To conclude our video series covering right-hand technique development in Heitor Villa-Lobos’ Etude N°1, I’ll explore how to use the concept of bursts (another rhythmic manipulation) to develop speed and further strengthen right-hand rhythmic precision, right-hand preparation, control, and clarity.
To continue with our video series on Heitor Villa-Lobos’ Etude N°1, I’ll explore how to use various rhythms to develop rhythmic precision, right-hand preparation, control, and clarity.
Hope this helps!
After repeated requests for more videos, I’m eager to share this post and upcoming video series on Heitor Villa-Lobos’ Etude Nº1. In this first part I’ll explore the advantages and disadvantages of the standard fingering that Andrés Segovia wrote in the published edition. I’ll then offer some options for practicing the Etude. In Part 2, I’ll go through some options to overcome the disadvantages and finally arrive at my preferred fingering.
For a reduction of this, check out my first post on Villa-Lobos’ Etude Nº1.
You may enjoy playing scales as much as I do. The organizational aspect of it, the ear training, the mechanical and athletic component, and the results scale practice produces keeps them on the top of my technique practice log. All musicians know how important scale work is for their musical and technical development. So if you are in the habit of running through scales as part of your routine, one simple adjustment can help: giving your scales direction.
We augment results when musical intent is paired with technical practice. To this end, start adding simple phrasing to your scales:
Know your scales!
Add simple pair phrasings or groupings. Give a certain hierarchy to the groupings like tension to resolution or strong to weak. Establish that the two (or three or four…) notes are related in some way.
Keep going: group 4, 5, 6 notes together!
Start your phrases off of the perceived downbeat.
Off to practice!
Finding the right nail shape to express yourself on the guitar is an elusive science. To make the puzzle more complicated are the facts that nails are organic, are continuously growing, and are affected by variables like weather and diet. Because everyone attacks the strings with variable angles and tensions in the fingertips and because we all have an ideal sound we are after one shape may not be as effective as another. Some guitarists have a “sound” with little sonic variance while some use color and gradations of timbre to interpret their music. So, whether you are a beginner starting to experiment or an advanced player looking to expand your knowledge, the following videos are the best I’ve found so far to see exactly what the pros do and how they approach nail shape.
In french with subtitles, Six String Journal favorite Thomas Viloteau shows an ingenious method for adapting the shape of the nail to your stroke.
Here is a screen shot from a video of Spanish guitarist Ricardo Gallén checking his nails before his recording of the Bach lute works.
Last but not least, Cuban virtuoso Marco Tamayo details the steps he uses to shape his nails.
Years ago, when Marco was visiting he drew this diagram out when I asked about nails.
Go shape then pluck!
“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!
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.
Try to build flexibility into your right hand by playing the etude as written with the following right hand patterns:
piai, pimi, piâi
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
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
Or, if you are feeling musically creative, explore adding a note to complement the melody within the key:
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!
Download the edition of my score for free: Fernando Sor Etude Op. 35, Nº9
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!
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.
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, 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!