Classical Guitar Lesson #6: Arpeggios
TEACHERS AND STUDENTS! Now you can get Kent Murdick’s new five volume series, “Learning To Read Music On the Classical Guitar” that goes right along with the Youtube technique videos. This is the direction and music you need to do things right! Buy three or more books and “shipping and handling” is FREE!
Book 1: “The First 30 Days of Instruction”. $5.95 + $1.75 shipping and handling. The student will learn eight notes in the open position on the 3rd, 4th and 2nd stings, and a handful of simple rhythms — all pieces and exercises are played with P stoke only.
Book 2: “The Next 30 Days of Instruction”. $5.95 + $1.75 shipping and handling. Rests, ties, the division of the beat and eight new notes — E, F, G on the 1st string and the open 5th and 6th strings - are covered in this volume. The rest stroke with ‘i’ and ‘m’ is introduced . A few solos are included.
Book 3: ” Bass Notes”. $5.95 + $1.75 shipping and handling. Since reading ledger line notes is difficult for beginning students , I devote a whole volume to learning B and C on the 5th string and F and G on the 6th string. Many solos are included.
Book 4: “Chords”. $5.95 + $1.75 shipping and handling. Reading two and three-note chords and the free stroke are covered in this volume. Many playing styles are covered including ragtime, tango, beguine and the Mexican waltz. An index of first position chords for strumming appears at the end.
Book 5: “Arpeggios”. $9.95 + $1.75 shipping and handling.
Contains pieces based on the most important arpeggio patterns including five tremolo pieces. There is also a complete section on playing ragtime guitar along with first position versions of Leyenda, Recuerdos De La Alhambra, Malaguena and a tremolo version of Romanza. This books brings you right up to the intermediate level.
Supplementary Material which includes CD: “Mel Bay’s Easiest Classical Guitar Solos Book” $14.95 + $1.75 shipping and handling.
Send check or money order with a description of exactly what you want to
Kent Murdick
302 Chatham St.
Mobile, Alabama 36604
Video description: I demonstrate pim, pimi,pima, and pimami arpeggions on the guitar. To see all ten lessons do a search for: classical guitar lessons murdick. To hear Kent Murdick play, go to http://members.aol.com/lutemann/NO.mp3
Produced by
Kent Murdick
University of South Alabama
Duration : 0:3:33
January 1st, 2009 at 7:34 am
fuck you
you
January 1st, 2009 at 7:34 am
Do a search for …
Do a search for murdick mahtematics
January 1st, 2009 at 7:34 am
if you are math …
if you are math teacher, can you upload some math lessons?
ajajaj
January 1st, 2009 at 7:34 am
Thanks for the tip …
Thanks for the tip and thanks for sharing your techniques!
January 1st, 2009 at 7:34 am
Watch folk …
Watch folk guitarists play and see if they do this. Most don’t or can’t. Very little of guitar techique is intuitive.
January 1st, 2009 at 7:34 am
I think if you’ve …
I think if you’ve played guitar for any amount of time this is pretty intuitive… even if you don’t play classical.
January 1st, 2009 at 7:34 am
Listen to Manual …
Listen to Manual Barrueco or Jef Carter or Christopher Berg, to name a few of thousands who use these ideas. I’m just a math teacher who made a few guitar videos.
January 1st, 2009 at 7:34 am
Post a video when …
Post a video when you play it fast. I wanna hear how it sounds when you’re done.
January 1st, 2009 at 7:34 am
With many effient …
With many effient arpeggios, such as the tremolo and Pimami, the release is not that important in that one may over-follow through with some fingers. Scott Tennant’s very fine tremolo has a “looping” i finger that is not released at all. He does use a ballistic approach to the ‘ma’ complex in the tremolo.
January 1st, 2009 at 7:34 am
no… it’s similar …
no… it’s similar but NO
January 1st, 2009 at 7:34 am
Hi and thanks for …
Hi and thanks for your courteous response; in my long experience I have found it so difficult to encourage students to “release” their fingers, when the concept has not been explained to them initially and the habit of holding them in has become fixed, that I wouldn’t recommend the idea - for however short a time. I prefer the analogy of the release involved with a bow and arrow but, whatever method used, it certainly seems a surprisingly common problem and eludes many teachers observation/help.
January 1st, 2009 at 7:34 am
This is a very …
This is a very subtle concept. In the beginning, I think it’s OK to hold the fingers back in order to make sure that basic motion is set. But, as soon as possible, the arpeggios should be felt as a quick flexion and release.
January 1st, 2009 at 7:34 am
I notice that in a …
I notice that in a later lesson you do discuss this issue, which makes me wonder even more why you suggest fingers should be held in and not allowed to release naturally and individually in the first place.
January 1st, 2009 at 7:34 am
This is utter …
This is utter rubbish and would be disputed by any half-decent teacher. Pulling your fingers into your hand as suggested is like shutting a book each time you want to turn a page. Learn about extensor and reflexor usage - please!
January 1st, 2009 at 7:34 am
hahahaha no its not …
hahahaha no its not, its the last three strings of the guitar.
January 1st, 2009 at 7:34 am
thank you so much …
thank you so much for this very helpful
January 1st, 2009 at 7:34 am
It is. But i don’t …
It is. But i don’t thing he meant to do that.
January 1st, 2009 at 7:34 am
id love to be able …
id love to be able to play arpeggios like yngwie malmsteen
January 1st, 2009 at 7:34 am
Hi Luteman,
This is …
Hi Luteman,
This is very helpfull. The concept of returning to a consistent beginning position after the arpeggio is complete, while it should seem obvious, is something that I never really tuned into. Thanks for the lesson
January 1st, 2009 at 7:34 am
from 1:00 thats …
from 1:00 thats moonlight sonata intro!!
January 1st, 2009 at 7:34 am
I cannot hear what …
I cannot hear what u r saying
January 1st, 2009 at 7:34 am
I wish I could. …
I wish I could. This is very individual.
January 1st, 2009 at 7:34 am
could you briefly …
could you briefly talk about nail shaping?
thanks.
January 1st, 2009 at 7:34 am
About the thumb …
About the thumb tension. If you turn the guitar around and play that reach with the left hand do you feel the same tension? If not then you might have a problem.
Try flexing the right wrist a bit. This will increase your reach.
January 1st, 2009 at 7:34 am
Hi, Lutemann. What …
Hi, Lutemann. What I’ve learned so far is to develop independence between fingers. Can you explain it a little bit in the context of your technique. Also, when I move my thumb to reach the string, say the sixth string with ima on 123 strings, I can feel huge tension spreading from my thumb to other fingers, horribly blocking the movement of every finger. PS: My hands are quite small.