Chords for Adam Del Monte - Classical Tremolo Lesson: Classical Guitar at Guitar Salon International

_ _ _ _ _ _ [E] _ _
[Am] _ _ _ _ _ [C] _ _ [E] _
_ [C] _ _ _ _ _ _ _
_ _ [F] _ _ _ _ _ _
[E] _ _ _ _ _ _ _ _
[Bb] _ _ [A] _ _ _ _ [E] _ _
[Dm] _ _ _ _ _ [B] _ _ _
[F] _ _ _ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
[N] _ Hi, I'm Adam Del Monte and welcome to this little tremolo demonstration here at GSI.
_ _ So I played a little snippet from Recuerdos de la Alhambra and [Eb] _ of course as you know the
classical tremolo is thumb and three notes.
We're going to contrast that with a flamenco
tremolo which is thumb and four notes.
We'll talk about the difference and the similarities
between the two and how to work on getting them to sound better and to feel better.
So _ _ _ _
again I like to think in layers, in terms of layers of information that you want to program
your muscles with and when it's all together cooked properly with regular practice and time
[A] then it just comes [G] out [N] as one flowing thing.
So what the audience members usually don't realize
is the behind-the-scenes type of work that is required to get something to sound natural to
just come out like that.
So I'll share with you a couple of things that I think are you know a
good idea to work on to get those things working.
So the first thing again I always like to
emphasize the roundness of the _ [Am] wrist _ _ _ to give that [E] optimal leverage and approach into the string.
_ [Bm] _ And in tremolo you have to be very very loose but _ in the final product you have to be very loose.
But what is necessary as a first layer in my opinion to get the tremolo to sound strong and
stable _ and consistent _ you want to train your fingers to do a very basic function consistently
over and over again.
What do I mean by that?
[Em] _ Plant every single finger, _ _ _ _ _ _ _ _ _ _
let every single finger
fall into place from a very short distance by the way.
You want to keep everything very very close.
So you approach _ this, even this is [B] a good pre-preparation to tremolo.
Just to do this.
How do you get from here to here?
With no obstruction, very very close you're like
think of your fingers like a hawk or an eagle.
_ That you think like a predator.
You want to be
close, you want to have every advantage possible to get to the string very directly and not just
to get to the string but also right underneath the nail.
We talked about that in the other clips.
_ Right underneath the nail no double bumps.
No first [G] the flash and then you kind of slip into
the nail that makes a horrible sound.
You want to get a nice right underneath the nail and the
contact and the coordination and the touch to be very very tight.
[Am] _ So every single finger knows where
to go that's the first thing.
_ _ _ Do the same with the M finger, _ _
[E] I finger.
Every finger knows where to go.
Okay so you do that for five minutes a finger. _ _
Then you plant, you feel, [Em] release. _
As you play, as you release the A finger, the M finger just falls into place.
You see and _ _ _ _ _ _ you want to land right underneath the nail which is the point of departure.
No double landings.
_ [E] Right underneath, right underneath, right underneath.
What this does
_ [N] it sets it prepares the ground for hyper precision.
In fast speed you don't want to think about it.
So that's why you're thinking about it now.
So later on the hand already knows what to do.
This is programming a layer of information.
I talk a lot about that in my lessons on New Learning Vision.
I'll be coming out with a tremolo package shortly as well.
Here's a little preview for you.
So again one by one very very slowly but again with the [Em] fundamentals in mind always. _
_ _ _ _ _ _ _ _
_ _ _ _ So you do this for a long time.
You can do it for_
this is something that's not strenuous.
So you should do this for at least 20 minutes every day like _ _ that.
And then you can vary the
degree of pressure and volume you want to work on.
[N] Every different kind of pressure and volume works
the muscles differently.
So when you're more relaxed you're working on [Gm] sensitivity [E] and speed
and relaxation.
When _ you're playing louder then you're working on volume and you're
strengthening the muscles in your fingers.
So it's like putting more tension on the bow flex
if you will or lifting heavier weights. _ _ _ _ _ _ _
Okay so once you've done that every finger has gotten
individual attention.
Then you want to work again on one pulsation like we did with the picado.
You're working on one motion. _
_ _ _ [B] _ _ _ You [Ab] plant the first finger and the other two are [B] right behind. _ _ _ _
Okay and you do that for a bunch of times and [E] then you combine that of course with a thumb. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G] _ _ _ [A] _ _ [E] And then you can just do very simple [N] exercises just going up and down.
It doesn't have to be
anything fancy.
In fact the simpler the better.
Don't even get the left hand involved at first
and just focus on the right hand and the [E] comfort of_
_ _ [G] _ _ _ _
[E] _ _ So what starts to happen is that you're
going to start [B] going from reaching _ planting into drive [E]-by swoop. _ _
[Em] _ _ _ _ _ _ _ _
_ _ _ _ [E] Because there's already a layer of plantedness programmed into the muscles.
So right now I'm
getting a very fast plant but it happens like a drive-by.
_ [Em] _ _ _
[G] Okay so that's how you practice tremolo.
And then when you start playing a piece then you start
applying that with the left hand coordinating things and so on.
_ Next we're going to look at the flamenco tremolo. _