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I cannot seem to relax when I play guitar. How can I break the `death-grip`?
Requested by Dan and Answered by Gary on 04-Apr-2008 03:38 (2392 reads)
Breaking the "Death Grip"

I would like to focus on one of the top reasons that many player can not seem to gain speed in their playing. I call this “The Death Grip”. The Death Grip is a habit that many new guitar players get into when they are first starting to learn to play. They focus so much on holding the chords and getting a clean sound that they often overcompensate on the strength needed to hold the strings to the frets. There are two major downsides to The Death Grip. These unfortunate side effects consist of sounding out of tune and reduced fretting hand speed. These are the problems we are going to cover here.

Sounding Out of Tune

I constantly get e-mails from players who want to know why they sound out of tune when they are playing. They have checked their tuning with a digital tuner and checked their intonation, yet they still feel like they are out of tune. One of the first questions I ask is, How hard are you holding your strings down with your fretting hand when you play? Why do I ask this? Well, I’m glad you asked. Here’s the simple answer.

When you hold a string down toward the fretboard it is going to come in contact with the desired fret. If you push the string down to the fretboard you are essentially stretching the string over the fret causing the note to go sharp. How sharp the notes goes depends entirely on the height of the frets on your particular guitar. Higher frets will cause the note to be sharper than lower frets. Scalloped fretboard will also have more of a detuning effect.

Here is a simple test you can perform yourself to see how much of this effect you are getting with each of your guitars. Hook your guitar up to a digital tuner and tune each open string as perfect as possible. Now choose a note on one string of the guitar. Hold that string so that it is touching the fret just enough to sound clearly and with no buzzing. Check the note on the tuner. It should be perfect if your intonation is set correctly. Now play that note again until you get the perfect reading. As soon as you get the reading on the tuner, push the string all the way to the fretboard while the string is still sounding. You should notice that the needle on the tuner goes sharp. You can do this with all the strings individually and with any note on the fretboard.

Now that you have been able to visually see the effects of the Death Grip on your ability to play in tune, we are going to move on to the second problem before we discuss how to deal with these issues.

Dealing with the Issue of Speed

Many players feel like they can not achieve the speed necessary to play the music they want to play. Again, the culprit is often times the Death Grip on the neck. When you are holding the strings to the fretboard too hard it is much more difficult to move your fingers quickly and smoothly. This often times can also be the cause of cramping in the hand and forearm.

Furthermore using to much force is going to cause fatigue to your finger, wrist and forearm muscles causing you to slow down even more. If you learn to have a lighter touch you will have much more success in achieving speed and you will be able to play longer and more relaxed.

How Do We Break the Death Grip

As I stated in the beginning of this article, the Death Grip is a habit and one that is usually formed early in a players learning curve. Like any habit, it will not be easy to break. You need to practice and be aware of your touch to the strings. Here is what you should do.

Set aside ten minutes at the beginning of each practice time exclusively for working on your fretting hand finesse. Pick songs that you can already play without concentrating to much on the chords or notes. The reasoning for this is simple. You want to spend this practice time concentrating on your fingerboard touch. If you do not know the song well, you will find yourself concentrating on the chord changes instead of the fingerboard finesse. This kind of negates the whole reason for spending this practice time to break a habit.

Concentrate on just pushing hard enough on the strings until the ring clear with no buzzing sounds. It will take time to get used the exact amount of strength you need to use, but with practice it will start coming to you naturally. The more you practice this, the quicker you will be able to break the habit.

I hope this article was enlightening and can help you to become a more dynamic player.

Written by Gary Allen

www.guitargearheads.com

Copyright © 2008 Allen & Halberg Publishing, Inc.
GuitarGearHeads™ is a Trademark of Allen & Halberg Publishing, Inc.
All Rights Reserved


The comments are owned by the poster. We aren't responsible for their content.
Poster Thread
mssmith
Posted: 2008/4/7 19:13  Updated: 2008/4/7 19:13
Moderator
Joined: 2004/3/1
From: Yardley, PA, USA
Posts: 1394
 Relaxation Pt. 2
I have a similar problem with tension but its more in my back, shoulders, and arms rather than in my grip. I tense up my whole upper body which throws everything off (timing, speed, etc.) After about 20 minutes or so, everything starts to hurt... How do you force yourself to relax?
Dan
Posted: 2008/4/12 18:19  Updated: 2008/4/12 18:19
Webmaster
Joined: 2004/1/27
From:
Posts: 1033
 Re: Relaxation Pt. 2
Hey Mike,

Jamie Andreas's book is a wonderful discussion on this very topic in the book "Principles of Correct Practice for Guitar".

http://www.guitarprinciples.com/

I confess and say that I am waaaaayyyy to impatient to follow her advice to the letter. But I pulled four nuggets out that have really helped me.

1) Slow down. If you are tense you are probably not slow enough.

2) Stop. When you feel yourself tensing up. Stop - stretch - stand up and walk around. Force yourself to relax. Some of it is teaching yourself to relax, learning your body well enough to know when you are tensing up, and forcing yourself to relax.

3) Focus. Figure out where you are having trouble and pay particular attention to those spots. Maybe you can play the chorus fine, but the solo is killing you. Maybe it is just three bars in the solo. Now that you think about it, it is the 1st to 7th position shift in the 2nd bar. Focus on that until you can get it and then put it all back together.

4) Practice speed in bursts. You (or I anyway) naturally start tensing up when I'm pushing my envelope. So I'll try to push my limits when I'm most relaxed. When I feel that tension starting to build up - I do number 2 - and then come back to something else.

Thanks for the question - I'd be interested to hear anyone else's thoughts.

Dan
Gollum
Posted: 2008/4/14 19:35  Updated: 2008/4/14 19:35
Home away from home
Joined: 2004/5/3
From: East Bay, CA
Posts: 1408
 Re: Relaxation Pt. 2
I really like number 3 there Dan.

I've notice that many times my "problem" isn't where I think it is. I'll work on a small note cluster, and then play back the full thing only to find myself making the same mistake. So I need to slowly add in more notes before the cluster to find where my note path is wandering.

I've also noticed that the movements my hands make at various speeds of playing are dramatically varried, and that's most of my problem with keeping up a fast speed in a complex section. Going slow you can perform perfect hand technique, but the technique and positioning gets lost once you speed up. Perfect pratice is better than fast semi-close practice. Besides, I usually find that I practice things faster than I need to anyways. Meaning, when I go back and play something with a CD I find the CD to be so much slower, since it sounded more complex than it really was, so I'd been practicing it 5-15BPM too fast because I'd been overthinking the section.

I've also found that practicing something at a scaringly slow 20-40 BPM slower than intended can still net the SAME results as praticing it faster. Your muscles won't remember the speed of a run as much as the movements you make. Making slow accurate movements will teach your fingers just as well as fast movements, even if the fast movements are accurate and not missed. I find that playing a run 20 times has the same improvement benefits no matter HOW fast I play it, just as long as I play it 20 times and keep a consistant pace.

One of the things that really helped me was to stop worrying so much about how "perfect" I was. I learned to laugh or excuse my mistakes, not stop and fret about it... ha...ha...ha...

Playing with bands helped that a lot. Playing in a studio where you feel naked in your playing helped too. But I really think just starting to grasp "goove" and staying in it no matter what is what helped me overcome my mistakes and just give them up and stop giving them so much attention. So if you don't have a band to play with I'd suggest getting some good fun loops or backing tracks to play to, so you can work on smoothly comming back in after a mistake. It was amazing how much tention that fixed in my playing. No longer was I just waiting to mess up, but able to remain cool at all times, never worried about finding a note.