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-stability
-fingers
at a 90 degrees angle with the strings.
-Carlevaro
played at 90 degrees
-an
unpleasant sound.
-The
type of nail
-to
fit the upper part of the left leg.
-twist
your upper and lower torso.
-Your
right arm will tend to cover the upper side
-elbow
up and dumping the guitar sound
-see
the sixth string.
-the
guitar points upwards
-strings
to be visible.
-The
lower
curvature is totally ignored
-the
guitar makes contact on its inner ring.
-lumbar
area is relaxed
-the
right shoulder.
-Body
movements
-the
balance of the instrument.
-the
left hand and arm."
-The
feet are the main motors.
-The
right foot comes into action
-restore
the equilibrium.
-Avoid
all tension to the spine
-the
right arm is a point of contact in itself.
-The
right arm will work like a pendulum
-Sit
with the guitar
-fluidity
of playing
-less
muscular tension.
-Sitting
correctly
-learn
Cavatina.
-The
video will help you
In depth view of the right hand:
-The
right hand creates a unit with the left hand
-playing
mistakes
-the
right hand.
-both
hands
-Guitar
is about sincronicity
-the
right hand.
-to
look at the right hand
-the
right hand in a mirror
-the
left hand
-fingering
-memorization
process
-mistakes
in concerts 100%.
-The
placement of the guitar
-the
correct placement of the guitar
-the
shape, thickness, hardness
-flexibility
of your fingernails.
-Your
body size
-fingers
length
-personal
taste
-the
point of contact
-how
deep I allow the guitar to fall between my legs
-different
degree of perpendicularity between string and finger.
-the
thumb gets in the way of the index finger.
-The
sound I produce is very sweet
-consider
this approach
-lute
type of renaissance pieces.
-my
"standard
position",
-produce
a "round" sound
-no
interference between the thumb and the other fingers
-position
for most Baroque music, Preludes and Bourrees
-keeps
the tendons in the right hand tighter
-speed
in Spanish and Southamerican music.
-flexibility
among these 3 position
-the
wrist forms a
bridge to adapt
-downward
angle.
-the
thumb is kept straight
-circular
manner.
Right hand fingers point of contact with the strings and moving parts
-play
a strings
-feel
the string with the flesh right
-struck
the string with the nail
-double
action
-the
note being played.
-the
flesh stops the string from vibrating
-produce
a new sound
-clicking
sound when you play
-recordings.
-Feeling
the string
-keep
the right close to the strings
-squeeze
4 strings
-right
hand fingers
-angle
created between the string and the nail
-angle
of attack.
-canals
formed on the fingertips
-point
of contact
-quality
of your sound. -
-Your
nails
-angle
of attack.
-prevent
the nails from hooking
-feel
the string with the flesh.
-The
muscles and tendons
-main
joint
-the
main knuckle
-the
most effective muscles for the job
-close
the fist.
-ready
position.
-keeping
the tendons tense
-bring
the fingers back
-relaxed
position after work.
-the
attack sequence broken down in 4 parts.
-finger
moves from the root
-fist
like motion.
-the
video that shows the attack at normal playing speed.
-The
muscles and tendons
-move
a finger from the main knuckle
-the
palm side of the forearm.
-movement
comes from the palm of the hand
-the
main muscles in the forearm
-Spanish
music and tremolo.
-sound
production possibility.
-Try
both attacks
-your
hand will be drained of energies faster.
-playing
apparatus
-nuances
of guitar playing.
-the
concept of
Fijación
-create
larger muscle groups.
-to
detach a note from the rest in either a chord or arpeggio.
-fingers
pattern
-heading
towards fatigue;
-tension
-example
below, taken from Cavatina,
-unit
of fingers.
-Freeze
the
fingers
-Release
the pressure on the strings
-keeping
the shape of the chord
-using
the muscles
-base
of the fingers
-Fijación
- fixation- (anatomical figure to the left)
-Push
the fingers
-the
fingerboard
-swift
move of the arm.
-practice
the concept of fijación
-the
arpeggio sequence.
-a
plays
the melody
-the
rest stroke
-movable
parts
-mass
(therefore its volume)
-play
the accompaniment
-normal
free
stroke.
-The
arpeggio
-fourth
position.
-
fourth position
-a
perfect
technique.
-feeling
every muscle movement
-your
body and brain.
-Professional
memory
-3
great quotes by the Uruguayan master:
About playing relaxed
-muscles
will be working
-practicing
or performing.
-The
professional player
-the
muscles necessary to perform
-muscular
fatigue which,
-poor
sound
-poor
performance.
-total
or partial state of relaxation.
-degrees
of muscular tension and relaxation
-tremolo
-partially
relax the fingers
-work
of the fingers
-main
cause of muscular fatigue
-
how
much muscle use is tension
-down
to the point exercises
-both
hands.
-exercise
routine
-acquire
a given skill.
-Independence
of the right hand fingers
-Move
the accent to any right hand finger
-Change
position on the fingerboard without producing undesired noises
-Learn
how to present the fingers in position B* on the fingerboard
-Put
to use the concept of fijación
Position B (Transversal presentation*) of the hand for the exercise.
-The
five stages
-The
fingers are pressing on the strings
-the
weight of the arm
-Tilting
the guitar
-benefit
from gravity
-the
wrist bending
-fingers
almost parallel
-the
first arpeggio
-release
the pressure
-change
of position.
-prevent
squeaks from happening.
-second
position.
-The
fingers press on the fingerboard...
-going
from the first position to the fifth and back.
-(4
formulas)
-technical
challenges
-the
right moves.
-your
right hand into an obedient, smooth machine.
-a
handful of incredible exercises a
-play
them perfectly.
-speed
About sound production
-guitar
playing:
-fear
of mistakes
-a
"miniature orchestra",
-Hector
Berlioz.
-the
key function of the right hand in the process of sound.
-Sound
and personality
-The
concept of sound and color
-the
trained ear,
-our
palette
of
sounds.
-many
tonalities.
-the
whole tonality issue is core.
-transcribed
music.
-The
performer has to think sound
-the
performer is mediocre.
-our
right hand.
-base
sound.
-our
artistry.
-free
stroke.
-lowering
or increasing the volume
-create
contrast.
-more
or less brightness,
-more
or less depth.
-Our
right hand
The Thumb part 1
-amazing
stereophony
-
The size of the muscle
-the
muscles of the other fingers.
-The
correct use of this muscle and its tendon
-different
sounds.
-produce
a 4th sound
-sound
issue concerning the thumb.
-base
position.
-fast
thumb position.
-higher
speed.
-special
thumb 1
-heavy
sound in certain passages.
-the
nail attacks
-upward
curvature with the finger
-the
thumb and the index finger
-special
thumb 2,
-pure
flesh stroke
-contrasting
counterpoint
-clear
cut sounds.
-musical
decision
The thumb part 2
-
4 thumb sounds
-your
technique,
-Pizzicato
-Sordino
-effects
-imitate
the pizzicato sound of the violin.
-Schubert
strings quintet op. 163
I-standard
pizzicato.
-play
the note with the flesh
-dampen
the sound
-type
of pizzicato
-the
broken sequence for pizzicato 1.
-The
complete attack
-circular
motion.
-dampen
the sound
-The
whole sequence
-the
outer part of the hand.
-harmonics
-musical
situation.
-standard
pizzicato.
-slower
musical passages.
-deafened
sound.
-sound
effect.
-The
outer palm is
-thumb
in
fijación.
-In
traditional guitar scores
-achieve
a new skill
-"making
your own exercise"
-different
sounds to the bass,
-different
degrees of fijacion,
On the index, mid and a fingers
-different
sound-colors
and volumes
-the
different attacks
-movements
are taken to an extreme
-a
broader palette of colors and volumes.
-The
term
attack
-Mid Joint attack
-The
mid
joint attack
-light
sounding passages.
-somewhat
thin and
-a
lot of hooking going on.
-Main knuckle attack
-The
main
knuckle attack
-the
most efficient set of muscles.
-perfect
sincronicity between a, m and i,
-tremolo,
arpeggio
and chords
-Whole hand attack
-the
whole
hand attack.
-arm
and shoulder.
-rotation
of the forearm.
-note
in the melody.
-base
stroke with fijacion
-rest
stroke,
-the
attack on a string
-Jesus
joy of man's desiring
-fijacion
in a, m and i,
-slice
sideways through the strings.
-Making a sound stand out ...
-work
alone and in isolation
-secondary
noise
-a
fast
attack to the string.
-the
nail makes contact
-speed
of the attack
-volume
produced.
-muscle
mass
-the
mechanics of fingers
-total
control.
-your
right hand technique,
-The
playing apparatus
-groups
of muscles and tendons.
-sound.
-fine
tuning
-artistic
sound.
-Creativity
in the technique
-how
to create his own technique.
-Good
teachers
-the
thumb sequence
-different
muscle groups for a, m and i...
-The
different attacks
-the
traditional
school
of guitar
-sweet
sound.
-subtle
adjustment of muscles and tendons
-"bridge-like"
the sound.
- Notes in chords
-passage
in Vila Lobos Prelude 1
-how
to make a certain note stand out in a chord.
-the
master of your fingers
-combining
these 2 techniques
-Bringing
a finger out more
-plucking
the strings
-different
positions
-chords
and arpeggios.
-a
number of great exercises
-acquire
speed
-move
a finger from one string to the other.
-jumps
from string to string
-Feel
the strings
-finger-riddles
-learning
a new skill.
-
Romance
-whole
arpeggio
-bring
out the main melody.
-a
handful of the best exercises
-Jesus Joy
of man's desiring, J.S. Bach
-Breath
is musically synonym with relax
-The
Left hand:
-the
word tired
-left
hand
-the
most widespread error of them all
-think
fingers
-to
present the hand and the fingers
-Presentation
-very
used word in South America
-When
applied to the left hand
-press
the string.
-an
efficient use of the left hand
-precise
and noiseless
-squeaks
-orientation
with relation to the frets
-presentation
of the left hand can be simple or combined.
-Simple
forms:
-Longitudinal:
-chromatic
scale
-fingers
are parallel with respect to the frets
-scales
-The
left hand thumb
-pivot
-pressing
the strings
-pivoting
thumb.
-the
shape and distribution
of the hand and fingers
-right
hand fingers stay the same
-wrist
articulation
-The
wrist
-movable
bones
-playing
the chord
-transversal
presentation
-fingers
are perpendicular with respect to the frets.
-Combined
forms
-simple
forms
-very
special challenge
-different
set of synapses
-combined
form
-Cavatina.
-The
Barre
-simple
longitudinal presentation
-simple
transversal presentation.
-Left
hand thumb:
-contact
point
-opposition
-participation
of the thumb,
-totally
liberated
-directly
opposing the fingers
-vibrato
and
-fast/very
fast scales
-The
position of the thumb
-musical
passages
-left
hand
-position
changes
-the
thumb
-fingers
1 and 3
-position
changes
-scales
-leftward
position changes
-rightward
position changes
-avoid
tension
-how
much pressure or energy is really necessary to play
-overusing
the thumb
-play
without a left thumb
-forget
tempo
-the
best way to play a musical phrase
-healthy
balance
-
thumb and finger 1
-the
left hand thumb
-the
purest way to do music
-a
single note
-a
scale or solo
-violin
and strings players
-play
scales
-lines
of melodies
-the
chords world
-the
curved baroque bow
-show
off with scales.
-natural
context
-polyphonic
players in general
-Piano
players
-sustain
-The
Bach piano partitas
-Glenn
Gould
-Segovia
was right
-transcriptions
-serve
the music
-Guitar
players
-playing
as fast
-the
classical music elite
-the
fastest classical guitar player alive
-repertoire
-Humphrey
with the elevated fingerboard
-Canadian
pianist Glenn Gould
-Steinway
lowered to play a faster Bach.
-Paganini
violin caprices
-achieve
these speeds
-Chaconne
-Segovia's
debut of the Chaconne in Germany
-Decca
recording of the Chaconne
-all
time greatest achievements.
-the
steps to play scales
-push
their speed up
-speed
for classical guitarists
-electric
or acoustic guitars
-string
tension
-flamenco
guitars
-magic
illusion.
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