![]() ![]() In brief however, I would recommend trying to practice at least 3 or 4 days a week for an amount of time in each session that is at the upper end of being manageable. The steps required to set up an effective routine are detailed and go beyond the scope of this article. If that is not the case, then the first essential step for progress is to start practicing consistently. The first of these is that you currently do have a practice routine and are playing regularly. In short, all of the advice outlined here assumes three things: Opening thoughtsīefore we dive into the 10 mistakes that I see most commonly, I think it is worth covering a few initial points to save later confusion and avoid repetition. After all, there is almost no situation more frustrating than putting in a lot of work, and not getting results.Īs such, whilst it might be uncomfortable to confront some of the mistakes you have made – or are still making – recognising them will put you into a much better position for future success. So with that in mind, I thought it would be useful and instructive to put together a list of common mistakes which might be hampering your progress. In almost all of these cases, this mismatch was the result of mistakes that these players were making in the way they were spending their practice time. Specifically, I have spoken with guitarists who have been consistently putting in hard hours of practice, but not progressing at a pace that correlates with their hours of effort. However, I have recently started coaching a number of new players, and in my initial conversations with many of these guitarists, I have seen a recurring trend. Learning the guitar and juggling it alongside all of your other commitments is difficult enough, without me dragging you down with a list of all of the things you’ve potentially been doing wrong. ![]() Instead, we get the D in the bass, but as the root of a D major chord, which is the dominant chord of G and the music swerves off towards G minor to continue its seemingly continuous descent.I don’t typically like to focus on the negatives. It could for example be B♭/D, thus preserving the chromatic bassline. F7 is the dominant of B flat, so we could reasonably expect B flat major (or possibly minor) to be the next chord. While descending basslines are in themselves not exceptional, the F/E♭ chord is effectively F7 in third inversion. Getting a bit theoretical for a moment, it is worthwhile to take a closer look at some aspects of this chord sequence. If playing a D major chord with your third finger lying down is a challenge, use fingers two, three and four are like we did for the F major chord in Figure 2. Aim to hold onto the bass note so it rings throughout the bar.īetween the chords F/E and F/E♭, it should be possible to simply slide your third finger down one fret, making this change much more straightforward. One way to play this on guitar is to pick the bass note of the chord first and then lightly strum the upper notes of the chord. In Figure 3, we take a look at an eight-bar chord sequence inspired by one of the piano tracks on the album, which has a distinctive descending bassline. Pianist Rick Wakeman added considerably to the palette of sounds available to Bowie on Hunky Dory. Repeat these two chords as often as you like and then use the F major chord to climb out of the sequence before stopping dead on the plain D minor barre chord and pausing for four beats before repeating the whole pattern. The thumb remains where it is, holding down the note A on the low E string and creating the slash chord ‘D minor added ninth with A bass’. This same open string also gives us an added ninth in the D minor chord. Once again we have the open E string, but this time it doubles the note which is already at the top of the chord. Moving on to Figure 2, the A major chord is essentially the same shape as the Fmaj7 chord in Figure 1, except that it omits the A string, which can be muted using the tip of the third finger. All these examples are meant to be played with the pick, and preferably on acoustic in Figure 1, try a ‘one-and-two-and-a’ rhythm and make the most of the dissonance provided by the open first (high E) string. It is also important to use the tip of the first finger to mute the sixth (low E) string in the Bb chord – another tricky aspect of this sequence. Another challenge here is that we are at the lowest end of the guitar, where the frets are furthest apart and the nut is trying to hold up the strings that we are trying to press down. ![]()
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