Chords for How to Develop Your Tremolo | Scott Tennant
Tempo:
79.675 bpm
Chords used:
G
E
D
C
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey, this is Scott Tennant.
ToneBass finally caught up with me.
I was here in the room and they knocked on the door and they said, hey, there you are.
Let's do a video.
There's a couple videos I've been wanting to do for a while for ToneBass.
One is
addressing the technique of tremolo.
And again, any advice I give is strictly based on things that have helped me personally.
So
you know, you can try these things and I hope you do.
But in the end you have to be your own judge and not everything works for everybody.
But I know these things worked for me and I've seen them work for a lot of my students as well.
So going back to the subject of tremolo.
Tremolo is a
technique that is unique to classical guitar, at least the way we know it.
Tremolo, of course, with any other instrument means to
tremble, to sustain a note by repeating it quickly.
[E] So, you know, let's say if you have a pick, tremolo would be
[D]
[E] [Am] [C] But [N] we have
the unique feature of a thumb.
So what we can do is we kind of fake it in that we have a bass line that we play with the thumb and
we play
normally three notes with each one of these fingers A-M-I.
So the pattern would be P-A-M-I
P-A-M-I P-A-M-I.
And those guitarists out there who've been playing for a while, of course, you already know this, but I'm just
addressing those who may not have played for that long and who want to know about it.
So, one thing you have to understand to begin with is that tremolo is just really an arpeggio on one string.
And what I found is that those who have
problems with playing a tremolo
also have problems with their arpeggios.
And
so what I do first is I have people work on their arpeggios.
[Dm] So anyway, let me just explain.
So I'm just going to play [G] simply on
first four strings here just to demonstrate.
So the pattern I was talking about is this.
Okay, where [Bm] we're playing these three fingers on one string.
And then the thumb jumps around playing the bass line, usually [C] outlining the chords and the chord progression.
So you can see P-A [D]-M-I.
[G]
Okay, now
[E] what I mean by that's an arpeggio on one string is that it's essentially this arpeggio.
[G] P-A-M-I.
[B]
And as I said, I find that people who have a weak or have problems with their tremolo
usually have the same exact problems with that arpeggio.
[G] P-A-M-I.
[Eb] So first I would say to
work with the arpeggios first and not just the P-A-M-I, but a good combination, a variety of different patterns
of arpeggios.
You don't have to go through necessarily the entire 120 Giuliani
ToneBass finally caught up with me.
I was here in the room and they knocked on the door and they said, hey, there you are.
Let's do a video.
There's a couple videos I've been wanting to do for a while for ToneBass.
One is
addressing the technique of tremolo.
And again, any advice I give is strictly based on things that have helped me personally.
So
you know, you can try these things and I hope you do.
But in the end you have to be your own judge and not everything works for everybody.
But I know these things worked for me and I've seen them work for a lot of my students as well.
So going back to the subject of tremolo.
Tremolo is a
technique that is unique to classical guitar, at least the way we know it.
Tremolo, of course, with any other instrument means to
tremble, to sustain a note by repeating it quickly.
[E] So, you know, let's say if you have a pick, tremolo would be
[D]
[E] [Am] [C] But [N] we have
the unique feature of a thumb.
So what we can do is we kind of fake it in that we have a bass line that we play with the thumb and
we play
normally three notes with each one of these fingers A-M-I.
So the pattern would be P-A-M-I
P-A-M-I P-A-M-I.
And those guitarists out there who've been playing for a while, of course, you already know this, but I'm just
addressing those who may not have played for that long and who want to know about it.
So, one thing you have to understand to begin with is that tremolo is just really an arpeggio on one string.
And what I found is that those who have
problems with playing a tremolo
also have problems with their arpeggios.
And
so what I do first is I have people work on their arpeggios.
[Dm] So anyway, let me just explain.
So I'm just going to play [G] simply on
first four strings here just to demonstrate.
So the pattern I was talking about is this.
Okay, where [Bm] we're playing these three fingers on one string.
And then the thumb jumps around playing the bass line, usually [C] outlining the chords and the chord progression.
So you can see P-A [D]-M-I.
[G]
Okay, now
[E] what I mean by that's an arpeggio on one string is that it's essentially this arpeggio.
[G] P-A-M-I.
[B]
And as I said, I find that people who have a weak or have problems with their tremolo
usually have the same exact problems with that arpeggio.
[G] P-A-M-I.
[Eb] So first I would say to
work with the arpeggios first and not just the P-A-M-I, but a good combination, a variety of different patterns
of arpeggios.
You don't have to go through necessarily the entire 120 Giuliani
Key:
G
E
D
C
Am
G
E
D
Hey, this is Scott Tennant.
ToneBass finally caught up with me.
I was here in the room and they knocked on the door and they said, hey, there you are.
Let's do a video.
There's a couple videos I've been wanting to do for a while for ToneBass.
_ One is
addressing the technique of tremolo.
_ And again, any advice I give is strictly based on things that have helped me personally.
_ So
you know, you can try these things and I hope you do.
_ But in the end you have to be your own judge and not everything works for everybody.
But I know these things worked for me and I've seen them work for a lot of my students as well.
So going back to the subject of tremolo.
Tremolo is a _
technique that is unique to classical guitar, at least the way we know it.
Tremolo, of course, with any other instrument means to
_ tremble, to sustain a note by repeating it quickly.
[E] So, you know, let's say if you have a pick, tremolo would be_
_ [D] _
_ _ [E] _ _ [Am] _ [C] _ But [N] we have
the unique feature of a thumb.
So what we can do is we kind of fake it in that we have a bass line that we play with the thumb and
we play
normally three notes with each one of these fingers A-M-I.
So the pattern would be P-A-M-I
P-A-M-I P-A-M-I.
And those guitarists out there who've been playing for a while, of course, you already know this, but I'm just
addressing those who may not have played for that long and who want to know about it.
So, one thing you have to understand to begin with is that tremolo is just really an arpeggio on one string.
And what I found is that those who have _
problems with playing a tremolo
also have problems with their arpeggios.
And
so what I do first is I have people work on their arpeggios.
[Dm] So anyway, let me just explain.
So I'm just going to play [G] simply on
first four strings here just to demonstrate.
So the pattern I was talking about is this. _ _ _
_ _ _ _ _ _ _ _
Okay, where [Bm] we're playing these three fingers on one string.
And then the thumb jumps around playing the bass line, usually [C] outlining the chords and the chord progression. _
So you can see P-A [D]-M-I.
_ [G] _ _ _ _
_ Okay, now
[E] what I mean by that's an arpeggio on one string is that it's essentially this arpeggio.
[G] _ P-A-M-I.
_ _ _ _ _ _ _ [B]
And as I said, I find that people who have a weak or have problems with their tremolo
usually have the same exact problems with that arpeggio.
[G] P-A-M-I. _
[Eb] So first I would say to
work with the arpeggios first and not just the P-A-M-I, but a good combination, a variety of different patterns
of arpeggios.
You don't have to go through necessarily the entire 120 Giuliani
ToneBass finally caught up with me.
I was here in the room and they knocked on the door and they said, hey, there you are.
Let's do a video.
There's a couple videos I've been wanting to do for a while for ToneBass.
_ One is
addressing the technique of tremolo.
_ And again, any advice I give is strictly based on things that have helped me personally.
_ So
you know, you can try these things and I hope you do.
_ But in the end you have to be your own judge and not everything works for everybody.
But I know these things worked for me and I've seen them work for a lot of my students as well.
So going back to the subject of tremolo.
Tremolo is a _
technique that is unique to classical guitar, at least the way we know it.
Tremolo, of course, with any other instrument means to
_ tremble, to sustain a note by repeating it quickly.
[E] So, you know, let's say if you have a pick, tremolo would be_
_ [D] _
_ _ [E] _ _ [Am] _ [C] _ But [N] we have
the unique feature of a thumb.
So what we can do is we kind of fake it in that we have a bass line that we play with the thumb and
we play
normally three notes with each one of these fingers A-M-I.
So the pattern would be P-A-M-I
P-A-M-I P-A-M-I.
And those guitarists out there who've been playing for a while, of course, you already know this, but I'm just
addressing those who may not have played for that long and who want to know about it.
So, one thing you have to understand to begin with is that tremolo is just really an arpeggio on one string.
And what I found is that those who have _
problems with playing a tremolo
also have problems with their arpeggios.
And
so what I do first is I have people work on their arpeggios.
[Dm] So anyway, let me just explain.
So I'm just going to play [G] simply on
first four strings here just to demonstrate.
So the pattern I was talking about is this. _ _ _
_ _ _ _ _ _ _ _
Okay, where [Bm] we're playing these three fingers on one string.
And then the thumb jumps around playing the bass line, usually [C] outlining the chords and the chord progression. _
So you can see P-A [D]-M-I.
_ [G] _ _ _ _
_ Okay, now
[E] what I mean by that's an arpeggio on one string is that it's essentially this arpeggio.
[G] _ P-A-M-I.
_ _ _ _ _ _ _ [B]
And as I said, I find that people who have a weak or have problems with their tremolo
usually have the same exact problems with that arpeggio.
[G] P-A-M-I. _
[Eb] So first I would say to
work with the arpeggios first and not just the P-A-M-I, but a good combination, a variety of different patterns
of arpeggios.
You don't have to go through necessarily the entire 120 Giuliani