Thank you for visiting. |
GUITAR TECHNIQUE TIP OF THE MONTH Your Personal Guitar Lesson |
Photo by Robin Gentile, NYC
| BE SURE TO VISIT DOUG'S "SECRET VAULT" It contains many of Doug's Previous Guitar Technique Tips of the Month |
Have a comment?
Question?
Suggestion for the website?
We would love to hear from you.
Question?
Suggestion for the website?
We would love to hear from you.
We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
It's SO much easier to read a printed article than to read it from the computer screen.
It's SO much easier to read a printed article than to read it from the computer screen.
To Alternate or Not to Alternate—
THAT Is the Question
Right-Hand Finger Alternation
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
We are taught from our very first guitar lessons to alternate our fingers. All beginning guitar
methods emphasize the importance of alternating "im" or "ma" or "ia." Segovia advises us to
practice his major and minor scale patterns with "im," "mi," "ma," "am," "ai," "ia," and "imam."
Learning to alternate the fingers in different patterns is a very important part of good right-
hand technique. However, as one plays more advanced repertoire, slavish adherence to the
rule "always alternate the fingers" becomes a questionable practice in some passages. To
alternate, or not to alternate, this is the question we will examine in this tech tip on right-hand
fingering.
The main reason we alternate our fingers when playing is for relaxation. Repeated use of one
finger, especially at a fast tempo, tenses the finger and in turn, the entire hand. Keeping the
right hand relaxed results in increased accuracy, speed, and rhythmic clarity.
It almost goes without saying that one must alternate the fingers when playing fast scales. It is
very difficult to achieve anything resembling speed without alternating. And if you play a fast
scale passage and accidentally or intentionally use the same finger for two or more notes,
chances are you will slow down slightly at that point resulting in a rhythmically uneven scale.
Imagine running as fast as you can and suddenly using one foot twice.
But there are exceptions to maintaining strict alternation. If there is a slur in a scale passage,
unless the passage is very, very fast, usually a finger may be repeated from the slur to the
next note without losing control or evenness (example #1):
Although I don't recommend it, some players (especially some flamenco players) like to repeat
fingers at string changes on descending scales (example #2):
You are on DouglasNiedt.com
As far as which fingers to use in playing fast scales, most players prefer "im." Some prefer "ia,"
reasoning that these two fingers are of more equal length than "i" and "m," giving a more even
balance to the hand as one alternates. Narciso Yepes recommended using "ami" on many
scales explaining that this pattern yields greater speed with less effort than a two-finger
pattern. He is maintained it produced a smoother scale with less inherent metrical accent than
a two-finger scale.
Whichever pattern you use, it is clear that with a few possible exceptions as noted above, one
must use strict alternation when playing rapid scale passages. It is a good idea to have
someone observe your right hand as you play fast scale passages to be certain you are
alternating. It is very easy to accidentally repeat fingers without realizing it. I have seen
students unknowingly repeat fingers on a two-octave C major scale played at a moderately
slow tempo. Unknowingly repeating fingers when playing fast or difficult scales can cause total
confusion when one is under pressure in a public performance.
As noted above, strict alternation of the fingers helps to ensure rhythmic evenness in fast
scale passages. Rhythmic clarity on dotted rhythms is also important. Let's look at example #3:
In example #3 above, the dotted figure in measures one and five should be played very crisply,
perhaps even double-dotted. Alternating "m" and "i" is the best way to ensure a crisp rhythm
with little effort. Try playing it with all "m" and you will feel your hand tense and hear an ill-
defined rhythmic figure in which the dotted eighth becomes too short and the sixteenth too
long. But most players would alternate anyway in this kind of situation. Or should I say, intend
to alternate. I have lost count of how many times I have caught a student using "m" on each
melody note in measure five even though they thought they were alternating "m" and "i." So
always double check to see that you are using your intended fingering on dotted passages.
You will often unintentionally abandon an intended right-hand fingering in a passage involving
a difficult shift or stretch for the left hand. In concentrating intently on the left hand, the right
hand forgets what it is doing or tenses up in response to left-hand tension, resulting in
incorrect fingering. If you correct the right-hand fingering, you will often find that the difficulties
for the left hand lessen or disappear altogether.
For example, I had a student working on the Courante of Bach's Lute Suite No. 1, edited by
Julian Bream. She was having difficulty with this passage (example #4):
You are on DouglasNiedt.com
She had tremendous difficulty in changing from the thirty-second notes to the G major chord.
One's natural instinct would be to examine and work with the left-hand technique which is what
she had done all week. But her problem was actually with the right hand. She was using "m" to
play both thirty-second notes. The tension thus produced in the right hand added tension to
the left hand. When we corrected the right-hand fingering, she was able to play the passage
with much greater ease. She could also have changed the fingering and used a slur from the
G to the A. That would sound fine, but could possibly have caused a whole new host of
problems to solve because of the slur.
Finger alternation is also a valuable technique in playing staccato passages. Remember that
most staccato is correctly produced by the right hand stopping the strings, not by the left-hand
fingers lifting off the strings. In general, the right hand is able to produce a cleaner, more
varied and controlled staccato than the left hand. Again, using Bianco Fiore as an example,
measure three is often played staccato to give the phrase a dance-like flavor (example #5):
Many players would play each interval in measure three with "p" and "m" (or "i") and stop each
interval (the staccato) with "p" and "m." Although it could be played that way, a lot of tension
would be produced in the right hand and arm because of the fast speed at which the piece is
usually played. A far better way is to alternate.
Play the first interval with "p" and "m" (example #6):
Then cut the sound of those two notes by immediately placing "p" and "i" on the fourth and first
strings. Now that "p" and "i" are on those two strings, go ahead and pluck the next interval with
"p" and "i"—they are already on the strings. (Example #7):
You are on DouglasNiedt.com
Then cut the sound of those two notes by immediately placing "p" and "m" on the fourth and
first strings. Now the "p" and "m" are resting on the fourth and first strings, so use them to
pluck the next interval—again, they are already on the strings. (Example #8):
Then cut the sound of that interval with "p" and "i." With "p" and "i" on the fourth and first
strings, you can go ahead and play the trill in the next measure with those fingers.
Therefore, the technique is: if you pluck with finger "x," cut with finger "y." Then pluck with
finger "y" (which is on the string already) and cut with finger "x." Pluck with finger "x" (which is
already on the string), then cut with finger "y."
And so on. By alternating the fingers, one can play staccato notes at a fast tempo and still
keep the right hand and arm tension-free.
Again, the use of right-hand finger alternation is obviously beneficial in many instances where
dexterity, speed, and ease of playing are of prime consideration.
However, what happens to the tone when we alternate our fingers? Well, it alternates too. If we
alternate "im," we can hear a slight difference in the tone of "i" and the tone of "m." Even if we
file our fingernails with the utmost care, there will be a slight difference in tone between the
fingers simply because each finger plucks at a different point along the length of the string—
"a" plucks closer to the bridge than "m"; "m" plucks closer to the bridge than "i." This means
that "a" will have a slightly brighter sound than "m" or "i" since a plucks closer to the bridge and
"m" and "i" closer to the sound hole. Many players who do not have perfect fingernails find that
one finger tends to have a more solid, full tone than the others.
Naturally, they tend to favor that finger for notes that are on the beat. When they alternate
their fingers, one hears the alternation: strong tone, weaker tone. Of course, such a player
should cultivate their tone so there is not a disparate sound between the fingers. But even if
this is done, the alternation of the fingers will still be heard because of the different distance
each finger plucks the string from the bridge.
Let me emphasize, there is nothing wrong with there being a slight difference in tone between
say "i" and "m" and being able hear a very slight strong-weak pulsation when alternating "im."
In fact, even if "i" and "m" produced identical sounds, if we played a scale of quarter notes in
4/4 time, we would and should give a slight emphasis to beats one and three. The sound of a
guitarist alternating two fingers can be likened to that of a violinist playing with down and up-
bow. The down-bow is slightly stronger and fuller than the up-bow. Used appropriately, down
and up-bowing or alternating the fingers lends the music a pulse and helps define the rhythmic
meter. But there are many instances where one does not want to hear a pulse or especially, a
difference in tonal quality between notes.
One example that comes immediately to mind where alternation is a questionable practice, is in
the initial statement of the subject in a fugue where that subject is in slow moving notes
(example #9):
In the Fuga, hearing the repeated E's played by alternating fingers and thus resulting in a
slightly different tone on each E literally makes me cringe. To me, the alternating tone ruins the
purity of the line. Remember, I am talking about tone, not the rhythmic pulse. Giving a rhythmic
pulse to the opening subject or even detaching the notes slightly from one another may be
entirely appropriate. But in my opinion, the quality of each note, especially the repeated E's,
should stay equal, serene, and pure.
Try playing the subject of this fugue with "m" throughout, then again by alternating "im." I think
you will agree that the alternating tone if "im" is very distracting and unmusical by comparison
with using "m" (or "i") on every note. And there is no problem here technically with repeating a
finger over and over. The tempo is slow enough that no tension is caused in the hand or
finger. (You could alternate at the 16th notes if rhythmic crispness becomes a problem.) You
will also find that you become more sensitive to how you play each note and your sense of
touch in the finger will become heightened when you use one finger repeatedly on this
passage. This feeling of increased tactile awareness is an important benefit of this technique.
In the following Fugue in D Major, I would likewise use the same finger to pluck each note to
maintain the continuity of tone within the subject (example #10):
You are on DouglasNiedt.com
Indeed, to take this philosophy to its extreme, the ideal way to play a four-voice fugue would be
to use the thumb for the bass voice throughout the piece, "i" for the tenor voice, "m" for the
alto, and "a" for the soprano. In this way, each voice would have its own distinct sound and
individuality thus maintaining the contrapuntal clarity of the piece throughout.
The use of a repeated finger to maintain the evenness of tone may also be applied to more
modern music (example #11):
Here, it can be argued that on this very slow, exposed melodic passage, a more beautiful,
musical sound is achieved by using the same finger to play every note or at least those that
fall on one particular string. Note that where the line separates into two voices, it would be
permissible and even desirable to use "m" repeatedly on the first string and "i" repeatedly on
the second string.
But remember to be careful not to sacrifice rhythmic clarity or reasonable ease of playing for
tonal evenness. For example, using "m" to play all the melody notes of the second movement
of the Vivaldi Concerto in D Major is admirable in terms of tonal beauty, but the rhythmic
precision of the dotted rhythms could be compromised and the musical effect ruined (example
#12):
In Fernando Sor's famous Etude in B Minor (number five in the Segovia edition) Segovia
fingers the right hand in an arpeggio fashion where for the most part, "i" plays the third string,
"m" the second string, and "a" the first string (example #13):
This is very logical fingering and gives the fingers a good sense of the physical position of
each string at all times since the fingers can remain in their "ami" one-finger-to-a-string
position for most of the piece. It is a very relaxing and effortless fingering. But there is some
sacrifice of melodic clarity, fullness, and evenness since some of the melody notes are played
with "m" and others with "a." It could be argued that a more sensitive control of tone quality
could be achieved by using "m" exclusively to play the melody throughout the piece. Because
of the moderate tempo, there is no sacrifice in control, rhythmic precision, or ease of playing
(example #14):
I don't believe anyone could say either method of fingering was totally right or totally wrong.
They each have their own philosophy of thought behind them. Which you choose is up to you.
To alternate, or not to alternate, the choice is yours!
You are on DouglasNiedt.com
THAT Is the Question
Right-Hand Finger Alternation
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
We are taught from our very first guitar lessons to alternate our fingers. All beginning guitar
methods emphasize the importance of alternating "im" or "ma" or "ia." Segovia advises us to
practice his major and minor scale patterns with "im," "mi," "ma," "am," "ai," "ia," and "imam."
Learning to alternate the fingers in different patterns is a very important part of good right-
hand technique. However, as one plays more advanced repertoire, slavish adherence to the
rule "always alternate the fingers" becomes a questionable practice in some passages. To
alternate, or not to alternate, this is the question we will examine in this tech tip on right-hand
fingering.
The main reason we alternate our fingers when playing is for relaxation. Repeated use of one
finger, especially at a fast tempo, tenses the finger and in turn, the entire hand. Keeping the
right hand relaxed results in increased accuracy, speed, and rhythmic clarity.
It almost goes without saying that one must alternate the fingers when playing fast scales. It is
very difficult to achieve anything resembling speed without alternating. And if you play a fast
scale passage and accidentally or intentionally use the same finger for two or more notes,
chances are you will slow down slightly at that point resulting in a rhythmically uneven scale.
Imagine running as fast as you can and suddenly using one foot twice.
But there are exceptions to maintaining strict alternation. If there is a slur in a scale passage,
unless the passage is very, very fast, usually a finger may be repeated from the slur to the
next note without losing control or evenness (example #1):
Although I don't recommend it, some players (especially some flamenco players) like to repeat
fingers at string changes on descending scales (example #2):
You are on DouglasNiedt.com
As far as which fingers to use in playing fast scales, most players prefer "im." Some prefer "ia,"
reasoning that these two fingers are of more equal length than "i" and "m," giving a more even
balance to the hand as one alternates. Narciso Yepes recommended using "ami" on many
scales explaining that this pattern yields greater speed with less effort than a two-finger
pattern. He is maintained it produced a smoother scale with less inherent metrical accent than
a two-finger scale.
Whichever pattern you use, it is clear that with a few possible exceptions as noted above, one
must use strict alternation when playing rapid scale passages. It is a good idea to have
someone observe your right hand as you play fast scale passages to be certain you are
alternating. It is very easy to accidentally repeat fingers without realizing it. I have seen
students unknowingly repeat fingers on a two-octave C major scale played at a moderately
slow tempo. Unknowingly repeating fingers when playing fast or difficult scales can cause total
confusion when one is under pressure in a public performance.
As noted above, strict alternation of the fingers helps to ensure rhythmic evenness in fast
scale passages. Rhythmic clarity on dotted rhythms is also important. Let's look at example #3:
In example #3 above, the dotted figure in measures one and five should be played very crisply,
perhaps even double-dotted. Alternating "m" and "i" is the best way to ensure a crisp rhythm
with little effort. Try playing it with all "m" and you will feel your hand tense and hear an ill-
defined rhythmic figure in which the dotted eighth becomes too short and the sixteenth too
long. But most players would alternate anyway in this kind of situation. Or should I say, intend
to alternate. I have lost count of how many times I have caught a student using "m" on each
melody note in measure five even though they thought they were alternating "m" and "i." So
always double check to see that you are using your intended fingering on dotted passages.
You will often unintentionally abandon an intended right-hand fingering in a passage involving
a difficult shift or stretch for the left hand. In concentrating intently on the left hand, the right
hand forgets what it is doing or tenses up in response to left-hand tension, resulting in
incorrect fingering. If you correct the right-hand fingering, you will often find that the difficulties
for the left hand lessen or disappear altogether.
For example, I had a student working on the Courante of Bach's Lute Suite No. 1, edited by
Julian Bream. She was having difficulty with this passage (example #4):
You are on DouglasNiedt.com
She had tremendous difficulty in changing from the thirty-second notes to the G major chord.
One's natural instinct would be to examine and work with the left-hand technique which is what
she had done all week. But her problem was actually with the right hand. She was using "m" to
play both thirty-second notes. The tension thus produced in the right hand added tension to
the left hand. When we corrected the right-hand fingering, she was able to play the passage
with much greater ease. She could also have changed the fingering and used a slur from the
G to the A. That would sound fine, but could possibly have caused a whole new host of
problems to solve because of the slur.
Finger alternation is also a valuable technique in playing staccato passages. Remember that
most staccato is correctly produced by the right hand stopping the strings, not by the left-hand
fingers lifting off the strings. In general, the right hand is able to produce a cleaner, more
varied and controlled staccato than the left hand. Again, using Bianco Fiore as an example,
measure three is often played staccato to give the phrase a dance-like flavor (example #5):
Many players would play each interval in measure three with "p" and "m" (or "i") and stop each
interval (the staccato) with "p" and "m." Although it could be played that way, a lot of tension
would be produced in the right hand and arm because of the fast speed at which the piece is
usually played. A far better way is to alternate.
Play the first interval with "p" and "m" (example #6):
Then cut the sound of those two notes by immediately placing "p" and "i" on the fourth and first
strings. Now that "p" and "i" are on those two strings, go ahead and pluck the next interval with
"p" and "i"—they are already on the strings. (Example #7):
You are on DouglasNiedt.com
Then cut the sound of those two notes by immediately placing "p" and "m" on the fourth and
first strings. Now the "p" and "m" are resting on the fourth and first strings, so use them to
pluck the next interval—again, they are already on the strings. (Example #8):
Then cut the sound of that interval with "p" and "i." With "p" and "i" on the fourth and first
strings, you can go ahead and play the trill in the next measure with those fingers.
Therefore, the technique is: if you pluck with finger "x," cut with finger "y." Then pluck with
finger "y" (which is on the string already) and cut with finger "x." Pluck with finger "x" (which is
already on the string), then cut with finger "y."
And so on. By alternating the fingers, one can play staccato notes at a fast tempo and still
keep the right hand and arm tension-free.
Again, the use of right-hand finger alternation is obviously beneficial in many instances where
dexterity, speed, and ease of playing are of prime consideration.
However, what happens to the tone when we alternate our fingers? Well, it alternates too. If we
alternate "im," we can hear a slight difference in the tone of "i" and the tone of "m." Even if we
file our fingernails with the utmost care, there will be a slight difference in tone between the
fingers simply because each finger plucks at a different point along the length of the string—
"a" plucks closer to the bridge than "m"; "m" plucks closer to the bridge than "i." This means
that "a" will have a slightly brighter sound than "m" or "i" since a plucks closer to the bridge and
"m" and "i" closer to the sound hole. Many players who do not have perfect fingernails find that
one finger tends to have a more solid, full tone than the others.
Naturally, they tend to favor that finger for notes that are on the beat. When they alternate
their fingers, one hears the alternation: strong tone, weaker tone. Of course, such a player
should cultivate their tone so there is not a disparate sound between the fingers. But even if
this is done, the alternation of the fingers will still be heard because of the different distance
each finger plucks the string from the bridge.
Let me emphasize, there is nothing wrong with there being a slight difference in tone between
say "i" and "m" and being able hear a very slight strong-weak pulsation when alternating "im."
In fact, even if "i" and "m" produced identical sounds, if we played a scale of quarter notes in
4/4 time, we would and should give a slight emphasis to beats one and three. The sound of a
guitarist alternating two fingers can be likened to that of a violinist playing with down and up-
bow. The down-bow is slightly stronger and fuller than the up-bow. Used appropriately, down
and up-bowing or alternating the fingers lends the music a pulse and helps define the rhythmic
meter. But there are many instances where one does not want to hear a pulse or especially, a
difference in tonal quality between notes.
One example that comes immediately to mind where alternation is a questionable practice, is in
the initial statement of the subject in a fugue where that subject is in slow moving notes
(example #9):
In the Fuga, hearing the repeated E's played by alternating fingers and thus resulting in a
slightly different tone on each E literally makes me cringe. To me, the alternating tone ruins the
purity of the line. Remember, I am talking about tone, not the rhythmic pulse. Giving a rhythmic
pulse to the opening subject or even detaching the notes slightly from one another may be
entirely appropriate. But in my opinion, the quality of each note, especially the repeated E's,
should stay equal, serene, and pure.
Try playing the subject of this fugue with "m" throughout, then again by alternating "im." I think
you will agree that the alternating tone if "im" is very distracting and unmusical by comparison
with using "m" (or "i") on every note. And there is no problem here technically with repeating a
finger over and over. The tempo is slow enough that no tension is caused in the hand or
finger. (You could alternate at the 16th notes if rhythmic crispness becomes a problem.) You
will also find that you become more sensitive to how you play each note and your sense of
touch in the finger will become heightened when you use one finger repeatedly on this
passage. This feeling of increased tactile awareness is an important benefit of this technique.
In the following Fugue in D Major, I would likewise use the same finger to pluck each note to
maintain the continuity of tone within the subject (example #10):
You are on DouglasNiedt.com
Indeed, to take this philosophy to its extreme, the ideal way to play a four-voice fugue would be
to use the thumb for the bass voice throughout the piece, "i" for the tenor voice, "m" for the
alto, and "a" for the soprano. In this way, each voice would have its own distinct sound and
individuality thus maintaining the contrapuntal clarity of the piece throughout.
The use of a repeated finger to maintain the evenness of tone may also be applied to more
modern music (example #11):
Here, it can be argued that on this very slow, exposed melodic passage, a more beautiful,
musical sound is achieved by using the same finger to play every note or at least those that
fall on one particular string. Note that where the line separates into two voices, it would be
permissible and even desirable to use "m" repeatedly on the first string and "i" repeatedly on
the second string.
But remember to be careful not to sacrifice rhythmic clarity or reasonable ease of playing for
tonal evenness. For example, using "m" to play all the melody notes of the second movement
of the Vivaldi Concerto in D Major is admirable in terms of tonal beauty, but the rhythmic
precision of the dotted rhythms could be compromised and the musical effect ruined (example
#12):
In Fernando Sor's famous Etude in B Minor (number five in the Segovia edition) Segovia
fingers the right hand in an arpeggio fashion where for the most part, "i" plays the third string,
"m" the second string, and "a" the first string (example #13):
This is very logical fingering and gives the fingers a good sense of the physical position of
each string at all times since the fingers can remain in their "ami" one-finger-to-a-string
position for most of the piece. It is a very relaxing and effortless fingering. But there is some
sacrifice of melodic clarity, fullness, and evenness since some of the melody notes are played
with "m" and others with "a." It could be argued that a more sensitive control of tone quality
could be achieved by using "m" exclusively to play the melody throughout the piece. Because
of the moderate tempo, there is no sacrifice in control, rhythmic precision, or ease of playing
(example #14):
I don't believe anyone could say either method of fingering was totally right or totally wrong.
They each have their own philosophy of thought behind them. Which you choose is up to you.
To alternate, or not to alternate, the choice is yours!
You are on DouglasNiedt.com
BE SURE TO VISIT DOUG'S "SECRET VAULT"
It contains many of Doug's Previous
Guitar Technique Tips of the Month
It contains many of Doug's Previous
Guitar Technique Tips of the Month
Have a comment?
Question?
Suggestion for the website?
We would love to hear from you.
Question?
Suggestion for the website?
We would love to hear from you.
We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
It's SO much easier to read a printed article than to read it from the computer screen.
It's SO much easier to read a printed article than to read it from the computer screen.
 | |  | |  | |  |
 | |  | |  |
 | |  |
 | |  | |  | |  |
| These are my very detailed, in-depth articles and high-def videos on how to play the classical guitar. It's like getting your own private guitar lesson every month. Need info on classical guitar right hand technique? Guitar scales? How to play bar chords? Harmonics? Looking for a classical guitar practicing routine? Tips on performing onstage? How to tune a guitar? Looking for easy Christmas guitar arrangements? Chances are, I have covered it, or will soon. The tips are by subscription only. |
Be a better guitar player or teacher. SUBSCRIBE NOW!
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Be a better guitar player or teacher. SUBSCRIBE NOW!
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on
the Internet. No one else's technique articles and videos even come close. Most of the written
tips run over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough
and the production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on
the Internet. No one else's technique articles and videos even come close. Most of the written
tips run over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough
and the production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.