October 2011 \ Features \ Artist Interview \ Matt Palmer: Classical Nitro

Matt Palmer: Classical Nitro

Jason Shadrick

Jaw-dropping classical guitarist Matt Palmer reveals how his love of ’80s shredders like Yngwie Malmsteen and an unwanted gift from his mother inspired him to turbocharge the “Classical Gas” mentality of yore and create his own mind-bogglingly fast nylon-string picking technique.


Premier Guitar October 2011

(4 of 4)

Step on the (Classical) Gas
Matt Palmer breaks down his turbocharged hybrid plucking technique in this excerpt from his book The Virtuoso Guitarist, Vol. 1.

Classical plucking-hand fingering
p - “Pulgar” or thumb
i - “Indice” or index finger
m - “Medio” or middle finger
a - “Anular” or ring finger

The fundamental approach to this scale technique is quite simple. Pitches from a particular scale are arranged in three-note-per-string patterns, and the right hand repeats the fingering a–m–i. The sequence of attacks in the right hand is of the utmost importance. The sequence a–m–i follows the principles of sympathetic motion, much like the natural closing of the hand. It is therefore a naturally efficient way of moving the hand—similar to tremolo technique. The mastery of this technique can easily provide guitarists with a simple and effective method of playing scales on the guitar. Efficiency and ease of execution are key factors in the fluid and effortless technique required to play scales at great speed. Fig. 1 demonstrates the basic approach to a–m–i scale technique over an ascending C major scale.


Observe in Fig. 2 how each string begins with an attack of the a finger. Furthermore, the attack of the a finger consistently coincides with the use of the left-hand first finger, while the attack of the i finger is with the fourth finger. In the descending scale, a similar consistency can be found. The attack of the a finger now coincides with the use of the left-hand fourth finger, while the i finger is with the first finger.


Important
As can be seen upon further study of this method, when playing scales that proceed stepwise I am always in pursuit of fingerings that allow me to maintain the consistencies found in figures 1 and 2. No matter the events that occur within the course of a scale—direction changes, shifts, strings with more or less than three notes on them, etc.—I always attempt to maintain or immediately return to the idea of three-note-per-string scales attacked with a–m–i. This adds a great deal of consistency to the method, and makes the process of fingering and executing these events much easier. Furthermore, as you will see in the advanced application of the technique, the vast amount of fingering possibilities that usually exists is replaced with a relatively small number of formulas that can be applied to various scenarios.





« Previous    1 | 2 | 3 | 4   

Related Articles

Interview: Children of Bodom’s Alexi Laiho – Fast and Slow
Interview: Eric Gales & Doug Pinnick - Gospel Grooves & Abnormal Blues


Comments

(8 comments) display by
UsernameComment
Emmett from SF
on 06/08/2012
I'm a hobbiest - but I've been playing the pieces on Parkening's "Plays Bach" and "Artistry" CDs on and off for 15 years.

What's interesting about Parkening is that Hal Leonard publishes the sheet music and fingerings to most the songs he plays.

And if you know of a particular song of his you'd like to study - and it's not in one of his books - you can ask his secretary to help you get it.

So I'm guessing the turning point - after listening to "Plays' Bach" was actually getting the sheet music to that CD - and then learning to play it.

That music is a gift.
Miguel
on 01/01/2012
I just got his guitar method, it is excellent.
Jeff
on 12/28/2011
Not really a very clear interview, in terms of Matt's brief answers. And no real effort is made to make it clear. Take for example this: "So the longer nails get that bright sound back, instead of that mushy, dark sound you get from the parallel approach." Which parallel approach? Or this: "There is a slightly larger angle between my nails and the strings that produces a darker sound." There are many angles involved, and it is not clear which angle is meant. I mean: it depends on your viewpoint: do you mean the angle of how deep the nail goes under the string? Or what? (This might actually require close-range video from different views, otherwise it is pointless.)
Annabelle Lee
on 10/11/2011
Head to head....Matt can out play all of his influences!
Annabelle Lee
on 10/11/2011
Matt has amazing speed and agility. What really amazed me in college was how fast he learned and mastered new material. He is a great guy. He left everyone in the dust! Dude, how about some lessons?
JHB3
on 09/23/2011
Thank you for sharing this amazing artist. This is a player capable of revolutionizing the genre. NO ONE PLAYS LIKE HIM. Album is good, but live is unforgettable experience.
Linda Palmer
on 09/20/2011
Mama Palmer Thank you for including the sounds of the
guitar, however watching him play is even
exciting. I happen to remember that his
father was Matt's first musical influence
and he played a Martin D12 quite well. well. His Canadian
Railroad Trilogy by Gordon Lightfoot is in
some ways similar to Rak's Sonata.
Spencer
on 09/20/2011
I was fortunate enough to take lessons from this beast player. He taught me how to improve speed and tenacity with metal riffs, and the delicate intricacies of classical finger-picking. What a beast.



Your Comment:  

All comments are subject to editing or deletion by the Premier Guitar staff.

Your Name:  


Please enter the text you see in the image:  
10

52C1C599-9B55-4E81-BD84-0217750E155A