19 October 2002 - Issue 2
In this issue
@ Some Stuff ...
@ What's New on IBreathe
@ Pulse Bites: Articulation
@ Eric's Shred 101-Lick
@ Sizzling Hot Topics
|Some Stuff ...|
Hello all, and welcome to issue #2 of 'The Pulse'.
First of all, I'm happy to report that the first issue of the pulse went smoothly without any hickups. However, if there is anything you would like to let us know about, please contact us at ThePulse@iBreatheMusic.com.
Because this is the second issue, you can now go into the archives where previous issues of 'The Pulse' can be found in both text and HTML formats. So if you'd like to look something up or if you missed out on an issue you can find it here. The archive can be found at http://www.ibreathemusic.com/pulse/archives.php
We've been thinking for quite some time about making some iBreatheMusic T-shirts. We've mocked up a few early ideas at http://www.ibreathemusic.com/forums/showthread.php?threadid=466.
We look forward to your feedback and please let us know if you have any cool ideas. All suggestions welcome ....
Till next time,
|Pulse Bites: Articulation|
In the last issue we talked about the importance of Dynamics. In this issue we have a look at the closely related topic of articluation and the musical terms we use to describe the different articulations in use.
An accent mark indicates that the note or voicing it attends is to receive an emphasized attack. There are two types of accent marks: the forzato (^) and the sforzando (>). The forzato accent represents the heavier, or stronger, of the two types of accents. Please note that neither of these accents alter the duration of the notes or voicings they attend.
The staccato mark (.) indicates that the note it attends is to be detached from the note that follows it. In order to achieve this separation, the staccato note's duration must be shortened. Staccato marks are generally applied to notes of a quarter-note's value or less.
Legato / Tenuto Mark
The legato, or tenuto mark (-), indicates that the note it attends is to receive a soft or dull attack and is to be held for its full duration.
A few practicing ideas:
- Pick a scale, play it up and down while focussing on different combination of articulation, e.g. switch from staccato to legato with every other note while also playing a sforzando on every 1 of the beat.
- Improvise with focus on articulation only. You could just use one note. Try to create tension and release with using different articulations
- Listen to recordings and analyze the melody or solo in terms of articulations. What articulations does the artist use and how does it effect the performance.
|Eric's Shred 101-Lick|
Greg Howe is an amazing, quite unique player, and he sure is an influence of mine. He combines all the cool techniques (picking, legato, tapping) to create mind-boggling solos that leave you saying "HOWE did he DO that?".
Here is a Howe-style lick in Em, combining hammer ons / pull offs, tapped notes (consider the tapping finger an extension of your left hand this time) and string-skipping. The first note on each string is actually hammered on, not picked!
|Sizzling Hot Topics|
Difficult Picking Exercises
Concept: Playing a Song
ii V I changes
Guni's Intervals (the Key to HU)
Something about metronom?
Send suggestions and comments to: ThePulse@iBreatheMusic.com|
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