Types and schemes of playing guitar busting

Busting the guitar is a pretty beautiful way to accompany a melodic voice in a piece or a soloist's singing. At the same time, many types of overstepping are not considered technically difficult constructions, even for a novice guitarist.

Beginners begin to analyze simple patterns of brute-force on open strings almost from their very first lessons. This is discussed in detail in the article below.

Guitar busting in educational literature (tutorials, schools of guitar playing and musical theory) is correctly called the term "arpeggio", which translated from Italian arpeggio means "like a harp". The harp is distinguished by the fact that the strings on it are fingered alternately with the fingers of both hands to play melodies. On the guitar, arpeggio also means sequential plucking of the strings with the fingers of the right hand while simultaneously playing chords with the fingers of the left hand.

In other words, arpeggio is a technique of playing chords by sequentially extracting sounds included in them, including bass, in different combinations... As a result, all sounds are combined into an integral consonance.

To play with brute force, you need to prepare for this technically:

1. learn first hold the guitar correctly (that is, carefully consider the rules of landing with the instrument and the position of the hands when playing);
2. then examine the placement of the fingers of the right hand when performing simple exercises on open strings, including busting;
3. then start extract sounds from strings in different ways;
4. work out several types of open string arpeggios.

Let's consider the rules of setting hands for playing simple busting and the main methods of sound production in more detail.

Since the learners learn from scratch various patterns of brute force use exclusively on open strings, the left hand is placed on the body of the instrument near the base of the neck, ensuring its stability and correct position. At the same time, it should not interfere with sound production - it does not touch the strings.

Later, when the first chord constructions are learned, the practicing of the fingering will already take place in certain harmonic sequences with the help of the fingers of the right hand, clamping the strings at the frets. Pressing the strings in chords should be performed at the appropriate frets as close to the metal saddles as the finger patterns and the beginner's ability to carry out the complex placement of the left hand fingers allow. In the latter case, we mean how well the fingers are stretched and their independence trained.

It is also important to press the strings with the last phalanges of the fingers almost perpendicular to the plane of the neck.... This pinch geometry eliminates the risk of pinch fingers touching adjacent strings on an acoustic guitar.

The left thumb is on the back of the bar across its center line. It resists the force of pressure on the bar of the remaining fingers, compensating for it from its side. The thumb always follows the index and middle fingers along the neck of the guitar, being approximately halfway between them.... The beginner needs to keep an eye on him, not letting him stand along the bar (a common mistake all beginners make).

The fingers of the right hand, performing the arpeggio scheme, for the first exercises should be positioned as follows (each on "its own" string):

• the thumb is on the 6th (5th or 4th) string;
• index - on the 3rd;
• middle - on the 2nd;
• unnamed - on the 1st.

With the correct placement of the hand and the placement of the fingers on the indicated strings, the thumb should be slightly extended forward (towards the neck) in relation to the rest of the fingers. The lines of the forearm and hand with fingers should be on the same straight line, not shifting either down or up. From the side of the player, the hand should look slightly rounded, curved outward.

The arpeggio technique of classical guitar and flamenco uses two methods of sound production:

1. apoyandowhen, after plucking the string, the finger of the right hand rests on the adjacent string;
2. tyrandothat does not provide for the support of the finger after pinching.

Musicians playing acoustic, semi-acoustic and electric guitars, in addition, can use the picking technique of sound production when playing the brute force.

The overwhelming majority of guitarists who choose to play classical instruments with nylon strings play with nails that are several millimeters long (from 3 to 5). Nails manage to get more expressive and loud sounds. Lovers of quietly flowing music, as well as beginners, are advised to play in a nailless way.

Practical guitar arpeggio play always starts with simple open string exercises. But this requires preparation:

1. The technique of sound production with the thumb is being practiced (playing with and without support) according to the scheme: on each bass string separately (apoyando, then tirando) ⇒ on two strings with alternate transitions in each measure with a 4/4 meter from string to string and method of sound production ⇒ on three strings with beat-to-beat transitions from the 6th string to the 5th and 4th strings (and then return to the 6th string) ⇒ the last option to perform with change: play apoyando on the 6th and 5th strings, and change the way of sounding to tirando on the 4th.
2. Training the correct setting of all fingers of the right hand on "own" strings - first sequentially and slowly, starting with one of the bass strings, and then simultaneously and as quickly and accurately as possible.
3. Familiarization with the designations, common among amateur and professional guitarists, for transferring brute force schemes in printed texts and on the Internet resources.
4. Practical learning of simple enumeration on open strings at a given tempo and with strict observance of all the rules of sound production and the order of sounds.

Simultaneously with the above preparatory exercises, you should learn how to clamp the strings with the fingers of your left hand and work out the setting of several popular chords for at least one logical harmonic sequence. These can be E minor chords: Em, Am, C and D.

The first of these is called an E minor chord, the second is in A minor, the third is in C major, and the fourth is in D major. It is with them that the enumeration technique should be further developed, using both already worked out simple schemes and more complex constructions.

The simplest types of fingering on a six-string guitar include such popular among self-taught schemes as "four", "six and eight". Let's consider their features separately.

This enumeration is so called because there are four consecutive chord sounds in its pattern, for example: bass ⇒ sound on the third string ⇒ sound on the second string ⇒ sound on the first. According to the following scheme:

This example of brute force is written in tablature, which is six horizontal rulers, conventionally denoting 6 guitar strings. The top ruler represents string # 1 (the thinnest). Bottom - bass string # 6. At the beginning of the rulers there is a fraction 4/4 - this is a measure of the length of one measure, which means 4 counts: “one, two, three, four”. That is, each measure of the exercise must be counted exactly to four.

There are 4 bars in total in the example, and their borders on the tablature are marked with vertical lines. The vertical line is called the "bar line". For each account, it is necessary to extract one sound successively with the corresponding finger of the right hand:

• on "one" - the thumb (P) plays the sound of open string # 6;
• for "two" - with the index finger (i), the sound of the open string No. 3 is produced;
• on three" - with the middle finger (m) - open string # 2;
• by "four" - ring finger (a) - open string number 1.

In the second, third and fourth measures, the enumeration pattern is repeated without changes.

The bass is played apoyando, the other 3 sounds are tirando.

The bass on the 6th string is extracted with the thumb, which will find support after being played with apoyando on the 5th string, which is not involved in the busting scheme, so it would be more correct to use apoyando for the best bass sound quality.

The disassembled version of the brute force is called "rising arpeggio" in classical guitar, as the sounds of the chord “rise” in steps from a low sound to a higher sound.

The next version of the "four" is a "descending arpeggio": in it, sounds, except for the bass, are sequentially extracted from the highest according to the scheme:

Additionally, you can indicate that the letters "TAB" before the tablature indicate exactly the belonging of the entry to the tablature, so as not to be confused with the stave.There is nothing in common, except for the possible designation of the durations of sounds (as in the examples above), between the staff and the tablature.

On the stave, 5 rulers are used to indicate the pitch of sounds, and in tablature, rulers schematically mean strings (in tabs for "six-strings" there are 6 of them, for bass - 4 or 5, for ukulele - 4, for baroque guitar - 5, for balalaika - 3). The rulers indicate the fret number on which you need to press this or that string. In the examples above, the string rulers are labeled "0" (zero), which means that sounds are produced on open strings (nowhere pressed, free).

Another - quite easy even for beginners version of the arpeggio called "six" - is written in tablature as follows:

This kind of busting in musical institutions for learning to play the classical guitar is called "mixed arpeggio"... It has two varieties: Forward and Reverse Arpeggio. The example above is representative of Direct Mixed Arpeggio, in which sounds are first played in ascending order in pitch, and then in descending order. This scheme can be presented in a shorter form for recording, indicating only the movement of the fingers of the right hand: P-i-m-a-m-i... This version of the recording implies that the fingers of the right hand are located in "their" places: P - on the bass string, i - on the 3rd string, m - on the 2nd, a - on the 1st.

The reverse circuit looks and sounds differently: first, the sounds after the bass move downward, and then upward in pitch:

In the short version, the reverse enumeration record will be as follows: P-a-m-i-m-a.

Both presented schemes "six" have interesting versions of triplets and sextuplets. Let's consider them on the example of tablature recording of direct mixed arpeggio.

Triplet Arpeggio:

Here you need to pay attention to the change of time signature from 3/4 to 2/4. Count should be at the expense of "one, two". Three sounds are played for each score:

• on "one" - strings in the sequence: 6th, 3rd and 2nd;
• on "two": 1st, 2nd and 3rd.

Arpeggio with sextuples:

The most popular type of brute force on time signatures 2/4 and 4/4 is the "eight"... Different string sequences are possible here. But for example, let's choose a brute force, with which you can make a beautiful melody with only one chord (without any melodic lines). In the musical literature, such a search is called "broken arpeggio". With your fingers, it is displayed as follows: P-i-m-i-a-i-m-i... Tablature scheme:

In the image in the fingering, the index finger (i) is marked in red. If you look closely, the third string, which is extracted by the index finger, sounds after each other sound. Due to the fact that after each sound there is a return to the third string, this type of busting is called broken.

Waltz fingering includes schemes for moving fingers along the strings in an ascending direction in time signatures 3/4 and 3/8. For example, the following tablature types of enumeration:

These enumerations will have exactly the same form for the 3/8 time signature, only the duration of each beat is eighths, not quarters, as in the examples given. Counting in any form and size is carried out in three: "one, two, three".

The numbers 1 and 2 on the tablature rulers denoting the first, second and third strings, as already mentioned, mean pressing them on the first or second fret, respectively. These exercises can be started after the student has mastered the basic technique of playing with the left hand.

The plucked fingering should be studied after all the previous ones have been mastered, except for the waltz options.The fact is that here it is necessary to pluck several strings at once (two or three) at the same time. In the tablature, these strings are written along the same vertical, as well as the designation of the fingers of the right hand (as mentioned in the description of waltz fingering). Such doubles or triads are often denoted in the recording of the accompaniment to some music by the word “acc"(Chord). The accompaniment takes the form, for example, “Bass-acc-acc-acc"Or"Bass-acc-Bass-acc»In 2/4 or 4/4 time signatures. Here is their tablature view:

After mastering simple and plucked fingering, you should try your hand at complex arpeggios. Very nice accompaniment patterns can make some combinations from simple ones. We can give an example of a waltz melody, in which a simple ascending brute force is first used, and then it turns into a plucked one on the same three-beat 3/4 beat:

But there are also completely different types of arpeggios, the schemes of which can be difficult to master not only for beginners, but also for advanced self-taught guitarists. Only professional musicians can play them correctly and at the right pace. Let's say this is the beginning of the etude:

There are a lot of brute force options - several dozen, but all of them are unlikely to be needed. As you learn about both arpeggios and other guitar techniques, you will learn a large number of different strokes. Each of them will "put" some of them in his musical piggy bank, others will eventually be forgotten, contributing to the development of the technique of the guitarist-performer.

You can give beginner guitarists a few tips that will help them learn many simple strokes faster and better.

1. Necessarily get a good metronome for your practice with the brute force technique. Strumming is not only a beautiful accompaniment to singing and a solo instrument that requires precise durations of each beat and sound, but also independent music, harmony, capable of exciting the listener even without words or a composed melody at an even and fast tempo. You need to start learning to hear not only sounds, but also the rhythm. And this is very difficult to achieve without a metronome at the initial stage of training.
2. You can start learning arpeggio techniques from the first lessons. - it has a positive effect on the motor skills of the muscles of the fingers of the right hand. And it doesn’t matter if your left hand doesn’t know how to clamp chords yet - practice on open strings. Simultaneously with the arpeggio, the methods of sound production are practiced.
3. Do everything while at a slow pace.so that your fingers have time to "hear" and understand your commands from the brain. The rapid pace of bugs builds up, and they need to be eradicated right away, not accumulated.
4. Every day review the practice material you have covered (sound production, another type of arpeggio, chord), bring it to automatism.
5. Don't get ahead of yourselfwithout having achieved good results from the lesson learned.
6. Don't try to master complex arpeggios without mastering the simple circuits ("Four", "six", "eight" and their variants). Play finger independence exercises and left finger stretches. Without this, it will be difficult to play chords.

Therefore, the guitar must always be tuned correctly. Use an electronic tuner or a special program on your PC when tuning.

Only by persistent and careful practice can you succeed. Unfortunately, the length of the study time is less important to success than the regularity and attentiveness of the study exercises.