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MAAC increases to 10 teams for men’s lacrosse
When credibility matters
By Will Springstead |
PHOTOGRAPHER:
Erica Miller
Siena’s Brett Habich celebrate his goal during their lacrosse game against Detroit at Siena College in Loudonville on April 20, 2019.
Conference realignment has made college athletics like that car ride to a family reunion when your child sarcastically asks, “All right, who are these people and how am I related to them?”
The family gatherings will be larger this spring in the Metro Atlantic Athletic Conference, as it’s up to 10 members for men’s lacrosse through the 2023-24 season. It is tied with the ASUN for most members, but the ASUN wins the prize for geographical spread, as that league includes, among others, Robert Morris, Jacksonville and Utah.
The natural result of this is that Siena will start its conference schedule earlier than it perhaps would like to, but head coach Liam Gleason realizes it’s for a limited time.
When last we left the 2022 MAAC men’s season, the league consisted of Siena, Canisius, Quinnipiac, Marist, Manhattan, Monmouth and St. Bonaventure. Monmouth left for the Colonial Athletic Association, and the Atlantic-10 formed a men’s lacrosse league, taking member St.
Bonaventure with it. Suddenly, that put the MAAC at five schools, and you need six in order to get an automatic qualifier into the NCAA Tournament.
Then several things happened at almost the same time – the Southern Conference and Northeast Conference both dissolved men’s lacrosse, and Mount St. Mary’s, formerly of the NEC, accepted full membership into the MAAC. So the MAAC took Virginia Military Institute from the SoCo as a two-year associate member – VMI had been a member of the MAAC for men’s lacrosse from 2003-2014 – along with NEC members Long Island University, Wagner and Sacred Heart for two years, and Mount St. Mary’s joined.
It brings to mind Sesame Street’s 10 chocolate layer cakes skit which asks the musical question, “How many is 10?”
Well, 10 is so many that it cuts into Siena’s non-league schedule. Last year, Siena had eight non-league games, seven of them starting before the first league game on March 20. This year, Siena has just four non-league games, and its MAAC slate begins March 11.
“For us as a coaching staff, it’s, ‘Oh my goodness, look at this, it’s 10 teams,’ and then you start to break down how you can make this work. Because you’re limited to 17 contests, and that includes scrimmages. Most teams play 13 or 14 regular-season games,” Gleason said.
After suddenly growing so much, the coaches had to decide whether everyone would play each other or not. They voted to do so. They also voted to expand the league tournament from four to six teams, with the top two receiving first-round byes. That’s the same as the league does for women’s lacrosse, which has nine teams.
“But we have nine Saturdays available and nine league opponents,” Gleason said, “and that would affect the non-conference schedule, so we voted to have everyone’s two closest games be Wednesdays, so for us that’s Canisius and Marist.”
To clarify, it’s more like every team’s closest game is a guaranteed Wednesday. For Siena, that’s Marist. For Canisius, it’s Siena. So even though Siena is closer to the downstate schools, it will travel to Canisius – 285 miles away – on Wednesday, March 29.
“We’re excited, but at the same time, a lot of coaches miss some of their non-league games they’d established,” Gleason said. “Like, we don’t get to play Army this year, and I enjoyed having that game.”
Gleason said all the teams will be able to see each other’s non-league games on tape before the league contests start, so that will help give a little familiarity, but he admitted it’s going to be a different year.
“You kind of get used to your conference opponents, their personnel, their tendencies, their culture,” Gleason said. “We’re going to have to get familiar with new teams a little better throughout the season. The competition will be good; I don’t think there are any teams coming in that aren’t capable. And the MAAC is usually one of the leagues with the most parity. Every year it seems like any team can win it.”
One of the reasons the MAAC set the two-year limit for its associate members is that member Iona announced it’s adding men’s lacrosse, with the goal of starting in the 2024-2025 academic year.
That would bring the league to seven full-time members playing the sport; enough to have an automatic qualifier, but not so many that it turns the regular season into a gantlet.
“And that’s the song of 10.”
Contact Will Springstead at [email protected]. Follow him on Twitter @WLSpringstead.
Categories: -Sports-, College Sports, Siena College
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left and right hand exercises
All Strings Accessories Hardware Electronics Pickups Craftsman Amplification, Effects Studio and Sound Drummers Other Guitars
We are starting a series of materials on how to learn to play the guitar.
How will it differ from dozens of similar materials on the Internet? The fact that we will remove all redundant information and try to show you in 4 stages the path of a musician from playing the guitar in the yard with a simple fight to a meaningful understanding of the structure of the instrument and composing your own musical parts with basic knowledge of musical theory. But first things first: be patient and be prepared to work hard. Believe me, it’s worth it!
Other materials from the series:
Stage #1. General concept of the guitar. Hand placement. Guitar Tuning >>>
Step #3. Techniques and techniques of playing the guitar >>>
Stage №4. Elementary concepts of musical theory. Composing your own music >>>
How to learn to play the guitar? Stage number 2. Development of coordination, improvement of the efficiency of the work of the right and left hands.
Learning to play the guitar is, on the whole, an almost endless process, one of the constant elements of which is the improvement of technique.
In this article, we will look at the basic principles of improving the work of the right and left hands, achieving coordination of their work, and also talk about the gradual increase in the speed and purity of the game.
Before starting lessons
Learning to play the guitar is also a physical activity, while playing the guitar many muscles and ligaments work. It is for this reason that you should not forget about the warm-up: spend a few minutes on it, and your classes will become more productive and less traumatic.
Exercise 1. Within 1-2 minutes, quickly alternately clench and unclench your fist. This will help stretch the ligaments of the hands and improve blood flow.
Exercise 2. Lock your hands and extend them with your palms forward, then do the same movement, but point your hands up. Do not be alarmed if the fingers crunch a little – this is a normal reaction, if pain does not appear.
Exercise 3. Pick up a round object, such as a ball.
Twist it in your hands – this will help achieve a massage effect and improve blood flow in the hands.
Exercise 4. Clench your fingers into a fist and make circular movements with your hands – this will stretch and warm the ligaments and muscles of the forearms.
Well, we have stretched our hands – it’s time to start the exercises. Let’s start with lessons on improving the work of the left hand.
Please note! All exercises must be designed for playing with a metronome – this is the only way you can learn to play the guitar correctly, cleanly and quickly. Start with a slow pace, increase it only when you already play cleanly and without errors.
Exercise #1: 1-2-3-4, or chromatic scale
This is not really a chromatic scale, but we will call it that for convenience. Again, for ease of perception, we will attach tablature to each exercise – this is a schematic representation of the guitar strings and frets that need to be clamped.
The bottom line is the 6th string, the top one is the 1st.
Below is the tablature for the first exercise.
We start the movement from the 1st fret of the 6th string: hold it with the index finger, then put the middle finger on the 2nd fret, the ring finger on the 3rd, the little finger on the fourth and go to the fifth string, where we play the same sequence. You can play this sequence both with the fingers of your right hand and with a plectrum; when playing with a plectrum, use an alternating stroke – that is, alternate blows down and blows with a plectrum up.
Having finished the upward movement (we start from the sixth string and move to the first, that is, we move to increase the pitch – this is called upward movement ) on the 4th fret of the first string, we move to the downward movement: we move the little finger one fret to the right and begin the reverse sequence on each of the strings along the frets 5-4-3-2.
This exercise is universal and can be played in a loop in any position on the guitar neck.
Achieve even and smooth sounding and transitions between notes, keep your hands relaxed and do not rush. The seeming simplicity of the exercise is deceptive: in the beginning, you will most likely make mistakes often, choose the wrong stroke with a mediator and not get into the tempo. Increase the pace gradually – and this simple exercise will help you greatly improve your left hand technique and its coordination with your right hand.
Exercise #2: String Jumps
This exercise is a variation on the previous one and will help you play String Jumps quickly and without mud. It will also help to significantly improve the orientation on the fretboard and the technique of the left hand.
We play notes similarly to the previous exercise, but each time we jump over the string.
Exercise No. 3: “Spider Movement”
Here we also play 4 notes in one group; the movement of the left hand will be similar to the movement of a spider – hence the name of the exercise.
Move up to the 4th fret of the 1st string, then move down from the 5th fret of the 1st string.
Exercise #4: 3 notes per string
We begin to move on to sequences that are more like musical scales and begin to accustom the fingers of the left hand to useful and meaningful movements. In this block, we have three exercises at once – later you will understand the meaning of each of them.
So, here are the tabs:
We play with an alternating stroke “down-up-down” three strokes per string. Please note that the third tablature may seem rather complicated at first due to the 5-fret stretch. Start playing from high positions, like the 10th fret. Gradually move to the beginning of the neck: along with the improvement of the technique of the left hand, you will also improve the stretch of the fingers.
Exercise No. 5: scales
Finally, one of the most important and useful exercises for both the development of hands and the development of musical thinking is scales.
Gamma is the successive sound production of notes that belong to the same key. In the following lessons, we will talk about what it is and why it is needed in more detail. Now our task is to achieve a clean and fast game within the gamma. The examples show two scales: A minor and C major.
Try the different structure shifts we learned on chromatic scales: practice string jumping within the scale, try the “spider move” up and down.
Exercise No. 6: Arpeggio
In order to learn how to play the guitar quickly, cleanly and accurately, you need to develop not only the left, but also the right hand. The easiest lesson is arpeggio. Take a look at the tabs shown in the picture.
There are four blocks here – practice each of them, achieve a smooth and smooth movement of the right hand. When moving from thick to thin strings, strike the notes down with the pick, and when moving from thin to thick, strike up.
At the same time, try not to make each pinch accentuated – ideally, you should get one smooth and soft movement down or up without jumps.
Exercise No. 7: tremolo
Let’s take the A major chord as a basis, play 4 beats with an alternating stroke for each note included in it, jumping over the string.
Start at a comfortable speed and gradually increase the pace. The goal is to achieve a smooth and clear sound when played quickly with variable strokes. In addition to increasing the tempo, you can vary the exercise by changing the number of strokes for each note: start with 4, then try to “select” 3 or 6 strokes with a pick for each beat of the metronome and each note. When you feel confident, experiment with odd variations as well, such as 5 or 7 strokes per beat.
Exercises 6 and 7 can be played both with a pick and with the fingers – they will be enough time for the first time to improve hand coordination and significantly improve the technique of the right hand.
How to learn to play the guitar: general points
All Strings Accessories Hardware Electronics Pickups Craftsman Amplification, Effects Studio and Sound Drummers Other Guitars
We are starting a series of materials on how to learn to play the guitar. How will it differ from dozens of similar materials on the Internet? The fact that we will remove all redundant information and try to show you in 4 stages the path of a musician from playing the guitar in the yard with a simple fight to a meaningful understanding of the structure of the instrument and composing your own musical parts with basic knowledge of musical theory. But first things first: be patient and be prepared to work hard. Believe me, it’s worth it!
The following materials from the series:
Stage #2.
Development of coordination, improvement of the efficiency of the right and left hands >>>
Stage №3. Techniques and techniques of playing the guitar >>>
Stage №4. Elementary concepts of musical theory. Composing your own music >>>
Stage #1. General concept of the guitar. Hand placement. Guitar tuning.
The guitar belongs to the class of stringed and plucked musical instruments. Instruments similar in structure appeared more than 4 thousand years ago and were very popular in the musical culture of ancient civilizations. A very similar tool called kinnor was distributed in the territory of the modern Middle East. In India and Egypt, the culture of playing the plucked strings also took root very well: in these regions, in the 1-2 millennium BC. instruments such as the zither, the nefer, the wines, and the well-known sitar were made.
The heyday of guitar music is considered to be the 18th century, when in Spain they began to produce instruments very similar to modern classical guitars with six single strings – earlier, in the Middle Ages, the double-string design was common.
The first electric guitar was invented in 1931 and patented in 1936: it was called the “Frying Pan” because of its resemblance to this kitchen utensil and had an aluminum body.
What kind of guitars are there?
In fact, there are a lot of varieties of guitars today, but we will focus on a mixed classification, which includes the main popular types of instruments presented in the modern music industry:
- Acoustic guitars are instruments in which the guitar body is the resonator (i.e., what enhances the sound). On conventional acoustic guitars, in most cases, metal strings are used from various bronze alloys. However, there are also so-called classical guitars – this is a subspecies of acoustic guitars that have a slightly smaller body, wider neck and nylon strings. Most often, these guitars are played with fingers, the most popular genres are flamenco, classical music, less commonly used in folk and country music, as well as jazz.
- The electric guitar is an instrument in which the sound is amplified by picking up the vibrations of the strings with a pickup and then processing this signal with various equipment: effects pedals, processors, preamplifier and final amplifier.
- Semi-Acoustic Guitar – Basically an electric guitar, but with a hollow body. Such guitars can sound without an amplifier, and when processed, they usually produce a more spacious sound.
- The Acoustic Electric Guitar is a standard acoustic instrument with a pickup attached.
- Bass guitar – can be either electric or acoustic. This is an instrument with a lower range of sound (usually an octave lower), which is responsible for creating the foundation of the sound of the group in the form of filling the low frequency range together with the individual drums of the drum kit.
The structure of the guitar
Now let’s talk about what the guitar consists of.
To begin with, consider the photo below – this is a schematic representation of a classical guitar. We have already said above that such instruments are acoustic, so the diagram is also relevant in the case of any other acoustic guitar.
The three main parts of a guitar are the body (body, body), neck and headstock.
The peg mechanism is designed to adjust the tension of the string – how well the guitar will build and hold the tuning depends on its quality. Nut together with nut (“stand”) creates the upper and lower points of inflection of the string – the distance between them is called scale .
The scale determines the working distance of the string, which includes frets : these are certain segments on the guitar neck that separate semitones and allow you to clamp exact notes. The 12th fret corresponds to the middle of the string and the note on it, with a correctly tuned scale, is exactly an octave above the note of the open string.
fret plates fit between frets on guitars.
Acoustic guitar body has sound hole which captures sound waves and amplifies inside the body. The body itself has the top deck (the one with the sound hole), the bottom deck (the bottom of the body without the hole), and the shell which is perpendicular to the top and bottom deck and connects them.
The structure of the electric guitar as a whole is quite similar – the differences relate only to the presence of electronic components and the use of more functional tailpieces on the deck. What the electric guitar consists of you can see in the photo below.
So now you have an idea of what your instrument consists of and you won’t get confused by the terminology. Well, it’s time to try your guitar in action! To do this, we will deal with the correct setting of the hands and body.
Positioning of arms, legs and torso while playing the guitar
In fact, in this matter, everything is not as categorical and unambiguous as it is taught in modern music schools.
Below we describe those recommendations that are considered standard – but do not rush to mindlessly follow each of them and read on to the useful tips at the end of this section.
So, to begin with, take your guitar and sit down with it on a comfortable surface: it can be a chair or an armchair, a sofa, a bed – whatever, the main thing is that you sit relaxed. This applies primarily to the back and shoulders – the back should be kept straight, the shoulders should be relaxed. The classical position of the body when playing the guitar is considered to be the option as in the photo below.
Using a small stand (15-20 cm) under the left leg, you achieve the most comfortable body position, a slight turn of the right shoulder towards the guitar is allowed.
However, many guitarists choose the option of placing the guitar on the right foot. Is it correct? Any teacher will tell you that this posture is wrong, even for electric guitar players. We do not recommend being so categorical and trying different options, but one thing is worth remembering: the classic version is anatomically more natural.
If you place the guitar on your right foot, you will have more tension in your back, shoulders and left forearm.
When it comes to standing up, it’s quite simple – only play standing up if you plan to play in that position. Pre-adjust the height of the guitar and the length of the strap so that you don’t put too much strain on your right and left hands.
Finally, about the right and left hands. We will make a reservation once again that the information below is classic recommendations.
- Relax your left hand and lower it completely down;
- Use your forearm to lightly reach the neck of the guitar in the area of the first frets and rest your thumb on about the middle of the neck;
- Touch the rest of your fingers to the strings and round your hand. Make sure that the brush is as relaxed as possible.
There’s an easier way: just imagine holding an apple. It is this position of the left hand that is considered optimal for playing any guitar and in any style.
In the picture below, we also show you the ideal point of contact between the fingertip and the string.
With the right hand, everything is about the same: first, completely relax it and put it on the body of the guitar in the area of the elbow joint at a convenient point. Now, without straining the muscles, achieve a rounded position of the brush as in the figure below.
Pay attention to the dotted lines – they describe the trajectories of pinching the thumb and other fingers of the right hand. Try to follow this scheme, not forgetting that your hands should be as relaxed as possible.
With a pick it’s easier: take it and hold it between your thumb and forefinger. It should look something like the picture below, with a relaxed grip on the left and a ready-to-play grip on the right. Find the most comfortable position, taking into account that the fingers should cover at least half of the surface of the pick.
Now about the position of the hand relative to the strings: here we no longer try to move the lower edge of the palm away from the strings, but rather keep it constantly near the strings, since it may be necessary to muffle the strings with the edge of the palm.
You should understand the main principle: the movements of the pick should be smooth, for the most part perpendicular to the string with a slight rounding of amplitude at the top and bottom. That is, you should carefully and gently cling to the strings, but not “rake” them.
And, of course, do not forget that both hands should be as relaxed as possible: on the left hand, we try to move only the fingers, and not the whole hand, and on the right – only the hand, and not the whole hand.
Guitar tuning
Now let’s talk a little about guitar tuning. We recommend that you immediately study your instrument: its structure, the possibility of changing parameters, its main features. Do not immediately rush into experiments: this can damage the guitar. Study the information that we will present in this section and tune your guitar carefully.
Adjusting neck deflection
Inside the neck of both acoustic and electric guitars is a metal rod – an anchor.
It provides rigidity to the structure, preventing the force of string tension from deforming the neck. Before proceeding to the tuning itself, let’s check what kind of deflection the neck has.
- Play open strings and frets 1-5 on all strings. If you hear a ringing, then the anchor most likely needs to be adjusted.
- Visually look at the neck along the length of the saddle. If the neck is flat or concave, then it is necessary to adjust its deflection.
- Press each string in turn with your left hand on the first and right hand on the last fret. Look at the gap between the string and the 7th-10th fret: it should be clearly visible. The size of this gap is a matter of taste of the musician and the features of the instrument.
Please note that all these actions must be carried out on the guitar tuned to the desired tuning (read about this below) and not immediately after setting the strings.
The actual process of adjusting the truss rod and neck deflection is quite simple: all you need is a hex wrench and a screwdriver.
In the case of an electric guitar, use a screwdriver to remove the cap that closes the anchor on the headstock.
Next, take the hex wrench and start setting up. To increase the neck flex, turn the nut counterclockwise – this will increase the gap between the neck and strings in the middle of the neck. If the gap is too large and you want to make the deflection smaller, then the nut must be turned clockwise.
For acoustic guitars, the sequence is very similar, with the only exception that in many guitars the adjustment nut is located in the area where the neck is attached to the body of the guitar.
ATTENTION! This is very important: do not turn the nut more than 20-30% of a full turn in one go. After each approach, let the tool get used to the new anchor position for at least 30-60 minutes.
Also note that neck deflection should be checked after each string change, and deflection changes should be monitored at least once every few months.
Adjusting the pitch of the strings
The pitch of the strings affects how comfortable you can play the instrument and at the same time how much each note will ring. The goal is to achieve the “golden mean”, that is, to find such a position of the strings in which a comfortable playing will be combined with a clear sound.
When it comes to tuning the strings on electric guitars, we recommend reading our material “Guitar Tuning: A Complete Guide”. Let’s take a closer look at acoustic instruments.
There are no clear standards for the height of the strings above the neck – each musician chooses the optimal value for himself on his own. However, most musicians agree that, on average, the height of the first string should not exceed 2 mm, the height of the sixth – 4-5 mm.
The most common problem is string heights that are too high, as nut and nut manufacturers always over-height. Well, let’s leave the saddle (near the headstock) for now and look at the bottom one.
In most acoustic guitars, it will look like the photo below.
Starting to adjust:
- Loosen the string tension until you can get the saddle out of the bridge;
- First, at the bottom of the nut, measure the height to which we want to lower the strings and mark it with a pencil. Please note that if you want to lower the strings by 1 mm, then you will have to sharpen the nut by about 2 mm;
- Now we take a fine sandpaper and begin to reduce the height of the nut. ATTENTION! We grind exactly the lower part of the nut, which is hidden inside the tailpiece.
In this process, the main thing is to do everything gradually. In order not to overdo it, grind down 1 mm, set the nut back, check the height of the strings and make a further decision. The first time you will most likely regrind the sills – so always have a few pieces in stock – fortunately they cost no more than $ 1.5-2.
But there are situations when the musician is not satisfied with the height and in the region of 1-3 frets – this indicates the need to sharpen the nut as well.
It has special slots for strings. To reduce the height of the string, it is necessary to make these cuts deeper – however, please note that this process will require some skill and the presence of some specialized tools – needle files for sawing the nut.
We recommend leaving the nut to be cut by a guitar luthier – this is not a very expensive procedure, but if done incorrectly, it can lead to serious damage to the guitar.
Guitar Scale Tuning
its working length. Fret sizes and scales are mathematically related, so the slightest deviation in scale length will cause the guitar to not build.
As for tuning the scale on electric guitars, we recommend reading our material “Guitar tuning: a complete guide”.
With acoustic instruments, everything is much more complicated – here most of the elements have a monolithic design and do not allow you to flexibly adjust the length of the scale. In order to correct this injustice, the so-called compensatory saddles were invented.
And here’s a bit of harsh reality – compensation calculations are quite complicated, especially for beginners in guitar playing. Therefore, we recommend simply contacting a guitar master – he will explain to you the features of adjusting the scale on acoustic instruments and help with the calculations and installation of fittings.
Guitar Pitch Tuning
No, no, don’t think that we have already tuned everything that is possible in your instrument – just a “set” neck deflection – string height – scale is enough for a beginner – and guitar pitch tuning completes our tuning process.
There are a lot of options for tuning the guitar – as, in fact, guitar tunings. Among them are the pragmatic purchase of an accurate tuner, and extravagant options like adjusting the height of a long beep in a telephone receiver. We will tell you about the most practical, fast, accurate and inexpensive ways to tune your guitar. Let’s make a reservation that we will talk about acoustic instruments without additional improvements, pickups, tone blocks, connection to a computer, etc.
We recommend not to experiment with tuning at the very beginning of your musical journey and choose the standard one:
1 string – e (Mi of the first octave)
2 string – b (B of a small octave)
3 string – g (salt of a small octave)
4 string – d (re small octave)
5 string – A (for large octave
6 string – E (mi large octave)
0026
A – la
B – b flat
C – to
D – re
E – mi
F – f
G – salt
9002 7 H – si
1. Tuning by ear using online tuners
The easiest, free option that will require you to have a certain degree of hearing development. When you search for “guitar tuner online” in any search engine, you will find dozens of services that play notes – and you need to achieve unison on the corresponding string.
Another option is mobile applications for smartphones with similar functionality.