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GUITAR TECHNIQUE TIP OF THE MONTH Your Personal Guitar Lesson |
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| BE SURE TO VISIT DOUG'S "SECRET VAULT" It contains many of Doug's Previous Guitar Technique Tips of the Month |
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We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
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It's SO much easier to read a printed article than to read it from the computer screen.
Right-Hand Planting Technique for Arpeggios
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
Any ascending arpeggio can be played with or without a technique called planting. Most
beginners have little experience with planting and some guitarists use the technique without
even realizing it. The following arpeggio can be played with or without planting (ex. #1):
Playing this arpeggio without planting simply means that as the fifth string is played by the
thumb, "i" is hovering above the third string ready to play, "m" is hovering above the second
string ready to play, and "a" is hovering above the first string ready to play. As "i" plucks the
third string, "m" and "a" continue to hover above their strings. As "m" plays the second string,
"a" continues to hover above the first string and "i" has returned to its position hovering above
the third string. As "a" plucks the first string, "i" continues to hover above the third string and
"m" returns to its position hovering above the second string. Finally, as "p" plays the fifth string
again, "a" returns to its position hovering above the first string and of course "i" and "m" are still
hovering above their respective strings. The important thing to note here is that only one finger
is touching one string at a time allowing the other strings to ring. Never does a finger touch a
string (thereby cutting off its sound) while another finger or the thumb is playing another string.
Therefore, when the thumb plucks the fifth string, all the treble strings are still ringing producing
the following effect (ex. #2):
In the planting technique as "p" plays the fifth string, "ima" are placed or planted simultaneously
on their respective strings: "i"on the third string, "m" on the second string, and "a" on the first
string. The fingers should be planted securely with the string seated against each fingernail on
the left side of the nail. In other words make sure the fingers are planted in the exact spot from
which they actually pluck the strings. Don't place the fingers so they are on the flesh only or so
they are against the string in the center or right side of the nail. Also be certain to plant the
three fingers together. When planting, take hold of the strings securely. Don't just rest the
fingers lightly on the strings. Grab hold of the strings and apply pressure on them into the
guitar as if you were going to push the strings into the soundhole.
You are on DouglasNiedt.com
When "p" plays the fifth string, "ima" should be resting on their strings. Then play the third
string with "i" from its planted position. Don't let "i" come off the string or loosen its grip on the
string momentarily before plucking. The entire idea of planting is to have the fingers prepared
to play. If you reposition the finger before plucking the string, you waste the effort it took to
plant the finger in the first place. As the third string is played, think of it as a releasing motion
rather than an active plucking motion. Remember, you have planted the finger forcefully and
are already pushing it into the soundboard. All you have to do is let go with a slight plucking
movement. This means you can use a very small follow-through which will increase the speed
of the arpeggo. You will also get a very good tone. Free stroke tone is dramatically improved
when the finger pushes into the string and releases rather than plucking the string outward or
upward. As "i" plays the third string keep "m" and "a" locked onto their strings. Don't let either
finger release its pressure on the string or worse, come off the string altogether.
Next, "m" will play the second string as "a" lies prepared on the first string. As with "i", don't
reposition "m" on the second string before it plays. If you planted the finger correctly, it is ready
to go and will only require that you release the string. Finally, "a" will play the first string. As the
next bass note is played, the entire process repeats (ex. #3):
Planting is only used in ascending arpeggios or the ascending portion of a longer arpeggio, not
in descending arpeggios (ex. #4):
There are four major advantages to using planting, although the fourth can be a disadvantage
in many situations.
Advantage number one is the sense of security planting gives the right hand. Having all the
fingers prepared on their strings means nothing can go wrong-you are assured of playing the
correct string. You are also able to hold onto something to steady the hand. If you get nervous,
you won't have fingers hovering above the strings shaking or feeling weak and out of control.
And remember, when the right hand is secure, a feeling of greater security is also imparted to
the left hand nearly doubling the benefits of the planting technique.
Advantage number two is a good command of tone. Because the fingers are planted on the
strings on the left side of the fingernail with the string seated firmly against the nail and flesh
with downward force on the string, you are assured of getting an excellent sound. Planting
makes you more aware of the position of the fingernail and flesh against the string and so
heightens your sensitivity of touch.
You are on DouglasNiedt.com
Advantage number three is speed. Most arpeggios can be played much faster with planting
than without. The preparation of the fingers combined with the feeling of security makes fast
playing much easier. However, it should also be noted that some players feel they can control
the evenness of arpeggios better without planting. But again, the top speed at which a given
arpeggio can be played without planting can be bettered dramatically when planting is
employed.
Advantage number four is that planting gives clear separation between arpeggio groups. As
indicated in example number three above, as the thumb plays its bass note, the treble strings
are silenced. Because the planting of "ima" cuts off the sound of the ringing treble strings, each
arpeggio group is clearly separated from its neighbors. This is often desirable when a clean
separation between harmonies is desired-somewhat analogous to the way a pianist lifts the
sustain pedal to prevent chords from ringing together. Notes and chords that ring together
(especially in the low register) can obscure the sound or cause dissonances or clashes which
are inappropriate for particular passages or styles of music. However, in other music (romantic
and impressionistic music immediately comes to mind), it may be entirely appropriate and
desirable to "hold the sustain pedal down"-- i.e. not use planting and allow as many notes from
one chord to ring into the next chord as possible.
The best thing to do is to master the technique of planting, and then use it or not according to
what sounds best in a particular piece or passage.
You are on DouglasNiedt.com
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
Any ascending arpeggio can be played with or without a technique called planting. Most
beginners have little experience with planting and some guitarists use the technique without
even realizing it. The following arpeggio can be played with or without planting (ex. #1):
Playing this arpeggio without planting simply means that as the fifth string is played by the
thumb, "i" is hovering above the third string ready to play, "m" is hovering above the second
string ready to play, and "a" is hovering above the first string ready to play. As "i" plucks the
third string, "m" and "a" continue to hover above their strings. As "m" plays the second string,
"a" continues to hover above the first string and "i" has returned to its position hovering above
the third string. As "a" plucks the first string, "i" continues to hover above the third string and
"m" returns to its position hovering above the second string. Finally, as "p" plays the fifth string
again, "a" returns to its position hovering above the first string and of course "i" and "m" are still
hovering above their respective strings. The important thing to note here is that only one finger
is touching one string at a time allowing the other strings to ring. Never does a finger touch a
string (thereby cutting off its sound) while another finger or the thumb is playing another string.
Therefore, when the thumb plucks the fifth string, all the treble strings are still ringing producing
the following effect (ex. #2):
In the planting technique as "p" plays the fifth string, "ima" are placed or planted simultaneously
on their respective strings: "i"on the third string, "m" on the second string, and "a" on the first
string. The fingers should be planted securely with the string seated against each fingernail on
the left side of the nail. In other words make sure the fingers are planted in the exact spot from
which they actually pluck the strings. Don't place the fingers so they are on the flesh only or so
they are against the string in the center or right side of the nail. Also be certain to plant the
three fingers together. When planting, take hold of the strings securely. Don't just rest the
fingers lightly on the strings. Grab hold of the strings and apply pressure on them into the
guitar as if you were going to push the strings into the soundhole.
You are on DouglasNiedt.com
When "p" plays the fifth string, "ima" should be resting on their strings. Then play the third
string with "i" from its planted position. Don't let "i" come off the string or loosen its grip on the
string momentarily before plucking. The entire idea of planting is to have the fingers prepared
to play. If you reposition the finger before plucking the string, you waste the effort it took to
plant the finger in the first place. As the third string is played, think of it as a releasing motion
rather than an active plucking motion. Remember, you have planted the finger forcefully and
are already pushing it into the soundboard. All you have to do is let go with a slight plucking
movement. This means you can use a very small follow-through which will increase the speed
of the arpeggo. You will also get a very good tone. Free stroke tone is dramatically improved
when the finger pushes into the string and releases rather than plucking the string outward or
upward. As "i" plays the third string keep "m" and "a" locked onto their strings. Don't let either
finger release its pressure on the string or worse, come off the string altogether.
Next, "m" will play the second string as "a" lies prepared on the first string. As with "i", don't
reposition "m" on the second string before it plays. If you planted the finger correctly, it is ready
to go and will only require that you release the string. Finally, "a" will play the first string. As the
next bass note is played, the entire process repeats (ex. #3):
Planting is only used in ascending arpeggios or the ascending portion of a longer arpeggio, not
in descending arpeggios (ex. #4):
There are four major advantages to using planting, although the fourth can be a disadvantage
in many situations.
Advantage number one is the sense of security planting gives the right hand. Having all the
fingers prepared on their strings means nothing can go wrong-you are assured of playing the
correct string. You are also able to hold onto something to steady the hand. If you get nervous,
you won't have fingers hovering above the strings shaking or feeling weak and out of control.
And remember, when the right hand is secure, a feeling of greater security is also imparted to
the left hand nearly doubling the benefits of the planting technique.
Advantage number two is a good command of tone. Because the fingers are planted on the
strings on the left side of the fingernail with the string seated firmly against the nail and flesh
with downward force on the string, you are assured of getting an excellent sound. Planting
makes you more aware of the position of the fingernail and flesh against the string and so
heightens your sensitivity of touch.
You are on DouglasNiedt.com
Advantage number three is speed. Most arpeggios can be played much faster with planting
than without. The preparation of the fingers combined with the feeling of security makes fast
playing much easier. However, it should also be noted that some players feel they can control
the evenness of arpeggios better without planting. But again, the top speed at which a given
arpeggio can be played without planting can be bettered dramatically when planting is
employed.
Advantage number four is that planting gives clear separation between arpeggio groups. As
indicated in example number three above, as the thumb plays its bass note, the treble strings
are silenced. Because the planting of "ima" cuts off the sound of the ringing treble strings, each
arpeggio group is clearly separated from its neighbors. This is often desirable when a clean
separation between harmonies is desired-somewhat analogous to the way a pianist lifts the
sustain pedal to prevent chords from ringing together. Notes and chords that ring together
(especially in the low register) can obscure the sound or cause dissonances or clashes which
are inappropriate for particular passages or styles of music. However, in other music (romantic
and impressionistic music immediately comes to mind), it may be entirely appropriate and
desirable to "hold the sustain pedal down"-- i.e. not use planting and allow as many notes from
one chord to ring into the next chord as possible.
The best thing to do is to master the technique of planting, and then use it or not according to
what sounds best in a particular piece or passage.
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.
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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.