Posts made by emilernebro

@tommy
Thank YOU! :)

@tommy
Hi Thomas!

The lessons have different skill levels, although most of our material is in the upper intermediate to advanced field, with the majority of lessons focusing on fingerstyle guitar playing.

At the moment, there are no specific suggested order when it comes to the lessons, but the free course "Fingerstyle Guitar Basics" is a good start if you want to learn more about fingerstyle guitar and how to get the thumb more independent from your fingers. There are short promos for almost all lessons, so be sure to watch some of those first to see if there are any specific lessons that interests you. As a premium member, you get access to all the material on the site! A good thing might be to start with some free lessons, and if you like them - continue and subscribe for a month to see if you like the content. You can always cancel the subscription before the next billing period.

Hope this helps, and let me know if you have any other questions! I'm here always, happy to help! :)
Kind regards/Emil

@tommy
Hi Thomas!

It still sounds good without the amp, although my main guitars are not very loud unplugged. They're kind of "made for" playing through the PA, but they still sound good unplugged - just not very loud. It all depends on your playing technique and how hard you play, and how low your action is and most importantly what specific guitar you're using. I'm playing with fingers/nails and thumbpick - and I don't play really hard or loud at all. This can be a disadvantage when jamming with a bluegrass player or a Django style player - in those cases - I definitely need an amp to be heard at all - haha! When I'm home I almost never play through an amp. The amp that I'm currently using live is the Da Capo 75 (Udo Roesner) amp, which is wonderful. I also play jazz guitars and nylon string guitars at home, and telecasters too. Sometimes plugged into a fender Princeton reverb amp, but I don't have it loud at all.
Hope this helps!
Kind regards/E

@kavusha

The palm muting is all about putting the hand on the right spot of the bridge to get that sound. On a nylon string guitar - the bridge is further back and it's not as comfortable to have the hand in that position. A bit easier using a steel string guitar in that sense. I don't have a good answer to help you with your palm muting - it should be a matter of right hand position on the bridge so I hope you can find it and experiment with that.

My guitar is a Mason EBG808 artist model, and I think the nut specs are on Matons website. I'm not sure of the measurements myself - but it's a fairly standard neck, and works for me. There are no such thing as a general rule about nut width for fingerstyle guitar - it all depends on your playing style, your hand positions, size of hands, and general taste.. I always recommend people to try a LOT of instruments to find what suits you.
Kind regards/E

@25jonathan

Hi Jonathan!
So sorry for the late reply!
Really glad that you're part of the site!! :)

This is a great question, and many players are wondering about this.

The reason for anchoring the pinky on the pickguard is for stability and so that you get a steady right hand that is not floating around too much when playing. Many people do this - such as the players you mentioned, but also Chet Atkins and many other great fingerstyle players.
The big advantage for this is that you can bring up your hand from the bridge - so that you don't mute any strings, but still get a steady hand. For instance, watch Tommy at 4:28 in this video, where he plays a open string run (in the song "blue moon") with all strings ringing out beautifully - but he still has that steady hand floating over the bridge - because he is able to use his pinky to have a real steady hand even though nothing is muted. https://www.youtube.com/watch?v=sZA7g0A7asI

Some players rarely do this, like myself. I get the steady hand from having my palm on the bridge and/or from the right arm against the top of the guitar, so to speak. So when I don't want to mute the strings and play an open run for instance on the lower strings - it's a little bit more difficult for me to have a real steady hand without muting anything.

So I'd say that using your pinky on top of the guitar can be a great thing! But if you're like me, that might not feel natural to do - and that's ok too! :) Some players rarely use the pinky on top of the guitar and sound great anyways, so it's all about finding your own way of playing that feels good. Try practicing an open string run using most strings - and see if you can get your hand real steady without muting the strings. That's a great way to work on this!

Hope this helps!
Kind regards/Emil

@larrydeitch
Hi Larry! Sorry for my late reply!
I'm not able to offer TABs for this arrangement because of copyright reasons. So glad you like it though! Let me know here if there's anything you're wondering about regarding that arrangement - maybe I can help in writing.
Kind regards/Emil

@chris-0
Hi!
Have you experimented with different brands of strings? Certain strings bring out the best of the instrument, and it's great to try different types of strings and brands to hear what strings work the best for that particular instrument. If it sounds boxy, I'd definitely think it would brighten up with the right kind of new strings.
Kind regards/E

@kavusha
Hi!

I use all of those scales/modes that you mentioned there, although I have to say that I rarely think "one" scale or one mode when I am playing. If I'm in a minor tonality, the minor scales/sounds are all available to me - I can bring out the particular sound that I like in the moment, and blending different scales and arpeggios. Same goes if I play over a major tonality, or dominant/altered chords. There are many choices to choose from in each of those "sound worlds".. It is important to mention that I wouldn't be able to bring out any sound that I want in the moment if I hadn't worked on each scale/mode individually first when I learned them. So it's a great idea to learn all of them, and try to hear the sound of each one. After awhile you'll not think too much about the scales. You'll know where to find the sound that you want to hear instantly without thinking about it.
Kind regards/Emil

@kavusha
Hi Kavi!
When you're not able to get a clean muted sound on the 4th string - what technique or finger are you striking the string with? Or are you using a thumbpick, or pick?
Kind regards/E

@elzevir-block
Hi there!

The tritone substitution concept does not always include only dominant 7th chords. The most obvious choice of chords (using tritone substitution) for A7 and D7 would be Eb7 (instead of A7) and Ab7 (instead of D7). However, you can always try other chord qualities as well, such as maj7 chords in this case. The original progression is just G7 going back home to C. I added a D7 (dominant V chord of G7) before the G7, and an A7 (dominant V chord of D) before the D7.
Instead of keeping it that way, I then used the tritone sub on the A7 and D7, finding the chords Ebmaj7 and Abmaj7.
Original progression: G7 ---> C...
New progression: Ebmaj7 ---> Abmaj7 ---> G7 ---> C...

Now, you could look at this progression from another angle too;
The Ebmaj7, Abmaj7 and G7 chords can be found in the key of C minor. So you might analyze this as borrowed chords from the C minor tonality, rather than C major.

Hope this helps!
Kind regards/Emil

@phil-griffiths
Hi Phil!
The notation for my arrangement of "Here, there and Everywhere" have never been available on this site, so you might've gotten in through me over email way back maybe? I've demonstrated that song in some live workshops and clinics.
So glad you like the site Phil! :)
Kind regards/Emil

@wertas
The book I can recommend on those topics is "Concepts: Arranging for fingerstyle guitar" by Howard Morgen. Amazing book!!

@wertas

Hi!
Really glad that you liked that one! We just released "Voice Leading VOL. 2" which I think you'll like too, if you liked the melodic chordal movement lesson! Check it out! :)
Melodic chordal movement vol. 2 will be posted later on, but I have other lessons in the pipeline before, so it might be a little while before I make that lesson.
So glad you liked it and thanks for the feedback too! :)
Kind regards/E

@nikhilvanam
Voice Leading Vol 2 is now up on the site! :)
/E

@rover528
Welcome Dean!!

@joe_
No problem at all Joe!
Have a great day!! :) /Emil

@pedram

Hi Pedram!
So glad you're part of the forum and the site!!
Wish you all the best and that you and your wife can manage to find a good way of living in EU.
Much love! /E

@rover528

Hi Dean!
Thanks so much for sharing here on the forum!

You mentioned that you're getting mixed up where to jump in when you're playing with other guitar players. The good thing is that you're listening, and that is step one. Always listen carefully to what the other player is doing. To have a bit of trouble playing with others when you haven't played a lot in those situations before is super common, and it's just something that most people go through at first. I would recommend you to play together with recordings, and try some of your songs with a metronome and stick to it for a few weeks and you'll notice a difference. Try to play the melody only with a backing track or a metronome, and be as expressive as you can. You'll think its a bit tricky in the beginning but that's only natural and we need to keep trying. Record yourself playing with the metronome and you'll notice even more what you need to work on. You need the listeners perspective, because sometimes it's difficult to really hear how you sound when you're in the middle of playing a song. Therefore, recording yourself is essential to get better. The more yo play with other people the faster you'll learn how to do that. And for solo guitar, it's great to record and listen back a lot too!

Thanks so much for being part of the forum!
All the best/ Emil

@kavusha
Hi Kavi!! Glad you liked that one! :)
That idea could be looked at in several different ways. It starts off with a Am9 chord, followed by that Bbm into the D major triad. The Am and the D is the ii V progression, and the Bbm is just a passing chord that I won't dare to explain theoretically, other than; you can always play a chord up a half step from the chord you're currently playing - to get some tension. It's like we're playing Am --> tension (Bbm) --> D...

After the D triad we play that Bb13 (which can aslo be looked at as a E7(#9), just an altered chord leading to the 2 chord again.. This time it's a A13 instead of an Am9. But still a 2 chord! :)
After the Bb13 (again, a chord a hal step above the 2 chord to add tension).. we move that a half step down to the A13 which is the 2 chord. The next chord is the V chord. It's a D altered (D7#9#5), or you could see it as a Ab13 too, which takes us to the tonic, the 1 chord which is Gmaj7. So the chord just before the Gmaj7 is simply a V chord that leads us "home".

That Ab13 (or D altered) is a subsitution for D7. This is called a "tritone substitution" or "flat five substitution". I go through that concept in a clear way in this free YouTube video, check it out here if you haven't already: Tritone substitution

So the whole example is a variation on a ii V I, adding tension using passing chords, flat five subs and nice voice leading! Let me know if you have any other questions Kavi!
All the best, /E

@nikhilvanam Nice man!!
Glad you're part of the site! Nice production and sounds - yeah!
Glad you like the lessons! Will add Vol. 2 asap.
Kind regards/E