I’m working on A Technical Workout for Classical Guitar, Speed and Flexibility, and I thought I would share a portion relating to extensor development in the left hand. I will try to post a video to support this but here is something to keep everyone busy.
Excerpt from up and coming book:
Speed in the left hand is determined by several factors but two of the most important ones are the time it takes the finger to achieve precise placement on the fret and the time it takes the finger to release and reload for the next placement. The former movement depends on the flexor muscles of the fingers which are constantly worked in an active fashion (we typically focus our attention on placement) and the latter movement depends on the extensor muscles of the finger (we typically do not focus on this aspect of the movement). In a way, descending slurs work the extensors but we can be a bit more specific and pro-active about developing extensors in our left hand.
In order to develop the extensor muscles, simply place the finger and then actively release the finger back as quickly as possible achieving a slightly sloppy staccato effect with the left hand. This work does not involve the right hand at all. This movement is more strenuous than it sounds. When done correctly it almost sounds like light slurring. Keep the left hand finger placement accurate and keep the left hand contained so that it’s not the hand that is moving away from the fretboard but the fingers.
Complete Exercise 1 below with all the following left hand finger combinations:
I just came across some newly posted videos of Spanish guitarist extraordinaire, Ricardo Gallén, performing Leo Brouwer’s Sonata Nº4 Sonata del Pensador. The piece is dedicated to Ricardo and whether or not this is the premier or not, it is a fabulous performance.
Then, as often happens, I find myself watching more videos than I really have time for. There is too much to learn. In the next video, Ricardo gives a masterclass with demonstrations and a tremendous amount of insight. Some of the topics he discusses relate to using percussive practice in the left hand when playing fast, drawing on the metaphor of the difference between walking and running. When we walk, our feet plant fully as we balance to lift and take the next step. When we run, we are pounding lightly a bit more percussively. Translated back to guitar, if the left hand holds down and luxuriates on the fret, energy is lost and tempo slows. Ricardo plays an excerpt of Villa-Lobos Etude Nº2 to demonstrate (around minute 17). The key point is that because the left hand is acting more percussively when playing fast, part of the sound comes from the left hand, so that the right hand can relax, aiding in speed.
Another point he makes (around minute 19) is the unbalanced nature of playing guitar. Instinctually our hands want to act together (thought on this in a recent post about neural coupling), squeeze together, let go together. When playing softly or piano in the left hand but the right hand plays loudly or forte we must practice compensating for the discrepancy in energy between both hands. These are brilliant points to ponder. Undoubtably, there are more insights but I’m dying to go practice…
Known as Mexico’s “First Lady of the classical guitar”, Zaira Meneses, has been praised by the New York Times as “an arresting performer full of colorful touches” and has built a stellar reputation for her dark sound, powerful technique, and superb musicality. As a performer, she has graced the greatest stages of the world including New York City’s Carnegie Hall, Alice Tully Hall, Boston’s Jordan Hall, Salzburg’s Wiener Saal, and the Great Hall of the Shanghai Conservatory. As a recording artist, she has released the CD Latina and is releasing three new CDs on the Centaur label. Zaira is also active in the contemporary music scene and has had works dedicated to her by the great American composer, Robert Beaser, and by award-winning composer Stephanie Ann Boyd. Besides her collaborations with prominent musicians, like her husband Eliot Fisk, the flamenco virtuoso Grisha Goryachev, flutist Viviana Guzman, among others, Zaira is active as educator at the New England Conservatory’s Preparatory Division and as an outreach coordinator for the Boston Guitar Festival.
Here she is performing a beautiful voice and guitar piece followed by a stunning 3rd movement from Leo Brouwer’s Sonata.
When I mentioned featuring Zaira on Six String Journal, we thought it might be nice to add some personal details in a short magazine style interview so here it is:
What’s the most recent news in your guitar activities?I’ve become a baroque guitar soloist. I’ve also created a new guitar performance art approach with Latin American Collages where I combine guitar, poetry, acting, and singing. Another thing I’ve been enjoying lately is improvising with my requinto and jarana “jarocha” instruments from native Veracruz Son Jarocho music. I’ve also performed in some great venues this year: Carnegie Hall, Jordan Hall in Boston, and at the Mozarteum.
When did you start playing? At age of 7 years old.
What repertoire do you enjoy playing the most? Music that is rich in counterpoint, and that has interesting harmony, rhythms, and phrasing, such as Bach , Santiago de Murcia, Gaspar Sanz, and latin american music especially from Mexico and Cuba.
How much do you practice? It depends, if I have a performance coming up I don’t notice the time. On regular days I practice two to three hours.
Do you structure your practice? Yes. For concerts I prioritize memory reinforcement, sound projection, and how to connect with my audience.
Do you have a system or favorite drills you use to warm up? I start by playing the song I can’t wait to play because it will bring the best out of me. Then I practice the passages that I need to be improve.
Do you have any pre-concert rituals? I always meditate but before a concert I meditate to specific passages of the concert. I also do mind/rehearse [visualize] the music in the sauna and steam room a week before concert. Sometimes I run with the music I will be performing. I fall asleep reading the music. It really depends what performance I’m presenting but more or less I breath music as much as I can.
What is the last book that you read? Or the greatest book you’ve read this last year… Oh my gosh! I love the Austrian novelist Stefan Zweig. He’s a great writer and his books are full of imagination and detail. My favorite book is his short stories of “Forgotten Dreams”.
Any advice about practicing to younger players? Practice only if you want to practice. Practicing should come from your gut. Practicing is not a labor, it’s a need. It has to become your need otherwise its not worth doing it.
What guitar or guitars do you perform on? I use a guitar built by Stephan Connor and a Spanish baroque guitar.
Which guitarists have had the most influence on you? Oscar Ghiglia, Eliot Fisk, Joaquin Clerch.
Are there any recordings of guitar music that you think every young guitarist should be familiar with? Alirio Diaz’s Venezuelan Waltzes, Andres Segovia playing Spanish composers, any of Oscar Ghiglia’s Manuel Ponce recordings, Eliot Fisk’s playing Bach, Latin American guitar music, and his recordings of music by Robert Beaser.
Do you exercise? Do you think it helps your playing? YES absolutely! I run outdoors when it’s super cold and when it’s super hot. This helps me adjust my body to any hall circumstances.
What do you eat before a concert? If I can, my daughter Raquel’s best shake for performances: banana, almond milk, oatmeal, and chia seeds. If I’m in a hotel, I eat turkey or white meat and avocados. If I’m in hotels I also like to order Chinese steam ed vegetarian dumplings.
Thought I’d let you all know that I’ve published the first of a series of technique workouts for classical guitarists. This first book, A Technical Workout for Classical Guitar, Level 1 – Base Building, is all about developing a strong foundation with a focus on the most common movements necessary for technique development in both hands. It is suitable for all levels – beginners trying to develop their own routine or advanced players looking for a systematic way to approach technique development. I wish I had had this when I was a young guitarist! It is available on kindle for now with more options soon. Stay tuned for videos going through some of the movements, supplemental publications, and more advanced workouts!
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