• Author / Uploaded
• pickquack

• Categories
• Composiciones Musicales
• Teoría musical
• Elementos de la música
• Musicología
• Tecnicas musicales

Citation preview

I

I

oNTHEcD @ co-aol,l.e'l.-e

Lt$$0trl: $TAR ttlDt0

l(iko Loureiromu $ u*,, S&

,s

r.l

:Y

Kiko shows Charl Coetzee how he practises alternate picking by playing melodic examples lnstead of du I and boring chromatic phrases...

find new approaches to incorporate more musical ideas into your technique workout, This should prove to be a much more stimulatingardrewarding approach. Example 4 is a good way to ilevelop your two-notes-per-string altemate picking but ifyou have a look at Examples 5 and 6 you'lI see Kiko's application ofplaying something more melodic. You can see that Kiko doesn't strictly play two notes per string in Lxample 6, but he adapts the exercise to fit in with what he's doing. The key is to remain flexible as well as creative to see what you can come up with. Aim to get passages or progressions that will fit well in the style that you're stuclying while you work on the specific techniques. Example B is a typical four-notes-perstring alternate picked exercise and in E)\ample 9 Kiko introduces string skipping as well. You might be wondering "How am I supposed to play someihing musical using lhese chromal ic [our-ooLes-perstring patterns? " Well, just have a look at Example 9 and you l1 see a great example that Kiko came up with to dojust ttrat. It is very reminiscent ofAl Di Meola or even South Ame can composers. Speak to any guitar player and they1l tell you ttrat they dont have enough time to practise, so why not use Kiko's approach to kill two birds with one stone. Make some music while you're working on your chops! Try to get hold of some classical pieces for violin to develop your altemate picking while plaf ng lh rough some interesting harmony. It is particularly usefii to learn how to outline chords using various sequences, melodicphrases ard a rpeggios and is guaranteed to give you a proper technical workout. In next month's lesson Kiko will show us how he uses arpeggios

sounding predictable.

II

wittrout

GETTHETONE Moderate/Advanred KEY: Various TEMPO: Various CD: CD-ROi\4 File

M(reativity

tWarm

up exercites

KIKO IS CLE ARLY a highly accomplished player with an awe inspiring technique and an amazing command ofthe guitar, but at the same time he is also very much aware of the fact that the music comes first. l,ook

E

ii.4 !

W# &1

ttty

songs or study harmony. It is important to be aware ofyour otn inclinations when it comes to practising and playing. Ifyou find &atyou always put off working on your technique because l our erercises are boring and uninspiring.

Kiko has recordedtuo solo albums to date: llo Gravity (where he played all 0f the instruments except drums) and llniverso thi"latest offering), plus a number 0f albums with his band Angra; Fireyrorks (1990), Aurora Gonsurgens (2006), nebirth (2001),

IBACK BEG0ED

n""r*

at Example 1 and you'll see a commonly taught exercise to develop one note per stdng altemate picking. There's nothing rrong with this tlpe of exercise but if you substitute it for Lxample z or Example 3, youll be playing music at tfle same time as welJ as developing your lechnique. This is particularly useful if you want to Ieam new

tanO ('1996) and Angels Gry (1993).

75 GuitarTechniques November 2008

l LtAnil[,t0 z0ilE

ALTERIIITT PICl(IIIG

EXAMPLEl Here's a typicaL one note per-strinq exercise using alternate picking.

n V n V F V ll V etc EXAMPLE 2 The next two examples are still one-note-per-string picklng, but played using chords instead of random chromatic notes. B,ID

-!+