Chords for How To Eliminate Squeaking Noises On Classical Guitar | Guitarise Q&A #2
Tempo:
113.7 bpm
Chords used:
Em
E
B
G
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [Em]
[G] [C] [Em]
[Am] [Em] [G]
[B] [G]
[N] Hello Gert, thanks for sending me your question and I'll try to answer it as well as I can.
I feel like squeaking noises are quite a big issue with classical guitar.
It doesn't sound pleasant and some people try to avoid it at all costs, some don't care
about it so much, but it is a problem and we all know about it.
I think the example that you chose, Prelude No.1 by Heitor Villa-Lobos, is a great one
because it's actually quite hard to play this piece with no squeaking noises at all.
And that's because the whole melody is on wound basses, which is where all the squeaking
noises come from.
But that said, there are some ways to reduce or even remove the squeaking noises and I'll
try to explain them to you in this video.
The first piece of advice is actually quite obvious, but I'll say it nevertheless.
It's very important to keep the total number of position changes as low as possible.
So only do position changes when it's really really necessary.
So [Ab] instead of playing the beginning of the piece [C]
with the third [B] finger, like this, [E] [Em]
[N] I'll
advise you to really play the glissando as it's written in the score.
[Bb] This way you lose the first [B] squeaking noise.
[E] [Em]
And with glissando you never really release the pressure.
So you're going from the second [B] position [E] to seventh [Em] position and then continue right on.
Also, [Eb] when you [B]
start the piece with the first finger, you don't have to do another position
change right after.
So it's [E]
not
[Em] Then another position change.
If you arrive on the seventh fret with the first finger, you're already there, so you
don't have to do any more changes.
Ok, so let's move on.
The last note I played was with the third finger and now instead of [G] playing
[Em] You see, this is kind of a big, loud and distracting squeaking noise.
So I want to avoid it at all costs.
So what I'll do is, actually, is simply exchanging the third and the second finger here.
Second, so third finger, second finger and then [G] fourth finger.
[Em] So [Eb] in this case you're not really leaving the seventh position at all.
You're just exchanging the fingers, stretching the hand and continue playing in this position.
So the second and probably the most important piece of advice for today is that you should
always do position changes in two stages, even though in the last moment possible.
So the first stage is just [Ab] releasing the pressure of your [A] left hand [Em] finger, while still touching
very gently the strings.
And [B] only then can you do the movement where you change position [Em] and jump to the next one.
In this way, as you can hear, there's barely any squeaking noise left.
So why [N] does this work?
Well, the general idea is that to get out of the string, we should always try to do
the movement that is perpendicular to the string first.
And only then can we move the whole hand to the side and make the actual position change.
Let me demonstrate it again.
So version number one, without taking care [Em] of this.
So here the squeaking noise is quite present.
And version number two.
[N] And as you may have noticed, the movement is still done in the last moment possible,
but this is graceful and a little bit rounder, slower, as opposed to a stressed out movement.
So this will help you a lot, I think.
The third and final piece of advice for today's video is that generally speaking, when changing
position, if the form of your hand stays the same or very similar, you'll always want
to slide on the trebles.
So this means on the first three strings, but not on the basses.
On the basses, you would want to lift the finger, do the position change and replace
the first finger again on the fingerboard.
Perhaps a better example of this point is Francisco Tárrega's beautiful piece Lagrima,
where the most of the recordings I hear on YouTube sound something like [E] this.
[B] [Gb]
[B] [Em]
[N] Instead, what I would like you to do is to always try to lift the first or the second
finger when doing the position changes.
And it will transform this piece into something really, really beautiful.
[E] [Gb] [E]
[B] [E]
[B]
[Em] [Am] [E] [Dbm]
[A] [C]
To recap, the main take-outs of these episodes are
Number 1.
Keep the number of position changes as low as possible.
Number 2.
Do position changes in two stages.
First, release [Eb] the pressure while still touching the strings.
And second, jump to another position.
Remember, here it's very important to get out of the string in a perpendicular movement
to the string.
Number 3.
Slide on the trebles for stability, but always leave the fingers touching the bass strings.
[E] That's it for today.
I hope you enjoyed this episode and learned something from it.
I wish you all the best and talk to you soon.
Bye!
[Am]
[G] [C] [Em]
[Am] [Em] [G]
[B] [G]
[N] Hello Gert, thanks for sending me your question and I'll try to answer it as well as I can.
I feel like squeaking noises are quite a big issue with classical guitar.
It doesn't sound pleasant and some people try to avoid it at all costs, some don't care
about it so much, but it is a problem and we all know about it.
I think the example that you chose, Prelude No.1 by Heitor Villa-Lobos, is a great one
because it's actually quite hard to play this piece with no squeaking noises at all.
And that's because the whole melody is on wound basses, which is where all the squeaking
noises come from.
But that said, there are some ways to reduce or even remove the squeaking noises and I'll
try to explain them to you in this video.
The first piece of advice is actually quite obvious, but I'll say it nevertheless.
It's very important to keep the total number of position changes as low as possible.
So only do position changes when it's really really necessary.
So [Ab] instead of playing the beginning of the piece [C]
with the third [B] finger, like this, [E] [Em]
[N] I'll
advise you to really play the glissando as it's written in the score.
[Bb] This way you lose the first [B] squeaking noise.
[E] [Em]
And with glissando you never really release the pressure.
So you're going from the second [B] position [E] to seventh [Em] position and then continue right on.
Also, [Eb] when you [B]
start the piece with the first finger, you don't have to do another position
change right after.
So it's [E]
not
[Em] Then another position change.
If you arrive on the seventh fret with the first finger, you're already there, so you
don't have to do any more changes.
Ok, so let's move on.
The last note I played was with the third finger and now instead of [G] playing
[Em] You see, this is kind of a big, loud and distracting squeaking noise.
So I want to avoid it at all costs.
So what I'll do is, actually, is simply exchanging the third and the second finger here.
Second, so third finger, second finger and then [G] fourth finger.
[Em] So [Eb] in this case you're not really leaving the seventh position at all.
You're just exchanging the fingers, stretching the hand and continue playing in this position.
So the second and probably the most important piece of advice for today is that you should
always do position changes in two stages, even though in the last moment possible.
So the first stage is just [Ab] releasing the pressure of your [A] left hand [Em] finger, while still touching
very gently the strings.
And [B] only then can you do the movement where you change position [Em] and jump to the next one.
In this way, as you can hear, there's barely any squeaking noise left.
So why [N] does this work?
Well, the general idea is that to get out of the string, we should always try to do
the movement that is perpendicular to the string first.
And only then can we move the whole hand to the side and make the actual position change.
Let me demonstrate it again.
So version number one, without taking care [Em] of this.
So here the squeaking noise is quite present.
And version number two.
[N] And as you may have noticed, the movement is still done in the last moment possible,
but this is graceful and a little bit rounder, slower, as opposed to a stressed out movement.
So this will help you a lot, I think.
The third and final piece of advice for today's video is that generally speaking, when changing
position, if the form of your hand stays the same or very similar, you'll always want
to slide on the trebles.
So this means on the first three strings, but not on the basses.
On the basses, you would want to lift the finger, do the position change and replace
the first finger again on the fingerboard.
Perhaps a better example of this point is Francisco Tárrega's beautiful piece Lagrima,
where the most of the recordings I hear on YouTube sound something like [E] this.
[B] [Gb]
[B] [Em]
[N] Instead, what I would like you to do is to always try to lift the first or the second
finger when doing the position changes.
And it will transform this piece into something really, really beautiful.
[E] [Gb] [E]
[B] [E]
[B]
[Em] [Am] [E] [Dbm]
[A] [C]
To recap, the main take-outs of these episodes are
Number 1.
Keep the number of position changes as low as possible.
Number 2.
Do position changes in two stages.
First, release [Eb] the pressure while still touching the strings.
And second, jump to another position.
Remember, here it's very important to get out of the string in a perpendicular movement
to the string.
Number 3.
Slide on the trebles for stability, but always leave the fingers touching the bass strings.
[E] That's it for today.
I hope you enjoyed this episode and learned something from it.
I wish you all the best and talk to you soon.
Bye!
[Am]
Key:
Em
E
B
G
C
Em
E
B
_ _ [E] _ _ [Em] _ _ _ _
_ _ _ _ [G] _ _ [C] _ [Em] _
_ _ _ _ _ _ _ _
_ _ [Am] _ _ [Em] _ _ [G] _ _
_ _ [B] _ _ _ _ _ [G] _
_ _ _ _ [N] Hello Gert, thanks for sending me your question and I'll try to answer it as well as I can.
I feel like squeaking noises are quite a big issue with classical guitar.
It doesn't sound pleasant and some people try _ to avoid it at all costs, some don't care
about it so much, but it is a problem and we all know about it.
I think the example that you chose, Prelude No.1 by Heitor Villa-Lobos, is a great one
because it's actually quite hard to play this piece with no squeaking noises at all.
And that's because the whole melody is on wound basses, which is where all the squeaking
noises come from.
_ But that said, there are some ways to reduce or even remove the squeaking noises and I'll
try to explain them to you in this video.
The first piece of advice is actually quite obvious, but I'll say it nevertheless.
_ It's very important to keep the total number of position changes as low as possible.
So only do position changes when it's really really necessary.
So [Ab] instead of playing the beginning of the piece _ [C]
with the third [B] finger, like this, [E] _ _ [Em] _ _ _
_ _ _ _ _ _ _
[N] I'll
advise you to really play the glissando as it's written in the score.
_ [Bb] This way you lose the first [B] squeaking noise.
[E] _ _ [Em] _ _
And with glissando you never really release the pressure.
So you're going from the second [B] position _ [E] to seventh [Em] position and then continue right on. _ _
_ _ _ Also, [Eb] when you [B]
start the piece with the first finger, you don't have to do another position
change _ right after.
So it's [E] _
not_
[Em] _ Then another position change.
If you arrive on the seventh fret with the first finger, _ you're already there, so you
don't have to do any more changes.
Ok, so let's move on. _ _ _ _ _ _
The last note I played was with the third finger and now instead of _ [G] _ playing_
[Em] You see, this is kind of a big, loud and distracting _ squeaking noise.
So I want to avoid it at all costs.
So what I'll do is, actually, _ _ is _ _ _ _ simply exchanging the third and the second finger here.
_ _ _ Second, so third finger, _ second finger and then [G] fourth finger.
_ _ [Em] _ _ _ So [Eb] in this case you're not really leaving the seventh position at all.
You're just exchanging the fingers, stretching the hand and continue playing in this position.
So the second and probably the most important piece of advice for today is that you should
always do position changes in two stages, _ even though in the last moment possible.
So the first stage is just [Ab] releasing the pressure of your [A] left hand [Em] finger, _ _ while still touching
very gently the strings.
And [B] only then can you do the movement _ where you change position _ [Em] and jump to the next one.
In this way, as you can hear, there's barely any squeaking noise left. _ _ _ _ _ _
_ _ _ _ _ _ _
So why [N] does this work?
Well, the general idea is that to get out of the string, we should always try to do
the movement that is perpendicular to the string first.
And only then can we move the whole hand to the side and make the actual position change.
Let me demonstrate it again.
So version number one, without taking care [Em] of this. _ _
_ _ _ So here the squeaking noise is quite present.
And version number two. _ _ _ _
_ _ _ _ [N] And as you may have noticed, the movement is still done in the last moment possible,
but this is graceful and a little bit rounder, slower, _ _ _ as opposed to a stressed out movement.
So this will help you a lot, I think. _
The third and final piece of advice for today's video is that generally speaking, when changing
position, if the form of your hand stays the same or very similar, you'll always want
to slide on the trebles.
So this means on the first three strings, but not on the basses.
On the basses, you would want to lift the finger, do the position change and replace
the first finger again _ _ on the fingerboard.
Perhaps a better example of this point is Francisco Tárrega's beautiful piece Lagrima,
where the most of the recordings I hear on YouTube sound something like [E] this. _ _ _
[B] _ _ _ _ _ _ _ [Gb] _
_ _ [B] _ _ _ _ _ [Em] _
_ _ [N] Instead, what I would like you to do is to always try to lift the first or the second
finger when doing the position changes.
And it will transform this piece into something really, really beautiful.
_ [E] _ _ _ [Gb] _ _ [E] _ _
[B] _ _ _ _ _ [E] _ _ _
_ _ [B] _ _ _ _ _ _
[Em] _ _ _ [Am] _ _ [E] _ _ [Dbm] _
_ _ [A] _ _ _ _ [C] _
To recap, the main take-outs of these episodes are
Number 1.
Keep the number of position changes as low as possible.
Number 2.
Do position changes in two stages.
First, release [Eb] the pressure while still touching the strings.
And second, jump to another position.
Remember, here it's very important to get out of the string in a perpendicular movement
to the string. _ _
Number 3.
Slide on the trebles for stability, but always leave the fingers touching the bass strings.
[E] That's it for today.
I hope you enjoyed this episode and learned something from it.
I wish you all the best and talk to you soon.
Bye! _
_ _ _ _ _ _ [Am] _ _
_ _ _ _ [G] _ _ [C] _ [Em] _
_ _ _ _ _ _ _ _
_ _ [Am] _ _ [Em] _ _ [G] _ _
_ _ [B] _ _ _ _ _ [G] _
_ _ _ _ [N] Hello Gert, thanks for sending me your question and I'll try to answer it as well as I can.
I feel like squeaking noises are quite a big issue with classical guitar.
It doesn't sound pleasant and some people try _ to avoid it at all costs, some don't care
about it so much, but it is a problem and we all know about it.
I think the example that you chose, Prelude No.1 by Heitor Villa-Lobos, is a great one
because it's actually quite hard to play this piece with no squeaking noises at all.
And that's because the whole melody is on wound basses, which is where all the squeaking
noises come from.
_ But that said, there are some ways to reduce or even remove the squeaking noises and I'll
try to explain them to you in this video.
The first piece of advice is actually quite obvious, but I'll say it nevertheless.
_ It's very important to keep the total number of position changes as low as possible.
So only do position changes when it's really really necessary.
So [Ab] instead of playing the beginning of the piece _ [C]
with the third [B] finger, like this, [E] _ _ [Em] _ _ _
_ _ _ _ _ _ _
[N] I'll
advise you to really play the glissando as it's written in the score.
_ [Bb] This way you lose the first [B] squeaking noise.
[E] _ _ [Em] _ _
And with glissando you never really release the pressure.
So you're going from the second [B] position _ [E] to seventh [Em] position and then continue right on. _ _
_ _ _ Also, [Eb] when you [B]
start the piece with the first finger, you don't have to do another position
change _ right after.
So it's [E] _
not_
[Em] _ Then another position change.
If you arrive on the seventh fret with the first finger, _ you're already there, so you
don't have to do any more changes.
Ok, so let's move on. _ _ _ _ _ _
The last note I played was with the third finger and now instead of _ [G] _ playing_
[Em] You see, this is kind of a big, loud and distracting _ squeaking noise.
So I want to avoid it at all costs.
So what I'll do is, actually, _ _ is _ _ _ _ simply exchanging the third and the second finger here.
_ _ _ Second, so third finger, _ second finger and then [G] fourth finger.
_ _ [Em] _ _ _ So [Eb] in this case you're not really leaving the seventh position at all.
You're just exchanging the fingers, stretching the hand and continue playing in this position.
So the second and probably the most important piece of advice for today is that you should
always do position changes in two stages, _ even though in the last moment possible.
So the first stage is just [Ab] releasing the pressure of your [A] left hand [Em] finger, _ _ while still touching
very gently the strings.
And [B] only then can you do the movement _ where you change position _ [Em] and jump to the next one.
In this way, as you can hear, there's barely any squeaking noise left. _ _ _ _ _ _
_ _ _ _ _ _ _
So why [N] does this work?
Well, the general idea is that to get out of the string, we should always try to do
the movement that is perpendicular to the string first.
And only then can we move the whole hand to the side and make the actual position change.
Let me demonstrate it again.
So version number one, without taking care [Em] of this. _ _
_ _ _ So here the squeaking noise is quite present.
And version number two. _ _ _ _
_ _ _ _ [N] And as you may have noticed, the movement is still done in the last moment possible,
but this is graceful and a little bit rounder, slower, _ _ _ as opposed to a stressed out movement.
So this will help you a lot, I think. _
The third and final piece of advice for today's video is that generally speaking, when changing
position, if the form of your hand stays the same or very similar, you'll always want
to slide on the trebles.
So this means on the first three strings, but not on the basses.
On the basses, you would want to lift the finger, do the position change and replace
the first finger again _ _ on the fingerboard.
Perhaps a better example of this point is Francisco Tárrega's beautiful piece Lagrima,
where the most of the recordings I hear on YouTube sound something like [E] this. _ _ _
[B] _ _ _ _ _ _ _ [Gb] _
_ _ [B] _ _ _ _ _ [Em] _
_ _ [N] Instead, what I would like you to do is to always try to lift the first or the second
finger when doing the position changes.
And it will transform this piece into something really, really beautiful.
_ [E] _ _ _ [Gb] _ _ [E] _ _
[B] _ _ _ _ _ [E] _ _ _
_ _ [B] _ _ _ _ _ _
[Em] _ _ _ [Am] _ _ [E] _ _ [Dbm] _
_ _ [A] _ _ _ _ [C] _
To recap, the main take-outs of these episodes are
Number 1.
Keep the number of position changes as low as possible.
Number 2.
Do position changes in two stages.
First, release [Eb] the pressure while still touching the strings.
And second, jump to another position.
Remember, here it's very important to get out of the string in a perpendicular movement
to the string. _ _
Number 3.
Slide on the trebles for stability, but always leave the fingers touching the bass strings.
[E] That's it for today.
I hope you enjoyed this episode and learned something from it.
I wish you all the best and talk to you soon.
Bye! _
_ _ _ _ _ _ [Am] _ _