Lessons

Lessons:

Contact me to set up private lessons. I have years of experience with students of all levels.

Lesson 2: Arpeggio Exercise

Here's a figure that you can transpose to all keys. Like all exercises like this, you probably won't ever play this at a gig or recording session. It just helps to loosen up your fingers and work on control. I did this for a week and couldn't believe how much easier my next jazz gig was.

The figure is basically 1 3 5 9 7 5 the first time, and up a diatonic 3rd each subsequent time. (Then you have to come back down!) Check it out:

Though the pattern is similar on each iteration, you'll notice that the intervals (and thus the fingering, for me anyway) change every time. This is what makes this one challenging all the way through. Remember to transpose to different keys, and try out different fingerings until you find one that feels natural for you. Good luck!

Lesson 1: Alternating Fingers/"The Rake"

If you don't use this technique already, you can improve your speed, control and fluidity by alternating your index and middle fingers on your plucking hand. Start with just one note.

Now try it with opposite fingers.

The notes should sound even no matter which finger you're using, whether at slow or fast tempos.
Once that feels natural, move on to more challenging figures.

Remember to switch the fingering.

Exceptions to the rule:
The main situation where you won't use alternating fingers is called "the rake." After playing a note, if the next note is on the higher adjacent string (lower pitch), use the same finger to pluck it. In other words, if you play the D string with your middle finger, and the next note is on the A string, use the middle finger for that note as well.

Some examples:

-Notice how your plucking pattern doesn't reset until a measure later.

This one takes even longer to reset. There's no hard and fast rule about how long it will take a pattern to reset. Sometimes it never will. The trick is to make the "rake" such a natural part of your repertoire that you don't even think about it.





	Lessons: Contact me to set up private lessons. I have years of experience with students of all levels. Lesson 2: Arpeggio Exercise Here's a figure that you can transpose to all keys. Like all exercises like this, you probably won't ever play this at a gig or recording session. It just helps to loosen up your fingers and work on control. I did this for a week and couldn't believe how much easier my next jazz gig was. The figure is basically 1 3 5 9 7 5 the first time, and up a diatonic 3rd each subsequent time. (Then you have to come back down!) Check it out: Though the pattern is similar on each iteration, you'll notice that the intervals (and thus the fingering, for me anyway) change every time. This is what makes this one challenging all the way through. Remember to transpose to different keys, and try out different fingerings until you find one that feels natural for you. Good luck! Lesson 1: Alternating Fingers/"The Rake" If you don't use this technique already, you can improve your speed, control and fluidity by alternating your index and middle fingers on your plucking hand. Start with just one note. Now try it with opposite fingers. The notes should sound even no matter which finger you're using, whether at slow or fast tempos. Once that feels natural, move on to more challenging figures. Remember to switch the fingering. Exceptions to the rule: The main situation where you won't use alternating fingers is called "the rake." After playing a note, if the next note is on the higher adjacent string (lower pitch), use the same finger to pluck it. In other words, if you play the D string with your middle finger, and the next note is on the A string, use the middle finger for that note as well. Some examples: -Notice how your plucking pattern doesn't reset until a measure later. This one takes even longer to reset. There's no hard and fast rule about how long it will take a pattern to reset. Sometimes it never will. The trick is to make the "rake" such a natural part of your repertoire that you don't even think about it.