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Confession #6 - Warm Up! - Exercise #1

When you are young, your body will let you get away with a lot.  I'm sorry to tell you that as you get older, it won't do that anymore.  If you are an older player, you need to warm up before playing.  If you are a younger player, it's a good habit to get into now, rather than trying to break 20 years worth of bad habits when you are older. And yes, even the pros warm-up before a gig.

Also remember to take a short break every 45 minutes or so and give your fretting a hand a rest.

FRETTING HAND

Playing guitar can be hard on your fretting hand, especially if you are playing songs with lots of barre chords. Barre chords require you to hold your hand in an awkward position  and then squeeze with a lot of force. That can be hard on your wrist.  So rather than starting by picking up your guitar and slamming out The Ramone's Blitzkrieg Bop, take a few minutes to warm up your hand first.

I'll talk more about barre chords in a future Confession.

First, Some Single Notes

I have a few different exercises that I use for warm-up.  They can be played anywhere on the fretboard, but I usually start them in 5th position (i.e. at the 5th fret).  This is because 5th position is probably the post comfortable position to play at on the whole guitar.  Your wrist is not cocked one way or the other, and the spacing between the frets is just right.

Warm Up! - Exercise #1 is a simple chromatic run.  It doesn't sound particularly musical, but that's not its purpose.  Play it slowly.  As your hand limbers up, you can gradually increase the tempo.  Remember, the point is to warm up, not to shred.  Also, use light pressure with your fretting hand.  Don't try to strangle the guitar's neck!  Using light pressure will also benefit you by forcing you to be more accurate about your finger positioning behind the fret.

Warm Up! - Exercise #1
(Click to Enlarge)

 I actually like to start by playing each note twice, like this:

Warm Up! - Exercise #1 playing each note twice
(Click to Enlarge)

This slows down the changes and gives your fingers a chance to get up to speed.  Then I do single notes.

The other benefit of Warm Up! - Exercise #1 is that the descending phrases (i.e. 8-7-6-5 etc.) help develop your finger 3-4 independence (finger 4 is your pinky).  I'll talk more about finger 3-4 independence in a future Confession.

Now Some Chords

When playing the single note warm up exercises, only one finger is under tension at a time.  After I've finished my single note exercises, I like to switch to some open chord work. This will put 2 or 3 fingers under tension simultaneously.  So pick your favourite strumming song and gently play through it.  Your fretting hand should be warmed up now.

Mix It Up

Warm up exercises get boring fast!  When they do, your mind starts to wander and then you start making mistakes.  So don't stay on any one exercise too long.  Mix it up!  I'll provide some more warm up exercises in future Confessions.

SHOULDERS

Dunno if its just me, but my shoulders sometimes get stiff when playing.  So I like to do some stretches beforehand.  Stand up straight with your arms at your side.  Keep your arms straight and raise them to the side until  they are pointing at the ceiling.  With both arms up over your head now, grab one hand with the other and gently stretch.  Release and slowly lower them back down at your side.

(If this causes you any pain or discomfort, stop immediately!)


Next Week's Confession - Use Pivot Chords!

Confession #5 - Use a Metronome!

... or a Drum Machine, or a Multi-Effects Pedal,  or an Electronic Keyboard

One of the most important skills for any musician to develop is a sense of rhythm.  You may play brilliantly, but if you can’t play in time with a metronome or other musicians, then you'll be stuck in your basement forever.  To some people, this skill may come easy, while for others it will take some practice.  But it can be learned.

PLAYING ALONG WITH THE RECORD IS NOT THE SAME THING

Now, just because you are able to play along with the record doesn’t mean that you’ve mastered this skill.  When you play along with the record you have an example to follow and are subconsciously picking up on other cues in the recording.  None of these things will be present if it’s just you and a metronome, or you and a bass player and a drummer.

METRONOME vs. DRUM MACHINE vs. KEYBOARD

Metronomes are really, really boring musically, but are also pretty inexpensive.  Consider stepping up to a drum machine, or a multi-effects unit with a built in drum machine (I have the Digitech RP-250), or better yet an electronic keyboard (I have the Yamaha Portatone PSR-E403).  All will provide you with a variety of beats to practice with. 

Digitech RP-250 Multi-Effects Pedal

Yamaha Portatone PSR-E403

An electronic keyboard has some additional benefits:

• If it has auto-accompaniment, you can use it for one chord jams in a variety of musical styles, and

• The piano keyboard can be a useful tool for learning and understanding musical theory because it has  easily recognizable patterns.  Patterns are harder to see on the fretboard, so this can make it hard to grasp musical concepts and relationships.

Spot the C Major Scale on the Keyboard

Now find it on the Fretboard !?!?!?

USING A METRONOME

Hopefully I’ve convinced you that using a metronome has many benefits:

·        It's like truth serum for your playing.  If your rhythm is off, it will show.

·        It will help you develop a feel for a steady rhythm.  You'll play better when there isn’t a beat available.

·        It's great for rythym training exercises (e.g. learning to play 16th notes at 100 bpm)

The most important thing to remember when using a metronome is to:

            Know the part before playing with the metronome!

There's no point in putting a beat on until you know the part you are trying to play.  If you are constantly starring at the TAB and still working on fingerings, the beat will just drive you mad and hinder your progress. You don't have to have the part fully memorized, but your fingers should already know where they want to go as your eyes move quickly over the TAB.

The other most important thing to remember is to:

            Start Slowly!

If you set a tempo that is too fast, then you will make mistakes.  Worse, you will probably persist at that tempo (You’re probably telling yourself that “I should be able to do this!”) and keep making more mistakes.  What ends up happening is that you practice making mistakes instead of practicing playing correctly.  Don't practice making mistakes!

Start with a tempo that you can play comfortably at without any mistakes.  Stick at this tempo and develop a feel for the part you are practicing and develop your muscle memory for playing it correctly.  Slowly speed up the tempo, even if it’s only 4 bpm at a time.  If you speed up the tempo and find yourself making mistakes, go back to the original tempo and practice playing it correctly.  

Remember, you are not going to get a new part up to tempo in one evening.  It may take several days of slowly increasing the tempo to get up to speed.

Don't practice the same thing for more than 5 or 10 minutes per session.  If you practice one part for 30 minutes,  it is more likely to hinder than help your progress.  Keep the practice short and give your brain a chance to digest.

KEEP IT SIMPLE

While you are developing a feel for rhythm, you need to keep it simple and slowly increase the difficulty.  Start with just whole notes and strum a chord on every beat 1.  If this is going well, then try strumming on beat 1 and beat 3 (i.e. half notes).  Next step up to quarter notes (i.e. beat 1, 2, 3 and 4), etc.

Alternatively,  stick with whole notes, but change chords every time beat 1 comes around.  Try  the following I-vi-IV-V7 progression in the key of G:

            G-Em-C-D7

I’ll talk more about this progression in a future Confession.

FINISH ON A HIGH NOTE

The last thing you hear is what’s going to stick in your brain.  This is why it is critical that you finish your practice session by playing the new part you’re learning correctly.  It’s great to increase the tempo during your practice session and push yourself, but always finish your session by slowing it down to a comfortable tempo and playing the part correctly.  This is what your brain will remember.

Next Week's Confession - Warm Up! - Exercise #1

Confession #4 - Change Your Strings!

Over time, your guitar's strings wear out due to dirt and oil from your fingers.  When they do, they lose their tone.  This happens gradually over time, so you don't really notice it.  However, when you put a new set of strings on, you'll be amazed at the difference.  You'll get back the brightness that you didn't know you had lost.  A set of strings will only set you back around $5 or $6, so change your strings regularly.

Make sure you buy the same gauge strings as what's already on your guitar.  Changing gauges changes the tension on the neck, causing it to become more concave or convex.  When this happens you may need to adjust your truss rod (see Confession #3 - Set-up Your Guitar!).

A FEW POINTERS ON CHANGING STRINGS:

• I like to change one string at a time, starting with the low E string.  The reason for this will become apparent below.

• Loosen the tuning peg to take the tension off the string, then use a pair of wire cutters to snip the string near the tuning peg.  You can then easily remove the remnants of the string.

• When threading the new string through the tuning peg, consider which way the peg will turn and thus which side of the peg the string will be on.  I made this mistake once with my Fender Telecaster, which caused the nut to come unglued and shift a few millimeters from its intended position (see below).

• Some people like to tuck the loose end of the string under the string as they are winding it on the tuning peg, the theory being that the loose end is pinched when the string is under tension and therefore the string can't slip.  Some people think that this is unnecessary and just bend the loose end back sharply at the tuning peg.  I've tried both ways on my guitars and haven't noticed a difference.

• I don't have a great ear for pitches, so when I'm tightening up the new low E string and I think I'm getting  in the neighborhood of the target pitch, I will fret the low E string at the 5th fret and compare the sound to the open A string (see Confession #2 - Tune Your Guitar! The two pitches should match.).  If they don't match, I move up to the 6th fret, then 7th, etc. until the pitches match.  This tells me how close I am and that my low E string still needs some tightening.  If you've over-tightened the new string, then you'll have to fret the 4th fret, 3rd fret, etc. to get the pitches to match.  This is why I change only one string at a time.  It allows me to use the next highest string as a reference pitch.

• Use an electronic tuner for fine tuning the new string.

• New strings will stretch, causing the string to go flat, so don't stop yet.  Execute a series of whole step bends (or more) all along the fretboard and then re-tune the string.  Repeat this until bending the string no longer causes it to go flat when played open.  You don't want your strings to stretch while you're playing, so take all of the stretch out of them when you first put them on the guitar. 

• Always tune-up to the correct pitch, never down (see Confession #2 - Tune Your Guitar!)

• NEVER CHANGE STRINGS ON THE SAME DAY AS A GIG !!!

Fender Telecaster headstock
Note how strings all go to the right of the tuning pegs and how the string is in a straight line before and after the nut.

Next Week's Confession - Use a Metronome!

Confession #3 - Set-up Your Guitar!

If your guitar is not set-up properly, a few things can happen.

One:  Your guitar may be perfectly in tune at the nut (i.e. the 0^th fret), but it will get progressively more out of tune the further up-the fretboard you play (i.e. the open E on your sixth string will be in tune, but the E at the 12^th fret on your sixth string will be sharp or flat.).  Adjusting your guitar so that it is in tune along the entire fretboard is known as adjusting the intonation.

Two:  The further up the fretboard you move, the more your fingers feel like they are walking in deep snow.  This is because the neck of your guitar is not adjusted properly and is slightly concave.  Adjusting your guitar so that the fretboard is neither concave nor convex is known as adjusting the truss rod.  The other possibility is that the saddle height at the bridge needs adjusting. 

Three:  When playing fretted notes at the low end of the fretboard, the string will sound the note, but also makes a buzzing sound.  This is because the neck of your guitar is not adjusted properly and is slightly convex.  Adjusting your guitar so that the fretboard is neither concave nor convex is known as adjusting the truss rod.  The other possibility is that the saddle height at the bridge needs adjusting. 

So a guitar that is not set-up properly will not sound good and will be difficult to play, which will make for a frustrating experience for a beginner.  Thus, the first thing you should do after you buy your first guitar is get is set-up.  This will set you back $50 to $75.  This may sound a bit steep if you only spent $200 on your guitar, but it's worth it for the frustration it will save you.

ADJUSTING THE INTONATION

Why is it that your guitar can be in tune at the nut and out of tune at the 12^th fret?  A little bit of physics comes into play here.  When you pick an open string, the string vibrates in one continuous arc that starts at the nut and ends at the bridge. 

The frequency of the low E string played open is ~ 82 Hz

If the string vibrates twice as fast, there will be two arcs, the first between the nut and the string’s mid-point, and the second between the mid-point and the bridge (see footnote).  At the mid-point of the string, there will be a node (i.e. a point where the string is not moving).  The note you now hear is the first octave above the sound of the open string. 

Vibrating twice as fast, the frequency produced by your low E string will now be ~ 164 Hz (i.e. it doubles).  So when you play the note at the 12^th fret of your low E string, what you should hear is the E one octave higher than the open string (because the 12th fret is meant to be the octave). 

But what if the mid-point of the string is not centered over the twelfth fret?  Then the note you hear when you play at the twelfth fret of your low E string will not be the octave, and instead will either be sharp or flat.  To get that note in-tune, you need to centre the mid-point of the string over the twelfth fret.  This is done by adjusting the length of the string at the bridge.

Daddy, What’s a Harmonic?

Now, how do you know whether to lengthen or shorten the string?  To answer this question, you first need to learn how to play a harmonic.  Place your finger so that it is lightly touching the string at the 12^th fret (do not press down and fret the note!).  Pick the string.  What you hear will be an octave higher than the open string. 

When you pick the string, it normally vibrates in one continuous arc.  Placing your finger lightly on the string at the 12^th fret creates a node and forces the string to vibrate with two arcs.  The notes resulting from forcing nodes like this are called harmonics.  There are several of them on your fretboard.  Now that you know what a harmonic is, let’s go back to figuring out if our string is too long or too short.

Don’t ask for Shorter Strings at the Guitar Store!

If the true mid-point of the string is below the twelfth fret, then the harmonic will have a longer arc than the fretted note at the 12^th fret and thus will have a lower pitch.  So if the harmonic is a lower pitch than the fretted note, you need to lengthen the string.  This will move the mid-point towards the bridge (and the 12th fret).

If the true mid-point of the string is above the twelfth fret, then the harmonic will have a shorter arc than the fretted note at the 12^th fret and thus will have a higher pitch.  So if the harmonic is a higher pitch than the fretted note, you need to shorten the string.  This will move the mid-point towards the nut (and the 12th fret).

To test this, you will need an electronic tuner (see Confession #2 - Tune Your Guitar!).

Methods of adjusting the string length will vary from guitar to guitar as different manufacturers use different kinds of bridges.  Consult your manufacturer’s website for guidance for your particular bridge.  In some cases it is not possible to adjust the intonation due to the bridge design.  Most acoustics (if not all) are not adjustable.

Fender Telecaster Bridge
Intonation is adjustable for each string.
Note the hex-key screws for adjusting saddle height.

Paul Reed Smith SE Custom Bridge
Intonation is not individually adjustable for each string, but the
bridge position relative to the two set screws can be adjusted.

Yamaha APX 500 Bridge
Intonation is not adjustable.

When you're done, the mid-point of the string will be centered over the 12th fret, like this:

This next tip is in big bold letters because its very important.

Because you've changed the length of the string, the open string will need to be re-tuned when you've finished adjusting the string's intonation!

You're done.  Enjoy your properly intonated and freshly tuned guitar!

Footnote: You can see this visually if you take a long piece of rope and anchor one end to a stationary object, like a tree.  Hold the other end in your hand and with the rope taught, shake your hand up and down until you see the aforementioned continuous arc.  It’s called a standing wave.  Now move your hand up and down faster and faster until you see the pair of arcs, with a stationary node in the middle.

ADJUSTING THE TRUSS ROD AND SADDLE HEIGHT

Inside the neck of your guitar is an adjustable rod, called the truss rod.  This is used to adjust how concave or convex the neck of the guitar is. 

If the neck is concave, the strings will sit high off the fretboard and you’ll find it difficult to move from string to string.  Your fingers will feel like they are walking in deep snow.

If the neck is convex, the strings will sit low to the fretboard and may buzz against higher frets (e.g. you playing the C at the 3^rd fret of the 5^th string and the string buzzes against the 4^th fret when you play the note.

Of course, if the saddle height is not set properly, this can also cause the same problems.

Adjusting the truss rod is something best left to an experienced guitar tech.  If you adjust it too much one way or the other, you can damage the neck.

Knowing whether the truss rod needs adjusting, or the saddle height needs adjusting, or both, is again something that is best left to an experienced guitar tech.  If you don't know what you're doing, you could just end up making things worse.

Next Week's Confession - Change Your Strings!