And as in any avenue of study, attitude is the most important element. Our goal is to develop the individuality in your guitar playing. Remember, our approach will be more mental, emotional, and imaginative than theoretical. These preliminary music theory concerns may take some people a while to sort out, so save those columns! …and of course, all columns appearing in “Guitar Player” magazine. by Crescendo, 48-50 Melrose St., Boston, MA)
Kunci tangga nada series#
All of the Bill Levitt Berklee series books.by Columbia Pictures Pub., 15800 NW 48th Ave, Miami FL 33014). However, if you are a connoisseur of fine theory, here’s a list of some books that I found very helpful when I was a student: No one has the right to say, “Our noise is better than their noise”. While a thorough understanding of all these basic theory points is very useful, it’s not a necessity, because music is an art form. You can find this information in any music store or library with a music section, or ask a teacher. It’s been covered in enough books and columns to sink a battleship, so I will spare you these things in this series.
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You should also develop technical exercises to help you in areas in which you feel you lack ability (such as arpeggios, double-picking, hammers, and two-handed playing). Be able to write an idea down in manuscript form (in other words, be able to notate a melody).
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Kunci tangga nada how to#
Know how to read tablature, and how to read and write chord tablature. Be able to read down a song just given the chord chart and melody. Understand basic music reading and notation. Understand the basics of improvising over chord changes. Memorize the circle of fifths and know basic harmonic theory. Know how to identify a chord by its notes. Know at least 5 ways to play every major, minor, major 7th, minor 7th, and other chords. Practice them with melodic patterns based on seconds, thirds, fourths etc. You should have the sound of these scales memorized. You should know these scales in every position on the neck, and also starting from the low E string and climbing to the highest available note. Although these columns deal more with discipline of the mind than of the fingers, you should be well educated in the following:Īll major scales and modes and the theory behind how they relate to each other Pentatonics Melodic and harmonic minor scales Whole-tone and diminished scales. It’s not absolutely necessary, but you will find it beneficial.
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To make the best use of these columns, I feel it’s important to have a good amount of theory and chops under your belt. It sounds like a lot, but what it really boils down to is ‘just playing’. I believe that individuality is defined, for the most part, by how well you exercise your imagination with the proper blend of emotion and physical, technical, and mental ability. But uniqueness is not always a reflection of what you know or how fast you can play. I don’t frown on those things at all on the contrary, a certain prerequisite is always helpful. You can get all that stuff from a billion other sources. I will not be dealing much with music theory, finger exercises, and ‘hot licks’. Some of the methods may seem a little ‘out there’, but stick with it. In this series, I will take an unorthodox approach to helping you develop your own personal style and expression. The first step is to believe that we’re unique, and that if it’s not blatantly apparent in our art form (music, taste, or whatever), it can be developed. Everyone has the ability to be unique, because no two personalities are exactly the same. When these qualities are recognized in others, trends are set and fashions are established. These are traits that ambitious musicians aspire to.