Heitor Villa-Lobos Etude Nº1, Part 2

images-1.jpgThe image I hold while playing Heitor Villa-Lobos’ Etude Nº1 is one where I am sailing above the canopy of the amazon rainforest as if it were an endless gentle green ocean. Putting this image into practice presents many challenges for the guitarist but simply having an image helps to move the fingers smoothly and with little resistance. Commanding the right-hand to execute the arpeggio to comfortably create the waves of this amazonian ocean, the crescendos and decrescendos, requires some persistence, though. And to truly master the image, it is equally important to investigate how the left hand moves from harmony to harmony, how softly we transition from chord to chord, and how the right hand waxes and wanes over the strings. Ocean waves have an inherent softness to them. To approach this quality in both hands, I’ve brainstormed a bit to list some key tips that I’ve focused on over the years:

LEFT HAND

  1. Release the finger responsible for the first note of the next harmony either at the fourth quarter note or last eighth note of the previous measure.
  2. Practice the transitions from the end of each measure into the following measure. For example, practice the last 4 sixteenth notes of a measure with the first four sixteenth notes of the following measure.
  3. Do not think block chords! Instead, imagine the left hand placing fingers more subtly. When possible, prioritize the left hand finger placement in the order that the notes are plucked.
  4. Work on avoiding finger noise in the second part of the etude by lifting slightly or shifting on the softer parts of the fingertips.
  5. Release pressure on inactive fingers to keep the left hand light.

RIGHT HAND

  1. In order to build endurance for the right hand, practice it alone while visualizing the left hand. What does it feel like to play the arpeggio with rhythmic precision 48 downloadtimes? This is the amount of times you would play it in the Etude before getting a break with the slurs.
  2. Once the right hand feels locked in, bring the left hand back. Are there pauses to adjust for the left hand?
  3. Think of the right hand in eighth notes, quarter notes, half-notes, and whole notes.
  4. Practice bringing out upbeats.
  5. Explore dynamic schemes to develop your own interpretation.
  6. Use aural refocus to think in larger gestures.
  7. Use rhythms to develop a thorough understanding of the patterns, transitional strengths, and transitional weaknesses.
  8. Practice planting from the beginning and then a quarter note after it is played for right hand stability.
  9. If you use the standard right hand fingering, try planting both and a.
  10. Use other right-hand fingerings to extract more insight from this wonderful etude!

Hope this helps.

 

 

“Il re della chitarra” – L’Stampa

“The king of guitar.” – L’Stampa

If there ever was an argument for practicing rest stroke scales, I think Marco Tamayo would settle it. Though the video below is casually shot by a student asking about fingering solutions to Joaquín Rodrigo’s Aranjuez and Joaquín Turina’s Soleares, there is gold in it. Just observing the complete ease and extreme mastery of Marco’s approach reveals how much care and thought has gone into every single action.

Here is another valuable video where Marco gives us details on nail shaping and filing. Again, probably one of a handful of videos that are worth watching on the subject.

Check out his newly published Principles of Guitar Performance. Or, if you are looking for a start into building a technical routine check out the Technical Workout Workbooks on Six String Journal’s publications page!

 

David Russell Technique Talk

David Russell is a guitar hero for many reasons but one of them is for his ability to make everything he plays look effortless. Here is another masterclass snippet where he provides insightful guidance on the importance of a proper warm-up routine. He makes the analogy to sports, where warming up the muscles for practice helps to refine the motion and muscles necessary to perform efficiently. If muscles are not warmed up, larger muscles take over causing imbalance and tension.


Even if you do not speak Spanish, you can follow David’s crystal clear and carefully conceived approach to warming up. Nevertheless, I’ll summarize a few key points:

  1. Start with very simple movements in the left hand like ascending slurs with all the pairs of fingers (12, 23, 34, 13, 24, 14).
  2. Move on to the right hand and work on perfecting a single finger free-stroke with each finger (i, m, a, p)
  3. Go back to the left hand and work on descending slurs (21, 32, 43, 31, 42, 41).
  4. Back to the right hand to work on alternation between pairs of fingers (im, mi, ma, am, etc.). During this time, focus on the effort and resistance it takes each finger to pull through the string. Adjust nails as necessary to create equal resistance. Otherwise, there is imbalance and this will compromise your fluidity. Also, moving from i to m may be easier than moving from m to i. Your job is to make both directions feel as equal as possible.
  5. Move on to imimim, ama, mam, etc., then incorporate slight accents imi, imiama, ama, etc…
  6. Back to the left hand to try compound movements (121, 212, 232, 323, 343, 434, etc…)
  7. Back to right hand to work on imim, mimi, amam, mama, etc… then try doing these movements cross-string.
  8. Then bring the warm-up to a close by spending 10+ minutes coordinating both hands with scale fragments: im with 12, 23, 34, 13, 24, 14, mi with 12, 23, 34, 13, 24, 14, etc…

If you’d like a bit more detail and a program that follows this approach please check out my recent publication, A Technical Workout for Classical Guitar.

Cross-Rhythms and Tremolo

One of the practice techniques I write about in Mastering Tremolo is practicing your preferred four-note tremolo pattern (or a variety of them) with the following two cross-rhythmic manipulations as another great method for developing evenness because the finger performing the main beat is always rotating.

When practicing the following four exercises try the following practice approaches:

  1. Use the metronome and start very slowly. Set the metronome to one click per note but try to retain the feel of the overall beat as you play.
  2. When playing slowly focus on the quality of the space between the notes. Is it even or erratic? Are you consciously planting to prepare and thus silencing the note? If so, make sure that the plant is timed evenly for each space.
  3. Try spending an intense 2 minutes on one exercise and then deliberately resting your mind (take some deep breaths, look out a window for a change in scenery, stand up, etc…) for 30 seconds before moving on to the next exercise. Focus for 2 minutes, rest for 30 seconds. Move on in this fashion until you’ve completed all 4 exercises. Then push the metronome beat up a few clicks, and go for another set. Complete 3 more sets for a total of 4, each with a slightly higher click rate on the metronome.

Exercise 1

Rhythm 2 Tremolo 2.jpg

Exercise 2

Rhythm 2 Tremolo 3.jpg

Exercise 3

Rhythm 2 Tremolo 1.jpg

Exercise 4

Rhythm 2 Tremolo 4.jpg

 

 

Artist Profile: Denis Azabagic

“Denis Azabagic demonstrated his unbelievable guitar playing skills, sincere love for music, professionalism and passion…” – CHICAGOTRIBUNE.COM

A GFA winner, seasoned concert artist, accomplished chamber musician and recording artist, Bosnian guitar great Denis Azabagic, needs no introduction to the classical guitar world. But, what often escapes even the most devoted afficionados may be the hidden gems among the pile of guitar videos on youtube.

I recently came across Denis’ Mastering Guitar Technique Series [scroll down a bit after linking]. Though you have to pay for each video, the lessons range from slurs to tremolo to scales and in my opinion are worth hundreds time what he is charging ($1.99!). Each video has a tremendous amount of insight and practical advice. If you’ve not heard Denis play, check out the video below of him playing brilliant renditions of standards by Sor, Bach, and Asencio, and then check out his technique series!

Left Hand Warmup: Slurs, Fixed Fingers, Open Strings, and Tunnels

Lately, when starting my practice I will start with an assortment of left hand movements. I go slowly with attention to the fluidity of the movements. While I do this, my ear starts to focus. The easy pace is ideal for adjusting tone and exploring left hand movement before moving on to arpeggios, scale fragments, and spots in pieces.

Here is a slur sequence I really enjoyed focusing on yesterday. It involves playing slurs with a pair of fingers, slurs to and from open strings, all while requiring the precise placement of the fingers to create tunnels so that adjacent strings remain unobstructed. Fun!

I immediately thought: BLOG POST!

Here’s the outline of the movement using fingers 12 but you should try all pairs (23, 34, 13, 24, 14). You’ll get more out of the exercises by repeated each slur many times and of course, play them across all strings and positions.

Method of Practice

Fixed Finger Slur Exercise 2.jpg

Exercise 1 – Ascending Slurs

Fixed Finger Slur Exercise.jpg

Exercise 2 – Ascending Slurs 2

Fixed Finger Slur Exercise 3.jpg

Exercise 3 – Ascending and Descending Slurs

Fixed Finger Slur Exercise 2a.jpg

Exercise 4 – Descending Slurs

Fixed Finger Slur Exercise 4.jpg

Exercise 5 – Descending and Ascending Slurs

Fixed Finger Slur Exercise 5.jpg

Go give that left hand a workout!

 

Technical Workout for Classical Guitar, Level 1 – Base Building, Part 3 (video)

Here is the third of Six String Journal’s series of technique videos to accompany my recent workbook, A Technical Workout for Classical Guitar, Level 1 – Base Building. This video corresponds to Left Hand Movements, Part 3.

This workbook is designed to help late beginners and intermediate guitarists develop a daily routine of movements to strengthen their technical base so that fingers can do their job properly when assimilating new repertoire. Always go slowly with the most control possible. Think of it as writing a program for your brain with no bugs.

Technical Workout for Classical Guitar, Level 1 – Base Building, Part 2 (video)

Here is the second of Six String Journal’s series of technique videos to accompany my recent workbook, A Technical Workout for Classical Guitar, Level 1 – Base Building. This video corresponds to Left Hand Movements, Part 2.

This workbook is designed to help late beginners and intermediate guitarists develop a daily routine of movements to strengthen their technical base so that fingers can do their job properly when assimilating new repertoire. Always go slowly with the most control possible. Think of it as writing a program for your brain with no bugs.

Technical Workout for Classical Guitar – Level 1 – Base Building, Part 1 (video)

Here is the first of Six String Journal’s series of technique videos to accompany my recent workbook, A Technical Workout for Classical Guitar, Level 1 – Base Building. This video corresponds to Left Hand Movements, Part 1.

This workbook is designed to help late beginners and intermediate guitarists develop a daily routine of movements to strengthen their technical base so that fingers can do their job properly when assimilating new repertoire (that was wordy!). Always go slowly with the most control possible. Think of it as writing a program for your brain with no bugs.

 

 

Technical Workout – Speed and Flexibility

I’ve just published another workbook entitled A Technical Workout for Classical Guitar: Level 2 – Speed and Flexibility.

Like A Technical Workout for Classical Guitar: Level 1 -Base Buildingit expands some basic building block movements to help the guitarist develop a strong technique through the use of rhythms, extensor movements, and fixed fingers.