I have to admit that I may be enjoying Fernando Sor’s etudes too much these days. Many of them conjure a nice summer walk in the countryside with the occasional mildly adventurous detour. A set of favorites that I’m editing will be published soon but I thought I’d post a lesson on one of them and how I have been using it to warm up and build technique. His etudes are ideal in many ways to integrate musicality into technique because listening to the subtleties and manipulations of Sor’s familiar but often charming harmonies is so pleasurable.
Once you master his etudes, there are many possibilities for expansion but I’m going to use Etude Op. 35, Nº9 to illustrate how I like to use it to develop right hand technique. Here is a read-through for those of you not familiar with it.
First Step
Try to build flexibility into your right hand by playing the etude as written with the following right hand patterns:
piai, pimi, piâi
Variation 1
Once these are reliably developed, you’re ready for some fun. Use the following pattern to help develop the weaker alternation with these patterns:
piaiaiai, piamamam, pimimimi
Variation 3
Or, another option could be to explore moving out of a right hand arpeggio position into a more right hand scalar position with:
piaiamim, piaiaimi, piaiamia, piaiamam
Variation 4
Or, if you are feeling musically creative, explore adding a note to complement the melody within the key:
Variation 5
Change it up a bit to get in your triplets:
Or, if you prefer:
pimamiamiami, piamipamiami, etc…
There are so many places to go with these little gems. Fun!
A few months ago I edited a new edition of Mauro Giuliani’s Variations on Las Folias de España, Op. 45 and have just made it available. Since I recently posted an article on the value of practicing chromatic octaves to build left hand coordination, I thought I’d post the 4th variation from Giuliani’s great work for all of you to test your abilities!
For this month, I’ve set up a discount code for Six String Journal Readers who’d like to download the score. Just enter the code “GiulianiRocks!” and you’ll get 50% off!
The ability to place the left hand in a position to give equal opportunity for each and every finger to fret precisely is essential for playing well. Pinching a fret precisely means pinching a fret while avoiding contact with any adjacent string/s.
There are many instances where the ringing of adjacent strings is necessary. Think of your Bach fugues!
So here are two exercises I like to show students who are struggling with placing left hand fingers precisely. Some things to keep in mind:
Listen! Keep your ear on the open string to make sure it rings continuously while you play the chromatic notes around it.
Play really slowly to insure absolute legato.
Keep right hand fingerings simple. Try using p and i or m for the open string.
Pay attention to your wrist placement. It should remain relatively flat. Do not push your wrist out in front of the guitar. To create a tunnel for the open string take the bend across the joints in the finger. Think of creating a semi-circle with the finger.
Exercise 1
Exercise 2
Hope this helps clean up those sloppy pinches! : )
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, pmpi, pipm, papm, pmpa, papi, and pipa.
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!
One of the easiest ways to improve right-hand arpeggio studies like Heitor Villa-Lobos’s Etude Nº1, Leo Brouwer’s Etude Nº6, or Francisco Tárrega’s Estudio Brillante, or the parts of pieces where arpeggios occur for an extended time is understanding when exactly the left-hand fingers must place or release to prepare for the next note or chord formation. Often, fingers are placed too early or too late, and both situations either overexert the fingers, the nerves, or worst of all, the musical intent. Arpeggios are, after all, broken chords. It is very rare that all fingers should place at once if they come in ‘broken’.
Sequential planting of the left-hand fingers is a skill that choreographs left hand movement to a deeper and more subtle level than simply grabbing at the next chord frantically at the start of a measure.
Here is a simple but effective exercise to help develop the principle of timely left-hand finger placement. The key is to time the placement of the new finger in relation to the meter and when it is due to enter and to avoid arbitrarily placing it at the beginning of the measure.
Go through each exercise a few times plucking every single note of the arpeggio. Once this feels comfortable and the timing is starting to feel synced with both hands, slur the entering note in time to develop a sense of pulse in the left hand, too.
Exercise 1
Exercise 2
Exercise 3
Exercise 4
There are infinite ways to expand this concept but one of my favorites is to move into cross-rhythms with accents. My idea of fun!
Exercise 5
Explore your arpeggio pieces to see if you can apply this concept and let me know if it helps!
My usual morning consists of a good warm-up (a combination of left hand movements and slurs, right hand alternation movements and arpeggios, and scales), before moving on to practicing spots in pieces, and finally playing through pieces and working on new pieces. However, there are periods of the year where I have more time to extend my technique practice and to learn new pieces. I’m approaching that period now (yeah!) so I’m experimenting with new finger gymnastics to address weaknesses in my technique and building a hearty list of new repertoire to absorb over the summer.
To this end, I was rummaging through my boxes and shelves of music and found a well-worn copy of Francisco Tárrega’s Complete Technical Studies. I pulled it out and went through it again for fun. If you’re looking to shake up your routine, I highly recommend some of his studies.
Below are two of Tárrega’s left-hand exercises that will surely make your left hand sweat. Tárrega notates using im alternation for the right hand but I prefer to simply assign i, m, and a, to strings 3, 2, and 1, and have p play all the bass strings to preserve my nails.
Exercise 1
Exercise 2
Try going from 1st position all the way to 9th and back. Also, try the same concept with other sets of left hand pairs: 14 and 23 or 13 and 24.
Dutch guitarist extraordinaire, Enno Voorhorst, took some time out from his busy schedule to give Six String Journal readers insight into his personal and musical life. From eating bananas before a performance, reading García Márquez, to his upcoming project of recording late Roland Dyens’s Concerto Metis, hope you enjoy this as much as I did!
Personal
When did you start playing and why? Or, what drew you to the guitar initially?
I was thirteen when I got my first guitar and was immediately sold. I had played the violin for 6 years already, so the development went very quickly because of this advantage and that was of course very stimulating.
What repertoire do you enjoy playing the most?
My repertoire preference is music with nice melody lines. I see the guitar more as a melodic instrument than as a chordal instrument. A piano or harp can’t influence the sound after playing, nor do they have much the sound variety that a guitar has! This is the same like all other melodic instruments.
What guitar or guitars do you perform on? Strings?
I play a Simplicio model moderno copy from 1930. It is made by Federico Sheppard and it has a double soundhole on both sides of the fingerboard. I like the sound possibilities and the clear full bass. For that I use Savarez Corum hard tension.
Which guitarists/musicians have had the most influence on you?
Of course my first teacher influenced me the most, Hein Sanderink. He came from the school of Ida Presti and was very concerned with a good sound but he is also a fantastic and clever musician. After that, I studied with Huber Kappel and had masterclasses with David Russell who both influenced me a lot. Kappel because of his expression and Russell because of his mastery and open mindset.
What recording/s are you most proud of?
Every next recording I think is the better. My last recording is the most mature; Bach, Pärt, Desprez. I think here I played the most freely and expressively with a program that suits me well.
Are there any recordings that you consider have the finest recorded sound for guitar?
This is hard to say. As a musician I listen to the music first and when I like it I also like the recording but I know that I’m probably not objective…
What are some up and coming projects you are excited about?
In September 22-25 2017 there is a Camino Artes festival where I will perform a new duo with Laura Young. David Russell will also be there to celebrate the 500th concert in this series of concerts for the pilgrims walking towards Santiago the Compostela in beautiful old churches. After that I will record a CD of Roland Dyens’s music consisting of many solo pieces and his Concerto Metis with one of the best string orchestras of the Netherlands. I’m really looking forward to this as a tribute to this great person, friend, and unique composer.
Technique and Performance
How much do you practice? And, do you structure your practice in any particular way?
Yes I practise a lot, still 4 hours a day or more. It depends on the concerts I have to play and the programs I have to prepare. I also play in two duos what I like very much for the repertoire; one with oboe and one with the viola. Great combinations!
Are there aspects of guitar that you struggle with or that you find you are still working on?
Technically, many problems have been solved over the years, but relaxation always remains an important issue. Of course relaxation of the whole body, but also of the fingers that have nothing to do. This gives the possibility to prepare the next finger movement. A well prepared finger is half the work!
Do you deliberately memorize music or have a technique that helps assimilate music into memory?
I like to memorize the music because it settles better in my brain that way. A memory is actually an association you make with notes, rhythm, harmony, movement, etc. The more associations you make the better it is, so a good understanding of solfège and harmony is important. Playing a piece from memory should be an automatism!
Have you published any editions or do you plan to publish your own editions in the future?
There have been some publications. At the moment I do not take the effort to have more transcriptions published because of a lack of time. But I’m happy to share them with anybody who asks me by mail. The guitar world is small and I like this feeling of connection with each other.
Do you have a favorite drill you use to warm up?
My warming up consists of some scales, slurs, and arpeggios. Furthermore, playing tremolo pieces relaxes and balances my right hand and helps the left hand find the strings more precisely.
Do you have any pre-concert rituals?
I eat one or two bananas.
Advice to Younger Players
What single most important piece of advice about practicing would you offer to younger players?
Never lose the joy in playing, so play the pieces you love. When you don’t feel like practicing something, first do what you desire to do. The guitar is your friend and not the opponent.
What repertoire do you consider essential for young/conservatory students to assimilate? Why?
The studies by Fernando Sor are definitely very important because of the quality of counterpoint, structure, and refined harmony and melody.
Recordings that every young guitarist should be familiar with?
Listen as much as possible the music you love over and over again. All music, not only guitar! I listened to Glenn Gould playing Bach very often or the duo Presti/Lagoya.
Tangent
What is the last book that you read? Favorite author/s?
The last book I read was Ida Presti Her Art about the life of Ida Presti. It is written by her daughter Elisabeth. It is very interesting to read how the guitar developed after the second World War. One of my favorite authors is Gabriel García Márquez with his magic realism…
Do you try to stay healthy? Exercise? Follow a particular diet?
I like to go running with my dog in the woods behind my house and that gives me energy. I think that good health is important to play an instrument on a high level, not only physically but also mentally.
I have to admit that I may be enjoying Fernando Sor’s etudes too much these days. Many of them conjure a nice summer walk in the countryside with the occasional mildly adventurous detour. A set of favorites that I’m editing will be published soon but I thought I’d post a lesson on one of them and how I have been using it to warm up and build technique. His etudes are ideal in many ways to integrate musicality into technique because listening to the subtleties and manipulations of Sor’s familiar but often charming harmonies is so pleasurable.
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.
My usual morning consists of a good warm-up (a combination of left hand movements and slurs, right hand alternation movements and arpeggios, and scales), before moving on to practicing spots in pieces, and finally playing through pieces and working on new pieces. However, there are periods of the year where I have more time to extend my technique practice and to learn new pieces. I’m approaching that period now (yeah!) so I’m experimenting with new finger gymnastics to address weaknesses in my technique and building a hearty list of new repertoire to absorb over the summer.
