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1K views · 30 reactions | Commente BLUES en commentaire et je t'enverrai ma méthode gratuite pour te lancer dans le Blues Roots !
#guitareblues #blues #tutoguitareblues | Mathias Dalle Music

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Commente BLUES en commentaire et je t'enverrai ma méthode gratuite pour te lancer dans le Blues Roots !
#guitareblues #blues #tutoguitareblues

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Welcome to Spencer Hale's (she/they) YouTube channel, where you'll find a variety of music education resources, such as lessons and play-a-longs.

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Sweet Child of Mine (Guns n Roses) Chord and Lyrics Play-Along

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COME AS YOU ARE {NO CAPO} Nirvana (Absolute Beginner Guitar Chord, TAB & Strum Play-Along w/ Lyrics)

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Lesson #1: Warm Up Session Lvl.1 (Bass Exercise) (Play Along Tabs In Video)

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Cours de Saxophone | Comment avoir la bonne POSTURE!

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5 Erreurs à ne PAS faire si tu débutes le SAXOPHONE

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Cours de saxophone - Prise en main de l'instrument

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Cours de Saxophone - Comment Jouer du Saxophone

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Cours de Saxophone C#1 S#1 L#1  Partitions Mélodie Сhansons Tuto Comment Jouer Tab Tablature

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COMMENT SOUFFLER DANS UN SAXOPHONE ? - Saxophone Débutant

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Cours de SAXOPHONE | Toutes les NOTES ! ( la gamme chromatique )

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Cours de trombone #1 - Monter et tenir l'instrument

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Trombone : les ERREURS de débutants à éviter !

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Trombone : tutoriel complet sur l'embouchure

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#16 Comment jouer de la trompette (spécial débutant) partie 1

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🎺 "APPRENDRE LA TROMPETTE" Cours en ligne avec VINCENT PAYEN sur imusic-school

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🎺 TROMPETTE DÉBUTANT "Vos premiers sons à la trompette" Cours avec VINCENT PAYEN sur imusic-school

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20 Blues Rock Guitar Licks for Beginner-Intermediate Players

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Music Interval Identification Ear Training

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In this exercise, you will hear two notes in sequence. Your goal is to identify the interval between the two notes. For best results, practice a little bit every day.

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TOP 80 GREATEST GUITAR INTROS - Paul Davids - My take on the 80 most iconic guitar intros of all time, played through the years. All in one take, and all... | By Dora | Facebook

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TOP 80 GREATEST GUITAR INTROS - Paul Davids - My take on the 80 most iconic guitar intros of all time, played through the years. All in one take, and all...

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DÉBUTANT : Votre Premier Rythme à la Batterie

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Gitaris https://mycollection.shop/tasriadi457 | topeddi57 | topeddi57 · Original audio

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Divisez la musique en parties séparées grâce à des algorithmes alimentés par l’IA.

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Last Christmas (Taylor Swift) - Moving chord chart

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Jingle Bell Rock (Simplified) - Moving Chord Chart

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A handheld microphone is a microphone like all others. However, how you hold the microphone affects the sound. Some use this to their advantage; others don't realize this is the case. This article explains how your sound may change depending on how you hold the microphone.

Lab vs. real life

When microphone measurements are carried out in the lab, all obstacles that may disturb the sound field around the microphone are removed. This goes for most microphone data like directional characteristics and frequency response. The microphone may even be suspended by thin wires to ensure that the influence of a mic stand is avoided.

Furthermore, the microphones' directional pattern may be determined at a distance different from typical use. DPA Microphones measures handheld microphones at a distance of two meters. Why? Because on stage, it is important to suppress distant sources as much as possible, so it is important to know what the directional pattern looks like at a distance.

The documentation obtained in the lab is fine for studio microphones intended for orchestral recordings in concert halls, large studios and similar spaces. For those applications, the microphones are placed in a - more or less - undisturbed sound field.

Handheld microphones

When it comes to handheld microphones, the situation is completely different. You can grip a microphone in many ways. You can hold around the handle (hence the name "handle") or you can grab it around the grid - or any position in between.

However, the hand is not the only influencing obstacle; the singer's head is also very close to the microphone. Both the hands and head affect the sound field. The microphone design, coupled with the way it is used, determines how much the sound of the microphone will be influenced.

If you hold the microphone by the handle, very little coloration, or change of acoustic stability, should occur (even though it does happen for some microphones). However, if you hold one or both hands around the microphone head - known as " cupping" - changes happen. In connection with PA systems, there is an increased risk of acoustic feedback and uncontrolled coloration of the sound.

Here are some examples of how different hand positions introduce deviations to the specified frequency response. The measurements are done using natural voice. The microphone is addressed on axis at a distance of 10-12 cm (4-5 in).

We measured three subjects, each holding the microphone in the left hand and then switching it to the right hand. The red curve is the averaged result of all six measurements. A straight line shows an undisturbed frequency response.

Holding the microphone at the end of the handle creates only minimal of deviations from the nominal response (ripple above approximately 3 kHz). These ripples are generally not audible.

Holding the microphone at the top of the handle, just beneath the mic head, gives the ripple a somewhat higher amplitude compared to the low position. It may be audible, however still only to a minor degree.

Cupping with the index finger and the thumb flush with the front of the microphone creates resonances. The main resonance is, in one case, in the range of +9 dB @ 1.8-2.2 kHz. Another resonance is found around 10 kHz. This resonance is audible (coloring the audio) and is a source of acoustic feedback in the PA system.

This is a typical position - the hand covers half the grid and the thumb is laid over the top. The major resonance is found at around 2 kHz (low Q) and again above 6 kHz.

The hand surrounds the microphone head, which makes the resonances more distinct. The major resonance is found at around 2 kHz; however, at around 3-4 kHz resonances are also created due to the cavity in front of the microphone.

As the examples above show, when the microphone is held correctly, reflections from the hand only generate minor ripples in the frequency response. Therefore, if a singer only holds the handle, there should be no audio deviations. On the other hand, " cupping" and other hand-on-microphone positions result in resonances. These resonances depend on the size and placement of the hand. A bigger hand may cause sharper resonances.

Cavities near the microphone, including the singer's mouth, can also create resonances. A wide-open mouth in front of the microphone is a huge cavity, which can influence the performance of that microphone.

The primary way to avoid problems is to hold the microphone on the handle not around the microphone grid. (Beatboxers should disregard this suggestion since resonances are an integral part of the sound design.) In addition, remember that the membrane of most directional microphones is exposed to sound from both the front and the rear. It is a delicate balance between the two parts of sound and this balance can easily be tilted, which may change the directivity of the microphone.

What does the coloration sound like?

Here are examples of the timbre of the sound, in dependence of the hand position.

Position 1: Holding the microphone at the end of the handle.

Position 2: Holding the microphone at the top of the handle, just beneath the mic head.

Position 3: Cupping with the index finger and the thumb flush with the front of the microphone.

Position 4: The hand covers half the grid and the thumb is laid over the top.

Position 5: The hand surrounds the microphone head and forms a small cavity in front of the grid.

DPA handheld vocal mics

The DPA Handheld Microphones bring true studio sound to the live stage and recording studio. These mics are available in an extremely linear version as well as in a version with a high-end boost. This directional characteristic offers the best of two worlds - from cardioid and supercardioid patterns. The modular nature of the d:facto™ Series allows you to switch the capsule as well as the adapter, making it the most flexible vocal microphone available on the market.

The 2028 Vocal Microphone is designed for the unique challenges of live stage performances. It is a flexible handheld vocal mic, which provides transparent, fantastic vocals to performers from a wide range of markets including live, HoW, broadcast, etc. Use it wired or together with your favorite wireless system, either way, just plug it in and hear the vocals shine like never before.

References

Brixen, Eddy B.: The effect of hand position on handheld microphones' frequency response and directivity. Convention Paper 10328, AES 148'th convention online. The Bear Kave Virtual Immersive Environment (aes.org)
Schneider, Martin: The effect of the Singers' Head on Vocalist Microphones. AES 120th Convention, Paris, France. (2006).
Schneider, Martin; Breitlow, Jürgen: Das Mikrophon und der Körper - Teil 2. 27. Tonmeistertagung, VDT International Convention. (2012).
Brixen, Eddy B.; Voetmann, Jan: Electroacústica Práctica. Editorial Tebar. ISBN 978-84-7360-482-6, 2013. ISBN 978-84-7360-625-7, 2018.

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A handheld microphone is a microphone like all others. However, how you hold the microphone affects the sound. Some use this to their advantage; others don't realize this is the case. This article explains how your sound may change depending on how you hold the microphone.

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Les ALTERATIONS en musique (dièse, bémol, bécarre) - GUIDE COMPLET ! 1/2

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Les ALTERATIONS en musique (dièse, bémol, bécarre) - GUIDE COMPLET ! 2/2

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APPRENDRE facilement tous les INTERVALLES en musique - Tuto débutants

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Partitions : paroles et accords pour guitare, piano, mandoline et ukulélé.

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Marie-Laurence Dubé-Méthode la Voix Chantée 

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This is the first part in a series where I will go through the basic aspects of playing blues on the guitar. It's a good idea to have some idea of how playing the blues works as a guitarist. Pretty much all contemporary, popular styles of music have evolved from the blues. Learning the structure of the blues can lead to insights into other styles of music, as well as giving you things to play that can serve as common ground when you get together to jam with other people.

The blues is a relatively simple style of music. Granted, musicians can still spend years or even decades delving into the rich history of the blues. But, the complexity often lies in the subtle nuances of playing this music. Learning the more basic structural aspects of the style isn't too difficult or complicated.

This series will start off with beginner guitarists in mind. I'll assume the reader has little to no knowledge of chords and scales on the guitar, and I'll keep explanations of things as simple as possible. The goal is for a beginner guitarist to learn some basic things that will enable them to participate in this style of music.

The Blues Chord Progression

I've chosen to start this series by focusing on the 12 bar blues chord progression. Everything else that goes on in the blues is based around this chord progression, so it makes sense to start here.

The blues progression is a chord progression comprised of three chords and is 12 measures long (another word for a measure is a bar). A measure is a grouping of a certain number of beats. In blues, a measure is usually 4 beats long. The three chords that comprise the blues progression will be different depending on what key you are in.

Most blues songs are structured around the blues progression. The progression will happen over and over again, while singing or soloing takes place over the chords.

Here is an example of the blues progression in the key of E:

As you can see, it's made of just three chords: E7, A7 and B7. These chords are all examples of Dominant 7th Chords. These types of chords are indicated by having a 7 in the chord name, and have a somewhat twangy and jagged sound to them. It's common for the chords in the blues progression to be dominant 7th chords. In case you don't know these 3 chords, here are some common and easy ways to play them:

To play through this chord progression you would just have to come up with a strumming pattern of some sort that is 4 beats long, and apply it to each measure in the progression. There are almost countless different ways you could strum through this progression.

The Progression in Other Keys

It's easy to figure out how the progression will work in keys other than E. First, we'll need to take a step back and look as a few basic things.

In any key, there is a group of seven different chords that are the chords for that key. When people analyze chord progressions in music, these chords are given roman numerals (I through vii). The blues progression uses chords I, IV and V of the key you are in. In the key of E, the I chord is E7, the IV chord is A7, and the V chord is B7. The I chord shares the same letter as the key itself (an E7 chord when we're in the key of E).

Chords IV and V are always going to be a certain distance from I. You can easily see this distance on the fretboard of the guitar. If you find the root note of your I chord on the 6th string, the IV and V chords will always be found in the same place relative to where your I chord is found:

Doing this will require that you know (or are able to figure out) the notes on the 6th and 5th strings of the guitar. This is something that is generally good to know, even as a beginner. If you need a reference for this, here is a diagram showing the notes on these strings:

As long as you are straight on where the notes are, all you need to do is find the root of your I chord on the 6th string, and the roots for IV and V will be right underneath it as shown above. For example, if we look back at our chords in the key of E, you can see that an E note is on the open 6th string. The A note (IV) is right below it on the open 5th string. B (V) is just 2 frets up from the A. Once you find your root notes, just make them in to Dominant 7th Chords (E7, A7, B7 in this case) and you're ready to go.

Just to help with another example, let's say we are going to do a blues progression in G. First, we'll find the root note of our I chord on the 6th string. This puts us on the 3rd fret, where we have a G note. We know that the root note for IV is on the same fret, but the next string down. This puts us on a C note. We then can move up 2 frets from it, which puts us on the root of our V chord (D).

So, for the root notes we have I=G, IV=C, V=D. Make them all into Dominant 7th Chords, and we end up with G7, C7, D7.

Now we just need to figure out how to put them together into the 12 bar progression. Looking back at our 12 bar blues progression in E, we could look at it another way with roman numerals in place of the E7, A7 and B7 chords:

This will be your formula for putting the progression together in any other key. Let's take the chords we figured out for the key of G and plug them in:

And there you have it, the 12 bar blues in G. You can figure out the progression in any other key by following the same steps:

1. Find the root of your I chord on the 6th string

2. Find the roots of IV and V based on where the root for I is

3. Make the three root notes into dominant 7th chords and figure out how to fret them if you don't already know.

4. Apply the 3 chords to the formula above

Common Variations of the Progression

It's good to be aware of some of the common variations in the blues progression. Usually within any given blues song, the chord progression will stay the same as it occurs over and over again. But, from one song to the next there might be some slight differences in the progression. Here are a few of the most common variations.

First, there is a more simplified version of the progression that leaves out the IV chord in the 10th measure and replaces it with another measure of the V chord. Also, the V chord in the very last measure is replaced by the I chord. This progression is typical for fast blues rock songs. The full progression would look like this:

There is also what is called the 'quick change', where you have the IV chord in the 2nd measure:

And, there is a variation with more chord changes in the last 2 measures. In the 11th measure, you have the I chord for the first 2 beats and the IV chord for the second 2 beats. Then, in the 12th measure you have the I chord for the first 2 beats and the V chord for the last 2 beats. This is particularly common for slower blues songs, and could be done with or without the quick change in the 2nd measure as described above:

This sums up how the blues progression is put together. In the next part in this series, I'll go over the blues scale, the most commonly used patterns for it, and how to move it around the neck of the guitar for playing in different keys. Articles after that will focus on things like turnarounds, riffs you can do in place of the chords in the blues progression, and common blues standards.

SRV Photo credit: Joe Bielawa / Foter / CC BY

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Breaking Down the Blues, Pt. 1: The Blues Progression

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This is the first part in a series where I will go through the basic aspects of playing blues on the guitar. It's a good idea to have some idea of how playing the blues works as a guitarist. Pretty much all contemporary, popular styles of music have evolved from the blues.

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Breaking Down the Blues, Pt. 2: The Blues Scale - Guitar Lessons with Andy Lemaire

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This is the second part in a series about the basic components of playing blues on the guitar. The first part focused on the blues chord progression, how to figure it out in different keys, and common variations of it. In this part I'll talk about the blues scale, which is used to solo over [...]

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Le Rock, c'est quoi  - EDUCATION MUSICALE

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ULTIMATE GUITAR TABS - 1,100,000 songs catalog with free Chords, Guitar Tabs, Bass Tabs, Ukulele Chords and Guitar Pro Tabs!

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Your #1 source for chords, guitar tabs, bass tabs, ukulele chords, guitar pro and power tabs. Comprehensive tabs archive with over 1,100,000 tabs! Tabs search engine, guitar lessons, gear reviews, rock news and forums!

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Rhythm Clapping with Mr. Gordon - Featuring TONY HAWK - Learn to read music - clap along !

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Riptide (Vance Joy) Guitar/Lyric Chords Play-Along

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What's Up 4 non Blonde Easy Chords and Lyrics

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This is the fourth part in my 'Breaking Down the Blues' series. In the previous parts, I covered the 12 bar blues progression, the extended box pattern of the blues scale, and I demonstrated some blues licks. Here are links to the previous parts:

In part four, I'll talk about the second most common chord progression in the blues: the minor blues progression. In comparison with the progression I had covered in part one (which I'll now refer to as the major blues progression), the minor blues progression has a darker, smoother sound to it.

There are a number of similarities between the minor blues progression and the major blues progression:

They both are 12 bars long.

Both feature the I, IV and V chords (although the numerals are lower case in the minor blues progression).

The blues scale can be used to solo over both progressions.

There are also a few differences, which I'll talk about below. I'll also demonstrate how to put the progression together in a couple different keys, and go over some blues tunes that use this progression.

Form 1

There are actually quite a few variations of the minor blues progression out there. Most of these variations are slight deviations from two common forms of the progression, both of which I'll cover in this lesson. I'll start by going over the form that is the most similar to the major blues progression. This form of the minor blues progression uses 4 chords: the i chord, the iv chord, the v chord, and the V chord.

The i, iv, and v chords will all be minor 7th chords, and are therefore indicated by lower case roman numerals. The V chord will be a dominant 7th chord, which is the same type of chord used for all the chords in the major blues progression. The key of the the chord progression will determine exactly which chords will be used.

I'll start by showing the progression in the key of A minor:

In the key of A minor, the A minor 7 chord (Am7) is the i chord. The D minor 7 chord (Dm7) is the iv chord, Em7 is v, and E7 is V. As you can see, from a roman numeral standpoint the progression is the same as the major blues progression. Here's a chart showing this progression in roman numerals instead of chords:

You can go about figuring out the chords for the key you are playing in using the same method that I outlined in my article about the major blues progression. To do so, you'll just need to know the notes on the 6th and 5th strings of the guitar, and a few movable chord shapes. In case you don't know the notes on the 6th and 5th strings, here's a diagram showing them:

To locate the i, iv and v/V chords in any key, start by finding the root note of the i chord on the 6th string. The root note of iv will then be on the same fret but on the 5th string, and the root of v and V will be two frets higher than iv. Here's a diagram of what I describe, with the root notes of i, iv and v/V in the key of A minor:

Then, just build the chords you need off those root notes using some movable chord shapes. There are many ways you could do these chords, but here are some movable chords I like to use in this type of situation:

You just need to position these chords so that their root notes (indicated by the circle with an R in it) are on the notes I diagrammed above. To do these chords specifically as Am7, Dm7, Em7 and E7, they would be like this:

For an example of doing this in another key, lets put together the progression in G minor. First, let's find the root notes of our chords:

Our root notes are G for I, C for iv, and D for v/V. So, our chords would be Gm7, Cm7, Dm7, and D7. Here's how you could do them using the movable chord shapes:

Let's plug them in to our 12 bar progression:

And there you have it, the G minor blues progression.

Form 2

Now let's go over another form of the minor blues progression. This one is equally, if not more, common than form 1 of the progression. It's very similar to form 1 in that it will still feature the i, iv and V chords. It will also feature the VI chord, and the 12 bar progression will be slightly different than form 1. First, let's look at the roman numerals of the 12 bar progression:

The progression is exactly the same as form 1 except for the 9th and 10th bars, where we now have the VI chord going to V. Locating the VI chord is easy: its root note will just be a half step above V. Here's a diagram showing where it would be if we were in the key of A minor:

The VI chord will be a dominant 7th chord, just like V. If we are in the key of A minor, the VI chord would be an F7, making all our chords for the progression Am7 (i), Dm7 (iv), E7 (V), and F7 (VI). So, form 2 of the A minor blues progression would be this:

If we were to put the progression together in G minor, our VI chord would be Eb7, and therefore our progression and chords would be this:

Scales and Soloing Over the Progression

When it comes to soloing over both forms of the minor blues progression, there are a number of choices available to you. An advanced guitarist taking more of a jazz approach to soloing over this progression might use a handful of modal scales, as well as some usage of the harmonic or melodic minor scale. Regardless of the approach or style that is being used, the blues scale would feature heavily in any guitarist's scale choice, and it can sound great even if it's the only scale used.

For both form 1 and 2 of the A minor blues progression, you could use the A blues scale (meaning the A minor pentatonic scale, plus the blues note). For the G minor blues progression, you could use the G blues scale. If you're unsure of what I mean about this, go ahead and check out part 2 of this series for a broader description.

Minor Blues Songs

To wrap things up, I thought I'd list out some songs that use the minor blues progression. This progression can be found in many styles of music. Obviously it's often found in blues songs, but you'll see it at least occasionally in rock, funk, soul, and jazz as well.

Some jazz tunes:

Mr. PC by John Coltrane (form 2 in C minor)

Equinox by John Coltrane (form 2 in C# minor)

Birk's Works by Dizzy Gillespie (form 2 in F minor)

Stolen Moments by Oliver Nelson (form 2 in C minor during the solos)

A couple rock songs that use the progression are:

Long Train Running by The Doobie Brothers (form 2 in G minor)

Shine On You Crazy Diamond by Pink Floyd (form 2 in G minor only during the keyboard, sax and guitar solos)

Some blues tunes you'll hear it in:

The Thrill is Gone by B.B. King (form 2 in B minor)

As The Years Go Passing By by Albert King (a slightly modified form 2 in B minor)

Life is Hard by Johnny Winter (a slightly modified form 1 in C minor)

Warren Haynes photo credit: iaintright / CC BY-NC-SA

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Breaking Down the Blues, Pt 4: The Minor Blues Progression - Guitar Lessons with Andy Lemaire

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How to put together two forms of the minor blues progression in any key.

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Flowers (Miley Cyrus) Guitar Chord and Lyric Play-Along

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I Don't Know My Name (Grace VanderWaal) Guitar/Lyric Play-Along

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Réussir ses changements d'accords

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Je sais qu'on voudrait pouvoir prendre sa guitare et tout réussir tout de suite.

La vérité, c'est que réussir ses changements d'accords prend du temps. ◀️ Suis le lien pour découvrir notre cours qui facilitera ton apprentissage du changement d'accord.

De nombreux débutants à la guitare se sont arraché les doigts dessus et malheureusement, certains ont abandonné ou s'apprêtent à laisser tomber.

Ce qu'il ne faut surtout pas faire !

‍

La bonne nouvelle, c'est qu'avec une bonne méthode et de l'entraînement, tu peux progresser très rapidement dans les changements d'accords.

‍

La méthode EVAL pour avoir des accords fluides et rapides

‍

Voici la méthode EVAL.

Je l'ai nommée ainsi pour que tu puisses te rappeler facilement les points clés qui seront décrits ci-dessous.

‍

À chaque fois que tu feras des changements d'accords, tu pourras ÉVALuer si tu mets bien toutes les chances de ton côté :

E : Entraînement. Sans entraînement, tu ne peux pas espérer réussir à faire des passages d'accords fluides.

V : Visualisation. La Visualisation accélèrera tes résultats et la mémorisation de chaque accord de guitare.

A : Accord. Avant de vouloir faire les changements d'accords sur ta guitare, il faut déjà savoir faire chaque accord séparément.

L : Lenteur. Si tu vas trop vite, tu ne vas pas bien apprendre et tu prendras de mauvaises habitudes. Paradoxalement, la lenteur est la clé pour réussir vite !
‍

‍

Pour réussir ses changements d'accords pas à pas

Une fois que tu as choisi le changement d'accord que tu vas travailler, il faut apprendre à faire les 2 accords séparément.

Quand tu sais parfaitement faire ces 2 accords, tu vas pouvoir t'entraîner à faire le passage de l'un à l'autre.

Il faut travailler un seul changement d'accord à la fois.
Si tu les travailles tous en même temps, tu vas simplement disperser ton énergie et perdre du temps.
‍

En premier, fais le passage de l'un à l'autre, très lentement et seulement avec la main gauche (sans gratter les cordes à la main droite).
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Regarde bien le mouvement de tes doigts. Ils doivent rester près du manche.
‍

Identifie éventuellement les doigts pivots qui peuvent t'aider à faire ton changement d'accord de guitare (voir ci-dessous pour le détail).
‍

Puis répète ce déplacement une dizaine de fois.
C'est très important de le faire très lentement et de bien contrôler le mouvement.
À cette étape, on ne cherche pas la vitesse, mais la précision et le contrôle. On entraîne sa mémoire musculaire.
‍

Une fois que tu es à l'aise, répète l'étape précédente en grattant les cordes.
Tu peux alterner : une fois, tu grattes toutes les cordes en même temps, une fois, tu grattes les cordes une à une.
‍

Fais cet exercice pendant 3 à 5 minutes par jour et dans une semaine, tu devrais voir des progrès considérables.

‍

La lenteur : on a toujours tendance à vouloir aller trop vite.
Force-toi à ralentir.
Au début, il faut maîtriser le mouvement, la vitesse viendra après.
‍

‍

Points importants à garder en tête

La mémoire musculaire : C'est elle qui te permettra, quand tu l'auras bien entraînée, de faire des changements d'accords rapides et fluides, sans même y penser.
‍

Poser les doigts tous en même temps ou pas ?
Quand tu t'entraînes et surtout au début, essaye de mémoriser les formes des accords.
Pour cela, il faut faire attention de faire la forme de l'accord de guitare en l'air (quand les doigts sont au-dessus du manche) et de poser les doigts tous en même temps (c'est plus difficile, mais encore une fois, sur le long terme, tu gagneras du temps).

Comme le dit souvent Cyrille, on apprend à marcher avant de savoir courir. Si tu as l'impression de perdre du temps, essaye de sauter cette étape et regarde combien de temps, il te faudra pour maîtriser ce passage d'accords.

En allant lentement, tu vas entraîner ta mémoire musculaire, ce qui est indispensable pour que ça devienne un automatisme.
‍

‍

4 techniques indispensables pour améliorer tes changements d'accords

‍

Toutes ces techniques sont intégrées dans la méthode EVAL.

‍

1/ Visualiser les accords dans ta tête

Une technique utile, c'est de visualiser l'accord dans ta tête. Pour cela c'est très simple.

Avant de changer d'accord, visualise l'accord de guitare suivant.

Cette technique t'aide à retenir les accords et prépare tes doigts à passer d'une position à une autre.
‍

2/ Faire les formes en l'air

Cette technique est la plus difficile à mettre en place, mais c'est aussi la plus efficace.

Il s'agit de réussir à faire la forme de l'accord quand les doigts sont au-dessus des cordes, avant qu'ils ne se posent.

Cela te fera gagner beaucoup de temps et t'entraînera à poser tous les doigts en même temps (ce qui sera quasi-indispensable par la suite).

‍

3/ Jouer les cordes une à une

Cette technique est très simple et consiste à jouer chaque corde une à une.

Cela te permet de vérifier que la position de tous tes doigts est correcte et que toutes les cordes sonnent bien.

Si une des notes de l'accord de guitare ne sonne pas ou sonne mal, tu peux te concentrer sur celle-ci et corriger la position.

‍

4/ La technique du doigt pivot pour réussir ses changements d'accords

Un doigt pivot est un doigt qui ne change pas de position d'un accord à l'autre.

Par exemple, pour le passage d'un Do majeur à un La mineur, il y a 2 doigts pivots : l'index et le majeur.

Pour réussir ce changement d'accord, il te suffira d'apprendre à déplacer ton annulaire sans bouger les 2 autres doigts et si possible en les utilisant comme point d'appui.

‍

Cette technique est très efficace, mais ne peut malheureusement pas être utilisée pour tous les changements d'accords, car il n'y a pas toujours de doigt pivot.

Si tu veux maîtriser parfaitement cette technique, tu peux suivre ce cours pour avoir des changements d'accords fluides et rapides.

‍

Les 4 sources de problèmes qui t'empêchent de réussir à faire les accords

‍

Il se peut que tu rencontres des difficultés pour réaliser ces accords et que tu n'arrives pas à les faire du premier coup.

‍ Rassure-toi, c'est complètement normal.

Sache que si tu débutes, il faut généralement un peu de temps pour faire les accords correctement.

‍

Il faut laisser à tes doigts le temps de gagner en souplesse et en force.

Si cela fait moins de 2 semaines que tu t'entraînes et que tu n'y arrives pas encore, cela ne sert à rien de s'alarmer. C'est normal. Ça va venir avec le temps et la persévérance.

la position du poignet ;

la position des doigts ;

le manque d'entraînement et de patience.

Cependant, si tu veux vérifier que tu es sur la bonne voie, voici les problèmes que j'observe le plus souvent.

Ils sont liés à 3 choses :

‍

1/ La position du poignet

‍

Pour réussir à faire tes accords de guitare, tu vas devoir gagner en souplesse au niveau du poignet.

La position du poignet et de tes doigts sont liées. Si ton poignet est mal positionné, tes doigts risquent de l'être aussi.

‍

Il n'y a pas une seule bonne position du poignet. Il y en a 2.

Dans la première position, ton poignet est sous le manche dans le même plan vertical. Pendant ce temps, ton pouce est au milieu du manche.

Dans la seconde position, ton poignet est derrière le manche dans le même plan horizontal. Pendant ce temps, ton pouce est au-dessus du manche.

Elles dépendent de l'accord de guitare que tu essayes de faire.

‍

Toutes les positions entre ces 2 positions extrêmes sont bonnes.

Généralement, ce qui pose problème au débutant, c'est un poignet qui n'est pas suffisamment sous le manche de sa guitare. Pour plus de précisions et voir la bonne position du pouce en images tu peux consulter cette vidéo de Cyrille qui montre comment placer son pouce selon les types d'accords joués.

‍

‍

‍

2/ ‍La position des doigts

‍

Pour bien appuyer sur les cordes, tes doigts doivent appuyer bien perpendiculairement au manche et avec le bout des doigts uniquement.

Ils doivent aussi appuyer avec suffisamment de force et être le plus près possible des frettes.

‍

Si tes doigts sont couchés sur les cordes, tu risques d'étouffer les cordes qui sont en dessous et ton accord de guitare ne va pas bien sonner.

‍

3/ Le manque d'entraînement et de patience

‍

Tout le monde peut réussir à faire les accords de guitare.

Ce qui empêche la plupart de le faire, c'est un manque d'entraînement et de patience.

Aujourd'hui, on veut tout, tout de suite, sans faire d'effort.

‍

La guitare est là pour nous rappeler ou nous apprendre que la réalité ne fonctionne pas comme ça.

Plus que de nouveaux accords, c'est la patience et la persévérance que tu vas devoir apprendre pour progresser à la guitare.

‍

Ce qui est encore plus contre-intuitif, c'est que : c'est en prenant ton temps et en allant lentement que tu progresseras vite.

‍

Si tu te lances dans l'apprentissage de la guitare, quel que soit ton âge, sois indulgent avec toi-même, accepte que cela prenne du temps et travaille un peu tous les jours.

Associée à une bonne méthode, c'est une recette qui a fait ses preuves des millions de fois !

‍

4/ Les doigts trop courts, trop gros, trop longs...

‍

C'est une complainte que j'entends souvent : " Je n'y arrive pas, j'ai les doigts trop gros/j'ai les doigts trop courts ou trop petits/j'ai les doigts trop longs. "

Nous sommes tous différents et nous avons tous le corps que nous avons et nous ne pouvons que relativement peu le changer.

Pourtant de tout temps, des grands, des gros, des énormes, des petits... ont réussi à jouer de la guitare divinement bien.

Je suis donc désolé de te le dire, mais cette excuse des doigts de bûcheron ou d'enfant de 8 ans n'est pas valable.

‍Tu n'as juste pas encore appris à bien les utiliser.

Retourne donc au problème numéro 3.

‍

Ensuite, il faut savoir qu'en fonction de ta morphologie, certaines guitares te conviendront mieux.

La Gibson SG a un manche très fin. C'est pour cela qu'Angus Young, le guitariste du groupe AC/DC, qui a des petites mains, l'a choisie.

Les guitares classiques ont des manches beaucoup plus larges que les autres guitares et peuvent bien convenir à ceux qui ont de grandes mains.

‍

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