{"id":11085,"date":"2016-03-25T21:26:09","date_gmt":"2016-03-26T04:26:09","guid":{"rendered":"http:\/\/classicalguitarshed.foureyes.com\/?p=11085"},"modified":"2023-04-28T00:31:43","modified_gmt":"2023-04-28T07:31:43","slug":"reduce-tension-improve-touch-buzzed-notes","status":"publish","type":"post","link":"https:\/\/classicalguitarshed.com\/reduce-tension-improve-touch-buzzed-notes\/","title":{"rendered":"Reduce Tension and Improve Your Touch, with Buzzed Notes"},"content":{"rendered":"<p>Some of the <a href=\"https:\/\/www.classicalguitarshed.com\/guitar-squeak\/\">most common dilemmas<\/a> we classical guitarists have to overcome deal with issues of tension and muscle power.<\/p>\n<p>Luckily there\u2019s an easy method of reversing habits of tension, and making everything we do a bit more graceful and fluid.<\/p>\n<p>We\u2019ll get into the solution in a minute, but first, let\u2019s explore the problem.<\/p>\n<h2>The Challenges We Face as Classical Guitarists<\/h2>\n<p>Besides the obvious challenges of simply getting our fingers to play the right notes at the right time, we also have to manage the machine we call the\u00a0body.<\/p>\n<p>Our bodies, with practice, will do whatever they&#8217;re told. However, until we know what to tell them, and in what quantities, they just does their best in the moment.<\/p>\n<p>Over time, as we improve, <a href=\"https:\/\/www.classicalguitarshed.com\/half-effort\/\">we learn that there are easier or different ways of doing things<\/a>, but by this time, we have a strong habitual use that we&#8217;ll default to (aka &#8220;The Autopilot&#8221;).<\/p>\n<p class=\"centerc\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/1AluKqMgx-k?rel=0&amp;showinfo=0&amp;autohide=1\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h3>Inappropriate Tension<\/h3>\n<p>How much is enough? How much garlic does this dish need? How long should those steaks stay on the grill? How hard should I push this child\/employee\/student\/client?<\/p>\n<p>The answers to each of these questions is, \u201cWell, it depends.\u201d<\/p>\n<p>And it takes time and experience to get these consistently right.<\/p>\n<p>At first, there\u2019s no way of really knowing, and we just guess.<\/p>\n<blockquote><p>We use a shovel where a spoon would work.<\/p><\/blockquote>\n<p>Over time, we gain awareness of all the factors involved and can work to introduce nuance and subtlety.<\/p>\n<p>But until that time, we use a shovel where a spoon would work. We expend more energy than is necessary.<\/p>\n<p>Every action requires a certain amount of muscle tension and energy. The goal is to use that amount, and no more.<\/p>\n<p>Job one is recognizing inappropriate tension, and realizing that we may not yet know just what \u201cappropriate\u201d is in any given situation.<\/p>\n<p>Then you can look at tension in each hand, and as wonderful as it would be for our hands to be completely independent of each other, in real life, we typically find\u2026.<\/p>\n<h3>Crosstalk Between Hands<\/h3>\n<p>Because we use both hands to play each note on the guitar (for the most part), we work hard to synchronize our hands.<\/p>\n<p>The shadow side of this is that all this connecting of good parts (placement of notes, rhythm, touch, etc.) also comes with some bad.<\/p>\n<p>Often, when we have large amounts of tension in one hand, the other hand also increases tension. \u00a0I call this &#8220;<a href=\"https:\/\/www.classicalguitarshed.com\/guitar-tension-cross-talk\/\">crosstalk<\/a>&#8220;.<\/p>\n<p>Sometimes, this is good. For instance, if we&#8217;re strumming a loud chord with the right hand, we want the left hand to make sure that all the frets are fully pressed so that the sound is clean and strong.<\/p>\n<p>However, most times, when the left hand is <a href=\"https:\/\/www.classicalguitarshed.com\/make-bar-chords\/\">playing a bar chord<\/a>, or a large stretch, the right hand takes on this same tension level.<\/p>\n<p>When the right hand tenses and uses inappropriate tension, the tone quality suffers, and the music often sounds \u201cdifficult\u201d to the listener. The fluidity lessens, and the playing sounds stiff and wooden.<\/p>\n<h3>Muscle Memory Cuts Both Ways<\/h3>\n<p>And as we practice day in and day out, we naturally form habits. That\u2019s just how the mind and body work. (And thank goodness! We\u2019d never advance much otherwise.)<\/p>\n<p>Our muscle memory is the collections of movements we default to when we&#8217;re not consciously controlling our hands (again, the autopilot).<\/p>\n<blockquote><p>Muscle memory doesn&#8217;t know right from wrong.<\/p><\/blockquote>\n<p>We train our muscle memory effortlessly. If we do something repeatedly, the mind notices the pattern and wires the synapses to include every little aspect. It doesn\u2019t differentiate between what we intend or don\u2019t intend, or what we know is right or wrong.<\/p>\n<p><a href=\"https:\/\/classicalguitarshed.com\/proprioception-exercise-learn-new-chords\/\">It just ingrains whatever we actually do<\/a>. (This is why slowing down is so important in general: So that we can be more intentional.)<\/p>\n<h2>A Simple Exercise to Reduce Tension and Build Awareness: Buzzed Notes<\/h2>\n<p>Luckily, there is a simple <a href=\"https:\/\/www.classicalguitarshed.com\/left-hand-tension\/\" target=\"_blank\" rel=\"noopener noreferrer\">left hand<\/a> exercise we can use to build more awareness of how much\u00a0tension is necessary.<\/p>\n<p>With a couple of minutes per practice, we learn (at a deep, unconscious, unthinking level), how much tension is needed for any specific moment of music.<\/p>\n<h2>How To Buzz Notes on Guitar<\/h2>\n<p>There is a point between fully depressing a fret with the left hand, and just touching the string (creating a <a href=\"https:\/\/www.classicalguitarshed.com\/muting\/\">muted thump<\/a>). This small window creates a buzzing sound.<\/p>\n<p>It takes great focus and intention to play with this specific amount of tension. Just a bit too much or too little will tip the scales to one side or the other.<\/p>\n<p>Fortunately, we get immediate feedback by closely listening, and can adjust accordingly.<\/p>\n<p>There are a couple of tips that will make your buzzed note practice more enjoyable and effective.<\/p>\n<h3>Slow Down<\/h3>\n<p>Speed creates the illusion of perfection. If you play fast, you\u2019ll think you\u2019re doing great.<\/p>\n<blockquote><p>Speed creates the illusion of perfection.<\/p><\/blockquote>\n<p>If you truly want to know what is going on in your playing, you have to be able to hear and evaluate each note. (Yes, every single one!)<\/p>\n<p>That means you have to slow down.<\/p>\n<p>If you your goal is to just do the exercise, you\u2019ll end up frustrated and wasting time. The goal should be to hear each note, evaluate how close it was to the perfect buzz, and then play the next with that input in mind.<\/p>\n<p>Wash. Rinse. Repeat.<\/p>\n<h3>Listen Very, Very Closely<\/h3>\n<p>Of course, going slow isn\u2019t enough by itself. You also have to actively listen to how your guitar is actually sounding.<\/p>\n<p>We have an internal notion of what we want to hear, and we have the actual sound waves that come from the instrument.<\/p>\n<p>It seems obvious, but it\u2019s amazing how many players only (or mainly) hear what they want to hear, and not what they\u2019re playing in the moment.<\/p>\n<p>It takes a full and focused attention in the moment to practice these well.<\/p>\n<p>This can be tiring, so you may find that one or two minutes of intense focus are what you can realistically do. Great, do that. Then move on to playing <a href=\"https:\/\/my.classicalguitarshed.com\/classical-guitar-courses\/\" target=\"_blank\" rel=\"noopener noreferrer\">some music<\/a>.<\/p>\n<h3>Play the Right Hand with Gusto<\/h3>\n<p>You\u2019ll find that buzzing notes is much easier when your right hand plays strong and loud.<\/p>\n<p>Another benefit to this is that it trains your hand to work independently of one another.<\/p>\n<h2>Create Exercises Using Buzzed Notes<\/h2>\n<p>While just buzzing some random notes will be beneficial, it isn\u2019t very fun, and it takes your attention off of the \u201chow\u201d and puts it on the \u201cwhat\u201d.<\/p>\n<p>Just like practicing <a href=\"https:\/\/www.classicalguitarshed.com\/alternation\/\" target=\"_blank\" rel=\"noopener noreferrer\">I and M alternation<\/a> in the right hand (scale technique), it helps to memorize some patterns. This way minimal brain-power is used for choosing notes, and more is used for actually working on the skill at hand.<\/p>\n<h3>1234s<\/h3>\n<p>One of the simplest left hand patterns is playing 1234 on each string. Up and down. Nothing fancy.<\/p>\n<p>The beauty of this pattern is that all the left hand fingers get equal chance to buzz.<\/p>\n<h3>Scale Patterns<\/h3>\n<p>You can also use your <a href=\"https:\/\/www.classicalguitarshed.com\/classical-guitar-scales\/\" target=\"_blank\" rel=\"noopener noreferrer\">basic scales shapes<\/a> to practice your buzzing.<\/p>\n<p>This increases the mental load a bit. Just be sure not to put the cart ahead of the horse.<\/p>\n<p>The important thing when buzzing notes is to buzz notes. If you find yourself giving more attention to remembering or choosing what note comes next, take that as a cue to simplify and come back to the main goal of the exercise. (You can improvise and practice your scales later.)<\/p>\n<h2>Reducing Tension in Your Pieces<\/h2>\n<p>In addition to buzzing notes as an exercise, you can also use this technique as a way to have new experiences of your music.<\/p>\n<p>Of course, we generally want to avoid buzzing notes when playing pieces.<\/p>\n<p>But we can use buzzed notes as a practice technique with specific goals.<\/p>\n<h3>Solving Problems and Tricky Spots<\/h3>\n<p>Just about every piece has at least one tricky spot &#8211; that spot that doesn\u2019t want to cooperate or come out right.<\/p>\n<p>Most guitarists, to work on these spots, take the strategy of just playing them over and over.<\/p>\n<p>That might work, eventually.<\/p>\n<p>A better approach is to remove the troublesome section from the music, and take it over to the proverbial workbench, and tinker with it.<\/p>\n<p>Practicing a spot doesn\u2019t have to directly relate to what the finished product will sound like. Often, exploring a section from different angles, and genuinely \u201cplaying with it\u201d (as opposed to \u201cplaying it\u201d) will somehow solve the problem (which can seem quite mysterious!).<\/p>\n<p>Buzzing notes is one way to play \u201cwith\u201d it.<\/p>\n<blockquote><p>This also leads to easier memorization!<\/p><\/blockquote>\n<p>You can give your muscles a different experience of the same notes, and interrupt the patterns that they\u2019ve created during the learning process.<\/p>\n<p>Muscles get a new idea of how much effort is needed, and how they need to move to get from one place to another.<\/p>\n<p>In the process, you slow down enough that you\u2019ll find yourself better understanding the moment-by-moment issues involved in the tricky spot.<\/p>\n<h3>\u201cTakin\u2019 \u2019Er Out for a spin\u201d<\/h3>\n<p>You can also modify your beliefs concerning your abilities and the speed of the piece (at performance level).<\/p>\n<p>As you begin to get comfortable with the notes and fingerings, you\u2019ll become very aware of the chasm between you current ability, and where you ultimately want it to be.<\/p>\n<p>Just as walking is different than running, you may find that to play a piece quickly, something has to change.<\/p>\n<blockquote><p>Just as walking is different than running, you may find that to play a piece quickly, something has to change.<\/p><\/blockquote>\n<p>If you can\u2019t play it slowly, you\u2019ll never be solid at speed. So slow deliberate practice is a given. But assuming that you\u2019re also doing that:<\/p>\n<p>You can also use buzzed notes (less precisely than above) as a way to take your piece out \u201cfor a spin\u201d. \u00a0A \u201ctest drive\u201d, just to get the experience of what it will feel like when it\u2019s ready and up to speed.<\/p>\n<p>Of course, you won\u2019t be able to sound good at high speeds yet, but that\u2019s not the point.<\/p>\n<p>In this exercise, you can miss notes, make strange sounds, stumble around and flail at will. The goal is to have the bodily experience of playing fluidly with ease, grace and speed (even if it sounds bad).<\/p>\n<p>In other words, this is pretending to play better than you can!<\/p>\n<p>This gives you the experience of playing at a high level, even if it\u2019s \u201cmake believe\u201d. Your unconscious takes this and creates new stories and possibilities for you, and sets to work to bridge the gap between the dream and the reality.<\/p>\n<h2>Go Forth and Buzz<\/h2>\n<p>Buzzing notes is one of many tools we can use to help our playing, feel better in our hands and bodies, and solve musical problems. Keep it in mind when you notice inappropriate tension, crosstalk, or want to work differently with a piece you\u2019re working on.<\/p>\n<p>Have you used this technique? What are your thoughts? Please share in the comments!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Some of the most common dilemmas we classical guitarists have to overcome deal with issues of tension and muscle power. Luckily there\u2019s an easy method of reversing habits of tension, and making everything we do a bit more graceful and fluid. We\u2019ll get into the solution in a minute, but first, let\u2019s explore the problem. The Challenges We Face as &#8230; <\/p>\n<div><a href=\"https:\/\/classicalguitarshed.com\/reduce-tension-improve-touch-buzzed-notes\/\" class=\"more-link\">Read More<\/a><\/div>\n","protected":false},"author":1,"featured_media":11123,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21,434],"tags":[58,345,362,59,285],"class_list":["post-11085","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technique","category-main-content-parent","tag-bodily-use","tag-exercises","tag-left-hand-technique","tag-pain","tag-tension"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Buzzed Notes: Play with Less Tension using this Exercise<\/title>\n<meta name=\"description\" content=\"Play classical guitar with less tension. 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