GUITAR MASTER
CLASS T e c h n i c a l Exercises by b y Famous G u i t a r i s t s and Teachers Andres Segovia • George Sakellariou • Michael Lorimer Liona Boyd • Carlos Barbo sa-L ima • Miguel Abloniz Louis Gehring • Philip Rosheger • Jo hn Duarte Alice A rt zt • Vinc enz o Macaluso • Christopher Parkening Charles Postlewate • Lee Rya n • Clare Callaha n David Gri mes • Peter Segal • Ro na ld Pureed Christopher Berg • Christopher Ame lott e • Ronal d Sherrod
Compiled and Edited by
Ronald J.
Sherrod
3
PREFACE Every musician aspires to know and study with a great master. This book, in a small way, allows
students of the guitar to become acquainted with twenty-o ne of the wor ld' s famous guitarists and teachers, and gives them the opportunity to practice the same exercises that these masters practice. It will be noted that many of the exercises concentrate on only one detai l of guitar performance. The concept of breaking problems into small, isolated units is is an important "secret" to the con trol of
the instrument. Also, becaus because e of this co ncentrati on on a particular problem , many of the the exercises exercises appear simple. This is a deception, however. Every exercise in this boo k, if it is playe d accurately and
skill and dexterity. cleanly, requires a tremendous amount of skill This book does does not discus discusss basic guitar technique or termino logy (sitting pos itio n, hand positions,
rest stroke, free stroke, etc.). It is assumed that the person using this volume has access to other sources which thoroughly deal with these aspects of guitar playing. sincere thanks to the the guitarists guitarists who c ontri buted to this volum e. The ir cooper ation is I extend my sincere
in the highest spirit of professionalism and of concern for students of the the instrument. Ronald J. Sherrod
To Chris and Lonna
No. 80 53407 Library o Library of f Cong Congress Catalogue Card Card No.
©Copyright 1 98 1 980 0 by by Belwin-Mills Publishing Corp Melville. N Y 11 747 11 747 International C opyright Secure Se cured d
Made m U S A
Rights Res erved All Rights
4
CONTENTS Page Introduction
3
Andrés Segovia
°
George George Sakellariou
^
Michael Lorimer Liona Boyd Carlos Barbosa-Lim a
^4
Miguel Ablóniz Louis Gehring Gehring
''
Philip Rosheger
*°
John Duarte
2 1
Alice Artzt
2 3
Vincenzo Macaluso
2 3
Christopher Parkening
2
^
Charles Postlewate
3 0
Lee Ryan
3 3
Clare Callahan
3 6
David Grimes
3 2
Peter Segal
4 0
Ronald Purcell
4 1
Christopher Berg
4 3
Christopher Amelotte Ronald Sherrod
4
-> 4 7
5
INTRODUCTION Technical exercises exercises should never be viewed with out a purpose purpose or without constantly placing emphasis emphasis on musical quality. It is, in fact, difficult to separate musical expression from technique since since "te chn iqu e" is simply
the control of those elements which bring about musical results. This, then, does not only mean the ability to play the correct notes at the correct time for the correct duration, or those those obvious technical elements such as vibrato, apoyando, tirando, ligados, pizzicato, tambora, tremolo, etc., but includes the realms of music such as timbre, emphasizing the the b ottom note dynamics, dynamics, separating a melody from a bass line, emphasizing the top note o f a chord, emphasizing
or an inside note of a chord, etc. Even something as subtle as the use and control of rubato can be considered a technique to be isolated and worked on as a technical exercise. Technical emphasis emphasis is especially especially valuable in the formative years years of guitar study. By progressing progressing through a daily routine of technical exercises the hands are adequately warmed-up and stretched . The phy sica l aspects of guitar are systematically approached.(Read the related related playi pl ayi ng - strength, endurance, contr ol, flexibility, and security - are comments by Alice Artzt and Peter Segal, pp. 23 and 40 .) Likewise the mental attributes of good guitar playin g and musicianship are developed. These include confidence, patience, and freedom — freedom to concentrat e on musical results rather than tec hnic al; and freedom freedom to choose pieces based on musical quality rather than on their degree of technical difficulty. This text can be extremely useful to advanced students as well as students with a limited background. An
exercise can be made simple by playing it very slowly or by playing only part of the exercise. Likewise, there is no
limit to the difficulty of the exercises. Simply increase the tempo, or as in the case of some of the exercises, extend the range or reach required of the exercise. The following outl ine o f activitie s is suggest suggested ed as a daily procedure. It is not intended that all of the exercises be pla yed in thei r ent irety ire ty each day, da y, but at least one exercise exerci se from each group grou p sho uld be selected. selec ted. Also, it should be exercises is by the ed itor. Other possibilities exist. these exercises stated that the catagorization of these
I.
SCALE S AN D ARPEGG IOS Liona Boyd John Duarte (part 1) David Grimes Charles Postlewate Postlewate (exercises 2, (exercises 2, 3 & 6) Peter Segal Segal Andres Segovia Ronald Sherrod
II FINGER PLACEMENT Alice Artzt Christopher Berg Liona Boyd Clare Callahan John Duarte (part 2) George Sakellariou Ronald Sherrod
III. COORDINATION O F HANDS, STRETC H,
ENDURANCE Alice Artzt Christopher Berg Clare Callahan Vincenzo Macaluso
III COORDINATION O F HANDS, STRETC H, E N D U R A N C E (Cont'd) Philip Rosheger Lee Ryan George Sakellariou Andrés Andrés Segovia
IV LIGADO EXERCISES Miguel Abldniz Vincenzo Macaluso (procedures a & c) Christopher Parkening Charles Postlewate Postlewate (exercises 4 (exercises 4 & 5)
V.
ARTICULATION. DYNAMICS, TIMBRE, PERFORMANCE PRACTICE Christopher Amelotte Carlos Barbosa-Lima John Duarte (part 3) Louis Gehring David Grimes Michael Lorimer Charles Postlewate (exercise 1) Ronald Pureed Lee Ryan Peter Segal Segal Andrés Andrés Segovia
6
0
ANDRES ANDRES SEGOVI SEGOVIA A The most renowned guitarist of the the century. century. The standard by which ail guitar technique and performance is is evaluated.
Recommended by Andrés Segovia is an exercise originated by the Spanish guitarist Francisco Tárrega (1852-1909). Based on the diminished-seventh chord, it is an excellent study for both the left and right hands. The left hand fingers work independently as they move up and down the fingerboard. The right hand wrist must remain high, and must smoothly fall or rise in order that the fingers maintain a consistent angle with the strings as they cross. Maestro Segovia suggests suggests that this exercise be practiced both apoyando (rest stroke) and tirando (free stroke). Work very slowly with this exercise at first. It is a challenging one to play well.
© ©
^
©
@ - 4 i
2 tti=r
®—^^ y
® ^
©
SÉ©
1 £
b
S 3
IP
Ü
f
r
P
3
1
I
f r
f
r-—-r
r
As this exercise is refined, a larg large e amount of expression can be added. After working in legato style, try the exercise staccato:
Then, combine legato and staccato:
The entire exercise should be practiced with all the dynamic levels between PP and ff. ff. Also, the control of crescendo crescendo and decrescendo is extrem ely impo rtant . As Segovia Segovia plays this exercise, exercise, his right hand hand moves toward the bridge as the volume increases and away from the bridge as the volume decreases. This chan change ge in timbre com pli ments me nts and reinforc rein forces es the change in dy nami na mics cs..
f t f t
f t _
i t f t
«
t
-
1 1
h -
f t
7
L
f t
GEORGE
Graduate of the Hellenikon Hellenikon
SAKELLARIOU
Conservatory, Conservatory, Athens, Greece. Has
performed extensively extensively throughout
Europe, South
America,
the
United States and Canada. Currently on on music faculty at the San Francisco Conservatory of Music and the University of California,
Berkeley.
George Sakellariou states that one of the most difficult aspects of guitar technique is legato playing. It requires perfect coordination between the left and right hands. Mr. Sakellariou offers two exercises to develop this coordination. The Th e first exercise consists of movement down and up the fingerboard as octaves are played.
® .T'Vp
• M i
k
IT, —
.
L-J
E f -
U J=*A
4 ¡ ¡ ¡ •
E l l
f i
I E
n f
X X
K
M .
S
^
X
F X
J = =
X
i
i
J
9
77707 7717 — •
1 I ; 1 T 4
H
1
ti
•
•
lh » —
J
1—
J
'
-ti 9
7
7 7
H
^^
j
A V
>
h
•
E I T D " V X
4
«
M
c
t t F x ? -
n 4 — — 1 1
Y l
—
t V x X f i X
P I . 40 . -
7
W- -0-
•
9
J
-|
X
X
F
F
h
-J
K
k * i
IT—I
Th e second exercise consists of the rapid alte rnat ion bet ween notes. Th e speed speed at which this exercise is practiced depends on the individual, but Mr. Sakellariou states that the notes should be "very quick and without fingernail clicks." Furthermore, he suggests that each finger combination be measured by means of a clock. For example, practic pra ctic e each co mb in at io n two tw o or three minutes without stopping.
Continue this exercise with all possible combinations: 1- 2-3-2 2 - 3 - 4 - 3
1-2-4-2 1-3-4-3 1-3-2-4 1-4-2-4 1- 4-3-4 2 - 4 - 3 - 4
1-4-3 -4-2- 4 etc.
The above exercise should also be practiced on strings © @ ® © ©
• The difference difference in string thickness
adjust. creates a different "feel" to which the guitari st must adjust.
Similarly, move the exercise up the fingerboard. The guitarist must become accustomed to the change in string string tension as the move is made to the higher positions. E L 2722
MICHAEL MICHAEL
LORIMER
known throughout Internationally Internationally famous virtuoso. Mr. Lorimer is is known the world for his artistic performance performance
on the traditional Spanish
guitar, his accurate and idiomatic transcriptions as well as for his premieres of new new works. works. His playing of a a second instrument, instrument, the Baroque guitar, has spearheaded spearheaded the revival of the historic historic instrument. Currently Michael Lorimer is on the the faculty faculty of the San Francisco Conservatory of Music.
One engaging feature of Michael Lorimer's playing is his expansive use of tone colors. He contribute s the the following comments about producing timbres with the thumb:
There are eight basic combinations in which the thumb (p) may play with the index (i)t middle (m), and ring (a) fingers. The following chart illustrates the combinations:
a plays: /, m, or a plays:
p plays:
free stroke
free stroke
rest stroke
rest stroke
free stroke
free stroke
rest stroke
rest stroke
free stroke stroke with nail
free free stroke with flesh
free stroke stroke with nail
free stroke with flesh
rest rest stroke with nail
rest stroke with flesh
rest stroke with nail
rest stroke stroke with flesh
Each combination produces different tone colors. Each one also requires a different balance or position of the hand. Often guitarists use few of the combinations because they have learned only several of the possibilities. in your playing and and increas increase e the the Learning all the combinations will greatly develop the potential range of col or in fluency of yo ur right-h right-hand and technique. Y o u can learn learn the first six combinations by prac ticing this this serie seriess of chromatic octaves: a
m
i m m i a i t a r m i a m i a /
a a m
n m i a a
m i
m i a m a t
l e
\ 1
m —0 :
o p
p
1 t
-
IF p
P
j
1
3
3
Pi
etc.
— r i r* l t 1 V 1 4 A i P t
1 — "*
p
i
l—rf*1—«
*
: 3
p
v
0
0
1
#7
0
f
-9
I
i
0 \ -
-0 ^
0
-0
• 0
11
Play this exercise fortissimo, very rhythmically and at a moderate tempo. Practice very slowly until you can perfect rhyth m w ith a relaxed hand. Adjust your position play pla y each octave with a beautiful tone (fortissimo), in perfect
and stroke until you get a technique that works . Be guided by the feeling of your your right-hand, arm and shoulder, not forget any ideas of "correc t right-hand po si ti on " you have. by guitar playing theory - it may be helpf ul to forget
Yo u can use the same approach with other etudes using the thumb such as those found in Volume II, pp. 77-85 and Volume III, pp. 61-69 of Emilio Pujol's Escuela Razonada (published by Ricordi, distributed by Belwin-Mills, 16 W. 61st St., New York, N . Y . 10023); 10023); pp. 3-35 3-35 in Abel Carlevaro's Serie Didáctica, Book 2 (published by Roberto Barry. Buenos Aires, Argentina , distributed by Boosey & Hawkes, 30 W. 57th St., New York, N . Y . 10019) ; the the 120 studies for the right hand by Mau ro Giuliani (Celesta, 409 E. 50th St., New York, N . Y . 10022); or some of the etudes (2, 4, 5, 12, 16-19) in Segovia's edition of 20 Sor Studies (Edward B. Marks Music Corp., 136 W. 52nd St., New York. N . Y . 10019). Trem olo studies also provide opportunitie s to practice different right-hand combinations using the method I've outlined.
It is best to practice the last two combinations (simultaneous rest strokes with thumb and fingers) only on passag passages es where there are broken chords and the thumb plays by itself. The following excerpt from Mateo Carcassi's Opus 60, No. 3 is an example. Andantino
f
r A
f
1
A
A
f
r
LIONA LIONA BOYD
Born in England, but a resident of Canada, Liona Liona Boyd's Boyd's credits include tours of North, Central, and South America, America, Europe, and New Zealand; appearances appearances on several television shows including Mike Douglas and the prestigious prestigious "Today Show;" and five record
albums. The Canadian Canad ian Music Music Industry Industry awarded her a a Juno Juno Award as "Best Instrumentalist
of the the Year;" several international international com
posers have dedicated works works to her; and she has been invited to play to play for such distinguished persons as the Prime Minister of Canada, Her Majesty Majesty Queen Elizabeth II, the Prime Minister of England and the Chancellor of Germany.
she identifi es one as as a left hand and one as as a right hand Liona Boyd gives two valuable exercises. Al th ou gh she exercise, each is an excellent exercise for the coordination of the two hands. FO R THE LEFT HAND
Here is a finger pattern I use. It is wri tten on the first str ing but shou ld be used used on all the strings. It It is a good idea to practice it very slowly at first making sure the left hand fingers are all correctly placed. Many different right hand patterns may be used once the left has learned the exercise.
Ascending Pattern
Descending Pattern
4
h i
ft
b
3
FOR T H E RIGHT HAND
Most guitarists
have prob lems with their right hand nails wearing down after practicing an hour or find they have
two of scales and technical exercises. Many right hand patterns can be practiced using only the three upper strings, thus saving the the nails from the wou nd strings that wear them down. Here is a partial scale that I use for many right hand exercises.
Partial Scale 0
EL 2722
. 1 3
0
1 ^ 3
1
1
1
l 2
l
i 2
1
1
1 ' i
; U t ? t ( i i i
!
3
>
0
3
l
0
The preceding scale may be broken into rhythm patterns using various comb ina tion s of the right right hand fingers. fingers. Rhythm Pattern A i
m
a
m
i
m
a
m
MP 93
i
m
a
m
Rhythm Pattern B -
H
i
—
m
a
m
i
•
fj
i
m
a
m
m
m
i
•
a
m w
free stroke) Right Hand Combinations (practice rest stroke and free i-m-a-m
m-i-m-a
a-m-i-m
i-m-i-a
m-a-m-i
a-i-m-i
i-a-i-m
m-i-a-i
a-i-a-m
i-a-m-a
m-a-i-a
a-m-a-i
Fo r rhythm pattern A above, combinations with the thumb may be employed. p-i-m-a p-i-a-m p-m-i-a p-m-a-i p-a-m-i p-a-i-m
The scale may be divided into triplets using the given right hand combinations. Rhythm Pattern C 3_
—
fj
1
i f
i
• m
P
m H
W
a
i
P
0
a
•i
m -0
•
a : 0
i
•
i m.
m W
a
K
etc.
a
Rhythm Pattern D 3
• •
\m V
i
0 n
i 9
rt i
P K
m 0
a
•
i
a
i-m-a i-a-m m-i-a m-a-i a-m-i a-i-m
Combinations with the thumb may be used with rhythm pattern C above. p-i-m p-m-i p-a-m p-m-a E L 2722
m w—
,
a m
PfC
CARLOS
BARBOSA-LIMA
Internationally famous guitarist and recording recording artist. A native of Sao Paulo, Brazil, Carlos Barbosa-Lima gave his his concert debut when when he was was twelve. twelve. Since his his first U.S. tour in 1967 he has been cat apulted to international attention; attention; throughout the world his his concerts continually
receive the the highest critical critical acclaim. acclaim. He was praised by
Segovia as as "gifted by the goddess of music. " Lately, in with major addition to his recitals, recitals, he has been guest soloist with American orchestras and has performed in prestigious prestigious music festi
Andrés
vals in the Americas and Europe.
The following articu lation exercise exercise by Carlos Barbosa-Lima requires requires a great amount of technical and psycho logical con tro l. If practiced conscie ntiousl y, it is tremendously helpful in pro viding the tools for an infinite number of articulation nuances that the guitarist may explore.
Mr. Barbosa-Lima suggests that the rhythm of the exercise be counted first without a guitar. He states, "Begin very slowly, subdividing each beat as the measures are analyzed. The subtleties of rhythm and articula
tion must first become a mental 'attitude'." (He also states that solo pieces should begin with the same procedure,
thus preventing many errors that later would have to be corrected.) When the exercise is
beco me aware finally played on the guitar, Mr . Barbosa- Lima suggests that both hands become
of the articulation and work in combination to produce it. 1. Play the following melodies using the string and fingering indicated: a)
©
¿-4-1— A—f-H— 3 f
m b)
©
f i
1 i .
E L 2722
s1
4
1
) '
^ —
y
1
? Pi
»
2. Repeat the above melodies using different strings and positions. For example:
i
L
J - ^ r —
3. 3. Ad d chords to the above melodies. Fo r example:
-J
f
n y
MIGUEL MIGUEL
ABLONIZ
World renowned guitarist, guitarist, teacher, and music scholar. Maestro Abldniz has published in excess of 350 guitar works, which include more than 80 original compositions
in the classical, romantic, and modern modern idioms, as well as many articles and books relating to guitar technique and performance.
From his text "Essential Exercises Fo r The Left Hand," Miguel Abloniz offers the following exercise and comments for the practice of ascending and descending ligados.* Maestro Abloniz states: This exercise, written here to be played only on the 1st string, should be practiced on every string. T he left hand fingering remains unchanged regardless of the string used. As to its key, it is in: G minor when played on the 4th string A minor when played on the 1st string string D minor when played on the 5th string E minor when played on the 2nd string C minor when played on the 3rd string A minor when played on the 6 th string
The right hand plays apoyando on strings
CD®®®©
alternating all the time two fingers.
The Th e left hand, when practi cing on o n strings © ® @ © @ performs all of the descending ligados apoyando (see comments that follow exercise). In measures 4-8 never lift completely the index finger, but let it slide on the string without depressing it until reaching the new fret fret (excluding, obviously, the last note o f measure measure 8, which is produced with an open string). Additionally, depress simultaneously the group of under lined notes.
A s we exercise the right hand fingers to play apoyando (rest stroke) and non-apoyando (free stroke), I advise to learn to perform the descending ligados on the same string by applying also to the left hand, at will, either of of the two systems. The "apo yan do" principle used used for either hand remains unaltered; only that due to the particular positions of the hands the right hand fingers, after plucking, lean on the adjacent adjacent lower -in-s ound strin g whereas the left hand fingers, after playing a descending ligado, lean on the adjacent adjacent higher-in-so und string . After all, a descending ligado is produced by temporarily substituting substituting a left hand finger for a right hand one. one. One of the many advantages o f being being able to produce the descending ligado on the same string by means of the apoyando principle, a techni cal process process I have thought o f using using also for fo r the left hand (and I would like to point out occasion to read) is the fact that that I have never seen it suggested in any of the many "guitar methods" I had occasion they thus become as loud as the ascending ligados. . . something which would practically be impossible to achieve if one avoids touching the neighb oring higher-in-sound string. Generally, the fingers play apoyando when the string on which they lean is not musically needed. But certainly it is not always necessary or possible possible for them them to do so: for this reason, the manner o f playing fo r this playing apoyando the guitarist. (with either hand) will always be left to the discretion o f the permission of Miguel Miguel Abldniz 'Reprinted with the kind permission of Abldniz and the Berben Publishing Co.
LOUIS LOUIS Guitar studies at
Loyola
GEHRING
University
and Southern Southern
Methodist
University, University , and at the Estudio de Arte Guitarristico Guitarristi co in i n Mexico City the tutelage tutelage of Manuel Manuel López López Ramos. Ramos. Mr. Gehring is cur under the rently Instructor
of Guitar Guit ar at the University Uni versity of North Carolina
at Greensboro. As a full-time member of the artist faculty he has performed
extensively extensively in the the southern and southeastern southeastern United
States in solo, solo, chamber, and concerto concerts, as well as numerous as numerous television appearances.
Louis Gehring submits a detailed and valuable method for learning pieces. He states, "Each piece will, of course, present its own peculiar problems. However, a method such as as described described below is a learning learning structure which can encompass the my ria d of variables in classic guitar p lay ing. It is a metho d which requires requires discipline on the part o f the pla yer, but the result of being able to learn a wor k with great accuracy (and a minimum of un learning mistakes, and re-learning corrections) in a surprisingly short amount of time will far outweigh the regimentation needed."
Step 1: ANALYSIS Divide the piece first into main sections, and then subdivide these sections into phrases. The phrase is the basic musical musi cal and expressive express ive uni t of any piece, piec e, and therefore therefo re shou ld also be used as the basic learnin lea rning g uni t. Step 2: FINGERING fingerings for both hands. Since left hand fingering is is incl uded in most edi tions (but s houl d, Mark all of the fingerings nonetheless, be carefully examine d for possible impro veme nts), this will entail more work on right hand fingering. is Careful consideration should be given to finding the easiest possible fingering with the best musical effect. It is important to practice a given passage with the same fingering each time in order to learn more quickly and to produce prod uce an accurate, accu rate, cons istent isten t perform perf ormance ance . Step 3: PRACTICE Begin practice, starting with the first phrase only, carefully avoiding any mistakes. Study should begin by the me tronom e set set at at appr oxim atel y one half the future performance tempo (this initial speed will depend using the greatly on the difficulty of the com pos iti on) . When pla yin g at this speed is mastered with appropriate dynamics, articulations, and timbre, the metronome should be moved up one notch. After this speed is mastered, then one more notch, etc. . When the player has achieved three fourths of the performa nce tempo, he should go go on to the next phrase in the same manner, and so on. After a section has been learned with this method, the whole fast (the (the performance tempo ). section should be practiced with three metronome speeds: slow , me diu m, and fast This is the way the section will be studied from now on in order to maintain and perfect it. Step 4: MEMORIZATION Using the above method, memorization can quickly take p lace, again using this phrase by phrase approach. Step 5: PRACTICE PHRASES O U T O F CONTEXT After the entire work has been learned thoroughly and memorized, phrases should be practiced out of the cont ext of the piece (this is especially useful for com pos itio ns that do not lend themselves to easy division into phrases, e.g., fugal writi wr iti ng). ng ). Practic Pra ctic e the last phrase of the piece (or of a major section) by memory, then the next to the last, and so on, moving from the end forward. Practice similar phrases together so that there will be no con fusion fus ion under unde r the pressure of public performance. Step 6: ADDI TION AL TECHNIQUES Practice without looking at the fingerboard. Study away from the instrume nt b y ment ally recal ling all movements of the hands (left hand positions, bar chor ds, fingerings; and right hand strokes, stro kes, fingerings, stri ng changes). changes ). E L 2722
PHILIP
ROSHEGER
American merican to t o win win the prestigious First Prize in the international First A guitar competition held annually in Santiago Santiago De Compostela, Spain. Mr. Rosheger has toured toured throughout Spain, Canada, and the United
States and has made appearances on American and Canadian radio and television television networks (CBS and CBC). He is currently a member of the faculty of the San Francisco Conservatory Conservatory of Music.
fret of the Philip Rosheger has an incredible eight-fret reach (the ability to hold, simulta neousl y, the first fret sixth string and the eighth fret of the first string). To develop spread and strength of the left hand fingers, he suggests a basic exercise of changing the notes
of a chord one finger at a time. ©
If a right hand pattern is added, the above exercise could be played as follows:
f'!frPrjnrrrtrr
m
3ZM
*5
.09 zr.
is
zn
ato*
p m^ tit»— p~
'M, .
>•
L
F i
,
mm mm mm mm
[
'ji \^i^s\^ m
i
0
u ,
4P-
• r i r i^" l V mm A
L
i
rt
it
mm mm r L r r in inc r * f
same exercise should be practiced utilizing strings ( S X J X T X D The same
®4-0
O i
©*
bu
©¿ O 3 - 3 i b o
}>ti }>ti bu
b o b b" "
,b&
b
r b - o — f r i
Li
i\
b
o
\>T3
1
•1
An expansion of the above exercises eventually demands a reach of seven frets.
ft EL 2722
| g É 4 Í g W = á í
m
0~
-rftffifcttfnt
S C D (
1 1 • d
* '
| T "
R
^
P
J
P
i
"
" H
' r V
*
4 cJ cJ t'r Crj i.
v x
V r X
V
i
1
d
^
1
i . A
^
; :
| ^ J ^
™
1_ 1
1
f J —
• : ^
mwm mwm
1
«J—
4
'
L
A
_
M
i^ab ^-a
> —
0 i . u
* *1
* r
t ± ^ b 7 <
o
Another variant of the previous exercise is to begin with the fingers placed at intervals o f perfect
As above, employ the principle of moving one finger at a time.
jg ,& a jtg o ^ y o 2-0 o © i
Jtg: J t e
t O j - i l o bo 0 2 , b o ^o 9-0 p-e
t o bo p -e -
t| « bo
o - i
fifths.
JOHN
DUARTE
World renowned composer for and and teacher of the guitar, guitar, music scholar and critic. Highly respected and in in constant demand for lectures and and workshops workshops throughout the world, John Duarte works untiringly for the betterment of music and the guitar. guitar. Articles by Mr. Duarte have appeared in most guitar periodicals periodicals of acclaim, and his compositions
continue
to be performed and recorded by
major concert guitarists.
A program of work for developing and disciplining the hands is given in the book " The Guita rist 's Han ds" (Duarte & Zea, Universal Edition 2692 6). A s supplementary exercises exercises in placing the left-hand fingers fingers Mr . Duarte
suggests the following to be played daily:
I. Play scales and/or arpeggios, touching the strings with the left-hand fingers but not depressing them (to give a muffled sound). This fosters placement with accuracy combined with minimal pressure.
2. 2. Play the following exercise slowly at first, then accelerating as security is achieved. (Accuracy is more
important than speed.) Do not look at the left hand. The object is to establish the ability to move up and down the fingerboard with sureness. The exercise may be carried out in the usual way or in that described in 1 above.
E L 2722
e) Repeat the above using strings
©Kl) ©Kl)©© ©©© ©
3. The following will will help to develop legato playing when a shift of left hand position is involved. T wo wo given notes are to be played in different positions with the same same finger. As illus trate d in exam ple 3a, as being an eighth-note (the first half of a quarter-note beat) play pla y the first note th in ki ng of its dur ati on as and, without snatching or anticipating, move to the next note during the eighth-rest of the same beat. When this is smooth and true to the durations shown, repeat the notes treating the first note as a dotted eighth-note eighth-note and m oving (more quickly) during the sixteenth-note rest (example 3b). From this, progress to treating the first note as a double-dotted eighth-note and the rest as that of a thirty-second as in example 3c. This exercise exercise will prepare for the maki ng of shifts as rapidly as possi ble, wit hou t cuttin g short the first
note . It sho uld be repeated using different fingers, strings and pos itio ns; there should be no portamento caused by failure to lift the finger(s) finger(s) clear of the the strings before shiftin g pos iti on.
a)
®. l
cl
b)
2
fe
y p"
y p*
yP '
f
t h r
/ P "
y p"
The above may also be applied to chords as illus trate d in examples 3d-f. ci I
i
2®
¥
e)
¥
f)
V
V
I
B
ALICE ALICE
Internationally
ARTZT
acclaimed virtuoso. Ms. Ms. Artzt's Artzt's concert tours have
only throughout Europe and the Americas many times, not only taken her not but also to Africa, the Near East, much East, much of Asia, Australia, Japan and the Far East. Her solo solo programs include a wide range wide range of styles from early lute music which she studies from the original tablatures, to first edition edition sources nineteenth century music for which she has used first and which she has performed and recorded recorded on an 1858 Torres guitar, to contemporary compositions several of which have been dedicated to her. She has made five LP recordings to date, and teaches teaches in the New York area when not on tour.
Practicing.* From this comprehensive text she Alice Artzt has recently completed a book entitled The Art of Practicing.*
contributes a bit of practicing psychology and one of her favorite exercises. Since how one approaches the art of practicing, and what one thinks about while doing it, are a great deal more ho w fast and in which ways one moves one's fingers about, the aim of any technical important than simply how
teaching I do has been to emphasize the need for efficiency efficiency and precisi on. One must concentrate from the very every detai l prefect prefect when prac ticing , so that any technical considerations become automati c, beg inn ing on getting every as only in this way is one freed to think only of the musical expression when one is performing. This can be the workings of one's accomplished by reducing any problems one has to their simplest possible form, by analyzing the one's set of fingers and figuring out exactly why a given finger is reluctant to perform a certain task, or own particular set o f the problem, or this is the cause of does so too slowly. Then one must either revise one's position in some way i f this in one must devise numerous personalized exercises to zero in on the particular action of the particular finger in
question. One basic problem common to almost everyone is simply that of teaching teaching the fingers of the left hand exactly where on the fingerboard each string and fret fret is located and how each finger m ay reach them all with the least expenditure
of time
and effort.
One particu lar group
o f patterns which I find particularly effective in
accomplishing this starts with the following exercise. The pattern 1 3 could be played as in examples A or B B below. 24 Example A Q _ CD-
©-
m >J j i j T ®-
Example B
CD-
5 f * 7 :
®d>
I .l J
Xi $± i f *r
r
—
©
T
—
T
®
^
Ai I'lji $ r
4
m
1
'Published by Musical New New Semces Semces Ltd.. 20 Denmark St.. London WC2 8NE, and available in the U.S.A. from the BoldStntmmer. 156 Fifth Fifth Ave., Rm 733, New York 10010.
E L 2722
This may then be done with all combinations o f fingers: fingers:
13 24 31 42 41 14 32 23 12 34 21 43 14, 34, 34, 12,43,21 24, 13, 42, 31, 32, 23,41, 14, 14 41 41 32 23 12 21 21 43 34 13 31 42 24 32, 32, 23, 14,41,43,34, 12,21,42,24, 13,31
F. and may be expanded to cover stretches stretches over several strings as in examples C, D, E , and F. Example C
^ ij
^ L 3j
@
0 Example D
(D
I
1
1
Example E
Example F
Do not move the arm and wrist any more than absolu tely necessary, necessary, and keep keep the fingers as close to the
fingerboard fingerboard as possib le, for this this will make it easier for the fingers to be both more accurate and more efficient in playi pl ayi ng any difficult passages one may encounter. (This idea is itself derived from other exercise ideas, can be
in the book, and can itself give birth to other ideas. The only expanded almost infinitely along the lines outlined in limitations are the player's ability to perceive his own technical problems and his own imagination.) But above all,
these or any other exercises should be done only with a very clear goal in mind at all times, and should should be done very slowly, very precisely, and very at most, three days of very perfectly. If no improvement is sensed sensed after tw o or, at doing an exercise, then either one is not concentrating properly on doing it exactly enough, or one one hasn't correctly analyzed the cause o f the problem and should try to find another angle from which to approach it. EL 2722
VINCENZO
MACALUSO
Classical guitar virtuoso and recording artist. Artist-In-Residence at
Whittier College in California, Mr. Macaluso is America's leading solo leading solo concert, orchestra, and recording artist exploring the versatility and greater dynamic range afforded by the 10-string 10 -string guitar.
Some of the most demanding, yet rewarding, technical exercises are those by the famous guitarist Francisco Tarrega.* Vincenzo Macaluso especially recommends the following Tarrega exercises. He states that on first sight sight the exercise exercisess may seem seem to be overly easy, easy, but i f each is played cont inu ousl y for two or three minutes they will be of tremendous value in building strength and endurance. Additionally, all exercises should be played:
a. with only the left hand (the right hand is not used) b. using both hands c. striking the first note of each combination and slurring the remaining notes
a * * * 1
4 tiuu
2
* i
m *
2
£
*
1
£
£
fctc. through all positions-
*3
3
E L 2722
j
2
3
,
2
3
1 2
3
i
2
3
j
2
3
CHRISTOPHER
PARKENING
Internationally Internationally famous virtuoso. Christopher Parkening's achieve best-selling albums for Angel Records, Records, engage ments include six best-selling recital series, and performances as guest ments by every major recital soloist with every major symphony orchestra in the United States. Mr. Parkening is is head of the guitar department at Montana State University.
Christopher Parkening contributes two very demanding ligado exercises. The exercises, to be practiced on all strings, are for left hand alone. The right hand does not play.
x e y ; Z f t
_<3M
p
î
Simile (slurs continue)
•
1 —
mk
i
i t . .
U
k
4
1 I
* 4 t L i l -
^ H T t - N f -
3 h
? 1 n
. I
r
J
4 1 1
f 4 l I
1
r*r r Pr r r i Y77 r r r rbr r r i p^ 77T TT^rT 3
1
i
1^ -4
2
4
1 ^ — ^
3
^ 1
3
1
4
2
4
.
Simile (slurs continue)
L*2
F.L2722
4
> 1
XT
CHARLES POSTLEWA
Has
performed
solo solo concerts
TE
and taught master classes
throughout the Michigan, Ohio, and Ontario, Canada region and has
been soloist with many orchestras including the Detroit, Windsor, Wayne State University, and University of Michigan-Flint Symphonies. Mr. Postlewate is is presently presently an Assistant Professor of Guitar at the University of Texas at Arlington.
Charles Postlewate states that daily exercises 1) to keep the hands in shape for exercises sh ould be used used for two reasons: 1) doing any thing requir ed, and 2) to prepare prepare oneself mentally and physically for actual concert repertoire. He continues, "As much as possible, I try to draw my daily exercises from new pieces which are in preparation or from older, familiar pieces which must be kept in good playing condition. It should always be remembered that each exercise is perfo rmed to benefit somethi ng in present or future repert oire and not just somet hing with which to begin daily practice sessions." "The following set o f six daily exercises is designed to specifically help in the mastering and maintenance of Etude No. 1 by Heitor Villa-Lobos* Also, the three right hand and three left hand exercises will become good coordination and conditioning exercises for other pieces." EXERCISE I The Th e first pro ble m in this piece is the fluid movement from chord to cho rd in the left hand. The chords should be pract pr actice ice d in block form (Example A) until they are connected smoothly from beginning to end. Replace the left hand Iigados (measu (measures res 24-25 in the orig inal) and harm onic s (measu (measures res 32-33) with the E minor chord of the first measure to complete this chord study without interruption. Example A
(I o
-n
-e—
~U"
D i> o o
_QU
-rr
7=
3
XT
= XT
7 =
2
XT
HE
&
EXERCISES 2 & 3 Th e right hand arpeggio can be divided into two parts and conquered more efficiently in the following manner. Example B shows that the second and third beats (on the first four strings) form a tricky right hand arpeggio pro ble m which will slow down the overall pattern until it becomes perfectly coordinated. Example C shows how to practic pra ctice e this patt ern over all six strings of the chords cho rds learned learne d in exercise e xercise 1. Th e first and fourth beats of each measure present the pro blem of mov ing the right hand up and dow n the strings with accur acy. A good exercise to sharpen this movem ent is presented as exercise 3 (Ex amp le D) and again again should be practiced through the chords of the entire piece from exercise 1. T w o sets of fingerings are shown since p-i-p-i. many guitarists prefer p-m-p-i on the first beat instead of the originally printed p-i-p-i. Example B
r
I
p p (p
EL
2722
i m
p p
I
L
7 m
i
a
m a
t
m
_J
p
i
p
i
t)
by arrangement with Editions Max Eschig, copyright owner. 'Copyright © ¡953. Reproduced by
31
EXERCISES 4 & 5 The most feared part of this etude is the ligados of measures measures 24-25. Example E shows these two measures. (As done by most guitarists, the G on the fourth beat has has been altered an octave octave from the o rigin al.) Th e ligados can be made made into an exercise by pract icing the the bracketed E minor triad bo th descending and ascending as as in example F . By lowering this exercise a half step at a time to B minor or raising it a half step at a time to B minor, exercise 4 will cover the full length of the fingerboard and keep the ears from becoming mentally fatigued with the same pitches gives the fingers fingers good ligado train ing over the the ent ire scope o f the the fingerboard. fingerboard. The tw o other left in E mi no r. It also gives hand fingerings fingerings of 2-3 and and 3-4 should also be practic ed o n this exercise to make the standard 1-2 Fingering even more comfortable.
and develop bo th ascending and descending Exercise 5 (Exa mpl e G) is a vari atio n to strengthen exercise 4 and 1-2, 2-3, and 3-4. The more that exercises 4 & 5 are pract iced and the easier they ligados. Again, practice with 1-2, become bec ome , the more con fide nt yo u will will become of that that once dreaded ligado passage. Example G
12
12
©
3L
EXERCISE 6 The harmonics of measures 32-33 (Example H) require a quick switch from the original to a new right hand arpeggi arpeggio o pattern. To make this switch music al, and with no hesitation, exercise exercise this new pattern as illustrated in Example I. Use the entire chord progression of the etude (Exercise 1) until it becomes as smooth as the original arpeggio.
p
p
p
p
CONCLUSION These exercises should be practiced very slowly with a metronome. Gradually increase the tempo, always Fingers, and evenness of rhythm between tones. Metronome placi ng concentration upon evenness of tone betwe en Fingers, exercise speeds speeds should be raised to a new speed when the old one feels comfortable. Raising and lowering exercise will will give the player a chance to relax, becoming more coordinated at lower speeds, and pushing him/herself at the higher speeds. For a standard, most concert guitarists perform this etude between J = 144 144 and J = 176. A good student should start the above exercises at half of these these speeds or slower. As these exercises become easier, the amount of daily time spent on them them will will become progressively less. less. Y o u can then look to other pieces pieces in you r repertoire and and develop similar exercises. Your practice time time will will be more you will meaningful meaningful and efFicient, and you will be on the path to becoming your own teacher. E L 2722
LEE RYAN
Soloist, Soloist, teacher, writer. Holds an M.A. in guitar guitar performance from from San Diego State University. University. Studied Studied in in master classes classes in Spain and the United States. Lee Lee Ryan is currently on the the music faculty at San Diego State University University where he initiated the guitar program at school. that school.
Lee Ryan gives gives some some valuable info rm ati on and exercises exercises for relaxin g the hands and playing without tension. He
uses what he terms the "Play-Relax" approach and explains as follows: Most guitarists have their attention
fixed on the playing of the notes, but pay little or no attention to what
happens between the notes. Obviously the notes are important, but the spaces between them - however big or small
- are equally important. Such spaces occur between the notes of a scale or melody and between chords as well as during rests. The great value of these spaces is that the hands and fingers have a chance chance to relax , if the play er lets
them. Even if the music is very fast or very legato, there are still tiny spaces between the notes (which no one should notice) which the player can use to release tension. Fine guitarists c ons tant ly take advantage advantage of those spaces spaces - more or less less consciou sly - to give mini- or
micro-relaxations to the fingers. Less developed players often keep an excess amount of tension on the fingers, even on the fingers that are not playing. Thus, their fingers become easily fatigued. A more developed player quickly
releas releases es the tension on the hands and fingers fingers whenever he has even even a tin y space; and, at any given mom ent , he is completely r elax ing those fingers fingers which are not in use. He uses exactly the energy needed to play well - no more,
no less. He does more with less. Fo r him the music flows effortlessly. PLAY-RELAX
A good way to develop your ability to release tension in the spaces between the notes is the "play-relax"
approach. The essence of this approach is that the player carefully practices making very distinct alternations of playi pl ayi ng and then relaxing very quickly - like the fast on-off o perat ion o f a com pute r. The faster faster and deeper deeper the
relaxation the better because the player gets more rest and remains less fatigued. The play-relax approach can be
used for both hands, in all aspects o f playing. This includes playing simple exercises, parts of pieces, or entire complex pieces. PLAY-RELAX FOR TH E RIGHT HAND
The following simple exercise will develop right hand relaxation when using rest or free strokes:
m
luZr VT7 ~
i
m 1
t
V ? ^ - *
w
*
• 1
— • Z^-l
r w -
,
i
-FTT:
© This exercise should be played very slowly and consciously with the metronome at first ca. J = 72. 72. The key
idea is to feel a quick, deep relaxation of the hand and fingers fingers immedi atel y after each stroke. The quarter rest gives E L 2722
aware of the chance to really relax. The finger that that is to play next is placed on the string in a you time to become aware relaxed manner immediately after the previous finger has finished. It is good to cut of f the sound compl etel y and feel the silence between the notes.
exercise increas increase e the the temp o, but do n' t play the When you can relax very quickly and tho rou ghly in the above exercise exercise so fast that you can no longer feel feel the relaxation. When you can do the exercise quickly, drop the quarter
rest and do it as follows, maintaining the relaxa tion:
G)
Gradually increase the speed until it becomes comfortable to play the above exercise very quickly. As it makes
you aware aware of how to relax yo ur right hand, carry this awarenes awarenesss in to the practice of you r pieces. A i m for those quick relaxations after every stroke. The exercise will lead to a good legato in the right hand i f yo u gradually leng length then en the the note note valu values es f r o m ^ - t o ^ y t o J
If you want to increase the speed of your right hand for fast scales (rest or free stroke), practice the above exercise exercise and then the following: m m i m i m
$
m m <
t—
-J
i m i m
J
ï
i
ZEE:
CD
as fast fast as y ou can with comfort and relax completely duri ng the rests rests.. Do the exercise with the met ron om e as When you can do the above at high speed with ease, add on another set of sixteenths: m i m i m tm fe
tm
J J J J J J S^
m i m i m t m 3
tm
mm
have as many as you need for whatever scale scale yo u Continue to add on more sets of sixteenths as above until yo u have want to play. Always remember to have at least a quarter rest after each string of sixteenths and relax deeply during the rest.
PLAY-RELAX FOR THE LEFT HAND
response is well-developed in right hand finger altern ation , play left and right hands When the play-relax response together using the same approach. For example, you can play a two octave C scale as follows:
ca .J =72 (N o opcir strings)
It is crucial that the left and right hand fingers relax completely between the notes. The pressure on the left hand fingers fingers should be released released imm edia tely after playing, but should be left sitting lightly on the strings. Make shifts light and quick and relax during them. Speed up the exercise when you can feel clear, quick relaxations between betwe en the notes. La ter, te r, leave out the quarte qua rter r rest and play a ^
on each beat. Lengthen the note values for more
you will will be able to relax quickly after each note even at a fast tempo. tempo. Still Still later you can play the legato. Gradually you scale in fast sixteenth groups as you did with with the right hand alone.
Start with J 3 3 3 J * i
and add on additional groups until you have the whole scale.
If you practice the above staccato exercise exercise carefully and and apply it to you r pieces pieces you you will will notice a great increase in ease o f playing playing with the left hand as well as an increase in coordination of the two hands.
Another way of using the play-relax approach is in left hand slurs. Many guitarists practice too many slurs consecutively without relaxing the hand. Practice slurs with rests between repetitions as in the following example:
rest
rest i
3
2
A
Of
"Etc:
This method produces great relaxation and can be used to practice all types of slur passages. After such
play -rel ax practice the continuous playing of slurs is much easier. (Try it on Villa-Lobos Etude No. 10.)
A further way o f applyi ng the play-relax metho d is in the performance o f block chord sequences such as in
Segovia'ss edit ion of Twenty Studies Twenty Studies by Fernando Sor (Marks Music). Sor has written a rest between Study No . 9 in Segovia' each ch or d. Tak e advantage advantage o f those those rests by relaxing the left hand as completely as possible during that time. Y o u can practice any piece, or part part o f a piece, piece, that has block chords in the same manner as in the Sor study above. Even i f the piece is ult ima tel y supposed to be very legato, cut the note values values short and put at least least a small
rest between the chords to release left-hand tension. This prepares you for legato playing where you need to have unnoticeable micro-relaxations between the chords in order to save energy.
The above ideas are just a few ways of applying applying the play-relax approach. Try using the approach in other ways, such as in arpeggios and tremolo. It It will will make you aware of a new world of "better "better playing with less energy." Additionally, I would state that the above is just one o f many techni ques and concepts for teaching the guitar
that I have derived from my study of yoga and meditation.
CLARE
CALLAHAN
College-Conservatory Chairman of Classical Guitar Studies at the College-Conservatory of Music, University of Cincinnati, Cincinnati, Ohio. A student of Papas and Segovia, she is a graduate of Georgetown and Ohio State Universities (National Defense Fellow in Musicology) Musicology) and the the author of Jacques Gallot's Pieces de Luth (1674). A teacher I performer performer on
lute and guitar, she has given workshops and recitals in the United NET and NPR. NPR. She is States and England and performed on NET currently serving a second term on the Executive Board of the American String Teachers Association Guitar Division.
Clare Callahan contributes three exercise exercisess to develop fluency in moving from contrac ted to natural position s. Each exercise deals respectively with moving from these positions while 1) changing strings. 2) using the same strings, strings, and 3) pl aying a five-note five-note scale in a given given posi tio n.
CHANGING STRINGS v b
Hi 4
_ *P
The familiar D Major chord is voiced first with the third on top, then the root. Physically this means the left hand fingers expand from a contracted position with the first and second fingers on the second fret fret to a natural position with the first finger onl y on the second fret fret and the other fingers on success successive ive frets. The first finger finger of the left hand stays touchi ng "a * " while "giving" elastically to allow the other fingers to
shape the new posi tion and put it on the fingerboard. A slight rot ati on occurs in the left left wrist and forearm to allow the movement to be made with a graceful economy of motion.
The right hand fingers dampen the strings of the the new pos iti on before str iki ng so that the articulation between chords is clear.
SAME STRINGS
Î
£
'm
4
né*-
a\>I
S P
TE
A seventh chord descends to another seventh chord with an unresolved 4-3 suspension. Physically the fourth finger finger stays stays touc hing " e 3 " while "giving" elastically to allow the other fingers to expand the same seventh chord shape from three frets to four and put it on the fingerboard. The left left wrist and forearm are essentiall y still during this motio n (but n ot frozen). They move sympa theti cally i f asked asked to do so. fingers dampen the strings of the new pos iti on before st rik ing so that the articulation Again the right hand fingers between bet ween chords cho rds is clear. clea r.
SINGLE SINGLE FINGER
®
® A five-note scale moves through an A Major chord. Physically the first and third fingers of the left hand remain fixed as pedals. The fourth finger of the left hand moves in and out of a contracted position through scalar motion. The left hand remains essentially still during this exercise allowing the second and fourth fingers to find their positions. The scale passage may also be played with slurs.
DAVID DAVID
Extensive
performances
GRIMES GRIMES
throughout
the
United States and
highly respected teacher and and coach, Mr. Grimes has either Mexico. Mexico. A highly
taught or been asked to teach at virtually every major college and university
in
Southern
California.
He
now
concentrates concentrates
his
educational efforts at the California State University at Fullerton, which has become one of the leading centers of guitar instruction in the nation.
David Grimes submits that one of the most effective devices for increasing facility and precision in scale scales in a wide variety of rhyth mic patterns. "This promotes closer attention and builds passa passages ges is to practice the scales coordination between the mind and the hands, as well as between the two hands. Scales with reiterated tones are included here, since they are especially useful in developing mental agility." His comments and instructions continue as follows:
will be confusing at first, and will will tend to transpose into more familiar forms. Several of the following patterns will Pattern No. 9, for example, example, will will show a tendency to degenerate into No. 5. This must be avoided by insisting upon a distinct stress on the first note of each group. When a pattern does not end with the tonic on a strong beat, the scale should be continued until it does finish repetition(s) will will have the metric stress shifted to different scale degrees, which further enhances the evenly. The repetition(s) value in value in promoting flexibility.
The rhythmic formulas formulas with unequal notes must always be played crisply: the benefits increase as the rhythms are sharpened sharpen ed as: , J. 4 becomes J.. 4 and as J 44 becomes J. 44
r r r r r rrrrrrrrrr^
5 s a E L 2722
^ 34
35
37
18
36
(9
— m —m
#
J " 4
" 1
40
Q
j y
|
42
44
45
J j j J j J J J .
fa^^ 0
41
I T *
49
4 jjraJ^ca
m
i j ? ^ ^
\\m^ 51
50
az
»ji
These patterns are are cl early not exhaustive exhaustive of all possibilities. They can be extended to include combi nation s of here, as well as groupings containing more than four notes. forms listed here, The principles embodied here are of great value in solving a larg large e number o f technical technical problems. problems. R h y t t a i c altera tions are extrem ely useful wh en applied to other exercises (arpeggios, (arpeggios, ligados) or to passages from the the eer.en : repertoire.
E L 2722
PETER
SEGAL
Has performed extensively, extensively, developing the guitar as a solo instrument and as a chamber chamber instrument through partnerships partnerships that have included string quartet, harpsichord, marimba, actor, and flute. string quartet, When not performing, Mr. Segal Segal teaches at Temple University in Philadelphia
and at the Philadelphia
College For The Performing
Arts.
Peter Segal contributes the following: No amount of exercise prac ticing is helpful unless the guitarist works she continu es pract icing the same exercises exercises for a period of months or years, a kind of aural alertly. If he or she fatigue becomes a likely affliction. It is quite easy to practic e exercises exercises from a physical standpoint, i.e., how the fingers should move, what they should feel, etc. Though this is important, the greatest benefit comes from pra cticin cti cing g with the ears. Learn to listen 1) objectively ( A m I hearing only what I want to hear, or what I'm really playing?); 2) attentively (Are my ears on the periphery of consciousness or am I truly absorbing what I hear?); and 3) critically (Am I listening passively or am I evaluating what I hear?).
Simplified, I suggest we should continally find fresh exercises and vari atio ns of exercises to avoid aural lethargy. One example I find partic ularl y useful follows. It is a scale exercise which differs from the popular Segovia scales in that it is short a nd is meant to focus on lightness. The guitarist should prac tice rhythmically, listening for the final note as though the entire scales were an ornament to the final note. After achieving this, over a longer longer period. Again, the exte nded scale shoul d be playe d try try to extend the lightness and feeling of direction over as one unit, with one climax — that final note.
(D_@
1
®1
T?
ÉÉÔËÉ f
^ : i r r r r t r i ^ i r ^ c i r i L j L r ^ i J . ^ i
As a variant to the above, play the following.
-Etr
as the following: Rhythmic accentu ation is ever-important. Practice subtle differences in pulse, such as
on scales us in in g strings © © © Also, use the above patterns on both bo th free and rest strokes.
anc
* ® @ ® • A s a l w a Y s > practice with
RONALD RONALD
PURCELL
Professor of Music at California State University, Northridge. Northridge. Ron Pureed is acting acting president of the American Guitar Society and has America since since it was been president of the Guitar Foundation of America 1973. He is a frequent lecturer, lecturer, participant, performer, founded in 1973. and organizer of national and international internati onal workshops,
conventions, conventions ,
and meetings concerning concerning the classic guitar, and has received several outstanding achievement awards.
Ronald Purcell states, "With the vast wealth of technical exercises available to us it is sometimes very difficult to
isolate those which teachers, students, and professional guitarists need. The careful selection of technical exercises and pieces form the basis upon which the guitarist develops criteria as to consistency, variety, endurance, goal of produc ing mu sic ." flexibility, sta bilit y, security and m ost o f all conce ntration to attain a goal - the goal Professor Purcell contributes 1) an outline describing those basic areas which are are the foundation of developing technique, 2) a five five-st -step ep procedure for learning new new repertoire, and 3) a comment on mainta ining old repertoire. He concludes with instructions on the use of this information.
FUNDAMENTAL TECHNICAL STUDIES
1. Scales — diatonic major and minor, chromatic and diminished. a. scales in 3rds, 6ths, 8ves and lOths. Examples: Opus 1 by Mauro Giuliani. Volumes 2 and 3 of Escuela Razonada De La Guitarra b y Emilio Pujol. b. ligado (slur) studies - ascendin g and descending. Examples: Segovia Slur Studies.
The Dionisio Aguado Guita r Method. Escuela Razonada Razonada De La Guitarra b y Emilio Pujol. Volumes 2 and 3 of Escuela
c. performanc e of the the above with rhythmic variations. variations. left hand 2. Arpeggios - basic and com plicate d patterns performed in both fixed and movin g posi tions of the left (include full and half barrés). Examples: Op. 1, Opus 83, and Opus 46 by Mauro Giuliani.
3. Exercises which challenge the fingers of both hands. Example: Volumes 3 and 4 of Escuela Razonada De La Guitarra by Emilio Pujol.
NE W REPERTOIRE LEARNING NEW I. Read through the music slowly without the guitar. a. Conduc t and and sing, hum or handclap rhyt hm (sometimes referred referred to as as eurythmic s). b. Analyze form and content. c. Carefully check all fingering.
42
2. Read through the music slowly on the guitar.
a. Review fingering again. b. Isolate difficulties and practice. 3. Again, read through slowly. Check dynamics. 4. Memorize. Review form.
5. 5. Perform at tempo from memory. a. Review dynamics and style of work. b. Finalize fingering.
MAINTAINING LEARNED REPERTOIRE Maintaining learned reperto ire is essentially the same same as as learn ing new reper toire (above), but less time is requ ired
except in those areas where changes have been made. It is imp ort ant to cont inu all y read through the music slowly since uncon scious change changess do occ ur over a period o f time.
There are numerous ways to use the above information. For example, any of the old or new repertoire can overlap into "Fundam ental Technical Studies" by extracting and and making a study of sections sections which need attention. In some instances a whole piece could be used as a study, as in the case of a Villa-Lobos etude. In "Learning New Repertoire," the instruct ions to read read the music witho ut the guitar is an impo rtant concept. E ury thm ics give givess a musically secure foundation upon which to learn the composition. Also, a great deal of time is saved by the
rehearsal of difficult rhythm s, the discovery of poor fingerin fingering, g, etc.. The early recognition and reconci liati on of
these difficult or awkward areas by this method will speed up the learning process, and will eliminate the later "undoing" of wrongly learned material. In "Maintaining Learned Material" I am assuming the pieces were learned correctly. If there are less than ten
peices in the rep ertoir ert oir e each piece can be covered cove red sufficiently in a week's time using the the described pro cedure. I f
there are more tha n ten pieces, the student must pace himself carefully during that period, giving the greatest attention to the less less secure secure portion s of each piece. Repertoi re is an investment investment in time (pot enti ally , mone y in the the ba nk ), and will yield a return in artistic rec ognit ion, musical satisfaction satisfaction and eventually support for the profession profession when the time for performance arrives. Additionally, I advise my students to spend spend at least least 1 0 - 2 0 minutes each each day reading reading new material. Remember,
your reading level should be somewhat near your technical ability. Fo r the teacher w ho is preparin g a student for a new study or piece and uses this outline or a variation of it,
ask yourself the following questions: 1. Does this work logically logically follow what the student has learned? 2. Is the student ready for this study or piece? 3. Why am I giving the student this study o r piece? The degree to which the teacher is prepared to answer these questions demonstrates the degre degree e o f responsibility responsibility to his/her students. That is the ultimate basis of any teacher's reputation.
CHRISTOPHER
BERG
Graduate of the Peabody Conservatory of Music. Guitar studies with with Aaron Shearer. First guitarist to receive the Master of Music from Peabody. First guitarist to win the MTNA degree from Guitar Competition Competition
(1977). (1977). Concerts
and concerto
throughout the United States. Currently
National
appearances
is Assistant Professor of
Music at the University of South Carolina.
are aware of the the necessity of moving smo othl y and Christopher Berg states that although m any guitarists are accurat ely from one st ring to ano ther, rafely has string crossing been been the sole focus of a tech nical exercise. He points poi nts out that a common symptom of faulty string crossing is the inability to play scales which cross the strings as rapidly as one can play notes on a single string. To help deal with this problem. Mr. Berg contributes the following comments and exercises: Assuming one has a com forta ble right hand pos itio n on any any given string, try to keep keep this same position for each string . This is accom plished by the basic technique of movi ng the forearm from the elbow. Strive Strive to maintain the same wr ist and fingerjoint re lations hip as when pla yin g on a single single string. The exercises below should be studied with both free stroke and rest stroke.
PRELIMINARY EXERCISES m-a, i-m-a, a-m-i, i-m-a-m, i-a-m-a, i-m-a-m, i-a-m-a, and a-i-m-i. a-i-m-i. On a single string practice the right hand patterns of i-m. m-a, The cultivation of these patterns cover every possible string crossing situation. (Although other right hand patterns can be devised, prac ticin g them would be superfluous. For example, the finger movements for m-a-i are the same as for i-m-a. The difference is sim ply starting the pa ttern with a different finger.) finger.)
*
= 4 = f
m
m
m
a
a
t a m m
m a
i
t
i
a
a
i
a
i
4
i m m m
i
t
m t
a
a m m
m a m m m a
i
i m a i i i
a
m a i
t
a
m m m
m
a
a
m m
1
m
a a
i m a
i
Use rhythm patterns of triplets and sixteenth notes. This This will will require Dlaying the triplets with the right hand a nd a-i-m-i), and will will require playing the m-a, i-m-a-m, i-a-m-a, i-m-a-m, i-a-m-a, and patterns patter ns that use an even number of strokes (i-m, m-a, sixteenth notes with right hand patterns that use an odd number of strokes (i-m-a and a-m-i). Note that the accent should shift from finger to finger.
| :m*m *m i m i m i m i m m a m a ma ma ma mi m a m i a m a i a m a i a i m i a i m i a
t m i m m a ma i m a m i a m a l m i
CROSSING STRINGS and descending with the patterns studied above. It may be Now pract ice crossing all six strings ascending and helpful to begin practice with i-m and then proceed with the more difficult patterns. Think of crossing as you play the last note on a string. Rem ember to make a definite m ovement from the elbow . EL 2722
:
j
j
j
j
J
J
.
i
j
™
3333 i i
m a m a
i
m m
I
m
a a
i
a m m a m i t a 0
m
é
m —a a m m t m t m a m t t a a i
a m m
ê
é
Descend & Repeat -
m a i
To relieve the tedium of open strings and to practice left hand endurance, finge r chords employing the full bar and ascend by po si ti on .
BI ©
. ^
XT
Ascend to IX
O-
TRANSVERSE SCALES When the above can be done as a matter of habi t, pr actice transverse transverse scales scales (scale (scaless that move across the strings) in groups of three and four notes with the above right hand patterns. It is preferable to begin with scales that leave the left hand in one position, (as in example belo w) but long er scales scales may be utilized if desired. Make certain that the groups of 3 or 4 are clearly discernible.
©.
Remember! Practice slowly and carefully to allow the various techniques involved to consolidate. How these exercises are studied is of more importance than what is being studied.
CHRISTOPHER
AMELOTTE
Guitar soloist, soloist, teacher, teacher, and co-author of the Christopher Parkening Guitar Method. A graduate graduate of the prestigious University Of Southern California,
Mr. Amelotte
performance extensively
holds the first degree degree in classical guitar
awarded in that school's school's history. throughout
the
He has traveled
United States as soloist
and
as
representative for the guitar importer Antigua Casa Sherry-Brener of Chicago. Currently Mr. Amelotte
resides in San San Diego, California
where he where he is active as owner as owner of of the International Guitar Shoppe.
close association with many famous guitarists has given him keen insights into numerous Christopher Am elo tte s close aspects of guitar performance. For this text he contributes some valuable thoughts on the problem of nervousness. This section should not be studied only as performanc e-time draws near, but sh ould become a part part of regular
prac tice habit hab it and attit at tit ude. ud e. Mr. Amelotte states: There is a common visitor in the life of most guitarists shortly before performance time. This visitor is hardly • nervousness. My advice is this : BE welcome one, as it seems his one goal is their distinction. I speak, o f course, o f nervousness. the absence absence of nervousn nervousness ess does does not provide PREPARED FO R HIS A R R I V A L ! Unfo rtun atel y, merely hopi ng for the are therefore an adequate defense. Also, some guitarists feel that being nervous is a flaw in their charac ter and are reluctant to recognize their condition. condition. If you are a victim of nervousness (and most guitarists are) then deal with i t The following suggestions have been very helpful to me and my students:
LONG TERM PREPARATION L PRACTICE SECURELY A . Eliminate excessive motion. Maintain close proximity of both hands to the strings.
out every detail of the music. Leave nothing to the imagination. B. Work out
C. If you are making mistakes in practice expect to make them when performing. Don't be surprised.
II. L E A R N T O DROP T H E RIGHT HAND
Nerves tend to contract the hand, giving one the illusion that the strings have been relocated about
mA
further than where they are supposed to be. If you are used to carefully lowering the the fing finger erss to the u . u p i disastrous. How ever, if you let let the the weight weight of the right right hand "dr op " the fingers fingers to the could be disastrous.
1 1 i
location of the strings will be more sure.
III. INDUCE PRESSURE A . Simulate the physical conditions of performing. What do you feel like when y ou are are nervous? D o
shoulders tighten? Then tighten your shoulders. Does your breathing become shallow? Simulate that hands tense. tense. No w, what do yo u do to overcome overcome these Do your fingers become stiff? Make yo ur hands Relax your shoulders. Breathe deeply. Etc., etc.
E L 2722
Jftr
B. Simulate stage, Simulate environmenta l performance conditions as much as possible. This includes walking on and off stage,
acknowle dgement of the audience, quiet sur roundings, even a desk lamp in a dark ro om if yo u are going to be per formin for min g in a spotlight.
performances. This will both increase pressure as well as provide you with an C. Record y our simulated performances. indication as to how you sound to the ears of the listeners.
D. Test you r performance on friends and relatives. The shock of performance pressure can be cushioned or pressure-induced duced practice performances. performances. eliminated by co nditi oning yourse lf through pressure-in
PIECE SELECTION IV . PIECE A . Bo a realist. Do not attempt to perform pieces that are above your performance ability. (Understand the difference between technical ability - what you can play in the practice room — and performance ability —
what yo u can play under pressure.) B. If you are playing several works, begin with a secure piece, particularly with regards to the right hand. Be
cautious about beginning the program with a new piece. Most performers open their programs with a piece
that they have played for some length of time.
SHORT TERM PREPARATION
I. R E L A X mind. Naturally tranquilize yourself to the point of yawning. Caution: Avoid Place yourself in a relaxed state of mind.
stimulants, as they increase nervousness, and depressants, as they tend to dull the senses.
II. ESTABLISH REFERENCE A . Have Have the grooves of the the left-hand fingers fingers established before beginning.
B. Get the feel of the right hand on the strings. strings. Drop the the right hand; do not lowe r it. Put the the weight of the the hand
into the strings.
III. MAINTAIN CONCENTRATION A . Avoid mental excursions. Confine all mental activity to the music you are playing .
B. Don't let mistakes derail your performance. Worrying or getting angry about an error can only cause more to
happen. The above mentioned, by itself, is not a panacea. It must be accompanied with practical application in the form
of exposure. Play as often as possible. There is a direc t corr elati on between f requency of exposure and performance comfort.
Nervousness Nervous ness is real but it can be encounte enco untered red
and con que red . Pre parati par ati on, sec urity uri ty and experienc exper ience e breeds
confidence. And it is through confidence that nervousness nervousness is disp elle d, allowing us to represent our ou r true ability on
the guitar.
RONALD RONALD
SHERRO SHERROD D
soloist, teacher, and author. author. Music degrees from Guitar soloist,
UCLA
and California State University, San Diego. Also, guitar studies studies at the San Francisco Conservatory of Music and in Europe. Doctoral studies at the University Of Arizona,
Tucson. Currently on the the faculty of
Grossmont College, San Diego, California.
is pri mar ily for the left hand, I offer two groups of exercises to develop fundam ental techn ique. Th e first is the second prim arily for the the right, right, but bot h are valuable valuable for legato playing and coo rdin ation between the hands. FO R TH E LEFT HAND
Many guitarists have difficulty in placing the left hand fingers exactly on the tips. This causes problems if
adjacent strings are are inten ded t o sound sim ultan eous ly. The following exercises emphasize basic hand position and secure finger placement, and insure that only the tip of each finger is used. Strings
& (2)
®
A
m
0
p
•
o|
0
3
1 —
-1 -A
0 i
oil
nl
oF"o m
m m v-
'i 3 m
0
-= ai- m
4
1—0
0
*
w
•
Strings ( | ) & ( 3 )
-
-
11p »g 7p t JT
IT T 7 T
© ©_
-
'[ '[it r
r 1
2
« 4—0¬ 1 — « -1—4 4 —4
e-
e
0 —#
ol
-.a
a 1— UJF UJF
02
0
oj
-n
RH R i 4 4 =r JL±JLi =' 1
Stri String ngs s (|)
&
©
1 1 , .
fe A f l Strings Strings ®
&
Q
T
oj
nj 3r
2
©
—p-> 0
o-
3r
IF
2
IF IF
oT
+—«
o
3-
7
a
?
j
T
©
®
3T
^ i
r
^f^^P
3
1 sL 1 °
o4
3F-—3
—& •
0
0
&
o — o] 7
r r ?o•
k=i k=i
T
A rhythmic variant of the above exercises is as follows:
5
i
^ ^ © IF
Strings Strings ©
—
©
4
V
HP
"I "H -mm—m
1 °J; si: ; r Jr J: i
3
F
^
oL
Q|
of
-1
FOR FO R T H E RIGHT HAND
scale in thirds, using only the th ird and f ourth strings, allows many right hand formulas to Playing the E scale be prac tice d whi le strivi str iving ng to move smoot sm oot hly along the
fingerboard.
First, practice the following: (Notice that the fingering is different when the scale is descending.)
®
4'Atil: J i U
-3
3-
T 3
=8
2
Then, add the open second and open sixth strings. (The left hand always plays the scale as practiced above.)
à
a
«
m
m.
No w apply some right hand formulas. J-
vr
* *A *A A
¡ 3 3
—H — 1
r=t±-.
p
IL
*
I h U
-0
»
•
m »
2
m
^4
—0
0
M
R
0—
0
i
m
¥
0
¥
— 0—
—«
y
4r m E L 2722
0
0 0
0
*— 0
0
Continue Continue this left hand pattern with other right hand combinations.
