C Minor Tango Lesson
 Hi, my name is Gerardo Siere, I am from Argentina. Itīs my first time here, today I'm sharing this little piece of mine. It's a really short one and it could make a nice introduction for some tango in C minor.
I will break this lesson in 5 pieces of 4 measures each. In Video number 2 I'll talk about slurs stuff so if you don't have any problem with them you can skip it.
Sheet music, tab and backing tracks are included. To view sheet music and video at the same time print the image or open it in a new window.
For this backing track I'm using open strings as "click" they count 1 2 3 4 , 1 2 3 4 , 1 2 3 (silence).
Hope you like it. Have fun!
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Now some boring stuff....
Letīs talk about slurs. They are the most difficult thing in this piece.
Here's a little guide for more you should look for techniques lessons section.
Ascending slurs.
An ascending slur means that you make a note sound just with your fretting hand.
There are several factor we must pay atention.
1- Acuracy: The finger that rings the note is the same finger that intonate the note.
This finger must press the string just as nearest as possible to the fret.
This kind of placement allows you to get a note to sound using the less preassure possible.
Let's take for example a C on the 3rd string and try pressing it in several places at
the spece between the 4th and the 5th fret. See where is the best spot that gets you a nice
sound with less effort.
2- Speed: The more speed the note will sound louder.
Tip 1: Youīll get more speed with more distance from the fingerboard but more distance
makes acuracy a more difficult task.
Tip 2: The bigger the mass more speed for example, you get more speed with your whole
hand than just with finger movement alone thatīs way itīs easier a 1-3 slur than a 3-4.
3- Empty your finger, when you ring a note with a fretting finger you apply more
preasure than needed when ringing the note with your plucking hand. Try this: First
ring a note with a fretting finger, then release the preassure slowly and at the same
time keep plucking with your right hand until the note doesnīt intonate well. With
this you realise what is the amount of preasure you need to picht the note. After this
you must release the preasure faster. Use a metronome at some fast tempo using one click
to ring a note with fretting hand, and than as the second click sounds you must get rid of
the extra preasure. (If click is boring try some real music
may be Queenīs under presure ^-^)
4- Whole body position: Work with all your fretting arm than just with your fingers.
Big muscles go for strenght, little ones go for acuracy. Must pay atention to your
fingers, to your wrist, to your forearm, to your elbow, the rest of the arm and even your
shoulder. Itīs impossible to look at them all the time, so take just a passage you
found not easy and play it while looking at one factor at the time.
5- Context: There isnīt a single position thant allows you to play confortably
everything. Youīll have to think where you are, where youīre going and what do you want to do.
Ascending slurs combinations in order of dificulty. (Donīt practice this drill to close
to the nut, the first time you aproach to slurs you should try them at a confortable spot in the
fingerboard)
1-3
1-2
1-4
2-4
3-4
2-3
For open string (watch open string volume should be the same as the others)
0-2
0-3
0-1
0-4
Descending slurs. Here you go from a ringed note (with plucking or freting finger) and
then the same finger thatīs fretting the note will be used to pluck the string again
IN THE SAME WAY YOUR RIGHT HAND WOULD DO.
When plucking a string there are two standart ways. Rest stroke and Free Stroke. You
choose between them acording to context.
In general you should choose the rest stroke kind of slur if you are staying at the
same place or youīre playing or neither canīt afford to get your hand to far from the
fingerboard. The free stroke kind is better for switching inmediately to somewhere else).
Now the important thing to keep in mind that while one finger is plucking the other one who
holds the plucked note musnīt go out of place, but this doesn't mean it must go stiff or
apply extra preasure. The one who makes efort here is the plucking one just the same as
if you are using your regular attack to ring notes.
About the zone where youīre playing: Nearer to the nut is more difficult to get control
over your slurs. That is because the string is so hard (try plucking a string with your
right hand just next to the bridge and youīll see what i mean) so help your self with your arm.
About the wrist, this articulation provides our fingers good angle, but not strengh.
Donīt use it for strengh.
Combinations
3-1
2-1
4-1
4-2
4-3
3-2
Open strings (Aim for even sound)
2-0
3-0
1-0
4-0
The most challenging way of doing this drills is at some slow tempo,
but too slow may be imposiblle to play. Try different rythms,
but remember to keep rythm acurate as possible, we are looking for control here. |
Ab G7 Cm
Q. S S E E E E E E S S Q S S E E E. S Q Q
E||-------------------------|---------------------------|--------3---------
B||-------------------4--6--|--3---------------------4--|--3---------------
G||----------------5--------|-----4---------------4-----|------5-----------
D||---------4-5-6-----------|--------5-4-3----5-6-------|------------------
A||-------------------------|---------------------------|------------------
E||-------------------------|---------------------------|------------------ |
1) Watch out for the duration of the values.
2) Donīt let sloppy slurs sound louder or softer than they should,
slurs should sound the same volume as notes that are actually plucked.
Slurs are articulations not accents.
3) When playing a non arpegio melody on several strings must not let let
two strings sound at the same time. Itīs a scale not a chord.
From Eb on second string (4 fret) to D two notes (Eb and F) are played with
a some kind of staccato thatīs called "picado" but this D on 2nd string must have
full value.
There is a glissando from G to Ab with the 3rd finger. Itīs replacing a
half tone ascending slur. A propper position of the wrist, is the key to get
this notes played acurately.
Even we use a barre playing Bb and D donīt let them ring together.
D and G at the end of the frase have full value. |
C7 Fm
S S S S E S T T E E E E E E E E E E Q
-3-4-3-4-|--6--4-6-4-3-----------------|-----------------
---------|--------------6--5-----------|-----------------
---------|--------------------6--5-----|-----5-----5-----
---------|--------------------------8--|--6-----5-----3--
---------|-----------------------------|-----------------
---------|-----------------------------|----------------- |
If the G Ab compose slur is too difficult you can play the last two notes.
Watch out for the triplet slur, the key is not rushing with the 4rth finger,
after this slur you can play the G if it getīs two difficult. Donīt use any
extra force with the slurs or they will not sound articulated.
Thereīs a grace note (C) to Db that is played as a glissando, here keep your
wrist and finger steady (but not stiff) and move your forearm.
In the F minor part of the lick the fist C is picado. The rest is legatto. |
(Fm) Bb Bdim
S S S S E E E E Q. S S
---------|---------------------L----|
---------|-----------6--9--------11-|
-7-8-7-6-|--7-----7-----------------|
---------|-----8--------------------|
---------|--------------------------|
---------|--------------------------|
Cm
T T E. Q Q
----------------------
--9--11-9---8---------
----------------------
----------------------
---------------------
--------------------- |
The only note we pluck in the first slur is the D on 3rd string (two times)
The Bb lick is legatto and played on that position for getting a sweet sound.
For the vibratto use a chello like one, that work better on nylon string guitars
becouse it bends the intonation up and down. Bending like vibratto only makes notes
go sharper.
For the 4-2 trim help your self with the wrist. |
G7
S S S S E E E Q. S S S S
----------|--------------------------|
------0---|--3--------3------------3-|
----0---5-|-----5--4-------------4---|
--3-------|------------------5-6-----|
----------|--------------------------|
----------|--------------------------|
Cm
E E E Q.
-----------3--
--4--3--1-----
--------------
--------------
--------------
-------------- |
Play F G B C D in a scale way avoiding those to ring together. The mutting here is
done with the 3rd finger for the open strings, be sure to empty the first finger
on the F note as soon the open G sounds.
After the scale like rush you should play with picado the following : D C B, but
the last D has full value .
The same kind of articulation applies to the other half of this phrase. |
Ab7 G7
S S S S S S S S S S S S S S S S S S S S
--3-4-3-2-|--3----------------------------------|
----------|------6-5-4-3------------------------|
----------|--------------5-2-3-4--------0-----7-|
----------|-----------------------6-3-4---4-5---|
----------|-------------------------------------|
----------|-------------------------------------|
Cm G7 Cm
Q Q Q Q
----------------------|
----------------------|
--5---------5---------|
-------5--------------|
----------------------|
----------------------| |
This phrase is based in a G7 arpegio that goes to C minor
, the beat goes over a G, a D , a B, a G and C. I played 16s and choosed
the first notes that came to my head (actually this is not the original
phrase, I forgot it becouse I didnīt write it down ^-^).
Before the first G there is a four note levare, make sure to not play
the G from the levare louder than the G at the first beat.
There are several chunks that aim to notes from the G7 arpegio.
You should try this way for any fast passage:
First divide it by small chunks.
Then you must master a chunk slowly . After that, you shoul master
the same chunk at faster speed or even at the piece speed if it
is possible.
Now, LET THIS CHUNK ALONE!!!!!
LET THIS CHUNK ALONE!!!!!
LET THIS CHUNK ALONE!!!!! for a while and forget about it.
Here are the most important tips for memorizing fast and long stuff.
1)You select a chunk, this chunk must have some gramatical meaning,
(if possible), it should stand alone for himself.
2) You play slow for knowing what are you doing, to see what you are
doing good or wrong. In this stage we realise and tell our muscles what
are they going to do
3) Once you have your orders make your fingers repeat them at
faster speed so they memorize their stuff and leave your brain dealing
with other stuff.
When trying to play several chunks together, take two consecutive,
study slowly the conection point between then, master it. Then you can
play both chunks over and over at full speed for muscularmemorization .
Then add the next chunk and the next and so on.
If you study the chunks bot not master the conection between them you wont
be able to play several consecutive chunks at full speed and consistently,
youīll crumble somewhere in the middle.
If you follow this steps, it will result that you can play the entire
passage as a whole without thinking about chunks.
Another tip; very often itīs seen that some guy (that will be me....)
plays well at the beggining of the piece and gradually the sound goes crappier
the temposlower and the volume softer and softer as the piece advances. That is
because this guy (me), when studies the piece, keeps starting from the beggining
of the piece and after a while getīs distracted, interrupted, loose consentration
or just switch to do something else, and so on all his practice sessions are the
same....Your practice time is scarce and so is your concentration. For one time
try to start from the end of the piece and will notice some nice stuff will happen.
Evenly practice of the whole piece is necesary, all parts need the same atention.
Difficult and technical scary stuff is the exception in music, itīs more
important to play really good the "easy part", slopiness in hard passage may be
forgiven, playing something ovbius and easy with no interest or emotion wont pass.
If you think that the stuff between the big guitar solo is boring the same will
think the people listening to you and they may stand up and leave.
Sorry for my crappy english and havenīt use an antipop device when recording.
Fell free to ask any doubt you have about this video lesson.
Hope you have enjoyed it.
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Here is something for the pickers. I usually dont use picks, because
Iīm just not ready to use it (thereīs nothing wrong with using picks)
Use down rest stroke when ever itīs possible, this gives you a percusive
sound because it makes the string do a slighly popping against the fingerboard.
This down stroke must be done with a very light hand and in some place
nearer the brige (you get stiffer string tension there and brighter sound)
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Lesson Questions, Feedback & Comments |
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Kristofer Dahl |
30th December 2007 |
GMC Founder & Rocker
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Welcome to GMC Gera! It's very nice to have some tango here!  Everyone - be sure to provide some constructive feedback as this is Gera's first lesson. |
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Muris Varajic |
30th December 2007 |
Instructor
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Wonderful,great first lesson Gera,
welcome to GMC!!  |
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Marcus Lavendell |
30th December 2007 |
Instructor
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Great first lesson Gerardo! This style is totally new to me, so I really look forward to learn it! Thanks!! |
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Vinod Saranga |
30th December 2007 |
Acoustic Instructor
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Great first lesson Gerado
Very good explanations, too
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kaznie_NL |
30th December 2007 |
Member
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Nice first one Gerado. Welcome!
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Dejan Farkas |
30th December 2007 |
Instructor
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Excellent first lesson and great explanations
Welcome to GMC! |
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Jerry Arcidiacono |
30th December 2007 |
Instructor
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Welcome to GMC!
I love this music sheet!! |
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Juan M. Valero |
30th December 2007 |
Instructor
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Hello Gerardo, welcome to GMC !!!! niece lesson my friend !!!
Te deseo lo mejor amigo, sigue así  |
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Bogdan Radovic |
30th December 2007 |
Bass Instructor
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Welcome to GMC Gera! Great first lesson.Its very instructional , I especially like the exercises you included in the first video !! Very good job man!! Cheers! |
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DeepRoots |
30th December 2007 |
Member
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Thanks for this lesson Gerado- im new to this style.
For any of you having problems figuring out what a "slur" is it is our good old trusty hammer-on/pull-off technique (it didnt click for me right away).
And thankyou for including the backing track in the guitar pro file, and i see you've included many different speed backing tracks- thats great too! And wow you've also showed us pickers how to adapt this without using fingerpicking thats a huge plus!
I think i'd find it easier with a traditional 1-2-3-4 tap count-in however.
Looking forward to more lessons from you
You've included so many tips and tricks with this lesson i'm sure just about anybody could master it! |
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Gerardo Siere |
30th December 2007 |
Instructor
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Hello, thank you everyone for your support. Please ask anything you didnīt understand.
I didnīt put a traditional 1-2-3-4 tap becouse the first frase has 10 pulses or 2 and half 4/4 measures so it could be confusing, and more importand I didnīt want to deal with metronome noises becouse Iīm by my self so I canīt not stand up to turn that of while recording.
For next lesson there will be some exersices and principles on video number two. The explanation videos will be more and shorter and about shorter phrases. Instead of talking Iīll write all down and will be refering to the lesson timer so you know what Iīm talking about.
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Power_Arctica |
30th December 2007 |
Member
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Welcome Gerard!! Great first lesson!!!
And wonderfull to see so many differents styles at GMC, from tango to metal! Great!
Justo el otro dia estaba diciendo que queria aprender algo de tango... y ahora me encuentro con esto! Un toque argentino!!!! Espero aprender mas lecciones tuyas!
Un abrazo,
Mariano
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Maximus |
30th December 2007 |
Member
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Nice lesson. Welcome to GMC
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Gabriel Leopardi |
30th December 2007 |
GMC Coordinator & Instructor
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Hi Gerardo! Bienvenido!! Que bueno tener lecciones de tango en GMC!
saludos!
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Spiderusalem |
30th December 2007 |
Member
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YES! YES! This is a lesson I've been waiting for! Thank You!
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Kosei Kubota |
30th December 2007 |
Classical Instructor
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Welcome to GMC.
I love Tango! Most of famous Tango music is under copyright, so it's great to have someone's original Tango here.
Looking forward to your next lesson!
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SLASH91 |
30th December 2007 |
Member
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This is great!
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Hisham Al-Sanea |
30th December 2007 |
Instructor
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welcome to GMC Gerardo and nice tango
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JOhn |
30th December 2007 |
Member
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Very nice lesson and explanations im looking forward to future lessons!
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Pablo Vazquez |
30th December 2007 |
Instructor
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Good job Gerardo!! Bienvenido, excelente trabajo! Estoy ansioso por mas. Saludos!!
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Nick325 |
30th December 2007 |
Member
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coool welcome gerardo
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Toni Suominen |
30th December 2007 |
Instructor
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Great lesson dude!! and Welcome to GMC!! |
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Tuubsu |
31st December 2007 |
Member
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Very nice lesson man! Can you also dance Tango?
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shellshock1911 |
31st December 2007 |
Member
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Very awesome, sounds kinda jazzy. Little tough for me now because I just got my classical guitar a few days ago but when my classical guitar skills improve I'll make sure get back on these lessons.
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eddiecat |
31st December 2007 |
Member
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Congratulations on this first lesson Gerardo!
I personally think it's amazing!
Lots of nice and useful exercises!
Amazing lesson!
Cheers, Eddie
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Andrew Cockburn |
31st December 2007 |
Theory Instructor & Moderator
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Great lesson Geraldo - we have a real cross section of musical styles now!
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Ben N |
31st December 2007 |
Instructor
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great 1st lesson welcome to GMC and very nice tune well done! |
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Carlos Carrillo |
21st February 2008 |
Instructor
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good job Gerardo!!!!So coool....So coool....Excellent!.....
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Guitar pro tab (?) 
Members practicing this lesson: 
