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.
Need something new to add to your slur studies? Try this series of advanced exercises for the left hand that combine compound slurs and accents. Use them to build endurance, control, and precision. For each of the three levels illustrated keep the following points in mind:
- Practice on various strings in various positions.
- Practice slowly with great rhythmic intent.
- Keep movements efficient and clean.
- Play accents clearly.
- Keep left hand wrist and fingers as relaxed as possible.
- If at any point your hand and fingers feel like they are going to fall off, consider stopping.
For these exercises use the following left hand finger patterns: 12, 23, 34, 13, 24, 14. The example below uses 12.
For these exercises use the following left hand finger patterns: 123, 321, 134, 431, 124, 421, 234, 432. The example below uses 124.
For these exercises use the following left hand finger patterns: 1234, 4321, 1324, 4231, 1423, 4132. The example below uses 1234.
If your left hand has not been challenged or you’d like to expand the exercises a bit or you DO want your hand and fingers to fall off, use a bar or fix a left hand finger that is not in use to another string and nearby fret.
“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!
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!
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.
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!
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.
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.
Hope that gets your left hand going!