Hello Six String Journal Readers, I’m in the cue to receive some new guitars soon. And my favored builder, Glenn Canin, is making me a guitar with a slightly smaller neck. So I’m offering these… More
Active Practice Techniques to Improve Tremolo, Part 2
Reduction
Playing through the “skeleton” of a tremolo piece helps reduce it in your mind’s ear to the essentials of what is happening on the musical front. Because we spend so much time developing the fluidity, clarity, speed, and all that goes into a beautiful tremolo technique, often our attention is so myopically focused on the minutiae of technique that we ignore the larger question of what a tremolo piece is trying to achieve musically.
There are various ways to mentally condense the way you perceive your pieces to make them seem less daunting. The most tried and true method is to play through them well hundreds of times. But because it takes time to develop the endurance and speed to perform a tremolo piece at tempo comfortably, play through them instead in an abbreviated way, as illustrated below, at faster tempos:
Another method, which I have grown to like despite the substandard sonic quality, was recommended by guitarist Philip Hii in his insightful book, Art of Virtuosity. In this method, shown below, ami act as one and pluck at the same time. Think of plucking a chord, but on one string. It won’t sound pretty, but in addition to focusing your attention on the bigger picture, by putting all of your fingers down at once you discover what position will give you access to all the strings in the most efficient way.
For more active practice techniques, check out: Mastering Tremolo
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DonateDonate monthlyDonate yearlyFrom the Archives: Miracle Right Hand Warm Up Sequence
Here is a warm up sequence that I used to do every morning. It is useful for building right hand endurance, finger alternation, speed, pulse, rhythm, and legato. The idea behind it is simple. Set the metronome to a very slow beat, somewhere (50-70). Throughout the whole sequence, the beat remains constant but with very slight and precise increments we increase the number of notes between the beats.
I would go through all 13 steps (using free stroke) and then go through the whole thing two more times using different right hand fingerings am and ai. So, that’s 39 steps. I actually would go all the way up to fret 12 (3 cycles) and often would use a diminished 7th chord or some left hand variation to keep it interesting. Vary what you need. As you will notice, I’ve been more detailed in the first 3 steps and little by little have resorted to short hand as the basic sequence becomes evident.
Give it a whirl and let me know what you think.
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
Step 11
Step 12
Step 13
Phew! Go back for more. You know it’s good for you.
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DonateDonate monthlyDonate yearlyHow to Improve Coordination – Chromatic Octaves
If Mauro Giuliani’s works are in your repertoire, or those of 
any classical period composer, you will know that interval runs of octaves, sixths, and thirds are used to great effect. Think the fourth variation of Giuliani’s Folias Variations (Op. 45) or the grand finale to his 1st Rossiniana (Op. 119)! Interval runs are everywhere in our repertoire and it’s worth studying them either through repertoire or through scale practice.
The two chromatic octave exercises below should get you started. They are useful for warming up, coordinating the hands, independence and opposing movement in the left hand fingers, and can even serve as a vehicle for right-hand development, too. Here are a few ways to focus on them:
- Start very slowly and pluck both notes with simultaneously. No rolling!
- Keep the wrist relatively still so that the fingers of the left hand are extending and contracting vertically (i.e. often moving in opposite directions from each other).
- Keep the left hand fingers soft and close to the fretboard.
Use right-hand fingerings: pi, pm, pa, pm pi, pi pm, pa pm, pm pa, pa pi, and pi pa.
Once this feels comfortable and in control, explore some variations like the one below.
Use right-hand fingerings: pi, pm, pa, pm pi, pipm, papm, pmpa, papi, and pipa.
Let me know if you find this helpful. Part 2 coming soon!
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DonateDonate monthlyDonate yearlyProblem Solving in Pernambuco’s Interrogando
I was working on Joao Pernambuco’s groovy Interrogando with an extremely young and bright student yesterday. Despite his ability to absorb new material at a pace that inspires me, he was having a difficult time making this little part sound fluid.
After a bit of analysis, we agreed that it was due to the lack of clarity in the right hand. So, instead of playing it over and over, which is often default behavior for most students confronting a tricky passage, we decided to break it down and come up with a list of steps to once and for all solve the problem. Here are the steps.
Step 1 – Write out strings.
Writing out the strings as numbers also helps see patterns if you process information better that way (i.e. 5232 5423 1232 ).
Step 2 – Choose the best right hand fingering options. See this post for more about choosing the best options: Conde Claros, Scales, and String-Crossing.
We came up with two solutions. The top one was chosen by the student because his technique was more suited to it. I preferred the second solution given to my preference for aipi instead of amim.
Step 3 – Analyze where the right hand position change happens (if at all).
Step 4 – Practice the last box from Step 3 using right hand alone with a focus on rhythm.
Step 5 – Bring left hand into the game for that box only (right hand now does it correctly and proficiently and left hand has to catch up is a much better option than both hands struggling and doing it somewhat incorrectly).
Step 6 – Check in with the right hand alone again.
Step 7 – Go back to Step 4 and Step 6 with the second to last box. Add to last box.
Step 8 – Go back to Step 4 and Step 6 with the first box. Add to both boxes.
Step 9 – Do a few minutes of focus, take a mental rest, and go back for several more sets (building mental muscle!).
Step 10 – Check tempo and set tempo goals.
Not only could the student whip through the passage after doing this, his skills at identifying any confusion improved. Lots of “Oh!” and “Now that feels easy!”.
Problem solved!
Three Fingering Tips for Villa Lobos’s Etude Nº2
If you all were inspired (or recovered) from watching Ekachai Jearakul whip off Heitor Villa-Lobos’ Etude Nº2, you may find this post helpful. While I was a student at the New England Conservatory, the second half of one of my degree recitals was simply Villa-Lobos’ Twelve Etudes. While some of the etudes are manageable, others require relentless and careful practice, and they all have moments that can fill endless practice hours with frustration. To add to the matter, I was studying with the great Eliot Fisk and despite all of his valuable advice and help, watching him display what was possible on a regular basis conjured both extreme inspiration and a sense of hopelessness at achieving such a level of comfort with these pieces. Needless to say, the year preceding that recital, I was immersed in a figurative amazonian finger jungle and found my own way of surviving.
For those working on this particular etude, there are a few spots where I found less obvious fingerings less problematic. These solutions are personal but if the spots have been frustrating for any of you, give the following solutions a try.
Measure 3 (repeats not counted)
In order to increase the resonance, I like having the 3rd and 2nd strings open on this one so I shift to 5th position to enable this. There are a few alternate right hand fingerings to explore but I prefer the 1st.
Measures 10-12
In this solution, guide fingers are highlighted in red. While the right hand solution is personal, I like switching to rest-stroke on the highest note of the run. If you prefer to play free-stroke, you might choose to switch to 1st position by playing the first note of measure 12 on the 1st string open and using that to shift. The second finger would still work as a great guide in this situation.
Measures 21-22
In this example, ending the repeat with a slight alteration makes a noticeable difference in playing measure 22. Again, I’ve included some alternate right hand fingerings for exploration but I prefer the 1st.
Hope this helps!
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DonateDonate monthlyDonate yearlyVilla-Lobos Etude Nº1 Part 1
I love getting to the point when a student is ready to tackle Heitor Villa-Lobos’ Etude Nº1. There are so many angles to explore and it takes a lot of dedication to master it. There was a time when I was preparing to perform all 12 etudes that I decided the best use of my warm up time was to spend at least 30 minutes on Etude Nº1, 30 minutes on Etude Nº2, and 30 minutes on Etude Nº3. After which my hands always seemed to work well as I worked on other material.
Over the course of months I may have played those etudes at least a thousand times in many, many different ways. I tried everything I could think of to make them better.
The first step in this great journey is to develop the right hand’s ability to play the entire arpeggio comfortably. The great Andrés Segovia suggested a solution that is still used by the majority of students and the one I used for years. However, as we develop our abilities we find that our hands have an easier time with certain movements and we find ways to use those movements to harness our strengths.
So, I always suggest putting in your time with Segovia’s solution until you can perform the Etude with that pattern. I find that the weakest part of the solution is moving from m to a making the 3rd quarter note beat (half note of the measure) sound articulate which helps to delineate the rhythmic structure of the Etude, so I have come to prefer substituting m with i. However, it wasn’t until working on the piece for many years that I slowly came to prefer it. Explore the possibilities in the practice room by adding in a few alternate fingerings to start the exploratory process. I’ve watched my mentor, Eliot Fisk, play it through in hundreds of ways just as an exercise to develop string crossing – I think I remember him even doing the whole arpeggio with m and pinky!
Here are some important ways to practice it. Stay tuned for Part 2 and we’ll go deeper.
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DonateDonate monthlyDonate yearlyTechnique Focus – Boost Left Hand Efficiency
When working out the choreography to a new interpretation there are a few aspects of left hand technique that can dramatically improve efficiency. One of those aspects involves a similar idea often referred to as ‘planting’ for the right hand. For example, when playing a rapid and repeated pim arpeggio (like in Asturias), it is common practice to place all three fingers down in a group to stabilize the right hand and to create one efficient gesture instead of three separate actions. The basic rule is that as we move away from p and towards a across string we plant fingers down so the right hand fingers are prepared. Essentially, we stabilize the right hand as we move away from the grounding of p and i.
Applying this concept to the left hand is equally important but the ‘planting’ occurs as we move from finger 4 (pinky) towards finger…
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Magical Performances from OMNI Foundation
One of the positive things to emerge from the pandemic has been the OMNI Foundation’s pairing of world class filming with world class guitarists from all over the world. I wanted to highlight a few of these OMNI on Location Series performances which I’ve listened to multiple times for their displays of stunning musicality, virtuosity, and beauty.
Alberto Mesirca plays Regondi
Carlotta Dalia playing Rodrigo, Scarlatti, and Piazzolla
Kristina Varlid plays Theodoroudis, Vasks, and Rodrigo
Great Marco Tamayo Interview on Tonebase YouTube
I just stumbled upon Tonebase‘s Marco Tamayo interview as it was live the other day (lucky me!) and thought I would share it here since there is so much valuable insight from one of the guitar world’s most gifted artists. As many of you already know, Marco’s command of the guitar is legendary. He is also a gifted educator who teaches at the Mozarteum in Salzburg. I’d also recommend checking out his technique videos on Tonebase (and if you use the code SSJ-30 you’ll receive 30% a subscription to all of their guitar videos after the free trial period).
Mateusz Kowalski plays Bach, Tárrega, and Ravel
Brilliant rising star of the guitar world, Mateusz Kowalski, just released a magical rendition of Johann Sebastian Bach’s Sheep May Safely Graze from Cantata, BWV208 and is about to release two wonderfully produced videos to bring in the New Year. Six String Journal is offering a preview here as a short recital to inspire those New Year resolutions.
In case you missed it, here is Six String Journal’s Interview and Artist Profile with Mateusz.
Enjoy!
Johann Sebastian Bach Sheep May Safely Graze from Cantata, BWV208
Francisco Tárrega Recuerdos de la Alhambra
Maurice Ravel Pavane pour une infante défunte
33 Ways to Improve Ears, Fingers, and Fingerboard Familiarity
Moveable Scale Forms for Development
by Leo Garcia
After watching Eliot Fisk demonstrate all of these, I thought I would write them out and share them with students. I have to confess that although I practiced scales religiously (and still do) I rarely ever went through modes. There are many reasons to work on these though: ear training, technique development, and for fingerboard familiarity.
The first form has the root starting on string 3, the second form has the root starting on string 4 and the third form works for both strings 5 or 6. Two-octave forms can easily be assembled by combining two forms. Scale diagrams have been included as I find them extremely helpful for visualizing the pattern as it falls on the fretboard.
There are 33 forms ahead, better get started. : )
For a pdf click here: Moveable Scale Forms
Here are some more resources for scale practice:
Leo’s Scale Book: https://sixstringjournal.podia.com/si…
More Guitar Publications: https://sixstringjournal.podia.com/
More Publications: https://sixstringjournal.com/music/
Leo’s YouTube Page: https://www.youtube.com/c/LeonardoGarciaguitar
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DonateDonate monthlyDonate yearlyLeo Garcia plays Sonata in A Minor, K.175 by Scarlatti
Ever since hearing Eliot Fisk’s recording of this sonata, I’ve wanted to learn it. I tried Eliot’s brilliant transcription years ago but my smaller hands couldn’t even play it poorly. Then a good friend showed me French harpsichordist Jean Rondeau’s version and it rekindled the desire to learn it. This edition was transcribed by the Spanish guitarist Marcos Díaz, which is a bit more tame of a transcription but nonetheless it retains a good amount of substance on the guitar. I’ve changed some minor things that work better for my hands and for my ear. The manic quality of this sonata is another glimpse into Domenico Scarlatti’s fertile musical mind. It conjures images of chaos, bliss, seriousness, dementia, and lots of emotions that I cannot pinpoint. A bit trippy. : )
Sanel Redzic playing Bach’s Lute Suite, BWV997
I just came across this new release by virtuoso, Sanel Redzic. On a mission to record videos of all the Lute and Violin Suites, Sonatas, and Partitas, this is the latest of his superbly produced work. Sanel’s playing is, as usual, elegant, refined, and fluid. Enjoy!
Leo Garcia plays Villa-Lobos Prelude Nº1
This is the first of five wonderful preludes by the Brazilian composer Heitor Villa-Lobos. With his gift for sorrowful lyrical melodies to the rhythmic and joyful interlude with its changing meters and Spanish flair, Villa Lobos creates a true guitar masterpiece which fully exploits the richness, emotional depth, and colors of the guitar. Hope you enjoy it.
Carlotta Dalia plays Schubert’s Ständchen
One of Italy’s rising guitar virtuosas, Carlotta Dalia, plays Mertz’s arrangement of Schubert’s Ständchen. Producer Open Strings Berlin manages to align all the the stars: Carlotta’s sublime artistry, a forest in Berlin, the magnificent guitar, and beautiful camera work.
Leo Garcia plays Sonata in E Major, K.380 by Domenico Scarlatti
Domenico Scarlatti (1685-1757) wrote over 500 sonatas for harpsichord. Fortunately, many have been arranged and transcribed for guitar and many await transcription. During 2020 and 2021 I found myself in the Scarlatti rabbit hole. I listened to hundreds of them, read through ones that I thought might work that to my knowledge had not been transcribed, transcribed many for solo and duo guitar, learned too many to keep track of, and am still learning. They captivate my imagination and they teach me a lot about myself and my playing.
Sonata in E Major, K.380 is, perhaps, one of Scarlatti’s most famous sonatas. With its march-like rhythm to the emerging beautiful lyrical lines, Scarlatti’s boundless imagination sparkles. I used a combination of editions (but primarily Manuel Barrueco’s) and the original score to find a version that works for my hands. Hope you enjoy it.
And as a bonus, while researching some of the sonatas, I came across this hilarious article ranking the Sonatas. : )
Six String Journal 