Technique Chapdelaine

Left Hand (Lesson I)
The positioning and architecture (assembly) for playing Chromatic 4 note scales with finger 1 on fret 5, string 3 (but applies, more or less, to playing in any position with some exceptions)

1. Press tip-most molecule of the distal phalange bone onto the molecule, furthest from the fingerboard on the “cylinder” of the string
2. Press each fingertip just behind the metal fret, but not touching it
3. The distal phalange bone of fingers 2 and 3 are perpendicular to the fingerboard in both planes
4. The distal phalange bone of fingers 1 and 4 wedge onto their position slightly on their outer sides
5. Squeeze 2%-5% harder than the minimum pressure that would allow the note buzz
6. Tip and middle joints should all be bent approaching 90 degrees, depending on length and flexibility
7. Wrist is straight while playing strings 1 and 2, and becomes more flexed while playing 3, 4, 5, and 6 (only, when playing a barre, will the wrist flex a good bit)
8. Palm pads (base of of metacarpals) of 1st and 4th fingers are the same distance from neck and parallel to the fingerboard
9. When leaving the string, lift finger tip <2mm, directly over the last note played, in both planes, and leave it there until required elsewhere
10. Thumb is squeezing behind the center of the neck, under between 1st/2nd finger but will move its position, relative to fingers, slightly in the direction of the nut, as you move up the neck, and opposite as you move down the neck. In this “chromatic” assembly at fret 1, the thumb points to where string 6 crosses the the nut. In this “chromatic” assembly at fret 9, the thumb points to where string 6 crosses fret 6.
11. Relax neck, shoulders, elbow, wrist, mouth, everything down to your toes
12. Press the string onto the fret by squeezing neck between finger and thumb (as you get more advanced, you may use a slight pulling energy from the “weight” of you relaxed arm
13. When exiting the string, lift fingers perpendicular to plane of the fingerboard to avoid squeaking (Fingers will “want” to move, parallel to string, as they exit, usually in the direction of their next assigned position or toward the fingers being pressed, still or already, causing the hated squeak)
14. Never place a finger you don’t need
15. Never place a finger before you need it
16. Slurs: Pull-off: pull (flex) finger toward palm, perpendicular to string, parallel to plane of fingerboard, while keeping the other fingers, hand and wrist completely stationary
Hammer-on: slam the center of distal phalange bone onto center of the string, forcefully, just behind fret but not touching it, hard enough that he volume is the same a the note that you   plucked before it

Right Hand (Lesson I) first we must define “Bend”, “Arch” and “Rotation”
Bend= you drop right arm to total relaxation. Palm would face leg. Move hand so that the pinky approaches the elbow
Arch= flexion of wrist (in other words, if you drop right arm to total relaxation. Palm would face leg. Flex is to move palm and fingers toward leg
Rotation= is the motion we make from the elbow when we twist a door handle (“i” knuckle should be closer to guitar top than the “a” knuckle)
1. Bend=0%-4% flexion..Arch=0%-6% toward elbow..Rotation=0%-5% toward thumb ********this will depend on your body (everyone is a little different), but it’s pretty close
2. Elbow will be above the rim of guitar so that you cross the rim at forearm, closer to elbow than wrist. Long arm will cross further from elbow
3. Right hand wrist should be completely relaxed and the hand hanging like it’s asleep. Then, bring fingers to the strings with minimum motion and effort. That will result in about 0%-6% of wrist arch, bend and rotation.
4. Play over the sound hole, with P over the edge of the fingerboard, touching a bass string at the intersection of flesh and nail
5. The “i” palm knuckle should be slightly closer to the top of the guitar than the “a” knuckle (rotation)
6. Relax all the muscles from neck to fingertip while holding your hand gently in place
7. Place the flesh of the fingertip, that you plan to play, on the string, such that the nail is about .000001 mm from the string
8. Relax again. Listen to the silence. Be calm
9. In a very quantum (all at once) motion, pull the nail through the string so that the fingertip comes to rest on the next string. (classical guitarists call this rest stroke or apoyando)
10. Relax again and listen to the string until its sound is gone
11. Bring the finger back to the string that you just plucked and repeat from step 1
12. Make sure you return to the string with the least travel possible. Don’t make an arch or overshoot the string that you are going to place the finger on.

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