initially, the instrument had five strings tuned to fourths, like a lute. Later the guitar became six-string, with a tuning more convenient for playing in open positions* for fuller use of the sound open strings. In this way the classical guitar took its final form.

The term "open position" has a slightly different meaning in jazz guitar literature. In this case, open position refers to any fingering pattern that uses open strings.

Period from late XVIII before mid-19th centuries is called the heyday of the classical guitar. Guitarists such as D. Aguado, F. Sor, M. Carcasi, F. Carulli, M. Giuliani and others revealed the possibilities of the guitar as an instrument that combines melodic and harmonic sides. The guitar in the hands of a good performer began to sound like a “small orchestra.” Using some folk playing techniques, combined with high performing culture, guitarists created brilliant works that became examples of the classical guitar school.

In Russia, the seven-string guitar, mainly tuned in thirds, has become very popular. Among the seven-string guitarists of the 19th century, M. Vysotsky, M. Sokolovsky, N. Makarov should be especially highlighted. The technique of playing a six-string guitar and a Russian guitar is practically no different, but the third tuning seven string guitar less convenient for playing complex polyphonic works. Since the main direction of development of the guitar followed the path of overcoming the stereotype that the guitar is applied, a purely accompanying instrument, tuning six string guitar supplanted the third tuning system of our “seven-string”.

The beginning of the 20th century saw a new flourishing of the classical guitar. This period brought forward a number of guitarists, including F. Tárrega, M. Llobet, A. Segovia and others, whose work became the standard, the highest level of development of classical guitar. The playing technique of these musicians was at such a level that it made it possible to perform very complex works, and in large concert halls(without sound amplification equipment). In an effort to increase the volume of the guitar, guitarists increasingly used the nail method of sound production, which is currently predominant. Since this period, the guitar has acquired the status of a solo concert instrument, taking its rightful place among other instruments. classical instruments.

The development of the classical guitar continues to this day. It is now possible to install a pickup on a guitar with nylon strings and use electronic sound processing effects. You can also install a polyphonic pickup on a classical guitar to use a MIDI converter, complementing the sound of the guitar with synthesizer sounds. These technical innovations of our day remove questions regarding the volume of the instrument and enrich it with new sound colors. Trying to further expand purely performing capabilities, musicians and guitar makers are also working on new design solutions. One of these developments is the domestic guitar - GRAN (developed by Vladimir Ustinov and Anatoly Olshansky and stands for - Russian Acoustic New Guitar), combining 6 nylon strings and 6 metal ones, which are located on different levels. (by the way, this guitar has a patent for the invention).

The guitarist has the ability to produce sound on both nylon and metal strings, creating the feeling of playing two guitars. It's a shame that this guitar is known more in the West than in Russia. The owners of this guitar are such guitarists as Paul McCartney, Carlos Santana and many others.

In general, classical guitarists It is possible to identify two problems, the overcoming of which pushed the guitar to develop, putting forward its heroes. The first is the volume of the instrument. Due to the fact that the guitar had a quiet (relative to other classical instruments) sound, despite the nobility and beauty of the sound, it remained a “home” instrument for many centuries. The second problem of the classical guitar was polyphony (polyphony), i.e. Guitarists have been struggling with this complex instrument for centuries, trying to combine melodic and harmonic functions as much as possible.

3. Guitar in jazz

After the discovery of America, centers consisting of societies of people with different musical cultures began to form on new lands. Several centuries of joint, although antagonistic, life between Europeans and immigrants from Africa resulted in the birth of a new musical direction - jazz. The origins of this style, according to experts, are in the diverse folk art of American blacks, in particular, in specific songs - the blues. The peculiar way of singing of blacks (untempered notes in the melody, rhythmic pulsation, improvisation, etc.) was also reflected in the technique of playing the guitar, which, starting from the 19th century, they used for accompaniment. The amazing property of the guitar is that in any cultural environment she finds her rightful place; either spanish flamenco, Russian romance or American blues. The blues style of performance gave rise to new technical techniques for playing the guitar (bends, slide, and many others), which formed the basis of the jazz guitar school and subsequently rock music. We will try our best general outline establish a cause-and-effect relationship between the emergence and rooting of new guitar vocabulary.

1) Intonation in blues goes beyond the limits of equal temperament. Some pitch elements of the blues scale appear to date back to earlier music system, which the blacks exported from Africa partially retained in their consciousness. This may be why some blues guitar techniques are so reminiscent of the Indian sitar (string tightening) technique. musical language which belongs to the most ancient forms. Trying to express their feelings in musical images, blacks intuitively found performing guitar techniques that could reflect their state of mind. This applies to bends, playing with a slider, deep vibration, etc. However, it cannot be denied that the reverse process also occurred to a large extent, i.e. the influence of the European folk guitar school on the formation of the North American musical language.

2) Blues rhythmic thinking is based on a variety of syncopated pulsations. This rhythmic basis has actually become an attribute of all directions and styles of jazz and rock music. African dances, primitive religious ceremonies remained in the subconscious of American blacks in the form of a special sense of rhythm, which in various forms was reflected when playing in European musical instruments, including the guitar.

3) Another integral element of the blues is its improvisational form, which also has its roots in ancient times. Improvisation is inherent in almost all folk musical genres(flamenco, oriental music, gypsy, etc.). In the blues, improvisation became the driving force that contributed to the development of modal-harmonic musical forms and performing and technical skills. With the growth of instrumental performance level, musicians, trying to move away from standard improvisational phrases, gradually expanded the harmonic and rhythmic bases. In less than 3/4 of a century, harmony in jazz has evolved from basic 3 chords to an atonal modal system. And although modern jazz improvisation is professional musical element, requiring theoretical training and high technical skill, it always contains fundamental basis blues vocabulary.