Self taught here. Guilty of 12, 13 and 14. Seemed to have avoided the others without a teacher. Agree on 12, but years of poor sitting posture takes a while to overcome. Not sure I agree with 13 and 14. For me mentally visualizing my hands is very helpful and I have a theory that too much looking may cause focal dystonia.rikroberts wrote: ↑Wed Aug 02, 2017 5:31 pmIs it okay to revive an old thread? I'd like to try to answer the OP in a very definitive way.
From my 25 years teaching experience, these are the main bad habits you can develop learning without a teacher:
1. Playing with the guitar away at an angle to the body, so you can see the strings more easily.(Should be against your stomach).
2. High left hand thumb
3. Left hand thumb at too much of an angle, so you are not reaching around to your fingertips but instead playing on the flats of your fingers.
4. Palm of LH not parallel to the guitar neck, playing at an angle limits the LH 4th finger.
5. Playing with a flat RH wrist, not arched.
6. Anchoring the RH little finger onto the soundboard.
7. Not placing LH fingers well into the fret (1/2 or 2/3s across)
8. Letting your RH bounce
9. Playing with the guitar bout tucked into the right arm elbow
10. No free movement back and forth with right forearm, so your RH keeps changing its arched position, resulting in missing strings.
11. Playing with a raised right shoulder.
12. Playing with an arched back. Keep straight.
13. Playing transfixed to the music and not developing quick glances between Music-Left hand-Right hand when you first learn a piece.
14. Connected to the above - playing by feel and not by sight - not looking at LH/RH movements.
15. Not developing a good RH plucking technique where you push down slightly onto the string (trampoline effect)
16. Anchoring RH a/m fingers on top two strings. (Although, some modern players now do this).
17. No practise technique, not learning to slowly train the fingers in the pieces you play, but to instead 'chance it' and stumble through.
18. Not developing the ability to identify tricky passages which need 500% more work in pieces.
19. Playing with no concept of phrasing.
20. Playing with no vision or personal opinion about how the piece should sound.
22. Playing with too much LH pressure.
23. Playing with too much body, LH and RH tension.
24. Playing without projection - point 15 relevant here.
25. Not practising making pure notes, without buzzes. Lot's of technique needed here.
26. Playing with the RH to square on against the strings, not diagonally, which helps tone with most people.
27. Playing with way too much rest stroke, not developing a good strong freestroke. See points 15 and 24.
28. Not muting bass strings during passages when they need to be stopped, needs technique.
29. Playing with acoustic guitar style pull-offs in slurs - needs technique. Don't pull off the string literally, let finger drop.
30. Finally.................practising and playing without LISTENING to the sound you make.
You need a good teacher to avoid all of the above in my opinion. (I should also point out that you can develop these bad habits with a teacher too!)
There could be many more....but I teach CG day in day out as a full time job, these are the top ones. Nos 2 & 3 are real biggies with self taught guitarists, they don't usually understand that you need to play with your wrist forward to gain good assess to the strings with your fingertips.
Well I would say it is, but you know, some people make different things work. One of the greatest English Guitarists in the 1990s was Simon Dinnigan, he played with his RH pinky constantly sticking right out. He was my teacher, when I asked him about it he just said "it's like that, it balances my hand". He later had to quit altogether due to an injury, I don't know if it was related to his RH technique. He never advocated any of his students copying that technique, as it was his own personal little glitch, but boy could he play!
Resting RH pinky on soundboard goes back to romantic guitar and lute technique. Strings are closer to the soundboard on those instruments and the RH ring finger was not used as much as it is in modern guitar technique. There's also a big difference between allowing the pinky to gently rest on the soundboard and pressing it down firmly. Most players who use the technique will frequently release the finger from the soundboard.rikroberts wrote: ↑Thu Aug 03, 2017 6:40 pmWell I would say it is, but you know, some people make different things work. One of the greatest English Guitarists in the 1990s was Simon Dinnigan, he played with his RH pinky constantly sticking right out. He was my teacher, when I asked him about it he just said "it's like that, it balances my hand". He later had to quit altogether due to an injury, I don't know if it was related to his RH technique. He never advocated any of his students copying that technique, as it was his own personal little glitch, but boy could he play!
As Michael says its an early guitars and lute technique but I'd stress that its only relevant to those styles and when players like Rob et al do it its because they are either using that technique to play old pieces, or using 'old' technique (plus often, no nails) in more modern pieces. Which is of course fine if that's what you wish to do.
This.Larry McDonald wrote: ↑Sat Aug 05, 2017 12:01 pm6. Resting RH pinky on soundboard........ Do that all the time- Carles Trepat does it sometimes, so does Rob MacKillop and many others... Not that much of a crime is it? Booooo....
Search for the debilitating effects of the Quadridge Phenomenon. This happens when the pinky rests on the modern guitar.
No teacher ever taught me right-hand technique in much detail. It is only through careful study of Käppel, Stanley Yates, and Scott Tenant's technique books that I have clear notions about right-hand technique. This is a risky approach, I agree. Better to have a teacher with a solid background in kinesthetics. But such teachers are extremely rare. Second best is to study Käppel and Yates with great care. Teachers (that is to say, well-trained, erudite musicians) are essential for learning the musical aspects (interpretation and performance practice). I am not impressed with their value as teachers of technique. I have not tried all teachers, of course, and I cannot afford the ones that I know for sure are experts in technique. Käppel, Yates, and Tenant (you need all three for proper perspective) provide an affordable and reliable solution, even if there is a risk in the lack of supervision from an expert.