WITH REGRET, THIS SITE AND DOMAIN IS FOR SALE, FOR ONLY Â£1,500 / $2,000
PLEASE CONTACT SHREDACADEMY AT HOTMAIL . CO.UK
Unfortunately after setting up and running this site for a long time, I have not been able to maintain it for years now. I do not have time to deal with customers and site problems. DIGITAL DOWNLOAD orders should still work in the mean time, but please do not order physical items. I'm sorry to all customers who have tried to reach me recently.
Shred Academy - Free Guitar Lesson by Jon Björk
Your Technique With Accents
One of the best ways to improve your technique is to work with
accents. In this lesson my aim is to give you some specific and
practical ideas on how to apply this to whatever is holding you
The basic idea is to accent specific notes while you’re
practicing, mainly those that are giving you trouble. In an ideal
world you would only practice your weaknesses but it can be challenging
to find out what your true weakness is in any particular lick/exercise.
I like to be systematic when I practice since it lets me feel
in control of what I’m doing. The opposite would be just
playing the material over and over and hoping for the best.
If you have a line that uses 16th notes (4 notes to every beat)
the possible accents would be the following sets:
Single accent combinations: 1-2-3-4
The last one would be where you accent every note, but that wouldn’t
really classify as accents since every note would be the same
If you look at the above combinations you’ll see that it
can easily be applied to any note grouping. The only difference
would be the number of possible permutations, when you get up
to 32nd notes (8 notes per beat) it’ll start getting kind
of crazy. What I usually do, and to make it practical (and keeping
sane?), is to use the same accent patterns as the 16th notes on
every subdivision that can be divided by 4.
In the example below you’ll find the above accents applied
to the first bar of N.Paganini’s 16th caprice. Start by
memorizing the example, then start applying the single accents.
Do this without a metronome at first using just your foot as a
timekeeper. Start extremely slow and make sure that you are accenting
the right beats. When you start getting comfortable just tapping
your foot you can start using a metronome.
The next step for you would just to apply the rest of the combinations
to this piece or preferably to something that you’re currently
For the best results I would advice you to go through all of the
accent patterns at first and make note of the ones that are giving
you trouble. Spend most if not all of your practice time on the
hard ones and just go through the others as a warm-up if you feel
like it. The thing about practicing this way is not to have to
practice a million different combinations, but rather find out
where your true weakness lies and then target that until it’s
not a problem anymore. Personally I don’t spend any time
on the ones that I can do well, I rather spend time on the ones
that will make a difference in my playing.
If you have any questions regarding this practice technique feel
free to e-mail me at email@example.com